Yamaha SPX990 Owner's manual
YAMAHA
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Professional Multi-effect Processor
Processeur Multi-effets Professionel
Professioneller Multieffekt-Prozessor
Operation Manual
Manuel D'utilisation
Bedienungsanleitung
T XA YT A Y À
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FCC INFORMATION (U.S.A)
1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!
This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by
Yamaha may void your authority, granted by the FCC, to use the product.
2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product
MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA.
3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class "B” digital devices. Compliance
with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful
interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found
in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that
interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit "OFF" and
"ON", please try to eliminate the problem by using one of the following measures:
Relocate either this product or the device that is being affected by the interference.
Utilize power outlets that are on different branch (circuit breaker or fuse} circuits or install AC line filter/s.
In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable.
If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not
locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620
The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.
* This applies only to products distributed by Yamaha Corporation of America.
* Dies bezieht sich nur auf die von der Yamaha Corporation of America vertriebenen Produkte.
* Ceci ne s'applique qu’aux produits distributés par Yamaha Corporation of America.
* Esto se aplica solamente a productos distribuidos por Yamaha Corporation of America.
IMPORTANT NOTICE FOR THE UNITED KINGDOM
Connecting the Plug and Cord
WARNING : THIS APPARATUS MUST BE EARTHED
IMPORTANT. The wires in this mains lead are coloured in accordance with the following code:
GREEN-AND-YELLOW : EARTH
BLUE : NEUTRAL
BROWN : LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the
coloured markings identifying the terminals in your plug proceed as follows:
The wire which is coloured GREEN-AND-YELLOW must be connected to the terminal in the
plug which is marked by the letter E or by the safety earth symbol = or coloured GREEN or
GREEN-AND-YELLOW.
The wire which is coloured BLUE must be connected to the terminal which is marked with the
letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the
letter L or coloured RED,
* This applies only to products distributed by YAMAHA - KEMBLE MUSIC (U.K.) LTD.
CANADA Litiumbatteri!
THIS DIGITAL APPARATUS DOES NOT EXCEED THE “CLASS B" LIMITS Bór endast bytas av servicepersonal.
FOR RADIO NOISE EMISSIONS FROM DIGITAL APPARATUS SET OUT IN Explosionsfara vid felaktig hantering.
THE RADIO INTERFERENCE REGULATION OF THE CANADIAN DEPART-
MENT OF COMMUNICATIONS.
LE PRESENT APPAREIL NUMERIQUE N'EMET PAS DE BRUITS VAROITUS! |
RADIOELECTRIQUES DEPASSANT LES LIMITES APPLICABLES AUX Lithiumparisto, Rájahdysvaara.
APPAREILS NUMERIQUES DE LA "CLASSE B” PRESCRITES DANS LE Pariston saa vaihtaa ainoastaan alan
REGLEMENT SUR LE BROUILLAGE RADIOELECTRIQUE EDICTE PAR LE ammattimies. |
MINISTERE DES COMMUNICATIONS DU CANADA.
* This applies only to products distributed by Yamaha Canada Music Ltd. ADVARSEL!
* Dies bezieht sich nur auf die von der Yamaha Canada Music Ltd vertriebenen Produkte. Lithiumbatteri!
* Ceci ne s’applique qu’aux produits distributés par Yamaha Canada Music Ltd. ionsfare. Udskiftning ma kun foretages
* Esto se aplica solamente a productos distribuidos por Yamaha Canada Music Ltd. Eksplos 9 ; 9
af en sagkyndig, — og som beskrevet i
servicemanualen.
SPX990 FEATURES
20 bit A/D and DIA conversion for high quality sound.
prel post-effects in a high quality Multi-effect system.
* with memory card slot, XLR-type connectors and phone jacks
* convenient operations using function keys, data entry dial and large LCD display panel.
Congratulations on your acquisition of a Yamaha SPX990 Professional Multi-effect Processor.
The SPX990 offers 80 preset effect programs including accurate simulations of natural rever-
beration and early reflections, delay and echo effects, modulation effects, pitch change ejfects,
complex effects, freeze (sampling) programs which can do loop playback and much more.
Epoch-making new effects like the main effect programs include multi-tap delay for accurate
definition of time and pan of several delays, round pan and intelligent pitch which can add
harmony through internal recording on specific keys and scales. The temp. mono echo, temp.
stereo echo, and temp. quad echo effects also add new attractive features to the SPX990. With a
sampling frequency of 44.1kHz, it delivers a full, flat frequency response from 20Hz to 20kHz
for exceptionally clean, “transparent” effect sounds and direct digital interfacing capabilities
making it compatible with the most up-to-date sound systems. The preset effect programs can be
edited, re-titled and stored in any of the 100 RAM memory locations. Convenient external data
storage is provided by a memory card slot that accepts optional RAM cards for storage effect
programs. The 3-band parametric EQ, compressor, Aural Exciter®, or distortion can be used in
the pre-effect program for precise tonal tailoring. The 3-band parametric EQ, compressor, or
Aural Exciter® can also be used in the post-effect program. The SPX990 is also MIDI compat-
ible, with a MIDI IN terminal that allows MIDI selection of effect programs and a switchable
MIDI THRU/OUT terminal. When switched to OUT, edited programs stored in the internal
RAM memory can be dumped to a MIDI data recorder or other data storage devices. Programs
thus stored can be reloaded when necessary via the MIDI IN terminal. As an extra touch of
convenience, the SPX990's analog input and output terminals can be switched to match -20dBm
or +4dBm line levels, providing compatibility with a broader range of sound equipment.
In order to fully take advantage of all the capability offered by the SPX990 Professional Multi-
effect Processor, we urge you to read this operation manual thoroughly while trying out the
many features and effects provided by the SPX990.
CONTENTS
DE
Tempo Mono Echo (TMpECH1) se 35
| PRECAUTIONS........... ceneeeenenormeneeneneanenes 3 | Tembo Stereo Echo (TmpECh2) rrr 36
| Tempo Quad Echo (TmpEch4) 36
__ CONTROLS AND CONNECTIONS ......4_] FIN (Fan) LE
THE FRONT PANEL esse EEE RER EEE 4 Dual Flange (DualFlg) cesse 37
THE REAR PANEL ………….…vrersesssicnnenserrsenennenneenvess 5 FM Chorus (FM.Cho) 38
AM Chorus (AM.Cho)............................. e... 38
Phaser (Phaser) ....... canoaceacanenernanaancarovenoooceree 38
| THE SPX990 SYSTEM .........e.eessasevenes 6 | Symphonic (Symphon) ...................e..+eseeen0erzrece e. 38
Bl PITCH CHANGE EFFECTS ....................eececrmercececeee. 39
MEMORY CONFIGURATION Peracococinarennre neon receso. 5 Mono Pitch Change (MonoPit) 20
ma A Dual Pitch Change (DualPit) 41
MEMORY CARD оно нноо ооо уоо вонооо бони о ояа очавеоневонёчиавовавао сн цавоевнеа 7 Triple Pitch Change (TripPit) 41
MEMORY 8 EDIT MODES -....................e.eermecerecorrees 8 Stereo Pitch Change (StPitch) 42
SELECTING AN INPUT MODE ......................eemeccancenos 9 E PA lo Pam (AL topan) нннененненннененнНненеененнненеоненнннне. de
uto Pan (AutoPan) ........................e....ee e
(Edit Mode: Page 5) Triggered Pan (TrigPan) ......................... envien. 43
MN COMPLEX EFFECTS ..................emcecermezeoeimecccrreceree.. 44
| GENERAL OPERATION ........... econencana 10 | Chorus & Reverb (Cho4%Revj .......................——..—. 44
Symphonic é Reverb (Sym8Rev) ........................... 44
MEMORY RECALL...............e..emmierenerma ere 10 Flanger & Reverb (Flg&Rev) 45
PRESET PROGRAM LIST .........................e0crcecemceccos 12 Reverb(L)/ Reverb(R) (Rev/Rev) ............................ 45
EDITING EFFECT PARAMETERS ......................... 14 ER (L)/Reverb (R) (ER/Rev) ......................e.eme... 46
(Edit Mode: Page 1) Echo (L)/ Reverb (R) (Ech/Rev) .. 47
EDITING PROGRAM NAMES essen 15 Chorus(L)/ Reverb(R) (Cho/Rev) 48
(Edit Mode: Page 2) E FREESE Con) (Pan/Pan) reuniones de
STORING A PROGRAM .................—...——02020memeeeae... 16 Freeze (Freeze)..........................rinem ene 49
USER'S MEMORY PROTECT FEATURE ................ 17
(Edit Mode: Page 5) |_MIDI CONTROL .............cmmeneeonmenneenne 52 |
MEMORY CARD FUNCTIONS recrean 18 MIDI TERMINALS 50
(Edit Mode: Page 4) BAMA FAN RRA ANE FN FE NF RRS RAR ANN FR FT HO ES EU NE SN BA REE AA @
SELECTING A FOOT SWITCH FUNCTION ............. 19 N MID PROGRAM CHAN ее pr see >
(BYPASS, INC/DEC TERMINAL) E dit Mode: Page 3) E TABLE SETUP vs
Edit Mode: P 5
(Edit Mode: Page 5) MIDI PARAMETER CONTROL ooo 56
|_THE PROGRAMS 4 PARAMETERS.....20 | MID Mode: [ages 2 and 3) sa
STRUCTURE OF EFFECT PROGRAMS 20 (Edit Mode: Page 3)
PRE & POST EFFECT PARAMETERS. .................... 21
3-band Parametric Equalizer (P. EQ) ..................... 21
Compressor (Comp.) ...........................0000000e. e... 22 |_APPENDIX |
Aural Exciter (AuralX) ............... , us 22 SPECIFICATIONS ee Add-1
Compressor, Distortion & EQ (Dist.) 23 OPTION een EEE EEE Add-1
PROGRAM MAIN EFFECT PARAMETERS ............. 24 BLOCK DIAGRAM ....................1eimemnn Add-4
M REVERB EFFECTS urnes 25 DIMENSIONS Add-4
Reverb (Reverb) ser cerca, AA
Filtered Reverb ([email protected]) sus 26 MIDI DATA FORMAT …..…....…uunsenseseresvenssentennaeunanes Add-5
Stereo Reverb (St.Rev) ......... ..26 MIDI Implementation Chart Add-10
Echo Room (EchRoom) .......................e..e.eeree... 27 USER PROGRAMMING TABLE Add-11
© GATE ee 28 MIDI PROGRAM CHANGE LIST ....................... Add-13
E ER (EARLY REFLECTION) EFFECTS ...............e.ee.... 29
Thin Early Reflection (ThinER) 29
Fat Early Reflection (FatER) evecconeracereecoeaneeeea 29
Gate Reverb (GateRev) prrresersermenen 0e 29
Reverse Gate (Reverse) ee... 29
mu DELAY, ECHO EFFECTS ee 30
Delay L, C, R (DIy-LCA) .......................... me. eee 30
Echo (Echo) ................. EEE 31
Multi Tap Delay (Mit. Tap) 32
Stereo Echo (St. Echo)... 33
* Aural Exciter® is a registered trademark and is manufactured under license from Aphex Systems, Ltd.
PRECAUTIONS
9.
AVOID EXCESSIVE HEAT, HUMIDITY, DUST AND
VIBRATION
Keep the unit away from locations where it is likely to be
exposed to high temperatures - such as in direct sunlight,
near stoves, etc. Also avoid locations which are subject to
excessive dust accumulation or vibration which could cause
mechanical damage.
AVOID PHYSICAL SHOCK
Strong physical shocks to the unit can cause damage. Handle
with care.
DO NOT OPEN THE CASE OR ATTEMPT REPAIRS
OR MODIFICATIONS YOURSELF
This unit contains no user-serviceable parts. Refer all
maintenance to qualified Yamaha service personnel. Opening
the case and/or tampering with the internal circuitry will void
the warranty.
MAKE SURE POWER IS OFF BEFORE MAKING OR
REMOVING CONNECTIONS
Always turn the power OFF prior to connecting or discon-
necting cables. This is important to prevent damage to the
unit itself as well as other connected equipment.
HANDLE CABLES CAREFULLY
Always plug and unplug cables — including the AC cord — by
gripping the connector, not the cord.
CLEAN WITH A SOFT DRY CLOTH
Never use solvents such as benzine or thinner to clean or
aerosol spray to spray the unit. Wipe clean with a soft, dry
cloth.
ALWAYS USE THE CORRECT POWER SUPPLY
Make sure that the power supply voltage specified on the rear
panel matches your local AC main supply.
THUNDERSTORMS
Disconnect the unit quickly when there is any danger of
lightning striking in your area.
ELECTRICAL INTERFERENCE
Since the unit contains digital circuitry, it may cause interfer-
ence and noise if placed too close to TV sets, radios or
similar equipment. If such a problem does occur, move the
unit further away from the affected equipment.
10.
11.
12.
MEMORY BACKUP
The SPX990 contains a special long-life battery that retains
the contents of its internal RAM memory even when the
power is turned OFF. The backup battery should last approxi-
mately 5 years. When the battery voltage drops to a level that
is too low to maintain the memory contents, the message
shown below will appear on the unit display when the power
is turned ON.
It is recommended that as a back-up routin you save the data
on memory card or store them in an external device using
MIDI bulk dump (Program Change Table and System Data
can not be copied to memory cards). :
ae TAE ao
BHTTERY EERE
If this message appears, have the backup memory replaced by
qualified Yamaha service personnel. Do not attempt to do it
yourself.
NOTE: The preset programs will not to erased even if the
battery voltage drops.
STORAGE
After reading this operation manual, please keep it and the
warranty in a safe place for future reference.
ERROR MESSAGES
When the SPX990 power is initially turned ON, a self-
diagnostic program runs automatically to check a number of
important operational parameters. If a problem is detected, an
error message (number El through E4) will appear on the
MEMORY No. display. If an error message appears, please
take the SPX990 to your nearest Yamaha dealer for servicing,
and be sure to tell the service personnel which number was
displayed.
(o N
System Initialization
To initialize the system press the PAGE Select V key,
STORE key and BYPASS key simultaneously with the
power turned ON. Please note that the user memory
contents will be erased and returned to the original
settings.
CONTROLS AND CONNECTIONS
THE FRONT PANEL
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O POWER Switch
Press to turn the power ON and OFF.
When the power 1s turned ÓN, the last program and param-
eter selected will be automatically recalled.
INPUT LEVEL Controls
These concentric controls vary the input level of the analog
input. The inner control adjusts the Lch level and the outer
control the Rch level.
input Level Meter
The stereo input level meter consists of eight Lch and Rch
segments per channel, corresponding to -42dB, -36dB,
-30dB, -24db, -18dB, -12dB, -6dB and CLIP input.
Memory indicators
Show the selected memory type : PRESET, USER or CARD.
Input Select Indicator
Show the input mode : STEREO or MONO (refer to page 9).
MIDI Indicator
The indicator will light up whenever a MIDI signal is
received through the MIDI IN terminal.
MEMORY No. Display
Displays the memory No. of the program presently selected.
The display flashes during memory No. selection and lights
continuously upon execution of recall and store operations.
LCD Display
The LCD display indicates the titles of selected effects,
parameter values, messages, etc.
b de ®
O Function Keys ( Y / 4)
These keys are used for direct recall (see page 11) or normal
recall as well as for store operations, and editing of
parameters and values of functions show on the LCD display
at the corresponding positions.
DATA ENTRY Dial
The dial allows changing the program memory No. or
parameter values.
PAGE Select Keys ( À / V )
The 5 and V keys allow selection of menu numbers. Press
the key corresponding to the direction in which you want to
increment or decrement.
MEMORY Key and Indicator
This key is used to activate the memory mode. The indicator
Will light up when the key is pressed. The key is also used
for selecting the memory type (PRESET, USER or CARD).
STORE Key
This key is used to store edited effect programs in one of the
user memory location or the memory card. ( For program
storage, refer to page 16.)
EDIT Key and Indicator
Press this key to enter the edit mode. When the edit mode 1s
activated, the indicator will light up.
BYPASS Key and Indicator
When this key is pressed, effects will be bypassed and the
input signal is fed directly to the output. The indicator lights,
while effects are bypassed.
MEMORY CARD Slot
An optional memory card (Yamaha MCD32 or MCD64) can
be inserted to expand the storage capacity.
THE REAR PANEL
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* Aural Exciter® is a registered trademark of Aphex Systems, Ltd.
®
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TIT
INPUT Connectors (L & R)
These are analog stereo input terminals. Both XLR-3-31 type
connectors and TRS phone jacks are balanced inputs. Refer
to “SELECTING AN INPUT MODE” on page 9 for
connection to monaural sources.
Input Level Switch (+4dB/-20dB)
This switch allows switching between -20dB and +4dB
nominal input level.
OUTPUT Connectors (L & R)
These are analog stereo output terminals. Both XLR-3-32
type connectors and TRS phone jacks are balanced outputs.
Output Level Switch (+4dB/-20dB)
This switch allows switching between -20dB and +4dB
nominal output level.
MIDI IN Terminal
This terminal is used to receive MIDI signals from external
MIDI devices.
MIDI OUT/THRU Terminals
OUT/THRU Switch
Used to select either MIDI THRU or MIDI OUT operation
for the MIDI OUT/THRU connector as follows:
MIDI OUT
When the OUT/THRU switch is set to OUT, the internal data
can be dumped to an external MIDI data recorder for storage.
MIDI THRU
When the OUT/THRU switch is set to THRU, the terminal
simply re-transmits data received through the MIDI IN
terminal, allowing daisy-chaining of several MIDI devices.
6
Q TRIGGER Footswitch Jack
An optional foot switch( Yamaha FC4 or FCS) connected to
this terminal can be used to “tap” input parameter settings or
to trigger the effect gate in the program selected.
BYPASS or MEMORY INC/DEC Footswitch Jack
This terminal can be used to switch settings in the edit mode
using one of the two following functions (refer to page 19):
Bypass Function
When an optional footswitch (FC4 or FCS) is connected to
the jack, it has the same function as the BYPASS Key ® on
the front panel.
Memory INC/DEC Function
When an optional footswitch (FC4 or FCS) is connected to
the jack, it can be used to change programs.
THE SPX990 SYSTEM
EFFECT CONFIGURATION
The effect programs of the SPX990 consist of three separate effects — pre-effect, main effect and
post-effect.
The unit offers 36 main effects, 4 pre-effects and 3 post-effects to choose from. The pre- and post-
effects provide equalizing and dynamic control of the main effects.
In addition, each of these effects is controlled by a number of parameters for almost unlimited
possibilities in the creation of effect programs.
4 Pre-effects
36 Main Effects
3 Post Effects
3-band-PEQ: P.EQ
Compressor: Comp.
Aural Exciter: AuraiX
Compressor, Distortion & EQ: Dist.
| REVERB EFFECTS |
Reverb: Reverb
Filtered Reverb: FiltRev
Stereo Reverb: St.Rev
Echo Room: EchRoom
| ER (EARLY REFLECTION) EFFECTS |
Thin Early Reflection: ThinER
Fat Early Reflection: FatER
Gate Reverb: GateRev
Reverse Gate: Reverse
| DELAY, ECHO, EFFECTS |
Delay L, C, R: Diy-LCR
Echo: Echo
Multi Tap Delay: Mit. Tap
Stereo Echo: St.Echo
Tempo Mono Echo: TmpEch 1
Tempo Stereo Echo: TmpEch 2
Tempo Quad Echo: TmpEch 4
| MODULATION EFFECTS |
Flange: Flanger
Dual Flange: DualFlg
FM Chorus: FM.Cho
AM Chorus: AM.Cho
Phaser: Phaser
Symphonic: Symphon
| PITCH CHANGE EFFECTS |
Mono Pitch Change: MonoPit
Dual Pitch Change: DualPit
Triple Pitch Change: TripPit
Stereo Pitch Change: StPitch
| PAN EFFECTS |
Auto Pan: AutoPan
Triggered Pan: TrigPan
| COMPLEX EFFECTS |
Chorus & Reverb: Cho & Rev
Symphonic & Reverb: Sym & Rev
Flanger & Reverb: Flg & Rev
Reverb (L)/Reverb (R): Rev/Rev
ER (L)/Reverb (R): ER/Rev
Echo (L)/Reverb (R): Ech/Rev
Chorus (L)/Reverb (R): Cho/Rev
Pan (L)/Pan (R): Pan/Pan
| FREEZE EFFECT |
Freeze: Freeze
3-band-PEQ: P.EQ
Compressor: Comp.
Aural Exciter: AuralX
UN x
MEMORY CONFIGURATION
The SPX990 offers three types of memory which can hoid a total of 280 programs for instant recall.
Preset Memory: No. 1-80 = 80 programs Card Memory: No. 1-99,00=100 programs
The preset memory contains 80 effect programs (see page 12, An optional memory card can be used to increase the memory
“Preset Program List”) that you can select and use without capacity or create a program library. The memory card can be
modification. The preset programs themselves cannot be erased used to edit and store programs just like in the user memory and
or changed in any way, but they can be edited and stored in the all programs in the user memory can also be stored on memory
USER or CARD memory to create original variations. card for backup.
-
User Memory : No. 1-99, 00 =100 programs
The user memory provides 100 locations in which your own
effect programs can be stored. You can edit a preset effect
program to create an original variation. At the time of purchase,
the user memory contains the same effect programs as the preset
memory.
MEMORY CARD
Optional Yamaha memory cards (MCD32 or MCD64) can hold up to 100 effects each for virtually
unlimited memory storage of your programs. These cards can be used to store user memory programs
or to load stored programs into the user memory.
Memory Card Cautions
+ When you use a memory card for the first time, be sure to + The following memory card-related messages may be displayed
format and initialize it first. (See page 18) during operation:
* Do not pull out the card while recalling (see page 10), storing (D When there is no memory card present,
(see page 16), saving (see page 18) or loading (see page 18) a “do Memor'a Card” will appear.
program. Also, do not pull out the card when the memory @ “brite Protect” is displayed when a card is write
indicator “CARD” is lit. protected.
* Programs cannot be stored on a memory card when its write (3) When cards which cannot be used in the SPX990 are
protect switch is set to “ON”. Also, programs stored on inserted or when cards are not initialized,
memory card cannot be loaded, if the user memory protect eo ID Card” will appear.
function is set to “LIM”, (See page 17)
MEMORY & EDIT MODES
The SPX990 has two basic modes of operation:
Memory Mode
The memory mode allows calling and using effect programs. (see
page 10). This mode is selected automatically when the power is
turned ON.
Memory
Mode
Edit
Mode
PRESET (No.1 ~ 80)
USER (No.1 ~ 99, 00)
CARD (No.1 ~ 99, 00)
| Fagel Effect Far sets
|
Edit Mode
This mode is used for editing effect parameters. Press the EDIT
key to enter this mode. There are 5 menu pages as shown below.
For selection of pages, use the PAGE Select keys (à 1 VW).
|
Fadez Effect Farameter —
——)c——
———d.Á
MatriFxæ
Fost Fo
Pam | red
——o—
Padel MIDI Function |
РОМ — 1
ExCTRL — 1
Falk
— Hadad Мемогы Card |
Format,
Trent.
Fat = CU
Feet met,
(Parameter 1)
(Parameter 2)
(Parameter 3)
(Parameter 1)
—— (Parameter 2)
——— (Parameter 3)
(Parameter 1)
—— (Parameter 2)
—— (Parameter 3)
Naming
Ctrl 1 (Parameter)
Ctrl 1 (Range)
Ctrl 2 (Parameter)
Ctrl 2 (Range)
Bank (Select)
Bank (Edit)
MIDI Controller 1
MIDI Controller 2
All
System
User's Memory
PGM Change Tbl
User's Scale
RAM Card Format
from User to Card
from Card to User
Input Mode
Foot SW Function
Memory Inc/Dec
User's Memory Protect
NOTE: To store an effect program, simply press the STORE key. The unit will automatically return to the memory mode. (See page 16)
NOTE: To return to the memory mode from the edit mode, press the MEMORY key.
