Yamaha FX550 User Manual [en, de, fr]

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YAMAHA

GUITAR EFFECT PROCESSOR

OPERATING MANUAL

MANUEL D'UTILISATION

BEDIENUNGSANLEITUNG

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FCC INFORMATION (U.S.A.)

IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!

This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product.

IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA.

NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interfer­ ence with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interfer­ ence will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the problem by using one of the following measures:

Relocate either this product or the device that is being affected by the interference

Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s.

In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable.

If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620

‘This applies only to products distributed by YAMAHA CORPORATION OF AMERICA

Dette apparat overholder det gaeldende EF-direktiv vedrprende radiostpj.

Cet appareil est conforme aux prescriptions de la directive communautaire 87/308/CEE.

Diese Geräte entsprechen der EG-Richtlinie 82/499/EWG und/ oder 87/308/EWG.

This product complies with the radio frequency interference requirements of the Council Directive 82/499/EEC and/or 87/ 308/EEC.

Questo apparecchio è conforme al D.M.13 aprile 1989 (Direttiva CEE/87/308) sulla soppressione dei radiodisturbi.

Este producto está de acuerdo con los requisitos sobre interferen­ cias de radio frequencia fijados por el Consejo Directivo 87/308/ CEE.

YAMAHA CORPORATION

IMPORTANT NOTICE FOR

THE UNITED KINGDOM

Connecting the Plug and Cord

IMPORTANT:The wires in this mains lead are coloured in accordance with the following code:

Blue

NEUTRAL

Brown

LIVE

CANADA

THIS DIGITAL APPARATUS DOES NOT EXCEED THE “CLASS B” LIMITS FOR RADIO NOISE EMISSIONS

FROM DIGITAL APPARATUS SET OUT IN THE RADIO INTER­ FERENCE REGULATION OF THE CANADIAN DEPARTMENT OF COMMUNICATIONS.

LE PRESENT APPAREIL NUMERIQUE N’EMET PAS DE BRUITS RADIOELECTRIQUES DEPASSANT LES LIMITES APPLICA­ BLES AUX APPAREILS NUMERIQUES DE LA “CLASSE B” PRESCRITES DANS LE REGLEMENT SUR LE BRQUILLAGE RADIQELECTRIQUE EDICTE PAR LE MINISTERE DES COMMUNICATIQNS DU CANADA.

This applies only to products distributed by YAMAHA CANADA MUSIC LTD.

Litiumbatteri!

Bor endast bytas av servicepersonal.

Explosionsfara vid felaktig bantering.

VAROITUSI

Lithiumparisto, Räjähdysvaara. Pariston saa vaihtaa ainoastaan aian ammattimies.

ADVARSEL!

Lithiumbatteril

Eksplosionsfare. Udskiftning mâ kun foretages af en sagkyndig, -og som beskrevet i Servicemanualen.

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows:

The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.

The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.

Making sure that neither core is connected to the earth terminal of the three pin plug.

This applies only to products distributed by YAMAHA KEMBLE MUSIC (U.K.) LTD.

Thank

you for purchasing

the Yamaha

FX550 Guitar Effect Processor. The FX550 is a digital effect processor that

can produce up to seven

effects simultaneously. All signal processing is performed in the digital domain, providing

guitar

effects of CD-level

digital audio

quality. The FX550 offers 50 preset effect programs. Also, effect settings can

be edited and saved as 50 additional user effect programs.

Unpacking

The package should contain the following items. Please make sure that all items are supplied.

One FX550 main unit

One power supply adaptor

Be sure to plug the adaptor into an AC outlet of correct voltage.

Operating manual

After you finish reading this operating manual, keep it in a safe place for future reference.

Operating Precautions

■ Installation

Do not use the FX550 in the following places; otherwise a malfunction may occur:

In direct sunlight or near heating units

Where humidity is too low

Where humidity is too high

Where there is much dust

In places subject to vibration

Since the FX550 uses many digital circuits, it may inter­ fere with TV and radio reception. If interference occurs, relocate the FX550 or the affected device.

■ Do not apply force.

Do not apply excessive force to the keys, control knobs, connectors, etc. Also, exposing the FX550 to physical shocks may cause malfunctions.

■ Do not open the case.

Do not open or modify the case. Otherwise, it may lead to malfunction or electrical shock.

■ Cleaning

Do

not use

benzine, thinner,, or other volatile oils to clean

the

FX550,

and do not spray any type of aerosol near the

unit. For cleaning, use only a soft, dry cloth.

■ Servicing

If any of the following defects or malfunctions occur, please consult your Yamaha dealer.

The power supply cable is damaged.

Metal objects or liquids get inside the FX550.

The FX550 is exposed to rain, or is dropped.

The case is damaged.

The FX550 does not operate normally.

■ Power supply precautions

Power-off the FX550 before making any connections.

Make sure the cables are loeated where they are not likely to be walked on or squashed by other equipment.

When there is a threat of lightening, unplug the power supply adaptor from the AC outlet in advance.

Also, unplug the power supply adaptor from the AC out­ let if the FX550 is not in use for a long period of time.

■ MIDI cables

Be sure to use a standard MIDI cable.

The length of the eable should be 15m (50 ft.) or shorter. Using a longer cable may cause deterioration of the waveform or other problems

■ Backup battery

Data in the internal memory (the data set in user programs or in Utility mode) is maintained by the internal battery. However, after approximately five years of battery life, the data is lost from the memory, and the following message is shown when the POWER switch is turned on.

Replace the battery before this happens.

It should be noted that the data in memory is lost when the battery is replaced. Write down the data before replacing the battery, and input the data again after replacement. Consult the store where you purchased the FX550, or your nearest Yamaha service center.

• Preset effect programs are not lost when the battery is

replaced.

\ 1 /

-1

-

/ 1 ^ i'

 

Contents

 

How the FX550 Works.........................................

3

U] Function Configuration............................................

3

[2]Program....................................................................

3

[3]Play Mode................................................................

3

Chapter 1 : Controls & Connections................

4

The Front Panel............................................................

4

The Rear Panel..............................................................

5

Chapter 2: Let's Plug In & Play.........................

6

Q] Making the Connections..........................................

6

Setup 1......................................................................

6

Setup 2......................................................................

6

[2]Playing.....................................................................

7

1 Turning On the Power..........................................

7

2

Setting the Input Level.........................................

7

3

Selecting and Playing Effect Programs................

7

Preset Effect Programs Table................................

:... 8

Chapter 3: Editing, Storing, and Titling an

 

 

Effect Program..............................

10

Q] Editing an Effect Program.....................................

10

[2] Storing an Edited Effect Program.........................

13

[1] Titling Effect Programs..........................................

14

Chapter 4: Effect parameters..........................

15

Compressor/Limiter — COMP.................................

15

DistortiOn/Overdrive — DIST...................................

15

3-Band Parametric Equalizer — EQ...........................

16

Modulation — MOD.................................................

16

Stereo Chorus — CHO..........................................

16

Stereo Pianger — FLG...........................................

17

Symphonic — SYM.............................................

17

Auto Pan — PAN...................................................

18

Tremolo — TRM...................................................

18

Rotary Speaker — ROT.......................................

19

Tempo Modulation — TMD..................................

19

StereoPitchl—PII..................................................

21

Stereo Pitch 2 — PI2..............................................

22

Ping-Pong Delay — PDL.......................................

23

Stereo Modulation Delay — SMD........................

23

Reverb/Delay — REV................................................

24

Reverb —REV................................................... ....

24

Delay + Reverb — D + R.......................................

25

Delay —> Reverb — D —> R...............................

26

Delay —DLY.........................................................

27

Tempo Delay — TDL............................................

27

Chapter 5: Remote Control.............................

28

Foot Switch Control...................................................

