** 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 properly, that is, in strict accordance with the manufacturers 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.
2. The FX500: What It Is and What It Does

n Effects

The FX500 SIMUL-EFFECT PROCESSOR is a highperformance digital signal processor intended for use with electric guitars, electronic keyboards or other instruments. lt 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 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.

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. lf, however, only a mono sound system is available, use either the OUTPUT R or OUTPUT L jack. 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. 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] 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 UTlLlTY mode Footswitch Memory Recall Range Edit function (page 23). BYPASS Jack An optional Yamaha FC4 or FC5 Footswitch connected here performs exactly the same function as the frontpanel BYPASS key. Press the footswitch once to activate the bypass mode, and again to turn bypass off.
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! 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. lf plugs are inserted into both the front and rear-panel inputs, the front-panel input jack takes priority. 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 highsensitivity input-the input of a guitar amplifier, for example.

Basic System Configuration
4. The Controls: A Quick Operation Guide
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. Connections: 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.
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 litsee 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 litsee PARAM Mode Key), these keys select the various parameters available for editing in the corresponding effect stage. [See page 11 for further details] Arrow( )and( ) keys keys function differently in the MEMORY, The and PARAM and UTILITY modes. When the MEMORY mode is selected (i.e. when the MEMORY key indicator is lit-see" MEMORY Mode Key), the and 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 Mode PARAM key indicator is lit see 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 and keys are used to program the selected utility function. [See page 19 for further details]
Liquid Crystal Display Panel This is the FX500s main information center, providing all information necessary for effect program selection, programming and utility control.
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. [Seepage 21 for further details] 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 BYPASS Jack" on page 5). control (see MEMORY Mode Key and lndicator When the MEMORY key indicator is lit, the FX500 MEMORY mode is active and effect programs (1 90) and keys can be selected and recalled using the 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 UTlLlTY 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 keys to select a disired 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 FX500s 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]

FIRST SCREEN SECOND SCREEN

n 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).
Use the and keys to adjust the value of the selected parameter. lf you hold the or key 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 or key. 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. lf you actually intend to recall the original (pre-edit) effect, press the RECALL key a second time. lf you do not want to carry out the recall operation, simply press any key other than the RECALL key. The PARAM mode can not be directly selected from the UTlLlTY 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.
Assigning MIDI CONTROLLERS to Effect Parameters
lf the SEL/ASN key is pressed in the PARAM mode, it becomes possible to assign external MIDI CONTROLLERS to diectly control effect parameters. Refer to Assigning CONTROLLER 1 and CONTROLLER 2 to Specific Effects on page 21.

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 FX500s 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 TlTLE EDlT 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)
NOTE: lf 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.

n 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 (Threshold: -dB) After editing the parameters to create the desired effect, select the MEMORY mode and select the RAM memory location (61 90) with the or key to which you wish to store the edited data. Press the STORE key. 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: 1/2,1/4,1/8, 1/00) 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 1/00 produces almost total compression, producing the same signal level for all signals above the threshold level. This yields the greatest degree of sustain.
Press the STORE key again. The following display will appear for a few seconds while the store operation is in progress. lf you decide not to go ahead with the store operation, simply press any key other than the STORE key.
ATK (Attack: 1.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 +24 dB) Determines the output level of the effect.
LVL (Output Level: -41 +6 dB) Determines the output level of the effect.

n 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.

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.
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.
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.
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.
SPED (Modulation Speed: 0.1 20.0 Hz) Sets the speed of modulation and therefore the rate of effect variation. PMD (Pitch Modulation Depth: %) Sets the depth of delay time modulation. Higher values deepen the pitch modulation portion of the effect. AMD (Amplitude Modulation Depth: %)
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.
Sets the depth of amplitude modulation. Higher values deepen the amplitude modulation portion of the effect. MIX (Mixing Balance: %) 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.

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.

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.

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.
Early Reflection Group Ehl: Erd: Erv: Epl: Early Reflection Hall Early Reflection Random Early Reflection Reverse Early Reflection Plate
Delay Group Dly: Delay Ech: Echo Reverb and Delay Group R+D: Reverb + Delay R D:Reverb Delay D R:Delay Reverb The parameters for each type are described below.

Reverb Group

Early Reflection Group
Revert, 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).

Early Early Early Early

Reflection Hall (Ehl) Reflection Random (Erd) Reflection Reverse (Erv) 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.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 highfrequency reverb times, gradually approaching the overall reverb time. Lower values create a darker reverb decay. DLY (Delay Time: 0.1 335.0 ms) Sets the delay time before the reverb sound begins.

Delay Reverb (D Reverb Delay (R
RMX (Reverb Mixing Balance: %) 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.

8. The Utility Mode

The UTlLlTY mode allows access to a number of utility functions such as users 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: 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.
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 TlTLE EDIT function while a ROM memory location (1 through 60) is selected, the following display will appear and editing will not be possible.
The mode that was active before the UTlLlTY 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.
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.

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 and keys 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.

MIDI Setup This function makes it possible to select any of the four available program change table BANKS, and to change the MIDI receive channel for each BANK.
Use the and keys to select the program change number to which a new FX500 memory location number is to be assigned. The range of available program change numbers is from 1 to 128. Move the underline cursor to the MEM parameter by pressing the PARAM key. Use the and keys to select the memory location number containing the effect which is to be assigned to the currently selected program change number. If -- is selected, no new memory location will be selected when that program number is received. Move the underline cursor back to the PGM parameter by pressing the MEMORY key and repeat the above steps to assign as many program change numbers as necessary.
Use the UTlLlTY key to select the MIDI SETUP display.
NOTE: The program number/memory number
assignments made are stored in the BANK selected in the previous MIDI Setup function. To program the program change/memory number assignments for a different BANK, return to the MIDI SETUP display, select the desired BANK, then program the required assignments.
The underline cursor should be under the BANK keys to select the bank parameter. Use the and you wish to program (A, B, C or D). Move the cursor to the ch= parameter by pressing the PARAM key, then use the and keys to set the receive MIDI channel (1 16), the OMNI mode (all channels can be received), or turn MIDI reception OFF for the selected bank. The underline cursor can be moved back to the BANK parameter if necessary by key. pressing the MEMORY
MIDI Parameter Control: Control Change 1 Table Edit and Control Change 2 Table Edit
The FX500 allows two MIDI controllers to be assigned for remote real-time control of effect parameters. "MIDI controller actually refers to a MIDI CONTROL CHANGE number between 0 and 127. Some of these numbers are assigned to specific controllers modulation wheel, data entry, etc and a MIDI device such as a keyboard or MFC1 MIDI Foot Controller that has the any of these controllers will transmit the corresponding MIDI control change data when the controllers are operated. You could, for example, assign an FC7 connected to an MFC1 to control the FX500 reverb time.
Program Change Table Edit
When this function is called the LCD will appear as shown below, and it becomes possible to assign new memory location numbers to each MIDI program change number.
Use the UTILITY key to select the MIDI PGM CHANGE display. The underline cursor should be under the PGM parameter.
In order to use this kind of setup, the two controllers that the FX500 allows CONTROLLER 1 and CONTROLLER 2 must be set to receive specific MIDI CONTROL CHANGE data (i.e. receive data from a specific MIDI controller) using the Control Change 1 Table Edit and Control Change 2 Table Edit functions described below.

