Yamaha FX900 User Manual [en, de, fr]

5 (2)

YAMAHA

SIMUL-EFFECT PROCESSOR

Operation Manual Manuel d'utilisation Bedienungsanleitung
Congratulations!
You are the proud owner of a Yamaha FX900 SIMUL-EFFECT PROCESSOR. The FX900 takes advantage of unmatched Yamaha digital signal processing technology to provide a fully
With a wide range of programmable effects including compressor, distortion, equalizer,
enhancer, wah, pitch change, reverb, early reflection, delay, echo, and modulation, the FX900 gives you a complete state-of-the-art signal-processing system in one compact package. There are 100 superlative preset effect programs that you can simply select and use right away, and 100 RAM memory locations which can be used to store original signal-processing sounds that you create using the FX900’s broad-ranging programming features. The FX900 can also function in a l-in/2-out or 2-in!2-out configuration to fit any system. For further versatility and smooth integration with MIDI-based music systems, the FX900 offers broad external control capabilities. Any of its 100 memory locations may be directly selected from a remote MIDI device such as a keyboard or MIDI foot controller. It is also possible to directly control effect
parameters in real time. An optional FC900 remote control unit is available for comprehensive
foot control of many important FX900functions.
No other multi-effect device offers this type of versatility, and the sound is nothing less than
superb.
Please read through this operation manual thoroughly while learning to use your FX900, in
order to take full advantage of all the sophisticated capabilities it providesand keep the manual in a safe place for later reference!
INPORTANT NOTICE FOR THE UNITED KINGDOM
Connecting the Plug and Cord
WARNING : THIS APPARATUS MUST BE EARTHED
IMPORTANT. The wires in this mains lead are coloured in accordance with the following code:
GREEN-AND-YELLOW BLUE
BROWN
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug proceed as follows:
The wire which is coloured GREEN-AND-YELLOW must be connected to the terminal in the plug which is marked by the letter E or by the safety earth symbol or coloured GREEN or GREEN-AND-YELLOW.
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
EARTH NEUTRAL LIVE
THIS APPARATUS COMPLIES WITH THE "CLASS B" LIMITS FOR RADIO NOISE EMISSIONS SET OUT IN RADIO INTERFERENCE REGULATIONS.
CANADA
CET APPAREIL EST CONFORME AUX NORMES "CLASSE B", POUR BRUITS RADIOELECTRIQUES. TEL QUE SPECIFIER DANS LE REGLEMENT SUR LE BROUILLAGE RADIOELECTRIQUE.
Ш

Contents

1. Precautions
2. The FX900: What It Is and What It Does
■ Effects .................................................................. 4 ■ Algorithms ■ Memory Configuration ■ External Control
3. Connections: Basic System.Setup.............................7
4. The Controls: A Quick Operation Guide
5. The MEMORY Mode: Selecting Effect Programs .... 11
6. Editing......................................................................12 ■ Effect Group Switching
■ Changing Algorithms............................................13 ■ Flipping & Assigning Effects ■ Accessing and Editing the Parameters ■ Memory Store
7. The Effects and their Parameters
■ DYN (Dynamic) GROUP......................................19
• CDE — Compressor/Distortion/Equalizer.........19
• CMP — Dual Compressor
• ENH — Dual Enhancer
• WAR — Stereo wah
• PEQ — Dual Parametric Equalizer...................24
• MBD — Multi-band Distortion
• CDW — Compressor/Distortion/Equalizer/Wah .. 26
• DST — Stereo Distortion/Equalizer
■ REV1 (Reverb 1) GROUP
• PCM — Mono Pitch Change
• PCS — Stereo Pitch Change
• RV1—Reverb 1 ...............................................31
• ER1 — Early Reflections 1 ...............................32
• DL1 — Mono Delay 1
• EC1 — Echo (Stereo Delay) 1
• MD1 — Modulation Delay 1
• MT1 — Multi Tap Delay 1
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3 4
4 5
6
9
12
15 17
18
21
22 23
25
28 29 29
30
33
34
35
37
■ MOD (Modulation) GROUP
• CHO —Chorus
• FLG — Ranger
• SYM — Symphonic
• TRM — Tremolo
• PAN — Round Pan
■ REV2 (Reverb 2) GROUP ..................................41
• RV2 — Reverb 2 ........................................... 41
• ER2 — Early Refections 2
• DL2 — Mono Delay 2
• EC2 — Echo (Stereo Delay) 2
• MT2 — Multi Tap Delay 2
• R+D — Reverb + Delay
8. The Utility Mode.......................................................42 ■ TITLE EDIT ■ MIDI Program Selection: MIDI SETUP and MIDI
PGM CHANGE.................................................... 43
• MIDI SETUP.....................................................43
• MIDI PGM CHANGE
■ External Parameter Control: CONTROLLER 1
through CONTROLLER 4.....................................45
• Basic Controller Assignments
• Assigning CONTROLLER 1 through CONTROLLER 4 to Specific Effects
■ F.SW MEMORY RCL
■ BULK OUT...........................................................49
9. Specifications
10. Algorithm & Effect Assignments for the Preset
Programs...............................................................156
11. MIDI Data Format..................................................160
• MIDI Implementation Chart
12. Block Diagram
13. FX900 Parameter Chart
14. Initial Data Chart....................................................173
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165
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167
FCC CERTIFICATION (USA)
This equipment generates and uses radio frequency energy and if not installed and used properly, that is, in strict accordance with the manufacturer's instructions, may cause interference to radio and television reception. It
has been type tested and found to comply with the limits for a Class B computing device in
accordance with the specifications in Subpart J of
Part 15 of FCC Rules, which are designed to
provide reasonable protection against such
interference in a residential installation. However,there is no guarantee that interference
will not occur in a particular installation. If this
equipment does cause interference to radio or television reception, which can be determined by turning the equipment off and on, the user is
encouraged to try to correct the interference by
one or more of the following measures:
Reorient the receiving antenna. Relocate the equipment with respect to the receiver. Move the equipment away from the receiver. Plug the equipment into a different AC power outlet so that it and the receiver are on different branch circuits. If necessary, the user should consult the dealer or an experienced radio/television technician for additional suggestions. The user may find the
following booklet prepared by the Federal Communications Commission helpful: "How to Identify and Resolve Radio-TV
Interference Problems".
This booklet is available from the U.S.
Government Printing Office, Washington, DC 20402, Stock No. 004-000-00345-4.
1. Precautions
!i PLEASE READ THIS BEFORE PROCEEDING !!
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.
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 Always use the correct AC voltage to power your FX900.
Make sure that your FX900 is appropriate for the AC mains supply voltage in the area where you intend to use it (the correct supply voltage is marked on the rear
panel, below the power cord).
9. MIDI CABLES When connecting to FX900 to MIDI equipment, be sure to high-quality cables made especially for MIDI data transmission. Also avoid cables longer than about 15 meters, as longer cables can pick up electrical noise that can causes data errors.
10.
MEMORY BACKUP The FX900 contains a special long-life battery that retains the contents of its internal RAM memory even when the power is turned OFF. The backup battery should last for approximately 5 years. When the battery voltage drops to a level that is too low to maintain the memory contents, the following message will appear on the FX900 display when the power is turned ON;
*» WARNING **
LOW BATTERY
If this display appears, have the backup battery replaced by qualified Yamaha service personnel. DO NOT ATTEMPT TO REPLACE THE BACKUP BATTERY YOURSELF!
11. ERROR MESSAGES When the FX900 power is initially turned ON, a self diagnostic program runs automatically to check a number of important operational parameters. If a problem is found, an error message ("EO" through "E8") will appear on the liquid crystal display panel. If an error message appears, please take the FX900 to your nearest Yamaha dealer for servicing, and be sure to tell the service personnel which error message was displayed.
8. ELECTRICAL INTERFERENCE Since the FX900 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 FX900 further away from the affected equipment.

