Yamaha SPX90 Multi-Effects Processor

The Yamaha SPX90 was released in 1985 as an affordable multi-effects processor for the masses. It remains today a true classic digital effects processor. It is also the most looked at effects processor on this website.

Yamaha SPX90 Multi-Effects Processor Details

leased in 1985, few could have predicted it would become a studio and live sound classic. Even Yamaha, who continued to release improved models year after year, likely did not foresee the enduring legacy of the Yamaha SPX90. Despite later iterations boasting improved noise floors, wider bandwidth, and stereo inputs, the original SPX90 remains the most sought-after effects processor from Yamaha’s lineup.

Developed through a combination of cutting-edge acoustical research and digital technology of the time, the Yamaha SPX90 was designed to provide musicians, sound engineers, and home recording enthusiasts with a broad selection of high-quality effects.

Utilising refined Large Scale Integration (LSI) technology, the unit delivered exceptionally natural reverberation, a standout feature that quickly garnered widespread acclaim. It offered 30 preset effects, covering a wide range of applications, with the flexibility to create and store up to 60 additional custom settings for instant recall. This versatility gave users the ability to shape sounds to suit specific musical styles and the tonal characteristics of their equipment.

The Yamaha SPX90’s features included reverb, delay, modulation effects such as flanging and chorus, pitch change, freeze sampling, dynamic effects like compressors and gates, auto-pan, triggered pan, and parametric EQ. Its refined Large Scale Integration (LSI) technology ensured natural and detailed audio processing, while its reverb algorithms, which included gated reverb and early reflections, became particularly iconic.

The MIDI compatibility allowed for seamless integration with MIDI-equipped instruments, enabling musicians to program and control effects in live or studio settings. Parameters for each effect could be customised extensively, balancing ease of use with deep functionality. Yamaha divided these into programmable parameters, which users could adjust, and fixed “invisible” parameters that ensured optimal performance without manual intervention.

Beyond its versatility, the Yamaha SPX90’s impact was shaped by its reliability and intuitive operation. It quickly gained popularity among professional studios, live sound engineers, and home recording enthusiasts alike. Its interface, featuring a straightforward layout and responsive controls, made it accessible even to those new to digital effects processors. Musicians and producers embraced its ability to enhance and transform sound with precision and creativity.

While the Yamaha SPX90’s successor, the Yamaha SPX90II, introduced increased memory for longer delay times, the original model retained a unique sonic character that continues to resonate with users. Later models such as the Yamaha SPX900, SPX990, and SPX2000 offered improved fidelity and processing power but could not replace the nostalgia and warmth associated with the Yamaha SPX90’s sound.

The Yamaha SPX90’s introduction coincided with a pivotal moment in the music industry, as digital processing began to shape modern production techniques. Its affordability and wide-ranging features made professional-quality effects accessible to a broader audience, influencing countless recordings and performances across genres. The unit became a staple in the evolving sound of the 1980s, from the lush reverb-drenched ballads of the era to experimental soundscapes in electronic and ambient music. Its gated reverb, in particular, became synonymous with the drum sounds of the decade, a hallmark of both live performances and studio recordings.

Effects Available

  • Reverb, ER1 and ER2, Reverb and Gate
  • Delay, Echo, Delay Vibrato
  • Flanging, Chorus, Phasing, Pitch Change
  • Freeze (Sampling)
  • Gate, Compressor, Auto Pan, Triggered Pan, Parametric EQ

 

Decades later, the Yamaha SPX90 remains a celebrated piece of equipment. Its combination of versatility, reliability, and distinctive sonic qualities ensures its continued use in studios and live setups. Producers and engineers appreciate its ability to deliver a range of effects with a character that is both musical and timeless. The Yamaha SPX90’s enduring reputation underscores its status as one of the most important and influential effects processors in music history, a true classic that set the standard for digital multi-effects units.

Specifications

  • Number of Input Channels: Unbalanced x 1 (Phone Jack)
  • Nominal Input Level: -20 dBm/+4 dBm, Selectable
  • Input Impedance: 10 k-ohms
  • Level Control: Volume, Max. Gain +12 dB
  • A/D Conversion
    • Sampling Frequency: 31.25 kHz
    • Quantisation: Linear 16 Bit
    • Band Width: 20 Hz to 12 kHz
    • Number of Channels: 1
  • D/A Conversion
    • Number of Channels: 2
    • Sampling Frequency: 31.25 kHz
    • Quantisation: Linear 16 Bit
    • Band Width: 20 Hz to 12 kHz
  • Number of Output Channels: Unbalanced x 2 (Phono Jack)
  • Nominal Output Level: -20 dBm/+4 dBm, Selectable
  • OutputImpedance: 600 ohms
  • Output Mixing: Direct Signal, Effect Signal
  • Presets (ROM): 1~30
  • User Memory (RAM): 31~90 (Non-Volatile)
    • All parameters except Input Level can be memorised
    • Key On triggers the program 18, 19, 20, 28 and 29
  • MIDI Channel: 1 to 16, OMNI (4 banks), Program Number (1 to 128)
    • Note on/off is recognised only for pitch change A, D and freeze B
  • Dynamic Range:
    • Reverb: more than 75 dB
    • Delay: more than 81 dB
  • Distortion:
    • Bypassed Signal: less than 0.01%
    • Effect Signal: less than 0.03%
  • Band Width:
    • Bypassed signal: 20 Hz to 20 kHz
    • Effect Signal: 20 Hz to 12 kHz
  • Power Consumption: 20W
  • Dimensions: 480mm x 45.2mm x 285mm
  • Weight: 3.2 kg