8
SELECTING AN INPUT MODE (Edit Mode: Page 5)
The preset programs are complete and can be used immediately. Prior to actual use, however, there is
one important setting to consider: the input mode.
Although the SPX990 is equipped with L and R stereo inputs, it can be set to mono input (L or R) to
allow connection to monaural sources. In this case the monaural signal input through the L or R
terminal is processed by the L and R circuits internally as shown below.
Stereo How to select an input mode
This is the normal input mode in which left- and right-channel
signals are input and processed separately by the SPX990
processing circuitry.
© Press the EDIT key to enter the edit mode. Then use the
PAGE Select keys (4) / 7) to select Fa3&% on the LCD
display.
L | O a > L or
о
В | O- O | э> В РАСЕ
(Input Selector)
EJ eater tf.
L Mono | A Y A
In the L Mono mode, the signal of a monaural source connected
to the INPUT L jack is fed to both the left- and right-channel ©) Press either function key (Y or A) under “!HF11t.” on the LCD
processing circuitry for stereo processing. The INPUT R jack is display to change to the “IrnFut. Select” display.
disconnected.
Fadel Susterm
Inrut Foot&u Protect
L L Y A у A Y A
R— R =
Input Select
R Mono [Stereo]
In the R Mono mode the signal of a monaural source connected Vv A У A Y A
to the INPUT R jack is fed to both the left- and right-channel —
processing circuitry for stereo processing. The INPUT L jack is © Press either function key (V or 4) under “Input Zelect”
disconnected. on the LCD display to select the input mode (Stereo,
Lo Moro or BE Mok),
Input Select
L L CL cra]
у A У A у A
R R C | I o J )
МОТЕ: Е “6 Мет” ог “ЕО Мегиз” is selected with a stereo
source connected, the signal of the other channel will
not be input. For this reason, please make sure that the
selected input mode matches the source.
NOTE: The input mode selection applies to all programs. The
setting remains in memory, even if the power is turned
off.
(1) Press the EDIT key to return to Fa2=1 of the edit mode or
the MEMORY key to return to the memory mode.
GENERAL OPERATION
MEMORY RECALL
There are 3 methods to recall a program:
1. Recall using panel keys ....... standard method.
2, Direct reCall one-touch recall by simply pressing one function key (Y or 4).
3. MIDI program change........... recall from an external MIDI device.(see page 52)
1. Recalling a program using the panel keys
Press the MEMORY key to enter the memory mode. @ Press the 4 function key under “5” (the memory No.
The memory indicator will light up. indication will light up) to recall the program. After recalling
the program, the name of the main effect program will appear
on the right side of the LCD.
С» MEMORY Press the Y function key under “Mo” if you want to cancel the
recall operation and return to the previously selected program.
Lights up
(2) Press the MEMORY key to select the desired memory type:
“PRESET”, “USER” or “CARD”. ;
“ à Ой
NOTE: To recall a program from a memory card, the card PRESET Tee na
must be inserted first > CJ User * | I=] CREU HALL Recall
[| CARD, LC PEL FES PEE PES Mo Yes
TT VY A Ут A Y
7 ë ; | i | L |
Flashes О
(3) Turn the DATA ENTRY dial to select the desired program —
memory No. The memory No. flashes on the MEMORY
Main Effect name
display, while the program name is shown on the LCD PRESET = = 7
display. The sound, however, will still be that of the = CARD = Зее бт pod St. he
previously selected program. L di (de ris TE
Y A Y A Y A
Lights up C I I | J
DATA ENTRY
Memory No. Program Title
= $ || ff |
EE PRESET ' — - =
OC) user” 1 | p= TERED HALL Веса1 17
CI CARD, L (Fall Faz PET PE Ho es
— Y
E # ) $ | y ] A 1 y | A ] ! J
Flashes
10
2. Direct Recall
Using the direct recall function, you can assign a specific
program number from any memory type to one function key (Y /
A) for instant recall.
In the example shown below, the preset program No. 1 (F:1) can
be recalled by pressing the corresponding A function key.
Pressing the key at the very left will recall user program No. 5
(LAS),
How to assign a program for direct recall
© Perform steps D-B in “1. Recalling a program using the
panel keys” to recall the desired program.
@ When the memory No. flashes on the display, press the
function key to which you want to assign the program.
o PreseTY — Lu £
EX USER” PCONCERT HALL Fecal 17
CARD”, H L UBS pal CBF FP48 Ho Nes
# $ : % C y ] A I y ] A 1 y J
Flashes
-
PRESET — = :
[J USER ( AMEIEHCE FiltRe
[1 CARD ( LINE PE Ce Pa
D 1 A | y I A | y [ A }
[1 PRESET te —
USER LOCAL CHAMBER E, ea
[J CARD 5 LES Pal Ce Pads
Y A у A т A
[ |
L ]
© The program is now assigned. Its memory number is displayed
above the function key and the program will be recalled
simultaneously.
(CJ PRESET
In this way you can conveniently assign frequently used
programs to specific function keys and then have the direct recall
function perform steps @ to @ of “Recalling a program using
the panel keys” in an one-touch operation.
The four function keys from the left may be used for direct recall
and can be assigned to any program of any of the three memory
types. Assignments will remain in memory even if the power is
turned off.
NOTE: Direct recall can be performed in the memory mode only.
If in any other mode, press the MEMORY key first (the
MEMORY indicator will light up).
NOTE: To directly recall a program from a memory card, the
card must be inserted first. If there is no card in the slot,
“Ho Memor Card” will appear on the display and the
recall command is ignored.
a USER CONCERT HALL Кемер
(1 CARD H LES Pal CES FYB
у A У A Y A
Lights up
Г
]
I
|
The memory type is identified by the letter in front of the
two-digit number:
F = PRESET, L! = USER, L = CARD
(4) Other programs can be assigned to other function keys in the
same way.
11
PRESET PROGRAM LIST
12
0 =
1 AMBIENCE P.EQ FiltRev off All
2 STEREO HALL off St.Rev off E.Piano, Vocal
3 DRUM CHAMBER P.EQ ER/Rev off ER for Tom / REV for Snare
4 PLATE HALL off Rev/Rev off PLATE for Vocal, HALL for Inst.
5 VOCAL CHAMBER off St.Rev Comp. Vocal
6 BRIGHT HALL off FiltRev off All
7 BREATHY REVERB P.EQ FiltRev AuralX Female Vocal, Keyboard
8 CONCERT HALL off Reverb off Keyboard (Pad)
9 REVERB FLANGE off Flg&Rev P.EQ All
D > RE
10 VOCAL PLATE P.EQ Reverb P.EQ Vocal, All
11 ECHO ROOM off EchRoom | off All
12 PRESENCE REVERB off FiltRev P.EQ Brass, Woodwind
13 SNARE PLATE oft FiltRev off Snare, Drums, Percussion
14 ARENA off Reverb off Drums
15 THIN PLATE off St.Rev P.EQ Vocal
16 OLD PLATE P.EQ FiltRev off Snare
ROO
17 FAT REFLECTIONS P.EQ FatER Comp. Drums, Percussion
18 WOOD ROOM off EchRoom | AuralX Drums, Percussion
19 BIG SNARE off GateRev off Snare
20 BRIGHT SNARE P.EQ FiltRev Comp. Snare
21 SQUASH ROOM P.EQ EchRoom | Comp. Rock Drums, Guitar
22 BAMBOO ROOM off EchRoom | off Percussion
23 REFLECTIONS off ThinER P.EQ All
24 STONE ROOM off FiltRev P.EQ All
25 CONCRETE ROOM off GateRev off Metal Guitar
26 BLATTY PLATE P.EQ FiltRev P.EQ Drums
27 FULL METAL GATE P.EQ GateRev P.EQ Drums
28 HARD GATE P.EQ GateRev Comp. Snare
29 REVERSE GATE P.EQ Reverse Comp. Guitar Solo, Vocal
30 REVERSE PURPLE off Reverse P.EQ Drums
DR A > RE
31 DRUM MACH. AMB.S off St.Rev P.EQ Hi-hat, Snare
32 DRUM MACH. AMB.L off FiltRev off Percussion, Snare
33 ELECT.SNR PLATE P.EQ Reverse Comp. Snare
34 SYNC DELAY off TmpEch4 | off Rock Vocal
35 VOICE DOUBLER off DualPit off Vocal
36 DELAY L, C, R off Dly-LCR off Ali
37 120 BPM PAN DDL off TmpEch2 | off Vocal, Hi-hat <J= 120>
38 120 BPM MONO DLY off TmpEch1 | off Vocal <J= 120>
39 MULTI TAP DELAY off Mit. Tap P.EQ Vocal
40 KARAOKE ECHO off St.Echo P.EQ Karaoke Vocal
41 GOOD OL P.CHANGE off DualPit off All
42 VOCAL SHIFT Comp. DualPit off Vocal, Backing
43 AIRY PITCH AuralX DualPit P.EQ Vocal
44 ANALOGUE SLAP AuralX DualPit P.EQ Vocal
45 FAT BASS P.EQ TripPit off Synth Bass
46 “LOW” SNARE P.EQ DualPit P.EQ Snare, Drums
47 HALO COMB AuralX DualPit Comp. Drums
48 GRUMPY FLUTTER AuralX DualPit P.EQ <Descending Pitch Etfect>
49 ROGER ON THE 12 off MonoPit off Guitar
50 TWISTER off DualPit AuralX Percussion
51 BOTTOM WHACKER P.EQ DualPit off Drums
52 INTELLICHORD MON off MonoPit off C maj Scale, Vocal, Guitar <mono Input>
53 INTELLICHORD DUA off DualPit | off C maj Scale, Vocal, Guitar <mono Input>
54 INTELLICHORD TRI off TripPit off C maj Scale, Vocal, Guitar <mono Input>
55 PITCH SLAP AuralX DualPit off Vocal
56 STEREO PITCH off StPitch off Vocal <key shift>
OT
57 SYMPHONIC off Symphon | off Guitar, Keyboard
58 GTR SYM ECHO AuralX Sym&Rev | P.EQ Guitar, Keyboard
59 CHORUS & REVERB off Cho&Rev | off Guitar, Keyboard
60 BASS CHORUS off DualPit off Bass
61 STEREO PHASING off Phaser off Guitar
62 CLASSY GLASSY AuralX FM.Cho P.EQ Keyboard (Pad)
63 SILKY SWEEP AuralX Phaser P.EQ Ali
64 DETUNE CHORUS off DualFlg off All
65 UP DOWN FLANGE P.EQ Flanger P.EQ Guitar
66 UNDERWATER MOON P.EQ Cho/Rev AuralX Keyboard (Pad), Guitar
67 TREMOLO off AutoPan off Guitar, Keyboard
68 ROTARY SP. Dist. AM.Cho off Keyboard (Organ)
PROCESSING EFFECTS
69 FREEZE off Freeze off Sampling
70 DIST. PERCUSSION Dist. ThinER Comp. Percussion
71 DISTORTION 1 Dist. ThinER Comp. Bass, Vocal
72 PAN off AutoPan off All
73 TRIGGERED PAN off TrigPan off All
74 PAN / PAN off Pan/Pan off Keyboard
O в
75 ON THE PHONE P.EQ Echo Comp. Telephone Voice
76 IRON MAN P.EQ Dly-LCR Comp. Robot Voice
77 RADIO BLAG P.EQ Flanger off Radio Sound
78 TUNNEL off EchRoom | P.EQ Tunnel Reverb
79 FOREVERVERB off St.Rev off Very Long Reverb
80 SILVERHEART P.EQ Ech/Rev AuralX Echo with fast Repeat
13
EDITING EFFECT PARAMETERS (Edit Mode: Page 1)
Each program has different changeable parameters. Original programs can be created by editing these
parameters. The number of parameters and their types depend on each effect, but the procedure for
editing is the same for all programs.
Editing procedure
Select and recall the program to be edited (refer to “Memory
Recall” on page 10).
© Press the EDIT key to enter the edit mode. The edit indicator
will light up.
Fagel Effect Parameter
ref Mainks FostF=
Y A у A Y A
| [ | 1 1 Î ]
(3) Press the Y or 4 function key under the effect shown on the
LCD display to change to page 1 of the parameter setting
menu which shows the settings of the PreFx, MainFx or
PostFx effect parameters (refer to “Selecting an Effect” on
page 20).
Fadel Effect Parameter
Pref MainF= FostF
У A у A Y A
Parameter setting menu {page 1)
Dre OFF Tre “tl ink
[ UN 1] FE ЗЫ
у A У A У A
| 1 ] | I | }
14
(4) The top line in the LCD display shows the parameter names
and the bottom line shows the corresponding settings.
Press the (Y or 4) function key under the parameter to be
edited to select it. The bracket will move to the parameter
whose function key was pressed.
On TA Tape “LL ink
OH OL FEU A (HH
Y A у A UY A
f I ~~ | LA 1 ]
a
Bracket
© The parameter setting can be changed using the Y and 4
function keys or the DATA ENTRY dial.
NOTE: The speed at which the parameter setting changes
depends on how fast you turn the dial.
Ur DIFF
LOL
Taps
Lor
EL Irak
« À ПН
DATA ENTRY
Y A
Y
Y A
| | ]
I
О
} |
O)
— Both can be used.
© Use the PAGE Select keys (4 / V) to select the menu screen
to be edited next. Edit the parameters as shown in steps (4)
and (©. The number of parameters and its variation are
different for each effect (refer to “THE PROGRAMS £
PARAMETERS” on page 20).
(7) Press the EDIT key to return to F291 of the edit mode.
Other effect parameters can also be edited if necessary.
The edited parameter settings will remain in memory when the
power is turned off. However, if you recall the original
program, the settings will be lost, unless you store them in the
user memory first (see page 16).
(9) Press the MEMORY key to return to the memory mode.
EDITING PROGRAM NAMES (Edit Mode: Page 2)
After editing a program you can change the original name (max. 16 letters) and store the new program
with a more suitable name.
Naming procedure
D Select and recall the program to be edited (refer to “Memory
Recall” on page 10).
© Press the EDIT key to enter the edit mode and use the PAGE
Select keys (5) / V) to select Fade) of the edit mode.
TE
Pagar Effect Farameter
Hamine Hass
Y A Y A Y A
L 1 ] 1 I ] —
® Press the (Y or A) function key under “Ham ind” which is on
the bottom line of the LCD display change to the naming
menu screen.
CHMETEMCE ]
Inz +—— Dec Ing ——+ Del
Y A Y A Y A
L | ] J 1 i ]
(6) Use the 4 and Y function keys under “4—=" and “~=+" on the
display to move the cursor to the letter to be changed. Select
the new letter using the à and Y function keys under “Inc”
and “ec” or the DATA ENTRY dial.
The letters change in the sequence shown below. The ¥
function key under “Itz” allows inserting a letter at the
current position, while the À function key under “Le 1” can be
used for deleting letters.
CMS TEHCE |
Tris €-- Deco Inc --+ Cel
У À V A
1 Г
т A
/ 1 \ / \
for inserting for changing for deleting
letters letters letters
for moving cursor
to the left
for moving cursor
to the right
DATA ENTRY
(O)
1 The available letters are selected in the following sequence.
ABICIDIE|FIGIH|II | JIKILIMINIO!PIQ
RI SITU VIWIX|Y alalbicidie|fig
hiiljlkji!m{nlololplq|r{s|tiuju|viw
x|y|z [|] <I>]: x | +|—|=| 817,
' 19%! 1 | ? | —>| +— 11 1° 151717111179
mr | AAI FIZZY NRE VEZ |F|V|T
HH =X LI /NEI7I AE 7Y|I[AXIE |
2/3/37 UI | OA 7|7|> # 10111213
4 |516 1718 |9
© Store the effect program (see “STORING A PROGRAM” on
page 16).
15
STORING A PROGRAM
After editing a program from one of the three memory types (PRESET, USER or CARD) you can store
the newly created program in the user or card memory for later use.
The user or card memory may also be used to “copy” programs from the three memory types to
subsequent user or card memory locations in the order they will be used during actual performance.
Storing procedure
(D Set User's Memory Protect to OFF before storing a program
(refer to “USER'S MEMORY PROTECT FEATURE” on
page 17).
NOTE: Skip this step if User's Memory Protect is already set
to “OFF”,
NOTE: After storing a program, you can avoid accidental
erasure of programs in the USER memory by setting
User's Memory Protect back to “LM”,
(2) If you want to store a program other than the one which is
presently recalled, recall that program.
® Press the STORE key to activate the “5i.ar2” mode.
У a
CJ PRESET - ~
EM USER ( tora y
С CARD { Hr: es
; | Y A
#3 E — A
Flashes
@ Press the MEMORY key to select USER or CARD.
[PRESET
С» | USER
[ CARD
NOTE: When storing an edited program on a memory card,
set its WRITE PROTECT switch to OFF first. Then,
insert the card into the card slot before selecting the
CARD memory.
NOTE: You cannot store edited programs in the PRESET
memory.
16
© Turn the DATA ENTRY dial to select the memory No. in
which you want to store the program. The MEMORY No.
indicator will flash and the name of the program stored
previously will appear on the LCD.
ala y
J PRESET И ===
USER“* MUHCERT HALL Store
СО САВО vr Ho Vez
Fe TE a, У Y т
63 DN | 4 I i
Flashes
(6) Press the A function key under “==” or the STORE key once
again to store the program recalled i in the memory No.
selected in step ©. The memory No. indicator will stop
flashing and the store operation is executed.
If you want to cancel the store operation prior to execution,
press the function Y key under “fir”,
iD
+, 7
(J PRESET Y — -
USER” “EONMCERT HALL Store 7
(CARD, , be Но Yes
$ po 7 A 4
Flashes | |
[J PRESET — - -
EX] USER EE TE HE Filth:
— CARD Execute |
т A т A у A
Lights up | ] | I 7
NOTE: When you store a program, the program previously
stored in the selected memory No. is deleted.
NOTE: You can rename the new program (refer to “EDITING
PROGRAM NAMES” on page 15).
NOTE: The BYPASS ON/OFF setting is stored in the same
way as parameter data.
NOTE: You can copy (load) all data on a memory card to the
user memory or copy (save) all data in the user
memory onto a memory card (refer to “MEMORY
CARD FUNCTIONS” on page 18).
USER'S MEMORY PROTECT FEATURE (Edit Mode: Page 5)
You cannot store any edited data in the user memory if User's Memory Protect is set to ПН.
As long as the User's Memory Protect is set to “H, programs cannot be stored in the user memory to
avoid accidental erasure of programs when the STORE command is executed by mistake.
Turning User's Memory Protect ON/OFF
(D Press the EDIT key to enter the edit mode. Then use the
PAGE Select keys (5) / V) to display F ae of the edit
mode,
O
PAGE
iL
PAGE
Faded aten
Ingut FootSu Frotect
Y
A Y A у A
|
[ — 1 [ | ] ]
(@) Press the Y or A function key below “Frotect” to display
the “Users Memory Frotect” screen.
IF. Fr a Fromtect
т A Y A т A
{ | 1 | Losa J
-
Users Memory Frotect
CC CF 1
(3) Select “LH” or “OFF” using the Y and 4 function keys below
the bracket L 1.
® Press the EDIT key to return to Fade of the edit mode or
the MEMORY key to retum to the memory mode,
17
MEMORY CARD FUNCTIONS (Edit Mode: Page 4)
The following functions are available for use with memory cards:
* Format ............eeresiecirereneccorerners Formats an MCD32 or MCD64 memory card.
RST 1 TT Copies all user memory data to the memory card.
* Load ..............e.remierrercerianoerecene. Copies all memory card data to the user memory.
Using Memory Cards
(D) Insert the MCD32 or MCD64 memory card into the memory
card slot until it stops.
@ Press the EDIT key to enter the edit mode. Then use the
PAGE Select keys (A / V) keys to display Fa3=+4 of the edit
mode.
O
PAGE
Faded Memor< Caro
Format AE Load
Y A у A Y A
L I 1 1 I | ]
© “Format”, “Save” and “Load” are displayed on the bottom
line of the LCD. Press the (Y or 4) function key below the
function to be executed to display its confirmation screen.
'adodo Memory Card
Format “ge Load
у A у A т A
| 1 Г L > | T ]
— —
save from User to Card
Fe vay Sure 7 Но Yes
Y A У A Y
| | I | | | J
Fos le]
18
tal 4
(4) Press the 4 function key under “==” to execute the function
selected.
To cancel the operation prior to execution, press the Y
function key under “Hu”,
awe from User to Card
ra Nod Suure 7 He Yes
У A т A Y A
T3 fr]
Mabe from User to Card
omits |
© Press the EDIT key to return to the Fader of the edit mode
or the MEMORY key to return to the memory mode.
NOTE: When formatting a memory card, all data previously
stored on the card will be erased and replaced by preset
data automatically.
NOTE: To format a memory card or store data on it you must set
its write protect switch to “OFF”. Do not forget to set it
back to “ON” later to prevent stored data from being
erased accidentally.
CENICIENTA " _—_—_— _— — _ —"”_”_”—”—-—-— — " ——"— — —"——————————"———————————————""
SELECTING A FOOT SWITCH FUNCTION (BYPASS, INC/DEC TERMINAL) (Edit Mode: Page 5 )
The BYPASS, INC/DEC terminal on the rear panel can be used to connect an optional Yamaha foot
switch (FC4 or FC5). One of the following two foot switch functions can be selected:
о BYPASS function
With this function the foot switch performs the same operation as the BYPASS key on the front panel.
« Memory INC/DEC function
Allows recalling selected programs within a certain range — using the foot switch.
Each time the foot switch is pressed, the unit changes to the next or previous program in sequence.
NOTE: For live performances programs can be conveniently arranged in sequence in the user
or card memory and then recalled using the foot switch.
Using the foot switch
D Press the EDIT key to enter the edit mode. Then use the
PAGE Select keys (5) / V) to display Fale of the edit
menu.
IT
Page ses Lem
InFut. Ее Зы FProbect
т A Y A у A
[ ! 1 | | I ]
(2) Press the Y or à function key under “Foot.5w” to select the
“Foot. Switch Funct Lon” menu screen.
Ineut Foot Su Fraotect
у A у A Y A
L } | L 1 i }
Fadel Sustem
Foot Saltoh Funct bos
[Fact Espasa 1
у A у A Y A
[ L | ] 1 | ]
© To select either “Meroe Thc Tec” or “EwrF azz” press
the corresponding Y or 4 function key.
Foot Saito Function
[Memory Irc end
Y A у A т A
=
L 1 | } 1 | }
(4) If you have selected the “Memor Inc Tec” function,
press the /\ PAGE Select key to go to the next menu screen.
Foot Zu Memor Tres
[o Pal |) To LE
Y A у A у A
\ I / ] | I \ I / ]
First program of Last program of
recall range recall range
(5) Use the two left function keys to specify the memory No. of
the first program of the recall range for foot switch operation.
The letter preceding the two-digit number identifies the
memory type: = PRESET, iI= USER, .= CARD.
© Set the last program of the recall range using the two right Y
andá function keys.
© Press the EDIT key to return to Fa'3e% of the edit mode or
the MEMORY key to return to the memory mode.
The recall range setting is memorized automatically without
having to press the STORE key.
» Example for a recall range setting
Each time the foot switch is pressed, the program will change
in sequence.
Foot. Su Мета Inc-Lec
L Li Ta HE
—U98-U99-U00-C01 —C02+ or
Fact Su Memor Inc Lar
D AZ J Te LITE
C02 —C01 —U00-U95-U98
19
THE PROGRAMS & PARAMETERS
With the SPX-990 you can edit any of the preset programs (P01 to P80) to create your own original
programs. For successful editing it is important that you familiarize yourself with the structure of effect
programs in general and the function of each parameter.
Parameters marked “kx” cannot be controlled by MIDI messages (see “MIDI PARAMETER CONTROL"
on page 56).
STRUCTURE OF EFFECT PROGRAMS
As explained before, each program is made up of 3 individual effects: pre-effect, main effect and post-effect.
There are 4 types of pre-effects, 36 types of main effects and 3 types of post effects.
