Yamaha SPX50D User Manual [en, de, fr]

YAMAHA

Digital Sound Processor

Processeur d'effets sonores numérique Digital-Klangprozessor

Operation Manual

Manuel d'utilisation

Bedienungsanleitung

O

O

POWER

INPUT LEVEL

YAMAHA

DOITAL SOWO PROCESSOR

S(=XSOO

n n	A	MEMORY	STORE	O
O O
	V	PARAM*	RECALL
		ETER		O

Congratulations on your acquisition of a Yamaha SPX50D Digital Sound Processor! The SPX50D is a remarkably versatile digital sound processor that can be used by guitarists, keyboard players, home recording enthusiasts, mixing engineers — anyone involved with

music. It offers a selection of 50 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 50 preprogrammed 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 SPX50D signal path by simply pressing a button. The SPX50D 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 SPX50D, we urge you to read this operation manual thoroughly. . ,

CONTENTS

PRECAUTIONS...............................................................		5	32. Pitch B................................................................		20
1: CONTROLS AND CONNECTIONS............................		6	33. Pitch C.......................................................... .....		21
THE FRONT PANEL ..................................................		6	34. Triggered Pan.................................................		21
THE CONNECTOR PANEL........................................		7	35. Parametric EQ...................................................		22
2: GENERAL OPERATION...........................................		9	36. Mid-Band Drive.................................................		22
MEMORY CONFIGURATION....................................		9	37. Heavy Metai..................................................		22
SELECTING AN EFFECT/MEMORY LOCATION.......		9	38. Light Dist...........................................................		22
USING THE DIRECT RECALL BUTTONS..............		10	39. Chunky Rhythm................................................		22
BYPASSING THE EFFECT ......................................		10	40. Smooth Drive.....................................................		22
USING THE INSERT LOOP......................................		10	41.	Overdrive Haii...................................................	23
ACCESSING & EDITING THE PARAMETERS FOR			42.	Distortion Room................................................	23
EACH EFFECT..........................................................		11	43.	E/R Distortion....................................................	23
USING THE COMPARE FUNCTION........................		12	44.	Siide Gate........................................................	23
STORING EFFECTS.................................................		12	45.	Delay Dist.........................................................	24
3: DESCRIPTIONS OF THE EFFECT PROGRAMS &			46.	Dist. Filter....... ..................................................	24
THEIR PARAMETERS............................................		13	47.	Flange Dist.........................................................	25
THE BALANCE AND OUTPUT LEVEL			48.	Chorus Dist......................................................	25
PARAMETERS..........................................................		13	49.	Phase Dist..........................................................	26
1.	Rev1 Hall............................................................	13	50.	Symphonic Dist...............................................	26
2.	Rev2 Hall............................................................	13	4: UTiLiTY FUNCTiONS...............................................		27
3.	Rev3 Hall............................................................	13	TITLE EDIT................................................................		27
4.	Rev4 Room........................................................	13	MIDI BANK & CHANNEL ASSIGNMENT................		27
5.	Rev5 Room........................................................	13	FOOTSWITCH MEMORY RECALL RANGE...........		29
6.	Rev6 Vocal...... ..................................................	13	5: MIDI DATA FORMAT..............................................		30
7.	Rev7 Vocal........................................................	13	6: SPECIFICATIONS & DATA.....................................		31
8.	Rev8 Vocal........................................................	13	7: ROM CONTENTS AND CONTROLABLE
9.	Rev9 Plate........ .................................................	13	PARAMETERS.......................................................		98
10.	Rev10 Plate........................................................	13	8: BLANK CHART......................................................		101
11.	Early Ref. 1.........................................................	14	9: BLOCK DIAGRAM..................................................		104
12.	Early Ref. 2.........................................................	14	10: DIMENSIONS........................................................		104
13.	Percussion E/R..................................................	14	11: MIDI IMPLEMETATION CHART..........................		105
14.	Gate Reverb.......................................................	14
15.	Reverse Gate............ .........................................	14
16. Delay L, R...........................................................		14
17. Delay Short........................................................		14
18. Delay Long .......................................................		14
19.	Echo Short.........................................................	15
20.	Echo Long..........................................................	15
21.	stereo Flange.....................................................	15
22.	Chorus A............................................................	16
23.	Chorus B ...........................................................	16
24.	Chorus C..........................................................	16
25.	stereo Phasing................................................	16
26.	Tremolo..............................................................	16
27.	Symphonic......................................................	16
28.	ADR-Noise Gate.................................................	17
29.	Compressor.......................................................	18
30.	Reverb & Gate.............................................. ....	19
31.	Pitch A ...............................................................	19

PRECAUTIONS

1.AVOID EXCESSIVE HEAT, HUMIDITY, DUST AND VIBRATION

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

2.AVOID PHYSICAL SHOCKS

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

3.DO NOT OPEN THE CASE OR ATTEMPT REPAIRS OR MODIFICATIONS YOURSELF

This product contains no user-serviceable parts. Refer all maintenance to qualified Yamaha service personnel. Open­ ing the case and/or tampering with the internal circuitry will void the warranty.

4.MAKE SURE POWER IS OFF BEFORE MAKING OR REMOVING CONNECTIONS

Always turn the power OFF prior to connecting or discon­ necting cables. This is important to prevent damage to the unit itself as well as other connected equipment.

