Yamaha SPX900 User manual

YAMAHA
AUTHORIZED
PRODUCT MANUAL
Professional Multi-effect Processor

YAMAHA
Professional Multi-effect Processor
Operation Manual

INTRODUCTION
Congratulations on your acquisition of a Yamaha SPX900 Professional Multi-effect
Processor. The SPX900 is a highly sophisticated digital reverberation and effects system
which offers 50 preset effect programs including accurate simulations of natural rever-
beration and early-reflections, delay and echo effects, gated effects, modulation effects,
a versatile compressor, a harmonic exciter, multiple effects which function as several
SPX900 units in one, freeze (sampling) programs and others. With a sampling frequency
of 44.1 kHz, it delivers full, flat frequency response from 20 Hz to 20 kHz for exceptionally
clean, “transparent” effect sound. The preset effect programs can be edited, re-titled, and
stored in any of 49 RAM user memory locations. Individual two-band parametric EQ and
dynamic filter parameters are provided for each effect program for precise tonal tailor-
ing. In addition to the basic effect and EQ parameters, the SPX900 offers a list of “internal
parameters” which provide exacting control over the effect sound. The SPX900 is also
MIDI compatible, 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 internal RAM can be dumped to a MIDI data recorder or other data storage
device. Programs thus stored can be reloaded when necessary via the MIDI IN termi-
nal. As an extra touch of convenience the SPX900’s input and output terminals can be
switched to match -20 dBm or +4 dBm line levels + providing compatibility with a broader
range of sound equipment.
In order to fully take advantage of all the capability offered by the SPX900 Professional
Multi-effect Processor, we urge you to read this operation manual thoroughly – and keep
it in a safe place for later reference.
FCC INFORMATION
While the following statements are provided to comply
with FCC Regulations in the United States, the cor-
rective measures listed below are applicable world-
wide.
This series of Yamaha professional music equipment
uses frequencies that appear in the radio frequency
range and if installed in the immediate proximity of
some types of audio or video devices (within three
meters), interference may occur. This series of Yamaha
professional music equipment has been type tested
and found to comply with the specifications set for
a class B computing device in accordance with those
specifications listed in subpart J of part 15 of the FCC
rules. These rules are designed to provide a reasonable
measure of protection against such interference.
However, this does not guarantee that interference
will not occur. If your professional music equipment
should besuspected of causing interference with other
Relocate either the equipment or the electronic device
that is being affected by the interference. Utilize power
outlets for the professional music equipment and the
device being affected that are on different branch
(circuit breaker or fuse) circuits, or install AC line
filters.
In the case of radio or TV interference, relocate the
antenna or, if the antenna lead-in is 300 ohm ribbon
lead, change the lead-in to a co-axial type cable.
if these corrective measures do not produce satisfac-
tory results, please contact your authorized Yamaha
professional products dealer for suggestions and/or
corrective measures.
If you cannot locate a franchised Yamaha professional
products dealer in your general area contact the
Electronic Service Department, Yamaha Corporation
of America, 6600 Orangethorpe Ave., Buena Park,
CA 90620, U.S.A.
electronic devices, verification can be made by turning
your professional music equipment off and on. If the
interference continues when your equipment is off,
the equipment is not the source of interference. If your
equipment does appear to be the source of the inter-
ference, you should try to correct the situation by using
one or more of the following measures:
If for any reason, you should need additional infor-
mation relating to radio or TV interference, you may
find a booklet prepared by the Federal Communi-
cations Commission helpful:
“How to Identify and Resolve Radio-TV Interference
Problems”. This booklet is available from the U.S.
Government Printing Office, Washington D.C. 20402
- Stock No. 004-000-00345-4.

TABLE OF CONTENTS
PRECAUTIONS
1: CONTROLS AND CONNECTIONS 3
THE FRONT PANEL
3
THE CONNECTOR PANEL
5
2: GENERAL OPERATION
6
MEMORY CONFIGURATION
6
SELECTING AN EFFECT/MEMORY LOCATION
6
BYPASSING THE EFFECT 6
ACCESSING & EDITING THE PROGRAM
PARAMETERS
6
STORING EFFECTS
7
EXTERNAL CONTROL ASSIGNMENT
8
3:
THE PROGRAMS & PARAMETERS
9
PARAMETERS PROVIDED FOR ALL PROGRAMS
9
LEVEL PARAMETERS (Accessed via
LEVEL key)
9
EQ PARAMETERS (Accessed via EQ key)
9
REVERB PROGRAMS
10
n 1. REV1 HALL
10
n 2. REV2 HALL&GATE 10
n 3. REV3 ROOM 1
10
n 4. REV4 ROOM 2
10
n 5. REV5 ROOM 3
10
n 7. REV7 VOCAL 1
10
n 8. REV8 VOCAL 2
10
n
9. REV9 PLATE
10
n 10. REV10 PLATE&GATE
10
ECHO ROOM REVERB PROGRAMS
12
n 6. REV6 WHITE ROOM
12
n 11.REV11 TUNNEL
12
n
12.
REV12 CANYON
12
n 13.REV13 BASEMENT
12
EARLYREFLECTION
PROGRAMS 13
n 14. PERCUSSION ER
13
n 15. GATE REVERB 13
n 16.
REVERSE GATE
13
n 17. PROGRAMMABLE ER
13
DELAYPROGRAMS
14
n 18. DELAY L, R
14
n 19.DELAY L, C, R
14
ECHO PROGRAM
15
n 20.STEREO ECHO
15
MODULATIONPROGRAMS 15
n 21. STEREO FLANGE
15
n 22.CHORUS
1 15
n 23.CHORUS
215
n 24. STEREO PHASING
15
n 25. TREMOLO
15
n 26. SYMPHONIC
15
NOISE
GATE PROGRAM
16
n
27.ADR-NOISE GATE
16
PITCH CHANGE PROGRAMS
17
n
28. PITCH CHANGE 1 17
n
29. PITCH CHANGE 2
17
n
30.PITCH CHANGE 3
17
n
31.MONO PITCH
17
FREEZE PROGRAM
19
n 32.
FREEZE
19
PAN PROGRAMS
20
n 33.
PAN 20
n
34.TRIGGERED PAN
21
COMPRESSOR PROGRAM 21
n35.
COMPRESSOR
21
DISTORTION PROGRAM 22
n
36.
DISTORTION
22
EXCITER
PROGRAM 23
n
37.EXCITER 23
MULTI-EFFECTPROGRAMS
23
n
38.MULTI(ECH&REV)1
23
n 39.
MULTI(ECH&REV) 2
23
n 40.
MULTI(CHO&REV)1
23
n 41.MULTI(CHO&REV) 2
23
n42.
MULTI(CHO&REV) 3
23
n
43.
MULTI(SYM+REV)
1
23
n 44.MULTI(SYM+REV)
2 23
n 45.MULTI(SYM+REV) 3
23
n46. MULTI(EXC&REV)1
23
n 47. MULTI(EXC&REV)
2
23
DUAL EFFECT
PROGRAMS
25
n
48.
PLATE+HALL
25
n 49.ER+REV 25
n 50. ECHO+REV 26
4: UTILITY FUNCTIONS
27
TITLE EDlT
27
DIGITAL IN ATT.
27
USER ER EDIT
27
MEMORY PROTECT
28
MIDI CONTROL & MIDI PGM CHANGE 28
MIDI CTRL ASSIGN
29
BULK OUT 1 & BULK OUT 2
29
F.SW MEMORY RCL 30
5: DATA & SPECIFICATIONS Add-1
ROM CONTENTS AND CONTROLLABLE
PARAMETERS
Add-1
MIDI DATA FORMAT Add-23
MIDI IMPLEMENTATION CHART Add-36
BLOCK DIAGRAM Add-37
DIMENSIONS Add-38
SPECIFICATIONS Add-39
1

