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YAMAHA®

AUTHORIZEDPRODUCT MANUAL

SIMUL-EFFECT PROCESSOR

YAMAHA

Operation Manual

Congratulations!You are the proud owner of a Yamaha FX500 SIMUL-EFFECTPROCESSOR. The FX500 is a high-performance digital effect devicewhich provides a chain of up to 5 different effects, and extensiveprogramming capability so you can create “custom” effect chains to suityour own specific musical requirements. With programmable compressor,distortion, equalizer, modulation and reverb/delay effect stages, theFX500 gives you a complete state-of-the-art signal-processing system inone compact package. 60 superlative preset effect programs are providedthat you can simply select and use right away, while 30 RAM memorylocations can be used to store your original signal-processing creations.Furthermore, the effects are all created using leading-edge Yamahadigital signal processing technology, so the sound is nothing less thansuperb.Please read through this operation manual thoroughly while learning touse your FX500, in order to take full advantage of all the sophisticatedcapabilities it provides — and keep the manual in a safe place for laterreference!

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CONTENTS

1. Precautions .............................................................. 32. The FX500: What It Is and What It Does ................. 4

Effects ................................................................... 4Memory Configuration ......................................... 4MIDI Control .......................................................... 4

3. Connections: Basic System Setup ......................... 54. The Controls: A Quick Operation Guide ................ 75. The MEMORY Mode:

Selecting Effect Programs ...................................... 96. Effect Processor Selection ................................... 10

Reversing the Order of the Modulation &Reverb Stages ..................................................... 10

7. The Parameter Mode:Editing the Effect Programs .................................. 11

Editing Parameter Data ...................................... 11• Assigning MIDI CONTROLLERS

to Effect Parameters ....................................... 11• Memory Store Operation ................................ 12COMPRESSOR ................................................... 12DISTORTION ....................................................... 13EQUALlZER ........................................................ 13

nn MODULATlON ..................................................... 14• Chorus ............................................................. 14• Flanger ............................................................. 14• Symphonic ...................................................... 15• Tremolo ............................................................ 15REVERB/DELAY ................................................. 15

• Reverb Group .................................................. 16• Reverb Hall • Reverb Room• Reverb Vocal • Reverb Plate ....................... 16

• Early Reflection Group ................................... 16• E/R Hall • E/R Random• OR Reverse • E/R Plate ................................ 16

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

• Reverb and Delay Group (Parallel) ................ 17• Reverb + Delay .............................................. 17

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

8. The Utility Mode ..................................................... 19nn Program Title Edit ............................................... 19n n MIDI Program Selection: MIDI Setup

and Program Change Table Edit ....................... 19• MIDI Setup ....................................................... 20• Program Change Table Edit ........................... 20

n n MIDI Parameter Control: Control Change 1Table 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 .............. 21Footswitch Function Select ................................ 22• Using Tap Tempo Delay .................................. 22Footswitch Memory Recall Range Edit ............ 23

9. Specifications ......................................................... 2410. MIDI Data Format ................................................... 2611. Block Diagram ........................................................ 3012. FX500 Parameter Chart ......................................... 3113. Preset Program Parameters .................................. 32

CANADA

THIS APPARATUS COMPLIES WITH THE “CLASS B”LIMITS FOR RADIO NOISE EMISSIONS SET OUT INRADIO INTERFERENCE REGULATIONS.

CET APPAREIL EST CONFORME AUX NORMES“CLASSE B”, POUR BRUITS RADIOELECTRIQUES.TEL QUE SPECIFIER DANS LE REGLEMENT SUR LEBROUILLAGE RADIOELECTRIQUE.

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1. Precautions !! PLEASE READ THIS BEFORE PROCEEDING !!

1. AVOID EXCESSIVE HEAT, HUMIDITY, DUST ANDVlBRATlONKeep the unit away from locations where it is likely to beexposed to high temperatures or humidity-such asnear radiators, stoves, etc. Also avoid locations whichare subject to excessive dust accumulation or vibrationwhich could cause mechanical damage.

2. AVOID PHYSICAL SHOCKSStrong physical shocks to the unit can cause damage.Handle it with care.

3. DO NOT OPEN THE CASE OR ATTEMPT REPAIRSOR MODlFlCATlONS YOURSELFThis product contains no user-serviceable parts. Referall maintenance to qualified Yamaha service personnel.Opening the case and/or tampering with the internalcircuitry will void the warranty.

4. MAKE SURE POWER IS OFF BEFORE MAKING ORREMOVING CONNECTlONSAlways turn the power OFF prior to connecting ordisconnecting cables.

5. HANDLE CABLES CAREFULLYAlways plug and unplug cables — including the cord ofthe power supply — by gripping the connector, not thecord.

7. ALWAYS USE THE CORRECT POWER SUPPLYAlways use the supplied AC Adaptor to power yourFX500 or, if the original adaptor is lost or broken, areplacement or equivalent type obtained from yourYamaha dealer. Also, make sure that the adaptor youhave is appropriate for the AC mains supply voltage inthe area where you intend to use the FX500 (the correctINPUT voltage is marked on the adaptor).

8. ELECTRICAL INTERFERENCESince the FX500 contains digital circuitry, it may causeinterference and noise if placed too close to TV sets,radios or similar equipment. lf such a problem doesoccur, move the FX500 further away from the affectedequipment.

9. MEMORY BACKUPThe FX500 contains a special long-life battery thatretains the contents of its internal RAM memory evenwhen the power is turned OFF. The backup batteryshould last for approximately 5 years. When the batteryvoltage drops to a level that is too low to maintain thememory contents, the following message will appear onthe FX500 display when the power is turned ON:

** WARNING **MEMORY DATA

6. CLEAN WITH A SOFT DRY CLOTHNever use solvents such as benzine or thinner to cleanthe unit. Wipe clean with a soft, dry cloth.

If this display appears, have the backup battery replacedby qualified Yamaha service personnel. DO NOTATTEMPT TO REPLACE THE BACKUP BATTERYYOURSELF!