2. The FX900: What It Is and What It Does

1 i
Effects
The FX900 has four effect "groups" — DYN (dynamic), REV1 (reverb 1), MOD (modulation), and REV2 (reverb 2) — that each contain several effects. Some of these "effects" are actually a combination of several effects, such as the CDE effect in the DYN group which combines compressor, distortion, and equalizer. The chart below lists the effects in each group with the three-letter abbreviated name that is used on the FX900 display.
Group
DYN
REVI
MOD
REV2
Effect Description CDE Compressor/distortion/equalizer
CMP Dual compressor* ENH Dual enhancer WAH Stereo wah* PEQ MBD Multi-band distortion CDW DST
PCM PCS Stereo pitch change RV1 ER1 Early reflections 1 DU EC1 Echo (stereo delay) 1 MD1 MT1 Multi tap delay 1
CHO Chorus FLG Pianger
SYM TRM Tremolo PAN
RV2 ER2 Early refections 2 DL2 EC2 Echo (stereo delay) 2 MT2 Multi tap delay 2 R+D Reverb + delay
Dual parametric equalizer
Compressor/distortion/equalizer/wah Stereo distortion/equalizer
Mono pitch change Reverb 1 Mono delay 1 Modulation delay 1
Symphonic Round pan Reverb 2 Mono delay 2

Algorithms

The sound of a number of effects used together depends to a degree on the way the effects are connected — i.e. what
order they are connected in, and whether they are connected
in series or in parallel. The FX900 gives you total freedom in how you connect effects from the four effect groups with an innovative system of "algorithms." The FX900 has five basic algorithm types that we'll arbitrarily call the Chain, the Tee, the Square, the Tall Tee, and the
Stack. These are represented (in order, from left to right) by the symbols accompanying the Algorithm Type Indicators on the front panel. The Tee and Tall Tee types further have a
number of variations, as shown in the algorithm diagrams
below.
1. Chain
Algorithm 1
2. Tee
Algorithm 2 Algorithm 3
Algorithm 4 Algorithm 5
Algorithm 6 Algorithm 7
* "Dual" programs have separate parameters for the left and right channels, while "Stereo" programs have a single set of
parameters for both channels. Each effect has a number of parameters which can be
adjusted to tailor its sound to your specific musical needs. The effects and individual parameters are described in detail in the "The Effects and their Parameters" section of the manual, beginning on page 19. Up to four effects, one from each effect group, can be combined and connected as required by assigning each effect group to one of the four "blocks" in any of the FX900's 11 algorithms — described next.
3. Square
Algorithm 8
4. Tall Tee
5. Stack
Thus we have a total of 11 algorithms. As we mentioned earlier, one effect from each of the FX900's four effect groups can be assigned to each "block" within the selected algorithm. This allows the FX900 effects to be combined as required to produce the desired sound. Details on algorithm selection and effect assignment are given on page 13.
Algorithm 9
Algorithm 10
Algorithm 11

■ Memory Configuration

The FX900 has a total of 200 memory locations. "PRESET" memory locations 0 through 99 are ROM (Read Only Memory) containing 100 pre-programmed effects that you can simply select and use. "USER" memory locations 0 through 99 are RAM (Random Access Memory), and can be used to store original effect programs that you create by editing the presets. The 100 RAM memory locations originally contain copies of the preset programs. The first memory location — memory location number 0 — contains "initial data" that can be used as a basis for creating your own original effects programs. The initial data consists of settings that produce a more or less "normal" effect which you can easily edit, gradually straying from the norm, to create your own sound.
PRESET MEMORY
(ROM)
0 — 99
• 0 is "Initial" data. • User-edited programs
• 1 — 99 are preset effect programs
USER MEMORY
(RAM)
0 — 99
Preset Effect Program Titles
Memory
«0.
Distort on Group No. 52 No. 1 No. 2 Trióle Stack No. 54 No.3 No. 4 Southern Rock No. 56 Dew No. 5 Smooth Dist No. 57 No. 6 No. 7 No. 8 Power Detune No. 60 Nylon Strinqs No. 9 No. 10 FX Distortion No. 11 No. 12 Harmonv Lead No. 13 Rockin' 70's No. 64 Flanqe Bass No. 14 Multi Lead No. 65 Touch-wah Bass No. 15 Mid Peak No. 16 3-wav Dist No. 17 Led Distortion No. 68 Island Bass
No. 18 No. 19 No. 20 Hard Sitar No. 21 No. 22 Shaoeless Bells No. 72 EP Ambience No. 23 No. 24 Crunch No. 74 No. 25 Slide Distortion No. 75 Rock Orqan No. 26 Touch Dist No. 76 Slow Rotor No. 27 No. 28 Cluster Dist. 2 No. 78 Pluck-wah No. 29 Cluster Dist. 3 No. 79 No. 30 Talkin' Dist. No. 80 Pad Fill No. 31 Wide-Pan Dist. No. 81 Wind Enhancer No. 32 Wah Distortion No. 82 Brass Lifter No. 33 No. 34 Meteor No. 84 Polished Strinqs
No. 35 No. 36 Compressed Solo No. 37 No. 38 Shimmer Echo No. 39 Crisp Chops No. 88 Heavy Drum No. 40 No. 41 50's Booqie No. 42 Touch Wah No. 43 Dry Clean No. 44 Crisp Q No. 45 No. 46 No. 47 No. 48 Silver Strinqs No. 49 No. 50 No. 51 City Theme
' Details on the algorithms and individual effects used in each
effect program are given in the chart beginning on page
156.
Program Tittft
Massive Dist. Fullranae Dist No. 55 Reverb Sweet
Metal Master Razor's Edoe No. 59 Hollow Body
Tube Lead No. 61 Sweet Lead
Tiaht Distortion No. 69 Straiqht Pick Pan Distortion No. 70 Flanqe Pick
Flanae Sitar Synthesizer Group Tiaht Rock No. 73 Punchy Piano
Cluster Dist. 1 No. 77
Soarkler No. 83 Horn Solo
storlion Group No. 85 Fat Bass
Simolv Sweet Briqht Backer
Touch Of Jazz No. 89
Spicy Repeat Fifths Liqht Harmonv
Stereo Tremolo No. 97 Funk Groove No. 98
Memory
No.
No. 53
No. 58
Basse No. 62 No. 63
No. 66 Slap Bass No. 67
No. 71
No. 86 Divmsi Fere/ Raaoriilnii
Oraiap
No. 87
No. 90 No. 91 Percussion-wah No. 92 No. 93 Vocal Reyerb 2 Sound Effects Group No. 94 No. 95 No. 96
No. 99
No. 0 kiftiâi Data
Program Title
Pitch Twist Briqht Chorus Wanderer
Treble Tremolo Tape Echo
Comp Chorus
roup
Fretless Solo Fretless Pick
Bass Distortion
Quick Chase
Thick Orqan
Clavi-flanqe Silkv Clav
3D-pan Bass
Rock Drum
Warehouse Drum Percussion Gate
Vocal Reyerb 1
Dinosaur Teleporter Escalator War Drum
Infinite Echo
Steam Machine

External Control

For further versatility and smooth integration with MIDI-based music systems, the FX900 offers broad range of external control capabilities. Any of its 100 memory locations may be directly selected from a remote MIDI device such as a keyboard or MIDI foot controller. It is also possible to directly control up to four different effect parameters simultaneously in real time, either via MIDI controllers, foot controllers connected to two rear-panel jacks, or a combination of MIDI and foot controllers. You could, for example, control the modulation depth of a flanger effect and the reverb time of a reverb effect in real time as you play! See page 45 for operational details. Comprehensive remote control is possible with the Yamaha FC900 Foot Controller — designed specifically for use with the FX900. The FC900 provides effect program selection, effect group switching, bypass switching, parameter control, and other versatile capabilities in a sturdy floor unit. Consult the FC900 literature for further details.

