YAMAHA
GUITAR EFFECT PROCESSOR
OPERATING MANUAL
MANUEL D'UTILISATION
BEDIENUNGSANLEITUNG
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FCC INFORMATION (U.S.A.)
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.
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.
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 interfer ence 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 interfer ence 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
‘This applies only to products distributed by YAMAHA CORPORATION OF AMERICA
Dette apparat overholder det gaeldende EF-direktiv vedrprende radiostpj.
Cet appareil est conforme aux prescriptions de la directive communautaire 87/308/CEE.
Diese Geräte entsprechen der EG-Richtlinie 82/499/EWG und/ oder 87/308/EWG.
This product complies with the radio frequency interference requirements of the Council Directive 82/499/EEC and/or 87/ 308/EEC.
Questo apparecchio è conforme al D.M.13 aprile 1989 (Direttiva CEE/87/308) sulla soppressione dei radiodisturbi.
Este producto está de acuerdo con los requisitos sobre interferen cias de radio frequencia fijados por el Consejo Directivo 87/308/ CEE.
YAMAHA CORPORATION
IMPORTANT NOTICE FOR
THE UNITED KINGDOM
Connecting the Plug and Cord
IMPORTANT:The wires in this mains lead are coloured in accordance with the following code:
Blue |
NEUTRAL |
Brown |
LIVE |
THIS DIGITAL APPARATUS DOES NOT EXCEED THE “CLASS B” LIMITS FOR RADIO NOISE EMISSIONS
FROM DIGITAL APPARATUS SET OUT IN THE RADIO INTER FERENCE REGULATION OF THE CANADIAN DEPARTMENT OF COMMUNICATIONS.
LE PRESENT APPAREIL NUMERIQUE N’EMET PAS DE BRUITS RADIOELECTRIQUES DEPASSANT LES LIMITES APPLICA BLES AUX APPAREILS NUMERIQUES DE LA “CLASSE B” PRESCRITES DANS LE REGLEMENT SUR LE BRQUILLAGE RADIQELECTRIQUE EDICTE PAR LE MINISTERE DES COMMUNICATIQNS DU CANADA.
This applies only to products distributed by YAMAHA CANADA MUSIC LTD.
Litiumbatteri!
Bor endast bytas av servicepersonal.
Explosionsfara vid felaktig bantering.
VAROITUSI
Lithiumparisto, Räjähdysvaara. Pariston saa vaihtaa ainoastaan aian ammattimies.
ADVARSEL!
Lithiumbatteril
Eksplosionsfare. Udskiftning mâ kun foretages af en sagkyndig, -og som beskrevet i Servicemanualen.
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 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.
Making sure that neither core is connected to the earth terminal of the three pin plug.
This applies only to products distributed by YAMAHA KEMBLE MUSIC (U.K.) LTD.
Thank |
you for purchasing |
the Yamaha |
FX550 Guitar Effect Processor. The FX550 is a digital effect processor that |
can produce up to seven |
effects simultaneously. All signal processing is performed in the digital domain, providing |
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guitar |
effects of CD-level |
digital audio |
quality. The FX550 offers 50 preset effect programs. Also, effect settings can |
be edited and saved as 50 additional user effect programs.
The package should contain the following items. Please make sure that all items are supplied.
•One FX550 main unit
•One power supply adaptor
Be sure to plug the adaptor into an AC outlet of correct voltage.
•Operating manual
After you finish reading this operating manual, keep it in a safe place for future reference.
■ Installation
Do not use the FX550 in the following places; otherwise a malfunction may occur:
•In direct sunlight or near heating units
•Where humidity is too low
•Where humidity is too high
•Where there is much dust
•In places subject to vibration
•Since the FX550 uses many digital circuits, it may inter fere with TV and radio reception. If interference occurs, relocate the FX550 or the affected device.
■ Do not apply force.
Do not apply excessive force to the keys, control knobs, connectors, etc. Also, exposing the FX550 to physical shocks may cause malfunctions.
■ Do not open the case.
Do not open or modify the case. Otherwise, it may lead to malfunction or electrical shock.
■ Cleaning
Do |
not use |
benzine, thinner,, or other volatile oils to clean |
the |
FX550, |
and do not spray any type of aerosol near the |
unit. For cleaning, use only a soft, dry cloth.
■ Servicing
If any of the following defects or malfunctions occur, please consult your Yamaha dealer.
•The power supply cable is damaged.
•Metal objects or liquids get inside the FX550.
•The FX550 is exposed to rain, or is dropped.
•The case is damaged.
•The FX550 does not operate normally.
■ Power supply precautions
•Power-off the FX550 before making any connections.
•Make sure the cables are loeated where they are not likely to be walked on or squashed by other equipment.
•When there is a threat of lightening, unplug the power supply adaptor from the AC outlet in advance.
•Also, unplug the power supply adaptor from the AC out let if the FX550 is not in use for a long period of time.
•Be sure to use a standard MIDI cable.
•The length of the eable should be 15m (50 ft.) or shorter. Using a longer cable may cause deterioration of the waveform or other problems
■ Backup battery
Data in the internal memory (the data set in user programs or in Utility mode) is maintained by the internal battery. However, after approximately five years of battery life, the data is lost from the memory, and the following message is shown when the POWER switch is turned on.
Replace the battery before this happens.
It should be noted that the data in memory is lost when the battery is replaced. Write down the data before replacing the battery, and input the data again after replacement. Consult the store where you purchased the FX550, or your nearest Yamaha service center.
• Preset effect programs are not lost when the battery is
replaced.
