Yamaha FX500 User Manual [en, de, fr]

YAMAHA

SIMUL -EF FEC T P ROC ESS OR PROC ESSE UR D'E FFE CT MUL TIP LE SIMUL -EF FEC T P ROC ESS OR

Operation Manual Manuel d’utilisation Bedienungsanleitung

INPUT INPUT LEVEL

Æ O

'’o'

SIGNAL

YAMAHAFXSOO

O COMP ODIST OEQ O MOD

O REV —Omod

(fSELyASNl) (( BYPASS j)

STORE O MEMORY RECALL QPARAM C^TILITY

------

O REV

Congratulations! You are the proud owner of a Yamaha FX500 SIMUL-EFFECT PROCESSOR. The FX500 is a high-performance digital effect device

which provides a chain of up to 5 different effects, and extensive programming capability so you can create "custom" effect chains to suit your own specific musical requirements. With programmable compressor,

distortion, equalizer, modulation and reverb/delay effect stages, the

FX500 gives you a complete state-of-the-art signal-processing system in

one compact package. 60 superlative preset effect programs are provided

that you can simply select and use right away, while 30 RAM memory

locations can be used to store your original signal-processing creations. Furthermore, the effects are all created using leading-edge Yamaha

digital signal processing technology, so the sound is nothing less than

superb.

Please read through this operation manual thoroughly while learning to

use your FX500, in order to take full advantage of all the sophisticated

capabilities it provides — and keep the manual in a safe place for later

reference!

CONTENTS

1. Precautions ..................................................................3

2. The FX500: What It Is and What It Does

■ Effects....................................................................... 4

■ Memory Configuration........................................... 4

■ MIDI-Control..............................................................4

3. Connections: Basic System Setup

4. The Controls: A Quick Operation Guide

5. The MEMORY Mode: Selecting Effect Programs

6. Effect Processor Selection

■ Reversing the Order of the Modulation &

Reverb Stages.........................................................10

7. The Parameter Mode:

Editing the Effect Programs.....................................11

■ Editing Parameter Data.........................................11

• Assigning MIDI CONTROLLERS

to Effect Parameters ..........................................11

• Memory Store Operation

■ COMPRESSOR ......................................................12

■ DISTORTION...........................................................13

■ EQUALIZER

■ MODULATION ........................................................14

• Chorus

• Flanger.................................................................14

• Symphonic

• Tremolo................................................................15

■ REVERB/DELAY

• Reverb Group......................................................16

• Reverb Hall • Reverb Room

• Reverb Vocal • Reverb Plate

...........................................................

.................................................................

..........................................................

..........................................

.....................................

...................................

...................................................

....................

............................

...................

...........................

• Early Reflection Group

5 7

• eR Hall • eR Random

• E/R Reverse • E/R Plate....................................16

• Delay Group ....................................................... 17

• Delay

..................................................................

• Echo

...................................................................

• Reverb and Delay Group (Parallel)

• Reverb + Delay..................................................17

• Reverb and Delay Group (Serial).......................18

• Delay -► Reverb

• Reverb -* Delay

8. The Utility Mode ....................................................... 19

■ Program Title Edit...................................................19

■ MIDI Program Selection: MIDI Setup and Program Change Table Edit

• MIDI Setup

• Program Change Table Edit

■ MIDI Parameter Control: Control Change 1

Table Edit and Control Change 2 Table Edit .... 20

• Control Change 1 Table Edit.............................21

• Control Change 2 Table Edit.............................21

• Assigning CONTROLLER 1 and

CONTROLLER 2 to Specific Effects

■ Footswitch Function Select...................................22

• Using Tap Tempo Delay

■ Footswitch Memory Recall Range Edit

9. Specifications.............................................................24

10. MIDI Data Format .......................................................77

11. Block Diagram

12. FX500 Parameter Chart.............................................81

13. Preset Program Parameters

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17 17 17

19 20 20

22 23

THIS APPARATUS COMPLIES WITH THE "CLASS B" LIMITS FOR RADIO NOISE EMISSIONS SET OUT IN RADIO INTERFERENCE REGULATIONS.

CANADA

CET APPAREIL EST CONFORME AUX NORMES "CLASSE B". POUR BRUITS RADIOELECTRIQUES. TEL QUE SPECIFIER DANS LE REGLEMENT SUR LE BROUILLAGE RADIOELECTRIQUE.

1. Precautions

a PLEASE READ THIS BEFORE PROCEEDING II

1. 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, etc. Also avoid locations which are subject to excessive dust accumulation or vibration which could cause mechanical damage.

2. AVOID PHYSICAL SHOCKS

Strong physical shocks to the unit can cause damage. Handle it with care.

3. DO NOT OPEN THE CASE OR ATTEMPT REPAIRS

OR MODIFICATIONS YOURSELF

This product contains no user-serviceable parts. Refer all maintenance to qualified Yamaha service personnel. Opening the case and/or tampering with the internal circuitry will void the warranty.

4. MAKE SURE POWER IS OFF BEFORE MAKING OR

REMOVING CONNECTIONS

Always turn the power OFF prior to connecting or disconnecting cables.

5. HANDLE CABLES CAREFULLY

Always plug and unplug cables — Including the cord of the power supply — by gripping the connector, not the cord.

7. ALWAYS USE THE CORRECT POWER SUPPLY

Always use the supplied AC Adaptor to power your FX500 or, if the original adaptor Is lost or broken, a replacement or equivalent type obtained from your Yamaha dealer. Also, make sure that the adaptor you have is appropriate for the AC mains suppiy voltage in the area where you intend to use the FX500 (the correct

INPUT voltage is marked on the adaptor).

8. ELECTRICAL INTERFERENCE

Since the FX500 contains digital circuitry, it may cause interference and noise if placed too close to TV sets, radios or similar equipment. If such a problem does occur, move the FX500 further away from the affected equipment.

9. MEMORY BACKUP

The FX500 contains a special long-life battery that retains the contents of its internal RAM memory even when the power is turned OFF. The backup battery shouid last for approximately 5 years. When the battery voltage drops to a level that is too low to maintain the memory contents, the following message will appear on the FX500 display when the power is turned ON;

; *» WARNING »*

MEMORY DATA

6. CLEAN WITH A SOFT DRY CLOTH

Never use solvents such as benzine or thinner to ciean the unit. Wipe clean with a soft, dry cloth.

This equipment generates and uses radio frequency energy and if not installed and used properly, that is, in strict accordance with the manufacturer's instructions, may cause interference to radio and television reception. It has been type tested and found to comply with the limits for a Class B computing device in accordance with the specifications in Subpart J of Part 15 of FCC Ruies, which are designed to provide reasonabie protection against such interference in a residential installation. However,there is no guarantee that interference wili not occur in a particular instaliation. if this equipment does cause interference to radio or teievision reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the foiiowing measures:

If this display appears, have the backup battery replaced by qualified Yamaha service personnel. DO NOT ATTEMPT TO REPLACE THE BACKUP BATTERY YOURSELFI

FCC CERTIFICATION (USA)

Reorient the receiving antenna. Relocate the equipment with respect to the

receiver. Move the equipment away from the receiver.

Piug the equipment into a different AC power

outiet so that it and the receiver are on different branch circuits.

if necessary, the user shouid consuit the deaier or an experienced radio/teievision technician for additionai suggestions. The user may find the foiiowing booklet prepared by the Federal Communications Commission helpfui: "How to identify and Resolve Radio-TV

interference Probiems". This booklet is available from the U.S. Government Printing Office, Washington, DC 20402, Stock No. 004-000-00345-4.

2. The FX500: What It Is and What It Does

■

Effects

The FX500 SIMUL-EFFECT PROCESSOR is a highperformance digital signal processor intended for use with electric guitars, electronic keyboards or other instruments.

It employs leading-edge Yamaha digital signal processing technology to provide a "chain’ of up to six independent effects thar;an be independently controlled to produce precisely the required overall sound. As shown below, the FX500 includes five effect (compressor, distortion, equalizer, modulation and reverb) stages. Stages can be turned on or off as required, and the order of the modulation and reverb stages can be reversed. The compressor, distortion and equalizer stages are basically single-function processors. The modulation and reverb stages each incorporate a number of separate effects which can be selected and used as required. Several of the reverb effects actually combine both delay and reverb, effectively giving you a total of six effects in the chain I

Each effect has a number of parameters which can be adjusted to tailor its sound to your specific musical needs.

COMPRESSOR It DISTORTION

MODULATION

•CHORUS

•FLANQER

• SYMPHONIC

• TREMOLO

REVERB

• REVERB Hall, Room, Vocal, Plate

• EARLY REF. Hall, Random. Reverse. Plate

•DELAY

• ECHO

• REVERBtDEUY

• REVERB-DEUY

• DELAY-REVERB

Program No.

Program Title

' 1 Broad Dist.

Warm Strings

2.:. Standard Jazz '■.'S'is'i.i

Soft Echo

4- ■

Power Pan

6-■■■■■■■ Trad. Dist.

Dark Dist.

■ Q

Ring Dist. Metal Overdrive

'. 8

10 Echo Dist.

Tight Dist. 41

Blue Dist. 42

12 13 Fuzz

Slap Dist.

V.;i.>!l5af. ■

Power Leads Chasing Leads

16 ,

■ 17 Power Stack .. IB

......

