PRECAUTIONS 1: CONTROLS AND CONNECTIONS THE FRONT PANEL THE CONNECTOR PANEL 2: THE SPX1000 SYSTEM MEMORY CONFIGURATION INPUT MODE AND DIGITAL I/O CONFIGURATIONS INPUT MODES DIGITAL l/O MODES 3: GENERAL OPERATION SELECTING AN EFFECT/MEMORY LOCATION BYPASSING THE EFFECT ACCESSING & EDITING THE PROGRAM PARAMETERS STORING EFFECTS EXTERNAL CONTROL ASSIGNMENT 4: THE PROGRAMS & PARAMETERS PARAMETERS PROVIDED FOR ALL PROGRAMS LEVEL PARAMETERS (Accessed via LEVEL key) EQ PARAMETERS (Accessed via EQ key) REVERB PROGRAMS 1. REV 1 HALL 2. REV 2 ROOM 3. REV 3 VOCAL 4. REV 4 PLATE 5. REV 5 ECHO ROOM EARLY REFLECTION PROGRAMS 6. EARLY REF. 1 7. EARLY REF. 2 8. EARLY REF. 3 9. GATE REVERB 10. REVERSE GATE. DELAY PROGRAM 11. DELAY L,C,R ECHO PROGRAM 12. STEREO ECHO MODULATION PROGRAMS 13. STEREO FLANGE A 14. STEREO FLANGE B 15. CHORUS 16. STEREO PHASING 17. TREMOLO 18. SYMPHONIC NOISE GATE 19. ADR-NOISE GATE 19 PITCH CHANGE PROGRAMS 20. PITCH CHANGE 1 21. PITCH CHANGE 2 22. PITCH CHANGE 3 39. STEREO PITCH FREEZE PROGRAMS 23. FREEZE 1 24. FREEZE 2 40. STEREO FREEZE PAN PROGRAMS 25. PAN 26. TRIGGERED PAN DISTORTION PROGRAM 27. DISTORTION MULTI-EFFECT PROGRAMS 28. MULTI (CHO&REV) 29.MULTI(SYM+REV) 30. MULTI (EXC&REV) 2-CHANNEL PROGRAMS 31. PLATE + HALL 32. ER + REV 33. ECHO + REV 34. CHORUS + REV 35. PAN + PAN COMPRESSOR & EXPANDER PROGRAMS 36. COMPRESSOR 37. LO LVL EXPANDER EXCITER PROGRAM 38. EXCITER 5: UTILITY FUNCTIONS TITLE EDIT INPUT MODE A/D l/O MODE DIGITAL IN ATT USER ER EDIT MEMORY PROTECT MIDI CONTROL & MIDI PGM CHANGE MIDI CTRL ASSIGN BULK OUT 1 & BULK OUT 2 F.SW MEMORY RCL 6: DATA & SPECIFICATIONS ROM CONTENTS AND CONTROLLABLE PARAMETERS MIDI DATA FORMAT MIDI IMPLEMENTATION CHART BLOCK DIAGRAM DIMENSIONS SPECIFICATIONS Add-1 Add-1 Add-15 Add-28 Add-29 Add-30 Add-31

PRECAUTIONS

1. AVOID EXCESSIVE HEAT, HUMIDITY, DUST AND VIBRATION Keep the unit away from locations where it is likely to be exposed to high temperatures or humidity such as near radiators, stoves, etc. Also avoid 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. Opening 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 disconnecting cables. This is important to prevent damage to the unit itself as well as other connected equipment. 5. HANDLE CABLES CAREFULLY Always plug and unplug cables including the AC cord by gripping the connector, not the cord. 6. CLEAN WITH A SOFT DRY CLOTH Never use solvents such as benzine or thinner to clean the unit. Wipe clean with a soft, dry cloth. 7. ALWAYS USE THE CORRECT POWER SUPPLY Make sure that the power supply voltage specified on the rear panel matches your local AC mains supply. 8. ELECTRICAL INTERFERENCE Since the SPX000 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 SPX1000 further away from the affected equipment. 9. BACKUP BATTERY The SPX1000 contains a long-life lithium battery which maintains the contents of the buffer and user memory locations even when the unit is turned OFF. With normal use the battery should last for approximately 5 years. If the battery voltage falls below the safe level, however, the "*** WARNING *** LOW BATTERY display will appear on the LCD when the power is first turned ON. If this occurs, have the battery replaced by a qualified Yamaha service center. Do not attempt to replace the battery yourself!

