Yamaha SPX1000 de handleiding

Merk: Yamaha

Model: SPX1000

Categorie: Processors

Type: de handleiding

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

THE

FRONTPANEL

THE

CONNECTOR

PANEL

2: THESPX1000

SYSTEM

MEMORY CONFIGURATION

INPUT MODE AND DIGITAL I/O

CONFIGURATIONS

INPUT

MODES

DIGITAL l/O MODES

GENERALOPERATION

SELECTING AN EFFECT/MEMORY LOCATION 9

BYPASSING

THE

EFFECT

ACCESSING & EDITING THE PROGRAM

PARAMETERS

STORINGEFFECTS

EXTERNALCONTROL

ASSIGNMENT

THE

PROGRAMS

PARAMETERS

PARAMETERS PROVIDED FOR ALL PROGRAMS

LEVEL PARAMETERS (Accessed via

LEVEL key)

EQ PARAMETERS

(Accessed via EQ key)

REVERB

PROGRAMS

REV 1 HALL

2. REV 2 ROOM

REV3

VOCAL

4. REV 4 PLATE

REV5ECHO

ROOM

EARLY REFLECTION PROGRAMS

6. EARLY REF. 1

7.EARLY

REF.

EARLY

REF.

3 15

9. GATE REVERB

10.

REVERSE

GATE..

DELAY PROGRAM

11. DELAY L,C,R

ECHOPROGRAM 17

12. STEREO ECHO

MODULATIONPROGRAMS

13. STEREO

FLANGE A

14.STEREO

FLANGEB

15.

CHORUS

16. STEREO PHASING

17. TREMOLO

18.SYMPHONIC

NOISE

GATE

19. ADR-NOISE

GATE

PITCH CHANGE PROGRAMS

20.

PITCH

CHANGE 1

21. PITCH CHANGE 2

22. PITCH CHANGE 3

39. STEREO PITCH

FREEZE PROGRAMS

23. FREEZE 1

24. FREEZE 2 23

40. STEREO FREEZE

PAN PROGRAMS 23

25. PAN

26.

TRIGGERED

PAN

DISTORTION PROGRAM

27. DISTORTION

MULTI-EFFECT PROGRAMS

28.

MULTI

(CHO&REV)

29.

MULTI

(SYM+REV)

30. MULTI (EXC&REV)

2-CHANNEL

PROGRAMS

31.

PLATE+

HALL

32. ER + REV

33.

ECHO+REV

34.

CHORUS

+REV

35. PAN + PAN

COMPRESSOR

EXPANDER

PROGRAMS

36. COMPRESSOR

37.

LVLEXPANDER

EXCITER PROGRAM

38. EXCITER

5: UTILITY FUNCTIONS

TITLE EDIT

INPUT MODE

A/D l/O MODE

DIGITAL IN ATT

USER ER EDIT

MEMORY PROTECT

MIDICONTROL & MIDI

PGM

CHANGE

MIDI CTRL ASSIGN

BULK OUT 1 & BULK OUT 2

F.SW MEMORY RCL

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

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.

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

key, pressing the other key or

causes the

incrementing or decrementing process to be carried out

more rapidly.

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

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. “

” 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).

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:

REV 1 HALL

REV 2 ROOM

REV 3 VOCAL

REV 4 PLATE

5. REVS ECHO ROOM

EARLY REF. 1

EARLY REF. 2

EARLY REF. 3

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

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.

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.

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

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.

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

key, pressing the

) causes the incrementing or

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.

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.

Press either the parameter

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.

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.

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

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.

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.

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.

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

0—3

After the initial delay produced by the INI DLY parameters,

the time between subsequent repeats is determined by the left

and right channel interval parameters.

Left Channel Feedback Gain (Lch F.B): -99% — +99%

Right Channel Feedback Gain (Rch F.B): -99% —

+99%

Individually set the amount of the left or right channel delay

signal fed back to the input of the processor. The higher the

feedback gain setting, the greater the number of delayed

repeats produced for the corresponding channel.

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.

PARAMETERS ACCESSED BY THE INT PARAM

KEY

Left Channel Initial (L INI DLY): 0.1— 2600

milliseconds

Right Channel Initial (R INI DLY): 0.1— 2600

milliseconds

These parameters individually set the time between the direct

sound of the instrument and the first repeat heard from the left

and right channels.

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

—1.0

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.

MODULATION PROGRAMS

The stereo flange effects produce a pleasant "swirling" sound

which can effectively thicken and add warmth to the sound of

an instrument. The flanging effect is produced by varying the

delay between two identical signals, thus producing a complex

varying "comb filter" effect.

Phasing is basically a "gentler" version of the flange effect,

lending a smooth, animated quality to the original sound.

The tremolo effect is produced in the same way as the flange

effect, but has a "bigger," more sweeping sound. The

symphonic effect adds richness and life to the sound.

PARAMETERS ACCESSED BY THE PARAM KEY

Please note that STEREO PHASING does not have the F.B

GAIN parameter listed below, while TREMOLO and

SYMPHONIC have only the MOD FRQ and MOD DEPTH

parameters.

Modulation Frequency (MOD. FRQ): 0.05 Hz — 40 Hz

Sets the speed of modulation, and hence the rate at which the

effect varies.

Modulation Depth (1, 2) (MOD. DEPTH): 0% — 100%

Sets the amount of delay time variation, thus adjusting the

depth of the effect.

Modulation Delay (1, 2) (MOD. DLY): 0.1— 100

milliseconds

This sets the basic delay time from the initial direct sound to

the beginning of the flange effect.

Feedback Gain (F.B. GAIN): 0% — 99%

Determines the amount of flange signal which is fed back to

the input of the processor for further modulation. More

feedback increases the overall complexity, "strength" and

decay time of the effect.

Phase (PHASE): -180.0 deg — +180.0deg

(14. STEREO FLANGE B) Sets the phase between MOD.

DLY1 and

Delay Time Modulation Depth (DM DEPTH): 0% —

100%

(15. CHORUS) Sets the amount of the width of the shaking

between L and R channel.

Amplitude Modulation Depth (AM DEPTH): 0% —

100%

(15. CHORUS) Sets the amount of the width of amplitude

variation.

13. STEREO FLANGE A

14. STEREO FLANGE B

15.CHORUS

16. STEREO PHASING

17. TREMOLO

18. SYMPHONIC

PARAMETERS ACCESSED BY THE INT PARAM

KEY

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

– 1.0 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.

NOISE GATE

19. ADR-NOISE GATE

This program uses a “gate” to pass or shut off the input signal

in a number of ways. It can be used to pass just a short

segment of a longer input signal, or it can be set up to pass

only signals that exceed a specified level. In the latter case

this program functions as a “noise gate.” It is also possible to

create reverse gate type effects in which the gain increases

gradually after the effect is triggered.

PARAMETERS ACCESSED BY THE PARAM KEY

Trigger Level (TRG. LEVEL): 0 – 100%

Determines the level of the input signal required to trigger

“opening” of the gate. At 100% only very high-level input

signals will trigger the gate, while at 0% 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. If a minus value

is programmed, the input signal is delayed so that, effectively,

the gate opens before the signal appears.

Trigger Mask (TRG. MSK): 3 – 24000 milliseconds

This parameter makes it impossible to re-trigger the gate

function until the programmed time has elapsed.

Attack Time (ATTACK): 3 – 24000 milliseconds

Determines how long it takes for the gate to open fully from

the time it begins to open.

Decay Time (DECAY): 3 – 24000 milliseconds

Determines the length of time it takes for the gate envelope to

fall to DECAY LEVEL after it is fully open.

Decay Level (DECAY LVL): 0 – 100%

Determines the level at which the gate remains open for the

HOLD TIME. The lower the value, the lower the HOLD gate

level.

Hold Time (HOLD): 1 – 24000 milliseconds

Determines how long the gate stays open, allowing the signal

to pass at the DECAY LEVEL, after the first decay and prior

to beginning of the RELEASE TIME.

Release Time (RELEASE): 3 – 24000 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 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.

PARAMETERS ACCESSED BY THE INT PARAM

KEY

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

– 1.0 kHz

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

THRU

PITCH CHANGE TYPE PROGRAMS

20.

PITCH

CHANGE 1

21.PITCH

CHANGE 2

22.

PITCH

CHANGE 3

39. STEREO PITCH

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.

PARAMETERS ACCESSED BY THE PARAM KEY

20. PITCH CHANGE 1

PITCH CHANGE 1 makes it possible to produce two

independently pitch-shifted output notes in addition to the

direct signal, so you can create three-part harmonies with a

single input note. Both pitch-shifted notes appear at the center

of the stereo sound field.

1st Pitch Shift (1 PITCH): -24 – +24

2nd Pitch Shift (2 PITCH): -24 – +24

Set the pitch of the first or second pitch-shifted note between

two octaves below (-24) and two octaves above (+24) the

input note.

1st Fine Tuning (1 FINE): -100 – +100

2nd Fine Tuning (2 FINE): -100 – +100

Permit fine tuning of the first or second pitch-shifted note in

l-cent steps.

1st Delay Time (1 DLY): 0.1 – 2300 milliseconds

2nd Delay Time (2 DLY): 0.1 – 2300 milliseconds

Determines the time delay between input of the original note

and output of the first or second pitch-shifted note.

1st Feedback Gain (1 F.B.): -99 – +99

2nd Feedback Gain (2 F.B.): -99 – +99

When this parameter is set to 0, only a single pitch-shifted

sound is produced after the DELAY time has elapsed. As the

value of this parameter is increased, however, more and more

delayed repeats are produced, each pitch-shifted up or down

from the previous repeat according to the setting of the PITCH

parameter.

1st Level (1 LEVEL): 0 – 100%

2nd Level (2 LEVEL): 0 – 100%

These parameters determine the levels of the first and second

pitch-shifted notes.

21. PITCH CHANGE 2

Like the PITCH CHANGE 1 program, PITCH CHANGE 2

produces 2 pitch-shifted notes in addition to the original input

note. In this program, however, the two pitch-shifted notes are

independently fed to the left and right channel outputs (the

direct sound is positioned at the center of the stereo sound

field) for a true stereo harmony effect.

Left Pitch Shift (L PITCH): -24 – +24

Right Pitch Shift (R PITCH): -24 – +24

Set the pitch of the left or right channel pitch-shifted note

between two octaves below (-24) and two octaves above (+24)

the input note.

Left Fine Tuning (L FINE): -100 – +100

Right Fine Tuning (R FINE): -100 – +100

Permit fine tuning of the left or right channel pitch-shifted

note in l-cent steps.

Left Delay Time (L DLY): 0.1 – 2300 milliseconds

Right Delay Time (R DLY): 0.1 – 2300 milliseconds

Determine the time delay between input of the original note

and output of the left or right channel pitch-shifted note.

Left Feedback Gain (L.F.B.): -99 – +99

Right Feedback Gain (R.F.B.): -99 – +99

When this parameter is set to 0, only a single pitch-shifted

sound is produced after the DELAY time has elapsed. As the

value of this parameter is increased, however, more and more

delayed repeats are produced, each pitch-shifted up or down

from the previous repeat according to the setting of the PITCH

parameter.

22. PITCH CHANGE 3

PITCH CHANGE 3 offers the “thickest” and most complex

sound by allowing the creation of three pitch-shifted notes in

addition to the direct sound.

1st Pitch Shift (1 PITCH): -24 – +24

2nd Pitch Shift (2 PITCH): -24 – +24

3rd Pitch Shift (3 PITCH): -24 – +24

Set the pitch of the first, second or third pitch-shifted note

between two octaves below (-24) and two octaves above (+24)

the input note.

1st Fine Tuning (1 FINE): -100 – +100

2nd Fine Tuning (2 FINE): -100 – +100

3rd Fine Tuning (3 FINE): -100 – +100

Permit fine tuning of the first, second or third pitch-shifted

note in l-cent steps.

1st Delay Time (1 DLY): 0.1 – 4600 milliseconds

2nd Delay Time (2 DLY): 0.1 – 4600 milliseconds

3rd Delay Time (3 DLY): 0.1 – 4600 milliseconds

Determines the time delay between input of the original note

and output of the first, second or third pitch-shifted note.

1st Level (I LEVEL): 0 – 100%

2nd Level (2 LEVEL): 0 – 100%

3rd Level (3 LEVEL): 0 – 100%

These parameters determine the levels of the first, second and

third pitch-shifted notes.

39. STEREO PITCH

The STEREO PITCH program produces a smooth pitch shift

effect rather than an abrupt shift from note to note. The

parameters affect both the left and right channels

simultaneously.

Pitch Shift (PITCH): -24 – +24

Set the pitch of the pitch-shifted note between two octaves

below (-24) and two octaves above (+24) the input note.

Fine Tuning (PITCH FINE): -100 – +100

Permit fine tuning of the pitch-shifted note in l-cent steps.

Delay Time (DELAY): 0.1 – 2300 milliseconds

Determine the time delay between input of the original note

and output of the pitch-shifted note.

Feedback Gain (FB GAIN): -99 – +99

When this parameter is set to 0, only a single pitch-shifted

sound is produced after the DELAY time has elapsed. As the

value of this parameter is increased, however, more and more

delayed repeats are produced, each pitch-shifted up or down

from the previous repeat according to the setting of the PITCH

parameter.

PARAMETERS ACCESSED BY THE INT PARAM

KEY

Base Key (BASE KEY): OFF, C1 – C6

This parameter sets the “BASE KEY” for an external MIDI

synthesizer used to control the PITCH parameter (the MIDI

OUT terminal of the synthesizer must be connected to the

SPX1000 MIDI IN terminal, and the SPX1000 must be set to

receive on the MIDI channel on which the synthesizer is

transmitting). If, for example, the BASE KEY parameter is set

to C4, pressing the C3 key on the synthesizer (C3 is one

octave lower than C4) will set the pitch change value to -12.

Pressing D4 on the keyboard would produce a pitch increase

of one whole-tone (+2). When two keys are pressed, the

highest note determines the pitch of the 1 PITCH or L PITCH

sound, and the lower note determines the pitch of the 2 PITCH

or R PITCH sound. With the STEREO PITCH program the

last note pressed takes priority. If a key more than two octaves

higher or lower than the BASE KEY is pressed, the resultant

pitch change setting will still be within the -24 to +24 range,

as shown in the illustration below. If the BASE KEY

parameter is set OFF, pitch cannot be controlled via the MIDI

IN terminal.

FREEZE PROGRAMS

23. FREEZE 1

24. FREEZE 2

40. STEREO FREEZE

The FREEZE programs allow sampling (digital recording) and

playback of sounds received at the SPX1000’s inputs. The

FREEZE 1 and FREEZE 2 programs permit sampling for a

maximum of 5.8 seconds, while the STEREO FREEZE

program allows sampling for a maximum of 2.9 seconds. The

FREEZE 1 and FREEZE 2 programs differ only in the

playback functions provided.

PARAMETERS ACCESSED BY THE PARAM KEY

23. FREEZE 1

The FREEZE 1 program allows single playback of the

sampled sound, with adjustable start and end points.

Record Mode (REC. MODE): MANUAL, AUTO

Determines how sampling is to be triggered. If MANUAL is

selected, sampling is initiated either by pressing the parameter

key, the TRIGGER key, or a footswitch connected to the

rear-panel TRIGGER 1 SW jack. If AUTO is selected,

sampling is automatically triggered by any input signal of

sufficient level.

Trigger Delay (TRG. DLY): -5800 – +1000

milliseconds

This parameter sets a delay between triggering and actual

initiation of the sampling process. If a negative value is

specified, input signals are temporarily stored and the sound is

sampled from the specified time before the trigger occurs.

Record Ready (RECORD):

The RECORD display must be called before sampling can

begin. With the RECORD display showing, press the

parameter

key and display will change to RECORD

READY. Sampling can now be starting using either the

MANUAL or AUTO method described above. The display

changes to “- - - - - -”

while sampling is in progress, and then

to “OK” when sampling is complete. Any previous data in the

freeze memory is erased when the RECORD function is

executed.

The sampled sound can now be played back by pressing the

TRIGGER key or a footswitch connected to the rear-panel

TRIGGER 1 SW jack. Playback can also be triggered by an

input signal of sufficient amplitude if the INPUT TRG

parameter is ON OR BY A SIGNAL APPLIED TO THE

REAR-PANEL TRIGGER 2 ANALOG JACK IF THE

ANALOG TRG PARAMETER IS ON (see PARAMETERS

ACCESSED BY THE INT PARAM KEY). Pitched playback

of the sampled sound is possible by transmitting MIDI note

ON messages to the SPX1000’s MIDI IN connector from a

MIDI keyboard or other device (e.g. play a key on the

keyboard).

Overdub Ready (OVERDUB):

RECORD (see above) is used to sample a new sound.

OVERDUB is used to record a new sound over a previously

recorded sound. Call the OVERDUB display and begin

overdubbing by using either the MANUAL or AUTO method

described above. The display changes to “

” while

overdubbing is in progress, and then to “OK” when

overdubbing is complete. OVERDUB can be repeated as many

times as necessary.

The initially recorded and overdubbed sound can now be

played back by pressing the TRIGGER key or a footswitch

connected to the rear-panel TRIGGER 1 SW jack. Playback

can also be triggered by an input signal of sufficient amplitude

if the INPUT TRG parameter is on or by a signal applied to

the rear-panel trigger 2 analog jack if the analog trg parameter

is on (see PARAMETERS ACCESSED BY THE INT

PARAM KEY). Pitched playback of the sampled sound is

possible by transmitting MIDI note ON messages to the

SPX1000’s MIDI IN connector from a MIDI keyboard or

other device (e.g. play a key on the keyboard).

Playback Start Point (START): 0 – 5800 milliseconds

Total sample time is 5800 milliseconds (5.8 seconds). This

parameter determines at what point playback will begin when

a trigger occurs.

Playback End Point (END): 0 – 5800 milliseconds

This parameter determines at what point playback will end. If

the END point is set to a time earlier than the START point

(above), the sampled sound will be played back in reverse.

Playback Pitch (PITCH): -24 – +24

Determines the pitch of the playback sound in semitone

increments. PITCH can be varied from two octaves below

(-24) to two octaves above (+24) the original pitch of the

sampled sound.

Playback Pitch Fine Tuning (PITCH FINE): -100 –

+100

Permits fine tuning of the playback pitch in one-cent

increments (a cent is 1/100th of a semitone).

24. FREEZE 2

The FREEZE 2 program allows looped playback of the

sampled sound.

The REC. MODE, TRG. DLY, RECORD, OVERDUB,

START, END, PITCH and PITCH FINE parameters of the

FREEZE 2 program are exactly the same as those of the

FREEZE 1 program. Only the following parameters are

different.

Playback Loop Point (LOOP): 0 – 5800 milliseconds

As in the END parameter of FREEZE 1, this parameter sets

the end point of the sampled sound, but in the FREEZE 2

program playback is immediately resumed from the START

point as soon as the LOOP point is reached. The sampled

sound will therefore play continuously as long as the trigger is

held ON.

Loop Fine Adjust (LOOP FINE): -200 – +200

This parameter allows fine adjustment of the LOOP end point,

making it possible to create the smoothest transition between

the LOOP and START points.

40. STEREO FREEZE

STEREO FREEZE has the same parameters as the FREEZE 1

program, but has shorter TRG. DLY, START and END

parameter ranges to allow independent sampling of left and

right channel signals.

TRG. DLY: -2900 – +1000 milliseconds

START, END: 0 – 2900 milliseconds

PARAMETERS ACCESSED BY THE INT PARAM

KEY

Please note that the FREEZE 2 program has only the BASE

KEY internal parameter.

