Yamaha FX550 User Manual [en, de, fr]

YAMAHA

GUITAR EFFECT PROCESSOR

OPERATING MANUAL MANUEL D'UTILISATION BEDIENUNGSANLEITUNG

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FCC INFORMATION (U.S.A.)

IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product.

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

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

Relocate either this product or the device that is being affected by the interference Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not

locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620

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

Dette apparat overholder det gaeldende EF-direktiv vedrprende radiostpj.

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

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

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

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

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

YAMAHA CORPORATION

IMPORTANT NOTICE FOR

THE UNITED KINGDOM

Connecting the Plug and Cord

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

Blue Brown

NEUTRAL LIVE

CANADA

THIS DIGITAL APPARATUS DOES NOT EXCEED THE “CLASS

B” LIMITS FOR RADIO NOISE EMISSIONS FROM DIGITAL APPARATUS SET OUT IN THE RADIO INTER FERENCE REGULATION OF THE CANADIAN DEPARTMENT

OF COMMUNICATIONS.

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

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

Litiumbatteri! Bor endast bytas av servicepersonal. Explosionsfara vid felaktig bantering.

VAROITUSI Lithiumparisto, Räjähdysvaara. Pariston saa vaihtaa ainoastaan aian ammattimies.

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

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

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

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

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

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

Thank you for purchasing the Yamaha FX550 Guitar Effect Processor. The FX550 is a digital effect processor that

can produce up to seven effects simultaneously. All signal processing is performed in the digital domain, providing guitar effects of CD-level digital audio quality. The FX550 offers 50 preset effect programs. Also, effect settings can be edited and saved as 50 additional user effect programs.

Unpacking

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

• One FX550 main unit

• One power supply adaptor Be sure to plug the adaptor into an AC outlet of correct voltage.

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

Operating Precautions

■ Installation

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

• In direct sunlight or near heating units

• Where humidity is too low

• Where humidity is too high

• Where there is much dust

• In places subject to vibration

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

■ Do not apply force.

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

■ Do not open the case.

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

■ Cleaning

Do not use benzine, thinner,, or other volatile oils to clean the FX550, and do not spray any type of aerosol near the unit. For cleaning, use only a soft, dry cloth.

■ Servicing

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

• The power supply cable is damaged.

• Metal objects or liquids get inside the FX550.

• The FX550 is exposed to rain, or is dropped.

• The case is damaged.

• The FX550 does not operate normally.

■ Power supply precautions

• Power-off the FX550 before making any connections.

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

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

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

■ MIDI cables

• Be sure to use a standard MIDI cable.

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

■ Backup battery

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

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

• Preset effect programs are not lost when the battery is

replaced.

\ 1 /

-1 - / 1 ^ i'

How the FX550 Works.........................................3

U] Function Configuration............................................3

[2] Program....................................................................3

[3] Play Mode

Chapter 1 : Controls & Connections

The Front Panel

The Rear Panel..............................................................5

Chapter 2: Let's Plug In & Play

Q] Making the Connections

Setup 1......................................................................6

Setup 2......................................................................6

[2] Playing

1 Turning On the Power..........................................7

2 Setting the Input Level.........................................7

3 Selecting and Playing Effect Programs................7

Preset Effect Programs Table................................:... 8

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Chapter 3: Editing, Storing, and Titling an

Effect Program..............................10

Q] Editing an Effect Program [2] Storing an Edited Effect Program

[1] Titling Effect Programs..........................................14

Chapter 4: Effect parameters

Compressor/Limiter — COMP................................. 15

DistortiOn/Overdrive — DIST

3-Band Parametric Equalizer — EQ...........................16

Modulation — MOD................................................. 16

Stereo Chorus — CHO

Stereo Pianger — FLG...........................................17

Symphonic — SYM............................................. 17

Auto Pan — PAN...................................................18

Tremolo — TRM

Rotary Speaker — ROT

Tempo Modulation — TMD

StereoPitchl—PII.................................................. 21

Stereo Pitch 2 — PI2..............................................22

Ping-Pong Delay — PDL.......................................23

Stereo Modulation Delay — SMD

Reverb/Delay — REV

Reverb —REV

Delay + Reverb — D + R.......................................25

Delay —> Reverb — D —> R...............................26

Delay —DLY.........................................................27

Tempo Delay — TDL

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....24

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10 13

Chapter 5: Remote Control

Foot Switch Control

[T] Effect Program Select [2] Tap Tempo, Speed Switching, & Ducking

[^Bypass.................................................................31

MIDI Control............................................................ 32

Q] Selecting Effect Programs [2] Tempo Control

PCL & PCR Parameter Control

U] Parameter Control.............................................35

[5] Volume Control.............................................. 37

0 High-speed Edit

Specification

General Specifications MIDI Data Format Internal Block Diagram

Options....................................................................... 42

Dimensions

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Troubleshooting

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39 40

Glossary............................................................45

Appendix

Q] Program Table [2] MIDI Program Change List MIDI Implementation Chart

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How the FX550 Works

[T] Function Configuration

FX550 functions are divided into three sections: Input control section, Effects section, and Out put control section. There are also three supporting sections: Operating section, Connecting sec tion, and Display section. The Effects section, which applies various effects to the guitar sound, is composed of four effects (COMP, DIST, EQ, Amp Simulator), and two Effects Sections (MOD and REV). The MOD section contains 11 effects, and the REV section contains 5 effects. One effect from each section can be selected at a time.

