Yamaha REV7 REV7 Owners Manual Image - Page 18

DESCRIPTION OF PRESETS This chapter aims to give a brief description of the presets, as a general introduction to the tremendous power and versatility of the REV7. The presets fall into several different types, which are noted in the MEMORY (ROM) CONTENTS CHART at the end of this manual, and if you study the EXPLANATION OF PARAMETERS chapter, you'll gain a greater understanding of these program types. Several presets are designed to add an acoustic richness to specific instruments such as strings or electric bass, but bear in mind that they may be used for any application. Once you have become familiar with the REV7's presets, you can experiment with them and find any number of uses for every preset. 1. LARGE HALL The first of the REV7's highly natural reverberation effects, created by a multitude of delays (reflections) that increase in complexity, just as reflected sound does, in a natural setting. This gives an impressive stereo simulation of the acoustics of a large concert hall, eminently usable for all applications. Can turn a dry drum machine into a powerhouse of percussive grandeur, or add lyrical spaciousness to a soft acoustic guitar. 2. SMALL HALL A more "compact" version of the previous effect, with shorter reverb time and initial delay time, giving a stunningly realistic small hall or clubroom type reverb effect. 3. VOCAL PLATE Particularly suited for adding roundness and depth to vocals. This program reproduces exactly the effect of a high-quality plate echo device. 4. PERCUSSION PLATE A second echo plate program, with a slightly brighter effect, more suitable for adding crispness and ambience to drums and percussion instruments. 5. EARLY REFLECTION 1 The Early Reflection presets have a carefully plotted group of reflections to create a specific effect. The E/R1 type presets, of which this is the first, provide a subtle ambient effect, that is ideal for adding a liveness and roundness to the sound of any instrument. Similar to the acoustic effect of a "live" drum booth in a professional recording studio. As with all the Early Reflection presets, the "Mode" of this preset (the grouping of the early reflections) can be switched to provide six effects: SMALL HALL, LARGE HALL, RANDOM, REVERSE, PLATE, and SPRING. The "Room Size" parameter varies the distance between individual reflections, creating an accurate simulation of a variety of performance environments. 6. EARLY REFLECTION 2 The E/R2 type presets contain more reflections than the E/R1 type, and give a brighter, more "live" quality. This preset provides a tight, vibrant "kickback" that is meant to sound like an electronic effect rather than a natural reverb. 7. DELAY L, R A crystal clear stereo digital delay effect, with left and right delays independently variable up to a full 900 milliseconds. You can even add a third delay by programming in the "1st Reflection", which is available on all preset programs. 8. STEREO ECHO A "tape echo" type effect, but without any of the accompanying noise or delay length limitations. Left and right multiple delays can be independently and precisely set from 0.1 to 450 milliseconds, and the "foldback gain" (number of repeats) can be set from 1 to virtually infinite repeat, with no signal deterioration. You can also widely vary the high frequency content of the echo signal. 9. STEREO FLANGE A The first of the Modulation type effects, this rich, stereo flanging effect is programmed for a fairly fast, "watery" effect, though of course the effect can be widely varied. You can also add a delay so that the flanged signal is heard after the direct signal (this applies to all the Modulation presets). Flanging is great for keyboards that need some "thickening", and for those impressive "tube" or "aircraft" effects favored by many guitarists. With the Stereo Flange effect, the direct signal is delayed by a short delay time, which you can adjust. This delay time is varied periodically with the built-in LFO (Low Frequency Oscillator) so that the delayed signal moves in relation to the direct signal, producing the characteristic flanging effect. The stereo effect is created by splitting the delayed signal into left and right signals, and increasing the left channel delay time while decreasing the right channel delay time, and vice versa. More pronounced flanging is created by feeding the flange signal back on itself, producing a series of rapid repeats, each one of which is modulated further. 10. REVERB FLANGE Combines the effect of the STEREO FLANGE preset with a reverberation effect. The reverb time is widely variable. The feedback gain is not variable with this preset. 11. CHORUS A The chorus program actually makes a single instrument such as a violin sound like a well co-ordinated ensemble, with its slow "sweep". The effect is rather like the slowly rotating baffle in a Leslie organ speaker. It's a complex effect, produced in the following manner. The input signal is split up into three signals, with their phase set at 0 degrees, 120 degrees and 240 degrees. These signals are located center, left and right respectively in the stereo image, and delayed by 4 milliseconds. Each signal then has its delay time modulated (in the same manner as the Stereo Flange preset) and its amplitude (level) modulated, by the LFO. In this way, a highly subtle, rich effect is generated from the simplest input signal. 12. CHORUS B Produced in an identical manner to Chorus A, this preset has slightly different "invisible" parameters, creating a modulation that has less "movement" than Chorus A. It provides the means to enrich and thicken the input signal, to generally add smoothness and depth to any sound. 17