Owners Manual
Keep This Manual For Future Reference.

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep this manual in a safe place for future reference.

WARNING

Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, re or other hazards. These precautions include, but are not limited to, the following:

Power supply/Power cord

Only use the voltage specied as correct for the device. The required voltage is printed on the name plate of the device. Use only the supplied power cord. Do not place the power cord near heat sources such as heaters or radiators, and do not excessively bend or otherwise damage the cord, place heavy objects on it, or place it in a position where anyone could walk on, trip over, or roll anything over it.

Water warning

Do not expose the device to rain, use it near water or in damp or wet conditions, or place containers on it containing liquids which might spill into any openings. Never insert or remove an electric plug with wet hands.
If you notice any abnormality
If the power cord or plug becomes frayed or damaged, or if there is a sudden loss of sound during use of the device, or if any unusual smells or smoke should appear to be caused by it, immediately turn off the power switch, disconnect the electric plug from the outlet, and have the device inspected by qualied Yamaha service personnel. If this device should be dropped or damaged, immediately turn off the power switch, disconnect the electric plug from the outlet, and have the device inspected by qualied Yamaha service personnel.

Do not open

Do not open the device or attempt to disassemble the internal parts or modify them in any way. The device contains no user-serviceable parts. If it should appear to be malfunctioning, discontinue use immediately and have it inspected by qualied Yamaha service personnel.

CAUTION

Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the device or other property. These precautions include, but are not limited to, the following:
Remove the electric plug from the outlet when the device is not to be used for extended periods of time, or during electrical storms. When removing the electric plug from the device or an outlet, always hold the plug itself and not the cord. Pulling by the cord can damage it. Be sure to connect to a properly grounded power source. A ground screw terminal is provided on the rear panel for safely grounding the device and preventing electrical shock.

Handling caution

Do not insert your ngers or hand in any gaps or openings on the device.
Avoid inserting or dropping foreign objects (paper, plastic, metal, etc.) into any gaps or openings on the device. If this happens, turn off the power immediately and unplug the power cord from the AC outlet. Then have the device inspected by qualied Yamaha service personnel. Do not rest your weight on the device or place heavy objects on it, and avoid use excessive force on the buttons, switches or connectors.

Press the [BACK] button

Setting the tempo
Some effects have a Tempo parameter. You can edit the Tempo parameter in any of the following ve ways. Use the [ INC]/[ DEC] button (G) This is the same method as when editing other parameters. Use the [TAP] button (N) When you press the [TAP] button (N) two or more times, the average interval will be calculated and set as the Tempo value. If you want to use this method, set TEMPO SOURCE (page 23) to specify TAP as the synchronization source. Use the foot switch When you press the foot switch (optional) two or more times, the average interval will be calculated and set as the Tempo value. If you want to use this method, use the following procedure. 1. Connect an optional foot switch (e.g., FC5) to the [FOOT SW] jack (O). 2. Set the TEMPO SOURCE setting (page 23) to specify TAP as the synchronization source. Use MIDI clock The interval of MIDI Clock messages can be used to set the Tempo value. If you want to use this method, set TEMPO SOURCE (page 23) to specify MIDI as the synchronization source. Use MIDI control changes The value specied by a MIDI Control Change message can be used to set the Tempo value. By using this method you can control the SPX2000s Tempo value from a connected external MIDI device.
to move to the preceding parameter.
Press and hold the [BACK] button
to continue moving through the preceding parameters.
Press the [NEXT] button or [PARAMETER] button
to move to the following parameter.
Press and hold the [NEXT] button or [PARAMETER] button
to continue moving through the following parameters.
Selecting FINE parameters
Press the [NEXT] button or [FINE PARAM] button
Press and hold the [NEXT] button or [FINE PARAM] button
NOTE: If the display indicates NO FINE PARAMETER, an effect from the CLASSIC bank is recalled. The effects of the CLASSIC bank do not have Fine parameters. Use the [PARAMETER] button to select the Basic parameters.
Effects and tempo synchronization
Some of the SPX2000s effects allow you to synchronize the effect with the tempo. There are two such types of effect; delaytype effects and modulation-type effects. For delay-type effects, the delay time will change according to the tempo. For modulation-type effects, the frequency of the modulation signal will change according to the tempo. Parameters related to tempo synchronization The following ve parameters are related to tempo synchronization.
1) SYNC 2) NOTE 3) TEMPO 4) DELAY 5) FREQ.
If you turn SYNC on NOTE will be set If you edit DELAY (or FREQ.) NOTE will be set In this case, the NOTE value is calculated as follows.
NOTE = DELAY (or FREQ.)/(4 x (60/TEMPO))
If you edit NOTE DELAY (or FREQ.) will be set In this case, the DELAY (or FREQ.) value is calculated as follows.
DELAY (or FREQ.) = NOTE x 4 x (60/TEMPO)
If you edit TEMPO DELAY (or FREQ.) will be set In this case, the DELAY (or FREQ.) value is calculated as follows.

