Yamaha FX500 User manual

YAMAHA
SIMUL-EFFECT PROCESSOR
PROCESSEUR D'EFFECT MULTIPLE
SIMUL-EFFECT PROCESSOR
Operation Manual
Manuel d’utilisation
Bedienungsanleitung

Congratulations!
You are the proud owner of a Yamaha FX500 SIMUL-EFFECT
PROCESSOR. The FX500 is a high-performance digital effect device
which provides a chain of up to 5 different effects, and extensive
programming capability so you can create "custom" effect chains to suit
your own specific musical requirements. With programmable compressor,
distortion, equalizer, modulation and reverbldelay effect stages, the
FX500 gives you a complete state-of-the-art signal-processing system in
one compact package. 60 superlative preset effect programs are provided
that you can simply select and use right away, while 30 RAM memory
locations can be used to store your original signal-processing creations.
Furthermore, the effects are all created using leading-edge Yamaha
digital signal processing technology, so the sound is nothing less than
superb.
Please read through this operation manual thoroughly while teaming to
use your FX500, in order to take full advantage of all the sophisticated
capabilities it provides — and keep the manual in a safe place for later
reference!

CONTENTS
1. Precautions .3
2. The FX500: What It Is and What It Does.4
■ Effects . 4
■ Memory Configuration. 4
■ MIDI-Control.4
3. Connections: Basic System Setup...5
4. The Controls: A Quick Operation Guide.7
5. The MEMORY Mode:
Selecting Effect Programs.9
6. 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.12
■ COMPRESSOR ..12
■ DISTORTION . 1 3
■ EQUALIZER .13
■ MODULATION .14
• Chorus ..14
• Flanger.14
• Symphonic .15
• Tremolo.15
■ REVERB/DELAY . 1 5
• Reverb Group.16
• Reverb Hall • Reverb Room
• Reverb Vocal • Reverb Plate .16
• Early Reflection Group.16
• E/R Hall • E/R Random
• E/R Reverse • E/R Plate.16
• Delay Group . 1 7
• 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 . 1 9
■ Program Title Edit.19
■ MIDI Program Selection: MIDI Setup
and Program Change Table Edit.19
• MIDI Setup. 2 0
• Program Change Table Edit.20
■ MIDI Parameter Control: Control Change 1
Table Edit and Control Change 2 Table Edit .... 20
• Control Change 1 Table Edit.21
• Control Change 2 Table Edit.21
• Assigning CONTROLLER 1 and
CONTROLLER 2 to Specific Effects.21
■ Footswitch Function Select. 2 2
• Using Tap Tempo Delay.22
■ Footswitch Memory Recall Range Edit .23
9. Specifications.24
10. MIDI Data Format .77
11. Block Diagram.80
12. FX500 Parameter Chart .81
13. Preset Program Parameters.82
r
CANADA
THIS APPARATUS COMPLIES WITH THE "CLASS B" CET APPAREIL EST CONFORME AUX NORMES
LIMITS FOR RADIO NOISE EMISSIONS SET OUT IN "CLASSE B", POUR BRUITS RADIOELECTRIQUES.
RADIO INTERFERENCE REGULATIONS. TEL QUE SPECIFIER DANS LE REGLEMENT SUR LE
BROUILLAGE RADIOELECTRIQUE.
J
2

1. Precautions !! PLEASE read this before PROCEEDING !!
1. AVOID EXCESSIVE HEAT, HUMIDITY, DUST AND
VIBRATION
Keep the unit away from locations where it is likely to be
• exposed to high temperatures or humidity — such as
near radiators, stoves, etc. Also avoid locations which
are subject to excessive dust accumulation or vibration
which could cause mechanical damage.
2. AVOID PHYSICAL SHOCKS
Strong physical shocks to the unit can cause damage.
Handle it with care.
3. DO NOT OPEN THE CASE OR ATTEMPT REPAIRS
OR MODIFICATIONS YOURSELF
This product contains no user-serviceable parts. Refer
all maintenance to qualified Yamaha service personnel.
Opening the case and/or tampering with the internal
circuitry will void the warranty.
4. MAKE SURE POWER IS OFF BEFORE MAKING OR
REMOVING CONNECTIONS
Always turn the power OFF prior to connecting or
disconnecting cables.
5. HANDLE CABLES CAREFULLY
Always plug and unplug cables — including the cord of
the power supply — by gripping the connector, not the
cord.
6. CLEAN WITH A SOFT DRY CLOTH
Never use solvents such as benzine or thinner to clean
the unit. Wipe clean with a soft, dry cloth.
7. ALWAYS USE THE CORRECT POWER SUPPLY
Always use the supplied AC Adaptor to power your
FX500 or, if the original adaptor is lost or broken, a
replacement or equivalent type obtained from your
Yamaha dealer. Also, make sure that the adaptor you
have is appropriate for the AC mains supply voltage in
the area where you intend to use the FX500 (the correct
INPUT voltage is marked on the adaptor).
8. ELECTRICAL INTERFERENCE
Since the FX500 contains digital circuitry, it may cause
interference and noise if placed too close to TV sets,
radios or similar equipment. If such a problem does
occur, move the FX500 further away from the affected
equipment.
9. MEMORY BACKUP
The FX500 contains a special long-life battery that
retains the contents of its internal RAM memory even
when the power is turned OFF. The backup battery
should last for approximately 5 years. When the battery
voltage drops to a level that is too low to maintain the
memory contents, the following message will appear on
the FX500 display when the power is turned ON:
• ** WARNING **
MEMORY DATA
If this display appears, have the backup battery replaced
by qualified Yamaha service personnel. DO NOT
ATTEMPT TO REPLACE THE BACKUP BATTERY
YOURSELF!
FCC CERTIFICATION (USA)
This equipment generates and uses radio
frequency energy and if not installed and used
property, that is, in strict accordance with the
manufacturer's instructions, may cause
interference to radio and television reception. It
has been type tested and found to comply with
the limits for a Class B computing device in
accordance with the specifications in Subpart J
of Part 15 of FCC Rules, which are designed to
provide reasonable protection against such
interference in a residential installation.
However,there is no guarantee that interference
will not occur in a particular installation. If this
equipment does cause interference to radio or
television reception, which can be determined
by turning the equipment off and on, the user is
encouraged to try to correct the interference by
one or more of the following measures:
Reorient the receiving antenna.
Relocate the equipment with respect to the
receiver.
Move the equipment away from the receiver.
Plug the equipment into a different AC power
outlet so that it and the receiver are on different
branch circuits.
If necessary, the user should consult the dealer
or an experienced radio/television technician for
additional suggestions. The user may find the
following booklet prepared by the Federal
Communications Commission helpful:
"How to Identify and Resolve Radio-TV
Interference Problems".
This booklet is available from the U.S.
Government Printing Office, Washington, DC
20402, Stock No. 004-000-00345-4.
J
3

