Yamaha GEP50 User Manual [en, de, fr]

YAMAHA

Guitar Effect Processor Processeur d'effets sonores de guitare Gitarren-Effektprozessor

Operation Manual

Manuel d'instructions Bedienungsanleitung

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Congratulations on your acquisition of a YAMAHA GEP50 Guitar Effect Processor! The GEP50 is a remarkably versatile digital effect processor that has been designed specifi cally to give guitarists a range of top-quality digital effects to add to their expressive capabilities. It offers a selection of 50 pre-programmed effects including distortion, digital reverberation, gated reverb, echo, flanging, phasing, pitch change, a versatile compressor and precision parametric EQ. The distortion effects actually combine distortion with other effects (revetb, flange, etc.) for extraordinary sound processing versatility. In addition to the 50 pre-programmed memory locations, there are 50 "user memory locations" which can be used to store your own edited versions of the preset effect programs, so you can recall your own effect creations anytime they are necessary. There's even an INSERT loop that allows you to switch a second signal processor unit into and out of the GEP50 signal path by simply pressing a button. The GEP50 is also MIDI compatible so you can select effects via remote MIDI control. In order to fully take advantage of all the capability offered by the GEP50, we urge you to read this operation manual thoroughly.

CONTENTS

PRECAUTIONS 1; CONTROLS AND CONNECTIONS

THE FRONT PANEL THE CONNECTOR PANEL

2: GENERAL OPERATION

MEMORY CONFIGURATION..................................... 9

SELECTING AN EFFECT/MEMORY LOCATION . . .9 BYPASSING THE EFFECT USING THE INSERT LOOP .

ACCESSING & EDITING THE PARAMETERS FOR

EACH EFFECT

USING THE COMPARE FUNCTION

STORING EFFECTS

3: DESCRIPTIONS OF THE EFFECT PROGRAMS &

THEIR PARAMETERS

THE BALANCE AND OUTPUT LEVEL

PARAMETERS ........................................................13

1. Mid-Band Drive.............................................. 13

2. Heavy Metal

3. Punk Diet. .....................................................

4. Light Diet...................................................... .13

5. Hard Overdrive............................................ 13

6. Chunky Rhythm ..............................................13

7. Sweet Sustain................................................ 13

8. Punchy Lead

9. Smooth Drive

10. Overdrive Hail..................................................14

11. Distortion Room

12. Live Dist..........................................................14

13. E/R Distortion .................................................14

14. Slide Gate........................................................14

15. Slow Gate Dist............................................... .14

16. Reverse Dist....................................................14

17. Delay Dist

18. Dist. Fiiter

19. Double Dist

20. Max-Delay Dist

21. Flange Dist.................................................... .16

22. Chorus Dist

23. Phase Dist.......................................................17

24. Symphonic Dist.............................................. 17

25. Revi Hall

26. Rev 2 Hall

27. Rev 3 Room

28. Rev 4 Vocal

29. Rev 5 Vocal

30. Rev 6 Plate ....................................................

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....13

.10

15 15

18 18

12 12

31. Early Ref. 1....................................

32. Early Ref. 2................................................ .18

33. Early Ref. 3-..

34. Early Ref. 4.................................................... 18

35. Delay Short.....................................................19

36. Delay Long

37. Echo Short .....................................................19

38. Echo Long

39. Stereo Flange................................................. 19

40. Chorus

41. Stereo Phasing.............................................. 20

42. Symphonic .....................................................20

43. Gate Reverb....................................................18

44. Reverse Gate

45. Compressor

46. Rev & Gate

47. Pitch A

48. Pitch B .......................................................... 24

49. Pitch C .......................................................... 24

50. Parametric EQ ................................................25

4: UTILITY FUNCTIONS

TITLE EDIT........................................................ .26

MIDI BANK & CHANNEL ASSIGNMENT.................. .26

FOOTSWITCH MEMORY RECALL RANGE 5: MIDI DATA FORMAT

6: SPECIFICATIONS & DATA......................................30

7: ROM CONTENTS AND CONTROLABLE

PARAMETERS

8: BLANK CHART ......................................................95

9: BLOCK DIAGRAM................................................98

10: DIMENSIONS 11: MIDI IMPLEMENTATION CHART

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21 22 23

28 29

100

PRECAUTIONS

1. AVOID EXCESSIVE HEAT, HUMIDITY, DUST AND VIBRATION

Keep the unit away from locations where it is likely to be exposed to high temperatures or humidity — such as near radiators, stoves, etc. Also avoid locations which are subject to excessive dust accumulation or vibration which could ' cause mechanical damage.

2. AVOID PHYSICAL SHOCKS

Strong physical shocks to the unit can cause damage. Handle it with care.

3. DO NOT OPEN THE CASE OR ATTEMPT

REPAIRS OR MODIFICATIONS YOURSELF

This product contains no user-serviceable parts. Refer all

maintenance to qualified YAMAHA service personnel. Open ing 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 discon

necting cables. This is important to prevent damage to the unit itself as well as other connected equipment.

6. CLEAN WITH A SOFT DRY CLOTH

Never use solvents such as benzine or thinner to clean the unit. Wipe clean with a soft, dry cloth.

7. ALWAYS USE THE CORRECT POWER SUPPLY

Make sure that the power supply voltage specified on the rear panel matches your local AC mains supply.

8. ELECTRICAL INTERFERENCE

Since the GEP50 contains digital circuitry, it may cause inter ference and noise if placed too close to TV sets, radios or similar equipment. If such a problem does occur, move the GEP50 further away from the affected equipment.

9. BACKUP BATTERY

The GEP50 contains a long-life lithium battery which main tains the contents of the buffer and user memory locations even when the unit is turned OFF. With normal use the battery should last for approximately 5 years. If the battery voltage falls below the safe level, however, the "*** WARN

ING *** LOW BATTERY” display will appear on the LCD when the power is first turned ON. If this occurs, have the battery replaced by a qualified YAMAHA service center. Do

not attempt to replace the battery yourselfl

5. HANDLE CABLES CAREFULLY

Always plug and unplug cables — including the AC cord —

by gripping the connector, not the cord.

GEP50 GUITAR EFFECT PROCESSOR

1: CONTROLS AND CONNECTIONS

THE FRONT PANEL /

O POWER Switch

Press the POWER switch once to turn power ON, a second

time to turn power OFF

@ INPUT LEVEL Control

This control should be used in conjunction with the INPUT

LEVEL meter (see below) to set the optimum input level for

the source used.

The input level meter consists of seven LEDs corresponding to -30 dB. -20 dB, -15 dB, -10 dB -6 dB, -3 dB and 0 dB

input level. When the source (guitar or other) is connected

to the GEPSO’s inputs, it should be played at the loudest

level it will be played during actual use and the INPUT

LEVEL control adjusted so that the maximum reading is

about -3 dB.

o LED MEMORY Number Display

This 2-digit numeric display shows the number of the cur

rently selected memory location (1 — 00). When the LED

display is continuously lit the effect corresponding to the

number displayed is active. When the LED display is flash ing, this indicates that a new memory location has been selected but has not yet been recalled, leaving the previ ously selected effect active.

e LCD (Liquid Crystal Display)

This 16-character x 2-line liquid crystal display panel nor mally displays the title of the selected effect on the top line and a seiected parameter and its value on the bottom line. One or both lines may also be used to display error mes sages or warnings.

Pressing this button engages the memory selection mode, ailowing a new memory location to be selected using the and buttons. When the memory mode is selected, the memory button LED will light.

O PARAMETER Button

This button is pressed to access the various parameters which can be edited within each effect. Each press on the PARAMETER button selects the next parameter on the “list” for the selected effect. When the parameter mode is se lected, the parameter button LED will light.

These buttons are used to select memory locations when the memory selection mode is active (after the MEMORY button

has been pressed), or to change parameter values when parameters are selected for editing (after the PARAMETER button has been pressed). The[^ and [^buttons are also

used to program several UTILITY functions.

This button is used to store edited effect parameters into one

of the user memory locations between 51 and 00.