3 Select the LCD BACK function
Press the [UTILITY] button (L) several times to select LCD BACK.
REV-X LARGE HALL LCD BACK=YELLOW
The [CLOCK] indicator (6) and [kHz] indicator (8) will light according to your selection.
4 Select the display background color
Use the [ INC]/[ DEC] buttons (G) to select the display background color.
REV-X LARGE HALL LCD BACK=GREEN
You can choose one of the following ve colors. WHITE CYAN MAGENTA YELLOW GREEN
NOTE: If the display indicates WRONG WORD CLOCK!, the word clock signal from the external device has either been interrupted or is a frequency to which the SPX2000 cannot synchronize. Check whether there might be a problem with the connection from the device supplying the word clock, or an incorrect word clock setting. If this occurs, the word clock source will automatically switch to one of the SPX2000s internal clocks until an acceptable word clock is supplied from the external device.
You can choose one of the following six word clock sources.
WORD CLOCK: Clock data received from the AES/EBU: INT44.1kHz: INT48kHz: INT88.2kHz: INT96kHz:
Selecting the Utility function
to move to the preceding function.
[WORD CLOCK IN] jack (V) Clock data received from the [AES/ EBU IN] jack (X) Internal clock (44.1 kHz) Internal clock (48 kHz) Internal clock (88.2 kHz) Internal clock (96 kHz)
to continue moving through the preceding functions.
Press the [NEXT] button or [UTILITY] button
to move to the following function.
Press and hold the [UTILITY] button
to continue moving through the functions.
* For some functions, the [BACK] button and [NEXT] button are used to move the cursor.
NOTES: The SPX2000 extracts the sampling frequency from the clock frequency. This means that the word clock frequency = the sampling frequency. When INT44.1 kHzINT 96 kHz is selected, noise may occur or the output may be muted if the word clock and the input signal cannot be synchronized correctly

About word clock

The signal used to synchronize digital audio signal processing is called word clock. When two or more digital devices are connected in order to send and receive digital audio signals, each digital device must process the signal at the same timing. Even if all connected devices are set to the same clock frequency, the signals will not be transmitted and received correctly if the processing timing does not match, or you may hear noise. In order for digital audio signals to be synchronized, one digital device must transmit the clock (synchronization data), and the other devices must be set to receive this clock. In such a setup, the device that supplies the synchronization reference clock is called the CLOCK MASTER, and the receiving devices are called CLOCK SLAVES.

To use the SPX2000 as the clock master, set the
Selecting the input source
Heres how to select either the signal from the [INPUT] jacks ([) or the signal from the [AES/EBU IN] jack (X) as the input source.
1 Select the INPUT SOURCE function
Press the [UTILITY] button (L) several times to select INPUT SOURCE.
INPUT SOURCE *ANALOG DIGITAL
Press the [ INC] button (G) to select DIGITAL ([AES/EBU IN] jack), or press the [ DEC] button (G) to select ANALOG ([INPUT] jacks).
CLOCK SOURCE function (page 18) to either INT96kHz, INT88.2kHz, INT48kHz, or INT44.1. To use the SPX2000 as a clock slave, use either of the following two methods. 1 Set the CLOCK SOURCE function (page 18) to AES/EBU, and connect the AES/EBU format compatible device supplying the clock data to the [AES/EBU IN] jack (X). 2 Set the CLOCK SOURCE function (page 18) to WORD CLOCK, and connect the device supplying the clock to the [WORD CLOCK IN] jack (V). When doing so, the device supplying the clock must be connected one-to-one with the SPX2000.
The [INPUT SOURCE] indicator (5) indicates your selection.
NOTE: If the display indicates Sync Error! or if the DIGITAL [INPUT SOURCE] indicator blinks, the incoming digital input signal does not match the clock on which the SPX2000 is operating. Try changing the setting of the device that is supplying the word clock.
Restricting operation of the SPX2000
To prevent undesired changes from being made accidentally, you can selectively disable certain operations.
1 Select the OPERATION LOCK function
Press the [UTILITY] button (L) several times to select OPERATION LOCK.