5.HANDLE CABLES CAREFULLY

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

6.CLEAN WITH A SOFT DRY CLOTH

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

7.ALWAYS USE THE CORRECT POWER SUPPLY

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

8.ELECTRICAL INTERFERENCE

Since the SPX50D 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 SPX50D further away from the affected equipment.

9.BACKUP, BATTERY

The SPX50D 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 yourself!

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

O 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.

0 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 (instrument or other) is connected to the SPXSOD’s inputs, it should be played at the loudest level It will be played during actual use and the INPUT LEVEL control adjusted so that the maximum reading is about -3 dB.

O LED MEMORY Number Display

This 2-digit numeric display shows the number of the' cur­ rently selected memory location (1 — 00). When the LED display Is continuously lit the effect corresponding to the number displayed is active. When the LED display Is flash­ ing, this indicates that a new memory location has been selected but has not yet been recalled, leaving the previ­ ously selected effect active.

O 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 selected parameter and Its value on the bottom line. One or both lines may also be used to display error mes­ sages or warnings.

e 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.

0 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 A and V buttons are also used to program several UTILITY functions.

0 STORE Button

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

0 RECALL Button

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

0 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 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 parameter value.

@ MEMORY Button

0 INSERT Button

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

The INSERT button activates the SPX50D 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

® BYPASS Button

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

Direct Recall Buttons (REV/DLY Group, MOD & OTHERS,

DIST Group)

These buttons provide fast direct access to the SPXSOD’s three major effect groups.

® TRIGGER Button

When the TRIGGER button is pressed and its LED indicator is lit, a footswitch plugged into the rear-panel MEM./TRG. FOOT SW jack can be used to trigger three of the SPXSOD’s effects: ADR-Noise Gate, Reverb & Gate, and Triggered Pan. Press the TRIGGER button a second time to restore the foot switch’s normal memory selection function.

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 without the need to unplug your instrument from the SPX50D input and connect it to the tuner.

® INPUT Jack

Your instrument or other audio-signal source can be con­ nected here or to the duplicate INPUT jack provided on the rear panel. The front-panel INPUT jack takes priority, so if sources are plugged into both the frontand rear-panel IN­ PUTS, only the front-panel INPUT will be active. The INPUT accepts a mono 1/4” phone plug, and is unbalanced.

o R & L OUTPUT Jacks

These two rhonayral 1/4" phone jacks deliver the stereo out­ put signal from the SPX50D 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 SPX50D effects are true stereo effects, we recommend connecting both output jacks to the corresponding inputs of a stereo or two-channel sound system in order to get the best possible sound. If this is not possible, connect either of the OUTPUT jacks (L or R) to the amplification equipment used.

/THE CONNECTOR PANEL?

O MIDI IN Connector

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 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 optional Yamaha FC5 footswitch or equivalent connected
to this jack can be used for foot control of the BYPASS	@ INSERT IN and OUT Jacks
function.		The INSERT IN and OUT jacks allow connection of a second
		signal processor to the SPX50D which can be activated or
o MEM./TRG. FOOT SW Jack		bypassed by using the INSERT button.
An optional Yamaha FC5 footswitch or equivalent can be
used to sequentially select any group of effects from the 100e INPUT Jack
available memory locations, permitting a sequence of effects		The rear-panel INPUT jack duplicates the function of the
to be set up to match the flow of a live performance. When		front-panel INPUT jack. Either — but not both — can be
the TRIGGER button is pressed and its LED indicator is lit,		used to receive the signal from your instrument or other
the footswitch can be used to trigger three of the SPXSOD’s		audio signal source. The front-panel INPUT jack takes prior­
effects; ADR-Noise Gate, Reverb & Gate, and Triggered		ity, so if sources are plugged into both the frontand rear-
Pan.		panel INPUTS, only the front-panel INPUT will be active.

2: GENERAL OPERATION

/MEMORY CONFIGURATION /

The SPX50D has a total of 100 internal memory locations. Lo­ cations 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 contained in memory locations 1 through 50 are:

Mem.	Program Name	Mem.	Program Name
No.		No.
1	Rev 1 Hall	26	Tremolo
2	Rev 2 Hall	27	Symphonic
3	Rev 3 Hall	28	ADR-Noise Gate
4	Rev 4 Room	29	Compressor
5	Rev 5 Room	30	Reverb & Gate
6	Rev 6 Vocal	31	Pitch A
7	Rev 7 Vocal	32	Pitch B
8	Rev 8 Vocal	33	Pitch C
9	Rev 9 Plate	34	Triggered Pan
10	Rev 10 Plate	35	Parametric EQ
11	Early Ref. 1	36	Mid-Band Drive
12	Early Ref. 2	37	Heavy Metal
13	Percussion E/R	38	Light Dist.
14	Gate Reverb	39	Chunky Rhythm
15	Reverse Gate	40	Smooth Drive
16	Delay L, R	41	Overdrive Hall
17	Delay Short	42	Distortion Room
18	Delay Long	43	E/R Distortion
19	Echo Short	44	Slide Gate
20	Echo Long	45	Delay Dist.
21	Stereo Flange	46	Dist. Filter
22	Chorus A	47	Flange Dist.
23	Chorus B	48	Chorus Dist.
24	Chorus C	49	Phase Dist.
25	Stereo Phasing	50	Symphonic Dist.