If NOTE ON VELCTY is assigned and a number of NOTE ON messages are received simultaneously (e.g. a chord is played), the NOTE message with the highest note number takes priority. NOTE: The FX500 only receives control change data on the MIDI channel specified using the MIDI Setup function.
Control Change 1 Table Edit Control Change 2 Table Edit
When this function is called the LCD appears as shown below, and the and keys can be used to select the desired. MIDI control change number for controller 1. This function operates in exactly the same way as Control Change 1 Table Edit, above. The LCD appears as shown below, and the and keys can be used to select the desired MIDI control change number for controller 2.
NOTE: The control number assigned to controller 1, also can be assigned to controller 2.
Assigning CONTROLLER 1 and CONTROLLER 2 to Specific Effects
The following control change numbers and associated controllers (or none of no controller is specfically assigned) can be selected: Control Change Number OFF Controller Assignment Controller OFF No specific controller assigned. MOD. WHEEL BREATH CTRL No specific controller assigned. FOOT CTRL PORT TIME DATA ENTRY MAIN VOLUME No specific controller assigned. SUST SWITCH PORT SWITCH SUST PEDAL SOFT PEDAL No specific controller assigned. No specific controller assigned.
Once the MIDI controllers you wish to use have been selected using the Control Change 1 Table Edit and Control Change 2 Table Edit functions described above, you can then assign the controllers to the specific FX500 effect parameters. Control assignment is carried out in the PARAM mode. First select the appropriate effect in the MEMORY mode, then activate the parameter mode by pressing the PARAM key (of course, this step is not necessary if youre already editing an effect in the parameter mode). To assign CONTROLLER 1 to an effect parameter, press the SEL/ASN key in the parameter mode and a display similar to the following will appear.
* Press the STORE key to directly assign OFF. Two other control sources which are not directly associated with MIDI control change numbers can also be selected: NOTE ON VELCTY (key velocity, an integral part of MIDI NOTE ON data), and CHANNEL PRESS (channel pressure).
The cursor will appear under the currently selected parameter. Use the and keys to select the parameter you wish to control. All parameters for the currently selected effects are available. Cmp-THR, for example, refers to the compressor threshold level parameter. Dst-LPF is the distortion low-pass filter frequency parameter, etc. The individual parameters are described in detail in the "7. The Parameter Mode Editing the Effect Programs section beginning on page 11. In addition to the standard effect parameters, the following two parameters are available: VOLUME: assigns the controller to a special volume control stage located immediately after the EQ stage. CURSOR: Allows the assigned controller to control the position of the cursor in the parameter mode, facilitating selection of parameters for editing. NOTE: Control change reception is disabled while parameters are being selected. Press the SEL/ASN key to move the cursor to the MIN and then to the MAX position, using the and keys at each position to set the desired control range. Both MIN and MAX have a possible value range of 0 to 100%. For example, if the original range for DIST-LVL is -41 to 6 (dB), then setting MIN and MAX to 10 and 90 (%), respectively, produces a control range from -36 to + 1 (dB). To assign CONTROLLER 2 to an effect parameter, press the SEL/ASN key again, causing a the CONTROLLER 2 display to appear.

Footswitch Function Select
Footswitch Function Select determines the function of an optional Yamaha FC4 or FC5 footswitch connected to the FX500s rear-panel MEMORY IN/DEC TRIGGER jack. The keys LCD display will appear as below, and the and can be used to select the desired footswitch function.
TAP TEMPO DELAY is a function which allows delay time to be controlled by tapping the footswitch in time with the music (see Using Tap Tempo Delay, below). When MEMORY INC/DEC is selected, the footswitch can be used to recall a range of effect programs specified by the Footswitch Memory Recall Range Edit function, described below.

Using Tap Tempo Delay

When the TAP TEMPO DELAY footswitch function is selected, and the REVERB stage Dly, Ech, R+D, D R or R D effect is selected, the footswitch connected to the MEMORY INC/DEC jack can be used to set the time of the L-DLY parameter. Simply tap the footswitch twice at the appropriate interval. The time between taps sets the time between delays.The time of the R-DLY parameter is charged by the same amount as the L-DLY time. By tapping in time with the music you are playing, this function makes it simple to accurately match the delay time to tempo.
NOTE: If the same parameter is assigned to CTRL 1 and CTRL 2, CTRL 1 takes priority. Carry out steps to controller 2. and above to assign a parameter
When finished with controller assignment, press any of the effect keys (COMP, DIST, EQ, MOD or REV) to return to the normal parameter editing mode, or press the MEMORY key to return to the MEMORY mode. As with all other parameters, individual control assignments can be stored with each program by pressing the STORE key.
CAUTION: lf either the L-DLY or R-DLY parameter is set
to its maximum or minimum value, the TAP TEMPO DELAY function cannot be used to create longer or shorter delays.
Footswitch Memory Recall Range Edit
The FX500 permits memory selection via an optional Yamaha FC4 or FC5 footswitch connected to the MEMORY INC/DEC TRlGGER footswitch jack (as long as the footswitch is assigned to MEMORY INC/DEC operation using the Footswitch Function Select function described above). The Footswitch Memory Recall Range Edit function permits setting the range of memory location numbers that will be selected when the footswitch is pressed.
If, for example, the RANGE parameter is set to 20 TO 30 as shown in the LCD illustration above, each time the footswitch is pressed the next highest memory location will be selected until the last number in the specified range is reached. After the last number in the specified range, the first (lowest) number is selected and the process repeated. Reverse sequences can be programmed by entering the highest number in the range before the lowest, as shown below.

