Yamaha REX50 User Manual [en, de, fr]

YAMAHA

Digital Multi Effector Multi-effecteur numérique Digitales Multi-Effektgerät

Operating Manual Manuel d’utilisation Bedienungsanleitung

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Congratulations on your acquisition of a Yamaha REX50 Digital Multi Effector! The REX50 is a remarkably versatile, compact multi-effects unit that can be used by guitarists, keyboard players, home recording enthusiasts, mixing engineers

— anyone involved with music. It offers a selection of 30 top-quality effects

including digital reverberation, gated reverb, echo, flange, phase and a group of superb distortion effects. The distortion effects actually combine distortion with other effects (reverb, flange, etc.) for extraordinary sound processing versatility. In addition to the 30preprogrammed memory locations, there are 60 “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. The REX50 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 REX50, we

urge you to read this operation manual thoroughly.

PRECAUTIONS

1; CONTROLS AND CONNECTIONS

THE CONTROL PANEL

THE CONNECTOR PANEL....................................... 5

2: GENERAL OPERATION

MEMORY CONFIGURATION SELECTING AN EFFECT/MEMORY LOCATION . 7

BYPASSING THE EFFECT....................................... 7

ACCESSING & EDITING THE PARAMETERS

FOR EACH EFFECT............................................ 8

STORING EFFECTS ................................................. 9

3: DESCRIPTIONS OF THE EFFECT

PROGRAMS & THEIR PARAMETERS

THE BALANCE AND OUTPUT LEVEL

PARAMETERS

1. REV 1 HALL

2. REV 2 ROOM

3. REV 3 VOCAL...................................................10

4. REV 4 PLATE....................................................10

5. EARLY REF. 1

6. GATE REVERB.................................................11

7. DELAY L&R

8. STEREO ECHO

9. STEREO FLANGE........................................... 14

10. CHORUS............................................................14

11. STEREO PHASING...........................................14

12. SYMPHONIC

13. REVERSE GATE

14. ADR-NOISE GATE

15. COMPRESSOR.................................................16

16. REVERB & GATE

17. PITCH CHANGE A............................................17

18. PITCH CHANGE B............................................18

19. PITCH CHANGE C........................................... 19

20. PAN....................................................................19

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.............................15

10 10

13 13

7 7

21. DISTORTION.....................................................20

22. DIST. + REV HALL.......................................20

23. DIST. + REV PLATE

24. DIST. + GATE REV

25. D. + REVERSE GATE

26. DIST. + DELAY

27. DIST. + ECHO...............................................22

28. DIST. + FLANGE

29. DIST. + CHORUS..........................................23

30. DIST. + SYMPHONIC

4; UTILITY FUNCTIONS...............................................25

TITLE EDIT

MIDI BANK & CHANNEL ASSIGNMENT

FOOTSWITCH MEMORY RECALL RANGE 5: MIDI DATA FORMAT 6; SPECIFICATIONS 7: ROM CONTENTS AND CONTROLABLE

PARAMETERS

8; BLOCK DIAGRAM....................................................33

9: BLANK CHART.........................................................34

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20 21 21

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28 30

...31

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 loca tions which are subject to excessive dust accumu lation 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 UNIT OR ATTEMPT

REPAIRS OR MODIFICATIONS YOURSELF

This product contains no user-serviceable parts.

Refer all maintenance to qualified Yamaha service personnel. Opening the unit and/or tampering with

the internal circuitry will void the warranty.

4. MAKE SURE POWER IS OFF BEFORE MAKING

OR REMOVING CONNECTIONS

Always turn the power OFF prior to connecting or disconnecting cables. 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.

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 SOURCE

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

U.S. & Canadian models: 120V AC, 60 Hz General model: 220 —240V AC, 50/60 Hz

8. ELECTRICAL INTERFERENCE

Since the REX50 contains digital circuitry, it may cause interference and noise if placed too close to TV sets, radios or similar equipment. If such a problem does occur, move the REX50 further away from the affected equipment.

9. BACKUP BATTERY

The REX50 contains a long-life lithium battery which maintains the contents of the buffer and user memory locations even when the unit is turned OFF. With normal use the battery should last for approxi mately 5 years. If the battery voltage falls below the safe level, however, the "* * * WARNING * * * LOW BATTERY" display will appear on the LCD when the power is first turned ON. If this occurs, have the bat tery replaced by a qualified Yamaha service center. Do not attempt to replace the battery yourself!

FCC CERTIFICATION (USA)

This equipment generates and uses radio frequency energy and if not installed and used properly, that is, in strict accordance with the manufacturer's instructions, may cause interference to radio and television reception. It has been type tested and found to comply with the limits for a Class B computing device in accordance with the specifications in Subpart J of Part 15 of FCC Rules, which are designed to provide reasonable protection against such interference in a residential installation. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

Reorient the receiving antenna.

Relocate the computer with respect to the receiver.

Move the computer away from the receiver. Plug the computer into a different outlet so that

computer and receiver are on different branch circuits.

If necessary, the user should consult the dealer or an experienced radio/television technician for additional suggestions. The user may find the following booklet prepared by the Federal Communications Commission helpful:

"How to identify and Resolve Radio-TV interference Problems". This booklet is available from the U.S. Government Printing Office, Washington, DC 20402, Stock No. 004-000-00345-4.