OPERATION LOCK *OFF 3

2 Select the operation lock level
Use the [ INC]/[ DEC] buttons (G) to select the operation lock level.
2 Select the input source
Level 1: Utility functions other than Operation Lock
will be disabled Level 2: In addition to Level 1, effect store and undoing of store operations will be disabled Level 3: In addition to Level 2, effect recall and editing will be disabled
NOTE: If you attempt to use the front panel buttons to perform an operation that has been disabled by Operation Lock, a message of Operation Locked! will appear in the display. However, this message will not appear if such an operation is attempted by remote control.

Erasing an effect

Heres how to erase (clear) the recalled effect. You can only erase USER bank effects. You cannot erase the effects in the PRESET bank or CLASSIC bank.
Select the effect that you want to erase (page 12).
The following table shows the operations that are disabled for each level. O: Operable X: Inoperable

OPERATION LOCK

3 Select the U## CLEAR? function
Press the [UTILITY] button (L) several times to select U## CLEAR? (## will be an effect number).

No. 97

Effect name SYMPHONIC REV+SYMPHONIC DETUNE CHORUS CHORUS & REVERB BASS CHORUS STEREO PHASING CLASSY GLASSY SILKY SWEEP UP DOWN FLANGE TREMOLO ROTARY SPEAKER AUTO PAN PHASER RING MODULATION MOD FILTER DYNA FLANGE DYNA PHASER DYNA FILTER M. BAND DYNA MULTI FILTER FILTERED VOICE DISTORTION AMP SIMULATOR DIST->FLANGE DIST->DELAY REV->CHORUS REV+FLANGE REV->SYMPHONIC REV->PAN DELAY+ER 1 DELAY+ER 2 DELAY->ER 1 DELAY->ER 2 DELAY+REV DELAY->REV RESO DRONE FREEZE
Type Symphonic Composite effect Chorus Composite effect Dual pitch Modulation delay Chorus Modulation delay Flanger Tremolo Rotary Speaker Auto pan Phaser Ring modulator Modulation lter Dynamic anger Dynamic phaser Dynamic lter Multi-band dynamics processor Multi-lter Multi-band dynamics processor Distortion Amp simulator

Page 71 72

Category

Display background color

MODULATION

MAGENTA

FILTER

DISTORTION

YELLOW
Composite effect 73 MULTIPLE

75 Freeze 77 SAMPLING

CLASSIC bank
No. 25 Effect name REV 1 HALL REV 2 ROOM REV 3 VOCAL REV 4 PLATE EARLY REF 1 EARLY REF 2 DELAY L,R STEREO ECHO STEREO FLANGE A STEREO FLANGE B CHORUS A CHORUS B STEREO PHASING TREMOLO SYMPHONIC GATE REVERB REVERSE GATE REVERB & GATE PITCH CHANGE A PITCH CHANGE B PITCH CHANGE C PITCH CHANGE D FREEZE A FREEZE B PAN Early reection Delay L,R Stereo echo Stereo anger Chorus Stereo phasing Tremolo Symphonic Gate reverb Reverse gate Reverb & gate Pitch change A, D Pitch change B Pitch change C Pitch change A, D Freeze A Freeze B Pan GREEN Reverb 29 Type Page Display background color

Reverb

These effects add reverberation. Reverberation varies in a complex way according to factors such as the size of the room and the material of the walls. You can use this type of effect to simulate these changes, producing a wide range of reverberation. Reverberation can be divided into two categories of sound; early reections and the subsequent reverberation. Early reections are the sounds that reach your ear after being reected only once from the walls or ceiling. The subsequent reverberation is the wash of sound that reaches your ear after reecting multiple times from the walls and ceiling. The SPX2000 provides two types of reverb; those that allow you to independently control the early reections and the reverberation, and those that control these two as a single unit. The SPX2000 also provides gated reverbs. These effects pass the signal through a gate so that reverb is added only while the gate is open. One way to use these effects is to add only reverb that exceeds a specied level, and close the gate to cut the slowly decaying reverberation. The differences between the various types of reverb are as follows.
Type REV-X Reverb Stereo reverb Reverb Reverb & Gate Bank PRESET CLASSIC PRESET CLASSIC No. of INs/OUTs 2IN/2OUT 1IN/2OUT 2IN/2OUT 1IN/2OUT Early reections and subsequent reverberation Unied Separate Unied Yes Gated Controllable envelope Yes No No Page 33

