Yamaha SPX90 II User Manual [en, de, fr]

YAMAHA

Digital Multi-Eifect Processor
Processeur multi-effets numérique

Digitaler Multieffektprozessor

Operating Manual
Manuel d'utilisation

Bedienungsanleitung

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INTRODUCTION

Congratulations on your purchase of a Yamaha SPX90II Digital Multi-Effect
Processor. The SPX90II is an amalgam of advanced acoustical research and
digital technology designed to provide musicians and home recording enthusiasts
with a wide range of exciting effects.
The SPX90II Digital Multi-Effect Processor utilizes highly refined LSI (Large
Scale Integration) technology to create natural reverberation. Not only is its
assortment of 30 preset effects comprehensive enough to suit most studio and

performcmce applications, the SPX90II also allows you to create up to 60 ad

ditional effects and store them for instant recall.

Your SPX90II can create effects for beyond mere reverberation, though that
in itself is of a truly superior quality. A variety of echo, delay, and special effects—
each with comprehensive parameter adjustments—can be accessed at the touch
of a switch. And as the SPX90II is MIDI-compatible, it can be programmed
to apply separate reverberation effects to a variety of MIDI-compatible in
struments.

Your SPX90II Digital Multi-Effect Processor will prove extremely useful in a
variety of applications: acoustic electric, PA, MIDI instrument, and home re
cording systems. In order to take advantage of the vast potential of this com

ponent, we urge you to study this manual before connecting the SPX90II to your

system.

We at Yamaha thank you, and wish you years of enjoyment with your
SPX90II.

CONTENTS

PRECAUTIONS

FRONT PANEL............................................................. 3

REAR PANEL

BASIC OPERATIONS................................................... 5

PRESET PROGRAM SELECTION....................... 5

EDIT: CHANGING PARAMETERS........................ 5

STORE: SAVING EDITED PROGRAMS
OUTPUT BALANCE AND LEVEL

ROGRAMMING..................................................... 7

BYPASS

UTILITY FUNCTIONS................................................... 8

EDIT TITLE............................................................ 8

MIDI FUNCTIONS.................................................. 8

FOOTSWITCH MEMORY RECALL RANGE... 9

DESCRIPTION OF PROGRAMS AND
PARAMETERS

REVERB

ER1, ER2............................................................... 10

DELAY

ECHO.................................................................... 11

MODULATION

STEREO FLANGE.............................................. 12

CHORUS............................................................ 12

STEREO PHASING

............................................................

...............................................................

.............

.................................................................

...........................................................

................................................................

...................................................................

...........................................

2
4

6

7

10

10

11

13

TREMOLO

SYMPHONIC

PITCH CHANGE......................................................... 13

PREEZE...................................................................... 14

REVERB & GATE....................................................... 17

GATE

ADR-NOISE GATE............................................ 17

COMPRESSOR................................................. 18

PAN

PAN................................................................... 19

TRIGGERED PAN............................................. 19

DELAY VIBRATO

PARAMETRIC EQ................................................ 20

SAMPLE APPLICATIONS.......................................... 21

SPECIFICATIONS

MIDI DATA FORMAT.................................................. 24

ROM CONTENTS AND CONTROLABLE

PARAMETERS............................................................ 25

EARLY REFLECTION MODE CHART

ROOM SIZE CHART................................................... 28

BLOCK DIAGRAM

DIMENSIONS.............................................................. 29

USER PROGRAMMING TABLE................................. 30

MIDI IMPLEMENTATION CHART

............................................................

........................................................

.................................................

......................................................

.......................

......................................................

.............................

13
13

20

23

27
29

31

PRECAUTIONS

NOTE: It is vital to read this section before using your SPX90II Digital Multi-Effect Processor. This unit utilizes

state-of-the art digital technology which, although designed to provide years of trouble-free use, requires
careful handling.

• VOLTAGE RATINGS

Be sure the AC supply in your area is appropriate

for your SPX90II.

U.S./Canadian Model; 110V - 120V, 50/60Hz.

General Model-: 220 — 240V, 50/60Hz.

• ENVIRONMENTAL TEMPERATURE

Do not expose the SPX90II to excessive heat. The
operating temperature range of this unit is between
0 and 40 degrees centigrade (32 and 104 degrees

Fahrenheit). The LCD may not function properly
under extreme temperature conditions. It will return
to normal after cooling down to within the proper
temperature range.

• EXTERNAL CLEANING

Do not clean the exterior of the SPX90II with
solvents such as benzine or paint thinner. Dust,
dirt, or fingermarks should simply be removed with
asoft, dry cloth. Internal cleaning of the unit should
only be performed by a qualified technician.

•

BACKUP BATTERY

To ensure that User Programs are not lost when
the SPX90H's power is turned off, a built-in

long-life battery acts as a backup. In normal use,
this battery lasts 5 years, but it is advisable to change
the battery before this time has elapsed. Contact
your local Yamaha dealer for details.

NOTE: When you change the battery, the User

Programs may be lost. As a safeguard, take
note of all parameters of your User Programs

in the USER PROGRAMMING TABLE ac
companying this manual. The SPX90II can
then be reprogrammed once a new battery
is installed. The preset programs are per
manent, and will not be affected by a change
of battery.

ERROR MESSAGES

When power is initially turned ON an automatic
circuit test program is executed to ensure proper

operation. If an error is encountered, one of the

following error messages will be displayed:

EO: ROM checksum error.
El: CPU RAM read/write error.
E2: External RAM read/write error.

Make a note of the error message and inform the

service personnel when the unit is to be serviced.

FRONT PANEL

O Power OIM/OFF Switch

When the power is turned ON, the program which
was selected immediately before the power was
turned OFF will be re-selected. Due to the safety
muting circuit, no sound will be produced by the
SPX90II for a few seconds after the power is
turned ON.

0 Input Level Control (0~10)

Regulates the level of the input signal. Set the
INPUT LEVEL control while watching the INPUT
LEVEL meter. The seven LED meter segments
should not all be continuously on when an input
signal is applied, as this will result in input amplifier
overload and distortion. When the INPUT LEVEL
control is set to "8" on the scale, the input/output
gain is 1 (unity). A setting of "10" increases gain
by about 10 dB.

0 Input Level Meter

This easy-to-read LED level meter is a visual aid
to setting appropriate input levels. Generally, the
best input level setting will produce continuous
lighting of the lower green LED segments, while
the upper red segments flash only occasionally.

O Memory Number LED

This LED display shows the number of the cur
rently selected program. Memory numbers 1
through 30 contain factory-preset effects (ROM).

Memory numbers 31 through 90 can be used to
store edited versions of the preset effects (RAM).

0

LCD Program and Parameter Indicator

This high-contrast Liquid Crystal Display indicates
the effect name and parameter data value.

0

Parameter Key

Selects successive effect parameters. Pressing this
key sequentially calls the programmable parame
ters within the currently selected effect program.
Once the desired parameter has been selected, the

PARAMETER INCREMENT/DECREMENT keys
are used to change the value of that parameter,
thereby modifying the effect. The parameters
available for each program are different: refer to
the parameter chart on page 24.

0

Parameter Increment/Decrement Keys

These keys are used to change the value of a se

lected parameter. Press the increment key (up
arrow) to increase the value, or the decrement key

(down arrovyj to decrease the value.

0 Balance/Output Level Key

Adjusts proportion of effect signal to direct signal.

Pressing this key alternately causes the current
balance and output level values to be displayed
on the LCD. The Parameter Increment/Decrement
keys are then used to adjust the displayed values.

0

Store Key

Stores any edited preset effect in a selected RAM
memory position (31 ~90).

® Memory Increment/Decrement Keys

These keys select any desired memory number to
call a specific program or store an edited program
in the user memory area. The selected memory
number is shown on the MEMORY NUMBER
display. When a new memory number is called,
the MEMORY number display will flash until either
the STORE or RECALL function is activated.

0 Recall Key

Press this key to recall the program that resides
in the selected memory number.

0 Utility Key

Multi-purpose key accesses MIDI control func
tions, facilitates program title editing and sets
footswitch memory control range. See pages 8
and 9 for details.

® Foot Trigger Key

When this key is pressed and its LED is ON, the
footswitch connected to the Memory/Trigger jack
functions as a foot trigger for the GATE and

FREEZE programs, rather than for memory se

lection.

0 Bypass Key

When this key is pressed, the effect signal is shut
off and only the direct signal will be output. Direct
signal level is affected by the IN PUT LEVEL control
setting.

0 Memory/Trigger Footswitch Jack

Facilitates remote memory selection via optional
footswitch. The range of memory locations to be
recalled by the footswitch can be set with a Utility

program. When the foot trigger function (above)

is ON, the footswitch connected to this jack acts
as a trigger footswitch rather than memory control.

Use of a Yamaha FC5 Foot Controller is recom

mended.