1: CONTROLS AND CONNECTIONS

/THE CONTROL PANEL/

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DIGITAL MULTI EFFECTOR E X •

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OLCD (Liquid Crystal Display)

This 16-character x 2-line liquid crystal display panel normally displays the title of the selected effect on the top line and a selected parameter and its value on the bottom line. One or both lines may also be used to display errof messages or warnings.

0LED Memory Number Display

This 2-digit numeric display shows the number of the currently selected memory location (1 — 90). When the LED display is continuously lit the effect cor responding to the number displayed is active. When the LED display is flashing, this indicates that a new memory location has been selected but has not yet been recalled, leaving the previously selected effect active.

O CLIP I I

□ -20 1 param I

0 6

---------------

r 1 ^ 1 1 1 1 "JTILITY 1

. 1 ^ 1 1 RECALL 1 1 BYPASS I

---------------

0 0

0 Input Level Meter

The input level meter consists of three LEDs cor

responding to - 20 dB, - 10 dB and CLIP input lev el. When the source (instrument or other) is connected to the REXSO's inputs, it should be played at the loudest level it will be played during actual use and the rear-panel INPUT LEVEL control (THE CON NECTOR PANEL, 7) adjusted so the - 20 and - 10 dB LEDs light but the CLIP LED almost never lights.

O Memory Key

Pressing this key engages the memory selection mode, allowing a new memory location to be select ed using the A and V keys.

-©

0 Parameter Key

This key is pressed to access the various parameters which can be edited within each effect. Each press on the PARAMETER key selects the next parameter on the "list" for the selected effect.

0 Increment/Decrement Keys

These keys are used to select memory locations when the memory selection mode is active (after the MEMORY key has been pressed), or to change parameter values when parameters are selected for editing (after the PARAMETER key has been pressed). The A and V keys are also used to pro gram several UTILITY functions.

Store Key

This key is used to store edited effect parameters into one of the user memory locations between 31 and 90.

THE CONNECTOR PANEL,

0 Recall Key

When a new memory location number has been selected using the A and V keys, the RECALL key must be pressed to activate the selected effect.

0 Utility Key

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

0 Bypass Key

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

OMIDI IIM Terminal

MIDI signals from external MIDI devices can be fed to this terminal to remotely select effects, set the pitch shift of the PITCH CHANGE A effect, and trig ger some other effects.

0 Bypass Footswitch Jack

An optional Yamaha FC5 footswitch or equivalent connected to this jack can be used for foot control of the BYPASS function.

I Memory Footswitch Jack

An optional Yamaha FC5 footswitch or equivalent can be used to sequentially select effects stored in memory locations 31 through 90, permitting a se quence of effects to be set up to match the flow of a live performance.

& L Output Jacks

These two monaural 1/4" phone jacks deliver the stereo output signal from the REX50 to subsequent amplification or mixing equipment. These jacks can be connected directly to the inputs of guitar amplifi ers, keyboard amplifiers, recording equipment or mix

ing consoles. Since many of the REX50 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.

©Stereo Mix Switch

This switch determines whether the signal appear ing at the OUTPUT jacks is "effect only" or "effect plus direct signal." When the switch is ON, the direct input signal is combined with the effect signal and delivered to the outputs. When OFF the processed output of the REX50 only is delivered to the outputs. The REX50 does allow internal balancing of the in put and effect signals as well as output level con trol. In normal use, therefore, the STEREO MIX switch should be turned OFF.

O R&L (MONO) Input Jacks

When using a stereo sound source, such as a stereo electronic keyboard, plug the instrument's left (L) and right (R) channel outputs into the correspond ing L and R INPUT jacks on the REX50. When using a monaural source, such as an electric guitar, plug

the instrument's output into the L(MONO) INPUT jack.

o Input Level Control

This control should be used in conjunction with the control panel LED level meter to set the optimum in put level for the source used. Adjust the INPUT LEVEL control so that the - 20 dB and - 10 dB level meter LEDS light but the CLIP LED almost never lights while playing the source instrument.

2; GENERAL OPERATION

/ MEMORY CONFIGURATION /

The REX50 has a total of 90 internal memory locations. Locations 1 through 30 are READ-ONLY MEMORY con

taining the 30 preset effect programs. These locations

cannot be written to or changed in any way. The ef fect programs contained ih memory locations 1 through 30 are:

VIem.

Program Name

No.

REV 1 HALL 16 REVERB & GATE

1 2 REV 2 ROOM 17 PITCH CHANGE A

REV 3 VOCAL 18

REV 4 PLATE

4 5 EARLY REF. 1 20

GATE REVERB 21 DISTORTION

DELAY L,R 22

7 8 STEREO ECHO

STEREO FLANGE 24

CHORUS 25

10 11 STEREO PHASING26

SYMPHONIC 27 DIST.+ECHO

REVERSE GATE

13 14 ADR-NOISE GATE29 DIST.+CHORUS

COMPRESSOR

Mem.

Program Name

No.