FCC CERTIFICATION (USA)

This equipment generates and uses radiofrequency energy and if not installed and usedproperly, that is, in strict accordance with themanufacturer’s instructions, may causeinterference to radio and television reception. Ithas been type tested and found to comply withthe limits for a Class B computing device inaccordance with the specifications in Subpart Jof Part 15 of FCC Rules, which are designed toprovide reasonable protection against suchinterference in a residential installation.However, there is no guarantee that interferencewill not occur in a particular installation. If thisequipment does cause interference to radio ortelevision reception, which can be determinedby turning the equipment off and on, the user isencouraged to try to correct the interference byone or more of the following measures:

Reorient the receiving antenna.Relocate the equipment with respect to thereceiver.Move the equipment away from the receiver.Plug the equipment into a different AC poweroutlet so that it and the receiver are on differentbranch circuits.If necessary, the user should consult the dealeror an experienced radio/television technician foradditional suggestions. The user may find thefollowing booklet prepared by the FederalCommunications Commission helpful:“How to Identify and Resolve Radio-TVInterference Problems”.This booklet is available from the U.S.Government Printing Office, Washington, DC20402, Stock No. 004-000-00345-4.

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

n Effects ProgramNo. Program Title Program

No.Program Title

The FX500 SIMUL-EFFECT PROCESSOR is a high-performance digital signal processor intended for use withelectric guitars, electronic keyboards or other instruments.lt employs leading-edge Yamaha digital signal processingtechnology to provide a “chain” of up to six independenteffects that can be independently controlled to produceprecisely the required overall sound. As shown below, theFX500 includes five effect (compressor, distortion,equalizer, modulation and reverb) stages. Stages can beturned on or off as required, and the order of themodulation and reverb stages can be reversed. Thecompressor. distortion and equalizer stages are basicallysingle-function processors. The modulation and reverbstages each incorporate a number of separate effectswhich can be selected and used as required. Several ofthe 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 beadjusted to tailor its sound to your specific musical needs.

1234567891011121314151617181920212223242526272829

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Broad Dist.Warm StringsStandard JazzSoft EchoPower PanTrad. Dist.Dark Dist.Ring Dist.Metal OverdriveEcho Dist.Tight Dist.Blue Dist.FuzzSlap Dist.Power LeadsChasing LeadsPower StackSymphonic Dist.Turbo DriveChasing RhythmStereo Dist.Fusion Dist.Boogie RoomBuzz BackerLiquid Dist.Electric ChordsClean RepeatSweet SwirlMild MotionPearly Chords

313233343536373839404142434445

464748495051525354555657585960

Clisp ChordsSharp ChopsTremoloSweet FlangeChord-CloudsLight SymphonicClean AcousticAcoustic SoloLush StringsSoft FocusBrass RoomBrass BurstTrumpet FlangeBrass EnergizerEcho RhythmSumphonic HallHorror HouseS i t a rStaccato VibeSweep GateMonk AkkalStraight BassSlap BassFretless BassTrad. BassS a x S o l oVocal ReverbDrum Gate/RevTight SnareRock Drums

61 - 90 User Programs

Memory Configuration 0 Initial Data

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

n MIDI Control

For further versatility and smooth integration with MIDI-based music systems, the FX500 offers broad MIDI controlcapabilities. Any of its 90 memory locations may bedirectly selected from a remote MIDI device such as akeyboard or MIDI foot controller *. lt is also possible todirectly control up to two different effect parameterssimultaneously in real time. This means that two MIDIcontrollers (a MODULATION WHEEL and DATA ENTRYslider on a keyboard, for example) could be used tocontrol, say, the modulation depth of the flanger effectsand the reverb time of a reverb effect in real time as youplay! Any two MIDI controllers can be assigned to any twoeffect parameters (See “MIDI Parameter Control: ControlChange 1 Table Edit and Control Change 2 Table Edit” onpage 20 for operational details).

• Extensive MIDI control is also possible with the MFC1MIDI Foot Controller. Consult the MFC1 operationManual for details.

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3. Connections: Basic System Setup

DC 12V IN Jack and Cable ClipThe DC output cable from the supplied AC Adaptorshould be connected here. When connecting the powersupply, make sure that the FX500 POWER switch is inthe OFF position (extended).Plug the AC adaptor output cable into the DC 12V INjack, and finally the adaptor’s AC plug into a convenientAC wall outlet. The cable clip located immediatelybelow the DC 12V IN jack helps to prevent accidentalunplugging of the power supply during use. Wrap theDC cable firmly around the clip a few centimeters fromthe plug end.

CAUTION!Do not attempt to use a different AC adaptor to powerthe FX500. The use of an incompatible adaptor maycause irreparable damage to the FX500, and mightpose a serious shock hazard!

INPUT JackThis jack duplicates the function of the front-panelINPUT jack described in the following section. It isimportant to note, however, that only one of the INPUTjacks can be used at a time. lf plugs are inserted intoboth the front and rear-panel inputs, the front-panelinput jack takes priority.

OUTPUT LEVEL SelectorThis switch is used to match the output level of theFX500 to the input sensitivity of the amplifier, mixingconsole or other device it is feeding. For compatibilitywith standard line-level inputs the -10 dB settingshould be appropriate, while the -20 dB setting shouldbe used when the FX500 is connected to a high-sensitivity input-the input of a guitar amplifier, forexample.

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OUTPUT R and OUTPUT L JacksThese are the main stereo outputs from the FX500. Werecommend using both outputs and connecting them tothe corresponding right and left channels of a stereosound system, since the full impact of many of theFX500 effects can only be appreciated in stereo. lf,however, only a mono sound system is available, useeither the OUTPUT R or OUTPUT L jack.

PHONES LEVEL Control and PHONES JackFor private listening or practice when an externalsound system cannot be used, a pair of standardstereo headphones (with a 1/4” stereo phone plug orappropriate adaptor plug) can be plugged into thePHONES jack. The PHONES LEVEL control adjuststhe headphone listening level.

MIDI IN ConnectorThe MIDI IN connector accepts MIDI signals from anexternal MIDI device such as a MIDI foot controller,keyboard, etc. The FX500 will accept MIDI PROGRAMCHANGE messages to directly select effect programs,or MIDI CONTROL CHANGE messages to controlindividual effect parameters.[See page 19 for further details]

MEMORY INC/DEC, TRIGGER (TAP TEMPO DELAY)JackAn optional Yamaha FC4 or FC5 Footswitch may beconnected here for convenient foot-controlled selectionof effect programs or "tap tempo delay” control which isused to set delay time for the delay effects. Thefunction of the footswitch is determined by the UTILITYmode Foot Switch Function Select function (page 22).The range of effect programs that can be selectedwhen the footswitch is assigned to memory selection isdetermined by the UTlLlTY mode Footswitch MemoryRecall Range Edit function (page 23).

BYPASS JackAn optional Yamaha FC4 or FC5 Footswitch connectedhere performs exactly the same function as the front-panel BYPASS key. Press the footswitch once toactivate the bypass mode, and again to turn bypass off.