■. ZV ■

■’•■2S

Symphonic Dist. Turbo Drive

.19.,,

Chasing Rhythm

■..20.;; Stereo Dist. Fusion Dist. ■ 52 ■ Straight Bass

22 ■

Boogie Room ' 53 Slap Bass Buzz Backer Fredess Bass Liquid Dist. 55 1 Trad. Bass

’ 25

26 Electric Chords 56 «

Clean Repeat 57 I Vocal Reverb

Sweet Swirl

Mild Motion 59

29 30 Pearly Chords

Prognm

_ L3A-.‘.i

life. : 31 s

Program Title Clisp Chords

Sharp Chops

1 Tremolo

34 1

Sweet Flange Chord-Clouds

■■■■'36 Light Symphonic

. 38.

Clean Acoustic Acoustic Solo Lush Strings

.. :37

40“ Soft Focus

Brass Room Brass Burst

• t"’.'43'iO

Trumpet Flange Brass Energizer

■wRS-f-'

Echo Rhythm Symphonic Hall Horror House

.48 Sitar

49 Staccato Vibe

‘ ,.6P

Sweep Gate Monk Akkal

Sax Solo

56 ■

Drum Gate'/Rev

Tight Snare

.60.

Rock Drums

Memory Configuration

The FX500 has a total of 91 memory locations. Memory locations 1 through 60 are ROM (Read Only Memory) containing 60 pre-programmed effects that you can simply select and use. Memory locations 61 through 90 are RAM (Random Access Memory), and can be used to store original effect programs that you create by editing the presets. The 30 RAM memory locations (61 — 90) originally contain a selected group of the preset programs. The last memory location — memory location number 0 — contains 'initialized data’that can be used as a basis for creating your own original effects programs from scratch.

ROM MEMORY

1 —60

• Preset effect programs

RAM MEMORY ROM MEMORY

61 — 90

• User-edited programs

• initial Data

61-90’ User Programs

0 1 Initial Data

MiDi Controi

For further versatility and smooth integration with MIDIbased music systems, the FX500 offers broad MIDI control capabilities. Any of its 90 memory locations may be directly selected from a remote MIDI device such as a keyboard or MIDI foot controller *. It is also possible to directly control up to two different effect parameters simultaneously in real time. This means that two MIDI controllers (a MODULATION WHEEL and DATA ENTRY slider on a keyboard, for example) could be used to control, say, the modulation depth of the flanger effects and the reverb time of a reverb effect in real time as you playl Any two MIDI controllers can be assigned to any two effect parameters (See ’MIDI Parameter Control: Control Change 1 Table Edit and Control Change 2 Table Edit’ on page 20 for operational details).

* Extensive MIDI control is also possible with the MFC1

MIDI Foot Controller. Consult the MFC1 operation Manual for details.

3. Connections: Basic System Setup

O DC 12V IN Jack and Cable Clip

The DC output cable from the supplied AC Adaptor should be connected here. When connecting the power supply, make sure that the FX500 POWER switch is in the OFF position (extended). Plug the AC adaptor output cable into the DC 12V IN jack, and finally the adaptor's AC plug into a convenient AC wall outlet. The cable clip located immediately below the DC 12V IN jack helps to prevent accidental unplugging of the power supply during use. Wrap the DC cable firmly around the clip a few centimeters from the plug end.

CAUTION!

Do not attempt to use a different AC adaptor to power the FX500. The use of an incompatible adaptor may cause irreparable damage to the FX500, and might pose a serious shock hazard I

o INPUT Jack

This jack duplicates the function of the front-panel INPUT jack described in the following section. It is important to note, however, that only one of the INPUT jacks can be used at a time. K plugs are inserted into both the front and rear-panel inputs, the front-panel input jack takes priority.

o OUTPUT LEVEL Selector

This switch is used to match the output level of the FX500 to the input sensitivity of the amplifier, mixing console or other device it is feeding. For compatibility with standard line-level inputs the -10 dB setting should be appropriate, while the -20 dB setting should be used when the FX500 is connected to a highsensitivity input — the input of a guitar amplifier, for example.

o OUTPUT R and OUTPUT L Jacks

These are the main stereo outputs from the FX500. We recommend using both outputs and connecting them to the corresponding right and left channels of a stereo sound system, since the full impact of many of the FX500 effects can only be appreciated in stereo. If, however, only a mono sound system is available, use either the OUTPUT R or OUTPUT L jack.

o PHONES LEVEL Control and PHONES Jack

For private listening or practice when an external sound system cannot be used, a pair of standard stereo headphones (with a 1/4" stereo phone plug or appropriate adaptor plug) can be plugged into the PHONES jack. The PHONES LEVEL control adjusts

the headphone listening level.

O MIDI IN Connector

The MIDI IN connector accepts MIDI signals from an

external MIDI device such as a MIDI foot controller, keyboard, etc. The FX500 will accept MIDI PROGRAM CHANGE messages to directly select effect programs, or MIDI CONTROL CHANGE messages to control individual effect parameters. [See page 19 for further details]

O MEMORY INC/DEC, TRIGGER (TAP TEMPO DELAY)

Jack

An optional Yamaha FC4 or FC5 Footswitch may be connected here for convenient foot-controlled selection of effect programs or "tap tempo delay" control which is

used to set delay time for the delay effects. The

function of the footswitch is determined by the UTILITY

mode Foot Switch Function Seiect function (page 22). The range of effect programs that can be seiected when the footswitch is assigned to memory selection is determined by the UTILITY mode Footswitch Memory

Recall Range Edit function (page 23).

o BYPASS Jack

An optional Yamaha FC4 or FC5 Footswitch connected

here performs exactly the same function as the front-

panel BYPASS key. Press the footswitch once to

activate the bypass mode, and again to turn bypass off.

Basic System Configuration

■

Effects for Multitrack Recording

FX500

TO AC WALL

SOCKET

4. The Controls: A Quick Operation Guide

O Power Switch

Press once to turn the FX500 on, and a second time to

turn the power off. When the power is turned on, a titie

and copyright notice wiii appear on the dispiay panel for a few seconds before operation actually begins.

O Input Jack

Plug your guitar, keyboard or other signal source in here or into the duplicate INPUT jack provided on the

rear panel (see "©INPUT Jack" in the "3. Connec tions; Basic System Setup" section). Both jacks are standard monaural 1/4" phone jacks.

Indicators

For the optimum input level setting, play your source at the highest level it will be played in actual use. Adjust the INPUT LEVEL control so that the SIGNAL Indicator lights most of the time but the PEAK indicator does not light, or lights only occasionally on brief high-level peaks.

-Should flash only

occasionally or not at

-Should light most of the time

an input signal is present.

O Liquid Crystal Display Panel

This is the FXSOO's main "information center", providing all information necessary for effect program selection, programming and utility control.

Program number. -

Appears when BYPASS key is pressed to bypass all effects.

Currently selected effect, parameters — being programmed, or utility function.

Broad Dist.

Fig Hr Dly

) COMP, DIST, EQ, MOD and REV Effect Keys

These keys function differently in the MEMORY and

PARAM modes.

• When the MEMORY mode is selected (i.e. when the MEMORY key indicator is lit — see "©MEMORY Mode Key"), these keys are used to turn the corresponding effect stage ON (indicator lit) or OFF (indicator out). [See page 10 for further details]

• When the PARAM mode is selected (i.e. when the PARAM key indicator is lit — see "©PARAM Mode Key"), these keys select the various parameters available for editing in the corresponding effect

stage. [See page 11 for further details]

I Arrow (Aand T) keys

The Aand Tkeys function differently in the MEMORY, PARAM and UTILITY modes.

• When the MEMORY mode is selected (i.e. when the

MEMORY key indicator is lit — see "©MEMORY Mode Key"), the Aand Tkeys are used to select the desired effect program. [See page 9 for further details]

* •

• When the PARAM mode is selected (i.e. when the

PARAM key indicator is lit — see "©PARAM Mode Key"), they are used to "edit" the selected effect parameter. [See page 11 for further details]

• When the UTILITY mode is selected (i.e. when the UTILITY key indicator is lit — see "©UTILITY Mode Key"), the Aand Tkeys are used to program the selected utility function. [See page 19 for further details]

o SEL/ASN Kay

The SEUASN key functions differently in the MEMORY and PARAM modes.

• When the MEMORY mode is active this key reverses the order of the MOD and REV processing stages. fSee page 10 for further details]

• In the PARAM mode, the SEL/ASN key is used to assign effect parameters for control via external MIDI controllers. fSee page 21 for further details]

o BYPASS Key

When the BYPASS key is pressed and "BYPASS" appears on the display panel, all FX500 effect stages are completely bypassed and the input signal is fed directly to the output. Press the BYPASS key a second time to turn the bypass function off. The rear-panel BYPASS footswitch jack can also be used for bypass control (see "© BYPASS Jack" on page 5).

o MEMORY Mode Key and Indicator

When the MEMORY key indicator is lit, the FX500 MEMORY mode is active and effect programs (1 — 90) can be selected and recalled using the ▲ and T keys and RECALL key. In the MEMORY mode it is also possible to turn effect stages ON or OFF using the COMP, DIST, EQ, MOD and REV keys. The MEMORY mode can be activated while the PARAM mode is selected by pressing the MEMORY key. The MEMORY mode can not be directly selected from the UTILITY

mode by pressing the MEMORY key. The UTILITY mode must first be exited by pressing the UTILITY key several times or holding it down (approximately 1 second) until the UTILITY key indicator goes out. [See page 9 for further details)

I PARAM Mode Key and Indicator

The PARAM key selects the PARAM (parameter) mode in which the individual parameters for each effect stage can be edited as required. The PARAM key indicator lights when the PARAM mode is active. The PARAM mode can not be directly selected from the UTILITY mode by pressing the PARAM key. The UTILITY mode must first be exited by pressing the UTILITY key several times or holding it down (approximately 1 second) until the UTILITY key indicator goes out. [See page 11 for further details)

I UTILITY Mode Key and Indicator

Pressing this key activates the UTILITY mode, allowing access to 7 different utility functions;

■ Program Title Edit [Page 19)

• MIDI Setup [Page 20)

• Program Change Table Edit [Page 201 > Control Change 1 Table Edit [Page 211

• Control Change 2 Table Edit [Page 211

• Foot Switch Function Select [Page 22)

• Foot Switch Memory Recall Range Edit [Page 23]

The UTILITY key LED lights when the UTILITY mode is active. Each time the UTILITY key is pressed the next function on the utility "list" is selected. The mode that was active before the UTILITY key was pressed (MEMORY or PARAM) is selected foltowing the last function on the utility list. The UTILITY mode can also be exited by pressing the UTILITY key several times or holding it down (approximately 1 second) until the UTILITY key indicator goes out.

