Yamaha FX500B User Manual [en, de, fr]

YA MA HA

BASS SI MUL- EFF ECT PRO CE SSO R PROCE SSE UR D'E FFE CT MUL TIP LE PO UR B ASS E BASS SI MUL- EFF ECT PRO CE SSO R

Operation Manual Manuel d'utilisation Bedienungsanleitung

INPUT INPUT LEVEL

SIGNAL

i o

YAMAHA [^XSOOSl Ocomp Oo.d. oeq rOwoo — orev

88!

STORE O MEMORY RECALL QPARAM O UTILITY

-OREV

----------

OMOD

-Îîsel/asnI) (fbypass))

Congratulations! You are the proud owner of a Yamaha FX500B BASS SIMUL-EFFECT PROCESSOR. The FX500B takes advantage of unmatched Yamaha digital signal processing technology to provide a chain of up to 6 different effects with extensive programming capability. All important parameters have been designed specifically to provide optimum matching with bass guitars. You can easily create "custom" effect chains to suit your own specific musical requirements. With programmable compressor, overdrive, equalizer, modulation and reverbldelay effect stages, the FX500B gives you a complete state-of-the-art signal-processing system in one extraordinarily compact package. There are 30 superlative preset effect programs designed specifically for bass that you can simply select and use right away, and 30 RAM memory locations which can be used to store original signal-processing sounds that you create using the FX500B's broad-ranging programming features. For further versatility and smooth integration with MIDI-based music systems, the FX500B offers broad MIDI control capabilities. Any of its 60 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 versatility, and the sound is nothing less than superb. Please read through this operation manual thoroughly while learning to use your FX500B, 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 .................................................................

2. The FX500B: What It Is and What It Does

■ Effects

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

■ MIDI Control

3. Connections: Basic System Setup.............................5

4. The Controls: A Quick Operation Guide....................7

5. The MEMORY Mode: Selecting Effect Programs

6. Effect Processor Selection

■ Reversing the Order of the Modulation &

7. The Parameter Mode: Editing the Effect Programs

■ Editing Parameter Data

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

■ OVERDRIVE

■ EQUALIZER ............................................................13

■ MODULATION

■ REVERB/DELAY

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

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

• Assigning MIDI CONTROLLERS

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

• Memory Store Operation....................................12

• Chorus..................................................................14

• Flanger

• Symphonic......................................................... 15

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

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

• Reverb Hall • Reverb Room

• Reverb Vocal • Reverb Plate ...........................16

.......................................................4

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11 11

3 4

4 4

• Early Reflection Group.......................................16

• E/R Hall • BR Random

• E/R Reverse • E/R Plato

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

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

• Echo

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

• Reverb and Delay Group (Parallel)

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

• Reverb and Delay Group (Serial)

• Delay -»Reverb

• Reverb -♦ Delay.................................................18

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............................................................80

12. FX500B Parameter Chart

13. Preset Program Parameters......................................82

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22 23

17 17

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 I!

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, stoyes, 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 cabies.

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 FX500B 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 supply voltage in the area where you intend to use the FX500B (the correct INPUT voltage is marked on the adaptor).

8. ELECTRICAL INTERFERENCE Since the FX500B 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 FX500B further away from the affected equipment.

9. MEMORY BACKUP The FX500B 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 should last for approximately 5 years. When the battery voltage drops to a level that is too low to maintain the memory contents, the foliowing message will appear on the FX500B display when the power is turned ON:

* * W ARNI N G * *

M E ri 0 R V DATA

6. CLEAN WITH A SOFT DRY CLOTH Never use solvents such as benzine or thinner to clean the unit. Wipe clean with a soft, dry cloth.