PRECAUTIONS
1. AVOID EXCESSIVE HEAT, HUMIDITY, DUST AND
VIBRATION
Keep the unit away from locations where it is likely to
be exposed to high temperatures or humidity – such
as near radiators, stoves, etc. Also avoid locations
which are subject to excessive dust accumulation or
vibration which could cause mechanical damage.
2. AVOID PHYSICAL SHOCKS
Strong physical shocks to the unit can cause damage.
Handle it with care.
3. DO NOT OPEN THE CASE OR ATTEMPT REPAIRS OR
MODIFICATIONS YOURSELF
This product 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.
4. MAKE SURE POWER IS OFF BEFORE MAKING OR
REMOVING CONNECTIONS
Always turn the power OFF prior to connecting or
disconnecting cables. This is important to prevent
damage to the unit itself as well as other connected
equipment.
5. HANDLE CABLES CAREFULLY
Always plug and unplug cables – including the AC
cord– by gripping the connector, not the cord.
6. CLEAN WITH A SOFT DRY CLOTH
Never use solvents such as benzine or thinner to clean
the unit. Wipe clean with a soft, dry cloth.
7. ALWAYS USE THE CORRECT POWER SUPPLY
Make sure that the power supply voltage specified on
the rear panel matches your local AC mains supply.
8. ELECTRICAL INTERFERENCE
Since the SPX900 contains digital circuitry, it may
cause interference and noise if placed too close to TV
sets, radios or similar equipment. If such a problem
does occur, move the SPX900 further away from the
affected equipment.
9. BACKUP BATTERY
The SPX900 contains a long-life lithium battery which
maintains the contents of the buffer and user memory
locations even when the unit is turned OFF. With
normal use the battery should last for approximately 5
years. If the battery voltage falls below the safe level,
however, the “*** WARNING *** LOW BATTERY”
display will appear on the LCD when the power is first
turned ON. If this occurs, have the battery replaced by
a qualified Yamaha service center. Do not attempt to
replace the battery yourself!
2

1: CONTROLS AND CONNECTIONS
THE FRONT PANEL
Power ON/OFF Switch
Press to turn power ON, press again to turn power OFF.
When the power is turned ON, the last program and
parameter selected will be automatically recalled.
Input Level Control
This control varies the input level of the input from
approximately -90 dB to +10 dB when the rear-panel
input level switch is set to +4 dB. and between
approximately -110 dB and -14 dB when the input level
switch is set to -20 dB.
PARAM Key
Accesses the main effect parameters for each program.
Each time the PARAM key is pressed the next parameter
in the selected program’s “parameter set” is called. It is
also possible to scroll backward through the parameter set
by using the SCROLL BACK key (7). Once the desired
parameter has been selected its value or setting can be
changed using the parameter and
keys (9). The
PARAM key is also used for cursor control (forward
cursor movement) in some utility functions.
Details under “THE PROGRAMS & PARAMETERS”
starting on page 9
LEVEL Key
Accesses the output level and balance parameters for
each program. Once the LEVEL key has been pressed,
both the LEVEL key and SCROLL BACK (7) key can be
used to select parameters. Once the desired parameter has
been selected its value or setting can be changed using
the parameter
and
keys (9).
Details on page 9
EQ Key
Accesses the digital equalizer or dynamic filter
parameters for each program. Once the EQ key has been
pressed, both the EQ key and SCROLL BACK (7) key
can be used to select parameters. Once the desired
parameter has been selected its value or setting can be
changed using the parameter
and keys (9).
Details on page 9
INT PARAM Key
Accesses a special set of internal parameters for each
effect program. Once the INT PARAM key has been
pressed, both the INT PARAM key and SCROLL BACK
(7) key can be used to select parameters. Once the desired
parameter has been selected its value or setting can be
changed using the parameter
and keys (9).
Details under “THE PROGRAMS & PARAMETERS”
starting on page 9
SCROLL BACK Key
When any set of parameters is selected – PARAM,
LEVEL, EQ, or INT PARAM – the SCROLL BACK
key can be used to scroll backward through the available
parameters while the PARAM (3), LEVEL (4), EQ (5) or
INT PARAMETER (6) key scrolls forward. according to
the parameter set selected. The preceding parameter in
the current set is selected each time the SCROLL BACK
key is pressed. The SCROLL BACK key is also used for
cursor control (backward cursor movement) in some
utility functions.
EXT CTRL ASSIGN Key
This key makes it possible to assign any parameters
(PARAM, LEVEL, EQ or INT PARAM) to external
controllers connected to the front-panel EXT CTRL/
FOOT VOL 1 and 2 jacks (19). These controllers can
then be used to control the assigned parameter in real
time. Yamaha FC7 Foot Controllers are recommended.
Details on page 8
Parameter
and
Keys
These keys are used to change parameter values when
parameters are selected for editing (after the PARAM,
LEVEL, EQ or INT PARAM key has been pressed). The
parameter
and
keys are also used to program several
UTILITY functions. The
and keys can be pressed
briefly to change values in single steps, or held down for
rapid continuous incrementing or decrementing of the
selected value. While holding down either the
or
key. pressing the other key ( or ) causes the
incrementing or decrementing process to be carried out
more rapidly.
3