Selecting an effect can be done on Fa3=1 of the edit mode (refer to “EDITING EFFECT PARAMETERS” on
page 14).
e PreFx, PostFx
@ © (3)
Lis CE Tape mE
L LOT PER LIE]
Y A у A Y A
г | ] } | ] |
O On/Off (Effect On/Off: ON, OFF)
Can be used to turn the pre-/post-effect ON or OFF.
@ Type (Effect Type: P.EQ, Comp., AuralX, Dist.) ж
Used to specify the desired effect.
NOTE: Dist. cannot be selected for the post effect.
NOTE: Refer to “PRE- & POST- EFFECT PARAMETERS”
for explanation on the effects.
(3) StLink (Stereo Link: ON, OFF)
When set to “LIH”, if a parameter of one channel is changed,
the same change will be applied to the other channel
automatically. Also, if the effect type “om.” is selected,
compression will be applied equally to Lch and Rch when the
channels are linked.
NOTE: When the “['i=1..” effect type is selected, “Zt. irik”
will not be displayed.
20
e MainFx
NOTE: The main effect cannot be changed in the edit mode.
Therefore, as a base for creating an original program you
must select a preset program that already contains the
desired main effect.
D @
bam bmp
Cri OH
| LM LEE
у A Y A Y A
[ I
(D On/Off (Main Effect On/Off: ON, OFF)
Can be used to turn the main effect ON or OFF.
(2 Balance (Mix Balance: 0% - 100%)
This parameter adjusts the mixing balance between the direct
sound and the effect sound. At 0%, only the direct sound is
output, while at 100% only the effect sound is output.
Some of the post-effects feature two effect types with
individual mixing balance parameters.
D @ (3)
LEER Balanl Balan?
| LITO LEE A
© On/Off (Main Effect On/Off: ON/OFF)
Can be used to turn the main effect ON or OFF.
(2 Balan 1 (Type 1 Mix Balance: 0% ~ 100%)
(3) Balan 2 (Type 2 Mix Balance: 0% ~100%)
These parameters adjust the mixing balance between the direct
sound and the Type 1 effect sound ((2) Balan 1) and the direct
sound and the Type 2 effect sound (3) Balan 2).
NOTE: For detailed information on Type 1 and Type 2 effect
sounds refer to the explanations on the respective
programs.
SU a ee — —_— —_—""—— —————————"————"
PRE- & POST-EFFECT PARAMETERS
The following four types of pre- and post-effects are available:
cP. EQ cic Parametric Equalizer
* COMP. ..e.eernrccaerreneceneconeoernanea—e Compressor
* AuralX ..............eeeeiiecroneercerenere Aural Exciter
3 5 11-3 SR Compressor, Distortion & Equalizer (only for pre-effect)
Name of effect (LCD display} infout
3-band Parametric Equalizer (P. EQ) 2in/20ut |
This is a stereo INJOUT parametric equalizer. The effect of the 3-
band parametric equalizer can be set independently the left and right
channels.
(D) L.LoF (Lch Low Frequency: 40Hz ~ 1.0kHz)
This parameter determines the center frequency for boost or cut
applied to the Lch low frequency equalizer band.
Level
A )
ola
Fly
; 0G y
e Y ne
20
=> > Frequency
@ L.LoG (Lch Low Gain: -15dB ~ +15dB)
Determines the amount of boost or cut applied to the Lch low
frequency equalizer band.
® L.LoQ (Lch Low Q: 0.1 ~ 10.0)
This parameter determines the peak sharpness (steepness) of the
Lch low frequency equalizer.
@ R.LoF (Rch Low Frequency: 40Hz ~ 1.0kHz)
® R.LoG (Rch Low Gain: -15dB ~ +15dB)
© R.LoQ (Rch Low Q: 0.1 ~ 10.0)
These Rch parameters have the same functions as (D), @), and (3).
@ L.MiF (Lch Mid Frequency : 250Hz ~ 4.0kHz)
Determines the center frequency for boost or cut applied to the
Lch mid frequency equalizer band.
L.MiG (Lch Mid Gain: -15dB ~ +15dB)
Determines the amount of boost or cut applied to the Lch mid
frequency equalizer band.
© L.MiQ (Lch Mid Q: 0.1 ~ 10.0)
Determines the peak sharpness (steepness) of the Lch mid
frequency equalizer.
@ R.MiF (Rch Mid Frequency: 250Hz ~ 4.0kHz)
@ R.MiG (Reh Mid Gain: -15dB - +15d8)
(2 A.MIQ (Rch Mid Q: 0.1 ~ 10.0)
These Rch parameters have the same functions as 7, (), and (9).
(3 L.HiF (Lch High Frequency: 1.0kHz ~ 16kHz)
Determines the center frequency for boost or cut applied to the
Lch high frequency equalizer band.
(3 L.HiG (Lch High Gain: -15dB - +15dB)
This parameter determines the amount of boost or cut applied to
the Lch high frequency equalizer band.
(9 L.HIQ (Lch High Q: 0.1 - 10.0)
This parameter determines the peak sharpness (steepness) of the
Lch high frequency equalizer.
(8 R.HiF (Rch High Frequency: 1.0kHz ~ 16kHz)
@ R.HIG (Reh High Gain: -15dB - +15dB)
(3 R.HiQ (Rch High Q: 0.1 - 10.0)
These Rch parameters have the same functions as (3, 03, and (3.
(9 L.HPF (Lch HPF Frequency: THRU, 20Hz - 1.0kHz)
Determines the Lch high pass filter's cut-off frequency.
Frequencies below the set frequency will be cut off at 12dB/oct.
Level
A
Input signal
level
1
|
|
|
|
|
|
|
> F
HPF requency
29 L.LPF (Lech LPF Frequency: 1.0kHz ~ 16kHz, THRU)
Determines the Lch low pass filter's cut off frequency.
Frequencies above the set frequency will be cut-off at 12dB/oct.
Level
A
Input signal
leve!
LPF > Frequency
29 L.Lvi (Lch Output Level: -, -30dB - +6dB)
Determines the Lch level for the following main effect (pre-
effect) or the output level (post-effect).
@2 R.HPF (Rch HPF Frequency: THRU, 20Hz ~ 1.0kHz)
03 R.LPF (Rch LPF Frequency: 1.0kHz ~ 16kHz, THRU)
63 R.Lvl (Reh Output Level: -», -30dB - +6dB)
These Rch parameters have the same functions as (9, 69, and 6).
21
| Compressor (Comp.) 2in/20ut |
This is a stereo IN/OUT compressor.
When a signal above the set level is input, it will be compressed
before being output. Using the compressor you can effectively
remove all signal peaks to eliminate distortion and volume
fluctuations during performance, and thus are able to raise the
overall volume. In addition, since the overall gain increases when
compressing the dynamic range, in which case noise in even the
smallest signals becomes audible, this program comes with a
noise gate to efficiently reduce such noise. The parameters allow
independent settings for left and right channels.
+
A ,
7 . .
Threshoid „7 Ratio = 2:1
Output Level / Ratio = 4:1
level | "777 Ratio = 00:1
> Input level
(D L.Thrs (Lech Threshold Level: -24 ~ +12)
This parameter is used to set the level above which Lch input
signals will be compressed. If set to a low value, compression
will begin at a relatively low level, narrowing the level
difference between soft and loud sounds.
@ L.Ratio (Lch Ratio: 2:1, 3:1, 4:1, 6:1, 8:1, æ:1)
Determines the ratio between the input level (original signal)
and the output level (compressed signal) for Lch signals
exceeding the threshold level. The higher the value, the higher
is the compression; at eo :1 signals are compressed to the
threshold level.
3 L.Atck (Lch Attack Time: 1.0 ~ 20)
Determines how long it takes for Lch signals to be
compressed fully after compression begins (e.g. the input
signal exceeds the threshold level). The shorter the time, the
faster compression will take place. If set rather long,
compression may be incomplete, creating a unique sound.
Level
> Time
(O L.Rele (Lch Release Time: 0.01 - 2.0)
Determines how soon the compressed signal will be returned
to the original signal level after falling below the threshold
level.
22
O) L. Gate (Lch Noise Gate Level: O - 20)
Determines the minimum level a Lech signal must have to pass
through the gate. The gate can be used to eliminate noise when
there is no signal input. At a higher noise gate level even louder
sound will be cut.
(6) L.Lvl (Leh Output Level: -», -30dB - +24dB)
Determines the Lch level for the following main effect (pre-
effect) or the output level (post-effect).
(7) R.Thrs (Reh Threshold Level: -24 ~ +12)
R.Ratio (Rch Ratio: 2:1, 3:1, 4:1, 6:1, 8:1, æ:1)
® R.Atck (Rch Attack Time: 1.0 ~ 20)
19 R.Rele (Rch Release Time: 0.01 ~ 2.0)
{D R.Gate (Rch Noise Gate Level: 0.01 ~ 20)
@ R.Lvl (Rech Output Level: -c, -30dB ~ +24dB)
These Rch parameters have the same functions as () through ©.
| Aural Exciter (AuralX) 2in/20ut |
This is a stereo IN/OUT Aural ExciterO. This program artificially
adds appropriate harmonics to the input signal, adding luster and
effectively bringing “buried” sound to the foreground.
Parameters can be set separately for Lch and Rch.
(D L.Freg (Lech Frequency: 400Hz - 10kHz)
Determines the cut-off frequency of the Lch's high pass filter.
Harmonic overtones are applied above the set frequency.
@ L.Driv (Lch Drive Level: O - 100)
Determines the amount of harmonic overtones added to the Lch
signal. The harmonic overtones are added only to frequencies
higher than L.Freq. The bigger the parameter’s value, the
crisper is the sound.
© L.Mix (Lch Mixing Level: 0 ~ 100)
This parameter determines the Lch volume balance between the
original sound and the effect sound (with overtones). When set
to 50%, the original and effect sound volumes are the same. At
0% only the original sound is output.
@ R.Freq (Rch Frequency: 400Hz - 10kHz)
O) A.Driv (Rch Drive Level: 0 ~ 100)
® R.Mix (Rch Mixing Level: 0 ~ 100)
These Rch parameters have the same functions as (D, © and ®.
@ L.Lvi (Lch Output Level: -se, -30dB - +6dB)
Determines the Lch level for the following main effect (pre-
effect) or the output level (post-effect).
R.Lvi (Rch Output Level: -x, -30dB - +6dB)
Determines the Rch level for the following main effect (pre-
effect) or the output level (post-effect).
CCT он оОННОООООННооонОлннОООАОАНВОННОНОО ООН ОНО ОДНИ
| Compressor, Distortion & EQ (Dist.) 1 in/tout |
This program is a combination compressor, distortion and 2-
band parametric equalizer. Since it is a monaural IN/OUT
program, the Lch and Rch inputs are mixed for processing. The
processed signal is then separated into Lch and Rch signals for
stereo output.
M CmpTyp (Compressor Type: Off, Compr., Limit)
Selects the compressor type:
Compr. : Compresses the dynamic range to even out the
sound effect.
Limit. : Compresses peaks to avoid distortion.
Off : No Compression.
® Sustain (Sustain: 0 ~ 100)
Determines the sustain of the sound. The higher the setting,
the longer the sound is sustained.
® Attack (Attack Time: 1.0 ~ 20)
Determines the response time of the compressor. The smaller
the value, the sooner compression will begin. To enhance
sound with strong attack, such as when picking the guitar, you
may want to use a higher setting so that each sound is
reproduced with the proper attack when playing fast.
@ CmpLvl (Compressor Level: -«, -30dB ~ +12db)
Sets the signal level output to the distortion effect.
® DstTyp (Dist. Type: Dist. 1 ~ Crunch)
Selects the distortion type.
Dist. 1 : Typical distortion sound
Dist. 2 : Mellow distortion sound foe Fusion solos etc.
Ovdr. 1 : Typical over-drive sound
Ovdr. 2 : Vacuum tube amplifier over-drive
Crunch : Crunch sound
® Drive (Drive: 0 ~ 100)
Sets the strength of the distortion. The higher the setting, the
more distorted the drive is.
7 Tone (Tone: -30 ~ +30)
Sets the sound characteristics of the distortion. Higher settings
emphasize distortion in the high frequency range, whereas
lower settings cut distortion in the high frequency range.
N.Gate (Noise Gate Level: 0 ~ 20)
Determines the minimum level a signal must have to pass
through the noise gate. The gate can be used to eliminate
noise when there is no signal input. At a higher noise gate
level even louder sound will be cut.
®@ DstLvl (Dist. Level: -«, -30dB ~ +6dB)
Sets the signal level output to the 2-band parametric equalizer.
(9 LowLvl (Low Level: O - 100)
Determines the amount of boost of the low frequency
equalizer. The higher the setting, the more low frequencies
will be emphasized.
© LowFrq (Low Frequency: 50Hz - 1kHz)
Determines the center frequency of the low frequency
equalizer.
{3 LowQ (Low Q: 0.2 ~ 2.0)
Determines the peak sharpness (steepness) of the low
frequency equalizer. The higher the setting, the more the
frequency band specified by (D LowFrq is emphasized.
(3 HigLvl (High Level: O - 100)
(4 HigFrq (High Frequency: 400Hz ~ 10kHz2)
6 HigQ (High Q: 0.2 ~ 2.0)
Set the high frequency equalizer. (Refer to (9 (3 and (2.)
23
PROGRAM MAIN EFFECT PARAMETERS
In the previous section we have dealt with the pre- and post-effects and their parameters. This section
provides you with a detailed description of the various main effects and the parameters controlling
them.
The SPX990 comes with 80 preset effect programs which fall into several groups according to their
parameters:
B REVERB PROGRAMS |
* Reverb (Reverb)
8. CONCERT HALL,
10. VOCAL PLATE
14, ARENA
* Filtered Reverb (FiltRev)
1. AMBIENCE
6. BRIGHTHALL
7. BREATHY REVERB
12, PRESENCE REVERB
13. SNARE PLATE
16. OLDPLATE
20. BRIGHT SNARE
24. STONE ROOM
26. BLATTY PLATE
32. DRUM MACH. AMB.L
* Stereo Reverb (St.Rev)
2. STEREO HALL
5. VOCALCHAMBER
15. THIN PLATE
31. DRUM MACH. AMB.S
79. FOREVERVERB
* Echo Room (EchRoom)
11. ECHOROOM
18. WOOD ROOM
21. SQUASH ROOM
22. BAMBOO ROOM
78. TUNNEL
ER (EARLY REFLECTION) PROGRAMS |
* Thin Early Reflection (ThinER)
23. REFLECTIONS
70. DIST. PERCUSSION
71. DISTORTION 1
* Fat Early Reflection (FatER)
17. FAT REFLECTIONS
* Gate Reverb (GateRev)
19. BIG SNARE
25. CONCRETEROOM
27. FULLMETAL GATE
28. HARD GATE
* Reverse Gate (Reverse)
29. REVERSE GATE
30. REVERSE PURPLE
33. ELECT.SNR PLATE
24
DELAY, ECHO PROGRAMS
* Delay L, C, R (DIy-LCR)
36. DELAY L,C, R
76. IRON MAN
* Echo (Echo)
75. ON THE PHONE
* Multi Tap Delay (MIt. Tap)
39. MULTITAP DELAY
* Stereo Echo (St.Echo)
40. KARAOKE ECHO
* Tempo Mono Echo (TmpEch1)
38. 120 BPM MONO DLY
* Tempo Stereo Echo (TmpEch2)
37. 120BPM PAN DDL
* Tempo Quad Echo (TmpEch4)
34. SYNC DELAY
MODULATION PROGRAMS
* Flanger (Flanger)
65. UPDOWN FLANGE
77. RADIOBLAG
* Dual Flanger (DualFlg)
64. DETUNE CHORUS
* FM. Chorus (FM.Cho)
62. CLASSY GLASSY
* AM. Chorus (AM.Cho)
68. ROTARY SP.
* Phaser (Phaser)
61. STEREO PHASING
63. SILKY SWEEP
* Symphonic (Symphon)
57. SYMPHONIC
PITCH CHANGE PROGRAMS
* Mono Pitch Change (MonoPit)
49. ROGER ON THE 12
52. INTELLICHORD MON
* Dual Pitch Change (DualPit)
35. VOICE DOUBLER
41. GOOD OLP.CHANGE
42. VOCAL SHIFT
43. AIRY PITCH
44. ANALOGUE SLAP
46. "LOW" SNARE
47. HALOCOMB
48. GRUMPY FLUTTER
50. TWISTER
51. BOTTOM WHACKER
53. INTELLICHORD DUA
55. PITCHSLAP
60. BASS CHORUS
* Triple Pitch Change (TripPit)
45. FATBASS
54. INTELLICHORD TRI
* Stereo Pitch Change (StPitch)
56. STEREO PITCH
|
PAN PROGRAMS |
* Auto Pan (Auto Pan)
67. TREMOLO
72. PAN
* Triggered Pan (TrigPan)
73. TRIGGERED PAN
| COMPLEX EFFECT PROGRAMS — |
* Chorus & Reverb (Cho&Rev)
59. CHORUS & REVERB
» Symphonic & Reverb (Sym&Rev)
58. GTRSYM ECHO
+ Flanger & Reverb (Flg&Rev)
9. REVERB FLANGE
+ Reverb (L) / Reverb (R) (Rev/Rev)
4. PLATE HALL
* ER (L) / Reverb (R) (ER/Rev)
3. DRUMCHAMBER
* Echo (L) / Reverb (R) (Ech/Rev)
80. SILVERHEART
Chorus (L) / Reverb (R) (Cho/Rev)
66. UNDERWATER MOON
* Pan (L) / Pan (В) (Рап/Рап)
74. PAN/PAN
FREEZE PROGRAM |
* Freeze (Freeze)
69. FREEZE
CI НОНО ООН ООО рнннннннн Неон
REVERB EFFECTS
Reverberation is the warm musical “ambience” you experience
when listening to music in a hall or other properly-designed
acoustic environment. “Reverb”, “FiltRev” and “EchRoom” are
combined with a gate program controlling the output gate of the
reverb by responding to the high and low frequency levels of the
input signal. Using this feature you can create gate reverb effects,
and also attenuate a signal component before the set RevTime has
actually ended.
Main effect name LCD display in/out
| Reverb (Reverb) 1in/2out |
Parameters
D RevTyp (Reverb Type: Hall, Room, Vocal, Plate)
Hall : Simulates reverberation you would experience in
a hall.
Room : Simulates reverberation you would experience in
a smaller room.
Vocal : A reverb effect ideally suited for vocals.
Plate : A type of reverberation produced artificially by
a plate reverberator.
@ RevTime (Reverb Time: 0.3sec - 480.0sec)
The length of time it takes for the level of reverberation at
1kHz to decrease by +60dB virtually to silence. In a live
setting, this depends on several factors: room size, room
shape, type of reflective surfaces. The longer the time, the
longer it takes for the level of reverberation to decrease to
silence.
@ HiRatio (High Ratio: RevTime x0.1 ~ x1.0)
Determines the high frequency reverb time in relation to the
overall reverb time. Higher values produce longer, high-
frequency reverb time, gradually approaching the overall
reverb time.
@ IniDly (Initial Delay Time: 0.1msec ~ 200.0sec)
This represents the time delay between the direct sound of an
instrument in a concert hall and the first of the many reflec-
tions that make up reverberation.
Direct Sound Early Reflection (ER)
Reverb Sound (REV)
аа
IniDly RevDiy
® Diffuse (Diffusion: 0 ~ 10)
The complexity of the many reflections that make up rever-
beration varies according to the shape of the room and its
contents. As the value is increased, the complexity of the
reflections increases producing a thicker, richer sound.
(6) Density (Density: 1 ~ 4)
This parameter determines the density of the reverb reflections
(i.e. the average amount of time between reflections). A
setting of 1 produces minimum reverb density for a more
spacious sound, while a setting of 4 produces the most dense,
“tightest” reverberation.
(7) RevDiy (Reverb Delay Time: 0.1msec - 100.0msec)
Sets the delay time between the beginning of the early
reflections - the initial group of sparse reflections that precede
the dense reverb sound and the beginning of the reverb sound.
Er/Rev (Early Reflection/Reverb Balance: 0% - 100%)
This parameter determines the level balance between the
early-reflection portion and final reverberation portion of the
reverb sound. At 100%, only the early-reflection sound will be
produced. At 0%, only the final reverberation sound will be
produced. A setting of about 50% produces both the early-
reflection and final reverberation sounds at an equal level.
@ HPF (High Pass Filter Frequency: THRU, 32Hz ~
1.0kHZ)
Permits rolling off the low frequency content of the reverb
signal below the set frequency. The HPF is OFF when set to
THRU.
(9 LPF (Low Pass Filter Frequency: 1kHz ~ 16kHz, THRU)
Permits rolling off the high frequency content of the reverb
signal above the set frequency. The LPF is OFF when set at
THRU.
O TrgLvi (Trigger Level: O - 100)
Determines the input signal level required to trigger “opening”
of the gate. At 100%, only very high input signal levels will
trigger the gate. Set the value while inputting the signal.
12 TrgDly (Trigger Delay Time: -100.0msec ~ 100.0msec)
Determines the time at which the gate actually opens after it
has been triggered.
(3 Hold (Hold Time: 1msec - 24000msec)
Determines how long the gate stays open, allowing the signal
to pass.
(2 Release (Release Time: 3msec - 24000msec)
Determines how long it takes for the gate to close fully after
the Hold Time has elapsed.
(9 MidiTrg (MIDI Trigger: ON, OFF) *
When this parameter is set to ON, A KEY ON EVENT
message from an external MIDI keyboard can be used to
trigger the gate. A KEY ON EVENT message is transmitted
whenever a note on a MIDI keyboard is played.
25
DA
| Filtered Reverb (FiltRev) 1in/20ut |
This is a reverb effect that allows altering the reverb time of the
high and low frequency sound.
Parameters
® RevTyp (Reverb Type: Hall, Room, Vocal, Plate)
© RevTime (Reverb Time: 0.3sec ~ 480.0sec)
@ IniDly (Initial Delay Time: 0.1msec - 200.0msec)
@ Diffuse (Diffusion: 0 ~ 10)
® Density (Density: 0 ~ 10)
© RevDiy (Reverb Delay Time: 0.1msec - 100.0msec)
@ Er/Rev (Early Reflection/Reverb Balance: 0% ~ 100%)
HPF (High Pass Filter Frequency: THRU, 32Hz ~
1.0kHz)
O LPF (Low Pass Filter Frequency: 1kHz ~ 16kHz, THRU)
Same as “Reverb”.
49 LoFrq (Low Control Frequency: 40Hz ~ 1.0kHz)
Determines the cut-off point of the low frequency range for
which the reverb time can be changed. The reverb time of
frequencies below this point can be set using the “LoGain”
parameter.
1) LoGain (Low Gain: 0.1 ~ 2.4)
Determines the reverb length of frequencies below the
“LoFrq” point by multiplying the set “RevTime” by the value
set here.
2 HiFrq (High Control Frequency: 1.0kHz ~ 10kHz)
Determines the cut-off point of the high frequency range for
which the reverb time can be changed. The reverb time of
frequencies above this point can be set using the “HiGain”
parameter.
(3 HiGain (High Gain: 0.1 ~ 2.4)
Determines the reverb length of frequencies above the
“HiFrq” point by multiplying the set “RevTime” by the value
set here. :
1.7 [-- \ |
scan) |
10-7 —1.0
| ВС
| porcs ;
— Frequency
The illustration shows the reverb characteristics for the settings
LoGain = 1.7 and HiGain = 0.3.
(9 TrgLvi (Trigger Level: 0 - 100)
(5 TrgDly (Trigger Delay Time: -100.0msec - 100.0msec)
(19 Hold (Hold Time: 1msec ~ 24000msec)
1? Release (Release Time: 3msec - 24000msec)
@ MidiTrg (MIDI Trigger: ON, OFF) %
Same as “Reverb”.
26
| Stereo Reverb (St.Rev) 2in/20ut |
This reverb program allows mixing of the left and right channel
signals for an enhanced ambience effect.
InpMix
e
Lo— LPF Г e —oL
|
CroDly
à | - -REV/ER -
Lee >
Fu
Ro— LPF + | —o R
!