FCC CERTIFICATION (USA)

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 Q computing device in accordance with the specifications in Subpart J of Part 15 of FCC Rules, which are designed to provide reasonable protection against such interference in a residential installation. However,there is no guarantee that interference will not occur in a particular installation. If this equipment does cause interference to radio or television reception, which can be determined by turning the equipment off and on, the user is endJuraged to try to correct the interference by one or more of the following measures:

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

Reorient the receiving antenna. Relocate the equipment with respect to the receiver. Move the equipment away from the receiver. Plug the equipment into a different AC power

outlet so that it and the receiver are on different branch circuits. If necessary, the user should consult the dealer or an experienced radio/television technician for additional suggestions. The user may find the following booklet prepared by the Federal Communications Commission helpful: "How to Identify and Resolve Radio-TV Interference Problems". This booklet is available from the U.S. Government Printing Office, Washington, DC 20402, Stock No. 004-000-00345-4.

2. The FX500B: What It Is and What It Does

■ Effects

The FX500B SIMUL-EFFECT PROCESSOR is a highperformance digitai signal processor intended for use with electric bass guitars. It employs leading-edge Yamaha digital signal processing technology to provide a "chain" of up to six independent effects that can be independently controlled to produce precisely the required overall sound. As shown below, the FX500B includes five effect (compressor, overdrive, 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, overdrive 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! Each effect has a number of parameters which can be adjusted to tailor its sound to your specific musical needs.

MODULATCN

•CHORUS

•F LANGER

•SYMPffONfC

•TREMOLO

REVERB

'REVERB

Hall, Room,

EARLY REF.

Revorao, P№m

DELAY ECHO

' REVERBfOELAY

REVERB-4>ELAY DELAY-REVERB

■ Memory Configuration

The FX500B has a total of 61 memory locations. Memory

locations 1 through 30 are ROM (Read Only Memory) containing 30 pre-programmed effects that you can simply select and use. Memory locations 31 through 60 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 (31 —- 60) originally contain copies 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.

Program No.

Program Title

1 Sl,-ip Bass 1 16

Slap Bass 2 17

2 3 Pick Bass 1 18 4 Pick Bass 2 19 5

Dance Bass 6 Broad Bass 21 7 Tight Bass 22

Solo Bass 1 23

Vibra Celio

10 Arco Cello 11 Walking Bass 1 12 Walking Bass 2 27 13 Boogie Bass 26 14 Reggae Ba.ss 15 Sharp Pick

Program No.

31 -60

Program Title

Soft Flange Hard Flange Pick Pop Fretless Pop Fusion Flange

Puff Bass Razz Bass Round Reverb

24 Solo Bass 2

Fretless Bass

Doubler

Over Drive Solo Space Bass Sitar Bass

29 30 O. D. Fretless

User Programs Initial Data

■ MiDi Controi

For further versatility and smooth integration with MIDIbased music systems, the FX500B offers broad MIDI control capabilities. Any of its 60 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 Yamaha

MFC1 MIDI Foot Controller. Consult to the MFC1

operation manual for details.

ROM MEMORY RAM MEMORY ROM MEMORY

1—30

• Preset effect

programs

31 —60 0

• User-edited

programs

• Initial Data

3. Connections: Basic System Setup

O DC12V 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 FX500B POWER switch Is in the OFF position (extended), then 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 FX500B. The use of an incompatible adaptor may cause irreparable damage to the FX500B, and might pose a serious shock hazard I

I 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. If plugs are inserted into both the front and rear-panel inputs, the front-panel input jack takes prbrity.

I OUTPUT LEVEL Selector

This switch is used to match the output level of the FX500B 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 FX500B is connected to a highsensitivity input — the input of a bass amplifier, for example.

o OUTPUT R and OUTPUT L Jacks

These are the main stereo outputs from the FX500B. 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 FX500B effects can only be appreciated in stereo. K, 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 FX500B will accept MIDI PROGRAM CHANGE messages to directly select effect programs, or MIDI CONTROL CHANGE messages via which individual effect parameters may be remotely controlled. [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 in which the footswitch is used to set delay time for the delay effects. The funetbn of the footswitch is determined by the UTILITY mode Foot Switch Function Select funetbn (page 22). The range of effect programs that can be selected when the footswitch is assigned to memory selectbn is determined by the UTILITY mode Footswitch Memory Recall Range Edit funetbn (page

23).

o BYPASS Jack

An optional Yamaha FC4 or FC5 Footswitch connected here performs exactly the same function as the frontpanel BYPASS key. Press the footswitch once to activate the bypass mode, and again to turn bypass off.

