Store Key Stores any edited preset effect in a selected RAM memory position (31 ~ 90). Memory Increment/Decrement Keys These keys select any desired memory number to call a specific program or store an edited program in the user memory area. The selected memory number is shown on the MEMORY NUMBER display. When a new memory number is called, the MEMORY number display will flash until either the STORE or RECALL function is activated. Recall Key Press this key to recall the program that resides in the selected memory number. Utility Key Multi-purpose key accesses MIDI control functions, facilitates program title editing and sets footswitch memory control range. See pages 8 and 9 for details. Foot Trigger Key When this key is pressed and its LED is ON, the footswitch connected to the Memory/Trigger jack functions as a foot trigger for the GATE and FREEZE programs, rather than for memory selection. Bypass Key When this key is pressed, the effect signal is shut off and only the direct signal will be output. Direct signal level is affected by the INPUT LEVEL control setting. Memory/Trigger Footswitch Jack Facilitates remote memory selection via optional footswitch. The range of memory locations to be recalled by the footswitch can be set with a Utility program. When the foot trigger function (above) is ON, the footswitch connected to this jack acts as a trigger footswitch rather than memory control. Use of a Yamaha FC5 Foot Controller is recommended. Bypass Footswitch Jack Facilitates foot control of the BYPASS function described above. A Yamaha FC-5 Foot Controller is recommended.

REAR PANEL

U.S. & Canadian models
Remote Control Connector Permits remote access to SPX90 II effect programs. The optional remote control unit, model RC7, permits direct access to programs 1 through 7 and 31 through 37, while all other preset programs may be accessed sequentially.
MIDI THRU Connector Re-transmits MIDI data received at the MIDI IN connector to subsequent MIDI instruments. MIDI IN Connector Permits SPX90 II effect programs to be automatically selected via a MIDI signal. This connector must be connected to the MIDI OUT connector of the transmitting MIDI instrument via a standard MIDI cable. Output Level Selector ( 20 db + 4 db) Facilitates SPX90 II source/line level (sensitivity) matching. Output Jacks (L and R) These are standard mono 1/4 phone jacks which deliver the direct and effect signal to subsequent mixing or amplification equipment. Since the SPX90 II offers stereo output, we recommend that the output signal be fed in stereo to a stereo sound system in order to take full advantage of the superb stereo effects provided. Output impedance is 600 ohms.

EDIT TITLE

This function makes it possible to provide new titles for programs which you have edited and stored in user memory (31 through 90). When the EDIT TITLE function is called, the lower line of the LCD will display the EDIT TITLE function name, and the upper line will display the title of the currently selected program. The PARAMETER and BALANCE keys can then be used to move the cursor left and right, respectively, to select the character to be changed. Place the cursor over a character, then use the PARAMETER INCREMENT/DECREMENT keys to scroll through the character list, stopping at the desired character. Move the cursor to the next character location and repeat this operation until the new title is complete. The available characters are as follows:
The second function accessed by the UTILITY key MIDI CNTRL permits BANK selection and setting of the MIDI channel number on which MIDI program change data for that BANK will be received. The third function accessed by the UTILITY key MIDI PGM CHANGE makes it possible to set the SPX memory number which will be called when a specific MIDI program change number is received. 8
MIDI Bank and Channel Programming When this function is called, the LCD will appear as follows:
Use the PARAMETER INCREMENT/DECREMENT keys to set the MIDI program number (PGM), and the MEMORY INCREMENT/DECREMENT keys to select the SPX90 II memory number (MEM) to be called when that program number is received. For example, if PGM 12 = MEM 4 is set, SPX90 II memory number 4 will automatically be called whenever voice number 12 is selected on your MIDI synthesizer. The MIDI program number range is from 1 to 128, while the SPX90 II memory number range is from 1 to 90.
Use the PARAMETER INCREMENT/DECREMENT keys to select the desired BANK, and the MEMORY INCREMENT/DECREMENT keys to select the desired MIDI channel number for that BANK. When CH = OMNI is selected, reception will be carried out on all 16 MIDI channels simultaneously. When CH = OFF is selected, MIDI reception will be turned OFF.
FOOTSWITCH MEMORY RECALL RANGE

