Yamaha FX500B User manual

YAMAHA
BASS SIMUL-EFFECT PROCESSOR
PROCESSEUR D'EFFECT MULTIPLE POUR BASSE
BASS SIMUL-EFFECT PROCESSOR
Operation Manual
Manuel d'utilisation
Bedienungsanleitung

Congratulations!
You are the proud owner of a Yamaha FX500B BASS SIMVL-EFFECT
PROCESSOR. The FX500B takes advantage of unmatched Yamaha
digital signal processing technology to provide a chain of up to 6 different
effects with extensive programming capability. All important parameters
have been designed specifically to provide optimum matching with bass
guitars. You can easily create "custom" effect chains to suit your own
specific musical requirements. With programmable compressor,
overdrive, equalizer, modulation and reverb/delay effect stages, the
FX500B gives you a complete state-of-the-art signal-processing system in
one extraordinarily compact package. There are 30 superlative preset
effect programs designed specifically for bass that you can simply select
and use right away, and 30 RAM memory locations which can be used to
store original signal-processing sounds that you create using the
FX500B ' s broad-ranging programming features. For further versatility
and smooth integration with MIDI-based music systems, the FX500B
offers broad MIDI control capabilities. Any of its 60 memory locations
may be directly selected from a remote MIDI device such as a keyboard
or MIDI foot controller. It is also possible to directly control up to two
different effect parameters simultaneously in versatility, and the sound is
nothing less than superb.
Please read through this operation manual thoroughly while learning to
use your FX500B, in order to take full advantage of all the sophisticated
capabilities it provides — and keep the manual in a safe place for later
reference!

CONTENTS
1. Precautions .„.3
2. The FX500B: 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 . 1 0
■ 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 . 1 1
• Memory Store Operation.12
■ COMPRESSOR . 1 2
■ OVERDRIVE.13
■ EQUALIZER .13
■ MODULATION.14
• Chorus.14
• IFIanger.14
• Symphonic. 1 5
• Tremolo.15
■ REVERB/DELAY .15
• 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 .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 .19
■ 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
■ Footswltch Function Select.22
• Using Tap Tempo Delay.22
■ Footswltch Memory Recall Range Edit .23
9. Specifications.24
10. MIDI Data Format .77
11. Block Diagram.80
12. FX500B Parameter Chart.81
13. Preset Program Parameters.82
r _ ' ~~ n
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
U PLEASE READ THIS BEFORE PROCEEDING I!
1. AVOID EXCESSIVE HEAT, HUMIDITY, DUST AND
VIBRATION
Keep the unit away from locations where it is likely to be
exposed to high temperatures or humidity — such as
near radiators, stoyes, etc. Also avoid locations which
are subject to excessive dust accumulation or vibration
which could cause mechanical damage.
2. AVOID PHYSICAL SHOCKS
Strong physical shocks to the unit can cause damage.
Handle it with care.
3. DO NOT OPEN THE CASE OR ATTEMPT REPAIRS
OR MODIFICATIONS YOURSELF
This product contains no user-serviceable parts. Refer
all maintenance to qualified Yamaha service personnel.
Opening the case and/or tampering with the internal
circuitry will void the warranty.
4. MAKE SURE POWER IS OFF BEFORE MAKING OR
REMOVING CONNECTIONS
Always turn the power OFF prior to connecting or
disconnecting cables.
5. H ANDLE 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
FX500B or, if the original adaptor is lost or broken, a
replacement or equivalent type obtained from your
Yamaha dealer. Also, make sure that the adaptor you
have is appropriate for the AC mains supply voltage in
the area where you intend to use the FX500B (the
correct INPUT voltage is marked on the adaptor).
8. ELECTRICAL INTERFERENCE
Since the FX500B contains digital circuitry, it may cause
interference and noise if placed too close to TV sets,
radios or similar equipment. If such a problem does
occur, move the FX500B further away from the affected
equipment.
9. M EMORY BACKUP
The FX500B contains a special long-life battery that
retains the contents of its internal RAM memory even
when the power is turned OFF. The backup battery
should last for approximately 5 years. When the battery
voltage drops to a level that is too low to maintain the
memory contents, the following message will appear on
the FX500B display when the power is turned ON:
i * % W fi R N I N G * *
' M E M 0 R V D fi T fi
If this display appears, have the backup battery replaced
by qualified Yamaha service personnel. DO NOT
ATTEMPT TO REPLACE THE BACKUP BATTERY
YOURSELF!
r
FCC CERTIFICATION (USA)
This equipment generates and uses radio
frequency energy and if not installed and used
properly, that is, in strict accordance with the
manufacturer's instructions, may cause
interference to radio and television reception. It
has been type tested and found to comply with
the limits for a Class 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.
V.
J
3