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.

that although a new location has been selected, its con­ tents have not yet been recalled.

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

/SELECTING AN EFFECT/MEMORY

U^OCMIQN__________________________________ /

®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.

(2)Press the Aor Vbutton 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 “ *** NO DATA SHS}:* ” win 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

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 corner of the LCD. While the "B” is visible the SPX50D 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.

	/USING THE DIRECT RECALL BUTTON^		/USING THE INSERT LOO^
	The three direct recall buttons — REV/DLY Group, MOD &		An external signal processor — a foot-pedal type guitar effect
	OTHERS, DIST Group — provide fast, easy access to pro­		unit, for examplp — can be connected to the SPX50D INSERT
	grams in the SPXSOD’s major effect groups from either the		IN and OUT jacks, and switched into the SPX50D signal path
	MEMORY or PARAMETER modes.		by pressing the INSERT button.
	REV/DLY Group:	Programs 1 through 20 and user-	The INSERT OUT jack should be connected to the input of the
			external signal processor, and the signal processor’s output
		edited programs from this group.
			should be connected back to the INSERT IN jack.
	MOD & OTHERS:	Programs 21 through 35 and user-
			When the INSERT button is pressed and its LED lights, the
		edited programs from this group.	external signal processor is switched into the SPX50D signal
	DIST Group:	Programs 36 through 50 and user-	path, allowing both the SPX50D and the external signal proces­
			sor to function simultaneously. Pressing the INSERT button a
		edited programs from this group.
			second time (causing its LED to go out) deactivates the external

To directiy recaii one of these groups, simpiy press the appro­ effect. ,

priate direct recaii button. Each subsequent press on that directThe ON/OFF statué of the INSERT loop can be stored in any of

recaii button wiii recaii the next program in that group. If the	the RAM memory locations (50 — 00) simply by pressing the
direct recaii button is pressed again when the last program in	STORE button when the desired RAM memory location is se­

the group is reached, the first program in the group is recalied. lected. When this is done, the INSERT loop will be turned ON

Any programs that you edit from a specific group and store in	or OFF automatically whenever that memory location is se­
the RAM memory area are included in the group, and can be	lected.
seiected using the appropriate direct recaii button.

When a group is first seiected using one of the direct recall buttons, the last program selected in that group is automati­ cally recalled.

■f In the MEMORY mode, the increment and decrement but­ tons can be used to select a new memory location from one that was recalled using the direct recall buttons, but the RECALL button must be pressed to activate the selected memory location.

/BYPASSING THE EFFECT/

NOTE: If you attempt to STORE the INSERT status in a ROM memory location, the “ ¡k* READ ONLY ** MEM NO. 1-50 ” error message will appear on the display. Press any panel key to clear the error message.

10

ACCESSING & EDITING l^[HE^ARAME]ERS^

Each of the SPX50D effects has a number of internal parame­ ters 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 PARAME­ TERS” ON PAGE 13. Using effect 01 (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 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 REV 1 HALL, for example, the following parameters are called in sequence:

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 A and/or V buttons. The A button increases (increments) the value while the V button de­ creases (decrements) the value. Either button 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 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 beiow.

11

USING THE COMPARE FUNCTION /

ie COMPARE button is used while editing parameters in the	® Press the STORE button to store the edited effect in the
ftRAMETER mode to compare the sound of an edited pa-	selected memory location. The title of the effect stored will
imeter with that of the parameter before it was changed.	appear on the LCD (this may later be edited to create your
then the COMPARE button is pressed, the pre-edit parameter	own effect title using the UTILITY mode EDIT TITLE func­
jiue is temporarily recalled and the COMPARE button LED	tion). The LED memory number display will stop flashing and
ill light. Press the COMPARE button again to return to the	the stored memory location will become the active effect.
dited parameter value.	NOTE: You CANNOT store edited data to memory locations 1
	through 50. If you attempt to do this the LCD will show
STORING EFFECTS /	"*** READ ONLY*** MEM NO. 1—50”.
1 order to store an edited effect for later recall you need to do
le following:
) After editing the effect, select a memory location between 51
and 00 by first pressing the MEMORY button and then using
the A and V buttons. Do not recall the selected memory	NOTE: Once an effect has been stored in an memory location
location. If no data has been previously stored in the se­	between 51 and 00, its parameters can be further ed­
lected memory location the LCD will read “ *** NO	ited in the new memory location. Such changes will be
DATA *** . ” If an edited program has previously be stored	lost if a different effect is selected and recalled, how­
in the selected memory location, its title will be displayed on	ever, unless the STORE function is used to store the
the LCD.	changes. Changes may be stored to the current mem­
	ory location number (51 — 00) simply by pressing the
	STORE button.

12

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)

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): x0.1 — 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 reiation to the overall 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 --1000 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.

3:DESCRIPTIONS OF THE EFFECT PROGRAMS

&THEIR PARAMETERS

/THE BALANCE AND OUTPUT /
/ LEVEL PARAMETERS	/

Since all of the SPX50D 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 SPX50D 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.

1. Rev 1 Hall

2. Rev 2 Hall

3. Rev 3 Hall

4. Rev 4 Room

5. Rev 5 Room

6. Rev 6 Vocal

7. Rev 7 Vocal

8. Rev 8 Vocal

9. Rev 9 Plate

10. Rev 10 Plate

Reverberation is the warm musical “ambience" you experience when listening to music in a hall or other properly-designed acoustic environment. The SPX50D offers ten different reverb effects, simulating types of reverberation you would experience in various halls (1 — 3), in smaller rooms (4 — 5), reverb effects ideally suited to vocals (6 — 8), and the type of reverberation produced artificially by a plate reverberator (9 — 10).