After using the ▲ and ▼ keys to select a desired effect program while in the MEMORY mode, the RECALL key is pressed to actually recall and activate the selected program. [See page 9 for further details)

0 STORE Key

After editing any of the effect programs, the new program can be stored in any of the FXSOO's RAM memory locatbns (61 through 90) for later recall and use. The STORE key is used to store edited data to a RAM memory location. [See page 12 for further details]

5. The MEMORY Mode: Selecting Effect Programs

In the FX500 MEMORY mode, the Aand Tkeys can be used to select individual effect programs. When a new program number is selected, its number will flash on the display and its title will appear on the upper line. Press the RECALL key to actually recall and activate the selected

program.

MEMORY key indicator is ngi lit), press the MEMORY key to select the MEMORY mode.

Broad Dist.

Fig Dly

The MEMORY mode can not be directly selected from the UTILITY mode by pressing the MEMORY key. The

UTILITY mode must first be exited by pressing several

times or holding (about one second) the UTILITY key

until the UTILITY key indicator goes out.

(D The number of the selected effect program should now

be flashing on the display, indicating that the program has been selected but has not yet been recalled (the previous effect program is still active). Press the RECALL key to actually recall and activate the selected program. The program number will stop flashing.

Echo Dist.

Fig Ech

desired effect program (in this example we go to program number 10 from number 1, so only the Akey

is used). Press the Aor Tkey briefly to select the next

highest or lowest numbered program, or hold either key down for continuous scrolling in the corresponding direction. Faster scrolling is achieved by pressing the opposite arrow key while holding the arrow key corresponding to the direction of scrolling.

rV-^-Y-

-!< in ►

Echo Dist.

Fig -> Ech

Flashing

6. Effect Processor Selection

In the MEMORY mode the FX500 effect stages can be individually turned ON or OFF by using the COMP, DIST,

EQ, MOD and REV keys. Pressing any of these keys alternately turns the corresponding effect stage ON (indicator lit) or OFF (indicator out). When a stage is turned

OFF, it is bypassed and the previous active stage is connected directly to the following active stage. If all stages are ON, the effect chain is as shown below:

•comp •dist

COMPRESSOR

If, however, you only wanted to use the compressor, equalizer and reverb stages, you could press the DIST and MOD keys to turn the stages OFF, resulting in the effect

chain shown below:

I COMP Odist seq

DISTORTION II EQUALIZER MODULATION

rOMOD-—•rev

Orev —Omod

This is the normal order of the MOD and REV effect stages:

ICOMP VDIST (EQ

COMPRESSOR M DISTORTION

The current order of the selected effects in the MOD and

REV stages is also shown on the bottom line of the display ("MOD -► REV" in this case).

• mod — •rev

EQUALIZER I MODULATION M REVERB

I Broad Dist.

Fig ■> Dly

Press the SEL/ASN key to reverse this order.

•comp •dist •EQ

Omod — Orev

COMPRESSOR I EQUALIZER M REVERB

NOTE: The ON/OFF status of each effect is stored to the

RAM memory along with all other effect data when a STORE operation is performed (see "Memory Store Operation" on page 12).

Reversing the Order of the Modulation & Reverb Stages

Normally, the last two effects in the FX500 effect chain are a modulation type and reverb type, in that order. By pressing the SEL/ASN key while in the MEMORY mode, however, this order may be reversed. The order of the

MOD and REV effect stages is shown on the bottom line of the LCD, and the LEDs associated with the MOD and REV keys will light to show the selected order:

• MOD — • REV or • REV — • MOD.

COMPRESSOR I DISTORTION

The new MOD/REV order is also shown on the display.

MODULATION

Broad Dist.

Dly ^ Fig

The ability to reverse the order of the modulation and

reverb stages is important because it gives you choice of applying reverb/delay to the already-modulated signal, or applying modulation to the reverb/delay signal. The

difference in sound can be quite significant.

NOTE: The selected order of the MOD and REV effect

stages is stored to the RAM memory along with all other effect data when a STORE operation is performed (see "Memory Store Operation" on page 12).

7. The Parameter Mode: Editing the Effect Programs

The parameter mode provides access to several important parameters for each effect, allowing you to change the sound of each effect over a broad range to suit your specific requirements. Once the parameters for each effect stage have been programmed and fine-tuned to provide exactly the sound you want, the entire effect program can be stored into one, of the FXSOO's RAM memory locations for laterj:ecall and use.

Editing Parameter Data

® The parameter mode is entered by pressing the

PARAM key. The parameter abbreviations are displayed on the upper line of the LCD, and the corresponding data values are shown on the bottom line (the parameters will be described in detail in the following sections).

• TH l

The PARAM mode can not be directly selected from the

UTILITY mode by pressing the PARAM key. The UTILITY mode must first be exited by pressing several

times or holding (akwut one second) the UTILITY key

until the UTILITY key indicator goes out.

(2) Press the COMP, DIST, EQ, MOD or REV key to select

the effect you wish to edit.

RA T AT K LV L-

-1<

-------Underline cursor.

) 1/ » 8.0 0-

- Lower line shows current

value for each parameter.

) Press the selected effect key (I.e. the key you pressed

in step d), above) to move the cursor to the parameter to be edited. Each time the effect key is pressed the cursor moves one parameter to the right. In many

effects, two or three parameter screens are required,

so the next screen will appear when the cursor is

moved past the last parameter on each screen. The first screen is re-selected after the last parameter on the last screen. The modulation stage flanger effect, for

example, has the following three parameter screens:

FIRST SCREEN

SECOND SCREEN

0 Use the Aand Tkeys to adjust the value of the

selected parameter. If you hold the Aor Tkey the data will scroll continuously in the specified direction. The data wili scroil faster if you press the opposite arrow key whiie holding either the Aor Tkey.

0 The effect selected for editing can be turned ON or

OFF by pressing the PARAM key, so you can easily compare the direct and processed sound.

NOTE: To prevent accidental loss of edited data, the

FX500 responds with a confirmation display — "RECALL OK ?" — if you press the RECALL key while editing in the PARAM mode. If you actually intend to recall the original (pre-edit) effect, press the RECALL key a second time. If you do not want to carry out the recall operation, simply press any key other than the RECALL key.

•Assigning MiDi CONTROLLERS to Effect

Parameters

If the SEL/ASN key is pressed In the PARAM mode. It

becomes possible to assign external MIDI CON TROLLERS to diectly control effect parameters. Refer to "Assigning CONTROLLER 1 and CONTROLLER 2 to Specific Effects" on page 21.

■

• Memory Store Operation

An edited effect program can be stored in any memory iocation within the FXSOO's RAM memory area (61 through

90). Originai effect programs stored in this way can be selected and used in exactly the same way as the preset effect programs. The ON/OFF status of each effect, the selected order of the MOD and REV stages and MIDI CONTROLLER assignments are stored aiong with aii other parameter data. The UTILITY mode TITLE EDIT function can be used to create new tities for your originai effect programs after you have stored them in RAM memory. (See "Program Titie Edit" on page 19)

® When the store operation is complete, the memory

location stored to wiii be selected automatically.

gC Broad Dist.

Fig ■> Dly

NOTE: If you attempt to use the STORE function whiie a

ROM memory iocation is selected, the following

display will appear and the store operation wiil be

aborted.

/*» READ ONLY **

MEM NO. 0-60

COMPRESSOR (COMP)

The compressor effect stage produces sustain or simple

"smoothing" by compressing the signal so that high levels are suppressed while low levels are effectively boosted.

The use of compression before other effect stages is particuiariy effective because it iimits the signai to a dynamic range that results in improved sound with the subsequent effects.

effect, select the MEMORY mode and select the RAM memory location (61 — 90) with the Aor Tkey to which you wish to store the edited data.

----------------------

STORE OK ?

-til E H . 1 -> MEH.85

Flashing

appear for a few seconds while the store operation is in progress. If you decide not to go ahead with the store operation, simply press any key other than the STORE key.

gC MEMORY STORE

MEM. 1 MEM.85

-Stops flashing

/THR RAT ATK LVL

-10 l/oo 8.0 0

THR (Threshold: -60 — 0 dB)

Sets the compressor threshoid ievel. signal levels exceeding the threshold level will be compressed while those below the threshold level will be unaffected.

RAT (Ratio: 1/2,1/4,1/8,1/oo)

This parameter sets the degree of compression. A compression ratio of 1/2, for example, compresses signals above the threshold level to one-half their originai ampiitude. A setting of 1/°° produces aimost total compression, producing the same signai ievel for all signals above the threshold level. This yields the greatest degree of sustain.

