DIGITAL REVERBERATOR
Owner’s Manual
Manuel d’instructions
Bedienungsanleitung
Manual del propietario
DATA/CURSOR
INC
PARAMETER
DIGITAL REVERBERATOR
INFINITE
POWER
FINE
7
4
8
9
6
PROGRAM
STORE
MAIN
R
L
CLIP
-3
-6
-9
-12
-18
-24
-36
STEREO
L
MONO
R
EQ
EQ ON
GATE ON
OTHERS
5
2
•
PRESET
USER
DEC
PROGRAM
MIDI
UTILITY
BYPASS
GATE
1
0
3
–
CANCEL
ON/ OFF
PRE EFFECT EQ
FREQ GAIN
INPUT
0
FREQ
100
GAIN
FREQ
10k
GAIN
ON
4k
300
800
2k
LEVEL/
BAL
RECALL/
ENTER
COMPARE
2k
20k
50
700 -15 +15
LOW
5k -15 +15
MID
-15 +15
350
+10
-00
L
R
HIGH
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Precautions i
Precautions
Water warning
Do not expose the device to rain, use it near water or in damp or wet conditions, or place con-
tainers on it containing liquids which might spill into any openings.
Avoid excessive heat, humidity, dust, and vibration
Keep the unit away from locations where it is likely to be exposed to high temperatures or
humidity – such as near radiators, stoves, in direct sunlight, etc. Avoid locations which are sub-
ject to excessive dust accumulation. Extreme vibrations can cause mechanical damage.
Avoid physical shocks
Strong physical shocks can damage the unit. Handle it with care.
Install the unit with plenty of space for ventilation
This unit should be installed in such a way as to maintain a gap of 10cm or more between the
rear of the unit and the wall. This will prevent heat build-up inside the unit and possible fire haz-
ard.
Do not open the unit, or attempt repairs or modifications yourself
This product contains no user-serviceable parts. Prefer all maintenance to qualified Yamaha ser-
vice personnel. Opening the unit and/or tampering with the internal circuitry will void the war-
ranty.
Make sure the power is off before making or removing connections
Always turn the power OFF prior to connecting or disconnecting cables. This is important to pre-
vent damage to the unit itself as well as other connected equipment.
Handle cables carefully
Always plug and unplug cables – including the AC cord – by gripping the connector, not the
cord.
Clean with a soft dry cloth
Never use solvents such as benzine or thinner to clean the unit. Wipe it clean with a soft, dry
cloth.
Always use the correct power source
Make sure the power source voltage specified on the rear panel matches your local AC mains
supply:
US & Canadian Model: 120V AC, 60 Hz
General Model: 230V AC, 50 Hz
UK Model: 240V AC, 50 Hz
Back-up battery
This unit contains a long-life lithium battery which maintains the contents of user memory loca-
tions even when the unit is off. With normal use, the battery should last approximately five
years. If the battery voltage falls below a certain level, the message “WARNING LOW BAT-
TERY” will appear on the screen when the power is turned on. If this occurs, have the battery
replaced at a qualified Yamaha service center.
Warning: DO NOT ATTEMPT TO REPLACE THE BATTERY YOURSELF. OPENING THE UNIT
AND/OR TAMPERING WITH THE INTERNAL CIRCUITRY WILL VOID THE WARRANTY.
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ii Contents
Contents
ERROR Messages of the ProR3 . . . . . . . . . . . .36
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
Front panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
Rear panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
Dimensions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38
Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . .38
Basic use – using a preset program – . . . . .7
Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
Turning the power on (off). . . . . . . . . . . . . . . . . .7
Adjusting the input level . . . . . . . . . . . . . . . . . . .8
Selecting effect programs . . . . . . . . . . . . . . . . . . .8
Preset Program List . . . . . . . . . . . . . . . . . . . . . . . .9
MIDI data format . . . . . . . . . . . . . . . . . . . . . Add-1
1. Transmitted data . . . . . . . . . . . . . . . . . . . Add-1
2. Receive data . . . . . . . . . . . . . . . . . . . . . . . Add-5
MIDI Implementation Chart . . . . . . . . . . Add-9
Advanced uses (1) . . . . . . . . . . . . . . . . . . . . . . .12
The bypass function . . . . . . . . . . . . . . . . . . . . . .12
Pre-effect EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
The INFINITE function. . . . . . . . . . . . . . . . . . . .13
Advanced uses (2) – Editing functions –. .14
How programs are organized . . . . . . . . . . . . . .14
Editing procedure . . . . . . . . . . . . . . . . . . . . . . . .15
Program parameters 1 (Primary effects) . . . . .18
Reverberation (Reverb) . . . . . . . . . . . . . . . .18
Early Reflections (ER) . . . . . . . . . . . . . . . . . .19
User ER parameter . . . . . . . . . . . . . . . . .19
Room Simulation (RoomSim) . . . . . . . . . . .20
Reverb + Echo (Rev + Ech) . . . . . . . . . . . . .21
Reverb + Early Reflections (Rev + ER) . . . .22
Reverb + Chorus (Rev + Cho) . . . . . . . . . . .23
Reverb + Symphonic (Rev + Sym) . . . . . . .24
Reverb + Flanger (Rev + Flg) . . . . . . . . . . . .25
Reverb + Pitch Change (Rev + Pit) . . . . . . .26
Reverb + Auto Pan (Rev + PAN) . . . . . . . .27
Common parameters . . . . . . . . . . . . . . . . . .27
Program paramaters 2 (Secondary effects) . . .28
DFL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
COMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30
GATE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
LEVEL/BAL . . . . . . . . . . . . . . . . . . . . . . . . .32
Advanced uses (3) – Utility functions – . . .33
Memory protect settings. . . . . . . . . . . . . . . . . . .33
Input mode setting . . . . . . . . . . . . . . . . . . . . . . .33
MIDI channel setting. . . . . . . . . . . . . . . . . . . . . .34
Setting the MIDI program change table. . . . . .34
Transmitting a MIDI bulk dump. . . . . . . . . . . .35
Assigning MIDI controllers . . . . . . . . . . . . . . . .35
Initializing the ProR3 . . . . . . . . . . . . . . . . . . . . .36
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Introduction 1
Introduction
Thank you for purchasing the Yamaha ProR3 Digital Reverberator. The ProR3 marks a new era in
Yamaha’s reverberation technology. Third-generation Yamaha digital signal processors (DSP)
with 32 bit digital signal processing and high-performance 20 bit linear A/D and D/A convert-
ers provide unprecedented density and resolution, with breathtakingly dynamic impact. The
ultra-high quality analog input and output circuitry achieves a dynamic range of 110 dB, provid-
ing incredibly natural reverberance with a noiseless decay.
The ProR3 has 10 primary effects; reverb, early reflection, room simulation, and combinations of
reverb with echo, chorus, flanging, pitch change, and auto pan, etc. A pre-effect EQ is provided
in front of the primary effect, and following the primary effect, dynamic filter, compressor, EQ,
gate, level, and balance stages are provided. In stereo input mode, full stereo reverb is provided.
In addition to 90 preset programs for immediate use, 90 user memory locations are provided for
your own custom settings.
The stereo inputs and outputs feature both balanced XLR type and 1/4" phone jack connectors,
for connection to a variety of equipment. The input and output level selectors (–10 dB/+4 dB)
also allow flexibility in level adjustment. Programs can be selected from an external MIDI device,
and bulk data dumps can also be performed.
The Yamaha ProR3 digital reverberator is the result of an important step forward in digital rever-
beration technology. It provides a previously unattainable level of rich reverberation effects,
sound quality, and operability, and is an ideal reverberator for use in any situation, from the
home studio to pro audio recording and PA work.
In order to take full advantage of the ProR3’s functionality and enjoy years of trouble-free use,
please read this manual carefully.
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2 Front panel
Front panel
6 7 8 9
2
1
3 4 5
DATA/CURSOR
INC
PARAMETER
DIGITAL REVERBERATOR
INFINITE
POWER
FINE
7
8
9
6
PROGRAM
MAIN
R
L
CLIP
-3
-6
-9
-12
-18
-24
-36
STEREO
L
MONO
R
EQ
EQ ON
GATE ON
OTHERS
4
1
0
5
2
•
STORE
PRESET
USER
DEC
PROGRAM
MIDI
UTILITY
BYPASS
GATE
3
–
CANCEL
ON/ OFF
PRE EFFECT EQ
INPUT
0
FREQ
100
GAIN
FREQ
GAIN
FREQ
10k
GAIN
ON
4k
300
800
2k
LEVEL/
BAL
RECALL/
ENTER
COMPARE
2k
20k
5k
50
700 -15 +15
LOW
-15 +15
-15 +15
350
+10
-00
L
R
HIGH
MID
A
B
C D
0
1
INPUT level meters (L/R)
This is a stereo LED meter with 8 segments for each channel. The segments respectively indicate
levels of –36 dB, –24 dB, –18 dB, –12 dB, –9 dB, –6 dB, –3 dB, and CLIP.
Note: The level meters are located in the circuitry after the A/D converter. This means that the CLIP
indicator will indicate clipping of the digital signal. Adjust the input level so that the CLIP indicator
does not light.
2
3
PROGRAM number display
This is a two-digit seven-segment display that indicates the currently selected program number.
If this display is blinking, a new program has been selected but its contents have not yet been
recalled.
Status indicators
These are six LEDs which indicate program status and other functions of the ProR3.
STEREO, L/R MONO
The input mode of the currently selected program is shown by three indicators. The ProR3 has
four input modes (Stereo, LR/Mix, R-Mono, L-Mono), selected by the UTILITY key. When both
L/R Mono indicators are lit, LR/Mix mode is selected.
PRESET/USER
These indicators show the program status. Use the PROGRAM key to select the status. When the
PRESET indicator is lit, preset programs are selected. When the USER indicator is lit, user pro-
grams are selected.
MIDI
This indicator will light while MIDI data is being received from an external device connected to
the MIDI IN connector.
4
LCD
This backlit LCD shows the name of the selected program and the program parameter values.