PITCH CHANGE B PITCH CHANGE C

PAN

DIST. + REV HALL

23 DIST.+REV PLATE

DIST.+GATE REV D. +REVERSE GATE DIST.+DELAY

DIST.+FLANGE

DIST. + SYMPHONIC

)When the desired memory location/effect has been

selected, press the RECALL key. The LED memory number display will stop flashing and the selected effect will be engaged.

A complete description of each effect program and its parameters is given in "3: DESCRIPTIONS OF THE EF FECT PROGRAMS & THEIR PARAMETERS” on page

10.

Locations 31 through 90 are READ/WRITE MEMORY which can be used to store your own edited versions of the preset programs.

/ SELECTING AN EFFECT/MEMORY

/ LOCATION

® Press the MEMORY key 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.

(D Press the A or V key to increment or decrement the

memory location number shown on the LED display. Hold either of these keys down for continuous in crementing or decrementing. The name of the pro gram corresponding to the currently selected memory location will be shown on the LCD, or " ♦ * * NO DATA ***" will be displayed if a memory loca

tion between 31 and 90 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

7 recalled.

____________

/ BYPASSING THE EFFECT /

There are two ways to switch the selected effect in and out: ® with the control panel BYPASS switch and (2) with a footswitch connected to the connector-panel BYPASS footswitch jack. An optional Yamaha FC5 Footswitch can be used for foot-bypass control. In either case — when the control-panel BYPASS key

or BYPASS footswitch is pressed — a bold, flashing let ter "B" will appear in the upper right-hand corner of the LCD. While the "B" is visible the REX50 effect is bypassed and the input signal is directly routed to the output terminals (i.e. the effect is OFF). Press the BYPASS key or footswitch a second time to turn the effect back ON.

ACCESSING & EDITING THE

PARAMETERS FOR EACH EFFECT!

Each of the REX50 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 its parameters is given in "3. DESCRIPTIONS OF THE EFFECTS & THEIR PARAMETERS" on page 10. Using effect 1 (REV 1 HALL) as an example, here's how

to access and edit effect parameters: © Select and recall the effect to be edited (REV 1 HALL

for this example).

©Press the PARAMETER key and the first of the

selected effect's parameters will appear on the bot tom line of the LCD. Each time the PARAMETER key

is pressed, the next parameter on the selected ef

fect's "parameter list" will be called. With REV 1

HALL, for example, the following parameters are call

ed in sequence:

Note that the first parameter in the list is returned to if the PARAMETER key 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 A and/or V keys. The A key increases (increments) the value while the V key decreases (decrements) the value. Either key can be held down for continuous incrementing or decrementing.

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 edited parameters in a memory location between 31 and 90, 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 as described in the next page.

STORING EFFECTS

In order to store an edited effect for later recall you

need to do the following:

tween 31 and 90 by first pressing the MEMORY key

and then using the A and V keys. Do not recall the selected memory location.

@ Press the STORE key to store the edited effect in the

selected 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 UTILI TY mode EDIT TITLE function). The LED memory number display will stop flashing and the stored memory location will become the active effect.

Edited program

NOTE: You CANNOT store edited data to memory lo

cations 1 through 30. If you attempt to do this the LCD will show "**♦ READ ONLY *** MEM NO. 1-30".

** READ ONLY **

MEM NO. 1-30

NOTE: Once an effect has been stored in a memory

location between 31 and 90, its parameters can be further edited in the new memory loca tion. Such changes will be lost if a different ef fect is selected and recalled, however, unless the STORE function is used to store the changes. Changes may be stored to the cur rent memory location number (31 —90) simp ly by pressing the STORE key.

D 1 ST. +S YMPHON 1 C

New program

number

—flash —

Store program

3: DESCRIPTIONS OF THE EFFECT PROGRAMS

& THEIR PARAMETERS

/ THE BALANCE AND OUTPUT

¡_t^yEL^ARAMET^

____________

Since all of the REX 50 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 parameters called in an effect's parameter list.

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

This parameter adjusts the balance between the direct sound and effect signals. At 100% only the effect sound is delivered from the REX50 outputs, while at 0% only the direct sound is output. At a set

ting of 50%, the direct and effect sounds are out

put 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 bet ween effects when setting up an effect sequence for a live performance.

/ 1 ■ REV 1 HALL / / 2. REV 2 ROOM / / 3. REV 3 VOCAL / / 4. REV 4 PLATE /

Reverberation is the warm musical "ambience" you ex perience when listening to music in a hall or other properly-designed acoustic environment. The REX50 offers four different reverb effects, simulating types of reverberation you would experience in a large hall (REV

1 HALL), in a smaller room (REV 2 ROOM), a reverb effect ideally suited to vocals (REV 3 VOCAL), and the type of reverberation produced artificially by a plate reverberator (REV 4 PLATE).

Reverb Time (REV TIME): 0.3 - 99.0 s

The length of time it takes for the level of reverbera

tion at 1 kHz to decrease by 60 dB — virtually to

silence. In a live setting, this depends on several fac tors: room size, room shape, type of reflective sur faces, and others.

High Frequency Reverb Time Ratio (HIGH): 0.1 —

1.0

Natural reverberation varies according to the fre

quency of the sound. The higher the frequency, the

more sound tends to be absorbed by walls, fur

nishings and even air. This parameter allows altera tion of the high-frequency reverb time in relation to the overall reverb time.