_______

Basic System Configuration

BASS AMPLIFIER

(Right)

BASS AMPLIFIER

(Ult)

SOCKET

4. The Controls: A Quick Operation Guide

O Power Switch

Press once to turn the FX500B 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 display panel for a few seconds before operation actually begins.

e Input Jack

Plug your bass or other signal source in here or into the duplicate INPUT jack provided on the rear panel (see

"0 INPUT Jack" in the "3. Connec-tions: Basic System

Setup" section). Both jacks are standard monaural 1/4" phone jacks.

0 INPUT LEVEL Control with SIGNAL and PEAK

Indicators

For the optimum input level setting, play your source at the highest level it will be played in actual use, and 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 highlevel peaks.

Should flash only occasionally or not at all.

Should light most of the time an input signal is present.

O Liquid Crystai Dispiay Panei

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

Program number. -

Appearaswhen BYPASS— key is pressed to bypass all effects.

Currently selected effect, parametersbeing programmed, or utility function.

_BYPASS

Cho

Rhl

o COMP, O.D., 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]

0 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 "0 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 change the value of or "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 SEUASN Key

The SEL/ASN 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. [See 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. [See page 21 for further details]

o BYPASS Key

When the BYPASS key is pressed and "BYPASS" appears on the display panel, all FX500B 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).

When the MEMORY key indicator is lit, the FX500 MEMORY mode is active and effect programs (1 — 60) can be selected and recalled using the Aand Tkeys and RECALL key. In the MEMORY mode it is also possible to turn effect stages ON or OFF using the COMP, O.D., 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 20]

• Control Change 1 Table Edit [Page 21]

• Control Change 2 Table Edit [Page 21]

• 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 following 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 Aand Tkeys 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]

After editing any of the effect programs, the new

program can be stored in any of the FXSOOB's RAM memory tocations (31 through 60) 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 FX500B MEMORY mode, the A and Tkeys can be

used to select individual effect programs. When a new program number is seiected, 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. ..

0 if the MEMORY mode is not already selected (i.e. if the

MEMORY key indicator is i]£!l lit), press the MEMORY key to select the MEMORY mode.

/ Slap Bass 1

Cho ^ Rh 1

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.

I 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 stili active). Press the RECALL key to actually recall and activate the selected program. The program number will stop flashing.

Cello

Cho Eh 1

0 Use the Aand/or Tkeys to select the number of the

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 ib the directbn of scrolling.

Rvcp Cello Cho Ehl

-Flashing

6. Effect Processor Selection

In the MEMORY mode the FX500B effect stages can be individually turned ON or OFF by using the COMP, O.D., 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 follotMing active stage, if all stages are ON, the effect chain is as shown below;

#MOD

---

Orev

----

#REV

Omod

REVERB

#COMP •O.D. #EQ

COMPRESSOR

OVERDRIVE EQUAUZER MODULATION

If, however, you only wanted to use the compressor, equalizer and reverb stages, you could press the O.D. and MOD keys to turn the stages OFF, resulting in the effect chain shown below:

•comp Oo.o. •eq

• O MOD

• Orev —Omod

------

• REV

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

ICOMP •O.D. •EQ

• MOD--• REV

The current order of the MOD and REV stages is also shown on the bottom line of the display ("MOD -* REV" in this case).

I Slap Bass 1

C ho a R h1

Press the SEL/ASN key to reverse this order.

•comp

O MOO-O REV

►

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 Moduiation & Reverb Stages

Normally, the last two effects in the FX500B effect chain are a moduiation type and reverb type, in that order. By pressing the SELyASN 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.

►

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

Slap Bass 1

R h 1 ^ C hi o

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 FXSOOB’s RAM memory locations for later recall and use.

Editing Parameter Data

0 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).

1 THR RflT flTK LUL—

-2 3 1/6 3.5 +2—

------

Underline cursor.

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 (about one second) the UTILITY key

until the UTILITY key indicator goes out.

the effect you wish to edit.

-Upper line shows parameters.