Use the UTILlTY key to call the F.SW MEMORY RCL display. The underline cursor should be located under the first memory number in the range. Use the range. and keys to enter the first number in the
Press the PARAM ( ) key to move the cursor to the second number in the range. Use the and keys to enter the second number in the range. The MEMORY key can be used to return to the first number in the range if necessary.

9. Specifications

ANALOG ClRCUITRY Frequency Response 20 Hz 20 kHz. Dynamic Range Better than 85 dB, effect OFF, Total Harmonic Distortion Less than 0.1% @ 1 kHz, effect OFF. Input Impedance/Nominal Level Greater than 500 kohms/-20 dBm (Unbalanced phone jack, front and rear). Output Impedance/Nominal Level 1 k-ohm/-20 dBm or -10 dBm, switchable (Unbalanced phone jacks x 2). Headphone Impedance/Nominal Level 150 ohms/-22 dBm (Unbalanced stereo phone jack).

FRONT PANEL

Control & Keys INPUT LEVEL control, COMP, DIST, EC, MOD, REV, SEL/ASN, BYPASS, STORE, MEMORY , RECALL, PARAM ( ), UTILITY POWER Connector INPUT jack. Display Backlit LCD with 7-segment program number, BYPASS, and 15-character x P-line display area. LED PEAK, SIGNAL Switch POWER (on/off)

REAR PANEL

DIGITAL CIRCUITRY Connectors A/D and D/A Converters 16-bit quantization (linear). Sampling Frequency 44.1 kHz EFFECTS & MEMORY Effect Stages COMPRESSOR, DISTORTION, EQUALIZER, MODULATION (Chorus, Flanger, Symphonic, Tremolo), REVERB (Reverb, Early Reflection, Delay, Echo, Reverb+Delay, Reverb Delay, Delay Reverb) Memory ROM area: 60 (No. 1 60) RAM area.: 30 (No. 61 90) Initial data area: 1 (No. 0) INPUT, OUTPUT L, OUTPUT R, PHONES, BYPASS, MEMORY INC/DEC or TRIGGER, MIDI IN, DC 12V IN Control PHONES LEVEL Switch OUTPUT LEVEL -20dB/-10dB

GENERAL

Power Supply U.S. & Canadian Models: PA-1207U AC Adaptor (120 V AC) General Model: PA-1210H AC Adaptor (220/240 V AC) Dimensions (W x H x D) 220 x 45 x 250 mm (8-518 x 1-3/4 x 9-7/8) Weight 1.4 kg (3 Ibs. approx.) 0dB = 0.775 V rms Specifications and exterance are subject to change without notice.

10. MIDI Data Format

Channel Information (Channel Voice Message) NOTE ON
This message is received on the MIDI channel specified in the currently selected BANK when CONTROLLER 1 or CONTROLLER 2 is assigned to NOTE ON VELOCITY. When a NOTE ON message is received, the value of the assigned effect parameter is changed according to the received velocity value.

NOTE OFF

The NOTE OFF message does not affect operation of the FX500, but receive capability has been included to provide compatibility with transmitting devices that send a NOTE OFF to mark the end of a NOTE ON message.

STATUS

1000nnnn (8nH) n=0 (channel #1) n=15 (channel #16) k= same as NOTE ON NOTE NO. 0kkkkkkk v= same as NOTE ON VELOCITY 0vvvvvvv

STATUS NOTE NO. VELOCITY

1001nnnn (9nH) n-0 (channel #1) 0kkkkkkk 0vvvvvvv n=15 (channel #16) k=0127 v=1127,0 (OFF)

CONTROL CHANGE

This message is received on the MIDI channel specified in the currently selected BANK when CONTROLLER 1 or CONTROLLER 2 is assigned to a control number between 0 and 120. When a CONTROL CHANGE message is received, the value of the assigned effect Parameter is changed according to the received control value.
CHANNEL PRESSURE This message is received on the MIDI channel specified in the currently selected BANK when CONTROLLER 1 or CONTROLLER 2 is assigned to CHANNEL PRESS. When a CHANNEL PRESSURE message is received, the value of the assigned effect parameter is changed according to the received pressure value.
1011 nnnn (BnH) n=0 (channel #1) n-15 (channel #16) CTL NO. 0ccccccc c=0120 CTL VALUE 0vvvvvvv v=0127
1101nnnn (DnH) n=0 (channel #1) n=15 (channel #16) PRESSURE 0vvvvvvv v=0127

PROGRAM CHANGE

This message is received on the MIDI channel specified in the currently selected BANK. When a PROGRAM CHANGE message is received, the effect program assigned to the received program number in the program change assignment table of the current BANK is selected.
1100nnnn (CnH) n=0 (channel #1) n=15 (channel #16) p=0127 PGM NO. 0ppppppp
[ Simul-Effect Processor ] Model FX500 MIDI Implementation Chart Transmitted x x x x ************** x ************** x x x x x x x x Recognized 1 - 16, off 1 - 16, off OMNI on/OMNI on x x 0 - 127 x o v=1-127 x x o x o o o
Date : 6/3, 1989 V e r s i o n : 1. 0 R e m a r k s memorized
Function. Basic Default Channel Changed D e f a u l t Messages A l t e r e d

memorized

Note Number : True voice Velocity Note ON Note OFF After Touch Key's Ch's
Pitch Bender 0 - - 95 Control Change Prog Change : True # System Exclusive System : : Common : System Real Time Aux : Song Pos Song Sel Tune :Clock :Commands 102 - 114
x x x x x x x ************** x x x x x x x x x x
o o o o o o 0 - 127 x x x x x x x x o x
All Bypass COMP DIST EQ MOD REV *1
Local ON/OFF All Notes OFF M e s - : Active Sense sages : Reset
Notes: *1 = For program 1 - 128, memory #0 - #90 is selected
Mode 1 : OMNI On, POLY Mode 3 : OMNI OFF, POLY
Mode 2 : OMNI ON, MONO Mode 4 : OMNI OFF, MONO

o : Yes x : NO

11. Block Diagram
12. FX500 Parameter Chart
13. Preset Program Parameters

SERVICE

This product is supported by Yamahas worldwide network of factory trainad and qualified dealer service personnel. In the event of a problem, contact your nearest Yamaha dealer.
P.O.Box 1, Hamamatsu, Japan