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

BYPASS

Configration of the Effects Section

Program

Play Mode

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

Preset Programs and User Programs

The FX550 has two types of programs: preset programs that have been already set in the factory, and user programs that can be edited. 50 preset programs (program #1-50) cannot be erased or rewritten. 50 program numbers (51-99 and 00) are reserved for user programs. All preset programs can be edited, and your new program (edited program) can be stored as a user program.

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

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

Chapter 2 explains this mode.

Edit mode: This is a sub-mode that supports Play mode. In this mode, you may edit and prepare

the programs to be used in Play mode. To “edit” means to change the effect parameter settings.

Utility mode: This is also a sub-mode that supports Play mode. This mode allows you to specify

the settings for the operational controls, and supports portions of Edit mode, such as titling the programs. Chapters 4 and 5 cover this mode.

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

Chapter 1: Controls & Connections

The Front Panel

© INPUT jack

Plug your guitar cable into this jack.

@ LCD

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

® DEC [ T ] & INC [ A ] buttons

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

© Mode buttons & indicators

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

• PLAY button

Select this mode when playing the guitar.

• EDIT button

Select this mode to edit effect programs. Press repeatedly to select the Select Patch, CTRLl, CTRL2, TRIGGER ASSIGN, and EOOT BYPASS displays.

• UTILITY button

Select this mode to set the operational controls. Press repeatedly to select the TITLE EDIT, MIDI SETUP, MIDI PGM CHANGE, CONTROLLER!, CONTROLLER2, F.SW FUNCTION, and MEMORY SELECT displays.

® BYPASS button, indicator

In Play mode, press to bypass all effects. In Edit mode,

press to bypass the effect being edited.

® CURSOR [M ] [ ► ] buttons

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

® INPUT level control

Use this control to set the input level.

® PEAK/SIGNAL indicators

Use these indicators when adjusting the input level. Set the INPUT level control so that the SIGNAL indica tor lights most of the time but the PEAK indicator does not light.

® Effect buttons, indicator

In Play mode, press to bypass the corresponding effect, its LED will go off. Press the button again to un-bypass the effect, its LED will come on. In Edit mode, these buttons are used to select parame ters.

® POWER switch

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

STORE button

Press to store an edited effect program.

The Rear Panel

Chapter 1: Controls & Connections

© BYPASS jack

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

© MEMORY INC/DEC TRIGGER jack

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

® MIDI IN connector

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

© PHONES jack

A pair of stereo headphones can be connected here.

® PHONES LEVEL control

This control adjusts the volume level of the headphones.

® R&L(MONO) jacks

Connect the R and L(MONO) jacks to a stereo amplifier or a pair of guitar amplifiers. If you are using a mono amplifier, connect only the L(MONO) output. These outputs can also be connected directly to a multi track recorder or mixer for recording.

DC 12V IN connector

Connect the supplied power supply adaptor to this con nection.

Cable clip

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

® TUNER OUT jack

Your guitar tuner can be connected to this connection.

chapter 2: Let's Plug In & Play

[T] Making the Connections

Make sure your equipment is switched off, then connect your guitar, amplifier, and the power supply adaptor to the FX550. The following two setups show what equipment can be connected, and how.

Setup 1

SBioSoi

Amplifier

Setup 2

[ 1 [

Foot switch Foot switch

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Supply Adaptor

[^Playing

Chapter 2: Let's Plug In & Play

O^INPUT^IO

1 Turning On the Power

P^K YAMAHA 1^^!

SIQNAL

'ptooeSP' Ocomp Odist O eq Omod Orev

CD CD O CZD

DEC

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CURSOR

D C

PLAY O EDIT STORE O UTILITY QBYPASS

CD CD) CD CD CCD

Turn on the equipment in your system sequentially, starting from the transmission devices. For example, if the system is: FX550 Power amplifier-» Speakers, turn on the FX550 then the Power amplifier. After a few seconds, something similar to the display shown below will appear.

Program Number

’r

____________________

1....

BYPASS r‘

] r

^ i..-’ ■

Effect Program Title

Amp Simulator setting

REV section effect MOD & REV Configuration MOD section effect

Bypass Indicator

2 Setting the Input Level

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

3 Selecting and Playing Effect Programs

Use the [ T ] and [ A ] buttons to select the effect programs. As each effect program is selected, the LCD will display the effect program number and title, the type and configuration of MOD and REV section effects used, and the amp simulator setting.