28

[T] Effect Program Select.....................................

28

[2]Tap Tempo, Speed Switching, & Ducking........

29

[^Bypass.................................................................

31

MIDI Control............................................................

32

Q] Selecting Effect Programs..............................

32

[2] Tempo Control.................................................

33

PCL & PCR Parameter Control........................

34

U] Parameter Control.............................................

35

[5] Volume Control..............................................

37

0 High-speed Edit..................................................

38

Specification...................................................

39

General Specifications...............................................

39

MIDI Data Format......................................................

40

Internal Block Diagram..............................................

41

Options.......................................................................

42

Dimensions.................................................................

43

Troubleshooting...............................................

44

Glossary............................................................

45

Appendix.........................................................

46

Q] Program Table....... ...............................................

46

[2] MIDI Program Change List..................................

48

MIDI Implementation Chart

 

How the FX550 Works

[T] Function Configuration

FX550 functions are divided into three sections: Input control section, Effects section, and Out­ put control section. There are also three supporting sections: Operating section, Connecting sec­ tion, and Display section.

The Effects section, which applies various effects to the guitar sound, is composed of four effects (COMP, DIST, EQ, Amp Simulator), and two Effects Sections (MOD and REV). The MOD section contains 11 effects, and the REV section contains 5 effects. One effect from each section can be selected at a time.

BYPASS

Configration of the Effects Section

D+R and D—>R, which are included in the five effects of the REV section, are both a combina­ tion of two effects (Delay and Reverb). Selecting D+R or D->R allows you to use seven effects simultaneously on the FX550.

Program

The FX550 can produce up to seven effects simultaneously. A set of effects that can be produced simultaneously is called a program.

Preset Programs and User Programs

The FX550 has two types of programs: preset programs that have been already set in the factory, and user programs that can be edited.

50 preset programs (program #1-50) cannot be erased or rewritten. 50 program numbers (51-99 and 00) are reserved for user programs.

All preset programs can be edited, and your new program (edited program) can be stored as a user program.

Play Mode

The FX550 has three modes: 1 Play mode, 2 Edit mode, and 3 Utility mode.

Play mode: This is the main mode of the FX550. It provides the effects for guitar performance.

Chapter 2 explains this mode.

Edit mode: This is a sub-mode that supports Play mode. In this mode, you may edit and prepare the programs to be used in Play mode. To “edit” means to change the effect parameter settings.

Utility mode: This is also a sub-mode that supports Play mode. This mode allows you to specify the settings for the operational controls, and supports portions of Edit mode, such as titling the programs. Chapters 4 and 5 cover this mode.

Use the mode buttons to select modes. The unit is always set to Play mode when the power is initially turned on.

Chapter 1: Controls & Connections

The Front Panel

© INPUT jack

Plug your guitar cable into this jack.

@ LCD

A 2-line 15-character LCD (Liquid Crystal Display).

® DEC [ T ] & INC [ A ] buttons

In Play mode, press to select effect programs. In Edit and Utility modes, press to select and adjust parameter values.

© Mode buttons & indicators

Press to select Play, Edit, and Utility modes. The respec­ tive LED lights up when Edit or Utility mode is selected.

PLAY button

Select this mode when playing the guitar.

EDIT button

Select this mode to edit effect programs.

Press repeatedly to select the Select Patch, CTRLl, CTRL2, TRIGGER ASSIGN, and EOOT BYPASS displays.

UTILITY button

Select this mode to set the operational controls.

Press repeatedly to select the TITLE EDIT, MIDI SETUP, MIDI PGM CHANGE, CONTROLLER!, CONTROLLER2, F.SW FUNCTION, and MEMORY SELECT displays.

STORE button

® BYPASS button, indicator

In Play mode, press to bypass all effects. In Edit mode, press to bypass the effect being edited.

® CURSOR [ M ] [ ► ] buttons

Use to select a parameter on the LCD that you want to edit.

® INPUT level control

Use this control to set the input level.

® PEAK/SIGNAL indicators

Use these indicators when adjusting the input level.

Set the INPUT level control so that the SIGNAL indica­ tor lights most of the time but the PEAK indicator does not light.

® Effect buttons, indicator

In Play mode, press to bypass the corresponding effect, its LED will go off. Press the button again to un-bypass the effect, its LED will come on.

In Edit mode, these buttons are used to select parame­ ters.

® POWER switch

Press this switch to power-on the FX550. Press it again to power-off.

Press to store an edited effect program.

The Rear Panel

© BYPASS jack

An optional Yamaha FC-5 foot switch can be connected here and used to bypass the FX550. See “Foot switch Control” on page 28.

© MEMORY INC/DEC TRIGGER jack

An optional Yamaha FC-5 foot switch can be connected here and used to select effect programs or to set the tempo parameter for the tempo delay and tempo modu­ lation delay effects. See Chapter 5 “Foot switch Con­ trol” on page 28.

® MIDI IN connector

An optional Yamaha MFC06 or MFC05 MIDI foot con­ troller can be connected here. See “MIDI Control” on page 32.

© PHONES jack

A pair of stereo headphones can be connected here.

® PHONES LEVEL control

This control adjusts the volume level of the headphones.

® R&L(MONO) jacks

Connect the R and L(MONO) jacks to a stereo amplifier or a pair of guitar amplifiers. If you are using a mono amplifier, connect only the L(MONO) output.

These outputs can also be connected directly to a multi­ track recorder or mixer for recording.

® TUNER OUT jack

Chapter 1: Controls & Connections

DC 12V IN connector

Connect the supplied power supply adaptor to this con­ nection.

Cable clip

Thread the power supply adaptor cable through this clip to prevent accidental disconnection.

Your guitar tuner can be connected to this connection.

chapter 2: Let's Plug In & Play

[T] Making the Connections

Make sure your equipment is switched off, then connect your guitar, amplifier, and the power supply adaptor to the FX550.

The following two setups show what equipment can be connected, and how.

Setup 1

SBioSoi

Amplifier

YAMAHA

[ 1 [ 1

BY( M MEMOfriWOEO I

PHONES PHONES

OinPUT

 

®

 

Power

® I fol I

 

Supply

Foot switch Foot switch

 

Adaptor

 

Setup 2

lespSo

itCgijj) log ga) i^oi

QSQSB

Amplifier R

Amplifier L

Supply

Adaptor

Chapter 2: Let's Plug In & Play

[^Playing

P^K YAMAHA 1^^! 'PTOOESP' OCOMP ODIST O EQ OMOD OREV

SIQNAL

 

CD CD O CZD

o

DEC

---- CURSOR -

O^INPUT^IO

 

D C

PLAY O EDIT STORE O UTILITY QBYPASS

CD CD) CD CD CCD

1 Turning On the Power

Turn on the equipment in your system sequentially, starting from the transmission devices. For example, if the system is: FX550 Power amplifier-» Speakers, turn on the FX550 then the Power amplifier.

After a few seconds, something similar to the display shown below will appear.

Program Number

Effect Program Title

’r____________________ ] r

1. . . .

 

BYPASS r‘

^ i..-’ ■

Amp Simulator setting

REV section effect

MOD & REV Configuration

MOD section effect

Bypass Indicator

2 Setting the Input Level

Adjust the input level using the INPUT level control.

Strum your guitar strongly and adjust the level so that the SIGNAL indicator lights, but the PEAK indicator is barely lit.

3 Selecting and Playing Effect Programs

Use the [ T ] and [ A ] buttons to select the effect programs.

As each effect program is selected, the LCD will display the effect program number and title, the type and configuration of MOD and REV section effects used, and the amp simulator setting.

Effect programs can also be selected using afoot switch or MIDI foot controller. This is con­ venient in a session or on the stage. For details, see “Foot switch Control” on page 28 and “MIDI Control” on page 32.

