Yamaha SPX1000, Руководство по эксплуатации

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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
refle a feature of natural early reflections which is
directly proportional to the size of the room.
Liveness (LIVENESS): 0 – 10
“Liveness” refers to the rate at which the reflected sounds
fade. An acoustically “dead” room is simulated by setting this
parameter to zero. Increasing the value of this parameter
creates an increasingly “live” sound, simulating an increasing
area of reflective surfaces in the room.
16
Diffusion (DIFFUSION): 0 – 10
The complexity of the many reflections that make up
reverberation varies according to the shape of the room and its
contents. In the SPX1000 the term “diffusion” refers to the
complexity of these reflections. If the DIFFUSION parameter
is set to “0,” minimum complexity and therefore a clearer,
more straightforward early reflection effect is produced. As
the DIFFUSION value is increased, the complexity of the
reflections increases producing a thicker, richer sound.
Initial Delay (INI DLY): 0.1 – 1000 milliseconds
Initial delay is the time between the beginning of the direct
sound and the beginning of the early reflections.
High-pass Filter Frequency (HPF FRQ): THRU, 32 Hz
– 1 kHz
Permits rolling off the low-frequency content of the reverb
signal above the set frequency. The HPF is OFF when set to
THRU.
Low-pass Filter Frequency (LPF FRQ): 1 – 16 kHz,
THRU
Permits rolling off the high-frequency content of the reverb
signal above the set frequency. The LPF is OFF when set to
THRU.
PARAMETERS ACCESSED BY THE INT PARAM
KEY
Number of Early Reflections (ER NUMBER): 1 – 19
This parameter directly sets the number of early reflections
produced from 1 to 19.
Feedback Delay (FB DELAY): 0.1 – 26000
milliseconds
Feedback Gain (FB GAIN): -99 – +99%
Feedback High-frequency Ratio (FB HIGH): 0.1 – 1.0
The feedback parameters permit thickening and/or extending
the early reflection sound. Feedback causes the early
reflections to generate more early reflections of themselves,
thus the FB GAIN parameter determines how many times (for
how long) the early reflections are repeated. The FB DELAY
parameter sets a delay time between the beginning of the
original early-reflections and the first of the repeats caused by
feedback. Shorter FB DELAY times simply thicken the early-
reflection sound, while longer FB DELAY times can create
extended or repeated early reflection effects. FB HIGH
determines how much of the high-frequency content of the
original early reflections is fed back. The lower the setting,
the less of the original high frequencies are fed back. This
causes a gradual decrease in high frequency content at each
repeat.