3. Connections: Basic System Setup

0
Input IMPEDANCE Switch
This switch determines the input impedance of the
INPUT R and L/MONO jacks, and the front-panei INPUT jack. When directly connecting a guitar or other high­impedance instrument to the FX900, set this switch to the "1M" position. The "1 Ok" setting is appropriate for standard audio equipment and other line-level sources.
0 Input Level -20dB/+4dB Switch
This switch aiiows the input sensitivity of the FX900 to
matched to the type of source equipment used. When connecting the FX900 to professional equipment that has +4 dB outputs, set the input ievel switch to the "+4dB" position. The "-20dB" setting is the best choice
for most home-use audio equipment.
0 INPUT R & L/MONO Jacks
The INPUT R and L/MONO jacks allow either stereo or
mono signals to be fed to the FX900. Stereo signals should be fed to both jacks, while a mono signal should be fed to the L/MONO jack only. Inserting a plug into the L/MONO jack only causes the FX900 to function as a 1 ­in/2-out type signal processor. The L/MONO jack
duplicates the function of the front-panel INPUT jack described in the following section. If plugs are inserted
into both the front and rear-panel inputs, the front-panel input jack takes priority.
0 OUTPUT R and OUTPUT L Jacks
These are the main stereo outputs from the FX900. We
recommend using both outputs and connecting them to
the corresponding right and left channels of a stereo sound system, since the full impact of many of the
FX900 effects can only be appreciated in stereo. If, however, only a mono sound system is available, use
either the OUTPUT R or OUTPUT L jack.
0 Output Level -20dB/+4dB Switch
This switch is used to match the output level of the
FX900 to the input sensitivity of the amplifier, mixing console or other device it is feeding. For compatibility with standard line-level inputs the ”-20dB" setting should be appropriate, while the "+4dB” setting should be used when the FX900 is connected to professional equipment that has +4dB inputs.
0
MIDI IN Connector
The MIDI IN connector accepts MIDI signals from an external MIDI device such as a MIDI foot controller, keyboard, etc. The FX900 will accept MIDI PROGRAM CHANGE messages to directly select effect programs, or MIDI CONTROL CHANGE messages via which individual effect parameters may be remotely controlled. fSee page 43 for further details!
0
MIDI THRU/OUT Switch
Selects either MIDI THRU or MIDI OUT operation for the MIDI THRU/OUT connector, described below.
0
MIDI THRU/OUT Connector
When the MIDI THRU/OUT switch is set to "THRU," MIDI signals received at the MIDI IN connector are re transmitted via this connector in real time, allowing other MIDI devices to be "chained" to the FX900. When the MIDI THRU/OUT switch is set to "OUT," MIDI data corresponding to operation of the FX900 is
transmitted via this connector.
fSee page 49 for further detailsl
0
REMOTE Connector
This connector accepts the optional FC900 remote foot controller unit, allowing convenient foot control of effect group switching, program selection, bypass switching, and other functions.
® FOOT VOL 1 and 2 Jacks
Optional Yamaha FC7 Foot Controllers connected to the FOOT VOL 1 and 2 jacks can be used to control specified effect parameters in real time. [See page 45 for further details]
dJ) MEMORY INC/DEC Jack
An optional Yamaha FC4 or FC5 Footswitch may be connected here for convenient foot-controlled selection of effect programs. The range of effect programs that can be selected is determined by the UTILITY mode
Footswitch Memory Recall Range Edit function (page
48). rSee page 48 for further detailsl
dD BYPASS Jack
An optional Yamaha FC4 or FC5 Footswitch connected
here performs exactly the same function as the front­panel [BYPASS] key. Press the footswitch once to activate the bypass mode, and again to turn bypass off.

Basic System Configurations

Here's how the FX900 can be connected for use with electric guitar (or bass), an electronic keyboard, or in a multitrack recording system. The actual configuration of your system will naturally depend on your own individual requirements, but these examples may help to give you a few ideas.
• Electric Guitar
Electric guitar or bass
OUTPUT
Front-panel INPUT jack or rear-panel INPUT L/MONO
jack.
Input impedance switch set to "1M". Input level switch set to "-20dB".
Guitar amplifier or bass amplifier
(Left)
(Right)
Keyboard
Synthesizer, electric piano or
tone generator
' Multitrack Recording
OUTPUT Front-panel INPUT jack or
rear-panel INPUT L/MONO jack (keyboards with stereo output can be connected to the rear-panel R and L
INPUT jacks).
Mixer or multitrack recorder.
keyboad amplifier
(Left)
FX900
OUTPUT
R
(Right)
Input impedance switch set to "10k".
Speaker
(Left)
(Right)
8