5.0 R1 CR

Yamaha Corporation of America 6600 Orangethorpe Avenue, P.O. Box 6600, Buena Park, CA 90622-1/14/98 FX500 OM

YAMAHA

AUTHORIZED PRODUCT MANUAL
MULTITRACK CASSETTE RECORDER

OPERATION MANUAL

CONGRATULATIONS!
Your MT100II Multitrack Cassette Recorder is a powerful recording tool that will enable you to work with sound in many ways. No other multitrack cassette recorder offers the straightforward simplicity and ease-of-use of the MT100II. Whether you need to record acoustic instruments or voice using microphones, electronic instruments and line-level sources, or a creative blend of the two, the MT100II makes the process of building tracks extraordinarily smooth and simple. You can simply record and remix four tracks, or use the multitrack ping-pong recording technique to individually record up to ten independent parts adding sound layer by layer until you create exactly the arrangement and texture your imagination demands with its ability to record on all four tracks at once, or in any conbination, MT100II is the ideal choice for recording bands or layering tracks at home. And, because its a YAMAHA, you know that the MT100II will give you the very finest sound quality and overall performance available. In order to make use of the MT100II's many features and obtain maximum performance, we urge you to read this operation manual thoroughly and keep it in a safe place for later reference.

CONTENTS

PRECAUTIONS. 1 THE CONTROLS AND CONNECTORS. 2 MT100II CONTROLS AND THEIR FUNCTIONS. 2 CONNECTION EXAMPLES. 8 ABOUT CASSETTE TAPES. 9 THE RECORDING PROCESS. 10 RECORDING THE FIRST TRACK. 11 STEP 1: CHANNEL-TO-TRACK ASSIGNMENT. 11 STEP 2: MONITOR SETUP. 12 STEP 3: SETTING RECORDING LEVELS.13 STEP 4: RECORD. 13 OVERDUBBING. 14 PING-PONG RECORDING. 15 A PING-PONG RECORDING EXAMPLE. 16 MIXDOWN. 17 USING THE GRAPHIC EQUALIZER. 18 USING THE TAPE OUT JACKS. 19 USING THE AUX SEND/RETURN LOOP. 20 PUNCH-IN/OUT RECORDING. 21 MAINTENANCE. 22 SPECIFICATIONS. 23 BLOCK DIAGRAM. 25

PRECAUTIONS

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 MODIFICATION YOURSELF This product contains no user-serviceable parts. For other than routine cleaning, refer maintenance to qualified YAMAHA 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. This is important to prevent damage to the unit itself as well as other connected equipment. 5. HANDLE CABLES CAREFULLY Always plug and unplug cables including the AC cord 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 The MT100II should only be powered using the supplied YAMAHA PA100 AC Adaptor. The use of other adaptors can cause serious damage to the MT100II. 8. KEEP THE HEADS AND TAPE PATH CLEAN To ensure consistent high performance and sound quality from your MT100lI, it is important to clean the head and tape path regularly (ideally before each recording session). To do this, use a cleaning kit specifically designed for use with cassette tape equipment. 9. USE ONLY HIGH-QUALITY CHROME CASSETTE TAPE The MT100II is designed for use with CrO2 (chrome) formulation tape, and will not provide proper performance with any other type of tape. Always choose cassette tapes from a reliable manufacturer.

IMPORTANT NOTICE FOR THE UNITED KINGDOM
Connecting the Plug and Cord
IMPORTANT. The wires in this mains lead are coloured in accordance with the following code: BLUE : NEUTRAL LIVE

BROWN :

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
THE CONTROLS AND CONNECTORS
MT100II MULTlTRACK CASSETTE RECORDER
MT100II CONTROLS AND THEIR FUNCTIONS
[Note] The terms channel and track: In this owners manual, the term channel refers to the circuitry and controls required to process one input source. MT100lIs mixer section has four channels. The term track refers to the magnetic bands on tape used to store signals recorded by MT100II's recorder section. Since MT100II records four separate bands of audio on tape, it is a four-track recorder.

INPUT SELECT Switches

The INPUT SELECT switches are used to select the input source for each of the four channels. TAPE: Select this position to play back already recorded material. When selected, mixer channel 1 will receive playback from track 1; channels 2, 3, & 4 will receive tracks 2, 3, & 4 respectively. OFF: In this position, the channel receives no input signal. MIC/LINE: In this position, the channel can receive a microphone, keyboard, or other line-level signal which is connected to the input jack. [Note] All channels which are not in use should be set to OFF position.
[Note] When any of the REC SELECT switches are set to a position other than OFF, the red indicator LED above the transport REC button will flash, indicating that the MT100II is set up to record. Recording will commence when the transport REC and PLAY buttons are pressed simultaneously. If all REC SELECT switches are set to OFF, the unit will not record even if the transport REC and PLAY buttons are pressed.

PAN Controls

The PAN controls assign the signal from the corresponding mixer channel to any desired position in the stereo sound field. If a PAN control is set to the maximum LEFT position, the signal from that channel will appear only at the left-channel MT100II output (STEREO OUT L). If the PAN control is set fully RIGHT, the signal will appear only at the STEREO OUT R output jack. If a PAN control is set to its center position, then the signal from that channel will appear equally at both the left- and right-channel outputs, and the sound will appear to come from the center of the stereo sound field, a point midway between the two stereo speakers. By varying the level of the signal sent to the left-and right-channel outputs, the PAN control can be used to position the sound at any point in the stereo spectrum. The PAN controls can also be used during recording to assign the signal from several channels to a single track of the recorder section, or to assign a channel to a differently-numbered recorder track (see CHANNEL-TO-TRACK ASSIGNMENT on page 11).

MONITOR SELECT Switch

MONITOR: This position is selected to listen to the four tape tracks. In this position a mix from the four MONITOR controls is sent to the PHONES jack and the MONITOR OUT jack. MIX: This position is selected to hear a combination of the four tape tracks and input sources connected to the input jacks. The mix from the MONITOR controls is combined with the stereo output from the mixer section and sent to the PHONES jack and MONITOR OUT jack. STEREO: This position is selected to monitor the stereo output from the mixer section. In this position, the mix sent to the MONITOR OUT jack and PHONES jack is the same mix that is sent to the STEREO OUT jacks.