Messages related to operation will also appear here.
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Front panel 3
5
6
DATA/CURSOR keys
The DATA keys (INC) (DEC) are used to modify the value of the selected parameter.
The CURSOR keys (√) (®) are used to select parameters displayed in the LCD.
When the PROGRAM indicator is lit, the DATA keys are used to select the program that you
wish to recall.
PARAMETER keys
These keys select effect parameters. Each time a key is pressed, it will cycle through the parame-
ter pages, and will finally return to the first page.
FINE
MAIN
A
C
D
E
B
EQ
EQ ON
GATE ON
OTHERS
GATE
LEVEL/
BAL
F
6-A MAIN key
This key accesses the main parameters. The indicator will light, and you will be able to
edit the main parameters of the program.
6-B FINE key
This key accesses secondary parameters of the program. The indicator will light, and you
will be able to edit the secondary parameters of the program.
6-C EQ, EQ ON keys
The EQ key accesses the parameters of the three-band post-effect equalizer. The indicator
will light, and you will be able to edit the EQ type, frequency, gain, and Q for each band.
The EQ ON key turns the post-effect equalizer on/off. When the equalizer is on, the green
indicator will light.
LOW
MID
Peaking
HIGH
Peaking/Shelving
±15 dB
Type
Peaking/Shelving
±15 dB
Gain
±15 dB
Frequency
Q
32 Hz to 2.2 kHz
0.1 to 5.0
250 Hz to 5.6 kHz
0.1 to 5.0
500 Hz to 20 kHz
0.1 to 5.0
6-D GATE, GATE ON keys
The GATE key accesses the gate parameters. The indicator will light, and you will be able
to edit the level and balance, etc.
The GATE ON key turns the gate on/off. When the gate is on, the green indicator will
light.
6-E LEVEL/BAL key
This key lets you adjust the effect balance (the level balance between the direct sound and
the effect sound). When you press the key, the red indicator will light.
6-F OTHERS key
This key has two functions. When you press the key, the red indicator will light.
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4 Front panel
7
Numeric keys
These keys are used to directly input the number of a program that you wish to recall, or to input
parameter values.
When you use the numeric keys to input a parameter value, the value will blink until it is final-
ized. Press the RECALL/ENTER key to finalize the value. To return to the original value, press
the CANCEL key. Some parameters cannot be entered using the numeric keys.
To specify a negative value (for example an equalizer gain of –9 dB), use the “–” key. To specify a
value with a decimal point (for example an equalizer Q of 2.5), use the “.” key.
7
8
9
PROGRAM
A
B
C
D
4
1
0
5
2
•
6
STORE
3
–
CANCEL
RECALL/
ENTER
7-A PROGRAM key
This key is used when selecting programs. Each time you press the key, the program status
will alternate between PRESET and USER.
7-B STORE key
This key is used to store the settings of a program that you created.
7-C CANCEL key
This key is used to cancel a value that was entered by the numeric keys.
7-D RECALL/ENTER key
This key is used to recall a program whose number was entered by the numeric keys, or to
finalize a parameter value.
8
9
INFINITE key
When this key is pressed, the indicator will light, and the RevTime parameter will be dramati-
cally lengthened. This produces the effect of a “freeze-frame” or “stop-motion” sound.
POWER switch
This switch turns the power on/off.
When the power is turned on, the program that was last being used when the power was turned
off will be selected.
10 INPUT level control (L, R)
The inner knob is the input level for the left channel, and the outer knob is the input level for the
right channel. The knobs are coaxial for convenience when you are adjusting the level of a stereo
source.
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Front panel 5
11 PRE EFFECT EQ, ON controls
This is a three-band parametric equalizer that equalizes the signal before the effect. The center
frequency and gain can be set for each band.
The ON key turns the pre-effect equalizer on/off. When the equalizer is on, the green indicator
will light.
LOW
50 Hz to 700 Hz
±15 dB
MID
HIGH
2 kHz to 20 kHz
±15 dB
Frequency
Gain
350 Hz to 5 kHz
±15 dB
12 COMPARE key
After editing the parameters of a program, you can use this key to compare the edited sound
with the sound of the program at the time it was recalled. When the red indicator is lit, you are
hearing the original sound of the program.
13 UTILITY key
Use this key when you wish to make settings for system parameters such as memory protect,
input mode, and MIDI parameters. When you press the key, the red indicator will light.
14 BYPASS key
When this key is pressed, the input signal will be output directly without passing through the
effect, and the red indicator will light.
This is a convenient way to quickly compare the unprocessed sound with the processed sound.
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6 Rear panel
Rear panel
E
F
G
MIDI
OUTPUT
INPUT
R
L
R
L
THRU
OUT
IN
R
L
R
L
–10dB +4dB
–10dB +4dB
H
15 MIDI connectors
These are 5 pin DIN type standard MIDI IN, MIDI OUT, and MIDI THRU connectors.
These connectors are used when transmitting program change messages or control change mes-
sages from an external MIDI device to the ProR3, or when transmitting program bulk dump data
from the ProR3 to another device.
16 OUTPUT jacks
These are balanced output jacks which output the analog return signal to your mixer or multi-
track recorder, etc. A pair of XLR-3-32 connectors and a pair of 1/4" phone jacks are provided.
The level select switch selects either +4 dB or –10 dB as the nominal output level.
17 INPUT jacks
These are balanced input jacks which input the analog signal from your mixer or multi-track
recorder to the ProR3. If the source is monaural, use the UTILITY key to select an appropriate
A pair of XLR-3-31 connectors and a pair of 1/4" phone jacks are provided.
The level select switch selects either +4 dB or –10 dB as the nominal input level.
18 Level select switches
These switches change the level of the input/output jacks between +4 dB and –10 dB.
Set them to match the level of the connected equipment.
XLR3-31 type pin arrangement
XLR3-32 type pin arrangement
2
1
1
2
Ground
(Earth)
Hot
3
Hot
Cold
Ground
(Earth)
3
Cold
1/4" phone plug signal connections
Ground
Hot
Cold
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Basic use – using a preset program – 7
Basic use – using a preset program –
Here’s how to select a preset program and use it without adjusting any parameters.
Connections
1. Connect the sound source to the INPUT jacks.
Warning: Before making connections, make sure that the power is turned off for all
your equipment.
For a stereo sound source, connect the outputs of both channels to the INPUT jacks. For a mon-
aural sound source, use the L input jack.
If the sound source has XLR connectors, make connections using the XLR-3-31 connectors of the
ProR3. If not, use the 1/4" phone jacks.
2. Connect the OUTPUT jacks to the mixer or other external device.
If the mixer has XLR connectors, make connections using the XLR-3-32 connectors of the ProR3.
If not, use the 1/4" phone jacks.
Note: You may also use a cable which converts between XLR connectors and TRS 1/4" phone jacks.
3. Connect the ProR3 to an AC outlet.
Turning the power on (off)
1. Press the POWER switch to turn the power on. (Pressing it again will turn the power off.)
YAMAHA ProR3
Digital Reverberator
Copyright(c) 1995 YAMAHA
The initial display will appear for a few seconds, and then the program that was being used
when the power was last turned off will be selected.
Large Hall 1
Reverb
RevTime = 2.5s
Note: When turning on the equipment in a system, always turn on each device in sequence of the sig-
nal flow, starting from signal sources and ending with the power amp. Observing this sequence will
prevent damage to speakers, to other equipment, or to your hearing which can be caused by the noise
that occurs when a device is turned on. Turn on the ProR3 before the other connected equipment.
When turning off the power of the system, turn off devices starting with the power amp and working
backward toward the signal sources.
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8 Basic use – using a preset program –
Adjusting the input level
When the power has been turned on for the ProR3 and the other equipment, make the sound
sources produce sound, and adjust the input level of the ProR3.
1. Rotate the INPUT level controls while watching the INPUT level meters.
Set the levels to achieve maximum S/N ratio while not allowing the CLIP indicators to light.
Selecting effect programs
There are two ways to select programs.
• Use the INC/DEC keys.
Press the INC or DEC key to select a program.
If you hold down a key, the program numbers will change in succession.
• Use the numeric keys and the RECALL/ENTER key.
1Use the numeric keys to select the program number, and the PROGRAM indicator will
blink.
If you enter the wrong number, press the CANCEL key, and use the numeric keys to enter
the number once again.
If you select a number other than 1–90, the display will indicate “**NO PRO-
GRAM**No Type”. Press the CANCEL key to return to the previous display.
2Press the RECALL/ENTER key to recall the program.
When the program is recalled, the PROGRAM indicator will change from blinking to lit.
If you select a number other than 1–90 and press the RECALL/ENTER key, the display
will indicate “ Program Number Error ”. Press the CANCEL key to return to the previ-
*
*
ous display.
Note: If the display asks “Recall? Are you sure?” when you select a program, this indicates that the
data of the program has been edited. If you wish to save this edited data, use the procedure “Saving a
If you do not need to save the edited data, press the RECALL/ENTER key to recall the selected program.
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Basic use – using a preset program – 9
Preset Program List
No.
Title
Type
Description
Large Hall
1
2
Large Hall 1
Large Hall 2
Reverb
Reverb
The ProR3’s standard hall-type reverb. Simulates a large hall with good acous-
tics, and is suitable for any instrument.
A program with a slight delay between the sparse early reflections and the rich
reverberation.
3
New Hall
Reverb
4
5
Wide Hall
Reverb
Reverb
A program simulating a spacious and uncolored hall.
Breathless Hall
A bit of character. Bright, strong, and somewhat long reverb.
Medium Hall
6
7
8
Medium Hall 1
Reverb
Reverb
Reverb
A standard medium-sized hall reverb.
Medium Hall 2
Wonder Hall
Reverb with a lighter feel than the large hall type. Try it with percussion.
A combination of chorus and a somewhat long reverb. Try it on solo instruments,
vocals, or pads.
9
Gothic Hall
Bright Ham
Rev+Cho
Reverb
10
A bright medium sized hall.