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Contents |
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How the FX550 Works......................................... |
3 |
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U] Function Configuration............................................ |
3 |
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[2]Program.................................................................... |
3 |
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[3]Play Mode................................................................ |
3 |
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Chapter 1 : Controls & Connections................ |
4 |
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The Front Panel............................................................ |
4 |
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The Rear Panel.............................................................. |
5 |
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Chapter 2: Let's Plug In & Play......................... |
6 |
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Q] Making the Connections.......................................... |
6 |
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Setup 1...................................................................... |
6 |
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Setup 2...................................................................... |
6 |
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[2]Playing..................................................................... |
7 |
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1 Turning On the Power.......................................... |
7 |
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2 |
Setting the Input Level......................................... |
7 |
3 |
Selecting and Playing Effect Programs................ |
7 |
Preset Effect Programs Table................................ |
:... 8 |
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Chapter 3: Editing, Storing, and Titling an |
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Effect Program.............................. |
10 |
Q] Editing an Effect Program..................................... |
10 |
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[2] Storing an Edited Effect Program......................... |
13 |
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[1] Titling Effect Programs.......................................... |
14 |
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Chapter 4: Effect parameters.......................... |
15 |
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Compressor/Limiter — COMP................................. |
15 |
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DistortiOn/Overdrive — DIST................................... |
15 |
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3-Band Parametric Equalizer — EQ........................... |
16 |
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Modulation — MOD................................................. |
16 |
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Stereo Chorus — CHO.......................................... |
16 |
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Stereo Pianger — FLG........................................... |
17 |
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Symphonic — SYM............................................. |
17 |
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Auto Pan — PAN................................................... |
18 |
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Tremolo — TRM................................................... |
18 |
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Rotary Speaker — ROT....................................... |
19 |
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Tempo Modulation — TMD.................................. |
19 |
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StereoPitchl—PII.................................................. |
21 |
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Stereo Pitch 2 — PI2.............................................. |
22 |
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Ping-Pong Delay — PDL....................................... |
23 |
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Stereo Modulation Delay — SMD........................ |
23 |
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Reverb/Delay — REV................................................ |
24 |
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Reverb —REV................................................... .... |
24 |
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Delay + Reverb — D + R....................................... |
25 |
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Delay —> Reverb — D —> R............................... |
26 |
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Delay —DLY......................................................... |
27 |
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Tempo Delay — TDL............................................ |
27 |
Chapter 5: Remote Control............................. |
28 |
Foot Switch Control................................................... |
28 |
[T] Effect Program Select..................................... |
28 |
[2]Tap Tempo, Speed Switching, & Ducking........ |
29 |
[^Bypass................................................................. |
31 |
MIDI Control............................................................ |
32 |
Q] Selecting Effect Programs.............................. |
32 |
[2] Tempo Control................................................. |
33 |
PCL & PCR Parameter Control........................ |
34 |
U] Parameter Control............................................. |
35 |
[5] Volume Control.............................................. |
37 |
0 High-speed Edit.................................................. |
38 |
Specification................................................... |
39 |
General Specifications............................................... |
39 |
MIDI Data Format...................................................... |
40 |
Internal Block Diagram.............................................. |
41 |
Options....................................................................... |
42 |
Dimensions................................................................. |
43 |
Troubleshooting............................................... |
44 |
Glossary............................................................ |
45 |
Appendix......................................................... |
46 |
Q] Program Table....... ............................................... |
46 |
[2] MIDI Program Change List.................................. |
48 |
MIDI Implementation Chart |
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FX550 functions are divided into three sections: Input control section, Effects section, and Out put control section. There are also three supporting sections: Operating section, Connecting sec tion, and Display section.
The Effects section, which applies various effects to the guitar sound, is composed of four effects (COMP, DIST, EQ, Amp Simulator), and two Effects Sections (MOD and REV). The MOD section contains 11 effects, and the REV section contains 5 effects. One effect from each section can be selected at a time.
BYPASS
Configration of the Effects Section
D+R and D—>R, which are included in the five effects of the REV section, are both a combina tion of two effects (Delay and Reverb). Selecting D+R or D->R allows you to use seven effects simultaneously on the FX550.
Program
The FX550 can produce up to seven effects simultaneously. A set of effects that can be produced simultaneously is called a program.
Preset Programs and User Programs
The FX550 has two types of programs: preset programs that have been already set in the factory, and user programs that can be edited.
50 preset programs (program #1-50) cannot be erased or rewritten. 50 program numbers (51-99 and 00) are reserved for user programs.
All preset programs can be edited, and your new program (edited program) can be stored as a user program.
Play Mode
The FX550 has three modes: 1 Play mode, 2 Edit mode, and 3 Utility mode.
Play mode: This is the main mode of the FX550. It provides the effects for guitar performance.
Chapter 2 explains this mode.
Edit mode: This is a sub-mode that supports Play mode. In this mode, you may edit and prepare the programs to be used in Play mode. To “edit” means to change the effect parameter settings.
Utility mode: This is also a sub-mode that supports Play mode. This mode allows you to specify the settings for the operational controls, and supports portions of Edit mode, such as titling the programs. Chapters 4 and 5 cover this mode.
Use the mode buttons to select modes. The unit is always set to Play mode when the power is initially turned on.
Plug your guitar cable into this jack.
@ LCD
A 2-line 15-character LCD (Liquid Crystal Display).
In Play mode, press to select effect programs. In Edit and Utility modes, press to select and adjust parameter values.
Press to select Play, Edit, and Utility modes. The respec tive LED lights up when Edit or Utility mode is selected.
•PLAY button
Select this mode when playing the guitar.
•EDIT button
Select this mode to edit effect programs.
Press repeatedly to select the Select Patch, CTRLl, CTRL2, TRIGGER ASSIGN, and EOOT BYPASS displays.
•UTILITY button
Select this mode to set the operational controls.
Press repeatedly to select the TITLE EDIT, MIDI SETUP, MIDI PGM CHANGE, CONTROLLER!, CONTROLLER2, F.SW FUNCTION, and MEMORY SELECT displays.
In Play mode, press to bypass all effects. In Edit mode, press to bypass the effect being edited.
® CURSOR [ M ] [ ► ] buttons
Use to select a parameter on the LCD that you want to edit.
Use this control to set the input level.
Use these indicators when adjusting the input level.
Set the INPUT level control so that the SIGNAL indica tor lights most of the time but the PEAK indicator does not light.
In Play mode, press to bypass the corresponding effect, its LED will go off. Press the button again to un-bypass the effect, its LED will come on.
In Edit mode, these buttons are used to select parame ters.
Press this switch to power-on the FX550. Press it again to power-off.
Press to store an edited effect program.
An optional Yamaha FC-5 foot switch can be connected here and used to bypass the FX550. See “Foot switch Control” on page 28.
An optional Yamaha FC-5 foot switch can be connected here and used to select effect programs or to set the tempo parameter for the tempo delay and tempo modu lation delay effects. See Chapter 5 “Foot switch Con trol” on page 28.
An optional Yamaha MFC06 or MFC05 MIDI foot con troller can be connected here. See “MIDI Control” on page 32.
A pair of stereo headphones can be connected here.
This control adjusts the volume level of the headphones.
Connect the R and L(MONO) jacks to a stereo amplifier or a pair of guitar amplifiers. If you are using a mono amplifier, connect only the L(MONO) output.
These outputs can also be connected directly to a multi track recorder or mixer for recording.
Chapter 1: Controls & Connections
Connect the supplied power supply adaptor to this con nection.
Thread the power supply adaptor cable through this clip to prevent accidental disconnection.
Your guitar tuner can be connected to this connection.
Make sure your equipment is switched off, then connect your guitar, amplifier, and the power supply adaptor to the FX550.
The following two setups show what equipment can be connected, and how.
Setup 1
SBioSoi
Amplifier
YAMAHA
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BY( M MEMOfriWOEO I |
PHONES PHONES |
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Power |
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Foot switch Foot switch |
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Adaptor |
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Setup 2
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QSQSB
Amplifier R |
Amplifier L |
Supply
Adaptor
Chapter 2: Let's Plug In & Play
P^K YAMAHA 1^^! 'PTOOESP' OCOMP ODIST O EQ OMOD OREV
SIQNAL |
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CD CD O CZD |
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PLAY O EDIT STORE O UTILITY QBYPASS
CD CD) CD CD CCD
1 Turning On the Power
Turn on the equipment in your system sequentially, starting from the transmission devices. For example, if the system is: FX550 Power amplifier-» Speakers, turn on the FX550 then the Power amplifier.