"Lower line shows current

value tor each parameter.

in step ©, 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

THIRD SCREEN

I TVP MIX LUL

SECOND SCREEN

Fig 40 +0

0 Use the A and T keys 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 will scroll faster if you press the opposite arrow key while holding either the Aor Tkey.

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

NOTE: To prevent accidentai loss of edited data, the

FX500B responds with a confirmation display — "RECALL OK ?" — if you press the RECALL key while editing in the PARAM mode. If you actualiy

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

location within the FXSOOB's RAM memory area (31

through 60). Original 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 along with all other parameter data. The UTILITY mode TITLE EDIT function can be used to create new titles for your original effect programs after you have stored them in RAM memory.

(See "Program Title Edit" on page 19)

0 When the store operation is complete, the memory

location stored to will be selected automatically.

S 1 ap

M 0 D

Bass 1

■i RE U

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

ROM memory location is selected, the following display will appear and the store operation will be aborted.

« READ

MEM HO.

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

0 N L V * *

0-30

■ 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

particularly effective because it limits the signal to a dynamic range that results in the best sound with the subsequent effects.

® After editing the parameters to create the desired

effect, select the MEMORY mode and select the RAM memory location (31 — 60) to which you wish to store

the edited data.

(D Press the STORE key.

4 35 T

T TiEM. 1

-Flashing

M E M .

® Press the STORE key again. The following display will

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.

MEMORY STORE

MEM. 1 + M E M■3 5

-Stops flashing

j THR RRT HTK

-1 a 1/^ 8.0

L U L

+ 0

THR (Threshold: -60 — 0 dB)

Sets the compressor threshold level, signal levels

exceeding the threshold level will be compressed while

those below the threshold level will be unaffected.

RAT (Ratio: 1/2,1/4,1/6,1/8,1/~)

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 original

amplitude. A setting of I/-» produces almost total compression, producing the same signal level for all signals above the threshold level and therefore 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.

LVL (Output Level: -42 — ->-6 dB)

Determines the output level of the effect.

m EQUALIZER (EQ)

The FX500B features a four-band equalizer stage for wide ranging tonal control. Up to 12 dB of boost or cut can be applied to the low, low-mid, hi-mid and high bands, and the center frequency of the all four bands can be adjusted over a broad range.

(ATK)

LVL (Output Level: -42 — +24 dB)

Determines the output level of the effect.

■ OVERDRIVE (O. D.)

The FX500B overdrive stage digitally produces smooth, rich overdrive 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 built-in noise gate function with adjustable trigger level effectively shuts out unwanted noise.

LUL

TRG

I DST

' 8S

DST (Distortion Drive Level: 0 —100)

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

TRG (Noise Gate Trigger Level: -80

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.

TIME

- 1 0

-45

--------

20 dB)

Shaded portion of signal passed.

Noise gate trigger level. (TRG)

LoG LMF

1 LoF

50 + 8 200

LUL

j TVP

' E-H

LMG

+ 6

-5

1 HMF HMG H i F HiG

' 600

-6 5.0k +7

LoF (Low Frequency: 40 Hz —100 Hz)

Sets the center frequency of the Mid equalizer band.

Log (Low Gain: -12 — ■l■12 dB)

Sets the amount of boost or cut applied to the bw-band frequencies. A setting of +0 produces no boost or cut. ’Minus' values produce cut and 'plus’ values produce boost.

LmF (Low-mid Frequency: 80 Hz — 800Hz)

Sets the center frequency of the low-mid equalizer band.

LmG (Low-mid Gain: -12 — .»12 dB)

Sets the amount of boost or cut applied to low-mid frequencies. A setting of -rO produces no boost or cut. Minus values produce cut and plus values produce boost.

HmF (Hl-mid Frequency: 400 Hz — 4.0 kHz)

Sets the center frequency of the hi-mid equalizer band.

HmG (Hl-mid Gain: -12 —-t-ie dB)

Sets the amount of boost or cut applied to mid-band frequencies. A setting of -t-0 produces no boost or cut.

Minus values produce cut and plus values produce boost.