Program Select and Keys
These keys are used to select any of the SPX900’s
memory locations. The key increments (increases) the
memory location number while the
key decrements
(decreases) the memory location number. Holding either
key down causes continuous scrolling in the specified
direction.
Details on page 6
RECALL Key
When a new memory location number has been selected
using the program select
and
keys. the RECALL key
must be pressed to activate the selected effect.
Details on page 6
STORE Key
This key is used to store edited effect programs into one
of the user memory locations between 51 and 99.
Details on page 7
UTILITY Key
This key accesses a set of utility functions allowing
editing of effect titles. creation of original early-
reflection patterns, MIDI control programming,
footswitch recall range programming and others.
Details on page 27
TRIGGER Key
The TRIGGER key allows manual triggering of any
SPX900 effect program that has trigger parameters. The
reverb programs, for example, include a triggerable gate.
and the freeze programs allow triggering of recording and
playback. The TRIGGER key has the same function as a
footswitch plugged into the rear-panel TRIGGER jack
(THE CONNECTOR PANEL, 5).
BYPASS Key
The BYPASS key switches the selected effect ON or
OFF, leaving only the direct signal when BYPASS is
active. The BYPASS key has the same function as a
footswitch plugged into the rear-panel BYPASS jack
(THE CONNECTOR PANEL. 3).
Details on page 6
4
LCD (Liquid Crystal Display)
This 16-character x 2-line liquid crystal display panel
normally displays the title of the selected effect on the
top line and a selected parameter and its value on the
bottom line. One or both lines may also be used to
display error messages or warnings.
“M ”
will be displayed
in the upper right comer while receiving the MIDI
DATA.
LED Memory Number Display
This 2-digit numeric display shows the number of the
currently selected memory location (1 – 99). When the
LED display is continuously lit the effect corresponding
to the number displayed is active. When the LED display
is flashing, this indicates that a new memory location has
been selected but has not yet been recalled, leaving the
previously selected effect active.
Input Level Meter
The input level meter consists of SEVEN LED segments,
corresponding to -42 dB, -36 dB, -30 dB, -24 dB,
-18 dB, -12 dB, and -6 dB input level.
EXT CTRL/FOOT VOL 1 and 2 Jacks
Optional Yamaha FC7 Foot Controllers plugged into
these jacks can be used to directly control SPX900 effect
program parameters. The parameters to be controlled are
assigned to the controllers using the EXT CTRL ASSIGN
key (8).
Details on page 8

THE CONNECTOR PANEL
(US & CANADA MODEL)
INPUT Connector and Level Switch
REMOTE Connector
The input jack is standard 1/4” monaural phono type. The The optional Yamaha RCX1 Remote Control Unit can be
level switch selects either -20 dB or +4 dB nominal input plugged in here (cable supplied with RCX1) for
level. convinient remote control capability.
L & R OUTPUT Connectors and Level Switch
The stereo outputs from the SPX900. The output jacks
are standard 1/4” monaural phono types. The level switch
selects either -20 dB or +4 dB nominal output level.
BYPASS Footswitch Jack
An optional Yamaha FC5 footswitch or equivalent
connected to this jack can be used for foot control of the
BYPASS function.
Details on page 6
IN/DEC Footswitch Jack
An optional Yamaha FC5 footswitch or equivalent
connected to this jack can be used to recall a range of
programs specified by the UTILITY mode F.SW
MEMORY RECALL RANGE function.
Details on page 30
TRIGGER Footswitch Jack
The TRIGGER footswitch jack accepts a Yamaha FC5 or
equivalent footswitch for foot-controlled triggering of
any SPX900 effect program that has trigger parameters.
The reverb programs, for example, include a triggerable
gate, and the freeze programs allow triggering of
recording and playback. A footswitch connected to the
TRIGGER jack has the same function as the front-panel
TRIGGER key (THE FRONT PANEL, 14).
MIDI IN and THRU/OUT Terminals
MIDI signals from external MIDI devices can be fed to
the MIDI IN terminal to remotely select effects, set the
pitch shift of the pitch change effects, set the pitch of
freeze-program playback and set the MIDI triggering.
When the switch controlling the remaining MIDI terminal
is set to THRU, the terminal simply re-transmits data
received at the MIDI IN terminal allowing daisy-chaining
of MIDI devices. When set to OUT, the internal RAM
memory contents may be dumped to a MIDI data recorder
for large-volume. long-term storage. Program data thus
stored can be reloaded later via the MIDI IN terminal (see
BULK OUT 1 & BULK OUT 2 on page 29).
5

2: GENERAL OPERATION
MEMORY CONFIGURATION
The SPX900 has a total of 99 internal memory locations.
Locations 1 through 50 are READ-ONLY MEMORY
containing 50 preset effect programs. These locations cannot
be written to or changed in any way. The preset effect
programs contained in memory locations 1 through 50 are:
1. REV1 HALL
26.SYMPHONIC
2. REV2 HALL&GATE
27. ADR-NOISE GATE
3. REV3 ROOM 1 28. PITCH CHANGE 1
4. REV4 ROOM 2 29. PITCH CHANGE 2
5. REV5 ROOM 3 30. PITCH CHANGE 3
6. REV6 WHITE ROOM 31.
MONO PITCH
7. REV7 VOCAL 1 32. FREEZE
8. REV8 VOCAL 2 33. PAN
9. REV9 PLATE 34. TRIGGERED PAN
10. REV10 PLATE&GATE 35. COMPRESSOR
11. REV11 TUNNEL
36. DISTORTION
12. REV12 CANYON 37. EXCITER
13. REV13 BASEMENT 38. MULTI (ECH&REV) 1
14. PERCUSSION ER 39. MULTI (ECH&REV) 2
15. GATE REVERB 40. MULTI (CHO&REV) 1
16. REVERSE GATE 41. MULTI (CHO&REV) 2
17.PROGRAMMABLE ER 42. MULTI (CHO&REV) 3
18. DELAY L, R 43. MULTI (SYM+REV) 1
19. DELAY L, C, R 44. MULTI (SYM+REV) 2
20. STEREO ECHO 45. MULTI (SYM+REV) 3
21. STEREO FLANGE 46. MULTI (EXC&REV) 1
22. CHORUS 1 47. MULTI (EXC&REV) 2
23. CHORUS 2
48. PLATE+HALL
24. STEREO PHASING 49. ER+REV
25. TREMOLO 50. ECHO+REV
Locations 51 through 99 are READ/WRITE MEMORY which
can be used to store your own edited versions of the preset
programs.
SELECTING AN EFFECT/MEMORY LOCATION
1. Effects and memory locations can only be selected when
the utility mode is not active (the UTILITY KEY indicator
is not lit). If the UTILITY key indicator is lit. press and
hold the UTILITY key until its indicator goes out and the
utility mode is exited.
2. Press the program select
or
key to increment or
decrement the memory location number shown on the LED
display. Hold either of these keys down for continuous
incrementing or decrementing. The name of the program
corresponding to the currently selected memory location
will be shown on the LCD. Note that at this stage the LED
memory number display is flashing, indicating that
although a new location has been selected. its contents
have not yet been recalled.
6
3. When the desired memory location/effect has been
selected. press the RECALL key. The LED memory
number display will stop flashing and the selected effect
will be engaged.
BYPASSING THE EFFECT
There are two ways to switch the selected effect in and out: 1)
with the control panel BYPASS switch and 2) with a
footswitch connected to the connector-panel BYPASS
footswitch jack. An optional Yamaha FC5 Footswitch can be
used for foot-bypass control. In either case – when the
control-panel BYPASS key or BYPASS footswitch is pressed
-the LED in the BYPASS key will light to indicate that the
selected program is currently being bypassed and the input
signal is directly routed to the output terminals (i.e. the effect
is OFF). Press the BYPASS key or footswitch a second time
to turn off the BYPASS Key LED and turn the effect back
ON.
ACCESSING & EDITING
THE PROGRAM PARAMETERS
Each SPX900 program has 4 different groups of parameters
which are accessed by pressing the corresponding parameter
select keys:
KEY ACCESSES
PARAM
LEVEL
The main effect parameters for each program.
These parameters will vary according the type
of program.
The BALANCE and OUT LVL parameters for
each program.
EQ
The equalization or dynamic filter parameters
for each program.
INT PARAM Special “fine control” parameters for each
program. These parameters will vary
according to the type of program.