After a few seconds, something similar to the display shown below will appear.
Program Number
Effect Program Title
’r____________________ ] r
1. . . . |
|
BYPASS r‘ |
^ i..-’ ■ |
Amp Simulator setting
REV section effect
MOD & REV Configuration
MOD section effect
Bypass Indicator
2 Setting the Input Level
Adjust the input level using the INPUT level control.
Strum your guitar strongly and adjust the level so that the SIGNAL indicator lights, but the PEAK indicator is barely lit.
3 Selecting and Playing Effect Programs
Use the [ T ] and [ A ] buttons to select the effect programs.
As each effect program is selected, the LCD will display the effect program number and title, the type and configuration of MOD and REV section effects used, and the amp simulator setting.
Effect programs can also be selected using afoot switch or MIDI foot controller. This is con venient in a session or on the stage. For details, see “Foot switch Control” on page 28 and “MIDI Control” on page 32.
The “Preset Effect Program Table” on the following page describes the 50 preset effect pro grams that are available for your exploration.
In addition to the 50 preset effect programs, you can create 50 user effect programs. See “Edit ing an Effect Program” on page 10 for more details.
Chapter 2; Let's Plug In & Play
Using the bypass function allows you to compare the effect sound with the dry sound (without effect). There are two Bypass modes; ALL and SECTION.
Press the BYPASS button, and the word “BYPASS” will appear on the LCD. All the effect sec tions are bypassed, and the original “dry” sound is heard.
To release Bypass mode, press the BYPASS button again. The word “BYPASS” will disappear from the LCD.
Use the section buttons to switch off the individual effect sections: [COMP], [DIST], [EQ], [MOD], [REV].
When a section is switched off its indicator will go off. To switch an effect section back on, press the corresponding section button again.
Preset Effect Programs Table
Many of the preset effect programs emulate the unique guitar sounds of popular guitarists. They also include effect programs for bass guitar, acoustic guitar, and some special effects.
Type |
No. |
Title |
Style |
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1 |
Van-tage |
Effect sound with a slight delay in a wide range - Van Halen style. It separates the sound |
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efficiently even when playing chords. |
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2 |
Big |
Paul Gilbert of Mr. Big style. This distortion effect has a unique solid quality in the mid range. |
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3 |
Extreme |
This effect is a slightly odd distortion, preferable for muted playing. |
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4 |
Sizzler |
This effect is suitable for use with the single-coil bridge pickup. It allows |
you to produce |
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accents according to the picking strength. |
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5 |
Doctor V |
V stands for Flying V. Michael Schenker style. This is the basic hard rock distortion sound. |
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6 |
More & More |
Gary Moore style. “Crying” blues distortion. |
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7 |
Boston Bag |
Tom Schultz style. This effect has a unique airy sound quality. This is suitable for solo play |
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as well as chord work with open strings. |
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Distortion |
8 |
Saturation |
Joe Satriani style effect with a rough, coarse distortion effect. |
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sounds for |
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9 |
Tight Wire |
Recommended for finger-picking. |
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lead lines |
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10 |
VooDoo Haze |
Recommended for single-coil Strat-type guitars. |
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11 |
Over-flow |
This is a powerful distortion sound. This is suitable for playing melodic phrases. |
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12 |
Beads |
The characteristic distortion. This is also suitable for playing melodic phrases. |
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13 |
/Metal |
Powerful slash metal |
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14 |
All Paul |
This is a suitable effect for “Southern American beer or bourbon drinking” music. A simple, |
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tasteful effect. |
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15 |
Gritty Blue |
Slight distortion, and it is suitable for backing. It may also be suitable for live lead playing. |
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16 |
True Blue |
Although all effects are used, this is a very straight solid sound. |
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17 |
Rapid Fire |
Smooth distortion (Alan Holdsworth style), similar to the sound created by |
hammering or |
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delicate picking. |
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18 |
Double Fatigue |
Alan Holdsworth style. A strong impact effect, with repeated harmonized distortion. |
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Harmonized |
19 |
One Heart |
Gives a harmony of a fourth down. Similar to a Trevor Lavin style. |
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distortion |
20 |
May Queen |
This simulates the sound of a British guitarist who introduced reverse phase to the world. |
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21 |
Erotic Harmony |
This gives the sound of a famous guitarist who plays the 7-string guitar |
with incredible |
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technique. |
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Chapter 2: Let's Plug In & Play |
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Type |
No. |
Title |
Style |
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22 |
Brick Wall |
This is suitable for straight rock ’n’ roll backing. It has a dry distortion sound. |
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23 |
Single Coil |
Definitely recommended for use with single-coil guitars. |
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24 |
Universal |
The distortion level and the sound created at high levels can be controlled by applying |
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different picking strengths. Suitable for anyone who prefers nuances. |
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25 |
Strut-crunch |
This is a crunchy (but almost clean) distortion suitable for single coil (Strat-type) guitars. |
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26 |
Breakdown |
This sound will be familiar to you if you listened to L.A. pop in the early 80’s. |
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Backing |
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27 |
Clipper |
It matches all kinds of sound. You can edit the delay time according to the tempo. |
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distortion |
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This is an all-purpose distortion effect. It emphasizes the middle-low sound range compared |
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effects |
28 |
New Fuse |
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(cleaner than |
to No. 27. |
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lead effects) |
29 |
LA Luck |
This is a rich wide fat distortion for the lower sound range. Recommended for strong picking |
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on Les Paul guitars. |
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30 |
Sky High |
Eric Johnson style with clear distortion. It is suitable for guitar melodies. |
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31 |
City Parks |
This is another crunchy distortion. When the sound volume is decreased, the distortion goes |
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away, allowing cutting or oblique motion phrasing. |
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32 |
Twin Twang |
This is a slight distortion rather different from crunch. It is suitable for country music. |
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33 |
Pop Top |
This can be used for all kinds of sound. You can apply delay by editing. |
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34 |
Syrup |
Pat.Metheny style with a deep effect. Recommended for use with neck humbucking pickups. |
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35 |
Metro Police |
Andy Summer-style backing. Try experimenting with the chorus and reverb parameters. |
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36 |
U-turn |
A clean effect with light harmonization and feedback. Try cutting hard with this one. |
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Clean effects |
37 |
Clear Cut |
Clean cutting effect with a light rotary-style modulation. Try adjusting the speed. |
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for cutting and |
38 |
Studio Sweep |
Use this delay effect for backing and arpeggio work. |
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arpeggio |
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An effect with compressor for solo guitar. Experiment with the equalization until you find the |
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effects and |
39 |
Clean Solo |
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setting that fits your guitar best. |
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for amplified |
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acoustic |
40 |
Sharpeggio |
Mainly for arpeggios. Adjust the delay time and number of repeats, as well as the value for |
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instruments |
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fine pitch. |
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41 |
Cosmic Dance |
Rich reverb and a pitch delay - for arpeggio playing. |
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42 |
Light Steps |
Similar to No. 37, but brighter, and with chorus added. |
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43 |
Fun-Kut |
A deeply-modulated effect with a cutting edge - use for funk cutting. |
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For slide |
44 |
Slider |
A distorted, bluesy effect for bottleneck guitar. |
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guitar |
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45 |
Monk Akka 2 |
An improvement of the “Monk Akka” sound on the FX500. The sound continues even when |
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you’ve stopped! |
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Acoustic |
46 |
Straight Nylon |
For an amplified gut-strung guitar. Number 46 is “straight”, and Number 47 has a slight |
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47 |
Processed Nylon |
modulation added. |
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48 |
Better Bass |
Basic bass effect for use with fingers or plectrum. |
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Bass effects |
49 |
Slap Bass |
Adds modulation to slapped bass. |
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50 |
Delay Slap Bass |
A bass effect with a short delay and modulation. |
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The FX550 allows you to create up to 50 user effect programs. So in cornbination with the 50 preset effect programs, you have a powerful effect library of 100 effect programs. User effect programs can be made by editing preset effect programs, or from scratch.