Initial Delay (DELAY): 0.1 - 50.0 ms

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 - 1.0 kHz

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)

/ 5. EARLY REF. 1 / / 6. GATE REVERB /

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

/ 13. REVERSE GATE /

This effect produces a dynamic "slapback" sound, similar to a tape recording being played backwards.

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

The TYPE parameter selects one of four different pat

terns 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 group ing 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 play

ing a recorded reverberation sound backwards.

Room Size (ROOM SIZE): 0.1 - 20.0

This parameter sets the time intervals between the early reflections — a feature of natural early reflec tions which is directly proportional to the size of the room.

Liveness (LIVENESS): 0 -10

"Liveness" refers to the rate at which the reflected sounds fade. An acoustically "dead" room is simu lated by setting this parameter to zero. Increasing

the value of this parameter creates an increasingly

"live" sound, simulating an increasing area of reflec

tive surfaces in the room.

Delay (DELAY): 0.1 - 400.0 ms

The time delay between the direct sound of the in strument 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.

ROOM size: 1.0

EARLY REFLECTION MODE CHART

HALL

ROOM size:4.0

ROOM size: 1.0

RANDOM

ROOM size;4.o

I -»

100 200 300 400

2 -»

? -M

ROOM size; 1.0

ROOM size: 1.0

■ 00 m

»0 300 400 soo

REVERSE

PLATE

ROOM SIZE CHART

4~. - 10

w -?o

S-30

“ -M

3 _

ROOM size;4.0

100 ?00 300 400 &00

ROOM size:4.o

;oo 300 400 soo

JOO 400 MW

/ 7. DELAY L&R /

This stereo delay effect offers independently variable

left and right channel delays.

DIRECT

(dB)

SIGNAL

L R

L C R

L C C R

/ 8. STEREO ECHO /

This effect can be used to create expansive echo ef fects — with independently variable left and right chan nel echo delays and feedback.

(dB)

DIRECT SIGNAL

L R

(TIME)

Lch DLY

Rch DLY

Lch F.B

EFFECT INPUT

Rch F.B

Left Channel Delay (Lch DLY): 0.1 — 500.0 ms

Sets the time between the direct sound of the instru ment and the first repeat heard from the left channel.

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

-F 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 produced.

Right Channel Delay (Rch DLY): 0.1 — 500.0 ms

Sets the time between the direct sound of the instru ment and the first repeat heard from the right channel.

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

-F 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.

-(TIME)

Lch DL\

Rch DLY

EFFECT INPUT

Left Channel Delay (Lch DLY): 0.1 — 250.0 ms

After the delay set by this parameter, the first leftchannel echo will appear. Subsequent echoes will appear at the same time interval, the number of echoes depending on the setting of the feedback gain setting for the corresponding channel.

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

-F 99%

Adjusts the number of echoes that follow the direct signal — from zero to a virtually infinite number of echoes at the maximum setting.

Right Channel Delay (Rch DLY): 0.1 — 250.0 ms

Same as Left Channel Delay, but affects the right channel only.

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

-F 99%

Same as Left Channel Feedback Gain, but affects the right channel only.

High Frequency Feedback (HIGH): 0.1 — 1,0

Controls feedback in the high-frequency range. The

high-frequency feedback is reduced as the value of this parameter is decreased.

High Frequency Feedback (HIGH): 0.1 — 1,0

Controls feedback in the high-frequency range. The high-frequency feedback is reduced as the value of this parameter is decreased.

/ 9. STEREO FLANGE /

This effect produces a pleasant "swirling" sound which can effectively thicken and add warmth to the sound of an instrument. The flanging effect is produced by

(dB)

DIRECT SIGNAL

MOD. DEPTH

L(R)7 R(L)

MOD. DLY

■(TIME)

Modulation Frequency (MOD. FRQ): 0.1 Hz — 20.0 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 ad justing the depth of the effect.

Modulation Delay (MOD. DLY): 0.1 ms — 100.0 ms

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

Modulation Frequency (MOD. FRQ): 0.1 Hz — 20.0 Hz

Sets the speed at which the effect varies.

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

This sets the amount by which the delay time of one delay signal is varied in relation to the other, and thus

the depth of the CHORUS effect.

Amplitude Modulation Depth (AM DEPTH): 0% —

100%

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

/ 11 ■ STEREO PHASINGT

Phasing is basically a "gentler" version of the flange effect, lending a smooth, animated quality to the original sound.

(dB)

L L,R R

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 modula tion. More feedback increases the overall complexi ty, "strength" and decay time of the effect.

/ 10. CHORUS/

Like flanging, chorus serves to thicken the sound of an instrument, creating the effect of several instruments playing at 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 modulated by the LFO (Low Frequency Oscillator).

(dB)

DIRECT SIGNAL

AM DEPTH

. (TIME)

MOD. DEPTH

■ (TIME)

MOD. DLY

Modulation Frequency (MOD. FRQ): 0.1 Hz — 20.0 Hz

Sets the speed at which the phasing effect varies.

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

Sets the amount of delay time variation, thus ad justing the depth of the effect.

Modulation Delay (MOD. DLY): 0.1 — 8.0 ms

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

DM DEPTH

/ 12. SYMPHONIC /

This effect is produced in the same way as the flange effect, but has a "bigger," more sweeping sound.