The “Preset Effect Program Table” on the following page describes the 50 preset effect pro­ grams that are available for your exploration.

In addition to the 50 preset effect programs, you can create 50 user effect programs. See “Edit­ ing an Effect Program” on page 10 for more details.

Chapter 2; Let's Plug In & Play

Bypassing the FX550

Using the bypass function allows you to compare the effect sound with the dry sound (without effect). There are two Bypass modes; ALL and SECTION.

Press the BYPASS button, and the word “BYPASS” will appear on the LCD. All the effect sec­ tions are bypassed, and the original “dry” sound is heard.

To release Bypass mode, press the BYPASS button again. The word “BYPASS” will disappear from the LCD.

Switching Off Individual Effect Sections (Section Bypass)

Use the section buttons to switch off the individual effect sections: [COMP], [DIST], [EQ], [MOD], [REV].

When a section is switched off its indicator will go off. To switch an effect section back on, press the corresponding section button again.

Preset Effect Programs Table

Many of the preset effect programs emulate the unique guitar sounds of popular guitarists. They also include effect programs for bass guitar, acoustic guitar, and some special effects.

Type

No.

Title

Style

 

 

 

 

 

 

1

Van-tage

Effect sound with a slight delay in a wide range - Van Halen style. It separates the sound

 

efficiently even when playing chords.

 

 

 

 

 

 

 

 

 

 

2

Big

Paul Gilbert of Mr. Big style. This distortion effect has a unique solid quality in the mid range.

 

 

 

 

 

 

3

Extreme

This effect is a slightly odd distortion, preferable for muted playing.

 

 

 

 

 

 

 

4

Sizzler

This effect is suitable for use with the single-coil bridge pickup. It allows

you to produce

 

accents according to the picking strength.

 

 

 

 

 

 

 

 

 

 

5

Doctor V

V stands for Flying V. Michael Schenker style. This is the basic hard rock distortion sound.

 

 

 

 

 

 

6

More & More

Gary Moore style. “Crying” blues distortion.

 

 

 

 

 

 

7

Boston Bag

Tom Schultz style. This effect has a unique airy sound quality. This is suitable for solo play

 

as well as chord work with open strings.

 

 

 

 

 

 

 

 

 

 

Distortion

8

Saturation

Joe Satriani style effect with a rough, coarse distortion effect.

 

sounds for

 

 

 

 

9

Tight Wire

Recommended for finger-picking.

 

lead lines

 

 

 

 

 

 

10

VooDoo Haze

Recommended for single-coil Strat-type guitars.

 

 

 

 

 

 

 

11

Over-flow

This is a powerful distortion sound. This is suitable for playing melodic phrases.

 

 

 

 

 

 

 

12

Beads

The characteristic distortion. This is also suitable for playing melodic phrases.

 

 

 

 

 

 

 

13

/Metal

Powerful slash metal

 

 

 

 

 

 

14

All Paul

This is a suitable effect for “Southern American beer or bourbon drinking” music. A simple,

 

tasteful effect.

 

 

 

 

 

 

 

 

 

 

15

Gritty Blue

Slight distortion, and it is suitable for backing. It may also be suitable for live lead playing.

 

 

 

 

 

 

16

True Blue

Although all effects are used, this is a very straight solid sound.

 

 

 

 

 

 

 

17

Rapid Fire

Smooth distortion (Alan Holdsworth style), similar to the sound created by

hammering or

 

delicate picking.

 

 

 

 

 

 

 

 

 

 

18

Double Fatigue

Alan Holdsworth style. A strong impact effect, with repeated harmonized distortion.

 

 

 

 

 

Harmonized

19

One Heart

Gives a harmony of a fourth down. Similar to a Trevor Lavin style.

 

distortion

20

May Queen

This simulates the sound of a British guitarist who introduced reverse phase to the world.

 

 

 

 

 

 

21

Erotic Harmony

This gives the sound of a famous guitarist who plays the 7-string guitar

with incredible

 

technique.

 

 

 

 

 

 

 

 

 

 

 

 

 

Chapter 2: Let's Plug In & Play

 

 

 

 

Type

No.

Title

Style

 

 

 

 

 

22

Brick Wall

This is suitable for straight rock ’n’ roll backing. It has a dry distortion sound.

 

 

 

 

 

23

Single Coil

Definitely recommended for use with single-coil guitars.

 

 

 

 

 

24

Universal

The distortion level and the sound created at high levels can be controlled by applying

 

different picking strengths. Suitable for anyone who prefers nuances.

 

 

 

 

 

 

 

 

25

Strut-crunch

This is a crunchy (but almost clean) distortion suitable for single coil (Strat-type) guitars.

 

 

 

 

 

26

Breakdown

This sound will be familiar to you if you listened to L.A. pop in the early 80’s.

Backing

 

 

 

27

Clipper

It matches all kinds of sound. You can edit the delay time according to the tempo.

distortion

 

 

 

 

 

This is an all-purpose distortion effect. It emphasizes the middle-low sound range compared

effects

28

New Fuse

(cleaner than

to No. 27.

 

 

lead effects)

29

LA Luck

This is a rich wide fat distortion for the lower sound range. Recommended for strong picking

 

 

on Les Paul guitars.

 

 

 

 

 

 

 

 

30

Sky High

Eric Johnson style with clear distortion. It is suitable for guitar melodies.

 

 

 

 

 

31

City Parks

This is another crunchy distortion. When the sound volume is decreased, the distortion goes

 

away, allowing cutting or oblique motion phrasing.

 

 

 

 

 

 

 

 

32

Twin Twang

This is a slight distortion rather different from crunch. It is suitable for country music.

 

 

 

 

 

33

Pop Top

This can be used for all kinds of sound. You can apply delay by editing.

 

 

 

 

 

34

Syrup

Pat.Metheny style with a deep effect. Recommended for use with neck humbucking pickups.

 

 

 

 

 

35

Metro Police

Andy Summer-style backing. Try experimenting with the chorus and reverb parameters.

 

 

 

 

 

36

U-turn

A clean effect with light harmonization and feedback. Try cutting hard with this one.

 

 

 

 

Clean effects

37

Clear Cut

Clean cutting effect with a light rotary-style modulation. Try adjusting the speed.

 

 

 

for cutting and

38

Studio Sweep

Use this delay effect for backing and arpeggio work.

arpeggio

 

 

 

 

 

An effect with compressor for solo guitar. Experiment with the equalization until you find the

effects and

39

Clean Solo

setting that fits your guitar best.

for amplified

 

 

acoustic

40

Sharpeggio

Mainly for arpeggios. Adjust the delay time and number of repeats, as well as the value for

instruments

fine pitch.

 

 

 

 

 

 

 

 

41

Cosmic Dance

Rich reverb and a pitch delay - for arpeggio playing.

 

 

 

 

 

42

Light Steps

Similar to No. 37, but brighter, and with chorus added.

 

 

 

 

 

43

Fun-Kut

A deeply-modulated effect with a cutting edge - use for funk cutting.

 

 

 

 

For slide

44

Slider

A distorted, bluesy effect for bottleneck guitar.

guitar

 

 

 

 

 

 

 

 

45

Monk Akka 2

An improvement of the “Monk Akka” sound on the FX500. The sound continues even when

 

you’ve stopped!

 

 

 

 

 

 

 

Acoustic

46

Straight Nylon

For an amplified gut-strung guitar. Number 46 is “straight”, and Number 47 has a slight

47

Processed Nylon

modulation added.

 

 

 

 

 

 

 

 

48

Better Bass

Basic bass effect for use with fingers or plectrum.

 

 

 

 

Bass effects

49

Slap Bass

Adds modulation to slapped bass.