2. The FX500B: What It Is and What It Does
■ Effects
The FX500B SIMUL-EFFECT PROCESSOR is a high-
performance digital signal processor intended for use with
electric bass guitars. It employs leading-edge Yamaha
digital signal processing technology to provide a "chain" of
up to six independent effects that can be independently
controlled to produce precisely the required overall sound.
As shown below, the FX500B includes five effect
(compressor, overdrive, equalizer, modulation and reverb)
stages. Stages can be turned on or off as required, and the
order of the modulation and reverb stages can be
reversed. The compressor, overdrive and equalizer stages
are basically single-function processors. The modulation
and reverb stages each incorporate a number of separate
effects which can be selected and used as required.
Several of the reverb effects actually combine both delay
and reverb, effectively giving you a total of six effects in the
chain! Each effect has a number of parameters which can
be adjusted to tailor its sound to your specific musical
needs.
•CHORUS
•FLANGER
•SYMPHONIC
•TREMOLO
1 REVERB
Hall, Room,
Vocal, Plata
' EARLY REF.
Reverse, Platt
•DELAY
•ECHO
■ RE VERB* DELAY
■ REVER8-0ELAY
■ DELAY-REVERB
■ Memory Configuration
The FX500B has a total of 61 memory locations. Memory
locations 1 through 30 are ROM (Read Only Memory)
containing 30 pre-programmed effects that you can simply
select and use. Memory locations 31 through 60 are RAM
(Random Access Memory), and can be used to store
original effect programs that you create by editing the
presets. The 30 RAM memory locations (31 —- 60)
originally contain copies of the preset programs. The last
memory location — memory location number 0 — contains
"initialized data" that can be used as a basis for creating
your own original effects programs from scratch.
ROM MEMORY
RAM MEMORY
ROM MEMORY
1—30
31—60 0
• Preset effect
programs
• User-edited
programs
• Initial Data
Program
No.
Program Title V
Program
No.
Program Title
1
Slap Bass 1
16
Soft Flange
2
Slap Bass 2
7*t
....'
Hard Flange
■ ■ $ .&: -
Pick Bass 1
18
Pick Pop
4
Pick Bass 2
is ;
Fretless Pop
5
Dance Bass
20 ■
Fusion Flange
6
Broad Bass
21
Puff Bass
: 7,*.“.;
Tight Bass
22
Razz Bass
8 ■
Solo Bass 1 v 23
Round Reverb
9
Vi bra Cello
24
Solo Bass 2
10
Arco Cello
25
Fretless Bass
11
Walking Bass 1
26
Doubler
12
Walking Bass 2
27 -
Over Drive Solo
13
Boogie Bass 28
Space Bass
14
Reggae Bass
29
Sitar Bass
15
Sharp Pick
30
O. D. Fretless
31-60
User Programs
0 .
Initial Data
■ MIDI Control
For further versatility and smooth integration with MIDI-
based music systems, the FX500B offers broad MIDI
control capabilities. Any of its 60 memory locations may be
directly selected from a remote MIDI device such as a
keyboard or MIDI foot controller *. It is also possible to
directly control up to two different effect parameters
simultaneously in 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 danger effects
and the reverb time of a reverb effect in real time as you
playl Any two MIDI controllers can be assigned to any two
effect parameters (See "MIDI Parameter Control: Control
Change 1 Table Edit and Control Change 2 Table Edit" on
page 20 for operational details).
* Extensive MIDI control is also possible with the Yamaha
MFC1 MIDI Foot Controller. Consult to the MFC1
operation manual for details.
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 FX500B POWER switch is
in the OFF position (extended), then plug the AC
adaptor output cable into the DC 12V IN jack, and
finally the adaptor's AC plug into a convenient AC wall
outlet. The cable clip located immediately below the DC
12V IN jack helps to prevent accidental unplugging of
the power supply during use. Wrap the DC cable firmly
around the clip a few centimeters from the plug end.
CAUTION!
Do not attempt to use a different AC adaptor to power
the FX500B. The use of an incompatible adaptor may
cause irreparable damage to the FX500B, and might
pose a serious shock hazard!
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
FX500B to the input sensitivity of the amplifier, mixing
console or other device it is feeding. For compatibility
with standard line-level inputs the -10 dB setting
should be appropriate, while the -20 dB setting should
be used when the FX500B is connected to a high-
sensitivity input — the input of a bass amplifier, for
example.
o OUTPUT R and OUTPUT L Jacks
These are the main stereo outputs from the FX500B.
We recommend using both outputs and connecting
them to the corresponding right and left channels of a
stereo sound system, since the full impact of many of
the FX500B effects can only be appreciated in stereo.
If, however, only a mono sound system is available,
use either the OUTPUT R or OUTPUT L jack.
0 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 FX500B will accept MIDI
PROGRAM CHANGE messages to directly select
effect programs, or MIDI CONTROL CHANGE
messages via which individual effect parameters may
be remotely controlled. _
[See page 19 for further details]
0 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 gr "tap tempo delay” control in which
the footswitch 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.