When a new memory location number has been selected

using the and buttons, the RECALL button must be

pressed to activate the selected effect.

The COMPARE button is used in the PARAMETER mode to

compare the sound of an edited parameter with that of the

parameter before it was changed. When the COMPARE but

ton is pressed, the pre-edit parameter value is temporarily

recalled and the COMPARE button LED will light. Press the COMPARE button again to return to the edited parameter vaiue.

® INSERT Button

The INSERT button activates the GEP50 INSERT IN/OUT loop, adding a second signal processor connected to the

INSERT IN and OUT jacks to the effect chain. The INSERT ON/OFF status for each memory location can be memorized and recalled whenever that memory location is selected. The

INSERT loop is active when the INSERT button LED Is lit.

® UTILITY Button

This button accesses a list of utility functions allowing editing of effect titles, MIDI control programming and increment footswitch recall range programming.

® BYPASS Button

The BYPASS button switches the selected effect ON or OFF, leaving the direct signal only when BYPASS is active.

® TUNER OUT Jack

The TUNER OUT jack can be connected directly to an elec

tronic guitar tuner allowing convenient tuning wjthout the

need to unplug your instrument from the GEP50 input and connect it to the tuner.

® INPUT Jack

Your guitar or other source can be connected here or to the duplicate INPUT jack provided on the rear panel. The frontpanel INPUT jack takes priority, so if sources are plugged into both the front- and rear-panel INPUTS, only the frontpanel INPUT will be active. The INPUT accepts a mono 1/4" phone plug, and is unbalanced.

GEP50 GUITAR EFFECT PROCESSOR

[ THE CONNECTOR PANEL?

o MIDI IN Connector

MIDI signals from external MIDI devices can be fed to this terminai to remoteiy seiect effects, set the pitch shift of the PiTCH CHANGE A effect, and trigger some other effects.

0 MIDI THRU Connector

The MIDI THRU connector simply re-transmits any data re ceived at the MIDI IN connector, permitting convenient “chaining” of MIDI devices.

An optionai YAMAHA FC5 footswitch or equivaient con

nected to this jack can be used for foot controi of the BYPASS function.

O MEMORY FOOT SW Jack

An optionai Yamaha FC5 footswitch or equivaient can be used to sequentiaily select any group of effects from the 100 available memory locations, permitting a sequence of effects to be set up to match the fiow of a live performance.

These two monaurai 1/4" phone jacks deiiver the stereo out put signai from the GEP50 to subsequent amplification or

mixing equipment. These jacks can be connected directly to the inputs of guitar amplifiers, keyboard amplifiers, recording equipment or mixing consoles. Since many of the GEP50 effects are true stereo effects, we recommend connecting both output jacks to the corresponding inputs of a stereo or two-channel sound system in order to get the best possible

sound. If this is not possible, connect either of the OUTPUT jacks (L or R) to the amplification equipment used.

The INSERT IN and OUT jacks allow connection of a second

signal processor to the GEP50 which can be activated or by

passed by using the INSERT button.

©INPUT Jack

The rear-panel INPUT jack duplicates the function of the

front-panel INPUT jack. Either — but not both — can be

used to receive the signal from your instrument or other audio signal source. The front-panel INPUT jack takes prior ity, so if sources are plugged into both the front- and rearpanel INPUTS, only the front-panel INPUT will be active.

2: GENERAL OPERATION

/MEMORY CONFIGURA TION /

The GEP50 has a total of 100 internal memory locations.

Locations 1 through 50 are READ-ONLY MEMORY containing the 50 preset effect programs. These locations cannot be written to or changed in any way. The effect programs con-tained in memory locations 1 through 50 are:

Mem.

Program Name

No.

1 Mid-Band Drive 26 Rev 2 Hall

2 Heavy Metai 27 Rev 3 Room 3 Punk Dist. 28

Light Dist. 29

4 5 Hard Overdrive 6 Chunky Rhythm 31 Early Ref. 1 7 Sweet Sustain

Punchy Lead 33

Smooth Drive 34

10 Overdrive Haii

11 Distortion Room

12 Live Dist. 13 E/R Distortion

Siide Gate

14 15 Siow Gate Dist. 40 16 Reverse Dist. 41

Delay Dist. 42

17 18

Dist. Filter 19 Double Dist. 44 20 Max-Delay Dist. 45

21 Flange Dist. 46 Rev & Gate

22 Chorus Dist. 47 Pitch A

23 Phase Dist. 48 24 Symphonic Dist. 49

25 Rev 1 Hall 50

Mem.

No.

35 36 37 38 39

Program Name

Rev 4 Vocal Rev 5 Vocal Rev 6 Plate

Early Ref. 2 Early Ref. 3 Early Ref. 4 Delay Short Delay Long Echo Short Echo Long Stereo Flange Chorus Stereo Phasing Symphonic Gate Reverb

Reverse Gate

Compressor

Pitch B Pitch C Parametric EG

stage the LED memory number display is flashing, indicating

that although a new location has been selected, its contents

have not yet been recalled.

When the desired memory location/effect has been selected, press the RECALL button. The LED memory number display will stop flashing and the selected effect will be engaged.

A complete description of each effect program and its parame

ters is given in “3: DESCRIPTIONS OF THE EFFECT PRO

GRAMS & THEIR PARAMETERS” ON PAGE 13. Locations 51 through 00 are READA/VRITE MEMORY which can be used to store your own edited versions of the preset programs.

/ SELECTING AN EFFECT/MEMORY

Laocmiqn

® Press the MEMORY button to engage the memory selection

mode. This is not necessary if the memory selection mode is already active, but it’s a good habit to get into to ensure

smooth operation.

@ Press the[^ or [^button to increment or decrement the

memory location number shown on the LED display. Hold either of these buttons down for continuous incrementing or decrementing. The name of the program corresponding to the currently selected memory location will be shown on the LCD, or “ 5^** NO DATA ” will be displayed if a mem ory location between 51 and 00 is selected into which an edited effect program has not been stored. Note that at this

GEP50 GUITAR EFFECT PROCESSOR

___________

/BYPASSING THE EFFECT /

/ USING THE INSERT LOOP /

There are two ways to switch the selected effect in and

out: © with the control panel BYPASS switch and ® with a footswitch connected to the connector-panel BYPASS footswitch jack. An optional YAMAHA FC5 Footswitch can be

used for foot-bypass control. In either case — when the control-

panel BYPASS button or BYPASS footswitch is pressed — a

bold, flashing letter "B” will appear in the upper right-hand cor

ner of the LCD. While the "B” is visible the GEP50 effect is

bypassed and the input signal is directly routed to the output

terminals (i.e. the effect is OFF). Press the BYPASS button or

footswitch a second time to turn the effect back ON.

An external signal processor — a foot-pedal type guitar effect unit, for example — can be connected to the GEP50 INSERT

IN and OUT jacks, and switched into the GEP50 signal path by

pressing the INSERT button. The INSERT OUT jack should be connected to the input of the external signal processor, and the signal processor’s output should be connected back to the INSERT IN jack. When the INSERT button is pressed and its LED lights, the external signal processor is switched into the GEP50 signal path, allowing both the GEP50 and the external signal proces sor to function simultaneously. Pressing the INSERT button a second time (causing its LED to go out) deactivates the external effect. The ON/OFF status of the INSERT loop can be stored in any of the RAM memory locations (50 — 00) simpiy by pressing the STORE button when the desired RAM memory location is se

lected. When this is done, the INSERT loop will be turned ON

or OFF automatically whenever that memory location is se

lected.

NOTE: If you attempt to STORE the INSERT status in a ROM

memory location, the " READ ONLY >k5k MEM NO. 1-50 ” error message will appear on the display. Press any panel key to clear the error message.

❖ READ ONLY ❖

MEM N0.1-5 0

/ACCESSING & EDITING

THE PARAMETERS FOR EACH EFFECT

Each of the GEP50 effects has a number of internal parameters which may be edited by you to create a sound that is ideally suited to your own specific musical requirements. A complete description of each effect and it? parameters is given in “3. DE SCRIPTIONS OF THE EFFECTS & THEIR PARAMETERS” ON PAGE 13. Using effect 1 (Mid-Band Drive) as an example, here’s how to access and edit effect parameters:

this example).

