Yamaha SPX1000 取扱説明書

AUTHORIZED

PRODUCT MANUAL

YAMAHA

Professional Multi-effect Processor

YAMAHA

Professional Multi-effect Processor

Operation Manual

INTRODUCTION

Congratulations on your acquisition of a Yamaha SPX1000 Professional Multi-effect

Processor. The SPX1000 is a highly sophisticated digital reverberation and effects system

which offers 40 preset effect programs including accurate simulations of natural

reverberation and early-reflections, delay and echo effects, gated effects, modulation

effects, a versatile compressor, a low-level expander, a harmonic exciter, multiple effects

which function as several SPX000 units in one, independent 2-channel effects, freeze

(sampling) programs and others. With a sampling frequency of 44. 1 kHz, it delivers full,

flat frequency response from 20 Hz to 20 kHz for exceptionally clean, “transparent” effect

sound, and direct digital interfacing capability makes it compatible with the most up-to-

date sound systems. The preset effect programs can be edited, re-titled, and stored in any

of 59 RAM user memory locations. Individual two-band parametric EQ and dynamic filter

parameters are provided for each effect program for precise tonal tailoring. In addition to

the basic effect and EQ parameters, the SPX1000 offers a list of “internal parameters”

which provide exacting control over the effect sound. The SPX1000 is also MIDI

compatible, with a MIDI IN terminal that allows MIDI selection of effect programs, and

a switchable MIDI THRU/OUT terminal. When switched to OUT, edited programs stored

in internal RAM can be dumped to a MIDI data recorder or other data storage device.

Programs thus stored can be reloaded when necessary via the MIDI IN terminal. As an

extra touch of convenience the SPX1000’s analog input and output terminals can be

switched to match -20 dBm or +4 dBm line levels + providing compatibility with a broader

range of sound equipment.

In order to fully take advantage of all the capability offered by the SPX1000 Professional

Multi-effect Processor, we urge you to read this operation manual thoroughly— and keep

it in a safe place for later reference.

FCC INFORMATION

While the following statements are provided to comply

with FCC Regulations in the United States, the cor-

rective measures listed below are applicable world-

wide.

This series of Yamaha professional music equipment

uses frequencies that appear in the radio frequency

range and if installed in the immediate proximity of

some types of audio or video devices (within three

meters), interference may occur. This series of Yamaha

combo equipment have been type tested and found

to comply with the specifications set for a class B

computing device in accordance with those specifi-

cations listed in subpart J of part 15 of the FCC rules.

These rules are designed to provide a reasonable

measure of protection against such interference.

However, this does not guarantee that interference

will not occur. If your professional music equipment

should be suspected of causing interference with other

electronic devices, verification can be made by turning

your combo equipment off and on. If the interference

continues when your equipment is off, the equipment

is not the source of interference. If your equipment

does appear to be the source of the interference, you

should try to correct the situation by using one or

more of the following measures:

Relocate either the equipment or the electronic device

that is being affected by the interference. Utilize power

outlets for the professional music equipment and the

device being affected that are on different branch

(circuit breaker or fuse) circuits, or install AC line

filters.

In the case of radio or TV interference, relocate the

antenna or, if the antenna lead-in is 300 ohm ribbon

lead, change the lead-in to co-axial type cable.

If these corrective measures do not produce satisfac-

tory results, please contact your authorized Yamaha

professional products dealer for suggestions and/or

corrective measures.

If you cannot locate a franchised Yamaha professional

products dealer in your general area contact the pro-

fessional products Service Department, Yamaha Music

Corporation, 6600 Orangethorpe Ave., Buena Park,

CA 90620, U.S.A.

If for any reason. you should need additional infor-

mation relating to radio or TV interference, you may

find a booklet prepared by the Federal Communi-

cations Commission helpful:

“How to identify and Resolve Radio-TV Interference

Problems”. This booklet is available from the U.S.

Government Printing Office, Washington D.C. 20402

- Stock No. 004-000-00345-4.

TABLE OF CONTENTS

PRECAUTIONS

1: CONTROLS AND CONNECTIONS

3

THE

FRONTPANEL

3

THE

CONNECTOR

PANEL

5

2: THESPX1000

SYSTEM

6

MEMORY CONFIGURATION

6

INPUT MODE AND DIGITAL I/O

CONFIGURATIONS

6

INPUT

MODES

6

DIGITAL l/O MODES

7

3:

GENERALOPERATION

9

SELECTING AN EFFECT/MEMORY LOCATION 9

BYPASSING

THE

EFFECT

9

ACCESSING & EDITING THE PROGRAM

PARAMETERS

9

STORINGEFFECTS

10

EXTERNALCONTROL

ASSIGNMENT

10

4:

THE

PROGRAMS

&

PARAMETERS

12

PARAMETERS PROVIDED FOR ALL PROGRAMS

12

LEVEL PARAMETERS (Accessed via

LEVEL key)

12

EQ PARAMETERS

(Accessed via EQ key)

12

REVERB

PROGRAMS

13

1.

REV 1 HALL

13

2. REV 2 ROOM

13

3.

REV3

VOCAL

13

4. REV 4 PLATE

14

5.

REV5ECHO

ROOM

15

EARLY REFLECTION PROGRAMS

15

6. EARLY REF. 1

15

7.EARLY

REF.

2

15

8.

EARLY

REF.

3 15

9. GATE REVERB

15

10.

REVERSE

GATE..

15

DELAY PROGRAM

17

11. DELAY L,C,R

17

ECHOPROGRAM 17

12. STEREO ECHO

17

MODULATIONPROGRAMS

18

13. STEREO

FLANGE A

18

14.STEREO

FLANGEB

18

15.