2. The FX500: What It Is and What It Does
m Effects
The FX500 SIMUL-EFFECT PROCESSOR is a high-
performance digital signal processor intended for use with
electric guitars, electronic keyboards or other instruments.
It employs leading-edge Yamaha digital signal processing
technology to provide a "chain" of up to six independent
effects thafcan be independently controlled to produce
precisely the required overall sound. As shown below, the
FX500 includes five effect (compressor, distortion,
equalizer, modulation and reverb) stages. Stages can be
turned on or off as required, and the order of the
modulation and reverb stages can be reversed. The
compressor, distortion and equalizer stages are basically
single-function processors. The modulation and reverb
stages each incorporate a number of separate effects
which can be selected and used as required. Several of
the reverb effects actually combine both delay and reverb,
effectively giving you a total of six effects in the chain!
Each effect has a number of parameters which can be
adjusted to tailor its sound to your specific musical needs.
• CHORUS
• FLANGER
• SYMPHONIC
• TREMOLO
REVERB
REVERB
Hall, Room,
Vocal, Plate
. EARLY REF.
Hall, Random,
Reverse, Plate
• DELAY
• ECHO
• REVERB*DELAY
• REVERB-DELAY
• DELAY-REVERB
COMPRESSOR II DISTORTION
■ Memory Configuration
The FX500 has a total of 91 memory locations. Memory
locations 1 through 60 are ROM (Read Only Memory)
containing 60 pre-programmed effects that you can simply
select and use. Memory locations 61 through 90 are RAM
(Random Access Memory), and can be used to store
original effect programs that you create by editing the
presets. The 30 RAM memory locations (61 — 90)
originally contain a selected group of the preset programs.
The last memory location — memory location number 0 —
contains "initialized data" that can be used as a basis for
creating your own original effects programs from scratch.
ROM MEMORY
RAM MEMORY
ROM MEMORY
1 — 60
61 — 90
0
• Preset effect • User-edited
• Initial Data
programs programs
Program Title
Program
Program Title
im
Broad Dist.
mem
Clisp Chords
Warm Strings
ws&m
Sharp Chops
ws&r
Standard Jazz
wmm
Tremolo
Soft Echo
sums
Sweet Flange
Power Pan
Chord-Clouds
Trad. Dist.
mmm
Light Symphonic
mm®
Dark Dist.
IS SI if
Clean Acoustic
Ring Dist.
sssiil
Acoustic Soto
isrll
Metal Overdrive
mom
Lush Strings
isasiBii'
Echo Dist.
Soft Focus
BUI
Tight Dist.
Brass Room
mwmm WWW
Brass Burst
hehi
USUI
Trumpet Flange
HRS
Brass Energizer
Echo Rhythm
R ” 1 , ’
Chasing Leads
Symphonic Hall
KISBSfB
Horror House
Symphonic Dist.
M&M
Sitar
mm. i
Turbo Drive
Slllil
Staccato Vibe
... .. •
Chasing Rhythm ■ P&M
Sweep Gate
msm
Stereo Dist.
Monk Akka!
Fusion Dist.
Straight Bass
Boogie Room
H «s
Slap Bass
Buzz Backer
iSSfll
Fretless Bass
Hint!
Liquid Dist.
BBS?
Trad. Bass
HHHI
Electric Chords
: : :-m
Sax Solo
Clean Repeat
«i
Vocal Reverb
mmi
Sweet Swirl
Mi
Drum Gate/Rev
mmm
Mild Motion
\ y .
Tight Snare
iiiill
Pearly Chords
mmm
Rock Drums
S 61-.9®
User Programs
HU
Initial Data
■ MIDI Control
For further versatility and smooth integration with MIDI-
based music systems, the FX500 offers broad MIDI control
capabilities. Any of its 90 memory locations may be
directly selected from a remote MIDI device such as a
keyboard or MIDI foot controller *. It is also possible to
directly control up to two different effect parameters
simultaneously in real time. This means that two MIDI
controllers (a MODULATION WHEEL and DATA ENTRY
slider on a keyboard, for example) could be used to
control, say, the modulation depth of the flanger effects
and the reverb time of a reverb effect in real time as you
play! Any two MIDI controllers can be assigned to any two
effect parameters (See "MIDI Parameter Control: Control
Change 1 Table Edit and Control Change 2 Table Edit" on
page 20 for operational details).
* Extensive MIDI control is also possible with the MFC1
MIDI Foot Controller. Consult the MFC1 operation
Manual for details.
4