To call a specific group of parameters for the currently
selected effect program, press the appropriate parameter select
key. The next parameter within the group is called each time
the parameter select key for that group is pressed. In any
parameter group. the SCROLL BACK key can be used to
scroll backwards through the parameters. For example,
subsequent presses on the LEVEL parameter select key call
the following parameters:
BALANCE
OUT LVL
BALANCE etc.
The complete procedure for calling and editing parameters is:
1. Select and recall the program to be edited.
2. Press the parameter select key corresponding to the group
of parameters to be edited (PARAM, LEVEL, EQ or INT
PARAM) and the first of the selected group’s parameters
will appear on the bottom line of the LCD.
3. Once the desired parameter has been called. its value can
be edited using the parameter
and keys. The key
increases (increments) the value while the key decreases
(decrements) the value. Either key can be held down for
continuous incrementing or decrementing.
While holding down either the or key, pressing the
other key or causes the incrementing or
decrementing process to be carried out more rapidly.
In this way you can go through and edit any number of the
parameters to create the required effect. If, however. you
select and recall a new program without first storing your
edited parameters in a memory location between 51 and 99,
any changes you have made will be lost and will have to be
re-programmed. If you want to keep an edited program, use
the STORE operation described below.
STORING EFFECTS
In order to store an edited effect for later recall you need to do
the following:
1. Make sure that the SPX900 MEMORY PROTECT function
is OFF. Press the UTILITY key a few times until the
MEMORY PROTECT function appears. If it is ON, press
the parameter key to turn it OFF. Press and hold the
UTILITY key until its indicator goes out and the utility
mode is exited.
2. After editing the effect, select a memory location between
51 and 99 by using the program select
andkeys, and
its title will be displayed on the LCD. Do not recall the
selected memory location.
3. Press the STORE key to store the edited effect in the
selected memory location. The title of the effect stored will
appear on the LCD (this may later be edited to create your
own effect title using the UTILITY mode TITLE EDIT
function described on page 27). The LED memory number
display will stop flashing and the stored memory location
will become the active effect.
NOTE:
You CANNOT store edited data to memory locations 1
through 50. If you attempt to do this the LCD will show
“*** READ ONLY ***”.
Once an effect has been stored in a memory location
NOTE:
between 51 and 99, its parameters can be further edited in
the new memory location. Such changes will be lost if a
different effect is selected and recalled, however, unless the
STORE function is used to store the changes. Changes may
be stored to the current memory location number (51 – 99)
simply by pressing the STORE key.
7

EXTERNAL CONTROL ASSIGNMENT
The SPX900 allows two different parameters of a selected
effect to be controlled by optional foot controllers (Yamaha
FC7) connected to the front-panel EXT CTRL/FOOT VOL1
and 2 jacks. The EXT CTRL ASSIGN key is used to assign
the desired effect parameters to the foot controllers used, and
to set the required control range. External control assignments
made for an effect program can be stored in the user memory
area (51
– 99) along with the effect (using the STORE
function described above). so that the assignments made are
recalled whenever that memory location is selected.
1. Select the desired effect program.
2. Select the parameter to be assigned to an external foot
controller (PARAM, LEVEL, EQ or INT PARAM
parameters can be assigned).
3. Press the EXT CTRL ASSIGN key. The name of the
selected effect program will remain on the upper line of the
LCD. and one of the following parameters will appear on
the lower line:
In the actual display, “XXXXXXXX” will be the name of
the default parameter for the selected effect program. The
EXT CTRL ASSIGN key can be used to scroll forward
through the above parameters. and the SCROLL BACK
key can be used to scroll backwards.
4. To assign the selected parameter to the EXT CTRL/FOOT
VOL1 or EXT CTRL/FOOT VOL2 controller. use the EXT
CTRL ASSIGN or SCROLL BACK key to call the
“FVOL1 XXXXXXXX” or “FVOL2 XXXXXXXX”
parameter.
8
5. Press either the parameter or key and the parameter
you called within the selected effect program will be
assigned to the foot controller indicated on the display
(FVOL1 or FVOL2).
6. Use the “MIN” and “MAX” parameters for the appropriate
controller to set the control range. If the parameter to be
controlled has a range of 0 to 100%, for example, setting
the MIN parameter to 20 and the MAX parameter to 80
will allow the foot controller to vary the selected parameter
from 20% to 80% of its total range.
NOTE:
Either or both controllers may be assigned. When both
controllers are used, each can be assigned a different
parameter within the selected effect program.
NOTE:
External control assignments will be lost if a different
memory location is selected without first storing the
locations (51 – 99) using the STORE function.
assigned effect program into one of the user memory
NOTE:
MIDI control change messages received via the MIDI IN
connector can also be used to control assigned parameters.
See “MIDI CTRL ASSIGN” on page 29.
CAUTION!
When setting the range and storing it in the program.
always make sure the preset values for the assigned
parameters are included within the set range.
When setting the range, confirm the values for MIN and
MAX with the controller, and always make sure the preset
values are inside the externally set values.
If the preset values are outside the specified range, there
may be no response to the controller when a recall operation
is carried out.