4. The Controls: A Quick Operation Guide
O Power Switch
Press once to turn the FX500B on, and a second time
to turn the power off. When the power is turned on, a
title and copyright notice will appear on the display
panel for a few seconds before operation actually
begins.
© Input Jack
Plug your bass 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.
0 INPUT LEVEL Control with SIGNAL and PEAK
Indicators
For the optimum input level setting, play your source at
the highest level it will be played in actual use, and
adjust the INPUT LEVEL control so that the SIGNAL
Indicator lights most of the time but the PEAK indicator
does not tight, 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 FX500B's main "information center",
providing all information necessary for effect program
selection, programming and utility control.
Program number.
T
Appears>when BYPASS ~
key is pressed to bypass
all effects.
1
Slap Bass 1
_BYPASS
Cho -j
\ Rhl 1
Currently selected effect, parameters- 1
being programmed, or utility function.
© COMP, O.D., EQ, MOD and REV Effect Keys
These keys function differently in the MEMORY and
PARAM modes.
• When the MEMORY mode is selected (i.e. when the
MEMORY key indicator is lit —see "©MEMORY
Mode Key"), these keys are used to turn the
corresponding effect stage ON (indicator lit) or OFF
(indicator out).
(See page 10 for further details]
• When the PARAM mode is selected (i.e. when the
PARAM key indicator is lit — see "©PARAM Mode
Key"), these keys select the various parameters
available for editing in the corresponding effect
stage.
[See page 11 for further details]
© 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 change the value of or "edit"
the selected effect parameter.
[See page 11 for further details]
• When the UTILITY mode is selected (i.e. when the
UTILITY key indicator is lit — see "© UTILITY Mode
Key"), the Aand Tkeys are used to program the
selected utility function.
[See page 19 for further details]
7

0 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]
0 BYPASS Key
When the BYPASS key is pressed and "BYPASS"
appears on the display panel, all FX500B effect stages
are completely bypassed and the input signal is fed
directly to the output. Press the BYPASS key a second
time to turn the bypass function off. The rear-panel
BYPASS footswitch jack can also be used for bypass
control (see "© BYPASS Jack" on page 5).
0 MEMORY Mode Key and Indicator
When the MEMORY key indicator is lit, the FX500
MEMORY mode is active and effect programs (1 — 60)
can be selected and recalled using the A and Tkeys
and RECALL key. In the MEMORY mode it is also
possible to turn effect stages ON or OFF using the
COMP, O.D., EQ, MOD and REV keys. The MEMORY
mode can be activated while the PARAM mode is
selected by pressing the MEMORY key. The MEMORY
mode can not be directly selected from the UTILITY
mode by pressing the MEMORY key. The UTILITY
mode must first be exited by pressing the UTILITY key
several times or holding it down (approximately 1
second) until the UTILITY key indicator goes out.
[See page 9 for further details]
0 RECALL Key
After using the A and Tkeys to select a desired effect
program while in the MEMORY mode, the RECALL key
is pressed to actually recall and activate the selected
program.
[See page 9 for further details]
<D STORE Key
After editing any of the effect programs, the new
program can be stored in any of the FX500B's RAM
memory locations (31 through 60) for later recall and
use. The STORE key is used to store edited data to a
RAM memory location.
[See page 12 for further details]
® 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} '
0 UTILITY Mode Key and Indicator
Pressing this key activates the UTILITY mode, allowing
access to 7 different utility functions:
• Program Title Edit [Page 19]
• MIDI Setup [Page 20]
• Program Change Table Edit [Page 20]
• Control Change 1 Table Edit [Page 21]
• Control Change 2 Table Edit [Page 21]
• Foot Switch Function Select [Page 22]
• Foot Switch Memory Recall Range Edit [Page 23]
The UTILITY key LED lights when the UTILITY mode is
active. Each time the UTILITY key is pressed the next
function on the utility "list" is selected. The mode that
was active before the UTILITY key was pressed
(MEMORY or PARAM) is selected following the last
function on the utility list. The UTILITY mode can also
be exited by pressing the UTILITY key several times or
holding it down (approximately 1 second) until the
UTILITY key indicator goes out.
8