Modulation Frequency (MOD. FRQ): 0.1 Hz — 20.0 Hz

Sets the speed of the effect variation.

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

Sets the depth of the effect.

Decay Time (DECAY): 5 — 32,000 ms

Determines the length of time it takes for the gate envelope to fall to DECAY LEVEL after it is fully open.

Decay Level (DECAY LVL): 0 - 100%

Determines the level at which the gate remains open for the HOLD TIME. The lower the value, the lower the HOLD gate level.

/ 14. ADR-IMOISE GATEV

This program uses a "gate" to pass or shut off the in

put signal in a number of ways. It can be used to pass

just a short segment of a longer input signal, or it can

be set up to pass only signals that exceed a specified level. In the latter case this program functions as a

"noise gate." It is also possible to create reverse gate type effects in which the gain increases gradually after the effect is triggered.

100%

(TIME)

Trigger Level (TRG. LEVEL): 1-100

Determines the level of the input signal required to trigger "opening" of the gate. At 100% only very high-level input signals will trigger the gate, while at

1 % even the tiniest input signal will trigger the gate.

Hold Time (HOLD): 1 — 30,000 ms

Determines how long the gate stays open, allowing the signal to pass at the DECAY LEVEL, after the first decay and prior to beginning of the RELEASE TIME.

Release Time (RELEASE): 5 — 32,000 ms

Determines how long it takes for the gate to close fully after the HOLD TIME has ended.

MIDI Trigger (MIDI TRG.): OFF, ON

When this parameter is turned ON, a KEY ON EVENT

message from an external MIDI keyboard can be us

ed to trigger the gate. A KEY ON EVENT message

is transmitted whenever a note on a MIDI keyboard

is played.

Trigger Delay (TRG. PLY): -100 — -i-100 ms

Produces a delay between the time at which the gate is triggered and that at which it actually opens. If a

minus value is programmed, the input signal is delayed so that, effectively, the gate opens before the signal appears.

Trigger Mask (TRG. MSK): 5 - 32,000 ms

This parameter makes it impossible to re-trigger the gate function until the programmed time has elapsed.

Attack Time (ATTACK): 5 — 32,000 ms

Determines how long it takes for the gate to open fully from the time it begins to open.

/ 15. 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 out the sound of an elec tric 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 max imum level of a signal to prevent overloading certain types of amplification of recording equipment.

Attack Time (ATTACK): 1 — 40 ms

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 at tack sound of the instrument used — or modify it as desired.

Release Time (RELEASE): 10 — 2,000 ms

Determines how long it takes for compression to be released after the input signal drops below the THRESHOLD level. The RELEASE setting is impor tant to preserve the natural release sound of the in strument used. Too short a RELEASE setting will cause the sound to be cut off unnaturally.

Delay Time (DELAY): 0.1 — 400.0 ms

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

Threshold Level (THRESHOLD): -48

Determines the level of the input signal at which the compression 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 compressed, thus producing a limiting effect. The THRESHOLD level must be set to match

the level and characteristics of the instrument be

ing used, as well as the desired effect.

-----------

6 dB

Compression Ratio (RATIO): 1 — 20.0

This parameter sets the "amount" of compression applied to the input signal. A setting of 1.0 produces no compression, while a setting of 20.0 produces maximum compression.

Detect Delay (PET. PLY): -50.0 — -tSO.O ms

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 ef

fect begins. This delay can be used to allow the in

itial attack of an instrument to come through com pletely unaffected while the rest of the signal is com pressed. A minus DET DLY setting causes the com pressed sound to appear before the direct instrument

sound.

/ 16. REVERB & GATE /

This effect combines a reverb program with a gate pro

gram, making it possible to output only a segment of a longer reverb sound.

-(TIME)

Reverb Time (REV TIME): 0.3 - 99.0 s

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

High Frequency Reverb Time Ratio (HIGH): 0.1

1.0 This parameter allows alteration of the high-

frequency reverb time in relation to the overall reverb time.

Initial Delay (DELAY): 0.1 — 50.0 ms

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

Release Time (RELEASE): 5 — 32,000 ms

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

MIDI Trigger (MIDI TRG.): OFF, OIM

When ON, a KEY ON EVENT message from a MIDI keyboard can be used to trigger the effect.

/17. PITCH CHANGE AV

This program can actually change the pitch of an input

signal over a ± 2-octave range. The shifted pitch can be combined with the direct sound (by an appropriate setting of the BALANCE parameter) to create automatic harmonies.

Pitch Shift (PITCH): -12 - -H2

Sets the degree of pitch change in semitone steps.

+12 corresponds 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 - -HOP

Permits extremely fine pitch adjustment in one-cent steps.

High-pass Filter (HPF): THRU, 32 Hz - 1.0 kHz

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.

Trigger Level (TRG. LEVEL): 1-100

Determines the amplitude of the input signal required to trigger opening of the gate. At 100% only highlevel input signals will trigger the gate, while at 1 % even the slightest input signal will trigger the gate.

Hold Time (HOLD): 1 - 30,000 ms

This parameter sets the amount of time the gate is

"open," allowing the reverb sound to come through.

Delay Time (DELAY): 0.1 - 400.0 ms

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 pitchshifted sound is produced after the DELAY time has elapsed. As the value of this parameter is increas ed, 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.