The SPX90 II permits memory number selection via a footswitch plugged into the front-panel MEMORY/ TRIGGER jack. The fourth function accessed by the UTILITY key FOOTSWITCH MEMORY RECALL permits setting the range of memory numbers to be selected via the footswitch.
If, for example, the RANGE is set to 1 TO 30 as shown on the LCD above, each press on the footswitch will successively call the next highest memory number: 3. 30 1. Note that the sequence returns to the first number in the range once the highest number is passed. Reverse sequences can be programmed by entering the highest number in the range before the lowest. Setting MIDI Program Number/SPX90 Memory Number Combinations. When this function is called by pressing the utility key again the LCD will appear as follows: In this case the sequence is: 31
DESCRIPTION OF PROGRAMS AND PARAMETERS
The preset programs in the SPX90 II fall into the following types: REV (Reverb), ER1 and ER2 (Early Reflections), DELAY, ECHO, MOD (Modulation), GATE, PITCH, FREEZE, PAN, VIBRATO and PEQ (parametric equalizer): Each of these program types has a specific selection of programmable parameters. Parameters indicates the separate, individual functions that make up each effect. There are two types of parameters in the SPX90 II: invisible parameters (non-programmable, fixed-value parameters) and programmable parameters (those you can edit, or modify).
Most commonly associated with musical ambience, reverberation is a result of myriad reflected sound waves within an acoustical environment, i.e. a concert hall, auditorium, or soundstage. The SPX90II creates extremely vibrant, natural sounding reverb.
Early Reflection effects. ER1 has fewer reflections, and is a LOW DENSITY early reflection effect, while ER2 has more reflections, and is a HIGH DENSITY early reflection effect.
1. REVERBERATION TIME (R/T). Range: 0.3~99.0 set The length of the time it takes for the level of reverberation at 1 kHz to decrease by 60 dBvirtually to silence. In a live setting, this depends on several factors: room size, room shape, type of reflective surfaces, among others. 2. HIGH (High Frequency Reverb Time Ratio). Range: Natural reverberation varies according to the frequency of the sound-the higher the frequency, the more the sound tends to be absorbed by walls, furnishings, and even air. This parameter permits you to alter the reverberation time of the high frequencies in proportion to the mid-frequency reverb time. 3. DELAY Range: 0.1 ~ 1000.0 msec For a listener in a concert hall, there is a time delay between the direct sound of the instrument, and the first of the many reflected sounds that together are known as reverberation. On the SPX90 II, this is known as the DELAY time. 4. HPF (High Pass Filter). Range: THRU, 32 Hz~ 1.0 kHz Permits cutting the low frequency content of the reverb signal below the set frequency. When set to THRU, the HPF is OFF. 5. LPF (Low Pass Filter). Range: 1.0 kHz~ 11 kHz, THRU Permits cutting the high frequency content of the reverb signal above the set frequency. When set to THRU, the LFP is OFF.

TYPE. Range: HALL, RANDOM, REVERSE, PLATE TYPE selects the pattern of the earliest reflections of the reverb sound. All Early Reflection presets are switchable between 4 different types. These are HALL (a typical grouping of early reflections that would occur in a performing environment like a hall), RANDOM (an irregular series of reflections that could not occur naturally), PLATE (a typical grouping of early reflections that would occur in a plate reverb unit), and REVERSE (a series of reflections that increase in level, like the effect produced by playing a recorded reverb/echo backwards). See the E/R Mode chart on page 26. 2. ROOM SIZE. Range: 0.1 ~ 20.0 The ROOM SIZE parameter sets the time gaps between the early reflections-directly proportionate to the size of the room. The effect of this parameter also depends on which Early Reflection mode has been selected. A Room Size Chart can be found on page 27 in this manual.
3. LIVENESS. Range: 0- 10 Refers to the rate at which the reflected sounds fade. Set this parameter at zero to simulate an acoustically dead room, with absorbent surfaces to soak up the reflected sounds. As you increase the setting, the room appears to contain more live surfaces, with the reflected sounds fading more slowly, as they reflect from wall to wall, until at the maximum setting the effect is of an intensely reflective environment containing many highly polished surfaces (tiles, glass, etc). 4. DELAY. Range 0.1 ~ 1800.0 msec The time delay between the direct sound of the instrument and the first reflection to reach the listeners ear. 5. LPF. Range: 1.0 kHz ~ 11 kHz, THRU Same function as the LPF parameter of the programs. 10
This effect, commonly used in contemporary recordings, produces independently variable left-and rightchannel signal delays. The result is an intriguing doubled sound.
Similar to Delay, Echo brings added dimension and force to both instrumental and vocal music. While Reverberation recreates an abundance of partial sound reflections, and Delay produces a limited number of signal repetitions, Echo can produce limitless signal repetitions.
1. LEFT CHANNEL DELAY TIME. Range: 0.1 ~ 2000.0 msec Permits highly accurate setting of the left channel delay following the direct sound. 2. LEFT CHANNEL FEEDBACK GAIN. Range: - 99% ~ + 99% Sets the amount of delay signal fed back to the input circuitry. The higher the feedback gain setting the greater the number of delay repeats produced. A negative value setting produces out of phase feedback. 3. RIGHT CHANNEL DELAY TIME. Range: 0.1~ 2000.0 msec Sets the delay time of the right channel. 4. RIGHT CHANNEL FEEDBACK GAIN. Range: - 99% ~+99% Permits setting the feedback gain setting of the right channel delay. 5. HIGH (FEEDBACK HIGH). Range: 0.1 ~ 1.0 Controls feedback of the high-frequency range. The high frequency feedback is reduced as the value of this parameter is reduced.

1. LEFT CHANNEL DELAY TIME. Range: 0.1 ~ 1000.0 msec After this delay time has elapsed, the first echo will appear. Subsequent echoes will appear at the same time interval, the number of echoes depending on how the Feedback Gain parameter is set. 2. LEFT CHANNEL FEEDBACK GAIN. Range: -99% ~ + 99% This parameter permits adjustment of the number of echoes that follow the direct signal, from zero to a virtually infinite repeat at the maximum setting. The overall decay time of the effect is proportionate to the Feedback Gain setting. 3. RIGHT CHANNEL DELAY TIME. Range: 0.1~ 1000.0 msec 4. RIGHT CHANNEL FEEDBACK GAIN. Range: - 99% ~ + 99 % Parameter 3 and 4 have the same function as those of 1 and 2 but the signal will be produced from the Right output. 5. HIGH (FEEDBACK HIGH). Range: 0.1 ~ 1.0 Determines the portion of high frequency feedback. The lower the value, the less high frequency is produced.