ATK (Attack: 1.0 — 20 ms)

Determines how long it takes for compression to begin after an input signal is detected. Higher values produce a

longer attack time, allowing more of the natural attack of the input signal to come through. This parameter is particularly useful if, for example, you want to retain a sharp attack while increasing sustain.

LPF (Low Pass Filter Cutoff Frequency: 400 HZ —16

KHZ, THRU)

Controls the tone of the distortion sound. Set at 400 Hz, only signals below 400 Hz will be passed, resulting in a deep, bassy sound. As the LPF frequency is increased more of the total frequency range is passed. When set to THRU, the LPF is effectively OFF and has no effect.

(ATK)

LVL (Output Level: -41 — +24 dB)

Determines the output level of the effect.

■ DISTORTION (DIST)

The FX500 distortion stage digitally produces smooth, rich distortion that can be adjusted to achieve and extremely wide variety of effects. In addition to providing full control of the degree of distortion produced, a variable low-pass filter gives you broad control over the tone of the distortion. A built-in noise gate function with adjustable trigger level effectively shuts out unwanted noise.

/DST TRG LPF LVL

80 -45 THRU-10

DST (Distortion Drive Level: 0 —100)

Sets the degree of distortion produced. Higher values produce more distortion.

400 Hz

16 kHz

LVL (Output Level: -41 — +6 dB)

Determines the output level of the effect.

■ EQUALIZER (EQ)

The FX500 features a three-band equalizer stage for wide ranging tonal control. Up to 15 dB of boost or cut can be applied to the low, mid and high bands, and the center frequency of the mid band can be adjusted over a broad 400 Hz — 6.3 kHz range.

TRG (Noise Gate Trigger Level: -80

--------

30 dB)

Sets the threshold level of the distortion effect stage noise gate. Signals below the threshold level are suppressed, thus reducing noise. Caution: excessively high TRG levels can cause notes to be cut off unnaturally.

Shaded portion of signal passed.

Noise gate trigger level. (TRG)

ILoG MiG MiF HiG

+ 0 -5 1.6k

jTYP

LVL

LoG (Low Gain: -15 — -r-IS dB)

Sets the amount of boost or cut applied to frequencies below 280 Hz. A setting of 0 produces no boost or cut.

’Minus” values produce cut and ’plus’ values produce

boost.

MIG (Mid Gain: -15 —-t-IS dB) Sets the amount of boost or cut applied to mid-band

frequencies. A setting of 0 produces no boost or cut.

"Minus" values produce cut and "plus" values produce boost.

MIF (Mid Frequency: 400 — 6.3 kHz)

Sets the center frequency of the Mid equalizer band.

HIG (High Gain: -15 — -i-IS dB) Sets the amount of boost or cut applied to frequencies

above 6.3 kHz. A setting of 0 produces no boost or cut. "Minus" values produce cut and "plus" values produce boost.

LVL (Output Level: -41 — +6 dB) Determines the output level of the effect.

SPED (Modulation Speed: 0.1 — 20.0 Hz) Sets the speed of modulation and therefore the rate of

effect variation.

PMD (Pitch Modulation Depth: 0 — 100 %) Sets the depth of delay time modulation. Higher values

deepen the pitch modulation portion of the effect.

AMD (Amplitude Modulation Depth: 0 — 100 %) Sets the depth of amplitude modulation. Higher values

deepen the amplitude modulation portion of the effect.

MIX (Mixing Balance: 0 —100 %) Sets the balance between the direct and effect sound.

Higher values produce a greater proportion of effect sound in relation to direct sound.

LVL (Output Level: -41 — +6 dB) Determines the output level of the effect.

■ MODULATION (MOD)

The MODULATION effect stage contains a number of effects based on signal strength (amplitude) and signal delay variation, or "modulation". The different MODULATION effects are selected by the TYP (type) parameter which appears at the left of every MODULATION display screen.

; TYP SPED PMD

Cho 0.6

TYP (Type: Cho, Fig, Sym, Trm) This parameter is common to all modulation programs, and

is used to select the desired effect. The various modulation effects are indicated by the following abbreviations:

Cho: Chorus Fig: Flanger Sym: Symphonic Trm: Tremolo

Each modulation effect has a slightly different set of parameters. The parameters for each type are described below.

• Chorus (Cho)

The chorus effect combines delay time and amplitude

modulation to effectively thicken and add warmth to the sound.

I TYP SPED PMD

Cho 0.6 50

I TYP AMD MIX LVL

Cho

0 0

• Flanger (Fig)

Flanging is a fairly pronounced effect based primarily on delay time modulation. By adjusting the various parameters you should be able to create an extremely broad range of sounds, from gentle shimmering to wild sweeps.

SPED DEP

;typ

Fl|

0.1 66

'TYP

MIX

LVL

Fig

SPED (Modulation Speed: 0.1 — 20,0 Hz)

Sets the speed of modulation and therefore the rate of effect variation.

PEP (Depth: 0 — 100 %) Sets the depth of modulation. Higher values produce deeper modulation.

DLY (Delay Time: 0,2 —15.0 ms) Sets the delay time. Delay times shorter than 1 msec

produce the greatest effect in the high-frequency range. With delay times from 1 to 3 ms the effect extends to the middle frequencies.

FB (Feedback: 0 — 100 %) Determines the amount of effect-sound feedback returned

to the input of the processor. Higher values produce a

more pronounced effect.

;typ dly pb

Pig 1.3 77

MIX (Mixing Balance: 0 — 100 %)

Sets the balance between the direct and effect sound. Higher values produce a greater proportion of effect sound in relation to direct sound.

LVL (Output Level: -41 — 46 dB)

Determines the output level of the effect.

• Symphonic (Sym)

Symphonic is a broad, sweeping effect that adds a sense of dimension to the sound.

; TYP

SPED

Sym 0.9 90

DEP

1 TYP

Sym

MIX LVL

0 0

PH (Phase:-a —.»8)

Sets the direction in which the sound image moves in the stereo sound field (this is only effective if the FX500 is used with a stereo sound system). A setting of 0 produces no movement, while settings toward +8 or-8 cause the sound image to move to the left or right.

MIX (Mixing Balance: 0 —100 %)

Sets the balance between the direct and effect sound. Higher values produce a greater proportion of effect sound in relation to direct sound.

LVL (Output Level: -41 — +6 dB)

Determines the output level of the effect.

SPED (Modulation Speed: 0.1 — 20.0 Hz)

Sets the speed of modulation and therefore the rate of effect variation.

PEP (Depth: 0 — 100%)

Sets the depth of moduiation. Higher values produce deeper modulation.

MIX (Mixing Balance: 0 — 100 %)

Sets the balance between the direct and effect sound. Higher values produce a greater proportion of effect sound in relation to direct sound.

LVL (Output Level: -41 — -18 dB)

Determines the output level of the effect.

• Tremolo (Trm)

The tremolo effect uses amplitude modulation to produce a periodic volume variation. The FX500 tremolo effect additionally offers a phase parameter which can be used to create a periodic "panning" effect in which the sound appears to move across the stereo sound field.

/ryp SPED DEP PH

Trn 4.0 100 0

SPED (Modulation Speed: 0.1 — 20.0 Hz)

Sets the speed of modulation and therefore the rate of effect variation.

DEP (Depth: 0 — 100%)

Sets the depth of modulation. Higher Values produce deeper modulation.

'TYP

Trm

MIX LVL

0 0

■ REVERB/DELAY (REV)

The REVERB effect stage includes a number of reverb, early reflection and delay type effects. The parameters are

different for each type. The different REVERB effects are

selected by the TYP (type) parameter which appears at

the left of every REVERB display screen.

/TYP RVT HP

Rhl 2.4 6

TYP (Type: Rhl, Rrm, Rvc, Rpl, Ehl, Erd, Erv, EpI, Dly,

Ech.RtD, R-*D,D-*R)

This parameter is common to all reverb programs, and is

used to select the desired effect. The various reverb effects are indicated by the following abbreviations:

Reverb Group

Rhl: Reverb Hall Rrm: Reverb Room

Reverb Vocal

Rvc:

Reverb Plate

Rpl:

Early Reflection Group

Ehl: Early Reflection Hall Erd: Early Reflection Random Erv: Early Reflection Reverse EpI: Early Reflection Plate

Delay Group

Dly: Delay Ech: Echo

Reverb and Delay Group

R+D: Reverb + Delay R -♦ D: Reverb -»Delay D -»R: Delay -* Reverb

The parameters for each type are described below.

• Reverb Group

' Early Reflection Group

• Reverb Hall (RhI) • Reverb Room (Rrm)

• Reverb Vocal (Rvc) • Reverb Plate (Rpl)

Reverberation is the warm musicai "ambience" you experience when listening to music in a hall or other natural environment. The FX500 offers several different reverb effects, simulating types of reverberation you would experience in a hall (Reverb Hall), in a smaller room (Reverb Room), a reverb effect ideally suited to vocals (Reverb Vocal), and the type of reverberation produced artificially by a plate reverberator (Reverb Plate).

I TYP

RVT HF

Ehl 2.4 6

1 TYP «IX

Rhl 0

LVL

j lYP

Rhl

DLY

30.0

RVT (Reverb Time: 0.3 — 40 s)

Sets the duration of the reverb effect.

HP (High Frequency Reverb Time Ratio: 1 —10)

Sets the reverb time of the high frequencies in relation to the overall reverb time. Higher values produce longer highfreqüency reverb times, gradually approaching the overall reverb time.

