Yamaha GEP50 User Manual [en, de, fr]

YAMAHA

Guitar Effect Processor

Processeur d'effets sonores de guitare

Gitarren-Effektprozessor

^3

Operation Manual

Manuel d'instructions

Bedienungsanleitung

O			A	MEMORY	STORE	O
YAMAHA	D p
Giauft errs CT PROCESSOR	U O		V	PARAM­
C E F SO					RECALL
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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 ............................................................		5
1; CONTROLS AND CONNECTIONS
THE FRONT PANEL ................................................		.6
THE CONNECTOR PANEL ........................................		8
2: GENERAL OPERATION
MEMORY CONFIGURATION.....................................		9
SELECTING AN EFFECT/MEMORY LOCATION . . .		9
BYPASSING THE EFFECT ...... .................................		10
USING THE INSERT LOOP . .... ...........................		.10
ACCESSING & EDITING THE PARAMETERS FOR
EACH EFFECT.......................................................		11
USING THE COMPARE FUNCTION ...... ....................		12
STORING EFFECTS ................................................		12
3: DESCRIPTIONS OF THE EFFECT PROGRAMS &
THEIR PARAMETERS
THE BALANCE AND OUTPUT LEVEL
PARAMETERS ........................................................		13
1.	Mid-Band Drive..............................................	13
2.	Heavy Metal ..................................................	13
3.	Punk Diet. .....................................................	13
4.	Light Diet......................................................	.13
5.	Hard Overdrive............................................	13
6. Chunky Rhythm ..............................................		13
7.	Sweet Sustain................................................	13
8.	Punchy Lead...................................................	13
9.	Smooth Drive .......................................... . .	. . 1 3
10.	Overdrive Hail..................................................	14
11.	Distortion Room .............................................	14
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......................................................	15
18.	Dist. Fiiter.......................................................	15
19.	Double Dist.....................................................	15
20.	Max-Delay Dist..............................................	15
21.	Flange Dist....................................................	.16
22.	Chorus Dist...................................................	16
23.	Phase Dist.......................................................	17
24.	Symphonic Dist..............................................	17
25.	R e v i Hall.......................................................	18
26.	Rev 2 Hall.....................................................	18
27.	Rev 3 Room....................................................	18
28.	Rev 4 Vocal ..................................................	18
29.	Rev 5 Vocal ....................................................	18
30.	Rev 6 Plate ....................................................	18

31.	Early Ref. 1.................................... .	^	............18
32.	Early Ref. 2................................................		.18
33.	Early Ref. 3-...............................................		18
34.	Early Ref. 4....................................................		18
35.	Delay Short.....................................................		19
36.	Delay Long ...................................................		19
37.	Echo Short .....................................................		19
38.	Echo Long .....................................................		19
39.	Stereo Flange.................................................		19
40.	Chorus ........................................................		20
41.	Stereo Phasing..............................................		20
42.	Symphonic .....................................................		20
43.	Gate Reverb....................................................		18
44.	Reverse Gate .................................................		18
45.	Compressor ....................................................		21
46.	Rev & Gate.....................................................		22
47.	Pitch A ..........................................................		23
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 ................			28
5: MIDI DATA FORMAT.............................................			29
6: SPECIFICATIONS & DATA......................................			30
7: ROM CONTENTS AND CONTROLABLE
PARAMETERS.....................................................			91
8: BLANK CHART ......................................................			95
9: BLOCK DIAGRAM..............................................		. .	9 8
10: DIMENSIONS......................................................			98
11: MIDI IMPLEMENTATION CHART.........................			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.

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.

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.

5. HANDLE CABLES CAREFULLY

Always plug and unplug cables — including the AC cord — by gripping the connector, not the cord.

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

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.

© INPUT LEVEL Meter

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 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.

© Increment/Decrement Buttons

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.

© STORE Button

This button is used to store edited effect parameters into one of the user memory locations between 51 and 00.

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.

© MEMORY Button

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.

© RECALL Button

When a new memory location number has been selected using the and buttons, the RECALL button must be pressed to activate the selected effect.

© COMPARE Button

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 frontand 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.

© BYPASS FOOT SW Jack

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.

© R & L OUTPUT Jacks

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.