0 Bypass Footswitch Jack

Facilitates foot control of the BYPASS function
described above. A Yamaha FC-5 Foot Controller

is recommended.

REAR PANEL

U.S & Canadaian models

Remote Control Connector

Permits remote access to SPX90II effect programs.

The optional remote control unit, model RC7,

permits direct access to programs 1 through 7 and

31 through 37, while all other preset programs may

be accessed sequentially.

This LED lights whenever
a remote control key is

pressed.

-Preset keys.

When this key is
pressed, the USER LED

will light and it becomes
possible to select user
programs 31 through 37.

USER LED ON

It is possible to call user

programs when this LED

is lighted.

USER LED OFF

— Preset programs —

1. REV 1 HALL

2. REV 2 ROOM

3. REV 2 VOCAL

4. REV 4 PLATE

5. EARLY REFLECTION 1

6. EARLY REFLECTION 2

7. DELAY L, R
1

- 34 - - 35 -

KEY ON

^ USER

YAMAHA

— User programs —

31. User program

32. User program

33. User program

34. User program

35. User program

36. User program

37. User program

i

30. PARAMETRIC EQ
(Programs 8 through 30

selected sequentially by
pressing OTHERS/ -37­key)

o MIDI THRU Connector

Re-transmits MIDI data received at the MIDI IN

connector to subsequent MIDI instruments.

0 MIDI IN Connector

Permits SPX90II effect programs to be automat
ically selected via a MIDI signal. This connector
must be connected to the MIDI OUT connector
of the transmitting MIDI instrument via a standard

MIDI cable.

O Output Level Selector (-20 dB, -i-4 dB)

Facilitates SPX90II source/line level (sensitivity)
matching.

0

Output Jacks (L and R)

These are standard mono 1/4" phone jacks which
deliver the direct and effect signal to subsequent

mixing or amplification equipment. Since the

SPX90II offers stereo output, we recommend that
the output signal be fed in stereo to a stereo sound
system in order to take full advantage of the superb
stereo effects provided; Output impedance is 600

ohms.

0

Input Level Selector (-20 dB, h-4 dB)

Permits SPX90II source/line level (sensitivity)

matching.

O Input jack

This standard unbalanced mono 1 /4" phone jack

accepts the input signal to the SPX90II. Input

impedance is 10 k-ohms.

BASIC OPERATIONS

Before actually selecting or editing programs on your SPX90II, make sure that all connections have been made

properly, and that the INPUT LEVEL switch, OUTPUT LEVEL switch, and INPUT LEVEL control have been properly

set according to the source signal and equipment to which the SPX90II signal will be fed.

/ PRESET PROGRAM SELECTION

Your SPX90II is equipped with a selection of 30
outstanding preset effect programs which are listed
in the ROM CONTENTS AND CONTROLABLE PA

RAMETERS on page 24. The preset (and user) pro

grams are selected as follows:

1. Use MEMORY INCREMENT/DECREMENT keys
to select desired memory number (remember, 1
through 30 are the presets).

2. Press RECALL key to call program in selected
memory number.

PGM currently in use

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7 EDITING: CHANGING PARAMETERS

The SPX90II offers incredible sonic flexibility, as each
effect type comprises its own set of parameters (see
parameter chart on page 24). These parameters can
be adjusted to suit your tastes and the tonal charac

teristics of your musical equipment. We therfore re

commend that you examine each preset effect program,
and observe how these parameters affect the sound.
You will soon discover many new and exciting ap

plications for the SPX90H's preset effect programs.

1. Select and recall desired program as described

above.

2. Press PARAMETER key to access the various pa

rameters available in the selected program. Each

time the PARAMETER key is pressed, the next

parameter in the list is called.

REV 3 VOCAL

REV TIME= 2.4s

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3

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-illuminated—

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NOTE: The same process is used to select user pro

grams (memory number 31 through 90) once
you have edited and stored your own programs
in user memory.

REV 3

HIGH

REV 3

VOCAL

= 0.5

VOCAL

DELAY = 45.0ms

'

REV 3
HPF

REV 3
LPF =8

VOCAL

80 Hz

VOCAL

.0 kHz

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3. Use PARAMETER IIMCREMENT/DECREMENT
keys to set desired value of the selected parameter.

NOTE: A description of each parameter and its effect

will be given in the DESCRIPTION OF PRO
GRAMS AND PARAMETERS section, be
ginning on page 10.

STORE: SAVING EDITED PROGRAMS /

Once you've edited parameters on a preset program,
those changes will remain in effect only until you select

(RECALL) another program. The STORE function,
however, allows you to save the edited program in
any one of the user memory locations—from 31 to
90—from which it can then be recalled at any time.

1. Select and edit a program as described above.

2. Use the MEMORY INCREMENT/DECREMENT

keys to select a clear memory location between 31
and 90.

3. Press the STORE key.

The edited program has now been stored in the selected
user memory location. The stored program may now

be recalled at any time by following the normal program

selection procedure.

NOTE; If you attempt to store a program in one of the

read-only preset locations (1 through 30), the
SPX90II will display the "#1 ~#30 READ
ONLY" error message.
The SPX90II has an Edit Title Function, which
allows you to provide your own titles for edited
programs. (See the UTILITY function on page

8.)

1

OUTPUT BALANCE AND LEVEL PRO
GRAMMING

The BALANCE key selects the BALANCE and OUT

PUT LEVEL functions for all programs.

1. Press the BALANCE key while any parameter is
selected. _ '

2. The first function called will be BALANCE. Adjust
the BALANCE of the effected and direct signal
between 0 and 100% using the PARAMETER

INCREMENT/DECREMENT keys.

* Balance = 100% : effect sound only.

Balance = 0% ; direct sound only.

3. Press the BALANCE key again to call the OUTPUT

LEVEL function. Adjust using the PARAMETER
INCREMENT/DECREMENT keys.

* OUT LVT = 100% : maximum output level.

OUT LVL = 0 % : no sound will be output.

/ BYPASS

When the BYPASS key is pressed and its LED lights,
the effect signal is defeated and only the direct input
signal is delivered via the OUTPUT jacks. The BAL
ANCE and OUTPUT LEVEL functions are also by

passed. The BYPASS function can also be activated

via a a footswitch connected to the BYPASS jack. A

normally-closed-type footswitch such as the Yamaha
FC-5 must be used.

REV 3

VOCAL

BALANCE = 50 7„

' <

REV 3

OUT LVL

REV 3

OUT LVL

VOCAL
= 100 7o

VOCAL
= 90 7o

a

A

UTILITY FUNCTIONS

The UTILITY key provides access to four utility func
tions. These functions are selected in the following
sequence each time the UTILITY key is pressed:

Normal mode -EDIT TITLE - MIDI CONTROL

MIDI PROGRAM CHANGE - FOOTSWITCH ME
MORY RECALL Normal mode.

The UTILITY key L€D will light during selection of the
four utility functions, a-nd will go out when the normal
mode is returned to. When the UTILITY LED is ON,
the PARAMETER and MEMORY NUMBER

INCREMENT/DECREMENT keys will perform special
functions as described below, so normal parameter
and memory selection can not be performed until the
normal mode is selected.

EDIT TITLE

This function makes it possible to provide new titles

for programs which you have edited and stored in user

memory (31 through 90). When the EDIT TITLE
function is called, the lower line of the LCD will display
the "EDIT TITLE" function name, and the upper line
will display the title of the currently selected program.
The PARAMETER and BALANCE keys can then be

used to move the cursor left and right, respectively,
to select the character to be changed. Place the cursor

over a character, then use the PARAMETER

INCREMENT/DECREMENT keys to scroll through the

character list, stopping at the desired character. Move
the cursor to the next character location and repeat
this operation until the new title is complete. The

available characters are as follows:

0

#

G H 1

Y z

0 0

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[mbi FUNCTIONS

With the SPX90II it is possible to select specific pro
grams via external MIDI control. For example, you can
set the SPX90II so that when you select a specific
voice on your MIDI synthesizer, the most appropriate
effect program for that voice is selected automatically.
In this case, the SPX90II is detecting the MIDI Program
Change signal. For the following programs only, the
SPX90II also detects the MIDI Note ON/OFF signals:

* GATE programs (GATE ON/OFF).
* PITCH programs (set pitch).
* FREEZE programs (begin playback).

For MIDI program change operation, it is possible to

program four independent sets of program
change/memory number combinations. These are
referred to as "banks" in the SPX90II. For example,
you could program the four banks with different
combinations as shown in the chart below.

— Receive channel

BANK:A

pi_j _ 1

PGM 1 =MEM 1

PGM 2 =MEM 4

PGM 3=MEM 8 PGM 3 =MEMI6

PGMI28 = MEM40

Voice PGM
number

Memory number of SPX90

BANK;C

CH = 15

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

PGMr28 = MEM40

* For bank D, the initial setting (program No. equals memory

No,) will be in effect upon power ON.