Small Hall
11
Small Hall 1
Reverb
Reverb
An idealized small hall with a small stage.
An even smaller hall. The internal compressor is on, producing a damped reverb
sound.
12
Small Hall 2
13
14
15
Small Dark Hall
Pool
Rev+ER
Reverb
Reverb
Small hall, somewhat darker in tone. Try it on vocals in a minor key.
Small hall program with many early reflections.
Small hall with open space. For vocals.
Open Hall
Large Room
Simulation of a large room with hard walls. A thick and somewhat idiosyncratic
sound. Try it on percussion.
16
Large Room 1
Reverb
17
18
19
Large Room 2
Mood Room
Soft Room
Reverb
Reverb
Reverb
Large room with slightly darker tone.
Large room with mellow tone.
Combines a pitch change (±9 cents) with a room. Creates depth for vocals or solo
instruments.
20
Attack Room
Rev+Pit
Medium Room
Simulates a medium sized studio with good acoustics. Apply to a 2-channel
source for “live in the studio.”
21
Medium Room 1
Reverb
22
23
24
25
26
27
28
Medium Room 2
Dark Room
Reverb
Reverb
Simulates a somewhat live recording studio with wood walls.
A dry-sounding studio with wood and metal walls. For brass or percussion.
Simulates the reverberation of a medium-sized studio. Try on bass drum.
Quick Room
Aquarium
Reverb
RoomSim
RoomSim
Rev+Cho
RoomSim
Wood Room
Chorus Room
Delayed Room
Adds the airiness of a medium room to thicken the sound.
An echo room with an 82 ms pre-delay. For sax or solo instruments.
A room program for snare or percussion. Use Threshold to adjust the degree of
compression.
29
Comp. Chamber
RoomSim
Small Room
30
31
32
33
34
35
36
Small Room 1
RoomSim
Rev+Cho
RoomSim
Reverb
Small Room 2
Small Studio
Bright Studio
Kick Chamber
Tiny Room
The small room programs are extremely short reverbs created with hip-hop in
mind.These are meant to be applied in small amounts, so that the sound appears
either dry or to have the natural acoustics of a studio. They are especially effec-
tive on sequenced instruments, synth brass, and on instruments recorded in a
dead studio.
RoomSim
ER
NearYou
Rev+Pit
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10 Basic use – using a preset program –
No.
Title
Type
Description
Special Room
37
Power Drum Room
RoomSim
Rev+Cho
Adds a strong live ambiance to drums. Try it on sampled drums.
A percussive short reverb with chorus added. Gives ambiance to drums, lead
instruments, and vocals.
38
Soft Space
39
40
41
42
43
Droid Short
Droid Long
Tile Room
Coliseum
Opera
Reverb
Reverb
Simulates an early and extremely expensive digital reverb unit.
RoomSim
Reverb
The bright ambiance of a tiled room.
Long reverb of a wide space, simulating a coliseum.
Fairly long reverb with a 52 ms delay between the early reflections and the reverb.
Reverb
A combination of hall-type reverb and delay. Set the L and R Delay and IniDly
parameters to match the tempo of the song.
44
Delay Hall
Ech→Rev
45
46
47
48
Train Station
Tile Bathroom
Closet
Reverb
ER
Try this when you need echoing footsteps in a late-night train station.
These programs provide early reflections alone. Try them when you wish to add
room ambiance to drums, percussion, guitar, line-recorded bass, electric piano,
and solo instruments.
ER
Motel Chorus
Pitch Room
ER
49
Plate
50
Pit→Rev
Reverb applied to a pitch change (±8 cents). For vocals or chorus.
Beauty Plate
Arena Plate
Vocal Plate 1
Vocal Plate 2
Vocalese
Reverb
Reverb
Reverb
Reverb
Rev+Cho
Reverb
Reverb
Reverb
Reverb
Sub-reverb settings have been boosted. Try it on an electric piano.
Simulates a gigantic arena like the Budokan in Tokyo.
Try it on vocals. Especially nice for ballads.
51
52
53
54
55
56
57
58
Reverb with a darker feel than Vocal Plate 1.
Chorus is lightly applied to the reverb. Try it on guitar and keyboards.
Try it on strings for an even more beautiful sound.
Metal plate reverb from the good old days.
String Plate
Home Plate
LA Plate Short
LA Plate Long
Simulations of the bright and crisp plate reverb preferred in studios on the US
west coast.
Short and bright percussion plate. Set the IniDelay parameter according to the
tempo.
59
Short Perc.Plate
Long Plate
Reverb
Reverb
60
Gate
61
Longer plate reverb. Try it on organ pads etc.
ER Gate 1
ER
ER
These are gated reverbs with only the early reflections.
62
63
64
65
66
67
68
69
70
ER Gate 2
is for when you want to fatten up a thin sounding bass drum.
Adjust the Liveness and RoomSize parameters as desired.
make the drums really stand out.
ER for Kick
Power Gate 1
Power Gate 2
Room Gate
Gated Rev 1
Gated Rev 2
Reverse Gate 1
Reverse Gate 2
ER
ER
ER
ER
These are standard combinations of reverb + noise gate. Compared to the gated
programs consisting only of E.Ref, more detailed settings are required to fit them
to your song, but this also means that you have more control.
These simulate the gated reverb effect produced by a tape running backwards,
like the Reverse Gate programs on the REV7 and REV5. Make settings to match
the tempo of the song.
Reverb
Reverb
ER
ER
Effect Reverb
71
72
73
74
75
76
Reverb Flange 1
Reverb
Reverb Flange 2
Reverb Flange 3
Reverb Flange 4
Dark Moon
Rev→Flg
Rev→Flg
Rev→Flg
Rev→Flg
Rev→Flg
gressively deeper and more showy.
Filter Flange
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Basic use – using a preset program – 11
No.
77
Title
Type
Reverb
Description
Super Long Decay
Slow Pan Reverb
An effect like an extremely long tunnel.
78
Rev→Pan
A fairly long reverb is panned slowly.
Water sounds producing a “sprong” when applied to a rim shot. When applied to
strings, a saw-like sound results.
79
Sub Aqua
Pit→Rev
80
81
82
83
84
85
Thud
Pit→Rev
Pit→Rev
Reverb
Reverb
Reverb
Reverb
Turns an acoustic instrument into a synth! Produces an auto-wah like effect when
applied to guitar.
Alien Attack
High Filter
High Mid Filter
Low Mid Filter
Low Filter
Effect reverb with a sense of definite pitch created by the dynamic filter. Try it on
rim shots, or percussive instruments and sound effects.
This program combines a chorus effect and reverb to create spaciousness and
depth.
86
Chorus Reverb
Rev+Cho
87
88
89
90
Symphonic Rev 1
Symphonic Rev 2
Echo Reverb 1
Rev+Sym
Sym→Rev
Ech→Rev
Ech→Rev
A multi-phase chorus combined symphonic effect and reverb creates spacious-
ness and depth, with a multi-phase chorus.
Reverb is applied to a stereo feedback echo of up to 400 ms left and right.
Echo Reverb 2
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12 Advanced uses (1)
Advanced uses (1)
The bypass function
When you press the BYPASS key, the circuit will be switched so that the input sound is output
directly. This function provides an easy way to make a quick comparison between the sound pro-
cessed by the effect program and the unprocessed sound. When the effect is bypassed, the red
indicator will light.
PRE
EFFECT
EQ
BYPASS
EFFECT
ON
Pre-effect EQ
The PRE EFFECT EQ controls allow you to make settings for the three-band pre-effect equalizer.
For each band, you can set the center frequency and the gain.
LOW
50 Hz to 700 Hz
±15 dB
MID
HIGH
2 kHz to 20 kHz
±15 dB
Frequency
Gain
350 Hz to 5 kHz
±15 dB
1. Press the PRE EFFECT EQ ON key to turn on the equalizer.
The green indicator will light.
2. Select a band, and rotate its control knobs to adjust the gain.
3. Rotate the FREQ (frequency) control of the selected band.
To hear the effect of the equalizer, first adjust the gain level of the selected band, and then adjust
the frequency.
The equalizer control settings are not stored in the program memory. If the equalizer is turned
on, its settings will affect all programs.
Note: The pre-effect equalizer controls are located in the circuit after the INPUT level meters. This
means that you need to be careful when setting gain levels, since even if the gain is raised excessively
and digital clipping occurs, this will not be indicated by the meters.
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Advanced uses (1) 13
The INFINITE function
The INFINITE function lets you set an extremely long reverb time. This is effective when used on
the ending of a song, etc.
The INFINITE key can be used in the following two ways.
• Press and immediately release the INFINITE key.
The reverb time will be set to the maximum. Press the key once again and the reverb time will
return to the original value.
• Press hold the INFINITE key.
The reverb time will be set to the maximum as long as you continue holding the key. When
you release the key, the reverb time will return to the original value.
Note: For programs whose primary effect is early reflection (ER) and do not have a RevTime parame-
ter, therefore this key will have no effect.
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14 Advanced uses (2) – Editing functions –
Advanced uses (2) – Editing functions –
Preset programs are “ready-made” programs. In contrast, user programs can be tailor-made to
meet your needs. This section explains how you can edit your own programs.
How programs are organized
Each of the ProR3 program consists of two main stages; the primary effect and the secondary
effects.
Of these, the primary effect can be selected from one of the following ten types, and will depend
on the program that you select.
Single type:
Reverb, ER, Room Sim
Compound type: Rev+Ech, Rev+ER, Rev+Cho, Rev+Sym, Rev+Flg, Rev+Pit, Rev+PAN
The “+” in compound type effects such as “Rev+Ech” means that these
effects simultaneously apply both reverb (Rev) and echo (Ech). You can
select the order in which these occur; i.e., whether reverb will be
applied and then echo, or echo applied and then reverb.
The secondary effects are supplementary, and are the following five which are provided for each
program: DFL (dynamic filter), COMP (compressor), EQ, GATE, and LEVEL/BAL.