DLY.NOTE MOD.NOTE

*a. *b.
The following tables show the default parameter values for the effects belonging to the Modulation Delay type (PRESET bank). Basic parameters
No. Effect name STEREO PHASING SILKY SWEEP DELAY 2.0 ms 0.2 ms FB.GAIN +38% 40% HI.RATIO 0.9 1.0 FREQ. 0.90 Hz 0.30 Hz DEPTH 46% 80% WAVE Sine Sine
No. Effect name STEREO PHASING SILKY SWEEP MIX BAL. 100% 100% OUT LVL 100% 100% HPF 45.0 Hz 125 Hz LPF 9.00 kHz Thru SYNC OFF OFF DLY.NOTE MOD.NOTE TEMPO
Delay L,C,R (PRESET bank)
OUT L IN HPF LPF DELAY LEVEL MIX BAL. FB.GAIN OUT R
This effect adds delayed sounds to the Left, Center, and Right channels. Each delay can be controlled independently. Each aspect of the sound is controlled by the following effect parameters.
Delay sound: DELAY L, DELAY C, DELAY R, FB.DLY, FB.GAIN, HI.RATIO Filter/equalizer: HPF, LPF Tempo synchronization: SYNC, NOTE L, NOTE C, NOTE R, NOTE FB, TEMPO Output level: LEVEL L, LEVEL C, LEVEL R, MIX BAL.
Parameter name DELAY L DELAY C DELAY R FB.DLY LEVEL L LEVEL C LEVEL R FB.GAIN Range 0.02730.0 ms Explanation
Delay relative to the original sound. DELAY L indicates the L channel delay, DELAY C the center channel delay, and DELAY R the R channel delay. Delay added to feedback. The DELAY L/DELAY C/DELAY R values are the delays from the original sound until the rst delayed sounds, but the delay of the subsequently repeated sounds will be DELAY+FB.DLY. Output level of each channel. LEVEL L is the output level of the L channel, LEVEL C of the center channel, and LEVEL R of the R channel. Negative values invert the phase. Amount of feedback for the delay sounds. This indicates the ratio by which the level is reduced when repeating the effect. For example with a setting of +50, the level of the delay sound will decay to 50% 25% 12.5% as it is repeated. Negative () values invert the phase of the feedback. Amount of feedback for the high-frequency range of the delay sound. This is specied as a proportion of FB.GAIN. If this value is 0.1, the amount of feedback will be 1/10th of the FB.GAIN; if this value is 1.0, the amount of feedback will be the same as FB.GAIN.

0.02730.0 ms

100%+100%
Parameter name MIX BAL. Range 0100% Explanation
SYNC NOTE L NOTE C NOTE R NOTE FB TEMPO
Balance between the original sound and effect sound. At a setting of 0% only the original sound will be output; at a setting of 100% only the effect sound will be output. A lter that cuts the low-frequency portion of the effect. Frequency components lower than the frequency specied here will be cut. With a setting of Thru this lter will do nothing. This lter does not affect the original sound. A lter that cuts the high-frequency portion of the effect. Frequency components above the frequency specied here will be cut. With a setting of Thru this lter will do nothing. This lter does not affect the original sound. Switches tempo synchronization on/off. If this is ON, the delay will synchronize to the tempo synchronization source specied by TEMPO SOURCE (page 23). The each NOTE value will be set to the synchronized tempo value. These parameters are used for tempo synchronization. If SYNC is ON, the DELAY value will be set according to each NOTE value and the TEMPO. If SYNC is OFF, this value is ignored. This parameter is used for tempo synchronization. If SYNC is ON, the DELAY value will be set according to this value and NOTE. If SYNC is OFF, this value is ignored.
The following tables show the default parameter values for the effect belonging to the Delay L,C,R type (PRESET bank). Basic parameters
No. 50 Effect name DELAY L,C,R DELAY L 142.8 ms DELAY C 428.5 ms DELAY R 285.7 ms FB.DLY 142.8 ms LEVEL L +70% LEVEL C +70% LEVEL R +70% FB.GAIN 0% HI.RATIO 1.0
No. 50 Effect name DELAY L,C,R MIX BAL. 100% HPF Thru LPF Thru SYNC OFF NOTE L NOTE C NOTE R NOTE FB TEMPO

Echo (PRESET bank)

FB.G L, L->R FBG FB.G R, R->L FBG

DELAY R OUT R

These effects add two delays; one each to the L and R channels. This is similar to Stereo Delay (page 40), but Echo mixes the L/R channel delay sounds for feedback. You can specify the amount of feedback sent from the L channel to the R channel, and from the R channel to the L channel. Each aspect of the sound is controlled by the following effect parameters. Delay sound: DELAY L, DELAY R, FB.DLYL, FB.DLYR, FB.G L, FB.G R, LR FBG, RL FBG, HI.RATIO Tempo synchronization: SYNC, NOTE L, NOTE R, NOTE.FBL, NOTE.FBR, TEMPO Filter/equalizer: HPF, LPF Output level: OUT LVL, MIX BAL.