 

 

 

 

 

50

Delay Slap Bass

A bass effect with a short delay and modulation.

 

 

 

 

Chapter 3: Editins, Storing, and Titling an Effect Program

The FX550 allows you to create up to 50 user effect programs. So in cornbination with the 50 preset effect programs, you have a powerful effect library of 100 effect programs. User effect programs can be made by editing preset effect programs, or from scratch.

[T] Editing an Effect Program

1. Use the [ T ] and [ A ] buttons to select the effect program.

2.Press the [EDIT] button to enter Edit mode.

A display similar to the following will be shown.

Amp Simulator

REV section effect

MOD & REV Configuration

Cursor

MOD section effect

3.Edit Step 1

©Use the [ -^ ] and [ ^ ] buttons to select the parameter that you want to edit: MOD section effect, REV section effect, MOD & REV Configuration, and Amp Simulator.

These parameters are explained on the next page.

©Use the [ T ] and [ ▲ ] buttons to adjust the parameter.

B3“ What is a parameter?

A parameter is a variable element such as a numeric value. For example, “delay time” and “modulation speed” are variable numeric parameters. Amp Simulator is a variable parame­ ter, too.

© Follow the same procedure to edit the other parameters.

10

Yamaha FX550 User Manual

Chapter 3: Editing, storing, and titling an effect program

Mod section effects

With this parameter you can select the type of effect produced by the modulation section.

CHO

Stereo Chorus

 

 

FLG

Stereo Pianger

 

 

SYM

Symphonic

 

 

PAN

Auto Pan

 

 

TRM

Tremolo

 

 

ROT

Rotary Speaker

 

 

TMD

Tempo Modulation

 

 

PII

Stereo Pitch 1

 

 

PI2*1

Stereo Pitch 2

 

 

PDL*1

Ping-Pong Delay

 

 

SMD*1

Stereo Modulation Delay

 

 

The PI2, PDL, and SMD effects can be selected only when the REV effect is selected in the REV section.

REV section effects

REV Reverb

D + R Delay + Reverb*^

D-+R Delay Reverb*^

DLY Delay

TDL Tempo Delay

D+R : Delay and reverb are used simultaneously.

D-^R : Reverb is applied to a delayed signal.

MOD & REV Configuration

Changing the connection order of the MOD and REV section’s effects changes the overall character of an effect program.

Symbol

Connection Configuration

 

 

 

-^COMPl—1 DIST H EQ h-l MOD REV h>

 

 

<—

-+| COMP 1—1 DIST 1—1 EQ . H REV H MOD 1-»

,— MOD l-|

+^COM^^DiST>-rEQD----------------------------

Amp Simulator

This parameter allows you to simulate the individual “character” of the following guitar amplifiers.

Fiat

No Simulation

 

 

Amp-M

A stack of 3 ‘M’ head amps

 

 

Amp-B

Typical combo (amp single speaker in one cabinet)

 

 

Amp-T

Typical combo (amp two speakers in one cabinet)

 

 

Amp-S

Stacked speaker cabinets

 

 

11

Chapter 3: Editing, storing, and titling an effect program

4.Edit Step 2

©Press the [COMP], [DIST], [EQ], [MOD], or [REV] button to select the effect button sec­ tion that you want to edit. The display below shows some of the [COMP] effect section’s parameters.

/ ;i:

Pressing the respective section button again will show the next group of parameters.

@Use the [ -4 ] and [ ^ ] buttons to select parameter that you want to edit. Use the [ ▼ ] and [ ▲ ] buttons to set the parameter value.

Effect parameters are explained in detail in Chapter 4.

Adjusting parameters

To decrease a parameter value quickly, press and hold down [^ ], then press [A. ].

To increase a parameter value quickly, press and hold down [ A ] , then press [T ].

I®” Bypassing an effect while editing

It is better to adjust parameters while producing a sound. However, when you want to com­

pare the affected sound with the dry sound,

press the [BYPASS] button

to

temporarily

bypass

the effect section. Press the [BYPASS] button again to un-bypass the effect section.

 

While you are editing an effect section, the corresponding indicator

will

flash. When you

bypass the effect section, the corresponding

indicator will also flash,

however, the

flashing

time will be shortened.

 

 

 

 

12

Chapter 3: Editing, storing, and titling an effect program

Storing an Edited Effect Program

Edited effect programs will not be lost when the FX550 is switched off, so for future use you may want to store them. Follow the procedure below.

1. Press the [STORE] button.

The following display will appear on the LCD, and the program number will flash.

If you edited a preset effect program (1~50), program number “51” will appear.

2. Use the [ T ] and [ ▲ ] buttons to select the destination user program memory where you want to store the edited effect program, program memory numbers 1~50. The preset program numbers, cannot be selected.

-it-

/ 1 \ : iir'i-

Note: The effect program already stored at the selected destination will be overwritten when the [STORE] button is pressed in the next step.

3. Press the [STORE] button to store the program.

While the program is being stored, the following display will be shown.

77

When the store operation is complete, the previous display will appear with the new program number.

° Copying an ejfect program

Effect programs can be copied to other effect program memory locations. This is useful, for example, when you want to sort your user effect programs into the order that you will use them during a live performance.

13

Chapter 3: Editing, storing, and titling an effect program

Titling Effect Programs

You can title your user effect programs. It maybe useful to use titles that relate to specific songs, guitars, pickups, etc. You cannot change the titles of the preset effect programs.

1.Use the [ ▼ ] and [ A ] buttons to select the user effect program.

2.Press the [UTILITY] button.

The TITLE EDIT display shown below will appear.

77 ^

If the TITLE EDIT display does not appear, press the [UTILITY] button repeatedly until it does.

3. Use the [ -^ ] and [ ^ ] cursor buttons to position the cursor within the title, and the [ ▼ ] and [ A ] buttons to select characters.

Titles can be up to 15 characters in length and are stored automatically.

 

[

]

<

>

 

*

+

-

&

/

J

 

%

!

?

->■

-<-

#

 

0

1

2

3

4

5

6

7

8

9

 

A

B

c

D

E

F

G

H

1

J

K

L

M

N

O

P

Q

R

S

T

U

V

w

X

Y

Z

 

a

a

b

c

d

e

f

g

h

i

j

k

I

m

n

0

b

p

q

r

s

t

u

u

V

w

X

y

Z

 

T

T

f

T

 

 

I

X

 

 

±

Jf

<7

 

=1

if

V

X

-b

y

 

 

“J

"J

■7^

b

i-

JZ.

 

 

J

/\

t

y

 

 

•7

 

A

 

 

 

-b

3.

ZL

B

a

3

u

 

u

n

7

7

>

r

J

 

-

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

While entering a title, pressing the [STORE] button will enter a “space”, that is, the space between characters “9” and “A ” in the table. This is useful when you wish to enter a number of spaces.

14

chapter 4: Effect parameters

Compressor/Limiter — COMP

The compressor/Limiter effect section reduces the level of loud sounds and increases the level of quiet sounds, making the volume level more consistent (reduced dynamic range). In addition, sounds are sustained. Compressors are often used when recording guitars, a reduced dynamic range makes it much easier to set recording levels.

TYP

Compression Type

CMP

Compressor

 

 

LIM

Limiter

 

 

 

 

 

 

SUS

Sustain

0-100%

0 = no sustain.

100 = maximum sustain.

 

 

 

 

 

 

 

ATK

Attack

0 - 20

0 = fast attack.

20 = siow attack.

 

 

 

 

 

 

 

LVL

Output Levei

- oo, -30 dB - +6 dB

Sets the output ievei of the effect.