CHORUS

18

16. STEREO PHASING

18

17. TREMOLO

18

18.SYMPHONIC

18

NOISE

GATE

19

19. ADR-NOISE

GATE

19

PITCH CHANGE PROGRAMS

19

20.

PITCH

CHANGE 1

20

21. PITCH CHANGE 2

20

22. PITCH CHANGE 3

20

39. STEREO PITCH

21

FREEZE PROGRAMS

21

23. FREEZE 1

21

24. FREEZE 2 23

40. STEREO FREEZE

23

PAN PROGRAMS 23

25. PAN

24

26.

TRIGGERED

PAN

24

DISTORTION PROGRAM

24

27. DISTORTION

24

MULTI-EFFECT PROGRAMS

25

28.

MULTI

(CHO&REV)

25

29.

MULTI

(SYM+REV)

26

30. MULTI (EXC&REV)

26

2-CHANNEL

PROGRAMS

26

31.

PLATE+

HALL

26

32. ER + REV

27

33.

ECHO+REV

27

34.

CHORUS

+REV

28

35. PAN + PAN

28

COMPRESSOR

&

EXPANDER

PROGRAMS

29

36. COMPRESSOR

29

37.

LO

LVLEXPANDER

30

EXCITER PROGRAM

30

38. EXCITER

30

5: UTILITY FUNCTIONS

31

TITLE EDIT

31

INPUT MODE

31

A/D l/O MODE

31

DIGITAL IN ATT

31

USER ER EDIT

31

MEMORY PROTECT

32

MIDICONTROL & MIDI

PGM

CHANGE

32

MIDI CTRL ASSIGN

33

BULK OUT 1 & BULK OUT 2

33

F.SW MEMORY RCL

34

6: DATA & SPECIFICATIONS

Add-1

ROM CONTENTS AND CONTROLLABLE

PARAMETERS

Add-1

MIDI DATA FORMAT

Add-15

MIDI IMPLEMENTATION CHART

Add-28

BLOCK

DIAGRAM

Add-29

DIMENSIONS

Add-30

SPECIFICATIONS

Add-31

1

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.

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

5. HANDLE CABLES CAREFULLY

Always plug and unplug cables – including the AC

cord

– by gripping the connector, not the cord.

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 :

EARTH

BLUE

:

NEUTRAL

BROWN

: 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

which is marked by the letter E or by the safety earth symbol

or coloured GREEN or GREEN-

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 EMIS-

SIONS SET OUT IN RADIO INTERFERENCE REGULATIONS.

CET APPAREIL EST CONFORME AUX NORMES “CLASSE B”. POUR BRUITS RADIO-

ELECTRIQUES. TEL QUE SPECIFIER DANS LE REGLEMENT SUR LE BROUILLAGE

RADIOELECTRIQUE.

2

1: CONTROLS AND CONNECTIONS

THE FRONT PANEL

Power ON/OFF Switch

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 the main effect parameters for each program.

Each time the PARAM key is pressed the next parameter

in the selected program’s “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

LEVEL Key

Accesses the output level and balance parameters for

each program. Once the LEVEL key has been pressed,

both the LEVEL 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 on page 12

EQ Key

Accesses the digital equalizer or dynamic filter

parameters for each program. Once the EQ key has been

pressed, both the EQ 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 on page 12

INT PARAMETER 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

When any set of parameters is selected – PARAM,

LEVEL, EQ, or INT PARAM – the SCROLL BACK

key can be used to scroll backward through the available

parameters while the PARAM (3), LEVEL (4), EQ (5) or

INT PARAMETER (6) key scrolls forward, according to

the parameter set selected. The preceding parameter in

the current set is selected each time the SCROLL BACK

key is pressed. The SCROLL BACK key is also used for

cursor control (backward cursor movement) in some

utility functions.

EXT CTRL ASSIGN Key

This key makes it possible to assign any parameters

(PARAM, LEVEL, EQ or INT PARAM) to external

controllers connected to the front-panel EXT CTRL/

FOOT VOL 1 and 2 jacks (21). These controllers can

then be used to control the assigned parameter in real

time. Yamaha FC7 Foot Controllers are recommended.

• Details on page 10

Parameter

and

Keys

These keys are used to change parameter values when

parameters are selected for editing (after the PARAM,

LEVEL, EQ or INT PARAM key has been pressed). The

parameter

and

keys are also used to program several

UTILITY functions. The

and

keys can be pressed

briefly to change values in single steps, or held down for

rapid continuous incrementing or decrementing of the

selected value. While holding down either the

or

key, pressing the other key or

causes the

incrementing or decrementing process to be carried out

more rapidly.

3

Program Select and Keys

These keys are used to select any of the SPX1000’s

memory locations. The key increments (increases) the

memory location number while the key decrements

(decreases) the memory location number. Holding either

key down causes continuous scrolling in the specified

direction.

• Details on page 9

4

RECALL Key

When a new memory location number has been selected

using the program select

and

keys, the RECALL key

must be pressed to activate the selected effect.

• Details on page 9

STORE Key

This key is used to store edited effect programs into one

of the user memory locations between 41 and 99.

• Details on page 10

UTILITY Key

This key accesses a set of utility functions allowing

selection of the SPX1000's input/output mode, editing of

effect titles, creation of original early-reflection patterns,

MIDI control programming, footswitch recall range

programming and others.