4. The Controls: A Quick Operation Guide

0
0 Power Switch
Press once to turn the FX900 on, and a second time to turn the power off. When the power is turned on, a title and copyright notice will appear on the display panel for
a few seconds before operation actually begins.
0 Input Jack
Plug your guitar or other mono signal source in here or
into the INPUT LyMONO jack provided on the rear panel
(see "3. INPUT R & L/MONO Jacks" in the "4. Connections: Basic System Setup" section). All input jacks are standard 1/4" phone jacks.
0 INPUT LEVEL Control with L and R Level Indicators
For the optimum input level setting, play your source at the highest level it will be played in actual use, and adjust the INPUT LEVEL control so that all segments in the level indicators except the highest segment (3) light most of the time. The highest segment may light occasionally on brief high-level peaks. The highest segment features a 1-second peak-hold function.
0 LED MEMORY Number Display
Indicates the selected program number — 0 through 99. Whether the selected program is in the PRESET or USER memory is indicated by the PRESET and USER LEDs, described below.
0 PRESET and USER Indicators
These LEDs indicate whether the PRESET ROM memory area or the USER RAM memory area is selected. Selection is accomplished via the [USER/PRESET] key, described below. [See page 11 for further details]
0 Liquid Crystal Display Panel
This is the FX900's main "information center," providing all information necessary for effect program selection, programming and utility control.
© EFFECT ON Keys — [DYN], [REV1], [MOD], [REV2]
These keys are used to turn the corresponding effect group ON (indicator lit) or OFF (indicator out). [See page 12 for further details!
[ALG] Key
When the [ALG] (algorithm) key is pressed and lit, the
[DATA ENTRY] control or [A] and [T] keys can be used
to select a new algorithm for the currently selected effect program. In the algorithm selection mode it is also possible to assign different effects to the various algorithm blocks by moving the cursor to the desired block using the cursor [◄] and [ ►] keys, and then by
using the [A] and [T] keys to select a new effect. Press
the [ALG] key a second time so that its indicator goes out to exit the algorithm selection mode. fSee page 13 for further details!
0
Algorithm Type Indicators
These five indicators and the associated algorithm symbols indicate which of the FX900's five basic algorithm types is used in the currently selected effect. [See page 13 for further details]
(0) EDIT Keys — [DYN], [REV1], [MOD], [REV2]
These keys provide access to the editable parameters of the effect currently in use in the corresponding effect group. Most effects have several "pages" of parameters that can be accessed by repeatedly pressing the corresponding EDIT key. fSee page 17 for further details!
dD [FLIP] Key
The [FLIP] key is used to reverse the positions of any two effect groups in the current algorithm, allowing the various effect groups to be placed anywhere in the algorithm. fSee page 15 for further details!
(g) [DATA ENTRY] Control
The [DATA ENTRY] control can be used fast selection of programs, algorithm numbers, effects, and parameter values when in the corresponding modes. In many cases you might find it most efficient to use the [DATA ENTRY] control for quick coarse adjustment, and then
use the data entry [A] and [T] keys (described next) for
fine stepwise control. Rotate the [DATA ENTRY] control clockwise to increase the number or value, and counter
clockwise to decrease.
[See page 11 for further details]
(Q) Data Entry [A] and [▼] Keys
The [A] and [T] keys allow stepwise selection of
program numbers, algorithm numbers, effects, and parameter values when in the corresponding modes. These keys can also be held for continuous incrementing or decrementing. For even faster incrementing or decrementing, press the opposite data entry key after pressing and holding the key corresponding to the direction you want to increment or decrement in. [See page 11 for further details]
(0) [MEMORY] Mode Key and Indicator
When the [MEMORY] key indicator is iit, the FX900
MEMORY mode is active and effect programs (0 — 99, PRESET or USER) can be selected and recalled using
the [DATA ENTRY] controi or [A] and [T] keys and the
[RECALL] key. The MEMORY mode can be activated while the EDIT mode is selected by pressing the [MEMORY] key. The MEMORY mode can not be directly selected from the UTILITY mode by pressing the [MEMORY] key. The UTILITY mode must first be exited by pressing and holding the [UTILITY] key until the [UTILITY] key indicator goes out (approximately 1 second).
fSee page 11 for further details]
(g) [RECALL] Key
After using the [DATA ENTRY] control or [A] and [▼]
keys to select a desired effect program while in the MEMORY mode, the [RECALL] key is pressed to actually recall and activate the selected program. [See page 11 for further details]
(g) [COMPA] Key
The [COMPA] (compare) key allows the sound of an
effect being edited to be compared to the sound of the effect prior to editing. To hear the pre-edit effect, press the [COMPA] key so that it iights. Press the [COMPA] key a second time to exit the compare mode and return to the sound of the edit voice.
(g) [ASSIGN] Key
The [ASSIGN] key is used to assign effect parameters
for control via external MIDI controllers or foot controllers. [See page 45 for further details]
(g) Cursor Keys— [◄] and [ ►]
These keys move the cursor left or right within a display
page to select specific parameters for editing.
[See page 17 for further details]
(g) [STORE] Key
After editing any of the effect programs (PRESET or
USER 0 through 99), the new program can be stored in any of the FX900's RAM memory locations (USER 0
through 99) for later recall and use. The [STORE] key is
used to store edited data to a RAM memory location.
rSee page 18 for further details!
@ [USER/PRESET] Key
Selects the PRESET or USER memory area. The selected memory area is indicated by the PRESET and USER indicators next to the MEMORY number dispiay. fSee page 11 for further details!
(|]) [UTILITY] Mode Key and Indicator
Pressing this key activates the UTILITY mode, allowing access to several important utility functions:
• Title Edit [Page 42]
• MIDI Setup [Page 43]
• MIDI Program Change Table Edit [Page 44]
• Controller Assignment [Page 45]
• Foot Switch Memory Recail Range Edit [Page 43]
• Bulk Out [Page 49] The [UTILITY] key lights when the UTILITY mode is active. Each time the [UTILITY] key is pressed the next
function on the utility "list" is selected. The mode that was active before the [UTILITY] key was pressed (MEMORY or EDIT) is selected following the last function on the utility list. The UTILITY mode can also be exited by pressing and holding the [UTILITY] key until it goes out (about one second).
(g) [BYPASS] Key
When the [BYPASS] key is pressed and lit, all FX900 effect stages are completely bypassed and the input signal is fed directly to the output. Press the [BYPASS] key a second time to turn the bypass function off. The rear-panel BYPASS footswitch jack can also be used for bypass control (see "12. BYPASS Jack").
10

5. The MEMORY Mode: Selecting Effect Programs

In the FX900 MEMORY mode, the [DATA ENTRY] control or [A] and [T] keys can be used to select individual effect programs.
When a new program number is selected, its number will fiash on the MEMORY display and its titie wiii appear on the upper iine of the LCD (the abbreviated names of the active effects in the seiected program wiii appear on the bottom line). Press the [RECALL] key to actually recall and activate the selected program. NOTE: When a MIDI program change message is received for effect selection, an "M" wiii appear briefiy to the right of the lower
display line.
1. If the MEMORY mode is not already selected (i.e. if the [MEMORY] key is not lit), press the [MEMORY] key to select the MEMORY mode.
NOTE: If the UTILITY mode is active (i.e. the [UTILITY]
key is lit), it will be necessary to exit the UTILITY mode before selecting the MEMORY mode by pressing and holding the [UTILITY] key until it goes out (about one second).
2. If necessary, use the [USER/PRESET] key to select the USER or PRESET memory area.
3. Use the [DATA ENTRY] control or [A] and [T] keys to
select the number of the desired effect program. Press
the [A] or [T] key briefly to select the next highest or
lowest numbered program, or hold either key down for
continuous scrolling in the corresponding direction.
Faster scrolling is achieved by pressing the opposite arrow key while holding the arrow key corresponding to
the direction of scrolling.
4. The number of the selected effect program should now be flashing on the display, indicating that the program has been selected but has not yet been recalled (the previous effect program is still active). Press the [RECALL] key to actually recall and activate the selected program. The program number will stop flashing.
11

6. Editing

There are no hard-and-fast rules for effect editing. As you gain experience you'll undoubtedly develop a style that suits your individual needs. In general, however, you'll need to divide the process into several steps:
Decide which effects you need. Decide how they should be connected (i.e. which algorithm and how the effects are assigned to the algorithm blocks). Edit the effect parameters if necessary.
3.
Store the effect.
4.
In some cases you'll also need to make controller assignments, and you can use the UTILITY mode TITLE EDIT function (page 42) to give your effect an original name. In this section we'll cover the operations necessary to complete the basic editing sequence described above.