NOTE: If the FB.G L or FB.G R values of Delay L,R are raised excessively, oscillation will occur, and the signal will not decay. Please use caution.
The following table shows the default parameter values for the effects belonging to the Delay L,R and Stereo Echo types (CLASSIC bank). Basic parameters
No. Effect name DELAY L,R STEREO ECHO Lch DLY 100.0 ms 170.0 ms FB.G L 0% +60% Rch DLY 200.0 ms 178.0 ms FB.G R 0% +58% HI.RATIO 1.0 0.9 OUT LVL 90% 90% MIX BAL. 100% 100%

Modulation

These effects modulate the input signal in various ways. Using one signal to vary another signal is called modulation. The signal that is being varied is called the carrier, and the signal that is creating the modulation is called the modulator. Modulation-type effects can vary the volume, the pitch, or the delay time of the effect sound to produce swooshing or twisting sounds (anger, phaser) or cyclic changes in volume (tremolo) or position (auto pan). The SPX2000 can use the signal of an oscillator as the modulator to apply cyclic change, or use the input signal itself or MIDI messages to apply change.
Type Flanger Phaser Stereo Flanger/Stereo Phasing Chorus Symphonic Tremolo Chorus Symphonic Auto Pan Pan Modulation Filter Ring Modulation Dynamic Filter Dynamic Flanger Dynamic Phaser PRESET Twisting Input signal or MIDI message PRESET CLASSIC CLASSIC PRESET CLASSIC 2IN/2OUT Bank PRESET CLASSIC Chorus Volume change Chorus Symphonic Positional change No. of INs/OUTs Modulation effect Modulator signal Page 47 Twisting 53 Oscillator signal 59

Flanger (PRESET bank)

These effects add a swooshing character that is reminiscent of a jet airplane taking off and landing. For delay-type effects, the delay time relative to the original sound does not change; however for a anger, the delay time is modulated cyclically. It is this change in the delay time that produces the swooshing character of a anger. Each aspect of the sound is controlled by the following effect parameters. Modulation signal: FREQ., DEPTH, WAVE Effect sound: MOD.DLY, FB.GAIN Tempo synchronization: SYNC, NOTE, TEMPO Filter/equalizer: LSH G, LSH F, EQ G, EQ F, EQ Q, HSH G, HSH F Output level: OUT LVL, MIX BAL.

L(R) R(L)

MOD. DLY
Parameter name FREQ. DEPTH MOD.DLY FB.GAIN WAVE Range 0.0540.00 Hz 0100% 0.0500.0 ms 99%+99% Sine, Tri Explanation
Speed of modulation. Increasing this value will make the modulation repeat at a shorter interval. Modulation depth. Increasing this value will make the modulation deeper. Delay of the effect sound relative to the original sound. The delay time will be modulated around this value. FREQ. sets the speed of this change, and DEPTH sets the depth. Amount of feedback for the modulated sound. Raising this value will increase the amount of feedback, emphasizing the modulation. Negative () settings will invert the phase of the feedback. Waveform of the modulation signal. This will affect the character of the modulation. You can choose Sine (sine wave) or Tri (triangle wave).

The following table shows the default parameter values for the effects belonging to the Chorus and Tremolo types (CLASSIC bank).
No. 14 Effect name CHORUS A CHORUS B TREMOLO MOD.FRQ 0.2 Hz 0.3 Hz 6.0 Hz PM DEPTH AM DEPTH 100% 96% 50% 55% 10% 50% OUT LVL 100% 100% 100% MIX BAL. 100% 100% 100%

Symphonic (CLASSIC bank)

This effect is based on earlier models of the SPX series. This effect has a simpler parameter structure than the correspondingly-named effects of the PRESET bank. Each aspect of the sound is controlled by the following effect parameters. Modulation signal: MOD.FREQ., DEPTH Output level: OUT LVL, MIX BAL.
Parameter name MOD. FRQ DEPTH OUT LVL MIX BAL. Range 0.140.0 Hz 0100% 0100% 0100% Explanation
Speed of modulation. Increasing this value will make the modulation repeat at a shorter interval. Modulation depth. Increasing this value will make the modulation deeper. Output level after the original sound and effect sound have been mixed. Decrease this value if you want to lower the output. At a setting of 0% there will be no output. Balance between the original sound and effect sound. At a setting of 0% only the original sound will be output; at a setting of 100% only the effect sound will be output.
The following table shows the default parameter values for the effect belonging to the Symphonic type (CLASSIC bank).
No. 15 Effect name SYMPHONIC MOD.FRQ 0.7 Hz DEPTH 94% OUT LVL 100% MIX BAL. 100%

