Guitar Effect Processor
Processeur d'effets sonores de guitare
Gitarren-Effektprozessor
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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.
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 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
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 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:
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
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® 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
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
10
/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:
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%
A
V
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
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.
12
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
c
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
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.
14
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
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.
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.
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.
16
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
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 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.
17 GEP50 GUITAR EFFECT PROCESSOR
r
1
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
5
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.
18
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.
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
_L
MOD, DLY
•(TIME)
f"
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.
20
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.
22
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
0
I
- 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.
PROGRAMPITCH CHANGEFEEDBACKMIDI PITCH
Pitch A
Pitch B
Pitch C
1TONEYESYES
2 TONES
(CENTER)
2 TONES
(1 EACH IN
L&R CH.)
NO
NO
CONTROL
NO
NO
in
24
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
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.
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 Ik5K 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:
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 numberMEM 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
MEMORYRCL
5 4 TO
RCL
7fl
51
In this case the selection sequence is : 54 53 52 -> 51->
54, etc.
28
5: MIDI DATA FORMAT
1. Reception Conditions
2. Reception Data
2-1. Channel Information
1) Channel Voice Message
O noteon
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
electricalcharacteristics
Frequency Responce 20 Hz-12 kHz
Dynamic RangeDelay: More than 80 dB
Others: More than 74 dB
THDLess than 0.1% @DELAY,1kHz, max. ■
•
INPUT
Number of Channels
Nominal level- 20 dBm
ImpedanceMore than 500 k-ohms
a/d, d/aconversion
Number of Channels1
Sampling Frequency31.25kHz
Quantization16 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 Monitor7-segment LED
KnobInput Level Volume
Jack
(T).
{i), MEMORY,
PARAMETER, STORE, RECALL,
COMPARE, INSERT, UTILITY,
BYPASS
16 char, X 2 lines, LCD
2-digit 7-segment LED
All specifications subject to change without notice.
30
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.
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