Base Key (BASE KEY): OFF, Cl - C6

This parameter sets the "BASE KEY" for an exter nal MIDI synthesizer used to control the PITCH parameter (the MID! OUT terminal of the synthesizer must be connected to the REX50 MIDI IN terminal, and the REX50 must bd 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.

+ 3

+ I

+ 10 I + 8 + 6

+ 3

+ I

- 2

- 4

- 6

- 9

__ 1 I

- 2

F 5

E 5 D 5

C 5

B 4

A 4 G 4

F 4 E 4 D 4

C 4

B 3

A 3 G 3 F 3

E 3

D 3

C 3 B 2

A 2

PITCH

+ 5

+ 4

+ 2 -

+ 12 -

+ I I + 9

-f 7

4- 5

+ 4

+ 2

- I

- 3

- 5 ~ 7

- 8

- 10

-12 —

- I —

- 3

+ 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

/ 18. PITCH CHANGE B7

PITCH CHANGE B makes it possible to produce two in^ dependently 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 (-1-12) the input note.

1st Fine Tuning (1 FINE): -100 — -HlOO

Permits fine tuning of the first pitch-shifted note in

1-cent steps.

1st Delay Time (1 PLY): 0.1 — 400.0 ms

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 bet ween one octave below (-12) and one octave above ( + M) the input note.

2nd Fine Tuning (2 FINE): - 100 - -H 100

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

2nd Delay Time (2 PLY): 0.1 - 400.0 ms

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

/ 19. PITCH CHANGE C7

/ 20. PAN /

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 PLY): 0.1 - 200.0 ms

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

This program automatically pans the sound image bet

ween left and right in the stereo sound field.

Pan Speed (PAN SPEED): 0.1 - 20.0 Hz

Sets the speed of the PAN effect (Le. how rapidly the signal sweeps from channel to channel).

Pan Direction (DIRECTION): L^R, L<-R, L^R

Determines the direction in which the sound sweeps across the stereo sound field.

Pan Depth (DEPTH): 0 - 100%

Sets the degree of level variation produced by the PAN effect. The higher the setting, the stronger and more distinct the pan sound.

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 PLY): 0.1 — 200.0 ms

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

PROGRAM PITCH CHANGE

PITCH CHANGE A PITCH CHANGE B

PITCH CHANGE C

1 TONE YES

2 TONES (CENTER)

2 TONES

(1 EACH IN

L&R CH.)

FEEDBACK

NO NO

MIDI PITCH

CONTROL

YES

/21. DISTORTION /

The DISTORTION effect is capable of producing an ex tremely broad range of distortion sounds that are ideal for virtually all guitar styles. Whether you want a light overdrive effect or real heavy-metal distortion, this pro gram can provide it.

/ 22. DIST. + REV HALL~7 / 23. DIST. -F REV PLATET

Distortion Level (DISTORTION): 0 — 100%

Sets the "degree" or "depth" of the distortion por tion of the effect.

Distortion (DISTORTION): 0 - 100%

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

Midrange EQ Frequency (MID FRQ.): 560 Hz, 800 Hz,

1.0 kHz, 1.5 kHz, 2.0 kHz

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

Midrange EQ Gain (MID GAIN): - 12 - -H2 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.

Treble Boost/Cut (TREBLE): - 12 - -H2 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: -l-6 dB) emphasize the high-frequencies.

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 ms

Determines the amount of time it takes for the distor tion 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.

Reverb Balance (REV BAD: 0 — 100%

Determines the amount of reverb applied to the

distortion sound.

Initial Reverb Delay (PRE PLY): 0.1 — 50.0 ms

This parameter produces a delay between the arrival of the input signal and the beginning of the reverb effect.

Reverb Time (REV TIME): 0.3 - 99.0 s

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

High Frequency Reverb Time Ratio (HIGH): 0.1

1.0 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 amplitude of the input signal required

to trigger the effect. This parameter, in conjunction with the RELEASE parameter below, functions ef fectively 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 ms

/ 24. DIST. + GATE RE\T7

/ 25. D. + REVERSE GATE~7

Distortion Level (DISTORTION): 0 - 100%

Sets the "degree" or "depth" of the distortion por tion of the effect.

E/R Balance (E/R BAD: 0 - 100%

Determines the amount of gate reverb or reverse

gate effect applied to the distortion sound.

Tone (TONE): 560 Hz, 800 Hz, 1.0 kHz, 1.5 kHz, 2.0 kHz

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

Early Reflection Pattern (TYPE):

HALL/RANDOM/REVERSE/PLATE

The TYPE parameter selects one of four different pat terns of early reflections.

/ 26. DIST. -I- DELAY / Distortion Level (DISTORTION): 0

Sets the "degree" or "depth" of the distortion por tion of the effect.

100%

Delay Balance (DELAY BAL): 0 - 100%

Determines the amount of delay or echo effect ap plied to the distortion sound.

Left Channel Delay (Lch DELAY): 0.1 - 500.0 ms

Sets the time between the direct sound of the instru ment and the first repeat heard from the left channel.

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

-H 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 produced.

Room Size (ROOM SIZE): 0.1 - 20.0

This parameter sets the time intervals between the early reflections.