METER Switch

When the METER switch is set to STEREO, meters 1 and 2 display the level of signals appearing at the mixer sections stereo outputs (the STEREO OUT jacks). When set to 4 TRACK, the four LED peak meters display the level of the corresponding recorder track signals.

dbx ON/OFF Switch

The dbx switch determines whether the MT100IIs internal dbx noise reduction system is ON or OFF. For normal recording and playback using the MT1000II, the dbx switch should be turned ON. This provides a significantly improved signal-to-noise ratio (as much as 85 dB) so your recordings will sound cleaner and have much less tape hiss. For dbx noise reduction to be effective, it must be turned ON both during recording and playback. The dbx switch may be turned OFF when playing back tapes that were recorded on other equipment and which are not dbx-encoded.

MONITOR CONTROLS 1 4

The four MONITOR controls determine the level of the signal from the corresponding recorder tracks which is sent to the PHONES jack and MONITOR OUT jacks when the MONITOR SELECT switch is set to either MONITOR or MIX. The MONITOR controls are primarily used to set up the optimum levels for monitoring recorded tracks while recording new material (overdubbing).

ZERO STOP Switch

When the transport is in rewind, the ZERO STOP function automatically stops the tape at a specified location. To set the ZERO STOP point, play the tape to the desired location and reset the tape counter to ZERO by pressing the counter reset button. In rewind, with the ZERO STOP switch ON, the transport will stop when the tape counter reaches 999. This is particularly handy in the multitrack overdub process when it is necessary to repeatedly rewind the tape and play from the same point.

MONITOR/PHONES Control

This control is used to set headphone and control room listening level. It adjusts the level of signal sent to the PHONES jack and MONITOR OUT jacks with out affecting the signal level appearing at the STEREO OUT jacks.
MT100ll MULTlTRACK CASSETTE RECORDER

TAPE SPEED Switch

The TAPE SPEED switch selects either the standard 4.8cm/sec cassette tape speed, or the MT100II's special 9.5cm/sec high tape speed. Use the standard (4.8) speed when replaying tapes recorded on standard cassette recorders, or to obtain maximum tape economy. When you want maximum sound quality, use the high (9.5) tape speed. The improvement in sound quality provided by the high tape speed is significant, and we recommend that you use the high speed for all important recordings. [Note] Never change the TAPE SPEED setting while the tape is running.
set to a position other than OFF. If all the REC SELECT switches are set to OFF, the red REC indicator LED will flash when the REC button is pressed, and the orange PAUSE indicator will light. If any REC SELECT switche is set to a position other than OFF, the red REC indicator and the orange PAUSE indicator will light continuously. From the REC/PAUSE mode it is necessary to press the PLAY button to start the transport running. Actual recording will begin if at least one track REC SELECT button is set to a position other than OFF. If not, the transport will run in a record/ready mode until a REC SELECT switch is set to a position other than OFF. [Note] Only tracks for which the REC SELECT switch is set to a recording position will be recorded when the RECORD mode is activated. [Note] The RECORD mode cannot be activated if a cassette is loaded from which the record-prevention tab has been removed. PLAY: Starts the transport running in the PLAY mode. The green PLAY indicator LED will light to indicate PLAY status. REW (REWIND): Press this button the rewind the tape. If the ZERO STOP switch is ON, the tape will stop rewinding when the counter reaches 999. FF (FAST FORWARD): Press this button the wind the tape ahead at high speed. When this button is pressed while in the PLAY mode, the audio will be heard as the tape winds ahead at high speed. STOP: Immediately stops the transport and/or defeats the RECORD mode. PAUSE: Temporarily stops playback or recording. The orange PAUSE indicator LED will light when the PAUSE mode is active. Press the PLAY button to disengage the PAUSE mode and continue playback or recording.

PITCH Control

The PITCH control varies tape speed by 10%, making it possible to tune material recorded on the MT100II to match the pitch of musical instruments, or to slightly lengthen or shorten the running time of a recording to meet specific timing requirements. Tape speed is normal when the PITCH control is set to its center click-stop position. Tape speed is increased by sliding the control towards the "+" end of the scale, and decreased by sliding the control towards the "-" end of the scale.

MT100II MULTITRACK CASSETTE RECORDER

POWER Switch

Press the POWER switch once to turn power ON, a second time to turn power OFF. When the power is ON, the POWER LED above the LED peak meters on the MT100II top panel will light. Make sure that the input faders are set to 0 and the AUX RETURN level control is set to MIN before turning power on. [Note] A muting function operates for five seconds after power is initially turned on, after which the recorder can be operated.

DC IN Jack (DC1PV)

The DC output cord from the YAMAHA PA100 AC Adaptor supplied with the MT100II should be plugged in here. The AC Adaptor should be plugged into a convenient AC wall outlet. Caution: Use only a YAMAHA PA100 AC Power Adaptor to power your MT100II. Other AC adaptors can cause faulty operation, and may even permanently damage your MT100II.

CONNECTION EXAMPLES

- BASIC CONNECTIONS * Make
sure the power to all equipment is OFF when making connections.
Monitor Power Amp/Speaker
8 MT100Il MULTITRACK CASSETTE RECORDER

ABOUT CASSETTE TAPES

This unit is designed to be used only with Chromeposition tape, and will not work properly with Ferrichrome tape formulations. CrO2 tape (Bias: HIGH; EQ: 70s) should be used. Also, the use of C-120 tapes is not recommended because they exhibit poorer performance, and can be the cause of equipment failure.
Preventing accidental erasure of recordings To keep from inadvertently erasing a prized recording, all cassette tapes have record protection tabs along the rear edge of the cassette shell. If this tab is broken out using a screwdriver or any other appropriate implement, it will not be possible to record on the corresponding side of the tape. This will protect your recordings from accidental erasure. To protect a 4-track recording, its necessary to break out the tabs for both the A and B sides of the tape. When youd like to record over a tape with the tabs broken out, just cover the holes (where the tabs were) with a small piece of adhesive tape.
Taking up tape slack If the tape in the cassette is slack, or some portion of the tape is out of the cassette shell, there is a risk it may become tangled around the capstan or pinchroller. In order to correct this, insert a pencil or ballpoint pen into the center of one reel, and rotate to take up loose tape slack.