The primary effect is the decisive factor in determining the character of the entire effect, and if
you know its type, you will have a good idea of how the entire program will sound. For this rea-
son, when the program is shown in the LCD, the primary effect type used by that program will
be shown along with the program number and title, and is also given in the list.
Program title
Program number
Primary effect type
Large Hall 1
Reverb
RevTime = 2.5s
Parameter
Parameter value
The ProR3 has separate dedicated keys for recalling the parameters of the primary effect and the
secondary effects.
Secondary effects
Primary effect
Reverb
ER
Room Sim
Rev+Ech
Rev+ER
Rev+Cho
Rev+Sym
Rev+Flg
Rev+Pit
Rev+PAN
LEVEL/
BAL
DFL
COMP
EQ
GATE
EQ
ON
GATE
ON
LEVEL/
BAL
MAIN
GATE
FINE
EQ
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Advanced uses (2) – Editing functions – 15
Editing procedure
1) Selecting a program
number of the program that you wish to edit.
At this time, it is not possible to change the type of the primary effect, so make your choice of
type carefully.
Primary effect type
Large Hall 1
Reverb
RevTime = 2.5s
2) Editing parameters
1. Press the key which accesses the program parameter that you wish to edit. For example
to edit primary effect parameters, press the MAIN key or FINE key. To edit GATE parame-
ters, press the GATE key.
2. Repeatedly press the key until the parameter that you wish to edit appears.
3. Use the cursor keys (√) (®) to move the cursor to the parameter that you wish to edit.
4. There are two ways to set the value of a parameter.
• Press the INC or DEC key to set the value.
If you continue holding down a key, the value will continue to change.
• Use the numeric keys and the RECALL/ENTER key to set the value.
1Use the numeric keys to enter the value, and the data will blink. If you make a mistake,
press the CANCEL key, and input the value once again using the numeric keys.
2Press the RECALL/ENTER key to finalize the setting.
5. By pressing the COMPARE key, you can compare the sound after the parameter was
edited with the sound that the program had when it was recalled.
6. If you wish to edit the parameter again, return to step 3.
7. If you wish to edit a different parameter in the same effect, return to step 2.
8. If you wish to edit a different effect, refer to step 1.
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16 Advanced uses (2) – Editing functions –
3) Entering a title
You can enter a program name of up to 16 characters for each of your own effect programs.
1. Press the OTHERS key.
The red indicator will light. Each time you press the OTHERS key, the title edit page and two
controller parameter pages will alternate.
Title Edit
[Dread Lurgi Verb]
2. Use the CURSOR keys (√) (®) to select the location of the character.
The cursor will indicate the location when a character can be selected. Each time you press the
CURSOR key, the cursor will move to the next/previous character location, and will “wrap
around” when it reaches the end of the title.
3. Press the INC or DEC key to change the character. You can also use the numeric keys to
enter numerals.
If you continue holding the INC or DEC key, the character will continue to change. The numerals
0 through 9, a “–” (minus), and a “.” (decimal point) can be entered using the numeric keys.
4) Setting MIDI control parameters
1. Press the OTHERS key to access the MIDI control page.
Ctr1-1 Prm Min
Max
RevTIM 0.0% 100.0
2. Use the CURSOR keys (√) (®) to select parameters.
3. Use the INC and DEC keys to set the parameters.
Control 1 Prm
Control 1 Min
Control 1 Max
Control 2 Prm
Control 2 Min
Control 2 Max
–
Select the parameter controlled by MIDI controller 1
Minimum value of the range of MIDI controller 1
Maximum value of the range of MIDI controller 1
Select the parameter controlled by MIDI controller 2
Minimum value of the range of MIDI controller 2
Maximum value of the range of MIDI controller 2
0.0–100.0%
0.0–100.0%
–
0.0–100.0%
0.0–100.0%
5) Saving a program
Up to 90 programs whose parameters you have edited can be saved as USER programs.
1. Press the STORE key.
The PROGRAM indicator will blink, and a message will appear to ask the storing location.
Circus Big Top Reverb
Store from P01 to U01 ?
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Advanced uses (2) – Editing functions – 17
If the USER program area is protected (i.e., if Memory Protect is ON), a message of “MEMORY
PROTECTED” will appear.
your program.
2. The upper line of the display will show the title of the program that already occupies the
storing destination.
Use the INC/DEC keys or the numeric keys to select the storing destination.
Vocal Plate 2
Reverb
Store from P01 to U40 ?
If you use the numeric keys to enter a number outside of the range of 1–90, a message of “**NO
PROGRAM**No Type” will appear. Press the CANCEL key to return to the previous display.
3. To store the program, press the STORE key. To cancel, press the CANCEL key.
Low Mid Filter Reverb
This Program is Stored
A message of “This Program is Stored” will appear briefly, and then the previous display will
reappear.
If a number outside of the range of 1–90 has been entered using the numeric keys, a message of
“p*la*y.Store Number Error**” will appear. Press the CANCEL key to return to the previous dis-
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18 Advanced uses (2) – Editing functions –
Program parameters 1 (Primary effects)
Reverberation (Reverb)
Key
Parameter
Value
Description
MAIN
Reverb time of primary reverberation (the time required for
60 dB of decay at 1 kHz)
RevTime
IniDelay
HighRatio
0.3 ~ 99.0 s
0.1 ~ 200.0 ms
X0.1 ~ X1.0
Delay time until the primary reverb begins
Reverb time of the high frequency components of the reverb;
relative to RevTime
Reverb time of the low frequency components of the reverb;
relative to RevTime
LowRatio
Diffusion
FINE
X0.1 ~ X2.4
0 ~ 10
Spread of the reverb sound
Reverb Type
*1
Type of reverb tone
ER/REV Balance
0/100 ~ 100/0
Level balance between early reflections and reverb
Time difference between beginning of early reflections and
beginning of reverb
ER/REV Delay
0.1 ~ 100.0 ms
Liveness
Density
HPF
0 ~ 10
Decay characteristics of early reflections; 0:dead, 10:live
Density of the early reflections
0 ~ 100
Thru, 40 Hz ~ 1.0 kHz
400 Hz ~ 20 kHz, Thru
Cutoff frequency of the high pass filter
Cutoff frequency of the low pass filter
LPF
Decay time of the secondary reverb; relative to primary
reverb
Rev2 Time
X0.1 ~ X10.0
Time difference between primary reverb and secondary
reverb
Rev2 Delay *2
0.0 ~ 100.0 ms
Rev2 Level *2
Mod Freq
0 ~ 100%
Level of secondary reverb; relative to primary reverb
Frequency of reverb modulation
0.05 ~ 40.00 Hz
0 ~ 100%
Mod Depth
Depth of reverb modulation
Shorter values produce modulation in the high range, longer
values in the low range.
Mod Delay
0.1 ~ 30 ms
*1 Small Hall, Large Hall, Vocal plate, Perc.Plate, Spring, Echo Room, Strings, Snare, Reverb Flange
*2 Only when the input mode is either L-Mono, R -Mono, or LR-Mix.
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Advanced uses (2) – Editing functions – 19
Early Reflections (ER)
Key
Parameter
Value
Description
MAIN
ER Type
IniDelay
Liveness
RoomSize
Diffusion
*1
Type of early reflection simulation
0.1 ~ 200.0 ms
0 ~ 10
Delay time until early reflections are heard
Decay characteristics of the early reflections; 0: dead, 10: live
Spacing of reflections
0.1 ~ 25.0
0 ~ 10
Spread of the early reflections
FINE
ER Number
1 ~ 40
Number of early reflections
FeedBack Delay
FeedBack Gain
FeedBack High
Density
0.1 ~ 1000.0 ms
–99 ~ +99%
0.1 ~ 1.0
Delay time of feedback
Amount of feedback; “-” inverts the phase
Amount of high range feedback; relative to FeedBack Gain
Density of reflections
0 ~ 100
HPF
Thru, 40 Hz ~ 1.0 kHz
400 Hz ~ 20 kHz, Thru
0 ~ 10
Cutoff frequency of high pass filter
Cutoff frequency of low pass filter
Modulation level
LPF
Space Mod
*1 Small Hall, Large Hall, Random, Reverse, Plate, Spring, User A, User B, User C, User D
User ER parameter
There are four User ER banks; A–D.
For each bank, you can specify 40 reflections.
For each reflection, you can specify the delay time, level, and panning.