The second function accessed by the UTILITY key—-

MIDI CNTRL—permits BANK selection and setting
of the MIDI channel number on which MIDI program
change data for that BANK will be received. The third
function accessed by the UTILITY key—MIDI PGM

CHANGE—makes it possible to set the SPX memory

number which will be called when a specific MIDI

program change number is received.

BANK:B

CH- 2

PGM 1 =MEM 6

PGM 2 =MEM 7

PGM 128= MEM 1

BANK;D

CH=OMNI

PGM 1 =MEM 1
PGM 2 =MEM2
PGM 3 =MEM 3

PGM 128 = MEM 38

f

MIDI Bank and Channel Programming

When this function is called, the LCD will appear as
follows:

MIDI CONTROL

BANK:x^ ch= xx

Use the PARAMETER INCREMENT/DECREMENT

keys to select the desired BANK, and the MEMORY

INCREMENT/DECREMENT keys to select the desired

MIDI channel number for that BANK. When "CH =
OMNI" is selected, reception will be carried out on
all 16 MIDI channels simultaneously. When CH =
OFF is selected, MIDI reception will be turned OFF.

a

A

PA RAM

ETER

'

MIDI CONTROL

BANK : A ch= XX

Selected bank

y

1 '

V

MIDI CONTROL

BANK : A ch= 1

Use the PARAMETER INCREMENT/DECREMENT

keys to set the MIDI program number (PGM), and the

MEMORY INCREMENT/DECREMENT keys to select
the SPX90II memory number (MEM) to be called
when that program number is received. For example,
if "PGM 12 = MEM4" isset, SPX90II memory number
4 will automatically be called whenever voice number
12 is selected on your MIDI synthesizer. The MIDI
program number range is from 1 to 128, while the
SPX90II memory number range is from 1 to 90.

/ FOOTSWITCH MEMORY RECALL RAN^

The SPX90II permits memory number selection via a
footswitch plugged into the front-panel

MEMORY/TRIGGER jack. The fourth function ac

cessed by the UTILITY key-FOOTSWITCH MEMORY

RECALL— permits setting the range of memory num
bers to be selected via the footswitch.

F.SW MEMORY RCL

RANGE 1 TO 30

If, for example, the RANGE is set to "1 TO 30" as
shown on the LCD above, each press on the footswitch
will successively call the next highest memory number:

1 2 ^ 3 .... 30 -> 1. Note that the sequence returns

to the first number in the range once the highest number

is passed. Reverse sequences can be programmed by
entering the highest number in the range before the
lowest.

Selected channel

Setting MIDI Program Number/SPX90 Memory

Number Combinations.

When this function is called by pressing the utility key
again, the LCD will appear as follows:

MIDI PGM CHANGE

PGMxxx = MEM XX

a

Al

ETER

V

MIDI PGM CHANGE

PGM 12 = MEM XX

A,

VI

MIDI PGM CHANGE

PGM 12 = MEM 4

F.SW MEMORY RCL

RANGE 34 TO 31

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

DESCRIPTION OF PROGRAMS AND PARAMETERS

The preset programs in the SPX90II fall into the following types: REV (Reverb), ER1 and ER2 (Early Reflections),

DELAY, ECHO, MOD (Modulation), GATE, PITCH, FREEZE, PAN, VIBRATO and PEQ (parametric equalizer). Each

of these program types has a specific selection of programmable parameters.

"Parameters" indicates the separate, individual functions that make up each effect. There are two types of parameters
in the SPX90II: "invisible" parameters (non-programmable, fixed-value parameters) and programmable parameters

(those you can edit, or modify).

REV (REVERB)

Most commonly associated with musical "ambience,"
reverberation is a result of myriad reflected sound

waves within an acoustical environment, i.e. a concert

hall, auditorium, or soundstage. The SPX90II creates
extremely vibrant, natural sounding reverb.

■(TIME)

REVERBERATION TIME (R/T). Range: 0.3 ~99.0 sec

The length of the time it takes for the level of re
verberation 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, among others.

2.

HIGH (High Frequency Reverb Time Ratio).
Range: 0.1 ~ 1.0

Natural reverberation varies according to the fre

quency of the sound— the higher the frequency,
the more the sound tends to be absorbed by walls,
furnishings, and even air. This parameter permits
you to alter the reverberation time of the high fre
quencies in proportion to the mid-frequency reverb
time.

ER1 and ER2 (Early Reflections)

"Early Reflection" effects. ER1 has fewer reflections,
and is a LOW DENSITY early reflection effect, while
ER2 has more reflections, and is a HIGH DENSITY
early reflection effect.

DIRECT REFLECTIONS

(dB) SIGNAL

DELAY)

1. TYPE. Range: HALL, RANDOM. REVERSE,

PLATE

TYPE selects the pattern of the earliest reflections
of the reverb sound. All "Early Reflection" presets
are switchable between 4 different types. These
are HALL (a typical grouping of early reflections
that would occur in a performing environment like
a hall), RANDOM (an irregular series of reflections
that could not occur naturally), PLATE (a typical
grouping of early reflections that would occur in
a plate reverb unit), and REVERSE (a series of re
flections that increase in level, like the effect pro
duced by playing a recorded reverb/echo back
wards). See the E/R Mode chart on page 26.

2. ROOM SIZE. Range: 0.1 ~ 20.0

The ROOM SIZE parameter sets the time "gaps"
between the early reflections—directly propor
tionate to the size of the room. The effect of this
parameter also depends on which Early Reflection
mode has been selected. A Room Size Chart can
be found on page 27 in this manual.

EARLY

ROOM SIZE

^TYPE-

(TIME)

DELAY. Range: 0.1 ~ 1000.0 msec

3.

For a listener in a concert hall, there is a time delay

between the direct sound of the instrument, and
the first of the many reflected sounds that together

are known as reverberation. On the SPX90II, this

is known as the DELAY time.

HPF (High Pass Filter): Range. THRU, 32

4.
Hz ~ 1.0 kHz

Permits cutting the low frequency content of the
reverb signal bfelow the set frequency. When set
toTHRU, the HPF isOFF.

LPF (Low Pass Filter). Range: 1.0 kHz ~ 11

5.

kHz, THRU

Permits cutting the high frequency content of the
reverb signal above the set frequency. When set
toTHRU, the LPF is OFF.

3. LIVENESS. Range: 0 ~10

Refers to the rate at which the reflected sounds fade.
Set this parameter at zero to simulate an acoustically
"dead" room, with absorbent surfaces to "soak up"

the reflected sounds. As you increase the setting,
the room appears to contain more "live" surfaces,
with the reflected sounds fading more slowly, as
they reflect from wall to wall, until at the maximum
setting the effect is of an intensely reflective envi

ronment containing many highly polished surfaces
(tiles, glass, etc).

4. DELAY. Range: 0.1 ~ 1800.0 msec

The time delay between the direct sound of the
instrument and the first reflection to reach the
listener's ear.

5. LPF. Range: 1.0 kHz ~ 11 kHz, THRU

Same function as the LPF parameter of the REV
program.

10

DELAY

ECHO

This effect, commonly used in contemporary re
cordings, produces independently variable left-and

right-channel signal delays. The result is an intriguing

"doubled" sound.

1. LEFT CHANNEL DELAY TIME. Range: 0.1 ~

2000.0 msec

Permits highly accurate setting of the left channel

delay following the direct sound.

2. LEFT CHANNEL FEEDBACK GAIN. Range:

-99% ~ -t-99%

Sets the amount of delay signal fed back to the input
circuitry. The higher the feedback gain setting, the
greater the number of delay repeats produced. A
negative value setting produces out of phase
feedback.

3. RIGHT CHANNEL DELAY TIME. Range: 0.1

~ 2000.0 msec

Sets the delay time of the right channel.

4. RIGHT CHANNEL FEEDBACK GAIN. Range:

-99% ~ -t-99%

Permits setting the feedback gain setting of the right

channel delay.

5. HIGH (FEEDBACK HIGH).Range: 0.1 ~ 1.0

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

Similar to Delay, Echo brings added dimension and

force to both instrumental and vocal music. While

Reverberation recreates an abundance of partial sound
reflections, and Delay produces a limited number of

signal repetitions. Echo can produce limitless signal

repetitions.

(dB)

DIRECT SIGNAL

L R

-(TIME)

LEFT

DELAY TIME

RIGHT DELAY TIME

1. LEFT CHANNEL DELAY TIME. Range: 0.1 ~

1000.0 msec

After this delay time has elapsed, the first echo
will appear. Subsequent echoes will appear at the
same time interval, the number of echoes depending
on how the Feedback Gain parameter is set.