■ Effect Group Switching

The FX900 effect groups — and therefore the currently active
effects in each group — can be individually turned ON or OFF by using the EFFECT ON keys — [DYN], [REV1], [MOD], and [REV2]. Pressing any of these keys alternately turns the corresponding effect group ON (key lit) or OFF (key out). When a stage is turned OFF, it is bypassed and
essentially "removed" from the algorithm. This makes it possible to hear the various effects in an algorithm
individually or in any desired combination. You won't always want to use all four effects for every program you create, so
unneeded effects should be turned OFF.
NOTE: The ON/OFF status of each effect is stored to the
RAM memory along with all other effect data when a STORE operation is performed (see "Memory Store" on page 18).
12

Changing Algorithms

Deciding which algorithm to use for a particular combination of effects requires a little logical thought. Consider, for example, the following effect chain:
COMPRESSOR— CHORUS PRCHCHANGE REVERB
Compression, when used, will nearly always be the first effect in a chain because the following effects usually benefit from a "smoother" input signal. Chorus follows the compressor in this example, and this stage is followed by a pitch change effect. Reverb comes last simply because we usually want to apply reverb to the entire sound. Now let's see what happens if we modify this arrangement slightly;
In this case the reverb stage is connected In parallel with the pitch change stage. Reverb is applied to the compressed and chorused signal, but not to the pitch change effect. The output will be a combination of relatively "dry" compressor/chorus/pitch change, and compressor/chorus with reverb. Obviously things can get quite complex, but this highlights
the incredible versatility provided by the FX900 algorithm
system. Perhaps the best approach to selecting an algorithm is to logically determine the configuration that seems like it will provide the sound you need, then simply try it. If it doesn't work out the way you planned, then try other configurations until you're satisfied. After a while you'll develop a "feel" for
the various combinations, and will be able to program quickly
and efficiently.
1. Press the [ALG] key so that it lights. The currently selected algorithm will appear on the display, and the underline cursor will be positioned below the algorithm number at the lower left-hand corner (the cursor can be moved by using the cursor [ ◄] and [ ►] keys, but for now we want it under the algorithm number).
2. Use the [DATA ENTRY] control or [A] and [▼] keys to
select the desired algorithm.
3. Press the [ALG] key again to return to the previous mode.
The algorithm displays correspond to the various algorithms as follows (the effect assignments shown are those of PRESET program number 1: Grand Dist.):
13
Algorithm 1
Algorithm 2
Algorithm 3
Algorithm 8
Algorithm 4
Algorithm 5
Algorithm 6
Algorithm 9
Algorithm 10
Algorithm 11
Algorithm 7
14

Flipping & Assigning Effects

While in the algorithm assignment mode (while the [ALG] key is lit) you can rearrange the positions of the effect groups in the four
algorithm blocks by using the "flip" function, and assign specific effects from each group.
• Flipping Effect Groups
1,3
1. Press the [FLIP] key so that it lights (the [ALG] key will also light if it was not already lit). For this example, we'l flip the positions of the PCS (REV1 group) and RV2 (REV2 group) effects.
CDE^HO^PCS
3 RV2
2. Press the EDIT keys corresponding to the effect groups you want to flip — [REV1] and [REV2] in this case. The effect names corresponding to the two selected effect groups will flash alternately on the display.
----------------
CDE-,<;ill(>^PCS-
vt-7-
3 I ^
3. Press the [FLIP] key again, and the positions of the two selected effects will be reversed. The [FLIP] key will also go out.
CDE-iCHO-i-RVZ
3 PCS
15
Assigning Effects
1. While in the algorithm selection mode (while the [ALG] key is lit) use the cursor [ ■^] and [ ►] keys to position the underline cursor under the effect you wish to change.
2. Use the [DATA ENTRY] control or [A] and [T] keys to
select the desired effect.
Here, once again, is a list of the effects available in each group, along with their three-letter abbreviations.
Group
DYN CDE
REV1 PCM Mono pitch change
MOD CHO
REV2 RV2 Reverb 2
Effect Description
Compressor/d istortion/eq ual izer CMP ENH WAH PEQ MBD CDW Compressor/distortion/equalizer/wah DST Stereo distortion/equalizer
PCS Stereo pitch change RV1 ER1 DL1 Mono delay 1 EC1 Echo (stereo delay) 1 MD1 MT1 Multi tap delay 1
FLG Pianger SYM Symphonic TRM Tremolo PAN
ER2 Early refections 2 DL2 Mono delay 2 EC2 Echo (stereo delay) 2 MT2 Multi tap delay 2 R+D Reverb + delay 2
Dual compressor*
Dual enhancer
Stereo wah*
Dual parametric equalizer
Multi-band distortion
Reverb 1
Early reflections 1
Modulation delay 1
Chorus
Round pan
* "Dual" programs have separate parameters for the left and right channels, while "Stereo" programs have a single set of parameters for both channels.
16

Accessing & Editing the Parameters

The FX900 edit mode provides access to several important parameters for each effect, allowing you to change the sound of each effect over a broad range to suit your specific requirements. Once the parameters for each effect have been programmed and fine­tuned to provide exactly the sound you want, the entire effect program can be stored into one of the FX900's USER memory
locations for later recall and use.
1. The edit mode is entered by pressing the EDIT key corresponding to the effect group containing the effect you want to edit — [DYN], [REV1], [MOD], or [REV2]. The parameter abbreviations are displayed on the upper
line of the LCD, and the corresponding data values are shown on the bottom line (the parameters will be described in detail in the following sections).
TUD DAT AT17 Onr
\ IVrtl ttliv ftCiLi
1 1/8 20 .20-
-2:
^ Under cursor
Upper line shows
'parameters.
Lower line shows current value for each parameter.
2. Use the cursor ◄ and ► keys to move the cursor to the parameter to be edited. In most effects, two or more parameter screens are required, so the next screen will
appear when the cursor is moved past the last parameter on each screen. The first screen is re selected after the last parameter on the last screen. It is
also possible to step through the various parameters screens by repeatedly pressing the currently select (lit)
EDIT key. The modulation stage danger effect, for example, has the following three parameter screens:
3. Use the [DATA ENTRY] control or [A.] and [T] keys to
adjust the value of the selected parameter. If you hold
the [A] or [▼] key the data will scroll continuously in the
specified direction. The data will scroll faster if you press
the opposite arrow key while holding either the [A] or
[▼] key.
4. The sound of the edited effect program can be compared with sound of the program prior to editing by pressing the [COMPA] key. While the [COMPA] key is lit, the pre-edit program is active. Press the [COMPA] key
again so that it goes out to return to the edited program. NOTE: To prevent accidental loss of edited data, the
FX900 responds with a confirmation display — "RECALL OK?" — if you press the [RECALL] key while editing. If you actually intend to recall
the original (pre-edit) effect and return to the
MEMORY mode, press the [RECALL] key a second time. If you do not want to carry out the recall operation, simply press any key other
than the [RECALL] key.
17

Memory Store

An edited effect program can be stored in any memory location within the FXQOO's USER memory area (0 through
99). Original effect programs stored in this way can be selected and used in exactly the. same way as the preset effect programs. The ON/OFF status of each effect, the
selected algorithm, and effect assignments, are stored along with all other parameter data. The UTILITY mode TITLE EDIT function can be used to create new titles for your original effect programs after you have stored them in USER memory.
1. After editing the parameters to create the desired effect, select the MEMORY mode and select the USER memory location (0 — 99) to which you wish to store the edited data (do not press the [RECALL] key).
2. Press the [STORE] key.
STORE OK ?
pre: 1 •> usr:i2
In this example, an edited version of PRESET program 1 will be stored to USER memory location 12.
EDIT
4. When the store operation is complete, the memory location stored to will be selected automatically (the MEMORY number display will stop flashing).
5. Use the UTILITY mode TITLE EDIT function to give your program an original name. The TITLE EDIT function is described in detail on page 42.
NOTE: If you attempt to use the STORE function while
a ROM memory location is selected, the following display will appear and the store operation will be aborted.
STORE
3.
Press the [STORE] key again. The following display will appear for a few seconds while the store operation is in progress. If you decide not to go ahead with the store operation, simply press any key other than the [STORE] key.
MEMORY STORE
pre: 1 ^ usr:i2
CANNOT STORE
PRESET AREA
18