IMPORTANT NOTICE FOR THE UNITED KINGDOM
Connecting the Plug and Cord
WARNING : THIS APPARATUS MUST BE EARTHED
IMPORTANT. The wires in this mains lead are coloured in accordance with the following code: GREEN-AND-YELLOW : BLUE BROWN : : EARTH NEUTRAL LlVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug proceed as follows: The wire which is coloured GREEN-AND-YELLOW must be connected to the terminal in the plug or coloured GREEN or GREENwhich is marked by the letter E or by the safety earth symbol AND-YELLOW. The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.

CANADA

THIS APPARATUS COMPLIES WITH THE "CLASS B LIMITS FOR RADIO NOISE EMISSIONS SET OUT IN RADIO INTERFERENCE REGULATIONS. CET APPAREIL EST CONFORME AUX NORMES CLASSE B. POUR BRUITS RADIOELECTRIQUES. TEL QUE SPECIFIER DANS LE REGLEMENT SUR LE BROUILLAGE RADIOELECTRIQUE.
1: CONTROLS AND CONNECTIONS

THE FRONT PANEL

Power ON/OFF Switch

INT PARAMETER Key

Press to turn power ON, press again to turn power OFF. When the power is turned ON, the last program and parameter selected will be automatically recalled.

Input Level Controls

These concentric controls vary the input level of the analog inputs from approximately -90 dB to +l0 dB when the rear-panel input level switch is set to +4 dB, and between approximately -110 dB and -14 dB when the input level switch is set to -20 dB. The inner control adjusts the left channel and the outer control adjusts the right channel.

PARAM Key

Accesses a special set of internal parameters for each effect program. Once the INT PARAM key has been pressed, both the INT PARAM key and SCROLL BACK (7) key can be used to select parameters. Once the desired parameter has been selected its value or setting can be changed using the parameter and keys (9). Details under THE PROGRAMS & PARAMETERS starting on page 12

SCROLL BACK Key

Accesses the main effect parameters for each program. Each time the PARAM key is pressed the next parameter in the selected programs parameter set is called. It is also possible to scroll backward through the parameter set by using the SCROLL BACK key (7). Once the desired parameter has been selected its value or setting can be changed using the parameter and keys (9). The PARAM key is also used for cursor control (forward cursor movement) in some utility functions. Details under THE PROGRAMS & PARAMETERS starting on page 12

BYPASS Footswitch Jack

The triggerable SPX1000 effect programs (gate programs, freeze programs, etc.) can be triggered by the front-panel TRIGGER key, a footswitch connected to the TRIGGER 1 SW jack, or an input signal appearing at the INPUT L and R or DIGITAL IN connectors. The TRIGGER 2 ANALOG jack offers a fourth triggering method: triggering can be accomplished by applying an analog signal of sufficient amplitude to this jack. The MIC/LINE switch changes the sensitivity of the TRIGGER 2 ANALOG input to accept microphone or line-level signals.
MIDI IN and THRU/OUT Terminals
An optional Yamaha FC5 footswitch or equivalent connected to this jack can be used for foot control of the BYPASS function. Details on page 9
MIDI signals from external MIDI devices can be fed to the MIDI IN terminal to remotely select effects, set the pitch shift of the pitch change effects and set the pitch of freeze-program playback. When the switch controlling the remaining MIDI terminal is set to THRU, the terminal simply re-transmits data received at the MIDI IN terminal allowing daisy-chaining of MIDI devices. When set to OUT, the internal RAM memory contents may be dumped to a MIDI data recorder for large-volume, longterm storage. Program data thus stored can be reloaded later via the MIDI IN terminal (see BULK OUT 1 & BULK OUT 2 on page 33). 5

2: THE SPX1000 SYSTEM

MEMORY CONFIGURATION
The SPX1000 has a total of 99 internal memory locations. Locations 1 through 40 are READ-ONLY MEMORY containing 40 preset effect programs. These locations cannot be written to or changed in any way. The preset effect programs contained in memory locations 1 through 40 are: 1. REV 1 HALL 2. REV 2 ROOM 3. REV 3 VOCAL 4. REV 4 PLATE 5. REVS ECHO ROOM 6. EARLY REF. 1 7. EARLY REF. 2 8. EARLY REF. 3 9. GATE REVERB 10. REVERSE GATE 11. DELAY L,C,R 12. STEREO ECHO 13. STEREO FLANGE A 14. STEREO FLANGE B 15. CHORUS 16. STEREO PHASING 17. TREMOLO 18. SYMPHONIC 19. ADR-NOISE GATE 20. PITCH CHANGE 1 21. PITCH CHANGE 2 22. PITCH CHANGE 3 23. FREEZE 1 24. FREEZE 2 25. PAN 26. TRIGGERED PAN 27. DISTORTION 28. MULTI (CHO&REV) 29. MULTI (SYM+REV) 30. MULTI (EXC&REV) 3 1. PLATE + HALL 32. ER + REV 33. ECHO + REV 34. CHORUS + REV 35. PAN + PAN 36. COMPRESSOR 37. LO LVL EXPANDER 38. EXCITER 39. STEREO PITCH 40. STEREO FREEZE This is the normal mode of operation in which left- and rightchannel signals received at the left- and right-channel inputs are passed on to the SPX1000 processing circuitry on the same channels as which they were received.