1. Use the [ T ] and [ A ] buttons to select the effect program.
2.Press the [EDIT] button to enter Edit mode.
A display similar to the following will be shown.
Amp Simulator
REV section effect
MOD & REV Configuration
Cursor
MOD section effect
3.Edit Step 1
©Use the [ -^ ] and [ ^ ] buttons to select the parameter that you want to edit: MOD section effect, REV section effect, MOD & REV Configuration, and Amp Simulator.
These parameters are explained on the next page.
©Use the [ T ] and [ ▲ ] buttons to adjust the parameter.
B3“ What is a parameter?
A parameter is a variable element such as a numeric value. For example, “delay time” and “modulation speed” are variable numeric parameters. Amp Simulator is a variable parame ter, too.
© Follow the same procedure to edit the other parameters.
10
Chapter 3: Editing, storing, and titling an effect program
With this parameter you can select the type of effect produced by the modulation section.
CHO |
Stereo Chorus |
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FLG |
Stereo Pianger |
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SYM |
Symphonic |
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PAN |
Auto Pan |
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TRM |
Tremolo |
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ROT |
Rotary Speaker |
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TMD |
Tempo Modulation |
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PII |
Stereo Pitch 1 |
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PI2*1 |
Stereo Pitch 2 |
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PDL*1 |
Ping-Pong Delay |
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SMD*1 |
Stereo Modulation Delay |
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The PI2, PDL, and SMD effects can be selected only when the REV effect is selected in the REV section.
REV section effects
REV Reverb
D + R Delay + Reverb*^
D-+R Delay Reverb*^
DLY Delay
TDL Tempo Delay
D+R : Delay and reverb are used simultaneously.
D-^R : Reverb is applied to a delayed signal.
Changing the connection order of the MOD and REV section’s effects changes the overall character of an effect program.
Symbol |
Connection Configuration |
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-^COMPl—1 DIST H EQ h-l MOD REV h> |
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<— |
-+| COMP 1—1 DIST 1—1 EQ . H REV H MOD 1-» |
,— MOD l-|
+^COM^^DiST>-rEQD----------------------------
This parameter allows you to simulate the individual “character” of the following guitar amplifiers.
Fiat |
No Simulation |
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Amp-M |
A stack of 3 ‘M’ head amps |
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Amp-B |
Typical combo (amp single speaker in one cabinet) |
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Amp-T |
Typical combo (amp two speakers in one cabinet) |
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Amp-S |
Stacked speaker cabinets |
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11
Chapter 3: Editing, storing, and titling an effect program
4.Edit Step 2
©Press the [COMP], [DIST], [EQ], [MOD], or [REV] button to select the effect button sec tion that you want to edit. The display below shows some of the [COMP] effect section’s parameters.
/ ;i:
Pressing the respective section button again will show the next group of parameters.
@Use the [ -4 ] and [ ^ ] buttons to select parameter that you want to edit. Use the [ ▼ ] and [ ▲ ] buttons to set the parameter value.
Effect parameters are explained in detail in Chapter 4.
Adjusting parameters
To decrease a parameter value quickly, press and hold down [^ ], then press [A. ].
To increase a parameter value quickly, press and hold down [ A ] , then press [T ].
I®” Bypassing an effect while editing
It is better to adjust parameters while producing a sound. However, when you want to com
pare the affected sound with the dry sound, |
press the [BYPASS] button |
to |
temporarily |
bypass |
the effect section. Press the [BYPASS] button again to un-bypass the effect section. |
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While you are editing an effect section, the corresponding indicator |
will |
flash. When you |
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bypass the effect section, the corresponding |
indicator will also flash, |
however, the |
flashing |
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time will be shortened. |
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12
Chapter 3: Editing, storing, and titling an effect program
Edited effect programs will not be lost when the FX550 is switched off, so for future use you may want to store them. Follow the procedure below.
1. Press the [STORE] button.
The following display will appear on the LCD, and the program number will flash.
If you edited a preset effect program (1~50), program number “51” will appear.
2. Use the [ T ] and [ ▲ ] buttons to select the destination user program memory where you want to store the edited effect program, program memory numbers 1~50. The preset program numbers, cannot be selected.
-it-
/ 1 \ : iir'i-
Note: The effect program already stored at the selected destination will be overwritten when the [STORE] button is pressed in the next step.
3. Press the [STORE] button to store the program.
While the program is being stored, the following display will be shown.
77
When the store operation is complete, the previous display will appear with the new program number.
° Copying an ejfect program
Effect programs can be copied to other effect program memory locations. This is useful, for example, when you want to sort your user effect programs into the order that you will use them during a live performance.
13
Chapter 3: Editing, storing, and titling an effect program
You can title your user effect programs. It maybe useful to use titles that relate to specific songs, guitars, pickups, etc. You cannot change the titles of the preset effect programs.
1.Use the [ ▼ ] and [ A ] buttons to select the user effect program.
2.Press the [UTILITY] button.
The TITLE EDIT display shown below will appear.
77 ^
If the TITLE EDIT display does not appear, press the [UTILITY] button repeatedly until it does.
3. Use the [ -^ ] and [ ^ ] cursor buttons to position the cursor within the title, and the [ ▼ ] and [ A ] buttons to select characters.
Titles can be up to 15 characters in length and are stored automatically.
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[ |
] |
< |
> |
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• |
* |
+ |
- |
— |
& |
/ |
J |
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’ |
% |
! |
? |
->■ |
-<- |
# |
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0 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
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A |
B |
c |
D |
E |
F |
G |
H |
1 |
J |
K |
L |
M |
N |
O |
P |
Q |
R |
S |
T |
U |
V |
w |
X |
Y |
Z |
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a |
a |
b |
c |
d |
e |
f |
g |
h |
i |
j |
k |
I |
m |
n |
0 |
b |
p |
q |
r |
s |
t |
u |
u |
V |
w |
X |
y |
Z |
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T |
T |
f |
T |
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I |
X |
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± |
Jf |
<7 |
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=1 |
if |
V |
X |
-b |
y |
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“J |
"J |
■7^ |
b |
i- |
JZ. |
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J |
/\ |
t |
y |
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•7 |
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A |
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-b |
3. |
ZL |
B |
a |
3 |
u |
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u |
n |
7 |
7 |
> |
r |
J |
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□ |
- |
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While entering a title, pressing the [STORE] button will enter a “space”, that is, the space between characters “9” and “A ” in the table. This is useful when you wish to enter a number of spaces.