Cassette shell

PREVENTING ACCIDENTAL TAPE ERASURE:
Storing cassette tapes To prevent tape slack during storage, keep tapes in their cases. Do not store tapes in direct sunlight, or in places with high heat or humidity, as this may damage the tapes. Also, keep the tapes away from magnetic fields, emitted from devices such as televisions or speakers, because the recordings can be erased or sonically alterd to some degree.

RECORDING OVER A TAPE WITH THE TABS BROKEN OUT:

THE RECORDING PROCESS

For details pertaining to the operation of MT100lI controls, please refer to page 3, MT100II CONTROLS AND THEIR FUNCTIONS. Recording with the MT100II is a very simple process. All you need is the MT100II, a pair of monitor headphones, and an instrument, microphone, or other signal source. The multitrack recording process can be basically broken down into the following steps: 1. Record the First Track. a) Select channel-to-track assignment for input source. b) Set Record Level. c) Record. 2. Overdub on the Remaining Tracks. a) Select channel-to-track assignment for each overdub. b) Set records level for each overdub. c) Record the overdub. 3. Track Combining. a) If necessary, use ping pong technique to combine tracks and clear them for additional overdubs. 4. Mixdown. a) Set up for monitoring the mix. b) Set up a rough mix and add effects. c) Finalize and rehearse the mix. d) Connect the MT100II STEREO OUT jacks to a stereo casette recorder. e) Record (from the MT100II to the stereo cassette recorder). These steps (and what the recording terms mean) will be described in detail below, so its a good idea to read through the following sections in sequence in order to get a clear picture of the overall recording process.
10 MT100lI MULTlTRACK CASSETTE RECORDER
RECORDING THE FIRST TRACK
STEP 1: CHANNEL-TO-TRACK ASSIGNMENT
The first step in making any recording is to assign the channel to which your instrument or other source is connected to one of the recorders tracks. Depending on what you are recording, you might want to record a single instrument or other source on a single track of the tape, or you might want to combine several instruments or other sources and record them on a single track. The MT100II offers two channel-to-track assignment methods.
Direct Channel-to-Track Assignment
With this method, an instrument or source connected to one of the mixers channels is fed directly to the correspondingly numbered track of the recorder. You can record a single track like this, or up to all four tracks simultaneously. Using this method, only one input source can be recorded on a single track. For direct channel-to-track assignment, the REC SELECT switchs are set to the number position (1, 2, 3 or 4). For example, if the channel 1 REC SELECT switch is set to 1, the channel 1 signal will be sent directly to track 1 of the recorder. This applies in the same way to all other channels and tracks.
Panned Channel-to-Track Assignment
The panned channel-to-track assignment method makes it possible to assign several of the mixers channels to a single recorder track, or single mixer channels can be assigned to a track of a different numbers. Each of the REC SELECT switches has either an "L or R position. These correspond to the left (L) and right (R) channels of the mixers stereo output. If track 1s REC SELECT switch is set to L for example, track 1 will receive any signals which are panned LEFT. Therefore, it is possible to send the signal from channel 1 to track 4 by selecting R on track 4s REC SELECT switch and panning channel 1 RIGHT. In addition, any other channels which are panned RIGHT will also be recorded on track 4 if the faders for those channels are at raised. The assignment illustrated below is achieved by setting track 4s REC SELECT switch to R and setting the PAN controls on channels 1, 2 and 3 fully right.

[Note] When a REC SELECT switch is set to "L" or R the track will also record signal from the LEFT or RIGHT side of the AUX return. Therefore, effects can be recorded along with input sources.

MIXER SECTION

RECORDER SECTION
DIRECT CHANNEL - TO - TRACK ASSIGNMENT
PANNED CHANNEL - TO - TRACK ASSIGNMENT

STEP 2: MONITOR SETUP

Once your source is connected to an input channel and that channel is assigned to one of the recorders tracks, you should set up your monitor system so that you can listen to the track as it is recorded. The MT100II allows you to monitor the material being recorded either via a pair of headphones connected to the PHONES jack or via a sound system with speakers connected to the MONITOR OUT jacks. The level appearing at the PHONES jack and MONITOR OUT jacks is controlled by the MONITOR/PHONES control. The MONITOR SELECT switch has three positions which allow you to listen to tape tracks only (MONITOR position), input sources (STEREO position), or a combination (MIX position).
MONITOR: In this position only the output from the recorders four tracks is sent directly to the PHONES jack and the MONITOR OUT jacks via the four MONlTOR controls. The MONITOR controls are used to create the desired monitor mix. This setup is ideal for general monitoring while recording because it allows you to listen to the four tape tracks while leaving input faders available to route signal sources to tape. Material already recorded on any of the recorders tracks is delivered to the PHONES jack and MONITOR OUT jacks via the corresponding MONITOR controls. In this case, an input source can only be heard when it is assigned to a track via the appropriate REC SELECT switch, and the TRANSPORT controls are in the RECORD or RECORD/PAUSE mode. MIX: Both the output from the recorders four tracks (via the MONITOR controls) and the stereo output from the mixer section are sent to the PHONES jack and MONITOR OUT jacks.
STEREO: Only the stereo output from the mixer section is sent to the PHONES jack and MONITOR OUT jacks. This setting is most useful for mixdown of a completed multitrack recording, since you want to hear the mix produced by the mixer sections input faders and any effects applied using the AUX SEND and RETURN controls while mixing. [Note] Speakers should not be used for monitoring if you will be recording via microphones, since the monitor sound will leak into the microphone(s) and spoil the recording.
12 MT100II MULTlTRACK CASSETTE RECORDER
STEP 3: SETTING RECORDING LEVELS
Setting optimum recording levels is vitally important to achieve the best possible recording quality.
1. Make sure that a cassette has been loaded into the cassette compartment, and that it is wound to the point at which you intend to start your recording. Its a good idea to press the counter RESET button to set the counter to 000 at this point so that you can automatically locate the beginning of the recording later using the ZERO STOP function. 2. Start by setting the channel input fader to be used set to its minimum (0) position, and the MIC/LINE gain control all the way to LINE. 3. Press transport RECORD button, this activates MT100IIs record circuit, and puts the transport in RECORD/PAUSE mode. Tape will not be moving. Play the source at the highest (loudest) level that it will be played during recording.