2. LEFT CHANNEL FEEDBACK GAIN. Range:

-99% ~ -f99%

This parameter permits adjustment of the number
of echoes that follow the direct signal, from zero
to a virtually infinite repeat at the maximum setting.
The overall decay time of the effect is proportionate
to the Feedback Gain setting.

3. RIGHT CHANNEL DELAY TIME. Range: 0.1

~ 1000.0 msec

4. RIGHT CHANNEL FEEDBACK GAIN. Range:

-99% ~ +99%

Parameter 3 and 4 have the same function as those
of 1 and 2 but the signal will be produced from the
right output.

5. HIGH (FEEDBACK HIGH). Range: 0.1 ~ 1.0

Determines the portion of high frequency feedback.

The lower the value, the less high frequency is

produced.

11

MODULATION

STEREO FLANGE

A combination of Delay and LFO (Low Frequency

Oscillation) modulation, the popular Flanging effect
can dramatically thicken the sound of keyboard in
struments, or prodpce thé "aircraft" sound popular
among guitarists. Basically, a short delay time is varied
with LFO modulation so that the delayed signal moves
in relation to the direct signal. The resultant variations
in pitch and stereo imaging are known as "flanging".

(dB)

DIRECT

SIGNAL

MOD. DELAY TIME

MOD. DEPTH

UR)/ R(L)

•(TIME)

1. MOD FREQ. Range: 0.1 ~ 40.0 Hz

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

2. MOD DEPTH. Range: 0 ~ 100%

This sets the amount of delay time variation, thus
adjusting the "depth" of the effect. At the maximum
setting, the delay time is varied by -t-/-4 msec.

3. MOD DELAY TIME. Range: 0.1-100.0 msec

This sets the basic delay time from the initial direct
sound to the flange effect. When set to lower than

1 msec, more high-frequency variation is produced,
while a setting higher than 3 msec will create more
low-frequency variation.

CHORUS

With the Chorus effect, a violin, keyboard, or guitar
can sound like an entire ensemble. Chorusing splits
the incoming signal into three signals placed at the
center, left, and right in the stereo image. Each signal
is delayed slightly, and then its delay time and level
are modulated by the LFO (Low Frequency Oscillator).

(dB)

DIRECT SIGNAL

AMPLITUDE
MODULATION DEPTH

•(TIME)

DELAY MODULATION DEPTH

1. MOD FREQ. Range: 0.1 - 40.0 Hz

Sets the delay time modulation speed (frequency).

2. DELAY MODULATION DEPTH. Range: 0 -

100%

This sets the amount by which the delay time of
one delay signal is varied in relation to the other.
At the maximum setting, the delay time is varied
by + /-4 msec.

3. AMPLITUDE MODULATION DEPTH. Range:
0 - 100%
This sets the amount by which the amplitude (level)
of the input signal is varied.

4. F.B. GAIN. Range: 0 - 99%

Sets the amount of flange signal which is fed back
into the circuit for further modulation. This controls
the complexity of the effect, its "strength," and its
overall decay time.

12

STEREO PHASING

PITCH CHANGE

The SPX90II can produce a wide range of Phasing
effects from a barely perceptible shift to a rapid pul
sation. Phasing lends an animated quality to musical
instrument and vocal recordings:

(TIME)

This effect has the same parameters as STEREO

FLANGE, except that the DELAY TIME range is from

0.1 to 8.0 msec and that it omits F.B. Gain.

TREMOLO

The TREMOLO effect operates in the same way as the

CHORUS effect, except that modulation is deeper and

the delay variation is greater. Refer to STEREO

FLANGE for the description of the parameters.

-SYMPHONIC

The programmable parameters for this preset are

identical to those for the Stereo Flange preset, omitting

F.B. GAIN and MOD DELAY TIME.

This program is used to change the pitch of an input
signal. Pitch can be changed in semitone increments

over a plus/minus one-octave range. Fine adjustment
of pitch in one-cent (1/100th of a semitone)
increments/decrements is also possible. Pitch change
programs B and C permit setting two different pitches.

This makes it possible to produce a detune type effect

(i.e. when you play a note, the SPX90II outputs two

additional notes), or, if only a slight pitch difference

is used, chorus-type effects are created. Pitch change
programs A and D permit the application of feedback
so that an echo that changes in pitch with each repeat
can be produced. Programs A and D further permit
pitch control via the MIDI IN connector. Any MIDI
synthesizer, such as the Yamaha DX7, can be used to
alter the pitch setting of the program by simply playing

the appropriate note on the synthesizer keyboard.

PROGRAM

PITCH CHANGE A

PITCH CHANGE B

PITCH CHANGE C '

PITCH CHANGE D 1 TONE

PITCH CHANGE

1 TONE

2 TONES

(CENTER)

2 TONES

(1 EACH IN

L & R CH.)

FEEDBACK

YES

NO

NO

YES YES

MIDI PITCH

CONTROL

YES

NO

NO

1. PITCH. Range: -12 ~ +12

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.

2. FINE. Range; -100 ~ +100

Adjusts pitch in one-cent increments or decrements.

3. DELAY Range: 0.1 ~ 1800.0 msec (A, B, D),

0.1 ~ 900.0 msec (C)

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

13

4. F.B.GAIN. Range: 0 ~ 99% (A,D only)

The higher this setting, the more echo repeats are
produced (each changed in pitch from the previous
repteat).

5. BASE KEY. Range: OFF, Cl ~ C6 (A. D only)

This parameter sets the "BASE KEY" for an external
MIDI synthesizer used to control the pitch variation

of the PITCH CHANGE program. For example, if BASE

KEY = C4, then pressing the C3 key on the synthesizer
keyboard will set the pitch change value to -12 (one
octave down). Pressing D4 on the keyboard would
produce a pitch increase of one tone (+2). If a key
more than one octave higher or lower than the BASE
KEY is pressed, the resultant pitch change setting will
still be within the -M2 to -12 range, as shown in the
following illustration. If the BASE KEY setting is OFF,
pitch can not be controlled via the MIDI IN terminal.

+ 3

+ I

+ 10 I

+ 8

+ 6

+ 3

I

- 2

- 4

- 6

- 9

_ I )

- 2

F 5

E 5
D 5

C 5

B 4

G 4

F 4
E 4
D 4

C 4

B 3

A 3
G 3

F 3

E 3

D 3
0 3
B 2

A 2

PITCH

+ 5
+ 4

+ 2 -

+ 12 -

+ I I
+ 9

+ 7

+ 5
+ 4

+ 2

0

- I

- 3

- 5

- 7

- 8

- !0

- 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

FREEZE

The FREEZE programs permit "recording" up to a

2000-millisecond signal in the SPX90II memory, and

playing it back as required. The FREEZE programs have
two basic steps: RECORDand PLAY. With the FREEZE
A program, it is possible to program a specific segment

of the recorded 2000-millisecond signal to be replayed

by programming the START and END points.
The FREEZE B program does not permit programming

START and END points, but the pitch of the recorded
signal can be ahanged for playback.

1. REC. MODE Selection. Range: Manual, Auto

Press the Parameter key and select the Manual mode
with the Parameter Increment key or AUTO Mode
by pressing the Parameter Decrement key. In the
MANUAL mode, press the Parameter Increment
key to begin recording, while in the AUTO mode
recording begins automatically when the SPX90II
detects an input signal.

2. TRIGGER DELAY. Range: -2000 ~ 2000msec.

This parameter determines the actual point at which

recording begins in relation to the trigger signal.

IfTRG DLYissetatO, recording begins immediately
when the FREEZE function is triggered. If a negative
TRG DLY value is set the input signal is delayed
so that in effect recording begins before the function

is triggered.

Trigger

Input Signal-

-Time

Note:

Depending on the input source, the sound output
may slightly be off from the specified pitch.

TRG. DLY

- 2000.0

1000.0

400.0

2000.0msec ,

M

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

Recorded range]

2000.0msec

------1-----

400.0msec—

H

, 2000.0msec

U

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

-------------M—-------------

2000.0msec

H

-♦H

3. RECORDING

After the desired MODE has been set, press the

PARAMETER key and the LCD will display the
"RECORD" message. Then, enter the standby mode
by pressing the PARAMETER DECREMENT key.
The LCD will display the "REC READY" message.

14

TRIGGERING

• MANUAL Mode

To actually begin recording if the MANUAL mode
has been selected, press the PARAMETER IN
CREMENT key. The SPX90II will record for 2000
milliseconds. Also the optional foot switch FC-5
can be used. Connect the FC-5 to the
MEMORY/TRIGGER Foot Switch jack and press
the FOOT TRIGGER key . Then the FC-5 works
as the trigger switch when it is pressed.

• AUTO Mode

If the AUTO mode has been selected, the
SPX90II will automatically begin recording when
an input signal of sufficient level is detected. The
LCD displays "TRIGGER!" when the freeze function
is triggered. When the recording begins the LCD

displays The freeze (recording) ends auto

matically after 2000msec and the display says "OK".

