Yamaha SPX-900 multi-effects unit

£12.00 plus VAT per day

The Yamaha SPX-900 multi-effects unit features 50 preset effects programmes and 49 User memory locations. Editing is simple using the front panel buttons.


The Yamaha SPX-900 multi-effects unit features 50 preset effects programmes and 49 User memory locations. Editing is simple using the front panel buttons.


50 Superb Effect Programs
Offering 50 preset effect programs, the SPX900 also provides simultaneous processing of up to 5 effects at one time. With a sampling frequency of 44.1 kHz, it delivers a full frequency response from 20 Hz to 20 kHz. Exceptionally clean, professional quality sound makes the SPX900 the most appropriate choice for sophisticated sound and recording systems.

Broad Programming Versatility
Any of the 50 preset programs can be edited, re-titled, and stored in any of the 49 RAM (user memory) locations. Each program has a range of “main” parameters that tailor the effect to a specific application. Individual two-band EQ and dynamic filter parameters are also provided for each effect program. In addition, the SPX900 offers a group of internal parameters that provide custom control over each effect. Finally, level parameters balance between direct sound, and set overall output level.

External Controller Assignment
An EXTERNAL CONTROL ASSIGN function makes it possible to assign two selected parameters from each program to two external controllers. The selected parameters can be remotely controlled in real-time.

MIDI Control
For sophisticated remote control, and automation capability the SPX900 is extensively MIDI equipped. It allows MIDI selection of all programs, and real-time control of up to two selected effect parameters at one time. Switchable MIDI THRU/OUT terminal is provided. When switched to OUT edited programs stored in internal RAM can be dumped to a second SPX900, a MIDI data recorder, or other storage device, and later reloaded via the MIDI IN terminal.

A broad range of different reverb effects are offered, simulating the type of natural reverberation experienced in a variety of acoustic spaces. A number of reverb programs stretch the acoustic environment, providing effects such as long tunnel or deep canyon reverberation. REV 6 WHITE ROOM, REV 11 TUNNEL, REV 12 CANYON and REV 13 BASEMENT offer a range of parameters allowing you to adjust the room’s dimensions and relative sound absorption of the wall features. Reverb programs also include a programmable gate which can be selectively triggered by the input signal, a MIDI message, or a trigger footswitch. Reverb programs include: REV 1 HALL, REV 2 HALL & GATE, REV 3 ROOM 1, REV 4 ROOM 2, REV 5 ROOM 3, REV 6 WHITE ROOM, REV 7 VOCAL 1, REV 8 VOCAL 2, REV 9 PLATE, REV 10 PLATE & GATE, REV 11 TUNNEL, REV 12 CANYON, REV 13 BASEMENT.

Early Reflection
Early reflection programs simulate the first few reflections that occur just after a sound is produced – before the reflections become dense enough to be called reverberation – adding punch and presence to vocals and instruments. Early reflection programs can be used to create short reverb type effects or longer “dense echo” type sounds. PROGRAMMABLE ER allows you to individually specify delay time, level and stereo position of up to 19 early reflections. GATE REVERB combines early reflections the early reflections with a programmable, triggerable gate so you can “shape” the effect sound as required. The REVERSE GATE produces a contemporary reverse-reverb effect that can sound like a tape being played backwards. Features also include PERCUSSION ER.

Delay & Echo
DELAY L, R; and DELAY L, C, R are sophisticated delay programs that make it possible to create a wide range of dynamic delay effects. STEREO ECHO offers independently variable left, right and center channel delays.

A variety of modulation effects can be produced: STEREO FLANGE produces a pleasant “swirling” sound that effectively thickens and adds warmth to the sound of an instrument or track. CHORUS serves to thinken the sound creating the effect of several instruments at once. SYMPHONIC creates a more intense, multi-voice chorus effect. PHASING is a gentler, swirling effect, lending a smooth animated quality to the original sound. TREMOLO produces a fluctuation in the volume of the signal.

Noise Gate
ADR-NOISE GATE uses a “gate” to pass or shut off the input signal in a number of useful ways. It can function as a “noise gate,” gating out system noise when no signal is present. It is also possible to create reverse gate type effects in which the signal level increases gradually after the effect is triggered.

Pitch Change
Pitch Change programs alter the pitch of an input signal in semitone increments over a 4-octave range (plus or minus 2 octaves). Pitch change permits makes it possible to produce two independently pitch-shifted notes in additon 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. PITCH 1 & 2 produce 2 pitch-shifted notes in addition to the original input note independently fed to the left and right channel outputs. PITCH CHANGE 3 offers the most complex pitch change effect by creating three pitch-shifted notes in addition to the direct sound. MONO PITCH is ideal when a single shifted note is desired.

These are sampling programs which permit recording a sound segment in the memory. The entire sound or specific portion of it may then be played back as required. A maximum of 1.35 seconds makes it possible to capture long sounds with outstanding fidelity. The FREEZE program allows single playback of the sampled sound, or continuous looped playback.

An advanced pan program allows the creation of a 2-dimensional “rotory” pan in addition to standard stereo pan effects enabling the sound to sweep toward and away from the listener in addition to side-to-side movement. The TRIGGERED PAN program automatically pans the sound image across the stereo sound field – with programmable attack, pan, and release rates.

Compression limits the dynamic range of an input signal, boosting soft signals and reducing high signals to keep them within the specified range. It can help reduce volume fluctuations as a vocalist moves closer to or away from a microphone, or limit the maximum level of a signal to prevent system overload. The COMPRESSOR program also includes a downward expander capability for effective, real-time, noise reduction.

This feature is capable of producing an extremely broad range of guitar-style overdrive sounds. In addition to distortion level, it offers equalization parameters that offer a wide palette of overdrive colors, from “chunky” rhythm to driving leads.

Aural Exciter
This program adds appropriate harmonics to the input signal, adding “sparkle” to the sound. This effect is often used to bring “buried” sounds to the foreground without making them louder, or to add “life” to dull-sounding tracks.

Multi-effect programs combine compressor, distortion, equalizer/dynamic filter, reverb, echo, chorus, symphonic or Aural Exciter effects with programmable parameters for each effect. A nearly limitless range of processing possibilities from subtle to extreme can be achieved through Multi-effect programs.

Dual Effects
Dual effect programs provide different, independent effects for the left and right channel outputs allowing for the creation of many unique stereo effects.