Auto Pan (PRESET bank)

This effect cyclically moves the pan position of the sound. Each aspect of the sound is controlled by the following effect parameters. Modulation: FREQ., DEPTH, WAVE, DIR. Filter/Equalizer: LSH G, LSH F, EQ G, EQ F, EQ Q, HSH G, HSH F Tempo synchronization: SYNC, NOTE, TEMPO Output level: OUT LVL, MIX BAL.
Parameter name FREQ. DEPTH WAVE Range 0.0540.00 Hz 0100% Sine, Tri, Square L<->R, L-->R, L<--R, Turn L, Turn R Explanation
Speed of modulation (panning movement). Increasing this value will make the panning movement faster. Modulation depth. Increasing this value will produce greater movement between left and right. Waveform of the modulation signal. This will affect the character of the modulation. You can choose Sine (sine wave), Tri (triangle wave), or Square (square wave). Direction of panning movement. L<->R makes the sound move alternately between the L and R channels. L-->R makes the sound move from L to R and then jump back to L; L<--R does the opposite. Turn L or Turn R makes the sound rotate toward the left or right.

Reverb + Symphonic separately applies reverb and symphonic to the original sound, and then mixes the results. Reverb Symphonic applies reverb to the original sound and then applies symphonic. Each aspect of the sound is controlled by the following effect parameters. Reverb: REV TIME, HI.RATIO, INI.DLY, DIFF., DENSITY Symphonic: FREQ., DEPTH, MOD.DLY, WAVE Balance of reverb and symphonic: REV/SYM, REV.BAL Filter/equalizer: HPF, LPF Tempo synchronization: SYNC, NOTE, TEMPO Output level: OUT LVL, MIX BAL.
Parameter name FREQ. DEPTH MOD.DLY WAVE REV TIME Range 0.0540.00 Hz 0100% 0.0500.0 ms Sine, Tri 0.399.0 s Explanation
Speed of modulation. Increasing this value will make the modulation repeat at a shorter interval. Modulation depth. Increasing this value will produce deeper modulation. Delay of the effect sound relative to the original sound. Waveform of the modulation signal. This will affect the character of the modulation. You can choose Sine (sine wave) or Tri (triangle wave). Reverb time. This is expressed as the time over which reverberation at 1 kHz will decay by 60 dB. Reverb time for the high-frequency range, expressed as a proportion of REV TIME. If this value is 0.1 the time will be 1/10th the REV TIME; if it is 1.0 the time will be the same as the REV TIME. You can adjust these values to simulate the absorptiveness of the walls or ceiling. HI.RATIO is the decay of the high-frequency range. Delay of the early reections relative to the original sound. This also affects the delay until the reverberation is heard. Diffusion of the sound to left and right. Increasing this value will make the reverberation more spaciousness. Density of the reverberation. Increasing this value will make the reverberation smoother. You can create unique effects by lowering this value.

REV/SYM REV.BAL

Balance between the original sound and effect sound. At a setting of 0% only the original sound will be output; at a setting of 100% only the effect sound will be output. Output level after the original sound and effect sound have been mixed. Decrease this value if you want to lower the output. At a setting of 0% there will be no output. A lter that cuts the low-frequency portion of the effect. Frequency components lower than the frequency specied here will be cut. With a setting of Thru this lter will do nothing. This lter does not affect the original sound. A lter that cuts the high-frequency portion of the effect. Frequency components above the frequency specied here will be cut. With a setting of Thru this lter will do nothing. This lter does not affect the original sound. (Reverb + Symphonic only) Balance between the reverb and symphonic. A setting of 0% outputs only the reverb; a setting of 100% outputs only the symphonic. (Reverb Symphonic only) Amount of symphonic. Raising this value will strengthen the symphonic effect. At a setting of 0% only reverb will be heard. Switches tempo synchronization on/off. If this is ON, the speed of modulation will synchronize to the tempo synchronization source specied by TEMPO SOURCE (page 23). The NOTE value will be set to the synchronized tempo value. This parameter is used for tempo synchronization. If SYNC is ON, the FREQ. value will be set according to this value and TEMPO. If SYNC is OFF, this value is ignored. This parameter is used for tempo synchronization. If SYNC is ON, the FREQ. value will be set according to this value and NOTE. If SYNC is OFF, this value is ignored.