3: THE PROGRAMS & PARAMETERS
PARAMETERS PROVIDED
FOR ALL PROGRAMS
LEVEL PARAMETERS (Accessed via LEVEL key)
Effect/Direct Signal Balance (BALANCE): 0 – 100%
This parameter adjusts the balance between the direct sound
and effect signals. At 100% only the effect sound is delivered
from the SPX900 outputs, while at 0% only the direct sound is
output. At a setting of 50%. the direct and effect sounds are
output in approximately equal proportions.
Effect Output Level (OUT LVL): 0 – 200%
This parameter sets the overall output level of the effect
program. This is particularly handy for matching levels
between different effects.
DUAL EFFECT PROGRAM (PROGRAMS 48 – 50)
LEVEL PARAMETERS
The level parameters available for the dual effect programs
(programs 48 –
50) are the same as those for the other
programs, except that separate parameters are provided for the
left and right channels.
BALANCE
1=
Effect 1 Balance
BALANCE
2= Effect 2 Balance
OUT LVL 1 = Effect 1 Output Level
OUT LVL 2 = Effect 2 Output Level
EQ PARAMETERS (Accessed via EQ key)
When the EQ key is pressed, you are presented with three
choices: “OFF” (the default setting), “EQ” (2-band parametric
equalizer mode), or “D.FLT” (Dynamic Filter mode). Use the
parameter and keys to select the desired mode of
operation. The EQ mode provides 2-band parametric
equalization, while the Dynamic Filter mode provides a filter
which can be automatically swept across a specified frequency
range by the SPX900’s internal low frequency oscillator or the
level of the input signal.
PARAMETERS AVAILABLE IN THE “EQ”
MODE
Low EQ Peaking or Shelving Response (LOW EQ):
PEAK, SHLV
High EQ Peaking or Shelving Response (HIGH EQ):
PEAK, SHLV
These parameters determine whether the corresponding band
has a peaking or shelving filter response.
Low EQ Frequency (LOW FRQ): 32 Hz – 2.2 kHz
High EQ Frequency (HIGH FRQ): 500 Hz – 16 kHz
These parameters determine the center frequency for
equalization in the corresponding band. In the shelving mode,
these parameters represent the turn over frequency rather than
the center frequencies.
Low EQ Gain (LOW GAIN): -15 – +15 dB
High EQ Gain (HIGH GAIN): -15 – +15 dB
These parameters determine the amount of boost or cut
applied to the corresponding EQ band.
Low EQ Bandwidth (LOW Q): 0.1 – 5.0 (PEAK mode
only)
High EQ Bandwidth (HI Q): 0.1 – 5.0 (PEAK mode
only)
These parameters determine the bandwidth of the
corresponding EQ band. A setting of 5.0 produces the
narrowest bandwidth (sharpest response), and the minimum
setting of 0.1 produces the widest bandwidth (broadest
response). Note that the “Q” parameters for the low and high
bands only function when the corresponding band is set to the
PEAK mode.
PARAMETERS AVAILABLE IN THE “D.FLT”
MODE
Control Type (CTL TYPE): LFO, LEVEL
Determines whether the sweep of the dynamic filter is
controlled by the SPX900’s LFO (Low Frequency Oscillator)
or the level of the input signal.
9

Filter Type (FLT TYPE): LPF, HPF, BPF, PEQ
Bandwidth (Q): LOW, HIGH
Determines the response of the dynamic filter: Sets the bandwidth of the dynamic filter.
LPF = Low Pass Filter
HPF = High Pass Filter
BPF = Band Pass Filter
PEQ = Parametric EQ
Center Frequency (F CENTER): 32 Hz – 16 kHz
Sets the starting center frequency of the dynamic filter.
Frequency Depth (F DEPTH): 0 – 8 octaves
Determines the maximum sweep range of the dynamic filter.
Filter Gain (GAIN): -18, -12, -6, 6, 12, 18 dB (when
FLT TYPE = PEQ only)
Determines the gain of the dynamic filter when the PEQ filter
type is selected. Minus values create a notch response while
positive values create a peaking response.
10
Filter Shift Direction (SHIFT): UP, DOWN
Determines which direction the dynamic filter will sweep in
from the starting point.
Filter Sensitivity (SENSITIVITY): 1 – 10
Adjusts the sensitivity of the dynamic filter. Higher settings
create a greater degree of sweep for the same change in input
level (LEVEL control type).
Filter Decay (DECAY): 1 – 10
Determines the speed at which the dynamic filter will return
to the starting frequency after activation.
Low Frequency Oscillator Frequency (LF0 FRQ):
0.1 – 10.0 Hz
Sets the LFO frequency and thus the speed of dynamic filter
sweep when the LFO control type is selected.
DUAL EFFECT PROGRAM (PROGRAMS 48 – 50)
EQ PARAMETERS
The EQ parameters for the dual effect programs (programs
48 – 50) are the same as for the other programs. except that
separate EQ parameters are provided for the each effects
when the “EQ” mode is selected.
1 LOW EQ = Effect 1 Low EQ
1 LOW F = Effect 1 Low Frequency
1 LOW G = Effect 1 Low Gain
1 LOW 0 = Effect 1 Low Bandwidth
1 HI EQ = Effect 1 High EQ
1 HI F = Effect 1 High Frequency
1 HI G = Effect 7 High Gain
1 HI Q = Effect 1 High Bandwidth
2 LOW EQ = Effect 2 Low EQ
2 LOW F = Effect 2 Low Frequency
2 LOW G = Effect 2 Low Gain
2 LOW Q = Effect 2 Low Bandwidth
2 HI EQ = Effect 2 High EQ
2 HI F = Effect 2 High Frequency
2 HI G = Effect 2 High Gain
2 HI Q = Effect 2 High Bandwidth
REVERB PROGRAMS
n 1. REV1 HALL
n
2. REV2 HALL&GATE
n
3. REV3
ROOM1
n
4.
REV4 ROOM
2
n5. REV5 ROOM
3
n 7. REV7 VOCAL1
n
8. REV8 VOCAL
2
n 9. REV9 PLATE
n
10.
REV10 PLATE&GATE

Reverberation is the warm musical “ambience” you
experience when listening to music in a hall or other properly-
designed acoustic environment. The SPX900 offers several
different reverb effects, simulating types of reverberation you
would experience in halls, in smaller rooms, reverb effects
ideally suited to vocals, the type of reverberation produced
artificially by a plate reverberator.
PARAMETERS ACCESSED BY THE PARAM KEY
Reverb Time (REV TIME):
0.3 – 480 seconds (1. REV1 HALL, 2. REV2
HALL&GATE, 7. REV7 VOCAL 1,
8. REV8 VOCAL 2)
0.1– 480 seconds (3. REV3 ROOM 1,4. REV4
ROOM 2,5. REV5 ROOM 3,9.
REV9 PLATE, 10. REV10
PLATE&GATE)
The length of time it takes for the level of reverberation at
1 kHz to decrease by 60 dB – virtually to silence. In a live
setting, this depends on several factors: room size, room
shape, type of reflective surfaces, and others.
High Frequency Reverb Time Ratio (HIGH): 0.1 – 1.0
Natural reverberation varies according to the frequency of the
sound. The higher the frequency, the more sound tends to be
absorbed by walls, furnishings and even air. These two
parameters allow alteration of the high-frequency and low-
frequency reverb times in relation to the overall reverb time.
Diffusion (DIFFUSION): 0 – 10
The complexity of the many reflections that make up
reverberation varies according to the shape of the room and its
contents. In the SPX900 the term “diffusion” refers to the
complexity of these reflections. If the DIFFUSION parameter
is set to “0,” minimum complexity and therefore a clearer,
more straightforward reverb effect is produced. As the
DIFFUSION value is increased, the complexity of the
reflections increases producing a thicker, richer sound.
Initial Delay (INI DLY): 0.1 – 200.0 milliseconds
This represents the time delay between the direct sound of an
instrument in a concert hall and the first of the many
reflections that make up reverberation.
High-pass Filter Frequency (HPF FRQ.): THRU,
32 Hz – 1.0 kHz
Permits rolling off the low-frequency content of the reverb
signal above the set frequency. The HPF is OFF when set to
THRU.
Low-pass Filter Frequency (LPF FRQ.): 1.0 – 16 kHz,
THRU
Permits rolling off the high-frequency content of the reverb
signal above the set frequency. The LPF is OFF when set to
THRU.
PARAMETERS ACCESSED BY THE INT PARAM
KEY
0 Early Reflection/Reverb Balance (ER/REV BAL.):
– 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 equal level.
Reverb Delay (REV DLY): 0.1 – 100.0 milliseconds
Sets the delay 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.
Density (DENSITY): 0 – 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.
Trigger Level (TRG. LEVEL): 0 – 100
Determines the level of the input signal required to trigger
“opening” of the reverb program gate. At 100% only very
high-level input signals will trigger the gate, while at 1% even
the tiniest input signal will trigger the gate.
Trigger Delay (TRG. DLY): -100 – +100.0
milliseconds
Produces a delay between the time at which the gate is
triggered and that at which it actually opens.
Hold Time (HOLD): 1 – 24,000 milliseconds
Determines how long the gate stays open. allowing the signal
to pass.
Release Time (RELEASE): 3 – 24,000 milliseconds
Determines how long it takes for the gate to close fully after
the HOLD TIME has ended.
11