7. The Effects and their Parameters

■ DYN (Dynamic) GROUP

• CDE — Compressor/Distortion/Equalizer
This effect actually combines a versatile compressor, distortion, and three-band equalization in a single effect stage.
COMPRESSOR
Determines how long it takes for compression to begin after
THR RAT ATK REL
-20 1/« 5.0 .20
DST TRG LPF LVL
150 -45 THRU -10
LoG MiG MiP HiG
-7 + 2 2.2k 0
Compressor
an input signal is detected. Higher values produce a longer attack time, allowing more of the natural attack of the input signal to come through. This parameter is particularly useful if, for example, you want to retain a sharp attack while increasing sustain.
REL fRelease: 0.01 — 2.0 sect
Determines how long it takes for the compression to be fully released after the input signal drops below the threshold level. This parameter can be used to eliminate unnatural level variations that can occur if the compression is suddenly released below the threshold.
The compressor produces sustain or simple "smoothing" by compressing the signal so that high levels are suppressed while low levels are effectively boosted. The use of compression before other effect stages is particularly effective because it limits the signal to a dynamic range that results in the best sound with the subsequent effects.
THR fThreshold: -42 — 0 dBi
Sets the compressor threshold level. Signal levels exceeding the threshold level will be compressed while those below the threshold level will be unaffected.
RAT fRatIo: 1/2.1/3.1/4.1/6.1/8.
This parameter sets the degree of compression. A compression ratio of 1/2, for example, compresses signals above the threshold level to one-half their original amplitude. A setting of I/»« produces almost total compression, producing the same signal level for all signals above the threshold level and therefore the greatest degree of sustain.
19
--------
Original Signal.
Distortion
Equalizer
The CDE distortion stage digitally produces smooth, rich distortion that can be adjusted to achieve and extremeiy wide variety of effects. In addition to providing fuil control of the degree of distortion produced, a built-in noise gate function with adjustable trigger level effectively shuts out unwanted noise.
DST (Distortion Drive Level: 0 — 200)
Sets the degree of distortion produced. Higher vaiues produce more distortion.
TGR (Noise Gate Trigger Level: -80
----------
30 dB)
Sets the threshold level of the distortion effect stage noise
gate. Signals below the threshold level are suppressed, thus
reducing noise. Caution: excessiveiy high TRG leveis can
cause notes to be cut off unnaturaiiy.
LPF flow Pass Filter Cutoff Frequency: 500HZ — 16kHZ.
THRU)
Controls the tone of the distortion sound. Set at 500 Hz, oniy signals below 500 Hz will be passed, resulting in a deep, bassy sound. As the LPF frequency is increased more of the
totai frequency range is passed. When set to THRU, the LPF
is effectiveiy OFF and has no effect.
The CDE effect features a three-band equalizer stage for wide ranging tonal control. Up to 15 dB of boost or cut can be applied to the low, mid and high bands, and the center
frequency of the mid band can be adjusted over a broad 400
Hz — 6.3 kHz range.
Log fLow Gain: -15 — +15 dB)
Sets the amount of boost or cut applied to frequencies below 280 Hz. A setting of + 0 produces no boost or cut. Minus vaiues produce cut and plus values produce boost.
MIGfMId Gain:-15-+15 dB)
Sets the amount of boost or cut applied to mid-band frequencies. A setting of + 0 produces no boost or cut. Minus values produce cut and plus values produce boost.
MIF (Mid Frequency: 400 - 6.3 kHz)
Sets the center frequency of the Mid equalizer band.
HIG miah Gain:-15-.fi5 dB)
Sets the amount of boost or cut applied to frequencies above
6.3 kHz. A setting of + 0 produces no boost or cut. Minus
values produce cut and plus values produce boost.
Passband
400 Hz 16 kHz
LVL (Output Level: -°°. -30 — -i-e dB)
Determines the output level of the CDE effect. The effect output can be turn^ off by setting this parameter to -<x>. This, however, means that any foiiowing effect stages also receive no signai, and wiil produce no effect. Use the appropriate front-panel EFFECT ON key to bypass the effect if
necessary.
20
CMP — Dual Compressor
This is an extremely versatile compressor stage with independent left- and right-channel settings.
COMPRESSOR
COMPRESSOR
Lch LVL fLeft Channel Output Level: q. -30 — +6 dBl
Sets the left-channel output level of the CMP effect.
Lch THR RAT ATK
-20 1/» 5.0
* The above parameters are all duplicated for the right
channel (Rch).
Lch REL LVL
.20 -10
Rch THR RAT ATK
-20 l/oo 5.0
Rch REL LVL
.20 -10
Lch THR (Left Channel Threshold: -36 — 0 dB)
Sets the left-channel compressor threshold level. Refer to
page 19.
Lch RAT (Left Channel Ratio: 1/2.1/3.1/4.1/6.1/8.
This parameter sets the degree of left-channel compression. Refer to page 19.
Lch ATK fLeft Channel Attack: 1.0 — 20 mS)
Determines how long it takes for left-channel compression to begin after an input signal is detected. Refer to page 19.
Lch REL (Left Channel Release: 0.01 — 2.0 sec)
Determines how long it takes for left-channel compression to be fully released after the input signal drops below the
threshold level. Refer to page 19.
21
• ENH — Dual Enhancer
This program artificially adds appropriate harmonics to the input signal, adding luster and effectively bringing "buried" sounds to the foreground.
Lch FRQ DRV MIX
700 60 25
Rch FRQ DRV MIX
700
60 25
Lch LVL Rch LVL
-6
Lch FRQ (Left Channel Hlah Pass Frequency: 400Hz —
10-QkHz)
Determines the cutoff frequency of the left-channel high-pass filter. This parameter makes it possible to specify the range of frequencies that will be affected by the enhancer — i.e. only frequency above the cutoff will be enhanced.
Lch DRV (Left Channel Drive: 0-100)
Sets the level of the harmonics added to the left-channel input sound. The higher the value, the greater the exciter effect.
Lch MIX (Left Channel Mix: 0 - 50%)
Sets the mixture or balance between the direct input sound and the applied harmonics. A setting of "0" produces only the direct sound.
Lch LVL (Left Channel Output Level: -30 — +6 dBI
Sets the left-channel output level of the ENH effect.
-6
* The above parameters are all duplicated for the right
channel (Rch).
22
• WAH — Stereo Wah
This fully programmable stereo wah effect can be controlled by input signal level, an internal LFO, a foot controller, or MIDI control change data.
LVL
CTR (Controller: LFO. INL. INR. FV1. FV2. MID. FC1. FC2) Selects the control mode for the wah effect:
TYP FRO GAI Q РЕК 250 0 2.8
SEN CTR
5 AIJT
TYP (Filter туре: РЕК. LPF. HPF. BPR Selects the type of filter response used to produce the wah effect — РЕК = peaking; LPF = low-pass filter; HPF = high­pass filter; BPF = bandpass filter.
FRQ (Freauencv: 40Hz — 8 kHz) Sets the basic frequency around which the wah filter sweep will occur — i.e. the center or cutoff frequency of the selected
filter type.
GAIN (Gain:-18-+18 dB) This parameter is only available when the "РЕК" filter type is selected in the "TYP" parameter. It sets the gain of the filter peak — minus values for a notch response and plus values for a normal peak response.
SPD LVL
7.5 0
Q ,(й.ца.Шу.Р gctpr; Q.50 —10)
When the TYP parameter, above, is set to "PEQ" or "BPF",
this parameter sets the bandwidth of the peak or passband.
When TYP is set to "LPF" or "HPF", the Q parameter controls resonance (a peak at the filter cutoff frequency). Higher
values produce a narrower bandwidth or higher resonant
peak.
LFO — the FX900's internal low-frequency oscillator controls the wah effect. INL — the wah effect is controlled by the left-channel input signal level. Higher input levels produce a broader sweep. INL — the wah effect is controlled by the right-channel input signal level. Higher input levels produce a broader sweep. FV1 —An optional Yamaha FC7 Foot Controller plugged into the rear-panel FOOT VOL 1 jack controls the wah effect. FV2 — An optional Yamaha FC7 Foot Controller plugged into the rear-panel FOOT VOL 2 jack controls the wah effect. FC1 — A Yamaha FC7 Foot Controller plugged into the FOOT CONTROL 1 jack of the optional FC900 Foot Controller controls the wah effect. FC2 — A Yamaha FC7 Foot Controller plugged into the FOOT CONTROL 2 jack of the optional FC900 Foot Controller controls the wah effect. MID — MIDI control change "foot controller" data (control no.
4) controls the wah sweep. SPD (Modulation Speed: 0.1Hz —10Hz)
Sets the speed of the internal low-frequency oscillator — effective when the LFO control option is selected in the "CTR" parameter, above.