Basic System Configuration

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4. The Controls: A Quick Operation Guide

Power SwitchPress once to turn the FX500 on, and a second time toturn the power off. When the power is turned on, a titleand copyright notice will appear on the display panel fora few seconds before operation actually begins.

Input JackPlug your guitar, keyboard or other signal source inhere or into the duplicate INPUT jack provided on therear panel (see INPUT Jack” in the “3. Connec-tions: Basic System Setup” section). Both jacks arestandard monaural 1/4” phone jacks.

INPUT LEVEL Control with SIGNAL and PEAKIndicatorsFor the optimum input level setting, play your source atthe highest level it will be played in actual use. Adjustthe INPUT LEVEL control so that the SIGNAL Indicatorlights most of the time but the PEAK indicator does notlight, or lights only occasionally on brief high-levelpeaks.

COMP, DIST, EQ, MOD and REV Effect KeysThese keys function differently in the MEMORY andPARAM modes.• When the MEMORY mode is selected (i.e. when the

MEMORY key indicator is lit—see MEMORYMode Key”), these keys are used to turn thecorresponding effect stage ON (indicator lit) or OFF(indicator out).[See page 10 for further details]

• When the PARAM mode is selected (i.e. when thePARAM key indicator is lit—see PARAM ModeKey”), these keys select the various parametersavailable for editing in the corresponding effectstage.[See page 11 for further details]

Arrow( )and( ) keysThe and keys 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" MEMORYMode Key”), the and are used to selectthe desired effect program.[See page 9 for further details]

• When the PARAM mode is selected (i.e. when thePARAM key indicator is lit — see PARAM ModeKey”), they are used to “edit” the selected effect

Liquid Crystal Display PanelThis is the FX500’s main “information center”, providingall information necessary for effect program selection,programming and utility control.

parameter.[See page 11 for further details]

• When the UTILITY mode is selected (i.e. when theUTILITY key indicator is lit — see" UTILITY ModeKey”), the and keys are used to program theselected utility function.[See page 19 for further details]

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SEL/ASN KeyThe SEL/ASN key functions differently in the MEMORYand PARAM modes.• When the MEMORY mode is active this key

reverses the order of the MOD and REV processingstages.[See page 10 for further details]

• In the PARAM mode, the SEL/ASN key is used toassign effect parameters for control via externalMIDI controllers.[Seepage 21 for further details]

BYPASS KeyWhen the BYPASS key is pressed and “BYPASS”appears on the display panel, all FX500 effect stagesare completely bypassed and the input signal is feddirectly to the output. Press the BYPASS key a secondtime to turn the bypass function off. The rear-panelBYPASS footswitch jack can also be used for bypasscontrol (see “ BYPASS Jack" on page 5).

MEMORY Mode Key and lndicatorWhen the MEMORY key indicator is lit, the FX500MEMORY mode is active and effect programs (1 — 90)can be selected and recalled using the and keysand RECALL key. In the MEMORY mode it is alsopossible to turn effect stages ON or OFF using theCOMP, DIST, EQ, MOD and REV keys. The MEMORYmode can be activated while the PARAM mode isselected by pressing the MEMORY key. The MEMORYmode can not be directly selected from the UTILITYmode by pressing the MEMORY key. The UTlLlTYmode must first be exited by pressing the UTILITY keyseveral times or holding it down (approximately 1second) until the UTILITY key indicator goes out.[See page 9 for further details]

RECALL KeyAfter using the and keys to select a disired effectprogram while in the MEMORY mode, the RECALL keyis pressed to actually recall and activate the selectedprogram.[See page 9 for further details]

STORE KeyAfter editing any of the effect programs, the newprogram can be stored in any of the FX500’s RAMmemory locations (61 through 90) for later recall anduse. The STORE key is used to store edited data to aRAM memory location.[See page 12 for further details]

PARAM Mode Key and lndicatorThe PARAM key selects the PARAM (parameter) modein which the individual parameters for each effect stagecan be edited as required. The PARAM key indicatorlights when the PARAM mode is active. The PARAMmode can not be directly selected from the UTlLlTYmode by pressing the PARAM key. The UTILITY modemust first be exited by pressing the UTILITY keyseveral times or holding it down (approximately 1second) until the UTILITY key indicator goes out.[See page 11 for further details]

UTILITY Mode Key and lndicatorPressing this key activates the UTlLlTY mode, allowingaccess 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 UTlLlTY mode isactive. Each time the UTlLlTY key is pressed the nextfunction on the utility “list” is selected. The mode thatwas active before the UTILITY key was pressed(MEMORY or PARAM) is selected following the lastfunction on the utility list. The UTILITY mode can alsobe exited by pressing the UTILITY key several times orholding it down (approximately 1 second) until theUTILITY key indicator goes out.

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5. The MEMORY Mode: Selecting Effect Programs

In the FX500 MEMORY mode, the and keys can be The number of the selected effect program should nowused to select individual effect programs. When a new be flashing on the display, indicating that the programprogram number is selected, its number will flash on the has been selected but has not yet been recalled (thedisplay and its title will appear on the upper line. Press the previous effect program is still active). Press theRECALL key to actually recall and activate the selected RECALL key to actually recall and activate the selectedprogram. program. The program number will stop flashing.

lf the MEMORY mode is not already selected (i.e. if theMEMORY key indicator is not lit), press the MEMORYkey to select the MEMORY mode.

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The MEMORY mode can not be directly selected fromthe UTILITY mode by pressing the MEMORY key. TheUTILITY mode must first be exited by pressing severaltimes or holding (about one second) the UTILITY keyuntil the UTILITY key indicator goes out.

Use the and/or keys to select the number of thedesired effect program (in this example we go toprogram number 10 from number 1, so only the keyis used). Press the or key briefly to select the nexthighest or lowest numbered program, or hold either keydown for continuous scrolling in the correspondingdirection. Faster scrolling is achieved by pressing theopposite arrow key while holding the arrow keycorresponding to the direction of scrolling.

6. Effect Processor Selection

In the MEMORY mode the FX500 effect stages can beindividually turned ON or OFF by using the COMP, DIST,EQ, MOD and REV keys. Pressing any of these keysalternately turns the corresponding effect stage ON(indicator lit) or OFF (indicator out). When a stage is turnedOFF, it is bypassed and the previous active stage isconnected directly to the following active stage. lf allstages are ON, the effect chain is as shown below:

lf, however, you only wanted to use the compressor,equalizer and reverb stages, you could press the DIST andMOD keys to turn the stages OFF, resulting in the effectchain shown below:

NOTE: The ON/OFF status of each effect is stored to theRAM memory along with all other effect data whena STORE operation is performed (see “MemoryStore Operation” on page 12).