HIF (High Frequency: 3.2 kHz — 8.0 kHz)

Sets the center frequency of the high equalizer band.

HiG (High Gain: -12 — +12 dB)

Sets the amount of boost or cut applied to the high-band frequencies. A setting of +0 produces no boost or cut. 'Minus' values produce cut and 'plus' values produce

boost.

LVL (Output Level: -42 — *6 dB)

Determines the output level of the effect.

■ MODULATION (MOD)

The MODULATION effect stage contains a number of effects based on amplitude and delay modulation. The different MODULATION effects are selected by the TYP

(type) parameter which appears at the left of every MODULATION display screen.

SPED PMD

I TVP

' Chû

e. 6

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: -42 — »6 dB) Determines the output level of the effect.

• 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.

TYP (Typo: 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 modulatbn 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.

1 TVP SPED PMD

' CllQ Q . 6

j TVP

Cho 4Q

fiMD r

IX LUL

0 +0

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 dept^of amplitude modulation. Higher values deepen the amplitude modulation portion of the effect.

1 TVP SPED D E P

F13

0.1 66

! TVP M IX LUL

4Q + 0

' Fig

j TVP D L V F B

' Fig

1.3 77

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.

PLY (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, while 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.

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: -42 — -t-O dB) Determines the output level of the effect.

• Symphonic (Sym)

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

I TVP SPED DEP

Syü 0 . 9

1 TVP

' Syn

MIX

LUL

+ 0

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.

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: -42 — +6 dB) Determines the output level of the effect.

• Tremolo (Trm)

The tremolo effect uses amplitude modulation to produce a periodic volume variation. The FX500B 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.

1 TVP

* Tr Ü 4.0 100 + 0

SPED

DEP

1 TVP

Tr M

MIX LUL

+ 0

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.

PH (Phase: -8 — *6) Sets the direction in which the sound image moves in the

stereo sound field (this is only effective if the FX500B is used with a stereo sound system). A setting of 0 produces no movemel^t, while settings toward +8 or -8 cause the sound image to move to the left or right.

LVL (Output Level: -42 — -t-G dB) Determines the output level of the effect.

■ 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.

1 TVP R 1.,.' T

' Rhi 2 4

TYP (Type: RhI, Rrm, Rvc, Rpl, Ehl, Erd, Erv, EpI, Dly, Ech, R-i-D, R-»P,P-*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

Rhi; Reverb Hall Rrm; Reverb Room Rvc; Reverb Vocal Rpl; Reverb Plate

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 Vocal (Rvc)

' Reverb Room (Rrm) > Reverb Plate (Rpl)

Reverberation the warm musical "ambience” you experience when listening to music in a hall or other natural environment. The FX500B 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).

1 TVP RUT

' Rhl 2 4 6

1 TVP M X LUL

' Rhl

+ 0

DELAY

1 TVP ' Rh 1 3D . Q

RVT (Reverb Time: 0.3 — 40 s)

Set the amount of time It takes for the reverb sound to delay by 60 dB.

HF (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 high-

frequency reverb times, gradually approaching the overall reverb time.

PLY (Delay Time: 0.1 — 335.0 ms)

Sets the delay time before the reverb sound begins.

Initial direct sound.

• 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.

1 TVP RSZ LIU

2.0 4

' Ehl

1 TVP MIX LUL

' Ehl

+ 0

1 TVP DLV

' Ehl 14-a

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.

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)

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 difbct sound.

LVL (Output Level: -42 — -fS dB)

Determines the output level of the effect.

DLY (Delay Time: 0.1 — 400.0 ms)

Sets the delay time before the early reflection sound begins.

II/Initial direct sound.

Room Size determines spacing between reflections.

i_L

: LOW : I— UVENESS—I

“HIGHUVENESS"

OEUYTIME

(DLY)

MIX (MIxInfl Balanca: 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 (Outpuf Level: -42 — +6 dB)

Determines the output levei of the effect.

• Echo (Ech)

Aithough simiiar to the Delay program, the Echo program has different deiay ranges and different "internai” settings

that resuK in a distinctive echo effect.

