Yamaha DTX700 - Manual (Page 8)

Internal Design of the DTX700
DTX700 Reference Manual 8
 Flanger & Phaser
A flanger creates a swirling, metallic sound, similar to that
of a jet plane. While this effect operates using the same
basic principles as chorus effects, it uses shorter delay times
and also incorporates feedback to produce a very distinctive
swelling sound. Rather than being used constantly through-
out a song, it is more suited to selective use in specific sec-
tions in order to add variety. A phaser, meanwhile,
introduces a phase shift into the sound being processed
before returning it to the effect input using a feedback circuit
in order to produce a characteristic animated yet mellow
tone. Gentler overall than a flanger, this effect can be put to
use in a wider range of situations, and for example, is often
used with electric pianos to sweeten their sound in a variety
of ways.
 Distortion
As its name suggests, a distortion effect distorts the sound
fed into it. It produces a sound similar to that of an amplifier
turned up too high or fed with a signal that is already suffi-
ciently loud. This type of effect is widely used to add a
harsh, biting edge; furthermore, the resultant sound is char-
acterized by overall thickness and long sustain times. This
thickness comes from the large numbers of harmonics con-
tained within clipped signals. Meanwhile, the longer sustain
is not produced by the original sound being stretched; rather,
it is produced when the slowly-fading release portion that
cannot normally heard is amplified and distorted.
 Wah
A wah effect dynamically changes the frequency character-
istic of a filter in order to produce a highly unique filter-
sweep sound. Auto wah changes the frequency in a cyclic
manner using an LFO, while touch wah performs filter
sweeps in response to the volume of the input signal.
 Reverb
Reverb effects model the complex reverberation produced
by sounds within enclosed spaces. In this way, they add a
natural-sounding sustain, which produces a feeling of depth
and space. Furthermore, different types of reverb – such as
hall, room, plate, and stage – can be used to simulate the
sound of acoustic environments of varying sizes and con-
structions.
Effect Type Cho Var Description
SPX Flanger   Produces a swirling, metallic sound.
TempoFlanger   Tempo-synchronized flanger.
PhaserMono –  Vintage sounding mono phaser.
PhaserStereo –  Vintage sounding stereo phaser.
TempoPhaser –  Tempo-synchronized phaser.
Effect Type Var Description
AmpSim 1  Guitar amp simulation.
AmpSim 2  Guitar amp simulation.
CompDist  Combines compression and distortion.
CompDistDly 
Combines compression, distortion, and
delay.
Effect Type Var Description
AutoWah  Vintage automatic wah effect.
TouchWah  Classic volume-responsive wah effect.
TouchWahDist 
Touch wah with distortion applied at the
output.
Effect Type Rev Var Description
SPX Hall  
Emulation of hall acoustics using an
algorithm derived from the classic
Yamaha SPX1000 Digital Multi-Effects
Processor.
SPX Room  
Emulation of room acoustics using an
algorithm derived from the classic
Yamaha SPX1000 Digital Multi-Effects
Processor.
SPX Stage  
Emulation of stage acoustics using an
algorithm derived from the classic
Yamaha SPX1000 Digital Multi-Effects
Processor.
R3 Hall  –
Emulation of the acoustics of a con-
cert hall using an algorithm derived
from the Yamaha ProR3 – a digital
reverberator for professional-audio
applications.
R3 Room  –
Emulation of room acoustics using an
algorithm derived from the above-
mentioned Yamaha ProR3.
R3 Plate  –
Emulation of plate reverb using an
algorithm derived from the above-
mentioned Yamaha ProR3.
EarlyRef – 
Early reflections without any subse-
quent reverberation.
GateReverb –  Simulation of gated reverb.
ReverseGate – 
Simulation of gated reverb played in
reverse.