Press the PARAMETER button and the first of the selected

effect’s parameters will appear on the bottom line of the

LCD. Each time the PARAMETER button is pressed, the next parameter on the selected effect’s “parameter list” will

be called. With Mid-Band Drive, for example, the following

parameters are called in sequence:

DISTORTION ^ TREBLE MID FRO MID GAIN BASS

-4 TRG. LEVEL RELEASE ^ BALANCE ^ OUT LVL ^ and back to DISTORTION

Note that the first parameter in the list is returned to if the PARAMETER button is pressed after the last parameter (OUT LVL in this example) has been called.

Once the desired parameter has been called, its value is edited by using the and/or buttons. The button increases (increments) the value while the button decreases (decrements) the value. Either button can be held down for continuous incrementing or decrementing.

PARAM

ETER

Mid-Band Drive

DISTORT I ON=100%

V(D

Mid-Band Drive

DISTORTION = 60%

New value

In this way you can go through and edit any number of the

parameters to create the sound you want. If, however, you select and recall a new effect without first storing your ed

ited parameters in a memory location between 51 and 00,

any changes you have made will be lost and will have to be

re-programmed. If you want to keep an edited effect, use

the STORE operation described below.

11 GEP50 GUITAR EFFECT PROCESSOR

fUSING THE COMPARE FUNCTION /

The COMPARE button is used while editing parameters in the PARAMETER mode to compare the sound of an edited pa rameter with that of the parameter before it was changed. When the COMPARE button is pressed, the pre-edit parameter value ' is temporarily recalled and the COMPARE button LED will light.

Press the COMPARE button again to return to the edited pa rameter value.

/STORING EFFECTS /

In order to store an edited effect for later recall you need to do

the following:

and 00 by first pressing the MEMORY button and then using the and buttons. Do not recall the selected memory lo cation. If no data has been previously stored in the selected

memory location the LCD will read “ NO DATA . ”

If an edited program has previously be stored in the selected

memory location, its title will be displayed on the LCD.

® Press the STORE button to store the edited effect in the se

lected memory location. The title of the effect stored will

appear on the LCD (this may later be edited to create your own effect title using the UTILITY mode EDIT TITLE func tion). The LED memory number display will stop flashing and the stored memory location will become the active effect.

NOTE: You CANNOT store edited data to memory locations 1

through 50. If you attempt to do this the LCD will show “ ** READ ONLY ** MEM NO. 1—50”.

READ ONLYiiciii

MEM N0.1-5 0

NOTE: Once an effect has been stored in an memory location

between 51 and 00, its parameters can be further ed

ited in the new memory location. Such changes will be lost if a different effect is selected and recalled, how ever, unless the STORE function is used to store the

changes. Changes may be stored to the current mem ory location number (51 — 00) simply by pressing the

STORE button.

3: DESCRIPTIONS OF THE EFFECT PROGRAMS

& THEIR PARAMETERS

THE BALANCE AND OUTPUT

LEVEL PARAMETERS

Since all of the GEP50 effects have the same BALANCE and OUT LVL (Output Level) parameters, we’ll describe them here

and leave them out of the descriptions of each effect that

follow. BALANCE and OUT LVL are normally the last two para

meters called in an effect’s parameter list.

Effect/Direct Signal Balance (BALANCE): 0 — 100%

This parameter adjusts the balance between the direct sound of your instrument (or other source) and the effect signal. At 100% only the effect sound is delivered from the GEP50 outputs, while at 0% only the direct sound is output. At a setting of 50%, the direct and effect sounds are output in approximately equal proportions.

Effect Output Level (OUT LVL): 0 — 100%

This parameter sets the output level of the effect. This is particularly handy for matching the levels between effects when setting up an effect sequence for a live performance.

Midrange EQ Frequency (MID FRO): 500 — 4,000 Hz

Sets the mid-frequency range to be boosted or cut using the next parameter; MID GAIN.

Midrange EQ Gain (MID GAIN): -12 — +12 dB

Boosts or cuts response in the frequency range set by the MID FRQ parameter (above). A setting of 0 produces no boost or cut. Minus settings (e.g: -6 dB) cut response in the selected frequency range, while plus settings (e.g: +12 dB) boost response.

Bass Boost/Cut (BASS): -12 — +12 dB

Permits boosting or cutting the low-frequency range. Minus settings (e.g: -6 dB) reduce the low-frequency content of the sound, while plus settings (e.g: +6 dB) emphasize the lowfrequencies.

Trigger Level (TRG. LEVEL): 1 — 100

Determines the amplitude of the input signal required to trigger the distortion effect. This parameter, in conjunction with the RELEASE parameter below, functions effectively as a noise gate to cut- out hiss and noise when an input signal is not present. TRG LEVEL should be set so that the effect is activated only when a note is played on the instrument used.

Release Time (RELEASE): 5 — 32000 milliseconds

Determines the amount of time it takes for the distortion

The distortion programs are capabie of producing an extremeiy

broad range of distortion sounds that are ideai for virtuaiiy aii guitar styles. The various presets provide a range of immedi

gate to close after the input signal drops below the trigger level. Proper setting of the RELEASE parameter is essential to allow a natural decay of the source instrument sound.

ately useful distortion sounds.

Distortion (DISTORTION): 0 — 100%

This parameter sets the "degree” of distortion produced. A setting of 0 produces a perfectly clean sound, while a setting of 100 produces the most heavily distorted sound.

Treble Boost/Cut (TREBLE): -12 —+12 dB

Permits boosting or cutting the high-frequency range. Minus settings (e.g: -6 dB) reduce the high-frequency content of the sound, while plus settings (e.g: +6 dB) emphasize the highfrequencies.

13 GEP50 GUITAR EFFECT PROCESSOR

10. Overdrive Hall

11. Distortion Room

13. E/R Distortion

14. Slide Gate

12. Live Dist.

These programs combine reverberation with the distortion

effect.

These programs combine eariy reflections with the distortion effect.

Distortion Levei (DISTORTION): 0 — 100%

Sets the “degree” or “depth” of the distortion portion of the effect.

Reverb Balance (REV BAL): 0 — 100%

Determines the amount of reverb applied to the distortion

sound.

Initial Reverb Delay (PRE DLY): 0.1 — 50 milliseconds

This parameter produces a delay between the arrival of the

input signai and the beginning of the reverb effect.

Reverb Time (REV TIME): 0.3 — 99 seconds

The length of time it takes for the level of reverberation at 1 kHz to decrease by 60 dB.

High Frequency Reverb Time Ratio (HIGH): xO.1 — xl.O

This parameter allows alteration of the high-frequency reverb time in relation to the overall reverb time.

Distortion Level (DISTORTION): 0 — 100%

Sets the “degree” or “depth” of the distortion portion of the effect.

E/R Balance (E/R BAL): 0 — 100%

Determines the amount of gate reverb or reverse gate effect applied to the distortion sound.

Tone (TONE): 500 — 4000 Hz

This parameter produces a tonal emphasis in the selected frequency range.

Early Reflection Pattern (TYPE): HALURANDOM/ REVERSE/PLATE

The TYPE parameter selects one of four different patterns of early reflections.

Room Size (ROOM SIZE): 0.1 — 20

This parameter sets the time intervals between the early

reflections.

15. Slow Gate Dist.

16. Reverse Dist.

Trigger Level (TRG. LEVEL): 1 — 100

Determines the ampiitude of the input signal required to trigger the effect. This parameter, in conjunction with the RELEASE parameter below, functions effectively as a noise gate to cut out hiss and noise when an input signal is not present. TRG LEVEL should be set so that the effect is activated only when a note is piayed on the instrument used.

Release Time (RELEASE): 5 — 32000 milliseconds

Determines the amount of time it takes for the distortion gate to close after the input signal drops below the trigger level. Proper setting of the RELEASE parameter is essential

to allow a natural decay of the source instrument sound.