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

“MIDI Control” on page 32.

The “Preset Effect Program Table” on the following page describes the 50 preset effect pro grams that are available for your exploration. In addition to the 50 preset effect programs, you can create 50 user effect programs. See “Edit ing an Effect Program” on page 10 for more details.

Chapter 2; Let's Plug In & Play

Preset Effect Programs Table

Bypassing the FX550

Using the bypass function allows you to compare the effect sound with the dry sound (without

effect). There are two Bypass modes; ALL and SECTION.

Press the BYPASS button, and the word “BYPASS” will appear on the LCD. All the effect sec

tions are bypassed, and the original “dry” sound is heard. To release Bypass mode, press the BYPASS button again. The word “BYPASS” will disappear from the LCD.

Switching Off Individual Effect Sections (Section Bypass)

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

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

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

Type No. Title

Van-tage

Big

3 Extreme

4 Sizzler

5 Doctor V 6

More & More

7 Boston Bag

Distortion

sounds for

lead lines

Harmonized

distortion

8 Saturation

9 Tight Wire 10 VooDoo Haze 11

Over-flow This is a powerful distortion sound. This is suitable for playing melodic phrases. 12 Beads The characteristic distortion. This is also suitable for playing melodic phrases. 13

/Metal Powerful slash metal

14 All Paul

Gritty Blue Slight distortion, and it is suitable for backing. It may also be suitable for live lead playing. 16 True Blue

Rapid Fire

18 Double Fatigue 19 One Heart 20 May Queen

Erotic Harmony

Style

Effect sound with a slight delay in a wide range - Van Halen style. It separates the sound efficiently even when playing chords.

Paul Gilbert of Mr. Big style. This distortion effect has a unique solid quality in the mid range. This effect is a slightly odd distortion, preferable for muted playing.

This effect is suitable for use with the single-coil bridge pickup. It allows you to produce accents according to the picking strength.

V stands for Flying V. Michael Schenker style. This is the basic hard rock distortion sound. Gary Moore style. “Crying” blues distortion. Tom Schultz style. This effect has a unique airy sound quality. This is suitable for solo play

as well as chord work with open strings. Joe Satriani style effect with a rough, coarse distortion effect. Recommended for finger-picking. Recommended for single-coil Strat-type guitars.

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

Although all effects are used, this is a very straight solid sound. Smooth distortion (Alan Holdsworth style), similar to the sound created by hammering or

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

Gives a harmony of a fourth down. Similar to a Trevor Lavin style. This simulates the sound of a British guitarist who introduced reverse phase to the world. This gives the sound of a famous guitarist who plays the 7-string guitar with incredible

technique.

Type No. Title Style

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

Definitely recommended for use with single-coil guitars. The distortion level and the sound created at high levels can be controlled by applying

different picking strengths. Suitable for anyone who prefers nuances.

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

This is an all-purpose distortion effect. It emphasizes the middle-low sound range compared to No. 27.

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

Eric Johnson style with clear distortion. It is suitable for guitar melodies. This is another crunchy distortion. When the sound volume is decreased, the distortion goes

away, allowing cutting or oblique motion phrasing. This is a slight distortion rather different from crunch. It is suitable for country music. This can be used for all kinds of sound. You can apply delay by editing. Pat.Metheny style with a deep effect. Recommended for use with neck humbucking pickups. Andy Summer-style backing. Try experimenting with the chorus and reverb parameters. A clean effect with light harmonization and feedback. Try cutting hard with this one. Clean cutting effect with a light rotary-style modulation. Try adjusting the speed. Use this delay effect for backing and arpeggio work. An effect with compressor for solo guitar. Experiment with the equalization until you find the

setting that fits your guitar best. Mainly for arpeggios. Adjust the delay time and number of repeats, as well as the value for

fine pitch. Rich reverb and a pitch delay - for arpeggio playing. Similar to No. 37, but brighter, and with chorus added. A deeply-modulated effect with a cutting edge - use for funk cutting.

A distorted, bluesy effect for bottleneck guitar.

An improvement of the “Monk Akka” sound on the FX500. The sound continues even when you’ve stopped!

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

Basic bass effect for use with fingers or plectrum. Adds modulation to slapped bass. A bass effect with a short delay and modulation.

Backing

distortion

effects

(cleaner than

lead effects)

Clean effects

for cutting and

arpeggio

effects and

for amplified

acoustic

instruments

For slide

guitar

Acoustic

Bass effects

23 Single Coil

24 Universal

25 26 Breakdown 27 Clipper It matches all kinds of sound. You can edit the delay time according to the tempo.