STEREO REVERSE

In this input mode the received left- and right-channel signals are switched to the opposite channels. The left-channel input is fed to the right-channel processing circuitry and the rightchannel input signal is fed to the left-channel processing circuitry.

MONO LEFT

- blink -

KEY PARAM
The complete procedure for calling and editing parameters is: 1. Select and recall the program to be edited. 2. Press the parameter select key corresponding to the group of parameters to be edited (PARAM, LEVEL, EQ or INT PARAM) and the first of the selected group's parameters will appear on the bottom line of the LCD. 3. Once the desired parameter has been called, its value can be edited using the parameter and keys. The key increases (increments) the value while the key decreases (decrements) the value. Either key can be held down for continuous incrementing or decrementing. While holding down either the or key, pressing the other key ( or ) causes the incrementing or decrementing process to be carried out more rapidly.
BYPASSING THE EFFECT There are two ways to switch the selected effect in and out: 1) with the control panel BYPASS switch and 2) with a footswitch connected to the connector-panel BYPASS footswitch jack. An optional Yamaha FC5 Footswitch can be used for foot-bypass control. In either case + when the control-panel BYPASS key or BYPASS footswitch is pressed + the LED in the BYPASS key will light to indicate that the selected program is currently being bypassed and the input signal is directly routed to the output terminals (i.e. the effect is OFF). Press the BYPASS key or footswitch a second time to turn off the BYPASS Key LED and turn the effect back ON.
3. Press the STORE key to store the edited effect in the selected memory location. The title of the effect stored will appear on the LCD (this may later be edited to create your own effect title using the UTILITY mode TITLE EDIT function described on page 31). The LED memory number display will stop flashing and the stored memory location will become the active effect.
You CANNOT store edited data to memory locations 1 through 40. If you attempt to do this the LCD will show *** READ ONLY ***.
In this way you can go through and edit any number of the parameters to create the required effect. If, however, you select and recall a new program without first storing your edited parameters in a memory location between 41 and 99, any changes you have made will be lost and will have to be re-programmed. If you want to keep an edited program, use the STORE operation described below.
Once an effect has been stored in a memory location between 41 and 99, its parameters can be further edited in the new memory location. Such changes will be lost if a different effect is selected and recalled, however, unless the STORE function is used to store the changes. Changes may be stored to the current memory location number (41 99) simply by pressing the STORE key.
EXTERNAL CONTROL ASSIGNMENT

a plate reverberator (REV 4 PLATE), and a special echo room (REV 5 ECHO ROOM) in which you have extensive control over the rooms dimensions and other parameters. PARAMETERS ACCESSED BY THE PARAM KEY (Except 5. REV5 ECHO ROOM)
Reverb Time (REV TIME): 0.seconds (1 REV1 HALL, 3 REV3 VOCAL) 0.seconds (2 REV2 ROOM, 4 REV4 PLATE)

5. REV5 ECHO ROOM

Reverb Time (REV TIME): 0.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): 0.1 1.0
Room Width (WIDTH): 0.5 100.0 meters Room Height (HEIGHT): 0.5 100.0 meters Room Depth (DEPTH): 0.5 100.0 meters
These parameters make it possible to specify the main dimensions of the echo room in meters. Basically, the larger the dimensions of the room the longer the reverb sound.
Wall Variance (WALL VARY): 0 30
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. These two parameters allow alteration of the high-frequency and lowfrequency reverb times in relation to the overall reverb time.
Diffusion (DIFFUSION): 0 10
Irregularity factor refers to the relationship of the wall surfaces in the echo room. At a setting of 1 all walls are parallel. Higher settings increase the angles between the wall surfaces, causing a distinct change in the reverb sound.
Listening Position (LIS. POSI.): FRONT, CENT., REAR
The complexity of the many reflections that make up reverberation varies according to the shape of the room and its contents. In the SPX1000 the term diffusion refers to the complexity of these reflections. If the DIFFUSION parameter is set to 0, minimum complexity and therefore a clearer, more straightforward reverb effect is produced. As the DIFFUSION value is increased, the complexity of the reflections increases producing a thicker, richer sound.
Initial Delay (INI DLY): 0.milliseconds
Allows position the listener to the front, center or rear of the echo room in relation to the source sound.