3. Connections: Basic System Setup
O DC 12V IN Jack and Cable Clip
The DC output cable from the supplied AC Adaptor
should be connected here. When connecting the power
supply, make sure that the FX500 POWER switch is in
the OFF position (extended).
Plug the AC adaptor output cable into the DC 12V IN
jack, and finally the adaptor's AC plug into a convenient
AC wall outlet. The cable clip located immediately
below the DC 12V IN jack helps to prevent accidental
unplugging of the power supply during use. Wrap the
DC cable firmly around the clip a few centimeters from
the plug end.
CAUTION!
Do not attempt to use a different AC adaptor to power
the FX500. The use of an incompatible adaptor may
cause irreparable damage to the FX500, and might
pose a serious shock hazard!
0 INPUT Jack
This jack duplicates the function of the front-panel
INPUT jack described in the following section. It is
important to note, however, that only one of the INPUT
jacks can be used at a time. If plugs are inserted into
both the front and rear-panel inputs, the front-panel
input jack takes priority.
0 OUTPUT LEVEL Selector
This switch is used to match the output level of the
FX500 to the input sensitivity of the amplifier, mixing
console or other device it is feeding. For compatibility
with standard line-level inputs the -10 dB setting
should be appropriate, while the -20 dB setting should
be used when the FX500 is connected to a high-
sensitivity input — the input of a guitar amplifier, for
example.
o OUTPUT R and OUTPUT L Jacks
These are the main stereo outputs from the FX500. We
recommend using both outputs and connecting them to
the corresponding right and left channels of a stereo
sound system, since the full impact of many of the
FX500 effects can only be appreciated in stereo. If,
however, only a mono sound system is available, use
either the OUTPUT R or OUTPUT L jack.
Q PHONES LEVEL Control and PHONES Jack
For private listening or practice when an external
sound system cannot be used, a pair of standard
stereo headphones (with a 1/4" stereo phone plug or
appropriate adaptor plug) can be plugged into the
PHONES jack. The PHONES LEVEL control adjusts
the headphone listening level.
0 MIDI IN Connector
The MIDI IN connector accepts MIDI signals from an
external MIDI device such as a MIDI foot controller,
keyboard, etc. The FX500 will accept MIDI PROGRAM
CHANGE messages to directly select effect programs,
or MIDI CONTROL CHANGE messages to control
individual effect parameters.
[See page 19 for further details]
O MEMORY INC/DEC, TRIGGER (TAP TEMPO DELAY)
Jack
An optional Yamaha FC4 or FC5 Footswitch may be
connected here for convenient foot-controlled selection
of effect programs or "tap tempo delay" control which is
used to set delay time for the delay effects. The
function of the footswitch is determined by the UTILITY
mode Foot Switch Function Select function (page 22).
The range of effect programs that can be selected
when the footswitch is assigned to memory selection is
determined by the UTILITY mode Footswitch Memory
Recall Range Edit function (page 23).
0 BYPASS Jack
An optional Yamaha FC4 or FC5 Footswitch connected
here performs exactly the same function as the front-
panel BYPASS key. Press the footswitch once to
activate the bypass mode, and again to turn bypass off.
5

Basic System Configuration
HEADPHONES
For foot bypass control.
FC4 or FC5
FooTswrrcH
For memory recall or
tap tempo delay control.
Effects for Multitrack Recording
Multitrack recorder or mixer
ELECTRIC GUITAR
OR
OTHER SOURCE
TO AC WALL
SOCKET

4 . The Controls: A Quick Operation Guide
O Power Switch
Press once to turn the FX500 on, and a second time to
turn the power off. When the power is turned on, a title
and copyright notice will appear on the display panel for
a few seconds before operation actually begins.
© Input Jack
Plug your guitar, keyboard or other signal source in
here or into the duplicate INPUT jack provided on the
rear panel (see "©INPUT Jack" in the "3. Connec¬
tions: Basic System Setup" section). Both jacks are
standard monaural 1/4" phone jacks.
© INPUT LEVEL Control with SIGNAL and PEAK
Indicators
For the optimum input level setting, play your source at
the highest level it will be played in actual use. Adjust
the INPUT LEVEL control so that the SIGNAL Indicator
lights most of the time but the PEAK indicator does not
light, or lights only occasionally on brief high-level
peaks.
INPUT LEVEL
•Should flash only
occasionally or not at all.
■ Should light most of the time
an input signal is present.
© Liquid Crystal Display Panel
This is the FX500's main "information center", providing
all information necessary for effect program selection,
programming and utility control.
Program number. •
"L
Appears when BYPASS -
key is pressed to bypass
all effects.
Broad Dist.
Fig Dly
Currently selected effect, parameters —I
being programmed, or utility function.
© COMP, DIST, EQ, MOD and REV Effect Keys
These keys function differently in the MEMORY and
PARAM modes.
• When the MEMORY mode is selected (i.e. when the
MEMORY key indicator is lit — see "©MEMORY
Mode Key"), these keys are used to turn the
corresponding effect stage ON (indicator lit) or OFF
(indicator out).
[See page 10 for further details]
• When the PARAM mode is selected (i.e. when the
PARAM key indicator is lit — see "©PARAM Mode
Key"), these keys select the various parameters
available for editing in the corresponding effect
stage.
[See page 11 for further details]
© Arrow (Aand ▼ ) keys
The Aand Tkeys function differently in the MEMORY,
PARAM and UTILITY modes.
• When the MEMORY mode is selected (i.e. when the
MEMORY key indicator is lit — see "©MEMORY
Mode Key"), the Aand Tkeys are used to select
the desired effect program.
[See page 9 for further details]
• When the PARAM mode is selected (i.e. when the
PARAM key indicator is lit — see "©PARAM Mode
Key"), they are used to "edit” the selected effect
parameter.
[See page 11 for further details]
• When the UTILITY mode is selected (i.e. when the
UTILITY key indicator is lit — see "©UTILITY Mode
Key"), the Aand Tkeys are used to program the
selected utility function.
[See page 19 for further details]
7