29 LA Luck

32 Twin Twang 33 34 Syrup 35 36 37 Clear Cut 38

41 42 Light Steps 43

44 Slider

46 47 Processed Nylon 48 49 Slap Bass 50 Delay Slap Bass

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

New Fuse

Sky High

City Parks

Pop Top

Metro Police U-turn

Studio Sweep

Clean Solo

Sharpeggio

Cosmic Dance

Fun-Kut

Monk Akka 2

Straight Nylon

Better Bass

Chapter 2: Let's Plug In & Play

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

The FX550 allows you to create up to 50 user effect programs. So in cornbination with the 50

preset effect programs, you have a powerful effect library of 100 effect programs. User effect

programs can be made by editing preset effect programs, or from scratch.

[T] Editing an Effect Program

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

2. Press the [EDIT] button to enter Edit mode. A display similar to the following will be shown.

Amp Simulator REV section effect MOD & REV Configuration Cursor MOD section effect

3. Edit Step 1

effect, REV section effect, MOD & REV Configuration, and Amp Simulator. These parameters are explained on the next page.

B3“ What is a parameter?

A parameter is a variable element such as a numeric value. For example, “delay time” and

“modulation speed” are variable numeric parameters. Amp Simulator is a variable parame

ter, too.

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

Mod section effects

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

CHO FLG SYM Symphonic PAN Auto Pan TRM ROT TMD

PII

PI2*1

PDL*1 Ping-Pong Delay

SMD*1

Stereo Chorus Stereo Pianger

Tremolo Rotary Speaker Tempo Modulation Stereo Pitch 1 Stereo Pitch 2

Stereo Modulation Delay

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

REV section effects

REV

D + R

D-+R

DLY TDL

D+R : Delay and reverb are used simultaneously. D-^R : Reverb is applied to a delayed signal.

Reverb Delay + Reverb*^ Delay Reverb*^ Delay Tempo Delay

MOD & REV Configuration

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

Symbol

<—

-^COMPl—1 DIST H EQ h-l MOD REV h>

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

^COM^^DiST>-rEQD

Connection Configuration

, — MOD l-|

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

Amp Simulator

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

amplifiers.

Fiat Amp-M Amp-B Amp-T

Amp-S

No Simulation A stack of 3 ‘M’ head amps Typical combo (amp single speaker in one cabinet) Typical combo (amp two speakers in one cabinet)

Stacked speaker cabinets

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

4. Edit Step 2

tion that you want to edit. The display below shows some of the [COMP] effect section’s parameters.

/ ;i:

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

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

Use the [ ▼ ] and [ ▲ ] buttons to set the parameter value. Effect parameters are explained in detail in Chapter 4.

Adjusting parameters

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

I®” Bypassing an effect while editing

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

pare the affected sound with the dry sound, press the [BYPASS] button to temporarily bypass

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

While you are editing an effect section, the corresponding indicator will flash. When you bypass the effect section, the corresponding indicator will also flash, however, the flashing time will be shortened.

Storing an Edited Effect Program

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

1. Press the [STORE] button. The following display will appear on the LCD, and the program number will flash.

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

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

-it-

/ 1 \ : iir'i-

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

Note: The effect program already stored at the selected destination will be overwritten when

the [STORE] button is pressed in the next step.

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

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

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

° Copying an ejfect program

Effect programs can be copied to other effect program memory locations. This is useful, for

example, when you want to sort your user effect programs into the order that you will use them during a live performance.

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

Titling Effect Programs

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

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

2. Press the [UTILITY] button. The TITLE EDIT display shown below will appear.

77 ^

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

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

[ A ] buttons to select characters.

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

< >

[ ]

# 0 1 2 3 4 5 6 7 8 9

1 J K L M N O P b c d e u V w X =1

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

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-<-

chapter 4: Effect parameters

Compressor/Limiter — COMP

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

Distortion/Overdrive — DIST

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

TYP Compression Type

SUS Sustain 0-100%

ATK Attack 0-20

Output Levei - oo, -30 dB - +6 dB

LVL

TYP

DRV Drive

TON

NGL

Distortion type

Tone -30 - +30

LVL Output Levei

Noise Gate Threshold 0-20

CMP LIM

DS1 DS2 OD1 OD2 CRN

0 - 100%

- oo, -30 dB - +6 dB

Compressor Limiter 0 = no sustain.

100 = maximum sustain.

0 = fast attack. 20 = siow attack.

Sets the output ievei of the effect.

Typical distortion. Fusion style solo distortion. Typical overdrive. Valve amp overdrive. Crunchy distortion. 0 = minimum distortion.

100 = maximum distortion.

Higher values produce a sharp bright sound. Sets the output level of the effect. The level at which the noise gate cuts in.