Input Trigger (INPUT TRG): OFF, ON

Determines whether playback can be triggered by an input

signal of sufficient level.

Analog Trigger (ANALOG TRG): OFF, ON

Determines whether playback can be triggered by an analog

signal applied to the rear-panel TRIGGER 2 ANALOG jack.

Trigger Mask (TRG. MSK): 3 – 30000 milliseconds

This parameter makes it impossible to re-trigger playback

function until the programmed time has elapsed.

Base Key (BASE KEY): OFF, C1 – C6

This parameter sets the “BASE KEY” for an external MIDI

synthesizer used to control pitched playback of the sampled

sound (the MIDI OUT terminal of the synthesizer must be

connected to the SPX1000 MIDI IN terminal, and the

SPX1000 must be set to receive on the MIDI channel on

which the synthesizer is transmitting). If, for example, the

BASE KEY parameter is set to C4, pressing the C3 key on the

synthesizer (C3 is one octave lower than C4) will cause the

sampled sound to play one octave lower than its normal pitch.

If a key more than two octaves higher or lower than the BASE

KEY is pressed, the resultant pitch change setting will still be

within the -24 to +24 range, as shown in the illustration

below. If the BASE KEY parameter is set OFF, pitch cannot

be controlled via the MIDI IN terminal.

PAN PROGRAMS

25. PAN

26. TRIGGERED PAN

There are two Pan Programs:

PARAMETERS ACCESSED BY THE PARAM KEY

25. PAN

This is a very sophisticated pan program that allows creation

of “rotary” pan in addition to straightforward pan effects.

Pan Type (TYPE): L R, L R, L R, L-TURN,

R-TURN

Determines the direction in which the sound sweeps across the

stereo sound field. The L-TURN and R-TURN parameters

produce a pan which seems to rotate toward and away from

the listener in the specified direction.

Pan Speed (PAN SPEED): 0.05 – 40 Hz

Sets the speed of the PAN effect (i.e. how rapidly the signal

sweeps from channel to channel).

Front/Rear Depth (F/R DEPTH): 0 – 100%

When the L-TURN or R-TURN pan type is selected, this

parameter sets the apparent depth of the sweep from front to

rear.

Left/Right Depth (L/R DEPTH): 0 – 100%

Sets the “depth” of the pan sweep from left to right and right

to left.

26. TRIGGERED PAN

When triggered, this program automatically pans the sound

image between left and right or right and left in the stereo

sound field –

with programmable attack, pan and release

rates.

Trigger Level (TRG. LEVEL): 1 – 100%

Determines the level of the input signal required to trigger the

panning effect. At 100% only very high-level input signals

will trigger the pan, while at 0% even the tiniest input signal

will trigger the pan.

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

Produces a delay between the time at which the effect is

triggered and that at which it actually begins. If a minus value

is programmed, the input signal is delayed so that, effectively,

the effect begins before the signal appears.

Trigger Mask (TRG. MSK): 3 – 24000 milliseconds

This parameter makes it impossible to re-trigger the effect

until the programmed time has elapsed.

Attack Time (ATTACK): 3 – 24000 milliseconds

Determines how rapidly the panning effect begins.

Panning Time (PANNING): 3 – 24000 milliseconds

Determines how long it takes to complete the main portion of

the pan.

Release Time (RELEASE): 3 – 24000 milliseconds

Determines the speed of the end of the pan.

Pan Direction (DIRECTION): L R, L R

Determines the direction in which the sound sweeps across the

stereo sound field.

Left/Right Channel Balance (L/R BALANCE): 0 –

100%

Determines the maximum extent of the pan sweep. For

example, a setting of 100% produce a full pan from the

extreme left to right or vice versa, while a setting of 50% a

pan that is more restricted in its width across the stereo sound

field.

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

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

ANALOG jack is used to trigger the pan effect, this parameter

determines the level of the input signal required to trigger the

effect. At 100% only very high-level input signals will trigger

the effect, while at 1% even the tiniest input signal will trigger

the effect. When this function is used the TRG. LEVEL

parameter should be set to the highest value (100%) so that

only signals applied to the TRIGGER 2 ANALOG jack will

activate the effect.

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 pan. A KEY ON EVENT message is transmitted

whenever a note on a MIDI keyboard is played.

NOTE:

This effect can also be triggered by the front-panel

TRIGGER key or a footswitch plugged into the rear-panel

TRIGGER 1 SW jack.

DISTORTION PROGRAM

27.DISTORTION

The distortion program is capable of producing an extremely

broad range of distortion sounds.

PARAMETERS ACCESSED BY THE PARAM KEY

Distortion (DISTORTION): 0 – 100%

This parameter sets the “degree” of distortion produced. A

setting of 0 produces a perfectly clean sound, while a setting

of 100 produces the most heavily distorted sound.

Midrange EQ Frequency (MID FRQ.): 250 Hz – 5.6

kHz

Sets the mid-frequency range to be boosted or cut using the

next parameter: MID GAIN.

Midrange EQ Gain (MID GAIN): - 12 – +12 dB

Boosts or cuts response in the frequency range set by the MID

FRQ parameter (above). A setting of 0 produces no boost or

cut. Minus settings (e.g: -6 dB) cut response in the selected

frequency range, while plus settings (e.g: +12 dB) boost

response.

Treble Boost/Cut (TREBLE): -12 – +12 dB

Permits boosting or cutting the high-frequency range. Minus

settings (e.g: -6 dB) reduce the high-frequency content of the

sound, while plus settings (e.g: +6 dB) emphasize the high-

frequencies.

Distortion Delay (DELAY): 0.1 – 1000 milliseconds

Sets the delay between the direct sound and the beginning of

the distortion effect.

PARAMETERS ACCESSED BY THE INT PARAM

KEY

Trigger Level (TRG. LEVEL) : 0 – 100

The level of the input signal which allows the gate to open (or

applies a trigger, in other words) can be set. The larger the

value, the larger the input signal needed to open the gate. If

this is not specified, the gate will not open.

Release Time (RELEASE) : 3ms – 2400ms

Tis is the time between the point where the gate begins to

close and the point where it is fully closed. The larger the

value, the smoother the cut-off of the reverberation sound

becomes.

MULTI-EFFECT PROGRAMS

28. MULTI (CHO&REV)

29. MULTI (SYM+REV)

30. MULTI (EXC&REV)

The SPX1000 multi-effect programs combine compressor,

distortion, equalizer or dynamic filter (access via EQ key),

reverb and chorus or exciter effects. Refer to the effect

configuration diagram for each program to understand how the

various effects are “connected.”

In all cases the first parameter display allows turning each

effect ON or OFF. Use the PARAM and SCROLL BACK keys

to move the underline cursor to the desired effect, then use the

parameter or

key to turn the effect ON of OFF:

= OFF.

= ON. In this example display

COMPRESSOR (CO), CHORUS (CH) and REVERB (RV) are

ON, while DISTORTION (DI) is OFF.

Once the desired effects have been selected, use the PARAM

key to move on to the main parameters. Only parameters for

effects that are turned ON will appear.

PARAMETERS ACCESSED BY THE INT PARAM

KEY

All of the multi-effect programs have both COMPRESSOR

and DISTORTION: however, all parameters for these are

accessed through the INT PARAM key.

Compressor Attack (CO. ATTACK): Refer to COMPRESSOR

on page 29.

Compressor Release (CO. RELS): Refer to COMPRESSOR on

page 29.

Compressor Threshold (CO. THRSLD): Refer to

COMPRESSOR on page 29.

Compressor Ratio (CO. RATIO): Refer to COMPRESSOR on

page 29.

Distortion (DI.DIST): Refer to Distortion on page 25.

Distortion Mid Frequency (DI. MID F): Refer to

DISTORTION on page 25.

Distortion Mid Gain (DI. MID G): Refer to DISTORTION on

page 25.

Distortion Treble (DI. TREBLE): Refer to DISTORTION on

page 25.

Trigger Level (TRG. LEVEL) : Refer to COMPRESSOR on

page 29.

Release Time (Release) : Refer to COMPRESSOR on page

29.

PARAMETERS ACCESSED BY THE PARAM KEY

28. MULTI (CHO&REV)

Chorus Frequency (CH. FRG): 0.05 – 40 Hz

Chorus Delay Modulation Depth (DM DEPTH): 0% –

100%

This sets the amount by which the delay time of one delay

signal is varied in relation to the other, and thus the depth of

the CHORUS effect.

Chorus Amplitude Modulation Depth (AM DEPTH):

0% – 100%

Sets the amount by which the amplitude (level) of the input

signal is varied.

Reverb Time (RV. RT): Refer to REV 1 HALL on page 14.

High Frequency Reverb Time Ratio (RV. HIGH): Refer to

REV 1 HALL on page 14.

Reverb Initial Delay (RV. DLY): Refer to REV 1 HALL on

page 14.

Reverb Mix (RV. MIX): 0 – 100%

Determines the mix between the signal entering the reverb

processor and the reverb sound.

29. MULTI (SYM+REV)

Symphonic Frequency (SY FRQ): Refer to SYMPHONIC on

page 18.

Symphonic Depth (SY DEPTH): Refer to SYMPHONIC on

page 18.

Reverb Time (RV. RT): Refer to REV 1 HALL on page 14.

High Frequency Reverb Time Ratio (RV. HIGH): Refer to

Plate Initial Delay (PLT DLY): Refer to REV 4 PLATE on

REV 1 HALL on page 14.

page 14.

Reverb Initial Delay (RV. DLY): Refer to REV I HALL on

page 14.

Reverb Mix Level (RV MIX): Refer to MULTI (CHO & REV)

on page 26.

30. MULTI (EXC&REV)

The COMPRESSOR, DISTORTION and REVERB parameters

for this program are the same as for MULTI (CHO&REV) and

MULTI (SYM+REV), described above. When the EXCITER

(EX) effect is turned ON, the following parameters also

appear:

EX. HPFF: Refer to EXCITER on page 30.

EX. ENHANCE: Refer to EXCITER on page 30.

EX. MIX LVL: Refer to EXCITER on page 30.

2-CHANNEL PROGRAMS

The 2-channel programs provide different effects for the left

(1) and right (2) channels. The input signals to the left (1) and

right (2) channels are processed separately. Internal

parameters provided for each of the 2-channel programs

determine whether the output is mixed and delivered in stereo

or each channel functions independently (i.e. mono output x

2).

31. PLATE + HALL

PARAMETERS ACCESSED BY THE PARAM KEY

Plate Reverb Time (PLT RT): Refer to REV 4 PLATE on page

14.

Plate High Frequency Reverb Time Ratio (PLT HIGH): Refer

to REV 4 PLATE on page 14.

Plate Diffusion (PLT DIF): Refer to REV 4 PLATE on page

14.

Hall Reverb Time (HAL RT): Refer to REV 1 HALL on page

14.

Hall High Frequency Reverb Time Ratio (HAL HIGH): Refer

to REV 1 HALL on page 14.

Hall Diffusion (HAL DIF): Refer to REV 1 HALL on page 14.

Hall Initial Delay (HAL DLY): Refer to REV 1 HALL on

page 14.

PARAMETERS ACCESSED BY THE INT PARAM

KEY

Stereo or Mono x 2 Output (OUT MODE): ST, MONO

When set to ST (stereo), the output of the left and right-

channel processors are mixed and the output signal is

delivered in stereo. When MONO x 2 is selected the left and

right-channel processors are completely independent.

When set to ST (stereo), the output of the left and right-

channel processors are mixed and the output signal is

delivered in stereo. When MONO x 2 is selected the left and

right-channel processors are completely independent.

Plate Low-pass Filter Frequency (PLT LPF): 1 – 16

kHz, THRU

Permits rolling off the high-frequency content of the PLATE

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

THRU.

Hall Low-pass Filter Frequency (HAL LPF): 1 – 16

kHz, THRU

Permits rolling off the high-frequency content of the HALL

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

THRU.

32. ER + REV

PARAMETERS ACCESSED BY THE PARAM KEY

Early Reflection Type (ER TYPE): Refer to EARLY REF. 1

on page16.

Early Reflection Room Size (ROOM SIZE): Refer to EARLY

REF. 1 on page 16.

Early Reflection Liveness (LIVENESS): Refer to EARLY

REF. 1 on page 16.

Early Reflection Diffusion (ER DIF): Refer to EARLY REF. 1

on page 16.

Early Reflection Initial Delay (ER DLY): Refer to EARLY

REF. 1 on page 16.

Rev Reverb Time (REV RT): Refer to REV 1 HALL on page

14.

Rev High Frequency Reverb Time Ratio (REV HIGH): Refer

to REV 1 HALL on page 14.

Reverb Low-pass Filter Frequency (REV LPF): I- 16

kHz, THRU

Permits rolling off the high-frequency content of the REV

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

THRU.

33. ECHO + REV

PARAMETERS ACCESSED BY THE PARAM KEY

Echo Left Channel Delay (Lch DLY): Refer to STEREO

ECHO on page 17.

Echo Left Channel Feedback (Lch FB): Refer to STEREO

ECHO on page 18.

Echo Right Channel Delay (Rch DLY): Refer to STEREO

ECHO on page 18.

Echo Right Channel Feedback (Rch FB): Refer to STEREO

ECHO on page 18.

Echo High Frequency Feedback (ECHO HIGH): Refer to

STEREO ECHO on page 18.

Rev Reverb Time (REV RT): Refer to REV 1 HALL on page

14.

Rev High Frequency Reverb Time Ratio (REV HIGH): Refer

to REV 1 HALL on page 14.

Rev Diffusion (REV DIF): Refer to REV 1 HALL on page 14.

Rev Initial Delay (REV DLY): Refer to REV 1 HALL on page

14.

Rev Diffusion (REV DIF): Refer to REV 1 HALL on page 14.

Rev Initial Delay (REV DLY): Refer to REV 1

HALL on page 14.

PARAMETERS ACCESSED BY THE INT PARAM

KEY

Stereo or Mono x 2 Output (OUT MODE): ST, MONO

When set to ST (stereo), the outputs of the left and right-

channel processors are mixed and the output signal is

delivered in stereo. When MONO x 2 is selected the left and

right-channel processors are completely independent.

Reverb Low-pass Filter Frequency (REV LPF): 1 – 16

kHz, THRU

Permits rolling off the high-frequency content of the REV

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

THRU.

34. CHORUS + REV

PARAMETERS ACCESSED BY THE PARAM KEY

Chorus Modulation Frequency (MOD FRQ.): Refer to

CHORUS on page 18.

Chorus Delay Modulation Depth (DM DEPTH): 0% –

100%

This sets the amount by which the delay time of one delay

signal is varied in relation to the other, and thus the depth of

the CHORUS effect.

Chorus Amplitude Modulation Depth (AM DEPTH):

0% – 100%

Sets the amount by which the amplitude (level) of the input

signal is varied.

Rev Reverb Time (REV TIME): Refer to REV 1 HALL on

page 14.

Rev High Frequency Reverb Time Ratio (REV HIGH): Refer

to REV 1 HALL on page 14.

Rev Diffusion (REV DIF): Refer to REV 1 HALL on page 14.

Rev Initial Delay (REV DLY): Refer to REV 1 HALL on page

14.

PARAMETERS ACCESSED BY THE INT PARAM

KEY

Stereo or Mono x 2 Output (OUT MODE): ST, MO

When set to ST (stereo), the outputs of the left and right-

channel processors are mixed and the output signal is

delivered in stereo. When MONO x 2 is selected the left and

right-channel processors are completely independent.

Reverb Low-pass Filter Frequency (REV LPF): 1 – 16

kHz, THRU

Permits rolling off the high-frequency content of the REV

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

THRU.

35. PAN + PAN

PARAMETERS ACCESSED BY THE PARAM

KEY

1 Channel Pan Type (1 PAN TYP): Refer to PAN on page 24.

1 Channel Pan Speed (1 SPEED): Refer to PAN on page 24.

1 Channel Pan Front/Rear Depth (1 F/R DPT): Refer to PAN

on page 24.

1 Channel Pan Left/Right Depth (1 L/R DPT): Refer to PAN

on page 24.

1 Channel Pan Initial Delay (1 DLY): Refer to PAN on page

24.

2 Channel Pan Type (2 PAN TYP): Refer to PAN on page 24.

2 Channel Pan Speed (2 SPEED): Refer to PAN on page 24.

2 Channel Pan Front/Rear Depth (2 F/R DPT): Refer to PAN

on page 24.

2 Channel Pan Left/Right Depth (2 L/R DPT): Refer to PAN

on page 24.

2 Channel Pan Initial Delay (2 DLY): Refer to PAN on page

24.

1/2 Channel Pan Phase (PHASE): -180 – +180 degrees

Determines the starting phase of the 2-channel pan (PAN 2) in

relation to the left-channel pan (PAN 1).

PARAMETERS ACCESSED BY THE INT PARAM

KEY

NOT AVAILABLE

COMPRESSOR & EXPANDER PROGRAMS

36. COMPRESSOR

This extremely versatile compressor program allows creation

of a wide range of compression and limiting effects. It can

simply be used to reduce the dynamic range of a signal, to

smooth out the sound of an electric bass or add sustain to an

electric guitar. It can help to reduce volume fluctuations as a

vocalist moves closer to or away from a microphone, or limit

the maximum level of a signal to prevent overloading certain

types of amplification of recording equipment. The

COMPRESSOR program is a stereo compressor in which the

higher signal level + left- or right-channel + is used for gain

control.

PARAMETERS ACCESSED BY THE PARAM KEY

Attack Time (ATTACK): 1 – 40 milliseconds

Determines how long it takes for full compression to be

reached after the effect is triggered (i.e. the THRESHOLD

level is exceeded). The right ATTACK setting is essential to

preserve the natural initial attack sound of the instrument used

— or modify it as desired.

Release Time (RELEASE): 10 – 2,000 milliseconds

Determines how long it takes for compression to be released

after the input signal drops below the THRESHOLD level.

The RELEASE setting is important to preserve the natural

release sound of the instrument used. Too short a RELEASE

setting will cause the sound to be cut off unnaturally.

Threshold Level (THRESHOLD): -48 – -6 dB

Determines the level of the input signal at which the

compression effect begins. Set at a low level (-48 dB) all input

signals will be compressed. At a higher level, only those

signals exceeding the THRESHOLD level will be compressed,

thus producing a limiting effect. The THRESHOLD level

must be set to match the level and characteristics of the

instrument being used, as well as the desired effect.

Compression Ratio (RATIO): 1 – 20

This parameter sets the “amount” of compression applied to

the input signal. A setting of 1.0 produces no compression,

while a setting of 20 produces maximum compression.

Expansion Threshold (EXPAND THRS): -72 – -30 dB

Expansion Ratio (RATIO): 1–5

These parameters can be used to cut out low-level noise.

Expansion is applied to signal levels below the set expander

threshold.

Initial Delay Time (DELAY): 0.1 – 2300 milliseconds

Determines the time delay between the direct sound and the

compressed effect sound.

Detect Delay (DET. DLY): -50 – +50 milliseconds

This parameter sets an initial delay between the time the input

signal begins (the time the THRESHOLD level is exceeded)

and the time the compression effect begins. This delay can be

used to allow the initial attack of an instrument to come

through completely unaffected while the rest of the signal is

compressed. A minus DET DLY setting causes the

compressed sound to appear before the direct instrument

sound.

PARAMETERS ACCESSED BY THE INT

PARAMETER KEY

Detector High Pass Filter Frequency (DET. HPF):

THRU, 500 Hz – 8 kHz

Allows compression to be applied to a specific range of

frequencies. Compression is only applied to frequencies

higher than the set DET. HPF frequency. Compression is

applied to all frequencies when this parameter is set to THRU.