14
The compressor/Limiter effect section reduces the level of loud sounds and increases the level of quiet sounds, making the volume level more consistent (reduced dynamic range). In addition, sounds are sustained. Compressors are often used when recording guitars, a reduced dynamic range makes it much easier to set recording levels.
TYP |
Compression Type |
CMP |
Compressor |
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LIM |
Limiter |
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SUS |
Sustain |
0-100% |
0 = no sustain. |
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100 = maximum sustain. |
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ATK |
Attack |
0 - 20 |
0 = fast attack. |
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20 = siow attack. |
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LVL |
Output Levei |
- oo, -30 dB - +6 dB |
Sets the output ievei of the effect. |
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Distortion is one of the most widely used guitar effects and is an essential part of rock music. The FX550’s distortion/overdrive effect section produces a smooth, rich powerful distortion that rivals that of the best valve amps. Many types of distortion effect can be produced, everything from soft overdrive to hard distortion. This effect also includes a noise gate that can be used to attenuate unwanted hiss and noise while you are not playing.
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DS1 |
Typical distortion. |
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DS2 |
Fusion style solo distortion. |
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TYP |
Distortion type |
OD1 |
Typical overdrive. |
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OD2 |
Valve amp overdrive. |
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CRN |
Crunchy distortion. |
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DRV |
Drive |
0 - 100% |
0 = minimum distortion. |
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100 = maximum distortion. |
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TON |
Tone |
-30 - +30 |
Higher values produce a sharp bright sound. |
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LVL |
Output Levei |
- oo, -30 dB - +6 dB |
Sets the output level of the effect. |
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NGL |
Noise Gate Threshold |
0 - 20 |
The level at which the noise gate cuts in. |
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15
Chapter 4: Effect parameters
The EQ effect section features a 3-band equalizer, each band having boost/cut control and vari able frequency selection. The Mid EQ provides up to 30 dB of cut and can be used as a notch filter.
LoF |
Low Frequency |
20 Hz ~ 2.8 kHz |
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LOG |
Low Gain |
- 15dB~+15dB |
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MiF |
Mid Frequency |
80 Hz - 8.0 kHz |
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MiG |
Mid Gain |
-30 dB~+15dB |
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HiF |
High Frequency |
500 Hz ~ 16 kHz |
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HiG |
High Gain |
- 15dB - +15dB |
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LVL |
Output Levei |
- oo, -30 dB ~ +6 dB |
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The modulation effect section can produce 11 different types of modulation effect.
Stereo Chorus — CHO
The chorus effect splits the signal into two, modulates one signal, then mixes the two signals together. It produces a rich thickening type effect — like a chorus of guitars playing together.
SPD |
Moduiation Speed |
0.1 Hz ~ 20 Hz |
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PMD |
Pitch Moduiation |
0~ 100% |
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Depth |
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AMD |
Amp Modulation |
0 - 100% |
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Depth |
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The delay time before the signal is |
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DLY |
Modulation Delay |
0.1 ~ 100.0 msec |
modulated. |
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* A short delay time (1.9 msec or less) will |
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affect the depth of pitch modulation. |
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WID |
Sound Image Width |
0 - 10 |
0=mono. |
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10=wide stereo. |
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MIX |
Mixing Balance |
0 - 100% |
0 = dry signal. |
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50 = 50% chorus effect 50% dry signal. |
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100 = 100% chorus effect. |
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LVL |
Output Level |
- =>o, -30 dB - +6 dB |
Sets the output level of the effect. |
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Typ |
Filter Type |
HPF, LPF |
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HPF:THRU, |
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Frq |
Cut Off Frequency |
32 Hz - 1.0 kHz |
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LPF: 1.0 kHz - 16 kHz, |
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THRU |
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16
Chapter 4: Effect parameters
Stereo Pianger — FLG
The stereo flanger effect splits the signal into two, delays one signal by a modulated delay time, then mixes the signals together. It produces a comb filter effect that sweeps up an down the audio bandwidth. Sometimes described as a swishing or tunneling effect, it is a coarse form of phaser effect.
SPD |
Modulation Speed |
0.1 Hz - 20 Hz |
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DEP |
Modulation Depth |
0 ~ 100% |
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The delay time before the signal is |
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DLY |
Delay Modulation |
0.1 - 100 msec |
modulated. Also affects the frequency range |
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that is modulated. |
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FB |
Feedback |
0 - 100% |
The amount of effected signal that is fed |
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back into the effect. |
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WID |
Sound Image Width |
0 - 10 |
0 = mono. |
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10 = wide stereo. |
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0 = dry signal. |
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MIX |
Mixing Balance |
0- 100% |
50 = 50% flanger effect 50% dry signal. |
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100 = 100% flanger effect. |
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LVL |
Output Level |
- -30 dB - +6 dB |
Sets the output level of the effect. |
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Typ |
Filter Type |
HPF, LPF |
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HPFTHRU, |
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Frq |
Cut Off Frequency |
32 Hz - 1.0 kHz |
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LPF: 1.0 kHz - 16 kHz, |
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THRU |
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Symphonic — SYM
The symphonic effect splits the signal into two, modulates one signal, then mixes the two signals together. It produces a rich thickening type effect, similar to a chorus effect — like a symphony of guitars playing together.
SPD |
Modulation Speed |
0.1 Hz - 20 Hz |
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DEP |
Modulation Depth |
0 - 100% |
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The delay time before the signal is |
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DLY |
Modulation Delay |
0.1 - 100.0 msec |
modulated. |
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* A short delay time (1.9 msec or less) will |
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affect the depth of pitch modulation. |
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WID |
Sound Image Width |
0 - 10 |
0 = mono. |
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10 = wide stereo. |
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0 = dry signal. |
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MIX |
Mixing Balance |
0 - 100% |
50 = 50% symphonic effect 50% dry signal. |
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100 = 100% symphonic effect. |
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LVL |
Output Level |
- oo, -30 dB - +6 dB |
Sets the output level of the effect. |
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Typ |
Filter Type |
HPF, LPF |
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HPF:THRU, |
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Frq |
Cut Off Frequency |
32 Hz - 1.0 kHz |
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LPF: 1.0 kHz - 16 kHz, |
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THRU |
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17
Chapter 4: Effect parameters
Auto Pan — PAN
The auto pan effect moves the signal continuously across the stereo image, i.e., between the left and right outputs. It provides a drifting type effect that is ideal for slow atmospheric songs and can help to maintain interest in repetitive guitar riffs. The panning speed is controlled by the modulation speed parameter.