Lower values create a "darker" reverb decay.

PLY (Delay Time: 0.1 — 335.0 ms)

Sets the delay time before the reverb sound begins.

• Early Reflection Hall (Ehl)

• Early Reflection Random (Erd)

• Early Reflection Reverse (Erv)

• Early Reflection Plate (Epi)

These effects are created using different groupings of "early reflections" — the first cluster of reflections that occurs after the direct sound but before the dense reflections that are known as reverberation begin. Early Reflection Hall produces a typical grouping of early reflections that would occur in a performing environment such as a hall. Early Reflection Random produces an irregular series of reflections that could not occur naturally. Early Reflection Reverse generates a series of reflections

that increase in level — like the effect produced by playing

a recorded reverberation sound backwards. Early Reflection Plate produces a typical grouping of reflections

that would occur in a plate reverb unit.

ITYP RSZ LIV

Ehl 2.0 4

1 TYP

Ehl

DLY

14.0

I TYP MIX LVL

Ehl 0 0

RSZ (Room Size: 0.1—20)

Sets the separation between reflections. The values increment in 0.1 steps from 0 to 10, while values above 10 increment in steps of 1. Higher values produce greater separation between reflections, and therefore the effect of a bigger room.

(DLY)

MIX (Mixing Balance: 0 — 100 %)

Sets the balance between the direct and effect sound.

Higher values produce a greater proportion of effect sound in relation to direct sound.

LVL (Output Level: -41 — ■fS dB)

Determines the output level of the effect.

LIV (Liveness: 0 — 10)

Determines how the early reflections decay. Higher values result in slower decay, producing the effect of a more reflective ("live") room.

DLY (Delay Time: 0.1 — 400.0 ms)

Sets the delay time before the early reflection sound begins.

Initial direct sound.

Room Size determines spacing between reflections.

: LOW : i— UVENESS—I

-HIGHUVENESS-

DELAYTIME

(DLY)

MIX (Mixing Balance: 0 —100 %)

Sets the balance between the direct and effect sound. Higher values produce a greater proportion of effect sound in relation to direct sound.

LVL (Output Level: -41 — -^6 dB)

Determines the output level of the effect.

• Echo (Ech)

Although similar to the Delay program, the Echo program has different delay ranges and different "internal" settings

that result in a distinctive echo effect.

;typ l-dly r-dly

Ech 366.0 370.0

;typ fb l/r

Ech 20 Rll

• Delay Group

• Delay (Dly)

This sophisticated delay effect offers independently

variable left and right channel delays (repeats).

;typ l-dly r-dly

Dli 366.2 508.0

;typ fb l/r

Dly 40 L=R

1 TYP HIX LVL

Dly 15 + 4

L-DLY (Left Channel Delay Time: 0.1 — 740,0 ms)

Sets the delay time of the left channel.

R-DLY (Right Channel Delay Time: 0.1 — 740.0 ms)

Sets the delay time of the right channel.

FB (Feedback: 0 —■ 100 %)

Determines the amount of effect-sound feedback returned to the input of the processor. Higher values produce a a greater number of repeats.

L/R (L/R Channel Delay Level Balance: 0 —100 %)

Sets the left-to-right channel balance of the delay sound

level. Higher values produce higher-level delay sound from the left channel, and smaller values produce a higher-level delay sound from the right channel.

MIX (Mixing Balance: 0 —100 %)

Sets the balance between the direct and effect sound. Higher values produce a greater proportion of effect sound in relation to direct sound.

LVL (Output Level: -41 — -tS dB)

Determines the output level of the effect.

/TYP HIX

Ech 0

LVL

L-DLY (Left Channel Delay Time: 0.1 — 370.0 ms)

Sets the delay time of the left channel.

R-DLY (Right Channel Delay Time: 0.1 — 370.0 ms)

Sets the delay time of the right channel.

FB (Feedback: 0 — 100 %)

Determines the amount of effect-sound feedback returned to the input of the processor. Higher values produce a a greater number of repeats.

L/R (L/R Channel Delay Level Balance: 0 —100 %)

Sets the left-to-right channel balance of the echo sound

level. Higher values produce higher-level echo sound from the left channel, and smaller values produce a higher-level echo sound frorn the right channel.

MIX (Mixing Balance: 0 —100 %)

Sets the balance between the direct and effect sound. Higher values produce a greater proportion of effect sound In relation to direct sound.

LVL (Output Level: -41 — +6 dB)

Determines the output level of the effect.

• Reverb and Delay Group (Parallel)

• Reverb + Delay (R-fD)

This effect functions like separate reverb and delay processors connected in parallel.

REVEFB

IN —

►cxrr

DELAY

■

!TYP L-DLÏ R-DLÏ

R+D 190.0 380.0

; TYP R/D«IX LVL R + D

L-DLY (Left Channel Delay Time: 0.1 — 380.0 ms)

Sets the delay time of the left channel.

R-DLY (Right Channel Delay Time: 0.1 — 380.0 ms)

Sets the delay time of the right channel.

FB (Feedback: 0 —100 %)

Determines the amount of effect-sound feedback returned to the input of the processor. Higher values produce a a greater number of repeats.

UR (L/R Channel Delay Level Balance: 0 — 100 %)

Sets the left-to-right channel balance of the delay sound level. Higher values produce higher-level delay sound from the left channel, and smaller values produce a high-level delay sound from the right channel.

RVT (Reverb Time: 0.3 — 40 s)

Sets the duration of the reverb effect.

R/D (Reverb/Delay Level Balance: 0 —100 %)

Determines the balance between the level of the reverb and delay sound. Higher values produce a greater proportion of reverb sound, while smaller values produce a greater proportion of delay sound.

MIX (Mixing Balance: 0 —100 %)

Sets the balance between the direct and effect sound. Higher values produce a greater proportion of effect sound in relation to direct sound.

LVL (Output Level: -41 — dB)

Determines the output level of the effect.

50 0

' TYP FB R + D 43 L=R 2.4

L/R RVT

The Delay -» Reverb program provides both delay and reverb, with delay before reverb.

The Reverb -»Delay provides delay and reverb with reverb before delay.

IN ■

'TYP L-DLY R-DLY

'TYP RVT

L-DLY (Left Channel Delay Time: 0.1 — 380.0 ms)

Sets the delay time of the left channel.

R-DLY (Right Channel Delay Time: 0.1 — 380.0 ms)

Sets the delay time of the right channel.

FB (Feedback: 0 — 100 %)

Determines the amount of effect-sound feedback returned to the input of the processor. Higher values produce a a greater number of repeats.

UR (UR Channel Delay Level Balance: 0 —100 %)

Sets the left-to-right channel balance of the delay sound level. Higher values produce higher-level delay sound from the left channel, and smaller values produce a higher-level delay sound from the right channel.

DMX (Delay Mixing Balance: 0 —100 %)

Sets the balance between the direct and delay sound. Higher values produce a greater proportion of delay sound in relation to direct sound.

REVERB DELAY ►OLIT

R.>D 290.0 320.0

R+D 2.6

RMX LVL

0 0

'TYP FB L/R DHX R->D 28 L = R 0

• Reverb and Delay Group (Serial)

■ Delay -♦ Reverb (D -♦ R) ' Reverb -♦ Delay (R -» D)

IN'

DELAY

REVERB

►our

RVT (Reverb Time: 0.3 — 40 s)

Sets the duration of the reverb effect.

RMX (Reverb Mixing Balance: 0 — 100 %)

Sets the balance between the direct and reverb sound. Higher values produce a greater proportion of reverb sound in relation to direct sound.

LVL (Output Level: -41 — +6 dB)

Determines the output level of the effect.

8. The Utility Mode

The UTILITY mode allows access to a number of utility functions such as user's area program title editing, memory location number and MIDI program change number assignment, and footswitch memory recall range programming. The UTILITY mode is activated by pressing the UTILITY key. Each press on the UTILITY key calls a different UTILITY function, as shown below:

MEMORY or PARAMETER mod*

Program Title Edit

MIDI Setup

PROGRAM CHANGE Table Edit

CONTROL CHANGE 1 Table Edit

CONTROL CHANGE 2 Table Edit

Footswitch Function Select

Footswitch Memory Recall Range Edit

The characters accessible via the A and T keys are shown in the chart below, in their proper order.

Initial (pre-edit) space & space produced by pressing STORE key.

1 < >

2 7

X ■b y

•>

A /

1 K LMN bcd e fKh Ü

j -

0 P

? f-

•T T

i j

r -i

■y •y

R k 1

A BcD E

s T U V W

m n 0 Ö

=XX

■f

h ■f-

3 1)

J y

?-,-

F G H

X Y Z a ä

stu

cr?7 >

A newly created program title is automatically stored with

the appropriate program data when the Program Title Edit

mode is exited.

NOTE: The TITLE EDIT function can only be used when

one of the FX500 RAM memory locations (61 through 90) are selected. If you call the TITLE

EDIT function while a ROM memory location (1 through 60) is selected, the following display will appear and editing will not be possible.

/RAH(61-90) ONLY

TITLE EDIT

The mode that was active before the UTILITY key was pressed (MEMORY or PARAM) is selected following the

last function on the utility list. The UTILITY mode can also be exited by pressing several times or holding (about one second) the UTILITY button until the UTILITY key indicator goes out.

■ Program Title Edit

The Program Title Edit function allows you to create

original titles for your effect programs, for easy

identification. When Program Title Edit is called the LCD will appear something like the example below — the memory title will appear on the upper line. Use the MEMORY (-^ and PARAM (►) keys to move the cursor to

the desired character location, then use the Aand Tkeys to change the character at the cursor location. The STORE

key can be used to place a space at the cursor position. Continue until the new title is complete.