MIDI Trigger (MIDI TRG.): OFF, ON
When this parameter is turned 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.
NOTE:
This effect can also be triggered by the front-panel
TRIGGER key or a footswitch plugged into the rear-panel
TRIGGER jack.
ECHO ROOM REVERB PROGRAMS
n
6.
REV6 WHITE ROOM
n11.REV11 TUNNEL
n
12.
REV12 CANYON
n13.REV13 BASEMENT
This is a special type of reverberation in which you have
extensive control over the room’s dimensions and other
parameters.
PARAMETERS ACCESSED BY THE PARAMETER
KEY
Reverb Time (REV TIME): 0.3 – 100.0 seconds
The length of time it takes for the level of reverberation at
1 kHz to decrease by 60 dB – virtually to silence. In a live
setting, this depends on several factors: room size, room
shape, type of reflective surfaces, and others.
Room Width (WIDTH): 0.5 – 34.0 meters
Room Height (HEIGHT): 0.5 – 34.0 meters
Room Depth (DEPTH): 0.5 – 34.0 meters
These parameters make it possible to specify the main
dimensions of the echo room in meters. Basically, the larger
the dimensions of the room the longer the reverb sound.
12
Wall Variance (WALL VARY): 0 – 30
Irregularity factor refers to the relationship of the wall
surfaces in the echo room. At a setting of 1 all walls are
parallel. Higher settings increase the angles between the wall
surfaces. causing a distinct change in the reverb sound.
Listening Position (LIS. POSI.): FRONT, CENT., REAR
Allows position the “listener” to the front, center or rear of the
echo room in relation to the source sound.
High Frequency Reverb Time Ratio (HIGH): x0.1 –
x1.0
Natural reverberation varies according to the frequency of the
sound. The higher the frequency. the more sound tends to be
absorbed by walls, furnishings and even air. These two
parameters allow alteration of the high-frequency and low-
frequency reverb times in relation to the overall reverb time.
Diffusion (DIFFUSION): 0 – 10
The complexity of the many reflections that make up
reverberation varies according to the shape of the room and its
contents. In the SPX900 the term “diffusion” refers to the
complexity of these reflections. If the DIFFUSION parameter
is set to “0.” minimum complexity and therefore a clearer,
more straightforward reverb effect is produced. As the
DIFFUSION value is increased, the complexity of the
reflections increases producing a thicker, richer sound.
Initial Delay (INI DLY): 0.1 – 200.0 milliseconds
This represents the time delay between the direct sound of an
instrument in a concert hall and the first of the many
reflections that make up reverberation.
High-pass Filter Frequency (HPF FRO.): THRU,
32 Hz – 1.0 kHz
Permits rolling off the low-frequency content of the reverb
signal above the set frequency. The HPF is OFF when set to
THRU.
Low-pass Filter Frequency (LPF FRO.): 1.0 – 16 kHz,
THRU
Same as other reverbs.
Width Fine: -100 – + 100
This sets the value specified with WIDTH as the reference
value (0) and is the parameter for fine adjustment.

Height Fine: -100 – +100
This sets the value specified with HEIGHT as the reference
value (0) and is the parameter for further fine adjustment.
Depth Fine: -100 – +100
This sets the value specified with DEPTH as the reference
value (0) and is the parameter for further fine adjustment.
Wall Vary Fine (W. VARY FINE): -100 – +100
This sets each of the value specified with WIDTH, HEIGHT,
DEPTH, and WALL VARY as the reference value (0) and is
the parameter for further fine adjustment.
W. Decay: RT x 0.1 – 10.0
Among the REV components, this sets the reverberation time
of the REV components specified with WIDTH to a multiplier
value corresponding to the REV TIME. It simulates the
acoustic properties of the side walls.
H. Decay: RT x 0.1 – 10.0
D. Decay: RT x 0.1 10.0
In the same way as for W. Decay, this sets a multiplier value
corresponding to REV TIME for reverberation time felt in
relation to the HEIGHT (vertical direction) in the height
direction and that felt for the DEPTH in the front-to-back
direction. It also simulates the acoustic properties of the walls
in the vertical and front-to-back directions.
PARAMETERS ACCESSED BY THE INT PARAM
These are same as REVERB Programs.
EARLY REFLECTION PROGRAMS
n 14. PERCUSSION ER
n 15. GATE REVERB
n 16. REVERSE GATE
n 17. PROGRAMMABLE ER
These effects are created using different groupings of “early
reflections” – the first cluster of reflections that occurs after
the direct sound but before the dense reflections that are
known as reverberation begin.
PARAMETERS ACCESSED BY THE PARAM KEY
GATE REVERB & REVERSE GATE: TYPE A,
TYPE B
Early Reflection Pattern Type (TYPE):
PERCUSSION ER: S-HALL, L-HALL, RANDOM,
REVERSE, PLATE, SPRING
PROGRAMMABLE ER: USER-A, USER-B,
USER-C, USER-D
In the PERCUSSION ER program the TYPE parameter selects
one of six different patterns of early reflections. S-HALL
produces a typical grouping of early reflections that would
occur in a performing environment such as a small hall.
L-HALL simulates the early reflection pattern of a larger hall.
RANDOM produces an irregular series of reflections that
could not occur naturally. REVERSE generates a series of
reflections that increase in level – like the effect produced by
playing a recorded reverberation sound backwards. PLATE
produces a typical grouping of reflections that would occur in
a plate reverb unit. and SPRING produces the same for spring
type reverb unit.
In the PROGRAMMABLE ER program the TYPE parameter
selects one of the four user-programmed early reflection
patterns: USER-A, USER-B. USER-C or USER-D. The USER
early reflection patterns are programmed using the utility-
mode “USER ER EDIT” function (see “USER ER EDIT” on
page 27 for details).
In the GATE REVERB and REVERSE GATE programs the
TYPE parameter selects either TYPE-A or TYPE-B.
Room Size (ROOM SIZE): 0.1 – 25.0
This parameter sets the time intervals between the early
reflections – a feature of natural early reflections which is
directly proportional to the size of the room.
Liveness (LIVENESS): 0 – 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 increasingly “live” sound, simulating an increasing
area of reflective surfaces in the room.
Diffusion (DIFFUSION): 0 – 10
The complexity of the many reflections that make up
reverberation varies according to the shape of the room and its
contents. In the SPX900 the term “diffusion” refers to the
complexity of these reflections. If the DIFFUSION parameter
is set to “0.” minimum complexity and therefore a clearer,
more straightforward early reflection effect is produced. As
the DIFFUSION value is increased, the complexity of the
reflections increases producing a thicker, richer sound.
Initial Delay (INI DLY): 0.1 – 400.0 milliseconds
Initial delay is the time between the beginning of the direct
sound and the beginning of the early reflections.
13

