Description Of Programs And Parameters; Reverb; Delay - Yamaha SPX90 Operating Manual

DESCRIPTION OF PROGRAMS AND PARAMETERS

The preset programs in the SPX90 fall into the following types: REV (Reverb), ER1 and ER2 (Early Reflections),
DELAY, ECHO, MOD (Modulation), GATE, PITCH, FREEZE, PAN, VIBRATO and PEQ (parametric equalizer). Each
of these program types has a specific selection of programmable parameters.
"Parameters" indicates the separate, individual functions that make up each effect. There are two types of parameters
in the SPX90: "invisible" parameters (non-programmable, fixed-value parameters) and programmable parameters
(those you can edit, or modify).
Most commonly associated with-musical "ambience,"
reverberation is a result of myriad reflected sound
waves within an acoustical environment, i.e. a concert
hall, auditorium, or soundstage. The SPX90 creates ex-
tremely vibrant, natural sounding reverb.
1. REVERBERATION TIME (R/T). Range: 0.3 ~ 99.0
sec
The length of the time it takes for the level of
reverberation at 1 kHz to decrease by 60 dB-
virtually to silence. In a live setting, this depends on
several factors: room size, room shape, type of
reflective surfaces, among others.
2. HIGH (High Frequency Reverb Time Ratio). Range:
0.1 ~ 1.0
Natural reverberation varies according to the fre-
quency of the sound — the higher the frequency, the
more the sound tends to be absorbed by walls, fur-
nishings, and even air. This parameter permits you
to alter the reverberation time of the high frequen-
cies in proportion to the mid-frequency reverb time.
3. DELAY. Range: 0.1 ~ 50.0 msec
For a listener in a concert hall; there is a time delay
between the direct sound of the instrument, and the
first of the many reflected sounds that together are
known as reverberation. On the SPX90, this is
known as the DELAY time.
4. HPF (High Pass Filter). Range: THRU, 32 Hz ~
1 kHz
Permits cutting the low frequency content of the
reverb signal below the set frequency. When set to
THRU, the HPF is OFF.
5. LPF (Low Pass Filter). Range: 1 kHz ~ 11 kHz,
THRU
Permits cutting the high frequency content of the
reverb signal above the set frequency. When set to
THRU, the LFP is OFF.
"Early Reflection" effects. ER1 has fewer reflec-
tions, and is a LOW DENSITY early reflection effect,
while ER2 has more reflections, and is a HIGH DEN-
SITY early reflection effect.
1. TYPE. Range: HALL, RANDOM, PLATE, REVERSE
TYPE selects the pattern of the earliest reflections
of the reverb sound. All "Early Reflection" presets
are switchable between 4 different types. These are
HALL (a typical grouping of early reflections that
would occur in a performing environment like a hall),
RANDOM (an irregular series of reflections that
could not occur naturally), PLATE (a typical group-
ing of early reflections that would occur in a plate
reverb unit), and REVERSE (a series of reflections
that increase in level, like the effect produced by
playing a recorded reverb/echo backwards). See the
E/R Mode chart on page 26.
2. ROOM SIZE. RANGE: 1.0 ~ 20.0
The ROOM SIZE parameter sets the time "gaps"
between the early reflections — directly propor-
tionate to the size of the room. The effect of this
parameter also depends on which Early Reflection
mode has been selected. A Room Size Chart can be
found on page 27 in this manual.
3. LIVENESS. Range: 0 ~ 10
Refers to the rate at which the reflected sounds
fade. Set this parameter at zero to simulate an
acoustically "dead" room, with absorbent surfaces
to "soak up" the reflected sounds. As you increase
the setting, the room appears to contain more "live"
surfaces, with the reflected sounds fading more
slowly, as they reflect from wall to wall, until at the
maximum setting the effect is of an intensely reflec-
tive environment containing many highly polished
surfaces (tiles, glass, etc).
4. DELAY. Range: 0.1 ~ 400 msec
The time delay between the direct sound of the in-
strument and the first reflection to reach the
listener's ear.
5. LPF Range: 1 kHz ~ 11 kHz, THRU
Same function as the LPF parameter of the pro-
grams.
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