Yamaha SPX90

It's a basic multi-effects including all sorts of reverbs, echoes, chorus, flanger, phaser, compression, and pitch shifting. Effects cannot be used simultaneously.
It has basic MIDI connections that can't be edited, except maybe with a PC via Midiquest, which is useful to recall the program you are looking for.
12bit audio processing technology, which is not very high and is technologically outdated.
The controls are not too practical (two +/- recall buttons and two +/- parameter buttons), but they are not complicated.
It's rack-mountable (1U).
Easy setup but its poor usability is tiring in the long run.

UTILIZATION

Easy setup but its poor usability is tiring in the long run.

SOUND QUALITY

This is where the unit is interesting, because it has very unique sound.
The 12-bit technology and the Yamaha digital processing make this multi-effects very particular and it suits all instruments and vocals. The chorus effect, with a very "wet" setting, is very good for guitar, bass, synth, and synth bass. The cathedral reverb is ideal for vocals.

OVERALL OPINION

I used it since it came out in 1985 and resold it in 1992 because I didn't use it and I wanted a multi-effects whose effects were better and could be used simultaneously, which I never did found, except at ridiculously high prices. In fact, I kept my other multi-effects, an old Boss SE50, which I use as a Swiss-army knife.
All my musician friends reprimanded me for selling it, since it has a unique sound.
And yes, the sound is great, very fat and percussive.
I regret having sold it.

The Yamaha SPX 90 is a digital multi effects unit. The effects it includes are distortion, flange, tremolo and delay. The effects can be used singularly or they can be mixed and matched together. I believe the connections are XLR and the unit is rackable.


UTILIZATION

The configuration of the Yamaha SPX 90 is easy to follow and manipulate. The dials and buttons are easy to read and while it takes a bit to figure out exactly what does what, as it is all laid out easy enough. The only reason it takes a bit of getting used to is simply because there are so many different effects and different ways to alter them. I don't have access to a manual but I would think it would be helpful in figuring out all the ins and outs of this model.


SOUND QUALITY

I really like all of the effects on the Yamaha SPX 90 for various uses on various instruments. My favorite effect is the delay, as it is easy to get a variety of delay sounds from it. I've used it on everything from vocals to guitars and anything else that could use a cool effect or twist to it. You can get a sound anywhere from short, subtle delay to a beautiful, wide, cavernous one. The repeats can get extremely quick and almost crazy sounding. When mixed with some of the other effects it can make for some seriously unique tones. I also like using both the flanger and the tremolo for creating a really thick and wide flange tone or a wobbly tremolo. There are plenty of dials to manipulate each effect to get a real wide variety of sounds for a variety of applications.


OVERALL OPINION

I first used the Yamaha SPX 90 about 2 years ago and while I no longer have access to it, I wish I did. They are even cheap enough where almost any studio owner could own one and it is a great bang for your buck. If you are looking to expand and get some time based effects that are not in plug in form, this is a great model to get started with.

One input jack, two output jacks, you choose the operating level (+4 or -20 dB), 16-bit linear conversion, 31.25 kHz sampling frequency, which results in a frequency range of 20 to 12 kHz, maximum. The effects can't be edited via PC, but those interested should know that besides being MIDI controllable, the SPX 90 also works with the lovely remote controls of the REV 7 and REV 5. You wouldn't believe how practical that can be when you don't have the SPX 90 in sight. On the other hand, these remotes don't have an editing screen, they only allow you to control some very simple parameters that don't need too "complicated" settings. But it's still not bad!

UTILIZATION

Given its simplicity, it's useless to describe the programming procedure, despite the limited number of buttons on the front panel and the number of parameters. To be true, the manual is superfluous.

SOUND QUALITY

When it came out (1986), the Yamaha SPX 90 wasn't the first digital multi-effects, far from that, actually. Ever since sound can be manipulated on the time axis you have effects with names such as chorus, flanging, slap back, pitch shifting, or simply echo. But it was more complicated to get a stable pitch transposition or a quality reverb, and that's where the SPX 90 really made a difference compared to other gear of the day.
Set against other contemporary products, the reverbs of the SPX 90 are pretty convincing in most situations, less dense and complicated than those of the REV 7 or the Roland SRV 2000, obviously (since it doesn't have early reflections). Even if there are many plug-ins that are better nowadays, the SPX 90 has something particular: Its character which suits perfectly different uses. Try the reverse-gate to convince yourself.
The chorus, flange and phasing effects are perfectly usable and appreciated, even if they are clearly outdated, they provide an undeniable "vintage tone."
The Early Ref.1 and 2 modes, which help you determine the size of a simulated room are still truly excellent.

OVERALL OPINION

Bought in 1988, this formidable little machine has never left me "stranded." Even if it's fully outdated today in terms of technology, it still serves me well thanks to that "different" touch its effects have, which only it can reproduce. In short, I'll keep it still several decades and by no means out of nostalgia. What's more, it's Indestructible. It's far from the "disposable" character of some modern gear.
Try it and you'll want it.