4. Set the MASTER fader to about 7 or 8 on the scale and gradually raise the input fader until you begin to hear the source sound and see the LED peak meter come to life. If your source is an electric instrument (guitar or bass) or a microphone, you may also have to slide the MIC/LINE gain control towards the MIC end of its scale to get a sufficiently high meter reading. Adjust the input fader and MIC/LINE gain control so that the meter reading averages between about 0 and +3 on the scale. Ideally, the input fader should be set at about 7 or 8 on its scale to achieve the above-mentioned meter reading. This is to ensure the best possible signal-to-noise ratio and allow plenty of plus and minus leeway for later adjustment. If the fader setting is way off, try adjusting the volume control on the instrument or other source until you can get the optimum reading with a fader setting between 7 and 8. After levels are set, press STOP button to disengage RECORD/PAUSE transport status.

STEP 4: RECORD

When you have inserted a cassette, assigned the input channel to a recorder track, checked the monitor settings and set the optimum record level for the new track, youre ready to record. [Note] Make sure the PITCH control is OFF (slider in the center position) while recording your first track.
1. Press the REC button and then the PLAY button to start recording, wait a few seconds, and start playing. 2. When youve finished recording the track, press the transport STOP button, turn the REC SELECT switch for the track just recorded to the OFF position, rewind the tape (the tape will stop automatically at counter 999 if the ZERO STOP switch is ON). 3. Play back the recording (press the PLAY button) and listen to the track to make sure that everything went as planned.
[Note] If you plan to record using microphones and you will be monitoring in the same room as where the microphones are set up, we recommend the use of headphones while actual recording is taking place. If speakers are used for monitoring during recording, their sound can leak back into the microphones compromising the quality of your recording.

OVERDUBBING

Overdubbing is the process of recording a new track (or new tracks) while monitoring previously recorded tracks. If youre only planning to record a maximum of four tracks, you can go ahead and overdub the second, third and fourth tracks. If youre planning to use the "ping-pong recording technique to record more than four parts, however, record only three tracks and then move on to the ping-pong step (see PING-PONG RECORDING on page 15). 1. Plug the instrument or other source to be recorded into an available channel input. 2. Make sure that the REC SELECT switches of previouslyrecorded tracks are set to OFF so that previously recorded tracks arent erased when the new track is recorded. 3. Set up the channel-to-track assignment for the new track. 4. Check your monitor settings to ensure that you can monitor the previously recorded track(s) as well as the new track to be recorded (the MONITOR SELECT switch should normally be set to MONITOR.) 5. Set the recording level for the new track. 6. You can now rehearse the overdub without actually recording by simply playing back the already-recorded track(s) and playing the new part. When MONITOR select is in the MONITOR position, it is not possible to hear input source unless MT100Ils transport is in RECORD or RECORD/PAUSE. If you are not ready to actually record your overdub, and would like to hear the new input source along with previously recorded tracks, set the MONITOR select switch to the MIX position. 7. Make sure the tape is rewound to the beginning of the piece and start recording. These steps are simply repeated to overdub tracks 3 and 4.

AUX RETURN Control

Set to MIN for the time being.
Set to MONITOR so youll only hear signals from the MT100II recorder.

MONITOR Controls

Set the channel 1 through 3 MONITOR controls fully counter-clockwise, and the channel-4 MONITOR control to about center or a position that will provide the best monitoring level.
16 MT100II MULTITRACK CASSETTE RECORDER

MIXDOWN

Mixdown is the last stage in the recording process at which time you can blend and polish the sounds to create the final product. A MIX is created by finely balancing the four tracks to achieve just the right sound. This final balance is achieved using MT100IIs mixer section and is re-recorded onto a conventional stereo tape deck. Tracks can be faded in or out as required, and refinements such as overall reverberation or equalization can be added using external signal processing equipment and MT100IIs 5-band onboard GRAPHIC EQUALIZER. The mixers PAN controls can be used to position each track at their appropriate location in the stereo image, and you may even want to move or PAN a sound from one channel to the other to create a dramatic effect. Heres how your system should be set up:
Make sure that all four INPUT SELECT switches are set to TAPE.
1. Sit in a comfortable, central position in front of your monitor speakers. 2. Listen to, evaluate, and adjust the sound of each track individually. This simply means raising the fader of a single track, adding effects or other signal processing as required, then repeating the process on the next track until all tracks have been carefully checked. MT100IIs 5-band GRAPHIC EQUALIZER can be used to add or subtract high, mid, and low frequency components from the overall mix, creating a more exciting and coherent marriage of the tracks. If you have an external signal processing device such as the YAMAHA FX500 Simul-effect Processor connected into the MT100lIs AUX SEND/RETURN loop as described in the following section (USING THE AUX SEND/RETURN LOOP), its a simple matter to select the desired effect on your signal processor and add the required amount of effect to each track using the AUX SEND controls. The AUX RETURN control must also be set to an appropriate level. 3. When all tracks have been individually checked, bring all input faders up to about 7 or 8 on the scale and play back the tape. Adjust the faders for the best overall balance. Now adjust the PAN controls to place each track at the desired location in the stereo sound field. Now listen carefully too much or too little reverb on any track? Readjust the AUX SEND controls to achieve the desired effect. Balance not quite right? Keep readjusting until you are satisfied. You should also rehearse any fades or pans you plan to do while actually recording the mix. 4. When youre sure everything is ready, prepare to actually record the mix. Connect the MT100II STEREO OUT jacks to the inputs of a stereo cassette recorder. Plug your monitor headphones into the stereo cassette deck phones jack if you want to listen as you record the mix, or simply leave them connected to the MT100lI PHONES jack and listen with the MONITOR SELECT switch set to STEREO. Use the stereo cassette deck record level control(s) and, if necessary, the MT100II MASTER fader to set the optimum record level, then go ahead and record. The MT100II MASTER fader can also be used to add a slow fade at the end of the piece.