Parameters
(D RevTyp (Reverb Type: Hall, Room, Vocal, Plate)
@ RevTime (Reverb Time: 0.3sec - 480.0sec)
@ HiRatio (High Ratio: 0.1 ~ 1.0)
@ IniDly (Initial Delay Time: 0.1msec ~ 100.0msec)
Same as “Reverb”.
® InpMix (Input L-R MIX: 0 ~ 10)
Sets the mixing balance between the inputs of Lch and Reh.
When set to “0”, Lch and Rch are not mixed. With a setting
of “10” both channels are mixed fully, resulting in a monaural
signal.
© CrsDly (Input Cross Delay: 0.1msec ~ 100.0ms)
Sets the delay time for the delay line inserted at the input
stage of the reverb when Lch and Rch are mixed. Changes the
depth of the musical “ambience” you experience when
listening to music in a hall.
(7D Er/Rev (Early Reflection/Reverb Balance: 0% ~ 100%)
Density (Density: 1 ~ 4)
® LPF (Low Pass Filter Frequency: 1kHz ~ 16kHz, THRU)
Same as “Reverb”.
PA
| Echo Room (EchRoom) 1in/2out |
This is a special type of reverberation in which you have exten-
sive control over the room’s dimension and other parameters.
Parameters
@ Rev Time (Reverb Time: 0.3sec ~ 480.0sec)
@ HiDump (High Dump: 0.1 ~ 1.0)
Same as “Reverb”.
O IniDly (Initial Delay Time: 0.1msec ~ 200.0msec)
This represents the time delay between the direct sound of an
instrument in a concert hall and the first of the many reflec-
tions that make up reverberation.
@ Width (Width: 0.5m ~ 100m)
Specifies the width of the room in meters.
® Height (Height: 0.5m ~ 100m)
Specifies the height of the room in meters.
® Depth (Depth: 0.5m ~ 100.0m)
Specifies the depth of the room in meters.
@ WidDec (Width Decay: RevTime x0.1 ~ x10.0)
Determines the characterstics of the “Width” reverb
component by multiplying the RevTime by the value set here.
This parameter can be used to simulate various wall materials
and properties.
HeiDec (Height Decay: RevTime x0.1 ~ x10.0)
(9 DepDec (Depth Decay: RevTime x0.1 > x10.0)
These two parameters are very similar to the “WidDec”
parameter and allow simulation of ceiling and wall properties.
(9 Wall (Wall Vary: O - 30)
Allows fine tuning of the wall properties. “0” corresponds to a
flat wall, while higher values simulate an increasingly rougher
wall surface.
M Lis.Pos (Listening Position: FRONT, CENT., REAR)
Sets the imaginary position of the listener.
Height
{2 Diffuse (Diffusion: 0 ~ 10)
(3 Er/Rev (Early Reflection/Reverb Balance: 0% ~ 100%)
13 RevDly (Reverb Delay Time: 0.1msec ~ 100.0msec)
(9 Density (Density: O - 4)
@® HPF (High Pass Filter Frequency: THRU, 32Hz ~
1.0kHz)
@? LPF (Low Pass Filter Frequency: 1kHz ~ 16kHz, THRU)
Same as “Reverb”.
(8 WidFin (Width Fine: -100 ~ +100)
(9 HeiFin (Height Fine: -100 ~ +100)
29 DepFin (Depth Fine: -100 - +100)
@) WalFin (Wall Vary Fine: -100 ~ +100)
Sets the “Width”, “Height”, “Depth” and “Wall” values as
default and enables further fine adjustment.
62 TrgLvi (Trigger Level: O - 100)
63 TrgDly (Trigger Delay Time: -100.0msec - 100.0msec)
22 Hold (Hold Time: 1msec - 24000msec)
05 Release (Release Time: 3msec - 24000msec)
@ MidiTrg (MIDI Trigger: ON, OFF) %
Same as “Reverb”.
27
ma re EEE
e GATE
The SPX990 can be set to extremely long reverb times (max.
480 seconds). In combination with a “gate”, a long reverb
time can be used to shorten a sound or to extract just a short
segment of a longer input signal. While the “GateRev” effect
of the ER EFFECTS applies its gate to early reflections, the
REVERB EFFECTS (pages 25 to 27) apply their gate to the
reverberation to cut the reverb sound, which results in a sound
different from the ER effect. In this way the combination of
gate and reverb can be used for a number of puroses. A gate
1s a kind of switch that determines when a signal can pass.
The signal will pass after the gate opens and is cut when the
gate closes.
TRIGGER
A gate can be opened by various triggers. Usually the strength
of the input signal is used as a trigger. When the input signal
exceeds a certain level (trigger level) the gate opens and the
signal can pass. As soon as the signal level falls below the
trigger level, the gate closes and the sound is cut. The trigger
level is set using the TrigLvl parameter.
Hold and Release
À short input signal like the one shown in the figure below
would cause the gate to be open only for a very short time
while the signal level is above the trigger level (TrgLv). By
setting a long Hold time the gate can be kept open even after
the signal level has gone below the trigger level. Also, if the
gate closes apruptly, an unnatural sound results. To avoid this,
the Release parameter can be used to specify a time during
which the gate will close gradually after the Hold time has
elapsed.
Input Signal
Reverb Output
TrgLvi
!
|
TT
= -
Hold Release
OTHER TRIGGERS
The signal level is not the only way to trigger the gate. A foot
switch connected to the TRIGGER terminal on the rear panel
or a MIDI NOTE ON message can also be used. The set Hold
and Release times work with any trigger.
* To use a MIDI trigger, MidiTrg must be set to ON.
* When TrgLvl is set to 100, the gate will not be triggered by
even the highest input signal levels, but will respond to foot
switch and MIDI triggers.
TrgDly
When TrgDly is set to 0, the gate opens after the initial delay
when the input signal exceeds the trigger level. If set to a
value larger than 0, the gate opens after the initial delay time
has ended.
Trg al
Input Signal
TrgDly > 0
The gate opens
at this point.
|
|
|
|
|
I
ı Reverb RAR Reverb Output
I / I - 747 - Du
[ / | 7 x
! / / `
| / ) + `
| L | “ |
iniDly IniDly TrgDly
Negative TrgDly
When TrgDly is set to a negative value, the gate will open
before the initial delay. This is useful for input signals with
slow attack.
If a negative value is set whose absolute value is larger than
that of the initial delay, the gate will open even before the
signal level exceeds the trigger level.
When IniDly = 0
Input Signal
vas TrgLvi
- 0 +
|
|
|
|
The gate opens — ———
i at this point. .
When IniDI
| a en IniDly <0
Lf The gate opens
| at this point.
Trgtvl ) The signal is delayed
! Output Da TrgDly.
| 4 Ч.
IniDly >
| | |
TrgDly TrgDly (Negative)
—¡ Negative
I The gate opens
Y at this poínt.
| The signal itself is delayed.
|
|
J
)
A
He
IniDly
TrgDly
Negative
NOTE: When TrgLvl is set to 0, the gate will always remain
open. In this case, triggering by other sources (foot
switch, MIDI NOTE ON) is not possible.
If the gate is continuously triggered by any of the other
sources, it may be kept from closing. As the gate responds to
any trigger source and will open for the set hold time, a
trigger received while the gate is open will act as a “re-
trigger”, causing the gate to remain open.
28
NT _—_—_—_—_—"—”_M_”M_———————_— " _— _ —_— —"— — _— —————"——— "——————;0_
ER (EARLY REFLECTION) EFFECTS
ER effects are created using ditferent groupings of “Early
Reflections” — the first cluster of reflections that occurs after the
direct sound but before the dense reflections that are know as
reverberation begin. This produces interesting results for drums,
percussion, guitar, brass and some other instruments.
Direct Sound
Early Reflection (ER)
Live
IniDly
| Thin Early Reflection (ThinER) tin/2out |
| Fat Early Reflection (FatER) 1in/20ut |
The “ThinER” effect has a low density whereas the “FatER”
effect has dense early reflections.
| Gate Reverb {GateRev) 1in/20ut |
The gate reverb program combines reverb with a “gate” that has
programmable threshold and release time parameters. All other
parameters are the same as those for the Reverb effect.
Reverse Gate (Reverse) 1in/2out |
This program reverses the gated effect.
Parameters:
D ErType (Early Reflection Type)
Selects the ER pattern. Since the sound level depends on the
pattern, this parameter sets an important base for editing a
program.
[ThinER]
[FatER]
S-Hall (SmallHall), L-Hall (Large Hall), Random,
Reverse, Plate, Spring
[GateRev]
Type-A, Type-B
[Reverse]
Type-A, Type-B
@ Room (Room Size: 0.1 ~ 25.0)
This parameter sets the time intervals between the early
reflections and a feature of natural early reflections which is
directly proportional to the size of the room.
(3) Live (Liveness: O - 10)
“Liveness” refers to the rate at which the reflected sounds
fade. An acoustically “dead” room is simulated by setting this
parameter to zero. Increasing the value of this parameter
creates an increasing “live”sound, simulating an increasing
area of reflective surfaces in the room.
@ Diffuse (Diffusion: 0 ~ 10)
Determines to the clearness of the sound. As the value is
increased, the complexity of the reflections increases
producing a thicker and richer sound.
© IniDly (Initial Delay Time: 0.1msec ~ 400msec)
Initial delay is the time between the beginning of the direct
sound and the beginning of the early reflection.
® HPF (High Pass Filter Frequency: THRU, 32Hz ~ 1.0kHz)
Permits rolling off the low frequency content of the reverb
signal above the set frequency. The HPF is OFF when set to
THRU.
@ LPF (Low Pass Filter Frequency: 1.0kHz ~ 16kHz, THRU)
Permits rolling off the high frequency content of the reverb
signal below the set frequency. The LPF is OFF when set to
THRU.
Er Number (Early Reflection Number: 1 ~ 19)
This parameter directly sets the number of early reflections
produced from 1 to 19.
(9) FbDly (Feed Back Delay Time: 0.1msec - 900msec)
Sets a delay time between the beginning of the original early
reflections and the first of the repeats caused by feedback.
Shorter FbDly times simply thicken the early reflection sound
while longer FbDly times can create extended or repeated
early reflection effects.
(9 FbGain (Feed Back Gain: -99% - +99%)
This parameter determines how many times (for how long) the
early reflections are repeated. The lower the setting, the fewer
repeats occur.
© FbHigh (High Frequency Feed Back Gain: 0.1 ~ 1.0)
This parameter determines how much of the high frequency
content of the original early reflections is fed back. The lower
the setting, the less of the original high frequencies are fed
back. This causes a gradual decrease in high frequency
content at each repeat.
(2 Density (Density: O - 3, “FatER” effect 1 - 3)
This parameter determines the density of the reverb reflections
(i.e. the average amount of time between reflections.) A
setting of 0 or 1 produces minimum reverb density for a more
spacious sound, while a setting of 3 produces the most dense,
“tightest” reverberation. There is no density parameter for
“ThinER”.
29
DELAY, ECHO EFFECTS
Delay L, C, R (Dly-LCR) Tin/20ut
These sophisticated delay effects offer independently variable
left, center and right channel delays. There are two types of feed
back stereo delays.
High
Fb2
L / Г] —oL
Y
LPF -—4 Delay > Cch
HPF |--
Parameters
(0 L.Dly (Lch Delay Time: 0.1imsec ~ 1480.0msec)
(2) R.Dly (Rch Delay Time: 0.1msec ~ 1480.0msec)
® C.Dly (Center ch Delay Time: 0.1msec ~ 1480msec)
These parameters individually set the time between the direct
sound of the instrument and the first repeat heard from the
left, right and center channels.
(O C.Lvi (Center Channel Delay Level: -200% - +200%)
Adjusts the level of the center-channel delay signal. A minus
value produces a reversed phase.
® Fb1Dly (FeedBack 1 Delay Time: 0.1msec - 1480msec)
Feedback refers to the repeated pattern of 3 delay signals. The
diagram below shows an interval setting fot the repeated
pattern. You can choose between 2 feedback patterns and the
diagram below shows 1 form of feedback. Fb1Diy is the delay
time between 2 feedbacks.
Direct Sound
These three form a repeated pattern to create feedback
—
TU
—
—
FbiDly| | |Fb1Dly |, |Fb1Dly;
L RC L RC EL RC L RC
L.Dly
~ R.Dly
C.Dly
© Fb1Gain (Feed Back 1 Gain: -99% - +99%)
Sets the amount of the Fb1 delay signal fed back to the input
of the processor. The higher the feedback gain setting, the
greater the number of delayed repeats produced by the
corresponding feedback loop.
30
Delay pattern for | |
negative values | | |
@ Fb2Dly (Feed Back 2 Delay Time: 0.1msec - 1480.0msec)
Fb2Gain (Feed Back 2 Gain: -99% ~ +99%)
Sets the amount of the Fb2 delay signal fed back to the input
of the processor. The higher the feedback gain setting, the
greater the number of delayed repeats produced by the
corresponding feedback loop.
Direct Sound
Fb1DI
||| ас
LRC
Direct Sound
— Fb2Dly ~~ Fb2Dly
TT
NOTE: Since the effect is influenced by Fb1 and Fb2, the
interference of Fb1 and Fb2 creates an interesting sound.
LRC
NOTE: Do not set the gains of Fbl and Fb2 higher than 100%.
(9 High (High Frequency Feed Back Gain: 0.1 - 1.0)
Controls feedback Fb1 and Fb2 in the high frequency range.
The high frequency feedback is reduced as the value of this
parameter is decreased.
(9 HPF (High Pass Filter Frequency: THRU, 32Hz - 1.0kHz)
Permits rolling off the low frequency contents of the reverb
signal below the set frequency. The HPF is OFF when set to
THRU.
(0D LPF (Low Pass Filter Frequency: 1.0kHz ~ 16kHz,
THRU)
Permits rolling off high frequency content of the reverb signal
above the set frequency. The LPF is OFF when set to THRU.
| Echo (Echo) fin/2out
The echo effect offers independently variable left and right echo
intervals.
LFb y High
<1
-— Delay ——oL
Lo ——
Y R. High
&— HPF [ LPF + —<tt LH
Ro— y
-©® Delay —0 R
Parameters
M L.FbDly (Lch Feed Back Delay: 0.1msec ~ 740.0msec)
Sets the time between subsequent echo sounds from the left
channel.
@ L.Fb (Lch Feed Back Gain: -99% - +99%)
Set the amount of the left channel echo signal fed back to the
left channel input of the processor. The lower the feedback
gain setting, the smaller the number of echo repeats produced
by the feedback loop.
® R.FbDly (Rch Feed Back Delay: 0.1msec ~ 740.0msec)
Sets the time between subsequent echo sounds from the right
channel.
@ R.Fb (Rch Feed Back Gain: -99% ~ +99%)
Sets the amount of the right channel echo signal fed back to
the right channel input of the processor. The higher the
feedback gain setting, the greater the number of echo repeats
produced by the feedback loop.
® High (High Frequency Feed Back Gain: x0.1 ~ x1.0)
Controls feedback amount of L.Fb and R.Fb in the high
frequency range. Sets the amount of the left channel echo
signal to be fed back to the left channel input of the processor.
The lower the feedback gain setting, the smaller the number of
echo repeats produced by the feedback loop.
® L.InDly (Lch Initial Delay: 0.1msec ~ 740.0msec)
@ R.InDly (Rch Initial Delay: 0.1msec - 740.0msec)
These parameters individually set the time between the direct
sound of the instrument and the first repeat heard from the left
and right channel.
HPF (High Pass Filter Frequency: THRU, 32Hz ~ 1.0kHz)
Permits rolling off the low frequency content of the reverb
signal below the set frequency. The HPF is OFF when set to
THRU.
(9) LPF (Low Pass Filter Frequency: 1.0kHz ~ 16kHz, THRU)
Permits rolling off the high frequency content of the reverb
signal above the set frequency . The LPF is OFF when set to
THRU.
Direct Sound
\ R.InDiy
R.FbDly
!
I;
A
Y
y
A
imu EEE EEE
\
L.InDly L..FbDly
| + os «+ indicates Lch
i «+s indicates Rch
31
ZA
| Multi Tap Delay (Mit. Tap)
1in/20ut |
This is a multi-tap delay effect in which the time, stereo position
and level of up to 6 separate delays can be programmed
individually.
HPF — LPF
FB
High
LPF
Parameters
D Delay1 (Delay1: 0.1msec - 1480.0msec)
The first delay time. The time when the first tap delay sound
occurs.
@ Level1 (Level1: -100% - +100%)
The output level of the first tap delay sound. A minus value
produces a reverse-phase delay sound.
(3) Рап1 (Рап1: 100/0 - 0/100)
Sets the stereo position of this first tap delay sound. A setting
at 100/0 positions the sound all the way to the left. 0/100
moves the sound to the right and 50/50 positions it at the
center.
(9) Delay2 (Delay2: 0.1msec - 1480.0msec)
® Level2 (Level2: -100% ~ +100%)
© Pan2 (Pan2: 100/0 ~ 0/100)
Set the second tap delay sound.
(7) Delay3 (Delay3: 0.1msec ~ 1480.0msec)
Level3 (Level3: -100% ~ +100%)
© Pan3 (Pan3: 100/0 ~ 0/100)
Set the third tap delay sound.
(9 Delay4 (Delay4: 0.1msec - 1480.0msec)
(1D Level4 (Level4: -100% ~ +100%)
(2 Pan4 (Pana: 100/0 ~ 0/100)
Set the fourth tap delay sound.
(3 Delay5 (Delay5: 0.1msec ~ 1480.0msec)
(3 Levei5 (Level5: -100% ~ +100%)
15 Pan5 (Pan5: 100/0 ~ 0/100)
Set the fifth tap delay sound.
19 Delay6 (Delay6: 0.1msec - 1480.0msec)
BLevel6 (Level6: -100% - +100%)
(8 Pan6 (Pan6: 100/0 - 0/100)
Set the sixth tap delay sound.
32
Delay
FB.DLY 4 5
Level
3
6
(9 FbDiy (Feed Back Delay Time: 0.1msec ~ 1480msec)
Sets the time until the feedback delay sound occurs.
29 FbGain (Feed Back Gain: -99% - 99%)
Sets the output level of the feedback delay sound.
@ High (High Frequency Feed Back Gain: x0.1 ~ x1.0)
Sets the cut-off frequency for the high frequency content of
the feedback signal.
@ HPF (High Pass Filter Frequency: THRU, 32Hz ~ 1.0kHz)
Permits rolling off the low frequency content of the reverb
signal below the set frequency. The HPF is OFF when set to
THRU.
@ LPF (Low Pass Filter Frequency: 1.0kHz ~ 16kHz, THRU)
Permits rolling off the high frequency content of the reverb
signal above the set frequency. The LPF is OFF when set to
THRU.
Stereo Echo (St. Echo) 2in/20ut
The stereo echo effect offers independently variable left and right
channel initial delays and echo intervals.
LFb 4
L.High
L o———— HPF LPF L.Dly LPF L.Lvi
>!
R>L.Fb
L=>R.Fb
R.High
Ro-———| HPF LPF R.Dly +— LPF R.Lvl
| ING о В
A |
R.Fb
Parameters
(D L.Dly (Lch Feed Back Delay: 0.1msec ~ 740.0msec)
Sets the time between the echo sound and the first repeat
heard from the left channel.
@ L.Fb (Lch Feed Back Gain: -99% - +99%)
Sets the amount of the left channel echo signal fed back to the
left channel input of the processor. The lower the feedback
gain setting, the smaller the number of echo repeats produced
for the left channel.
(9 L.LvI (Lech Level: -100% ~ +100%)
Sets the output level of the echo sound from the left channel.
@ R.Dly (Rch Feed Back Delay: 0.1msec ~ 740.0msec)
Sets the time between the echo sound and the first repeat from
the right channel.
® R.Fb (Rch Feed Back Gain: -99% ~ 99%)
Sets the amount of the right channel echo signal fed back to
the right channel input of the processor. The lower the
feedback gain setting, the smaller the number of delayed
repeats produced for the right channel.
© R.Lvi (Rch level: -100% ~ 100%)
Sets the output level of the echo sound from the right channel.
DL > R.Fb (L > R Cross Feed Back: -99% - +99%)
Sets the amount of echo sound fed back from the left channel
output to the right channel input.
R > |.Fb (R > L Cross Feed Back: -99% - +99%)
Sets the amount of echo sound fed back from the right
channei output to the left channel input.
(9) L.High (Lch High Frequency Feed Back Gain: x0.1 + x1.0)
Controls high frequency feedback from the output of the left
channel processor to the input of the right channel processor. The
high frequency feedback is reduced as the value of this parameter
is decreased.
19 R.High (Rch High Frequency Feed Back Gain: x0.1 ~ x1.0)
Controls high frequency feedback from the output of the right
channel processor to the input of the ieft channel processor. The
high frequency feedback is reduced as the value of this parameter
is decreased.
M HPF (High Pass Filter Frequency: THRU, 32Hz ~ 1.0kHz)
Permits rolling off the low frequency content of the reverb
signal below the set frequency. The HPF is OFF when set to
THRU.
(2 LPF (Low Pass Filter Frequency: 1.0kHz ~ 16kHz, THRU)
Permits rolling off the high frequency content of the reverb
signal above the set frequency. The LPF is OFF when set at
THRU.
NOTE: Be careful not to set the feedback parameters O), ©, (7)
and (8) too high as this might result in oscillation
interference.
33
DB —_—_—_—_— _—_—_—_—_—_m— _— —””— " ”— " " "—_—_—m—_— — — —_—_—_—_—_—_ _"—_—————-—-— — -—-— ————_—_——————_—_—————————————————{"
The delay time of the following three effects is determined by the
“Tempo” and “Note” parameters, so you can easily match the
delay time to the tempo of the music.
| Tempo Mono Echo (TmpEch1) 1in/2out |
Creates a single delay with stereo output.
| Tempo Stereo Echo (TmpEch2) 2in/20ut |
Produces a separately processed left and right channel stereo echo.
| Tempo Quad Echo (TmpEch4) 2in/2out |
This program produces an echo effect that used to be possible
only with four delay effect machines. Four delay lines are
controlled in pairs.
@ How to input the “TEMPO” parameter
One of the following five methods can be used to input the
“Tempo” parameter.
* Manual input
You can set the Tempo like any other parameter by inputting
a numerical value in the edit mode.
* Tap Input (Function Key)
The tempo can also be set by pressing a function key twice in
succession in the edit mode. The interval between the two key
operations determines the Tempo value.
* Tap Input (Footswitch)
Instead of a function key, a foot switch conected to the rear-
panel TRIGGER terminal can also be pressed twice in
succession.
* MIDI Clock Input
The Tempo value may also be set using the MIDI clock of a
connected device.
* MIDI Control Change
The Tempo parameter can also be controlled via MIDI control
change messages like any other parameter.
The input methods available depend on the setting of the “Trig.”
parameter.
SETTING OF “Trig.” PARAMETER OFF | TAP | MIDI
MANUAL INPUT o O О
TAP INPUT (FUNCTION KEY) x © X
TAP INPUT (FOOT SWITCH) X © X
MIDI CLOCK INPUT X X O
MIDI CONTROL CHANGE O e O
34
e TAP INPUT
You can set the delay time following the tempo of the music by
pressing a function key or a connected foot switch twice in
succession. To set a delay time matching the tempo of the music,
you just press the foot switch twice for a one-beat interval. This
eliminates a troublesome parameter setting in the edit mode.
What you actually set by tap input is not the delay time but the
tempo. The delay time then is calculated based on this Tempo
value and the Note value, which must be set in advance.
When you tap input using the “TapKey” display, a bar graph
indication shows the time elapsed since the first function key or
foot switch operation. One bar equals 250 msec (50 msec per
vertical line). Please note that the bars will disappear, if the
maximum allowable delay time is exceeded before you press the
function key or foot switch a second time.
* Tap Input using a function key
Tempo Take
(= 130 |
v A Y A Y A
LL I I i } 1
O PRESS |
The interval between the two
= key operations determines the
delay time.