• Details on page 31

TRIGGER Key

The TRIGGER key allows manual triggering of any

SPX1000 effect program that has trigger parameters. The

reverb programs, for example, include a triggerable gate,

and the freeze programs allow triggering of recording and

playback. The TRIGGER key has the same function as a

footswitch plugged into the rear-panel TRIGGER 1 SW

jack (THE CONNECTOR PANEL, 6).

BYPASS Key

The BYPASS key switches the selected effect ON or

OFF. leaving only the direct signal when BYPASS is

active. The BYPASS key has the same function as a

footswitch plugged into the rear-panel BYPASS jack

(THE CONNECTOR PANEL, 4).

• Details on page 9

LCD (Liquid Crystal Display)

This 16-character x 2-line liquid crystal display panel

normally displays the title of the selected effect on the

top line and a selected parameter and its value on the

bottom line. One or both lines may also be used to

display error messages or warnings. “

M

” will be displayed

in the upper right corner after receiving the MIDI data.

LED Memory Number Display

This 2-digit numeric display shows the number of the

currently selected memory location (1 – 99). When the

LED display is continuously lit the effect corresponding

to the number displayed is active. When the LED display

is flashing, this indicates that a new memory location has

been selected but has not yet been recalled, leaving the

previously selected effect active.

INPUT MODE Indicators

Indicate the selected input mode.

• Details on page 6

DIGITAL I/O Indicators

Indicate the selected DIGITAL I/O mode.

• Details on page 7

Input Level Meter

The stereo input level meter consists of eight LED

segments per channel, corresponding to -42 dB, -36 dB,

-30 dB, -24 dB, -18 dB, -12 dB, -6 dB and CLIP input

level.

EXT CTRL/FOOT VOL 1 and 2 Jacks

Optional Yamaha FC7 Foot Controllers plugged into

these jacks can be used to directly control SPX1000

effect program parameters. The parameters to be

controlled are assigned to the controllers using the EXT

CTRL ASSIGN key (8).

• Details on page 10

THE CONNECTOR PANEL

L(MONO) & R INPUT Connectors and Level

Switch

These are the analog stereo inputs to the SPX1000. The

input jacks are standard 1/4” monaural phono types. The

level switch selects either -20 dB or +4 dB nominal input

level. Please note that the operation of the INPUT

jacks

depends on the selected INPUT and DIGITAL I/O modes.

Refer to “INPUT MODES” and DIGITAL I/O MODES”

on page 6 for details.

When an input mode has not been selected and only one

input is being used, input is through L(MONO).

L & R OUTPUT Connectors and Level Switch

The stereo analog outputs from the SPX1000. The output

jacks are standard l/4” monaural phono types. The level

switch selects either -20 dB or +4 dB nominal output

level. Please note that the operation of the OUTPUT

jacks depends on the selected DIGITAL I/O mode. Refer

to “DIGITAL I/O MODES” on page 7 for details.

DIGITAL IN and OUT Connectors

These are the SPX1000’s stereo digital inputs and

outputs. All digital data is handled in Yamaha format.

The DIGITAL IN and OUT connectors are directly

compatible with other Yamaha equipment that provides

digital I/O capability –

the DMP7D Digital Mixing

Processor and DEQ7 Digital Equalizer are excellent

examples. The Yamaha FMC1 Format Converter can also

be used to convert the SPX1000’s digital output to

virtually all popular digital formats, allowing direct

connection to standard digital recorders, etc. Please note

that the operation of the DIGITAL IN and OUT jacks

depends on the selected DIGITAL I/O mode. Refer to

“DIGITAL I/O MODES” on page 7 for details.

BYPASS Footswitch Jack

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

INC/DEC Footswitch Jack

An optional Yamaha FC5 footswitch or equivalent

connected to this jack can be used to recall a range of

programs specified by the UTILITY mode F.SW

MEMORY RECALL RANGE function.

• Details on page 34

TRIGGER 1 SW Footswitch Jack

The TRIGGER 1 SW footswitch jack accepts a Yamaha

FC5 or equivalent footswitch for foot-controlled

triggering of any SPX1000 effect program that has trigger

parameters. The reverb programs, for example, include a

triggerable gate, and the freeze programs allow triggering

of recording and playback. A footswitch connected to the

TRIGGER 1 SW jack has the same function as the front-

panel TRIGGER key (THE FRONT PANEL, 14).

TRIGGER 2 ANALOG Jack & MIC/LINE Switch

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

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, long-

term 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

Locations 41 through 99 are READ/WRITE MEMORY which

can be used to store your own edited versions of the preset

programs.

INPUT MODE AND DIGITAL I/O

CONFIGURATIONS

The SPX1000 offers a choice of input modes as well as analog

and digital input/output configurations, providing

extraordinary flexibility in “adapting” to various systems and

requirements.

INPUT MODES

The SPX1000 offers the following input modes, regardless of

the selected DIGITAL I/O mode:

STEREO NORMAL

6

This is the normal mode of operation in which left- and right-

channel 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 right-

channel input signal is fed to the left-channel processing

circuitry.

MONO LEFT

This and the MONO R mode described below are ideal for use

with monaural input signals. In the MONO L mode a

monaural signal received at the INPUT L jack is fed to both

the left- and right-channel processing circuitry.

MONO RIGHT

A monaural signal received at the INPUT R jack is fed to both

the left- and right-channel processing circuitry.

Selecting an Input Mode

Input modes are selected using the utility-mode INPUT

MODE function.

1. Press the UTILITY key twice to call the INPUT MODE

function.

2. Use the parameter select

and

keys to select the desired

input mode. The name of the selected input mode should

now be flashing on the LCD.