Liveness (LIVENESS): 0—10

Increasing the value of this parameter creates an increas ingly “live” sound, simuiating an increasing area of reflective surfaces in a room.

Delay (DELA Y): 0.1 — 400 milliseconds

The time delay between the direct sound of the instrument

and the first of the early reflections.

Trigger Level (TRG. LEVEL): 1 — 100

Determines the amplitude of the input signal required to

trigger the effect. This parameter, in conjunction with the

RELEASE parameter below, functions effectively as a noise gate to cut out hiss and noise when an input signal is not present. TRG LEVEL should be set so that the effect is activated only when a note is played on the instrument used.

Release Time (RELEASE): 5 — 32000 milliseconds

Determines the amount of time it takes for the distortion

gate to close after the input signal drops below the trigger

level. Proper setting of the RELEASE parameter is essential

to allow a natural decay of the source instrument sound.

Programs 17 through 20 combine delay or echo and distortion.

Distortion Levei (DiSTORTiON): 0 — 100%

Sets the "degree” or “depth” of the distortion portion of the effect.

Deiay Baiance or Echo Baiance (DELAY BAL or ECHO BAL): 0 — 100%

Determines the amount of delay or echo effect applied to the distortion sound.

Left Channel Delay (Lch DL Y):

0.1 — 500 mitiiseconds in programs 17 & 20

0.1 — 250 miiiiseconds in 18 & 19

Sets the time between the direct sound of the instrument and

the first repeat heard from the left channel.

Left Channel Feedback Gain (Lch F.B): -99% — +99%

Sets the amount of the left-channel delay signal fed back to

the input of the processor. The higher the feedback gain

setting, the greater the number of delayed repeats pro duced.

Right Channei Deiay (Rch DLY):

0.1 — 500 miiiiseconds in programs 17 & 20

0.1 — 250 miiiiseconds in 18 & 19

Sets the time between the direct sound of the instrument and

the first repeat heard from the right channel.

Midrange EQ Gain (MiD GAiN): -12 —+12 dB

Trigger Levei (TRG. LEVEL): 1 — 100

Determines the amplitude of the input signal required to trigger the effect. This parameter functions effectively as a noise gate to cut out hiss and noise when an input signal is not present. TRG LEVEL should be set so that the effect is activated only when a note is played on the instrument

used.

Right Channei Feedback Gain (Rch F.B): -99% — +99%

Sets the amount of the right-channel delay signal fed back

to the input of the processor. The higher, the feedback gain

setting, the greater the number of delayed repeats produced.

High Frequency Feedback (HiGH): xO. 1 — xl.O

Controls feedback in the high-frequency range. The high-

frequency feedback is reduced as the value of this parame ter is decreased.

Midrange EQ Frequency (MiD FRQ): 500 — 4000 Hz

Sets the mid-frequency range to be boosted or cut using the next parameter: MID GAIN.

15 GEP50 GUITAR EFFECT PROCESSOR

21. Flange Dist.

22. Chorus Dist.

Flange plus distortion.

Distortion Levei (DiSTORTiON): 0 — 100%

Sets the “degree” or “depth” of the distortion portion of the effect.

Fiange Baiance (FLANGE BAL): 0 — 100%

Determines the amount of flange effect applied to the distor

tion sound.

Moduiation Frequency (MOD. FRO): 0.1 Hz — 20 Hz

Sets the speed of modulation, and hence the rate at which the effect varies.

Moduiation Depth (MOD. DEPTH): 0% — 100%

Sets the amount of delay time variation, thus adjusting the depth of the effect.

Modulation Deiay (MOD. DLY): 0.1 — 100 miiiiseconds

This sets the basic delay time from the initial direct sound to the beginning of the flange effect.

Feedback Gain (F.B. GAiN): 0% — 99%

Determines the amount of flange signal which is fed back to

the input of the processor for further modulation. More feedback increases the overall complexity, “strength” and decay time of the effect.

Trigger Levei (TRG. LEVEL): 1 — 100

Determines the amplitude of the input signal required to

trigger the effect. This parameter, in conjunction with the

RELEASE parameter below, functions effectively as a noise

gate to cut out hiss and noise when an input signal is not present. TRG LEVEL should be set so that the effect is

activated only when a note is played on the instrument used.

Chorus plus distortion.

Distortion Levei (DiSTORTiON): 0 — 100%

Sets the “degree” or “depth” of the distortion portion of the effect.

Chorus Baiance (CHORUS BAL): 0 — 100%

Determines the amount of chorus effect applied to the distortion sound.

Moduiation Frequency (MOD. FRO): 0.1 Hz — 20 Hz

Sets the speed of chorus effect variation.

Deiay Moduiation Depth (DM DEPTH): 0% — 100%

This sets the depth or “strength” of the chorus effect.

Amplitude Moduiation Depth (AM DEPTH): 0% —

100%

Sets the amount by which the amplitude (level) of the input signal is varied.

Trigger Levei (TRG. LEVEL): 1 — 100

Determines the amplitude of the input signal required to

trigger the effect. This parameter, in conjunction with the

RELEASE parameter below, functions effectively as a noise

gate to cut out hiss and noise when an input signal is not

present. TRG LEVEL should be set so that the effect is activated only when a note is played on the instrument used.

Release Time (RELEASE): 5 — 32000 miiiiseconds

Determines the amount of time it takes for the distortion gate to close after the input signal drops below the trigger level. Proper setting of the RELEASE parameter is essential

to allow a natural decay of the source instrument sound.

Reiease Time (RELEASE): 5 — 32000 miiiiseconds

Determines the amount of time it takes for the distortion

gate to close after the input signal drops below the trigger

level. Proper setting of the RELEASE parameter is essential

to allow a natural decay of the source instrument sound.

23. Phase Dist.

24. Symphonic Dist.

Phasing plus distortion. Symphonic plus distortion.

Distortion Levei (DiSTORTiON): 0 — 100%

Sets the “degree” or “depth” of the distortion portion of the effect.

Phase Balance (PHASE BAL): 0 — 100%

Determines the amount of phase effect appiied to the distor

tion sound.

Modulation Frequency (MOD. FRO): 0.1 Hz — 20 Hz

Sets the speed of the effect variation.

Modulation Depth (MOD. DEPTH): 0% — 100%

Sets the depth of the effect.

Modulation Deiay (MOD. DLY): 0.1 — 8.0 miiiiseconds

This sets the basic deiay time from the initiai direct sound to the beginning of the phase effect.

Trigger Levei (TRG. LEVEL): 1 — 100

Determines the ampiitude of the input signai required to trigger the effect. This parameter, in conjunction with the

RELEASE parameter beiow, functions effectively as a noise

gate to cut out hiss and noise when an input signal is not

present. TRG LEVEL should be set so that the effect is activated only when a note is played on the instrument used.

Release Time (RELEASE): 5 — 32000 miiiiseconds

Determines the amount of time it takes for the distortion gate to close after the input signal drops below the trigger level. Proper setting of the RELEASE parameter is essential

to allow a natural decay of the source instrument sound.

Distortion Levei (DiSTORTiON): 0 — 100%

Sets the “degree” or “depth" of the distortion portion of the effect.

Symphonic Baiance (SYMPHO BAL): 0 — 100%

Determines the amount of symphonic effect appiied to the distortion sound.

Moduiation Frequency (MOD. FRO): 0.1 Hz — 20 Hz

Sets the speed of the effect variation.

Modulation Depth (MOD. DEPTH): 0% — 100%

Sets the depth of the effect.

Trigger Levei (TRG. LEVEL): 1 — 100

Determines the amplitude of the input signal required to

trigger the effect. This parameter, in conjunction with the

Release Time (RELEASE): 5 — 32000 miiiiseconds

Determines the amount of time it takes for the distortion gate to close after the input signal drops below the trigger level. Proper setting of the RELEASE parameter is essential to allow a natural decay of the source instrument sound.

17 GEP50 GUITAR EFFECT PROCESSOR

Rev

25. Rev 2

26.