13

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.

14

11. Early Ref. 1	16.	Delay L, R
12. Early Ref. 2	17. Delay Short
13. Percussion E/R	18.	Delay Long

	14. Gate Reverb	The stereo delay effect offers independently variable left and
	15. Reverse Gate
		right channel delays.
	These effects are created using different groupings of “eariy		DIRECT
	refiections” — the first ciuster of refiections that occurs after the		(dB) SIGNAL
				L R
	direct sound but before the dense refiections that are known as
	reverberation begin.					L C R
						L C C R
						(TIIVIEI
				Lch
				DLY
				Rch
				DLY
			Lch F.B
	Early Reflection Pattern (TYPE): HALL/RANDOM/REVERSE/		EFFECT
	PLATE
			INPUT
	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		Rch F.B
	reflections that could not occur naturally. PLATE produces a
	typical grouping of refiections that would occur in a plate	Left Channel Delay (Lch DLY): 0.1 — 500 milliseconds
	reverb unit. REVERSE generates a series of reflections that
	increase in level — like the effect produced by playing a		Sets the time between the direct sound of the instrument and
	recorded reverberation sound backwards.		the first repeat heard from the left channel.
	Room Size (ROOM SIZE): 0.1 — 20	Left Channel Feedback Gain (Lch F.B): -99% — +99%
	This parameter sets the time intervals between the early re­		Sets the amount of the left-channel delay signal fed back to
	flections — a feature of natural early reflections which is		the input of the processor. The higher the feedback gain
	directly proportional to the size of the room.		setting, the greater the number of delayed repeats pro­
			duced.
	Liveness (LIVENESS): 0 — 10	Right Channel Delay (Rch DLY): 0.1 — 500 milliseconds
	Tiveness” refers to the rate at which the reflected sounds
	fade. An acoustically “dead” room is simulated by setting this		Sets the time between the direct sound of the instrument and
	parameter to zero. Increasing the value of this parameter		the first repeat heard from the right channel.
	creates an increasingly “live” sound, simulating an increas­	Right Channel Feedback Gain (Rch F.B): -99% — +99%
	ing area of reflective surfaces in the room.
			Sets the amount of the right-channel delay signal fed back
	Delay (DELAY): 0.1 — 400 milliseconds		to the input of the processor. The higher the feedback gain
	The time delay between the direct sound of the instrument		setting, the greater the number of delayed repeats produced.

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.

19. Echo Short

20. Echo Long

21. Stereo Flange

This effect produces a pleasant “swirling” sound which can ef­ This effect can be used to create expansive echo effects -- with fectively thicken and add warmth to the sound of an instrument.

	independentiy variable ieft and right channei echo delays and				The flanging effect is produced by varying the delay between
	feedback.				two identical signals, thus producing a complex varying "comb
					filter” effect.
	(dB)				MOD. DEPTH
	DIRECT SIGNAL
					(dB) DIRECT
		L R			SIGNAL
					L(R)7 R(L)
				L R
				-(TIME)	■(TIME)
					MbD. DLY
		Lc)i
		DLV

Rch DLY

EFFECT

INPUT

Modulation Frequency (MOD. FRQ): 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.

Left Channel Delay (Lch DLY): 0.1 — 250 milliseconds

After the delay set by this parameter, the first left-channel 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% — -F99% 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 milliseconds Same as Left Channel Delay, but affects the right channel only.

Right Channel Feedback Gain (Rch F.B): -99% — .f99% Same as Left Channel Feedback Gain, but affects the right channel only.

High Frequency Feedback (HIGH): x0.1 —x1.0

Controls feedback in the high-frequency range. The highfrequency feedback is reduced as the value of this parame­ ter is decreasxed.

Modulation Delay (MOD. PLY): 0.1 —100 milliseconds

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 feed­ back increases the overall complexity, “strength” and decay time of the effect.

15

22.Chorus A

23.Chorus B

24.Chorus C

Like flanging, chorus serves to thicken the sound of an instru­ ment, creating the effect of several instruments playing at once. The A and B chorus effects split 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). The Chorus C effect sends the direct sound to the left channel and the processed sound to the right channel.

IdB) DIRECT SIGNAL

AM DEPTH

. (TIME)

25. Stereo Phasing

Phasing is basically a “gentler” version of the flange effect, lend­ ing a smooth, animated quality to the originai sound.

• (TIME)

Modulation Frequency (MOD. FRQ): 0.1 Hz — 20 Hz Sets the speed at which the phasing effect varies.

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

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

DM DEPTH

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 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 signai is varied.

Modulation Delay (MOD. PLY): 0.1 — 8 milliseconds

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

26. Tremolo

27. Symphonic

The tremolo effect is produced in the same way as the flange effect, but has a “bigger,” more sweeping sound. The sym­ phonic 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.

16

28. ADR-Noise Gate

This program uses a “gate” to pass or shut off the input signal in a number of ways. It can be used to pass just a short seg­ ment 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 cre­ ate reverse gate type effects in which the gain increases gradually after the effect is triggered.