Key
Parameter
Value
Description
FINE
A-01 Delay
A-01 Level
A-01 Pan
0.1 ~ 1000.0 ms
–100 ~ +100%
L16 ~ R16
Delay time of first reflection of bank A
Level of first reflection of bank A
Pan position of first reflection of bank A
•
•
•
D-40 Pan
Return to the beginning of FINE (ER Number)
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20 Advanced uses (2) – Editing functions –
Room Simulation (RoomSim)
Key
Parameter
Value
Description
MAIN
RevTime
IniDelay
Width
0.3 ~ 99.0 s
Decay time of reverb
0.1 ~ 200.0 ms
0.5 ~ 46.7 m
0.5 ~ 46.7 m
0.5 ~ 46.7 m
0 ~ 30
Delay time until reverb is heard
Simulation of room width
Height
Simulation of ceiling height
Depth
Simulation of room depth
Wall Vary
Simulation of wall roughness (flat 0 → rough 30)
Fine adjustment of wall simulation
Seating position in the room
Wall Vary Fine
–100 ~ +100
Front, Center, Rear
Listening Position
Decay time of high range reverb components; relative to Rev-
Time
HighRatio
LowRatio
X0.1 ~ X1.0
X0.1 ~ X2.4
Decay time of low range reverb components; relative to Rev-
Time
Diffusion
0 ~ 10
Spread of the reverb sound
Width Fine
Height Fine
Depth Fine
–100 ~ +100
–100 ~ +100
–100 ~ +100
Fine adjustment of width simulation
Fine adjustment of height simulation
Fine adjustment of depth simulation
Decay time of width component of reverb; relative to Rev-
Time
Width Decay
Height Decay
Depth Decay
RT X0.1 ~ 10.0
RT X0.1 ~ 10.0
RT X0.1 ~ 10.0
Decay time of height component of reverb; relative to Rev-
Time
Decay time of depth component of reverb; relative to Rev-
Time
FINE
ER/REV Balance
ER/REV Delay
Density
0/100 ~ 100/0
0.1 ~ 100.0 ms
0 ~ 100
Level balance of early reflections and reverb
Time difference between early reflections and reverb
Density of reflections
HPF
Thru, 40 Hz ~ 1.0 kHz
400 Hz ~ 20 kHz, Thru
0 ~ 10
Cutoff frequency of high pass filter
Cutoff frequency of low pass filter
Modulation level
LPF
Space Mod
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Advanced uses (2) – Editing functions – 21
Reverb + Echo (Rev + Ech)
Key
Parameter
Value
Description
MAIN
REV RevTime
0.3 ~ 99.0 s
REV IniDelay
0.1 ~ 200.0 ms
X0.1 ~ X1.0
X0.1 ~ X2.4
0 ~ 10
REV HighRatio
Refer to “Reverberation” items on page 18
REV LowRatio
REV Diffusion
ECHO Lch Delay
ECHO Rch Delay
ECHO Lch FeedBack
ECHO Rch FeedBack
ECHO High Ratio
0.1 ~ 400.0 ms
0.1 ~ 400.0 ms
–99 ~ +99%
–99 ~ +99%
0.1 ~ 1.0
Left channel delay time
Right channel delay time
Left channel feedback amount
Right channel feedback amount
High range feedback amount
FINE
ECHO/REV Balance *1
REV Rev Mix *2
REV Reverb Type
REV Density
0/100 ~ 100/0
0 ~ 100%
Level balance of echo and reverb
Reverb amount
*3
Type of reverb tone
0 ~ 100
Density of reverb
REV HPF
Thru, 40 Hz ~ 1.0 kHz
400 Hz ~ 20 kHz, Thru
0 ~ 10
Cutoff frequency of reverb high pass filter
Cutoff frequency of reverb low pass filter
Modulation level of reverb
REV LPF
REV Space Mod
ECHO Lch IniDelay
ECHO Rch IniDelay
REV Patch
0.1 ~ 400.0 ms
0.1 ~ 400.0 ms
*4
Time until the L channel echo appears
Time until the R channel echo appears
Connection of reverb and echo
*1 Only when REV Patch is parallel (Reverb + Echo)
*2 Only when REV Patch is serial (Reverb → Echo, Echo → Reverb)
*3 Hall, Room, Vocal, Plate
*4 Reverb + Echo, Echo → Reverb, Reverb → Echo
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22 Advanced uses (2) – Editing functions –
Reverb + Early Reflections (Rev + ER)
Key
Parameter
Value
Description
MAIN
REV RevTime
REV IniDelay
REV HighRatio
REV LowRatio
REV Diffusion
ER Type
0.3 ~ 99.0 s
0.1 ~ 200.0 ms
X0.1 ~ X1.0
X0.1 ~ X2.4
0 ~ 10
Refer to “Reverberation” items on page 18
*1
ER IniDelay
0.1 ~ 100.0 ms
0 ~ 10
ER Liveness
ER RoomSize
ER Diffusion
Refer to “Early reflection” items on page 19
0.1 ~ 25.0
0 ~ 10
FINE
ER/REV Balance *2
REV Rev Mix *3
REV Reverb Type
REV Density
REV HPF
0/100 ~ 100/0
0 ~ 100%
Level balance of ER and reverb
Reverb amount
*4
Type of reverb tone
0 ~ 100
Density of reverb
Thru, 40 Hz ~ 1.0 kHz
400 Hz ~ 20 kHz, Thru
0 ~ 10
Cutoff frequency of reverb high pass filter
Cutoff frequency of reverb low pass filter
Modulation level of reverb
REV LPF
REV Space Mod
ER Number
ER Density
ER HPF
1 ~ 14
Number of early reflections
Density of early reflections
Cutoff frequency of ER high pass filter
Cutoff frequency of ER low pass filter
Connection of reverb and ER
0 ~ 100
Thru, 40 Hz ~ 1.0 kHz
400 Hz ~ 20 kHz, Thru
*5
ER LPF
REV Patch
*1 Small Hall, Large Hall, Random, Reverse, Plate, Strings
*2 Only when REV Patch is parallel (Reverb + ER)
*3 Only when REV Patch is serial (Reverb → ER, ER → Reverb)
*4 Hall, Room, Vocal, Plate
*5 Reverb + E.Ref., E.Ref. → Reverb, Reverb → E.Ref.
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Advanced uses (2) – Editing functions – 23
Reverb + Chorus (Rev + Cho)
Key
Parameter
Value
Description
MAIN
REV RevTime
REV IniDelay
0.3 ~ 99.0 s
0.1 ~ 200.0 ms
X0.1 ~ X1.0
X0.1 ~ X2.4
0 ~ 10
REV HighRatio
REV LowRatio
REV Diffusion
CHO Mod Freq
CHO DM Depth
CHO AM Depth
Refer to “Reverberation” items on page 18
0.05 ~ 40.00 Hz
0 ~ 100%
Chorus modulation frequency
Chorus delay time modulation depth
Chorus amplitude modulation depth
0 ~ 100%
FINE
CHO/REV Balance *1
REV Rev Mix *2
REV Reverb Type
REV Density
REV HPF
0/100 ~ 100/0
Level balance of chorus and reverb
Reverb amount
0 ~ 100%
*3
Type of reverb tone
0 ~ 100
Density of reverb
Thru, 40 Hz ~ 1.0 kHz
Cutoff frequency of reverb high pass filter
Cutoff frequency of reverb low pass filter
Modulation level of reverb
Connection of reverb and ER
REV LPF
400 Hz ~ 20 kHz, Thru
REV Space Mod
REV Patch
0 ~ 10
*4
*1 Only when REV Patch is parallel (Reverb + Chorus)
*2 Only when REV Patch is serial (Reverb → Chorus, Chorus → Reverb)
*3 Hall, Room, Vocal, Plate
*4 Reverb + Chorus, Chorus → Reverb, Reverb → Chorus
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24 Advanced uses (2) – Editing functions –
Reverb + Symphonic (Rev + Sym)
Key
Parameter
Value
Description
MAIN
REV RevTime
REV IniDelay
REV HighRatio
REV LowRatio
REV Diffusion
SYM Mod Freq
SYM Depth
0.3 ~ 99.0 s
0.1 ~ 200.0 ms
X0.1 ~ X1.0
X0.1 ~ X2.4
0 ~ 10
Refer to “Reverberation” items on page 18
0.05 ~ 40.00 Hz
0 ~ 100%
Symphonic modulation frequency
Symphonic modulation depth
FINE
SYM/REV Balance *1
REV Rev Mix *2
REV Reverb Type
REV Density
REV HPF
0/100 ~ 100/0
Level balance of reverb and symphonic
Reverb amount
0 ~ 100%
*3
Type of reverb tone
0 ~ 100
Density of reverb
Thru, 40 Hz ~ 1.0 kHz
Cutoff frequency of reverb high pass filter
Cutoff frequency of reverb low pass filter
Modulation level of reverb
REV LPF
400 Hz ~ 20 kHz, Thru
REV Space Mod
REV Patch
0 ~ 10
*4
Connection of symphonic and reverb
*1 Only when REV Patch is parallel (Reverb + Symphon)
*2 Only when REV Patch is serial (Reverb → Symphon, Symphon → Reverb)
*3 Hall, Room, Vocal, Plate
*4 Reverb + Symphon, Symphon → Reverb, Reverb → Symphon
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Advanced uses (2) – Editing functions – 25
Reverb + Flanger (Rev + Flg)
Key
Parameter
Value
Description
MAIN
REV RevTime
REV IniDelay
REV HighRatio
REV LowRatio
REV Diffusion
FLA Mod Freq
FLA Depth
0.3 ~ 99.0 s
0.1 ~ 200.0 ms
X0.1 ~ X1.0
X0.1 ~ X2.4
0 ~ 10
Refer to “Reverberation” items on page 18
0.05 ~ 40.00 Hz
0 ~ 100%
Modulation frequency of the flanger
Modulation depth of flanger
Larger values produce modulation in the low range, and
smaller values in the high range
FLA Delay
0.1 ~ 100.0 ms
0 ~ 100%
FLA FeedBack Gain
Feedback amount of the flanger
FINE
FLA/REV Balance *1
REV Rev Mix *2
REV Reverb Type
REV Density
REV HPF
0/100 ~ 100/0
Level balance of reverb and flanger
Reverb amount
0 ~ 100%
*3
Type of reverb tone
0 ~ 100
Density of reverb
Thru, 40 Hz ~ 1.0 kHz
Cutoff frequency of reverb high pass filter
Cutoff frequency of reverb low pass filter
Modulation level of reverb
REV LPF
400 Hz ~ 20 kHz, Thru
REV Space Mod
REV Patch
0 ~ 10
*4
Connection of flanger and reverb
*1 Only when REV Patch is parallel (Reverb + Flange)
*2 Only when REV Patch is serial (Reverb → Flange, Flange → Reverb)
*3 Hall, Room, Vocal, Plate
*4 Reverb + Flange, Flange → Reverb, Reverb → Flange
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26 Advanced uses (2) – Editing functions –
Reverb + Pitch Change (Rev + Pit)
Key
Parameter
Value
Description
MAIN
REV RevTime
REV IniDelay
REV HighRatio
REV LowRatio
REV Diffusion
PIT Pitch 1
0.3 ~ 99.0s
0.1 ~ 200.0 ms
X0.1 ~ X1.0
X0.1 ~ X2.4
0 ~ 10
Refer to “Reverberation” items on page 18
↓Oct ~ ↑Oct
↓Oct ~ ↑Oct
–100 ~ +100 cent
–100 ~ +100 cent
0.1 ~ 300.0 ms
0.1 ~ 300.0 ms
0 ~ 99%
Shift amount of pitch 1
PIT Pitch 2
Shift amount of pitch 2
PIT Fine 1
Fine adjustment to shift amount of pitch 1
Fine adjustment to shift amount of pitch 2
Pitch 1 delay time
PIT Fine 2
PIT Delay 1
PIT Delay 2
PIT Feedback 1
PIT Feedback 2
PIT Pan 1
Pitch 2 delay time
Pitch 1 feedback amount
Pitch 2 feedback amount
Pitch 1 pan position
0 ~ 99%
L16 ~ R16
PIT Pan 2
L16 ~ R16
Pitch 2 pan position
FINE
PIT/REV Balance *1
REV Rev Mix *2
REV Reverb Type
REV Density
REV HPF
0/100 ~ 100/0
0 ~ 100%
Level balance of reverb and pitch change
Reverb amount
*3
Type of reverb tone
0 ~ 100
Density of reverb
Thru, 40 Hz ~ 1.0 kHz
400 Hz ~ 20 kHz, Thru
0 ~ 10
Cutoff frequency of reverb high pass filter
Cutoff frequency of reverb low pass filter
Modulation level of reverb
Balance of direct sound and pitch shifted sound
*5
REV LPF
REV Space Mod
PIT Pitch Balance
PIT Base Key
REV Patch
0 ~ 100%
OFF, C1 ~ C6
*4
Selection of effect combination
*1 Only when REV Patch is parallel (Reverb + Pitch)
*2 Only when REV Patch is serial (Reverb → Pitch, Pitch → Reverb)
*3 Hall, Room, Vocal, Plate
*4 Reverb + Pitch, Pitch → Reverb, Reverb → Pitch
*5 Set this parameter when you wish to use note messages from a MIDI keyboard etc. to control the pitch difference
between the input sound and the pitch shifted sound.