STEREO FLANGE

A combination of Delay and LFO (Low Frequency Oscillation) modulation, the popular Flanging effect can dramatically thicken the sound of keyboard instruments, or produce the aircraft sound popular among guitarists. Basically, a short delay time is varied with LFO modulation so that the delayed signal moves in relation to the direct signal. The resultant variations in pitch and stereo imaging are known as flanging.

CHORUS

With the Chorus effect, a violin, keyboard, or guitar can sound like an entire ensemble. Chorusing splits the incoming signal into three signals placed at the center, left, and right in the stereo image. Each signal is delayed slightly, and then its delay time and level are modulated by the LFO (Low Frequency Oscillator).
1. MOD FREQ. Range: 0.1 ~ 40.0 Hz Sets the speed of modulation, and hence the rate at which the effect varies. 2. MOD DEPTH. Range: 0 ~ 100% This sets the amount of delay time variation, thus adjusting the depth of the effect. At the maximum setting, the delay time is varied by +/ 4 msec. 3. MOD DELAY TIME. Range: 0.1 ~ 100.0 msec This sets the basic delay time from the initial direct sound to the flange effect. When set to lower than 1 msec, more high-frequency variation is produced; while a setting higher than 3 msec will create more low-frequency variation. 4. F. B. GAIN. Range: 0~99% Sets the amount of flange signal which is fed back into the circuit for further modulation. This controls the complexity of the effect, its strength, and its overall decay time.

1. MOD FREQ. Range: 0.1 ~ 40.0 Hz Sets the delay time modulation speed (frequency). 2. DELAY MODULATION DEPTH. Range: 0 ~ 100% This sets the amount by which the delay time of one delay signal is varied in relation to the other. At the maximum setting, the delay time is varied by +/ 4 msec. 3. AMPLITUDE MODULATION DEPTH. Range: 0 ~ 100% This sets the amount by which the amplitude (level) of the input signal is varied.

STEREO PHASING

The SPX90 II can produce a wide range of Phasing effects from a barely perceptible shift to a rapid pulsation. Phasing lends an animated quality to musical instrument and vocal recordings: This program is used to change the pitch of an input signal. Pitch can be changed in semitone increments over a plus/minus one-octave range. Fine adjustment of pitch in one-cent (1/100th of a semitone) increments/decrements is also possible. Pitch change programs B and C permit setting two different pitches. This makes it possible to produce harmonizer type effects (i.e. when you play a note the SPX90 II outputs two additional notes), or, if only a slight pitch difference is used, chorus-type effects are created. Pitch change programs A and D permit the application of feedback so that an echo that changes in pitch with each repeat can be produced. Programs A and D further permit pitch control via the MIDI IN connector. Any MIDI synthesizer, such as the Yamaha DX7, can be used to alter the pitch setting of the program by simply playing the appropriate note on the synthesizer keyboard.
PROGRAM PITCH CHANGE FEED BACK MIDI PITCH CONTROL YES
This effect has the same parameters as STEREO FLANGE, except that the DELAY TIME range is from 0.1 to 8.0 msec and omits FB Gain.

PITCH CHANGE A

1 TONE

TREMOLO

The TREMOLO effect operates in the same way as the CHORUS effect, except that modulation is deeper and the delay variation is greater. Refer to STEREO FLANGE for the description of the parameters.

PITCH CHANGE B

2TONES(CENTER) 2 TONES (1 EACH IN L & R CH.) 1 TONE
PITCH CHANGE C PITCH CHANGE D

NO YES

SYMPHONIC
The programmable parameters for this preset are identical to those for the Stereo Flange preset, omitting FEEDBACK GAIN and MOD DELAY.
1. PITCH. Range: 12 ~ + I2 Sets the degree of pitch change in semitone steps. + 12 corresponds to an output pitch one octave higher than the input pitch, and 12 produces an output pitch one octave lower than the input pitch. 2. FINE. Range: 100 ~ + 100 Adjusts pitch in one-cent increments or decrements. 3. DELAY Range: 0.1 ~ 1800.0 msec (A, B, D), 0.1 -900.0 msec (C) Sets the delay between the direct (input signal) and the pitch-changed output signal. 4. F. B. GAIN. Range: 0 ~ 99% (A, D only) The higher this setting, the more echo repeats are produced (each changed in pitch from the previous repeat). 5. BASE KEY. Range: OFF, C1 ~ C6 (A, D only) This parameter sets the BASE KEY for an external MIDI synthesizer used to control the pitch varia-