37. LO LVL EXPANDER

The EXPANDER program allows efficient suppression of

low-level noise, contributing to a cleaner-sounding overall

signal. This i a stereo expander in which the highest signal

level – left- or right-channel - is used for gain control.

NOTE:

The EXPANDER program has no internal parameters.

Expansion Threshold (THRESHOLD): -72 – -30 dB

Sets the expansion threshold. Expansion will be applied to all

signal levels below the set threshold.

Expansion Ratio (RATIO): 1 – 5

Determines the degree of expansion applied. A setting of 1

produces no expansion, while the maximum setting of 5

produces the greatest degree of expansion (i.e. greatest

attenuation of signals below the threshold).

Initial Delay Time (DELAY): 0.1 – 2300 milliseconds

Determines the time delay between the direct sound and the

beginning of expander operation.

EXCITER PROGRAM

38. EXCITER

This program artificially adds appropriate harmonics to the

input signal, adding luster and effectively bringing “buried”

sounds to the foreground.

HPF FRQ: 500Hz – 16kHz

Determines the range of high harmonics added to the input

sound. The smaller the value, the greater the range of high

harmonics applied.

ENHANCE: 0 – 100%

Sets the level of the harmonics added to the input sound. The

higher the value, the greater the exciter effect.

Exciter/Direct Sound Mix (MIX L VL): 0 – 100%

Sets the mixture or balance between the direct input sound and

the applied harmonics.

STEREO PROGRAMS

39. STEREO PITCH

Described under “PITCH CHANGE PROGRAMS” on page

21.

40. STEREO FREEZE

Described under “FREEZE PROGRAMS” on page 23.

DELAY: 0.1 – 1000.0ms

5: UTILITY FUNCTIONS

The SPX1000 UTILITY key provides access to a number of

important functions. Each press on the UTILITY key advances

to the next function until the UTILITY mode is exited:

A/D I/O MODE

Described under DIGITAL I/O MODES" on page 15.

TITLE EDIT INPUT MODE A/D I/O MODE

DIGITAL IN ATT. USER ER EDIT MEMORY

PROTECT MIDI CONTROL MIDI PGM CHANGE

MIDI CTRL ASSIGN BULK OUT 1 BULK OUT 2

F.SW MEMORY RCL exit UTILITY mode.

DIGITAL IN ATT.

This function makes it possible to vary the input level of the

digital input from 0dB to -60dB.

It is also possible to scroll forward or backward through the USER ER EDIT

and

utility functions by using the program select keys.

The UTILITY mode can be exited at any time by pressing and

holding the UTILITY key until its indicator goes out and the

UTILITY mode is exited.

TITLE EDIT

This function makes it possible to create original titles for

programs you edit and store in memory locations 41 through

99. The TITLE EDIT function is the first one to appear when

the UTILITY key is pressed. The "TITLE EDIT" function

name appears on the bottom line of the LCD, and an underline

cursor appears at the first character position on the top line.

The PARAM and SCROLL BACK keys are used to move the

This function makes it possible to create up to four original

ER (Early Reflection) patterns — A, B, C and D — that can

be selected and used by the EARLY REF. 3 effect program.

Each pattern is comprised of up to 19 separate reflections. The

delay, level a stereo position (pan) of each reflection can be

individually programmed.

1. Use the UTILITY key to call the USER ER EDIT function.

2. Use the parameter and keys to select the pattern you

wish to edit: A, B, C or D.

3. Press the PARAM key to call the "# 1 DLY=" parameter,

and use the parameter and keys to program the delay.

time for the first early reflection.

cursor back and forth, while the parameter and keys are

used to select a new character for the current cursor position.

Simply move the cursor to each character position in turn,

selecting the appropriate characters at each position. The

available characters are as follows:

NOTE:

If you attempt to use the TITLE EDIT function while a

ROM memory location (1—40) is selected, the "RAM

(41—99) ONLY" display will appear on the top line of the

LCD and title editing will not be possible.

INPUT MODE

Described under "INPUT MODES" on page 14.

4. Press the PARAM key to call the "# 1 LVL=" parameter,

5. Press the PARAM key to call the "# 1 PAN=" parameter,

and use the parameter and keys to program the level

for the first early reflection.

and use the parameter and keys to program the pan.

(stereo) position from -45 degrees (fully left) to +45

degrees (fully right) for the first early reflection.

6. Press the PARAM key to move on to the DLY, LVL and

PAN parameters for the second and subsequent reflections

(up to 19) and program each as above. The SCROLL

BACK key can be used at any time to scroll backwards

through the USER ER EDIT parameters.

MEMORY PROTECT

The MEMORY PROTECT function must be OFF prior to

performing a STORE operation. If you attempt to execute a

STORE while MEMORY PROTECT is ON, the

“PROTECTED” display will appear and the STORE operation

will be aborted.

1. Press the UTILITY key a few times until the MEMORY

PROTECT function appears.

2. MEMORY PROTECT can be turned ON by pressing the

parameter key and off by pressing the parameter key.

MIDI CONTROL & MIDI PGM CHANGE

The SPX1000 makes it possible to select specific programs

via external MIDI control. You can set up the SPX1000 for

example, so that when you select a voice on a synthesizer the

most appropriate effect for that voice is automatically

selected. This is accomplished because each time you select a

voice on your MIDI synthesizer it transmits the corresponding

MIDI PROGRAM CHANGE NUMBER. The SPX1000

receives this PROGRAM CHANGE NUMBER and selects the

effect program that you have assigned to it using the MIDI

PROG CHANGE function which will be described below. The

SPX1000 also accepts MIDI KEY ON EVENT messages to

trigger some of the gate effects, and MIDI KEY ON

NUMBERS to set the PITCH parameter of the PITCH

CHANGE effects. The SPX1000 actually can be programmed

with four completely independent sets of MIDI PROGRAM

CHANGE NUMBER/MEMORY NUMBER assignments.

Each of these is contained in a different “bank”: A, B, C or D.

Each BANK may also be programmed to receive on a

different MIDI channel. An example of the way the four banks

may be programmed with different receive channels and

program number/memory number assignments is given below:

Bank Selection and MIDI Channel Programming

1. Press the UTILITY key until the MIDI CONTROL function

appears.

2. The underline cursor should be under the BANK parameter.

Use the parameter

and

keys to select the bank you

wish to program.

3. Move the cursor to the “ch=” parameter by pressing the

PARAM key, then use the parameter

and keys to set

the receive MIDI channel (1 + 16), the OMNI mode (all

channels can be received), or turn MIDI reception OFF for

the selected bank. The underline cursor can be moved back

to the BANK parameter if necessary by pressing the

SCROLL BACK key.

Assigning Effects to MIDI Program Change Numbers

1. Select the MIDI PGM CHANGE function using the

UTILITY key or program select

and

keys. The

underline cursor should be under the PGM parameter.

Use the parameter

and

keys to select the program

change number to which a new SPX1000 memory location

number is to be assigned. The range of available program

change numbers is from 1 to 128.

3. Move the underline cursor to the MEM parameter by

pressing the PARAM key. Use the parameter

and

keys

to select the memory location number containing the effect

which is to be assigned to the currently selected program

change number.

4. Move the underline cursor back to the PGM parameter and

repeat the above steps to assign as many program change

numbers as necessary.

NOTE:

The program number/memory number assignments made

are stored in the BANK selected in the previous MIDI

CONTROL function. To program the program change/

memory number assignments for a different BANK, return

to the MIDI CONTROL function, select the desired BANK,

then program the required assignments.

MIDI CTRL ASSIGN

This function makes it possible to use MIDI control change

message to control the parameters assigned to the EXT CTRL/

FOOT VOL 1 and 2 controllers (see “EXTERNAL

CONTROL ASSIGNMENT” on page 10 ).

1. Use the UTILITY key to call the MIDI CTRL ASSIGN

function.

2. The underline cursor should be under the ASS (Assign)

parameter. Use the parameter

and keys to select either

ASS 1 for control of the parameter assigned to FVOL1, or

ASS2 for control of the parameter assigned to FVOL2.

3. Press the PARAM key to move the cursor to the right

parameter and select the MIDI control change message you

will use to control the assigned parameter by using the

program select and

keys.

OFF

1 MOD WH

2 BREATH

4 FOOT C

5 PORT T

6 DATA E

7 VOLUME

8—63

64 SUST SW

65 PORT SW

66 SUST P

67 SOFT P

68—95

No control change numbers accepted

Control change number 0

Modulation Wheel

Breath Controller

Control change number 3

Foot Controller

Portamento Time

Data Entry

Volume

Control change numbers 8 through 63

Sustain Switch

Portament Switch

Sustain Pedal

Soft Pedal

Control change number 68 through 95

(Switch)

96—120

Control change number 96 through 120

If, for example, you select 1 MOD WH, the assigned

parameter can be controlled from the modulation wheel of a

synthesizer connected to the SPX1000 MIDI IN connector

(assuming that the MIDI channels are properly matched). The

cursor can be moved back to the ASS parameter if necessary

by pressing the SCROLL BACK key.

BULK OUT 1 & BULK OUT 2

This function permits dumping program data and/or BANK

MIDI assignments via the MIDI OUT terminal (The MIDI

THRU/OUT terminal must be switched to MIDI). This permits

transferring data to a second SPX1000 or storing the data on

a MIDI data recorder. The SPX1000 automatically reloads

data received from a MIDI data recorder into the appropriate

memory locations. *

The BULK OUT 1 function permits dumping all SPX1000

memory data (ALL), independent memory locations (MEM),

and independent program change assignment banks (BANK).

The BULK OUT 2 function permits dumping user early

reflection patterns (USER.ER) or all system data (SYSTEM,

current system status).

1. Use the UTILITY key to select the BULK OUT 1 or BULK

OUT 2 function.

2. Use the PARAM and SCROLL BACK keys to select the

data group to be dumped (ALL, MEM, BANK, USER.ER

or SYSTEM).

3. If you selected ALL or SYSTEM, simply press the STORE

key to execute the bulk dump.

4. If you select MEM, BANK or USER.ER, use the parameter

and

keys to select the desired memory location

number, bank or user reflection pattern, then press STORE

to execute the BULK DUMP operation. Selecting

in-

stead of a number will cause all the memories, all the

banks, or all the user reflection patterns to be transmitted.

* A bulk dump will only be received by the SPX1000 if its

MEMORY PROTECT function is OFF and the MIDI

channel is the same as that of the transmitting equipment.

Since bulk data from a second SPX1000, for example, is

loaded into the memory location(s) that it was transmitted

from, make sure that those locations do not cantain

important data that will be overwritten.

F.SW MEMORY RCL

The SPX1000 permits memory selection via an optional

Yamaha FC5 footswitch connected to the “INC/DEC”

footswitch jack. The F.SW MEMORY RCL function permits

setting the range of memory location numbers that will be

selected when the footswitch is pressed.

1. Use the UTILITY key to call the F.SW MEMORY RCL

function. The underline cursor should be located under the

first memory number in the range.

Use the parameter

and

keys to enter the first number

in the range.

3. Press the PARAM key to move the cursor to the second

number in the range.

4. Use the parameter

and

keys to enter the second number

in the range.

F.SW MEMORY RCL RANGE 50 TO 60

If, for example, the RANGE parameter is set to “50 TO 60” as

shown in the LCD illustration above, each time the footswitch

is pressed the next highest memory location will be selected

until the last number in the specified range is reached. After

the last number in the specified range, the first (lowest)

number is selected and the process repeated.

F.SW MEMORY RCL RANGE 44 TO 41

Reverse sequences can be programmed by entering the highest

number in the range before the lowest, as shown below.

In this case the selection sequence is: 44

44, etc.

6: DATA & SPECIFICATIONS

ROM CONTENTS AND CONTROLLABLE PARAMETERS

Add-1

Add-2

Add-3

Add-4

Add-5

Add-6

Add-7

Add-8

Add-9

Add-10

Add-11

Add-12

Add-13

Add-14

MIDI DATA FORMAT

1.Transmitting Conditions

STATUS

No.

SUB STATUS

FORMAT No.

BYTE COUNT

DATA NAME

MEMORY

DATA

CHECK SUM

EOX

11110000(FOH)

01000011(43H)

OOOOnnnn(OnH)

01111110(7EH)

00000010(02H)

00001010(OAH)

01001100(4CH)"L"

01001101(4DH)"M"

00100000(20H)SPACE

00111000(38H)"8"

00110011(33H)"3"

00110111(37H)"7"

00111000(38H)"8"

01001101(4DH)"M"

Ommmmmmm

Oddddddd

256BYTE

Oddddddd

Oeeeeeee

11110111(F7H)

M=l(MEMORY

No.1)~99(MEMORY

No.99)

Add-15

2.Transmitting Data

2.1 System information

1) System Exclusive Messages

MEMORY BULK DATA

MIDI DATA FORMAT Transmission is enabled on the MIDI channel of the currently

selected bank. Data is transmitted when BULK OUT 1 is displayed and BULK OUT is

executed, and when the MEMORY BULK DUMP REQUEST message is received. The data to

be transmitted is the program of the memory number indicated. If the memory

number is "*", data is sent from Memory 41 to Memory 99 in succession.

n=0(channel numberl)~15 (channel numberl6)

Bank Program Change Chart Bulk Data

Transmission is enabled on the MIDI channel of the currently selected bank. Data

is transmitted when BULK OUT 1 is displayed and BULK OUT is executed, and when

the PROGRAM CHANGE CHART BULK DUMP REQUEST message is received. The data to be

transmitted is the program change chart (the chart showing the correspondence

between program numbers and memory numbers). If the bank number is "*", the data

from banks 1-4 (A - D) is transmitted in succession.

STATUS

No.

SUB STATUS

FORMAT

No.

BYTE COUNT

11110000(FOH)

01000011(43H)

OOOOnnnn(OnH)

01111110(7EH)

00000001(01H)

00001010(OAH)

01001100(4CH)"L"

01001101(4DH)"M"

00100000(20H)SPACE

00111000(38H)"8"

00110011(33H)"3"

00110111(37H)"7"

00111000(38H)"8"

01010100(54H)"T"

Ozzzzzzz

DATA NAME

BANK

No.

DATA

CHECK SUM

EOX

Oddddddd

Oeeeeeee

11110111(F7H)

128BYTE

Z=BANK 1~4(1=A, 2=B, 3=C, 4=D)

n=0(channel numberl)~15 (channel numberl6)

Add-16

User ER Pattern Bulk Data

Transmission is enabled on the MIDI channel of the currently selected bank. Data

is transmitted when BULK OUT 2 is displayed and BULK OUT is executed, and when

the USER ER PATTERN BULK DUMP REQUEST message is received. The data to be

transmitted is that of the indicated pattern number. If the pattern number is

"*", patterns 1-4 (A - D) are transmitted in succession.

STATUS

No.

SUB STATUS

FORMAT

No.

BYTE COUNT

DATA NAME

ER PATTERN No.

DATA

CHECK SUM

EOX

11110000(F0H)

01000011(43H)

0000nnnn(0nH)

01111110(7EH)

00000001(01H)

01101110(6EH)

01001100(4CH)"L"

01001101(4DH)"M"

00100000(20H)SPACE

00111000(38H)"8"

00110011(33H)"3"

00110111(37H)"7"

00111000(38H)"8"

01000101(45H)"E"

Ozzzzzzz

n=0 (Channel No. 1)~15 (Channel No. 16)

Z=ER PATTERN 1~4(1=A, 2=B, 3=C, 4=D)

0ddddddd

228BYTE

0ddddddd

Oeeeeeee

11110111(F7H)

Add-17

System Setup Bulk Data

Transmission is enabled on the MIDI channel of the currently selected bank. Data

is transmitted when BULK OUT 2 is displayed and BULK OUT is executed, and when

the SYSTEM SETUP DATA DUMP REQUEST message is received.

STATUS

No.

SUB STATUS

FORMAT

No.

BYTE COUNT

DATA NAME

SOFT VERSION

DATA

Oddddddd

16BYTE

Oddddddd

Oeeeeeee

11110111(F7H)

CHECK SUM

EOX

59 Memory/All Banks/All ER Patterns/System Setup Data/Bulk Data

Transmission is enabled on the MIDI channel of the currently selected bank. Data

is transmitted when BULK OUT 1 is displayed and ALL BULK OUT is executed. The

data to be transmitted is the programs of Memory Nos. 41 - 99, all programs of

the 4 bank change charts, the four ER patterns, and the System Setup data. The

transmission order is as follows: programs of Memory Nos. 41 to 99, Bank A

program change chart to Bank D program change chart, ER pattern A to ER pattern

D, and System Setup data.

Add-18

11110000(F0H)

01000011(43H)

0000nnnn(0nH)

01111110(7EH)

00000000(00H)

00011100(1CH)

01001100

(4CH)"L"

01001101

(4DH)"M"

00100000 (20H)SPACE

00100000(20H)SPACE

00111000(38H)"8"

00110011(33H)"3"

00110111(37H)"7"

00111000(38H)"8"

01010011(53H)"S"

00100000(20H)SPACE

No. Ovvvvvvv

No. Orrrrrrr

n=0(Channel

NO.1)~15(Channel

No.16)

STATUS

No.

SUB STATUS

FORMAT

No.

BYTE COUNT

11110000(F0H)

01000011(43H)

0000nnnn(0nH)

01111110(7EH)

00000010(02H)

00001010(0AH)

01001100(4CH)"L"

01001101(4DH)"M"

00100000(20H)SPACE

00111000(38H)"8"

00110011(33H)"3"

00110111(37H)"7"

00111000(38H)"8"

01001101(4DH)"M"

n=0(Channel

No.1)~15(Channel

No.16)

DATA NAME

MEMORY No.

DATA

0mmmmmmm

0ddddddd

M=41(Memory

No.41)~99(Memory

No.99)

0ddddddd

0eeeeeee

11110111(F7H)

256BYTE

CHECK SUM

EOX

STATUS

11110000(F0H)

MEMORY 42

MEMORY

11110111(F7H)

EOX

STATUS

11110000(F0H)

EOX

11110111(F7H)

STATUS

No.

SUB STATUS

FORMAT

No.

BYTE COUNT

DATA NAME

BANK No.

11110000(F0H)

01000011(43H)

0000nnnn(0nH)

01111110(7EH)

00000001(01H)

00001010(0AH)

n=0(Channel

No.1)~15(Channel

No.16)

01001100(4CH)"L"

01001101(4DH)"M"

00100000(20H)SPACE

00111000(38H)"8"

00110011(33H)"3"

00110111(37H)"7"

00111000(38H)"8"

01010100(54H)"T"

0zzzzzzz

Z=BANK1~4(1=A,2=B,3=C,4=D)

Continuous

Add-19

DATA

CHECK SUM

EOX

STATUS

EOX

STATUS

EOX

STATUS

EOX

STATUS

No.

SUB STATUS

FORMAT

NO.

BYTE COUNT

DATA NAME

ER PATTERN No.