1 TVP

' Ecb

R-DLV

L-DLV 3 6 6 • 0370.0

1 TVP FB L/R

' Ecb 2 Q

R 1 1

• Delay Group

• Delay (Dly)

This sophisticated deiay effect offers independentiy variabie ieft and right channei deiays.

I TVP L-DLV

366. 2 508.0

' Dla

/ TVP M X LUL

' Dly

+ 4

R-DLV

I TVPFBL/R

' Dly 4 Q L = R

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 greater number of repeats.

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

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: -42 — -»6 dB)

Determines the output level of the effect.

> TVP MIX LVL

Ecb

+ 0

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 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 from the right channel.

MIX (Mixing Balance; 0 — 100 %)

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

LVL (Output Level: -42 — *6 dB)

Determines the output level of the effect.

• Reverb and Delay Group (Parallel)

• Reverb + Delay (R-i-D)

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

REVERB

IN'

►out

DEUY

I TVP L-DLV R-DLV

R,*D 19 0.0 380.0

1 TVP FB L/R RVT

R + D.

L = R2 . 4

The Delay -»Reverb program provides both delay and

reverb, with delay before reverb.

1 TVP R/D MIX LUL

' R + D 5Q

0 + 0‘

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

greater number of repeats.

L/R (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 high-level delay sound from the right channel.

RVT (Reverb Time: 0.3 — 99 s)

Set the amount of time it takes for the reverb sound to delay by 60 dB.

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: -42 — +6 dB)

Determines the output level of the effect.

• Reverb and Delay Group (Serial)

• Delay -► Reverb (D -+ R)

• Reverb -► Delay (R -♦ D)

The Reverb -* Delay provides delay and reverb with

reverb before delay.

IN'

TVP L-DLV R-DLV R+D 290.0 320.0

f TVP RUTRMX

' R + D

REVERB

2.6 0 + 0

LUL

OEUY

f TVP

' R + D

►out

FB L/R DMX

L = R 0

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 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.

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.

RVT (Reverb Time: 0.3 — 99 s)

Set the amount of time it takes for the reverb sound to delay by 60 dB.

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 reiation to direct sound.

LVL (Output Level: -42 — ^■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 mode

Program Title Edit

MIDI Setup

PROGRAM CHANGE Table Edit

CONTROL CHANGE 1 Table Edit

CONTROL CHANGE 2 Table Edit

Footswitch Memory Recall Range Edit

Footswitch Function Select

The characters accessible via the Aand Tkeys are shown in the chart below, in their proper order.

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

1 K

.t-

3 1 (> H

MN0

1. f 1 0 ■<: r s u

-L-•/? /

•t V .X

1’

•F T

S T

T'y=

)■ i-

V 1)

\' \v

H c U

t r

E F

D ?

- -

a :i

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 FX500B RAM memory locations (31 through 60) are selected. If you call the TITLE EDIT function while a ROM memory location (1 through 30) is selected, the following display will appear and editing will not be possible.

R FI H C 3 I - 6 0 0 H L V

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 and holding the UTILITY key until the UTILITY key indicator goes out (approximately 1 second).

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.

. S 1 a F' Bass 1

TITLE EDIT

—Cursor

MIDI Program Selection: MIDI

Setup and Program Change Table

Edit

The FX500B makes it possible to select specific programs via external MIDI control. You can set up the FX500B, 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 FX500B 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 bassists would be to use a MIDI foot controller such as the Yamaha MFC05 to transmit the required MIDI PROGRAM CHANGE NUMBERS. The FX500B 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 function 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.

MIDI SET U P

B B H K ! a c h = 0 M N I

(D 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).

@ 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 barik. 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 (^) 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 CONTROL display, select the desired BANK,

then program the required assignments.

NOTE: Although the BANK A, B, and C program 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 FX500B 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 FX500B reverb time.

display. The underline cursor should be under the PGM parameter.

j M I C' I

number to which a new FX500B memory location number is to be assigned. The range of available program change numbers is from 1 to 128.

F' G M c: H PI hi Q E

pen i = MEM 1

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

the FX50ÔB allows — CONTROLLER 1 and

CONTROLLER 2 — must be set to receive specific MIDI

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 beiow.