3. Press the STORE key to activate the selected input mode.

The name of the selected mode will stop flashing and the

corresponding INPUT MODE indicator LED will light (ST

NORMAL, ST REVERSE, MONO L or MONO R).

4. Press and hold the UTILITY key until its indicator goes

out and the utility mode is exited.

DIGITAL I/O MODES

The SPX1000 has the following DIGITAL I/O modes which

determine the operation of its analog and digital inputs and

outputs.

ANALOG

In this mode the DIGITAL IN connector is inactive and the

SPX1000 receives input via the analog INPUT L and R jacks.

Both the analog OUTPUT L and R and DIGITAL OUT

connectors are active so that the SPX1000’s output can be

simultaneously fed to analog and digital equipment if

required.

PRE(lNSERT PRE)

In this mode the SPX1000 receives input via the analog

INPUT L and R jacks. The DIGITAL IN and OUT jacks

function as a pre-effect insert point, allowing a second

SPX1000 or other Yamaha-format digital device to be inserted

into the signal path prior to both the input selector and effect

processor. Output is delivered via the analog OUTPUT L and

R jacks.

POST(INSERT POST)

In this mode the SPX1000 receives input via the analog

INPUT L and R jacks. The DIGITAL IN and OUT jacks

function as a post-effect insert point, allowing a second

SPX1000 or other Yamaha-format digital device to be inserted

into the signal path after the effect processor. Output is

delivered via the analog OUTPUT L and R jacks.

DIGITAL(DIGlTAL ONLY)

In this mode the analog INPUT L and R jacks are inactive and

the SPX1000 receives input via the DIGITAL IN connector.

Both the analog OUTPUT L and R and DIGITAL OUT

connectors are active so that the SPX1000’s output can be

simultaneously fed to analog and digital equipment if

required.

Selecting a DIGITAL l/O Mode

DIGITAL I/O modes are selected using the utility-mode A/D

I/O MODE function.

1. Press the UTILITY key three times to call the A/D I/O

MODE function.

This function has two parameters: MODE and CLK

(clock). The MODE parameter can be set to any of the four

DIGITAL I/O modes described above: ANA (Analog),

PRE, PST (Post), or DIG (Digital). When the DIG, PRE or

PST mode is selected, the CLK parameter can be set to

INT (Internal) or EXT (External), determining whether the

digital clock signal is derived from the SPX1000’s own

internal clock generator (INT) or the clock signal included

in the digital input signal received via the DIGITAL IN

connector (EXT). When the ANA mode is selected the

CLK parameter is fixed at INT.

2. Use the parameter select

and

keys to select the desired

DIGITAL I/O MODE. The name of the selected mode

should now be flashing on the LCD.

3. If necessary, press the PARAM key to move the

underline cursor to the CLK parameter and use the

parameter select

and

keys to select the desired CLK

setting. The SCROLL BACK key can be used to move

the underline cursor back to the MODE parameter if

necessary.

4. Press the STORE key to activate the selected DIGITAL I/O

mode and CLK setting. The name of the selected mode will

stop flashing and the corresponding DIGITAL I/O

indicator LED will light (INSERT PRE, INSERT POST or

DIGITAL ONLY). None of the DIGITAL I/O indicators

will light if the ANA mode is selected.

7

5. Press and hold the UTILITY key until its indicator goes

out and the utility mode is exited.

CAUTION!

When the SPX1000 clock (CLK) mode is switched from

internal (INT) to external (EXT), or vice-versa, a noise pulse

may appear at the outputs. This also occurs if the SPX1000 is

switched from digital to analog input while CLK is set to EXT

(CLK is automatically reset to INT in this case).

Be sure to lower the volume level of equipment connected to

the SPX1000 outputs when performing any of above

operations.

8

3: GENERAL OPERATION

SELECTING AN EFFECT/MEMORY LOCATION

ACCESSING & EDITING

THE PROGRAM PARAMETERS

1. Effects and memory locations can only be selected when

the utility mode is not active (the UTILITY KEY indicator

is not lit). If the UTILITY key indicator is lit, press and

hold the UTILITY key until its indicator goes out and the

utility mode is exited.

2. Press the program select

or

key to increment or

decrement the memory location number shown on the LED

display. Hold either of these keys down for continuous

incrementing or decrementing. The name of the program

corresponding to the currently selected memory location

will be shown on the LCD, or "*** NO DATA ***" will

be displayed if a memory location between 41 and 99 is

selected into which an edited effect program has not been

stored. Note that at this stage the LED memory number

display is flashing, indicating that although a new location

has been selected, its contents have not yet been recalled.

3. When the desired memory location/effect has been

selected, press the RECALL key. The LED memory

number display will stop flashing and the selected effect

will be engaged.

- blink -

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.

Each SPX1000 program has 4 different groups of parameters

which are accessed by pressing the corresponding parameter

select keys:

KEY ACCESSES

PARAM The main effect parameters for each program.

These parameters will vary according the type

of program.

LEVEL The BALANCE and OUT LVL parameters for

each program.

The equalization or dynamic filter parameters

for each program.

EQ

INT. PARAM. Special "fine control" parameters for each

program. These parameters will vary

according to the type of program.

To call a specific group of parameters for the currently

selected effect program, press the appropriate parameter select

key. The next parameter within the group is called each time

the parameter select key for that group is pressed. In any

parameter group, the SCROLL BACK key can be used to

scroll backwards through the parameters. For example,

subsequent presses on the LEVEL parameter select key call

the following parameters:

BALANCE -> OUT LVL -> BALANCE -> etc.