DATA

CHECK SUM

EOX

STATUS

EOX

STATUS

EOX

STATUS

EOX

Add-20

Oddddddd

128BYTE

Oeeeeeee

11110111(F7H)

11110000(FOH)

11110111(F7H)

11110000(FOH)

11110111(F7H)

11110000(FOH)

11110111(F7H)

BANK B

BANK C

BANK D

11110000(FOH)

0100001l(43H)

OOOOnnnn(OnH)

01111110(7EH)

00000001(01H)

01101110(6EH)

n=0(Channel

No.1)~15(Channel

No.16)

01001100(4CH)"L"

01001101(4DH)"M"

00100000(20H)SPACE

00111000(38H)"8"

00110011(33H)"3"

00110111(37H)"7"

00111000(38H)"8"

01000101

(45H)"E"

ER PATTERN

Ozzzzzzz

Oddddddd

Oeeeeeee

11110111(F7H)

11110000(FOH)

11110111(F7H)

11110000(FOH)

11110111

(F7H)

11110000

(FOH)

11110111

(F7H)

ER PATTERN B

ER PATTERN C

ER PATTERN D

228BYTE

Z=BANK1~4(1=A,2=B,3=C,4=D)

0ddddddd

Oddddddd

Oeeeeeee

11110111

(F7H)

CHECK SUM

EOX

16BYTE

STATUS

No.

SUB STATUS

FORMAT

No.

BYTE COUNT

11110000

(F0H)

01000011

(43H)

0000nnnn

(0nH)

01111110

(7EH)

00000000

(00H)

00011100

(1CH)

01001100

(4CH)"L"

01001101

(4DH)"M"

00100000 (20H)SPACE

00111000

(38H)"8"

00110011

(33H)"3"

00110111

(37H)"7"

00111000

(38H)"8"

01010011

(53H)"S"

00100000

(20H)

Ovvvvvvv

orrrrrrr

DATA NAME

SOFT VERSION No.

n=0(Channel

No.1)~15(Channel

No.16)

Add-21

3.Receiving Conditions

MIDI TRG.(BASE KEY)

4. Reception Data

4-1. Channel information

1) Channel voice messages

Note On

Reception is enabled on the MIDI channel of the currently selected bank. For

programs of Memory Nos. 1-5, 19, and 26, if the parameter of MIDI TRG. is ON,

this is received as a trigger.

For programs of Memory Nos. 20 - 24, 39, and 40, this is received as a message

to control pitch variation. The velocity value is ignored. Reception is not

possible when the Base Key parameter is OFF.

Add-22

STATUS 1001nnnn

(9nH)

n=0(Channel

No.1)~15(Channel

No.16)

NOTE No. 0kkkkkkk k=0(C-2)~127 (G8)

VELOCITY ovvvvvvv v=0~127

Note Off

This message is used when playback of the Memory No. 24 FREEZE 2 is finished.

The velocity value is ignored. The reception conditions are the same as in

Note On.

STATUS l000nnnn

(8nH)

n=0(Channel

No.1)~15(Channel

No.16)

NOTE No. 0kkkkkkk k=0(C-2)~127(G8)

VELOCITY ovvvvvvv v=0~127

Control Change

Reception is enabled on the MIDI channel of the currently selected bank. When

receiving, parameters can be controlled. Change them by using the corresponding

controller based on the Control Assignment List.

STATUS 1011nnnn

(BnH)

n=0(CHANNEL

NO.1)~15(CHANNEL

NO.16)

CONTROL NO. 0ccccccc c=0~120

CONTROL VALUE 0vvvvvvv v=0~127

Program Change

Reception is enabled on the MIDI channel of the currently selected bank. When

receiving, the desired program can be loaded, based on the program change chart

of that particular bank.

Add-

STATUS

PROGRAM

No.

1100nnnn

(CnH)

0ppppppp

n=0(CHANNEL

NO.1)~15(CHANNEL

N0.16)

p=0~127

4-2. System Information

1) System exclusive messages

Memory Bulk Dump Request

Reception is enabled on the MIDI channel of the currently selected bank. When

this message is received, BULK OUT is executed for the program of the indicated

memory number.

STATUS 11110000 (F0H)

ID No. 01000011 (43H)

SUB STATUS 0010nnnn

(2nH)

n=0(Channel

No.1)~15(Channel

No.16)

FORMAT No. 01111110 (7EH)

01001100

(4CH)"L"

01001101

(4DH)"M"

00100000 (20H)SPACE

00111000

(38H)"8"

00110011

(33H)"3"

00110111

(37H)"7"

00111000

(38H)"8"

DATA

NAME

01001101

(4DH)"M"

MEMORY No. 0mmmmmmm M=41 (memory No. 41)~99 (MEMORY No. 99)

EOX 11110111 (F7H)

Program Change Chart Bulk Dump Request

Reception is enabled on the MIDI channel of the currently selected bank. When

this message is received, BULK OUT is executed for the program change chart (the

chart showing the correspondence between program numbers and memory numbers) of

the indicated bank.

Add-24

STATUS

No.

SUB STATUS

FORMAT No.

DATA NAME

BANK No.

EOX

11110000

(F0H)

01000011

(43H)

0010nnnn

(2nH)

n=0(Channel

No.1)~15(Channel

No.16)

01111110

(7EH)

01001100

(4CH)"L"

01001101

(4DH)"M"

00100000 (20H)SPACE

00111000

(38H)"8"

00110011

(33H)"3"

00110111

(37H)"7"

00111000

(38H)"8"

01010100

(54H)"T"

Ozzzzzzz Z=BANK1~4(1=A,2=B,3=C,4=D)

11110111

(F7H)

User ER Pattern Bulk Dump Request

Reception is enabled on the MIDI channel of the currently selected bank. When

this message is received, BULK OUT is executed for the data of the indicated ER

pattern number.

STATUS 11110000 (F0H)

ID No. 01000011 (43H)

SUB STATUS 0010nnnn

(2nH)

n=0(Channel

No.1)~15(Channel

No.16)

FORMAT No. 01111110 (7EH)

01001100

(4CH)"L"

01001101

(4DH)"M"

00100000 (20H)SPACE

00111000

(38H)"8"

00110011

(33H)"3"

00110111

(37H)"7"

00111000

(38H)"8"

DATA NAME 01000101

(45H)"E"

ER PATTERN No.

0zzzzzzz

Z=ER PATTERN1~4(1=A,2=B,3=C,4=D)

EOX 11110111 (F7H)

System Setup Data Bulk Dump Request

Reception is enabled on the MIDI channel of the currently selected bank. When

this message is received, BULK OUT is executed for System Setup data.

Add-25

STATUS

No.

SUB STATUS

FORMAT No.

DATA NAME

EOX

11110000

(F0H)

01000011

(43H)

0010nnnn

(2nH)

01111110

(7EH)

01001100

(4CH)"L"

01001101

(4DH)"M"

00100000 (20H)SPACE

00111000

(38H)"8"

00110011

(33H)"3"

00110111

(37H)"7"

00111000

(38H)"8"

01010011

(53H)"S"

00100000

(20H)

11110111

(F7H)

n=0(Channel

No.1)~15(Channel

No.16)

Bank Change Request

Reception is enabled on the MIDI channel of the currently selected bank. When

this message is received, the desired bank can be switched to.

STATUS

No.

SUB STATUS

FORMAT No.

11110000

(F0H)

01000011

(43H)

0010nnnn

(2nH)

n=0(Channel

No.1)~15(Channel

No.16)

01111110

(7EH)

01001100

(4CH)"L"

01001101

(4DH)"M"

00100000 (20H)SPACE

00111000

(38H)"8"

00110011

(33H)"3"

00110111

(37H)"7"

00111000

(38H)"8"

01010101

(55H)"U"

Ozzzzzzz Z=BANK1~4(1=A,2=B,3=C, 4=D)

11110111

(F7H)

DATA NAME

BANK No.

EOX

Memory Bulk Data

Same as "Memory Bulk Data" for transmission.

Add-26

Bank Program Change Chart Bulk Data

Same as "Bank Program Change Chart Bulk Data" for transmission.

User ER Pattern Bulk Data

Same as "User ER Pattern Bulk Data" for transmission.

System Setup Bulk Data

Same as "System Setup Bulk Data" for transmission.

When receiving from the MIDI Data Filer MDF1, a computer, or other sources, the

time interval between data exchanges (F7 ~ F0) with the other unit must be set

to 30msec or longer.

Add-27

YAMAHA [ Professional Multi-Effect Processor ] Date : 8/5, 1988

Model SPX1000 MIDI Implementation Chart Version : 1.0

Function

...

Basic Default

Channel Changed

Default

Mode Messages

Altered

Transmitted

Recognized

1-16,

off

1-16,

off

OMNIoff/OMNIon

Remarks

memorized

Note

Number : True voice

Velocity Note ON

Note OFF

After Key's

Touch Ch's

Pitch Bender

120

Control

Change

Prog

Change : True #

System Exclusive

System Song Pos

Song Sel

Common Tune

System :Clock

Real Time :Commands

Aux :Local ON/OFF

:A11 Notes OFF

Mes- :Active Sense

sages:Reset

Notes: *1 = For program 1 - 128, memory #1 - #99 is selected.

*2 = Active sensing is recognized only in "freeze".

127

Bulk Dump

Mode 1 : OMNI ON, POLY Mode 2 : OMNI ON, MONO

Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO

Add-28

Yes

Add-29

BLOCK DIAGRAM

Add-30

DIMENSIONS

SPECIFICATIONS

ELECTRICAL CHARACTERRISTICS

FREQ. RESPONSE

DYNAMIC RANGE

DISTORTION

INPUT

NUMBER OF CHANNEL

NOMINAL LEVEL

IMPEDANCE

LEVEL CONTROL

A/D CONVERSION

NUMBER OF CHANNELS

SAMPLING FREQ.

QUANTIZATION

D/A CONVERSION

NUMBER OF CHANNELS

SAMPLING FREQ.

QUANTIZATION

OUTPUT

NUMBER OF CHANNEL

NOMINAL LEVEL

IMPEDANCE

MEMORY

PRESETS (ROM)

USER MEMORY (RAM)

MIDI CONTROL

20Hz ~ 20kHz

90dB (TYPICAL)

0.03% (@1kHz)

UNBALANCED x 2(PHONE JACK)

+4/-20dBm SWITCHABLE

50k

(STEREO-IN), 25k

ROTARY CONTINUOUS

2 (AD CONVERTER x 1)

44.1kHz (EXCEPT D-IN)

16bits

44.1 kHz (EXCEPT D-IN)

16bits

(MONO)

UNBALANCED x 2(PHONE JACK)

+4/-20dBm SWITCHABLE

220

~40

41~99

PROGRAM CHANGE (MEMORY SELECT)

NOTE ON (MIDI BASE KEY SELECT, TRIGGER)

CONTROL CHANGE

BULKDUMP & LOAD (PARAMERTER DUMP)

FRONT PANEL

CONTROLS

KEYS

DISPLAY

CONNECTORS

REAR PANEL

CONNECTORS

SWITCHS

GENERAL

POWER SUPPLY

DIMENSIONS (W x H x D)

INPUT LEVEL

PARAM. INC/DEC, PARAMETER, SCROLL BACK,

LEVEL EQ, INT. PARAM, EXT CTRL ASSIGN

STORE, MEMORY INC/DEC,

RECALL,

UTILITY, TRIGGER, BYPASS

16 CHARA. x 2 LINE LCD

2 DIGIT 7 SEGMENT LED (MEM#)

2 ch. 8 SEGMENT LED (LEVEL METER)

EXT CTRL/FOOT VOL JACK x 2

INPUT (PHONE JACK x 2)

OUTPUT (PHONE JACK x 2)

MIDI IN, THRU/OUT (DIN 5P x 2)

DIGITAL I/O (DIP 8P x 2)

TRIGGER1 SW (PHONE JACK)

TRIGGER2 SW (ANALOG) (PHONE JACK)

MEMORY INC/DEC (PHONE JACK)

BYPASS (PHONE JACK)

INPUT LEVEL SW, OUTPUT LEVEL SW

MIDI THRU/OUT SW

TRIGGER2 (ANALOG) LEVEL SW

US & CANADA: 120V, 60Hz, 22W

GENERAL: 220-240V, 50/60Hz, 22W

480

45.2

319

(mm)

• (0db=0.775V.r.m.s.

• Specifications and appearance subject to change without notice.

Add-31

Add-32

Add-33

Add-34

DIO Mode

Analog

Pre

Post

Digital

Add-35

Input Mode

Stereo Normal

Stereo Reverse

Mono L

Mono R

Effect Mode

Multi No.28~30

2ch ln No.31~35

Stereo No.36~40

Add-36

Single No.1~27

USER PROGRAMMING TABLE

Date:

Programmer:

Memory

No.

Program Title

REV 1 HALL

REV 2 ROOM

REV3 VOCAL

REV 4 PLATE

REV 5 ECHO ROOM

EARLY REF. 1

EARLY REF. 2

EARLY REF. 3

GATE REVERB

REVERSE GATE

DELAY L, C, R

STEREO ECHO

STEREO FLANGE A

STEREO FLANGE B

CHORUS

STEREO PHASING

TREMOLO

SYMPHONIC

ADR-NOISE GATE

PITCH CHANGE-1

PITCH CHANGE-2

PITCH CHANGE-3

FREEZE

FREEZE 2

PAN

TRIGGERED PAN

DISTORTION

MULTI (CHO & REV)

MULTI (SYM + REV)

MULTI (EXC & REV)

PLATE + HALL

REV

ECHO + REV

Memory

No.

Program Title

CHORUS + REV

PAN

+ PAN

COMPRESSOR

LO LVL EXPANDER

EXCITER

STEREO PITCH

STEREO FREEZE

Memory

No.

Program Title

Add-37

Add-38

MIDI PROGRAM CHANGE NUMBER VS MEMORY (PROGRAM) NUMBER

BANK:

ch=

Programmer:

Date:

PGM

PGM 2

PGM 3

PGM 4

PGM 5

PGM 6

PGM

PGM 9

PGM

PGM 20

PGM

PGM 22

PGM 23

PGM 24

PGM 25

PGM 26

PGM 27

PGM 28

PGM 29

PGM 30

PGM

PGM 32

PGM 33

PGM 34

PGM 35

PGM 36

PGM

PGM 39

PGM 40

PGM

PGM 42

PGM 43

MEM

PGM 44

PGM 45

PGM 46

PGM 47

PGM 48

PGM 49

PGM 50

PGM

PGM 52

PGM 53

PGM 54

PGM 55

PGM 56

PGM 57

PGM 58

PGM 59

PGM 60

PGM

PGM 62

PGM 63

PGM 64

PGM 65

PGM 66

PGM 67

PGM 68

PGM 69

PGM 70

PGM

PGM 72

PGM 73

PGM 74

PGM 75

PGM 76

PGM 77

PGM 78

PGM 79

PGM 80

PGM

PGM 83

PGM 84

PGM 85

PGM 86

MEM

PGM

PGM 90

PGM

PGM 92

PGM 93

PGM 94

PGM 95

PGM 96

PGM 97

PGM 98

PGM 99

PGM 100

PGM

101

PGM 102

PGM 103

PGM

104

PGM 105

PGM 106

PGM 107

PGM 108

PGM 109

PGM

110

PGM

111

PGM

112

PGM

113

PGM

114

PGM

115

PGM

116

PGM

117

PGM

118

PGM

119

PGM 120

PGM

121

PGM 122

PGM 123

PGM 124

PGM 125

PGM

126

PGM 127

PGM 128

MEM

Add-39

YAMAHA

YAMAHA CORPORATION

P.O.Box

Hamamatsu, Japan

88 12 0.75 CR Printed in Japan

YAMAHA

Yamaha Corporation of America

6600 Orangethorpe Avenue, P.O. Box 6600, Buena Park, CA 90622-6600

1/24/97 24955

Documenttranscriptie

YAMAHA AUTHORIZED PRODUCT MANUAL 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-todate 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 corrective measures listed below are applicable worldwide. 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 specifications 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 satisfactory 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 professional products Service Department, Yamaha Music Corporation, 6600 Orangethorpe Ave., Buena Park, CA 90620, U.S.A. If for any reason. you should need additional information relating to radio or TV interference, you may find a booklet prepared by the Federal Communications 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 THE FRONT PANEL THE CONNECTOR PANEL 3 3 5 2: THE SPX1000 SYSTEM MEMORY CONFIGURATION INPUT MODE AND DIGITAL I/O CONFIGURATIONS INPUT MODES DIGITAL l/O MODES 6 6 3: GENERAL OPERATION SELECTING AN EFFECT/MEMORY LOCATION BYPASSING THE EFFECT ACCESSING & EDITING THE PROGRAM PARAMETERS STORING EFFECTS EXTERNAL CONTROL ASSIGNMENT 4: THE PROGRAMS & PARAMETERS PARAMETERS PROVIDED FOR ALL PROGRAMS LEVEL PARAMETERS (Accessed via LEVEL key) EQ PARAMETERS (Accessed via EQ key) REVERB PROGRAMS 1. REV 1 HALL 2. REV 2 ROOM 3. REV 3 VOCAL 4. REV 4 PLATE 5. REV 5 ECHO ROOM EARLY REFLECTION PROGRAMS 6. EARLY REF. 1 7. EARLY REF. 2 8. EARLY REF. 3 9. GATE REVERB 10. REVERSE GATE.. DELAY PROGRAM 11. DELAY L,C,R ECHO PROGRAM 12. STEREO ECHO MODULATION PROGRAMS 13. STEREO FLANGE A 14. STEREO FLANGE B 15. CHORUS 16. STEREO PHASING 17. TREMOLO 18. SYMPHONIC NOISE GATE 19. ADR-NOISE GATE 6 6 7 9 9 9 9 10 10 12 12 12 12 13 13 13 13 14 15 15 15 15 15 15 15 17 17 17 17 18 18 18 18 18 18 18 19 19 PITCH CHANGE PROGRAMS 20. PITCH CHANGE 1 21. PITCH CHANGE 2 22. PITCH CHANGE 3 39. STEREO PITCH FREEZE PROGRAMS 23. FREEZE 1 24. FREEZE 2 40. STEREO FREEZE PAN PROGRAMS 25. PAN 26. TRIGGERED PAN DISTORTION PROGRAM 27. DISTORTION MULTI-EFFECT PROGRAMS 28. MULTI (CHO&REV) 29.MULTI(SYM+REV) 30. MULTI (EXC&REV) 2-CHANNEL PROGRAMS 31. PLATE + HALL 32. ER + REV 33. ECHO + REV 34. CHORUS + REV 35. PAN + PAN COMPRESSOR & EXPANDER PROGRAMS 36. COMPRESSOR 37. LO LVL EXPANDER EXCITER PROGRAM 38. EXCITER 5: UTILITY FUNCTIONS TITLE EDIT INPUT MODE A/D l/O MODE DIGITAL IN ATT USER ER EDIT MEMORY PROTECT MIDI CONTROL & MIDI PGM CHANGE MIDI CTRL ASSIGN BULK OUT 1 & BULK OUT 2 F.SW MEMORY RCL 6: DATA & SPECIFICATIONS ROM CONTENTS AND CONTROLLABLE PARAMETERS MIDI DATA FORMAT MIDI IMPLEMENTATION CHART BLOCK DIAGRAM DIMENSIONS SPECIFICATIONS 19 20 20 20 21 21 21 23 23 23 24 24 24 24 25 25 26 26 26 26 27 27 28 28 29 29 30 30 30 31 31 31 31 31 31 32 32 33 33 34 Add-1 Add-1 Add-15 Add-28 Add-29 Add-30 Add-31 1 PRECAUTIONS 6. CLEAN WITH A SOFT DRY CLOTH 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. 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 2. AVOID PHYSICAL SHOCKS Strong physical shocks to the unit can cause damage. Handle it with care. 3. DO NOT OPEN THE CASE OR ATTEMPT REPAIRS OR MODIFICATIONS YOURSELF This product contains no user-serviceable parts. Refer all maintenance to qualified Yamaha service personnel. Opening the case and/or tampering with the internal circuitry will void the warranty. 4. MAKE SURE POWER IS OFF BEFORE MAKING OR REMOVING CONNECTIONS Always turn the power OFF prior to connecting or disconnecting cables. This is important to prevent damage to the unit itself as well as other connected equipment. 5. HANDLE CABLES CAREFULLY Since the SPX000 contains digital circuitry, it may cause interference and noise if placed too close to TV sets, radios or similar equipment. If such a problem does occur, move the SPX1000 further away from the affected equipment. 9. BACKUP BATTERY The SPX1000 contains a long-life lithium battery which maintains the contents of the buffer and user memory locations even when the unit is turned OFF. With normal use the battery should last for approximately 5 years. If the battery voltage falls below the safe level, however, the "*** WARNING *** LOW BATTERY” display will appear on the LCD when the power is first turned ON. If this occurs, have the battery replaced by a qualified Yamaha service center. Do not attempt to replace the battery yourself! Always plug and unplug cables – including the AC cord – by gripping the connector, not the cord. 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 or coloured GREEN or GREENwhich is marked by the letter E or by the safety earth symbol AND-YELLOW. The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. CANADA THIS APPARATUS COMPLIES WITH THE "CLASS B” LIMITS FOR RADIO NOISE EMISSIONS SET OUT IN RADIO INTERFERENCE REGULATIONS. CET APPAREIL EST CONFORME AUX NORMES “CLASSE B”. POUR BRUITS RADIOELECTRIQUES. TEL QUE SPECIFIER DANS LE REGLEMENT SUR LE BROUILLAGE RADIOELECTRIQUE. 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 and keys are also used to program several parameter 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 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 4 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 frontpanel 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, longterm storage. Program data thus stored can be reloaded later via the MIDI IN terminal (see BULK OUT 1 & BULK OUT 2 on page 33). 5 2: THE SPX1000 SYSTEM MEMORY CONFIGURATION The SPX1000 has a total of 99 internal memory locations. Locations 1 through 40 are READ-ONLY MEMORY containing 40 preset effect programs. These locations cannot be written to or changed in any way. The preset effect programs contained in memory locations 1 through 40 are: 1. REV 1 HALL 2. REV 2 ROOM 3. REV 3 VOCAL 4. REV 4 PLATE 5. REVS ECHO ROOM 6. EARLY REF. 1 7. EARLY REF. 2 8. EARLY REF. 3 9. GATE REVERB 10. REVERSE GATE 11. DELAY L,C,R 12. STEREO ECHO 13. STEREO FLANGE A 14. STEREO FLANGE B 15. CHORUS 16. STEREO PHASING 17. TREMOLO 18. SYMPHONIC 19. ADR-NOISE GATE 20. PITCH CHANGE 1 21. PITCH CHANGE 2 22. PITCH CHANGE 3 23. FREEZE 1 24. FREEZE 2 25. PAN 26. TRIGGERED PAN 27. DISTORTION 28. MULTI (CHO&REV) 29. MULTI (SYM+REV) 30. MULTI (EXC&REV) 3 1. PLATE + HALL 32. ER + REV 33. ECHO + REV 34. CHORUS + REV 35. PAN + PAN 36. COMPRESSOR 37. LO LVL EXPANDER 38. EXCITER 39. STEREO PITCH 40. STEREO FREEZE Locations 41 through 99 are READ/WRITE MEMORY which can be used to store your own edited versions of the preset programs. This is the normal mode of operation in which left- and rightchannel signals received at the left- and right-channel inputs are passed on to the SPX1000 processing circuitry on the same channels as which they were received. STEREO REVERSE In this input mode the received left- and right-channel signals are switched to the opposite channels. The left-channel input is fed to the right-channel processing circuitry and the rightchannel input signal is fed to the left-channel processing circuitry. MONO LEFT 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 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 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. 6 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). 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) 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 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 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) 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 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. ACCESSING & EDITING THE PROGRAM PARAMETERS Each SPX1000 program has 4 different groups of parameters which are accessed by pressing the corresponding parameter select keys: KEY PARAM ACCESSES 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. EQ The equalization or dynamic filter parameters for each program. 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. - blink - 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. BYPASSING THE EFFECT There are two ways to switch the selected effect in and out: 1) with the control panel BYPASS switch and 2) with a footswitch connected to the connector-panel BYPASS footswitch jack. An optional Yamaha FC5 Footswitch can be used for foot-bypass control. In either case + when the control-panel BYPASS key or BYPASS footswitch is pressed + the LED in the BYPASS key will light to indicate that the selected program is currently being bypassed and the input signal is directly routed to the output terminals (i.e. the effect is OFF). Press the BYPASS key or footswitch a second time to turn off the BYPASS Key LED and turn the effect back ON. 3. Once the desired parameter has been called, its value can be edited using the parameter and keys. The key increases (increments) the value while the key decreases (decrements) the value. Either key can be held down for continuous incrementing or decrementing. While holding down either the or key, pressing the other key ( or ) causes the incrementing or decrementing process to be carried out more rapidly. 9 3. Press the STORE key to store the edited effect in the selected memory location. The title of the effect stored will appear on the LCD (this may later be edited to create your own effect title using the UTILITY mode TITLE EDIT function described on page 31). The LED memory number display will stop flashing and the stored memory location will become the active effect. 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: 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 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: 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: 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.. 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. 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). 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. 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. 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. 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 “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. 12 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. Filter Type (FLT TYPE): LPF, HPF, BPF, PEQ Filter Shift Direction (SHIFT): UP, DOWN Determines the response of the dynamic filter: Determines which direction the dynamic filter will sweep in from the starting point. LPF = Low Pass Filter HPF = High Pass Filter BPF = Band Pass Filter PEQ = Parametric EQ 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 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. 1. REV1 2. REV2 3. REV3 4. REV4 5. REV5 HALL ROOM VOCAL PLATE ECHO ROOM Reverberation is the warm musical “ambience” you experience when listening to music in a hall or other properlydesigned 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 lowfrequency 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 lowfrequency 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 Density (DENSITY): 0 – 4 This sets the value specified with WIDTH as the reference value (0) and is the parameter for fine adjustment. 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. Height Fine: -100 – +100 This sets the value specified with HEIGHT as the reference value (0) and is the parameter for further fine adjustment. Trigger Level (TRG. LEVEL): 0 – 100% Depth Fine: -100 – +100 This sets the value specified with DEPTH as the reference value (0) and is the parameter for further fine adjustment. 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. 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. 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. W. Decay: RT x 0.1 – 1.0 Hold Time (HOLD): 1 – 24,000 milliseconds 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. Determines how long the gate stays open, allowing the signal to pass. H. Decay: RT x 0.1 – 1.0 D. Decay: RT x 0.1 – 1.0 Release Time (RELEASE): 3 – 24,000 milliseconds Determines how long it takes for the gate to close fully after the HOLD TIME has ended. 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. Analog Trigger Level (A. TRG LVL): 0 – 100 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 earlyreflection 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. 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 earlyreflection 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: 0—3 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. 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 highfrequency feedback is reduced as the value of this parameter is decreased. 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. 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 After the initial delay produced by the INI DLY parameters, the time between subsequent repeats is determined by the left and right channel interval parameters. The stereo flange effects produce a pleasant "swirling" sound which can effectively thicken and add warmth to the sound of an instrument. The flanging effect is produced by varying the delay between two identical signals, thus producing a complex varying "comb filter" effect. Phasing is basically a "gentler" version of the flange effect, lending a smooth, animated quality to the original sound. The tremolo effect is produced in the same way as the flange effect, but has a "bigger," more sweeping sound. The symphonic effect adds richness and life to the sound. PARAMETERS ACCESSED BY THE PARAM KEY Left Channel Feedback Gain (Lch F.B): -99% — +99% Right Channel Feedback Gain (Rch F.B): -99% — +99% Individually set the amount of the left or right channel delay signal fed back to the input of the processor. The higher the feedback gain setting, the greater the number of delayed repeats produced for the corresponding channel. High Frequency Feedback (HIGH): x0.1 — x1.0 Controls feedback in the high-frequency range. The highfrequency feedback is reduced as the value of this parameter is decreased. PARAMETERS ACCESSED BY THE INT PARAM KEY Left Channel Initial (L INI DLY): 0.1— 2600 milliseconds Right Channel Initial (R INI DLY): 0.1— 2600 milliseconds These parameters individually set the time between the direct sound of the instrument and the first repeat heard from the left and right channels. High-pass Filter Frequency (HPF FRQ): THRU, 32 Hz —1.0 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. MODULATION PROGRAMS 13. STEREO FLANGE A 14. STEREO FLANGE B 15.CHORUS 16. STEREO PHASING 17. TREMOLO 18. SYMPHONIC 18 Please note that STEREO PHASING does not have the F.B GAIN parameter listed below, while TREMOLO and SYMPHONIC have only the MOD FRQ and MOD DEPTH parameters. Modulation Frequency (MOD. FRQ): 0.05 Hz — 40 Hz Sets the speed of modulation, and hence the rate at which the effect varies. Modulation Depth (1, 2) (MOD. DEPTH): 0% — 100% Sets the amount of delay time variation, thus adjusting the depth of the effect. Modulation Delay (1, 2) (MOD. DLY): 0.1— 100 milliseconds This sets the basic delay time from the initial direct sound to the beginning of the flange effect. Feedback Gain (F.B. GAIN): 0% — 99% Determines the amount of flange signal which is fed back to the input of the processor for further modulation. More feedback increases the overall complexity, "strength" and decay time of the effect. Phase (PHASE): -180.0 deg — +180.0deg (14. STEREO FLANGE B) Sets the phase between MOD. DLY1 and 2. Delay Time Modulation Depth (DM DEPTH): 0% — 100% (15. CHORUS) Sets the amount of the width of the shaking between L and R channel. Amplitude Modulation Depth (AM DEPTH): 0% — 100% (15. CHORUS) Sets the amount of the width of amplitude variation. PARAMETERS ACCESSED BY THE INT PARAM KEY High-pass Filter Frequency (HPF FRQ): THRU, 32 Hz – 1.0 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. NOISE GATE 19. ADR-NOISE GATE This program uses a “gate” to pass or shut off the input signal in a number of ways. It can be used to pass just a short segment of a longer input signal, or it can be set up to pass only signals that exceed a specified level. In the latter case this program functions as a “noise gate.” It is also possible to create reverse gate type effects in which the gain increases gradually after the effect is triggered. PARAMETERS ACCESSED BY THE PARAM KEY Trigger Level (TRG. LEVEL): 0 – 100% Hold Time (HOLD): 1 – 24000 milliseconds Determines how long the gate stays open, allowing the signal to pass at the DECAY LEVEL, after the first decay and prior to beginning of the RELEASE TIME. Release Time (RELEASE): 3 – 24000 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 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. Determines the level of the input signal required to trigger “opening” of the gate. At 100% only very high-level input signals will trigger the gate, while at 0% 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. If a minus value is programmed, the input signal is delayed so that, effectively, the gate opens before the signal appears. Trigger Mask (TRG. MSK): 3 – 24000 milliseconds This parameter makes it impossible to re-trigger the gate function until the programmed time has elapsed. PARAMETERS ACCESSED BY THE INT PARAM KEY Attack Time (ATTACK): 3 – 24000 milliseconds Determines how long it takes for the gate to open fully from the time it begins to open. Decay Time (DECAY): 3 – 24000 milliseconds Determines the length of time it takes for the gate envelope to fall to DECAY LEVEL after it is fully open. Decay Level (DECAY LVL): 0 – 100% Determines the level at which the gate remains open for the HOLD TIME. The lower the value, the lower the HOLD gate level. High-Pass Filter Frequency (HPF FRQ): THRU, 32 Hz – 1.0 kHz Low-Pass Filter Frequency (LPF FRQ): 1 – 16 kHz, THRU PITCH CHANGE TYPE PROGRAMS 20. PITCH CHANGE 1 2 1 . PITCH CHANGE 2 22. PITCH CHANGE 3 39. STEREO PITCH 19 PARAMETERS ACCESSED BY THE PARAM KEY 20. PITCH CHANGE 1 PITCH CHANGE 1 makes it possible to produce two independently pitch-shifted output notes in addition to the direct signal, so you can create three-part harmonies with a single input note. Both pitch-shifted notes appear at the center of the stereo sound field. 1st Pitch Shift (1 PITCH): -24 – +24 2nd Pitch Shift (2 PITCH): -24 – +24 Set the pitch of the first or second pitch-shifted note between two octaves below (-24) and two octaves above (+24) the input note. 1st Fine Tuning (1 FINE): -100 – +100 2nd Fine Tuning (2 FINE): -100 – +100 Permit fine tuning of the first or second pitch-shifted note in l-cent steps. 