This is the normal order of the MOD and REV effectstages:

The current order of the selected effects in the MOD andREV stages is also shown on the bottom line of the display(“MOD - REV” in this case).

Press the SEL/ASN key to reverse this order.

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

n Reversing the Order of theModulation & Reverb Stages

Normally, the last two effects in the FX500 effect chain area modulation type and reverb type, in that order. Bypressing the SEL/ASN key while in the MEMORY mode,however, this order may be reversed. The order of theMOD and REV effect stages is shown on the bottom line ofthe LCD, and the LEDs associated with the MOD and REVkeys will light to show the selected order:• MOD — • REV — • MOD.

The ability to reverse the order of the modulation andreverb stages is important because it gives you choice ofapplying reverb/delay to the already-modulated signal, orapplying modulation to the reverb/delay signal. Thedifference in sound can be quite significant.

NOTE: The selected order of the MOD and REV effectstages is stored to the RAM memory along with allother effect data when a STORE operation isperformed (see “Memory Store Operation” onpage 12).

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7. The Parameter Mode: Editing the Effect Programs

The parameter mode provides access to several importantparameters for each effect, allowing you to change thesound of each effect over a broad range to suit yourspecific requirements. Once the parameters for each effectstage have been programmed and fine-tuned to provideexactly the sound you want, the entire effect program canbe stored into one of the FX500’s RAM memory locationsfor later recall and use.

n Editing Parameter Data

The parameter mode is entered by pressing thePARAM key. The parameter abbreviations aredisplayed on the upper line of the LCD, and thecorresponding data values are shown on the bottomline (the parameters will be described in detail in thefollowing sections).

The PARAM mode can not be directly selected from theUTlLlTY mode by pressing the PARAM key. TheUTILITY mode must first be exited by pressing severaltimes or holding (about one second) the UTILITY keyuntil the UTILITY key indicator goes out.

Press the COMP, DIST, EQ, MOD or REV key to selectthe effect you wish to edit.

Press the selected effect key (i.e. the key you pressedin step , above) to move the cursor to the parameterto be edited. Each time the effect key is pressed thecursor moves one parameter to the right. In manyeffects, two or three parameter screens are required,so the next screen will appear when the cursor ismoved past the last parameter on each screen. Thefirst screen is re-selected after the last parameter onthe last screen. The modulation stage flanger effect, forexample, has the following three parameter screens:

FIRST SCREEN SECOND SCREEN

Use the and keys to adjust the value of theselected parameter. lf you hold the or key the datawill scroll continuously in the specified direction. Thedata will scroll faster if you press the opposite arrowkey while holding either the or key.

The effect selected for editing can be turned ON orOFF by pressing the PARAM key, so you can easilycompare the direct and processed sound.

NOTE: To prevent accidental loss of edited data, theFX500 responds with a confirmation display —“RECALL OK ?” — if you press the RECALL keywhile editing in the PARAM mode. lf you actuallyintend to recall the original (pre-edit) effect, pressthe RECALL key a second time. lf you do notwant to carry out the recall operation, simply pressany key other than the RECALL key.

• Assigning MIDI CONTROLLERS to EffectParameters

lf the SEL/ASN key is pressed in the PARAM mode, itbecomes possible to assign external MIDI CON-TROLLERS to diectly control effect parameters. Refer to“Assigning CONTROLLER 1 and CONTROLLER 2 toSpecific Effects” on page 21.

• Memory Store Operation

An edited effect program can be stored in any memorylocation within the FX500’s RAM memory area (61 through90). Original effect programs stored in this way can beselected and used in exactly the same way as the preseteffect programs. The ON/OFF status of each effect, theselected order of the MOD and REV stages and MIDICONTROLLER assignments are stored along with all otherparameter data. The UTILITY mode TlTLE EDlT functioncan be used to create new titles for your original effectprograms after you have stored them in RAM memory.(See “Program Title Edit” on page 19)

After editing the parameters to create the desiredeffect, select the MEMORY mode and select the RAMmemory location (61 — 90) with the or key towhich you wish to store the edited data.

Press the STORE key.

Press the STORE key again. The following display willappear for a few seconds while the store operation is inprogress. lf you decide not to go ahead with the storeoperation, simply press any key other than the STOREkey.

When the store operation is complete, the memorylocation stored to will be selected automatically.

NOTE: lf you attempt to use the STORE function while aROM memory location is selected, the followingdisplay will appear and the store operation will beaborted.

n COMPRESSOR (COMP)

The compressor effect stage produces sustain or simple“smoothing” by compressing the signal so that high levelsare suppressed while low levels are effectively boosted.The use of compression before other effect stages isparticularly effective because it limits the signal to adynamic range that results in improved sound with thesubsequent effects.

THR (Threshold: -60 — 0 dB)

Sets the compressor threshold level. signal levelsexceeding the threshold level will be compressed whilethose below the threshold level will be unaffected.

RAT (Ratio: 1/2,1/4,1/8, 1/00)

This parameter sets the degree of compression. Acompression ratio of 1/2, for example, compresses signalsabove the threshold level to one-half their originalamplitude. A setting of 1/00 produces almost totalcompression, producing the same signal level for allsignals above the threshold level. This yields the greatestdegree of sustain.

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ATK (Attack: 1.0 — 20 ms) LPF (Low Pass Filter Cutoff Frequency: 400 HZ — 16kHZ, THRU)

Determines how long it takes for compression to beginafter an input signal is detected. Higher values produce alonger attack time, allowing more of the natural attack ofthe input signal to come through. This parameter isparticularly useful if, for example, you want to retain asharp attack while increasing sustain.

Controls the tone of the distortion sound. Set at 400 Hz,only signals below 400 Hz will be passed, resulting in adeep, bassy sound. As the LPF frequency is increasedmore of the total frequency range is passed. When set toTHRU, the LPF is effectively OFF and has no effect.

LVL (Output Level: -41 — +6 dB)

Determines the output level of the effect.LVL (Output Level: -41 — +24 dB)

Determines the output level of the effect.

n DISTORTION (DIST) EQUALIZER (EQ)The FX500 features a three-band equalizer stage for wideranging tonal control. Up to 15 dB of boost or cut can beapplied to the low, mid and high bands, and the centerfrequency of the mid band can be adjusted over a broad400 Hz — 6.3 kHz range.