4. OVERDUB Recording

To "overdub," or record new material without
erasing the previously recorded material, use the
following procedure.

FREEZE A

REC. READY

-MANUAL Mode only-

Al

V

FREEZE A
TRIGGER!

FREEZE A

1. Press the PARAMETER key until the OVERDUB
display appears.

2. Press the PARAMETER DECREMENT key. This
sets the record ready status, and recording will begin
as soon as a trigger signal is received.

• FREEZE operation

FREEZE A

REC M0DE= xxxxxx

CD

A

PARAM

ETER

'

1701717717 A

REC M0DE= MANUAL

-or AUTO

1

FREEZE A

RECORD

FREEZE A

OK

PLAY

To begin recording again, press
the parameter decrement key to enter
the Rec Ready Mode.

15

C3

A

ETER

''

5. PLAYBACK

To play back the recorded material, press the PA

RAMETER key to enter the playback standby mode.
The LCD will display the "PLAY" message. To
actually play the recording, press the PARAMETER

INCREMENT/DECREMENT key. The recorded

material will be played each time the PARAMETER

INCREMENT/DECREMENT key is pressed.

FREEZE A

PLAY

To program a specific segment of the recording to

be played back in the FREEZE A program, set the
START and END parameters to appropriate values
(0~2000.0). The example below depicts how the
START and END parameters affect output.

START/END POINTS

— 2000.0msec—

C

GOOD LUCK

ST/

2t

!kRT Er

OO.Omsec

4D

PLAYBACK SIGNAL

"GOOD LUCK"

Another way to trigger playback is to use the Input
Trigger Parameter. Select the Input trigger Parameter

and press the Parameter Increment key to enter the
standby mode. Playback will be automatically triggered
when the input signal exceeds nominal level.

The FREEZE B program PITCH and FINE parameters
function identically to those in the PITCH CHANGE

program to change the pitch of the playback signal.
Playback start and stop can be triggered by the PA
RAMETER INCREMENT/DECREMENT keys, foot

switch or via a MIDI keyboard connected to the MIDI

IN connector. With the FREEZE B program, playing a
key on the MIDI keyboard produces the corresponding
pitch change in the playback output, and triggers
playback.

6. TRIGGER MASK (FREEZE A). Range: 10-2000.0 ms.

This parameter makes it possible to disable playback
re-triggering for a specified time (10-2,000 msec).
For example, if you wish to prevent re-triggering for

the duration of the entire sample or a portion of the

sample, set the TRIGGER MASK parameter for the

appropriate length of time. Once playback has been
triggered, it can only be triggered again after the set
TRIGGER MASK time has elapsed.

GOOD LUCK

1

C

GOOD LUCK

GOOD LUCK

1 1 '

START END

GOOD LUCK

II

END START

START Er

I

START Ergo

slD

"OOD LUCK"

"LUCK"

"OD LU"

"LUCK GOOD”

Playback can also be triggered by a footswitch
connected to the front-panel MEMORY/FOOT

TRIGGER jack when the FOOT TRIGGER key is

pressed and its LED is ON. A MIDI keyboard
connected to the MIDI IN terminal can also be used
to trigger playback—simply play a note on the

keyboard.

16

REVERB and GATE GATE

This program feeds the reverb signal through a gate
circuit, making it possible to output only a segment
of a longer reverb sound. Parameters provided for the

reverb portion of the signal are REV TIME, HIGH,
DELAY, HPF and LPF, while parameters for the gate
portion are HOLD TIME, RELEASE TIME, and MIDI

TRIGGER. '

-(TIME)

1. REVERB TIME (R/T). Range: 0.3 ~ 99.0 sec

2. HIGH (High Frequency Reverb Time Ratio).

Range: 0.1 ~ 1.0

3. DELAY. Range: 0.1 ~ 1000.0 msec

4. HPF (High Pass Filter). Range: 32 Hz ~ 1.0

kHz, THRU

5. LPF (Low Pass Filter). Range: 1.0 kHz ~ 11

kHz, THRU

All these parameters have the same function as
those of the REV programs. See page 10 for details.

6. TRIGGER LEVEL. Range: 0 ~ 100%

Determines the strength (amplitude) of the input

signal required to trigger opening of the gate. At

100%, only extremely high-level input signals will
trigger the gate, while at 0% even this slightest input
signal will trigger the gate.

7. HOLD TIME. Range: 1 ~ 30,000 msec

This parameter sets the amount of time the gate is

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

8. RELEASE TIME. Range: 5 ~ 32,000 msec

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

9. MIDI TRIGGER. Range: ON, OFF

When ON, a KEY ON signal from an external MIDI

keyboard can be used to trigger the R & G effect.

ADR-NOISE GATE

This program uses a gate circuit to pass or shut off the
input 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 used to pass only signals that exceed a specific

level (noise-gate type operation). It is also possible
to achieve reverse gate effects in which the gain in
creases gradually after the gate is triggered. In addition
to signal-level triggering, it is also possible to trigger
the gate via a footswitch connected to the front-panel

MEMORY TRIGGER jack when the FOOT TRIGGER
key LED is ON.

LEVEL = 100%

DECAY

LEVEL

1.

TRIGGER LEVEL. Range: 1 ~ 100%

Determines the strength (amplitude) of the input

signal required to trigger opening of the gate. At

100%, only extremely high level input signals will
trigger the gate, while at 0% even the slightest input
signal will trigger the gate.

2. TRIGGER DELAY. Range: -100

-----------

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
itself is delayed so that, effectively, the gate opens
before the signal appears.

3. TRIGGER MASK. Range: 5 ~ 32,000 msec

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

elapsed.

4. ATTACK TIME. Range: 5 msec ~ 32,000 msec

Determines how long it takes for the gate to open

fully from the time it begins to open,

5. DECAY TIME. Range: 5 msec ~ 32,000 msec

Determines the length of time it takes for the gate

to fall to DECAY LEVEL after it is fully open.

-(TIME)

100 msec

17

6. DECAY LEVEL. Range: 0 ~ 100%

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

7. HOLD TIME. Range: 1 msec ~ 30,000 msec

Determines how long the gate stays open, allowing

the input signal to pass.

RELEASE TIME. Range: 5 msec ~ 32,000

8.

msec

Determines how long it takes for the gate to close

fully from the time it begins to close.

9. MIDI TRIGGER. Range: ON, OFF

When ON, a KEY ON signal from an external MIDI

keyboard can be used to trigger the gate.

COMPRESSOR

The COMPRESSOR effect reduces the level of the
attack portion of a music signal and keeps overall signal
level within narrow limits.

1. TRIGGER LEVEL. Range: 1 ~ 100%

Determines the strength of the attack signal required

to trigger the compressor effect.

2. TRIGGER DELAY. Range: -100 ~ 100 msec

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

TRIGGER MASK. Range: 5 ~ 32,000 msec

This parameter makes it impossible to re-trigger the
compressor function until the programmed time

has elapsed.

4. ATTACK TIME. Range: 5 msec ~ 32,000 msec

Determines how long it takes until the HOLD level

(below) is reached after the effect is triggered.

HOLD TIME. Range: 1 msec ~ 30,000 msec

Determines how long the maximum compression
effect is maintained after the ATTACK TIME has
elapsed.

HOLD LEVEL. Range: 0 ~ 100%

6.

Determines the actual level to which all input signals
will be compressed during the HOLD TIME. The
smaller the value, the lower the level of the output
signal.

7. RELEASE TIME. Range: 5 msec ~ 32,000

msec

Determines how long it takes to return to normal

level once the HOLD TIME has elapsed.

8. MIDI TRIGGER. Range: ON, OFF

When ON. a KEY ON signal from an external MIDI

keyboard can be used to trigger the compressor

effect.

18

PAN-

TRIGGERED PAN

This program automatically pans the sound image
between left and right in the stereo sound field. Pan
direction, speed, and phase can be programmed.

1. PAN SPEED. Range: 0.1

Sets the speed of pan.

2. DIRECTION. Range: L -> R, L

Determines the direction of pan.

3. DEPTH. Range: 0 -100%

Sets the degree of level variation. The higher the

value, the stronger the pan effect.

40.0 Hz

R. L-

In this program the pan effect is triggered by the input

signal or footswitch.

1. TRIGGER LEVEL. Range: 1 - 100%

Determines the strength of the attack signal required

to trigger the pan effect. The higher the value, the

higher the input signal level required to trigger the
effect.

2. TRIGGER DELAY. Range: -100 - 100 msec

Produces a delay between the time at which the
effect is triggered and that at which the pan effect
actually begins. If a negative value is programmed,

the input signal is delayed so that effectively,the

pan effect begins before the signal appears.