1st Delay Time (1 DLY): 0.1 – 2300 milliseconds 2nd Delay Time (2 DLY): 0.1 – 2300 milliseconds Determines the time delay between input of the original note and output of the first or second pitch-shifted note. Left Pitch Shift (L PITCH): -24 – +24 Right Pitch Shift (R PITCH): -24 – +24 Set the pitch of the left or right channel pitch-shifted note between two octaves below (-24) and two octaves above (+24) the input note. Left Fine Tuning (L FINE): -100 – +100 Right Fine Tuning (R FINE): -100 – +100 Permit fine tuning of the left or right channel pitch-shifted note in l-cent steps. Left Delay Time (L DLY): 0.1 – 2300 milliseconds Right Delay Time (R DLY): 0.1 – 2300 milliseconds Determine the time delay between input of the original note and output of the left or right channel pitch-shifted note. Left Feedback Gain (L.F.B.): -99 – +99 Right Feedback Gain (R.F.B.): -99 – +99 When this parameter is set to 0, only a single pitch-shifted sound is produced after the DELAY time has elapsed. As the value of this parameter is increased, however, more and more delayed repeats are produced, each pitch-shifted up or down from the previous repeat according to the setting of the PITCH parameter. 1st Feedback Gain (1 F.B.): -99 – +99 2nd Feedback Gain (2 F.B.): -99 – +99 When this parameter is set to 0, only a single pitch-shifted sound is produced after the DELAY time has elapsed. As the value of this parameter is increased, however, more and more delayed repeats are produced, each pitch-shifted up or down from the previous repeat according to the setting of the PITCH parameter. 1st Level (1 LEVEL): 0 – 100% 2nd Level (2 LEVEL): 0 – 100% These parameters determine the levels of the first and second pitch-shifted notes. 22. PITCH CHANGE 3 PITCH CHANGE 3 offers the “thickest” and most complex sound by allowing the creation of three pitch-shifted notes in addition to the direct sound. 1st Pitch Shift (1 PITCH): -24 – +24 2nd Pitch Shift (2 PITCH): -24 – +24 3rd Pitch Shift (3 PITCH): -24 – +24 Set the pitch of the first, second or third pitch-shifted note between two octaves below (-24) and two octaves above (+24) the input note. 21. PITCH CHANGE 2 Like the PITCH CHANGE 1 program, PITCH CHANGE 2 produces 2 pitch-shifted notes in addition to the original input note. In this program, however, the two pitch-shifted notes are independently fed to the left and right channel outputs (the direct sound is positioned at the center of the stereo sound field) for a true stereo harmony effect. 20 1st Fine Tuning (1 FINE): -100 – +100 2nd Fine Tuning (2 FINE): -100 – +100 3rd Fine Tuning (3 FINE): -100 – +100 Permit fine tuning of the first, second or third pitch-shifted note in l-cent steps. 1st Delay Time (1 DLY): 0.1 – 4600 milliseconds 2nd Delay Time (2 DLY): 0.1 – 4600 milliseconds 3rd Delay Time (3 DLY): 0.1 – 4600 milliseconds Determines the time delay between input of the original note and output of the first, second or third pitch-shifted note. 1st Level (I LEVEL): 0 – 100% 2nd Level (2 LEVEL): 0 – 100% 3rd Level (3 LEVEL): 0 – 100% These parameters determine the levels of the first, second and third pitch-shifted notes. 39. STEREO PITCH The STEREO PITCH program produces a smooth pitch shift effect rather than an abrupt shift from note to note. The parameters affect both the left and right channels simultaneously. PARAMETERS ACCESSED BY THE INT PARAM KEY Base Key (BASE KEY): OFF, C1 – C6 This parameter sets the “BASE KEY” for an external MIDI synthesizer used to control the PITCH parameter (the MIDI OUT terminal of the synthesizer must be connected to the SPX1000 MIDI IN terminal, and the SPX1000 must be set to receive on the MIDI channel on which the synthesizer is transmitting). If, for example, the BASE KEY parameter is set to C4, pressing the C3 key on the synthesizer (C3 is one octave lower than C4) will set the pitch change value to -12. Pressing D4 on the keyboard would produce a pitch increase of one whole-tone (+2). When two keys are pressed, the highest note determines the pitch of the 1 PITCH or L PITCH sound, and the lower note determines the pitch of the 2 PITCH or R PITCH sound. With the STEREO PITCH program the last note pressed takes priority. If a key more than two octaves higher or lower than the BASE KEY is pressed, the resultant pitch change setting will still be within the -24 to +24 range, as shown in the illustration below. If the BASE KEY parameter is set OFF, pitch cannot be controlled via the MIDI IN terminal. FREEZE PROGRAMS Pitch Shift (PITCH): -24 – +24 Set the pitch of the pitch-shifted note between two octaves below (-24) and two octaves above (+24) the input note. Fine Tuning (PITCH FINE): -100 – +100 Permit fine tuning of the pitch-shifted note in l-cent steps. Delay Time (DELAY): 0.1 – 2300 milliseconds Determine the time delay between input of the original note and output of the pitch-shifted note. Feedback Gain (FB GAIN): -99 – +99 When this parameter is set to 0, only a single pitch-shifted sound is produced after the DELAY time has elapsed. As the value of this parameter is increased, however, more and more delayed repeats are produced, each pitch-shifted up or down from the previous repeat according to the setting of the PITCH parameter. 23. FREEZE 1 24. FREEZE 2 40. STEREO FREEZE The FREEZE programs allow sampling (digital recording) and playback of sounds received at the SPX1000’s inputs. The FREEZE 1 and FREEZE 2 programs permit sampling for a maximum of 5.8 seconds, while the STEREO FREEZE program allows sampling for a maximum of 2.9 seconds. The FREEZE 1 and FREEZE 2 programs differ only in the playback functions provided. PARAMETERS ACCESSED BY THE PARAM KEY 23. FREEZE 1 The FREEZE 1 program allows single playback of the sampled sound, with adjustable start and end points. Record Mode (REC. MODE): MANUAL, AUTO Determines how sampling is to be triggered. If MANUAL is selected, sampling is initiated either by pressing the parameter key, the TRIGGER key, or a footswitch connected to the rear-panel TRIGGER 1 SW jack. If AUTO is selected, sampling is automatically triggered by any input signal of sufficient level. 21 Trigger Delay (TRG. DLY): -5800 – +1000 milliseconds This parameter sets a delay between triggering and actual initiation of the sampling process. If a negative value is specified, input signals are temporarily stored and the sound is sampled from the specified time before the trigger occurs. Overdub Ready (OVERDUB): RECORD (see above) is used to sample a new sound. OVERDUB is used to record a new sound over a previously recorded sound. Call the OVERDUB display and begin overdubbing by using either the MANUAL or AUTO method described above. The display changes to “ ” while overdubbing is in progress, and then to “OK” when overdubbing is complete. OVERDUB can be repeated as many times as necessary. The initially recorded and overdubbed sound can now be played back by pressing the TRIGGER key or a footswitch connected to the rear-panel TRIGGER 1 SW jack. Playback can also be triggered by an input signal of sufficient amplitude if the INPUT TRG parameter is on or by a signal applied to the rear-panel trigger 2 analog jack if the analog trg parameter is on (see PARAMETERS ACCESSED BY THE INT PARAM KEY). Pitched playback of the sampled sound is possible by transmitting MIDI note ON messages to the SPX1000’s MIDI IN connector from a MIDI keyboard or other device (e.g. play a key on the keyboard). Record Ready (RECORD): The RECORD display must be called before sampling can begin. With the RECORD display showing, press the parameter key and display will change to RECORD READY. Sampling can now be starting using either the MANUAL or AUTO method described above. The display changes to “- - - - - -” while sampling is in progress, and then to “OK” when sampling is complete. Any previous data in the freeze memory is erased when the RECORD function is executed. The sampled sound can now be played back by pressing the TRIGGER key or a footswitch connected to the rear-panel TRIGGER 1 SW jack. Playback can also be triggered by an input signal of sufficient amplitude if the INPUT TRG parameter is ON OR BY A SIGNAL APPLIED TO THE REAR-PANEL TRIGGER 2 ANALOG JACK IF THE ANALOG TRG PARAMETER IS ON (see PARAMETERS ACCESSED BY THE INT PARAM KEY). Pitched playback of the sampled sound is possible by transmitting MIDI note ON messages to the SPX1000’s MIDI IN connector from a MIDI keyboard or other device (e.g. play a key on the keyboard). 22 Playback Start Point (START): 0 – 5800 milliseconds Total sample time is 5800 milliseconds (5.8 seconds). This parameter determines at what point playback will begin when a trigger occurs. Playback End Point (END): 0 – 5800 milliseconds This parameter determines at what point playback will end. If the END point is set to a time earlier than the START point (above), the sampled sound will be played back in reverse. Playback Pitch (PITCH): -24 – +24 Determines the pitch of the playback sound in semitone increments. PITCH can be varied from two octaves below (-24) to two octaves above (+24) the original pitch of the sampled sound. 40. STEREO FREEZE STEREO FREEZE has the same parameters as the FREEZE 1 program, but has shorter TRG. DLY, START and END parameter ranges to allow independent sampling of left and right channel signals. Playback Pitch Fine Tuning (PITCH FINE): -100 – +100 Permits fine tuning of the playback pitch in one-cent increments (a cent is 1/100th of a semitone). 24. FREEZE 2 The FREEZE 2 program allows looped playback of the sampled sound. The REC. MODE, TRG. DLY, RECORD, OVERDUB, START, END, PITCH and PITCH FINE parameters of the FREEZE 2 program are exactly the same as those of the FREEZE 1 program. Only the following parameters are different. Playback Loop Point (LOOP): 0 – 5800 milliseconds As in the END parameter of FREEZE 1, this parameter sets the end point of the sampled sound, but in the FREEZE 2 program playback is immediately resumed from the START point as soon as the LOOP point is reached. The sampled sound will therefore play continuously as long as the trigger is held ON. TRG. DLY: -2900 – +1000 milliseconds START, END: 0 – 2900 milliseconds PARAMETERS ACCESSED BY THE INT PARAM KEY Please note that the FREEZE 2 program has only the BASE KEY internal parameter. Input Trigger (INPUT TRG): OFF, ON Determines whether playback can be triggered by an input signal of sufficient level. Analog Trigger (ANALOG TRG): OFF, ON Determines whether playback can be triggered by an analog signal applied to the rear-panel TRIGGER 2 ANALOG jack. Loop Fine Adjust (LOOP FINE): -200 – +200 This parameter allows fine adjustment of the LOOP end point, making it possible to create the smoothest transition between the LOOP and START points. Trigger Mask (TRG. MSK): 3 – 30000 milliseconds This parameter makes it impossible to re-trigger playback function until the programmed time has elapsed. Base Key (BASE KEY): OFF, C1 – C6 This parameter sets the “BASE KEY” for an external MIDI synthesizer used to control pitched playback of the sampled sound (the MIDI OUT terminal of the synthesizer must be connected to the SPX1000 MIDI IN terminal, and the SPX1000 must be set to receive on the MIDI channel on which the synthesizer is transmitting). If, for example, the BASE KEY parameter is set to C4, pressing the C3 key on the synthesizer (C3 is one octave lower than C4) will cause the sampled sound to play one octave lower than its normal pitch. If a key more than two octaves higher or lower than the BASE KEY is pressed, the resultant pitch change setting will still be within the -24 to +24 range, as shown in the illustration below. If the BASE KEY parameter is set OFF, pitch cannot be controlled via the MIDI IN terminal. PAN PROGRAMS 25. PAN 26. TRIGGERED PAN There are two Pan Programs: 23 PARAMETERS ACCESSED BY THE PARAM KEY Trigger Mask (TRG. MSK): 3 – 24000 milliseconds This parameter makes it impossible to re-trigger the effect until the programmed time has elapsed. 25. PAN This is a very sophisticated pan program that allows creation of “rotary” pan in addition to straightforward pan effects. Attack Time (ATTACK): 3 – 24000 milliseconds Determines how rapidly the panning effect begins. Pan Type (TYPE): L R-TURN R, L R, L R, L-TURN, Determines the direction in which the sound sweeps across the stereo sound field. The L-TURN and R-TURN parameters produce a pan which seems to rotate toward and away from the listener in the specified direction. Panning Time (PANNING): 3 – 24000 milliseconds Determines how long it takes to complete the main portion of the pan. Release Time (RELEASE): 3 – 24000 milliseconds Determines the speed of the end of the pan. Pan Speed (PAN SPEED): 0.05 – 40 Hz Sets the speed of the PAN effect (i.e. how rapidly the signal sweeps from channel to channel). Pan Direction (DIRECTION): L R, L R Determines the direction in which the sound sweeps across the stereo sound field. Front/Rear Depth (F/R DEPTH): 0 – 100% When the L-TURN or R-TURN pan type is selected, this parameter sets the apparent depth of the sweep from front to rear. Left/Right Depth (L/R DEPTH): 0 – 100% Sets the “depth” of the pan sweep from left to right and right to left. Left/Right Channel Balance (L/R BALANCE): 0 – 100% Determines the maximum extent of the pan sweep. For example, a setting of 100% produce a full pan from the extreme left to right or vice versa, while a setting of 50% a pan that is more restricted in its width across the stereo sound field. Analog Trigger Level (A. TRG LEVEL): 0 – 100% When an analog signal applied to the rear-panel TRIGGER 2 ANALOG jack is used to trigger the pan effect, this parameter determines the level of the input signal required to trigger the effect. At 100% only very high-level input signals will trigger the effect, while at 1% even the tiniest input signal will trigger the effect. When this function is used the TRG. LEVEL parameter should be set to the highest value (100%) so that only signals applied to the TRIGGER 2 ANALOG jack will activate the effect. MIDI Trigger (MIDI TRG.): OFF, ON 26. TRIGGERED PAN When triggered, this program automatically pans the sound image between left and right or right and left in the stereo sound field – with programmable attack, pan and release rates. Trigger Level (TRG. LEVEL): 1 – 100% Determines the level of the input signal required to trigger the panning effect. At 100% only very high-level input signals will trigger the pan, while at 0% even the tiniest input signal will trigger the pan. Trigger Delay (TRG. DLY): -100 – +100 milliseconds Produces a delay between the time at which the effect is triggered and that at which it actually begins. If a minus value is programmed, the input signal is delayed so that, effectively, the effect begins before the signal appears. 24 When this parameter is turned ON, a KEY ON EVENT message from an external MIDI keyboard can be used to trigger the pan. A KEY ON EVENT message is transmitted whenever a note on a MIDI keyboard is played. NOTE: This effect can also be triggered by the front-panel TRIGGER key or a footswitch plugged into the rear-panel TRIGGER 1 SW jack. DISTORTION PROGRAM 27.DISTORTION The distortion program is capable of producing an extremely broad range of distortion sounds. In all cases the first parameter display allows turning each effect ON or OFF. Use the PARAM and SCROLL BACK keys to move the underline cursor to the desired effect, then use the parameter or key to turn the effect ON of OFF: PARAMETERS ACCESSED BY THE PARAM KEY Distortion (DISTORTION): 0 – 100% This parameter sets the “degree” of distortion produced. A setting of 0 produces a perfectly clean sound, while a setting of 100 produces the most heavily distorted sound. Midrange EQ Frequency (MID FRQ.): 250 Hz – 5.6 kHz Sets the mid-frequency range to be boosted or cut using the next parameter: MID GAIN. = OFF. = ON. In this example display COMPRESSOR (CO), CHORUS (CH) and REVERB (RV) are ON, while DISTORTION (DI) is OFF. Once the desired effects have been selected, use the PARAM key to move on to the main parameters. Only parameters for effects that are turned ON will appear. Midrange EQ Gain (MID GAIN): - 12 – +12 dB Boosts or cuts response in the frequency range set by the MID FRQ parameter (above). A setting of 0 produces no boost or cut. Minus settings (e.g: -6 dB) cut response in the selected frequency range, while plus settings (e.g: +12 dB) boost response. Treble Boost/Cut (TREBLE): -12 – +12 dB Permits boosting or cutting the high-frequency range. Minus settings (e.g: -6 dB) reduce the high-frequency content of the sound, while plus settings (e.g: +6 dB) emphasize the highfrequencies. Distortion Delay (DELAY): 0.1 – 1000 milliseconds Sets the delay between the direct sound and the beginning of the distortion effect. PARAMETERS ACCESSED BY THE INT PARAM KEY Trigger Level (TRG. LEVEL) : 0 – 100 The level of the input signal which allows the gate to open (or applies a trigger, in other words) can be set. The larger the value, the larger the input signal needed to open the gate. If this is not specified, the gate will not open. Release Time (RELEASE) : 3ms – 2400ms Tis is the time between the point where the gate begins to close and the point where it is fully closed. The larger the value, the smoother the cut-off of the reverberation sound becomes. MULTI-EFFECT PROGRAMS 28. MULTI (CHO&REV) 29. MULTI (SYM+REV) 30. MULTI (EXC&REV) The SPX1000 multi-effect programs combine compressor, distortion, equalizer or dynamic filter (access via EQ key), reverb and chorus or exciter effects. Refer to the effect configuration diagram for each program to understand how the various effects are “connected.” PARAMETERS ACCESSED BY THE INT PARAM KEY All of the multi-effect programs have both COMPRESSOR and DISTORTION: however, all parameters for these are accessed through the INT PARAM key. Compressor Attack (CO. ATTACK): Refer to COMPRESSOR on page 29. Compressor Release (CO. RELS): Refer to COMPRESSOR on page 29. Compressor Threshold (CO. THRSLD): Refer to COMPRESSOR on page 29. Compressor Ratio (CO. RATIO): Refer to COMPRESSOR on page 29. Distortion (DI.DIST): Refer to Distortion on page 25. Distortion Mid Frequency (DI. MID F): Refer to DISTORTION on page 25. Distortion Mid Gain (DI. MID G): Refer to DISTORTION on page 25. Distortion Treble (DI. TREBLE): Refer to DISTORTION on page 25. Trigger Level (TRG. LEVEL) : Refer to COMPRESSOR on page 29. Release Time (Release) : Refer to COMPRESSOR on page 29. PARAMETERS ACCESSED BY THE PARAM KEY 28. MULTI (CHO&REV) 25 Chorus Frequency (CH. FRG): 0.05 – 40 Hz Chorus Delay Modulation Depth (DM DEPTH): 0% – 100% This sets the amount by which the delay time of one delay signal is varied in relation to the other, and thus the depth of the CHORUS effect. Chorus Amplitude Modulation Depth (AM DEPTH): 0% – 100% Sets the amount by which the amplitude (level) of the input signal is varied. Reverb Time (RV. RT): Refer to REV 1 HALL on page 14. High Frequency Reverb Time Ratio (RV. HIGH): Refer to REV 1 HALL on page 14. Reverb Initial Delay (RV. DLY): Refer to REV 1 HALL on page 14. Reverb Mix (RV. MIX): 0 – 100% Determines the mix between the signal entering the reverb processor and the reverb sound. The COMPRESSOR, DISTORTION and REVERB parameters for this program are the same as for MULTI (CHO&REV) and MULTI (SYM+REV), described above. When the EXCITER (EX) effect is turned ON, the following parameters also appear: EX. HPFF: Refer to EXCITER on page 30. EX. ENHANCE: Refer to EXCITER on page 30. EX. MIX LVL: Refer to EXCITER on page 30. 