No. Effect name REV+SYMPHONIC REV->SYMPHONIC FREQ. 0.95 Hz 2.50 Hz DEPTH 63% 30% MOD.DLY 3.2 ms 14.0 ms WAVE Sine Sine REV TIME 0.6 s 1.6 s HI.RATIO 0.9 1.0 INI.DLY 40.0 ms 7.0 ms DIFF. DENSITY 100% 98%
No. Effect name REV+SYMPHONIC REV->SYMPHONIC MIX BAL. 100% 100% OUT LVL 100% 100% HPF Thru Thru LPF Thru Thru REV/SYM 78% 45% REV.BAL SYNC OFF OFF NOTE TEMPO

Reverb Pan (PRESET bank)

This applies reverb to the original sound and then applies panning. Each aspect of the sound is controlled by the following effect parameters. Reverb: REV TIME, HI.RATIO, INI.DLY, DIFF., DENSITY Pan: FREQ., DEPTH, WAVE, DIR. Balance of reverb and pan: REV.BAL Filter/equalizer: HPF, LPF Tempo synchronization: SYNC, NOTE, TEMPO Output level: OUT LVL, MIX BAL.
Parameter name FREQ. DEPTH WAVE Range 0.0540.00 Hz 0100% Sine, Tri, Square L<->R, L-->R, L<--R, Turn L, Turn R 0.399.0 s Explanation

DIR. REV TIME

Speed of modulation (panning movement). Increasing this value will make the modulation repeat at a shorter interval. Modulation depth. Increasing this value will produce deeper modulation. Waveform of the modulation signal. This affects the character of the modulation. You can select Sine (sine wave), Tri (triangle wave), or Square (square wave). Direction of panning movement. L<->R makes the sound move alternately between the L and R channels. L-->R makes the sound move from L to R and then jump back to L; L<--R does the opposite. Turn L or Turn R makes the sound rotate toward the left or right. Reverb time. This is expressed as the time over which reverberation at 1 kHz will decay by 60 dB. Reverb time for the high-frequency range, expressed as a proportion of REV TIME. If this value is 0.1 the time will be 1/10th the REV TIME; if it is 1.0 the time will be the same as the REV TIME. You can adjust these values to simulate the absorptiveness of the walls or ceiling. HI.RATIO is the decay of the high-frequency range. Delay of the early reections relative to the original sound. This also affects the delay until the reverberation is heard. Diffusion of the sound to left and right. Increasing this value will make the reverberation more spaciousness. Density of the reverberation. Increasing this value will make the reverberation smoother. You can create unique effects by lowering this value.

CMP.REL*a

CEILING EXP.THRE EXP.RAT EXP.REL*a

LIM.THRE

LIM.ATK
0120 ms 44.1 kHz: 6 ms46.0 s 48 kHz: 5 ms42.3 s 88.2 kHz: 3 ms23.0 s 96 kHz: 3 ms21.1 s

LIM.REL*a

Others
This effect splits the signal into three frequency bands, and individually controls the dynamic range of each band. It lets you use three types of processor a compressor, expander, and limiter in combination. The signal is sent through the expander, compressor, and limiter in that order. Compressor: CMP.THRE, CMP.RAT, CMP.ATK, CMP.REL, CMP.KNEE, CMP.BYP Expander: EXP.THRE, EXP.RAT, EXP.REL, EXP.BYP Limiter: LIM.THRE, LIM.ATK, LIM.REL, LIM.BYP, LIM.KNEE Applicable to Compressor, Expander, and Limiter: PRESENCE, LOOKUP Filter/equalizer: LOW GAIN, MID GAIN, HI. GAIN, L-M XOVR, M-H XOVR, SLOPE Output level: CEILING, MIX BAL., SOLO LOW, SOLO MID, SOLO HI

CMP.KNEE

LOOKUP CMP.BYP L-M XOVR M-H XOVR SLOPE EXP.BYP LIM.BYP
0.0100.0 ms ON, OFF 21.2 Hz8.00 kHz 21.2 Hz8.00 kHz 6 dB, 12 dB ON, OFF ON, OFF