The FX500 distortion stage digitally produces smooth, richdistortion that can be adjusted to achieve and extremelywide variety of effects. In addition to providing full control ofthe degree of distortion produced, a variable low-pass filtergives you broad control over the tone of the distortion. Abuilt-in noise gate function with adjustable trigger leveleffectively shuts out unwanted noise.

DST (Distortion Drive Level: 0 — 100)

Sets the degree of distortion produced. Higher valuesproduce more distortion.

TRG (Noise Gate Trigger Level: -80 — -30 dB)

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

LOG (Low Gain: -15 — +15 dB)

Sets the amount of boost or cut applied to frequenciesbelow 280 Hz. A setting of 0 produces no boost or cut.“Minus” values produce cut and “plus” values produceboost.

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MIG (Mid Gain: -15 — +15 dB)

Sets the amount of boost or cut applied to mid-bandfrequencies. A setting of 0 produces no boost or cut.“Minus” values produce cut and “plus” values produceboost.

MIF (Mid Frequency: 400 — 6.3 kHz)

Sets the center frequency of the Mid equalizer band.

HIG (High Gain: -15 — +15 dB)

Sets the amount of boost or cut applied to frequenciesabove 6.3 kHz. A setting of 0 produces no boost or cut.“Minus” values produce cut and “plus” values produceboost.



MODULATION (MOD)The MODULATION effect stage contains a number ofeffects based on signal strength (amplitude) and signaldelay variation, or “modulation”. The differentMODULATION effects are selected by the TYP (type)parameter which appears at the left of everyMODULATION display screen.

TYP (Type: Cho, Fig, Sym, Trm)

This parameter is common to all modulation programs, andis used to select the desired effect. The various modulationeffects are indicated by the following abbreviations:

Cho: ChorusFig: FlangerSym: SymphonicTrm: Tremolo

Each modulation effect has a slightly different set ofparameters. The parameters for each type are describedbelow.

• Chorus (Cho)

The chorus effect combines delay time and amplitudemodulation to effectively thicken and add warmth to thesound.

SPED (Modulation Speed: 0.1 — 20.0 Hz)

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

PMD (Pitch Modulation Depth: 0 — 100 %)

Sets the depth of delay time modulation. Higher valuesdeepen the pitch modulation portion of the effect.

AMD (Amplitude Modulation Depth: 0 — 100 %)

Sets the depth of amplitude modulation. Higher valuesdeepen the amplitude modulation portion of the effect.

MIX (Mixing Balance: 0 — 100 %)

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



• Flanger (Fig)

Flanging is a fairly pronounced effect based primarily ondelay time modulation. By adjusting the variousparameters you should be able to create an extremelybroad range of sounds, from gentle shimmering to wildsweeps.



DEP (Depth: 0 — 100 %)Sets the depth of modulation. Higher values producedeeper modulation.

DLY (Delay Time: 0.2 — 15.0 ms)

Sets the delay time. Delay times shorter than 1 msecproduce the greatest effect in the high-frequency range.With delay times from 1 to 3 ms the effect extends to themiddle frequencies.

FB (Feedback: 0 — 100 %)

Determines the amount of effect-sound feedback returnedto the input of the processor. Higher values produce amore pronounced effect.

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• Symphonic (Sym)

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



DEP (Depth: 0 — 100 %)

Sets the depth of modulation. Higher values producedeeper modulation.



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

• Tremolo (Trm)

The tremolo effect uses amplitude modulation to produce aperiodic volume variation. The FX500 tremolo effectadditionally offers a phase parameter which can be used tocreate a periodic “panning” effect in which the soundappears to move across the stereo sound field.



DEP (Depth: 0 — 100 %)

Sets the depth of modulation. Higher values producedeeper modulation.

PH (Phase: -8 — +8)

Sets the direction in which the sound image moves in thestereo sound field (this is only effective if the FX500 isused with a stereo sound system). A setting of 0 producesno movement, while settings toward +8 or -8 cause thesound image to move to the left or right.





REVERB/DELAY (REV)The REVERB effect stage includes a number of reverb,early reflection and delay type effects. The parameters aredifferent for each type. The different REVERB effects areselected by the TYP (type) parameter which appears atthe left of every REVERB display screen.

TYP (Type: Rhl, Rrm, Rvc, Rpl, Ehl, Erd, Erv, Epl, Dly,Ech, R+D, R D, D R )

This parameter is common to all reverb programs, and isused to select the desired effect. The various reverbeffects are indicated by the following abbreviations:

Reverb Group

Rhl: Reverb HallRrm: Reverb RoomRvc: Reverb VocalRpl: Reverb Plate

Early Reflection Group

Ehl: Early Reflection HallErd: Early Reflection RandomErv: Early Reflection ReverseEpl: Early Reflection Plate

Delay Group

Dly: DelayEch: Echo

Reverb and Delay Group

R+D: Reverb + DelayR D:Reverb DelayD R:Delay Reverb

The parameters for each type are described below.

15

• Reverb Group

• Revert, Hall (Rhl) • Reverb Room (Rrm)• Reverb Vocal (RvC) • Reverb Plate (Rpl)

Reverberation is the warm musical “ambience” youexperience when listening to music in a hall or othernatural environment. The FX500 offers several differentreverb effects, simulating types of reverberation you wouldexperience 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 producedartificially by a plate reverberator (Reverb Plate).

RVT (Reverb Time: 0.3 — 40 s)

Sets the duration of the reverb effect.

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

Sets the reverb time of the high frequencies in relation tothe overall reverb time. Higher values produce longer high-frequency reverb times, gradually approaching the overallreverb time.Lower values create a “darker” reverb decay.


Sets the delay time before the reverb sound begins.



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

• Early Reflection Group

• Early Reflection Hall (Ehl)• Early Reflection Random (Erd)• Early Reflection Reverse (Erv)• Early Reflection Plate (Epl)

These effects are created using different groupings of“early reflections” — the first cluster of reflections thatoccurs after the direct sound but before the densereflections that are known as reverberation begin. EarlyReflection Hall produces a typical grouping of earlyreflections that would occur in a performing environmentsuch as a hall. Early Reflection Random produces anirregular series of reflections that could not occur naturally.Early Reflection Reverse generates a series of reflectionsthat increase in level — like the effect produced by playinga recorded reverberation sound backwards. EarlyReflection Plate produces a typical grouping of reflectionsthat would occur in a plate reverb unit.