 

 

 

 

Distortion/Overdrive — DIST

Distortion is one of the most widely used guitar effects and is an essential part of rock music. The FX550’s distortion/overdrive effect section produces a smooth, rich powerful distortion that rivals that of the best valve amps. Many types of distortion effect can be produced, everything from soft overdrive to hard distortion. This effect also includes a noise gate that can be used to attenuate unwanted hiss and noise while you are not playing.

 

 

DS1

Typical distortion.

 

 

 

 

 

 

DS2

Fusion style solo distortion.

 

 

 

 

TYP

Distortion type

OD1

Typical overdrive.

 

 

 

 

 

 

OD2

Valve amp overdrive.

 

 

 

 

 

 

CRN

Crunchy distortion.

 

 

 

 

DRV

Drive

0 - 100%

0 = minimum distortion.

100 = maximum distortion.

 

 

 

 

 

 

 

TON

Tone

-30 - +30

Higher values produce a sharp bright sound.

 

 

 

 

LVL

Output Levei

- oo, -30 dB - +6 dB

Sets the output level of the effect.

 

 

 

 

NGL

Noise Gate Threshold

0 - 20

The level at which the noise gate cuts in.

 

 

 

 

15

Chapter 4: Effect parameters

3-Band Parametric Equalizer — EQ

The EQ effect section features a 3-band equalizer, each band having boost/cut control and vari­ able frequency selection. The Mid EQ provides up to 30 dB of cut and can be used as a notch filter.

LoF

Low Frequency

20 Hz ~ 2.8 kHz

 

 

 

LOG

Low Gain

- 15dB~+15dB

 

 

 

MiF

Mid Frequency

80 Hz - 8.0 kHz

 

 

 

MiG

Mid Gain

-30 dB~+15dB

 

 

 

HiF

High Frequency

500 Hz ~ 16 kHz

 

 

 

HiG

High Gain

- 15dB - +15dB

 

 

 

LVL

Output Levei

- oo, -30 dB ~ +6 dB

 

 

 

Modulation — MOD

The modulation effect section can produce 11 different types of modulation effect.

Stereo Chorus — CHO

The chorus effect splits the signal into two, modulates one signal, then mixes the two signals together. It produces a rich thickening type effect — like a chorus of guitars playing together.

SPD

Moduiation Speed

0.1 Hz ~ 20 Hz

 

 

 

 

 

PMD

Pitch Moduiation

0~ 100%

 

Depth

 

 

 

 

 

 

 

 

AMD

Amp Modulation

0 - 100%

 

Depth

 

 

 

 

 

 

 

 

 

 

 

The delay time before the signal is

DLY

Modulation Delay

0.1 ~ 100.0 msec

modulated.

* A short delay time (1.9 msec or less) will

 

 

 

 

 

 

affect the depth of pitch modulation.

 

 

 

 

WID

Sound Image Width

0 - 10

0=mono.

10=wide stereo.

 

 

 

 

 

 

 

MIX

Mixing Balance

0 - 100%

0 = dry signal.

50 = 50% chorus effect 50% dry signal.

 

 

 

100 = 100% chorus effect.

 

 

 

 

LVL

Output Level

- =>o, -30 dB - +6 dB

Sets the output level of the effect.

 

 

 

 

Typ

Filter Type

HPF, LPF

 

 

 

 

 

 

 

HPF:THRU,

 

Frq

Cut Off Frequency

32 Hz - 1.0 kHz

 

 

 

LPF: 1.0 kHz - 16 kHz,

 

 

 

 

 

 

THRU

 

 

 

 

 

16

Chapter 4: Effect parameters

Stereo Pianger — FLG

The stereo flanger effect splits the signal into two, delays one signal by a modulated delay time, then mixes the signals together. It produces a comb filter effect that sweeps up an down the audio bandwidth. Sometimes described as a swishing or tunneling effect, it is a coarse form of phaser effect.

SPD

Modulation Speed

0.1 Hz - 20 Hz

 

 

 

 

 

DEP

Modulation Depth

0 ~ 100%

 

 

 

 

 

 

 

 

The delay time before the signal is

DLY

Delay Modulation

0.1 - 100 msec

modulated. Also affects the frequency range

 

 

 

that is modulated.

 

 

 

 

FB

Feedback

0 - 100%

The amount of effected signal that is fed

back into the effect.

 

 

 

 

 

 

 

WID

Sound Image Width

0 - 10

0 = mono.

10 = wide stereo.

 

 

 

 

 

 

 

 

 

 

0 = dry signal.

MIX

Mixing Balance

0- 100%

50 = 50% flanger effect 50% dry signal.

 

 

 

100 = 100% flanger effect.

 

 

 

 

LVL

Output Level

- -30 dB - +6 dB

Sets the output level of the effect.

 

 

 

 

Typ

Filter Type

HPF, LPF

 

 

 

 

 

 

 

HPFTHRU,

 

Frq

Cut Off Frequency

32 Hz - 1.0 kHz

 

 

 

LPF: 1.0 kHz - 16 kHz,

 

 

 

 

 

 

THRU

 

 

 

 

 

Symphonic — SYM

The symphonic effect splits the signal into two, modulates one signal, then mixes the two signals together. It produces a rich thickening type effect, similar to a chorus effect — like a symphony of guitars playing together.

SPD

Modulation Speed

0.1 Hz - 20 Hz

 

 

 

 

 

DEP

Modulation Depth

0 - 100%

 

 

 

 

 

 

 

 

The delay time before the signal is

DLY

Modulation Delay

0.1 - 100.0 msec

modulated.

* A short delay time (1.9 msec or less) will

 

 

 

 

 

 

affect the depth of pitch modulation.

 

 

 

 

WID

Sound Image Width

0 - 10

0 = mono.

10 = wide stereo.

 

 

 

 

 

 

 

 

 

 

0 = dry signal.

MIX

Mixing Balance

0 - 100%

50 = 50% symphonic effect 50% dry signal.

 

 

 

100 = 100% symphonic effect.

 

 

 

 

LVL

Output Level

- oo, -30 dB - +6 dB

Sets the output level of the effect.

 

 

 

 

Typ

Filter Type

HPF, LPF

 

 

 

 

 

 

 

HPF:THRU,

 

Frq

Cut Off Frequency

32 Hz - 1.0 kHz

 

 

 

LPF: 1.0 kHz - 16 kHz,

 

 

 

 

 

 

THRU

 

 

 

 

 

17

Chapter 4: Effect parameters

Auto Pan — PAN

The auto pan effect moves the signal continuously across the stereo image, i.e., between the left and right outputs. It provides a drifting type effect that is ideal for slow atmospheric songs and can help to maintain interest in repetitive guitar riffs. The panning speed is controlled by the modulation speed parameter.

SPD

Modulation Speed

0.1 Hz ~ 20 Hz

 

 

 

 

 

DEP

Modulation Depth

0 - 100%

 

 

 

 

 

 

 

L

L —> pans the signal from L to R.

 

 

 

 

DIR

Direction

<- R

R <— pans the signal from R to L.

 

 

 

 

 

 

L <-» R

L R pans the signal from L to R to L, etc.

 

 

 

 

 

 

 

0 = dry signal.

MIX

Mixing Balance

0 - 100%

50 = 50% auto pan effect. 50% dry signal.

 

 

 

100 = 100% auto pan effect.

 

 

 

 

LVL

Output Level

- oo, -30 dB - +6 dB

Sets the output level of the effect.

 

 

 

 

Typ

Filter Type

HPF, LPF

 

 

 

 

 

 

 

HPFTHRU,

 

Frq

Cut Off Frequency

32 Hz - 1.0 kHz

 

 

 

LPF: 1.0 kHz - 16 kHz,

 

 

 

 

 

 

THRU

 

 

 

 

 

Tremolo — TRM

The tremolo effect modulates the signal amplitude to produce regular variations in volume level, similar to vocal vibrato. The modulation waveform can be set to sine, triangular, or square, offering three tremolo effect variations.