SPD |
Modulation Speed |
0.1 Hz ~ 20 Hz |
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DEP |
Modulation Depth |
0 - 100% |
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L |
L —> pans the signal from L to R. |
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DIR |
Direction |
<- R |
R <— pans the signal from R to L. |
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L <-» R |
L R pans the signal from L to R to L, etc. |
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0 = dry signal. |
MIX |
Mixing Balance |
0 - 100% |
50 = 50% auto pan effect. 50% dry signal. |
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100 = 100% auto pan effect. |
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LVL |
Output Level |
- oo, -30 dB - +6 dB |
Sets the output level of the effect. |
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Typ |
Filter Type |
HPF, LPF |
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HPFTHRU, |
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Frq |
Cut Off Frequency |
32 Hz - 1.0 kHz |
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LPF: 1.0 kHz - 16 kHz, |
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THRU |
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Tremolo — TRM
The tremolo effect modulates the signal amplitude to produce regular variations in volume level, similar to vocal vibrato. The modulation waveform can be set to sine, triangular, or square, offering three tremolo effect variations.
SPD |
Modulation Speed |
0.1 Hz - 20 Hz |
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DEP |
Modulation Depth |
0 - 100% |
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LFO |
Wave Type |
SIN, TRI, SOR |
SIN:Sine, TRI:Triangle, SQR:Square |
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0 = dry signal. |
MIX |
Mixing Balance |
0 - 100% |
50 = 50% tremolo effect 50% dry signal. |
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100 = 100% tremolo effect. |
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LVL |
Output Level |
- -30 dB - +6 dB |
Sets the output level of the effect. |
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Typ |
Filter Type |
HPF, LPF |
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HPF:THRU, |
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Frq |
Cut Off Frequency |
32 Hz - 1 . 0 kHz |
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LPF: 1.0 kHz - 16 kHz, |
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THRU |
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18
chapter 4: Effect parameters
Rotary Speaker — ROT
This effect was originally produced by rotating a flat piece of wood in front of the loudspeaker in an organ. There are two rotation speeds: slow and fast.
The SPD parameter can set using a foot switch. See page 28.
SPD |
Speed Control |
OFF, SLOW, FAST |
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SLOW |
SLOW Speed |
0.1 Hz ~ 5.3 Hz |
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FAST |
FAST Speed |
0.1 Hz ~ 5.3 Hz |
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0 = dry signal. |
MIX |
Mixing Balance |
0 - 100% |
50 = 50% rotary effect 50% dry signal. |
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100 = 100% rotary speaker effect. |
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LVL |
Output Level |
- -30 dB - +6 dB |
Sets the output level of the effect. |
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Typ |
Filter Type |
HPF, LPF |
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HPF:THRU, |
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Frq |
Cut Off Frequency |
32 Hz - 1.0 kHz |
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LPF: 1.0 kHz - 16 kHz, |
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THRU |
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Tempo Modulation — TMD
The tempo modulation effect can produce flanger, tremolo, and pan type effects. The difference between this effect and the other flanger and pan effects is that the modulation speed can be syn chronized to the song tempo. This can be set manually in bpm (beats per minute), from a MIDI sequencer or drum machine using MIDI clock messages, or by tapping a foot switch.
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OFF |
Use TEMPO parameter |
TRG |
Tempo Trigger Type |
TAP |
See page 29. |
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MIDI |
See page 33. |
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TEMPO |
Tempo |
50 - 250 bpm |
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NOTE |
Note |
J, J-, J, J-, o, oo |
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The number of beats per song measure. |
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EFF |
Effect Type |
FLG, PAN, TRM |
Flanger, Pan, Tremolo |
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EFF: FLG |
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DEP |
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Modulation Depth |
0 - 100% |
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The delay time before the signal is |
DLY |
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Delay Time |
0.1 - 100.0 msec |
modulated. Also affects the frequency range |
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that is modulated. |
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FB |
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Feed Back |
0 - 100% |
The amount of effected signal that is fed |
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back into the effect. |
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0 = dry signal. |
MIX |
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Mixing Balance |
0 - 100% |
50 = 50% flanger effect 50% dry signal. |
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100 = 100% flanger effect. |
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LVL |
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Output Level |
- oo, -30 dB - +6 dB |
Sets the output level of the effect. |
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Typ |
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Filter Type |
HPF, LPF |
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HPF:THRU, |
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Frq |
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Cut Off Frequency |
32 Hz - 1.0 kHz |
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LPF: 1.0 kHz - 16 kHz, |
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THRU |
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19
Chapter 4: Effect parameters
EFF: PAN
DEP |
Modulation Depth |
0 - 100% |
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L |
L —^ pans the signal from L to R. |
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DIR |
Direction |
R |
R <— pans the signal from R to L. |
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L< - 4 R |
L R pans the signal from L to R to L, etc. |
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0 = dry signal. |
MIX |
Mixing Balance |
0 - 100% |
50 = 50% auto pan effect. 50% dry signal. |
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100 = 100% auto pan effect. |
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LVL |
Output Level |
- oo^ -30 dB - +6 dB |
Sets the output level of the effect. |
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Typ |
Filter Type |
HPF, LPF |
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HPF:THRU, |
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Frq |
Cut Off Frequency |
32 Hz - 1.0 kHz |
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LPF: 1.0 kHz - 16 kHz, |
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THRU |
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EFF: TRM
LFO |
Wave Type |
SIN, TRI, SQR |
SIN:Sine, TRI:Triangle, SQR:Square |
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0 = dry signal. |
MIX |
Mixing Balance |
0 - 100% |
50 = 50% tremolo effect 50% dry signal. |
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100 = 100% tremolo effect. |
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LVL |
Output Level |
- oo, -30 dB - +6 dB |
Sets the output level of the effect. |
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Typ |
Filter Type |
HPF, LPF |
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HPF:THRU, |
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Frq |
Cut Off Frequency |
32 Hz - 1.0 kHz |
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LPF: 1.0 kHz - 16 kHz, |
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THRU |
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20
Chapter 4: Effect parameters
Stereo Pitch 1 — PII
The stereo pitch 1 effect is a pitch shifter that allows independent pitch shifting for the left and right outputs. Signals can be pitch shifted by up to ± 12 semitones, with 99 cent fine control.
PCL |
Left Channel Pitch |
-12 ~ +12 |
±12 semitones. |
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Coarse |
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PFL |
Left Channel Pitch |
-99 ~ +99 |
± 99 cents. (100 cents = 1 semitone) |
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Fine |
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PCR |
Right Channel |
-12 ~ +12 |
+ 12 semitones. |
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Pitch Coarse |
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PFR |
Right Channel |
-99 ~ +99 |
± 99 cents. (100 cents = 1 semitone) |
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Pitch Fine |
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DLY |
Delay Time |
0.1 ~ 58.0 msec |
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VolL |
Left Channel |
0 - 100 |
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Volume |
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VOIR |
Right Channel |
0 - 100 |
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Volume |
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KEY |
Base Key |
Off, Cl - C6 |
See page 34. |
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WID |
Sound Image Width |
0 - 10 |
0=mono. |
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10=wide stereo. |
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0 = dry signal. |
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MIX |
Mixing Balance |
0 - 100% |
50 = 50% stereo pitch 50% dry signal. |
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100 = 100% stereo pitch. |
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LVL |
Output Level |
- -30 dB - +6 dB |
Sets the output level of the effect. |
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Typ |
Filter Type |
HPF, LPF |
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HPFTHRU, |
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Frq |
Cut Off Frequency |
32 Hz - 1.0 kHz |
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LPF; 1.0 kHz - 16 kHz, |
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THRU |
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21
Chapter 4: Effect parameters
Stereo Pitch 2 — PI 2
The stereo pitch 2 effect offers output pitch shifting like the Stereo Pitch 1 effect, with the addi tion of independent left and right output delays and feedback.