LVL (Output Level: -30 — +6 dBY Sets the output level of the WAH effect.
SEN (Sensitivity: 0-10) Determines the sensitivity of the wah effect. Higher values produce a broader frequency sweep.
23
• PEQ — Dual Parametric Equalizer
A three-band parameteric equalizer with independent left- and right-channel settings.
Low Mid High HPF LPF
Low
Lch LoG LoQ LoF
-7 1.0 140
Rch LoG LoQ LoF
-7 1.0 140
Lch HiG HiQ HiF
+2 10
Rch HiG HiQ
+2 10
2.8k
HiF
2.8k
Lch HiG HiQ HiF
0 3.2
7.0k
Mid
High
HPF
Lch LoF (Left Channel Low Frequency: 40Hz — l.OkHzl Sets the center frequency of the low equalizer band.
Lch MIG (Left Channel Mid Gain: -15 — +15 dB) Sets the amount of boost or cut applied to mid-band frequencies.
Lch MIQ (Left Channel Mid Quality Factor: 0.10 —10) Sets the bandwidth of the middle EQ band. Higher values produce a sharper (narrower) bandwidth.
Lch MiF (Left Channel Mid Frequency: 250Hz — 4.0kHz) Sets the center frequency of the middle equalizer band.
Lch HIG (Left Channel Hlah Gain: -15 — +15 dBl Sets the amount of boost or cut applied to the high-band
frequencies.
Lch HiQ (Left Channel High Quality Factor: 0.10 —10) Sets the bandwidth of the high EQ band. Higher values produce a sharper (narrower) bandwidth.
LPF
Rch HiG HiQ HiF
0 3.2 7.0k
Lch HPF LPF LVL
THRIiTHRU 0
Rch HPF LPF LVL
THRUTHRU 0
Lch LoG fLeft Channel Low Gain: -15 — +15 dB) Sets the amount of boost or cut applied to the low-band
frequencies. A setting of + 0 produces no boost or cut. Minus
values produce cut and plus values produce boost.
Lch LoQ (Left Channel Low Quality Factor: 0.10 —10) Sets the bandwidth of the low EQ band. Higher values produce a sharper (narrower) bandwidth.
Lch HIF (Left Channel Hlah Frequency; 0.1kHz — 16kHz)
Sets the center frequency of the high equalizer band.
Lch HPF fLeft Channel Hlah Pass Frequency: THRU. 20Hz-1.0kHzl Sets the cutoff frequency of the left-channel high-pass filter.
The THRU" setting bypasses the filter.
Lch LPF fLeft Channel Low Pass Frequency; 1.0kHz —
16kHz. THRU) Sets the cutoff frequency of the left-channel low-pass filter. The "THRU" setting bypasses the filter.
Lch LVL (Left Channel Output Levef: -c«. -30 — +6 dB) Sets the left-channel output level of the PEQ effect.
* The above parameters are all duplicated for the right
channel (Rch).
24
• MBD — Multi-band Distortion
This effect allows distortion to be applied independently to three separate frequency bands, for extraordinary distortion control.
1
Lo-F Q DRV
100 .70 20
LVL
0
Hi-F Q DRV LVL
1.0k .70 60 0
Hi-F Q„ DRV
lOjc .70 70
LVL
0
LPF TOTAL LVL
9.0k -10
lo-F (Low Distortion Frequency: 80Hz — SOOHzl Sets the center frequency for the low distortion band.
Lo-Q (Low Distortion Quality Factor: 0.10 —101 Sets the bandwidth of the low distortion band. Higher values
produce a sharper (narrower) bandwidth.
Lo-DRV (Low Distortion Drive: 0 — 2001 Sets the degree of low-band distortion produced. Higher values produce more distortion.
Lo-LVL (low Distortion Output Level: -30 — +6dBl Sets the output level from the low distortion band. This parameter should be used in conjunction with the Mi-LVL and Hi-LVL parameters to produce the required "mix" between distortion bands.
IVli-DRV (Mid Distortion Drive: 0 — 200) Sets the degree of mid-band distortion produced. Higher values produce more distortion.
Mi-LVL (Mid Distortion Output Level: -30 —+6dB) Sets the output level from the middle distortion band. This parameter shouid be used in conjunction with the Lo-LVL and Hi-LVL parameters to produce the required "mix" between distortion bands.
HI-F (High Distortion Frequency: 800Hz — 8.0kHz) Sets the center frequency for the high distortion band.
Hl-Q (High Distortion Quality Factor: 0.10 —10) Sets the bandwidth of the high distortion band. Higher values produce a sharper (narrower) bandwidth.
HI-DRV (High Distortion Drive: 0 — 200) Sets the degree of high-band distortion produced. Higher values produce more distortion.
HI-LVL (High Distortion Output Level: -30 — +6dB) Sets the output level from the high distortion band. This parameter should be used in conjunction with the Lo-LVL and Mi-LVL parameters to produce the required "miX" between
distortion bands. LPF (Low Pass Filter Cutoff Frequency; 500HZ — 16kHZ.
THRUl Controls the tone of the distortion sound. Refer to page 20.
TOTAL LVL (Total Output Level: -30 - +6dB Sets the overall output level of the MBD effect.
Ml-F (Mid Distortion Freouencv: 250Hz — 2.5kHz) Sets the center frequency for the middle distortion band.
Ml-Q (Mid Distortion Quality Factor: 0.10 —10) Sets the bandwidth of the middle distortion band. Higher values produce a sharper (narrower) bandwidth.
25
• CDW — Compressor/Distortion/Equalizer/Wah
This parameter-packed effect stage provides a chain of four independent effects — compressor, distortion, equaiizer, and wah.
COMPRESSOR
THR RAT ATK REL
-20 1/» 5.0 .20
DST TRG TON 100 -45 800
MiG MiF HiG
+2 2.2k 0
TYP FRQ GAI Q PEK 250 0 2.8
SEN CTR SPD LVL
5 AUT 7.5 0
Compressor
THR (Threshold: -24 — 0 dBl
Sets the compressor threshold level. Refer to page 19.
RAT (Ratio: 1/2.1/3.1/4.1/6.1/8.1M
This parameter sets the degree of compression. Refer to page 19.
Determines how iong it takes for compression to begin after an input signai is detected. Refer to page 19.
REL (Release: 0.01 — 2.0 sec)
Determines how long it takes for the compression to be fully
released after the input signal drops below the threshold level. Refer to page 19.
Distortion
DST (Distortion Drive Level: 0 — 2001
Sets the degree of distortion produced. Higher values produce more distortion.
TGR (Noise Gate Trigger Level: -80 -- -iLOjiB)
Sets the threshold level of the distortion effect stage noise gate. Refer to page 20.
TON (Low Pass Filter Cutoff Frequency: 100Hz — 8kHz)
Controls the tone of the distortion sound.
Equaiizer
Sets the amount of boost or cut applied to mid-band frequencies.
26
MIF fMId Frequency: 400 — 6.3 kHz)
Sets the center frequency of the Mid equalizer band.
HiGfHlah Gain:-15-+15 dB)
Sets the amount of boost or cut applied to frequencies above
6.3 kHz.
Wah
TYP (Filter Type: РЕК. LPF. HPF. BPR
Selects the type of filter response used to produce the wah effect. Refer to page 23.
FRQ (Frequency: 40Hz — 8 kHz)
Sets the basic frequency around which the wah filter sweep will occur — i.e. the center or cutoff frequency of the selected filter type.
GAIN (Gain:-18-+18 dB)
This parameter is only available when the "РЕК" filter type is
selected in the "TYP" parameter. It sets the gain of the filter
peak — minus values for a notch response and plus values for a normal peak response.
Q (Quality Factor: 0.50 —10)
When the TYP parameter, above, is set to "PEQ" or "BPF", this parameter sets the bandwidth of the peak or passband.
When TYP is set to "LPF" or "HPP, the Q parameter controls
resonance (a peak at the filter cutoff frequency). Higher
values produce a narrower bandwidth or higher resonant
peak.
SEN (Sensitivity: 0-10)
Determines the sensitivity of the wah effect. Higher values
produce a broader frequency sweep.
CTR fController: LFO. INL INR. FVI. FV2. MID. FC1. FC2)
Selects the control mode for the wah effect. Refer to page
23.
SPD (Modulation Speed: 0.1Hz —lOHz)
Sets the speed of the internal low-frequency oscillator —
effective when the LFO control option is selected in the
"CTR" parameter, above.
LVL (Output Level: -30 — +6 dB)
Sets the output level of the CDW effect.
27
• DST — Stereo Distortion/Equalizer
If you don't need the compression capabilities of the CDE or CDW effects, this effect offers a combination of distortion and equalizer.
GATE
LO-
DISTORTION —{>
DST
LPF
3<X
TT7
LoG MIG MIG LVL
if-
TRG—^
RO-
GATE CTRL
DISTORTION —
>
DST TRG LPF LVL 100 -45 7.0k 0
LoG MiG MiF HiG
+2 -3 2.2k 0
Distortion
DST fDistortion Drive Level: 0 — 2001 Sets the degree of distortion produced. Higher values produce more distortion.
TGR fNolse Gate Trigger Level: -80 Sets the threshold level of the distortion effect stage noise gate. Refer to page 20.
--------
30 dBt
;!iF
:x>^
' w
----------
P>—OR
\ '
HIG fHlah Gain:-15 —4-15 dB)
Sets the amount of boost or cut applied to frequencies above
6.3 kHz.
LPF flow Pass Filter Cutoff Frequency: 500HZ — 16kHZ. THRU! Ckintrols the tone of the distortion sound. Refer to page 20.
LVL fOutPut Level: -°°. -30 — +6 dBt
Determines the output level of the DST effect.
Equalizer
LoG fLow Gain: -15 — +15 dBl Sets the amount of boost or cut applied to frequencies below 280 Hz. Refer to page 20.
MIG fMId Gain: -15 — *15 dBt Sets the amount of boost or cut applied to mid-band
frequencies.
MIF (Mid Frequency: 400 — 6.3 kHzl Sets the center frequency of the Mid equalizer band.
28