The pitch difference between the input sound and the pitch shifted sound will be determined by the pitch difference
between the Base Key specified by this parameter and the note-on message that is received. For example if the Base
Key is set to C4, an incoming note-on message of C3 would shift the pitch down one octave, and an incoming note-
on message of D4 would shift the pitch up a whole step.
*
*
MIDI note number 60 is considered C3.
The range of the actual pitch change is ±1 octave, so even if the specified pitch difference exceeds 1 octave, the
resulting pitch change will stay within this range.
*
*
If Base Key is set OFF, MIDI note-on messages will not control the pitch.
When using MIDI note-on messages to control the amount of the pitch shift, the pitch of the last-input note-on
message will set the Pitch parameter.
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Advanced uses (2) – Editing functions – 27
Reverb + Auto Pan (Rev + PAN)
Key
Parameter
Value
Description
MAIN
REV RevTime
REV IniDelay
REV HighRatio
REV LowRatio
REV Diffusion
PAN Speed
0.3 ~ 99.0 s
0.1 ~ 200.0 ms
X0.1 ~ X1.0
X0.1 ~ X2.4
0 ~ 10
Refer to “Reverberation” items on page 18
0.05 ~ 40.00 Hz
0 ~ 100%
Modulation frequency of auto-pan
Modulation depth of auto-pan
Direction of panning movement
PAN Depth
PAN Direction
L→R, L←R, L ↔ R
FINE
PAN/REV Balance *1
REV Rev Mix *2
REV Reverb Type
REV Density
REV HPF
0/100 ~ 100/0
Level balance of reverb and auto-pan
Reverb amount
0 ~ 100%
*3
Type of reverb tone
0 ~ 100
Density of reverb
Thru, 40 Hz ~ 1.0 kHz
Cutoff frequency of reverb high pass filter
Cutoff frequency of reverb low pass filter
Modulation level of reverb
REV LPF
400 Hz ~ 20 kHz, Thru
REV Space Mod
REV Patch
0 ~ 10
*4
Connection of auto-pan and reverb
*1 Only when REV Patch is parallel (Reverb + PAN)
*2 Only when REV Patch is serial (Reverb → PAN, PAN → Reverb)
*3 Hall, Room, Vocal, Plate
*4 Reverb + PAN, PAN → Reverb, Reverb → PAN
Common parameters
Key
Parameter
Value
Description
FINE
1stRef-1 Delay
1stRef-1 Lvl
0.1 ~ 200.0 ms
0 ~ 100%
Delay time of reflection 1
Level of reflection 1
1stRef-1 Pan
1stRef-2 Delay
1stRef-2 Lvl
L16 ~ R16
0.1 ~ 200.0 ms
0 ~ 100%
Pan position of reflection 1
Delay time of reflection 2
Level of reflection 2
1stRef-2 Pan
Input Mix *1
L16 ~ R16
0 ~ 100%
Pan position of reflection 2
Stereo-mix adjustment
continues to DFL
*1 Only for stereo mode
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28 Advanced uses (2) – Editing functions –
Program paramaters 2 (Secondary effects)
DFL
By using the dynamic filter you can create wah effects in which the frequency response is
changed by the level of the input signal.
Key
Parameter
Value
Description
FINE
DFL Dynamic Filter
DFL Filter Type
DFL Frq.Center
DFL Resonance
OFF, ON
DFL effect on/off
LPF, HPF, BPF
100 Hz ~ 3.2 kHz
0 ~ 20
Filter type selection
Center frequency of the filter
Filter resonance
Direction in which center frequency will change in response
to the level of the input signal
DFL Shift
Up/Down
DFL Sens
1 ~ 10
Sensitivity to the input signal
DFL Decay
1 ~ 10
Speed at which the center frequency will return after shifting
Place the filter patch point before or after the reverb
DFL Patch
PreREV, PostREV
continues to COMP
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Advanced uses (2) – Editing functions – 29
COMP
The compressor can be used to compress level changes in the input signal, enhancing presence
even for low level signals.
In the last page of the compressor parameters, the amount of gain reduction is shown as a bar
graph, allowing you to see the operation of the compressor
dB
0
Ratio = 2:1
–10
Threshold = -20dB
–20
–30
–40
Knee = SoftKnee
–50
–60
–70
dB
–70 –60 –50 –40 –30 –20 –10
Input Level
0
Key
Parameter
Value
Description
FINE
COMP Compressor
COMP Threshold Level
COMP Output Level
COMP Ratio
OFF/ON
Compressor on/off
Threshold level
–54 ~ 0 dB
–15 ~ +15 dB
1:1 ~ 00:1
Compressor output level
Compression ratio
SoftKnee, Medium,
HardKnee
COMP Knee
Mode of change in threshold level
COMP Attack Time
COMP Release Time
COMP GR
0 ~ 500 ms
6 ~ 2400 ms
Bar graph
Attack time
Release time
Gain reduction amount is displayed as a bar graph
Return to the beginning of FINE (However if the primary effect is ER, continue to User ER)
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30 Advanced uses (2) – Editing functions –
EQ
A three-band parametric equalizer is located after the compressor, allowing you to adjust the
low, mid, and high frequency ranges of the sound.
LOW
MID
Peaking
HIGH
Peaking/Shelving
±15 dB
Type
Peaking/Shelving
±15 dB
Gain
±15 dB
Frequency
Q
32 Hz to 2.2 kHz
0.1 to 5.0
250 Hz to 5.6 kHz
0.1 to 5.0
500 Hz to 20 kHz
0.1 to 5.0
Key
Parameter
Value
Description
EQ
Low EQ Type
Low Gain
Low Freq
Low Q *1
Mid Gain
Mid Freq
Mid Q
Peaking, Shelving
Select EQ type for low range
Set low range gain
–15 ~ +15 dB
32 Hz ~ 2.2 kHz
0.1 ~ 5.0
Adjust low range frequency
Set Q factor of low range
Set mid range gain
–15 ~ +15 dB
250 Hz ~ 5.6 kHz
0.1 ~ 5.0
Adjust mid range frequency
Set Q factor of mid range
Select EQ type for high range
Set high range gain
High EQ Type
High Gain
High Freq
High Q *1
Peaking, Shelving
–15 ~ +15 dB
500 Hz ~ 20 kHz
0.1 ~ 5.0
Adjust high range frequency
Set Q factor of high range
EQ ON
POST EQ
OFF/ON
Equalizer on/off
*1 When EQ Type is Peaking
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Advanced uses (2) – Editing functions – 31
GATE
The gate allows you to create gated reverb effects.
Gated reverb is an effect in which the reverb sound is cut off during its decay by detecting the
level of the signal and opening and closing a gate.
dB
+20
+10
0
–10
–20
–30
–40
Threshold = –40dB
–50
–60
–70
dB
–70 –60 –50 –40 –30 –20 –10
Input Level
0
+10 +20
Key
Parameter
Value
Description
GATE
Threshold Level
Trigger Delay
Hold Time
–60 ~ 0 dB
Threshold
0.1 ~ 100 ms
1 ~ 5759 ms
6 ~ 24000 ms
OFF/ON
Delay until the gate functions
Time from the hold time that the gate remains open
Time from the hold time until the gate closes
External MIDI control settings related to gating
Point at which level is detected
Release time
MIDI Trigger
Detect
at-GATE, Pre-REV
Bar graph
GATE GR
Gate open/shut operation is shown by a bar graph
GATE ON
Gate
OFF/ON
Gate on/off
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32 Advanced uses (2) – Editing functions –
LEVEL/BAL
Here you can set the output level.
You can also adjust the balance between the direct sound and the effect sound.
BAL
BAL
LEVEL
LEVEL
GATE
GATE
BYPASS
Key
Parameter
Value
Description
LEVEL/BAL
Effect Balance
Output Level
0 ~ 100%
–∞, –50 ~ +6 dB
Ratio of effect sound and direct sound
Output level adjustment
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Advanced uses (3) – Utility functions – 33
Advanced uses (3) – Utility functions –
Here’s how to make settings for system parameters such as memory protect, input mode, and
MIDI parameters.
Memory protect settings
1. Press the UTILITY key to access the memory protect page.
The red indicator will light.
Memory Protect
ON
2. Press the INC or DEC key to turn the setting ON or OFF.
This function protects the data in USER program memory from being accidentally overwritten.