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

increases (increments) the value while the

(decrements) the value. Either key can be held down for

continuous incrementing or decrementing.

While holding down either the

other key (

decrementing process to be carried out more rapidly.

and

keys. The

key

or

key, pressing the

or

) causes the incrementing or

9

key decreases

3. Press the STORE key to store the edited effect in the

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.

STORING EFFECTS

In order to store an edited effect for later recall you need to do

the following:

1. Make sure that the SPX1000 MEMORY PROTECT

function is OFF. Press the UTILITY key a few times until

the MEMORY PROTECT function appears. If it is ON,

press the parameter key to turn it OFF. Press and hold

the UTILITY key until its indicator goes out and the utility

mode is exited.

2. After editing the effect. select a memory location between

41 and 99 by using the program select

and

keys. Do

not recall the selected memory location. If an edited

program has previously be stored in the selected memory

location. its title will be displayed on the LCD.

10

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.

NOTE:

You CANNOT store edited data to memory locations 1

through 40. If you attempt to do this the LCD will show

“*** READ ONLY ***”.

NOTE:

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

The SPX1000 allows two different parameters of a selected

effect to be controlled by optional foot controllers (Yamaha

FC7) connected to the front-panel EXT CTRL/FOOT VOL1

and 2 jacks. The EXT CTRL ASSIGN key is used to assign

the desired effect parameters to the foot controllers used, and

to set the required control range. External control assignments

made for an effect program can be stored in the user memory

area (41– 99) along with the effect (using the STORE

function described above), so that the assignments made are

recalled whenever that memory location is selected.

1. Select the desired effect program.

2. Select the parameter to be assigned to an external foot

controller (PARAM, LEVEL, EQ or INT PARAM

parameters can be assigned).

3. Press the EXT CTRL ASSIGN key. The name of the

selected effect program will remain on the upper line of the

LCD, and one of the following parameters will appear on

the lower line:

NOTE:

External control assignments will be lost if a different

memory location is selected without first storing the

assigned effect program into one of the user memory

locations (41 — 99) using the STORE function..

In the actual display, “XXXXXXXX” will be the name of

the default parameter for the selected effect program. The

EXT CTRL ASSIGN key can be used to scroll forward

through the above parameters, and the SCROLL BACK

key can be used to scroll backwards.

4. To assign the selected parameter to the EXT CTRL/FOOT

VOL 1 or EXT CTRL/FOOT VOL 2 controller, use the

EXT CTRL ASSIGN or SCROLL BACK key to call the

“FVOL1 XXXXXXXX” or “FVOL2 XXXXXXXX”

parameter.

5.

Press either the parameter

or

key and the parameter

you called within the selected effect program will be

assigned to the foot controller indicated on the display

(FVOL 1 or FVOL 2).

6. Use the “MIN” and “MAX” parameters for the appropriate

controller to set the control range. If the parameter to be

controlled has a range of 0 to 100%, for example, setting

the MIN parameter to 20 and the MAX parameter to 80

will allow the foot controller to vary the selected parameter

from 20% to 80% of its total range.

NOTE:

Either or both controllers may be assigned. When both

controllers are used, each can be assigned a different

parameter within the selected effect program.

NOTE:

MIDI control change messages received via the MIDI IN

connector can also be used to control assigned parameters.

See “MIDI CTRL ASSIGN” on page 63.

CAUTION!

When setting the range and storing it in the program,

always make sure the preset values for the assigned

parameters are included within the set range.

When setting the range, confirm the values for MIN and

MAX with the controller, and always make sure the preset

values are inside the externally set values.

If the preset values are outside the specified range, there

may be no response to the controller when a recall

operation is carried out.

11

4: THE PROGRAMS & PARAMETERS

PARAMETERS PROVIDED

FOR ALL PROGRAMS

LEVEL PARAMETERS (Accessed via LEVEL key)

Effect/Direct Signal Balance (BALANCE): 0 – 100%

This parameter adjusts the balance between the direct sound

and effect signals. At 100% only the effect sound is delivered

from the SPX1000 outputs, while at 0% only the direct sound

is output. At a setting of 50%, the direct and effect sounds are

output in approximately equal proportions.

Effect Output Level (OUT LVL): 0 – 200%

This parameter sets the overall output level of the effect

program. This is particularly handy for matching levels

between different effects.

2-CHANNEL PROGRAM (PROGRAMS 31 – 35) LEVEL

PARAMETERS

The level parameters available for the 2-channel programs

(programs 3 1

– 35) are the same as those for the other

programs, except that separate parameters are provided for the

left and right channels.

BALANCE 1 = 1 (Left)-channel Balance

BALANCE 2 = 2 (Right)-channel Balance

OUT LVL 1 = 1 (Left)-channel Output Level

OUT LVL 2

= 2 (Right)-channel Output Level

EQ PARAMETERS (Accessed via EQ key)

When the EQ key is pressed, you are presented with three

choices: “OFF” (the default setting), “EQ” (2-band parametric

equalizer mode), or “D.FLT” (Dynamic Filter mode). Use the

parameter

and keys to select the desired mode of

operation. The EQ mode provides 2-band parametric

equalization, while the Dynamic Filter mode provides a filter

which can be automatically swept across a specified frequency

range by the SPX1000’s internal low frequency oscillator or

the level of the input signal.

PARAMETERS AVAILABLE IN THE “EQ"

MODE

Low EQ Peaking or Shelving Response (LOW EQ.):

PEAK, SHLV

High EQ Peaking or Shelving Response (HIGH EQ):

PEAK, SHLV

These parameters determine whether the corresponding band

has a peaking or shelving filter response.