Tempo Tarbes
Го = Si ] КН | — Indicates the time
elapsed since the first
у A у A Y A i i
— / function key operation.
“Tempo” value | PRESS |
after Tap Input.
* Tap Input by Foot Switch
- The delay time (Tempo) can also be |
set by pressing a connected foot
switch twice. The interval between the
two foot switch operations determines
the delay time.
Tempo Mono Echo (TmpEch1) lin/2out
о |
L/R Bal
Diffuse
FA
— о В
VV
HPF H LPF e
1
Tempo, Note — Time
Parameters
(1) Tempo (Tempo: d = 41 ~ 250)
Indicates the number of quarter notes per minute (beats/
minute).
@ Note (Note: F, F, d3, à, 43, d., d)
Sets the duration of sound by note. The delay time will be
calculated based on this Note value and the Tempo setting.
The delay value then is displayed as “Time” (No. ©).
(3) Time (Time: +10msec)
Dislays the delay time calculated from the Note and Tempo
settings. The displayed value can be varied in the range of
+10 msec.
As long as the delay time value is not changed, “ =” will be
displayed in front of the parameter name. If you decrease the
»
value, a “+ ” is displayed, and if a higher value is set, a “ + ”.
NOTE: The Time value wili remain in memory even if you
change the Tempo and Note settings.
@ FbGain {Feed Back Gain: -99 ~ +99)
Sets the ouput level of the feedback delay sound.
® High (High Frequency Feed Back Gain: x0.1 ~ x1.0)
Controls the feedback amount in the high frequency range.
Sets the amount of delay sound to be fed back to the input of
the processor. The lower the feedback gain setting, the smaller
the number of delay repeats produced by the feedback loop. A
minus value produces a reversed phase.
® Diffuse (Diffusion: 0 ~ 10)
Controls the loudness and clearness of the sound. As the
diffusion value is increased, a thicker and richer sound is
produced.
LPF
High
@ UR Bal (Lch/Rch Balance: 100/00 ~ 00/100)
Sets the sound balance between the left and right channels. A
setting of 100/0 positions the sound all the way to the left,
while 0/100 positions it to the right and 50/50 in the center.
This parameter can be used conveniently to correct a delay
sound shift which can occur when a high Diffuse parameter
value is set. The parameter also allows positioning of the
delay sound anywhere in the stereo sound field.
Trig. (Trigger: OFF, TAP, MIDI)
Selects the input method for the Tempo parameter setting.
(Refer to page 34.)
(9 Tempo (Tempo: d = 41 ~ 250)
Indicates the Tempo value input using “TapKey” (function
switch), foot switch or MIDI.
(9 TapKey *
Is indicated when you set the Tempo parameter by tap input
using the function keys. The tempo is set by pressing one of
the function keys (Y or 4) under “TapKey” twice.
@ HPF (High Pass Filter Frequency: THRU, 32Hz ~ 1.0kHz)
Permits rolling off the low frequency content of the reverb
signal below the set frequency. The HPF is OFF when set at
THRU.
@ LPF (Low Pass Filter Frequency: 1.0kHz ~ 16kHz, THRU)
Permits rolling off the high frequency content of the reverb
signal above the set frequency. The LPF is OFF when set to
THRU.
35
2in/2out |
| Tempo Stereo Echo (TmpEch2)
LFb A
~~
L.High
| Tempo, L.Note > L.Time Pe L.Lvl
A — > oL
RL.Fb > > a
LAY
R.High
Re LPF |—&—] Tempo, R.Note — R.Time ++ LPF + Rivi
7 >>
R.Fb У
Parameters
D Tempo (Tempo: J = 82 ~ 250)
@ L.Note (Lch Note: F, F, 43, 4, d3, A, d)
® R.Note (Rch Note: Е, F, d3, », d3, d., d)
@ L.Time (Lch Time: +10msec)
© R.Time (Rch Time: +10msec)
® L.Lvi (Lch Level: -100% ~ +100%)
@) R.Lvi (Rch Level: -100% = +100%)
LFb (Lch Feed Back Gain: -99% ~ +99%)
® R.Fb (Rch Feed Back Gain: -99% ~ +99%)
(9 L > R.Fb (L > R Cross Feed Back: -99% - +99%)
0 A > L.Fb (R > L Cross Feed Back: -99% - +99%)
(3 L.High (Lech High Frequency Feed Back Gain: x0.1 -
x1.0)
(3 R.High (Rch High Frequency Feed Back Gain: x0.1 ~
x1.0)
3 Trig. (Trigger: OFF, TAP, MIDI)
@ Tempo (Tempo: d = 82 ~ 250)
(9 TapKey *
@ HPF (High Pass Filter Frequency: THRU, 32Hz -
1.0kHz)
(8 LPF (Low Pass Filter Frequency: 1.0kHz ~ 16kHz,
THRU)
NOTE: The delay time of this effect is determined by the Tempo,
Note and Time settings, as described for the “TmpEch1”
effect (page 35). For an explanation of the other param-
eters see “St.Echo” effect on page 33.
NOTE: Be careful not to set the feedback parameters (© to 4
too high as this might result in oscillation interference.
36
| Tempo Quad Echo (TmpEch4) 2in/2out
*Ф | Tempo, Note1 —- Time! —
Lo— HPF H LPF —
High :
> +H Tempo, Note2 — Time2 HH |
LPF a :
FbiGaln | High | Level? UA Bal
Fb2Gain Level! |
-$ + { Tempo, Note2 > Time2 +
Re LPF :
High
D : { Tempo, Note1 — Time1 H ,
A LPF
High
Parameters
(D Tempo (Tempo: d = 82 - 250)
O Note1 (Note 1: E, F, 43, 4)
(3) Note2 (Note 2: E, F, $, A)
(4) Time1 (Time 1: +5msec)
© Time2 (Time 2: +5msec)
© Diffuse (Diffusion: O - 10)
(7) Level1 (Level 1: -100% ~ +100%)
Level? (Level 2: -100% ~ +100%)
© L/R Bal (Lch/Reh Balance: 100/00 - 00/100)
(9 Fb1Gain (Feed Back 1 Gain: -99% - +99%)
(D Fb2Gain (Feed Back 2 Gain: -99% - +99%) |
(3 High (High Frequency Feed Back Gain: x0.1 ~ x1.0)
(3 Trig. (Trigger: OFF, TAP, MIDI)
(3 Tempo (Tempo: J = 82 - 250)
(5 TapKey x
(9 HPF (High Pass Filter Frequency: THRU, 32Hz ~
1.0kHz)
i? LPF (Low Pass Filter Frequency: 1.0kHz - 16kHz,
THRU)
NOTE: Notel and Note2 are set in the same way as described for
the “TmpEch1” effect. For a detailed explanation of each
parameter see “TmpEch1” effect on page 35.
NOTE: Be careful not to set the feedback parameters (8) to (7
too high as this might result in oscillation interference.
MODULATION EFFECTS
Mixing sounds with slightly varied delay times results in tone
alterations due to mutual phase interference. In addition, the
delay time and delay sound level can be modulated using the
LFO, resulting in further tone alteration over time.
| Flange (Flanger) 2in/20ut |
| Dual Flange (DualFlg) 2in/20ut
The flanging effect is produced by varying the delay between 2
identical signals, thus producing a complex varying “Comb
Filter” effect.
Parameters
ModFrq (Modulation Frequency: 0.05Hz ~ 40.0Hz)
Sets the speed of modulation, and hence the rate at which the
effect varies.
@ Depth (1, 2)(Modulation Depth: 0% ~ 100%)
Sets the amount of delay time variation, thus adjusting the
depth of the effect. A bigger value will give at deeper
modulation.
(3) Delay (1, 2)(Modulation Delay Time: 0.1msec -
100.0msec)
Sets the basic delay time from the initial direct sound to the
beginning of the flange effect. A setting of 1.0msec and below
causes interference in the high frequency range.
(9) Phase (Phase: -180.0deg - +180.0deg)
Sets the phase between Modulation Delay 1 and 2.
® FbGain (Feed Back Gain: 0% ~ 99%)
Determines the amount of flange signal fed back to the input
of the processor for further modulation. More feedback
increases the overall complexity, “strength” and decay time of
the effect.
© InMode (Input Mode: Mix, Stereo)
Selects the input mode for processing of a mixed left and right
channel signal (Mix) or separate left and right channel signals
(Stereo).
@ HPF (high Pass Filter Frequency: THRU, 32Hz ~ 1.0kHz)
Permits rolling off the low frequency content of the reverb
signal below the set frequency. The HPF is OFF when set to
THRU.
LPF (Low Pass Filter Frequency: 1.0kHz ~ 16kHz, THRU)
Permits the rolling off the high frequency content of the
reverb signal above the set frequency. The LPF is OFF when
set at THRU.
Direct Sound
Mod
Depth
nd
Center of Modulation
te
||
Mod Delay
Time
37
FM Chorus (FM.Cho) 2in/20ut
The chorus effect combines delay time and amplitude modulation
to effectively thicken and add warmth to the sound.
Direct Sound
Level
AM.Dep
Time
DM.Dep
Parameters
(D ModFrq (Modulation Frequency: 0.05Hz ~ 40.0Hz)
Sets the speed of modulation, and hence the rate at which the
chorus effect varies.
@ DM.Dep (Delay Time Modulation Depth: 0% ~ 100%)
Sets the amount of delay time variation between Lch and Rch,
thus adjusting the depth of the effect.
(3) AM.Dep (Amplitude Modulation Depth: 0% - 100%)
Sets the depth of amplitude modulation. Higher values
produce deeper amplitude modulation.
@ InMode (Input Mode: Mix, Stereo)
Selects the input mode for processing of a mixed left and right
channel signal (Mix) or separate left and right channel signals
(Stereo).
® HPF (High Pass Filter Frequency: THRU, 32Hz ~ 1.0kHz)
Sets the cutoff frequency of the high pass filter. The HPF is
OFF when set to THRU,
® LPF (Low Pass Filter Frequency: 1.0kHz ~ 16kHz, THRU)
Sets the cutoff frequency of the low pass filter. The LPF is
OFF when set to THRU.
AM Chorus (AM.Cho) 2in/2out
This effect adds more modulation variations to the sound than
FM.Cho effect.
Parameters
D ModFrq (Modulation Frequency: 0.05Hz ~ 40.0Hz)
@ Depth (Delay Time Modulation Depth: 0% ~ 100%)
(3) InMode (Input Mode: Mix, Stereo)
(9 HPF (High Pass Filter Frequency: THRU, 32Hz - 1.0kHz)
® LPF (Low Pass Filter Frequency: 1.0kHz ~ 16kHz, THRU)
NOTE: For a detailed explanation of each parameter see
“Flanger” effect on page 37.
38
Phaser (Phaser) 2in/20ut
This is an excellent simulation of the traditional “phaser” effect,
producing a gentle phase-shift sound that can be used to add
extra animation to a wider range of source signals.
Level L LR R
i | 7
Depth
Time
Delay
Parameters
(D ModFrq (Modulation Frequency: 0.05Hz ~ 40.0Hz)
(2) Depth (Delay Time Modulation Depth: 0% ~ 100%)
(3) Delay (Modulation Delay Time: 0.1msec - 5.0msec)
(4) InMode (Input Mode: Mix, Stereo)
® HPF (High Pass Filter Frequency: THRU, 32Hz ~ 1.0kHz)
® LPF (Low Pass Filter Frequency: 1.0kHz ~ 16kHz, THRU)
NOTE: For a detailed explanation of each parameter see
“Flanger” effect on page 37.
| Symphonic (Symphon) 2in/20ut
This broad sweep effect adds a sense of scale to the sound than
the “FM.Cho” effect.
Parameters
(D ModFrq (Modulation Frequency: 0.05Hz - 40.0Hz)
@ Depth (Delay Time Modulation Depth: 0% ~ 100%)
(3 InMode (Input Mode: Mix, Stereo)
(4) HPF (High Pass Filter Frequency: THRU, 32Hz - 1.0kHz)
(® LPF (Low Pass Filter Frequency: 1.0kHz ~ 16kHz, THRU)
NOTE: For a detailed explanation of each parameter see
“Flanger” effect on page 37.
a ОННННОНООНННННООАООНОНООННОНННННООНАОННННИЯ
PITCH CHANGE EFFECTS
These effects can be used to produce pitch changes in vocal and
instrument inputs.
In addition to the regular chromatic harmony pitch change the
Mono Pitch Change, Dual Pitch Change and Triple Pitch Change
effects offer an intelligent pitch change function which allows
changes in pitch in harmony with the music style according to a
specified key and scale. The program offers 7 preset scales to
choose from and aliows you to define and store 2 additional user
scales. Harmonies are created depending on the input note, for
example one octave higher for C, one 3rd higher for D, etc.
| Mono Pitch Change (MonoPit) | 1in/1out |
This program produces a center position pitch change. The pitch
difference between the the input signal and the effect signal can
be set within the range of + 1 octave. A feedback loop (13)
allows adding repeats with increasingly pitch-shifted notes. Using
a MIDI keyboard connected to the MIDI IN terminal, it is also
possible to vary pitch change amounts automatically by assigning
a specific pitch change to each input note.
| Г.
> Delay, Pitch
N
Parameters
@ intelli (Intelligent: ON, OFF)
This parameter is used to turn the intelligent pitch change
function ON or OFF. When the function is ON, the
Parameters O) to 9) and @ to Y will be available to control
the effect. When set to OFF, the chromatic pitch change
parameters (9 to (4 are displayed.
* Intelligent pitch change parameters
@ Key (Key: C ~ B) *
Determines the base key for the intelligent pitch change scale.
(3 Scale (Scale Type) *
Allows selection of the scale to be used for the intelligent
pitch change function. The unit offers 7 preset scales and 2
user scales which can be edited and stored in memory. (Only
two user scales can be stored in total.)
NOTE: Please use the sound of the preset scales as a guideline
when editing your own scales.
+ Preset Scales
Major
A Cmaj7 _Dm7 Em7 Fmaj7 G7 Am7 B8m? (5)
—
1 1 1 1 | [ ]
1 | „съ. 1 ED | — | 1 —
© > =
Minor
A Cm7 Dm7 (5) Eb Fm7 Gm7 Ab Ву
ГМ | I | L [ 1 | | 1]
| I | 1 1 L | Nan ]
1 i 1 | H ZB 1 Y ab | FF 1
| | haw 1 ET 1 Ar i I J
© ©
Dorian
A Cm7 Dm7 Eb F7 Gm7 Am7 (5) Bb
Ml I 1 1 1 1 1 | _J
в | | | | | i Daw 1
| — Fe]
e o V0
Whole Tone
a Caug Daug Eaug Flaug Gtaug Afaug
MF | i | L | |
1 1 [| } | Ц _
1 i | u | E ae L Nay J
i 1 an | 47 1 » 1 т J
o e 4
Pentatonic
A C8 cs Cs Cs Cs
LW | 1 I | ]
i 1 1 | |]
| ] | OB 1 ip ]
| | PE | Ar 1 ]
e © © Li
Lydian
A Cmaj7 D7 Em7 Fim7 (45) Gmaj7 Am7 Bm7
— MM | | | | i | 1
| i L | 1 E ue |
| 1 L Ц. I a 1 [ & ] 1 1
: | | pay 1 nu | Ar 1 1 J
$ «> <» had т
Blues
A Csuséd Ebm Csus4 Eym Csusé Ebm
CV 1 L ] | | 1 4
i 1 | | 1 | Naw 1
1 1 i | Ц | ray ! rer |]
| | TN 1 &s I nay 1 ar 1 1
e © 2 q
@ InNote (Input Note: Tonic ~ 7th) *
® Pitch (Pitch: -------, l Oct ~ T Oct) *
These two parameters allow you to set pitch change amounts
for individual notes when creating a user scale. After selecting
each note (InNote) you can specify the desired pitch change
for that note using the Pitch parameter.
The InNote tonic is the note set with the Key parameter.
When the Pitch parameter is set to “-----—- ”, the pitch
change applied to the corresponding note will be determined
by the Pitch value of the previous note. For input sources with
excessive vibrato, such as vocals, the Pitch parameter should
be set to “----—- ” for notes that are not needed. (e.g. notes
that are not part of the scale). This produces a more stable
effect sound.
® Save To (User-Scale: 1,2) x
Allows storing a finished user scale in memory for later use.
To store a scale, first select the desired memory location (1 or
2), and then press the 4 function key under “Yes”. To cancel
the operation without storing the scale press the Y function
key under “No”.
NOTE: If you do not store the user scale data they will be lost
when a different effect program is selected.
39
© Source (Control Source: Signal, MIDI) *
Selects between input signal and MIDI NOTE ON messages
as the source controlling the effect.
Sense (Control Sense: 0 - 5) x
Sets the sensitivity of the input pitch (frequency) detector.
Please set to a value where stable pitch change is obtained.
(© Tune (Tune: 438Hz - 445H2) *
Allows setting a reference frequency for the input pitch
detector. This parameter should be tuned to the standard pitch
of the instrument. The value set here applies to all programs.
Chromatic pitch change parameters
9 Pitch (Pitch: { Oct ~ T Ос!) ж
Determines the musical interval (pitch difference) between the
original sound and the pitch-shifted sound. This interval can
be specified in semitone steps. “1 Oct” produces an effect
sound which is one octave below the original sound and
“TOct” a sound one octave above. When set to “Unison”, the
effect pitch is the same as the pitch of the original sound.
The musical interval set here also determines the amount of
pitch change applied to the signal returned via the feedback
loop. For instance, if you set the Pitch parameter to “Th2nd”
and apply feedback, inputting C3 will cause the following
echo-like repeats, each shifted up by a semitone:
A
“—
1] } ri i |
de je de
4 à
Pa, Pa
"—e —
a
=
Va
Pa
pam
Peg
Original sound
* Intelligent/chromatic pitch change parameters
O Fine (Pitch Fine: -100 - +100)
Allows fine adjustment of the pitch difference between the
original sound and the pitch-shifted sound defined by the
Pitch parameter. Fine adjustment is possible in 1-cent steps (1/
100 pitch). When set to “+100” (cent), for example, the input
signal will be pitch-shifted by an additional semitone.
(2 Delay (Delay Time: 0.1msec ~ 1200.0msec)
Determines the time delay between input of the original note
and the output of the first pitch-shifted note.
If the FbGain parameter is set to a value other than “0”, the
Delay time also applies to the resulting feedback repeats.
(3 FbGain (Feed Back Gain: -99% - +99%)
Determines the amount of pitch-shifted sound fed back to the
input of the processor. Negative values result in inverse-phase
feedback. The higher the absolute value, the higher the
number of repeats. Absolute values close to “99” may cause
oscillating sound.
40
« Chromatic pitch shift parameter
(9 Base Key (Base Key: OFF, C1 - C6) %
When the intelligent Pitch change function is ON, this
parameter is not displayed.
This parameter must be set if you want to control the pitch
difference (interval) between the original sound and the pitch-
shifted sound using NOTE ON messages from a connected
MIDI keyboard.
In this case, the pitch difference is determined by the interval
between the Base Key set here and the note of the pressed key
(MIDI NOTE ON message). If the Base Key is set to “C4”,
for example, pressing C3 will produce a pitch change of one
octave down, while pressing the D4 key will shift the pitch up
by two semitones.
NOTE: The MIDI note number of C3 is “60”.
Example: The following illustration shows the pitch
differences (intervals) between the Base Key and
the other keys of the keyboard, when C4 is selected
as the Base Key.
2nd 7th 6th 5th 3rd 2nd b2nd j3rd +5th J6th b7th b2nd b3rd bSth
A2|B2/C3|D3|E3|F3|G3|A3|B3|C4|D4|E4|F4|G4|A4|B4|C5|D5|ES IFS
| |
bird j2nd Oct b7th b6th 5th 4th p3rd ne | 2nd 3rd 4th 5th 6th 7th Oct 2nd 3rd 4th
nison
|
Base key
NOTE: The valid pitch shift range is = | octave. Thus, if the
change in pitch exceeds one octave, it will be corrected
to a pitch within this range.
NOTE: If the Base Key parameter is set to OFF, pitch change
cannot be controlled via MIDI NOTE ON messages.
NOTE: When controlling pitch change using MIDI NOTE ON
messages, the last MIDI NOTE ON message received
determines the current Pitch value.
Dual Pitch Change (DualPit) 1in/20ut
The Dual Pitch Change program produces 2 pitch-shifted sounds
for each input sound. The pitch difference between the original
sound and the pitch-shifted sounds can be set within the range of
+ 2 octaves. You can also set independent feedback loops for
both pitch change processors.
L "Ф 1 Delay, Pitch «—@—oL
A
} NN 1 FB.
R "© 2 Delay, Pitch «— © —оВ
A
N 2FB.
Parameters
D Intelli (intelligent: ON, OFF)
This parameter is used to turn the intelligent pitch change
function ON or OFF. When the function is ON, the
Parameters (2 to 40 and (3 to @ will be available to control
the effect. When set to OFF, the chromatic pitch change
parameters (D to @3 are displayed.
* Intelligent pitch change parameters
@ Key (Key: C - В) *
(3) Scale (Scale Type) *
@ InNote (Input Note: Tonic ~ 7th) x
® Pitch1 (Pitch 1: ------, 1 l Oct - T T Oct x
O Pitch2 (Pitch 2: --------, 1 | Oct ~ TT Oct) %
(7) Save To (User-Scale: 1, 2) *
Source (Control Source: Signal, MIDI) *
(9 Sense (Control Sense: O - 5) *
(9 Tune (Tune: 438Hz - 445Hz) x
* Chromatic pitch change parameters
© Pitch1 (Pitch 1: L { Oct ~ T T Oct) x
® Pitch2 (Pitch 2: L | Ос! - T T Oct) ж
* Intelligent/chromatic pitch change parameters
(3 Fine1 (Pitch Fine 1: -100 ~ +100)
(3 Fine2 (Pitch Fine 2: -100 - +100)
(5 Delay1 (Delay Time 1: 0.1msec - 650.0msec)
(9 Delay2 (Delay Time 2: 0.1msec ~ 650.0msec)
@? Fb1Gain (Feed Back 1 Gain: -99% ~ +99%)
(9 Fb2Gain (Feed Back 2 Gain: -99% - +99%)
(9 Level! (Level 1: 0% ~ 100%)
69 Level2 (Level 2: 0% - 100%)
Set the level of the effect signals.
@) Pan1 (Pan 1: 100/0 ~ 0/100)
@2 Pan2 (Pan 2: 100/0 ~ 0/100)
Allow individual positioning of the Pitchl and Pitch2 effects
in the stereo sound field. A setting of 100/0 positions the
effect sound fully to the left, 0/100 fully to the right and 50/50
in the center.
« Chromatic pitch change parameters
@3 Base Key (Base Key: OFF, C1 ~ C6) *
Sets the Base Key for pitch change control using MIDI NOTE
ON messages.
NOTE: For detailed explanations of the effect parameters refer to
“MonoPit” effect on page 39.
1in/20ut |
The Triple Pitch Change program produces 3 pitch-shifted sounds
for each input sound. The pitch difference between the original
sound and the pitch-shifted sounds can be set within the range of
+ 2 octaves. Feedback is not possible.
| Triple Pitch Change (TripPit)
| 1 Delay, Pitch L
2 Delay, Pitch
R
3 Delay, Pitch R
Parameters
@ Intelli (Intelligent: ON,OFF)
This parameter is used to turn the intelligent pitch change
function ON or OFF. When the function is ON, the
Parameters @ to 4D and (9 to 29 will be available to control
the effect. When set to OFF, the chromatic pitch change
parameters (2 to @ are displayed.
