I have a Yamaha FX-500 multi-effects processor from 1989.
Original owner; got it in 1989.
I was fiddling with it recently to try to get a decent reverb. The main algorithms don't sound good; they have not aged well. These algorithms have a delay parameter, but it doesn't produce enough of a separation somehow.
Instead of a reverb-only block you can choose a combined delay with reverb (R->D, D->R or D+R). The delay block takes its own resources, leaving fewer for the reverb, which is simplified. You cannot choose the type of reverb (plate, hall, ...) and there are fewer parameters.
The interesting thing is that with the D->R and R->D, I can get much better sounds.
The D->R can produce a pretty lush/deep long reverb, where the main signal stands out clearly.
(I should mention that I'm using an external analog mixer for mixing the dry signal: the FX-500 is 100% wet. Thus, in general, I can get the best possible sound out of it: the full resolution is allocated to the effect, not to propagating the dry signal.)
Less can be more; a simpler reverb can sound better. A completely separate delay before the reverb can be better than playing games with built-in pre-delay.
Basically, in combining the resources of the delay and reverb into a more complicated reverb effect, Yamaha somehow made a mess.
Original owner; got it in 1989.
I was fiddling with it recently to try to get a decent reverb. The main algorithms don't sound good; they have not aged well. These algorithms have a delay parameter, but it doesn't produce enough of a separation somehow.
Instead of a reverb-only block you can choose a combined delay with reverb (R->D, D->R or D+R). The delay block takes its own resources, leaving fewer for the reverb, which is simplified. You cannot choose the type of reverb (plate, hall, ...) and there are fewer parameters.
The interesting thing is that with the D->R and R->D, I can get much better sounds.
The D->R can produce a pretty lush/deep long reverb, where the main signal stands out clearly.
(I should mention that I'm using an external analog mixer for mixing the dry signal: the FX-500 is 100% wet. Thus, in general, I can get the best possible sound out of it: the full resolution is allocated to the effect, not to propagating the dry signal.)
Less can be more; a simpler reverb can sound better. A completely separate delay before the reverb can be better than playing games with built-in pre-delay.
Basically, in combining the resources of the delay and reverb into a more complicated reverb effect, Yamaha somehow made a mess.