RSZ (Room Size: 0.1 — 20)

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

LIV (Liveness: 0 — 10)

Determines how the early reflections decay. Higher valuesresult in slower decay, producing the effect of a morereflective (‘live”) room.


Sets the delay time before the early reflection soundbegins.

16





• Delay Group

• Delay (Dly)

This sophisticated delay effect offers independentlyvariable left and right channel delays (repeats).

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.


Determines the amount of effect-sound feedback returnedto the input of the processor. Higher values produce a agreater number of repeats.

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

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





• Echo (Ech)

Although similar to the Delay program, the Echo programhas different delay ranges and different “internal” settingsthat result in a distinctive echo effect.








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





• Reverb and Delay Group (Parallel)

• Reverb + Delay (R+D)

This effect functions like separate reverb and delayprocessors connected in parallel.

17








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



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

Determines the balance between the level of the reverband delay sound. Higher values produce a greaterproportion of reverb sound, while smaller values produce agreater proportion of delay sound.





Reverb and Delay Group (Serial)

l Delay Reverb (D R)l Reverb Delay (R D)

The Delay Reverb program provides both delay andreverb, with delay before reverb.

The Reverb Delay provides delay and reverb withreverb before delay.








Sets the left-to-right channel balance of the delay soundlevel. Higher values produce higher-level delay sound fromthe left channel, and smaller values produce a higher-leveldelay 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 soundin relation to direct sound.



RMX (Reverb Mixing Balance: 0 — 100 %)

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



18

8. The Utility Mode

The UTlLlTY mode allows access to a number of utilityfunctions such as user’s area program title editing, memorylocation number and MIDI program change numberassignment, and footswitch memory recall rangeprogramming. The UTILITY mode is activated by pressingthe UTILITY key. Each press on the UTILITY key calls adifferent UTILITY function, as shown below:

The mode that was active before the UTlLlTY key waspressed (MEMORY or PARAM) is selected following thelast function on the utility list. The UTILITY mode can alsobe exited by pressing several times or holding (about onesecond) the UTILITY button until the UTILITY key indicatorgoes out.

Program Title Edit

The Program Title Edit function allows you to createoriginal titles for your effect programs, for easyidentification. When Program Title Edit is called the LCDwill appear something like the example below — thememory title will appear on the upper line. Use theMEMORY and PARAM keys to move the cursor tothe desired character location, then use the and keysto change the character at the cursor location. The STOREkey can be used to place a space at the cursor position.Continue until the new title is complete.

The characters accessible via the and keys areshown in the chart below, in their proper order.

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

A newly created program title is automatically stored withthe appropriate program data when the Program Title Editmode is exited.

NOTE: The TITLE EDIT function can only be used whenone of the FX500 RAM memory locations (61through 90) are selected. If you call the TlTLEEDIT function while a ROM memory location (1through 60) is selected, the following display willappear and editing will not be possible.

MIDI Program Selection: MIDI

19

Setup and Program Change TableEdit

The FX500 makes it possible to select specific programsvia external MIDI control. You can set up the FX500, forexample, so that when you select a voice on a synthesizerthe most appropriate effect for that voice is automaticallyselected. This is accomplished because each time youselect a voice on your MIDI synthesizer it transmits thecorresponding MIDI PROGRAM CHANGE NUMBER. TheFX500 receives this PROGRAM CHANGE NUMBER andselects the effect program that you have assigned to itusing the Program Change Table Edit function which willbe described below. A more convenient idea for guitaristswould be to use a MIDI foot controller such as the YamahaMFC1 to transmit the required MIDI PROGRAM CHANGENUMBERS. The FX500 actually can be programmed withfour completely independent sets of MIDI PROGRAMCHANGE NUMBER/MEMORY NUMBER assignments.Each of these is contained in a different “bank”: A, B, C orD. Each BANK may also be programmed to receive on adifferent MIDI channel. The four banks may beprogrammed with different receive channels using the MIDISetup function described below.

MIDI Setup

This function makes it possible to select any of the fouravailable program change table BANKS, and to change theMIDI receive channel for each BANK.

Use the UTlLlTY key to select the MIDI SETUP display.

The underline cursor should be under the BANKparameter. Use the and keys to select the bankyou wish to program (A, B, C or D).

Move the cursor to the “ch=” parameter by pressing thePARAM key, then use the and keys to set thereceive MIDI channel (1 — 16), the OMNI mode (allchannels can be received), or turn MIDI reception OFFfor the selected bank. The underline cursor can bemoved back to the BANK parameter if necessary bypressing the MEMORY key.

Program Change Table Edit

When this function is called the LCD will appear as shownbelow, and it becomes possible to assign new memorylocation numbers to each MIDI program change number.

Use the UTILITY key to select the MIDI PGM CHANGEdisplay. The underline cursor should be under the PGMparameter.

Use the and keys to select the program changenumber to which a new FX500 memory locationnumber is to be assigned. The range of availableprogram change numbers is from 1 to 128.

Move the underline cursor to the MEM parameter bypressing the PARAM key. Use the and keys toselect the memory location number containing theeffect which is to be assigned to the currently selectedprogram change number.If “--” is selected, no new memory location will beselected when that program number is received.

Move the underline cursor back to the PGM parameterby pressing the MEMORY key and repeat theabove steps to assign as many program changenumbers as necessary.

NOTE: The program number/memory numberassignments made are stored in the BANKselected in the previous MIDI Setup function. Toprogram the program change/memory numberassignments for a different BANK, return to theMIDI SETUP display, select the desired BANK,then program the required assignments.

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

The FX500 allows two MIDI “controllers” to be assigned forremote real-time control of effect parameters. "MIDIcontroller” actually refers to a MIDI CONTROL CHANGEnumber between 0 and 127. Some of these numbers areassigned to specific controllers — modulation wheel, dataentry, etc — and a MIDI device such as a keyboard orMFC1 MIDI Foot Controller that has the any of thesecontrollers will transmit the corresponding MIDI controlchange data when the controllers are operated. You could,for example, assign an FC7 connected to an MFC1 tocontrol the FX500 reverb time.

20

In order to use this kind of setup, the two “controllers” thatthe FX500 allows — CONTROLLER 1 and CONTROLLER2 — must be set to receive specific MIDI CONTROLCHANGE data (i.e. receive data from a specific MIDIcontroller) using the Control Change 1 Table Edit andControl Change 2 Table Edit functions described below.