5. The MEMORY Mode: Selecting Effect Programs
In the FX500B MEMORY mode, the A and Tkeys can be
used to select individual effect programs. When a new
program number is 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.
m
ft y c o
Cello
IU
C h o ■ * Eh 1
0 If the MEMORY mode is not already selected (i.e. if the
MEMORY key indicator is ggl lit), press the MEMORY
key to select the MEMORY mode.
j Slap Bass 1
Cho * Rh1
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 Aand/or Tkeys to select the number of the
desired effect program (in this example we go to
program number 10 from number 1, so only the Akey
is used). Press the Aor Tkey briefly to select the next
highest or lowest numbered program, or hold either key
down for continuous scrolling in the corresponding
direction. Faster scrolling is achieved by pressing the
opposite arrow key while holding the arrow key
corresponding to the direction of scrolling.
\n < _
ftuco Ce11o
« ?u ►
A A-
Cho * Ehl
-Flashing
9

6. Effect Processor Selection
S:
In the MEMORY mode the FX500B effect stages can be
individually turned ON or OFF by using the COMP, O.D.,
EQ, MOD and REV keys. Pressing any of these keys
alternately turns the corresponding effect stage ON
(indicator lit) or OFF (indicator out), When a stage is turned
OFF, it is bypassed and the previous active stage is
connected directly to the 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:
0 COMP #O.D.
#EQ
r • MOD-• REV
Lqrev-Omod
COMPRESSOR
MODULATION
COMPRESSOR
The current order of the MOD and REV stages is also
shown on the bottom line of the display ("MOD —* REV" in
this case).
If, however, you only wanted to use the compressor,
equalizer and reverb stages, you could press the O.D. and
MOD keys to turn the stages OFF, resulting in the effect
chain shown below:
i Slap Bass 1
C ho a Rh 1
Press the SEL/ASN key to reverse this order.
#COMP 00.0.
MOOULAPON
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.
i blap Bass 1
' R h 1 + C h o
■ Reversing the Order of the
Modulation & Reverb Stages
Normally, the last two effects in the FX500B 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