[Note] Since the AUX SEND/RETURN loop returns the effect signal to the mixer sections stereo outputs, effects can be added to channels during ping-pong recording as long as the panned channel-to-track assignment method is used. The AUX SEND/RETURN loop cannot be used to add effects when recording tracks which have been assigned using the direct channel-to-track assignment method.
20 MT100II MULTITRACK CASSETTE RECORDER

PUNCH-IN/OUT RECORDING

Punch-in/out recording makes it possible to re-record a short segment of an otherwise perfect track in order to correct a mistake or brush up an important passage. You punch-in at the point where you begin recording the new segment, and "punch-out at the end of the new segment so that the previously-recorded material is not erased.
Punch-in/out Using the REC SELECT Switches
1. With all REC SELECT switches set to OFF, start the recorder running a few measures before the section to be re-recorded begins in the record-ready mode by pressing the REC button and then the PLAY button with all track REC SELECT switches set to OFF. The red REC LED will flash indicating that the transport is in the record-ready mode. The MONITOR SELECT switch should be set to MONITOR so you can hear all the tracks. 2. At a convenient break in the track switch the track to be corrected to the record mode (punch-in by switching the REC SELECT switch for that track to the appropriate record position) and start playing the new material to be recorded. The REC LED will light continuously as soon as the REC SELECT switch is set to a record position. 3. At the end of the re-recorded segment switch the track back to the play mode (punch-out by switching the REC SELECT switch for that track to OFF). The red REC LED will begin to flash.

Footswitch Punch-in/out

1. Plug a YAMAHA FS-1 (optional) footswitch into the MT100II PUNCH I/O jack. 2. Set the REC SELECT switch for the track to be punched-in to the appropriate record position, and press the REC button to activate the rec/pause mode. The red REC LED should flash instead of lighting continuously. If the red REC LED lights continuously, press the footswitch once so that it flashes. If the LED lights continuously, press the footswitch once so that it flashes.
CAUTION: WHEN USING A FOOTSWITCH, MAKE SURE
THE RED REC LED LIGHT IS FLASHING, NOT STEADY BEFORE PUTTING THE TRANSPORT IN RECORD. THIS WILL PREVENT ACCIDENTAL ERASURE OF EXISTING MATERIAL. DO NOT PRESS REC AND PLAY. 3. Press the PLAY button to start the transport running in the record-ready mode. 4. Press the footswitch to punch-in. The red REC LED will light continuously. 5. Press the footswitch a second time to punch-out. The red REC LED will begin to flash.

MAINTENANCE

The MT100II recording & playback head has been precision-constructed to extremely fine tolerances in order to make high-quality 4track recording possible. Optimum performance can only be achieved if the head surface is kept immaculately clean. Cleaning should be carried out at regular intervals at least after every 10 hours of use. Dirty heads can cause any of, or a combination of, the following problems:

Recording, playback and erasure are not possible. Reduced playback sound level. Fluctuating and or/distorted sound. Excessive noise. A drop in level at the high frequencies.
If any of the above problems occur, clean the heads carefull before assuming the fault is with the recorder. Use a commercially available head-cleaning kit (read the instructions provided with the kit), or wipe carefully with a cloth or cotton swab that has been dampened with isopropyl alchohol. Also clean the pinch roller at the same time as the heads.
22 MT100II MULTITRACK CASSETTE RECORDER

SPECIFICATIONS

TAPE TRANSPORT
Tape Type Heads Tape Speed Pitch Control Wow & Flutter Rewind Time Motor Chrome (70 microsec. EQ) 4-channel Permalloy rec/play head 4-channel ferrite erase head 4.8 cm/sec 9.5 cm/sec 10% Less than 0.15% WRMS Approx. 100 sec., for C-60 tape DC servo motors (2)

CONNECTORS

Input Input Impedance Rated Input Level Max. Input Level Min. Input Level Input Impedance Rated Input Level Min. Input Level Output Impedance Load impedance Rated Output Level Load impedance Max. Output Level Output Impedance Load Impedance Rated Output Level Output Impedance Load Impedance Rated Output Level Output Impedance Load Impedance Rated Output Level 10 k-ohms -10 dB to -50 dB (fader nominal) +10 dB (gain control min.) -56 dB (gain control, fader max.) 10 k-ohms -10 dB (AUX RETURN level control nominal) -16 dB (AUX RETURN level control max.) 1 k-ohm Greater than 10 k-ohms -10 dB into 50 k-ohms 8 to 40 ohms 45 mW + 45 mW/40 ohms 1 k-ohm Greater than 10 k-ohms -10 dB into 50 k-ohms 1 k-ohm Greater than 10 k-ohms -10 dB into 50 k-ohms 1 k-ohm Greater than 10 k-ohms -10 dB into 50 k-ohms

AUX RETURN L & R

STEREO OUT L & R

PHONES TAPE OUT 1 4

AUX SEND

MONITOR OUT

ELECTRICAL SPECIFICATIONS
Frequency Response (NR OUT) 50 Hz to 18 kHz, +3 dB/6 dB at 9.5 cmlsec. 50 Hz to 12.5 kHz, +3 dB/6 dB at 4.8 cm/sec. S/N ratio (3% THD Level) 85 dB, dbx ON, IHF-A 1.5% at 315 Hz, dbx on, 10 dB Rec, Level Distortion Greater than 55 dB at 1 kHz, dbx on Channel Separation Erasure Ratio Greater than 70 dB at 1 kHz, dbx on dbx * Noise Reduction Graphic Equalizer 100, 400, 1k, 5k, 10kHz (10 dB), Q = 0.7

GENERAL

Power Requirements (PA100 AC Adaptor) Dimensions (WxHxD) Weight U.S. & Canadian Models: 120 V AC, 60 Hz General Model: 220/240 V AC, 50/60 HZ 400 x 76 x 212 mm (15-3/4 x 3 x 8-3/8") 2.0 kg (4 Ibs 7 oz)
*dbx is a trademark of dbx Incorporated. 0 dB = 0.775 Vr.m.s. All specifications subject to change without notice.

BLOCK DIAGRAM

SERVICE This product is supported by YAMAHAs worldwide network of f a c t o r y t r a i n e d and qualified dealer service personnel. In the event of a problem, contact your nearest YAMAHA dealer.
YAMAHA CORPORATION P.O. Box 1. Hamamatsu. Japan

9001 Printed in Japan

25536 4/18/97
Yamaha Corporation of America 6600 Orangethorpe Avenue, P.O. Box 6600, Buena Park, CA 90622-6600