1st Delay Time (1 DLY): 0.milliseconds 2nd Delay Time (2 DLY): 0.milliseconds
Determines the time delay between input of the original note and output of the first or second pitch-shifted note.
1st Feedback Gain (1 F.B.): -99 +99 2nd Feedback Gain (2 F.B.): -99 +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.
1st Level (1 LEVEL): 0 100% 2nd Level (2 LEVEL): 0 100%
22. PITCH CHANGE 3 PITCH CHANGE 3 offers the thickest and most complex sound by allowing the creation of three pitch-shifted notes in addition to the direct sound.
1st Pitch Shift (1 PITCH): -24 +24 2nd Pitch Shift (2 PITCH): -24 +24 3rd Pitch Shift (3 PITCH): -24 +24
These parameters determine the levels of the first and second pitch-shifted notes.
Set the pitch of the first, second or third pitch-shifted note between two octaves below (-24) and two octaves above (+24) the input note.
1st Fine Tuning (1 FINE): -100 +100 2nd Fine Tuning (2 FINE): -100 +100 3rd Fine Tuning (3 FINE): -100 +100
21. PITCH CHANGE 2 Like the PITCH CHANGE 1 program, PITCH CHANGE 2 produces 2 pitch-shifted notes in addition to the original input note. In this program, however, the two pitch-shifted notes are independently fed to the left and right channel outputs (the direct sound is positioned at the center of the stereo sound field) for a true stereo harmony effect. 20
Permit fine tuning of the first, second or third pitch-shifted note in l-cent steps.
1st Delay Time (1 DLY): 0.milliseconds 2nd Delay Time (2 DLY): 0.milliseconds 3rd Delay Time (3 DLY): 0.milliseconds
Determines the time delay between input of the original note and output of the first, second or third pitch-shifted note.
1st Level (I LEVEL): 0 100% 2nd Level (2 LEVEL): 0 100% 3rd Level (3 LEVEL): 0 100%
Base Key (BASE KEY): OFF, C1 C6
These parameters determine the levels of the first, second and third pitch-shifted notes.
39. STEREO PITCH The STEREO PITCH program produces a smooth pitch shift effect rather than an abrupt shift from note to note. The parameters affect both the left and right channels simultaneously.

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 SPX1000 MIDI IN terminal, and the SPX1000 must be set to receive on the MIDI channel on which the synthesizer is transmitting). If, for example, the BASE KEY parameter is set to C4, pressing the C3 key on the synthesizer (C3 is one octave lower than C4) will set the pitch change value to -12. Pressing D4 on the keyboard would produce a pitch increase of one whole-tone (+2). When two keys are pressed, the highest note determines the pitch of the 1 PITCH or L PITCH sound, and the lower note determines the pitch of the 2 PITCH or R PITCH sound. With the STEREO PITCH program the last note pressed takes priority. If a key more than two octaves higher or lower than the BASE KEY is pressed, the resultant pitch change setting will still be within the -24 to +24 range, as shown in the illustration below. If the BASE KEY parameter is set OFF, pitch cannot be controlled via the MIDI IN terminal.

FREEZE PROGRAMS

Pitch Shift (PITCH): -24 +24
Set the pitch of the pitch-shifted note between two octaves below (-24) and two octaves above (+24) the input note.
Fine Tuning (PITCH FINE): -100 +100
23. FREEZE 1 24. FREEZE 2 40. STEREO FREEZE The FREEZE programs allow sampling (digital recording) and playback of sounds received at the SPX1000s inputs. The FREEZE 1 and FREEZE 2 programs permit sampling for a maximum of 5.8 seconds, while the STEREO FREEZE program allows sampling for a maximum of 2.9 seconds. The FREEZE 1 and FREEZE 2 programs differ only in the playback functions provided.
Permit fine tuning of the pitch-shifted note in l-cent steps.
Delay Time (DELAY): 0.milliseconds
Determine the time delay between input of the original note and output of the pitch-shifted note.
Feedback Gain (FB GAIN): -99 +99
23. FREEZE 1 The FREEZE 1 program allows single playback of the sampled sound, with adjustable start and end points.
Record Mode (REC. MODE): MANUAL, AUTO
Determines how sampling is to be triggered. If MANUAL is selected, sampling is initiated either by pressing the parameter key, the TRIGGER key, or a footswitch connected to the rear-panel TRIGGER 1 SW jack. If AUTO is selected, sampling is automatically triggered by any input signal of sufficient level. 21
Trigger Delay (TRG. DLY): -5800 +1000 milliseconds

Overdub Ready (OVERDUB):

This parameter sets a delay between triggering and actual initiation of the sampling process. If a negative value is specified, input signals are temporarily stored and the sound is sampled from the specified time before the trigger occurs.