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 FX500B’s RAM memory locations
for later recall and use.
■ Editing Parameter Data
© The parameter mode is entered by pressing the
PARAM key. The parameter abbreviations are
displayed on the upper line of the LCD, and the
corresponding data values are shown on the bottom
line (the parameters will be described in detail in the
following sections).
I THR ROT fiTK LUL"
1 -23 1/6 3.5 +2
Upper line shows parameters.
Lower line shows current
value for each parameter.
Underline cursor.
The PARAM mode can not be directly selected from the
UTILITY mode by pressing the PARAM key. The
UTILITY mode must first be exited by pressing several
times or holding (about one second) the UTILITY key
until the UTILITY key indicator goes out.
© Press the COMP, O.D., EQ, MOD or REV key to select
the effect you wish to edit.
© 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
( ►
I T VP SPED DEP
'Fla 0.1 66
I TYP DLY F8
' F19 1-3 77
THIRD SCREEN
4
(4) Use the Aand Vkeys to adjust the value of the
selected parameter. If you hold the Aor Vkey 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 ▼ k ey.
© 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
FX500B responds with a confirmation display —
"RECALL OK ?" — if you press the RECALL key
while editing in the PAFtAM 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
An edited effect program can be stored in any memory
location within the FX500B's RAM memory area (31
through 60). Original effect programs stored in this way can
be selected and used in exactly the same way as the
preset effect programs. The ON/OFF status of each effect,
the selected order of the MOD and REV stages and MIDI
CONTROLLER assignments are stored along with all other
parameter data. The UTILITY mode TITLE EDIT function
can be used to create new titles for your original effect
programs after you have stored them in RAM memory.
(See "Program Title Edit" on page 19)
0 After editing the parameters to create the desired
effect, select the MEMORY mode and select the RAM
memory location (31 — 60) to which you wish to store
the edited data.
(2) P ress the STORE key.
/qV* STORE OK ?
^ 33 TlEM. 1 * HEM . 35
-Flashing
(3) P ress 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 olhei than the STORE
key.
ir MEMORV STORE
33 MEM. 1 * MEM. 35
Stops flashing
(4) W hen the store operation is complete, the memory
location stored to will be selected automatically.
35
Slap Bass 1
M 0 D + RE U
NOTE: If you attempt to use the STORE function while a
ROM memory location is selected, the following
display will appear and the store operation will be
aborted.
T-
«
>_
a—j -
I ** RE FID
' MEM NO.
, A —-
GNLV **
0-30
■ COMPRESSOR (COMP)
The compressor effect stage produces sustain or simple
"smoothing" by compressing the signal so that high levels
are suppressed while low levels are effectively boosted.
The use of compression before other effect stages is
particularly effective because it limits the signal to a
dynamic range that results in the best sound with the
subsequent effects.
1 THR RAT fl T K
l y l
- 1 a s . 0
+ 0
THR (Threshold: -60 — 0 dB)
Sets the compressor threshold level, signal levels
exceeding the threshold level will be compressed while
those below the threshold level will be unaffected.
RAT (Ratio: 1/2,1/4,1/6,1/8, 1 / °°)
This parameter sets the degree of compression. A
compression ratio of 1/2, for example, compresses signals
above the threshold level to one-half their original
amplitude. A setting of 1/<*> produces almost total
compression, producing the same signal level for all
signals above the threshold level and therefore the
greatest degree of sustain.
12

w •
ATK (Attack: 1.0 — 20 ms)
Determines how long it takes tor 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.
(ATK)
LVL (Output Level: -42 — +24 dB)
Determines the output level of the effect.
■ OVERDRIVE (O. D.)
The FX500B overdrive stage digitally produces smooth,
rich overdrive that can be adjusted to achieve and
extremely wide variety of effects. In addition to providing
full control of the degree of distortion produced, a built-in
noise gate function with adjustable trigger level effectively
shuts out unwanted noise.
i DST TRG L'JL
1 80-45 -10
DST (Distortion Drive Level: 0 —100)
Sets the degree of overdrive distortion produced. Higher
values produce more distortion.
TRG (Noise Gate Trigger Level: -80-20 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.
LVL (Output Level: -42 — +6 dB)
Determines the output level of the effect.
■ EQUALIZER (EQ)
The FX500B features a four-band equalizer stage for wide
ranging tonal control. Up to 12 dB of boost or cut can be
applied to the low, low-mid, hi-mid and high bands, and the
center frequency of the all four bands can be adjusted over
a broad range.
Sets the center frequency of the Mid equalizer band.
LoG (Low Gain: -12 — +12 dB)
Sets the amount of boost or cut applied to the tow-band
frequencies. A setting of +0 produces no boost or cut.
"Minus" values produce cut and "plus" values produce
boost.
LmF (Low-mid Frequency: 80 Hz — 800Hz)
Sets the center frequency of the low-mid equalizer band.
LmG (Low-mid Gain; -12 — +12 dB)
Sets the amount of boost or cut applied to low-mid
frequencies. A setting of +0 produces no boost or cut.
Minus values produce cut and plus values produce boost.
HmF (Hi-mid Frequency: 400 Hz — 4.0 kHz)
Sets the center frequency of the hi-mid equalizer band.
HmG (Hi-mid Gain: -12 — 4-12 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.
HiF (High Frequency: 3.2 kHz — 8.0 kHz)
Sets the center frequency of the high equalizer band.
HiG (High Gain: -12 — +12 dB)
Sets the amount of boost or cut applied to the high-band
frequencies. A setting of +0 produces no boost or cut.
"Minus" values produce cut and "plus" values produce
boost.
13