2-CHANNEL PROGRAMS The 2-channel programs provide different effects for the left (1) and right (2) channels. The input signals to the left (1) and right (2) channels are processed separately. Internal parameters provided for each of the 2-channel programs determine whether the output is mixed and delivered in stereo or each channel functions independently (i.e. mono output x 2). 31. PLATE + HALL 29. MULTI (SYM+REV) PARAMETERS ACCESSED BY THE PARAM KEY Symphonic Frequency (SY FRQ): Refer to SYMPHONIC on page 18. Symphonic Depth (SY DEPTH): Refer to SYMPHONIC on page 18. Plate Reverb Time (PLT RT): Refer to REV 4 PLATE on page 14. Plate High Frequency Reverb Time Ratio (PLT HIGH): Refer to REV 4 PLATE on page 14. Reverb Time (RV. RT): Refer to REV 1 HALL on page 14. Plate Diffusion (PLT DIF): Refer to REV 4 PLATE on page 14. High Frequency Reverb Time Ratio (RV. HIGH): Refer to REV 1 HALL on page 14. Plate Initial Delay (PLT DLY): Refer to REV 4 PLATE on page 14. Reverb Initial Delay (RV. DLY): Refer to REV I HALL on page 14. Hall Reverb Time (HAL RT): Refer to REV 1 HALL on page 14. Reverb Mix Level (RV MIX): Refer to MULTI (CHO & REV) on page 26. Hall High Frequency Reverb Time Ratio (HAL HIGH): Refer to REV 1 HALL on page 14. 30. MULTI (EXC&REV) Hall Diffusion (HAL DIF): Refer to REV 1 HALL on page 14. Hall Initial Delay (HAL DLY): Refer to REV 1 HALL on page 14. 26 PARAMETERS ACCESSED BY THE INT PARAM KEY PARAMETERS ACCESSED BY THE INT PARAM KEY Stereo or Mono x 2 Output (OUT MODE): ST, MONO x2 Stereo or Mono x 2 Output (OUT MODE): ST, MONO x 2 When set to ST (stereo), the output of the left and rightchannel processors are mixed and the output signal is delivered in stereo. When MONO x 2 is selected the left and right-channel processors are completely independent. When set to ST (stereo), the output of the left and rightchannel processors are mixed and the output signal is delivered in stereo. When MONO x 2 is selected the left and right-channel processors are completely independent. Plate Low-pass Filter Frequency (PLT LPF): 1 – 16 kHz, THRU Reverb Low-pass Filter Frequency (REV LPF): I- 16 kHz, THRU Permits rolling off the high-frequency content of the PLATE signal above the set frequency. The LPF is OFF when set to THRU. Permits rolling off the high-frequency content of the REV signal above the set frequency. The LPF is OFF when set to THRU. Hall Low-pass Filter Frequency (HAL LPF): 1 – 16 kHz, THRU 33. ECHO + REV Permits rolling off the high-frequency content of the HALL signal above the set frequency. The LPF is OFF when set to THRU. 32. ER + REV PARAMETERS ACCESSED BY THE PARAM KEY Echo Left Channel Delay (Lch DLY): Refer to STEREO ECHO on page 17. PARAMETERS ACCESSED BY THE PARAM KEY Early Reflection Type (ER TYPE): Refer to EARLY REF. 1 on page16. Early Reflection Room Size (ROOM SIZE): Refer to EARLY REF. 1 on page 16. Early Reflection Liveness (LIVENESS): Refer to EARLY REF. 1 on page 16. Early Reflection Diffusion (ER DIF): Refer to EARLY REF. 1 on page 16. Early Reflection Initial Delay (ER DLY): Refer to EARLY REF. 1 on page 16. Rev Reverb Time (REV RT): Refer to REV 1 HALL on page 14. Rev High Frequency Reverb Time Ratio (REV HIGH): Refer to REV 1 HALL on page 14. Echo Left Channel Feedback (Lch FB): Refer to STEREO ECHO on page 18. Echo Right Channel Delay (Rch DLY): Refer to STEREO ECHO on page 18. Echo Right Channel Feedback (Rch FB): Refer to STEREO ECHO on page 18. Echo High Frequency Feedback (ECHO HIGH): Refer to STEREO ECHO on page 18. Rev Reverb Time (REV RT): Refer to REV 1 HALL on page 14. Rev High Frequency Reverb Time Ratio (REV HIGH): Refer to REV 1 HALL on page 14. Rev Diffusion (REV DIF): Refer to REV 1 HALL on page 14. Rev Initial Delay (REV DLY): Refer to REV 1 HALL on page 14. Rev Diffusion (REV DIF): Refer to REV 1 HALL on page 14. Rev Initial Delay (REV DLY): Refer to REV 1 HALL on page 14. 27 PARAMETERS ACCESSED BY THE INT PARAM KEY Stereo or Mono x 2 Output (OUT MODE): ST, MONO x 2 When set to ST (stereo), the outputs of the left and rightchannel processors are mixed and the output signal is delivered in stereo. When MONO x 2 is selected the left and right-channel processors are completely independent. right-channel processors are completely independent. Reverb Low-pass Filter Frequency (REV LPF): 1 – 16 kHz, THRU Permits rolling off the high-frequency content of the REV signal above the set frequency. The LPF is OFF when set to THRU. 35. PAN + PAN Reverb Low-pass Filter Frequency (REV LPF): 1 – 16 kHz, THRU Permits rolling off the high-frequency content of the REV signal above the set frequency. The LPF is OFF when set to THRU. 34. CHORUS + REV PARAMETERS ACCESSED BY THE PARAM KEY 1 Channel Pan Type (1 PAN TYP): Refer to PAN on page 24. 1 Channel Pan Speed (1 SPEED): Refer to PAN on page 24. PARAMETERS ACCESSED BY THE PARAM KEY Chorus Modulation Frequency (MOD FRQ.): Refer to CHORUS on page 18. Chorus Delay Modulation Depth (DM DEPTH): 0% – 100% This sets the amount by which the delay time of one delay signal is varied in relation to the other, and thus the depth of the CHORUS effect. 1 Channel Pan Front/Rear Depth (1 F/R DPT): Refer to PAN on page 24. 1 Channel Pan Left/Right Depth (1 L/R DPT): Refer to PAN on page 24. 1 Channel Pan Initial Delay (1 DLY): Refer to PAN on page 24. 2 Channel Pan Type (2 PAN TYP): Refer to PAN on page 24. Chorus Amplitude Modulation Depth (AM DEPTH): 0% – 100% Sets the amount by which the amplitude (level) of the input signal is varied. Rev Reverb Time (REV TIME): Refer to REV 1 HALL on page 14. Rev High Frequency Reverb Time Ratio (REV HIGH): Refer to REV 1 HALL on page 14. 2 Channel Pan Speed (2 SPEED): Refer to PAN on page 24. 2 Channel Pan Front/Rear Depth (2 F/R DPT): Refer to PAN on page 24. 2 Channel Pan Left/Right Depth (2 L/R DPT): Refer to PAN on page 24. 2 Channel Pan Initial Delay (2 DLY): Refer to PAN on page 24. Rev Diffusion (REV DIF): Refer to REV 1 HALL on page 14. 1/2 Channel Pan Phase (PHASE): -180 – +180 degrees Rev Initial Delay (REV DLY): Refer to REV 1 HALL on page 14. PARAMETERS ACCESSED BY THE INT PARAM KEY Stereo or Mono x 2 Output (OUT MODE): ST, MO x 2 When set to ST (stereo), the outputs of the left and rightchannel processors are mixed and the output signal is delivered in stereo. When MONO x 2 is selected the left and 28 Determines the starting phase of the 2-channel pan (PAN 2) in relation to the left-channel pan (PAN 1). PARAMETERS ACCESSED BY THE INT PARAM KEY NOT AVAILABLE Expansion Threshold (EXPAND THRS): -72 – -30 dB Expansion Ratio (RATIO): 1–5 These parameters can be used to cut out low-level noise. Expansion is applied to signal levels below the set expander threshold. COMPRESSOR & EXPANDER PROGRAMS 36. COMPRESSOR This extremely versatile compressor program allows creation of a wide range of compression and limiting effects. It can simply be used to reduce the dynamic range of a signal, to smooth out the sound of an electric bass or add sustain to an electric guitar. It can help to reduce volume fluctuations as a vocalist moves closer to or away from a microphone, or limit the maximum level of a signal to prevent overloading certain types of amplification of recording equipment. The COMPRESSOR program is a stereo compressor in which the higher signal level + left- or right-channel + is used for gain control. PARAMETERS ACCESSED BY THE PARAM KEY Attack Time (ATTACK): 1 – 40 milliseconds Determines how long it takes for full compression to be reached after the effect is triggered (i.e. the THRESHOLD level is exceeded). The right ATTACK setting is essential to preserve the natural initial attack sound of the instrument used — or modify it as desired. Initial Delay Time (DELAY): 0.1 – 2300 milliseconds Determines the time delay between the direct sound and the compressed effect sound. Detect Delay (DET. DLY): -50 – +50 milliseconds This parameter sets an initial delay between the time the input signal begins (the time the THRESHOLD level is exceeded) and the time the compression effect begins. This delay can be used to allow the initial attack of an instrument to come through completely unaffected while the rest of the signal is compressed. A minus DET DLY setting causes the compressed sound to appear before the direct instrument sound. Release Time (RELEASE): 10 – 2,000 milliseconds Determines how long it takes for compression to be released after the input signal drops below the THRESHOLD level. The RELEASE setting is important to preserve the natural release sound of the instrument used. Too short a RELEASE setting will cause the sound to be cut off unnaturally. Threshold Level (THRESHOLD): -48 – -6 dB Determines the level of the input signal at which the compression effect begins. Set at a low level (-48 dB) all input signals will be compressed. At a higher level, only those signals exceeding the THRESHOLD level will be compressed, thus producing a limiting effect. The THRESHOLD level must be set to match the level and characteristics of the instrument being used, as well as the desired effect. Compression Ratio (RATIO): 1 – 20 This parameter sets the “amount” of compression applied to the input signal. A setting of 1.0 produces no compression, while a setting of 20 produces maximum compression. PARAMETERS ACCESSED BY THE INT PARAMETER KEY Detector High Pass Filter Frequency (DET. HPF): THRU, 500 Hz – 8 kHz Allows compression to be applied to a specific range of frequencies. Compression is only applied to frequencies higher than the set DET. HPF frequency. Compression is applied to all frequencies when this parameter is set to THRU. 29 37. LO LVL EXPANDER The EXPANDER program allows efficient suppression of low-level noise, contributing to a cleaner-sounding overall signal. This i a stereo expander in which the highest signal level – left- or right-channel - is used for gain control. NOTE: The EXPANDER program has no internal parameters. STEREO PROGRAMS 39. STEREO PITCH Described under “PITCH CHANGE PROGRAMS” on page 21. 40. STEREO FREEZE Described under “FREEZE PROGRAMS” on page 23. Expansion Threshold (THRESHOLD): -72 – -30 dB Sets the expansion threshold. Expansion will be applied to all signal levels below the set threshold. Expansion Ratio (RATIO): 1 – 5 Determines the degree of expansion applied. A setting of 1 produces no expansion, while the maximum setting of 5 produces the greatest degree of expansion (i.e. greatest attenuation of signals below the threshold). Initial Delay Time (DELAY): 0.1 – 2300 milliseconds Determines the time delay between the direct sound and the beginning of expander operation. EXCITER PROGRAM 38. EXCITER This program artificially adds appropriate harmonics to the input signal, adding luster and effectively bringing “buried” sounds to the foreground. HPF FRQ: 500Hz – 16kHz Determines the range of high harmonics added to the input sound. The smaller the value, the greater the range of high harmonics applied. ENHANCE: 0 – 100% Sets the level of the harmonics added to the input sound. The higher the value, the greater the exciter effect. Exciter/Direct Sound Mix (MIX L VL): 0 – 100% Sets the mixture or balance between the direct input sound and the applied harmonics. DELAY: 0.1 – 1000.0ms 30 5: UTILITY FUNCTIONS The SPX1000 UTILITY key provides access to a number of important functions. Each press on the UTILITY key advances to the next function until the UTILITY mode is exited: TITLE EDIT INPUT MODE A/D I/O MODE DIGITAL IN ATT. USER ER EDIT MEMORY PROTECT MIDI CONTROL MIDI PGM CHANGE MIDI CTRL ASSIGN BULK OUT 1 BULK OUT 2 F.SW MEMORY RCL exit UTILITY mode. It is also possible to scroll forward or backward through the utility functions by using the program select and keys. The UTILITY mode can be exited at any time by pressing and holding the UTILITY key until its indicator goes out and the UTILITY mode is exited. TITLE EDIT This function makes it possible to create original titles for programs you edit and store in memory locations 41 through 99. The TITLE EDIT function is the first one to appear when the UTILITY key is pressed. The "TITLE EDIT" function name appears on the bottom line of the LCD, and an underline cursor appears at the first character position on the top line. The PARAM and SCROLL BACK keys are used to move the cursor back and forth, while the parameter and keys are used to select a new character for the current cursor position. Simply move the cursor to each character position in turn, selecting the appropriate characters at each position. The available characters are as follows: A/D I/O MODE Described under DIGITAL I/O MODES" on page 15. DIGITAL IN ATT. This function makes it possible to vary the input level of the digital input from 0dB to -60dB. USER ER EDIT This function makes it possible to create up to four original ER (Early Reflection) patterns — A, B, C and D — that can be selected and used by the EARLY REF. 3 effect program. Each pattern is comprised of up to 19 separate reflections. The delay, level a stereo position (pan) of each reflection can be individually programmed. 1. Use the UTILITY key to call the USER ER EDIT function. 2. Use the parameter and keys to select the pattern you wish to edit: A, B, C or D. 3. Press the PARAM key to call the "# 1 DLY=" parameter, and use the parameter and keys to program the delay. time for the first early reflection. 4. Press the PARAM key to call the "# 1 LVL=" parameter, and use the parameter and keys to program the level for the first early reflection. 5. Press the PARAM key to call the "# 1 PAN=" parameter, and use the parameter and keys to program the pan. (stereo) position from -45 degrees (fully left) to +45 degrees (fully right) for the first early reflection. 6. Press the PARAM key to move on to the DLY, LVL and PAN parameters for the second and subsequent reflections (up to 19) and program each as above. The SCROLL BACK key can be used at any time to scroll backwards through the USER ER EDIT parameters. NOTE: If you attempt to use the TITLE EDIT function while a ROM memory location (1—40) is selected, the "RAM (41—99) ONLY" display will appear on the top line of the LCD and title editing will not be possible. INPUT MODE Described under "INPUT MODES" on page 14. 31 MEMORY PROTECT The MEMORY PROTECT function must be OFF prior to performing a STORE operation. If you attempt to execute a STORE while MEMORY PROTECT is ON, the “PROTECTED” display will appear and the STORE operation will be aborted. 1. Press the UTILITY key a few times until the MEMORY PROTECT function appears. 2. MEMORY PROTECT can be turned ON by pressing the parameter key and off by pressing the parameter key. Bank Selection and MIDI Channel Programming 1. Press the UTILITY key until the MIDI CONTROL function appears. 2. The underline cursor should be under the BANK parameter. Use the parameter and keys to select the bank you wish to program. 3. Move the cursor to the “ch=” parameter by pressing the PARAM key, then use the parameter and keys to set the receive MIDI channel (1 + 16), the OMNI mode (all channels can be received), or turn MIDI reception OFF for the selected bank. The underline cursor can be moved back to the BANK parameter if necessary by pressing the SCROLL BACK key. Assigning Effects to MIDI Program Change Numbers MIDI CONTROL & MIDI PGM CHANGE The SPX1000 makes it possible to select specific programs via external MIDI control. You can set up the SPX1000 for example, so that when you select a voice on a synthesizer the most appropriate effect for that voice is automatically selected. This is accomplished because each time you select a voice on your MIDI synthesizer it transmits the corresponding MIDI PROGRAM CHANGE NUMBER. The SPX1000 receives this PROGRAM CHANGE NUMBER and selects the effect program that you have assigned to it using the MIDI PROG CHANGE function which will be described below. The SPX1000 also accepts MIDI KEY ON EVENT messages to trigger some of the gate effects, and MIDI KEY ON NUMBERS to set the PITCH parameter of the PITCH CHANGE effects. The SPX1000 actually can be programmed with four completely independent sets of MIDI PROGRAM CHANGE NUMBER/MEMORY NUMBER assignments. Each of these is contained in a different “bank”: A, B, C or D. Each BANK may also be programmed to receive on a different MIDI channel. An example of the way the four banks may be programmed with different receive channels and program number/memory number assignments is given below: 32 1. Select the MIDI PGM CHANGE function using the UTILITY key or program select and keys. The underline cursor should be under the PGM parameter. 2. Use the parameter and keys to select the program change number to which a new SPX1000 memory location number is to be assigned. The range of available program change numbers is from 1 to 128. 3. Move the underline cursor to the MEM parameter by pressing the PARAM key. Use the parameter and keys to select the memory location number containing the effect which is to be assigned to the currently selected program change number. 4. Move the underline cursor back to the PGM parameter and repeat the above steps to assign as many program change numbers as necessary. NOTE: The program number/memory number assignments made are stored in the BANK selected in the previous MIDI CONTROL function. To program the program change/ memory number assignments for a different BANK, return to the MIDI CONTROL function, select the desired BANK, then program the required assignments. OFF 0 1 MOD WH 2 BREATH 3 4 FOOT C 5 PORT T 6 DATA E 7 VOLUME 8—63 64 SUST SW 65 PORT SW 66 SUST P 67 SOFT P 68 — 9 5 96—120 MIDI CTRL ASSIGN This function makes it possible to use MIDI control change message to control the parameters assigned to the EXT CTRL/ FOOT VOL 1 and 2 controllers (see “EXTERNAL CONTROL ASSIGNMENT” on page 10 ). 1. Use the UTILITY key to call the MIDI CTRL ASSIGN function. 2. The underline cursor should be under the ASS (Assign) parameter. Use the parameter and keys to select either ASS 1 for control of the parameter assigned to FVOL1, or ASS2 for control of the parameter assigned to FVOL2. 3. Press the PARAM key to move the cursor to the right parameter and select the MIDI control change message you will use to control the assigned parameter by using the program select and keys. No control change numbers accepted Control change number 0 Modulation Wheel Breath Controller Control change number 3 Foot Controller Portamento Time Data Entry Volume Control change numbers 8 through 63 Sustain Switch Portament Switch Sustain Pedal Soft Pedal Control change number 68 through 95 (Switch) Control change number 96 through 120 If, for example, you select 1 MOD WH, the assigned parameter can be controlled from the modulation wheel of a synthesizer connected to the SPX1000 MIDI IN connector (assuming that the MIDI channels are properly matched). The cursor can be moved back to the ASS parameter if necessary by pressing the SCROLL BACK key. BULK OUT 1 & BULK OUT 2 This function permits dumping program data and/or BANK MIDI assignments via the MIDI OUT terminal (The MIDI THRU/OUT terminal must be switched to MIDI). This permits transferring data to a second SPX1000 or storing the data on a MIDI data recorder. The SPX1000 automatically reloads data received from a MIDI data recorder into the appropriate memory locations. * The BULK OUT 1 function permits dumping all SPX1000 memory data (ALL), independent memory locations (MEM), and independent program change assignment banks (BANK). The BULK OUT 2 function permits dumping user early reflection patterns (USER.ER) or all system data (SYSTEM, current system status). 