tion of the PITCH CHANGE program. For example, if BASE KEY = C4, then pressing the C3 key on the synthesizer keyboard will set the pitch change value to 12 (one octave down). Pressing D4 on the keyboard would produce a pitch increase of one tone (+ 2). If a key more than one octave higher or lower than the BASE KEY is pressed, the resultant pitch change setting will still be within the + 12 to 12 range, as shown in the following illustration. If the BASE KEY setting is OFF, pitch can not be controlled via the MIDI IN terminal.
The FREEZE programs permit recording up to a 2,000-millisecond signal in the SPX90 ll memory, and playing it back as required. The FREEZE programs have two basic steps: RECORD and PLAY. With the FREEZE A program it is possible to program a specific segment of the recorded 2,000-millisecond signal to be replayed by programming the START and END points. The FREEZE B program does not permit programming START and END points, but the pitch of the recorded signal can be changed for playback. 1. REC. MODE Selection. Range: Manual, Auto Press the Parameter key and select the Manual mode with the Parameter Increment key or AUTO Mode by pressing the Parameter Decrement key. In the MANUAL mode a Parameter Increment panel key is pressed to begin recording, while in the AUTO mode recording begins automatically when the SPX90 II detects an input signal. 2. TRIGGER DELAY. Range: 2000.0 ~ 2000.0 msec. This parameter determines the actual point at which recording begins in relation to the trigger signal. If TRG DLY is set at 0, recording begins immediately when the FREEZE function is triggered. If a negative TRG DLY value is set the input signal is delayed so that in effect recording begins before the function is triggered.
3. RECORDING After the desired MODE has been set, press the PARAMETER key and the LCD will display the RECORD message. Then, enter the standby mode by pressing the PARAMETER DECREMENT key. The LCD will display the REC READY message.
TRIGGERING MANUAL Mode To actually begin recording if the MANUAL mode has been selected, press the PARAMETER INCREMENT key. The SPX90 II will record for 2,000 milliseconds. Also the optional foot switch FC-5 can be used. Connect the FC-5 to the MEMORY/TRIGGER Foot Switch Jack and press the FOOT TRIGGER Key. Then FC-5 works as the trigger switch when it is pressed. AUTO Mode If the AUTO mode has been. selected, the SPX90 II will automatically begin recording when an input signal of sufficient level is detected. The LCD displays TRIGGER! when the freeze function is triggered. When the recording begins the LCD displays ". " The freeze (recording) ends automatically after 2,000msec and the display says OK. 4. OVERDUB Recording To overdub, or record new material without erasing the previously recorded material, use the following procedure. 1. Press the PARAMETER key until the OVERDUB display appears. 2. Press the PARAMETER DECREMENT key. This sets the record ready status, and recording will begin as soon as a trigger signal is received.

FREEZE operation

* To begin recording again, press the parameter decrement key to enter the Rec Ready Mode.
5. PLAYBACK To play back the recorded material, press the PARAMETER key to enter the playback standby mode. The LCD will display the PLAY message. To actually play the recording, press the PARAMETER INCREMENT/DECREMENT key. The recorded material will be played each time the PARAMETER INCREMENT/DECREMENT key is pressed.
Another way to trigger playback is to use the Input Trigger Parameter. Select the input Trigger Parameter and press the parameter Increment key to enter the standby mode. Playback will be automatically triggered when the input signal exceeds nominal level.
To program a specific segment of the recording to be played back in the FREEZE A program, set the START and END parameters to appropriate values (0~2000.0). The example below depicts how the START and END parameters affect output.
The FREEZE B program PITCH and FINE parameters function identically to those in the PITCH CHANGE program to change the pitch of the playback signal. Playback start and stop can be triggered by the PARAMETER INCREMENT/DECREMENT keys, foot switch or via a MIDI keyboard connected to the MIDI IN connector. With the FREEZE B program, playing a key on the MIDI keyboard produces the corresponding pitch change in the playback output, and triggers playback. 6. TRIGGER MASK (FREEZE A). Range: 0 ~ 2000.0 ms. This parameter makes it possible to disable playback re-triggering for a specified time (0 ~ 2,000 msec). For example, if you wish to prevent re-triggering for the duration of the entire sample or a portion of the sample, set the TRIGGER MASK parameter for the appropriate length of time. Once playback has been triggered, it can only be triggered again after the set TRIGGER MASK time has elapsed.
Playback can also be triggered by a footswitch connected to the front-panel MEMORY/FOOT TRIGGER jack when the FOOT TRIGGER key is pressed and its LED is ON. A MIDI keyboard connected to the MIDI IN terminal can also be used to trigger playback simply play a note on the keyboard.
This program feeds the reverb signal through a gate circuit, making it possible to output only a segment of a longer reverb sound. Parameters provided for the reverb porition of the signal are REV TIME, HIGH, DELAY, HPF and LPF, while parameters for the gate portion are HOLD TIME, RELEASE TIME, and MIDI TRIGGER.