SPD

Modulation Speed

0.1 Hz - 20 Hz

 

 

 

 

 

DEP

Modulation Depth

0 - 100%

 

 

 

 

 

LFO

Wave Type

SIN, TRI, SOR

SIN:Sine, TRI:Triangle, SQR:Square

 

 

 

 

 

 

 

0 = dry signal.

MIX

Mixing Balance

0 - 100%

50 = 50% tremolo effect 50% dry signal.

 

 

 

100 = 100% tremolo effect.

 

 

 

 

LVL

Output Level

- -30 dB - +6 dB

Sets the output level of the effect.

 

 

 

 

Typ

Filter Type

HPF, LPF

 

 

 

 

 

 

 

HPF:THRU,

 

Frq

Cut Off Frequency

32 Hz - 1 . 0 kHz

 

 

 

LPF: 1.0 kHz - 16 kHz,

 

 

 

 

 

 

THRU

 

 

 

 

 

18

chapter 4: Effect parameters

Rotary Speaker — ROT

This effect was originally produced by rotating a flat piece of wood in front of the loudspeaker in an organ. There are two rotation speeds: slow and fast.

The SPD parameter can set using a foot switch. See page 28.

SPD

Speed Control

OFF, SLOW, FAST

 

 

 

 

 

SLOW

SLOW Speed

0.1 Hz ~ 5.3 Hz

 

 

 

 

 

FAST

FAST Speed

0.1 Hz ~ 5.3 Hz

 

 

 

 

 

 

 

 

0 = dry signal.

MIX

Mixing Balance

0 - 100%

50 = 50% rotary effect 50% dry signal.

 

 

 

100 = 100% rotary speaker effect.

 

 

 

 

LVL

Output Level

- -30 dB - +6 dB

Sets the output level of the effect.

 

 

 

 

Typ

Filter Type

HPF, LPF

 

 

 

 

 

 

 

HPF:THRU,

 

Frq

Cut Off Frequency

32 Hz - 1.0 kHz

 

 

 

LPF: 1.0 kHz - 16 kHz,

 

 

 

 

 

 

THRU

 

 

 

 

 

Tempo Modulation — TMD

The tempo modulation effect can produce flanger, tremolo, and pan type effects. The difference between this effect and the other flanger and pan effects is that the modulation speed can be syn­ chronized to the song tempo. This can be set manually in bpm (beats per minute), from a MIDI sequencer or drum machine using MIDI clock messages, or by tapping a foot switch.

 

 

OFF

Use TEMPO parameter

TRG

Tempo Trigger Type

TAP

See page 29.

 

 

 

 

 

 

MIDI

See page 33.

 

 

 

 

TEMPO

Tempo

50 - 250 bpm

 

NOTE

Note

J, J-, J, J-, o, oo

 

The number of beats per song measure.

EFF

Effect Type

FLG, PAN, TRM

Flanger, Pan, Tremolo

 

 

 

 

 

EFF: FLG

 

 

 

 

 

 

 

 

DEP

 

Modulation Depth

0 - 100%

 

 

 

 

 

 

 

 

 

 

The delay time before the signal is

DLY

 

Delay Time

0.1 - 100.0 msec

modulated. Also affects the frequency range

 

 

 

 

that is modulated.

 

 

 

 

 

FB

 

Feed Back

0 - 100%

The amount of effected signal that is fed

 

back into the effect.

 

 

 

 

 

 

 

 

 

 

 

 

 

0 = dry signal.

MIX

 

Mixing Balance

0 - 100%

50 = 50% flanger effect 50% dry signal.

 

 

 

 

100 = 100% flanger effect.

 

 

 

 

 

LVL

 

Output Level

- oo, -30 dB - +6 dB

Sets the output level of the effect.

 

 

 

 

 

Typ

 

Filter Type

HPF, LPF

 

 

 

 

 

 

 

 

 

HPF:THRU,

 

Frq

 

Cut Off Frequency

32 Hz - 1.0 kHz

 

 

 

 

 

LPF: 1.0 kHz - 16 kHz,

 

 

 

 

 

 

 

 

THRU

 

 

 

 

 

 

19

Chapter 4: Effect parameters

EFF: PAN

DEP

Modulation Depth

0 - 100%

 

 

 

 

 

 

 

L

L —^ pans the signal from L to R.

 

 

 

 

DIR

Direction

R

R <— pans the signal from R to L.

 

 

 

 

 

 

L< - 4 R

L R pans the signal from L to R to L, etc.

 

 

 

 

 

 

 

0 = dry signal.

MIX

Mixing Balance

0 - 100%

50 = 50% auto pan effect. 50% dry signal.

 

 

 

100 = 100% auto pan effect.

 

 

 

 

LVL

Output Level

- oo^ -30 dB - +6 dB

Sets the output level of the effect.

 

 

 

 

Typ

Filter Type

HPF, LPF

 

 

 

 

 

 

 

HPF:THRU,

 

Frq

Cut Off Frequency

32 Hz - 1.0 kHz

 

 

 

LPF: 1.0 kHz - 16 kHz,

 

 

 

 

 

 

THRU

 

 

 

 

 

EFF: TRM

LFO

Wave Type

SIN, TRI, SQR

SIN:Sine, TRI:Triangle, SQR:Square

 

 

 

 

 

 

 

0 = dry signal.

MIX

Mixing Balance

0 - 100%

50 = 50% tremolo effect 50% dry signal.

 

 

 

100 = 100% tremolo effect.

 

 

 

 

LVL

Output Level

- oo, -30 dB - +6 dB

Sets the output level of the effect.

 

 

 

 

Typ

Filter Type

HPF, LPF

 

 

 

 

 

 

 

HPF:THRU,

 

Frq

Cut Off Frequency

32 Hz - 1.0 kHz

 

 

 

LPF: 1.0 kHz - 16 kHz,

 

 

 

 

 

 

THRU

 

 

 

 

 

20

Chapter 4: Effect parameters

Stereo Pitch 1 — PII

The stereo pitch 1 effect is a pitch shifter that allows independent pitch shifting for the left and right outputs. Signals can be pitch shifted by up to ± 12 semitones, with 99 cent fine control.

PCL

Left Channel Pitch

-12 ~ +12

±12 semitones.

Coarse

 

 

 

 

 

 

 

PFL

Left Channel Pitch

-99 ~ +99

± 99 cents. (100 cents = 1 semitone)

Fine

 

 

 

 

 

 

 

PCR

Right Channel

-12 ~ +12

+ 12 semitones.

Pitch Coarse

 

 

 

 

 

 

 

PFR

Right Channel

-99 ~ +99

± 99 cents. (100 cents = 1 semitone)

Pitch Fine

 

 

 

 

 

 

 

DLY

Delay Time

0.1 ~ 58.0 msec

 

 

 

 

 

VolL

Left Channel

0 - 100

 

Volume

 

 

 

 

 

 

 

 

VOIR

Right Channel

0 - 100

 

Volume

 

 

 

 

 

 

 

 

KEY

Base Key

Off, Cl - C6

See page 34.

 

 

 

 

WID

Sound Image Width

0 - 10

0=mono.

10=wide stereo.

 

 

 

 

 

 

 

 

 

 

0 = dry signal.

MIX

Mixing Balance

0 - 100%

50 = 50% stereo pitch 50% dry signal.

 

 

 

100 = 100% stereo pitch.

 

 

 

 

LVL

Output Level

- -30 dB - +6 dB

Sets the output level of the effect.