1. Use the UTILITY key to select the BULK OUT 1 or BULK OUT 2 function. 2. Use the PARAM and SCROLL BACK keys to select the data group to be dumped (ALL, MEM, BANK, USER.ER or SYSTEM). 3. If you selected ALL or SYSTEM, simply press the STORE key to execute the bulk dump. 4. If you select MEM, BANK or USER.ER, use the parameter and keys to select the desired memory location number, bank or user reflection pattern, then press STORE to execute the BULK DUMP operation. Selecting instead of a number will cause all the memories, all the banks, or all the user reflection patterns to be transmitted. 33 F.SW MEMORY RCL RANGE 50 TO 60 * A bulk dump will only be received by the SPX1000 if its MEMORY PROTECT function is OFF and the MIDI channel is the same as that of the transmitting equipment. Since bulk data from a second SPX1000, for example, is loaded into the memory location(s) that it was transmitted from, make sure that those locations do not cantain important data that will be overwritten. If, for example, the RANGE parameter is set to “50 TO 60” as shown in the LCD illustration above, each time the footswitch is pressed the next highest memory location will be selected until the last number in the specified range is reached. After the last number in the specified range, the first (lowest) number is selected and the process repeated. F.SW MEMORY RCL RANGE 44 TO 41 F.SW MEMORY RCL Reverse sequences can be programmed by entering the highest number in the range before the lowest, as shown below. The SPX1000 permits memory selection via an optional Yamaha FC5 footswitch connected to the “INC/DEC” footswitch jack. The F.SW MEMORY RCL function permits setting the range of memory location numbers that will be selected when the footswitch is pressed. 1. Use the UTILITY key to call the F.SW MEMORY RCL function. The underline cursor should be located under the first memory number in the range. 2. Use the parameter in the range. and keys to enter the first number 3. Press the PARAM key to move the cursor to the second number in the range. 4. Use the parameter in the range. 34 and keys to enter the second number In this case the selection sequence is: 44 44, etc. 43 42 41 6: DATA & SPECIFICATIONS ROM CONTENTS AND CONTROLLABLE PARAMETERS Add-1 Add-2 Add-3 Add-4 Add-5 Add-6 Add-7 Add-8 Add-9 Add-10 Add-11 Add-12 Add-13 Add-14 MIDI DATA FORMAT 1.Transmitting Conditions 2.Transmitting Data 2 . 1 System information 1 ) System Exclusive Messages MEMORY BULK DATA MIDI DATA FORMAT Transmission is enabled on the MIDI channel of the currently selected bank. Data is transmitted when BULK OUT 1 is displayed and BULK OUT is executed, and when the MEMORY BULK DUMP REQUEST message is received. The data to be transmitted is the program of the memory number indicated. If the memory number is " * " , data is sent from Memory 41 to Memory 9 9 in succession. STATUS ID No. SUB STATUS FORMAT No. BYTE COUNT BYTE COUNT DATA NAME MEMORY DATA CHECK SUM EOX 11110000(FOH) 01000011(43H) n=0(channel numberl)~15 (channel numberl6) OOOOnnnn(OnH) 01111110(7EH) 00000010(02H) 00001010(OAH) 01001100(4CH)"L" 01001101(4DH)"M" 00100000(20H)SPACE 00100000(20H)SPACE 00111000(38H)"8" 00110011(33H)"3" 00110111(37H)"7" 00111000(38H)"8" 01001101(4DH)"M" M=l(MEMORY N o . 1 ) ~ 9 9 ( M E M O R Y N o . 9 9 ) Ommmmmmm Oddddddd 256BYTE Oddddddd Oeeeeeee Add-15 11110111(F7H) Bank Program Change Chart Bulk Data Transmission is enabled on the MIDI channel of the currently selected bank. Data is transmitted when BULK OUT 1 is displayed and BULK OUT is executed, and when the PROGRAM CHANGE CHART BULK DUMP REQUEST message is received. The data to be transmitted is the program change chart (the chart showing the correspondence between program numbers and memory numbers). If the bank number is " * " , the data from banks 1 - 4 (A - D ) is transmitted in succession. STATUS ID No. SUB STATUS FORMAT No. BYTE COUNT BYTE COUNT DATA NAME BANK No. DATA CHECK SUM EOX Add-16 11110000(FOH) 01000011(43H) n=0(channel numberl)~15 (channel numberl6) OOOOnnnn(OnH) 01111110(7EH) 00000001(01H) 00001010(OAH) 01001100(4CH)"L" 01001101(4DH)"M" 00100000(20H)SPACE 00100000(20H)SPACE 00111000(38H)"8" 00110011(33H)"3" 00110111(37H)"7" 00111000(38H)"8" 01010100(54H)"T" Z=BANK 1~4(1=A, 2=B, 3=C, 4=D) Ozzzzzzz Oddddddd 128BYTE Oddddddd Oeeeeeee 11110111(F7H) User ER Pattern Bulk Data Transmission is enabled on the MIDI channel of the currently selected bank. Data is transmitted when BULK OUT 2 is displayed and BULK OUT is executed, and when the USER ER PATTERN BULK DUMP REQUEST message is received. The data to be transmitted is that of the indicated pattern number. If the pattern number is " * " , patterns 1 - 4 ( A - D ) are transmitted in succession. 11110000(F0H) 01000011(43H) 0000nnnn(0nH) n=0 (Channel No. 1)~15 (Channel N o . 16) 01111110(7EH) 00000001(01H) 01101110(6EH) 01001100(4CH)"L" 01001101(4DH)"M" 00100000(20H)SPACE 00100000(20H)SPACE 00111000(38H)"8" 00110011(33H)"3" 00110111(37H)"7" 00111000(38H)"8" DATA NAME 01000101(45H)"E" ER PATTERN No. Ozzzzzzz Z=ER PATTERN 1~4(1=A, 2=B, 3=C, 4=D) DATA 0ddddddd 228BYTE 0ddddddd CHECK SUM Oeeeeeee EOX 11110111(F7H) STATUS ID No. SUB STATUS FORMAT No. BYTE COUNT BYTE COUNT Add-17 System Setup Bulk Data Transmission is enabled on the MIDI channel of the currently selected bank. Data is transmitted when BULK OUT 2 is displayed and BULK OUT is executed, and when the SYSTEM SETUP DATA DUMP REQUEST message is received. STATUS ID No. SUB STATUS FORMAT No. BYTE COUNT BYTE COUNT 11110000(F0H) 01000011(43H) 0000nnnn(0nH) n=0(Channel NO.1)~15(Channel N o . 1 6 ) 01111110(7EH) 00000000(00H) 00011100(1CH) 01001100 ( 4 C H ) " L " 01001101 ( 4 D H ) " M " 00100000 (20H)SPACE 00100000(20H)SPACE 00111000(38H)"8" 00110011(33H)"3" 00110111(37H)"7" 00111000(38H)"8" DATA NAME 01010011(53H)"S" 00100000(20H)SPACE SOFT VERSION No. Ovvvvvvv SOFT VERSION No. Orrrrrrr DATA Oddddddd 16BYTE Oddddddd CHECK SUM Oeeeeeee EOX 11110111(F7H) 59 Memory/All Banks/All ER Patterns/System Setup Data/Bulk Data Transmission is enabled on the MIDI channel of the currently selected bank. Data is transmitted when BULK OUT 1 is displayed and ALL BULK OUT is executed. The data to be transmitted is the programs of Memory Nos. 41 - 9 9 , all programs of the 4 bank change charts, the four ER patterns, and the System Setup data. The transmission order is as follows: programs of Memory Nos. 41 to 9 9 , Bank A program change chart to Bank D program change chart, ER pattern A to ER pattern D , and System Setup data. Add-18 STATUS ID No. SUB STATUS FORMAT No. BYTE COUNT BYTE COUNT DATA NAME MEMORY No. DATA 11110000(F0H) 01000011(43H) 0000nnnn(0nH) 01111110(7EH) 00000010(02H) 00001010(0AH) 01001100(4CH)"L" 01001101(4DH)"M" 00100000(20H)SPACE 00100000(20H)SPACE 00111000(38H)"8" 00110011(33H)"3" 00110111(37H)"7" 00111000(38H)"8" 01001101(4DH)"M" 0mmmmmmm n=0(Channel No.1)~15(Channel N o . 1 6 ) M=41(Memory N o . 4 1 ) ~ 9 9 ( M e m o r y N o . 9 9 ) 0ddddddd 256BYTE CHECK SUM EOX 0ddddddd 0eeeeeee 11110111(F7H) STATUS 11110000(F0H) EOX 11110111(F7H) STATUS 11110000(F0H) EOX 11110111(F7H) STATUS ID No. SUB STATUS FORMAT No. BYTE COUNT BYTE COUNT 11110000(F0H) 01000011(43H) 0000nnnn(0nH) 01111110(7EH) 00000001(01H) 00001010(0AH) 01001100(4CH)"L" 01001101(4DH)"M" 00100000(20H)SPACE 00100000(20H)SPACE 00111000(38H)"8" 00110011(33H)"3" 00110111(37H)"7" 00111000(38H)"8" 01010100(54H)"T" 0zzzzzzz MEMORY 42 MEMORY 9 9 DATA NAME BANK N o . n=0(Channel No.1)~15(Channel N o . 1 6 ) Z=BANK1~4(1=A,2=B,3=C,4=D) Continuous Add-19 DATA Oddddddd CHECK SUM EOX Oddddddd Oeeeeeee 11110111(F7H) STATUS 11110000(FOH) EOX 11110111(F7H) STATUS 11110000(FOH) EOX 11110111(F7H) STATUS 11110000(FOH) EOX 11110111(F7H) 128BYTE BANK B BANK C BANK D 11110000(FOH) 0100001l(43H) OOOOnnnn(OnH) n=0(Channel No.1)~15(Channel N o . 1 6 ) 01111110(7EH) 00000001(01H) 01101110(6EH) 01001100(4CH)"L" 01001101(4DH)"M" 00100000(20H)SPACE 00100000(20H)SPACE 00111000(38H)"8" 00110011(33H)"3" 00110111(37H)"7" 00111000(38H)"8" DATA NAME 01000101 ( 4 5 H ) " E " ER PATTERN Z=BANK1~4(1=A,2=B,3=C,4=D) ER PATTERN N o . Ozzzzzzz DATA Oddddddd 228BYTE Oddddddd CHECK SUM Oeeeeeee 11110111(F7H) EOX STATUS ID No. SUB STATUS FORMAT NO. BYTE COUNT BYTE COUNT STATUS 11110000(FOH) EOX 11110111(F7H) STATUS 11110000(FOH) EOX 11110111 (F7H) STATUS 11110000 ( F O H ) EOX 11110111 (F7H) ER PATTERN B ER PATTERN C ER PATTERN D Add-20 STATUS ID No. SUB STATUS FORMAT No. BYTE COUNT BYTE COUNT 11110000 01000011 0000nnnn 01111110 00000000 00011100 01001100 01001101 00100000 00100000 00111000 00110011 00110111 00111000 DATA NAME 01010011 00100000 SOFT VERSION No. Ovvvvvvv SOFT VERSION No. orrrrrrr 0ddddddd (F0H) (43H) (0nH) n=0(Channel No.1)~15(Channel N o . 1 6 ) (7EH) (00H) (1CH) (4CH)"L" (4DH)"M" (20H)SPACE (20H)SPACE (38H)"8" (33H)"3" (37H)"7" (38H)"8" (53H)"S" (20H) 16BYTE CHECK SUM EOX Oddddddd Oeeeeeee 11110111 (F7H) Add-21 3.Receiving Conditions MIDI T R G . ( B A S E KEY) 4 . Reception Data 4-1. Channel information 1 ) Channel voice messages Note On Reception is enabled on the MIDI channel of the currently selected bank. For programs of Memory Nos. 1 - 5 , 1 9 , and 2 6 , if the parameter of MIDI TRG. is ON, this is received as a trigger. For programs of Memory Nos. 20 - 24, 3 9 , and 40, this is received as a message to control pitch variation. The velocity value is ignored. Reception is not possible when the Base Key parameter is OFF. Add-22 STATUS NOTE No. VELOCITY 1001nnnn ( 9 n H ) 0kkkkkkk ovvvvvvv n=0(Channel No.1)~15(Channel N o . 1 6 ) k=0(C-2)~127 ( G 8 ) v=0~127 Note Off This message is used when playback of the Memory No. 24 FREEZE 2 is finished. The velocity value is ignored. The reception conditions are the same as in Note On. STATUS NOTE No. VELOCITY l000nnnn (8nH) 0kkkkkkk ovvvvvvv n=0(Channel No.1)~15(Channel N o . 1 6 ) k=0(C-2)~127(G8) v=0~127 Control Change Reception is enabled on the MIDI channel of the currently selected bank. When receiving, parameters can be controlled. Change them by using the corresponding controller based on the Control Assignment List. STATUS 1011nnnn (BnH) CONTROL N O . 0ccccccc CONTROL VALUE 0vvvvvvv n=0(CHANNEL NO.1)~15(CHANNEL N O . 1 6 ) c=0~120 v=0~127 Program Change Reception is enabled on the MIDI channel of the currently selected bank. When receiving, the desired program can be loaded, based on the program change chart of that particular bank. Add-23 STATUS PROGRAM No. 1100nnnn (CnH) 0ppppppp n=0(CHANNEL NO.1)~15(CHANNEL N 0 . 1 6 ) p=0~127 4-2. System Information 1 ) System exclusive messages Memory Bulk Dump Request Reception is enabled on the MIDI channel of the currently selected bank. When this message is received, BULK OUT is executed for the program of the indicated memory number. STATUS ID No. SUB STATUS FORMAT N o . DATA NAME MEMORY No. EOX 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 00110011 00110111 00111000 01001101 0mmmmmmm 11110111 (F0H) (43H) (2nH) n=0(Channel No.1)~15(Channel N o . 1 6 ) (7EH) (4CH)"L" (4DH)"M" (20H)SPACE (20H)SPACE (38H)"8" (33H)"3" (37H)"7" (38H)"8" (4DH)"M" M=41 (memory No. 4 1 ) ~ 9 9 (MEMORY No. 9 9 ) (F7H) Program Change Chart Bulk Dump Request Reception is enabled on the MIDI channel of the currently selected bank. When this message is received, BULK OUT is executed for the program change chart (the chart showing the correspondence between program numbers and memory numbers) of the indicated bank. Add-24 STATUS ID No. SUB STATUS FORMAT No. DATA NAME BANK No. EOX 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 00110011 00110111 00111000 01010100 Ozzzzzzz 11110111 (F0H) (43H) (2nH) n=0(Channel No.1)~15(Channel N o . 1 6 ) (7EH) (4CH)"L" (4DH)"M" (20H)SPACE (20H)SPACE (38H)"8" (33H)"3" (37H)"7" (38H)"8" (54H)"T" Z=BANK1~4(1=A,2=B,3=C,4=D) (F7H) User ER Pattern Bulk Dump Request Reception is enabled on the MIDI channel of the currently selected bank. When this message is received, BULK OUT is executed for the data of the indicated ER pattern number. STATUS ID No. SUB STATUS FORMAT No. 11110000 (F0H) 01000011 ( 4 3 H ) 0010nnnn (2nH) n=0(Channel No.1)~15(Channel N o . 1 6 ) 01111110 ( 7 E H ) 01001100 ( 4 C H ) " L " 01001101 ( 4 D H ) " M " 00100000 (20H)SPACE 00100000 (20H)SPACE 00111000 ( 3 8 H ) " 8 " 00110011 ( 3 3 H ) " 3 " 00110111 ( 3 7 H ) " 7 " 00111000 ( 3 8 H ) " 8 " DATA NAME 01000101 ( 4 5 H ) " E " ER PATTERN No. 0zzzzzzz Z=ER PATTERN1~4(1=A,2=B,3=C,4=D) EOX 11110111 ( F 7 H ) System Setup Data Bulk Dump Request Reception is enabled on the MIDI channel of the currently selected bank. When this message is received, BULK OUT is executed for System Setup data. Add-25 STATUS ID No. SUB STATUS FORMAT No. DATA NAME EOX 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 00110011 00110111 00111000 01010011 00100000 11110111 (F0H) (43H) (2nH) n=0(Channel No.1)~15(Channel N o . 1 6 ) (7EH) (4CH)"L" (4DH)"M" (20H)SPACE (20H)SPACE (38H)"8" (33H)"3" (37H)"7" (38H)"8" (53H)"S" (20H) (F7H) Bank Change Request Reception is enabled on the MIDI channel of the currently selected bank. When this message is received, the desired bank can be switched to. STATUS ID No. SUB STATUS FORMAT No. DATA NAME BANK N o . EOX 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 00110011 00110111 00111000 01010101 Ozzzzzzz 11110111 (F0H) (43H) (2nH) n=0(Channel No.1)~15(Channel N o . 1 6 ) (7EH) (4CH)"L" (4DH)"M" (20H)SPACE (20H)SPACE (38H)"8" (33H)"3" (37H)"7" (38H)"8" (55H)"U" Z=BANK1~4(1=A,2=B,3=C, 4=D) (F7H) Memory Bulk Data Same as "Memory Bulk Data" for transmission. Add-26 Bank Program Change Chart Bulk Data Same as "Bank Program Change Chart Bulk Data" for transmission. User ER Pattern Bulk Data Same as "User ER Pattern Bulk Data" for transmission. System Setup Bulk Data Same as "System Setup Bulk Data" for transmission. When receiving from the MIDI Data Filer MDF1, a computer, or other sources, the time interval between data exchanges (F7 ~ F0) with the other unit must be set to 30msec or longer. Add-27 YAMAHA [ Professional Multi-Effect Processor ] Date : 8/5, 1988 Model SPX1000 MIDI Implementation Chart Version : 1 . 0 Recognized Transmitted Remarks Function . . . Basic Channel Default Changed x x 1 - 1 6 , off 1 - 1 6 , off memorized Default Messages Altered x x OMNIoff/OMNIon x x memorized Mode Note Number : True voice x 0 - 127 Velocity Note ON Note OFF x x x x After Touch x x x x x x x 0 Prog Change : True # x o 0 - 127 *1 System Exclusive 0 0 Bulk Dump System x x x X X X System :Clock Real Time :Commands x x X X Aux x x x x X X 0 X Key's Ch's Pitch Bender 0 - 120 x Control Change Common Song Pos Song Sel Tune :Local ON/OFF :A11 Notes OFF Mes- :Active Sense sages:Reset *2 Notes: *1 = For program 1 - 128, memory #1 - #99 is selected. *2 = Active sensing is recognized only in " f r e e z e " . Mode 1 : OMNI O N , POLY Mode 3 : OMNI OFF, POLY Add-28 Mode 2 : OMNI O N , MONO Mode 4 : OMNI OFF, MONO o : Yes x : No BLOCK DIAGRAM Add-29 DIMENSIONS Add-30 SPECIFICATIONS ELECTRICAL CHARACTERRISTICS FREQ. RESPONSE DYNAMIC RANGE DISTORTION 20Hz ~ 20kHz 90dB (TYPICAL) 0.03% (@1kHz) INPUT NUMBER OF CHANNEL NOMINAL LEVEL IMPEDANCE LEVEL CONTROL UNBALANCED x 2(PHONE JACK) +4/-20dBm SWITCHABLE 50k (STEREO-IN), 25k (MONO) ROTARY CONTINUOUS A/D CONVERSION NUMBER OF CHANNELS SAMPLING FREQ. QUANTIZATION 2 (AD CONVERTER x 1 ) 44.1kHz (EXCEPT D-IN) 16bits D/A CONVERSION NUMBER OF CHANNELS SAMPLING FREQ. QUANTIZATION 2 44.1 kHz (EXCEPT D-IN) 16bits OUTPUT NUMBER OF CHANNEL NOMINAL LEVEL IMPEDANCE UNBALANCED x 2(PHONE JACK) +4/-20dBm SWITCHABLE 220 MEMORY PRESETS (ROM) USER MEMORY (RAM) 1 ~40 41~99 MIDI CONTROL PROGRAM CHANGE (MEMORY SELECT) NOTE ON (MIDI BASE KEY SELECT, TRIGGER) CONTROL CHANGE BULKDUMP & LOAD (PARAMERTER DUMP) FRONT PANEL CONTROLS KEYS DISPLAY CONNECTORS REAR PANEL CONNECTORS SWITCHS GENERAL POWER SUPPLY DIMENSIONS (W x H x D) INPUT LEVEL PARAM. INC/DEC, PARAMETER, SCROLL BACK, LEVEL EQ, INT. PARAM, EXT CTRL ASSIGN STORE, MEMORY INC/DEC, RECALL, UTILITY, TRIGGER, BYPASS 16 CHARA. x 2 LINE LCD 2 DIGIT 7 SEGMENT LED (MEM#) 2 ch. 8 SEGMENT LED (LEVEL METER) EXT CTRL/FOOT VOL JACK x 2 INPUT (PHONE JACK x 2) OUTPUT (PHONE JACK x 2) MIDI IN, THRU/OUT (DIN 5P x 2) DIGITAL I/O (DIP 8P x 2) TRIGGER1 SW (PHONE JACK) TRIGGER2 SW (ANALOG) (PHONE JACK) MEMORY INC/DEC (PHONE JACK) BYPASS (PHONE JACK) INPUT LEVEL SW, OUTPUT LEVEL SW MIDI THRU/OUT SW TRIGGER2 (ANALOG) LEVEL SW US & CANADA: 120V, 60Hz, 22W GENERAL: 220-240V, 50/60Hz, 22W 480 x 45.2 x 319 (mm) • (0db=0.775V.r.m.s. • Specifications and appearance subject to change without notice. Add-31 Add-32 Add-33 DIO Mode Analog Pre Post Digital Add-34 Input Mode Stereo Normal Stereo Reverse Mono L Mono R Add-35 Effect Mode Single No.1~27 Multi No.28~30 2ch ln No.31~35 Stereo No.36~40 Add-36 USER PROGRAMMING TABLE Date: Programmer: Memory No. Program Title Memory No. Program Title Memory No. 1 REV 1 HALL 34 CHORUS + REV 67 2 REV 2 ROOM 35 PAN + PAN 68 3 REV3 VOCAL 36 COMPRESSOR 69 4 REV 4 PLATE 37 LO LVL EXPANDER 70 5 REV 5 ECHO ROOM 38 EXCITER 71 6 EARLY REF. 1 39 STEREO PITCH 72 7 EARLY REF. 2 40 STEREO FREEZE 73 8 EARLY REF. 3 41 74 9 GATE REVERB 42 75 10 REVERSE GATE 43 76 11 DELAY L, C, R 44 77 12 STEREO ECHO 45 78 13 STEREO FLANGE A 46 79 14 STEREO FLANGE B 47 80 15 CHORUS 48 81 16 STEREO PHASING 49 82 17 TREMOLO 50 83 18 SYMPHONIC 51 84 19 ADR-NOISE GATE 52 85 20 PITCH CHANGE-1 53 86 21 PITCH CHANGE-2 54 87 22 PITCH CHANGE-3 55 88 23 FREEZE 1 56 89 24 FREEZE 2 57 90 25 PAN 58 91 26 TRIGGERED PAN 59 92 27 DISTORTION 60 93 28 MULTI (CHO & REV) 61 94 29 MULTI (SYM + REV) 62 95 30 MULTI (EXC & REV) 63 96 31 PLATE + HALL 64 97 32 ER + REV 65 98 33 ECHO + REV 66 99 Program Title Add-37 Add-38 MIDI PROGRAM CHANGE NUMBER VS MEMORY (PROGRAM) NUMBER BANK: Date: ch= Programmer: PGM 1 MEM PGM 44 MEM PGM 87 MEM PGM 2 MEM PGM 45 MEM PGM 88 MEM PGM 3 MEM PGM 46 MEM PGM 89 MEM PGM 4 MEM PGM 47 MEM PGM 90 MEM PGM 5 MEM PGM 48 MEM PGM 91 MEM PGM 6 MEM PGM 49 MEM PGM 92 MEM PGM 7 MEM PGM 50 MEM PGM 93 MEM PGM 8 MEM PGM 51 MEM PGM 94 MEM 52 MEM PGM 95 MEM PGM 9 MEM PGM PGM 10 MEM PGM 53 MEM PGM 96 MEM PGM 11 MEM PGM 54 MEM PGM 97 MEM PGM 12 MEM PGM 55 MEM PGM 98 MEM PGM 13 MEM PGM 56 MEM PGM 99 MEM PGM 14 MEM PGM 57 MEM PGM 100 MEM PGM 15 MEM PGM 58 MEM PGM 101 MEM PGM 16 MEM PGM 59 MEM PGM 102 MEM PGM 17 MEM PGM 60 MEM PGM 103 MEM PGM 18 MEM PGM 61 MEM PGM 104 MEM PGM 19 MEM PGM 62 MEM PGM 105 MEM PGM 20 MEM PGM 63 MEM PGM 106 MEM PGM 21 MEM PGM 64 MEM PGM 107 MEM PGM 65 MEM PGM 108 MEM PGM 22 MEM PGM 23 MEM PGM 66 MEM PGM 109 MEM PGM 24 MEM PGM 67 MEM PGM 110 MEM PGM 25 MEM PGM 68 MEM PGM 111 MEM PGM 26 MEM PGM 69 MEM PGM 112 MEM PGM 27 MEM PGM 70 MEM PGM 113 MEM PGM 28 MEM PGM 71 MEM PGM 114 MEM PGM 29 MEM PGM 72 MEM PGM 115 MEM PGM 30 MEM PGM 73 MEM PGM 116 MEM 117 MEM PGM 74 MEM PGM MEM PGM 75 MEM PGM 118 MEM MEM PGM 76 MEM PGM 119 MEM 34 MEM PGM 77 MEM PGM 120 MEM 35 MEM PGM 78 MEM PGM 121 MEM 36 MEM PGM 79 MEM PGM 122 MEM 37 MEM PGM 80 MEM PGM 123 MEM PGM 81 MEM PGM 124 MEM PGM 82 MEM PGM 125 MEM PGM 83 MEM PGM 126 MEM PGM 84 MEM PGM 127 MEM 85 MEM PGM 128 MEM 86 MEM PGM 31 MEM PGM 32 PGM 33 PGM PGM PGM PGM PGM 38 MEM PGM 39 MEM PGM 40 MEM PGM 41 MEM PGM 42 MEM PGM PGM 43 MEM PGM Add-39 YAMAHA 88 12 0.75 CR Printed in Japan YAMAHA CORPORATION P.O.Box 1, Hamamatsu, Japan YAMAHA Yamaha Corporation of America 6600 Orangethorpe Avenue, P.O. Box 6600, Buena Park, CA 90622-6600 1/24/97 24955