o SEL/ASN Key
The SEL/ASN key functions differently in the MEMORY
and PARAM modes.
• When the MEMORY mode is active this key
reverses the order of the MOD and REV processing
stages.
[See page 10 for further details]
• In the PARAM mode, the SEL/ASN key is used to
assign effect parameters for control via external
MIDI controllers.
[See page 21 for further details]
o BYPASS Key
When the BYPASS key is pressed and "BYPASS"
appears on the display panel, all FX500 effect stages
are completely bypassed and the input signal is fed
directly to the output. Press the BYPASS key a second
time to turn the bypass function off. The rear-panel
BYPASS footswitch jack can also be used for bypass
control (see"® BYPASS Jack" on page 5).
Q MEMORY Mode Key and Indicator
When the MEMORY key indicator is lit, the FX500
MEMORY mode is active and effect programs (1 — 90)
can be selected and recalled using the ▲ and Y keys
and RECALL key. In the MEMORY mode it is also
possible to turn effect stages ON or OFF using the
COMP, DIST, EQ, MOD and REV keys. The MEMORY
mode can be activated while the PARAM mode is
selected by pressing the MEMORY key. The MEMORY
mode can not be directly selected from the UTILITY
mode by pressing the MEMORY key. The UTILITY
mode must first be exited by pressing the UTILITY key
several times or holding it down (approximately 1
second) until the UTILITY key indicator goes out.
[See page 9 for further details)
© RECALL Key
After using the ▲ and Y keys to select a desired effect
program while in the MEMORY mode, the RECALL key
is pressed to actually recall and activate the selected
program.
[See page 9 for further details)
© STORE Key
After editing any of the effect programs, the new
program can be stored in any of the FX500’s RAM
memory locations (61 through 90) for later recall and
use. The STORE key is used to store edited data to a
RAM memory location.
[See page 12 for further details]
_ ■
© PARAM Mode Key and Indicator
The PARAM key selects the PARAM (parameter) mode
in which the individual parameters for each effect stage
can be edited as required. The PARAM key indicator
lights when the PARAM mode is active. The PARAM
mode can not be directly selected from the UTILITY
mode by pressing the PARAM key. The UTILITY mode
must first be exited by pressing the UTILITY key
several times or holding it down (approximately 1
second) until the UTILITY key indicator goes out.
[See page 11 for further details]
© UTILITY Mode Key and Indicator
Pressing this key activates the UTILITY mode, allowing
access to 7 different utility functions:
• Program Title Edit [Page 191
• 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 221
• Foot Switch Memory Recall Range Edit [Page 231
The UTILITY key LED lights when the UTILITY mode is
active. Each time the UTILITY key is pressed the next
function on the utility "list" is selected. The mode that
was active before the UTILITY key was pressed
(MEMORY or PARAM) is selected following the last
function on the utility list. The UTILITY mode can also
be exited by pressing the UTILITY key several times or
holding it down (approximately 1 second) until the
UTILITY key indicator goes out.
8

5. The MEMORY_ Mode: Selecting Effect Programs
Irt the FX500 MEMORY mode, the A and ▼ k eys can be
used to select individual effect programs. When a new
program number is selected, its number will flash on the
. display and its title will appear on the upper line. Press the
RECALL key to actually recall and activate the selected
program.
(3) The number of the selected effect program should now
be flashing on the display, indicating that the program
has been selected but has not yet been recalled (the
previous effect program is still active). Press the
RECALL key to actually recall and activate the selected
program. The program number will stop flashing.
jU Echo Dist.
Fig ■ » Ech
(D If ths MEMORY mode is not already selected (i.e. if the
MEMORY key indicator is nol lit), press the MEMORY
key to select the MEMORY mode.
j Broad Dist.
Fig •» Dly
The MEMORY mode can not be directly selected from
the UTILITY mode by pressing the MEMORY key. The
UTILITY mode must first be exited by pressing several
times or holding (about one second) the UTILITY key
until the UTILITY key indicator goes out.
(2) Use the A and/or Vkeys to select the number of the
desired effect program (in this example we go to
program number 10 from number 1, so only the Akey
is used). Press the Aor Vkey briefly to select the next
highest or lowest numbered program, or hold either key
down for continuous scrolling in the corresponding
direction. Faster scrolling is achieved by pressing the
opposite arrow key while holding the arrow key
corresponding to the direction of scrolling.
|-V- A -V- : -
? 10 *" E c h o Dist>
A „ A Fig -> Ech
Flashing

6. Effect Processor Selection
In the MEMORY mode the FX500 effect stages can be
individually turned ON or OFF by using the COMP, DIST,
EQ, MOD and REV keys. Pressing any of these keys
alternately turns the corresponding effect stage ON
(indicator lit) or OFF (indicator out). When a stage is turned
OFF, it is bypassed and the previous active stage is
connected directly to the following active stage. If all
stages are ON, the effect chain is as shown below:
This is the normal order of the MOD and REV effect
stages:
9 COMP #DIST
• eq
p • MOD-® REV
Uqhev —Omoo
Lo rev —Omoo
The current order of the selected effects in the MOD and
REV stages is also shown on the bottom line of the display
("MOD -»REV" in this case). N
COMPRESSOR
EQUALIZER MODULATION
If, however, you only wanted to use the compressor,
equalizer and reverb stages, you could press the DIST and
MOD keys to turn the stages OFF, resulting in the effect
chain shown below:
j Broad Dist.
Fig 4 Dly
Press the SEL/ASN key to reverse this order.
•comp
Odist
• EQ
pOMOO — •rev
L-OREV -OMOO
•comp
• EQ
pOMOD-OREV
U»REV —•MOO
COMPRESSOR I EQUALIZER
M
COMPRESSOR | DISTORTION
MODULATION I
NOTE: The ON/OFF status of each effect is stored to the
RAM memory along with all other effect data when
a STORE operation is performed (see "Memory
Store Operation" on page 12).
The new MOD/REV order is also shown on the display.
j Broad Dist.
Dly 4 Fig
■ Reversing the Order of the
Modulation & Reverb Stages
Normally, the last two effects in the FX500 effect chain are
a modulation type and reverb type, in that order. By
pressing the SEL/ASN key while in the MEMORY mode,
however, this order may be reversed. The order of the
MOD and REV effect stages is shown on the bottom line of
the LCD, and the LEDs associated with the MOD and REV
keys will light to show the selected order:
• MOD — • REV or • REV — • MOD-
The ability to reverse the order of the modulation and
reverb stages is important because it gives you choice of
applying reverb/delay to the already-modulated signal, or
applying modulation to the reverb/delay signal. The
difference in sound can be quite significant.
NOTE: The selected order of the MOD and REV effect
stages is stored to the RAM memory along with all
other effect data when a STORE operation is
performed (see "Memory Store Operation" on
page 12).
10