ADR-NOISE GATE This program uses a gate circuit to pass or shut off the input signal in a number of ways. It can be used to pass just a short segment of a longer input signal, or it can be used to pass only signals that exceed a specific level (noise-gate type operation). It is also possible to achieve reverse gate effects in which the gain increases gradually after the gate is triggered. In addition to signal-level triggering, it is also possible to trigger the gate via a footswitch connected to the front-panel MEMORY TRIGGER jack when the FOOT TRIGGER key LED is ON.
1. REVERB TIME (R/T). Range: 0.3 ~ 99.0 sec 2. HIGH (High Frequency Reverb Time Ratio). Range: 0.1 ~ 1.0 3. DELAY. Range: 0.1 ~ 1000.0 msec 4. HPF (High Pass Filter). Range: 32 Hz~1.0 kHz, THRU 5. LPF (Low Pass Filter). Range: 1.0 kHz~11 kHz, THRU All these parameters have the same function as those of the REV programs. See page 10 for details. 6. TRIGGER LEVEL. Range: 0 ~ 100% Determines the strength (amplitude) of the input signal required to trigger opening of the gate. At 100%, only extremely high-level input signals will trigger the gate, while at 0% even this slightest input signal will trigger the gate. 7. HOLD TIME. Ragne: 1~30,000 msec This parameter sets the amount of time the gate is open, allowing the reverb sound to come through. 8. RELEASE TIME. Range: 5~32,000 msec This parameter determines the time it takes fot the gate to close completely after the HOLD TIME. 9. MIDI TRIGGER. Range: ON, OFF When ON, a KEY ON signal from an external MIDI keyboard can be used to trigger the R & G effect. 17 1. TRIGGER LEVEL. Range: 1~100% Determines the strength (amplitude) of the input signal required to trigger opening of the gate. At 100%, only extremely high level input signals will trigger the gate, while at 0% even the slightest input signal will trigger the gate. 2. TRIGGER DELAY. Range: 100 ~ 100 msec Produces a delay between the time at which the gate is triggered and that at which it actually opens. If a minus value is programmed, the input signal itself is delayed so that, effectively, the gate opens before the signal appears. 3. TRIGGER MASK. Range: 5~32,000 msec This parameter makes it impossible to re-trigger the gate function until the programmed time has elapsed. 4. ATTACK TIME. Range: 5 msec ~ 32,000 msec Determines how long it takes for the gate to open fully from the time it begins to open. 5. DECAY TIME. Range: 5 msec ~ 32,000 msec Determines the length of time it takes for the gate to fall to DECAY LEVEL after it is fully open.

6. DECAY LEVEL. Range: 0 ~ 100% Determines the level at which the gate remains open for the HOLD TIME. The lower the value the lower the HOLD gate level. 7. HOLD TIME. Range: 1 msec ~ 30,000 msec Determines how long the gate stays open, allowing the input signal to pass. 8. RELEASE TIME. Range: 5 msec ~ 32,000 msec Determines how long it takes for the gate to close fully from the time it begins to close. 9. MIDI TRIGGER. Range: ON, OFF When ON, a KEY ON signal from an external MIDI keyboard can be used to trigger the gate.

COMPRESSOR

The COMPRESSOR effect reduces the level of the attack portion of a music signal and keeps overall signal level within narrow limits.
1. TRIGGER LEVEL. Range: 1 ~ 100% Determines the strength of the attack signal required to trigger the compressor effect. 2. TRIGGER DELAY. Range: 100 ~ 100 msec Produces a delay between the time at which the effect is triggered and that at which the compression actually begins. If a negative value is programmed, the input signal is delayed so that effectively, the compression begins before the signal appears. 3. TRIGGER MASK. Range: 5 ~ 32,000 msec This parameter makes it impossible to re-trigger the compressor function until the programmed time has elapsed. 4. ATTACK TIME. Range: 5 msec ~ 32,000 msec Determines how long it takes until the HOLD level (below) is reached after the effect is triggered. 5. HOLD TIME. Range: 1 msec ~ 30,000 msec Determines how long the maximum compression effect is maintained after the ATTACK TIME has elapsed. 6. HOLD LEVEL. Range: 0 ~ 100% Determines the actual level to which all input signals will be compressed during the HOLD TIME. The smaller the value, the lower the level of the output signal. 7. RELEASE TIME. Range: 5 msec ~ 32,000 msec Determines how long it takes to return to normal level once the HOLD TIME has elapsed. 8. MIDI TRIGGER. Range: ON, OFF When ON, a KEY ON signal from an external MIDI keyboard can be used to trigger the compressor effect. 18
This program automatically pans the sound image between left and right in the stereo sound field. Pan direction, speed, and phase can be programmed. 1. PAN SPEED. Range: 0.1 ~ 40.0 Hz Sets the speed of pan. 2. DIRECTION. Range: L R, L R , L Determines the direction of pan. R