100%

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

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

Release Time (RELEASE): 5 — 32,000 milliseconds 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 mes­ sage .from an external MIDI keyboard can be used to trigger the gate. A KEY ON EVENT message is transmitted when­ ever a note on a MIDI keyboard is played.

(TIME)

NOTE: This effect can also be triggered by a footswitch plugged into the rear-panel MEM./TRG. FOOT SW jack if the front-panel TRIGGER button LED is lit

Trigger Level (TRG. LEVEL): 1—100

(press the TRIGGER button to activate or de-activate

Determines the level of the input signal required to trigger “opening” of the gate. At 100 only very high-level input sig­ nals will trigger the gate, while at 1 even the tiniest input signal will trigger the gate.

the footswitch trigger function).

Trigger Delay (TRG. PLY): -100 — +100 milliseconds 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, effec­ tively, the gate opens before the signal appears.

Trigger Mask (TRG. MSK): 5 — 32,000 milliseconds

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

Attack Time (ATTACK): 5 — 32,000 milliseconds

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

Decay Time (DECAY): 5 — 32,000 milliseconds

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.

17

29. Compressor

This extremely versatile compressor program allows creation ofDelay Time (DELAY): 0.1 — 400 milliseconds

a wide range of compression and limiting effects. It can simply	Determines the time delay between the direct sound and the
be used to reduce the dynamic range of a signal, to smooth out	compressed effect sound.
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
of 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 unnaturally.
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 (PET. PLY): -50 — +50 milliseconds
This parameter sets an initial delay between the time the
input signal begins (the time the THRESHOLD level is ex­
ceeded) 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.

18

30. Reverb & Gate

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

-(TIME)

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.

NOTE; This effect can also be triggered by a footswitch plugged into the rear-panel MEM./TRG. FOOT SW jack if the front-panel TRIGGER button LED is lit (press the TRIGGER utton to activate or de-activate thei footswitch trigger function).

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): x0.1 — xO.1 This parameter allows alteration of the high-frequency reverb time in reiation to the overall 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 —1000 Hz

Permits roiiing 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 roiiing 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 trig­ ger opening of the gate. At 100 only high-level input signáis will trigger the gate, whiie at 1 even the siightest input signai wiii trigger the gate.

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

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

31. Pitch A

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 — +12

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

Fine Tuning (FINE): -100 — +100

Permits extremely fine pitch adjustment in one-cent steps.

Delay Time (DELAY): 0.1 — 400 milliseconds

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

Feedback Gain (F.B. GAIN): 0 — 99%

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

19

32. Pitch B

Base Key (BASE KEY): OFF, C1 — 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 SPX50D MIDI IN terminal, and the SPX50D 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 in­ crease 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 parame­ ter is set OFF, pitch cannot be controlled via the MIDI IN terminal.

		PITCH
	F 5	+	5
	E 5	f 4
	D 5	+	2	-
	0 5	+	12	-
	B 4	+ I I
	A 4	+ 9
	G 4	f	7
	F 4	+	5
+	E 4	+ 4
	3	F 2
+	D 4
	I		0
	G 4
	B 3	-	I

- 2

+ 1 —(-12 range is repeated

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

the center.

	A 3	-	3
-	4	-	5
	G 3
-	6	-	7
	F 3
-	E 3	~ 8
	9	- 1 0
	D 3
-	I I	- -	1 2 -
	G 3
	B 2	-	I —
	A 2	-	3

- 1 — 12 range is repeated

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

1st Pitch Shift (1 PITCH): -12 — +12

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

1st Fine Tuning M FINE): -100 — +100

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

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

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

2nd Pitch Shift (2 PITCH): -12 — +12

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

2nd Fine Tuning (2 FINE): -100 — +100

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

2nd Delay Time (2 PLY): 0.1 — 400 milliseconds

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

2C

Panning Time (PANNING): 5 — 32,000 milliseconds

Determines how long it takes to complete the main portion of the pan.

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

Determines the speed of the end of the pan.

Pan Direction (DIRECTION): L -+ R, L R

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

Determines how rapidly the panning effect begins.

Produces a delay between the time at which the effect is triggered and that at which it actually begins. If a minus value is programmed, the input signal is delayed so that, effectively, the effect begins before the signal appears.

Trigger Delay (TRG. PLY): -100 — +100 milliseconds

Determines the level of the input signal required to trigger the panning effect. At 100 only very high-level input signals will trigger the pan, while at 1 even the tiniest input signal will trigger the pan.

33. Pitch C		34. Triggered Pan
Like the PITCH CHANGE B program, PITCH CHANGE C pro­	When triggered, this program automatically pans the sound
duces 2 pitch-shifted notes in addition to the original input noteimage.		between left and right or right and left in the stereo sound

In this program, however, the two pitch-shifted notes are inde­ field — with programmable attack, pan and release rates. pendently fed to the left and right channel outputs (the direct

sound is positioned at the center of the stereo sound field) for aTrigger Level (TRG. LEVEL): 1—100 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 milliseconds

Trigger Mask (TRG. MSK): 5 — 32,000 milliseconds

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

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

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

Attack Time (ATTACK): 5 — 32,000 milliseconds

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

input note.