LIM.KNEE

Balance between the original sound and effect sound. At a setting of 0% only the original sound will be output; at a setting of 100% only the effect sound will be output. Compressor knee. If this is set to 0, compression will begin immediately when the input signal exceeds CMP.THRE; i.e., the level will begin changing suddenly. With a setting of 1 or above, compression will begin before the point at which the signal exceeds CMP.THRE, so that the compression produces a smoother change in level. This will produce a less obtrusive transition for the level change produced by the compressor. Lookup delay. Normally you will leave this at 0.0 ms. If you want the input signal to be read ahead of time so that the level can be controlled more quickly, set this to a value of 0.1 ms or greater; the compressor, expander, and limiter will begin functioning ahead of the input signal. Compressor bypass. If this is ON, the compressor will be bypassed, and will not do anything. Crossover frequency between the low and mid ranges. This parameter species the frequency that will be the boundary between the low-frequency and mid-frequency ranges. Crossover frequency between the mid and high ranges. This parameter species the frequency that will be the boundary between the mid-frequency and high-frequency ranges. Attenuation of the lter that divides the frequency bands. 12 dB produces greater attenuation than 6 dB, dividing the frequency bands more sharply. Expander bypass. If this is ON, the expander will be bypassed, and will not do anything. Limiter bypass. If this is ON, the limiter will be bypassed, and will not do anything. Limiter knee. If this is set to 0, limiting will begin immediately when the input signal exceeds LIM.THRE; i.e., the level will begin changing suddenly. With a setting of 1 or above, limiting will begin before the point at which the signal exceeds LIM.THRE, so that the limiting produces a smoother change in level. This will produce a less obtrusive transition for the level change produced by the limiter. These are Solo settings. Only the bands that are turned ON will be output. If all are ON or if all are OFF, all bands will be output.

This effect simulates the characteristics of a guitar amp. Previously when recording an electric guitar in a studio, it was usual to play the guitar through an amp and then mic the amp in order to obtain the tonal character typical of the amp. This effect simulates the result without requiring you to use an amp. Each aspect of the sound is controlled by the following effect parameters. Amp simulation: AMP TYPE, BASS, MIDDLE, TREBLE, DIST TYPE, DRIVE, CAB DEP Filter/equalizer: EQ G, EQ F, EQ Q Noise gate: N.GATE Output level: MIX BAL., MASTER Basic parameters
Parameter name AMP TYPE BASS MIDDLE TREBLE DST TYPE DRIVE Range
0100 DST1, DST2, OVD1, OVD2, CRUNCH 0100
Type of distortion; The character of the distortion will depend on the type you select. Distortion depth. Raising this value will produce stronger distortion.
*a. STK-M1, STK-M2, THRASH, MIDBST, CMB-PG, CMB-VR, CMB-DX, CMB-TW, MINI, FLAT
Parameter name MIX BAL. CAB DEP EQ G EQ F EQ Q Range 0100% 0100% 12.0+12.0 dB 100 Hz8.00 kHz 10.00.10 Explanation
Balance between the original sound and effect sound. At a setting of 0% only the original sound will be output; at a setting of 100% only the effect sound will be output. Strength of the speaker cabinet simulation. Raising this value will cause the idiosyncrasies of the speakers to be heard more strongly. Gain of the equalizer (peaking type). This adjusts the gain of the frequency region specied by EQ F. Positive (+) settings will boost the region, and negative () settings will attenuate it. Equalizer (peaking type) frequency. The EG G gain will be applied to a region centered on this frequency. Equalizer (peaking type) Q. This indicates the sharpness of the frequency response curve of the equalizer. Raising this value produces a sharper curve. Noise gate depth. Raising this value will raise the level of the signals that will be allowed through the gate. This is a useful way to remove noise. Excessively high settings of this parameter will weaken the forcefulness of the sound. Output level. Decrease this value if you want to lower the output of the effect sound; only the original sound will be heard.
The following tables show the default parameter values for the effect belonging to the Amp Simulator type (PRESET) bank. Basic parameters
No. 83 Effect name AMP SIMULATOR AMP TYPE STK-M1 BASS 94 MIDDLE 100 TREBLE 82 DST TYPE DST1 DRIVE 50
No. 83 Effect name AMP SIMULATOR MIX BAL. 100% CAB DEP 42% EQ G +1.5 dB EQ F 750 Hz EQ Q 2.0 N.GATE 1 MASTER 40
Type of amp to be simulated; The character of the amp will depend on the type you select. Simulates the BASS control of the preamp, controlling the low-frequency range tone. Raising this value will make the low range stand out. Simulates the MIDDLE control of the preamp, controlling the mid-frequency range tone. Raising this value will make the mid range stand out. Simulates the TREBLE control of the preamp, controlling the high-frequency range tone. Raising this value will make the high range stand out.