Playback Pitch Fine Tuning (PITCH FINE): -100
+100 Permits fine tuning of the playback pitch in one-cent increments (a cent is 1/100th of a semitone). 24. FREEZE 2 The FREEZE 2 program allows looped playback of the sampled sound. The REC. MODE, TRG. DLY, RECORD, OVERDUB, START, END, PITCH and PITCH FINE parameters of the FREEZE 2 program are exactly the same as those of the FREEZE 1 program. Only the following parameters are different.
Playback Loop Point (LOOP): milliseconds TRG. DLY: -2900 +1000 milliseconds START, END: milliseconds
Please note that the FREEZE 2 program has only the BASE KEY internal parameter.
Input Trigger (INPUT TRG): OFF, ON
As in the END parameter of FREEZE 1, this parameter sets the end point of the sampled sound, but in the FREEZE 2 program playback is immediately resumed from the START point as soon as the LOOP point is reached. The sampled sound will therefore play continuously as long as the trigger is held ON.
Loop Fine Adjust (LOOP FINE): -200 +200
Determines whether playback can be triggered by an input signal of sufficient level.
Analog Trigger (ANALOG TRG): OFF, ON
Determines whether playback can be triggered by an analog signal applied to the rear-panel TRIGGER 2 ANALOG jack.
This parameter allows fine adjustment of the LOOP end point, making it possible to create the smoothest transition between the LOOP and START points.
This parameter makes it impossible to re-trigger playback function until the programmed time has elapsed.
This parameter sets the BASE KEY for an external MIDI synthesizer used to control pitched playback of the sampled sound (the MIDI OUT terminal of the synthesizer must be connected to the SPX1000 MIDI IN terminal, and the SPX1000 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 cause the sampled sound to play one octave lower than its normal pitch. If a key more than two octaves higher or lower than the BASE KEY is pressed, the resultant pitch change setting will still be within the -24 to +24 range, as shown in the illustration below. If the BASE KEY parameter is set OFF, pitch cannot be controlled via the MIDI IN terminal.

PAN PROGRAMS

25. PAN 26. TRIGGERED PAN There are two Pan Programs: 23
25. PAN This is a very sophisticated pan program that allows creation of rotary pan in addition to straightforward pan effects.
Pan Type (TYPE): L R-TURN R, L R, L R, L-TURN,
This parameter makes it impossible to re-trigger the effect until the programmed time has elapsed.

Determines how rapidly the panning effect begins.
Panning Time (PANNING): milliseconds
Determines the direction in which the sound sweeps across the stereo sound field. The L-TURN and R-TURN parameters produce a pan which seems to rotate toward and away from the listener in the specified direction.
Pan Speed (PAN SPEED): 0.Hz
Determines how long it takes to complete the main portion of the pan.
Determines the speed of the end of the pan. Sets the speed of the PAN effect (i.e. how rapidly the signal sweeps from channel to channel).
Front/Rear Depth (F/R DEPTH): 0 100% Pan Direction (DIRECTION): L R, L R
Determines the direction in which the sound sweeps across the stereo sound field.
Left/Right Channel Balance (L/R BALANCE): 0 100%
When the L-TURN or R-TURN pan type is selected, this parameter sets the apparent depth of the sweep from front to rear.
Left/Right Depth (L/R DEPTH): 0 100%
Sets the depth of the pan sweep from left to right and right to left.
Determines the maximum extent of the pan sweep. For example, a setting of 100% produce a full pan from the extreme left to right or vice versa, while a setting of 50% a pan that is more restricted in its width across the stereo sound field.
Analog Trigger Level (A. TRG LEVEL): 0 100%
When an analog signal applied to the rear-panel TRIGGER 2 ANALOG jack is used to trigger the pan effect, this parameter determines the level of the input signal required to trigger the effect. At 100% only very high-level input signals will trigger the effect, while at 1% even the tiniest input signal will trigger the effect. When this function is used the TRG. LEVEL parameter should be set to the highest value (100%) so that only signals applied to the TRIGGER 2 ANALOG jack will activate the effect.
26. TRIGGERED PAN When triggered, this program automatically pans the sound image between left and right or right and left in the stereo sound field with programmable attack, pan and release rates.
Trigger Level (TRG. LEVEL): 1 100%
When this parameter is turned ON, a KEY ON EVENT message from an external MIDI keyboard can be used to trigger the pan. A KEY ON EVENT message is transmitted whenever a note on a MIDI keyboard is played. NOTE: This effect can also be triggered by the front-panel TRIGGER key or a footswitch plugged into the rear-panel TRIGGER 1 SW jack.