27. Rev 3 Rev 4

28.

29. Rev Rev 6 Plate

30.

Reverberation is the warm musicai "ambience” you experience when listening to music in a hall or other properly-designed acoustic environment. The GEP50 offers six different reverb effects, simuiating types of reverberation you wouid experience

Hall Hall Room Vocal Vocal

These effects are created using different groupings of “early reflection^” — the first cluster of reflections that occurs after the direct sound but before the dense reflections that are known as reverberation begin.

31. Early Ref. 1

32. Early Ref. 2

33. Early Ref. 3

34. Early Ref. 4

43. Gate Reverb

44. Reverse Gate

in different haiis (25 — 26), in a smaller room (27), reverb effects ideally suited to vocals (28 — 29), and the type of reverberation produced artificially by a plate reverberator (30).

Reverb Time (REV TIME): 0.3 — 99 seconds

The length of time it takes for the level of reverberation at 1 kHz to decrease by 60 dB — virtually to silence. In a live setting, this depends on several factors; room size, room shape, type of reflective surfaces, and others.

High Frequency Reverb Time Ratio (HIGH): xO.1 —

x1.0

Natural reverberation varies according to the frequency of the sound. The higher the frequency, the more sound tends to be absorbed by walls, furnishings and even air. This

parameter allows alteration of the high-frequency reverb time

in relation to the overall reverb time.

Early Reflection Pattern (TYPE): HALL/RANDOM/ REVERSE/PLATE

The TYPE parameter selects one of four different patterns of

early reflections. HALL produces a typical grouping of early reflections that would occur in a performing environment such as a hall. RANDOM produces an irregular series of reflections that could not occur naturally. PLATE produces a

typical grouping of reflections that would occur in a plate

reverb unit. REVERSE generates a series of reflections that increase in level — like the effect produced by playing a recorded reverberation sound backwards.

Room Size (ROOM SIZE): 0.1 — 20

This parameter sets the time intervals between the early re

flections — a feature of natural early reflections which is

directly proportional to the size of the room.

Initial Delay (DELAY): 0.1—50 milliseconds

This parameter represents the delay between the direct

sound of an instrument and the first of the many reflections that together form reverberation.

High-pass Filter (HPF): THRU, 32 Hz — 1000 Hz

Permits rolling off the low-frequency content of the reverb

signal below the set frequency. The HPF is OFF when set to

THRU.

Low-pass Filter (LPF): 1 kHz—11 kHz, THRU

Permits rolling off the high-frequency content of the reverb

signal above the set frequency. The LPF is OFF when set to

THRU.

(TIME)

Liveness (LIVENESS): 0— 10

Tiveness” refers to the rate at which the reflected sounds

fade. An acoustically “dead” room is simulated by setting this

parameter to zero. Increasing the value of this parameter creates an increasingly “live” sound, simulating an increas ing area of reflective surfaces in the room.

Delay (DELAY): 0.1 — 400 milliseconds

The time delay between the direct sound of the instrument

and the first of the early reflections.

Low-pass Filter (LPF): 1 kHz—11 kHz, THRU

Permits rolling off the high-frequency content of the early reflection signal above the set frequency. The LPF is OFF when set to THRU.

35. Delay Short

39. Stereo Flange

36. Delay Long

37. Echo Short

38. Echo Long

The stereo delay and echo effects offer independently variable

This effect produces a pleasant “swirling” sound which can

effectiveiy thicken and add warmth to the sound of an instrument.

The fianging effect is produced by varying the delay between two identical signals, thus producing a complex varying “comb filter" effect.

left and right channel delays.

Left Channel Delay (Lch DLY):

0.1 — 500 milliseconds in “delay” programs

0.1 — 250 milliseconds In “echo” programs

Sets the time between the direct sound of the instrument and

the first repeat heard from the left channel.

Left Channel Feedback Gain (Lch F.B): -99% — +99%

Sets the amount of the left-channel delay signal fed back to

the input of the processor. The higher the feedback gain setting, the greater the number of delayed repeats pro duced.

Right Channel Delay (Rch DLY):

0.1 — 500 milliseconds in “delay” programs

0.1 — 250 milliseconds in “echo” programs

Sets the time between the direct sound of the instrument and the first repeat heard from the right channel.

Right Channel Feedback Gain (Rch F.B): -99% — +99%

Sets the amount of the right-channel delay signal fed back

to the input of the processor. The higher the feedback gain

setting, the greater the number of delayed repeats produced.

Modulation Frequency (MOD. FRO): 0.1 Hz — 20 Hz

Sets the speed of modulation, and hence the rate at which the effect varies.

Modulation Depth (MOD. DEPTH): 0% — 100%

Sets the amount of delay time variation, thus adjusting the depth of the effect.

Modulation Delay (MOD. DLY): 0.1 — 100 millisec onds

This sets the basic delay time from the initial direct sound to the beginning of the flange effect.

Feedback Gain (F.B. GAIN): 0% — 99%

Determines the amount of flange signal which is fed back to the input of the processor for further modulation. More feedback increases the overall complexity, “strength” and decay time of the effect.

(dB) DIRECT

SIGNAL

MOD. DEPTH

L(R)/r(L)

High Frequency Feedback (HIGH): xO.1 — xl.O

Controls feedback in the high-frequency range. The high-

frequency feedback is reduced as the value of this parame ter is decreased.

19 GEP50 GUITAR EFFECT PROCESSOR

MOD, DLY

•(TIME)

40. Chorus

like flanging, chorus serves to thicken the sound of an instru ment, creating the effect of several instruments playing at

Phasing is basically a “gentler" version of the flange effect,

lending a smooth, animated quality to the original sound. once. The chorus effect splits the incoming signal into three signals placed at the center left and right of the stereo image. The delay time and level of the three signals are then modu lated by the LFO (Low Frequency Oscillator).

Modulation Frequency (MOD. FRQ): 0.1 Hz — 20 Hz

Sets the speed at which the effect varies.

Delay Modulation Depth (DM DEPTH): 0% — 100%

This sets the amount by which the deiay time of one deiay signai is varied in reiation to the other, and thus the depth of the CHORUS effect.

Amplitude Moduiation Depth (AM DEPTH): 0% —

100%

Sets the amount by which the ampiitude (ievei) of the input

signal is varied.

IdB)

DIRECT SIGNAL

Modulation Frequency (MOD. FRQ): 0.1 Hz — 20 Hz

Sets the speed at which the phasing effect varies.

Moduiation Depth (MOD. DEPTH): 0% — 100%

Sets the amount of delay time variation, thus adjusting the depth of the effect.

Moduiation Deiay (MOD. DLY): 0.1 — 8 miiiiseconds

This sets the delay time from the initial direct sound to the beginning of the phasing effect.

41. Stereo Phasing

DM DEPTH

AM DEPTH

(TIME)

. (TIME)

42. Symphonic

The symphonic effect adds richness and life to the sound.

Modulation Frequency (MOD. FRQ): 0.1 Hz — 20 Hz

Sets the speed of the effect variation.

Modulation Depth (MOD. DEPTH): 0% — 100%

Sets the depth of the effect.

45. Compressor

This extremely versatile compressor program allows creation of a wide range of compression and limiting effects. It can simply be used to reduce the dynamic range of a signal, to smooth put the sound of an electric bass or add sustain to an electric guitar. It can help to reduce volume fluctuations as a vocalist moves closer to or away from a microphone, or limit the maximum level of a signal to prevent overloading certain types of amplification or recording equipment.

Attack Time (ATTACK): 1 — 40 milliseconds

Determines how long it takes for full compression to be reached after the effect is triggered (i.e. the THRESHOLD level is exceeded). The right ATTACK setting is essential to preserve the natural initial attack sound of the instrument used -- or modify it as desired.

Release Time (RELEASE): 10 — 2,000 milliseconds

Determines how long it takes for compression to be released after the input signal drops below the THRESHOLD level. The RELEASE setting is important to preserve the natural

release sound of the instrument used. Too short a RE LEASE setting will cause the sound to be cut off unnatu rally.