Low EQ Frequency (LOW FRQ): 32 Hz – 2.2 kHz

High EQ Frequency (HIGH FRQ): 500 Hz – 16 kHz

These parameters determine the center frequency for

equalization in the corresponding band. In the shelving mode,

these parameters represent the turn over frequency rather than

the center frequencies.

Low EQ Gain (LOW GAIN): -15 – + 15 dB

High EQ Gain (HIGH GAIN): -15 – + 15 dB

These parameters determine the amount of boost or cut

applied to the corresponding EQ band.

Low EQ Bandwidth (LOW Q): 0.1 – 5.0 (PEAK mode

only)

High EQ Bandwidth (HI Q): 0.1 – 5.0 (PEAK mode

only)

These parameters determine the bandwidth of the

corresponding EQ band. A setting of 5.0 produces the

narrowest bandwidth (sharpest response), and the minimum

setting of 0.1 produces the widest bandwidth (broadest

response). Note that the “Q” parameters for the low and high

bands only function when the corresponding band is set to the

PEAK mode.

PARAMETERS AVAILABLE IN THE “D.FLT”

MODE

Control Type (CTL TYPE): LFO, LEVEL

Determines whether the sweep of the dynamic filter is

controlled by the SPX1000’s LFO (Low Frequency Oscillator)

or the level of the input signal to analog trigger.

12

Filter Type (FLT TYPE): LPF, HPF, BPF, PEQ

Determines the response of the dynamic filter:

LPF = Low Pass Filter

HPF = High Pass Filter

BPF = Band Pass Filter

PEQ = Parametric EQ

Center Frequency (F CENTER): 32 Hz – 16 kHz

Sets the starting center frequency of the dynamic filter.

Frequency Depth (F DEPTH): 0 – 8 octaves

Determines the maximum sweep range of the dynamic filter.

Filter Gain (GAIN): -18, -12, -6, 6, 12, 18 dB (when

FLT TYPE = PEQ only)

Determines the gain of the dynamic filter when the PEQ filter

type is selected. Minus values create a notch response while

positive values create a peaking response.

Bandwidth (Q): LOW, HIGH

Sets the bandwidth of the dynamic filter.

Filter Shift Direction (SHIFT): UP, DOWN

Determines which direction the dynamic filter will sweep in

from the starting point.

Filter Sensitivity (SENSITIVITY): 1 – 10

Adjusts the sensitivity of the dynamic filter. Higher settings

create a greater degree of sweep for the same change in input

level (LEVEL control type).

Filter Decay (DECAY): 1 – 10

Determines the speed at which the dynamic filter will return

to the starting frequency after activation.

Low Frequency Oscillator Frequency (LFO FRQ): 0.1

– 10.0 Hz

Sets the LFO frequency and thus the speed of dynamic filter

sweep when the LFO control type is selected.

2-CHANNEL PROGRAM (PROGRAMS 31 – 35) EQ

PARAMETERS

The EQ parameters for the 2-channel programs (programs 31

– 35) are the same as for the other programs, except that

separate EQ parameters are provided for the left and right

channels when the “EQ” mode is selected.

L LOW EQ = Left-channel Low EQ

L LOW F = Left-channel Low Frequency

L LOW G = Left-channel Low Gain

L LOW Q = Left-channel Low Bandwidth

L HI EQ = Left-channel High EQ

L HI F = Left-channel High Frequency

L HI G - Left-channel High Gain

L HI Q = Left-channel High Bandwidth

R LOW EQ = Right-channel Low EQ

R LOW F = Right-channel Low Frequency

R LOW G = Right-channel Low Gain

R LOW Q = Right-channel Low Bandwidth

R HI EQ = Right-channel High EQ

R HI F = Right-channel High Frequency

R HI G - Right-channel High Gain

R HI Q = Right-channel High Bandwidth

REVERB PROGRAMS

1. REV1 HALL

2. REV2 ROOM

3. REV3 VOCAL

4. REV4 PLATE

5. REV5 ECHO ROOM

Reverberation is the warm musical “ambience” you

experience when listening to music in a hall or other properly-

designed acoustic environment. The SPX1000 offers several

different reverb effects, simulating types of reverberation you

would experience in a hall (REV 1 HALL), in a smaller room

(REV 2 ROOM), a reverb effect ideally suited to vocals (REV

3 VOCAL), the type of reverberation produced artificially by

13

a plate reverberator (REV 4 PLATE), and a special echo room

(REV 5 ECHO ROOM) in which you have extensive control

over the room’s dimensions and other parameters.

PARAMETERS ACCESSED BY THE PARAM KEY

(Except 5. REV5 ECHO ROOM)

Reverb Time (REV TIME):

0.3 – 480 seconds (1 REV1 HALL, 3 REV3 VOCAL)

0.1 –480 seconds (2 REV2 ROOM, 4 REV4 PLATE)

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

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 low-

frequency reverb times in relation to the overall reverb time.

Diffusion (DIFFUSION): 0 – 10

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): 0.1 – 1000 milliseconds

This represents the time delay between the direct sound of an

instrument in a concert hall and the first of the many

reflections that make up reverberation.

High-pass Filter Frequency (HPF FRQ): THRU, 32 Hz

– 1 kHz

Permits rolling off the low-frequency content of the reverb

signal above the set frequency. The HPF is OFF when set to

THRU.

Low-pass Filter Frequency (LPF FRQ): 1 – 16 kHz,

THRU

Permits rolling off the high-frequency content of the reverb

signal above the set frequency. The LPF is OFF when set to

THRU.

