When the Yamaha SPX90 Multi-Effects Processor was released way back in 1985 no one would have expected it to become a classic, probably not even Yamaha themselves who continued to release better specified models year after year.
Regardless of the improved noise floor, wider bandwidth and stereo inputs of the later models, it is the Yamaha SPX90 that remains the sought-after Yamaha effects processor.
The Yamaha SPX90, developed through a fusion of cutting-edge acoustical research and digital technology of the time, was created with the intention of offering musicians and home recording enthusiasts a diverse selection of captivating effects.
The Yamaha SPX90 Digital Multi-Effect Processor utilises highly refined LSI (Large Scale Integration) technology to create natural reverberation. Not only is its assortment of 30 preset effects comprehensive enough to suit most studio and performance applications, the SPX90 also allows you to create up to 60 additional effects and store them for instant recall.
The Yamaha SPX90 can create effects far beyond mere reverberation, though that in itself is of a truly superior quality. A variety of echo, delay, and special effects – each with comprehensive parameter and adjustments – can be accessed at the touch of a switch. And as the Yamaha SPX90 is MIDI-compatible, it can be programmed to apply separate reverberation effects to a variety of MIDI compatible instruments.
The Yamaha SPX90 Digital Multi-Effect Processor will prove extremely useful in a variety of applications: acoustic electric, PA, MIDI instrument, and home recording systems.
The Yamaha SPX90 is equipped with a selection of 30 outstanding preset effect programs. The Yamaha SPX90 offers incredible sonic flexibility, as each effect type comprises its own set of parameters. These parameters can be adjusted to suit your tastes and the tonal characteristics of your music equipment.
The Yamaha SPX90 offers incredible sonic flexibility, as each effect type comprises its own set of parameters. These parameters can be adjusted to suit your tastes and the tonal characteristics of your musical equipment.
We therefore recommend that you examine each preset effect program and observe how these parameters affect the sound. You will soon discover many new and exciting applications for the Yamaha SPX90’s preset effect programs.
Programs & Parameters
The preset programs in the SPX90 fail into the following types: REV (Reverb), ERI and ER2 (Early Reflections), DELAY, ECHO, MOD (Modulation), GATE, PITCH, FREEZE, PAN, VIBRATO and PEO (parametric equaliser). Each of these program types has a specific selection of programmable parameters.
“Parameters” indicates the separate, individual functions that make up each effect. There are two types of parameters in the SPX90: “invisible” parameters (non-programmable, fixed-value parameters) and programmable parameters (those you can edit or modify).
Effects Available
- Reverb, ER1 and ER2, Reverb and Gate
- Delay, Echo, Delay Vibrato
- Flanging, Chorus, Phasing, Pitch Change
- Freeze (Sampling)
- Gate, Compressor, Auto Pan, Triggered Pan, Parametric EQ
The Yamaha SPX90 remains a beloved effects processor among audio professionals and enthusiasts even today, decades after its initial release. Known for its versatility and robust performance, the SPX90 offers a wide range of effects, including reverb, delay, chorus, and flanging, making it an indispensable tool for both studio and live sound applications. Its straightforward interface and reliable operation ensure that users can quickly dial in the perfect sound without hassle.
Additionally, the SPX90’s high-quality audio processing, dynamic range, and minimal distortion contribute to its enduring reputation for delivering clear and professional audio effects. Whether for musicians, sound engineers, or producers, the Yamaha SPX90 continues to be a go-to unit for its consistent quality, ease of use, and impressive sonic capabilities. The SPX90 was followed up with the Yamaha SPX90II which was the exact same model with extra memory for longer delay times. Later models such as the Yamaha SPX2000 offer the same range of effects and more, with higher sound quality.
4 Responses
Mike Stern in a nutshell.
I have a question about the sound samples:
the dry drums (for example) are stereo and the wet reverb samples are also stereo.
how did you do that with a mono input? two units for left and right maybe?
It was a simple mono send of the snare to the Yamaha, and the stereo return.
In cubase, I send a mono drum track to the spx and the sound is immediately skewed to one side, causing a severe imbalance between left and right. I have connected the L and R of the spx to the two inputs of the audio interface respectively.
Can the master tell me what to do?
Thank you.