ON: Write prohibit
OFF: Write permit
Input mode setting
The ProR3 has four input modes; Stereo, LR-Mix, R-Mono, and L-Mono.
1. Press the UTILITY key to access the input mode page.
2. Press the INC or DEC key to select the input mode.
Input Mode
LR-Mix
LR-MIX: The left and right input signals will be mixed and processed. The effect sound will be
of higher quality than for STEREO.
STEREO: The left and right input signals will be processed separately, and the stereo placement
of the input sound will be reflected in the effect sound as well.
L-Mono: Only the left input signal will be processed, and the bypass signal will be output to left
and right.
R-Mono: Only the right input signal will be processed, and the bypass signal will be output to
left and right.
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34 Advanced uses (3) – Utility functions –
MIDI channel setting
Here’s how to set the MIDI transmit and receive channel.
1. Press the UTILITY key to access the MIDI channel setting page.
MIDI Channel
OMNI
2. Press the INC or DEC key to set the channel.
OMNI: All channels 1–16 will be received, and the transmit channel will be 1.
1–16:
OFF:
Transmission and reception will take place on the specified channel.
MIDI data will be neither transmitted nor received.
Setting the MIDI program change table
You can make settings for each of the four MIDI program change table banks of the ProR3. With
the factory preset settings, MIDI program numbers 1–90 correspond to USER program numbers
1–90, and MIDI program numbers 91–128 correspond to PRESET program numbers 1–38.
1. Repeatedly press the UTILITY key until the MIDI program change table page appears.
MIDI PGM Change Table
BANK:A PGM 1= ProR U01
2. Use the CURSOR keys (√) (®) to select a parameter.
3. Press the INC or DEC key to set the parameter. You can also use the numeric keys to
directly enter a MIDI program number.
BANK
PGM
A–D
Specify the program change bank
The MIDI program number
1–128
U01–U90, P01–P90
This is the ProR3 program number which will be recalled when the MIDI pro-
gram number is received. U01–U90 and P01–P90 respectively indicate
USER and PRESET program numbers.
ProR
---
With a setting of ..., nothing will be recalled. *
* --- also can be input by CANCEL key.
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Advanced uses (3) – Utility functions – 35
Transmitting a MIDI bulk dump
The ProR3 allows you to transmit any type of data as a bulk dump; memory, program memory
(all programs or a specified program), banks, user ER, or system memory.
1. Repeatedly press the UTILITY key until the MIDI Bulk Out page appears.
MIDI Bulk Out
All
Press ENTER
2. Use the CURSOR keys (√) (®) to select a parameter.
3. Press the INC or DEC key to select the value.
All
All data (Program, Bank, UserER, System)
U01–U90,
All
The data of the specified USER program.
If All is selected, data for all USER programs.
Program
A–D,
All
The data of the specified Bank program change table.
If All is selected, data for all Bank data.
Bank
A–D,
All
The specified User ER data
If All is selected, all User ER data.
UserER
System
System data settings made for utility functions such as Input Mode, etc.
4. Press the RECALL/ENTER key to execute the bulk dump.
Before you begin transmission, make sure that the MIDI device to which the ProR3 is connected
is ready to receive a bulk dump.
Assigning MIDI controllers
Here’s how to assign MIDI control numbers to the two controllers. The ProR3 can respond to two
controllers, and a separate page is provided to make settings for each controller.
1. Repeatedly press the UTILITY key until one of the controller assign pages appears.
Controller-1 Assign
OFF
2. Press the INC or DEC key to specify the control number.
time by receiving the specified control change message.
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36 ERROR Messages of the ProR3
Initializing the ProR3
If you wish to restore the ProR3 to the factory settings, use the following procedure to initialize
it.
1. Hold down the STORE key and press the POWER switch to turn the power on.
The following message will appear in the display; “Press [ENTER] to initialize ProR3”.
2. Press the RECALL/ENTER key to execute initialization.
Pressing any other key will cancel the procedure.
Warning: When you initialize, all user data will be erased. All settings of user programs,
the program change tables, and system-related settings will return to the factory
default settings.
Before you press RECALL/ENTER, check once again that you really want to execute initializa-
tion.
ERROR Messages of the ProR3
“
Program Number Error
”
Selected a program number greater than 90.
General data error. If necessary, re-initialize the ProR3.
Selected a program number greater than 90.
*
*
“******Data Error ******”
“**Store Number Error **”
“**MEMORY PROTECTED ! **”
Memory protection command of the UTILITY function is
ON.
“
LOW BATTERY
“
The internal battery is low. Take the unit to a Yamaha ser-
vice center to have the battery replaced.
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Specifications 37
Specifications
Frequency response
Dynamic range
Hum and noise *1
Distortion
20 Hz ~ 20 kHz, +1.0 dB, –1.5 dB
110 dB (typical), not less than 104 dB
less than –80 dB *2
less than 0.007% (1 kHz, maximum level)
2 (balanced signal)
+4 dB / –10 dB *2
Audio Characteristics
Number of channels
Nominal level
Input
Maximum level
Impedance
+24 dB (with level switch at +4 dB) *2
20 kΩ
Number of channels
Nominal level
2 (balanced signal)
+4 dB / –10 dB *2
Output
Maximum level
Impedance
+24 dB (with level switch at +4 dB) *2
150 Ω
A/D convertors
D/A convertors
Sampling frequency
Preset programs
User programs
20-bit linear
A/D and D/A Convertors
20-bit linear
44.1 kHz
1 ~ 90
Program Memory
MIDI Control
1 ~ 90
Program change, Control change, Bulk dump, Note ON, Parameter change
USA and Canada
General
120V AC, 60 Hz
230V AC, 50 Hz
Power Requirements
Power Consumption
Dimensions (W × D × H)
Weight
35W
480 × 398.5 × 89 mm
5.5 kg
INPUT Level
Controls
Buttons
PRE EFFECT EQ - FREQ × 3 (LOW, MID, HIGH)
PRE EFFECT EQ - GAIN × 3 (LOW, MID, HIGH)
ON (PRE EFFECT EQ) *3, √ (left CURSOR button),
® (right CURSOR button), INC (DATA button)
DEC (DATA button), COMPARE *3, MAIN *3
FINE *3, EQ *3, EQ ON *3, GATE *3, GATE ON *3
LEVEL/BAL *3, OTHERS *3, Numeric keypad (including “-”
and “.” buttons), PROGRAM *3, STORE, CANCEL
RECALL/ENTER, INFINITE *3, UTILITY *3, BYPASS *3
Front panel
Switch
POWER
24 character × 2 lines LCD
8-segment LED – INPUT level meters × 2
7-segment LED – PROGRAM number
6-segment LED – Status indicators
Button LED indicators × 14
Displays
INPUT L/R (XLR-3-31 × 2) and (1/4” phone jacks × 2)
OUTPUT L/R (XLR-3-32 × 2) and (1/4” phone jacks × 2)
MIDI – IN, OUT, THRU (5P DIN × 3)
Connectors
Switches
Rear Panel
Level switch (+4/–10) × 2
*1 Hum & Noise are measured with a filter equivalent to a 20 Hz to 20 kHz band-pass filter that has an infinite dB/octave attenuation.
*2 0 dB = 0.755 Vrms.
*3 LED above the button.
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38 Specifications
Dimensions
W: 480
Unit: mm
All specifications subject to change without notice.
For European Model
Purchaser/User Information specified in EN55103-1 and EN55103-2.
Inrush Current: <1A
Conformed Environment: E1, E2, E3 and E4
Block Diagram
95/10/18
Pre
Effect
EQ
L
L
LEVEL/
BAL
L
L
EQ
DFL
COMP
GATE
INPUT L
+4dB
+4dB
INPUT
MODE
Selected
Effect
BYPASS
–10dB
OUTPUT
–10dB
INPUT
Pre
Effect
EQ
R
R
DFL
COMP
EQ
GATE
R
R
LEVEL/
BAL
INPUT R
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MIDI data format Add-1
MIDI data format
1. Transmitted data
1-1System information
#1 Program bulk data
This data can be transmitted on the currently selected MIDI channel.
This data is transmitted when you select a program in the Utility Bulk Dump display and exe-
cute, or when a Program Bulk Dump Request message is received.
Data will be transmitted for the User program of the specified number.
Also, if the program number is “A11”, data for User programs 1–90 will be transmitted consecu-
tively.
STATUS
ID No.
SUB STATUS
FORMAT No.
BYTE COUNT
BYTE COUNT
11110000(F0H)
01000011(43H)
0000nnnn(0nH)
01111110(7EH)
00000010(02H)
01111000(64H)
01001100(4CH)
01001101(4DH)
00100000(20H)
00100000(20H)
00111000(38H)
01000001(41H)
00111000(38H)
00110011(33H)
01001101(4DH)
0mmmmmmm
n=0-15
"L"
"M"
Space
Space
"8"
"A"
"8"
"3"
DATA NAME
PROGRAM No.
DATA
"M"
m=1-90
Memory bulk (346bytes)
0ddddddd
0ddddddd
CHECK SUM
EOX
0eeeeeee
11110111(F7H)
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Add-2 MIDI data format
#2 Bank/Program Change Table bulk data
This data can be transmitted on the currently selected MIDI channel.
This data is transmitted when you select a bank in the Utility Bulk Out display and execute, or
when a Program Change Table Bulk Dump Request message is received.
Also, if the memory number is “A11”, data for banks 1–4 (A through D) will be transmitted con-
secutively.
STATUS
ID No.
SUB STATUS
FORMAT No.
BYTE COUNT
BYTE COUNT
11110000(F0H)
01000011(43H)
0000nnnn(0nH)
01111110(7EH)
00000010(02H)
00001010(0AH)
01001100(4CH)
01001101(4DH)
00100000(20H)
00100000(20H)
00111000(38H)
01000001(41H)
00111000(38H)
00110011(33H)
01010100(54H)
0zzzzzzz
n=0-15
"L"
"M"
Space
Space
"8"
"A"
"8"
"3"
DATA NAME
BANK No.