5. REV5 ECHO ROOM

Reverb Time (REV TIME): 0.3 – 480 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.

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

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

Allows position the “listener” to the front, center or rear of the

echo room in relation to the source sound.

High Frequency Reverb Time Ratio (HIGH): 0.1 – 1.0

Natural reverberation varies according to the frequency of the

sound. The higher the frequency, the more sound tends to be

absorbed by walls, furnishings and even air. These two

parameters allow alteration of the high-frequency and low-

frequency reverb times in relation to the overall reverb time.

Diffusion (DIFFUSION): 0 – 10

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): 0.1 – 1000 milliseconds

This represents the time delay between the direct sound of an

instrument in a concert hall and the first of the many

reflections that make up reverberation.

High-pass Filter Frequency (HPF FRQ): THRU, 32 Hz

– 1 kHz

Low-pass Filter Frequency (LPF): 1 – 16 kHz, THRU

Same as other reverbs.

14

Width fine: -100 – +100

This sets the value specified with WIDTH as the reference

value (0) and is the parameter for fine adjustment.

Height Fine: -100 – +100

This sets the value specified with HEIGHT as the reference

value (0) and is the parameter for further fine adjustment.

Depth Fine: -100 – +100

This sets the value specified with DEPTH as the reference

value (0) and is the parameter for further fine adjustment.

Wall Vary Fine (W. VARY FINE): -100 – +100

This sets each of the value specified with WIDTH, HEIGHT,

DEPTH, and WALL VARY as the reference value (0) and is

the parameter for further fine adjustment.

W. Decay: RT x 0.1 – 1.0

Among the REV components, this sets the reverberation time

of the REV components specified with WIDTH to a multiplier

value corresponding to the REV TIME. It simulates the

acoustic properties of the side walls.

H. Decay: RT x 0.1 – 1.0

D. Decay: RT x 0.1 – 1.0

In the same way as for W. Decay, this sets a multiplier value

corresponding to REV TIME for reverberation time felt in

relation to the HEIGHT (vertical direction) in the height

direction and that felt for the DEPTH in the front-to-back

direction. It also simulates the acoustic properties of the walls

in the vertical and front-to-back disrections.

PARAMETERS ACCESSED BY THE INT PARAM

KEY

Early Reflection/Reverb Balance (ER/REV BAL.): 0 –

100%

This parameter determines the level balance between the

early-reflection portion and final reverberation portion of the

reverb sound. At 100% only the early-reflection sound will be

produced. At 0% only the final reverberation sound will be

produced. A setting of about 50% produces both the early-

reflection and final reverberation sounds at equal level.

Reverb Delay (REV DLY): 0.1 – 300.0 milliseconds

Sets the delay between the beginning of the early reflections

–

the initial group of sparse reflections that precede the dense

reverb sound

– and the beginning of the reverb sound.

Density (DENSITY): 0 – 4

This parameter determines the density of the reverb

reflections (i.e. the average amount of time between

reflections). A setting of 1 produces minimum reverb density

for a more spacious sound, while a setting of 4 produces the

most dense, “tightest” reverberation.

Trigger Level (TRG. LEVEL): 0 – 100%

Determines the level of the input signal required to trigger

“opening” of the reverb program gate. At 100% only very

high-level input signals will trigger the gate, while at 1% even

the tiniest input signal will trigger the gate.

Trigger Delay (TRG. DLY): -100 – +100 milliseconds

Produces a delay between the time at which the gate is

triggered and that at which it actually opens.

Hold Time (HOLD): 1 – 24,000 milliseconds

Determines how long the gate stays open, allowing the signal

to pass.

Release Time (RELEASE): 3 – 24,000 milliseconds

Determines how long it takes for the gate to close fully after

the HOLD TIME has ended.

Analog Trigger Level (A. TRG LVL): 0 – 100

When an analog signal applied to the rear-panel TRIGGER 2

ANALOG jack is used to trigger the gate, this parameter

determines the level of the input signal required to trigger

“opening” of the reverb program gate. At 100% only very

high-level input signals will trigger the gate, while at 1% even

the tiniest input signal will trigger the gate. 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 gate.

MIDI Trigger (MIDI TRG.): OFF, ON

When this parameter is turned ON, a KEY ON EVENT

message from an external MIDI keyboard can be used to

trigger the gate. 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.

15

EARLY REFLECTION PROGRAMS

6. EARLY REF. 1

7. EARLY REF. 2

8. EARLY REF. 3

9. GATE REVERB

10. REVERSE GATE

These effects are created using different groupings of “early

reflections” –

the first cluster of reflections that occurs after

the direct sound but before the dense reflections that are

known as reverberation begin.

PARAMETERS ACCESSED BY THE PARAM KEY

Early Reflection Pattern Type (TYPE):

EARLY REF. 1 & 2: S-HALL, L-HALL, RANDOM,

REVERSE, PLATE, SPRING

EARLY REF. 3: USER-A, USER-B, USER-C,

USER-D

GATE REVERB & REVERSE GATE: TYPE A,

TYPE B

In the EARLY REF. 1 and EARLY REF. 2 programs the

TYPE parameter selects one of six different patterns of early

reflections. S-HALL produces a typical grouping of early

reflections that would occur in a performing environment such

as a small hall. L-HALL simulates the early reflection pattern

of a larger hall. RANDOM produces an irregular series of

reflections that could not occur naturally. REVERSE

generates a series of reflections that increase in level – like

the effect produced by playing a recorded reverberation sound

backwards. PLATE produces a typical grouping of reflections

that would occur in a plate reverb unit, and SPRING produces

the same for spring type reverb unit.