 

 

 

 

Typ

Filter Type

HPF, LPF

 

 

 

 

 

 

 

HPFTHRU,

 

Frq

Cut Off Frequency

32 Hz - 1.0 kHz

 

 

 

LPF; 1.0 kHz - 16 kHz,

 

 

 

 

 

 

THRU

 

 

 

 

 

21

Chapter 4: Effect parameters

Stereo Pitch 2 — PI 2

The stereo pitch 2 effect offers output pitch shifting like the Stereo Pitch 1 effect, with the addi­ tion of independent left and right output delays and feedback.

PCL

Left Channel Pitch

- 12 - +12

+12 semitones.

Coarse

 

 

 

 

 

 

 

PFL

Left Channel Pitch

-99 ~ +99

+ 99 cents. (100 cents = 1 semitone)

Fine

 

 

 

 

 

 

 

DLYL

Left Channel Delay

0.1 ~ 400 msec

 

Time

 

 

 

 

 

 

 

 

PCR

Right Channel

- 12 - +12

±12 semitones.

Pitch Coarse

 

 

 

 

 

 

 

PFR

Right Channel

-99 ~ +99

+ 99 cents. (100 cents = 1 semitone)

Pitch Fine

 

 

 

 

 

 

 

DLYR

Right Channel

0.1 - 400 msec

 

Delay Time

 

 

 

 

 

 

 

 

VolL

Left Channel

0 - 100

 

Volume

 

 

 

 

 

 

 

 

VoIR

Right Channel

0 - 100

 

Volume

 

 

 

 

 

 

 

 

FB

Feedback Level

0 - 100%

The signal that is fed back will, obviously, be

pitch shifted again, and again.

 

 

 

 

 

 

 

KEY

Base Key

Off, Cl - C6

See page 34.

 

 

 

 

 

 

 

0 = dry signal.

MIX

Mixing Balance

0 - 100%

50 = 50% stereo pitch 50% dry signal.

 

 

 

100 = 100% stereo pitch.

 

 

 

 

LVL

Output Level

- oo, -30 dB - +6 dB

Sets the output level of the effect.

 

 

 

 

Typ

Filter Type

HPF, LPF

 

 

 

 

 

 

 

HPFrTHRU,

 

Frq

Cut Off Frequency

32 Hz - 1.0 kHz

 

 

 

LPF: 1.0 kHz - 16 kHz,

 

 

 

 

 

 

THRU

 

 

 

 

 

22

Chapter 4: Effect parameters

Ping-Pong Delay — PDL

The ping-pong delay effect delays the signal, then outputs the signal to the left and right outputs alternately, so the delayed signal appears to bounce across the stereo image.

DLY

Delay Time

0.1 ~ 450 msec

 

 

 

 

 

FB

Feedback Level

0 - 100%

The amount of effected signal that is fed

back into the effect.

 

 

 

 

 

 

 

DIR

Direction

L

L —> bounce from L to R.

 

 

R

<— R bounce from R to L.

 

 

 

 

 

 

 

 

 

0 = dry signal.

MIX

Mixing Balance

0 - 100%

50 = 50% ping-pong delay 50% dry signal.

 

 

 

100 = 100% ping-pong delay.

 

 

 

 

LVL

Output Level

- o°, -30 dB - +6 dB

Sets the output level of the effect.

 

 

 

 

Typ

Filter Type

HPF, LPF

 

 

 

 

 

 

 

HPF:THRU,

 

Frq

Cut Off Frequency

32 Hz - 1.0 kHz

 

 

 

LPF: 1.0 kHz - 16 kHz,

 

 

 

 

 

 

THRU

 

 

 

 

 

Stereo Modulation Delay — SMD

The stereo modulation delay effect delays the left and right output signals using different delay times, then modulates both delay times. It produces a rich stereo thickening effect, similar to chorus hut with two independent delays and feedback parameter.

DLYL

Left Channel Delay

0.1 - 450 msec

 

Time

 

 

 

 

 

 

 

 

DLYR

Right Channel

0.1 - 450 msec

 

Delay Time

 

 

 

 

 

 

 

 

FB

Feedback Level

0 - 100%

The amount of effected signal that is fed

back into the effect.

 

 

 

 

 

 

 

SPD

Modulation Speed

0.1 Hz - 20 Hz

 

 

 

 

 

DEP

Modulation Depth

0 - 100%

 

 

 

 

 

 

 

 

If the DLYL and DLYR parameters are set to

L/R

L/R Balance

L50 - L=R - R50

the same (or similar) delay times, this effect

may sound like a signal phasing problem. If

 

 

 

 

 

 

so, adjust the L/R parameter to correct it.

 

 

 

 

 

 

 

0 = dry signal.

MIX

Mixing Balance

0 - 100%

50 = 50% stereo mod delay 50% dry signal.

 

 

 

100 = 100% stereo mod delay.

 

 

 

 

LVL

Output Level

- oo, -30 dB - +6 dB

Sets the output level of the effect.

 

 

 

 

Typ

Filter Type

HPF, LPF

 

 

 

 

 

 

 

HPFiTHRU,

 

Frq

Cut Off Frequency

32 Hz - 1.0 kHz

 

 

 

LPF; 1.0 kHz - 16 kHz,

 

 

 

 

 

 

THRU

 

 

 

 

 

23

Chapter 4: Effect parameters

Reverb/Delay - REV

The Reverb/Delay effect section can produce 5 different reverb and delay effects.

Reverb — REV

The reverb effect can simulate the natural ambience and reverb characteristics of a concert hall, an average size room, and a steel plate type reverb.

 

 

RhI

Hall (concert hall).

 

 

 

 

TYP

Reverb Type

Rvc

Vocal (ideal for vocals).

 

 

Rrm

Room (echo room).

 

 

 

 

 

 

 

 

Rpl

Steel plate type reverb.

 

 

 

 

PDLY

Pre Delay

0.1 ~ 200 msec

Delay before the reverb signal is output.

 

 

 

 

RVT

Reverb Time

0.3 ~ 40 sec

Reverb iength.

 

 

 

 

HF

High Frequency

1 ~ 10

1 = dark reverb.

Reverb Time Ratio

10 = bright reverb.

 

 

 

 

 

 

wip

Sound Image Width

0~ 10

0 = mono.

10 = wide stereo.

 

 

 

 

 

 

 

 

 

 

0 = dry signai.

MIX

Mixing Balance

0 - 100%

50 = 50% reverb 50% dry signai.

 

 

 

100 = 100% reverb.

 

 

 

 

LVL

Output Level

- o°, -30 dB - +6 dB

Sets the output ievei of the effect.

 

 

 

 

Typ

Filter Type

HPF, LPF

 

 

 

 

 

 

 

HPFTHRU,

 

Frq

Cut Off Frequency

32 Hz - 1 . 0 kHz

 

 

 

LPF: 1.0 kHz - 16 kHz,

 

 

 

 

 

 

THRU

 

 

 

 

 

24

Chapter 4; Effect parameters

Delay + Reverb

D + R

 

 

 

 

 

This effect uses delay and reverb effects in parallel. The same signal is fed to each effect, then

 

 

the output of each effect is mixed.

 

 

 

 

 

 

 

 

 

DLYL

Left Channel

0.1 ~ 750 msec

 

 

 

Delay Time

 

 

 

 

 

 

 

 

 

 

 

 

 

 

DLYR

Right Channel

0.1 - 750 msec

 

 

 

Delay Time

 

 

 

 

 

 

 

 

 

 

 

 

 

 

FB

Feedback Level

0 - 100%

The amount of effected signal that is fed

 

 

back into the effect.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

If the DLYL and DLYR parameters are set to

 

 

L/R

L/R Balance

L50 - L=R - R50

the same (or similar) delay times, this effect

 

 

may sound like a signal phasing problem. If

 

 

 

 

 

 

 

 

 

 

so, adjust the L/R parameter to correct it.

 

 

 

 

 

 

 

 

RVT

Reverb Time

0.3 ~ 40 sec

Reverb length.