PCL |
Left Channel Pitch |
- 12 - +12 |
+12 semitones. |
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Coarse |
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PFL |
Left Channel Pitch |
-99 ~ +99 |
+ 99 cents. (100 cents = 1 semitone) |
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Fine |
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DLYL |
Left Channel Delay |
0.1 ~ 400 msec |
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Time |
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PCR |
Right Channel |
- 12 - +12 |
±12 semitones. |
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Pitch Coarse |
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PFR |
Right Channel |
-99 ~ +99 |
+ 99 cents. (100 cents = 1 semitone) |
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Pitch Fine |
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DLYR |
Right Channel |
0.1 - 400 msec |
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Delay Time |
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VolL |
Left Channel |
0 - 100 |
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Volume |
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VoIR |
Right Channel |
0 - 100 |
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Volume |
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FB |
Feedback Level |
0 - 100% |
The signal that is fed back will, obviously, be |
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pitch shifted again, and again. |
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KEY |
Base Key |
Off, Cl - C6 |
See page 34. |
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0 = dry signal. |
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MIX |
Mixing Balance |
0 - 100% |
50 = 50% stereo pitch 50% dry signal. |
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100 = 100% stereo pitch. |
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LVL |
Output Level |
- oo, -30 dB - +6 dB |
Sets the output level of the effect. |
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Typ |
Filter Type |
HPF, LPF |
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HPFrTHRU, |
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Frq |
Cut Off Frequency |
32 Hz - 1.0 kHz |
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LPF: 1.0 kHz - 16 kHz, |
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THRU |
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22
Chapter 4: Effect parameters
Ping-Pong Delay — PDL
The ping-pong delay effect delays the signal, then outputs the signal to the left and right outputs alternately, so the delayed signal appears to bounce across the stereo image.
DLY |
Delay Time |
0.1 ~ 450 msec |
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FB |
Feedback Level |
0 - 100% |
The amount of effected signal that is fed |
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back into the effect. |
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DIR |
Direction |
L |
L —> bounce from L to R. |
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R |
<— R bounce from R to L. |
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0 = dry signal. |
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MIX |
Mixing Balance |
0 - 100% |
50 = 50% ping-pong delay 50% dry signal. |
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100 = 100% ping-pong delay. |
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LVL |
Output Level |
- o°, -30 dB - +6 dB |
Sets the output level of the effect. |
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Typ |
Filter Type |
HPF, LPF |
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HPF:THRU, |
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Frq |
Cut Off Frequency |
32 Hz - 1.0 kHz |
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LPF: 1.0 kHz - 16 kHz, |
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THRU |
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Stereo Modulation Delay — SMD
The stereo modulation delay effect delays the left and right output signals using different delay times, then modulates both delay times. It produces a rich stereo thickening effect, similar to chorus hut with two independent delays and feedback parameter.
DLYL |
Left Channel Delay |
0.1 - 450 msec |
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Time |
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DLYR |
Right Channel |
0.1 - 450 msec |
|
|
Delay Time |
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FB |
Feedback Level |
0 - 100% |
The amount of effected signal that is fed |
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back into the effect. |
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SPD |
Modulation Speed |
0.1 Hz - 20 Hz |
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DEP |
Modulation Depth |
0 - 100% |
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If the DLYL and DLYR parameters are set to |
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L/R |
L/R Balance |
L50 - L=R - R50 |
the same (or similar) delay times, this effect |
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may sound like a signal phasing problem. If |
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so, adjust the L/R parameter to correct it. |
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0 = dry signal. |
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MIX |
Mixing Balance |
0 - 100% |
50 = 50% stereo mod delay 50% dry signal. |
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100 = 100% stereo mod delay. |
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LVL |
Output Level |
- oo, -30 dB - +6 dB |
Sets the output level of the effect. |
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Typ |
Filter Type |
HPF, LPF |
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|
HPFiTHRU, |
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Frq |
Cut Off Frequency |
32 Hz - 1.0 kHz |
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|||
LPF; 1.0 kHz - 16 kHz, |
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THRU |
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23
Chapter 4: Effect parameters
Reverb/Delay - REV
The Reverb/Delay effect section can produce 5 different reverb and delay effects.
Reverb — REV
The reverb effect can simulate the natural ambience and reverb characteristics of a concert hall, an average size room, and a steel plate type reverb.
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RhI |
Hall (concert hall). |
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TYP |
Reverb Type |
Rvc |
Vocal (ideal for vocals). |
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Rrm |
Room (echo room). |
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Rpl |
Steel plate type reverb. |
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PDLY |
Pre Delay |
0.1 ~ 200 msec |
Delay before the reverb signal is output. |
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RVT |
Reverb Time |
0.3 ~ 40 sec |
Reverb iength. |
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HF |
High Frequency |
1 ~ 10 |
1 = dark reverb. |
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Reverb Time Ratio |
10 = bright reverb. |
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wip |
Sound Image Width |
0~ 10 |
0 = mono. |
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10 = wide stereo. |
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0 = dry signai. |
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MIX |
Mixing Balance |
0 - 100% |
50 = 50% reverb 50% dry signai. |
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100 = 100% reverb. |
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LVL |
Output Level |
- o°, -30 dB - +6 dB |
Sets the output ievei of the effect. |
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Typ |
Filter Type |
HPF, LPF |
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HPFTHRU, |
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Frq |
Cut Off Frequency |
32 Hz - 1 . 0 kHz |
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LPF: 1.0 kHz - 16 kHz, |
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THRU |
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24
Chapter 4; Effect parameters
Delay + Reverb |
D + R |
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This effect uses delay and reverb effects in parallel. The same signal is fed to each effect, then |
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the output of each effect is mixed. |
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DLYL |
Left Channel |
0.1 ~ 750 msec |
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Delay Time |
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DLYR |
Right Channel |
0.1 - 750 msec |
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Delay Time |
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FB |
Feedback Level |
0 - 100% |
The amount of effected signal that is fed |
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back into the effect. |
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If the DLYL and DLYR parameters are set to |
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L/R |
L/R Balance |
L50 - L=R - R50 |
the same (or similar) delay times, this effect |
|
|
may sound like a signal phasing problem. If |
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|
so, adjust the L/R parameter to correct it. |
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RVT |
Reverb Time |
0.3 ~ 40 sec |
Reverb length. |
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PDLY |
Pre-delay |
0.1 - 190:0 msec |
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HF |
High Frequency |
1 - 10 |
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Ratio |
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WID |
Sound Image Width |
0 - 10 |
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D/R |
Delay/Reverb |
D50 - D=R - R50 |
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Baiance |
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0 = dry signal. |
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MIX |
Mixing Baiance |
0 - 100% |
50 = 50% delay + reverb 50% dry signal. |
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100 = 100% delay + reverb. |
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LVL |
Output Level |
- oo, -30 dB - +6 dB |
Sets the output level of the effect. |
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Typ |
Filter Type |
HPF, LPF |
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HPFTHRU, |
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Frq |
Cut Off Frequency |
32 Hz - 1.0 kHz |
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LPF: 1.0 kHz - 16 kHz, |
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THRU |
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INPUT L ID- |
DELAY |
-O OUTPUTL |
|
R |
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MIXER |
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L |
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INPUT RO |
-O OUTPUTR |
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REVERB |
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D + R Block Diagram
25
Chapter 4: Effect parameters
Delay Reverb — D R
This effect uses delay and reverb effects in series. The signal is first fed to the delay, then to the reverb.