If NOTE ON VELCTY is assigned and a number of NOTEON messages are received simultaneously (e.g. a chord isplayed), the NOTE message with the highest note numbertakes priority.

NOTE: The FX500 only receives control change data onthe MIDI channel specified using the MIDI Setupfunction.

Control Change 1 Table Edit

When this function is called the LCD appears as shownbelow, and the and keys can be used to select thedesired. MIDI control change number for controller 1.

Control Change 2 Table Edit

This function operates in exactly the same way as ControlChange 1 Table Edit, above. The LCD appears as shownbelow, and the and keys can be used to select thedesired MIDI control change number for controller 2.

NOTE: The control number assigned to controller 1, alsocan be assigned to controller 2.

Assigning CONTROLLER 1 and CONTROLLER2 to Specific Effects

The following control change numbers and associatedcontrollers (or none of no controller is specficallyassigned) can be selected:

ControlChangeNumber

ControllerAssignment

OFF012345678 — 316465666768 — 95102 — 114

Controller OFFNo specific controller assigned.MOD. WHEELBREATH CTRLNo specific controller assigned.FOOT CTRLPORT TIMEDATA ENTRYMAIN VOLUMENo specific controller assigned.SUST SWITCHPORT SWITCHSUST PEDALSOFT PEDALNo specific controller assigned.No specific controller assigned.

* Press the STORE key to directly assign “OFF”.

Two other control sources which are not directly associatedwith MIDI control change numbers can also be selected:NOTE ON VELCTY (key velocity, an integral part of MIDINOTE ON data), and CHANNEL PRESS (channelpressure).

21

Once the MIDI controllers you wish to use have beenselected using the Control Change 1 Table Edit andControl Change 2 Table Edit functions described above,you can then assign the controllers to the specific FX500effect parameters. Control assignment is carried out in thePARAM mode.

First select the appropriate effect in the MEMORYmode, then activate the parameter mode by pressingthe PARAM key (of course, this step is not necessary ifyou’re already editing an effect in the parameter mode).

To assign CONTROLLER 1 to an effect parameter,press the SEL/ASN key in the parameter mode and adisplay similar to the following will appear.

Footswitch Function Select

Footswitch Function Select determines the function of anoptional Yamaha FC4 or FC5 footswitch connected to theFX500’s rear-panel MEMORY IN/DEC TRIGGER jack. TheLCD display will appear as below, and the and keyscan be used to select the desired footswitch function.

The cursor will appear under the currently selectedparameter. Use the and keys to select theparameter you wish to control. All parameters for thecurrently selected effects are available. “Cmp-THR,” forexample, refers to the compressor threshold levelparameter. Dst-LPF is the distortion low-pass filterfrequency parameter, etc. The individual parametersare described in detail in the "7. The Parameter ModeEditing the Effect Programs” section beginning on page11. In addition to the standard effect parameters, thefollowing two parameters are available:

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

• CURSOR: Allows the assigned controller to controlthe position of the cursor in the parametermode, facilitating selection of parametersfor editing.

NOTE: Control change reception is disabled whileparameters are being selected.

Press the SEL/ASN key to move the cursor to the MINand then to the MAX position, using the and keysat each position to set the desired control range. BothMIN and MAX have a possible value range of 0 to100%. For example, if the original range for DIST-LVLis -41 to 6 (dB), then setting MIN and MAX to 10 and90 (%), respectively, produces a control range from -36to + 1 (dB).

To assign CONTROLLER 2 to an effect parameter,press the SEL/ASN key again, causing a theCONTROLLER 2 display to appear.

NOTE: If the same parameter is assigned to CTRL 1 andCTRL 2, CTRL 1 takes priority.

Carry out steps and above to assign a parameter to controller 2.

When finished with controller assignment, press any ofthe effect keys (COMP, DIST, EQ, MOD or REV) toreturn to the normal parameter editing mode, or pressthe MEMORY key to return to the MEMORY mode.

As with all other parameters, individual controlassignments can be stored with each program bypressing the STORE key.

TAP TEMPO DELAY is a function which allows delay timeto be controlled by tapping the footswitch in time with themusic (see “Using Tap Tempo Delay,” below). WhenMEMORY INC/DEC is selected, the footswitch can beused to recall a range of effect programs specified by theFootswitch Memory Recall Range Edit function, describedbelow.

Using Tap Tempo Delay

When the TAP TEMPO DELAY footswitch function isselected, and the REVERB stage Dly, Ech, R+D, D R orR D effect is selected, the footswitch connected to theMEMORY INC/DEC jack can be used to set the time of theL-DLY parameter. Simply tap the footswitch twice at theappropriate interval. The time between “taps” sets the timebetween delays.The time of the R-DLY parameter ischarged by the same amount as the L-DLY time. By tappingin time with the music you are playing, this function makes itsimple to accurately match the delay time to tempo.

CAUTION: lf either the L-DLY or R-DLY parameter is setto its maximum or minimum value, the TAPTEMPO DELAY function cannot be used tocreate longer or shorter delays.

22

Footswitch Memory Recall RangeEdit

The FX500 permits memory selection via an optionalYamaha FC4 or FC5 footswitch connected to theMEMORY INC/DEC TRlGGER footswitch jack (as long asthe footswitch is assigned to MEMORY INC/DEC operationusing the Footswitch Function Select function describedabove). The Footswitch Memory Recall Range Editfunction permits setting the range of memory locationnumbers that will be selected when the footswitch ispressed.

If, for example, the RANGE parameter is set to “20 TO 30”as shown in the LCD illustration above, each time thefootswitch is pressed the next highest memory location willbe selected until the last number in the specified range isreached. After the last number in the specified range, thefirst (lowest) number is selected and the process repeated.Reverse sequences can be programmed by entering thehighest number in the range before the lowest, as shownbelow.

Use the UTILlTY key to call the F.SW MEMORY RCLdisplay. The underline cursor should be located underthe first memory number in the range.

Use the and keys to enter the first number in therange.

Press the PARAM ( ) key to move the cursor to thesecond number in the range.

Use the and keys to enter the second number inthe range. The MEMORY key can be used toreturn to the first number in the range if necessary.

23

9. Specifications

• ANALOG ClRCUITRY FRONT PANEL

Frequency Response

20 Hz — 20 kHz.

Dynamic Range

Control & Keys

INPUT LEVEL control, COMP, DIST, EC, MOD, REV, SEL/ASN, BYPASS, STORE, MEMORY ,RECALL, PARAM ( ), UTILITY POWER

Better than 85 dB, effect OFF,

Total Harmonic Distortion

Less than 0.1% @ 1 kHz, effect OFF.