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

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

Right Delay Time (R PLY): 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	Left/RIght Channel Balance (L/R BALANCE): 0 —100%
				CONTROL	Determines the maximum extent of the pan sweep. For ex­
	Pitch A	1TONE	YES	YES
					ample, a setting of 100% produce a full pan from the ex­
					treme left to right or vice versa, while a setting of 50% a pan
	Pitch B	2 TONES	NO	NO
		(CENTER)			that is more restricted in its width across the stereo sound
	Pitch C	2 TONES	NO	NO	field.
		(1 EACH IN

L&R CH.)

MIDI Trigger (MIDI TRG.): OFF, ON

When this parameter is turned ON, a KEY ON EVENT mes­ sage from an external MIDI keyboard can be used to trigger the pan. A KEY ON EVENT message is transmitted when­ ever a note on a MIDI keyboard is played.

NOTE; This effect can also be triggered by a footswitch plugged into the rear-panel MEM./TRG. FOOT SW jack if the front-panel TRIGGER button LED is lit (press the TRIGGER button to activate or de-activate the footswitch trigger function).

>1

35. Parametric EQ

This versatile parametric equaiization program offers precise	EQ Delay Time (DELAY): 0.1 — 400 milliseconds
sound-shaping controi so you can create preciseiy a required	Determines the time it takes for the equalizer to actualiy take
tonai effect.	effect after a note is piayed.
(dBl 20

- 10
50 100	500 Ik	5K 10K 20K		The distortion programs are capabie of producing an extremeiy
			IHz)
High-pass Filter (HPF): THRU, 32 Hz —1000 Hz				broad range of distortion sounds that are ideai for virtuaiiy ali

Permits roiiing off the the low-frequencies below the set fre­ guitar styles. The various presets provide a range of immedi­

quency. The HPF is OFF when set to THRU.	ately useful distortion sounds.
Midrange EQ Frequency (MID FRQ.): 315 — 4,000 Hz	Distortion (DISTORTION): 0 —100%

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

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.

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 vaiue, the narrower the range of frequencies affected.

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.

Midrange EQ Frequency (MID FRQ.): 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

High EQ Frequency (HI FRQ.): 800 — 8,000 Hz		Boosts or cuts response in the frequency range set by the
Sets the high-frequency range to be boosted or cut using the		MID FRQ parameter (above). A setting of 0 produces no
next parameter: HI GAIN.		boost or cut. Minus settings (e.g: -6 dB) cut response in the
		selected frequency range, while plus settings (e.g: +12 dB)
High EQ Gain (HI GAIN): -15 — +15 dB		boost response.
Boosts or cuts response in the frequency range set by the
HI FRQ parameter (above). A setting of 0 produces no boost Bass Boost/Cut (BASS): -12 — +12 dB
or cut. Minus settings (e.g: -6 dB) cut response in the se-		Permits boosting or cutting the low-frequency range. Minus
iected frequency range, whiie pius settings (e.g: +12 dB)		settings (e.g: -6 dB) reduce the low-frequency content of the
boost response.		sound, while plus settings (e.g: +6 dB) emphasize the low-
		frequencies.
High-frequency Bandwidth (HI Q): 0.32 —10	Trigger Level (TRG. LEVEL): 1—100
Sets the bandwidth of the range of frequencies to be
boosted or cut using the HI GAIN parameter. The higher the		Determines the amplitude of the input signal required to trig­
value, the narrower the range of frequencies affected.		ger the distortion effect. This parameter, in conjunction with
		the RELEASE parameter below, functions effectively as a
Low-pass Filter (LPF): 1 kHz —11 kHz, THRU		noise gate to cut out hiss and noise when an input signal is
Permits roiiing off the high-frequencies above the set fre­		not present. TRG LEVEL should be set so that the effect is
quency. The LPF is QFF when set to THRU.		activated only when a note is played on the instrument
		used.

22

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 t.he source instrument sound.

41.Overdrive Hall

42.Distortion Room

These programs combine reverberation with the distortion ef­ fect.

Distortion Level (DISTORTION): 0 — 100%

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

Reverb Balance (REV BAL): 0 —100%

Determines the amount of reverb applied to the distortion sound.

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

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 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.

43.E/R Distortion

44.Slide Gate

These programs combine early reflections with the distortion effect.

Distortion Level (DISTORTION): 0 —100%

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

E I R Balance (REV BAL): 0 —100%

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

a

Tone (TONE)": 500‘— 4000 Hz

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

Early Reflection Pattern (TYPE):HALL/RANDOM/REVERSB 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 (LtVENESS): 0 — 10

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

Delay (DELAY): 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 trig­Trigger Level (TRG. LEVEL); 1—100

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

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.

23

45. Delay Dist.

46. Dist. Filter

Distortion Level (DISTORTION): 0 —100%

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

Delay Balance (DELAY BAL): 0 —100%

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

Distortion Level (DISTORTION): 0 —100%

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

Echo Balance (ECHO BAL): 0 —100%

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

Left Channel Delay (Lch DELAY): 0.1 — 500 milliseconds Left Channel Delay (Lch DELAY): 0.1 — 250 milliseconds

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

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

Sets the amount of the left-channel delay signal fed back to the input of the processor. The higher the feedback gain setting, the greater the number of delayed repeats pro­ duced.