pr
7 . The Parameter Mode: Editing the Effect Programs
The parameter mode provides access to several important
parameters for each effect, allowing you to change the
sound of each effect over a broad range to suit your
specific requirements. Once the parameters for each effect
stage have been programmed and fine-tuned to provide
exactly the sound you want, the entire effect program can
be stored into one,of the FX500's RAM memory locations
for laterjrecall and use.
■ Editing Parameter Data
(D The parameter mode is entered by pressing the
PARAM key. The parameter abbreviations are
displayed on the upper line of the LCD, and the
corresponding data values are shown on the bottom
line (the parameters will be described in detail in the
following sections).
•Upper line shows parameters.
Lower line shows current
value for each parameter.
1 -Underline cursor.
/ THR RAT ATK LVL-
-10 l / « 8.0 0 -
The PARAM mode can not be directly selected from the
UTILITY mode by pressing the PARAM key. The
UTILITY mode must first be exited by pressing several
times or holding (about one second) the UTILITY key
until the UTILITY key indicator goes out.
© Press the COMP, DIST, EQ, MOD or REV key to select
the effect you wish to edit.
(D Press the selected effect key (i.e. the key you pressed
in step (2), above) to move the cursor to the parameter
to be edited. Each time the effect key is pressed the
cursor moves one parameter to the right. In many
effects, two or three parameter screens are required,
so the next screen will appear when the cursor is
moved past the last parameter on each screen. The
first screen is re-selected after the last parameter on
the last screen. The modulation stage flanger effect, for
example, has the following three parameter screens:
FIRST SCREEN SECOND SCREEN
(4) Use the Aand Tkeys to adjust the value of the
selected parameter. If you hold the Aor Ykey the data
will scroll continuously in the specified direction. The
data will scroll faster if you press the opposite arrow
key while holding either the Aor ▼ key.
(D The effect selected for editing can be turned ON or
OFF by pressing the PARAM key, so you can easily
compare the direct and processed sound.
NOTE: To prevent accidental loss of edited data, the
FX500 responds with a confirmation display —
"RECALL OK ?" — if you press the RECALL key
while editing in the PARAM mode. If you actually
intend to recall the original (pre-edit) effect, press
the RECALL key a second time. If you do not
want to carry out the recall operation, simply press
any key other than the RECALL key.
•Assigning MIDI CONTROLLERS to Effect
Parameters
If the SEL/ASN key is pressed in the PARAM mode, it
becomes possible to assign external MIDI CON¬
TROLLERS to diectly control effect parameters. Refer to
"Assigning CONTROLLER 1 and CONTROLLER 2 to
Specific Effects" on page 21.
11

• Memory Store Operation
® When the store operation is complete, the memory
location stored to will be selected automatically.
An edited effect program can be stored in any memory
location within the FX500's RAM memory area (61 through
90). Original effect programs stored in this way can be
selected and used in exactly the same way as the preset
effect programs. The ON/OFF status of each effect, the
selected order of the MOD and REV stages and MIDI
CONTROLLER assignments are stored along with all other
parameter data. The UTILITY mode TITLE EDIT function
can be used to create new titles for your original effect
programs after you have stored them in RAM memory.
(See "Program Title Edit" on page 19)
DC Broad Dist.
Fig ■ > Dly
NOTE: If you attempt to use the STORE function while a
ROM memory location is selected, the following
display will appear and the store operation will be
aborted.
j** READ ONLY #*
MEN NO. 0-60
(J) After editing the parameters to create the desired
effect, select the MEMORY mode and select the RAM
memory location (61 — 90) with the Aor Tkey to
which you wish to store the edited data.
(2) Press the STORE key.
-"I
«A DC STORE OK ?
I A -AHEM. 1 •» MEM.85
L Flashing
<D Press the STORE key again. The following display will
appear for a few seconds while the store operation is in
progress. If you decide not to go ahead with the store
operation, simply press any key other than the STORE
key.
DC MEMORY STORE
I MEM. 1 ■ > MEM.85
*-Stops flashing
■ COMPRESSOR (COMP)
The compressor effect stage produces sustain or simple
"smoothing" by compressing the signal so that high levels
are suppressed while low levels are effectively boosted.
The use of compression before other effect stages is
particularly effective because it limits the signal to a
dynamic range that results in improved sound with the
subsequent effects.
/THR RAT ATK LVL
-10 l/oo 8.0 0
THR (Threshold: -BO — 0 dB)
Sets the compressor threshold level, signal levels
exceeding the threshold level will be compressed while
those below the threshold level will be unaffected.
RAT (Ratio: 1/2,174,1/8,1/°°)
This parameter sets the degree of compression. A
compression ratio of 1/2, for example, compresses signals
above the threshold level to one-half their original
amplitude. A setting of 1/°° produces almost total
compression, producing the same signal level for all
signals above the threshold level. This yields the greatest
degree of sustain.
12

ATK (Attack: 1.0 — 20 ms)
Determines how long it takes for compression to begin
after an input signal is detected. Higher values produce a
longer attack time, allowing more of the natural attack of
the input signal to come through. This parameter is
particularly useful if, for example, you want to retain a
sharp attack while increasing sustain.
LPF (Low Pass Filter Cutoff Frequency: 400 HZ —16
kHZ, THRU)
Controls the tone of the distortion sound. Set at 400 Hz,
only signals below 400 Hz will be passed, resulting in a
deep, bassy sound. As the LPF frequency is increased
more of the total frequency range is passed. When set to
THRU, the LPF is effectively OFF and has no effect.
LVL (Output Level: -41 -+24dB) LVL (Output Level: -41 - +6 dB )
Determines the output level of the effect. Determines the output level of the effect.
■ DISTORTION (DIST)
The FX500 distortion stage digitally produces smooth, rich
distortion that can be adjusted to achieve and extremely
wide variety of effects. In addition to providing full control of
the degree of distortion produced, a variable low-pass filter
gives you broad control over the tone of the distortion. A
built-in noise gate function with adjustable trigger level
effectively shuts out unwanted noise.
DST (Distortion Drive Level: 0 —100)
Sets the degree of distortion produced. Higher values
produce more distortion.
TRG (Noise Gate Trigger Level: -80 -30 dB)
Sets the threshold level of the distortion effect stage noise
gate. Signals below the threshold level are suppressed,
thus reducing noise. Caution: excessively high TRG levels
can cause notes to be cut off unnaturally.
■ EQUALIZER (EQ)
The FX500 features a three-band equalizer stage for wide
ranging tonal control. Up to 15 dB of boost or cut can be
applied to the low, mid and high bands, and the center
frequency of the mid band can be adjusted over a broad
400 Hz — 6.3 kHz range.
FREQUENCY(Hz)
LoG (Low Gain: -15 — +15 dB)
Sets the amount of boost or cut applied to frequencies
below 280 Hz. A setting of 0 produces no boost or cut.
"Minus" values produce cut and "plus" values produce
boost.
13

