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Appendix | MFX and IFX types and parameters
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E-80 Music Workstation
● Balance (D100:0W, D50:50W, D0:100W)—Volume bal-
ance between the direct (D) and the effect sound (W).
● Level (0~127)—Output level.
79. Telephone
This effect simulates the tonal character of a telephone trans-
mission.
● Voice Quality (0~15)—Audio quality of the telephone
voice.
● Treble (–15dB~0~15dB)—Bandwidth of the telephone
voice.
● Balance (D100:0W, D50:50W, D0:100W)—Volume bal-
ance between the direct (D) and the effect sound (W).
● Level (0~127)—Output level.
80. Phonograph
Simulates a sound recorded on an analog record and played
back on a record player. This effect also simulates the various
types of noise that are typical of a record and even the rota-
tional irregularities of an old turntable.
● Signal Distortion (0~127)—Depth of distortion.
● Frequency Range (0~127)—Frequency response of the
playback system. Decreasing this value will produce the
impression of an old system with a poor frequency
response.
● Disc Type (LP, EP, SP)—Rotational speed of the turntable.
This will affect the frequency of the scratch noise.
● Scratch Noise Level (0~127)—Amount of noise due to
scratches on the record.
● Dust Noise Level (0~127)—Volume of noise due to dust on
the record.
● Hiss Noise Level (0~127)—Volume of continuous “hiss”.
● Total Noise Level (0~127)—Volume of overall noise.
● Wow (0~127)—Depth of long-cycle rotational irregularity.
● Flutter (0~127)—Depth of short-cycle rotational irregular-
ity.
● Random (0~127)—Depth of indefinite-cycle rotational
irregularity.
● Total Wow/Flutter (0~127)—Depth of overall rotational
irregularity.
● Balance (D100:0W, D50:50W, D0:100W)—Volume bal-
ance between the direct (D) and the effect sound (W).
● Level (0~127)—Output level.
81. Step Pitch
A pitch shifter in which the amount of pitch shift is varied by
a 16-step sequence.
● Step 1~16 (–24~0~12 semitones)—Amount of pitch shift
at each step (semitone units)
● Rate [sync] (Hz, Note)—Use this parameter to specify
whether (“Note”) or not (“Hz”) the rate should be synchro-
nized to the Arranger or Recorder tempo. Depending on
your choice, the setting range of the following parameter
refers to a speed (Hz) or a note value.
● Rate [Hz] (0.05~10.00Hz)—Rate at which the 16-step
sequence will cycle.
● Rate [note] (musical notes)—Rate parameters can be set
as a note-value of a tempo if you set the “Sync” parameter
above to “Note”. Specify the value of the desired note.
● Attack (0~127)—Speed at which the amount of pitch shift
changes between steps.
● Gate Time (0~127)—Duration of the pitch shifted sound
at each step.
● Fine (–100~100)—Pitch shift adjustment for all steps (2-
cent units).
● Delay Time [sync] (msec, Note)—Use this parameter to
specify whether (“Note”) or not (“msec”) the delay time
should be synchronized to the Arranger or Recorder tempo.
Depending on your choice, the setting range of the follow-
ing parameter refers to a time or a note value.
● Delay Time [msec] (0~1300ms)—Delay time from the
original sound until the pitch-shifted sound is heard.
● Delay Time [note] (Musical Notes)—Delay times can be
set as a note-value of a tempo, if you set the “Sync”
parameter above to “Note”. Specify the value of the desired
note.
● Feedback (–98%~0~+98%)—Proportion of the pitch-
shifted sound that is to be returned to the input (negative
values invert the phase).
● EQ Low Gain (–15dB~0~15dB)—Gain of the low fre-
quency range.
● EQ High Gain (-15dB~0~15dB)—Gain of the high fre-
quency range.
● Balance (D100:0W, D50:50W, D0:100W)—Volume bal-
ance between the direct (D) and the effect sound (W).
● Level (0~127)—Output level.
82. Sympa Reso
On an acoustic piano, holding down the damper pedal allows
other strings to resonate in sympathy with the notes you
play, creating rich and spacious resonances. This effect simu-
lates these sympathetic resonances.
● Depth (0~127)—Depth of the effect.
● Damper (0~127)—Depth to which the damper pedal is
pressed (controls the resonant sound).
● Pre LPF (16~15000Hz, Bypass)—Frequency of the filter
that cuts the high-frequency content of the input sound
(BYPASS: no cut).
● Pre HPF (16~15000Hz, Bypass)—Frequency of the filter
that cuts the low-frequency content of the input sound
(BYPASS: no cut).
● Peaking Freq (200~8000Hz, Bypass) —Frequency of the
filter that boosts/cuts a specific frequency region of the
input sound.
● Peaking Gain (-15dB~0~15dB)—Amount of boost/cut
produced by the filter at the specified frequency region of
the input sound.
● Peaking Q (0.5, 1.0, 2.0, 4.0, 8.0)—Width of the fre-
quency region boosted/cut by the ‘Peaking Gain’ parameter
(larger values make the region narrower).
● HF Damp (16~15000Hz, Bypass)—Frequency at which the
high-frequency content of the resonant sound will be cut
(BYPASS: no cut).
● LF Damp (16~15000Hz, Bypass)—Frequency at which the
low-frequency content of the resonant sound will be cut
(BYPASS: no cut).
● Lid (6, 5, 4, 3, 2, 1)—This simulates the actual changes in
sound that occur when the lid of a grand piano is set at
different heights.
● EQ Low Frequency (200Hz, 400Hz)—Frequency of the
low-range EQ.
● EQ Low Gain (-15dB~0~15dB)—Amount of low-range
boost/cut.
● EQ Mid Frequency (200~8000Hz) —Frequency of the
midrange EQ.
● EQ Mid Gain (-15dB~0~15dB)—Amount of midrange
boost/cut.