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. Recall Key Press this key to recall the program that resides in the selected memory number. Utility Key Multi-purpose key accesses MIDI control functions, 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 selection. 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 INPUT LEVEL control setting. 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 recommended. Bypass Footswitch Jack Facilitates foot control of the BYPASS function described above. A Yamaha FC-5 Foot Controller is recommended.

REAR PANEL

Remote Control Connector Permits remote access to SPX90 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.
MIDI THRU Connector Re-transmits MIDI data received at the MIDI IN connector to subsequent MIDI instruments. MIDI IN Connector Permits SPX90 effect programs to be automatically 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. Output Level Selector ( 20 dB, + 4 dB) Facilitates SPX90 source/line level (sensitivity) matching.

This LED lights whenever a remote control key is pressed. Preset keys.
It is possible to call user programs when this LED is lighted.
When this key is pressed, the USER LED will light and it becomes possible to select user programs 31 through 37.
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 SPX90 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. Input Level Selector ( 20 dB, + 4 dB) Permits SPX90 source/line level (sensitivity) matching. Input jack This standard unbalanced mono 1/4 phone jack accepts the input signal to the SPX90. Input impedance is 10 k-ohms.
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
USER LED ON User programs 3 1. User program 3 2. User program 3 3. User program 34. User program 35. User program 36. User program 37. User program
30. PARAMETRIC EQ (Programs 8 through 30 selected sequentially by pressing OTHERS/ -37key)

BASIC OPERATIONS

Before actually selecting or editing programs on your SPX90, 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 SPX90 signal will be fed.

PRESET PROGRAM SELECTION

Your SPX90 is equipped with a selection of 30 outstanding preset effect programs which are listed in the ROM CONTENTS AND CONTROLABLE PARAMETERS on page 24. The preset (and user) programs 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.
EDITING: CHANGING PARAMETERS
The SPX90 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 characteristics of your musical equipment. We therefore recommend that you examine each preset effect program, and observe how these parameters affect the sound. You will soon discover many new and exciting applications for the SPX90s preset effect programs. 1. Select and recall desired program as described above. 2. Press PARAMETER key to access the various parameters available in the selected program. Each time the PARAMETER key is pressed, the next parameter in the list is called.

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.
3. Use PARAMETER INCREMENT/DECREMENT keys to set desired value of the selected parameter.
STORE: SAVING EDITED PROGRAMS
Once youve 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.
NOTE: A description of each parameter and its effect will be given in the PROGRAMMABLE PARAMETERS section, beginning on page 10.
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 SPX90 will display the # 1 ~ # 30 READ ONLY error message. : SPX90 has an Edit Title Function, so you can which allows you to provide your own titles for edited programs. (See the UTILITY function on page 8.)
OUTPUT BALANCE AND LEVEL PROGRAMMING
The BALANCE key selects the BALANCE and OUTPUT 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 LVL = 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 BALANCE and OUTPUT LEVEL functions are also bypassed. The BYPASS function can also be activated via a footswitch connected to the BYPASS jack. A normallyclosed-type footswitch such as the Yamaha FC-5 must be used.

UTILITY FUNCTIONS

The UTILITY key provides access to four utility functions. These functions are selected in the following sequence each time the UTILITY key is pressed: MIDI CONTROL Normal mode EDIT TITLE MIDI PROGRAM CHANGE FOOTSWITCH MEMORY RECALL Normal mode. The UTILITY key LED will light during selection of the four utility functions, and 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.

MIDI FUNCTIONS

With the SPX90 it is possible to select specific programs via external MIDI control. For example, you can set the SPX90 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 SPX90 is detecting the MIDI Program Change signal. For the following programs only, the SPX90 also detects the MIDI Note ON/OFF signal: * GATE programs (GATE ON/OFF). * PITCH programs (sets 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 SPX90. For example, you could program the four banks with different combinations as shown in the chart below.