3. TRIGGER MASK. Range: 5 - 32,000 msec

This parameter makes it impossible to re-trigger the

pan function until the programmed time has
elapsed.

4. ATTACK TIME. Range; 5 msec - 32,000 msec

Determines how quickly or slowly the pan effect
reaches maximum depth after it is triggered.

5. PANNING TIME. Range: 5 msec - 32,000

msec

Determines how long the maximum-depth pan
effect remains active.

6. RELEASE TIME. Range: 5 msec - 32,000

msec

Determines how long it takes for the pan effect to

fade out after the PANNING TIME has elapsed.

7. DIRECTION. Range: L -R, L ^R

Sets the direction of pan.

8. LPF. Range: 1.0 kHz - 11 kHz, THRU

Determines the cutoff frequency of the low-pass
filter.

9. DELAY. Range: 0.1 - 1800.0 msec

Sets the delay time of equalized signal following
the direct signal.

NOTE: To use footswitch FC-5, connect the FC-5

to the MEMORY/TRIGGER FOOT Switch
jack and press the Foot Trigger key.

19

DELAY VIBRATO

PARAMETRIC EQ

This program makes it possible to add delay vibrato
effects to virtually any instrument or sound. When the
input signal exceeds a programmed trigger level, the
vibrato effect is cancelled and then gradually builds
up to the programmed depth.

1. TRIGGER LEVEL. Range: 1 ~ 100%

Determines the input signal level at which the vi
brato effect is cancelled and begins to build up
again.

2. VIBRATO DELAY. Range: 1 ~ 30,000 msec

Determines how long the vibrato effect is cancelled
once triggered.

3. VIBRATO RISE TIME. Range: 5 msec ~ 32,000

msec

Determines how long it takes for the vibrato effect
to reach maximum depth after the VIBRATO DELAY
time has elapsed.

4. VIBRATO FREQUENCY. Range: 0.1 ~ 20.0

Hz

This parameter sets the frequency (speed) of the
vibrato effect.

5. VIBRATO DEPTH. Range: 0 -100%

Sets the depth (strength) of the vibrato effect.

6. MIDI TRIGGER. Range: ON, OFF

When ON, a KEY ON signal from an external MIDI

keyboard can be used to trigger the vibrato effect.

This program permits variation of the input signal
frequency response over an extremely broad range.

(dB) 20

- 10

50 100 500 Ik 5K IK 10K

(Hz)

1. HPF. Range: THRU, 32 Hz ~ 1.0 kHz

This sets the cutoff frequency of the high-pass filter.

Frequencies below the set frequency are rolled off

at a rate of 6 dB/octave. When set to THRU, the

HPF is OFF.

2. MID FRO. Range: 315 Hz - 4.0 kHz

Determines the center frequency of the midrange
equalization band. The midrange frequency can
be set in 1/6 octave increments.

3. MID GAIN. Range:-15 - +15 dB

Determines the amout of boost or cut applied to

the midrange equalization band.

4. MID Q. Range: 0.5 ~ 5.0

Sets the "Q" (Quality factor = bandwidth) of the
midrange EQ band. The higher the value, the
narrower the bandwidth.

20

5. HI FRO. Range: 800 Hz ~ 8.0 kHz

Determines the center frequency of the high-fre

quency equalization band.

6. HI GAIN. Range: -15 ~ +15 dB

Determines the amount of boost or cut applied to

the high-frequency equalization band.

7. HI Q. Range: 0.5 ~ 5.0

Sets the "Q" (Quality factor = bandwidth) of the
high EQ band. The higher the value, the narrower

the bandwidth.

8. LPF. Range: 1.0 kHz ~ 11 kHz, THRU

Deterrriines the cutoff frequency of the low-pass

filter.

9. DELAY. Range: 0.1 ~ 1800.0 msec

Sets the delay time of equalized signal following

the direct signal.

SAMPLE APPLICATIONS

MIDI KEYBOARD PERFORMANCE SYSTEM

In this system the SPX90II is connected immediately following a MIDI keyboard, and its output feeds either an instrument amplifier or sound reinforcement
mixing console. The MIDI OUT terminal of the keyboard is connected to the MIDI IN terminal of the SPX90II, permitting automatic selection of different effects
programs for specific voices selected at the keyboard. The SPX90II is under direct control of the keyboard player (rather than the mixing engineer) so he can
produce exactly the effects he wants for each voice or musical selection. In a multi-keyboard system the SPX90I1 could be patched into the effects loop of
the keyboard mixer. The MIDI keyboards could be chained together via the MIDI THRU terminals (MIDI OUT -► MIDI IN MIDI THRU -* MIDI IN -+
MIDI THRU ->etc.) with the SPX90II MIDI IN terminal fed from the MIDI THRU terminal of the last keyboard in the chain. This way, all keyboards in the
system could be used for MIDI effect selection.

(SYSTEM DIAGRAM 1)

BASIC SOUND REINFORCEMENT SYSTEM

The SPX90II is an excellent addition to the small to medium size sound reinforcement system. Its input can be fed from either a mono effects send or auxiliary
send bus on the mixing console, and its stereo outputs can be fed back to the corresponding effects or auxiliary return inputs on the console. Assuming the
console used has independent effects or auxiliary send level controls on each input channel, it is possible to add the required amount of SPX90II effect to each
input. It is also possible to use two SPX90II units for full stereo reverb and effects in a larger system.

(SYSTEM DIAGRAM2)

21

MIXING CONSOLE

RECORDING SYSTEM

In a recording system it is most desirable to have the SPX90II input and outputs available at a patch bay where they may accessed and patched into virtually
any part of the system. In some cases it might be best to have the SPX90II connected directly in line between the source and the mixing console inputs, while
in other situations—final mixdown, for example—the SPX90II should be patched into the mixing console's effects loop so it may be applied to the entire mix.
Naturally, the SPX90II is also an ideal choice for the truly modern digital sequencer recording system, too.

(SYSTEM DIAGRAM 3)

MIXING

CONSOLE

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ELECTRIC GUITAR SYSTEM

The SPX90II is undoubtedly the ultimate electric guitar effect unit. An electric guitar can be plugged directly into the SPX90II INPUT jack, and the desired
effect selected via the front panel or using the footswitch memory recall function. Even more versatility can be achieved by using a Yamaha MFC1 MIDI Foot
Controller for proram selection. Specified programs can be directly selected using the MFC1 footswitches, or a "chain" can be set up to automatically select
a specified sequence of programs.

(SYSTEM DIAGRAM 4)

22

SPECIFICATIONS

INPUT

Number of Channels
Nominal Level
Impedance
Level Control
Level Monitor

A/D CONVERSION

Number of Channels 1

Sampling Freq.

Quantization Linear 16 Bit
Band Width"

D/A CONVERSION

Number of Channels

Sampling Freq. 31.25 kHz
Quantization

Band Width

OUTPUT

Number of Channels
Nominal Level
Impedance
Mixing Direct Signal, Effect Signal
Bypass ON/OFF

MEMORY

Presets (ROM)

User Memory (RAM) 31 ~90 (Non Volatile)

Unbalanced x 1 (Phone Jack)

-20 dBm/+4 dBm, Selectable
lOk-ohms
Volume, Max. Gain +12 dB
7 points LED

31.25 kHz
20 Hz to 12 kHz

2
Linear 16 Bit

20 Hz to 12 kHz

Unbalanced x 2 (Phono Jack)

-20 dBm/+4 dBm, Selectable
600 ohms

1 ~30
All parameters except Input Level can

be memorized

MIDI CONTROL

MIDI Channel (1 to 16, OMNI), (4
banks), Program Number (1 to 128)
Note on/off is recognized only for
program 18~21 , 24~26, 28, 29.

FRONT PANEL

Display 16 character 2 lines LCD x 1,2 digits

numeric LED for Memory No.,
7 points level meter LED

Knob Input Level Volume
Keys Parameter/Balance/Data Increment/

Data Decrement, Memory Store/
Recall/Memory number
Increment/Memory number Decre
ment, Utility/Foot Trigger/ Bypass

ELECTRICAL CHARACTERISTICS

Dynamic Range

Reverb: more than 75 dB
Delay : more than 81 dB

Distortion

Bypassed Signal: less than

0.01%

Effect Signal : less than

Band Width

Bypassed signal: 20 Hz to 20
Effect Signal : 20 Hz to 12

PQWER SUPPLY

U.S. & Canadian Modeis
General Model

POWER CONSUMPTION

U.S. & Canadian Models
General Model

DIMENSIONS

(W X H X D )

WEIGHT

OPTIONAL REMOTE CONTROL

(model RC7)

OPTIONAL MIDI FOOT CONTROLLER (model MFC1)

Memory Mode 4 + 4 PGM change numbers

Chain Mode 20 Step x 4 PGM change, control

110V-120V, 60Hz

220V-240V, 50/60HZ

20W
20W

480mm x 45.2mm x 285mm
(18-7/8" X 1-3/4" X 11-1/4")

3.2 kg (7 lbs)
PRESET PROGRAM 1 ~

MEMORY 31 ~37

change data, MIDI start, stop, con
tinue commands

* NOTE: Since natural sounding reverberation is mixed with the direct

sound, and hence does not constitute 100% of the sound, the effective
dynamic range wiii nearly always exceed 90 dB.