TRIGGERED PAN

In this program the pan effect is triggered by the input signal or footswitch. 1. TRIGGER LEVEL. Range: 1 ~ 100% Determines the strength of the attack signal required to trigger the pan effect. The higher the value, the higher the input signal level required to trigger the effect. 2. TRIGGER DELAY. Range: - 100 ~ 100 msec Produces a delay between the time at which the effect is triggered and that at which the pan effect actually begins. If a negative value is programmed, the input signal is delayed so that effectively, the pan effect begins before the signal appears. 3. TRIGGER MASK. Range: 5 ~ 32,000 msec This parameter makes it impossible to re-trigger the pan function until the programmed time has elapsed. 4. ATTACK TIME. Range: 5 met ~ 32,000 msec Determines how quickly or slowly the pan effect reaches maximum depth after it is triggered. 5. PANNING TIME. Range: 5 msec ~ 32,000 msec Determines how long the maximum-depth pan effect remains active. 6. RELEASE TIME. Range: 5 msec ~ 32,000 msec Determines how long it takes for the pan effect to fade out after the PANNING TIME has elapsed. 7. DIRECTION. Range: L R, L Sets the direction of pan. R
3. DEPTH. Range: 0 ~ 100% Sets the degree of level variation. The higher the value, the stronger the pan effect.
8. L/R BALANCE. Range: 0 ~ 100% Determines the volume balance between the left and right channels.
9. MIDI TRIGGER. Range: ON, OFF
When ON, a KEY ON signal from an external MIDI keyboard can be used to trigger the pan effect. NOTE: To use footswitch FC-5, connect the FC-5 to the MEMORY/TRIGGER FOOT Switch Jack and press the Foot Trigger key.
This program makes it possible to add delay vibrato effects to virtually any instrument or sound. When the input signal exceeds a programmed trigger level, the vibrato effect is cancelled and then gradually builds up to the programmed depth. 1. TRIGGER LEVEL. Range: 1 ~ 100% Determines the input signal level at which the vibrato effect is cancelled and begins to build up again. 2. VIBRATO DELAY. Range: 1 ~ 30,000 msec Determines how long the vibrato effect is cancelled once triggered. 3. VIBRATO RISE TIME. Range: 5 msec ~ 32,000 msec Determines how long it takes for the vibrato effect to reach maximum depth after the VIBRATO DELAY time has elapsed. 4. VIBRATO FREQUENCY. Range: 0.1 ~ 20.0 Hz This parameter sets the frequency (speed) of the vibrato effect. 5. VIBRATO DEPTH. Range: 0 ~ 100% Sets the depth (strength) of the vibrato effect. 6. MIDI TRIGGER. Range: ON, OFF When ON, a KEY ON signal from an external MIDI keyboard can be used to trigger the vibrato effect.
This program permits variation of the input signal frequency response over an extremely broad range.

(dB) 20

-20 20

10K (Hz)

1. HPF. Range: THRU, Hz ~ 1.0 kHz This sets the cutoff frequency of the high-pass filter. Frequencies below the set frequency are rolled off at a rate of 6 dB/octave. When set to THRU, the HPF is OFF. 2. MID FRQ. Range: 315 Hz ~ 4.0 kHz Determines the center frequency of the midrange equalization band; The midrange frequency can be set in 1/6 octave increments. 3. MID GAIN. Range: 15 ~ + 15 dB Determines the amout of boost or cut applied to the midrange equalization band. 4. MID Q. Range: 0.5 ~ 5.0 Sets the Q (Quality factor = bandwidth) of the midrange EQ band. The higher the value, the narrower the bandwidth. 5. HI FRQ Range: 800 Hz ~ 8.0 kHz Determines the center frequency of the highfrequency equalization band. 6. HI GAIN. Range: - 15 ~ + 15 dB Determines the amount of boost or cut applied to the high-frequency equalization band. 7. HI Q. Range: 0.5 ~ 5.0 Sets the Q (Quality factor = bandwidth) of the high EQ band. The higher the value, the narrower the bandwidth. 8. LPF. Range: 1.0 kHz ~ 11 kHz, THRU Determines the cutoff frequency of the low-pass filter. 9. DELAY. Range: 0.1 ~ 1800.0 msec Sets the delay time of equalized signal following the direct signal.

SAMPLE APPLICATlONS

MIDI KEYBOARD PERFORMANCE SYSTEM
In this system the SPX90 II is connected immediately following a MIDI keyboard, and its output feeds either an instrument amplifier or sound reinforcement mixing console. The MIDI OUT terminal of the keyboard is connected to the MIDI IN terminal of the SPX90 II, permitting automatic selection of different effects programs for specific voices selected at the keyboard. The SPX90 II is under direct control of the keyboard player (rather than the mixing engineer) so he can produce exactly the effects he wants for each voice or musical selection. In a multi-keyboard system the SPX90 II could be patched into the effects loop of the keyboard mixer. The MIDI keyboards could be chained together via the MIDI THRU terminals (MIDI OUT etc.) with the SPX90 II MIDI IN terminal MIDI THRU MIDI IN MIDI THRU MIDI IN fed from the MIDI THRU terminal of the last keyboard in the chain. This way, all keyboards in the system counld be used for MIDI effect selection.

(SYSTEM DIAGRAM 1)

BASIC. SOUND REINFORCEMENT SYSTEM
The SPX90 II is an excellent addition to the small to medium size sound reinforcement system. Its input can be fed from either a mono effects send or auxilliary send bus on the mixing console, and its stereo outputs can be fed back to the corresponding effects or auxilliary return inputs on the console. Assuming the console used has independent effects or auxilliary send level controls on each input channel, it is possible to add the required amount of SPX90 II effect to each input. It is also possible to use two SPX90 II units for full stereo reverb and effects in a larger system.

RECORDING SYSTEM

In a recording system it is most desirable to have the SPX90 II input and outputs available at a patch bay where they may accessed and patched into virtually any part of the system. In some cases it might be best to have the SPX90 II connected directly in line between the source and the mixing console inputs, while in other situations-final mixdown, for example-the SPX90 II should be patched into the mixing consoles effects loop so it may be applied to the entire mix. Naturally, the SPX90 II is also an ideal choice for the truly modern digital sequencer recording system, too.

(SYSTEM DIAGRAM 3)

ELECTRIC GUITAR SYSTEM
The SPX90 II is undoubtedly the ultimate electric guitar effect unit, An electric guitar can be plugged directly into the SPX90 II INPUT jack, and the desired effect selected via the front panel or using the footswitch memory recall function. Even more versatility can be achieved by using a Yamaha MFC1 MIDI Foot Controller for program selection. Specified programs can be directly selected using the MFC1 footswitches, or a chain can be set up to automatically select a specified sequence of programs.