In the EARLY REF. 3 program the TYPE parameter selects

one of the four user-programmed early reflection patterns:

USER-A, USER-B, USER-C or USER-D. The USER early

reflection patterns are programmed using the utility-mode

“USER ER EDIT” function (see “USER ER EDIT” on page

31 for details).

In the GATE REVERB and REVERSE GATE programs the

TYPE parameter selects either TYPE-A or TYPE-B.

Room Size (ROOM SIZE): 0.1 – 25

This parameter sets the time intervals between the early

reflections + a feature of natural early reflections which is

directly proportional to the size of the room.

Liveness (LIVENESS): 0 – 10

“Liveness” refers to the rate at which the reflected sounds

fade. An acoustically “dead” room is simulated by setting this

parameter to zero. Increasing the value of this parameter

creates an increasingly “live” sound, simulating an increasing

area of reflective surfaces in the room.

16

Diffusion (DIFFUSION): 0 – 10

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 early reflection effect is produced. As

the DIFFUSION value is increased, the complexity of the

reflections increases producing a thicker, richer sound.

Initial Delay (INI DLY): 0.1 – 1000 milliseconds

Initial delay is the time between the beginning of the direct

sound and the beginning of the early reflections.

High-pass Filter Frequency (HPF FRQ): THRU, 32 Hz

– 1 kHz

Permits rolling off the low-frequency content of the reverb

signal above the set frequency. The HPF is OFF when set to

THRU.

Low-pass Filter Frequency (LPF FRQ): 1 – 16 kHz,

THRU

Permits rolling off the high-frequency content of the reverb

signal above the set frequency. The LPF is OFF when set to

THRU.

PARAMETERS ACCESSED BY THE INT PARAM

KEY

Number of Early Reflections (ER NUMBER): 1 – 19

This parameter directly sets the number of early reflections

produced from 1 to 19.

Feedback Delay (FB DELAY): 0.1 – 26000

milliseconds

Feedback Gain (FB GAIN): -99 – +99%

Feedback High-frequency Ratio (FB HIGH): 0.1 – 1.0

The feedback parameters permit thickening and/or extending

the early reflection sound. Feedback causes the early

reflections to generate more early reflections of themselves,

thus the FB GAIN parameter determines how many times (for

how long) the early reflections are repeated. The FB DELAY

parameter sets a delay time between the beginning of the

original early-reflections and the first of the repeats caused by

feedback. Shorter FB DELAY times simply thicken the early-

reflection sound, while longer FB DELAY times can create

extended or repeated early reflection effects. FB HIGH

determines how much of the high-frequency content of the

original early reflections is fed back. The lower the setting,

the less of the original high frequencies are fed back. This

causes a gradual decrease in high frequency content at each

repeat.

Density (DENSITY):

EARLYREF.2: 1 – 3

EARLY REF. 3, GATE REVERB, REVERSE GATE

:

Please note that the DENSITY parameter is not provided in

the EARLY REF. 1 program. This parameter determines the

density of the reverb reflections (i.e. the average amount of

time between reflections). A setting of 0 or 1 produces

minimum reverb density for a more spacious sound, while a

setting of 3 produces the most dense, “tightest” reverberation.

DELAY PROGRAM

11. DELAY L,C,R

This sophisticated delay effect offers independently variable

left, right and center channel delays.

PARAMETERS ACCESSED BY THE PARAM KEY

Left Channel Delay (Lch DLY): 0.1 – 5200

milliseconds

Right Channel Delay (Rch DLY): 0.1 – 5200

milliseconds

Center Channel Delay (Cch DLY): 0.1 – 5200

milliseconds

These parameters individually set the time between the direct

sound of the instrument and the first repeat heard from the

left, right and center channels.

Center Channel Level (Cch LVL): -200 – +200%

Adjusts the level of the center-channel delay signal.

PARAMETERS ACCESSED BY THE INT PARAM

KEY

High-pass Filter Frequency (HPF FRQ): THRU, 32 Hz

–1kHz

Permits rolling off the low-frequency content of the reverb

signal above the set frequency. The HPF is OFF when set to

THRU.

Low-pass Filter Frequency (LPF FRQ):

1 – 16 kHz,

THRU

Permits rolling off the high-frequency content of the reverb

signal above the set frequency. The LPF is OFF when set to

THRU.

Feedback 1 Delay (FB1 DLY): 0.1 – 5200 milliseconds

Feedback 2 Delay (FB2 DLY): 0.1 – 5200 milliseconds

Two separate feedback loops are provided in the delay

program, and these parameters determine the amount of delay

applied to each feedback signal.

Feedback 1 Gain (FB1 GAIN): -99% – +99%

Feedback 2 Gain (FB2 GAIN): -99% – +99%

Set the amount of delay signal fed back to the input of the

processor. The higher the feedback gain setting, the greater

the number of delayed repeats produced by the corresponding

feedback loop.

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

Controls feedback in the high-frequency range. The high-

frequency feedback is reduced as the value of this parameter

is decreased.

ECHO PROGRAM

12. STEREO ECHO

The stereo echo effect offers independently variable left and

right channel initial delays and echo intervals.

PARAMETERS ACCESSED BY THE PARAM KEY

Left Channel Feedback Delay (LFB DLY): 0.1 – 2600

milliseconds

Right Channel Feedback Delay (RFB DLY): 0.1 – 26000

milliseconds

17

0—3

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Yamaha SPX1000 取扱説明書

Yamaha SPX1000 取扱説明書

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