Input Impedance/Nominal Level

Greater than 500 kohms/-20 dBm (Unbalanced phonejack, front and rear).

Output Impedance/Nominal Level

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

Connector

INPUT jack.

Display

Backlit LCD with 7-segment program number, BYPASS,and 15-character x P-line display area.

LED

PEAK, SIGNAL

Headphone Impedance/Nominal Level

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

Switch

POWER (on/off)

• REAR PANELDIGITAL CIRCUITRY

ConnectorsA/D and D/A Converters

16-bit quantization (linear).

Sampling Frequency

44.1 kHz

INPUT, OUTPUT L, OUTPUT R, PHONES, BYPASS,MEMORY INC/DEC or TRIGGER, MIDI IN, DC 12V IN

Control

PHONES LEVEL

Switch

• EFFECTS & MEMORY OUTPUT LEVEL -20dB/-10dB

Effect Stages• GENERAL

COMPRESSOR, DISTORTION, EQUALIZER,MODULATION (Chorus, Flanger, Symphonic, Tremolo),REVERB (Reverb, Early Reflection, Delay, Echo,Reverb+Delay, Reverb Delay, Delay Reverb)

Power Supply

Memory

ROM area: 60 (No. 1 — 60)RAM area.: 30 (No. 61 — 90)Initial data area: 1 (No. 0)

U.S. & Canadian Models: PA-1207U AC Adaptor(120 V AC)General Model: PA-1210H AC Adaptor (220/240 V AC)

Dimensions (W x H x D)

220 x 45 x 250 mm (8-518” x 1-3/4” x 9-7/8”)

Weight

1.4 kg (3 Ibs. approx.)

• 0dB = 0.775 V rms• Specifications and exterance are subject to change without

notice.

24

10. MIDI Data Format

Channel Information (Channel Voice Message)

NOTE ONThis message is received on the MIDI channelspecified in the currently selected BANK whenCONTROLLER 1 or CONTROLLER 2 is assigned toNOTE ON VELOCITY. When a NOTE ON message isreceived, the value of the assigned effect parameter ischanged according to the received velocity value.

NOTE OFFThe NOTE OFF message does not affect operation ofthe FX500, but receive capability has been included toprovide compatibility with transmitting devices thatsend a NOTE OFF to mark the end of a NOTE ONmessage.

STATUS 1000nnnn (8nH) n=0 (channel #1) —n=15 (channel #16)

NOTE NO. 0kkkkkkk k= same as NOTE ONVELOCITY 0vvvvvvv v= same as NOTE ON

STATUS 1001nnnn (9nH) n-0 (channel #1)

n=15 (channel #16)NOTE NO. 0kkkkkkk k=0—127VELOCITY 0vvvvvvv v=1—127,0 (OFF)

26

CONTROL CHANGEThis message is received on the MIDI channelspecified in the currently selected BANK whenCONTROLLER 1 or CONTROLLER 2 is assigned to acontrol number between 0 and 120. When a CONTROLCHANGE message is received, the value of theassigned effect Parameter is changed according to thereceived control value.

STATUS 1011 nnnn (BnH) n=0 (channel #1) —n-15 (channel #16)

CTL NO. 0ccccccc c=0—120CTL VALUE 0vvvvvvv v=0—127

PROGRAM CHANGEThis message is received on the MIDI channelspecified in the currently selected BANK. When aPROGRAM CHANGE message is received, the effectprogram assigned to the received program number inthe program change assignment table of the currentBANK is selected.

STATUS 1100nnnn (CnH) n=0 (channel #1) —n=15 (channel #16)

PGM NO. 0ppppppp p=0—127

CHANNEL PRESSUREThis message is received on the MIDI channelspecified in the currently selected BANK whenCONTROLLER 1 or CONTROLLER 2 is assigned toCHANNEL PRESS. When a CHANNEL PRESSUREmessage is received, the value of the assigned effectparameter is changed according to the receivedpressure value.

STATUS 1101nnnn (DnH) n=0 (channel #1) —n=15 (channel #16)

PRESSURE 0vvvvvvv v=0—127

28

Y A M A H A [ S i m u l - E f f e c t P r o c e s s o r ]M o d e l F X 5 0 0 M I D I I m p l e m e n t a t i o n C h a r t

D a t e : 6 / 3 , 1 9 8 9V e r s i o n : 1 . 0

F u n c t i o n . . .T r a n s m i t t e d R e c o g n i z e d R e m a r k s

B a s i cChannel

D e f a u l tChanged

xx

1 - 1 6 , o f f1 - 1 6 , o f f

m e m o r i z e d

m e m o r i z e dM o d e

D e f a u l tM e s s a g e sA l t e r e d

xx**************

OMNI on/OMNI onxx

No teNumber : True vo ice

x* * * * * * * * * * * * * *

0 - 127x

V e l o c i t y N o t e O NN o t e O F F

xx

o v=1-127 x

A f t e rT o u c h

K e y ' sC h ' s

xx

xo

P i t c h B e n d e r x x

xx

x

oo

oC o n t r o l

C h a n g e

0 - 3 16 4 - 9 5

102 - 114

1 1 51 1 61 1 71 1 81 1 91 2 0

xxxxxx

oooooo

All BypassCOMPDISTEQMODR E V

P r o gChange : True #

x**************

0 - 1 2 7 *1

System Exclusive x x

System ::

Common :

Song PosSong Se lTune

xxx

xxx

S y s t e mReal Time

: C l o c k:Commands

xx

xx

A u x :

M e s - :s a g e s :

Local ON/OFFAll Notes OFFActive SenseR e s e t

xxxx

xxox

Notes: *1 = For program 1 - 128, memory #0 - #90 is selected

29 Mode 1 : OMNI On, POLYMode 3 : OMNI OFF, POLY

Mode 2 : OMNI ON, MONOMode 4 : OMNI OFF, MONO

o : Yesx : NO

11. Block Diagram

30

31

12. FX500 Parameter Chart

13. Preset Program Parameters

32

SERVICEThis product is supported by Yamaha’s worldwide network offactory trainad and qualified dealer service personnel.In the event of a problem, contact your nearest Yamaha dealer.

P.O.Box 1, Hamamatsu, Japan

89 07 5.0 R1 CR

YAMAHAYamaha Corporation of America6600 Orangethorpe Avenue, P.O. Box 6600, Buena Park, CA 90622-66001/14/98 27531FX500 OM

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