Chapter 4: Effect parameters

3-Band Parametric Equalizer — EQ

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

Modulation — MOD

Stereo Chorus — CHO

Low Frequency

LoF

Log

MiG Mid Gain

Low Gain Mid Frequency

MiF

High Frequency

HiF

HiG High Gain

LVL

Output Levei

20 Hz ~ 2.8 kHz

-15dB~+15dB 80 Hz - 8.0 kHz

-30 dB~+15dB 500 Hz ~ 16 kHz

-15dB-+15dB

- oo, -30 dB ~ +6 dB

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

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

SPD

PMD

AMD

WID

Typ

DLY

MIX

LVL

Frq

Moduiation Speed Pitch Moduiation

Depth Amp Modulation

Depth

Modulation Delay

Sound Image Width

Mixing Balance

Output Level Filter Type

Cut Off Frequency

0.1 Hz ~ 20 Hz

0~ 100%

0-100%

0.1 ~ 100.0 msec

0-10

0-100%

- =>o, -30 dB - +6 dB HPF, LPF HPF:THRU,

32 Hz - 1.0 kHz

LPF: 1.0 kHz - 16 kHz,

THRU

The delay time before the signal is

modulated.

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

affect the depth of pitch modulation.

0=mono.

10=wide stereo.

0 = dry signal. 50 = 50% chorus effect 50% dry signal. 100 = 100% chorus effect.

Sets the output level of the effect.

Stereo Pianger — FLG

Chapter 4: Effect parameters

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

SPD Modulation Speed 0.1 Hz - 20 Hz DEP Modulation Depth

Delay Modulation 0.1 -100 msec

DLY

Feedback 0 - 100%

WID Sound Image Width

Mixing Balance 0- 100%

MIX

LVL Output Level

Typ

Filter Type HPF, LPF

Frq Cut Off Frequency

0 ~ 100%

0-10

- -30 dB - +6 dB

HPFTHRU,

32 Hz - 1.0 kHz

LPF: 1.0 kHz - 16 kHz,

THRU

The delay time before the signal is modulated. Also affects the frequency range that is modulated.

The amount of effected signal that is fed back into the effect.

0 = mono.

10 = wide stereo.

0 = dry signal. 50 = 50% flanger effect 50% dry signal.

100 = 100% flanger effect.

Sets the output level of the effect.

Symphonic — SYM

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

SPD DEP Modulation Depth

WID

Modulation Speed 0.1 Hz - 20 Hz

DLY Modulation Delay

Sound Image Width 0-10

Mixing Balance 0 - 100%

MIX

LVL Output Level

Filter Type

Typ

Cut Off Frequency

Frq

0-100%

The delay time before the signal is

0.1 - 100.0 msec

- oo, -30 dB - +6 dB Sets the output level of the effect. HPF, LPF HPF:THRU,

32 Hz - 1.0 kHz

LPF: 1.0 kHz-16 kHz,

THRU

modulated.

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

affect the depth of pitch modulation.

0 = mono.

10 = wide stereo.

0 = dry signal.

50 = 50% symphonic effect 50% dry signal. 100 = 100% symphonic effect.

Chapter 4: Effect parameters

Auto Pan — PAN

The auto pan effect moves the signal continuously across the stereo image, i.e., between the left

and right outputs. It provides a drifting type effect that is ideal for slow atmospheric songs and can help to maintain interest in repetitive guitar riffs. The panning speed is controlled by the modulation speed parameter.

Tremolo — TRM

SPD DEP Modulation Depth 0-100%

DIR Direction

Typ Filter Type

Modulation Speed 0.1 Hz ~ 20 Hz

L L —> pans the signal from L to R. <- R L <-» R L R pans the signal from L to R to L, etc.

MIX Mixing Balance 0-100%

LVL Output Level - oo, -30 dB - +6 dB Sets the output level of the effect.

HPF, LPF HPFTHRU,

Frq

Cut Off Frequency

32 Hz - 1.0 kHz

LPF: 1.0 kHz - 16 kHz,

THRU

R <— pans the signal from R to L.

0 = dry signal. 50 = 50% auto pan effect. 50% dry signal. 100 = 100% auto pan effect.

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

SPD Modulation Speed DEP Modulation Depth 0-100% LFO Wave Type SIN, TRI, SOR SIN:Sine, TRI:Triangle, SQR:Square

MIX Mixing Balance 0-100%

LVL Output Level - -30 dB - +6 dB

Typ Filter Type HPF, LPF

Frq Cut Off Frequency

0.1 Hz - 20 Hz

0 = dry signal. 50 = 50% tremolo effect 50% dry signal. 100 = 100% tremolo effect.

Sets the output level of the effect.

HPF:THRU,

32 Hz-1.0 kHz

LPF: 1.0 kHz - 16 kHz,

THRU

Rotary Speaker — ROT

chapter 4: Effect parameters

This effect was originally produced by rotating a flat piece of wood in front of the loudspeaker in an organ. There are two rotation speeds: slow and fast. The SPD parameter can set using a foot switch. See page 28.