Bro ad D ist.

85]

TIT LE E DIT

—Cursor

■ MIDI Program Selection: MIDI

Setup and Program Change Table

Edit

The FX500 makes it possible to select specific programs via external MIDI control. You can set up the FX500, for example, so that when you select a voice on a synthesizer

the most appropriate effect for that voice is automatically

selected. This is accomplished because each time you select a voice on your MIDI synthesizer it transmits the

corresponding MIDI PROGRAM CHANGE NUMBER. The

FX500 receives this PROGRAM CHANGE NUMBER and

selects the effect program that you have assigned to it

using the Program Change Table Edit function which will be described below. A more convenient idea for guitarists

would be to use a MIDI foot controller such as the Yamaha

MFC1 to transmit the required MIDI PROGRAM CHANGE NUMBERS. The FX500 actually can be programmed with four completely independent sets of MIDI PROGRAM CHANGE NUMBER/MEMORY NUMBER assignments. Each of these is contained in a different "bank"; A, B, C or D. Each BANK may also be programmed to receive on a different MIDI channel. The four banks may be programmed with different receive channels using the MIDI Setup functbn described below.

■

• MIDI Setup

This function makes it possibie to select any of the four available program change table BANKs, and to change the MIDI receive channel for each BANK.

I MIDI SETUP

BANK:A ch=0MNI

® The underline cursor should be under the BANK

parameter. Use the A and Tkeys to select the bank you wish to program (A, B, C or D).

(D Move the cursor to the "ch=" parameter by pressing the

PARAM (^) key, then use the Aand Tkeys to set the receive MIDI channel (1 —16), the OMNI mode (all channels can be received), or turn MIDI reception OFF for the selected bank. The underline cursor can be

moved back to the BANK parameter if necessary by

pressing the MEMORY (◄) key.

• Program Change Table Edit

When this function is called the LCD will appear as shown below, and it becomes possible to assign new memory

location numbers to each MIDI program change number.

pressing the PARAM (►) key. Use the Aand Tkeys to select the memory location number containing the effect which is to be assigned to the currently selected program change number. Ifis selected, no new memory location will be

selected when that program number is received.

by pressing the MEMORY (Ml) key and repeat the

above steps to assign as many program change

numbers as necessary.

NOTE; The program number/memory number

assignments made are stored in the BANK selected in the previous MIDI Setup function. To program the program change/memory number assignments for a different BANK, return to the

MIDI SETUP display, select the desired BANK,

then program the required assignments.

NOTE: Although the BANKA, B, and Cprogram change

tables are retained in memory even when the power is off, the BANK D program change table is automatically initialized whenever the FX500 power switch is turned on (PGM number = MEM number). Make sure you program PGM/MEM assignments you want to keep in BANK A, B, or C.

MIDI Parameter Control: Control Change 1 Table Edit and Control Change 2 Table Edit

The FX500 allows two MIDI "controllers" to be assigned for remote real-time control of effect parameters. "MIDI controller" actually refers to a MIDI CONTROL CHANGE number between 0 and 127. Some of these numbers are assigned to specific controllers — modulation wheel, data entry, etc — and a MIDI device such as a keyboard or MFC1 MIDI Foot Controller that has the any of these controllers will transmit the corresponding MIDI control change data when the controllers are operated. You could, for example, assign an FC7 connected to an MFC1 to control the FX500 reverb time.

display. The underline cursor should be under the PGM

parameter.

/MIDI PGM CHANGE

PGM 1 = MEM I

number to which a new FX500 memory location number is to be assigned. The range of available

program change numbers is from 1 to 128.

In order to use this kind of setup, the two "controllers" that

the FX500 allows — CONTROLLER 1 and CONTROLLER

2 — must be set to receive specific MiDl CONTROL CHANGE data (i.e. receive data from a specific MIDI

controller) using the Control Change 1 Table Edit and

Control Change 2 Table Edit functions described below.

• Control Change 1 Table Edit

When this function is called the LCD appears as shown below, and the Aand Tkeys can be used to select the

desired MIDI control change number for controller 1.

CONTROLLER 1

1 HOD. WHEEL

The following control change numbers and associated controllers (or none of no controller is specifically assigned) can be selected;

If NOTE ON VELCTY Is assigned and a number of NOTE

ON messages are received simultaneously (e.g. a chord is

played), the NOTE message with the highest note number

takes priority.

NOTE: The FX500 only receives control change data on

the MIDI channel specified using the MIDI Setup function.

• Control Change 2 Table Edit

This function operates in exactly the same way as Control Change 1 Table Edit, above. The LCD appears as shown below, and the Aand Tkeys can be used to select the desired MIDI control change number for controller 2.

QC CONTROLLER 2

2 BREATH CTRL

NOTE: The control number assigned to controller 1, also

can be assigned to controller 2.

• Assigning CONTROLLER 1 and CONTROLLER

2 to Specific Effects

Control Change Controller Number Assignment

OFF 0

Controller OFF

No specific controller assigned.

1 MOD. WHEEL

BREATH CTRL 3 No specific controller assigned. 4 FOOT CTRL 5

PORT TIME 6 DATA ENTRY 7 8 — 31

MAIN VOLUME

No specific controller assigned. 64 SUST SWITCH 65 66 67 68 — 95

102 —114

* Press the STORE key to directly assign "OFF".

Two other control sources which are not directly associated with MIDI control change numbers can also be selected: NOTE ON VELCTY (key velocity, an integral part of MIDI

NOTE ON data), and CHANNEL PRESS (channel

pressure).

PORTSWITCH

SUST PEDAL

SOFT PEDAL

No specific controller assigned.

Once the MIDI controllers you wish to use have been selected using the Control Change 1 Table Edit and Control Change 2 Table Edit functions described above, you can then assign the controllers to the specific FX500 effect parameters. Control assignment is carried out in the

PARAM mode.

0 First select the appropriate effect in the MEMORY

mode, then activate the parameter mode by pressing the PARAM key (of course, this step is not necessary if you're already editing an effect in the parameter mode).

0 To assign CONTROLLER 1 to an effect parameter,

press the SEL/ASN key in the parameter mode and a display similar to the following will appear.

DC CTRLl MIN-MAX

VOLUME 0 100

(3) The cursor will appear under the currently selected

parameter. Use the Aand Tkeys to select the parameter you wish to control. All parameters for the currently selected effects are available. "Cmp-THR," for example, refers to the compressor threshold level parameter. Dst-LPF is the distortion low-pass filter frequency parameter, etc. The individual parameters are described in detail in the "7. The Parameter Mode Editing the Effect Programs" section beginning on paj

11. In addition to the standard effect parameters, the

following two parameters are available;

' VOLUME: assigns the controller to a special volume

control stage located immediately after th

EQ stage.

• CURSOR: Allows the assigned controller to control the position of the cursor in the parameter

mode, facilitating selection of parameters

for editing.

NOTE: Control change reception is disabled while

parameters are being selected.

0 Press the SEL/ASN key to move the cursor to the MIN

and then to the MAX position, using the Aand T keys at each position to set the desired control range. Both MIN and MAX have a possible value range of 0 to

100%. For example, if the original range for DIST-LVL is -41 to 6 (dB), then setting MIN and MAX to 10 and 90 (%), respectively, produces a control range from -36 to +1 (dB).

(5) To assign CONTROLLER 2 to an effect parameter,

press the SEL/ASN key again, causing a the CONTROLLER 2 display to appear.

Pq CTRL2 MIN-MAX

DlylMIX 0 100

NOTE: If the same parameter is assigned to CTRL 1 and

CTRL 2, CTRL 1 takes priority.

(6) Carry out steps @and ® above to assign a parameter

to controller 2.

Footswitch Function Select

Footswitch Function Select determines the function of an optional Yamaha FC4 or FC5 footswitch connected to the FXSOO's rear-panel MEMORY IN/DEC TRIGGER jack. The LCD display will appear as below, and the Aand Tkeys can be used to select the desired footswitch function.

q c F. SV FUNCTION

NEHORV INC/DEC

TAP TEMPO DELAY is a function which allows delay time

to be controlled by tapping the footswitch in time with the

music (see "Using Tap Tempo Delay," below). When MEMORY INC/DEC is selected, the footswitch can be used to recall a range of effect programs specified by the Footswitch Memory Recall Range Edit function, described below.

• Using Tap Tempo Delay

When the TAP TEMPO DELAY footswitch function is selected, and the REVERB stage Dly, Ech, R+D, D -♦ R or R D effect is selected, the footswitch connected to the

MEMORY INC/DEC jack can be used to set the time of the

L-DLY parameter. Simply tap the footswitch twice at the appropriate interval. The time between "taps" sets the time between delays.The time of the R-DLY parameter is changed by the same amount as the L-DLY time. By tapping in time with the music you are playing, this function makes it simple to accurately match the delay time to tempo.

TAPI

q c; p.sv FUNCTION

TAP TEMPO DELAY

^TIME

0 When finished with controller assignment, press any of

the effect keys (COMP, DIST, EO, MOD or REV) to

return to the normal parameter editing mode, or press the MEMORY key to return to the MEMORY mode.

(D As with all other parameters, individual control

assignments can be stored with each program by pressing the STORE key.

Time between taps on footswitch sets delay time.

CAUTION: If either the L-DLY or R-DLY parameter is set

to its maximum or minimum value, the TAP TEMPO DELAY function cannot be used to create longer or shorter delays.