- Intelligent pitch change parameters
@ Key (Key: C - B) x
(3) Scale (Scale Type) *
@ InNote (Input Note: Tonic - 7th) *
® Pitch1 (Pitch 1: 4 { Oct ~ T T Oct) x
© Pitch2 (Pitch 2: L {| Oct ~ T T Oct) *
@ Pitch3 (Pitch 3: L { Oct ~ T T Oct) x
Save To (User-Scale: 1, 2) x
(9) Source (Control Source: Signal, MIDI) *
ú9 Sense (Control Sense: O - 5) *
@ Tune (Tune: 438Hz ~ 445Hz) *
« Chromatic pitch change parameters
@ Piteh1 (Pitch 1: == , + À Oet - TT Oct) *
@Q Pitch2 (Pitch 2: ------, | J Oct - T 1 Oct) *
(3 Pitch3 (Pitch 3: ------, | | Oct ~ T T Oct) *
* Intelligent/chromatic pitch change parameters
O Fine1 (Pitch Fine 1: -100 - +100)
(9 Fine2 (Pitch Fine 2: -100 - +100)
© Fine3 (Pitch Fine 3: -100 - +100)
(9 Delay1 (Delay Time 1: 0.1msec - 1400msec)
19 Delay2 (Delay Time 2: 0.1msec - 1400msec)
@9 Delay3 (Delay Time 3: 0.1msec ~ 1400msec)
27 Level1 (Level 1: 0% ~ 100%)
62 Level? (Level 2: 0% - 100%)
23 Level3 (Level 3: 0% - 100%)
24 Pan1 (Pan 1: 100/0 - 0/100)
63 Pan2 (Pan 2: 100/0 - 0/100)
28 Pan3 (Pan 3: 100/0 - 0/100)
Position the Pitch!, Pitch2 and Pitch3 effects in the same way
as described for the “DualPit” program.
« Chromatic pitch change parameters
@) Base Key (Base Key: OFF, C1 - C6) *
NOTE: For detailed explanations of the effect parameters refer to
“MonoPir” effect on page 39 and “DualP1t” effect.
41
Stereo Pitch Change (StPitch) 2in/20ut
This program allows completely independent processing of two
input signals. The pitch difference between the original sound
and the pitch-shifted sounds can be set within the range of + 2
octaves. You can also set independent feedback loops for both
pitch change processors. The parameter settings apply to both
channels (signals).
L o——@ Delay, Pitch о |
A
NN
Ro -Ф— Delay, Pitch oR
A
N
Parameters
D Pitch (Pitch: L L Oct - T T Oct) x
Determines the musical interval (pitch difference) between the
original sound and the pitch-shifted sound. This interval can
be specified in semitone steps. “LLOct” produces an effect
sound which is two octave below the original sound and
“TTOct” a sound two octave above. When set to “Unison”,
the effect pitch is the same as the pitch of the original sound.
The musical interval set here also determines the amount of
pitch change applied to the signal returned via the feedback
loop.
Fine (Pitch Fine: -100 ~ +100)
Allows fine adjustment of the pitch difference between the
original sound and the pitch-shifted sound defined by the
Pitch parameter.
® Delay (Delay Time: 0.1msec ~ 650.0msec)
Determines the time delay between input of the original sound
and the output of the first pitch-shifted sound. If the FbGain
parameter is set to a value other than “0”, the Delay time also
applies to the resulting feedback repeats.
(4) FbGain (Feed Back Gain: -99% - +99%)
Determines the amount of pitch change to be fed back into the
input of the processor.
Negative values result in inverse-phase feedback. The higher
the absolute value, the higher the number of repeats. Absolute
values close to “99” may cause oscillating sound.
© Base Key (Base Key: OFF, C1 - C6) x
Refer to “MonoPit” effect.
NOTE: When controlling pitch change using MIDI NOTE ON
messages, the last MIDI NOTE ON message received
determines the current Pitch value.
NOTE: The StPitch effect changes the pitch gradually without
sudden variations.
42
PAN EFFECTS
| Auto Pan (AutoPan) 1in/20ut
This 1a a very sophisticated pan program that allows creation of
“rotary” pan in addition to straightforward pan effects.
Parameters
(D Type (Pan Type: L > R,L « R,L « — R, L-TURN, R-
TURN)
Determines the direction in which the sound sweeps across the
stereo sound field. The L-TURN and R-TURN parameters
produce a pan which seems to rotate toward and away from
the listener in the specified direction.
| В LR Le=>R
Speaker Speaker
LN — PNR LZN <— ZNR LIAN] -— [NR
L/R Dep LR Dep L/R Dep
L-TURN R-TURN
I F
LEN ANR |FRDep LIN С) АВ | F/R Dep
UR Dep L/R Dep
(2) Speed (Speed: 0.05Hz - 40.0Hz)
Sets the speed of the PAN effect (i.e. how rapidly the signal
sweeps from channel to channel).
(3) F/R Dep (Front/Rear Depth: 0% - 100%)
When the L-TURN or R-TURN pan type is selected, this
parameter sets the apparent depth of the sweep from front to
rear.
(4) L/R Dep (Lch/Reh Depth: 0% - 100%)
Sets the “depth” of the pan sweep from left to right and right
to left.
(O) HPF (High Pass Filter Frequency: THRU, 32Hz -
1.0kHz)
Permits rolling off the high frequency content of the signal
above the set frequency. The HPF is OFF when set to THRU.
© LPF (Low Pass Filter Frequency: 1.0kHz - 16kHz,
THRU)
Permits rolling off the low frequency content of the signal
below the set frequency. The LPF is OFF when set to THRU.
Triggered Pan (TrigPan) tin/2out |
Level
Directi = L>R
Lech
output |
— L/R Bal
Reh output
à = Time
Trigger
ha fla | +
Attack Panning Release
When triggered, this program automatically pans the sound image
between left and right and left in the stereo sound field — with
programmable attack, pan and release rates.
The following two trigger sources can be used:
+ MIDI NOTE ON message
Foot switch connected to the TRIGGER terminal
Parameters
(D TrgLvi (Trigger Level: 1 ~ 100)
Determines the level of the input signal required to trigger the
panning effect. At 100% only very high level input signals
wili trigger the pan, while at 0% even the tiniest input signal
will trigger the pan.
@ TrgDly (Trigger Delay Time: -100msec ~ +100msec)
Determines the delay between the time at which the effect 1s
triggered and that at which it actually begins. If a minus value
is programmed, the input signal is delayed so that, effectively,
the effect begins before the signal appears.
(3) TrgMsk (Trigger Mask: 3msec - 24000msec)
This parameter makes it impossible to re-trigger the effect
until the programmed time has elapsed.
@ Attack (Attack Time: 3msec ~ 24000msec)
Determines how rapidly the panning effect begins.
© Panning (Panning Time: 3msec - 24000msec)
Determines how long it takes to complete the main portion of
the pan.
© Release (Release Time: 3msec - 24000msec)
Determines the release time of the end of the pan.
(7D Directi (Direction: L > В, || < В)
Determines the direction in which the sound sweeps across the
stereo sound field.
® L/R Bal (Lch/Rch Balance: 0% - 100%)
Determines the maximum extent of the pan sweep. For
example, a setting of 100% produces a full pan from the
extreme left and vice versa.
© MidiTrg (MIDI Trigger: OFF, ON) *
When this parameter is turned ON, a MIDI NOTE ON
message from an external MIDI keyboard can be used to
trigger the pan.
(9 HPF (High Pass Filter Frequency: THRU, 32Hz ~
1.0kHz)
Permits rolling off the low frequency content of the signal
below the set frequency. The HPF is OFF when set to THRU.
@ LPF (Low Pass Filter Frequency: 1.0kHz ~ 16kHz,
THRU)
Permits rolling off the high frequency content of the signal
above the set frequency. The LPF is OFF when set to THRU.
43
COMPLEX EFFECTS
The effect programs explained in this section combine several
effects and thus can be used to create multi-effect signals.
For a detailed explanation of each individual effect in the multi-
effect programs please refer to the descriptions of the
corresponding effect program with the same name.
Chorus & Reverb (Cho&Rev) 1in/20ut |
This is a multi-effect program consisting of Stereo Chorus and
Stereo Reverb.
Parameters
D Direction (Effect Direction: Chorus+Reverb, Chorus >
Reverb, Reverb > Chorus)
* Chorus+Reverb
The Chorus and Reverb signals are output in stereo and
mixed at the L and R output stages.
— L
L Chorus 3
>
Y
R Reverb „A oR
» Chorus — Reverb
The input signal first passes through the Chorus processor
and then through the Reverb processor.
L
Chorus Reverb
—o0 R
R
+ Reverb > Chorus
The input signal first passes through the Reverb processor
and then through the Chorus processor.
L
Reverb Chorus
44
(2) ModFrq (Modulation Frequency: 0.05Hz ~ 40.0Hz)
(3 DM.Dep (Delay Time Modulation Depth: 0% ~ 100%)
® AM.Dep (Amplitude Modulation Depth: 0% ~ 100%)
Refer to “FM Cho” effect on page 38.
© RevTime (Reverb Time: 0.3sec ~ 480.0sec)
(6) HiRatio (High Ratio: RevTime x0.1 ~ x1.0)
@ IniDly (Initial Delay Time: 0.1msec - 800.0msec)
Refer to “Reverb” effect on page 25.
RevMix (Reverb Mixing Balance: 0% ~ 100%)
Determines the mix between the signal entering the reverb
processor and the reverb sound. A bigger value causes more
reverb sound.
® TrgLvi (Trigger Level: 0% ~ 100%)
(9 Release (Release Time: 3msec - 24000msec)
(D MidiTrg (MIDI Trigger: ON, OFF) x
Refer to “Reverb” effect on page 25.
tin/2out |
This is a multi-effect program combining the Stereo Symphonic
and Stereo Reverb.
Symphonic & Reverb (Sym&Rev)
Parameters
(D Direction (Effect Direction: Sympho+Reverb, Sympho —
Reverb, Reverb — Sympho)
Refer to “Cho&Rev” effect.
@ ModFrq (Modulation Frequency: 0.05Hz ~ 40.0Hz)
(3 Depth (Modulation Depth: 0% - 100%)
Refer to “Symphon” effect on page 38.
(4) RevTime (Reverb Time: 0.3sec ~ 480.0sec)
(© HiRatio (High Ratio: RevTime x0.1 ~ x1.0)
© IniDly (Initial Delay Time: 0.1msec ~ 800.0msec)
Refer to “Reverb” effect on page 25.
(7 RevMix (Reverb Mixing Balance: 0% ~ 100%)
Determines the balance between the direct and effect sound.
Higher values produce a greater proportion of the effect sound
in relation to the direct sound.
TrgLvi (Trigger Level: 0% ~ 100%)
© Release (Release Time: 3msec - 24000msec)
10 MidiTrg (MIDI Trigger: ON, OFF) %
Refer to “Reverb” effect on page 25.
| Flanger & Reverb (Fig&Rev) 1in/2out |
This is a multi-effect program combining Stereo Flanger and
Stereo Reverb.
Parameters
(D Direction (Effect Direction: Flange+Reverb, Flange —
Reverb, Reverb — Flange)
Refer to “Cho&Rev” effect on page 44.
@ ModFrq (Modulation Frequency: 0.05Hz ~ 40.0Hz)
(3 Depth (Modulation Depth: 0% ~ 100%)
(4) Delay (Delay Time: 0.1msec - 20.0msec) -
O) FbGain (Feed Back Gain: 0% - 99%)
Refer to “Flanger” effect on page 37.
© RevTime (Reverb Time: 0.3sec - 480.0sec)
@ HiRatio (High Ratio: RevTime x0.21 ~ x1.0)
© IniDly (Initial Delay Time: 0.1msec - 800.0msec)
Refer to “Reverb” effect on page 25.
(9 RevMix (Reverb Mixing Balance: 0% - 100%)
Determines the mix balance between the signal entering the
reverb processor and the reverb sound.
(9 TrgLvi (Trigger Level: 0% ~ 100%)
@ Release (Release Time: 3msec ~ 24000msec)
(2 MidiTrg (MIDI Trigger: ON, OFF) *
Refer to “Reverb” effect on page 25.
| Reverb(L)/ Reverb(R) (Rev/Rev) 2in/20ut
This is a dual effect program in which the input signal of the left
channel 1s processed by the Plate Rev. effect and the signal of the
right channel by the Hali Rev. effect.
Lo Plate Rev L
Ro Hall Rev Re oR
Parameters
NOTE: Balan1 controls the mix level of Plate Rev.
Balan? controls the mix level of Hall Rev.
D PItRvT (Plate Reverb Time: 0.3sec ~ 480.0sec)
Sets the left channel reverb time.
@ PItHiR (Plate Reverb High Ratio: PItRvt x0.1 ~ x1.0)
Allows alteration of the high frequency plate reverb time in
relation to the overall reverb time.
(® PItDif (Plate Reverb Diffusion: 0 ~ 10)
Sets the complexity of the many reflections that make up
reverberation.
(4) PItDly (Plate Reverb Delay Time: 0.1msec - 200msec)
Determines the time until the first plate reverb sound occurs.
(5) HalRvT (Hail Reverb Time: 0.3sec - 480.0sec)
Sets the right channel reverb time.
(6) HalHIR (Hall Reverb High Ratio: HalRvt x0.1 - x1.0)
Allows alteration of the high frequency hall reverb time in
relation to the overall reverb time.
(7) HalDif (Hall Reverb Diffusion: 0 ~ 10)
Sets the complexity of the many reflections that make up
reverberation.
HalDly (Hall Reverb Delay Time: 0.1msec - 200msec)
Determines the time until the first hall reverb sound occurs.
(9 Output (Output Mode: Stereo, Monox2)
When set to Stereo, the output signals of the left and right
channel processors are mixed and then output in stereo. When
monox2 is selected, the left and right channel signals are
output independently.
+ Stereo
Lo Effect1 L
Ro Effect? Re oR
* Monox2
Lo Effect1 -b—o L
Ro Effect? "HR
19 PItLPF (Plate Reverb Low Pass Filter Frequency: 1.0kHz
~ 16kHz, THRU)
Permits rolling off the high frequency content of the Plate
signal above the set frequency. The LPF is OFF when set to
THRU.
(D HalLPF (Hall Reverb Low Pass Filter Frequency: 1.0kHz
~ 16kHz, THRU) |
Permits rolling off the high frequency content of the Hall
signal above the set frequency. The LPF 1s OFF when set to
THRU.
45
| ER (L)/Reverb (R) (ER/Rev)
2in/2out |
This is a dual effect program in which the input signal of the left
channel is processed by the ER effect and the signal of the right
channel by the Reverb effect.
Lo ER L
Ro Reverb
> — R
Parameters
NOTE: Balanl controls the mix level of ER.
Balan2 controls the mix level of Reverb.
@® ErType (Early Reflection Type: S-Hall, L-Hall, Random,
Reverse, Plate, Spring)
Selects the early reflection pattern.
© Room (ER Room Size: 0.1 - 25.0)
Simulates the room size.
(3) Live (ER Liveness: O - 10)
Determines how the early reflections decay.
(@ Diffuse (ER Diffusion: 0 ~ 10)
Sets the complexity of the many reflections that make up the
reverberation.
® ErDly (E Initial Delay Time: 0.1msec - 300.0msec)
Sets the time delay between the direct sound and the first of
the many reflections that make up reverberation.
The above ER parameters control the left channel input signal.
The following parameters (6) ~ (9 affect the right channel input
signal.
© RevTime (Reverb Time: 0.3sec ~ 480.0sec)
Sets the time of the reverb sound.
@ HiRatio (REVERB High Ratio: RevTime x0.1 ~ x1.0)
Allows alteration of the high frequency reverb time in relation
to the overall reverb time.
Diffuse (REVERB Diffusion: 0 ~ 10)
Sets the complexity of the many reflections that make up the
reverberation.
® RevDly (REVERB Initial Delay Time: 0.1msec ~
300.0msec)
Sets the time delay between the direct sound and the first of
the many reflections that make up the reverberation.
46
(9 Output (Output Mode: Stereo, Monox2)
When set to Stereo, the output signals of the left and right-
channel processors are mixed and then outpu in stereo. When
Monox2 is selected, the left and right-channel signals are
output independently.
Refer to “Rev/Rev” effect on page 45.
@ RevLPF (REVERB Low Pass Filter Frequency: 1kHz ~
16kHz, THRU)
Permits rolling off the high-frequency content of the Rev
signal above the set frequency. The LPF is OFF when set to
THRU.
| Echo (L)/ Reverb (R) (Ech/Rev) 2in/2out |
This is a dual effect program in which the input signal of the left
channel is processed by the Echo effect and the signal of the
right channel by the Reverb effect.
Lo Echo L
Ro Reverb R
Parameters
NOTE: Balanl controls the mix level of Echo.
Balan? controls the mix level of Reverb.
(D L.FbDiy (ECHO Leh Delay Time: 0.1msec - 350.0msec)
Determines the time interval for the left channel echo repeats
produced after the initial delay.
Direct Sound (Lch)
L.FbDly
AN
@ L. Fb (ECHO Lch Feed Back Gain: -99% - +99%)
Sets the amount of left channel delay signal fed back to the
input of the processor,
(3) R.FbDly (ECHO Rch Feed Back Gain: 0.1msec ~
350.0msec)
(4) A.Fb (ECHO Reh Feed back Gain: -99% ~ +99%)
These parameters for the right channel have the same
functions as (D and D.
(5) High (ECHO High Frequency Feed Back Gain: x0.1 - x1.0)
Controls feedback in the high frequency range on both the left
and right channels.
L.InDly
® RevTime (Reverb Time: 0.3sec ~ 480.0sec)
Sets the time of the reverb sound.
@ HiRatio (REVERB High Ratio: RevTime x0.1 ~ x1.0)
Allows alteration of the high frequency reverb time in relation
to the overall reverb time.
Diffuse (REVERB Diffusion: 0 ~ 10)
Sets the complexity of the many reflections that make up the
reverberation.
(9) RevDly (REVERB Initial Delay Time: 0.1msec ~
200msec)
Sets the time until the reverb sound occurs.
19 Output (Output Mode: Stereo, Monox2)
When set to Stereo, the output signals of the left and right-
channel processors are mixed and then output in stereo. When
Monox2 is selected, the left and right-channel signals are
output independently.
Refer to “Rev/Rev” effect on page 45.
GD L.InDly (ECHO Lch Initial Delay Time: 0.1msec ~
350.0msec)
The time delay between the input from the left channel and
the initial echo output sound from the left channel.
(2 R.IniDly (ECHO Rch Initial Delay Time: 0.1msec -
350.0msec)
The time delay between the input from the right channel and
the first echo output sound from the right channel.
@3 RevLPF (REVERB Low Pass Filter Frequency: 1kHz ~
16kHz, THRU)
Sets the cutoff frequency of the low pass filter. The LPF is
OFF when set to THRU.
47
| Chorus(L)/ Reverb(R) (Cho/Rev) 2in/20ut
This is a dual effect program in which the input signal of the left
channel is processed by the Chorus effect and the signal of the
right channel by the Reverb effect.
Lo— Chorus L
Ro— Reverb R
Parameters
NOTE: Balan1 controls the mix level of Chorus.
Balan2 controls the mix level of Reverb.
( ModFrq (CHORUS Modulation Frequency: 0.05Hz -
40.0Hz)
Sets the speed of modulation, and hence the rate at which the
effect varies.
@ DM.Dep (CHORUS Delay Time Modulation Depth: 0% -
100%)
Sets the modulation width between the L and R channels of
the Chorus effect.
@ AM.Dep (CHORUS Amplitude Modulation Depth: 0% ~
100%)
Sets the width of the Chorus volume variation.
@ RevTime (Reverb Time: 0.3sec ~ 480.0sec)
Sets the right channel reverb time.
® HiRatio (REVERB High Ratio: RevTime x0.1 ~ x1.0)
Allows alteration of the high frequency reverb time in relation
to the overall reverb time.
® Diffuse (REVERB Diffusion: 0 ~ 10)
Sets the complexity of the many reflections that make up
reverberation.
@ RevDly (REVERB Initial Delay Time: 0.1msec -
300.0msec)
Sets the delay time until the initial reverb sound occurs.
Output (Output Mode: Stereo, Monox2)
When set to Stereo, the output signals of the left and right
channel processors are mixed and then output in stereo. When
Monox2 is selected, the left and right channel signals are
output independently.
Refer to “Rev/Rev” effect on page 45.
© RevLPF (REVERB Low Pass Filter Frequency: 1kHz -
16kHz, THRU)
Sets the cutoff frequency of the low pass filter. The LPF is
OFF when set at THRU.
48
2in/2out |
This is an effect program in which the input signals both the left
and right channels are processed by two pan effects independ-
ently.
| Pan(L)/Pan(R) (Pan/Pan)
Lo— PAN1 L
Ro— PAN2 R
Parameters
NOTE: Balani controls the mix level of PAN1 (Lch).
Balan2 controls the mix level of PAN2 (Rch).
D Type1 (1 Pan Type: L > R, L <- R, L > R, L-TURN,
R-TURN)
(2) Speed1 (1 Panning Speed: 0.05Hz ~ 40.0Hz)
(3) Р/В Dep1 (1 Front/Rear Depth: 0% ~ 100%)
@ L/R Dept1 (1 Lch/Reh Depth: 0% ~ 100%)
O) Delay1 (1 Initial Delay Time: 0.1msec - 700.0msec)
The above are parameters for PAN].
(6) Type2 (2 Pan Type: L > R, L <- R, L <- > R, L-TURN,
R-TURN)
(7 Speed? (2 Panning Speed: 0.05Hz ~ 40.00Hz)
F/R Dep2 (2 Front/Rear Depth: 0% ~ 100%)
© L/R Dep2 (2 Lch/Rch Depth: 0% - 100%)
(9 Delay2 (2 Initial Delay Time: 0.1msec - 700.0msec)
The above are parameters for PAN2.
The functions of the Pan parameters are the same as described
under PAN EFFECTS on page 42. Two signal inputs create two
different Pan effects.
(D Phase (Phase: -180.0deg - +180.0deg)
Determines the starting phase of the right-channel pan (PAN2)
in relation to the left-channel pan (PAN1).
Sets the angle of rotation between PAN1 and PAN2 positions.
If PANI1 and PAN2 both are set to the same Type and Speed,
the angle between PAN1 and PAN2 is 90°, the sound will
move without changing the angle.
R (Rear)
PAN1 position PAN? position
F
(Front) The positions are rotated
without changing the angle.
FREEZE EFFECT
The Freeze effect is a sampling function. It can be used to
“record” (store) a scund (input signal) in the internal memory.
This sound then can be played back repeatedly as required.
| Freeze (Freeze) 1in/20ut
Allows sampling of a monaural sound source and playback of the
sample using a loop. The maximum sampling time is 1.35
seconds and a sampling frequency of 44.1 kHz and 20-bit
quantization allow high-quality sound recording. For playback
you can specify a start and end point within the sample to cut
unneded portions of the recorded sound. Furthermore, you can
change the pitch of the playback sound.
NOTE: The recorded sound sample will be erased when the
power is tumed off.
NOTE: The recorded sound will also be erased when you select a
difrerent program.
NOTE: When the Stereo input mode is selected, the left channel
input signal will be recorded.
| RECORDING/OVERDUBBING
To record a sample, first recall the Freeze effect and then select
the recording screen (shown below) using the PAGE select keys
(07).
FocMode Trally Record
LHut.Fec ] —~ 5
Y A Y A Y A
L ] 1 1 | 1 J
e TrgDly (Trigger Delay Time: -1350msec - +1000msec)
Determines the recording start point in reference to the trigger
point.
If TrgDly is set to 0, the recording is triggered without delay.
If a negative value 1s set, the recording start point will be
moved ahead of the trigger point. A negative value is recom-
mended if the head portion of the sound to be recorded is
likely to get cut off, which usually happens with “AutRec”
and “AutOvr”.
TrgDly = O Input Level
Trigger level
The head section
is not recorded. Trigger point
ZLLLLLILLLLLLLLL
N
TrgDly < 0 Input Level
Trigger level И Z
Do A Ze
The head section
IS also recorded
A % Trigger point
a»
® RecMode (Recording Mode) *
Selects the recording/overdubbing mode.
* ManRec (Manual Recording)
To manually trigger the recording using one of the following
two trigger sources:
1. Function key below “Record” on the LCD display
2. Foot switch connected to TRIGGER terminal
While the signal is recorded, {mt om on ” is shown on the
display under “Fec or”, When sampling is completed, “LE”
will be displayed.