MIG (Mid Gain: -15 — +15 dB)
Sets the amount of boost or cut applied to mid-band
frequencies. A setting of 0 produces no boost or cut.
"Minus" values produce cut and "plus" values produce
boost.
MiF (Mid Frequency: 400 — 6.3 kHz)
Sets the center frequency of the Mid equalizer band.
HiG (High Gain: -15 — +15 dB)
Sets the amount of boost or cut applied to frequencies
above 6.3 kHz. A setting of 0 produces no boost or cut.
"Minus" values produce cut and "plus" values produce
boost.
LVL (Output Level: ~41 — +6 dB)
Determines the output level of the effect.
■ MODULATION (MOD)
The MODULATION effect stage contains a number of
effects based on signal strength (amplitude) and signal
delay variation, or "modulation". The different
MODULATION effects are selected by the TYP (type)
parameter which appears at the left of every
MODULATION display screen.
j TYP SPED PMD
Cho 0.6
50
TYP (Type: Cho, Fig, Sym, Trm)
This parameter is common to all modulation programs, and
is used to select the desired effect. The various modulation
effects are indicated by the following abbreviations:
Cho: Chorus
Fig: Flanger
Sym: Symphonic
Trm: Tremolo
Each modulation effect has a slightly different set of
parameters. The parameters for each type are described
below.
• Chorus (Cho)
The chorus effect combines delay time and amplitude
modulation to effectively thicken and add warmth to the
sound.
j TYP
SPED PMD
Cho
0.6 50
j TYP AMD MIX
LVL
Cho 40
0 0
SPED (Modulation Speed: 0.1 — 20.0 Hz)
Sets the speed of modulation and therefore the rate of
effect variation.
PMD (Pitch Modulation Depth: 0 —100 %)
Sets the depth of delay time modulation. Higher values
deepen the pitch modulation portion of the effect.
AMD (Amplitude Modulation Depth: 0 —100 %)
Sets the depth of amplitude modulation. Higher values
deepen the amplitude modulation portion of the effect.
MIX (Mixing Balance: 0 —100 %)
Sets the balance between the direct and effect sound.
Higher values produce a greater proportion of effect sound
in relation to direct sound.
LVL (Output Level: -41 +6 dB)
Determines the output level of the effect.
• Flanger (Fig)
Flanging is a fairly pronounced effect based primarily on
delay time modulation. By adjusting the various
parameters you should be able to create an extremely
broad range of sounds, from gentle shimmering to wild
sweeps.
j TYP SPED DEP
1 j TYP
DLY FB
Fig 0.1
66
1 Fig 1.3 77
j TYP
MIX
LVL
Fig 40
0
SPED (Modulation Speed: 0.1 — 20.0 Hz)
Sets the speed of modulation and therefore the rate of
effect variation.
PEP (Depth: 0 —100 %)
Sets the depth of modulation. Higher values produce
deeper modulation.
PLY (Delay Time: 0.2 —15.0 ms)
Sets the delay time. Delay times shorter than 1 msec
produce the greatest effect in the high-frequency range.
With delay times from 1 to 3 ms the effect extends to the
middle frequencies.
FB (Feedback: 0 —100 %)
Determines the amount of effect-sound feedback returned
to the input of the processor. Higher values produce a
more pronounced effect.

MIX (Mixing Balance: 0 — 100 %)
Sets the balance between the direct and effect sound.
Higher values produce a greater proportion of effect sound
in relation to direct sound.
LVL (Output Level: -41 — +6 dB)
Determines the output level of the effect.
• Symphonic (Sym)
Symphonic is a broad, sweeping effect that adds a sense
of dimension to the sound.
; typ
MIX LVL
Sym 0 0
j TYP SPED DEP
Sym
0.9 90
SPED (Modulation Speed: 0.1 — 20.0 Hz)
Sets the speed of modulation and therefore the rate of
effect variation.
PEP (Depth: 0 — 100%)
Sets the depth of modulation. Higher values produce
deeper modulation.
MIX (Mixing Balance: 0 — 100 %)
Sets the balance between the direct and effect sound.
Higher values produce a greater proportion of effect sound
in relation to direct sound.
LVL (Output Level: -41 — +6 dB)
Determines the output level of the effect.
• Tremolo (Trm)
The tremolo effect uses amplitude modulation to produce a
periodic volume variation. The FX500 tremolo effect
additionally offers a phase parameter which can be used to
create a periodic "panning" effect in which the sound
appears to move across the stereo sound field.
/ TYP SPED DEP
PH
Trm
4.0 100 0
/TYP
MIX LVL
Trm
0
0
SPED (Modulation Speed: 0.1 — 20,0 Hz)
Sets the speed of modulation and therefore the rate of
effect variation.
PEP (Depth: 0 — 100%)
Sets the depth of modulation. Higher values produce
deeper modulation.
PH (Phase: -O — +8)
Sets the direction in which the sound image moves in the
stereo sound field (this is only effective if the FX500 is
used with a stereo sound system). A setting of 0 produces
no movement, while settings toward +8 or -8 cause the
sound image to move to the left or right.
MIX (Mixing Balance: 0 — 100 %)
Sets the balance between the direct and effect sound.
Higher values produce a greater proportion of effect sound
in relation to direct sound.
LVL (Output Level: -41 — +6 dB)
Determines the output level of the effect.
■ REVERB/DELAY (REV)
The REVERB effect stage includes a number of reverb,
early reflection and delay type effects. The parameters are
different for each type. The different REVERB effects are
selected by the TYP (type) parameter which appears at
the left of every REVERB display screen.
/TYP RVT HP
Rhl 2.4 6
TYP (Type: Rhl, Rrm, Rvc, Rpl, Ehl, Erd, Erv, Epl, Dfy,
Ech, R+D, R -» D, D -» Ri)
This parameter is common to all reverb programs, and is
used to select the desired effect. The various reverb
effects are indicated by the following abbreviations:
Reverb Group
Rhl: Reverb Hall
Rrm: Reverb Room
Rvc:
Reverb Vocal
Rpl:
Reverb Plate
Early Reflection Group
Ehl: Early Reflection Hall
Erd: Early Reflection Random
Erv: Early Reflection Reverse
Epl: Early Reflection Plate
Delay Group
Dly: Delay
Ech: Echo
Reverb and Delay Group
R+D: Reverb + Delay
R -» D : Reverb -* Delay
D -» R : Delay -* Reverb
15
The parameters for each type are described below.