 

 

 

 

 

 

 

 

PDLY

Pre-delay

0.1 - 190:0 msec

 

 

 

 

 

 

 

 

 

HF

High Frequency

1 - 10

 

 

 

Ratio

 

 

 

 

 

 

 

 

 

 

 

 

 

 

WID

Sound Image Width

0 - 10

 

 

 

 

 

 

 

 

 

D/R

Delay/Reverb

D50 - D=R - R50

 

 

 

Baiance

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

0 = dry signal.

 

 

MIX

Mixing Baiance

0 - 100%

50 = 50% delay + reverb 50% dry signal.

 

 

 

 

 

100 = 100% delay + reverb.

 

 

 

 

 

 

 

 

LVL

Output Level

- oo, -30 dB - +6 dB

Sets the output level of the effect.

 

 

 

 

 

 

 

 

Typ

Filter Type

HPF, LPF

 

 

 

 

 

 

 

 

 

 

 

HPFTHRU,

 

 

 

Frq

Cut Off Frequency

32 Hz - 1.0 kHz

 

 

 

 

 

 

 

LPF: 1.0 kHz - 16 kHz,

 

 

 

 

 

 

 

 

 

 

THRU

 

 

 

 

 

 

 

INPUT L ID-

DELAY

-O OUTPUTL

R

 

MIXER

 

L

INPUT RO

-O OUTPUTR

REVERB

 

 

D + R Block Diagram

25

Chapter 4: Effect parameters

Delay Reverb — D R

This effect uses delay and reverb effects in series. The signal is first fed to the delay, then to the reverb.

DLYL

Left Channel

0.1 ~ 750 msec

 

Delay Time

 

 

 

 

 

 

 

 

DLYR

Right Channel

0.1 ~ 750 msec

 

Delay Time

 

 

 

 

 

 

 

 

FB

Feedback Level

0 - 100%

The amount of effected signal that is fed

back into the effect.

 

 

 

 

 

 

 

 

 

 

If the DLYL and DLYR parameters are set to

UR

L/R Balance

L50 - L=R - R50

the same (or similar) delay times, this effect

may sound like a signal phasing problem. If

 

 

 

 

 

 

so, adjust the L/R parameter to correct it.

 

 

 

 

RVT

Reverb Time

0.3 - 40 sec

Reverb length.

 

 

 

 

WID

Sound Image Width

0 - 10

 

 

 

 

 

HF

High Frequency

1 - 10

 

Ratio

 

 

 

 

 

 

 

 

D/R

Delay/Reverb

D50 - D=R - R50

 

Balance

 

 

 

 

 

 

 

 

MIX

Mixing Balance

 

0 = dry signal.

0 - 100%

50 = 50% delay -> reverb 50% dry signal.

 

 

 

100 = 100% delay ^ reverb.

 

 

 

 

LVL

Output Level

- oo. -30 dB - +6 dB

Sets the output level of the effect.

 

 

 

 

Typ

Filter Type

HPF, LPF

 

 

 

 

 

 

 

HPFTHRU,

 

Frq

Cut Off Frequency

32 Hz - 1.0 kHz

 

 

 

LPF: 1.0 kHz - 16 kHz,

 

 

 

 

 

 

THRU

 

 

 

 

 

INPUT L O-

DELAY

-O OUTPUTL

R

 

MIXER

 

L

INPUTRO-

-O OUTPUTR

REVERB

 

 

D R Block Diagram

26

Chapter 4: Effect parameters

Delay — DLY

A straightforward delay effect providing independent delays up to 1200 msec for the left and right outputs.

DLYL

Left Channel Delay

0.1 ~ 1200 msec

 

Time

 

 

 

 

 

 

 

 

DLYR

Right Channei

0.1 ~ 1200 msec

 

Delay Time

 

 

 

 

 

 

 

 

FB

Feedback Level

0 ~ 100%

The amount of effected signal that is fed

back into the effect.

 

 

 

 

 

 

 

 

 

 

If the DLYL and DLYR parameters are set to

L/R

L/R Balance

L50 ~ L=R ~ R50

the same (or similar) delay times, this effect

may sound like a signal phasing problem. If

 

 

 

 

 

 

so, adjust the L/R parameter to correct it.

 

 

 

 

 

 

 

0 = dry signal.

MIX

Mixing Balance

0 - 100%

50 = 50% delay 50% dry signal.

 

 

 

100 = 100% delay.

 

 

 

 

LVL

Output Level

- -30 dB - +6 dB

Sets the output level of the effect.

 

 

 

 

Tempo Delay — TDL

The delay time of tempo delay effect can be synchronized to the song tempo. This can be set manually in bpm (beats per minute), from a MIDI sequencer or drum machine using MIDI clock messages, or by tapping a foot switch.

 

 

OFF

Use TEMPO parameter.

 

 

 

 

TRG

Tempo Trigger Type

TAP

See page 29.

 

 

 

 

 

 

MIDI

See page 33.

 

 

 

 

TEMPO

Tempo

50 ~ 250 bpm

 

 

 

 

 

NOTE

Note

 

The number of beats per song measure.

 

 

 

 

FB

Feedback Level

0 - 100%

The amount of effected signal that is fed

back into the effect.

 

 

 

 

 

 

 

 

 

 

0 = Same delay time for L&R.

WID

Sound Image Width

0 - 10

10 = Slightly differing delay times for L&R,

 

 

 

which produces a stereo type effect.

 

 

 

 

 

 

 

If the DLYL and DLYR parameters are set to

L/R

L/R Balance

L50 - L=R - R50

the same (or similar) delay times, this effect

may sound like a signal phasing problem. If

 

 

 

 

 

 

so, adjust the L/R parameter to correot it.

 

 

 

 

 

 

 

0 = dry signal.

MIX

Mixing Balance

0 - 100%

50 = 50% tempo delay 50% dry signal.

 

 

 

100 = 100% tempo delay.

 

 

 

 

LVL

Output Level

- °<=, -30 dB - +6 dB

Sets the output level of the effect.

 

 

 

 

*j3=a : J x |

^j3=jjj : J xi

27

Chapter 5: Remote Control

FX550 applications can be expanded through the use of foot switches and external MIDI equipment. FX550 functions that can be remotely controlled are listed below.

Foot switch controlled Functions

MIDI Controlled Functions

[jJ Effect program select

[jJ Effect program select

[2j Tap tempo, speed switching, & ducking

[¿) Tempo control

[3] FX550 bypass

[3] PCL and PGR control

 

13 Parameter adjustment

 

[|] Volume control

 

[6] High-speed edit

Foot Switch Control

Use an optional Yamaha FC-5 foot switch.

[T] Effect Program Select

A foot switch can be used to select effect programs.

Set Up Procedure

1.Press the [UTILITY] button. The F.SW FUNCTION display shown below will appear.

88

2.Press the [ ▼ ] or [ A ] button repeatedly until the MEMORY SELECT display appears.

3.Press the [UTILITY] button again. The MEMORY SELECT RANGE display shown below will appear.

88

4. Press the [ -^ ] or [ ► ] button to position the cursor, and use the [ ▼ ] and [ ▲ ] buttons to set the desired program number range.

When RANGE is set “62 TO 67”

When RANGE is set “67 TO 62”

62- 63- 64- 65- 66-> 67

67 66- 65- 64- 63- 62

5. Press the [PLAY] button to return to Play mode. The MEMORY SELECT RANGE settings are stored automatically.

Operation Procedure

1.Connect the foot switch to the MEMORY INC/DEC TRIGGER jack on the rear panel.

2.Play the guitar, and press the foot switch to select the effect programs specified by the MEMORY SELECT RANGE. The specified effect programs will be selected one by one as you press the foot switch.

28

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