LVL (Output Level: -42 — +6 dB)
Determines the output level of the effect.
■ MODULATION (MOD)
The MODULATION effect stage contains a number of
effects based on amplitude and delay modulation. The
different MODULATION effects are selected by the TYP
(type) parameter which appears at the left of every
MODULATION display screen.
j TVP
SPED PHD
' Cha
0 . 6
50
MIX (Mixing Balance: 0 —100 %)
Sets the balance between the direct and effect sound.
Higher values produce a greater proportion of effect sound
in relation to direct sound.
LVL (Output Level: -42 — +6 dB)
Determines the output level of the effect.
• Flanger (Fig)
Flanging is a fairly pronounced effect based primarily on
delay time modulation. By adjusting the various
parameters you should be able to create an extremely
broad range of sounds, from gentle shimmering to wild
sweeps.
TYP (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.
1 TVP
SPED p ri d
' Cha
0.6
59
1 TVP
RMD (• 11 X LUL
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 deptii of amplitude modulation. Higher values
deepen the amplitude modulation portion of the effect.
Sets the speed of modulation and therefore the rate of
effect variation.
PEP (Depth: 0 — 100%)
Sets the depth of modulation. Higher values produce
deeper modulation.
PLY (Delay Time: 0.2 — 15.0 ms)
Sets the delay time. Delay times shorter than 1 msec
produce the greatest effect in the high-frequency range,
while with delay times from 1 to 3 ms the effect extends to
the middle frequencies.
FB (Feedback: 0 — 100 %)
Determines the amount of effect-sound feedback returned
to the input of the processor. Higher values produce a
more pronounced effect.
MIX (Mixing Balance: 0 — 100 %)
Sets the balance between the direct and effect sound.
Higher values produce a greater proportion of effect sound
in relation to direct sound.
LVL (Output Level: -42 — +6 dB)
Determines the output level of the effect.
14

• Symphonic (Sym)
Symphonic is a broad, sweeping effect that adds a sense
of scale to the sound.
i TVP
MIX
LVL
' San
a
+ 0
I TVP
SPED DEP
Saa
0. 9
9 0
SPED (Modulation Speed: 0.1 — 20.0 Hz)
Sets the speed of modulation and therefore the rate of
effect variation.
PEP (Depth: 0 — 100 %)
Sets the depth of modulation. Higher values produce
deeper modulation.
MIX (Mixing Balance: 0 — 100 %)
Sets the balance between the direct and effect sound.
Higher values produce a greater proportion of effect sound
in relation to direct sound.
LVL (Output Level: -42 — +6 dB)
Determines the output level of the effect.
• Tremolo (Trm)
The tremolo effect uses amplitude modulation to produce a
periodic volume variation. The FX500B tremolo effect
additionally offers a phase parameter which can be used to
create a periodic "panning* effect in which the sound
appears to move across the stereo sound field.
j TVP MIX LUL
Trn
a
+ 0
f TVP
SPED DEP
PH
1 Tra
4.0 100
+ 0
SPED (Modulation Spaed: 0.1 — 20.0 Hz)
Sets the speed of modulation and therefore the rate of
effect variation.
PEP (Depth: 0 — 100%)
Sets the depth of modulation. Higher values produce
deeper modulation.
PH (Phase:-8 — +8)
Sets the direction in which the sound image moves in the
stereo sound field (this is only effective if the FX500B is
used with a stereo sound system). A setting of 0 produces
no 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: -42 — +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.
I TVP FI',
IT H F
' Rhl 2.
■ 4 6
TYP (Type: Rhl, Rrm, Rvc, Rpl, Ehl, Erd, Erv, Epl, Ply,
Ech, R+D, R -» P, D R)
This parameter is common to all reverb programs, and is
used to select the desired effect. The various reverb
effects are indicated by the following abbreviations:
Reverb Group
Rhl:
Rrm:
Rvc:
Rpl:
Reverb Hall
Reverb Room
Reverb Vocal
Reverb Plate
Early Reflection Group
Ehl:
Erd:
Erv:
Epl:
Early Reflection
Early Reflection
Early Reflection
Early Reflection
Hall
Random
Reverse
Plate
Delay Group
Dly:
Ech:
Delay
Echo
Reverb and Delay Group
R+D: Reverb + Delay
R -» D : Reverb -» Delay
D - ♦ R: Delay -* Reverb
The parameters for each type are described below.
15