Executing the recording function will erase all previously
recorded sound data.
« ManOvr (Manual Overdubbing)
Over Dubbing manually the triggering effect.
For overdubbing using a manual trigger. The trigger sources
described under ManRec can be used.
Overdubbing will add new sound to the previously recorded
sound.
- AutRec (Auto Recording)
To automatically trigger the recording using the input signal
level as the trigger source.
NOTE: When a negative TrgDly value is set, the input signal
will actually be recorded from before the trigger point.
When a positive value is set, the recording will start
after the specified delay.
While the signal is recorded, “-—-—-——— ” is shown on the
display under “Fé&c2 or 05”. When sampling is completed,
“ME” will be displayed.
Executing the recording function will erase all previously
recorded sound data.
* AutOvr (Auto Overdubbing)
For overdubbing using the input signal level as the trigger
source.
Overdubbing will add new sound to the previously recorded
sound.
PLAYBACK
To play back the recorded sample, change to one of the playback
screens (following pages) using the PAGE select keys (4 / V).
Each of these screens allows you to start and stop playback using
one of the following methods:
1. Y or A function key under “F 1 autor”,
2. Footswitch connected to TRIGGER terminal.
3. MIDI NOTE ON (Start) and OFF (Stop) messages from an
external MIDI keyboard.
49
DO
Setting of Start and End Points for Playback
Start Ena Platos
[ E AEA
Y A v A Y A
| | | | | [ —
e Start (Start Point: Omsec - 1350msec)
e END (End Point: Omsec - 1350msec)
A recorded sample may contain a soundless or otherwise
unneeded portion at the beginning or end. These two param-
eters allow you to specify the playback Start and End points
to tailor the sample length to your needs. If the End point time
is shorter than the Start point time (e.g. End point before Start
point), the sampled sound will be played back in reverse.
Example: Recording of the words “ONE TWO THREE
FOUR FIVE"
1350ms
ONE TWO THREE FOUR FIVE
START END
Playback >
à Er EE re — NW Sele mw EEE ES а а
ONE TWO THREE FOUR FIVE
START END
Playback >
—l—— — Sie—lrr re Er EEE ES N A A ци то ii e y o E A
ONE TWO THREE FOUR FIVE
END START
в Playback
Sound will be reversed.
ONE TWO THREE FOUR FIVE
END START
Playback
Reversed
50
Playback Loop
Lame LorF in Flat ar
[ 1952 7 E:
У A v A Y N
| 1 1 | I | J
e Loop (Loop Point: Omsec - 1350msec)
e LopFin (Loop Fine: -200 ~ +200)
Do 1350ms |
|
ONE TWO THREE FOUR FIVE
START LOOP END
Playback ———="
— = = -« 77 -
-— - —« 7 mT -
“Loop” sets the starting point for the playback repeats
following the initial playback of the sample. The set playback
loop (Loop point to End point) will be repeated until the next
trigger signal (Stop) is received. However, if the Loop point is
set to a time within 5 msec before the End point, the sample
will be played only once.
The “LoopFin” parameter allows shifting the set Loop point in
steps of one sampling unit each for fine adjustment.
Also, if the Erid point is set earlier than the Start point, the
sample will be looped in reverse. If the Loop point is set to
within 5 msec after the End point, the sample will be played
only once.
( 1350ms i
ONE TWO THREE FOUR FIVE
END LOOP START
<— Playback
e e
“4+- —
a
Changing of Pitch During Playback
Pitch Change Control Using the SPX990
Fitch Fire PlasyStor
Liaison) я
Y A Y A Y A
L I | I | | ]
e Pitch (Pitch: 1 J Oct » T T Oct) *
e Fine (Pitch Fine: -100 ~ +100)
Allows changing the pitch of the playback sound similar to
the Pitch effect programs within a range of + 2 octaves. The
“Fine” parameter controls the set pitch in one-cent increments
(one cent equals 1/1000th of a semitone) within a range of +
100.
| MIDI-controlled Pitch Change |
Bas
[od
У A у A У A
L I | 1 L | |
Th
Li
Fe
i
© Base Key (Base Key: OFF, C1 - C6) x
Allows changing the Pitch value using MIDI NOTE ON
messages. (Refer to “MonoPit” effect.)
Playback stops when a MIDI NOTE OFF message is received
(when you release a key on the keyboard).
51
MIDI CONTROL
The SPX990 is equipped with MIDI terminals that allow connection to an external MIDI device for MIDI-
controlled program selection, parameter setting and other operations. MIDI stands for “Musical Instru-
ment Digital Interface”, the data communication standard for electronic instruments and audio equip-
ment. To use MIDI control you must connect the unit to the MIDI terminal of another MID! device
(keyboard, etc.) and set the MIDI parameters accordingly. Also refer to the owner's manual of the other
MIDI device.
MIDI TERMINALS
SPX 990 MIDI Terminals
MIDI IN
This termina! enables the SPX990 to receive MIDI information.
To receive data it must be connected to the MIDI OUT terminal
of another MIDI device.
MIDI OUT/THRU
This terminal functions either as a MIDI OUT jack or as a MIDI
THRU jack, depending on the setting of the MIDI OUT/THRU
switch. Connect this terminal to the MIDI IN terminal of another
MIDI device.
MIDI OUT
When the MIDI OUT/THRU switch is set to QUT, you can
bulk dump effect program data or program change table data
of the SPX990 to an external MIDI device.
MIDI THRU
When the MIDI OUT/THRU switch is set to THRU, the
terminal outputs the information received from other MIDI
devices via the MIDI IN terminal.
MIDI OPERATIONS
The following operations are possible using MIDI control:
M Program Change
The effect programs of the SPX990 can be changed (recalled) by
sending program change messages from another MIDI device.
When you select a voice on a connected MIDI keyboard, a
corresponding program change number is automatically transmit-
ted which will recall a program on the SPX990.
MIDI keyboard, sequencer
MIDI foot controller, etc.
SPX990
MIDI OUT
>
MIDI IN
Using the MIDI OUT/THRU terminal of the SPX990 you can re-
transmit these messages to control other MIDI devices (if you use
several SPX990 in a chain, for example).
52
Preparations:
* Match the MIDI transmit channel of the external MIDI device
to the MIDI receive channel of the SPX990 bank to be used.
(Refer to MIDI PROGRAM CHANGE TABLE SETUP on
page 55.)
Assign the memory numbers (U01 — U99, U00, CO] - C99,
C00, ---, PO1 — P80) to be used to individual program change
numbers (PGM1 — 128). (Refer to MIDI PROGRAM
CHANGE TABLE SETUP on page 55.)
* Select the desired bank. (Refer to MIDI PROGRAM CHANGE
TABLE SETUP on page 55.)
* If you want to re-transmit the program change messages
received via MIDI IN to another unit, connect it to the MIDI
OUT/THRU terminal of the SPX990 and set the MIDI OUT/
THRU switch to THRU,
E Parameter Control
You can change parameter settings of the currentiy selected
SPX990 program by sending control change messages from a
connected MIDI device.
In this way you can input parameter values using the data entry
keys of an external MIDI device, for example.
MIDI keyboard, sequencer
MIDI foot controller, etc.
SPX990
MIDI OUT
|
MIDI IN
Preparations:
< Choose one of the following controllers (refer to “1. Controller
Assignment” on page 56):
* Any control change message
* Note No. or velocity of NOTE ON message
* Channel pressure
+ Specify the parameters to be controlled for each program.
(Refer to “2. Parameter Assignment” on page 57.)
* Match the MIDI transmit channel of the external MIDI device
to the MIDI receive channel of the SPX990 bank to be used.
(Refer to MIDI PROGRAM CHANGE TABLE SETUP on
page 55.)
» Recall the program to be controlled.
E MIDI Trigger
For programs whose main effect is Reverb, FiltRev, EchRoom or
TrigPan you can use a NOTE ON message transmitted by an
external MIDI device as a trigger source to control opening of the
gate.
In this way you can apply the effect as soon as sound is produced
by playing a key.
MIDI keyboard, sequencer
MIDI foot controller, etc.
SPX990
MIDI OUT
>
MIDI IN
Preparations:
+ Match the MIDI transmit channel of the external MIDI device
to the MIDI receive channel of the SPX990 bank to be used.
(Refer to MIDI PROGRAM CHANGE TABLE SETUP on
page 55.)
« Recall the program and set its MidiTrg parameter to ON.
HN Pitch Control
You can use NOTE ON messages transmitted by an external
MIDI device to control the pitch change interval/playback pitch
for programs with the following main effects in real-time:
* MonoPit (Intelli OFF)
* DualPit (Intelli OFF)
» TripPit (Intelli OFF)
+ StPit
+ Freeze
In this way you can change the pitch change interval/playback
pitch using the keys of a connected MIDI keyboard.
MIDI! keyboard, sequencer
MIDI foot controller, etc.
SPX990
MIDI OUT
в
MIDI IN
Preparations:
* Match the MIDI transmit channel of the external MIDI device
to the MIDI receive channel of the SPX990 bank to be used.
(Refer to MIDI PROGRAM CHANGE TABLE SETUP on
page 55.)
* Recall the program, set its Intelli parameter to OFF and select
the base key using the BaseKey parameter.
E Pitch Control (Intelli ON)
NOTE ON messages transmitted by an external MIDI device can
also be used to control the pitch change interval instead of using
the scale intervals set for each input note by the intelligent pitch
change function. This pitch control is possible for programs with
the following main effects:
* MonoPit
* DualPit
* TripPit
When you press a key on a connected MIDI keyboard, for
example, the pitch change interval set for this note will be
applied instead of the interval set for the note of the input signal.
MIDI keyboard, sequencer
MIDI foot controller, etc.
SPX990
MIDI QUT
>
MIDI IN
Preparations:
+ Match the MIDI transmit channel of the external MIDI device
to the MIDI receive channel of the SPX990 bank to be used.
(Refer to MIDI PROGRAM CHANGE TABLE SETUP on
page 55.)
« Recall the program, set its Intelli parameter to ON and set the
Trig parameter to MIDI.
53
E Tempo Control
You can use the MIDI clock of an external MIDI device to
control the Tempo parameter for programs with the following
main effects:
* TmpEchl
* TmpEch2
* TmpEchá
When using a sequencer, for example, the delay time will be
controlled to match the tempo of the music played back.
MIDI keyboard, sequencer
MIDI foot controller, etc.
SPX990
MIDI QUT
>
MIDI IN
Preparations:
* Set the MIDI receive channel of the SPX990 bank to be used
to any other value than OFF. (Refer to MIDI PROGRAM
CHANGE TABLE SETUP on page 55.)
* Recall the program and set the Trig parameter to MIDI.
E Bulk Dump to an External Device
You can bulk dump the data in the SPX990 to another SPX990, a
MIDI data filer or a computer for permanent storage.
SPX990
data filer,
SPX990 computer, etc.
MIDI OUT
>
MIDI IN
Preparations:
+ Match the MIDI transmit channel of the currently selected
bank to the MIDI receive channel of the other SPX990, etc.
(Refer to MIDI PROGRAM CHANGE TABLE SETUP on
page 55.)
+ Specify the bulk data to be transmitted. (Refer to MIDI BULK
OUT on page 58.)
E Bulk Dump Request
You can also initiate transmission of the SPX990 bulk data by
sending a bulk dump request from an external computer.
Computer
MIDI SPX990 MIDI
OUT OUT Bulk data is
—— fü transmitted
MIDI
IN
54
Preparations:
* Match the MIDI receive/transmit channel of the currently
selected bank to the MIDI transmit channel of the computer
and the MIDI receive channel of the external MIDI device
used for storage. (Refer to MIDI PROGRAM CHANGE
TABLE SETUP on page 55.)
E Bank Change Request
It is also possible to switch banks by sending a bank change
request message (system exclusive message) from a computer.
Computer
SPX990
MIDI OUT
>>
MIDI! IN
Preparations:
* Match the MIDI receive channel of the currently selected
SPX990 bank to the MIDI transmit channel of the computer.
(Refer to MIDI PROGRAM CHANGE TABLE SETUP on
page 55.)
H Bulk Dump from an External Device
The SPX990 can also receive (“load”) bulk data from another
SPX990, a MIDI data filer or a computer, etc.
SPX990
data filer,
computer, etc. SPX990
MIDI OUT
в
MIDI IN
Preparations:
* Set User's Memory Protect to “Off”. (Refer to USER'S
MEMORY PROTECT FEATURE on page 17.)
* Match the MIDI receive channel of the currently selected
SPX990 bank to the MIDI transmit channel of the other
SPX990, etc. (Refer to MIDI PROGRAM CHANGE TABLE
SETUP on page 55.)
NOTE: The received bulk data will replace all data stored in the
corresponding memory locations.
E MID! lidicator
When the SPX990 receives MIDI data, the MIDI indicator on the
front panel lights up.
MIDI PROGRAM CHANGE TABLE SETUP (Edit Mode: Page 3)
4 MIDI transmit/receive channel and program change tables can
be set in banks A ~ D. The banks are arranged as shown below
and allow setting of the channel number and program memory
numbers at the positions marked by a question mark (*?”).
Bank Name MIDI receive channel number
MIDI- PGM SPX- MEM
MIDI- PGM - SPX- MEM
1 = ? 1 = ?
2 = ? 2 = ?
3 = ? 3 = ?
128 = ? 128 ?
MIDI-PGM SPX-MEM | MIDI-PGM SPX-MEM
1 = ? 1 = ?
2 = ? 2 = >?
3 = ? 3 = ?
128 = ? 128 = ?
Po]
Program change Memory number of
number (from SPX990
keyboard, etc.)
Setting Procedure:
() Press the EDIT key to enter the edit mode and select F 311
using the PAGE select keys (0 / V).
Faded MIDI Function
FEM] E=CTEL Hulk
Vv A Y A M À
| | | | ] 1 |
a
5
(© Press the ¥ or 4 function key unter “FEPIt.E1” to display the
bank select screen.
Bank
(O Select the desired bank using the function keys under
“Bank”.
NOTE: If you only want to switch banks without changing
any of the settings, continue with step ®.
(4) Press the (À PAGE select key to change to the menu screen
shown below. Use the Y and 4 function keys unter
“Channel” to specify the MIDI transmit/receive channel for
the selected bank.
Channel MICL-FGM SPA -MENM
[ UMMI 1 1 Fil
Y! A У A Y À
{ ri i L | I !
MIDI transmit/receive channel settings:
OMNI Reception on all channels,
transmission on channel 1.
1 Reception/transmission on channel 1.
i Reception/transmission on channel 2.
16 Reception/transmission on channel 16.
OFF Reception/transmission disabled.
(5) Press the Y or 4 function key under “HILI-FIGM” to select
the MIDI Program number (1 ~ 1.55),
Channel MIDI-FEM SPR-MEM
OMT O Eo 1] Fil
MIDI Program No.: 1 - 15
(© Press the Ÿ or à function key under “5F#-MEM” to assign an
SPX program number to the MIDI Program number.
Channel MIOT-FGH SPX-MEM
(MHI 1 [FAL
y a ] y i AZ | A ]
SPX990 Program No.:
FELIPE Preset Memory numbers
81-1155, UBE User Memory numbers
CE1~C9% CBB Card Memory numbers
(7) Repeat steps & and (© to assign other programs.
Press the EDIT key to return to Fade of the edit mode, or
the MEMORY key to return to the memory mode.
55
MIDI PARAMETER CONTROL (Edit Mode: Page 2 and 3)
Parameter values of the currently selected SPX990 effect program can be changed by sending Control
Change messages or NOTE ON messages from an external MIDI device. To use MIDI parameter
control, prepare the unit as follows:
1. Controller Assignment (Edit Mode: Page 3)
This function allows you to assign control change numbers to
two controllers (1 and 2) to control effect parameters using
control change messages from an external MIDI device.
NOTE: The controller assignment applies to al! programs.
Setting Procedure:
(D Press the EDIT key to enter the edit mode and select Fade
using the PAGE select keys (4 / V).
Faded MIDI Function
Fath] ExCTREL Bulk
Y A у A У A
{ [ | i 1 I }
(2 Press the Y or 4 function key under “E=ETFiL” to display the
controller assignment screen.
MIDI Controller 1
[ OFF ]
т A У A у A
| i 1 1 ] ] J
Press one of the PAGE select keys (1 / V) to select
Controller 1 or 2,
56
(4) Select the control change number to be assigned using the
function keys under “{ 1”,
MIDI Controller 1
Г 1 Мор WH j
| 74 A —Y A Y A
I [ | _J
Control change No.:
OFF Control messages will be ignored.
1 MOD LH Control change No. 1
¢ BREATH Control change No. 2
.
Control change No. 95
»
*
+
e
(® Repeat steps © and @ to assign the other controller, if
necessary.
NOTE: If the same control change number is assigned to
controllers 1 and 2, you can control the parameters
assigned in the next section simultaneously.
© Press the EDIT key to return to F237 of the edit mode, or
the MEMORY key to return to the memory mode.
2. Parameter Assignment (Edit Mode: Page 2)
The parameters that will be controlled by controllers 1 and 2 can
be assigned for each program individually. You can also specify
the allowable control range.
Setting Procedure:
(D Recall the desired program. (Refer to MEMORY RECALL on
page 10.)
® Press the EDIT key to enter the edit mode and select Fata
using the PAGE select keys (5 / V).
aer Effect Faraneter
MamplHS Has ar
у A У A у A
| 1 | I L I —
parameter assignment screen.
(4) Press one of the PAGE select keys (1) / V) to change to the
first setting screen of Controller 1 or 2.
Ctrl 1 E+ fect Faramet
[ FreFx1] Orn0FF
У A Y A Vv A
[ | | ] L | J
(5) Press the Y or A function key unter “EFfert.” to select the
effect type (FreFx, MainFxæ or FoztFz).
(6) Press the Y or 4 function key unter “Far amet.” to select the
parameter to be controlled.
NOTE: Some parameters cannot be controlled by MIDI
control change messages. These parameters are
marked with an “»” in the section THE PROGRAMS
& PARAMETERS starting on page 20.
7 Press one of the PAGE select keys (4 / V) to change to the
control range setting screen.
Ctrl 1 Mir I
166, El
т
Г | 1 ] | I }
Here you can set the range (0 - 100%) within which the
parameter can be controlled by control change messages.
Example: The setting range of the L.Thrs parameter of the
pre-(post)effect “Comp” is -24 dB ~ +12 dB. By setting Min.
to 10% and Max. to 90 % the parameter control range will be
-20 dB ~ +9 dB for MIDI parameter control. Please verify this
setting by actually listening to the sound.
Chel 1 Mir Мах
=
C 18, Ga, El
Y A Y A М A
= I I ]
Press the Y or 4 function key unter “fi 1r” (“Ha”) to set the
minimum (maximum) value.
(9) Repeat steps Y to E to assign a parameter to the other
controller, if necessary.
@0 Store the program as described in the section STORING A
PROGRAM on page 16.
57
MIDI BULK OUT (Edit Mode: Page 3)
The SPX990 can transmit bulk data to external MIDI devices. The following bulk data types can be selected:
All Data
Bulk Out All Cata
To bulk dump all data (System Data + User's Memory All +
PGM Change Tbi + User's Scale).
System Data
Eulk Out Sisters Data
У A v A М
L 1 | | L ] J
To bulk dump system data (MIDI Controller, Input Mode, Foot
Switch, User's Memory Protect settings).
User's Memory Data
Bulk Dat Lser”s Memord
[ Hll } Но Yes
Y A т A у
[ | ] I I |
To bulk dump Data (L111 ~ LIST, LIME, 11) in the User's
Memory.
PGM Change Tbi Data
Bulk Cut PEM Change Thi
[ All } Но Yes
Y A т A Y
1 | | | 1 ] ]
To bulk dump the data in the specified bank (H, E, [:, E: or A11).
User's Scale Data
Eulk Out User's Scale
Ho Yes
Y A у A У
L 1 L ] | ] )
To bulk dump the data of user scales 1 and 2 set for the
intelligent pitch change function.
58
Bulk dump procedure:
a
D Press the EDIT key to enter the edit mode and select Fa3e3
using the PAGE select keys (4 / V).
Fade: MIDI Funct lon
Faiittl E-CTEL Ell
у у A Y A
| | | ] 1 1 J
(2) Press the Y or 4 function key under “Et11k” to change to the
“Elk Lit.” screen.
(3) Press one of the PAGE select keys (0 / V) to change to the
bulk dump data select screen shown on the left.
(4) To bulk dump user's memory data you must specify the
memory No.
Press the Y or 4 function key under “L 1” to select
the memory No. (1&1 — 119%, Ubia, AÍ 1). When “HI 1” is
selected, the SPX990 will bulk dump all data in the user's
memory (List — LS, LIEED,
NOTE: If bulk data is transmitted to another SPX990, it will
replace the data in the corresponding memory loca-
tions of the receiving unit.
(5) To bulk dump program change table data you must specify the
bank.
Press the Y or 4 function key under “L 1” to select
the bank (H, EL, D, H1 1). When “H1 1” is selected, the
SPX990 will bulk dump the program change table data of all
banks.
NOTE: If bank data is transmitted to another SPX990, it will
replace the data in the corresponding bank(s) of the
receiving unit.
(6) After selecting the data type, press the 4 function key under
“Te” to start the bulk dump operation.
(7) When the bulk dump is completed, the display will return to
the previous screen.
Press the EDIT key to return to Fade of the edit mode, or
the MEMORY key to return to the memory mode.
APPENDIX
ANNEXE
ANHANG
APPENDIX
ANNEX
ANHANG
SPECIFICATIONS
EE EEE RRR
ELECTRICAL CHARACTERISTICS REAR PANEL
Freq. Response 20Hz-20kHz+-0.5dB Connectors INPUT L/R (XLR x 2, phone jack x 2)
Dynamic Range Above 100dB (Typical 106dB) OUTPUT L/R (XER x 2, phone Jack x 2)
Hum and Noise Below -82dBm (Typical -88dBm) MIDI IN, THRU/OUT (DIN 5P x 2)
Distortion Below 0.005% at max. level 1kHz TRIGGER (phone jack x 1)
INPUT Bypass or INC/DEC (Phone Jack x 1)
Switch IN/OUT Level Switch (+4dB/-20dB x 2)
Number of Channels — 2 (balanced) MIDI THRU/OUT Switch
Nominal Level +4/-20dBm (Switchable)
Max. Level +24dBm (at +4dB switch position) GENERAL
Impedance 20kQ Power Requirements US & Canadian Models: 120V, 60Hz
oureur a 0e
Number of Channels 2 (balanced) ’
Nominal Level +4/-20dBm (Switchable) ,
Max. Level +18dBm (at +4dB switch position) Power Consumption 25W
Impedance 1500 Dimensions 480 x 46 x 324.4 mm
AD/DA Conversion (WxHxD) (18-7/8” x 1-13/16” x 12-3/4™)
A/D Conversion 20-bit linear (including attachments)
D/A Conversion 20-bit linear
Sampling Freq. 44.1kHz Weight 4.6 kg (10 Ibs. 207)
MEMORY * 0dB=0.775Vr.m.s.
Preset Program No.1 - 80 * Specifications and appearance subject to change without notice.
User Memory Program No.1 - 99, 00
Optional Memory Card No.1 - 99, 00
MIDI CONTROL
Program Change
Note On
Control Change
Bulk Dump
FRONT PANEL
Controls
Keys
Display
Slot
Add-1
(Memory Select)
(Pitch Select)
(Parameter Control)
(Parameter Settings, Program Change
Table, System Setup Data)
INPUT LEVEL (L, R), DATA ENTRY
Function Keys x 6, PAGE Select Keys x 2,
MEMORY, STORE, EDIT, BYPASS
Keys
8-segment LED x 2 (Level Meter)
6-segment LED (Mode Indicator)
7-segment LED (Memory No.)