TRY OUR ‘MY EFFECTS RACK’ FEATURE TO TRACK WHAT YOU HAVE IN YOUR EFFECTS RACK NOW, AND THOSE ITEMS YOU WISH TO ADD.

The details provided above are drawn from historical documents like advertising brochures or user manuals. They’re shared without bias or review. This info is given solely for your consideration, helping you gauge its usefulness to you.

Yamaha SPX90
User Reviews

GREAT 80’S SOUND

By Simon Alexander

Sound Quality 75%
Build Quality 90%
Usefullness 80%
Mojo/Funk 70%
Reliability 95%

When the SPX came out in 1985, I grabbed one straight away. It was roughly half the price of a Rev 7 and did a similar job, but with a few additions of pitch shifting and a crude short sampling mode that I can’t remember if the option to control by midi was available. The reverb and multi effects were the main attraction for me and it did those very well. Infact when put in comparison to the Rev 7’s reverb, it’s very close indeed. I still have two SPX’s in my studio today and occasionally they get used on percussion sounds, but are only relegated to secondary use because I have a lot of other reverbs to choose from. As a general summary, they are well worth the money they go for today.

SECOND RACK-EFFECT I EVER OWNED

By Anonymous

Sound Quality 80%
Build Quality 100%
Usefullness 90%
Mojo/Funk 80%
Reliability 90%

My first piece of outboard gear was a Yamaha REV7, and the SPX90 was the second. The SPX I still have and use, and it has been at the heart of some of my best mixes. Sure some of the programs are “grainy” or “bright” but many of them sit perfectly and the Symphonic is worth the price of this unit alone. (The REV7 was traded to a friend for a 1968 sparkle-top Rhodes Suitcase, and while I miss the reverb, I was the winner in that trade, no question.

PRETTY GOOD VINTAGE MULTI-FX

By Luca Marenco

Sound Quality 80%
Build Quality 90%
Usefullness 80%
Mojo/Funk 100%
Reliability 70%

Lovely old-looking rack, it has a bunch of warm-sounding, old-school reverbs which, summed with its other delays and psychoacoustic effects make a good unit even nowadays, specially if you search those old ’80/’90 warm, soft sound. I recommend it for genres like Rock, Funk, Electronic and for some cool sounding Jazz; its too hot-sounding for stuff like metal. Overall a good fx (also cheap!) to have in your rack.

EXCELLENT VINTAGE MULTI-EFFECTS

By Alexis Peña

Sound Quality 85%
Build Quality 95%
Usefullness 80%
Mojo/Funk 85%
Reliability 95%

A pesar de ser tan antiguo sigue siendo muy funcional aún hoy en día, es ideal para lograr ese color vintage en la reverb en las voces, esto acompañado con unas buenas etapas de compresión y retardo logran un sonido muy particular. En las percusiones también es bastante útil y en particular me encanta el efecto de chorus, me parece muy bien logrado y natural. En general para ser un equipo diseñado en 1985 sigue siendo un buen equipo aún, muy bien pensado.

Despite being so old, it is still very functional even today, it is ideal to achieve that vintage color in the reverb in the voices, this accompanied by good compression and delay stages they achieve a very particular sound. On percussion it is also quite useful and I particularly love the chorus effect, it seems very well done and natural to me. In general, for a team designed in 1985, it is still a good team, very well thought out.

GREAT UNIT!

By Jota

Sound Quality 90%
Build Quality 95%
Usefullness 80%
Mojo/Funk 100%
Reliability 95%

One of the first reverb rack units that I ever used, it sounds fantastic, and it have the most useful chorus effect ever.

Used it? Leave your rating and review.

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4 Responses

  1. I have a question about the sound samples:

    the dry drums (for example) are stereo and the wet reverb samples are also stereo.
    how did you do that with a mono input? two units for left and right maybe?

      1. In cubase, I send a mono drum track to the spx and the sound is immediately skewed to one side, causing a severe imbalance between left and right. I have connected the L and R of the spx to the two inputs of the audio interface respectively.
        Can the master tell me what to do?
        Thank you.

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