Yamaha SPX50D - Manual (Page 23)

45. Delay Dist. 46. Dist. Filter
Distortion Level (DISTORTION): 0 —100%
Sets the “degree” or "depth” of the distortion portion of
effect.
Distortion Level (DISTORTION): 0 —100%
the Sets the “degree” or “depth” of the distortion portion of the
effect.
Delay Balance (DELAY BAL): 0 —100%
Determines the amount of delay or echo effect applied to the
distortion sound.
Echo Balance (ECHO BAL): 0 —100%
Determines the amount of delay or echo effect applied to the
distortion sound.
Left Channel Delay (Lch DELAY): 0.1 — 500 milliseconds
Sets the time between the direct sound of the instrument and
the first repeat heard from the left channel.
Left Channel Feedback Gain (Lch F.B): -99% — +99%
Sets the amount of the left-channel delay signal fed back to
the input of the processor. The higher the feedback gain
setting, the greater the number of delayed repeats pro­
duced.
Left Channel Delay (Lch DELAY): 0.1 — 250 milliseconds
Sets the time between the direct sound of the instrument and
the first repeat heard from the left channel.
Left ChanrfeljFeedback Gain (Lch F.B): -99% — +99%
Sets the amount of the left-channel delay signal fed back to
the input of the processor. The higher the feedback gain
setting, the greater the number of delayed repeats pro­
duced.
Right Channel Delay (Rch DELAY): 0.1 — 500 milliseconds
Sets the time between the direct sound of the instrument and
the first repeat heard from the right channel.
Right Channel Feedback Gain (Rch F.B): -99% — +99%
Sets the amount of the 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.
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 parame­
ter is decreased.
Right Channel Delay (Rch DELAY): 0.1 — 250 milliseconds
Sets the time between the direct sound of the instrument and
the first repeat heard from the right channel.
Right Channel Feedback Gain (Rch F.B): -99% — +99%
Sets the amount of the 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.
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 parame­
ter is decreased.
Midrange EQ Frequency (MID FRQ.): 500 — 4000 Hz
Sets the mid-frequency range to be boosted or cut using the
next parameter: MID GAIN.
Midrange EQ Frequency (MID FRQ.): 500 — 4000 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.
Trigger Level (TRG. LEVEL): 1—100
Determines the amplitude of the input signal required to trig­
ger the effect. This parameter 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.
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.
Trigger Level (TRG. LEVEL): 1—100
Determines the amplitude of the input signal required to trig­
ger the effect. This parameter 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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