DLYL |
Left Channel |
0.1 ~ 750 msec |
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Delay Time |
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DLYR |
Right Channel |
0.1 ~ 750 msec |
|
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Delay Time |
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FB |
Feedback Level |
0 - 100% |
The amount of effected signal that is fed |
|
back into the effect. |
||||
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|
|
If the DLYL and DLYR parameters are set to |
|
UR |
L/R Balance |
L50 - L=R - R50 |
the same (or similar) delay times, this effect |
|
may sound like a signal phasing problem. If |
||||
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|
||
|
|
|
so, adjust the L/R parameter to correct it. |
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RVT |
Reverb Time |
0.3 - 40 sec |
Reverb length. |
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WID |
Sound Image Width |
0 - 10 |
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HF |
High Frequency |
1 - 10 |
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Ratio |
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D/R |
Delay/Reverb |
D50 - D=R - R50 |
|
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Balance |
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MIX |
Mixing Balance |
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0 = dry signal. |
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0 - 100% |
50 = 50% delay -> reverb 50% dry signal. |
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100 = 100% delay ^ reverb. |
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LVL |
Output Level |
- oo. -30 dB - +6 dB |
Sets the output level of the effect. |
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Typ |
Filter Type |
HPF, LPF |
|
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|
HPFTHRU, |
|
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Frq |
Cut Off Frequency |
32 Hz - 1.0 kHz |
|
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|||
LPF: 1.0 kHz - 16 kHz, |
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THRU |
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INPUT L O- |
DELAY |
-O OUTPUTL |
|
R |
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MIXER |
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L |
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INPUTRO- |
-O OUTPUTR |
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REVERB |
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|
D R Block Diagram
26
Chapter 4: Effect parameters
Delay — DLY
A straightforward delay effect providing independent delays up to 1200 msec for the left and right outputs.
DLYL |
Left Channel Delay |
0.1 ~ 1200 msec |
|
|
Time |
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DLYR |
Right Channei |
0.1 ~ 1200 msec |
|
|
Delay Time |
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FB |
Feedback Level |
0 ~ 100% |
The amount of effected signal that is fed |
|
back into the effect. |
||||
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|
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|
|
If the DLYL and DLYR parameters are set to |
|
L/R |
L/R Balance |
L50 ~ L=R ~ R50 |
the same (or similar) delay times, this effect |
|
may sound like a signal phasing problem. If |
||||
|
|
|
||
|
|
|
so, adjust the L/R parameter to correct it. |
|
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|
|
0 = dry signal. |
|
MIX |
Mixing Balance |
0 - 100% |
50 = 50% delay 50% dry signal. |
|
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|
|
100 = 100% delay. |
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LVL |
Output Level |
- -30 dB - +6 dB |
Sets the output level of the effect. |
|
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|
|
Tempo Delay — TDL
The delay time of tempo delay effect can be synchronized to the song tempo. This can be set manually in bpm (beats per minute), from a MIDI sequencer or drum machine using MIDI clock messages, or by tapping a foot switch.
|
|
OFF |
Use TEMPO parameter. |
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TRG |
Tempo Trigger Type |
TAP |
See page 29. |
|
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MIDI |
See page 33. |
|
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TEMPO |
Tempo |
50 ~ 250 bpm |
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NOTE |
Note |
|
The number of beats per song measure. |
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|
|
FB |
Feedback Level |
0 - 100% |
The amount of effected signal that is fed |
|
back into the effect. |
||||
|
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|
||
|
|
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|
|
0 = Same delay time for L&R. |
|
WID |
Sound Image Width |
0 - 10 |
10 = Slightly differing delay times for L&R, |
|
|
|
|
which produces a stereo type effect. |
|
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|
|
If the DLYL and DLYR parameters are set to |
|
L/R |
L/R Balance |
L50 - L=R - R50 |
the same (or similar) delay times, this effect |
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may sound like a signal phasing problem. If |
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so, adjust the L/R parameter to correot it. |
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0 = dry signal. |
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MIX |
Mixing Balance |
0 - 100% |
50 = 50% tempo delay 50% dry signal. |
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100 = 100% tempo delay. |
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LVL |
Output Level |
- °<=, -30 dB - +6 dB |
Sets the output level of the effect. |
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*j3=a : J x |
^j3=jjj : J xi
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FX550 applications can be expanded through the use of foot switches and external MIDI equipment. FX550 functions that can be remotely controlled are listed below.
Foot switch controlled Functions |
MIDI Controlled Functions |
[jJ Effect program select |
[jJ Effect program select |
[2j Tap tempo, speed switching, & ducking |
[¿) Tempo control |
[3] FX550 bypass |
[3] PCL and PGR control |
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13 Parameter adjustment |
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[|] Volume control |
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[6] High-speed edit |
Use an optional Yamaha FC-5 foot switch.
[T] Effect Program Select
A foot switch can be used to select effect programs.
•Set Up Procedure
1.Press the [UTILITY] button. The F.SW FUNCTION display shown below will appear.
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2.Press the [ ▼ ] or [ A ] button repeatedly until the MEMORY SELECT display appears.
3.Press the [UTILITY] button again. The MEMORY SELECT RANGE display shown below will appear.
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4. Press the [ -^ ] or [ ► ] button to position the cursor, and use the [ ▼ ] and [ ▲ ] buttons to set the desired program number range.
When RANGE is set “62 TO 67” |
When RANGE is set “67 TO 62” |
62- 63- 64- 65- 66-> 67 |
67 66- 65- 64- 63- 62 |
5. Press the [PLAY] button to return to Play mode. The MEMORY SELECT RANGE settings are stored automatically.
•Operation Procedure
1.Connect the foot switch to the MEMORY INC/DEC TRIGGER jack on the rear panel.
2.Play the guitar, and press the foot switch to select the effect programs specified by the MEMORY SELECT RANGE. The specified effect programs will be selected one by one as you press the foot switch.
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