© INSERT IN and OUT Jacks

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 frontand 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	Mem.	Program Name
No.		No.
1	Mid-Band Drive	26	Rev 2 Hall
2	Heavy Metai	27	Rev 3 Room
3	Punk Dist.	28	Rev 4 Vocal
4	Light Dist.	29	Rev 5 Vocal
5	Hard Overdrive	30	Rev 6 Plate
6	Chunky Rhythm	31	Early Ref. 1
7	Sweet Sustain	32	Early Ref. 2
8	Punchy Lead	33	Early Ref. 3
9	Smooth Drive	34	Early Ref. 4
10	Overdrive Haii	35	Delay Short
11	Distortion Room	36	Delay Long
12	Live Dist.	37	Echo Short
13	E/R Distortion	38	Echo Long
14	Siide Gate	39	Stereo Flange
15	Siow Gate Dist.	40	Chorus
16	Reverse Dist.	41	Stereo Phasing
17	Delay Dist.	42	Symphonic
18	Dist. Filter	43	Gate Reverb
19	Double Dist.	44	Reverse Gate
20	Max-Delay Dist.	45	Compressor
21	Flange Dist.	46	Rev & Gate
22	Chorus Dist.	47	Pitch A
23	Phase Dist.	48	Pitch B
24	Symphonic Dist.	49	Pitch C
25	Rev 1 Hall	50	Parametric EG

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

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.

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 controlpanel 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.

R E A D O N L Y

M E M N 0 . 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:

©Select and recall the effect to be edited (Mid-Band Drive for 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

M i d - B a n d D r i v e

D I S T O R T I ON=100%

A

V

V(D

M i d - B a n d D r i v e

D I S T O R T I O N = 6 0 %

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:

©After editing the effect, select a memory location between 51 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”.

R E A D O N L Y i i c i i i

M E M N 0 . 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 cutout 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 extremeiygate to close after the input signal drops below the trigger broad range of distortion sounds that are ideai for virtuaiiylevelaii. Proper setting of the RELEASE parameter is essential guitar styles. The various presets provide a range of immedito 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	13. E/R Distortion
	11. Distortion Room	14. Slide Gate
	12. Live Dist.	15. Slow Gate Dist.
These programs combine reverberation with the distortion 16. Reverse Dist.
effect.		These programs combine eariy reflections with the distorti
		effect.
Distortion Levei (DISTORTION): 0 — 100%		Distortion Level (DISTORTION): 0 — 100%
Sets the “degree” or “depth” of the distortion portion of the		Sets the “degree” or “depth” of the distortion portion of the
effect.		effect.
Reverb Balance (REV BAL): 0 — 100%		E/R Balance (E/R BAL): 0 — 100%
Determines the amount of reverb applied to the distortion		Determines the amount of gate reverb or reverse gate effect
sound.		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.

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.

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.

Liveness (LIVENESS): 0 — 1 0

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%

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

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.

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.

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.

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 highfrequency 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.

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.

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.

22. Chorus Dist.

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.

16

23. Phase Dist.

Phasing 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.

24. Symphonic Dist.

Symphonic plus distortion.

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

25.	Rev	1	Hall	31. Early Ref. 1
26.	Rev	2	Hall	32. Early Ref. 2
27.	Rev	3	Room	33. Early Ref. 3
28.	Rev	4	Vocal	34. Early Ref. 4
29.	Rev	5	Vocal	43.	Gate Reverb
30.	Rev	6	Plate	44.	Reverse Gate

Reverberation is the warm musicai "ambience” you experienceThese effects are created using different groupings of “ear when listening to music in a hall or other properly-designedreflection^”— the first cluster of reflections that occurs after t acoustic environment. The GEP50 offers six different reverbdirectsound but before the dense reflections that are know effects, simuiating types of reverberation you wouid experiencereverberation begin.

in different haiis (25— 26), in a smaller room (27), reverb

effects ideally suited to vocals (28— 29), and the type ofEarly Reflection Pattern (TYPE): HALL/RANDOM/ reverberation produced artificially by a plate reverberatorREVERSE/PLATE(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.

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.

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.

(TIME)

18

35. Delay Short

36. Delay Long

37. Echo Short

38. Echo Long

39. Stereo Flange

This effect produces a pleasant “swirling” sound which c effectiveiy thicken and add warmth to the sound of an ins The fianging effect is produced by varying the delay betw identical signals, thus producing a complex varying “com

effect. The stereo delay and echo effects offer independently variable

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.

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.

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.

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.

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.

(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	_L	•(TIME)
ter is decreased.	MOD, DLY

19 GEP50 GUITAR EFFECT PROCESSOR

f"

40. Chorus

41. Stereo Phasing

like flanging, chorus serves to thicken the sound of anPhasinginstru­ is basically a “gentler" version of the flange effect, ment, creating the effect of several instruments playinglendingat 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.

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.

Amplitude Moduiation Depth (AM DEPTH): 0% —

100%

Sets the amount by which the ampiitude (ievei) of the input signal is varied.

IdB) DIRECT SIGNAL

AM DEPTH

. (TIME)

DM DEPTH

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.

(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 at 1

kHz to decrease by 60 dB.

(TIME!

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.