■ REV1 (Reverb 1) GROUP

• PCM — Mono Pitch Change
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.
LPF (Low-pass Filter Cutoff Frequency: 1.0kHz — 11kHz.
PCA FINA DLYA
+4 +8 1300.0
THRU1
Sets the cutoff frequency of the low-pass filter. The "THRU"
setting bypasses the filter.
PCB FINB
+5 +8
PBAI.
A=B
325.0
LPF FB
THRU
DLYB
+30
KEY MIX LVL OFF 50 0
PCA (1st Pitch Shift:-12 —+12) PCB f2nd Pitch Shift: -12 — 4-121
These two parameters set the pitch of the first or second pitch-shifted note between one octave below (-12) and one octave above (+12) the input note.
FINA fist Fine Tuning: -100 — +1001 FINB f2nd Fine Tuning: -100 — +1001
Permit fine tuning of the first or second pitch-shifted note in
1 -cent steps (1 cent is 1/100th of a semitone).
DLYA (1st Delay Time: 0.1 —1300 ms) DLYB f2nd Delay Time: 0.1 —1300 ms)
The DLYA and DLYB parameters determine the time delay between input of the original note and output of the first or second pitch-shifted note.
FB f Feedback: -100 — +100%)
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 settings of the PCA and PCB parameters.
KEY (Base Kev: OFF. Cl — C61
This parameter sets the "base key" for an external MIDI synthesizer used to control the amount of pitch change produced (the MIDI OUT terminal of the synthesizer must be connected to the FX900 MIDI IN terminal, and the FX900 must be set to receive on the MIDI channel on which the synthesizer is transmitting). If, for example, the KEY parameter is set to C4, pressing the C3 key on the synthesizer (C3 is one octave lower than C4) will set the pitch change value to -12. Pressing D4 on the keyboard would produce a pitch increase of one whole-tone (+2). When two keys are pressed, the highest note determines the pitch of the PCA (or PCL in the PCS program) sound, and the lower note determines the pitch of the PCB (or PCR in the PCS program) sound.
If a key more than one octave higher or lower than the base key is pressed, the resultant pitch change setting will still be within the -12 to +12 range, as shown in the illustratfon below.
If the KEY parameter is set OFF, pitch cannot be controlled via the MIDI IN terminal.
PBAL /Pitch Balance: A=50 — A=1. A=B. B=1. B=501
Sets the balance between the 1st and 2nd pitch-shifted notes, a setting of "A=50," for example, produces only the sound of the 1st note. "A=B” produces both notes in equal balance. "A=50" produces only the sound of the 2nd note.
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MIX fMIxIno: 0 — 100%)
Sets the balance between the direct and pitch-changed sound.
LVL /Output Level: -°°. -30 — +6 dB)
Determines the output level of the PCM effect.
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