Initial Delay Time (DELAY): 0.milliseconds
Determines the time delay between the direct sound and the compressed effect sound.
Detect Delay (DET. DLY): -50 +50 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.
This parameter sets an initial delay between the time the input signal begins (the time the THRESHOLD level is exceeded) and the time the compression effect begins. This delay can be used to allow the initial attack of an instrument to come through completely unaffected while the rest of the signal is compressed. A minus DET DLY setting causes the compressed sound to appear before the direct instrument sound.
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 RELEASE 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 compression effect begins. Set at a low level (-48 dB) all input signals will be compressed. At a higher level, only those signals exceeding the THRESHOLD level will be compressed, thus producing a limiting effect. The THRESHOLD level must be set to match the level and characteristics of the instrument being used, as well as the desired effect.
PARAMETERS ACCESSED BY THE INT PARAMETER KEY
Detector High Pass Filter Frequency (DET. HPF): THRU, 500 Hz 8 kHz
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.
Allows compression to be applied to a specific range of frequencies. Compression is only applied to frequencies higher than the set DET. HPF frequency. Compression is applied to all frequencies when this parameter is set to THRU. 29
37. LO LVL EXPANDER The EXPANDER program allows efficient suppression of low-level noise, contributing to a cleaner-sounding overall signal. This i a stereo expander in which the highest signal level left- or right-channel - is used for gain control. NOTE: The EXPANDER program has no internal parameters.
Expansion Threshold (THRESHOLD): -72 -30 dB

STEREO PROGRAMS

39. STEREO PITCH Described under PITCH CHANGE PROGRAMS on page 21. 40. STEREO FREEZE Described under FREEZE PROGRAMS on page 23.
Sets the expansion threshold. Expansion will be applied to all signal levels below the set threshold.
Expansion Ratio (RATIO): 1 5
Determines the degree of expansion applied. A setting of 1 produces no expansion, while the maximum setting of 5 produces the greatest degree of expansion (i.e. greatest attenuation of signals below the threshold).

DIGITAL IN ATT. USER ER EDIT MEMORY PROTECT MIDI CONTROL MIDI PGM CHANGE MIDI CTRL ASSIGN BULK OUT 1 BULK OUT 2 F.SW MEMORY RCL exit UTILITY mode. It is also possible to scroll forward or backward through the utility functions by using the program select and keys. The UTILITY mode can be exited at any time by pressing and holding the UTILITY key until its indicator goes out and the UTILITY mode is exited. TITLE EDIT This function makes it possible to create original titles for programs you edit and store in memory locations 41 through 99. The TITLE EDIT function is the first one to appear when the UTILITY key is pressed. The "TITLE EDIT" function name appears on the bottom line of the LCD, and an underline cursor appears at the first character position on the top line. The PARAM and SCROLL BACK keys are used to move the cursor back and forth, while the parameter and keys are used to select a new character for the current cursor position. Simply move the cursor to each character position in turn, selecting the appropriate characters at each position. The available characters are as follows:
NOTE: If you attempt to use the TITLE EDIT function while a ROM memory location (140) is selected, the "RAM (4199) ONLY" display will appear on the top line of the LCD and title editing will not be possible. INPUT MODE Described under "INPUT MODES" on page 14.