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:
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.
MIDI Bank and Channel Programming When this function is called, the LCD will appear as follows:
Use the PARAMETER INCREMENT/DECREMENT keys to set the MIDI program number (PGM), and the MEMORY INCREMENT/DECREMENT keys to select the SPX90 memory number (MEM) to be called when that program number is received. For example, if PGM 12 = MEM 4 is set, SPX90 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 SPX90 memory number range is from 1 to 90.
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.

FOOTSWITCH MEMORY RECALL RANGE
The SPX90 permits memory number selection via a footswitch plugged into the front-panel MEMORY/ TRIGGER jack. The fourth function accessed by the UTILITY key FOOTSWITCH MEMORY RECALL permits setting the range of memory numbers to be selected via the footswitch.
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: 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. 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: In this case the sequence is: 34 34, etc. 31
DESCRIPTION OF PROGRAMS AND PARAMETERS
The preset programs in the SPX90 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 SPX90: invisible parameters (non-programmable, fixed-value parameters) and programmable parameters (those you can edit, or modify).
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 SPX90 creates extremely vibrant, natural sounding reverb.
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.
1. REVERBERATION TIME (R/T). Range: 0.3 ~ 99.0 sec The length of the time it takes for the level of reverberation at 1 kHz to decrease by 60 dBvirtually 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 frequency 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 frequencies in proportion to the mid-frequency reverb time. 3. DELAY. Range: 0.1 ~ 50.0 msec 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 SPX90, this is known as the DELAY time. 4. HPF (High Pass Filter). Range: THRU, 32 Hz ~ 1 kHz Permits cutting the low frequency content of the reverb signal below the set frequency. When set to THRU, the HPF is OFF. 5. LPF (Low Pass Filter). Range: 1 kHz ~ 11 kHz, THRU Permits cutting the high frequency content of the reverb signal above the set frequency. When set to THRU, the LFP is OFF.

1. TYPE. Range: HALL, RANDOM, PLATE, REVERSE 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 reflections that increase in level, like the effect produced by playing a recorded reverb/echo backwards). See the E/R Mode chart on page 26. 2. ROOM SIZE. RANGE: 1.0 ~ 20.0 The ROOM SIZE parameter sets the time gaps between the early reflections directly proportionate 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. 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 environment containing many highly polished surfaces (tiles, glass, etc). 4. DELAY. Range: 0.1 ~ 400 msec The time delay between the direct sound of the instrument and the first reflection to reach the listeners ear. 5. LPF Range: 1 kHz ~ 11 kHz, THRU Same function as the LPF parameter of the pro10 grams.
This effect, commonly used in contemporary recordings, produces independently variable left- and rightchannel signal delays. The result is an intriguing doubled sound.
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.
1. LEFT CHANNEL DELAY TIME. Range: 0.1 ~ 500.0 msec Permits highly accurate setting of the left channel delay following the direct sound. 2. LEFT CHANNEL FEEDBACK GAIN. Range: 99% ~ + 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 ~ 500.0 msec Sets the delay time of the right channel. 4. RIGHT CHANNEL FEEDBACK GAIN. Range: 99% ~+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.

tion 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 + 12 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.
The FREEZE programs permit recording up to a 500-millisecond signal in the SPX90 memory; and playing it back as required. The FREEZE programs have two basic steps: RECORD and PLAY. With the FREEZE A program it is possible to program a specific segment of the recorded 500-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 changed 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 a Parameter Increment panel key is pressed to begin recording, while in the AUTO mode recording begins automatically when the SPX90 detects an input signal. 2. TRIGGER DELAY Parameter. Range: 500 ~ 500 msec. This parameter determines the actual point at which recording begins in relation to the trigger signal. If TRG DLY is set at 0, 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.
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.

TRIGGERING

MANUAL Mode To actually begin recording if the MANUAL mode has been selected, press the PARAMETER INCREMENT key. The SPX90 will record for 500 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 FC-5 works as the trigger switch when it is pressed. AUTO Mode If the AUTO mode has been selected, the SPX90 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 automatically after 500msec and the display says OK.