(SYSTEM DIAGRAM 4)

SPECIFICATIONS
Number of Channels Nominal Level Impedance Level Control Level Monitor A/D CONVERSION Sampling Freq. Quantization Band Width Number of Channels D/A CONVERSION Number of Channels Sampling Freq. Quantization Band Width OUTPUT Number of Channels Nominal Level Impedance Mixing Bypass MEMORY Presets (ROM) User Memory (RAM) Unbalanced x 2 (Phone Jack) - 20 dBm/+4 dBm, Selectable 600 ohms Direct Signal, Effect Signal ON/OFF DIMENSIONS (W x H x D) WEIGHT OPTIONAL REMOTE CONTROL (model RC7) 1~~ 90 (Non Volatile) All parameters except Input Level, can be memorized Key On triggers the program 18, 19, 20, 28 and 29 MIDI Channel (1 to 16, OMNI), (4 banks), Program Number (1 to 128) Note on/off is recognized only for pitch change A, D-and freeze B 480mm x 45.2mm x 285mm (18-7/8 x 1-3/4 x 11-1/4) 3.2 kg (7 Ibs) PRESET PROGRAM 1~30, USER MEMORY 31-31.25 kHz Linear 16 Bit 20 Hz to 12 kHz Unbalanced x 1 (Phone Jack) - 20 dBm/+4 dBm, Selectable 10 k-ohms Volume, Max, Gain + 12 dB 7 points LED ELECTRICAL CHARACTERISTICS Reverb: more than 75 dB Dynamic Range Delay : more than 81 dB Bypassed Signal : less than Distortion 0.01% Effect Signal less than 0.03% Bypassed Signal : 20 Hz to 20 Band Width kHz Effect Signal : 20 Hz to 12 kHz POWER SUPPLY U. S. & Canadian Models General Model POWER CONSUMPTION U. S. & Canadian Models General Model
31.25 kHz Linear 16 Bit 20 Hz to 12 kHz 1
1.10V-120V, 60Hz 220V-240V, 50/60Hz

20W 20W

OPTIONAL MIDI FOOT CONTROLLER (model MFC1) 4 + 4 PGM change numbers Memory Mode 20 Step x 4 PGM change, control Chain Mode change data, MIDI start, stop, continue commands

MIDI CONTROL

* NOTE:Since natural sounding reverberation is mixed with the
direct sound, and hence does not constitute 100% of the sound, the effective dynamic range will nearly always exceed 90 dB. 0 dBu is 0.775 volts RMS. This value represents voltage across a high impedance input dBu is the equivalent of dBu if specified across a 600 ohm load.

YAMAHA
AUTHORIZED PRODUCT MANUAL

SIMUL-EFFECT PROCESSOR

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

CONTENTS

1. Precautions.. 3 2. The FX500: What It Is and What It Does.. 4 Effects.. 4 Memory Configuration... 4 MIDI Control... 4 3. Connections: Basic System Setup.. 5 4. The Controls: A Quick Operation Guide. 7 5. The MEMORY Mode: Selecting Effect Programs.. 9 6. Effect Processor Selection.. 10 Reversing the Order of the Modulation & Reverb Stages... 10 7. The Parameter Mode: Editing the Effect Programs.. 11 Editing Parameter Data.. 11 Assigning MIDI CONTROLLERS to Effect Parameters.. 11 Memory Store Operation.. 12 COMPRESSOR... 12 DISTORTION.. 13 EQUALlZER... 13 n MODULATlON... 14 Chorus... 14 Flanger... 14 Symphonic.. 15 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 OR Reverse E/R Plate.. 16 Delay Group.. 17 Delay.. 17 Echo... 17 Reverb and Delay Group (Parallel). 17 Reverb + Delay... 17 Reverb and Delay Group (Serial). 18 Delay Reverb Reverb Delay.. 18 8. The Utility Mode... 19 n Program Title Edit.. 19 n MIDI Program Selection: MIDI Setup and Program Change Table Edit.. 19 MIDI Setup.. 20 Program Change Table Edit.. 20 n MIDI Parameter Control: Control Change 1 Table Edit and Control Change 2 Table Edit.20 Control Change 1 Table Edit. 21 Control Change 2 Table Edit. 21 Assigning CONTROLLER 1 and CONTROLLER 2 to Specific Effects. 21 Footswitch Function Select.. 22 Using Tap Tempo Delay.. 22 Footswitch Memory Recall Range Edit. 23 9. Specifications.. 24 10. MIDI Data Format... 26 11. Block Diagram... 30 12. FX500 Parameter Chart... 31 13. Preset Program Parameters.. 32
CANADA THIS APPARATUS COMPLIES WITH THE CLASS B LIMITS FOR RADIO NOISE EMISSIONS SET OUT IN RADIO INTERFERENCE REGULATIONS. CET APPAREIL EST CONFORME AUX NORMES CLASSE B, POUR BRUITS RADIOELECTRIQUES. TEL QUE SPECIFIER DANS LE REGLEMENT SUR LE BROUILLAGE RADIOELECTRIQUE.