MEMORY PROTECT

The MEMORY PROTECT function must be OFF prior to performing a STORE operation. If you attempt to execute a STORE while MEMORY PROTECT is ON, the PROTECTED display will appear and the STORE operation will be aborted. 1. Press the UTILITY key a few times until the MEMORY PROTECT function appears. 2. MEMORY PROTECT can be turned ON by pressing the parameter key and off by pressing the parameter key.
Bank Selection and MIDI Channel Programming
1. Press the UTILITY key until the MIDI CONTROL function appears. 2. The underline cursor should be under the BANK parameter. Use the parameter and keys to select the bank you wish to program. 3. Move the cursor to the ch= parameter by pressing the PARAM key, then use the parameter and keys 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. The underline cursor can be moved back to the BANK parameter if necessary by pressing the SCROLL BACK key.
Assigning Effects to MIDI Program Change Numbers
MIDI CONTROL & MIDI PGM CHANGE
The SPX1000 makes it possible to select specific programs via external MIDI control. You can set up the SPX1000 for example, so that when you select a voice on a synthesizer the most appropriate effect for that voice is automatically selected. This is accomplished because each time you select a voice on your MIDI synthesizer it transmits the corresponding MIDI PROGRAM CHANGE NUMBER. The SPX1000 receives this PROGRAM CHANGE NUMBER and selects the effect program that you have assigned to it using the MIDI PROG CHANGE function which will be described below. The SPX1000 also accepts MIDI KEY ON EVENT messages to trigger some of the gate effects, and MIDI KEY ON NUMBERS to set the PITCH parameter of the PITCH CHANGE effects. The SPX1000 actually can be programmed with four completely independent sets of MIDI PROGRAM CHANGE NUMBER/MEMORY NUMBER assignments. Each of these is contained in a different bank: A, B, C or D. Each BANK may also be programmed to receive on a different MIDI channel. An example of the way the four banks may be programmed with different receive channels and program number/memory number assignments is given below:

DATA NAME BANK No. DATA CHECK SUM EOX
11110000(FOH) 01000011(43H) n=0(channel numberl)~15 (channel numberl6) OOOOnnnn(OnH) 01111110(7EH) 00000001(01H) 00001010(OAH) 01001100(4CH)"L" 01001101(4DH)"M" 00100000(20H)SPACE 00100000(20H)SPACE 00111000(38H)"8" 00110011(33H)"3" 00110111(37H)"7" 00111000(38H)"8" 01010100(54H)"T" Z=BANK 1~4(1=A, 2=B, 3=C, 4=D) Ozzzzzzz Oddddddd 128BYTE Oddddddd Oeeeeeee 11110111(F7H)

Add-16

User ER Pattern Bulk Data Transmission is enabled on the MIDI channel of the currently selected bank. Data is transmitted when BULK OUT 2 is displayed and BULK OUT is executed, and when the USER ER PATTERN BULK DUMP REQUEST message is received. The data to be transmitted is that of the indicated pattern number. If the pattern number is " * " , patterns 1 - 4 ( A - D ) are transmitted in succession.
11110000(F0H) 01000011(43H) 0000nnnn(0nH) n=0 (Channel No. 1)~15 (Channel N o. 16) 01111110(7EH) 00000001(01H) 01101110(6EH) 01001100(4CH)"L" 01001101(4DH)"M" 00100000(20H)SPACE 00100000(20H)SPACE 00111000(38H)"8" 00110011(33H)"3" 00110111(37H)"7" 00111000(38H)"8" DATA NAME 01000101(45H)"E" ER PATTERN No. Ozzzzzzz Z=ER PATTERN 1~4(1=A, 2=B, 3=C, 4=D) DATA 0ddddddd 228BYTE 0ddddddd CHECK SUM Oeeeeeee EOX 11110111(F7H)

Add-17

System Setup Bulk Data Transmission is enabled on the MIDI channel of the currently selected bank. Data is transmitted when BULK OUT 2 is displayed and BULK OUT is executed, and when the SYSTEM SETUP DATA DUMP REQUEST message is received.
11110000(F0H) 01000011(43H) 0000nnnn(0nH) n=0(Channel NO.1)~15(Channel N o. ) 01111110(7EH) 00000000(00H) 00011100(1CH) 01001100 ( 4 C H ) " L " 01001101 ( 4 D H ) " M " 00100000 (20H)SPACE 00100000(20H)SPACE 00111000(38H)"8" 00110011(33H)"3" 00110111(37H)"7" 00111000(38H)"8" DATA NAME 01010011(53H)"S" 00100000(20H)SPACE SOFT VERSION No. Ovvvvvvv SOFT VERSION No. Orrrrrrr DATA Oddddddd 16BYTE Oddddddd CHECK SUM Oeeeeeee EOX 11110111(F7H) 59 Memory/All Banks/All ER Patterns/System Setup Data/Bulk Data Transmission is enabled on the MIDI channel of the currently selected bank. Data is transmitted when BULK OUT 1 is displayed and ALL BULK OUT is executed. The data to be transmitted is the programs of Memory Nos. 41 - , all programs of the 4 bank change charts, the four ER patterns, and the System Setup data. The transmission order is as follows: programs of Memory Nos. 41 to , Bank A program change chart to Bank D program change chart, ER pattern A to ER pattern D , and System Setup data.