• Reverb Group
• Early Reflection Group
• Reverb Hall (Rhl) • Reverb Room (Rrm)
• Reverb Vocal (Rvc) • Reverb Plate (Rpl)
Reverberation is the warm musical "ambience" you
experience when listening to music in a hall or other
natural environment. The FX500 offers several different
reverb effects, simulating types of reverberation you would
experience in a hall (Reverb Hall), in a smaller room
(Reverb Room), a reverb effect ideally suited to vocals
(Reverb Vocal), and the type of reverberation produced
artificially by a plate reverberator (Reverb Plate).
j TYP
DLY
Rhl
30.0
• 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 that
occurs after the direct sound but before the dense
reflections that are known as reverberation begin. Early
Reflection Hall produces a typical grouping of early
reflections that would occur in a performing environment
such as a hall. Early Reflection Random produces an
irregular series of reflections that could not occur naturally.
Early Reflection Reverse generates a series of reflections
that increase in level — like the effect produced by playing
a recorded reverberation sound backwards. Early
Reflection Plate produces a typical grouping of reflections
that would occur in a plate reverb unit.
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 to
the overall reverb time. Higher values produce longer high
frequency reverb times, gradually approaching the overall
reverb time.
Lower values create a "darker" reverb decay.
PLY (Delay Time: 0.1 — 335.0 ms)
Sets the delay time before the reverb sound begins.
j TYP RSZ LIV
Ehl 2.0 4
/ TYP MIX LVL
Ehl 0 0
j TYP
DLY
Ehl
14.0
RSZ (Room Size: 0.1—20)
Sets the separation between reflections. The values
increment in 0.1 steps from 0 to 10, while values above 10
increment in steps of 1. Higher values produce greater
separation between reflections, and therefore the effect of
a bigger room.
(DLY)
MIX (Mixing Balance: 0 — 100 %)
Sets the balance between the direct and effect sound.
Higher values produce a greater proportion of effect sound
in relation to direct sound.
LVL (Output Level: -41 — »6 dB)
Determines the output level of the effect.
LIV (Liveness: 0 — 10)
Detetrnines how the early reflections decay. Higher values
result in slower decay, producing the effect of a more
reflective ("live") room.
DLY (Delay Time: 0.1 — 400.0 ms)
Sets the delay time before the early reflection sound
begins.
Initial direct sound.
(DLY)
16

Echo (Ech)
MIX (Mixing Balance: 0 —100 %)
Sets the balance between the direct and effect sound.
Higher values produce a greater proportion of effect sound
in relation to direct sound.
Although similar to the Delay program, the Echo program
has different delay ranges and different "internal" settings
that result in a distinctive echo effect.
LVL (Output Level: -41 —+6 dB)
Determines the output level of the effect.
• Delay Group
j T Y P L-DLY R-DLY
Ech 366.0 370.0
/TYP NIX
LVL
Ech 0 0
'TYP PB L/R
Ech 20 R11
• Delay (Dly)
This sophisticated delay effect offers independently
variable left and right channel delays (repeats).
j T Y P L-DLY R-DLY
Dly 366.2 508.0
j TYP MIX LVL
Dly 15 + 4
j T Y P PB L/R
Dly 40 L=R
L-DLY (Left Channel Delay Time: 0.1 — 740.0 ms)
Sets the delay time of the left channel.
R-DLY (Right Channel Delay Time: 0.1 — 740.0 ms)
Sets the delay time of the right channel.
FB (Feedback: 0 —• 100 %)
Determines the amount of effect-sound feedback returned
to the input of the processor. Higher values produce a a
greater number of repeats.
L-DLY (Left Channel Delay Time: 0.1 — 370.0 ms)
Sets the delay time of the left channel.
R-DLY (Right Channel Delay Time: 0.1 — 370.0 ms)
Sets the delay time of the right channel.
FB (Feedback: 0 — 100%)
Determines the amount of effect-sound feedback returned
to the input of the processor. Higher values produce a a
greater number of repeats.
UR (L/R Channel Delay Level Balance: 0 —100 %)
Sets the left-to-right channel balance of the echo sound
level. Higher values produce higher-level echo sound from
the left channel, and smaller values produce a higher-level
echo sound from the right channel.
MIX (Mixing Balance: 0 — 100 %)
Sets the balance between the direct and effect sound.
Higher values produce a greater proportion of effect sound
in relation to direct sound.
UR (UR Channel Delay Level Balance: 0 — 100 %)
Sets the left-to-right channel balance of the delay sound
level. Higher values produce higher-level delay sound from
the left channel, and smaller values produce a higher-level
delay sound from the right channel.
MIX (Mixing Balance: 0 —100 %)
Sets the balance between the direct and effect sound.
Higher values produce a greater proportion of effect sound
in relation to direct sound.
LVL (Output Level: -41 — +6 dB)
Determines the output level of the effect.
LVL (Output Level: -41 — +6 dB)
Determines the output level of the effect.
• Reverb and Delay Group (Parallel)
• Reverb + Delay (R+D)
This effect functions like separate reverb and delay
processors connected in parallel.
17