Threshold Level (THRESHOLD): -48 — -6 dB

Determines the level of the input signal at which the com pression effect begins. Set at a low level (-48 dB) all input

signals will be compressed. At a higher level, only those signals exceeding the THRESHOLD level will be com

pressed, thus producing a limiting effect. The THRESHOLD level must be set to match the level and characteristics of

the instrument being used, as well as the desired effect.

Compression Ratio (RATIO): 1 — 20

This parameter sets the "amount" of compression applied to the input signal. A setting of 1.0 produces no compression,

while a setting of 20 produces maximum compression.

Detect Delay (DET. DLY): -50 — +50 milliseconds

This parameter sets an initial delay between the time the input signal begins (the time the THRESHOLD level is exceeded) and the time the compression effect begins. This delay can be used to allow the initial attack of an instrument

to come through completely unaffected while the rest of the

signal is compressed. A minus DET DLY setting causes the compressed sound to appear before the direct instrument sound.

Delay Time (DELA Y): 0.1 — 400 milliseconds

Determines the time delay between the direct sound and the compressed effect sound.

21 GEP50 GUITAR EFFECT PROCESSOR

46. Reverb & Gate

This effect combines a reverb program with a gate program, making it possible to output only a segment of a longer reverb sound.

Reverb Time (REV TIME): 0.3 — 99 seconds

The length of time it takes for the level of reverberation kHz to decrease by 60 dB.

High Frequency Reverb Time Ratio (HIGH): xO.1 — xl.O

This parameter allows alteration of the high-frequency reverb time in reiation to the overail reverb time.

initial Delay (DELAY): 0.1—50 milliseconds

This parameter represents the delay between the direct sound of an instrument and the first of the many reflections that together form reverberation.

High-pass Filter (HPF): THRU, 32 Hz — WOO Hz

Permits rolling off the the low-frequency content of the reverb signal below the set frequency. The HPF is OFF

when set to THRU.

at 1

(TIME!

Low-pass Filter (LPF): 1 kHz— 11 kHz, THRU

Permits rolling off the high-frequency content of the reverb signal above the set frequency. The LPF is OFF when set to THRU.

Trigger Level (TRG. LEVEL): 1 — 100

Determines the amplitude of the input signal required to

trigger opening of the gate. At 100% only high-level input

signals will trigger the gate, while at 0% even the slightest input signal will trigger the gate.

Hold Time (HOLD): 1 — 30,000 milliseconds

This parameter sets the amount of time the gate is “open,” allowing the reverb sound to come through.

Release Time (RELEASE): 5 — 32,000 milliseconds

This parameter determines the time it takes for the gate to close completely after the HOLD time has elapsed.

MIDI Trigger (MIDI TRG.): OFF, ON

When ON, a KEY ON EVENT message from a MIDI key

board can be used to trigger the effect.

47. Pitch A

This program can actually change the pitch of an input signal

over a ±1-octave range. The shifted pitch can be combined

with the direct sound (by an appropriate setting of the BAL

ANCE parameter) to create automatic harmonies.

+ 3

Pitch Shift (PiTCH): -12 —+12

Sets the degree of pitch change in semitone steps. +12 cor responds to an output pitch one octave higher than the input pitch, and -12 produces an output pitch one octave lower than the input pitch. An external MIDI keyboard can even be used to select the desired degree of pitch shift.

Fine Tuning (FINE): -100 — +100

Permits extremely fine pitch adjustment in one-cent steps.

Deiay Time (DELAY): 0.1 — 400 miiiiseconds

Sets the delay between the direct sound (input signal) and the pitch-shifted output signal.

Feedback Gain (F.B. GAiN): 0 — 99%

When this parameter is set to 0, only a single pitch-shifted sound is produced after the DELAY time has elapsed. As the value of this parameter is increased, however, more and more delayed repeats are produced, each pitch-shifted up or down from the previous repeat according to the setting of the PITCH parameter.

+ 1

t 10 I

+ 8

+ 6

+ 3

+ I

- 2

- 4

- 6

- 9

- 11

- 2

A 2

E 5 D 5 C 5

B 4 A 4 G 4

E 4 D 4 C 4 B 3 A 3 G 3 F 3 E 3 D 3 C 3 B 2

PITCH

f 5 t 4

t 2 -

t 12 -

t I I f 9 ^ 7

-I- 5

+ 4

F 2

- 3 5

• 7

- 8

- 10

■ 12 —

- 3

H-1 —1-12 range is

repeated

Pitch can be changed over a ± 12 range with the BASE KEY in the center.

- 1 -— 12 range is

repeated

Base Key (BASE KEY): OFF, Cl — C6

This parameter sets the "BASE KEY” for an external MIDI synthesizer used to control the PITCH parameter (the MIDI OUT terminal of the synthesizer must be connected to the GEP50 MIDI IN terminal, and the GEP50 must be set to receive on the MIDI channel on which the synthesizer is transmitting). If, for example, the BASE 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). If a key more than an 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 illustration below. If the BASE KEY parameter is set OFF, pitch cannot be controlled via the MIDI IN terminal.

23 GEP50 GUITAR EFFECT PROCESSOR

48. Pitch B

49. Pitch C

PITCH CHANGE B makes it possible to produce two independ ently pitch-shifted output notes in addition to the direct signal, so you can actually create three-part harmonies with a single Input note. Both pitch-shifted notes appear at the center of the stereo sound field (i.e. they are output equally to the L and R OUTPUT jacks).

1st Pitch Shift (1 PiTCH): -12 — +12

Sets the pitch of the first pitch-shifted note between one

octave below (-12) and one octave above (+12) the input

note.

1st Fine Tuning (1 FiNE): -100 —+100

Permits fine tuning of the first pitch-shifted note in 1-cent

steps.

1st Delay Time (1 DLY): 0.1 — 400 milliseconds

Determines the time delay between input of the original note

and output of the first pitch-shifted note.

2nd Pitch Shift (2 PITCH): -12 — +12

Sets the pitch of the second pitch-shifted note between one octave below (-12) and one octave above (+12) the input

note.

Like the PITCH CHANGE B program, PITCH CHANGE C produces 2 pitch-shifted notes in addition to the original input note. In this program, however, the two pitch-shifted notes are independently fed to the left and right channel outputs (the

direct sound is positioned at the center of the stereo sound field) for a true stereo harmony effect.

Left Pitch Shift (L PITCH): -12 — +12

Sets the pitch of the left-channel pitch-shifted note between

one octave below (-12) and one octave above (+12) the

input note.

Left Fine Tuning (L FINE): -100 — +100

Permits fine tuning of the left-channel pitch-shifted note in 1-

cent steps.

Left Delay Time (L DLY): 0.1 — 200 milliseconds

Determines the time delay between input of the original note and output of the left-channel pitch-shifted note.

Right Pitch Shift (R PITCH): -12 — +12

Sets the pitch of the right-channel pitch-shifted note between

one octave below (-12) and one octave above (+12) the

input note.

2nd Fine Tuning (2 FINE): -100 — +100

Permits fine tuning of the second pitch-shifted note in 1-cent

steps.

2nd Delay Time (2 DLY): 0.1 — 400 miiilseconds

Determines the time delay between input of the original note and output of the second pitch-shifted note.

Right Fine Tuning (R FINE): -100 — +100

Permits fine tuning of the right-channel pitch-shifted note 1-cent steps.

Right Delay Time (R DLY): 0.1 — 200 milliseconds

Determines the time delay between input of the original note and output of the right-channel pitch-shifted note.

PROGRAM PITCH CHANGE FEEDBACK MIDI PITCH

Pitch A Pitch B

Pitch C

1TONE YES YES

2 TONES

(CENTER)

2 TONES

(1 EACH IN

L&R CH.)

CONTROL

50. Parametric EQ

This versatile parametric equalization program offers precise

sound-shaping control so you can create precisely a required tonal effect

High-pass Filter (HPF): THRU, 32 Hz — 1000 Hz

Permits rolling off the the low-frequencies below the set frequency. The HPF is OFF when set to THRU.