1. Precautions

!! PLEASE READ THIS BEFORE PROCEEDING !!
7. ALWAYS USE THE CORRECT POWER SUPPLY Always use the supplied AC Adaptor to power your FX500 or, if the original adaptor is lost or broken, a replacement or equivalent type obtained from your Yamaha dealer. Also, make sure that the adaptor you have is appropriate for the AC mains supply voltage in the area where you intend to use the FX500 (the correct INPUT voltage is marked on the adaptor). 8. ELECTRICAL INTERFERENCE Since the FX500 contains digital circuitry, it may cause interference and noise if placed too close to TV sets, radios or similar equipment. lf such a problem does occur, move the FX500 further away from the affected equipment. 9. MEMORY BACKUP The FX500 contains a special long-life battery that retains the contents of its internal RAM memory even when the power is turned OFF. The backup battery should last for approximately 5 years. When the battery voltage drops to a level that is too low to maintain the memory contents, the following message will appear on the FX500 display when the power is turned ON:

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.
Program Program Title No. Broad Dist. Warm Strings Standard Jazz Soft Echo Power Pan Trad. Dist. Dark Dist. Ring Dist. Metal Overdrive Echo Dist. Tight Dist. Blue Dist. Fuzz Slap Dist. Power Leads Chasing Leads Power Stack Symphonic Dist. Turbo Drive Chasing Rhythm Stereo Dist. Fusion Dist. Boogie Room Buzz Backer Liquid Dist. Electric Chords Clean Repeat Sweet Swirl Mild Motion Pearly Chords Program No. 61 - Program Title Clisp Chords Sharp Chops Tremolo Sweet Flange Chord-Clouds Light Symphonic Clean Acoustic Acoustic Solo Lush Strings Soft Focus Brass Room Brass Burst Trumpet Flange Brass Energizer Echo Rhythm Sumphonic Hall Horror House Sitar Staccato Vibe Sweep Gate Monk Akkal Straight Bass Slap Bass Fretless Bass Trad. Bass Sax Solo Vocal Reverb Drum Gate/Rev Tight Snare Rock Drums User Programs Initial Data

Memory Configuration

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

MIDI Control

For further versatility and smooth integration with MIDIbased music systems, the FX500 offers broad MIDI control capabilities. Any of its 90 memory locations may be directly selected from a remote MIDI device such as a keyboard or MIDI foot controller *. lt is also possible to directly control up to two different effect parameters simultaneously in real time. This means that two MIDI controllers (a MODULATION WHEEL and DATA ENTRY slider on a keyboard, for example) could be used to control, say, the modulation depth of the flanger effects and the reverb time of a reverb effect in real time as you play! Any two MIDI controllers can be assigned to any two effect parameters (See MIDI Parameter Control: Control Change 1 Table Edit and Control Change 2 Table Edit on page 20 for operational details). Extensive MIDI control is also possible with the MFC1 MIDI Foot Controller. Consult the MFC1 operation Manual for details.
3. Connections: Basic System Setup
DC 12V IN Jack and Cable Clip The DC output cable from the supplied AC Adaptor should be connected here. When connecting the power supply, make sure that the FX500 POWER switch is in the OFF position (extended). Plug the AC adaptor output cable into the DC 12V IN jack, and finally the adaptors 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.
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.

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]

6. Effect Processor Selection
In the MEMORY mode the FX500 effect stages can be individually turned ON or OFF by using the COMP, DIST, EQ, MOD and REV keys. Pressing any of these keys alternately turns the corresponding effect stage ON (indicator lit) or OFF (indicator out). When a stage is turned OFF, it is bypassed and the previous active stage is connected directly to the following active stage. lf all stages are ON, the effect chain is as shown below: This is the normal order of the MOD and REV effect stages:
The current order of the selected effects in the MOD and REV stages is also shown on the bottom line of the display (MOD - REV in this case).
lf, however, you only wanted to use the compressor, equalizer and reverb stages, you could press the DIST and MOD keys to turn the stages OFF, resulting in the effect chain shown below:
Press the SEL/ASN key to reverse this order.
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.
n Reversing the Order of the Modulation & Reverb Stages
Normally, the last two effects in the FX500 effect chain are a modulation type and reverb type, in that order. By pressing the SEL/ASN key while in the MEMORY mode, however, this order may be reversed. The order of the MOD and REV effect stages is shown on the bottom line of the LCD, and the LEDs associated with the MOD and REV keys will light to show the selected order: MOD REV 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).
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 FX500s RAM memory locations for later recall and use. Press the selected effect key (i.e. the key you pressed in step , 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:

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.
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.

Reverb and Delay Group (Parallel)

Reverb + Delay (R+D)

This effect functions like separate reverb and delay processors connected in parallel.
The Delay Reverb program provides both delay and reverb, with delay before reverb.
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: %) Determines the amount of effect-sound feedback returned to the input of the processor. Higher values produce a a greater number of repeats. L/R (L/R Channel Delay Level Balance: %) 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.s) Sets the duration of the reverb effect. R/D (Reverb/Delay Level Balance: %) 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: %) 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.
The Reverb Delay provides delay and reverb with reverb before delay.
L-DLY (Left Channel Delay Time: 0.1 330.0 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: %) Determines the amount of effect-sound feedback returned to the input of the processor. Higher values produce a a greater number of repeats. L/R (L/R Channel Delay Level Balance: %) 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: %) 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.s) Sets the duration of the reverb effect.
Reverb and Delay Group (Serial)
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.

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

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

Recyclable

Recycled