Liveness (LIVENESS): 0-10

Increasing the value of this parameter creates an in creasingly "live" sound, simulating an increasing area of reflective surfaces in a room.

Delay (DELAY): 0.1 - 400.0 ms

The time delay between the direct sound of the in strument 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 ef fectively 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 ms

Right Channel Delay (Rch DELAY): 0.1 — 500.0 ms

Sets the time between the direct sound of the instru

ment 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.

High Frequency Feedback (HIGH): 0.1 — 1.0

Controls feedback in the high-frequency range. The

high-frequency feedback is reduced as the value of

this parameter is decreased.

Midrange EQ Frequency (MID FRQ.): 560 Hz, 800 Hz,

1.0 kHz, 1.5 kHz, 2.0 kHz

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

Midrange EQ Gain (MID GAIN): -12— -Hl2dB

Trigger Level (TRG. LEVEL): 1-100

Determines the amplitude of the input signal required to trigger the effect. This parameter functions effec tively 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.

/ 27. DIST. + ECHO /

Distortion Level (DISTORTION): 0 — 100%

Sets the "degree" or "depth" of the distortion por tion of the effect.

Echo Balance (ECHO BAL): 0 - 100%

Determines the amount of delay or echo effect ap plied to the distortion sound.

Left Channel Delay (Lch DELAY): 0.1 - 250.0 ms

Sets the time between the direct sound of the instru ment and the first repeat heard from the left channel.

Midrange EQ Gain (MID GAIN): -12— -Hl2dB

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: -I-12 dB) boost response.

Trigger Level (TRG. LEVEL): 1-100

Determines the amplitude of the input signal required to trigger the effect. This parameter functions effec tively 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% —

-I- 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 produced.

Right Channel Delay (Rch DELAY): 0.1 — 250.0 ms

Sets the time between the direct sound of the instru

ment 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.

High Frequency Feedback fHIGH): 0.1 — 1.0

Controls feedback in the high-frequency range. The

high-frequency feedback is reduced as the value of this parameter is decreased.

Midrange EQ Frequency (MID FRQ.): 560 Hz, 800 Hz,

1.0 kHz, 1.5 kHz, 2.0 kHz

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

/ 28. DIST. + FLANGE 7

/ 29. DIST. -I- CHORUST

Distortion Level (DISTORTION): 0 - 100%

Sets the "degree" or "depth" of the distortion por tion of the effect.

Flange Balance (FLANGE BAL): 0 - 100%

Determines the amount of flange effect applied to

the distortion sound.

Modulation Frequency (MOD. FRQ): 0.1 Hz — 20.0 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 ad justing the depth of the effect.

Modulation Delay (MOD. PLY): 0.1 ms — 100.0 ms

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%

Trigger Level (TRG. LEVEL): 1-100

Release Time (RELEASE): 5 — 32000 ms

Distortion Level (DISTORTION): 0 - 100%

Sets the "degree" or "depth" of the distortion por tion of the effect.

Chorus Balance (CHORUS BAL): 0 - 100%

Determines the amount of chorus effect applied to

the distortion sound.

Modulation Frequency (MOD. FRQ): 0.1 Hz — 20.0 Hz

Sets the speed of chorus effect variation.

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

This sets the depth or "strength" of the chorus effect.

Amplitude Modulation Depth (AM DEPTH): 0% —

100%

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

Trigger Level (TRG. LEVEL): 1-100

Release Time (RELEASE): 5 — 32000 ms

/ 30. DIST. + SYMPHONIC

Distortion Level (DISTORTION): 0

Sets the "degree" or "depth" of the distortion por

tion of the effect.

100%

Symphonic Balance (SYMPHO BAD: 0 — 100%

Determines the amount of symphonic effect applied

to the distortion sound.

Modulation Frequency (MOD FRO): 0.1 Hz — 20.0 Hz

Sets the speed of the effect variation.

Modulation Depth (MOD DEPTH): 0% - 100%

Sets the depth of the effect.

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 ef

fectively 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 ms

Determines the amount of time it takes for the distor

tion 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.

4: UTILITY FUNCTIONS

The REX50 UTILITY key provides access to a number of important functions. Each press on the UTILITY key advances to the next function until the UTILITY mode is exited:

TITLE EDIT ^ MIDI CONTROL MIDI PROG CHANGE ^ F.SW MEMORY RCL RANGE ^ exit UTILITY mode.

TITLE EDIT

This function makes it possible to create original titles for programs you edit and store in memory locations 31 through 90. The TITLE EDIT function is the first one

to appear when the UTILITY key is pressed. The "TI

TLE 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 keys are used to move the cursor back and forth, while the A and V keys 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:

□

A B c

T u V W X Y

R S

! ?