Footswitch Memory Recall Range Edit

The FX500 permits memory selection via an optional Yamaha FC4 or FC5 footswitch connected to the MEMORY INC/DEC TRIGGER footswitch jack (as tong as the footswitch Is assigned to MEMORY INC/DEC operation using the'Footswitch Function Select function described above). The Footswitch Memory Recall Range Edit function permits setting the range of memory location numbers that will be selected when the footswitch is pressed.

05 F.S« MEMORY RCL

RANGE 60 TO 70

If, for example, the RANGE parameter is set to ”20 TO 30” as shown in the LCD illustration above, each time the

footswitch is pressed the next highest memory location will

be selected until the last number in the specified range is reached. After the last number in the specified range, the

first (lowest) number is selected and the process repeated.

Reverse sequences can be programmed by entering the highest number in the range before the lowest, as shown below.

05 F.SW MEMORY RCL

RANGE 64 TO 61

In this case the selection sequence is: 64 -♦ 63 -»62 -» 61

-* 64, etc.

® Use the UTILITY key to call the F.SW MEMORY RCL

display. The underline cursor should be located under the first memory number in the range.

(2) Use the Aand Tkeys to enter the first number in the

range.

(D Press the PARAM (►) key to move the cursor to the

second number in the range.

0 Use the Aand Tkeys to enter the second number in

the range. The MEMORY (•4) key can be used to

return to the first number in the range if necessary.

9. Specifications

ANALOG CIRCUITRY

Frequency Response

20 Hz —20 kHz.

Dynamic Range Better than 85 dB, effect OFF.

Total Harmonic Distortion

Less than 0.1% @ 1 kHz, effect OFF. Input Impedance/Nomlnal Level Greater than 500 kohms/-20 dBm (Unbalanced phone

jack, front and rear). Output Impedance/Nomlnal Level

1 k-ohm/-20 dBm or-10 dBm, switchable (Unbalanced phone jacks x 2).

Headphone Impedance/Nomlnal Level

150 ohms/-22 dBm (Unbalanced stereo phone jack).

DIGITAL CIRCUITRY

AID and D/A Converters

16-bit quantization (linear). Sampling Frequency

44.1 kHz

' EFFECTS & MEMORY

FRONT PANEL

Control & Keys INPUT LEVEL control, COMP, DIST, EQ, MOD, REV,

A, ▼, SEL/ASN, BYPASS, STORE, MEMORY (◄),

RECALL, PARAM ( ►), UTILITY, POWER

Connector

INPUT jack. Display Backlit LCD with 7-segment program number, BYPASS,

and 15-character x 2-line display area.

LED PEAK, SIGNAL

Switch POWER (on/off)

• REAR PANEL

Connectors INPUT, OUTPUT L, OUTPUT R, PHONES, BYPASS,

MEMORY INC/DEC or TRIGGER, MIDI IN, DC 12V IN Control

PHONES LEVEL Switch OUTPUT LEVEL -20dB/-10dB

Effect Stages COMPRESSOR, DISTORTION, EQUALIZER,

MODULATION (Chorus, Flanger, Symphonic, Tremolo), REVERB (Reverb, Early Reflection, Delay, Echo, Reverb+Delay, Reverb -* * Delay, Delay Reverb)

Memory ROM area: 60 (No. 1 — 60)

RAM area: 30 (No. 61 — 90) Initial data area: 1 (No. 0)

GENERAL

Power Supply

U.S. & Canadian Models: PA-1207U AC Adaptor

(120 VAC) General Model: PA-121 OH AC Adaptor (220/240 V AC)

Dimensions (W x H x D) 220 X 45 X 250 mm (8-5/8" x 1-3/4" x 9-7/8") Weight

1.4 kg (3 lbs. approx.)

• 0dB = 0.775 Vrms

• Specifications and exterance are subject to change without

nofice.

PROC ESSE UR D'E FFE CT MUL TIP LE

I F

Manuel d'utilisation

|es52SSSSESSIÉI

Précautions à prendre lors de la manipulation du matériel de sonorisation

Ne pas placer le coffret et les composartts dans les lieux suivants: * Lieux exposés directement au rayonnement solaire. * Lieux situés au voisinage d'une source de chaleur et pouvant être

soumis à une élévation excessive de température. * Lieux humides ou poussiéreux. ‘ Lieux soumis à des vibrations excessives. Ne pas utiliser, pour le nettoyage de l'appareil, de dissolvants ou de

solutions similaires; éviter aussi toute vaporisation d'InsectIcIdes de type aérosol au voisinage de l'appareil (les dissolvants et les

insecticides de type aérosol provoquent souvent, en effet, la

décoloration). Nettoyer l'appareil en l'essuyant avec un tissu doux et sec. Avant la mise en marche. Il convient de réduire le volume au minimum, afin d'assurer la protection du matériel branché.

Ne rien placer sur le bloc dissipateur de chaleur. L'effet de dissipation

de chaleur s'en trouverait réduit d'autant et un fonctionnement

défectueux pourrait en résulter. Ne jamais forcer lors de la manipulation des interrupteurs, des boutons

et des bornes.

La manipulation de l'appareil doit s'effectuer soigneusement.

Toute manipulation brutale - telle que choc contre un objet dur ou

chute à terre - peut avoir une Incidence fâcheuse sur les performances du matériel.

Abstenez-vous de modifier ou de restructurer l'appareil, afin d'éviter tout mauvais fonctionnement ou toute défaillance. Assurez-vous que les branchements avec les autre éléments sont correctement effectués, et notez que le courant doit toujours être coupé avant d'effectuer tout branchement. Si le bloc doit être déplacé,

détachez au préalable tous les conducteurs, afin d'éviter tout

dommage et tout risque de court-circuit.

Précautions à prendre lors de la manipulation de l'appareil fonctionnant sur courant alternatif

■ Assurez-vous que la source d'alimentation correspond au voltage nominal approprié. Ne jamais brancher l'appareil avec une prise ne possédant pas le voltage nominal approprié.

• Si l'appareil doit rester Inutilisé pendant une longue période. Il convient de débrancher la prise d'alimentation.

• Par temps orageux, débrancher immédiatement l'appareil de la source d'alimentation, afin d'assurer la protection de ce dernier.

• Evitez de toucher l'interrupteur d'alimentation ou de brancher/débrancher la prise courant alternatif ou la prise entrée/sortie, avec des mains humides.

Précautions à prendre lors de la manipulation de l'appareil fonctionnant sur plies

• Si l'appareil doit rester Inutilisé pendant une longue période, retirer les plies et les conserver en Heu sûr, afin d'éviter tout dommage résultant de fuites.

• Utilisez l'adaptateur courant alternatif exclusivement conçu pour l'appareil. Il convient de noter que certains adaptateurs ont une polarité différente.

■ Lors de l'insertion des piles, assurez-vous que les polarités sont correctes. Toute erreur risque de provoquer un fonctionnement défectueux de l'appareil.

Précautions à prendre lors de la manipulation de l'ampll et du hautparleur doté d'un ampli Incorporé

• Ne pas fournir au haut-parleur une puissance supérieure à celle admissible.

• Utiliser un haut-parleur dont l'impédance reste à l'intérieur des limites données par l'ampll.

Félicitations! Vous êtes l’heureux propriétaire d'un FX500 PROCESSEUR D'EFFECT MULTIPLE de Yamaha. Le FX500 est une unité d'effets numérique hautement performante qui met à votre disposition une chaîne comptant

jusqu’à 5 effets différents et des possibilités de programmation étendues,

qui vous permettront de créer vos propres chaînes d'effets originales en

fonction de vos exigences musicales spécifiques.

Avec ses étages d'effets compressor, distortion, equalizer, modulation, et reverbldelay programmables, le FX500 constitue un véritable système de traitement de signaux ultra-perfectionné dans un coffret compact. 60 superbes programmes d’effets présélectionnés sont disponibles en

permanence et 30 emplacements de mémoire RAM sont à votre

disposition pour stocker vos propres programmes de traitement de signaux. De plus, les effets ont été créés par la technologie de pointe du traitement numérique des signaux, mise au point par Yamaha, ce qui

garantit une qualité de son incomparable.

Veuillez lire attentivement ce manuel d'utilisation tout en apprenant à vous servir de votre FX500. Cela vous permettra d’utiliser pleinement ses

fonctions puissantes. Rangez ensuite ce manuel en lieu sûr afin de pouvoir le retrouver, si vous en avez encore besoin.

TABLE DES MATIERES

1. Précautions.................................................................29

2. Le FX500: Ce qu'il est et ce qu'il fait........................30

■ Effets

.........

............................................................

■ Configuratloti de la mémoire.................................30

■ Contrôle MIDI

3. Connexions:

Mise en place d'un système de base .......................31

4. Les commandes:

Un guide d'utilisation concis

5. Le mode MEMORY:

Sélectionner les programmes d'effets.....................35

6. Sélection du processeur d'effet

■ Inverser l'ordre des étages

Modulation et Reverb

7. Le mode Paramètre: Editer les programmes d'effet

■ Editer les données de paramètre..........................37

• Assigner les dispositifs de commande MIDI au contrôle des paramètres d'effets

• Opération Memory Store ...................................38

■ COMPRESSOR....................................................... 38

■ DISTORTION

■ EQUALIZER.............................................................39

■ MODULATION

• Chorus................................................................. 40

• Flanger

• Symphonie

• Tremolo................................................................41

■ REVERB/DELAY.....................................................41

• Groupe Reverb....................................................42

• Reverb Hall • Reverb Room

• Reverb Vocal • Reverb Plate

• Groupe Early Reflection.....................................42

• Early Reflection Hall

• Early Reflection Random

• Early Reflection Reverse

• Early Reflection Plate.......................................42

• Groupe Delay.......................................................43

• Delay

• Echo

• Groupe Reverb & Delay (Parallèle)

• Reverb + Delay................................................. 44

• Groupa Reverb & Delay (Sériel)

• Delay -♦ Reverb

• Reverb Delay

.........................................................