• Early Reflection Group
• Reverb 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 FX500B offers several different reverb effects,
simulating types of reverberation you would experience in
a hall (Reverb Hall), in a smaller room (Reverb Room), a
reverb effect ideally suited to vocals (Reverb Vocal), and
the type of reverberation produced artificially by a plate
reverberator (Reverb Plate).
Set the amount of time it takes for the reverb sound to
delay by 60 dB.
HF (High Frequency Reverb Time Ratio: 1 —10)
Sets the reverb time of the high frequencies in relation to
the overall reverb time. Higher values produce longer high-
frequency reverb times, gradually approaching the overall
reverb time.
PLY (Delay Time: 0.1 — 335.0 ms)
Sets the delay time before the reverb sound begins.
Initial direct sound.
(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 diPbct sound.
LVL (Output Level: -42 — +6 dB)
Determines the output level of the effect.
• 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.
1 TYP
DLY
' Ehl 1 4 ■ Q
Sets the separation between reflections. The values
increment in 0.1 steps from 0 to 10, while values above 10
increment in steps of 1, Higher values produce greater
separation between reflections, and therefore the effect of
a bigger room.
LIV (Liveness: 0 —10)
Determines how the early reflections decay. Higher values
result in slower decay, producing the effect of a more
reflective ("live") room.
DLY (Delay Time: 0.1 — 400.0 ms)
Sets the delay time before the early reflection sound
begins.
L
E
V
E
L
Initial direct sound.
Room Size determines
spacing between reflections.
— TIME
HIGH LtVENESS-'
DELAY TIME
(OLY)
16

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.
• Echo (Ech)
Although similar to the Delay program, the Echo program
has different delay ranges and different "internal" settings
that result in a distinctive echo effect.
LVL (Outpuf Level: -42 — +6 dB)
Determines the output level of the effect.
TVP L-DLY R-DLY
Ecb 366-0 370-0
1 TYP
FB L/R
' Ech
20
R 1 1
• Delay Group
i TVP MIX
LUL
Ech
0
+ 0
• Delay (Dly)
This sophisticated delay effect offers independently
variable left and right channel delays.
| TYP L-DLY R-DLY j TVP FB L/'R
Dla 366-2 508.0 Dly 40 L=R
I TVP
M I X
LUL
* Dly
1 5 + 4
L-DLY (Left Channel Delay Time: 0.1 — 740.0 ms)
Sets the delay time of the left channel.
R-DLY (Right Channel Delay Time: 0.1 —740.0 ms)
Sets the delay time of the right channel.
FB (Feedback: 0 — 100 %)
Determines the amount of effect-sound feedback returned
to the input of the processor. Higher values produce a
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
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: -42 — +6 dB)
Determines the output level of the effect.
■ ea.
LVL (Output Level: -42 — +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.
IN
OUT
17

1 T VP FB L/R RUT
R + D
43
L-R 2-4
1 TVP R/D
MIX
LUL
' R + D 50
0 + 0‘
L-DLY (Left Channel Delay Tima: 0.1 — 380.0 ms)
Sets the delay time of the left channel.
R-DLY (Right Channel Delay Time: 0.1 — 380.0 ms)
Sets the delay time of the right channel.
FB (Feedback: 0 —100 %)
Determines the amount of effect-sound feedback returned
to the input of the processor. Higher values produce a
greater number of repeats.
UR (L/R Channel Delay Level Balance: 0 —100 %)
Sets the left-to-right channel balance of the delay sound
level. Higher values produce higher-level delay sound from
the left channel, and smaller values produce a high-level
delay sound from the right channel.
RVT (Reverb Time: 0.3 — 99 s)
Set the amount of time it takes for the reverb sound to
delay by 60 dB.
R/P (Reverb/Delay Level Balance: 0 — 100 %)
Determines the balance between the level of the reverb
and delay sound. Higher values produce a greater
proportion of reverb sound, while smaller values produce a
greater proportion of delay sound.
MIX (Mixing Balance: 0 100 %)
Sets the balance between the direct and effect sound.
Higher values produce a greater proportion of effect sound
in relation to direct sound.
LVL (Output Level: -42 — +6 dB)
Determines the output level of the effect.
• Reverb and Delay Group (Serial)
• Delay -* Reverb (D -+ R)
• Reverb -+ Delay (R -> D)
The Delay -* Reverb program provides both delay and
reverb, with delay before reverb.
DELAY REVERB
► OUT
The Reverb -* Delay provides delay and reverb with
reverb before delay.
j TVP
FB L/R
DMX
1 R + D
28 L = R
0
1 TVP RUT RMX
LUL
1 R + D
2-£ 0
+ 0
L-DLY (Left Channel Delay Time: 0.1 — 380.0 ms)
Sets the delay time of the left channel.
R-DLY (Right Channel Delay Time: 0.1 — 380.0 ms)
Sets the delay time of the right channel.
FB (Feedback: 0 — 100 %)
Determines the amount of effect-sound feedback returned
to the input of the processor. Higher values produce a
greater number of repeats.
UR (UR Channel Delay Level Balance: 0 —100 %)
Sets the left-to-right channel balance of the delay sound
level. Higher values produce higher-level delay sound from
the left channel, and smaller values produce a higher-level
delay sound from the right channel.
DMX (Delay Mixing Balance: 0 —100 %)
Sets the balance between the direct and delay sound.
Higher values produce a greater proportion of delay sound
in relation to direct sound.
RVT (Reverb Time: 0.3 — 99 s)
Set the amount of time it takes for the reverb sound to
delay by 60 dB.
RMX (Reverb Mixing Balance: 0 —100 %)
Sets the balance between the direct and reverb sound.
Higher values produce a greater proportion of reverb
sound in relation to direct sound.
LVL (Output Level: -42 — +6 dB)
Determines the output level of the effect.