Right Channel Delay (Rch DELAY): 0.1 — 500 milliseconds Right Channel Delay (Rch DELAY): 0.1 — 250 milliseconds Sets the time between the direct sound of the instrument and Sets the time between the direct sound of the instrument and

the first repeat heard from the right channel.	the first repeat heard from the right channel.
Right Channel Feedback Gain (Rch F.B): -99% — +99%	Right Channel Feedback Gain (Rch F.B): -99% — +99%
Sets the amount of the right-channel delay signal fed back	Sets the amount of the right-channel delay signal fed back
to the input of the processor. The higher the feedback gain	to the input of the processor. The higher the feedback gain

setting, the greater the number of delayed repeats produced. setting, the greater the number of delayed repeats produced.

High Frequency Feedback (HIGH): x0.1 —x1.0	High Frequency Feedback (HIGH): x0.1 — x1.0
Controls feedback in the high-frequency range. The high-	Controls feedback in the high-frequency range. The high-
frequency feedback is reduced as the value of this parame­	frequency feedback is reduced as the value of this parame­
ter is decreased.	ter is decreased.
Midrange EQ Frequency (MID FRQ.): 500 — 4000 Hz	Midrange EQ Frequency (MID FRQ.): 500 — 4000 Hz
Sets the mid-frequency range to be boosted or cut using the	Sets the mid-frequency range to be boosted or cut using the
next parameter: MID GAIN.	next parameter: MID GAIN.
Midrange EQ Gain (MID GAIN): -12 — +12 dB	Midrange EQ Gain (MID GAIN): -12 — +12 dB
Boosts or cuts response in the frequency range set by the	Boosts or cuts response in the frequency range set by the
MID FRQ parameter (above). A setting of 0 produces no	MID FRQ parameter (above). A setting of 0 produces no
boost or cut. Minus settings (e.g: -6 dB) cut response in the	boost or cut. Minus settings (e.g: -6 dB) cut response in the
selected frequency range, while plus settings (e.g: +12 dB)	selected frequency range, while plus settings (e.g: +12 dB)
boost response.	boost response.
Trigger Level (TRG. LEVEL): 1—100	Trigger Level (TRG. LEVEL): 1—100

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

24

47. Flange Dist.	48. Chorus Dist.
Flange plus distortion.	Chorus plus distortion.
Distortion Level (DISTORTION): 0 — 100%	Distortion Level (DISTORTION): 0 — 100%

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

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

Flange Balance (FLANGE BAL): 0 —100%

Chorus Balance (CHORUS BAL): 0 —100%

Determines the amount of flange effect applied to the distor­ tion sound.

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

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

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

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

Sets the speed of chorus effect variation.

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

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

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

Modulation Delay (MOD. PLY): 0.1 ms —100 milliseconds

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 feed­ back increases the overall complexity, “strength” and decay time of the effect.

Trigger Level (TRG. LEVEL): 1—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

Determines the amplitude of the input signal required to trigge the effect. This parameter, in conjunction with the RELEASE parameter below, functions effectively as a noise gate to cut o hiss and noisewhen 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 amplitude of the input signal required to trig­ ger the effect. This parameter, in conjunction with the RE­ LEASE 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.

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.

25

26

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.

49. Phase DIst.	50. Symphonic DIst.
Phasing plus distortion.	Symphonic plus distortion.
Distortion Level (DISTORTION): 0 —100%	Distortion Level (DISTORTION): 0 —100%

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

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

Phase Balance (SYMPHO BAL): 0 —100% Symphonic Balance (SYMPHO BAL): 0 —100%

Determines the amount of phase effect applied to the distortionDetermines the amount of symphonic effect applied to the

sound.	distortion sound.
Modulation Frequency (MOD FREQ): 0.1 Hz — 20 Hz	Modulation Frequency (MOD FREQ): 0.1 Hz — 20 Hz
Sets the speed of the effect variation.	Sets the, speed of the effect variation.
	i
Modulation Depth (MOD DEPTH): 0% — 100%	Modulation Depth (MOD DEPTH): 0% —100%
Sets the depth of the effect.	Sets the depth of the effect.
Modulation Delay (MOD PLY): 0.1 — 8 milliseconds	Trigger Level (TRG. LEVEL): 1—100

This sets the basic delay time from the initial direct sound to theDetermines the amplitude of the input signal required to trig­

beginning of the phase effect.	ger the effect. This parameter, in conjunction with the RE­
	LEASE parameter below, functions effectively as a noise
Trigger Level (TRG. LEVEL): 1—100	gate to cut out hiss and noise when an input signal is not

Determines the amplitude of the input signal required to triggerpresent. TRG LEVEL should be set so that the effect is the effect. This parameter, in conjunction with the RELEASE activated only when a note is played on the instrument parameter below, functions effectively as a noise gate to cut outused.

hiss and noise when an input signal is not present. TRG LEVEL

should be set so that the effect is activated only when a noteRelease Time (RELEASE): 5 — 32000 milliseconds 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.