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...............................

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................................................................. 43

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.....................................................

8. Le mode UTILITY........................................................46

■ Program Title Edit...................................................46

■ Sélection de programmes via MIDI: MIDI Setup et Program Change Table Edit

• MIDI Setup............................................................47

• Program Change Table Edit ..............................47

■ Contrôle des paramètres via MIDI: Control Change 1 Table Edit et Control Change

2 Table Edit............................................................. 47

• Control change 1 Table Edit

• Control Change 2 Table Edit..............................48

• Assigner Controller 1 et Controller 2 à des

effets spécifiques................................................48

■ Footswitch Function Select...................................49

• Utilisation de Tap Tempo Delay

■ Footswitch Memory Recall Range Edit

9. Caractéristiques techniques

10. Format des données MIDI

11. Schéma de principe

12. Tableau des paramètres du FX500

13. Paramètres des sons pré-programmés

...................................................

..............................

....................................

.........................................

........................

...........

........................

...............

...................

■

50 50

77 80

1. Précautions a Usez absolument ces recommandations avant de faire quoi que ce soit !!

1. Evitez les températures excessives, l'humidité, la

poussière et les vibrations

Evitez d'exposer cet appareils à des températures ou à une humidité excessives — comme, par exemple, à proximité de radiateurs, de poêles, etc. Evitez également de l'installer à des endroits sujets à l'accumulation de poussières ou è des vibrations, qui pourraient être la cause de problèmes mécaniques.

2. Evitez les chocs.

Les chocs violents peuvent endommager l'appareil. Manipulez-le avec précautions.

3. N'ouvrez pas le coffret et n'essayez pas de réparer

vous-même ou de modifier l'appareil

Cette unité ne contient aucun composant que l'utilisateur serait à même de réparer lui-même. Quel que soit le problème, adressez-vous au personnel qualifié du service après-vente Yamaha. Le fait d'ouvrir le boîtier ou de bricoler les circuits internes entraîne l'annulation automatique de toute garantie.

4. Coupez l'alimentation avant d'effectuer ou de défaire

toute connexion.

Mettez toujours l'appareil hors tension avant de

connecter ou de déconnecter des câbles.

5. ManIpulez les câbles avec précaution

Branchez et débranchez les câbles — y compris le

cordon d'alimentation — en les tenant par leur fiche. Ne

les arrachez pas!

8. Interférences électriques

Parce qu'il contient des circuits numériques, le FX500 peut être la cause de parasites, s'il est placé trop près d'un téléviseur, d'un récepteur radio ou appareil similaire. Si vous rencontrez ce problème, éloignez un peu le FX500 de l'appareil affecté.

9. Conservation de la mémoire

Le FX500 contient une pile spéciale de longue durée qui maintient le contenu de la mémoire RAM, même lorsque l'alimentation est coupée. La pile de mémoire doit normalement durer environ 5 ans. Lorsque la tension de la pile tombe en dessous d'un certain niveau, le message suivant apparaît à la mise sous tension:

; »* WAR NIN G » »

ME MOR Y D ATA

Si cet affichage apparaît, faites remplacer la pile par un préposé du service après-vente Yamaha. N'ESSAYEZ

PAS DE REMPLACER CETTE PILE VOUS-MEME!

6. Nettoyez l'unité avec un chiffon doux et sec

N'utilisez jamais de solvants tels que de la benzène ou du thinner pour nettoyer le coffret. Essuyez-le simplement avec un chiffon doux et sec.

7. Utilisez toujours la tension d'alimentation

appropriée.

Utilisez toujours l'adaptateur CA fourni pour alimenter votre FX500 ou, si vous l'avez perdu ou cassé, un adaptateur de qualité équivalente disponible chez votre revendeur Yamaha. Assurez-vous également que l'adaptateur que vous possédez correspond bien à la tension utilisée dans votre pays. La tension d'entrée correcte (INPUT) est indiquée sur l'adaptateur.

2. Le FX500: Ce qu'il est et ce qu'il fait

Effets

Le FX500 est un processeur de signaux numérique hautement performant destiné à être utiiisé avec des guitares électriques, des ciaviers ou autres instruments éiectroniques. li utiiise ia technoiogie de pointe du traitement numérique des signaux mise au point par Yamaha pour fournir une "chaîne” comptant jusqu'à 6 effets indépendants, qui peuvent être contrôiés de manière indépendante afin de produire exactement ie son d'ensembie requis. Comme i'indique le schéma ci-dessous, le FX500 comprend 5 effets (compressor, distortion, equaiizer, moduiation et reverb). Les différents étages peuvent être activés ou désactivés à souhait et i'ordre des étages moduiation et reverb peut être inversé. Les étages compressor, distortion, et equaiizer sont essentieiiement des processeurs à une seuie fonction tandis que ies étages moduiation et reverb comptent un certain nombre d'effets distincts, qui peuvent être séiectionnés à souhait. Certains de ces effets combinent deiay et reverb, ce qui vous donne, en fait, six effets dans la chaîne! Chaque effet possède un certain nombre de paramètres qui peuvent être ajustés en fonction du son et de vos exigences musicaies spécifiques.

COMPRESSOR I DISTORTION I EQUALIZER

MODULATION

• CHORUS

•FLANGER

• SYMPHONIC

• TREMOLO

REVERB

’REVERB

Hall, Room, Vocal. Plata

• EARLY REF. Hall, Random, Reverse, Plate

• DELAY

• ECHO

• REVERB+DELAY

• REVERB-*DELAY

• DELAY-REVERB

Program No.

Program Title Broad Dist. 31

Warm Strings 32

Standard Jazz 33-

Soft Echo 34

Power Pan 35

Trad. Dist, 36

Dark Dist.

7 8 Ring Dist.

Metal Overdrive

10 Echo Dist.

Tight Dist.

11 12 Blue Dist. 13 Fuzz 14 Slap Dist.

Power Leads

Chasing Leads

16 ■■

17 Power Stack

Symphonie Dist. 48

18 19 Turbo Drive

Chasing Rhythm

Stereo Dist.

Fusion Dist.

22 23 Boogie Room

Buzz Backer

24 25 Liquid Dist.

Electric Chords

Clean Repeat

27 28 Sweet Swiri

Mild Motion

Peariy Chords

61 -90 Programmes utilisateur

Données initiales

Program No

Program Title

Clisp Chords Sharp Chops Tremolo Sweet Flange

Chord-Clouds

Light Symphonic

Clean Acoustic

Acoustic Solo

Lush Strings

39 40 Soft Focus

41 Brass Room

Brass Burst

Trumpet Flange

Brass Energizer

Echo Rhythm

Symphonic Hall

46 47 Horror House

Sitar Staccato Vibe

49 50 Sweep Gate

Monk Akkal

Straight Bass

52 53 Slap Bass 54 Fretless Bass

Trad. Bass

55 56 Sax Solo

Vocal Reverb

Drum Gate/Rev

58 59 Tight Snare

Rock Drums

6Ô

■

Configuration de ia mémoire

Le FX500 possède en tout 91 emplacements de mémoire. Les emplacements 1 à 60 font partie de la mémoire ROM (lecture uniquement) et contiennent 60 effets pré sélectionnés que vous pouvez utiliser tels quels. Les emplacements 61 à 90 font partie de la mémoire RAM (lecture et écriture) et sont destinés à recevoir vos programmes d'effets originaux, que vous créez en modifiant les effets pré-sélectionnés.* A l'origine, les emplacement de mémoire RAM (31 — 90) contiennent une partie des effets pré-sélectionnés. Le dernier emplacement de mémoire (n° 0) contient des "données initialisées" que vous pouvez utiliser pour créer intégralement vos propres programmes d'effets originaux.

ROM MEMORY

1 — 60^,

• Programmes d'effets pré-sélectionnés

RAM MEMORY

61 — 90

* Programmes * Données

modifiés initiales par l'utilisateur

ROM MEMORY

Contrôie MiDi

Le FX500 bénéficie également d'un large éventait de fonctions de commande MIDI qui garantissent une intégration aisée dans n'importe quel système d'instruments MIDI. N'importe lequel des 90 emplacements de mémoire peut être directement sélectionné à partir d'un appareil MIDI éloigné tel qu'un clavier ou une commande au pied MIDI *. Il est également possible de contrôler

simultanément et en temps réel jusqu'à deux paramètres d'effets différents. Cela signifie que deux commandes MIDI (une molette de modulation et une commande linéaire d'entrée de données, par exemple) pourraient être utilisées pour commander, disons, la profondeur de modulation d'un effet FLANGER et la durée de

réverbération d'un effet REVERB, en temps réel, en même temps que vous jouez! Deux commandes MIDI peuvent être indifféremment assignées à deux paramètres d'effets

(voyez "Contrôle des paramètres via MIDI: Control Change

1 Table Edit et Control Change 2 Table Edit" à la page 47

pour les détails pratiques).

' La commande au pied MIDI MFC1 permet d'actionner

diverses commandes via MIDI. Pour plus de

renseignements, veuillez consulter le manuel de la

commande au pied MFC1.

+ 67 hidden pages