8. The Utility Mode
The UTILITY mode allows access to a number of utility
functions such as user's area program title editing, memory
location number and MIDI program change number
assignment, and footswitch memory recall range
programming. The UTILITY mode is activated by pressing
the UTILITY key. Each press on the UTILITY key calls a
different UTILITY function, as shown below:
MEMORY or PARAMETER mode
4 -
Program This Edit
4 ,
MIDI Setup
4 -
PROGRAM CHANGE Tabls Edit
4 -
CONTROL CHANGE 1 Table Edit
4 -
CONTROL CHANGE 2 Table Edit
4 -
Footswitch Function Select
4 -
Footswitch Memory Recall Range Edit
I___I
The mode that was active before the UTILITY key was
pressed (MEMORY or PARAM) is selected following the
last function on the utility list. The UTILITY mode can also
be exited by pressing and holding the UTILITY key until the
UTILITY key indicator goes out (approximately 1 second).
■ Program Title Edit
The Program Title Edit function allows you to create
original titles for your effect programs, for easy
identification. When Program Title Edit is called the LCD
will appear something like the example below — the
memory title will appear on the upper line. Use the
MEMORY ( ◄ ) and PARAM ( ► ) keys to move the cursor to
the desired character location, then use the 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.
<35 5
1 a F' Bass 1
TITLE EDIT
— Cursor
The characters accessible via the Aand Ykeys are
shown in the chart below, in their proper order.
Initial (pre-edit) space & space produoed by pressing STORE key.
A newly created program title is automatically stored with
the appropriate program data when the Program Title Edit
mode is exited.
NOTE: The TITLE EDIT function can only be used when
one of the FX500B RAM memory locations (31
through 60) are selected. If you call the TITLE
EDIT function while a ROM memory location (1
through 30) is selected, the following display will
appear and editing will not be possible.
l R FI M < 3 1 - i
> 0 : ■ 0 N L V
' TITLE
EDIT
■ MIDI Program Selection: MIDI
Setup and Program Change Table
Edit
The FX500B makes it possible to select specific programs
via external MIDI control. You can set up the FX500B, for
example, so that when you select a voice on a synthesizer
the most appropriate effect for that voice is automatically
selected. This is accomplished because each time you
select a voice on your MIDI synthesizer it transmits the
corresponding MIDI PROGRAM CHANGE NUMBER. The
FX500B receives this PROGRAM CHANGE NUMBER and
selects the effect program that you have assigned to it
using the Program Change Table Edit function which will
be described below. A more convenient idea for bassists
would be to use a MIDI foot controller such as the Yamaha
MFC05 to transmit the required MIDI PROGRAM
CHANGE NUMBERS. The FX500B actually can be
programmed with four completely independent sets of
MIDI PROGRAM CHANGE NUMBER/MEMORY NUMBER
assignments. Each of these is contained in a different
"bank": A, B, C or D. Each BANK may also be
programmed to receive on a different MIDI channel. The
four banks may be programmed with different receive
channels using the MIDI Setup function described below.