0.03%
kHz

kHz

-30, USER

*

23

MIDI DATA FORMAT

MIDI NOTE ON data can be used as trigger in the

programs.

Memory No. Name of Program

18

ADR-NOISE GATE
19 COMPRESSOR
20
25
28

REVERB & GATE
FREEZE A■

TRIGGERED PAN
29 DELAY VIBRATO

MIDI NOTE ON data can specily pitch in the program.

Memory No.

21

24
26

a) CHANNEL VOICE MESSAGE

llOOnnnn

a-1

Oppppppp
lOOOnnnn

a-2

Okkkkkkk
Ovvvvvvv
lOOInnnn Note ON & channel number,

a-3

Okkkkkkk Note number (kkkkkkk = 0~127)
Ovvvvvvv

Name of Program
PITCH CHANGE A
PITCH CHANGE D
FREEZE B

Program change & channel number,
(nnnn = 0~15)
Program number, (ppppppp = 0~127)
Note OFF & channel number,
(nnnn = 0~15)
Note number (kkkkkkkk = 0~127)
Note off velocity (vvvvvvv = 0~127)

(nnnn = 0~15)
Note ON velocity (vvvv = 0~127)

b) SYSTEM EXCLUSIVE MESSAGE

b-1 Bulk dump (memory parameter)

Status 11110000 (FO)
ID No.
Substatus

01000011 (43)
OOOOnnnn (On)

Format number 01111110 (7E)

00000000 ]
01011000 I
01001100 (4C)
01001101 (4D)
00100000 (20)
00100000 (20)
00111000 (38) "8"
00110011 (33) "3"
00110011 (33) "3"
00110010 (32)

Data name 01001101 (4D)

Ommmmmmm
Oddddddd >

Oddddddd >
Checksum Oeeeeeee
EOX

Bulk dump (relative format of program number and

b-2

11110111 (F7)

memory number)
Status

ID No.
Substatus
Format number

11110000 (FO)
01000011 (43)
OOOOnnnn (On)
01111110 (7E)
00000001 1
00001011 1
01001100 (4C)
01001101 (4D)
00100000 (20)
00100000 (20)
00111000 (38)
00110011 (33) "3"
00110011 (33)
00110010 (32)
01010100 (54)

Ommmmmmm

Oddddddd \
Oddddddd

Checksum
EOX

Oeeeeeee

11110111 (F7)

n = (

n = Channel number

Byte

Byte count = 88 bytes
"L"

"M"

"2"
"M"
Mem

^ 31 ~90

Data

n = Channel number

Byte count = 139 bytes

"L"

"M"

"8"
„3„
"2"

"T" (’ “ *
BANK No. = 1 ~4 3 ; C

14 = D

Data = 129 bytes

Bulk dump request (Relative format of program number

b-3

and memory number being used
Status

ID No.
Substatus
Format number

11110000 (FO)

01000011 (43)

OOlOnnnn (2n)

01111110 (7E)

01001100 (4C)

01001101 (4D)

' BANK A~D)

n = Channel number
"L"

"M"
00100000 (20)
00100000 (20)

"8"
"3”

„3„

"2"

"U" [1=4

BANK No. = 1 ~4 3 = C

EOX

00111000 (38)
00110011 (33)

,

00110011 (33)
00110010 (32)
01010101 (55)

Ommmmmmm

11110111 (F7)

L 4 — D

24

ROM CONTENTS AND CONTROLABLE PARAMETERS

MEM

PROGRAM NAME

No.

1

REV 1 HALL

2

REV 2 ROOM

3

REV 3 VOCAL

4

REV 4 PLATE

5

EARLY REF 1

6

EARLY REF. 2 E?R 2

7

DELAY L, R

8

STEREO ECHO

g

STEREO FLANGE A

10

STEREO FLANGE B

11

CHORUS A

12

CHORUS B

13

STEREO PHASING

14

TREMOLO

15

SYMPHONIC

16

GATE REVERB E.R2

17

REVERSE GATE

18

ADR-NOISE GATE GATE

19

COMPRESSOR

20

REVERB & GATE

21

PITCH CHANGE A PITCH

22

PITCH CHANGE B

23

PITCH CHANGE C

24

PITCH CHANGE D

25

FREEZE A FREEZE

26

FREEZER.

2/

PAN

28

TRIGGERED PAN

29

DELAY VIBRATO

30

PARAMETRIC EQ PEQ

REV '

E/R 1

DELAY

ECHO.

MOD.

"

R&G

-

PAN

VIB

1

RfcV riME

2.6s

<0.3-99 .0s)

REV TIME

1.5s

(0.3 -99.0s)

2.4s

(0.3 -99.0s)

1.8s

(0.3 -99.0s)

TYP E
HALL

/ HALL/R AND0M 1

Ireverse/plateI

TYP E

HALL

/ HALL/R ANDOM \

ireverse/plateI

. . Lch OLY

100.0ms

(0.1 -2000.0msl

Lch DLY

170.0ms

(0.1 - 1000.0ms)

MOD. P RO

2.5Hz

(0.1 -40 .0Hz)

0.5Hz

(0.1 -40 .0Hz)

6.2Hz

(0.1 -40 .0Hz)

oTe Hz“

(0.1 -40 .0Hz)

MOD. F RO

1.1H z

(0.1 -40 .0Hz)

'e.oHz

(0.1 - 40.0H z)

MOD. F RO

6.7IH2

(0.1 -40 .0Hz)

TYP E

RANDO M

1HA LURAN DO M \

Irfverse/pi.atf)

TYP E

..

RE^ER^e

65

(1-100)

TRG . LEVE L

.....89....

(1 - 100)

REV TIME

2.0s ^......

(0.3 -99.0s)

6

...

............

(-12-12)

1 PITCH

6

(-12-12)

L PITCH

..........

""o'""

(-12-12)

PITCH

"■o"""

(-12-12)

REC MODE

.

(MA NUAL/AUT Ol

iS REC MODE

""MANU AL

...............

(MA NUAL/AUT O)

PAN SPEED

0.7Hz

(0.1 -40 .0Hz)

TRG . LEVE L

65

(1 - 100)

TRG . LEVE L

100

(1-100)

HPF

THR U

.....

......

PITCH - '

/ HALL/R ANDOM ]

Ireverse/plateI

.

...

(THRU, 32Hz- 1.0kHz)

2

HIG H

0.6

(0.1 - 1,0)

HIG H

6.7

(0.1 - 1.0)

0.5

(0.1-1.0)

6.7

(0.1-1.0)

i.iw....- ROOMLSIZ E i 1; :,: L

2.0

(0.1-20,0)

2.0

(0.1-20.0)

Lch F.a

0%

(-99 - +99% )

Lch F.B

60%

(-99 -+99%)

MOD. D EPTH V

50%

(0-100% )

paK ^tfT 'MO DviDEPTH .-'

90%

(0- 100% )

.. '7:DM ;DE PTHTi::^'::/''

50% '

(0- 100% )

DM DEPTH , K

“■'"'"'50'%""""'...............

(0- 100% )

- MOD. DEPTH

100%

(0- 100% )

MOD. D EPTH

56%

(0- 100% )

MOD. D EPTH

50% '

(0-100% )

ROOMisiZE;^;-::,-:

2.0

(0.1-20.0)

_ ROQM'iSlZE;:;^:,,.:;:;,;,;:

.

.

..

..

3.3

(0.1-20.0)

TRG . D LY

- 7m s

(-100-100ms)

TRG . D LY

- 25 ms

(-100- 100m s)

HIG H

o'.'e ""

(0.1 - 1.0)

FINE

.

...........

.....

"o

(-100-100)

1 FINE

8

(-100-100)

L FINE

.

...................“"'8

.......................

(-100-100)

FINE .

"'0

(- 100- 100)

TRG . D LY

- 5m s

( - 2000.0- 2000.0m s)

:,;TRG..,pLY,-;j,.'S;:

- 50 ms

(-2000.0-2000.0ms)

DIR ECTION

L ^R /P-R

L—R

TRG .DLY

- 10ms

(- 100- 100ms)

VIB DLY

400ms

(1 - 3 000 0ms)

MID FR Q

500Hz

(315Hz-4.0kHz )

PARAMETERS

3

DELAY

30.0ms

(0.1 - 1000.0ms)

■:::;.^:P ELAY:.gi^:;;lK;/

26.6 ms

(0.1 - lO OO .Om si

DELAY

45.0ms

(0,1 - 1000.0ms)

16.6ms

(0.1 - 1000.0ms)

-i:.,.::..J;iLIVEIl4ES S-.;L:vfe
5

(0- 10)

LiVENE SSka;:^;^!:;..