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 increases 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.
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 ~ 50.0 msec 4. HPF (High Pass Filter). Range: 32 Hz ~ 1.0 kHz, THRU 5. LPF (Low Pass Filter). Range: 1.0 kHz ~ 11 kHz 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. 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 ~ 100 msec 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.

6. DECAY LEVEL. Range: 0 ~ 100% Determines the level at which the gate remains open for the HOLD TIME. The lower the value the lower the HOLD gate level. 7. HOLD TIME. Range: 1 msec ~ 30,000 msec Determines how long the gate stays open, allowing the input signal to pass. 8. RELEASE TIME. Range: 5 msec ~ 32,000 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. 3. 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. 5. HOLD TIME. Range: 1 msec ~ 30,000 msec Determines how long the maximum compression effect is maintained after the ATTACK TIME has elapsed. 6. HOLD LEVEL. Range: 0 ~ 100% 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.

AUTO 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 ~ 20.0 Hz Sets the speed of pan. 2. DIRECTION. Range: L R, L R, L Determines the direction of pan. R

TRIGGERED PAN

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 mec ~ 32 sec Determines how quickly or slowly the pan effect reaches maximum depth after it is triggered. 5. PANNING TIME. Range: 5 msec ~ 32 sec Determines how long the maximum-depth pan effect remains active. 6. RELEASE TIME. Range: 5 msec ~ 32 sec Determines how long it takes for the pan effect to fade out after the PANNING TIME has elapsed. 7. DIRECTION. Range: L R, L Sets the direction of pan. R

3. DEPTH. Range: 0 ~ 100% Sets the degree of level variation. The higher the value, the stronger the pan effect.
8. L/R BALANCE. Range: 0 ~ 100% Determines the volume balance between the left and right channels. 9. MIDI TRIGGER. Range: ON, OFF When ON, a KEY ON signal from an external MIDI keyboard can be used to trigger the pan effect. NOTE: To use footswitch FC-5, connect the FC-5 to the MEMORY/TRIGGER FOOT Switch Jack and press the Foot Trigger key.
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 vibrato 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.
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 FRQ. 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 amount 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. 5. HI FRQ. Range: 800 Hz ~ 8.0 kHz Determines the center frequency of the highfrequency 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 kHz ~ 11 kHz, THRU Determines the cutoff frequency of the low-pass filter. 9. DELAY. Range: 0.1 ~ 400.0 msec Sets the delay time of equalized signal following the direct signal.

SAMPLE APPLICATIONS

MIDI KEYBOARD PERFORMANCE SYSTEM
In this system the SPX90 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 SPX90, permitting automatic selection of different effects programs for specific voices selected at the keyboard. The SPX90 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 SPX90 could be patched into the effects loop of the keyboard mixer. The MIDI keyboards could be chained MIDI IN MIDI THRU MIDI IN MIDI THRU together via the MIDI THRU terminals (MIDI OUT etc.) with the SPX90 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 SPX90 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 auxilliary send bus on the mixing console, and its stereo outputs can be fed back to the corresponding effects or auxilliary return inputs on the console. Assuming the console used has independent effects or auxilliary send level controls on each input channel, it is possible to add the required amount of SPX90 effect to each input. It is also possible to use two SPX90 units for full stereo reverb and effects in a larger system.

(SYSTEM DIAGRAM 2)

RECORDING SYSTEM
In a recording system it is most desirable to have the SPX90 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 SPX90 connected directly in line between the source and the mixing console inputs, while in other situationsfinal mixdown, for examplethe SPX90 should be patched into the mixing consoles effects loop so it may be applied to the entire mix. Naturally, the SPX90 is also an ideal choice for the truly modern digital sequencer recording system, too.