— T

"tZ

D E

F G

k 1 m n 0 0

< >

[ ]

-r

0 "j

0 1

H 1 J z a a

p q

X F -r

-V’

-V

2 3 4

K L

-F

5 6

M N 0

c d e f

t u u

—

7 u

7 8 9

V W

MIDI BANK & CHANNEL

ASSIGNMENT

The REX50 makes it possible to select specific pro grams via external MIDI control. You can set up the REX50, 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 syn thesizer it transmits the corresponding MIDI PROGRAM CHANGE NUMBER. The REX50 receives this PRO GRAM CHANGE NUMBER and selects the effect pro gram that you have assigned to it using the MIDI PROG CHANGE function which will be described below. The REX50 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 CHANGE A effect. The REX50 actually can be programmed with four com pletely independent sets of MIDI PROGRAM CHANGE NUMBER/MEMORY NUMBER assignments. 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 chan nels and program number/memory number assignments is given below:

■Receive channel

BANK: A

^ PI-1 1

PGM 1 = MEM 1 PGM 1 = MEM 6

PGM 2 = MEM 4 PGM 2 = MEM 7

PGM 3 = MEM 8

PGMJ28 = MEM ^40 PGM128 = MEM 1

Voice PGM number

Memory number of REX50

BANK: C

CH = 15

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

BANK: B

CH = 2

PGM 3 = MEM 16

BANK: D

CH = OMNI

PGM 1 = MEM 1

PGM 2 = MEM 2

PGM 128 = MEM 40 PGM128 = MEM 38

[T] Bank Selection and MIDI Channel Programming

0 Press the UTILITY key until the MIDI CONTROL func

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

@ Select the bank to program using the A and V keys. (3) Press the PARAM key to move the cursor to the

channel (ch) parameter.

0Use the A and V keys to set the receive MIDI chan

nel (1 — 16), the OMNI mode (all channels can be received), or turn MIDI reception OFF for the selected bank.

(0 Press the PARAM key again to return to the BANK

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

m Assigning Effects to MIDI Program Change

Numbers

function appears (MIDI PROG CHANGE is the third function on the UTILITY "list").

@ Use the A and V keys to select the program change

number to which a new REX50 memory location number is to be assigned. The range of available pro gram change numbers is from 1 to 128.

MEM (memory number) parameter.

tion number containing the effect which is to be

assigned to the currently selected program change number.

the PGM (program number) parameter in order to

select a new program change number for effect assignment.

/ FOOTSWITCH MEMORY RECALL

NOTE: The program number/memory number

assignments made are stored in the BANK selected in the previous MIDI CONTROL func tion. 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 REX50 permits memory selection via an optional Yamaha FC4 or FC5 footswitch connected to the "MEMORY" footswitch jack. The fourth function ac cessed by the UTILITY key - F.SW MEMORY RCL permits setting the range of memory location numbers that will be selected when the footswitch is pressed.

F. SW MEMORY RCL

RANGE 31 TO 35

If, for example, the RANGE parameter is set to "0 TO 30" 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 selected and the process repeated. Reverse sequences can be programmed by entering the highest number in the range before the lowest, as shown below.

F. SW MEMORY RCL

RANGE 35 TO 31

In this case the selection sequence is: 35 34 -> 33 ^ 32 -> 31 ^ 35, etc.

5; MIDI DATA FORMAT

1. Reception Conditions

2. Reception Data 2-1. Channel Information

1) Channel Voice Message

O note on

Can be received on the MIDI channel set in the currently active bank.

In the case of effect 14 (ADR-NOISE GATE) and

effect 16 (REVERB & GATE), if the MIDI TRG

parameter is ON a NOTE ON message received

will trigger the effect.

If effect 17 (PITCH CHANGE A) is selected, the received NOTE 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.

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.D —

1 5 (channel no.16)

PROGRAM OPPPPPPP p = 0-127 NO.

STATUS I 00 I nnnn (9nH) n = 0 (channel no.1 ) —

NOTE NO. Okkkkkkk k = 0 (C-2)-127 (G8)

VELOCITY Ovvvvvvv

) NOTE OFF

Although this message causes no direct action in the REX50, it is essential to signal the end of a

NOTE ON message. The conditions for NOTE OFF

message reception are the same as for NOTE ON

reception, as described above.

STATUS lOOOnnnn (8nH) n = 0 (channel no.1) —

NOTE NO. Okkkkkkk

VELOCITY Ovvvvvvv

1 5 (channel no.1 6)

v = 0-127

1 5 (channel no.16) k = 0 (C-2)-127 (G8) v = 0-127

C Digital M-alti Effector 1 Date t 8/' 1987

Model REX50 MIDI Implementation Chart Version : 1.0

Function ...

Basic Channel

Default Changed

Default

Mode

Messages

Altered

Note Number : True voice:

Velocity Note ON

Note OFF

After

Touch

Key ' s Ch’s *

Pitch Bender

Control

Recognized

1-16 1-16

OMNI OFF/OMNI ON

X X

o 0 - 127

X X

XI :

--------

Remarks

memorized

Change

Prog

Change

: True # System Exclusive System

: Song Pos : Song Sel

Common

: Tune

o 0-127 X2

: X

: X : X

System ¡Clock : x

Seal Time ¡Commands: x

-----------------Aux : Local ON/OFF

¡All Notes OFF

Mes- ¡Active Sense sages : Reset

+—

X X X X

Jotes XI Note ON/OFF is recognized only for pitch

change.

X2 For program 1 - 128, memory #1 - #90 is

selected.

-------------

Mode 1 Mode 3

OMNI ON, POLY Mode 2 OMNI OFF, POLY Mode 4

OMNI ON, MONO OMNI OFF, MONO

Yes

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