MEMORY, EDIT, BYPASS indicators
LCD (24 characters x 2 lines)
MEMORY CARD
E OPTION
Memory Card
MCD32
MCD64
'CARACTERISTIQUES TECHNIQUES
CARACTERISTIQUES ELECTRIQUES
Réponse en fréquence 20 Hz - 20 kHz +0,5 dB
Plage dynamique Supérieure à 100 dB (106 dB typique)
Bourdonnement et bruit de fond
Inférieur à -82 dBm (-88 dBm typique)
Distorsion Inférieure à 0,005 % au niveau maxi. 1 kHz
ENTREE
Nombre de canaux
Niveau nominal +4/-20 dBm (commutable)
Entrée maxi. +24 dBm (commutable à +4 dB)
Impédance 20 kQ
2 (prises jack)
SORTIE
Nombre de canaux
Niveau nominal
2 (prise jack)
+4/-20 dBm (commutable)
Sortie maxi. +18 dBm (commutable a +4 dB)
Impédance 150 Q
Conversion AN/NA
Conversion A/N 20 bits
Conversion N/A 20 bits
Fréquence d’échantillonnage
44,1 kHz
MEMORY
Programmes préréglés 1-80
Programmes utilisateur 1-99, 00
Carte de mémoire optionnelle
1 - 99, 00
COMMANDE MIDI
Changement de programme (Sélection de mémoire)
Note ON (Sélection de hauteur)
Changement de commande (Contrôle de paramètre)
Vidage mémoire (Vidage de paramètres, tableau de change-
ment de programme, données de configura-
tion du système)
PANNEAU AVANT
Réglages Niveau d’entrée (L, R), DATA ENTRY
Touches Touches de fonction x 6, touches de sélection
de page x 2, MEMORY, STORE, BYPASS
Affichage Diodes à 8 segments 2 canaux (indicateur de
niveau)
Diodes à 6 segments (indicateur de mode)
Diodes à 7 segments (N° de mémoire)
Indicateurs MEMORY, EDIT, BYPASS
Ecran LCD 24 caractères x 2 lignes
Fente Carte de mémoire
PANNEAU ARRIERE
Connecteurs Entrée L/R (XLR x 2, prise jack x 2)
Sortie L/R (XLR x 2, prise jack x 2)
MIDI IN, THRU/OUT (DIN 5 broches x 2)
TRIGGER (prise jack x 1)
BYPASS ou INC/DEC (prise jack x 1)
Commutateur de niveau IN/OUT (+4 dB/-20
dB x 2)
Commutateur MIDI THRU/OUT
Commutateur
GENERALITES
Alimentation U.S.A. et Canada: Secteur 120 V, 60 Hz
Royaume-Uni: Secteur 240 V, 50 Hz
Modèle général: Secteur 230 V, 50 Hz
Consommation 25 W
Dimensions hors tout
(Lx H x P)
480 x 46 x 324,4 mm
Poids 4,6 kg (10 livres 2 onces)
* 0 dB = 0,775 Vrms
* Caractéristiques et présentation susceptibles d'étre modifiées sans
préavis.
E OPTION
Carte de mémoire MCD32
MCD64
Add-2
TECHNISCHE DATEN
ELEKTRISCHE WERTE
Frequenzgang |
Dynamikbereich
Rauschabstand
Verzerrungsgrad
EINGÁNGE
Anzahl der Kanäle
Nennpegel
Hôchsteingang
Impedanz
AUSGANGE
Anzahl der Kanäle
Nennpegel
Hôchstausgang
Impedanz
AD/DA-UMWANDLUNG
A/D-Umwandlung
D/A-Umwandlung
Sampling-Frequenz
SPEICHER
Preset-Programme
Anwenderprogramme
Speicherkarte
(Sonderzubehór)
MIDI-STEUERUNG
Pr’s Scale Data
Note-An
Steueránderung
Blockabwurf
FRONTTAFEL
Regler
Tasten
Display
Steckplatz
Add-3
20 Hz - 20 kHz, +0,5 dB
Úber 100 dB (typisch: 106 dB)
Unter -82 dBm (typisch: -88 dBm)
Unter 0,005% bei max. Pegel 1 kHz
2 (Klinke)
+4/-20 dBm (umschaltbar)
+24 dBm (umschaltbar bei +4 dB)
20 Ohm
2 (Klinke)
+4/-20 dBm (umschaltbar)
+18 dBm (umschaltbar bei +4 dB)
150 Ohm
20 Bit
20 Bit
44,1 kHz
1-80
1 - 99,00
1 - 99,00
(Speicheranwahl)
(Transponierungswahl)
(Parametersteuerung)
(Parameteriibertragung, Programmwechsel-
tabelle, System-Setup-Daten)
INPUT LEVEL (L, R), DATA ENTRY
Funktionstasten x 6, “Page”-Wahltasten x 2,
MEMORY, STORE, EDIT, BYPASS
2 Kanäle, 8 LED-Segmente (Pegelmesser)
6 LED-Segmente (Modusanzeige)
7 LED-Segmente (Speicher-Nr.)
Memory-, Edit-, Bypass-Anzeigen
24 LCD-Zeichen x 2 Zeilen
Speicherkarte
RÜCKWAND
Buchsen
Schalter
ALLGEMEINE DATEN
Stromversorgung
Leistungsaufnahme
Abmessungen
Gewicht
* 0 dB = 0,775 Vr.m.s.
INPUT L/R (XRL x 2, Klinke x 2
OUTPUT L/R (XRL x 2, Klinke x 2
MIDI IN, THRU/OUT (DIN SP x 2)
TRIGGER (Klinke x 1)
BYPASS oder INC/DEC (Klinke x 1)
IN/OUT-Pegelschalter (+4 dB/-20 dB x 2)
MIDI THRU/OUT
US- und Kanada-Modell: 120 V, 60 Hz
GroBbritannien-Modell: 240 У, 50 Hz
Allgemeines Modell; 230 V, 50 Hz
25 W
480 (B) x 46 (H) x 324,4 (T) mm
(einschlieBlich Anbauteile)
4,6 kg
* Anderung der technischen Daten ohne Vorankiindigung vorbehalten.
MN SONDERZUBEHOR
Speicherkarte
MCD32
MCD64
mM BLOCK DIAGRAM / SCHEMA DE PRINCIPE / BLOCKDIAGRAMM
7
¡E a (a0 — 167
d +4 INPUT U
MJ LEVEL a |
У -20 | INPUT PRE MAIN POST -20°! o
| SELECT EFFECT | | EFFECT | | EFFECT |
INPUT | > OUTPUT
}
|
HEA : — — D/A HÍATT 3 I
R +4 || INPUT a R
N о MO LEVEL “a Lo y
| О -20 -20° O |
USER MEMORY
PRESET MEMORY
(in Ga) Y CARD INTERFACE
MIDI THRU
OUT /THRU
OUT CPU
TRIGGER || y LCD
SWITCH/LCD
BYPASS [| —() DATA ENTRY
E DIMENSIONS / ABMESSUNGEN
<
©
AA ADE An = | m LM A, LL + 1
|
2
©) | *
+4
4
ol lB
61915
on m <
cu
m
5
o
|
| 1
A ase [ J 2
o | ee O
O: e: OB В |
z 32 | т | =
Oo - EE ‚ O 1
65 | 350 | (65) =!
— 280(W) re 7
(unit: mm)
(unité: mm)
(Einheit: mm)
Add-4
MIDI DATA FORMAT
LLL; LL LLLL————]] ]—ÑFT——Ú]—— ]]]]]]TLT
1. Transmission Conditions
MIDI
CH oO OFF
BULK DATA ($FO, $43, $0n)
OMNI, 1 —16
> MIDI OUT
2. Transmission Data
2-1 System Information
1) System Exclusive Messages
M Memory Bulk Data
When a MEMORY BULK OUT operation is performed or when
a MEMORY BULK DUMP REQUEST message is received by
the SPX990, the data is transmitted on the MIDI channel speci-
fied for the currently selected BANK. Data is transmitted from
the User memory U01 to U00 in the format below if the memory
number is set at “All”.
(2 Bank Program Change Table Bulk Data
When a BANK PROGRAM CHANGE TABLE BULK OUT
operation is performed or when a BANK PROGRAM CHANGE
TABLE BULK DUMP REQUEST message is received by the
SPX990, data is transmitted on the MIDI channel specified for
the currently selected BANK. Data is transmitted from Bank A to
D in the format below if the bank number is set at “All”.
STATUS 11110000 (FOH) STATUS 11110000 (FOH)
ID No. 01000011 (43H) ID No. 01000011 (43H)
SUB STATUS 0000nnnn (OnH) n= 0 (channel number!) - SUB STATUS 0000nnnn (OnH) n= 0 (channel number1) -
15 (channel number16) 15 (channel number16)
FORMAT No. 01111110 (7EH) FORMAT No. 01111110 (7EH)
BYTE COUNT — 00000010 (02H) BYTE COUNT — 00000010 (02H)
BYTE COUNT 00110100 (34H) BYTE COUNT 00000101 (OAH)
HEADER 01001100 (4CH) "L" HEADER 01001100 (4CH) "L"
01001101 (4DH) "M" 01001101 (4DH) "M"
00100000 (20H) SPACE 00100000 (20H) SPACE
00100000 (20H) SPACE 00100000 (20H) SPACE
00111000 (38H) "8" 00111000 (38H) "8"
01000001 (41H) "A" 01000001 (41H) "A"
00110010 (32H) "2" 00110010 (32H) "2"
00110001 (31H) "1" 00110001 31H) "1"
DATA NAME 01001101 (4DH) "M" DATA NAME 01010100 (54H) "T"
MEMORY Ommmmmmm m= 1 (User Memory No.U01) - BANK No. 0zzzzzzz z=BANK 1-4
100 (User Memory No.U00) (1=A, 2=B, 3=C, 4=D)
DATA Oddddddd — DATA Oddddddd ———
298 BYTE Ш 256 BYTE
Oddddddd — Oddddddd
CHECK SUM Oeeeeee CHECK SUM Оееееее
EOX 11110111 (F7H) EOX 11110111 (F7H)
Add-5
CNE "———_—————"——————
(3) System Setup Bulk Data
When a SYSTEM SETUP BULK OUT operation is performed or
when a SYSTEM SETUP DATA DUMP REQUEST message is
received by the SPX990, data is transmitted on the MIDI channel
specified for the currently selected BANK.
STATUS
ID No.
SUB STATUS
FORMAT No.
BYTE COUNT
BYTE COUNT
HEADER
DATA NAME
SOFT VERSION #
DATA
CHECK SUM
EOX
11110000 (FOH)
01000011 (43H)
0000nnnn (OnH)
01111110 (7EH)
00000000 (00H)
00011110 (1EH)
01001100 (4CH)
01001101 (4DH)
00100000 (20H)
00100000 (20H)
00111000 (38H)
01000001 (41H)
00110010 (32H)
00110001 (31H)
01010011 (53H)
00100000 (20H)
Ovvvvvvv
Orrrrrrr
Oddddddd
Oddddddd
Оеееееее
11110111 (F7H)
n= 0 (Channel No.1) -
15 (Channel No.16)
MN
"М"
SPACE
SPACE
"8"
"A"
пон
ne
ng
SPACE
v=l
r=0
18 Byte
@ User Scale Bulk Data
When a USER SCALE BULK OUT operation is performed or
when a USER SCALE DATA DUMP REQUEST message is
received by the SPX990, data is transmitted on the MIDI channel
specified for the currently selected BANK. Data is transmitted in
User-Scale 1,2 in the format below.
STATUS
ID No.
SUB STATUS
FORMAT No.
BYTE COUNT
BYTE COUNT
HEADER
DATA NAME
DATA
. CHECK SUM
EOX
® All Bulk Data
11110000 (FOH)
01000011 (43H)
0000nnnn (OnH)
01111110 (7EH)
00000011 (03H)
00111011 (3BH)
01001100 (4CH)
01001101 (4DH)
00100000 (20H)
00100000 (20H)
00111000 (38H)
01000001 (41H)
00110010 (32H)
00110001 (31H)
01001001 (49H)
00100000 (20H)
Oddddddd
Oddddddd
Oddddddd
Oddddddd
Oddddddd
Oddddddd
Oddddddd
Oddddddd
Oddddddd
Oddddddd
Oddddddd
Oddddddd
Oddddddd
Оеееееее
11110111 (F7H)
n= 0 (Channel No.1) -
15 (Channel No.16)
"pr
"М"
SPACE
SPACE
"e"
"A"
non
np
"pe
SPACE
TUNE
72 Byte Mono Pitch
User Scale 1
72 Byte Mono Pitch
User Scale 2
72 Byte Dual Pitch
User Scale 1
72 Byte Dual Pitch
User Scale 2
72 Byte Triple Pitch
User Scale 1
72 Byte Triple Pitch
User Scale 2
When an ALL BULK OUT operation is performed or when a
ALL BULK DUMP REQUEST message is received by the
SPX990, data is transmitted on the MIDI channel specified for
the currently selected BANK.
All user program data from UO1 to U00, all bank program change
table A through D and system setup data will be transmitted in
this order as follows:
© Program of User Memory No. U01 to U00
(2) Program Change Table Bank A through D
(3) System Setup Data
(9) User-Scale 1,2 Data
Add-6
3. Reception Conditions
Г
MIDI TRG. (BASE KEY)
O OFF (OFF)
Sy
TE ON
ON (C1 - C16) 7 NOTE ON ($91)
O
—> NOTE OFF ($8n)
MIDI OMNI
7
MIDI IN O
CONTROL CHANGE ($Bn)
O OFF
PROGRAM CHANGE ($Cn)
BULK DUMP REQUEST ($F0, $43, $2n)
BULK DATA ($F0, $43, $0n)
BANK CHANGE ($F0, $43, $0n)
VV VV VV
SYSTEM REAL TIME ($F8)
4. Reception Data
4-1 Channel Information
1) Channel Voice Messages
D Note On
Received on the channel specified for the selected bank. When
the MidiTrg parameter is set at ON, the main effects of “Reverb”,
“FiltRev”, “EchRoom” and “TrigPan” are triggered. Main effect
of MONO PITCH, DUAL PITCH, TRIPLE PITCH and STEREO
PITCH programs are received as messages to control pitch
variation. The velocity value is ignored here. Data cannot be
received when the base key parameter is set at OFF or when the
Intelligent Select is at ON.
STATUS 1001nnnn (9nH) n= 0 (Channel No.1) -
15 (Channel No.16)
NOTE No. Okkkkkkk k=0 (C-2) - 127 (G8)
VELOCITY Ovvvvvvy v=0-127
@ Note Off
This message appears during main effect “Freeze” when playback
is done and it affects the SPX990 only when the equipment
signalling the end NOTE ON message is connected.
STATUS 1000nnnn (8nH) n= 0 (Channel No.1) -
: 15 (Channel No.16)
NOTE No. Okkkkkkk k=0 (C-2) -127 (G8)
VELOCITY Ovvvvvvv v=0 - 127
Add-7
(3) Control Change
Received on the channel specified for the selected bank. When a
message is received, the value of the assigned effect parameter is
changed according to the control value.
STATUS 101 1nnnn (BnH) n= 0 (Channel No.1) -
15 (Channel No.16)
CONTROL NO. Occecece c=1 - 95
CONTROL VALUE Ovvvvvvv v=0 - 127
(4) Program Change
Received on the MIDI channel specified for the currently selected
bank. When a message is received, the corresponding program is
called from the program change table of the selected bank.
STATUS 1100nnnn (CnH) n= 0 (Channel No.1) -
15 (Channel No.16)
PROGRAM NO. Оррррррр p=0 - 127
ECU —
4-2 System Information
1) System Exclusive Messages
M Memory Bulk Dump Request
Received on the MIDI channel specified for the currently selected
bank.
When received, the data corresponding to the specified memory
program is transmitted.
STATUS 11110000 (FOH)
ID No. 01000011 (43H)
SUB STATUS 0010nnnn (2nH) n= 0 (channel number1) -
15 (channel number16)
FORMAT No. 01111110 (7EH)
01001100 (4CH) “L"
01001101 (4DH) "M"
00100000 (20H) SPACE
00100000 (20H) SPACE
00111000 (38H) "8"
01000001 (41H) "A"
00110010 (32H) "2"
00110001 (31H) "1"
DATA NAME 01001101 (4DH) "M"
MEMORY Ommmmmmm m= 1 (User Memory No.UO1) -
100 (User Memory No.U00)
EOX 11110111 (F7H)
@ Program Change Table Bulk Dump Request
® System Setup Data Bulk Dump Request
Received on the MIDI channel specified for the currently
specified bank.
When received, the data corresponding to the system setup data
of the specified bank is transmitted.
STATUS
ID No.
SUB STATUS
FORMAT No.
DATA NAME
EOX
11110000 (FOH)
01000011 (43H)
0010nnnn (2nH)
01111110 (7EH)
01001100 (4CH)
01001101 (4DH)
00100000 (20H)
00100000 (20H)
00111000 (38H)
01000001 (41H)
00110010 (32H)
00110001 (31H)
01010011 (53H)
00100000 (20H)
11110111 (F7H)
n= 0 (channel number1) -
15 (channel number16)
"o
"М"
SPACE
SPACE
ng
"A"
non
nym
ng
SPACE
(9) User Scale Data Bulk Dump Request
Received on the MIDI channel specified for the currently
Received on the MIDI channel specified for the currently selected
bank.
When received, the data corresponding to the program change
table of the specified bank is transmitted.
specified bank.
When received, the data corresponding to the User Scale Data of
the specified bank is transmitted.
STATUS 11110000 (FOH)
ID No. 01000011 (43H)
SUB STATUS 0010nnnn (2nH) n= 0 (channel number!) -
15 (channel number16)
FORMAT No. 01111110 (7EH)
01001100 (4CH) "L"
01001101 (4DH) "M"
00100000 (20H) SPACE
00100000 (20H) SPACE
00111000 (38H) "8"
01000001 (41H) "A"
00110010 (32H) "2"
00110001 (31H) "1"
DATA NAME 01010100 (54H) "T"
BANK No. 0zzzzzzz z=BANK 1-4
(1=A, 2=B, 3=C, 4=D)
EOX 11110111 (F7H)
STATUS
ID No.
SUB STATUS
FORMAT No.
DATA NAME
EOX
11110000 (FOH)
01000011 (43H)
0010nnnn (2nH)
01111110 (7EH)
01001100 (4CH)
01001101 (4DH)
00100000 (20H)
00100000 (20H)
00111000 (38H)
01000001 (41H)
00110010 (32H)
00110001 (31H)
01001001 (49H)
00100000 (20H)
11110111 (F7H)
n= 0 (channel number1) -
15 (channel number16)
"pr
"М"
ЗРАСЕ
SPACE
“ga
"A"
mo"
ne
nye
SPACE
Add-8
—
® Bank Change Request
Received on the MIDI channel specified for the currently selected
bank,
When received, the specified bank is called up.
STATUS
ID No.
SUB STATUS
FORMAT No.
BYTE COUNT
BYTE COUNT
DATA NAME
VERSION #
VERSION #
DATA
CHECK SUM
EOX
11110000 (FOH)
01000011 (43H)
0000nnnn (OnH)
01111100 (7CH)
00000000 (00H)
00001101 (ODH)
01001100 (4CH)
01001101 (4DH)
00100000 (20H)
00100000 (20H)
00111000 (38H)
01000001 (41H)
00110010 (32H)
00110001 (31H)
01010101 (55H)
00100000 (20H)
Ovvvvvvv
Orrrrrrr
0zzzzzzz
Оеееееее
11110111 (F7H)
© Memory Bulk Data
The data format is the same as “Memory Bulk Data” for trans-
mission.
n= 0 (Channel No.1) -
15 (Channel No.16)
Condition setup
op»
"M"
SPACE
SPACE
"e
"А"
no
no
"E
SPACE
v=l
r=0
2 = БапК 1 - 4
(1=A, 2=B, 3=C, 4=D)
@ Bank Program Change Table Bulk Data
The data format is the same as “Bank Program Change Table
Bulk Data” for transmission.
User Scale Bulk Data
The data format is the same as “User Scale Bulk Data” for
transmission.
O System Setup Bulk Data
The data format is the same as “System Setup Bulk Data” for
transmission.
When received from the MIDI Data Filer, a computer or other
sources, the time interval between data exchanges. F7 to FO and
other units must be set to 180msec of longer.
Add-9
2) System Real Time Message
When received on the MIDI channel, the main effects,
“TmpEch1”, “TmpEch2”, “TmpEch4” are triggered. The tempo
parameter is set automatically by timing clock.
TIMING CLOCK 11111000 (F8H)
YAMAHA [ PROFFESSIONAL MULTI-EFFECT PROCESSOR |] Date : 1/26, 1993
Model SPX990 MIDI Implementation Chart Version : 1.0
Transmitted Recognized Remarks
Function
Basic Default X 1-16, off memorized
Channel Changed X 1-16, off
Default X OMNIof f/OMNIon memorized
Mode Default X X
Altered KK X
Note X 0-127
Number : True voice | XXX XX XXX XXX XXX X
Velocity Note ON X X
Note OFF X X
After Key’s X X
Touch Ch’s X X
Pitch Bender X X
1 - 95 X O
Control
Change
Program X o 0 - 127 *1
Change . True # KXKKXXXXXXXXXXX
System Exclusive O O Bulk Dump
System : Song Pos X X
Song Sel X X
Common : Tune X X
System :Clock X O
Real Time :Commands | x X
Aux :Local ON/OFF X X
:All Notes OFF | x X
Mes- :Active Sense X X
sages:Reset X X
Notes: *1 = For program 1 - 128, memory number of SPX990 is selected.
Mode 1 : OMNI ON, POLY Mode 2 : OMNI ON, MONO o : Yes
-1
Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO x : No 191
2 XK950 USER PROGRAMMING TABLE
Date : Programmer :
© 00 | | ©) | Сл IN |
o
11
Add-11
i a una ferrer 440 | xreiny | 1440
92 Ge v2 EZ ce 12 02 61 TT Zi 91 Si pl -dwo9
re ena erre NO 03d NO
el el Ll 04 6 8 / 9 G v € с | xums | edAL | HONO
x41s0d ©
"4 suu sua su 1218
EEE EEE EEE EEE EEE
Arar sr aaa sear
Fer mada UE 128
440
NO
cueley
¡uejeg
40/U0
: XqUIEN Oe
: J8WWB1BO/d
/
319v1 9NINWYHHOUd HISAN OBB OCS
/
: eleg
ee A ee ee 440 150 440
Xjeiny
92 G2 ve 62 22 Le 02 61 al Ll 91 Gl vi
‘dwon
el i TE ee ese NO Vd NO
EL 2! Li OL 6 8 4 9 G $ € 2 | MUS | edAL | HOMO
X481d ®
: aueN WwesBoJg
: ‘ON Alloway
Add-12
©=5 < ©) ©) С) MIDI PROGRAM CHANGE LIST
Date : / / Programmer :
©0 | >54 | ©) | Сл | 5 |2 | п | —
CO ON ION | JO |N |— |O |©
20
& PI |O | IW WW | | 60 | |) IC) | | ro ro tro tro tro Im io im | го
— |O O0 NS | ©) | Сл | 10 N |— 10197100 |<IP 6 CS GI
da | A
Ww IN
Add-13
SERVICE
This product is supported by YAMAHA's worldwide network
of factory trained and qualified dealer service personnel. In
the event of a problem, contact your nearest YAMAHA dealer.
ENTRETIEN
L'entretien de cet appareil est assuré par le réseau mondial
YAMAHA de personnel d'entretien qualifié et formé en usine
des concessionnaires. En cas de problème, prendre contact
avec le concessionnaire YAMAHA le plus proche.
KUNDENDIENST
Für dieses Gerät steht das weltweite YAMAHA Kundendienstnetz
mit qualifiziertem, werksgeschultem Personal zur Verfügung. Bei
Störungen und Problemen wenden Sie sich bitte an Ihren
YAMAHA-Händler.
YAMAHA
YAMAHA CORPORATION
VP91410 R51 PO 196 P.O.Box 1, Hamamatsu, Japan
97 05 5000 CP Printed in JAPAN
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