5

(0-1 0)

200.0ms

(0.1 - 2000,0ms )

Rch DLY

178.0 m s

(0.1 - 1000.0ms)

MOD. D LY_

i.2m s

(0.1-100.0ms)

. MO_D _..p LY

1.0m s

(0.1 - 100.0ms)

:}y-y.V.AM DEPTH

.................................................

(0-100% )

AM DEPTH

.........

io’j T

(0- 100% )

■i'iL ::,£::M0 6.:PLyd;;.:b^

3.6ms

(0.1 - 8.0ms )

LMENE S&hiiLS:i>

(0-10)

(0-10)

TRG . M SK

5ms

(5-3 200 0ms)

TRG . M SK

426ms

(5-3 200 0ms)

DELAY

16.6 ms

(0.1 - 1000.0ms)

. DE LAY,

O.im s

(0,1 - 18 00.0ms )

1 DLY

6.1m s

tO-1 - 1 800 .Om si

L DLY

6.1 ms

(0,1 - 900.0 ms)

DELAY

6.1 ms

(0,1 - 18 00.0ms )

¿ jy RECOR D OVER DU B PLAY

DEPTH

75%

(0-100% )

TRG . M SK

1000ms

(5-3 200 0ms)

Vm RISE

1400ms

(5-3 200 0ms)

MID GA IN

OdB

l-15-15dB)

.................

5

5

...........

..

"""

.

4

saisiss'"''

THR U

(THRU, 32Hz- 1.0kHz)

HPF '

THR U

(THRU, 32Hz-1,0kHz)

HPF

80H z

(THRU, 32Hz-1.0kHz)

HPF

40H z

(THRU, 32Hz-1.0kHz)

10.0ms

(0.1 - 18 00.0ms )

DLY

10.0ms

(0.1 - 18 00.0ms )

0%

(-99 - +99% )

5"8%

(-99 - +99% )

35'%

(0-9 9%)

F.B GAIN

40%

(0-9 9%)

DELAY

20.0ms

(0.1 - 18 00.0ms )

DELAY

29.0ms

(0.1 - 18 00.0ms )

ATT ACK

5ms

(5-3 200 0ms)

ATT ACK

22m s

(5-3 200 0ms)

HPF

..........

THR U

(THRU. 32Hz- 1.0kHz)

F.B GAIN

0%

.................

(0-9 9%)

2 PITCH

0

(-12-12)

R PITCH

..........

6

(-12-12)

F.B GAIN

6%

......................

10-99% )

OVER DUB PL AY

ATT ACK

22m s

(5-3 200 0ms)

VIB FRQ

7.6hz

..................

(0.1 -20 .0Hz)

MID Q

i.o

(0.5 -5.0 )

.5 6

8.0kHz

(I.OkHz -llkHz.T HRU)

• _ LPP- .

8.0kHz

(I.OkHz -llkHz.T HRU)

8.0kHz

(I.OkHz -llkHz.T HRU)

lO.O kHz

(I.OkHz -llkHz.T HRU)

THR U

(I.OkHz -llkHz.T HRU)

THR U

(I.OkHz -llkHz.T HRU)

(0.1-1.01

(0.1-1.0)

. LP F

6.3kHz

(I.OkHz -llkHz.T HRU)

THR U

(I.OkHz -llkHz.T HRU)

■ DECAY

(5-3 200 0ms)

HOLD
28 ms

(1 -30000m s)

...........

THR U

(1.0 kHz - 11 kHz,TH RU)

BAS E K EY

"C3'“‘”'"'

(OF F, C l -C 6)

2 FINE

(-100-100)

R FINE

.

.....................-8

(-100-100)

BAS EKEY

.

"■'C 3""""“'

(OF F, C l -C 6)

PAN NING

525ms

(5-3 200 0ms)

VIB DEPTH

'40%

(0-100% )

HI F RQ

2.0kHz

(800Hz-8.0kHz )

LPF ,

LPF

HIG H

1.0

HIG H

0.9

LPF

5ms

LPF

-8

...................

.................

^ : - DECA Y LVL

.......

.

166%

(0-100% )

HOLD LEVEL

1%

(0- 100% )

TRG. LEVE L

'6'5

(1 - 100)

2 DLY

20.0ms

(0.1 - 18 00.0ms )

R D LY

6.1m s

(0.1 -900.0m s)

STA RT

...........

(0-2000.0)

PITCH

“6“"'"'"'...............

(-12-12)

RELEASE

840ms

(5-3 200 0ms)

MID I TRG.

ON

(OF F/O N)

HI G AIN

OdB

(-15 -15dB)

.....

......

.

25

7

HOLD

90m s

n -3 000 0ms)

RELEASE

525ms

(5-3 200 0ms)

HOLD

1 50ms

n-30000ms)

END

-•■y qo 5-o

(0-2 000 .0)

FINE

(-10 0-100)

DIR ECTION

■ L*R

(L-R ,L- R )

HIQ

1.6

(0.5 -5.0 1

................

8

RELEASE

Sms

|5-3200 0ms)

MID I TRG.

OFF
(OF F/O N)
REl,EASE

Sms

(5-3 200 0ms)

. . INPU ThTRG Wis ::iiu

“"'OFF^

......

(OF F/O N)

BAS E K EY

(OF F. C l - C61

L/R BALAN CE

30%

(0-1 00% )

LPF

THR U

d.OkHz-II.O kHz.TH RU )

BALANCE

9

MID I TRG.

OFF

(OF F/O N)

MID I TRG. T

OFF

(OF F/O N)

-jR(3.,M SKa,;..^

.

eOm s

(10-200 0.O msl

MID I TRG.

OFF

(OF F/O N)

DLY

0.1ms

(0.1 - 1800.0ms)

BALANCE OUT LVL

100%

(0- 100%)

100%

(0-1 00% )

100%

(0-1 00% )

100%

(0-1 00% )

100%

(0-1 00% )

100%

(0- 100%)

100%

(0- 100%)

100%

(0- 100%)

50%

(0- 100%)

75%

(0-1 00% )

100%

(0-1 00% )

100%

(0-1 00% )

100%

(0- 100%)

100%

(0-1 00% )

100%

(0-1 00% )

100%

(0- 100%)

100%

(0- 100%)

100%

(0- 100%)

100%

(0-1 00% )

100%

(0-1 00% )

100%

(0-1 00% )

100%

(0-1 00% )

100%

(0-1 00% )

100%

(0- 100%)

100%

(0- 100%)

100%

(0-1 00% )

100%

(0-1 00% )

100%

(0- 100%)

100%

(0- 100%)

100%

(0-1 00% )

100%

(0-1 00% )

100%

(0-1 00% )

100%

(0-1 00% )

100%

(0-1 00% )

100%

(0-1 00% )

100%

10- 100 %)

100%

(0- 100%)

100%

(0-1 00% )

100%

(0-1 00% )

100%

(0- 100%)

100%

(0-1 00% )

100%

(0-1 00% )

100%

(0-1 00% )

100%

(0- 100%)

100%

10-100%)

100%

(0- 100%)

100%

(0-1 00% )

100%

(0- 100%)

100%

(0- 100%)

100%

(0- 100%)

100%

(0- 100%)

100%

(0-1 00% )

100%

(0-1 00% )

100%

(0- 100%)

100%

(0-1 00% )

100%

(0- 100%)

100%

(0-1 00% )

100%

(0-1 00% )

100%

(0- 100%)

100%

(0-1 00% )

26

EARLY REFLECTION MODE CHART

-10

3 -20

2

S -30

-40

-10

s

3 -20

2

S -30

cc

-40

ROOM SIZE : 1.0

HALL

-10

3 -20

Z

^ -30

0

ROOM SIZE : 4.0

0

-10

Ì -20

I -30

-40

200 300

TIME(ms)

0

0

ROOM SIZE : 1.0

100 200 300 400

100 200 300 400

TIME(ms)

RANDOM

ROOM SIZE : 4.0

200 300

TIME(ms)

-10

g -20

I -30

-40

Ò '

-io

3

3 -20

z

Ц -30

ck

-40

ROOM SIZE : 1.0

TIME(ms)

0

ROOM SIZE : 1.0

200 300

TlME(ms)

REVERSE

PLATE

ROOM SIZE : 4.0

200 300

100 200 300 400

TIME(ms)

ROOM SIZE : 4.0

27

о
о

Ñ

m

П
X

>

ro
00

BLOCK DIAGRAM

REMOTE
CONTROL

DIMENSIONS

29

Unit : mm (Inch)