Midrange EQ Frequency (MID FRQ): 315 — 4,000 Hz

Sets the mid-frequency range to be boosted or cut using the next parameter: MID GAIN.

Midrange EQ Gain (MID GAIN): -15 — +15 dB

Midrange Bandwidth (MID Q): 0.32 — 10

Sets the bandwidth of the range of frequencies to be boosted or cut using the MID GAIN parameter. The higher the value, the narrower the range of frequencies affected.

(dBI 20

20 50 100

500 Ik 5K 10K 20K

IHz)

High EQ Frequency (HI FRQ): 800 — 8,000 Hz

Sets the high-frequency range to be boosted or cut using the next parameter: HI GAIN.

High EQ Gain (HI GAIN): -15 — +15 dB

Boosts or cuts response in the frequency range set by the HI FRQ parameter (above). A setting of 0 produces no boost or cut. Minus settings (e.g: -6 dB) cut response in the selected frequency range, while plus settings (e.g: +12 dB) boost response.

High-frequency Bandwidth (HI Q): 0.32 — 10

Sets the bandwidth of the range of frequencies to be boosted or cut using the HI GAIN parameter. The higher the value, the narrower the range of frequencies affected.

Low-pass Filter (LPF): 1 kHz —11 kHz, THRU

Permits rolling off the high-frequencies above the set frequency. The LPF is QFF when set to THRU.

EQ Delay Time (DELAY): 0.1 — 400 milliseconds

Determines the time it takes for the equalizer to actually take effect after a note is played.

25 GEP50 GUITAR EFFECT PROCESSOR

4: UTILITY FUNCTIONS

The GEP50 UTILITY button provides access to a number of im portant functions. Each press on the UTILITY button advances

/MIDI BANK & CHANNEL ASSIGNMEt^

to the next function until the UTILITY mode is exited:

The GEP50 makes it possible to select specific programs via

TITLE EDIT ^ MIDI CONTROL MIDI PRO CHANGE ^

F.SW MEMORY RCL ^ exit UTILITY mode.

external MIDI control. You can set up the GEP50, for example, so that when you select a voice on your synthesizer the most appropriate effect for that voice is automatically selected. This is accomplished because each time you select a voice on your MIDI synthesizer it transmits the corresponding MIDI

[title EDIT I

This function makes it possible to create original titles for pro

grams you edit and store in memory locations 51 through 00.

Thè TITLE EDIT function is the first one to appear when the

UTILITY button is pressed. The "TITLE EDIT” function name appears on the bottom line of the LCD, and an underline cursor appears at the first character position on the top line. The MEMORY and STORE buttons are used to move the cursor back and forth, while the and buttons are used to select a new character for the current cursor position. Simply move the cursor to each character position in turn, selecting the appropriate characters at each position.

The available characters are as follows:

PROGRAM CHANGE NUMBER. The GEP50 receives this

PROGRAM CHANGE NUMBER and selects the effect program that you have assigned to it using the MIDI PROG CHANGE function which will be described below. The GEP50 also accepts MIDI KEY ON EVENT messages to trigger some of the gate effects, and MIDI KEY ON NUMBERS to set the PITCH parameter of the Pitch A effect. The GEP50 actually can be programmed with four completely independent sets of MIDI

PROGRAM CHANGE NUMBER/MEMORY NUMBER assign

ments. Each of these is contained in a different “bank”: A, B, C or D. Each BANK may also be programmed to receive on a different MIDI channel. An example of the way the four banks

may be programmed with different receive channels and program number/memory number assignments is given below:

/ \

JU u

A B c D

h X

— T

-y-

■te V

1 y

V W X

k 1 m n 0 6

]

[

- -

■T-

A y "E

0 1 2 3

H 1 J

F G

Y z a a

< >

P q

•

■y

F ■t

—

'V’

4 5 6

K L M N 0

d e

r S t

-F

7 8

u V

-Receive channel

u 9

g W

BANK: A

PM 1

PGM 1 = MEM 1 PGM 2 = MEM 4 PGM 3 = MEM 8

PGMJ28 = MEM^40

Voice PGM number

BANK; C

CH = 15

Memory number of GEP 50

PGM 1 = MEM 90 PGM 2 = MEM 89 PGM 3 = MEM 88

PGM128 = MEM 40

BANK: B

CH = 2

PGM 1 = MEM 6 PGM 2 = MEM 7 PGM 3 = MEM 16

PGM128 = MEM 1

BANK: D

CH = OMNI

PGM 1 = MEM 1

PGM 2 = MEM 2 PGM 3 = MEM 3

PGM 128 = MEM 38

■ Bank Selection and MIDI Channel Programming

appears (MIDI CONTROL is the second function on the UTILITY list”).

® Select the bank to program using the and [^buttons.

® Press the STORE button to move the cursor to the channel

(ch) parameter.

® Use the and buttons to set the receive MIDI channel

(1 — 16), the OMNI mode (all channels can be received),

or turn MIDI reception OFF for the selected bank.

Assigning Effects to MIDI Program Change Num

bers

function appears (MIDI PROG CHANGE is the third func tion on the UTILITY “list”).

® Use the and buttons to select the program change

number to which a new GEP50 memory location number is to be assigned. The range of available program change numbers is from 1 to 128.

® Press the STORE button to move the cursor to the MEM

(memory number) parameter.

® Press the MEMORY button to return to the BANK parame

ter if you wish to select a different bank for programming.

MIDI CONTROL

B A N K : A ch = 1

MIDI CONTROL

B A N K : B ch = 1

® Use the and buttons to select the memory location

number containing the effect which is to be assigned to

the currently selected program change number.

® Press the MEMORY button to return the cursor to the PGM

(program number) parameter in order to select a new pro

gram change number for effect assignment.

Selected bank

MIDI

CONTROL

BANK : B ch = 1

MIDI CONTROL

BANK:B ch= 1£

27 GEP50 GUITAR EFFECT PROCESSOR

MIDI channel number MEM number

/FOOTSWITCH MEMORY RECALL RANC^

NOTE: The program number/memory number assignments

made are stored in the BANK seiected in the previous MIDI CONTROL function. To program the program change/memory number assignments for a different ■ BANK, return to the MIDI CONTROL mode, select the desired BANK, then program the required assignments.

The GEP50 permits memory selection via an optional YAMAHA FC4 or FC5 footswitch connected to the rear-panel MEMORY

footswitch jack. The fourth function accessed by the UTILITY

button — F.SW MEMORY RCL — permits setting the range of memory location numbers that will be selected when the

footswitch is pressed.

F.SW MEMORY RANGE

If, for example, the RANGE parameter is set to “51 TO 70” as shown in the LCD illustration above, each time the footswitch is pressed the next highest memory location will be selected until

the last number in the specified range is reached. After the last

number in the specified range, the first (lowest) number is se lected and the process repeated. Reverse sequences can be programmed by entering the highest number in the range be fore the lowest, as shown below.

F.SW

RANGE

5 1 TO

MEMORY RCL

5 4 TO

RCL

7fl

In this case the selection sequence is : 54 53 52 -> 51-> 54, etc.

5: MIDI DATA FORMAT

1. Reception Conditions

2. Reception Data 2-1. Channel Information

1) Channel Voice Message

O note on

Can be received on the MIDI channel set in the currently active bank. In the case of effect 46 (Reverb & Gate), if the MIDI TRG parameter is ON a NOTE ON message received will trigger the effect. If effect 47 (Pitch A) is selected, the received NO TE ON data is used to set the pitch shift of the effect. NOTE ON data will be ignored, however, if the BASE KEY parameter is set to OFF.

STATUS

NOTE NO. VELOCITY

OOlnnnnOnH) n = 0 (channel no.D-

1 5 (channel no.16)

k = 0 (C-2)-127 (G8)Okkkkkkk

0Vvvvvvv

v = 0-127

MIDI TRG. (BASE KEY)

OOFF(OFF)

I PROGRAM CHANGE

Can be received on the MIDI channel set in the currently active bank. The effect assigned to the received program number in the program assignment table will be selected.