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	+ 1
	Sets the degree of pitch change in semitone steps. +12 cor­	t 10 I
	responds to an output pitch one octave higher than the input
		+ 8
	pitch, and -12 produces an output pitch one octave lower
	than the input pitch. An external MIDI keyboard can even be	+ 6
	used to select the desired degree of pitch shift.
	Fine Tuning (FINE): -100— +100	+3
		+I
	Permits extremely fine pitch adjustment in one-cent steps.
	Deiay Time (DELAY): 0.1— 400 miiiiseconds	- 2
	Sets the delay between the direct sound (input signal) and	-	4
	the pitch-shifted output signal.	-	6
	Feedback Gain (F.B. GAiN): 0— 99%	-	9
	When this parameter is set to 0, only a single pitch-shifted
	sound is produced after the DELAY time has elapsed. As the	-	1 1
	value of this parameter is increased, however, more and
	more delayed repeats are produced, each pitch-shifted up	- 2
	or down from the previous repeat according to the setting of
	the PITCH parameter.

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.

	PITCH
	f5
E5	t4
D5	t 2		-
C5	t	12	-
B4	t	I I
A4	f	9
G4	^ 7
	-I- 5
E4	+ 4
D4	F 2
C4		0
B3		I
A3	- 3
G3		5
F3	•7
E3	-	8
D3	- 10
C3	■	12 —
B2
A2	-3

H-1 —1 - 1 2 range is repeated

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

the center.

- 1 -— 12 range is repeated

23 GEP50 GUITAR EFFECT PROCESSOR

48. Pitch B 49. Pitch C

PITCH CHANGE B makes it possible to produce twoLikeindependthe PITCH­ CHANGE B program, PITCH CHANGE ently pitch-shifted output notes in addition to the directproducessignal, 2 pitch-shifted notes in addition to the original inp so you can actually create three-part harmonies with anotesingle.In this program, however, the two pitch-shifted notes Input note. Both pitch-shifted notes appear at the centerindependentlyof the fed to the left and right channel outputs (the stereo sound field (i.e. they are output equally to the L anddirectRsound is positioned at the center of the stereo sound

OUTPUT jacks).	field) for a true stereo harmony effect.
1st Pitch Shift (1 PiTCH): -12 — +12	Left Pitch Shift (L 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.

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

1st Fine Tuning (1 FiNE): -100 —+100	Left Fine Tuning (L FINE): -100 — +100
Permits fine tuning of the first pitch-shifted note in 1-cent	Permits fine tuning of the left-channel pitch-shifted note in 1-
steps.	cent steps.
1st Delay Time (1 DLY): 0.1 — 400 milliseconds	Left Delay Time (L DLY): 0.1— 200 milliseconds

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

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

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 in 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
				CONTROL
Pitch A		1TONE	YES	YES
Pitch B	2	TONES	NO	NO
	(CENTER)
Pitch C	2	TONES	NO	NO
	(1	EACH IN
	L&R CH.)

24

50. Parametric EQ

This versatile parametric	equalization program offers	precise
		(dBI 20
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	500 Ik	5K 10K 20K
20 50 100
Sets the mid-frequency range to be boosted or cut using		IHz)

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.

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

The available characters are as follows:

4: UTILITY FUNCTIONS

The GEP50 UTILITY button provides access to a number of im­

/MIDI BANK & CHANNEL ASSIGNMEt^

portant functions. Each press on the UTILITY button advances 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 ^	external MIDI control. You can set up the GEP50, for example,
	F.SW MEMORY RCL ^ exit UTILITY mode.	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
	[TITLE EDIT I	your MIDI synthesizer it transmits the corresponding MIDI
		PROGRAM CHANGE NUMBER. The GEP50 receives this
		PROGRAM CHANGE NUMBER and selects the effect program
	This function makes it possible to create original titles for pro­
		that you have assigned to it using the MIDI PROG CHANGE
	grams you edit and store in memory locations 51 through 00. function which will be described below. The GEP50 also
	Thè TITLE EDIT function is the first one to appear when the	accepts MIDI KEY ON EVENT messages to trigger some of the
	UTILITY button is pressed. The "TITLE EDIT” function name	gate effects, and MIDI KEY ON NUMBERS to set the PITCH
	appears on the bottom line of the LCD, and an underline	parameter of the Pitch A effect. The GEP50 actually can be
	cursor appears at the first character position on the top line.
		programmed with four completely independent sets of MIDI
	The MEMORY and STORE buttons are used to move the	PROGRAM CHANGE NUMBER/MEMORY NUMBER assign­

cursor back and forth, while the and buttons are used to

ments. Each of these is contained in a different “bank”: A, B, C select a new character for the current cursor position. Simply or D. Each BANK may also be programmed to receive on a move the cursor to each character position in turn, selecting the

appropriate characters at each position.