Tempo Modulation — TMD

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

SPD

SLOW SLOW Speed 0.1 Hz ~ 5.3 Hz

FAST FAST Speed 0.1 Hz ~ 5.3 Hz

MIX Mixing Balance 0-100%

LVL Output Level - -30 dB - +6 dB Typ Filter Type HPF, LPF

TRG Tempo Trigger Type

TEMPO Tempo 50 - 250 bpm

Speed Control OFF, SLOW, FAST

Frq Cut Off Frequency

HPF:THRU,

32 Hz - 1.0 kHz

LPF: 1.0 kHz - 16 kHz,

THRU

OFF Use TEMPO parameter TAP See page 29. MIDI See page 33.

0 = dry signal. 50 = 50% rotary effect 50% dry signal.

100 = 100% rotary speaker effect.

Sets the output level of the effect.

NOTE Note

EFF Effect Type

FLG, PAN, TRM Flanger, Pan, Tremolo

EFF: FLG

DEP Modulation Depth 0-100%

DLY Delay Time

FB Feed Back

MIX Mixing Balance

Output Level

LVL

Typ Filter Type

Cut Off Frequency

Frq

0.1 - 100.0 msec

0 - 100%

0-100%

- oo, -30 dB - +6 dB Sets the output level of the effect. HPF, LPF HPF:THRU,

LPF: 1.0 kHz - 16 kHz,

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

32 Hz - 1.0 kHz

THRU

The number of beats per song measure.

The delay time before the signal is modulated. Also affects the frequency range that is modulated.

The amount of effected signal that is fed back into the effect.

0 = dry signal. 50 = 50% flanger effect 50% dry signal.

100 = 100% flanger effect.

Chapter 4: Effect parameters

EFF: PAN

Modulation Depth 0-100%

DEP

L L —^ pans the signal from L to R.

DIR Direction

L<-4 R

MIX Mixing Balance 0-100%

LVL Output Level

Typ Filter Type

Cut Off Frequency

Frq

- oo^ -30 dB - +6 dB HPF, LPF HPF:THRU,

LPF: 1.0 kHz-16 kHz,

EFF: TRM

32 Hz - 1.0 kHz

THRU

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

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

100 = 100% auto pan effect.

Sets the output level of the effect.

Wave Type SIN, TRI, SQR

LFO

Mixing Balance 0-100%

MIX

Output Level - oo, -30 dB - +6 dB

LVL

Typ

Filter Type HPF, LPF

Cut Off Frequency

Frq

SIN:Sine, TRI:Triangle, SQR:Square 0 = dry signal.

50 = 50% tremolo effect 50% dry signal. 100 = 100% tremolo effect.

Sets the output level of the effect.

HPF:THRU,

32 Hz - 1.0 kHz

LPF: 1.0 kHz-16 kHz,

THRU

Stereo Pitch 1 — PII

Chapter 4: Effect parameters

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

PCL

PFL

PCR

PFR

DLY

VolL

VOIR

KEY

WID

MIX

LVL

Typ

Frq

Left Channel Pitch Coarse

Left Channel Pitch Fine

Right Channel Pitch Coarse

Right Channel Pitch Fine

Delay Time 0.1 ~ 58.0 msec Left Channel

Volume Right Channel

Volume Base Key Off, Cl - C6

Sound Image Width 0-10

Mixing Balance 0-100%

Output Level - -30 dB - +6 dB Filter Type

Cut Off Frequency

-12 ~ +12

-99 ~ +99

-12 ~ +12

-99 ~ +99 ± 99 cents. (100 cents = 1 semitone)

0-100

0 - 100

HPF, LPF HPFTHRU,

32 Hz - 1.0 kHz

LPF; 1.0 kHz - 16 kHz,

THRU

±12 semitones.

± 99 cents. (100 cents = 1 semitone)

+ 12 semitones.

See page 34.

0=mono.

10=wide stereo.

0 = dry signal. 50 = 50% stereo pitch 50% dry signal.

100 = 100% stereo pitch. Sets the output level of the effect.

Chapter 4: Effect parameters

Stereo Pitch 2 — PI 2

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

PCL

PFL

DLYL

PCR

PFR

DLYR

VolL

VoIR

KEY Base Key Off, Cl - C6 See page 34.

Left Channel Pitch Coarse

Left Channel Pitch Fine

Left Channel Delay Time

Right Channel Pitch Coarse

Right Channel Pitch Fine

Right Channel Delay Time

Left Channel Volume

Right Channel Volume

FB Feedback Level 0-100%

MIX Mixing Balance 0-100%

LVL Output Level - oo, -30 dB - +6 dB Sets the output level of the effect.

Typ Filter Type HPF, LPF

Frq Cut Off Frequency

-12-+12

-99 ~ +99

0.1 ~ 400 msec

-12-+12 ±12 semitones.