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STATUS NOTE No. VELOCITY
1001nnnn ( 9 n H ) 0kkkkkkk ovvvvvvv
n=0(Channel No.1)~15(Channel N o. ) k=0(C-2)~127 ( G 8 ) v=0~127
Note Off This message is used when playback of the Memory No. 24 FREEZE 2 is finished. The velocity value is ignored. The reception conditions are the same as in Note On.
l000nnnn (8nH) 0kkkkkkk ovvvvvvv
n=0(Channel No.1)~15(Channel N o. ) k=0(C-2)~127(G8) v=0~127
Control Change Reception is enabled on the MIDI channel of the currently selected bank. When receiving, parameters can be controlled. Change them by using the corresponding controller based on the Control Assignment List.
1011nnnn (BnH) STATUS CONTROL N O. 0ccccccc CONTROL VALUE 0vvvvvvv
n=0(CHANNEL NO.1)~15(CHANNEL N O. ) c=0~120 v=0~127
Program Change Reception is enabled on the MIDI channel of the currently selected bank. When receiving, the desired program can be loaded, based on the program change chart of that particular bank.

Add-23

STATUS PROGRAM No.

1100nnnn (CnH) 0ppppppp

n=0(CHANNEL NO.1)~15(CHANNEL N 0. ) p=0~127
4-2. System Information 1 ) System exclusive messages Memory Bulk Dump Request Reception is enabled on the MIDI channel of the currently selected bank. When this message is received, BULK OUT is executed for the program of the indicated memory number.
STATUS ID No. SUB STATUS FORMAT N o.

DATA NAME MEMORY No. EOX

0010nnnn 0mmmmmmm 11110111
(F0H) (43H) (2nH) n=0(Channel No.1)~15(Channel N o. ) (7EH) (4CH)"L" (4DH)"M" (20H)SPACE (20H)SPACE (38H)"8" (33H)"3" (37H)"7" (38H)"8" (4DH)"M" M=41 (memory No. ) ~ (MEMORY No. ) (F7H)
Program Change Chart Bulk Dump Request Reception is enabled on the MIDI channel of the currently selected bank. When this message is received, BULK OUT is executed for the program change chart (the chart showing the correspondence between program numbers and memory numbers) of the indicated bank.

Sound Inventory
Consoles: Digidesign (Avid) DSHOW Profile Yamaha PM5DRH Digidesign (Avid) SC48 Yamaha LS9-32
Yamaha DM2000 Midas H2000 Midas Venice 240 Yamaha GA 32/12 Behringer UB2442FX
Midas H3000 Midas Venice 320 Midas Venice 160 Behringer SL3242FXPro Mackie 1604/1202/1646
Speakers: L-Acoustics V-DOSC L- Acoustics ARC L-Acoustic SB28 L- Acoustics MTD115b L-Acoustics SB118 EAW KF850 EAW UB 12 Mackie SRM450 L- Acoustics dv-DOSC L- Acoustics SB218 L- Acoustics dvSUB L-Acoustics Kudo EAW BH853/KF853 EAW KF300 EAW SB250 SUB Mackie SRM350
Monitors: D&B Max Shure PSM700 Mackie SRM150 Page 1 of 3 Clair 12 AM Sennheiser EW300 G2
Amplifiers: LA-RAK Crown MA5000VZ Clair/QSC Monitor Amp Racks 4/8 mix Crown MA5002VZ Crown MacroTech 36x12
Processing: Dolby Lake Processor B.S.S. DPR 402 KT DN 716B KT DN514 Gate DBX 160A DBX 1066 Yamaha SPX 990 Yamaha SPX 90 Yamaha Pro 3 Behringer Gate/Comp Roland SDE 1000/300 TC Electronics TC2290 TC Electronics M3000 Eventide H3000D/SE XTA DP226 & 428 KT DN 7204 DDL KT DN 370 EQ KT DN504 Comp DBX160XT Yamaha SPX 1000 Yamaha SPX 900 Yamaha Rev 5, Rev 7 Lexicon PCM 81/91 Dynamite Comp/Gate Roland SRV 2000 TC Electronics M-One TC Electronics D-Two Summit DCL200

Accessories: Page 2 of 3

Radial Direct Boxes TP Com Station Countryman DI Shure UR124 Shure UR KSM9 Shure UR Beta 87 Shure UR WL50 Denon CDR-W1500 Clear Com Stations AKG, EV, Senn, Shure Mics Shure UR KSM9 Wireless Mics Shure UR Beta 58 Shure UR B98 Shure UR WL 185

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