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:

r

j

—

T

T

Y

<

J1

X

tl

+

=l

-y-

■te

V

y

■T-

"y

■y

F

■t

—

y-

T'

/\

y

5

A

y

"E

'V’

ZL

IL

3

a

-

u

JU

u

p

1

y

>

ft

0

1

2

3

4

5

6

7

8

9

A

B

c

D

E

F

G

H

1

J

K

L

M

N

0

P

Q

R

S

T

u

V

W

X

Y

z

a

a

b

c

d

e

f

g

h

j

k

1

m

n

0

6

P

q

r

S

t

u

u

V

W

X

y

Z

[

]

<

>

•

*

-F

-

=

&

/

-

%

!

?

-

-

-Receive channel

BANK: A

PM 1

PGM 1 = MEM 1 PGM 2 = MEM 4

PGM 3 = MEM 8

PGMJ28 = MEM^40

BANK: B

CH = 2

PGM 1 = MEM 6 PGM 2 = MEM 7

PGM 3 = MEM 16

PGM128 = MEM 1

Voice PGM	Memory number of GEP 50
number
BANK; C			BANK: D
CH = 15			CH = OMNI
PGM 1 = MEM 90			PGM 1 = MEM 1
PGM 2 = MEM 89			PGM 2 = MEM 2
PGM 3 = MEM 88			PGM 3 = MEM 3

PGM128 = MEM 40

PGM 128 = MEM 38

26

■ Bank Selection and MIDI Channel Programming	I Assigning Effects to MIDI Program Change Num­
	bers

©Press the UTILITY button until the MIDI CONTROL function 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.

®Press the MEMORY button to return to the BANK parame­ ter if you wish to select a different bank for programming.

©Press the UTILITY button until the MIDI PROG CHANGE 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.

®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.

M I D I C O N T R O L
B A N K : A c h =	1

	M I D I	C O N T R O L
	B A N K : B c h		=	1
Selected bank
	M I D I	C O N T R O L
	B A N K : B c h =		1

M I D I C O N T R O L

B A N K : B c h = 1 £

MIDI channel number

MEM number

27 GEP50 GUITAR EFFECT PROCESSOR

	/FOOTSWITCH MEMORY RECALL RANC^
NOTE: The program number/memory number assignments	The GEP50 permits memory selection via an optional YAMAHA
made are stored in the BANK seiected in the previous FC4 or FC5 footswitch connected to the rear-panel MEMORY
MIDI CONTROL function. To program the program	footswitch jack. The fourth function accessed by the UTILITY

change/memory number assignments for a different ■ button — F.SW MEMORY RCL — permits setting the range of BANK, return to the MIDI CONTROL mode, select the memory location numbers that will be selected when the desired BANK, then program the required assignmentsfootswitch. is pressed.

F . S W	MEMORY	RCL
RANGE	5 1 TO	7fl

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 . S W	MEMORY	RCL
	RANGE	5 4 TO	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 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	OOlnnnnOnH) n = 0 (channel no.D-
		1 5 (channel no.16)
NOTE NO.	O k k k k k k k	k = 0 (C-2)-127 (G8)
VELOCITY	0Vvvvvvv	v = 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) —

1 5 (channel no.16)

NOTE NO. O k k k k k k k	k = 0 (C-2)-127 (G8)
VELOCITY O v v v v v v v	v = 0 - 1 2 7

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 )-

1 5 (channel no.161

PROGRAM OPPPPPPP	p = 0-127
NO.

29 GEP50 GUITAR EFFECT PROCESSOR

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	Unbalanced x 1 (phone jack)
Nominal level	- 20 dBm
Impedance	More than 500 k-ohms

FRONT PANEL

Keys	(T). {i),MEMORY,
	PARAMETER, STORE, RECALL,
	COMPARE, INSERT, UTILITY,
	BYPASS
Display	16 char, X 2 lines, LCD
	2-digit 7-segment LED
Input Level Monitor	7-segment LED
Knob	Input Level Volume
Jack	TUNER OUT, INPUT

A/D, D/A CONVERSION

REAR PANEL

Number of Channels	1
Sampling Frequency	31.25kHz
Quantization	16 bits

Jack(Mono)	INPUT, INSERT IN/OUT, OUTPUT
	L7R,FOOT SW(MEMORY, BYPASS)
MIDI Terminals	IN, THRU

OUTPUT

Number of Channels	Unbalanced x 2 (phone jack)
Nominal level	- 20dBm
Impedance	1 k-ohm

MEMORY

Presets (ROM)	1 - 5 0
User Memory (RAM)	5 1 - 1 0 0

GENERAL

Power Requirements

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

General model	220-240V AC, 50/60Hz
Power Consumption	20 W
Dimensions(WxHxD)	480 X 45.2 X 285 mm
	(18-7/8"x1-3/4"x11-1/4")
Weight	3.5 kg (7 lbs 11 oz)

MIDI CONTROL	Program Number
	NoteON/OFF

*0 dB = 0.775 VRMS

All specifications subject to change withou

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.