Yamaha FX900 User Manual [en, de, fr]

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

configurable system of up to seven simultaneous effects with extensive programming capability.
A unique system of "algorithms" makes it possible to connect effects in series, in parallel, and in
any desired order, while a full complement of parameters is available for fine-tuning each effect.

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 provides — and 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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12

15
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25

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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

166

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.

29

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.