Yamaha SPX50D - Manual (Page 21)

35. Parametric EQ
This versatile parametric equaiization program offers precise
sound-shaping controi so you can create preciseiy a required
tonai effect.
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EQ Delay Time (DELAY): 0.1 — 400 milliseconds
Determines the time it takes for the equalizer to actualiy take
effect after a note is piayed.
- 10
50 100 500 Ik 5K 10K 20K
IHz)
High-pass Filter (HPF): THRU, 32 Hz —1000 Hz
Permits roiiing off the the low-frequencies below the set fre­
quency. The HPF is OFF when set to THRU.
Midrange EQ Frequency (MID FRQ.): 315 — 4,000 Hz
Sets the mid-frequency range to be boosted or cut using the
next parameter: MID GAIN.
Midrange EQ Gain (MID GAIN): -15 — +15 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.
Midrange Bandwidth (MID Q): 0.32 — 10
Sets the bandwidth of the range of frequencies to be
boosted or cut using the MID GAIN parameter. The higher
the vaiue, the narrower the range of frequencies affected.
High EQ Frequency (HI FRQ.): 800 — 8,000 Hz
Sets the high-frequency range to be boosted or cut using the
next parameter: HI GAIN.
High EQ Gain (HI GAIN): -15 — +15 dB
Boosts or cuts response in the frequency range set by the
HI FRQ parameter (above). A setting of 0 produces no boost
or cut. Minus settings (e.g: -6 dB) cut response in the se-
iected frequency range, whiie pius settings (e.g: +12 dB)
boost response.
High-frequency Bandwidth (HI Q): 0.32 —10
Sets the bandwidth of the range of frequencies to be
boosted or cut using the HI GAIN parameter. The higher the
value, the narrower the range of frequencies affected.
Low-pass Filter (LPF): 1 kHz —11 kHz, THRU
Permits roiiing off the high-frequencies above the set fre­
quency. The LPF is QFF when set to THRU.
The distortion programs are capabie of producing an extremeiy
broad range of distortion sounds that are ideai for virtuaiiy ali
guitar styles. The various presets provide a range of immedi­
ately useful distortion sounds.
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.
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.
Midrange EQ Frequency (MID FRQ.): 500 — 4,000 Hz
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.
Bass Boost/Cut (BASS): -12 — +12 dB
Permits boosting or cutting the low-frequency range. Minus
settings (e.g: -6 dB) reduce the low-frequency content of the
sound, while plus settings (e.g: +6 dB) emphasize the low-
frequencies.
Trigger Level (TRG. LEVEL): 1 — 1 0 0
Determines the amplitude of the input signal required to trig­
ger the distortion effect. This parameter, in conjunction with
the RELEASE parameter below, functions effectively as a
noise gate to cut out hiss and noise when an input signal is
not present. TRG LEVEL should be set so that the effect is
activated only when a note is played on the instrument
used.
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