STATUS I I OOnnnn (CnH) n =0 (channel no.1 )-

PROGRAM OPPPPPPP NO.

1 5 (channel no.161

p = 0-127

О NOTE OFF

Although this message causes no direct action in the GEP50, it is essential to signal the end of a NOTE ON message. The conditions for NOTE

OFF message reception are the same as for NO

TE ON reception, as described above.

STATUS I 000nnnn (8nH) n = 0 (channel no.1) —

NOTE NO. Okkkkkkk VELOCITY Ovvvvvvv

29 GEP50 GUITAR EFFECT PROCESSOR

1 5 (channel no.16)

k = 0 (C-2)-127 (G8) v = 0-127

6: SPECIFICATIONS & DATA

electrical characteristics

Frequency Responce 20 Hz-12 kHz Dynamic Range Delay: More than 80 dB

Others: More than 74 dB

THD Less than 0.1% @DELAY,1kHz, max. ■

•

INPUT

Number of Channels Nominal level - 20 dBm Impedance More than 500 k-ohms

a/d, d/a conversion

Number of Channels 1 Sampling Frequency 31.25kHz

Quantization 16 bits

Unbalanced x 1 (phone jack)

OUTPUT

Number of Channels Nominal level - 20dBm Impedance

Unbalanced x 2 (phone jack)

1 k-ohm

MEMORY

Presets (ROM) 1-50

User Memory (RAM) 51-100

FRONT PANEL

Keys

Display

Input Level Monitor 7-segment LED Knob Input Level Volume Jack

(T).

{i), MEMORY,

PARAMETER, STORE, RECALL, COMPARE, INSERT, UTILITY, BYPASS 16 char, X 2 lines, LCD 2-digit 7-segment LED

TUNER OUT, INPUT

REAR PANEL

Jack(Mono)

MIDI Terminals IN, THRU

INPUT, INSERT IN/OUT, OUTPUT L7R,FOOT SW(MEMORY, BYPASS)

GENERAL

Power Requirements

U.S. & Canadian models 120VAC, 60Hz General model

Power Consumption

Dimensions(WxHxD) 480 X 45.2 X 285 mm

Weight

220-240V AC, 50/60Hz 20 W

(18-7/8"x1-3/4"x11-1/4")

3.5 kg (7 lbs 11 oz)

MIDI CONTROL Program Number

NoteON/OFF

*0 dB = 0.775 VRMS

All specifications subject to change without notice.

FCC INFORMATION

While the following statements are provided to comply with FCC Regulations in the United States, the corrective measures listed below are applicable worldwide.

This series of YAMAHA professional music equipment uses frequencies that appear in the radio fre quency range and if installed in the immediate proximity of some types of audio or video devices (within three meters), interference may occur. This series of YAMAHA combo equipment have been type tested and found to comply with the specifications set for a class B computing device in accor dance with those specifications listed in subpart J of part 15 of the FCC rules. These rules are de signed to provide a reasonable measure of protection against such interference. However, this does not guarantee that interference will not occur. If your professional music equipment should be suspected of causing interference with other electronic devices, verification can be made by turning your combo equipment off and on. If the interference continues when your equipment is off, the equipment is not the source of interference. If your equipment does appear to be the source of the interference, you should try to correct the situation by using one or more of the following measures:

Relocate either the equipment or the electronic device that is being affected by the interference. Utilize power outlets for the professional music equipment and the device being affected that are on different branch (circuit breaker or fuse) circuits, or install AC line filters.

In the case of radio or TV interference, relocate the antenna or, if the antenna lead-in is 300 ohm ribbon lead, change the lead-in the co-axial type cable. If these corrective measures do not produce satisfactory results, please contact your authorized YAMAHA professional products dealer for suggestions and/or corrective measures. If you cannot locate a franchised YAMAHA professional products dealer in your general area, contact the professional products Service Department, YAMAHA Music Corporation, 6600 Orangethorpe

Ave., Buena Park, CA 90620, U.S.A.

If for any reason, you should need additional information relating to radio or TV interference, you may find a 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 D.C. 20402 - Stock No. 004-000-00345-4.

+ 70 hidden pages

Yamaha GEP50 User Manual [en, de, fr]

Specifications and Main Features

Frequently Asked Questions

User Manual

PRECAUTIONS

1: CONTROLS AND CONNECTIONS

THE FRONT PANEL /

[ THE CONNECTOR PANEL?

2: GENERAL OPERATION

/MEMORY CONFIGURA TION /

/ SELECTING AN EFFECT/MEMORY

/BYPASSING THE EFFECT /

/ USING THE INSERT LOOP /

fUSING THE COMPARE FUNCTION /

/STORING EFFECTS /

10. Overdrive Hall

11. Distortion Room

13. E/R Distortion

14. Slide Gate

12. Live Dist.

15. Slow Gate Dist.

Distortion Levei (DiSTORTiON): 0 — 100%

Deiay Baiance or Echo Baiance (DELAY BAL or ECHO BAL): 0 — 100%

Left Channel Delay (Lch DL Y):

0.1 — 500 mitiiseconds in programs 17 & 20

0.1 — 250 miiiiseconds in 18 & 19

Left Channel Feedback Gain (Lch F.B): -99% — +99%

Right Channei Deiay (Rch DLY):

0.1 — 500 miiiiseconds in programs 17 & 20

0.1 — 250 miiiiseconds in 18 & 19

Midrange EQ Gain (MiD GAiN): -12 —+12 dB

Trigger Levei (TRG. LEVEL): 1 — 100

Right Channei Feedback Gain (Rch F.B): -99% — +99%

High Frequency Feedback (HiGH): xO. 1 — xl.O

Midrange EQ Frequency (MiD FRQ): 500 — 4000 Hz

21. Flange Dist.

22. Chorus Dist.

Distortion Levei (DiSTORTiON): 0 — 100%

Fiange Baiance (FLANGE BAL): 0 — 100%

Moduiation Frequency (MOD. FRO): 0.1 Hz — 20 Hz

Moduiation Depth (MOD. DEPTH): 0% — 100%

Feedback Gain (F.B. GAiN): 0% — 99%

Trigger Levei (TRG. LEVEL): 1 — 100

Distortion Levei (DiSTORTiON): 0 — 100%

Chorus Baiance (CHORUS BAL): 0 — 100%

Moduiation Frequency (MOD. FRO): 0.1 Hz — 20 Hz

Deiay Moduiation Depth (DM DEPTH): 0% — 100%

Trigger Levei (TRG. LEVEL): 1 — 100

Release Time (RELEASE): 5 — 32000 miiiiseconds

Reiease Time (RELEASE): 5 — 32000 miiiiseconds

23. Phase Dist.

24. Symphonic Dist.

Distortion Levei (DiSTORTiON): 0 — 100%

Phase Balance (PHASE BAL): 0 — 100%

Modulation Frequency (MOD. FRO): 0.1 Hz — 20 Hz

Modulation Depth (MOD. DEPTH): 0% — 100%

Modulation Deiay (MOD. DLY): 0.1 — 8.0 miiiiseconds

Trigger Levei (TRG. LEVEL): 1 — 100

Release Time (RELEASE): 5 — 32000 miiiiseconds

Distortion Levei (DiSTORTiON): 0 — 100%

Symphonic Baiance (SYMPHO BAL): 0 — 100%

Moduiation Frequency (MOD. FRO): 0.1 Hz — 20 Hz

Modulation Depth (MOD. DEPTH): 0% — 100%

Trigger Levei (TRG. LEVEL): 1 — 100

Release Time (RELEASE): 5 — 32000 miiiiseconds

31. Early Ref. 1

32. Early Ref. 2

33. Early Ref. 3

34. Early Ref. 4

43. Gate Reverb

44. Reverse Gate

35. Delay Short

39. Stereo Flange

36. Delay Long

37. Echo Short

38. Echo Long

Left Channel Delay (Lch DLY):

0.1 — 500 milliseconds in “delay” programs

0.1 — 250 milliseconds In “echo” programs

Left Channel Feedback Gain (Lch F.B): -99% — +99%