DATA
"T"
z=1-4
0ddddddd
Bank Program change (256bytes)
:
:
0ddddddd
CHECK SUM
EOX
0eeeeeee
11110111(F7H)
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MIDI data format Add-3
#3 User ER Pattern bulk data
This data can be transmitted on the currently selected MIDI channel.
This data is transmitted when you select a User ER pattern in the Utility Bulk Out display and
execute, or when a User ER Pattern Bulk Dump Request message is received.
Also, if the User ER number is “A11”, data for patterns 1–4 (A through D) will be transmitted
consecutively.
STATUS
ID No.
SUB STATUS
FORMAT No.
BYTE COUNT
BYTE COUNT
11110000(F0H)
01000011(43H)
0000nnnn(0nH)
01111110(7EH)
00000011(03H)
01010010(52H)
01001100(4CH)
01001101(4DH)
00100000(20H)
00100000(20H)
n=0-15
"L"
"M"
Space
Space
"8"
01000001(41H)
00111000(38H)
00110011(33H)
01000101(45H)
0zzzzzzz
"A"
"8"
"3"
"E"
DATA NAME
PATTERN No.
DATA
z=1-4
0ddddddd
User ER pattern memory (480bytes)
:
:
0ddddddd
CHECK SUM
EOX
0eeeeeee
11110111(F7H)
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Add-4 MIDI data format
#4 System Setup bulk data
This data can be transmitted on the currently selected MIDI channel.
This data is transmitted when you select System Setup in the Utility Bulk Out display and exe-
cute, or when a System Setup Bulk Dump Request message is received.
STATUS
ID No.
SUB STATUS
FORMAT No.
BYTE COUNT
BYTE COUNT
11110000(F0H)
01000011(43H)
0000nnnn(0nH)
01111110(7EH)
00000000(00H)
00011010(1AH)
01001100(4CH)
01001101(4DH)
00100000(20H)
00100000(20H)
00111000(38H)
01000001(41H)
00111000(38H)
00110011(33H)
01010011(53H)
00100000(20H)
n=0-15
"L"
"M"
Space
Space
"8"
"A"
"8"
"3"
"S"
DATA NAME
DATA
space
0ddddddd
System setup memory (16bytes)
:
:
0ddddddd
0eeeeeee
11110111(F7H)
CHECK SUM
EOX
#5 Parameter Change data
This data can be transmitted on the currently selected MIDI channel.
This data is transmitted when ProR3 receives a Parameter Value Request message is received.
STATUS
ID No.
SUB STATUS
FORMAT No.
DEVICE CODE
PARAMETER No.
11110000(F0H)
01000011(43H)
0001nnnn(1nH)
00011110(1EH)
00000101(05H)
0ppppppp
n=0-15
0ppppppp
DATA
0ddddddd
Parameter change memory (5bytes)
:
:
0ddddddd
EOX
11110111(F7H)
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MIDI data format Add-5
2. Receive data
2-1Channel information
#1 Note On
This message can be received on the currently selected MIDI channel.
If the MIDI Trigger parameter is ON, it will be received as a gate trigger.
When a pitch-type reverb program is selected, it will be received to control the pitch. The veloc-
ity value is ignored. If the Base Key parameter is OFF, the pitch will not be controlled.
STATUS
NOTE No.
VELOCITY
1001nnnn(9nH)
0kkkkkkk
0vvvvvvv
n=0-15
k=0-127
v=0-127
#2 Control Change
This message can be received on the currently selected MIDI channel.
When this message is received, it will control the parameter being modified by the correspond-
ing foot controller as specified by the Control Assign table.
STATUS
CONTROL No
CONTROL VALUE
1011nnnn(BnH)
0ccccccc
0vvvvvvv
n=0-15
c=1-31, 64–95
v=0–127
#3 Program Change
This message can be received on the currently selected MIDI channel.
When this message is received, a program will be selected as specified by the Program Change
table of that bank.
STATUS
PROGRAM No.
1100nnnn(CnH)
0pppppp0
n=0-15
c=0-127
2-2System information
#1 Program bulk dump request
This message can be received on the currently selected MIDI channel.
When this message is selected, the program of the specified User program number will be trans-
mitted as bulk data.
STATUS
ID No.
SUB STATUS
FORMAT No.
11110000(F0H)
01000011(43H)
0010nnnn(2nH)
01111110(7EH)
01001100(4CH)
01001101(4DH)
00100000(20H)
00100000(20H)
00111000(38H)
01000001(41H)
00111000(38H)
00110011(33H)
01001101(4DH)
0mmmmmmm
n=0-15
"L"
"M"
Space
Space
"8"
"A"
"8"
"3"
"M"
DATA NAME
PROGRAM No.
EOX
m=1-90
11110111(F7H)
ProR3 Digital Reverberator
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Add-6 MIDI data format
#2 Bank/Program Change Table bulk dump request
This message can be received on the currently selected MIDI channel.
When this message is received, the Program Change Table of the specified bank will be transmit-
ted as bulk data.
STATUS
ID No.
SUB STATUS
FORMAT No.
11110000(F0H)
01000011(43H)
0010nnnn(2nH)
01111110(7EH)
01001100(4CH)
01001101(4DH)
00100000(20H)
00100000(20H)
00111000(38H)
01000001(41H)
00111000(38H)
00110011(33H)
01010100(54H)
0zzzzzzz
n=0-15
"L"
"M"
Space
Space
"8"
"A"
"8"
"3"
"T"
DATA NAME
BANK No.
EOX
z=1-4
11110111(F7H)
#3 User ER Pattern bulk dump request
This message can be received on the currently selected MIDI channel.
When this message is received, the data for the ER Pattern of the specified number will transmit-
ted as bulk data.
STATUS
ID No.
SUB STATUS
FORMAT No.
11110000(F0H)
01000011(43H)
0010nnnn(2nH)
01111110(7EH)
01001100(4CH)
01001101(4DH)
00100000(20H)
00100000(20H)
00111000(38H)
01000001(41H)
00111000(38H)
00110011(33H)
01000101(45H)
0zzzzzzz
n=0-15
"L"
"M"
Space
Space
"8"
"A"
"8"
"3"
"E"
DATA NAME
PATTERN No.
EOX
z=1-4
11110111(F7H)
ProR3 Digital Reverberator
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MIDI data format Add-7
#4 System Setup bulk dump request
This message can be received on the currently selected MIDI channel.
When this message is received, the System Setup data will transmitted as bulk data.
STATUS
ID No.
SUB STATUS
FORMAT No.
11110000(F0H)
01000011(43H)
0010nnnn(2nH)
01111110(7EH)
01001100(4CH)
01001101(4DH)
00100000(20H)
00100000(20H)
00111000(38H)
01000001(41H)
00111000(38H)
00110011(33H)
01010011(53H)
00100000(20H)
11110111(F7H)
n=0-15
"L"
"M"
Space
Space
"8"
"A"
"8"
"3"
"S"
DATA NAME
EOX
Space
#5 Bank Change request
This message can be received on the currently selected MIDI channel.
When this message is received, the specified bank will be selected.
STATUS
ID No.
SUB STATUS
FORMAT No.
11110000(F0H)
01000011(43H)
0010nnnn(2nH)
01111110(7EH)
01001100(4CH)
01001101(4DH)
00100000(20H)
00100000(20H)
00111000(38H)
01000001(41H)
00111000(38H)
00110011(33H)
01010101(55H)
0zzzzzzz
n=0-15
"L"
"M"
Space
Space
"8"
"A"
"8"
"3"
"U"
DATA NAME
BANK No.
EOX
z=1-4
11110111(F7H)
#6 Program bulk dump
The transmitted data is identical to “Program bulk data.”
#7 Bank/Program Change Table bulk data
The transmitted data is identical to “Bank/Program Change Table bulk data.”
#8 User ER Pattern bulk data
The transmitted data is identical to “User ER Pattern bulk data.”
#9 System Setup bulk data
The transmitted data is identical to “System Setup bulk data.”
#10 Parameter Change data
The transmitted data is identical to “Parameter Change data.”
ProR3 Digital Reverberator
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Add-8 MIDI data format
#11 Parameter Value Request
This message can be received on the currently selected MIDI channel.
When this message is received, the value of the parameter specified by the parameter number
will be transmitted as Parameter Change data.
STATUS
ID No.
SUB STATUS
FORMAT No.
DEVICE CODE
PARAMETER No.
11110000(F0H)
01000011(43H)
0010nnnn(2nH)
00011110(1EH)
00000101(05H)
0ppppppp
n=0-15
0ppppppp
EOX
11110111(F7H)
ProR3 Digital Reverberator
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Date:11/1-1995
Version:1.0
YAMAHA
[Digital Reverberator]
Model: ProR3
Function...
MIDI Implementation Chart
Transmitted
Recognized
Remarks
Default
Changed
Memorized
Basic
Channel
x
x
1-16, off
1-16, off
Default
Messages
Altered
Memorized
*1
x
OMNI on/OMNI off
Mode
x
x
x
**************
Note
Number
x
0 - 127
x
: True voice
**************
Note ON
Note OFF
Velocity
x
x
x
x
Key’s
Ch’s
After
Touch
x
x
x
x
Pitch Bend
x
x
x
Control
Change
1 - 31
64 - 95
Prog
x
0 - 127
o
*2
: True #
Change
**************
System Exclusive
o
Bulk Dump
: Song Pos
: Song Sel
: Tune
x
x
x
x
x
x
Common
: Clock
: Commands
System
Real Time
x
x
x
x
: Local ON/OFF
: All Notes OFF
: Active Sense
: Reset
x
x
x
x
x
x
x
x
Aux
Messages
Notes
*1 : Note ON/OFF is recognized only for pitch change and MIDI trigger.
*2 : For program 1 - 128, memory (preset #1 - #90, user #1 - #90) is selected.
o:Yes
x:No
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YAMAHA CORPORATION
Pro Audio & Digital Musical Instrument Division
P.O. Box 3, Hamamatsu, 430-8651, Japan
VT83890 R4 1 IP
03 05 1000 AP Printed in Japan
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