(SYSTEM DIAGRAM 3)

SPECIFICATIONS
INPUT Number of Channels Nominal Level Impedance Level Control Level Monitor A/D CONVERSION Sampling Freq. Quantization Band Width Number of Channels D/A CONVERSION Number of Channels Sampling Freq. Quantization Band Width OUTPUT Number of Channels Nominal Level Impedance Mixing Bypass MEMORY Presets (ROM) User Memory (RAM) Unbalanced x 1 (Phone Jack) 20 dBm/+4 dBm, Selectable 10 k-ohms Volume, Max. Gain + 12 dB 7 points LED ELECTRICAL CHARACTERISTICS Reverb: more than 75 dB Dynamic Range Delay : more than 81 dB Distortion Bypassed Signal: less than 0.01% Effect Signal : less than 0.03% Bypassed Signal: 20 Hz to 20 Band Width kHz Effect Signal : 20 Hz to 12 kHz POWER SUPPLY U. S. & Canadian Models General Model POWER CONSUMPTION U. S. & Canadian Models General Model DIMENSIONS (W x H x D) WEIGHT OPTIONAL REMOTE CONTROL (model RC7) 1~~ 90 (Non Volatile) All parameters except Input Level, can be memorized Key On triggers the program 18, 19, 20, 28 and 29 MIDI Channel (1 to 16, OMNI), (4 banks), Program Number (1 to 128) Note on/off is recognized only for pitch change A, D and freeze B

31.25 kHz Linear 16 Bit 20 Hz to 12 kHz 1
2 31.25 kHz Linear 16 Bit 20 Hz to 12 kHz
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 Ibs) PRESET PROGRAM 1 ~ 30, USER MEMORY 31 ~ 37
Unbalanced x 2 (Phone Jack) 20 dBm/+4 dBm, Selectable 600 ohms Direct Signal, Effect Signal ON/OFF

MIDI CONTROL

* NOTE: Since natural sounding reverberation is mixed with the direct sound, and hence does not constitute 100% of the sound, the effective dynamic range will nearly always exceed 90 dB. ** 0 dBu is 0.775 volts RMS. This value represents voltage across a high impedance input. dBu is the equivalent of dBu if specified across a 600 ohm load.

FRONT PANEL Display

Knob Keys
16 character 2 lines LCD x 1, 2 digits numeric LED for Memory No., 7 points level meter LED Input Level Volume Parameter/Balance/Data Increment/Data Decrement, Memory Store/ Recall/Data Increment/Data Decrement, Utility/Foot Trigger/ Bypass
ROM CONTENTS AND CONTROLABLE PARAMETERS
EARLY REFLECTION MODE CHART

ROOM SIZE CHART

BLOCK DIAGRAM

DIMENSIONS

USER PROGRAMMING TABLE
Program No. Progaram Title

Parameter New Value

Remarks
[ Digital Sound Processor ] Date : 10/5, 1985 Model SPX90 MIDI Implementation Chart Version : 1.0 Recognized Function. Basic Default Channel Changed Mode Note Number Default Messages Altered True voice 1-16 1-16 OMNI OFF/OMNI ON x x o - 127 x x x x x x x Control Change 1 memorized memorized Remarks
Velocity Note ON Note OFF After Touch Key's Ch's

Pitch Bender

Prog Change
o True # o x x x x x x x x x
System Exclusive System Common Song Pos Song Sel Tune Clock Commands
System Real Time Aux Message Notes
Local ON/OFF All Notes OFF Active Sense Reset
1 Note ON/OFF is recognized only for pitch change and freeze B. 2 For program 1 - 128, memory #1 - #90 is selected. Mode 2 : OMNI ON, MONO Mode 4 : OMNI OFF, MONO o : Yes x : No
Mode 1 : OMNI ON, POLY Mode 3 : OMNI OFF, POLY

SINCE 1887

NIPPON GAKKI CO., LTD. HAMAMATSU, JAPAN
SERVICE The SPX90 is supported by Yamahas worldwide network of factory trained and qualified dealer service personnel. In the event of a problem, contact your nearest Yamaha dealer.

OMD-163

printed in Japan