High-pass Filter Frequency (HPF FRQ.): THRU,
32 Hz – 1.0 kHz
Permits rolling off the low-frequency content of the reverb
signal above the set frequency. The HPF is OFF when set to
THRU.
Low-pass Filter Frequency (LPF FRQ.): 1.0 – 16 kHz,
THRU
Permits rolling off the high-frequency content of the reverb
signal above the set frequency. The LPF is OFF when set to
THRU.
PARAMETERS ACCESSED BY THE INT PARAM
KEY
Number of Early Reflections (ER NUMBER): 1 – 19
This parameter directly sets the number of early reflections
produced from 1 to 19.
Feedback Delay (FB DELAY): 0.1 – 900.0
milliseconds
Feedback Gain (FB GAIN): -99 – +99%
Feedback High-frequency Ratio (FB HIGH): x 0.1–
x 1.0
The feedback parameters permit thickening and/or extending
the early reflection sound. Feedback causes the early
reflections to generate more early reflections of themselves.
thus the FB GAIN parameter determines how many times (for
how long) the early reflections are repeated. The FB DELAY
parameter sets a delay time between the beginning of the
original early-reflections and the first of the repeats caused by
feedback. Shorter FB DELAY times simply thicken the early-
reflection sound, while longer FB DELAY times can create
extended or repeated early reflection effects. FB HIGH
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.
Density (DENSITY):
PERCUSSION ER: 1 – 3
PROGRAMMABLE ER. GATE REVERB. REVERSE
GAGE: 0 – 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.
DELAY PROGRAM
n18. DELAY L, R
n19. DELAY L, C, R
These sophisticated delay effects offer independently variable
left and right channel delays. DELAY L, C, R additionally has
14
a variable center-channel delay.
PARAMETERS ACCESSED BY THE PARAM KEY
Left Channel Delay (Lch DLY): 0.1 – 1480.0
milliseconds
Right Channel Delay (Rch DLY): 0.1 – 1480.0
milliseconds
Center Channel Delay (Cch DLY): 0.1 – 1480.0
milliseconds (18. DELAY L, C, R only)
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.
Center Channel Level (Cch LVL): -200 – +200%
(18. DELAY L, C, R only)
Adjusts the level of the center-channel delay signal.
PARAMETERS ACCESSED BY THE INT PARAM
KEY
Feedback 1 Delay (FB1 DLY): 0.1 – 1480.0
milliseconds
Feedback 2 Delay (FB2 DLY): 0.1 – 1480.0
milliseconds
Two separate feedback loops are provided in the delay
program, and these parameters determine the amount of delay
applied to each feedback signal.
Feedback 1 Gain (FB1 GAIN): -99% – +99%
Feedback 2 Gain (FB2 GAIN): -99% – +99%
Set the amount of 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.
High Frequency Feedback (HIGH): x0.1 – x1.0
Controls feedback in the high-frequency range. The high-
frequency feedback is reduced as the value of this parameter
is decreased.
High-pass Filter Frequency (HPF FRQ.): THRU,
32 Hz – 1.0 kHz
Permits rolling off the low-frequency content of the reverb
signal above the set frequency. The HPF is OFF when set to
THRU.
Low-pass Filter Frequency (LPF FRQ.): 1.0 – 16 kHz,
THRU
Permits rolling off the high-frequency content of the reverb
signal above the set frequency. The LPF is OFF when set to
THRU.

Left Channel Feedback Gain (Lch F. B):
-99%– +99%
Right Channel Feedback Gain (Rch F.B):
-99%– +99%
Individually set the amount of the left or right channel delay
signal fed back to the input of the processor. The higher the
feedback gain setting, the greater the number of delayed
repeats produced for the corresponding channel.
High Frequency Feedback (HIGH): x0.1 – x1.0
Controls feedback in the high-frequency range. The high-
frequency feedback is reduced as the value of this parameter
is decreased.
PARAMETERS ACCESSED BY THE INT PARAM
KEY
Left Channel Initial Delay (L INI DLY): 0.1 – 740.0
milliseconds
Right Channel Initial Delay (R INI DLY): 0.1 – 740.0
milliseconds
These parameters individually set the time between the direct
sound of the instrument and the first repeat heard from the left
and right channels.
High-pass Filter Frequency (HPF FRQ.): THRU,
32 Hz – 1.0 kHz
ECHO PROGRAM
n 20. STEREO ECHO
The stereo echo effect offers independently variable left and
right channel initial delays and echo intervals.
PARAMETERS ACCESSED BY THE PARAM KEY
Left Channel Feed Back Delay (LFB DLY):
0.1 – 740.0 milliseconds
Right Channel Feed Back Delay (RFB DLY):
0.1 – 740.0 milliseconds
After the initial delay produced by the INI DLY parameters.
the time between subsequent repeats is determined by the left
and right channel interval parameters.
Permits rolling off the low-frequency content of the reverb
signal above the set frequency. The HPF is OFF when set to
THRU.
Low-pass Filter Frequency (LPF FRQ.): 1.0 – 16 kHz,
THRU
Permits rolling off the high-frequency content of the reverb
signal above the set frequency. The LPF is OFF when set to
THRU.
MODULATION PROGRAMS
n
24. STEREO PHASING
n 25. TREMOLO
n 26. SYMPHONIC
n 21. STEREO FLANGE
n 22. CHORUS 1
n 23. CHORUS 2
The stereo flange effects produce a pleasant “swirling” sound
which can effectively thicken and add warmth to the sound of
an instrument. The chorus effect is produced by varying the
delay between two identical signals. thus producing a complex
varying“comb filter” effect.
Phasing is basically a “gentler” version of the flange effect,
lending a smooth. animated quality to the original sound.
The tremolo effect is produced in the same way as the flange
effect, but has a “bigger,” more sweeping sound. The
symphonic effect adds richness and life to the sound.
15