I Control Change 1 Table Edit

When this function is called the LCD appears as shown below, and the A and Tkeys can be used to select the desired MIDI control change number for controller 1.

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 bebw, and the Aand Tkeys can be used to select the desired MIDI control change number for controller 2.

: 0 H T R 0 L L E R 2

2 В R E Й T H CTRL

NOTE: The control number assigned to controller 1, also

can be assigned to controller 2.

ROLLER 1

1 CÜHT

' 1 M 0 [:' . WHEEL

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

Control Change Controller

Number Assignment

OFF 0 1

5 6 7

8 — 31 64 65 66 67 68 — 95 102 —114

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

Controller OFF No specific controller assigned. MOD. WHEEL BREATH CTRL No specific controller assigned. FOOT CTRL PORT TIME DATA ENTRY MAIN VOLUME No specific controller assigned. BUST SWITCH PORTSWITCH BUST PEDAL SOFT PEDAL No specific controller assigned. No specific controller assigned.

• Assigning CONTROLLER 1 and CONTROLLER

2 to Specific Effects

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 FX500B 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).

(D 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.

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).

c T R L 1 MI H - M fl

и 0 L и M E 0 10 0

(D The cursor will appear under the currently selected

parameter. Use the A and 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

■ Footswitch Function Select

Footswitch Function Select determines the function of an optional Yamaha FC4 or FC5 footswitch connected to the FXSOOB's rear-panel MEMORY IN/DEC TRIGGER jack. The LCD display will appear as below, and the Aand T

keys can be used to select the desired footswitch function. are described in detail in the '7. The Parameter Mode: Editing the Effect Programs' section beginning on page

11. In addition to the standard effect parameters, the

following two parameters are available:

• VOLUME: assigns the controller to a special volumecontrol stage located immediately after the EQ stage.

• CURSOR: Allows the assigned controller to control the position of the cursor in the parameter mode, facilitating selection of parameters

F . S IJ F U H C T I 0 N M E M 0 R V I N C . D E C

1 F . S .1 F I..I J C T 1 0 N

' IMP

T E M P

1 D' E L fl

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

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.

100%. For example, if the original range for DIST-LVL is -42 to 6 (dB), then setting MIN and MAX to 10 and 90 (%), respectively, produces a control range from -38

to +5 (dB).

(D To assign CONTROLLER 2 to an effect parameter,

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

• 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

1 CTRL2

ri I ht - N fi

: 0 1 0 0

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

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

CTRL 2, CTRL 1 takes priority.

simple to accurately match the delay time to tempo.

TAPI

(D Carry out steps (J)and ®above to assign a parameter

to controller 2.

► TIME

0 When finished with controller assignment, press any of

the effect keys (COMP, O.D., EQ, MOD or REV) to return to the normal parameter editing mode, or press the MEMORY key to return to the MEMORY mode.

0 As with ail 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 FX500B permits memory selection via an optional Yamaha FC4 or FC5 foOtswitch connected to the MEMORY INC/DEC TRIGGER footswitch jack (as bng 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 bcation

numbers that will be selected when the footswitch is pressed.

MEMORY RCL

I F.SW

RflHQE 2 S TO 3 0

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 bcatbn 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 bwesf, as shown

below.

I F . S LJ M E M 0 R V R C L

' RANGE 34 TO 31

In this case the selection sequence is; 34 -»33 -► 32 -♦ 31

-► 34, etc.

0 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.

0 Use the Aand Tkeys to enter the first number in the

range.

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

second Qumber 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.

L,.

9. Specifications

• ANALOG CIRCUITRY

Frequency Response 20 Hz —20 kHz. Dynamic Ränge Better than 85 dB, effect OFF. Total Harmonic Distortion Less than 0.1% @ 1 kHz, effect OFF. Input Impedance/Nomlnal Level Greater than 500 kO/-20 dBm (Unbalanced phone jack,

front and rear).

Output Impedance/Nomlnal Level 1 kO/-20 dBm or-10 dBm, switchable (Unbalanced

phone jacks x 2). Headphone Impedance/Nomlnal Level 150 0/-22 dBm (Unbalanced stereo phone jack).