The Delay -+ Revert) program provides both delay and
reverb, with delay before reverb.
I T Y P L-DLY R-DLY
R+D 190.0 380.0
j TYP R/D MIX LVL
R + D
50 0
0
j TYP
FB
L/R
RVT
R + D
43
L = R 2.4
L-DLY (Left Channel Delay Time: 0.1 — 380.0 ms)
Sets the delay time of the left channel.
R-DLY (Right Channel Delay Time: 0.1 — 380.0 ms)
Sets the delay time of the right channel.
FB (Feedback: 0 —100 %)
Determines the amount of effect-sound feedback returned
to the input of the processor. Higher values produce a a
greater number of repeats.
L/R (L/R Channel Delay Level Balance: 0 — 100 %)
Sets the ieft-to-right channel balance of the delay sound
level. Higher values produce higher-level delay sound from
the left channel, and smaller values produce a high-level
delay sound from the right channel.
RVT (Reverb Time: 0.3 — 40 s)
Sets the duration of the reverb effect.
R/D (Reverb/Delay Level Balance: 0 — ■ 100 %)
Determines the balance between the level of the reverb
and delay sound. Higher values produce a greater
proportion of reverb sound, while smaller values produce a
greater proportion of delay sound.
MIX (Mixing Balance: 0 —100 %)
Sets the balance between the direct and effect sound.
Higher values produce a greater proportion of effect sound
in relation to direct sound.
LVL (Output Level: -41 — +6 dB)
Determines the output level of the effect.
• Reverb and Delay Group (Serial)
• Delay -+ Reverb (D -* R)
• Reverb - ♦ Delay (R -» D)
IN'
DELAY
REVERB
► OUT
The Reverb -»Delay provides delay and reverb with
reverb before delay.
IN
REVERB DELAY
j T Y P L-DLY R-DLY
R+D 290.0 320.0
j TYP
FB L/R
DMX
R+D
28 L = R 0
/TYP RVT
RMX LVL
R+D
2.6 0 0
L-DLY (Left Channel Delay Time: 0.1 — 380.0 ms)
Sets the delay time of the left channel.
R-DLY (Right Channel Delay Time: 0.1 — 380.0 ms)
Sets the delay time of the right channel.
FB (Feedback: 0 — 100%)
Determines the amount of effect-sound feedback returned
to the input of the processor. Higher values produce a a
greater number of repeats.
L/R (L/R Channel Delay Level Balance: 0 —100 %)
Sets the Ieft-to-right channel balance of the delay sound
level. Higher values produce higher-level delay sound from
the left channel, and smaller values produce a higher-level
delay sound from the right channel.
DMX (Delay Mixing Balance: 0 — 100 %)
Sets the balance between the direct and delay sound.
Higher values produce a greater proportion of delay sound
in relation to direct sound.
RVT (Reverb Time: 0.3 — 40 s)
Sets the duration of the reverb effect.
RMX (Reverb Mixing Balance: 0 — 100 %)
Sets the balance between the direct and reverb sound.
Higher values produce a greater proportion of reverb
sound in relation to direct sound.
LVL (Output Level: -41 — +6 dB)
Determines the output level of the effect.
18

w
8. The Utility Mode
The UTILITY mode allows access to a number of utility
functions such as user's area program title editing, memory
location number and MIDI program change number
assignment, and footswitch memory recall range
programming. The UTILITY mode is activated by pressing
the UTILITY key. Each press on the UTILITY key calls a
different UTILITY function, as shown below:
l -
MEMORY or PARAMETER mod*
i
Program Title Edit
MIDI Setup
PROGRAM CHANGE Table Edit
i
CONTROL CHANGE 1 Table Edit
i
CONTROL CHANGE 2 Table Edit
i
Footswitch Function Select
i
Footswitch Memory Recall Range Edit
The characters accessible via the ▲ and ▼ keys are
shown in the chart below, in their proper order.
Initial (pre-edit) space & space produced by pressing STORE key.
_t_ < >
*
+
-
T
X /
%
~
;
~
# 0
1
2 3
'4 5 6
7
8 9
V
A B
C D E
F
0 H
l
J
K L
M N
0 P
Q
R
S T
u V W
X
Y Z
a
"7
b
c d
e f
K h i j k
1
m n 0
0
P q
r
7
t u
_u_
_»
_x_
y
T
T
•f
-f •>
=
X
X
*
,
*
9
*r
Y
•>
X
-b
V 9 ■ f ‘V
■ » f b
- 7
*
/
t
y ■ N
*
V
A
A
*
= ■
a
3 3
l )
/U
l'
n
7
>
r
-
A newly created program title is automatically stored with
the appropriate program data when the Program Title Edit
mode is exited.
NOTE: The TITLE EDIT function can only be used when
one of the FX500 RAM memory locations (61
through 90) are selected. If you call the TITLE
EDIT function while a ROM memory location (1
through 60) is selected, the following display will
appear and editing will not be possible.
/RAM(61-90) ONLY
TITLE EDIT
The mode that was active before the UTILITY key was
pressed (MEMORY or PARAM) is selected following the
last function on the utility list. The UTILITY mode can also
be exited by pressing several times or holding (about one
second) the UTILITY button until the UTILITY key indicator
goes out.
■ Program Title Edit
The Program Title Edit function allows you to create
original titles for your effect programs, for easy
identification. When Program Title Edit is called the LCD
will appear something like the example below — the
memory title will appear on the upper line. Use the
MEMORY (-4) and PARAM ( ► ) keys to move the cursor to
the desired character location, then use the A and Ykeys
to change the character at the cursor location. The STORE
key can be used to place a space at the cursor position.
Continue until the new title is complete.
8 5|
Broad Dist.
TITLE EDIT
-Cursor
■ MIDI Program Selection: MIDI
Setup and Program Change Table
Edit
The FX500 makes it possible to select specific programs
via external MIDI control. You can set up the FX500, for
example, so that when you select a voice on a synthesizer
the most appropriate effect for that voice is automatically
selected. This is accomplished because each time you
select a voice on your MIDI synthesizer it transmits the
corresponding MIDI PROGRAM CHANGE NUMBER. The
FX500 receives this PROGRAM CHANGE NUMBER and
selects the effect program that you have assigned to it
using the Program Change Table Edit function which will
be described below. A more convenient idea for guitarists
would be to use a MIDI foot controller such as the Yamaha
MFC1 to transmit the required MIDI PROGRAM CHANGE
NUMBERS. The FX500 actually can be programmed with
four completely independent sets of MIDI PROGRAM
CHANGE NUMBER/MEMORY NUMBER assignments.
Each of these is contained in a different "bank": A, B, C or
D. Each BANK may also be programmed to receive on a
different MIDI channel. The four banks may be
programmed with different receive channels using the MIDI
Setup function described below.
19