PARAMETERS ACCESSED BY THE PARAM KEY
Please note that STEREO PHASING does not have the F.B
GAIN parameter listed below, while TREMOLO and
SYMPHONIC have only the MOD FRQ and MOD DEPTH
parameters.
Modulation Frequency (MOD. FRQ): 0.05 Hz –
40.0 Hz
Sets the speed of modulation, and hence the rate at which the
effect varies.
Modulation Depth (1, 2) (MOD. DEPTH): 0% – 100%
Sets the amount of delay time variation. thus adjusting the
depth of the effect.
Modulation Delay (1, 2) (MOD. DLY): 0.1 – 100
milliseconds
This sets the basic delay time from the initial direct sound to
the beginning of the flange effect.
Phase (PHASE): -180.0 deg – +180.0 deg
(STEREO FLANGE) Sets the pahse between MOD. DLY 1
and 2.
Feedback Gain (F.B. GAIN): 0% – 99%
Determines the amount of flange signal which is fed back to
the input of the processor for further modulation. More
feedback increases the overall complexity, “strength” and
decay time of the effect.
Delay Time Modulation Depth (DM DEPTH):
0% – 100 %
(CHORUS effects) Sets the amount of the width of the
shaking between L and R channel.
Amplitude Modulation Depth (AM DEPTH):
0% – 100%
(CHORUS effects) Sets the amount of the width of amplitude
variation.
PARAMETERS ACCESSED BY THE INT PARAM
KEY
High-pass Filter Frequency (HPF FRQ): THRU,
32 Hz – 1.0 kHz
Permits rolling off the low-frequency content of the reverb
signal above the set frequency. The HPF is OFF when set to
THRU.
16
Low-pass Filter Frequency (LPF FRQ): 1 – 16 kHz,
THRU
Permits rolling off the high-frequency content of the reverb
signal above the set frequency. The LPF is OFF when set to
THRU.
NOISE GATE
n27. ADR-NOISE GATE
This program uses a “gate” to pass or shut off the input signal
in a number of ways. It can be used to pass just a short
segment of a longer input signal. or it can be set up to pass
only signals that exceed a specified level. In the latter case
this program functions as a “noise gate.” It is also possible to
create reverse gate type effects in which the gain increases
gradually after the effect is triggered.
PARAMETERS ACCESSED BY THE PARAM KEY
Trigger Level (TRG. LEVEL): 0 – 100%
Determines the level of the input signal required to trigger
“opening”
of the gate. At 100% only very high-level input
signals will trigger the gate, while at 0% even the tiniest input
signal will trigger the gate.
Trigger Delay (TRG. DLY): -100 – +100.0
milliseconds
Produces a delay between the time at which the gate is
triggered and that at which it actually opens. If a minus value
is programmed, the input signal is delayed so that, effectively.
the gate opens before the signal appears.
Trigger Mask (TRG. MSK): 3 – 24000 milliseconds
This parameter makes it impossible to re-trigger the gate
function until the programmed time has elapsed.
Attack Time (ATTACK): 3 – 24000 milliseconds
Determines how long it takes for the gate to open fully from
the time it begins to open.
Decay Time (DECAY): 3 – 24000 milliseconds
Determines the length of time it takes for the gate envelope to
fall to DECAY LEVEL after it is fully open.
Decay Level (DECAY LVL): 0 – 100%
Determines the level at which the gate remains open for the
HOLD TIME. The lower the value, the lower the HOLD gate
level.
Hold Time (HOLD): 1 – 24000 milliseconds
Determines how long the gate stays open, allowing the signal
to pass at the DECAY LEVEL after the first decay and prior
to beginning of the RELEASE TIME.
Release Time (RELEASE): 3 – 24000 milliseconds
Determines how long it takes for the gate to close fully after
the HOLD TIME has ended.

MIDI Trigger (MIDI TRG.): OFF, ON
When this parameter is turned 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.
NOTE:
This effect can also be triggered by the front-panel
TRIGGER key or a footswitch plugged into the rear-panel
TRIGGER jack.
1st Delay Time (1 DLY): 0.1 – 650.0 milliseconds
2nd Delay Time (2 DLY): 0.1 – 650.0 milliseconds
Determines the time delay between input of the original note
and output of the first or second pitch-shifted note.
1st Feedback Gain (1 F.B.): -99 – +99%
2nd Feedback Gain (2 F.B.): -99 – +99%
When this parameter is set to 0. only a single pitch-shifted
sound is produced after the DELAY time has elapsed. As the
value of this parameter is increased, however, more and more
delayed repeats are produced, each pitch-shifted up or down
from the previous repeat according to the setting of the PITCH
parameter.
PARAMETERS ACCESSED BY THE INT PARAM
KEY
High-Pass Filter Frequency (HPF FRQ.): THRU,
32 Hz – 1.0 kHz
Low-Pass Filter Frequency (LPF FRQ.): 1.0 – 16 kHz,
THRU
1st Level (1 LEVEL): 0 – 100%
2nd Level (2 LEVEL): 0 – 100%
These parameters determine the levels of the first and second
pitch-shifted notes.
PITCH CHANGE PROGRAMS
n 28. PITCH CHANGE 1
n 29. PITCH CHANGE 2
n 30. PITCH CHANGE 3
n31. MONO PITCH
PARAMETERS ACCESSED BY THE PARAM KEY
n 28. PITCH CHANGE 1
PITCH CHANGE 1 makes it possible to produce two
independently pitch-shifted output notes in addition to the
direct signal, so you can create three-part harmonies with a
single input note. Both pitch-shifted notes appear at the center
of the stereo sound field.
1st Pitch Shift (1 PITCH): -24 – +24
2nd Pitch Shift (2 PITCH): -24 – +24
Set the pitch of the first or second pitch-shifted note between
two octaves below (-24) and two octaves above (+24) the
input note.
1st Fine Tuning (1 FINE): -100 – +100
2nd Fine Tuning (2 FINE): -100 – +100
Permit fine tuning of the first or second pitch-shifted note in
1-cent steps.
29. PITCH CHANGE 2
Like the PITCH CHANGE 1 program, PITCH CHANGE 2
produces 2 pitch-shifted notes in addition to the original input
note. In this program, however, the two pitch-shifted notes are
independently fed to the left and right channel outputs (the
direct sound is positioned at the center of the stereo sound
field) for a true stereo harmony effect.
Left Pitch Shift (L PITCH): -24 – +24
Right Pitch Shift (R PITCH): -24 – +24
Set the pitch of the left or right channel pitch-shifted note
between two octaves below (-24) and two octaves above (+24)
the input note.
Left Fine Tuning (L FINE): -100 – +100
Right Fine Tuning (R FINE): -100 – + 100
Permit fine tuning of the left or right channel pitch-shifted
note in 1-cent steps.
Left Delay Time (L DLY): 0.1 – 650.0 milliseconds
Right Delay Time (R DLY): 0.1 – 650.0 milliseconds
Determine the time delay between input of the original note
and output of the left or right channel pitch-shifted note.
17