-99 ~ +99 + 99 cents. (100 cents = 1 semitone)

0.1 - 400 msec

0-100

HPFrTHRU,

32 Hz - 1.0 kHz

LPF: 1.0 kHz - 16 kHz,

THRU

+12 semitones.

+ 99 cents. (100 cents = 1 semitone)

The signal that is fed back will, obviously, be pitch shifted again, and again.

0 = dry signal. 50 = 50% stereo pitch 50% dry signal. 100 = 100% stereo pitch.

Ping-Pong Delay — PDL

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

DLY Delay Time 0.1 ~ 450 msec

FB Feedback Level

DIR Direction

MIX Mixing Balance 0 - 100%

LVL

Typ Filter Type HPF, LPF

Frq

Stereo Modulation Delay — SMD

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

Chapter 4: Effect parameters

0-100%

L L —> bounce from L to R.

Output Level - o°, -30 dB - +6 dB Sets the output level of the effect.

HPF:THRU,

Cut Off Frequency

32 Hz - 1.0 kHz

LPF: 1.0 kHz-16 kHz,

THRU

The amount of effected signal that is fed back into the effect.

<— R bounce from R to L. 0 = dry signal.

50 = 50% ping-pong delay 50% dry signal. 100 = 100% ping-pong delay.

DLYL

DLYR

SPD Modulation Speed DEP Modulation Depth 0-100%

Left Channel Delay Time

Right Channel Delay Time

FB Feedback Level 0-100%

L/R

L/R Balance

MIX Mixing Balance 0 - 100%

LVL Output Level - oo, -30 dB - +6 dB

Filter Type HPF, LPF

Typ

Frq Cut Off Frequency

0.1 - 450 msec

0.1 Hz - 20 Hz

L50 - L=R - R50

HPFiTHRU,

32 Hz - 1.0 kHz

LPF; 1.0 kHz - 16 kHz,

THRU

The amount of effected signal that is fed back into the effect.

If the DLYL and DLYR parameters are set to

the same (or similar) delay times, this effect

may sound like a signal phasing problem. If so, adjust the L/R parameter to correct it.

0 = dry signal. 50 = 50% stereo mod delay 50% dry signal. 100 = 100% stereo mod delay.

Sets the output level of the effect.

Chapter 4: Effect parameters

Reverb/Delay -

Reverb — REV

REV

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

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

TYP Reverb Type

PDLY Pre Delay

RVT

Reverb Time

High Frequency

Reverb Time Ratio

wip Sound Image Width

MIX

Mixing Balance 0-100%

LVL

Output Level - o°, -30 dB - +6 dB Sets the output ievei of the effect.

Typ

Filter Type

Frq Cut Off Frequency

RhI Rvc Rrm Rpl

0.1 ~ 200 msec Delay before the reverb signal is output.

0.3 ~ 40 sec

1 ~ 10

0~ 10

HPF, LPF HPFTHRU,

32 Hz-1.0 kHz

LPF: 1.0 kHz - 16 kHz,

THRU

Hall (concert hall). Vocal (ideal for vocals). Room (echo room). Steel plate type reverb.

Reverb iength. 1 = dark reverb.

10 = bright reverb.

0 = mono.

10 = wide stereo.

0 = dry signai. 50 = 50% reverb 50% dry signai. 100 = 100% reverb.

Chapter 4; Effect parameters

Delay + Reverb

D + R

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

DLYL

DLYR

RVT Reverb Time 0.3 ~ 40 sec

PDLY Pre-delay 0.1 - 190:0 msec

WID Sound Image Width 0-10

Left Channel Delay Time

Right Channel Delay Time

Feedback Level

L/R Balance

L/R

High Frequency

Ratio

Delay/Reverb

D/R

Baiance

MIX Mixing Baiance 0-100%

LVL Output Level

Filter Type

Typ

Frq Cut Off Frequency

0.1 ~ 750 msec

0.1 - 750 msec

0-100%

L50 - L=R - R50

1 - 10

D50 - D=R - R50

- oo, -30 dB - +6 dB HPF, LPF HPFTHRU,

32 Hz - 1.0 kHz

LPF: 1.0 kHz-16 kHz,

THRU

The amount of effected signal that is fed

back into the effect. If the DLYL and DLYR parameters are set to

the same (or similar) delay times, this effect

may sound like a signal phasing problem. If

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

Reverb length.

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

100 = 100% delay + reverb. Sets the output level of the effect.