4: UTILITY FUNCTIONS

	The SPX50D UTILITY button provides access to a number of	/MIDI BANK & CHANNEL ASSIGNMEt^
	important functions. Each press on the UTILITY button ad­
	vances to the next function until the UTILITY mode is exited:	The SPX50D makes it possible to select specific programs via
	TITLE EDIT - MIDI CONTROL -» MIDI PRO	external MIDI control. You can set up the SPX50D, for example,
		so that when you select a voice on your synthesizer the most
	CHANGE F.SW MEMORY RCL - exit UTILITY
		appropriate effect for that voice is automatically selected. This
	mode.
		is accomplished because each time you select a voice on your
		MIDI synthesizer it transmits the corresponding MIDI PRO­
	/ TITLE EDIT /	GRAM CHANGE NUMBER. The SPX50D receives this PRO­
		GRAM CHANGE NUMBER and selects the effect program that
	This function makes it possible to create original titles for pro­	you have assigned to it using the MIDI PROG CHANGE func­
	grams you edit and store in memory locations 51 through 00.	tion which will be described below. The SPX50D also accepts
	The TITLE EDIT function is the first one to appear when the	MIDI KEY ON EVENT messages to trigger some of the gate
		effects, and MIDI KEY ON NUMBERS to set the PITCH pa­
	UTILITY button is pressed. The "TITLE EDIT” function name
	appears on the bottom line of the LCD, and an underline cursorrameter of the Pitch A effect. The SPX50D actually can be
	appears at the first character position on the top line. The	programmed with four completely independent sets of MIDI
		PROGRAM CHANGE NUMBER/MEMORY NUMBER assign­
	MEMORY and STORE buttons are used to move the cursor
		ments. Each of these is contained in a different “bank”: A, B, C
	back and forth, while the A and V buttons are used to select
		or D. Each BANK may also be programmed to receive on a
	a new character for the current cursor position. Simply move
	the cursor to each character position in turn, selecting the ap­	different MIDI channel. An example of the way the four banks
	propriate characters at each position.	may be programmed with different receive channels and pro­

The available characters are as follows;	gram number/memory number assignments is given below:

r

J

—

T

T

<

y

X

iZ

"ir

V-

y

-tr

V

y

y-

y

"y

■T’

F

i-

—

y

y

/\

t

y

V

5

A

y

■V

3.

3.

3

3

IJ

□

y

y

>

#

0

I

2

3

4

5

6

7

8

9

A

B

c

D

E

F

G

H

I

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

i

i

k

I

m

n

0

b

p

q

r

S

t

u

u

V

W

X

y

Z

[

]

<

>

*

-F

-

=

&

/

y

’

%

!

?

-

-

-Receive channel

BANK: A

^ PH 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

PGM 128 = MEM 1

Voice PGM	Memory number of SPX50D
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

PGM 128 = MEM 40

PGM 128 = MEM 38

27

[]] Bank Selection and MIDI Channel Programming

Assigning Effects to MIDI Program Change Numbers

®Press the UTILITY button until the MIDI CONTROL func­ tion appears (MIDI CONTROL is the second function on the UTILITY “list”).

(D Select the bank to program using the A and V buttons.

CD Press the STORE button to move the cursor to the channel (ch) parameter.

®Use the A and V 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.

(D 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 A and ▼ buttons to select the program change number to which a new SPXSOD 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 A and V 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.

MEM number

28

NOTE: The program number/memory number assignments made are stored in the BANK selected in the previous MIDI CONTROL function. To program the program change/memory number assignments for a different BANK, return to the MIDI CONTROL mode, select the desired BANK, then program the required assign­ ments.

/FOOTSWITCH MEMORY RECALL RANGE /

The SPX50D permits memory selection via an optional Yamaha FC4 or FC5 footswitch connected to the rear-panel MEMORY footswitch jack. The fourth function accessed by the UTILITY button — F.SW MEMORY RCL — permits setting the range of memory location numbers that will be selected when the footswitch is pressed.

F . S W MEMORY RCL

RANGE 51 TO

55

If, for example, the RANGE parameter is set to “51 TO 55” 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 5 TO 51

In this case the selection sequence is : 55 “► 54 "■» 53 52 ■ 51 “♦ 55, etc.

29

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 28 (ADR-Noise Gate) and effect 30 (Reverb & Gate), if the MIDI TRG para­ meter is ON a NOTE ON message received will trigger the effect.

If effect 31 (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	00 I nnnn (9nH) 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	0 V v v v V v v	v = 0-127

i NOTE OFF

Although this message causes no direct action in the SPX50D, 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-21-127 (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 lOOnnnn (CnH) n = 0 (channel no.1) —

1 5 (channel no.16)

PROGRAM OPPPPPPP	p = 0-127
NO.

30

6: SPECIFICATIONS & DATA

ELECTRICAL CHARACTERISTICS

Frequency Responce20 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

A/D, D/A CONVERSION

Number of Channels 1

Sampling Frequency 31.25kHz

Quantization 16 bits

OUTPUT

Number of Channels Unbalanced x 2 (phone jack)

Norm Inal level	- 20dBm
Impedance	1 k-ohm

MEMORY

Presets (ROM) 1 -50

User Memory (RAM) 51 -100

MIDI CONTROL	Program Number
	Note ON/OFF

FRONT PANEL
Keys	(T). (i), MEMORY.
	PARAMETER, STORE. RECALL,
	COMPARE. INSERT, UTILITY,
	REV/DLY Group, MOD.OTHERS,
	DIST.Group, TRIGGER. 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
REAR PANEL	INPUT. INSERT IN/OUT, OUTPUT
Jack(Mono)
	L/R.FOOT SW(MEMORY7TRIGGER
MIDI Terminals	. BYPASS)
	IN, THRU

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	3.6 kg (7lbs 15oz)

* 0 dB = 0.775 VRMS

All specifications subject to change without notice.

31