• DIGITAL CIRCUITRY

A/D and D/A Converters 16-blt quantization (linear). Sampling Frequency

44.1 kHz

• EFFECTS & MEMORY

' FRONT PANEL

Control & Keys INPUT LEVEL control, COMP, O.D., EQ, MOD, REV,

A, T, 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, OVERDRIVE, EQUALIZER,

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

Memory

ROM area: 30 (No. 1 — 30) RAM area: 30 (No. 31 — 60) 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 (approx. 3 lbs.)

• OdB = 0.775 V rms

• Specifications and exterance are subject to change without

notice.

PROCESSEUR D'EFFECT MULTIPLE POUR BASSE

Manuel d’utilisation

Précautions à prendre lors de la manipulation du matériel de sonorisation

Ne pas placer le coffret et les composants 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 prendra 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

piles et les conserver en lieu 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 prendra lors de la manipulation de l'ampli et du hautparlaur 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'ampli.

Félicitations! Vous êtes l'heureux propriétaire d’un FX500B BASS SIMUL-EFFECT PROCESSOR de Yamaha. Grâce à la technologie de pointe du traitement numérique des signaux, mise au point par Yamaha, le FX500B met à votre disposition une chaîne comptant Jusqu'à 6 effets différents et des

possibilités de programmation étendues. Tous les paramètres importants

ont été spécialement conçus pour être utilisés avec les guitares basse. Ils vous permettront de créer vos propres chaînes d'effets originales en

fonction de vos exigences musicales spécifiques. Avec ses étages d'effets

compressor, overdrive, equalizer, modulation, et reverbldelay

programmables, le FX500B constitue un véritable système de traitement

de signaux ultra-perfectionné dans un coffret compact. 30 superbes

programmes d'effets présélectionnés conçus spécialement pour la

guitare sont disponibles en permanence et 30 emplacements de mémoire RAM sont à votre disposition pour stocker les programmes de traitement de signaux que vous avez créés. Le FX500B bénéficie également d'un large éventail de fonctions de commande MIDI qui garantissent une intégration aisée dans n'importe quel système d'instruments MIDI.

N'importe lequel des 60 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. Aucun autre dispositif multi-effet n'offre cette souplesse et le son n'est rien moins que superbe.

Veuillez lire attentivement ce manuel d'utilisation tout en apprenant à

vous servir de votre FX500B. 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

2. Le FX500B: Ce qu'il est et ce qu'il fait

■ Effets

■ Configuration de la mémoire

■ Contrôle MIDI .......................................................... 30

3. Connexions: Mise en place d'un système de base

4. Les commandes:

Un guide d'utilisation concis.........................................33

5. Le mode MEMORY:

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

6. Sélection du processeur d'effet....................................36

■ Inverser l'ordre des étages

Modulation et Reverb................................................36

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

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

• Assigner les dispositifs de commande MIDI au

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

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

■ OVERDRIVE ............................................................39

■ EQUALIZER

■ MODULATION .........................................................40

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

• Ranger ..................................................................40

• Symphonie............................................................41

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

■ REVERB/DELAY

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

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

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

• Groupe Reverb & Delay (Parallèle)

• Groupe Reverb & Delay (Sériel)

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contrôle des paramètres d'effets ..........................37

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• Reverb Hall • Reverb Room

• Reverb Vocal • Reverb Plate .............................42

• Early Reflection Hall

• Early Reflection Random

• Early Reflection Reverse

• Early Reflection Plate

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

• Echo....................................................................43

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

• Delay -> Reverb

• Reverb -* Delay...................................................44

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29 30

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

■ Program Title Edit

■ 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

• Assigner Controller 1 et Controller 2 à des

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

■ Footswitch Function Select

• Utilisation de Tap Tempo Delay

■ Footswitch Memory Recall Range Edit

9. Caractéristiques techniques

10. Format des données MIDI

11. Schéma de principe................................................. 80

12. Tableau des paramètres du FX500B

13. Paramètres des sons pré-programmés...................82

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