INPUT L ID-

INPUT RO

DELAY

REVERB

D + R Block Diagram

-O OUTPUTL

MIXER

-O OUTPUTR

Chapter 4: Effect parameters

Delay Reverb — D R

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

DLYL

DLYR

WID Sound Image Width

Left Channel Delay Time

Right Channel Delay Time

Feedback Level 0-100%

L/R Balance

RVT

Reverb Time 0.3 - 40 sec

High Frequency

Ratio Delay/Reverb

D/R

Balance

MIX

Mixing Balance

LVL Output Level Typ Filter Type

Frq

Cut Off Frequency

0.1 ~ 750 msec

L50 - L=R - R50

0-10

1 - 10

D50 - D=R - R50

0-100%

- oo. -30 dB - +6 dB HPF, LPF

HPFTHRU,

32 Hz - 1.0 kHz

LPF: 1.0 kHz - 16 kHz,

THRU

The amount of effected signal that is fed

back into the effect. If the DLYL and DLYR parameters are set to

the same (or similar) delay times, this effect

may sound like a signal phasing problem. If

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

0 = dry signal. 50 = 50% delay -> reverb 50% dry signal. 100 = 100% delay ^ reverb.

Sets the output level of the effect.

INPUT L O-

INPUTRO-

DELAY

REVERB

D R Block Diagram

MIXER

-O OUTPUTR

-O OUTPUTL

Delay — DLY

Chapter 4: Effect parameters

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

Tempo Delay — TDL

DLYL

DLYR

Left Channel Delay

Time

Right Channei Delay Time

Feedback Level 0 ~ 100%

L/R Balance L50 ~ L=R ~ R50

L/R

MIX Mixing Balance

LVL Output Level

0.1 ~ 1200 msec

0-100%

- -30 dB - +6 dB

The amount of effected signal that is fed back into the effect.

If the DLYL and DLYR parameters are set to the same (or similar) delay times, this effect may sound like a signal phasing problem. If so, adjust the L/R parameter to correct it.

0 = dry signal. 50 = 50% delay 50% dry signal. 100 = 100% delay.

Sets the output level of the effect.

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

Use TEMPO parameter. See page 29. See page 33.

TRG

TEMPO

Tempo Trigger Type

Tempo

OFF TAP

MIDI

50 ~ 250 bpm

NOTE Note

FB Feedback Level

WID

Sound Image Width 0-10

L/R Balance

L/R

MIX Mixing Balance

LVL Output Level

*j3=a : J x|

^j3=jjj : J xi

0-100%

L50 - L=R - R50

0-100%

- °<=, -30 dB - +6 dB

The number of beats per song measure.

The amount of effected signal that is fed back into the effect.

0 = Same delay time for L&R.

10 = Slightly differing delay times for L&R,

which produces a stereo type effect. If the DLYL and DLYR parameters are set to

the same (or similar) delay times, this effect may sound like a signal phasing problem. If so, adjust the L/R parameter to correot it.

0 = dry signal. 50 = 50% tempo delay 50% dry signal.

100 = 100% tempo delay.

Sets the output level of the effect.

Chapter 5: Remote Control

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

Foot Switch Control

[T] Effect Program Select

Foot switch controlled Functions

[jJ Effect program select [2j Tap tempo, speed switching, & ducking [3] FX550 bypass

Use an optional Yamaha FC-5 foot switch.

A foot switch can be used to select effect programs.

• Set Up Procedure

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

[jJ Effect program select [¿) Tempo control [3] PCL and PGR control 13 Parameter adjustment [|] Volume control [6] High-speed edit

MIDI Controlled Functions

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

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

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

set the desired program number range.

When RANGE is set “62 TO 67”

- 63 - 64 - 65 - 66 ->

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

• Operation Procedure

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

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

When RANGE is set “67 TO 62”

67 66

- 65 - 64 - 63 -

+ 120 hidden pages

Yamaha FX550 User Manual [en, de, fr]

CANADA

Unpacking

Operating Precautions

■ MIDI cables

Contents

How the FX550 Works

[T] Function Configuration

Chapter 1: Controls & Connections

The Front Panel

© INPUT jack

@ LCD

® DEC [ T ] & INC [ A ] buttons

© Mode buttons & indicators

• PLAY button

• EDIT button

• UTILITY button

® BYPASS button, indicator

® CURSOR [M ] [ ► ] buttons

® INPUT level control

® PEAK/SIGNAL indicators

® Effect buttons, indicator

® POWER switch

STORE button

The Rear Panel

© BYPASS jack

© MEMORY INC/DEC TRIGGER jack

® MIDI IN connector

© PHONES jack

® PHONES LEVEL control

® R&L(MONO) jacks

DC 12V IN connector

Cable clip

® TUNER OUT jack

chapter 2: Let's Plug In & Play

[T] Making the Connections

[^Playing

Bypassing the FX550

Switching Off Individual Effect Sections (Section Bypass)

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

[T] Editing an Effect Program

Mod section effects

MOD & REV Configuration

Amp Simulator

Storing an Edited Effect Program

Titling Effect Programs

chapter 4: Effect parameters

Compressor/Limiter — COMP

Distortion/Overdrive — DIST

3-Band Parametric Equalizer — EQ

Modulation — MOD

EFF: PAN

EFF: TRM

Reverb/Delay -

Chapter 5: Remote Control

Foot Switch Control

• Set Up Procedure

• Operation Procedure