Owner’s Manual
55 Thanks to 32-bit high-precision processing at a 96 kHz sampling rate from input to output, the MD-500
gives you stunningly high-quality modulation effect.
55 With an easily readable screen and an independent [TAP/CTL] switch, it delivers both high
functionality as well as ease of use during live performances.
55 Standard effects such as chorus, flanger, and phaser have been enhanced using cutting-edge
Boss technology. The MD-500 provides a total of 12 modulation effects, including models of the
Boss CE-1 and scanner vibrato.
55 The memory function lets you store and recall 297 different setups from internal memory.
55 The MD-500 provides “simul mode” which lets you use two effects simultaneously, and an “insert
loop function” which lets you shape your sound in conjunction with an external effect unit.
55 By connecting the MD-500 via a USB cable or MIDI cables, you can switch sounds and control
parameters in synchronization with your computer DAW or an external MIDI device.
Getting Ready. . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Installing the Batteries . . . . . . . . . . . . . . . . . . . 2
Connecting the Equipment. . . . . . . . . . . . . . . 2
Basic Operation . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Adjusting the Effect. . . . . . . . . . . . . . . . . . . . . 4
Turning Effect On/Off. . . . . . . . . . . . . . . . . . . . 5
Switching Banks/Patches . . . . . . . . . . . . . . . . . 6
Using the [TAP/CTL] Switch to Control the Effect.7
Editing a Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Inserting an External Effect Unit . . . . . . . . . . . . . 24
Setting the Insert Loop Function. .
. . . . . . . . . . 24
Assigning a Function to an External Pedal. . . . . 25
Synchronizing with a DAW or External MIDI
Device. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Connection Example . . . . . . . . . . . . . . . . . .
MIDI Messages That Can Be Transmitted and
Received. . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI Routing. . . . . . . . . . . . . . . . . . . . . . . .
. . 26
. . 26
. . 27
Saving a Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Restoring the Factory Default Settings . . . . . . . . 28
Parameter List . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Transmitting Data to an External MIDI Device. . . 28
PATCH. . . . . . . . . . . . . . . . . . . . . . . . . . .
Parameters Common to All Modes .
Parameters for Each Mode. . . . . . .
CONTROL . . . . . . . . . . . . . . . . . . . . . . . .
ASSIGN. . . . . . . . . . . . . . . . . . . . . . . . . .
BANK . . . . . . . . . . . . . . . . . . . . . . . . . . .
SYSTEM. . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI PC MAP. . . . . . . . . . . . . . . . . . . . . .
. . . . 10
. . . . 10
. . . . 10
. . . . 18
. . . . 18
. . . . 20
. . . . 20
. . . . 20
. . . . 21
Troubleshooting. . . . . . . . . . . . . . . . . . . . . . . . . . 29
Main Specifications . . . . . . . . . . . . . . . . . . . . . . . 29
USING THE UNIT SAFELY. . . . . . . . . . . . . . . . . . . . 30
IMPORTANT NOTES . . . . . . . . . . . . . . . . . . . . . . . 30
Convenient Functions . . . . . . . . . . . . . . . . . . . . . 22
Assigning the Functions of the [A], [B], and
[TAP/CTL] Switches . . . . . . . . . . . . . . . . . .
Using Two Patches Simultaneously
(Simul Mode) . . . . . . . . . . . . . . . . .
. . . 22
. . . 23
Before using this unit, carefully read “USING THE UNIT SAFELY” and “IMPORTANT NOTES” (leaflet “USING THE UNIT SAFELY” and Owner’s Manual
(p. 30)). After reading, keep the document(s) including those sections where it will be available for immediate reference.
© 2017 Roland Corporation
Getting Ready
Installing the Batteries
Install four alkaline batteries (AA, LR6) in the battery compartment located on the bottom of the
unit.
* When turning the unit over, be careful so as to protect the buttons and knobs from damage.
Also, handle the unit carefully; do not drop it.
* If you handle batteries improperly, you risk explosion and fluid leakage. Make sure that you
carefully observe all of the items related to batteries that are listed in “USING THE UNIT SAFELY”
and “IMPORTANT NOTES” (separate sheet “USING THE UNIT SAFELY” and Owner’s manual (p. 30)).
* We recommend that you keep batteries installed in the unit even though you’ll be powering it
with the AC adaptor. That way, you’ll be able to continue a performance even if the cord of the
AC adaptor gets accidently disconnected from the unit.
* “BATTERY LOW” will appear on the display if the batteries are low. Replace them with new ones.
Attaching the Rubber Feet
You can attach the rubber feet (included) if necessary.
Attach them in the locations shown in the illustration.
Connecting the Equipment
* To prevent malfunction and equipment failure, always turn down the volume, and turn off all
the units before making any connections.
USB (O) port
Use a commercially available
USB 2.0 cable to connect this
port to your computer.
You can synchronize with a
DAW via MIDI.
MIDI IN, OUT connectors
Connect an external MIDI
device here.
You can synchronize with
an external MIDI device
via MIDI.
MIDI device
2
DC IN jack
Accepts connection of an AC Adaptor (PSA-S series; sold
separately). By using an AC Adaptor, you can play without
being concerned about how much battery power you have left.
* Use only the specified AC adaptor (PSA-S series; sold
separately), and connect it to an AC outlet of the correct
voltage. Do not use any other AC adaptor, since this may
cause malfunction.
* If the AC adaptor is connected while power is on, the power
supply is drawn from the AC adaptor.
Getting Ready
MEMO
INPUT A/MONO, B jacks
Connect your electric guitar, or another instrument or effect unit, to
these jacks.
* Use the INPUT A/MONO jack and B jack when connecting a stereooutput effects unit. Use only the INPUT A/MONO jack if you’re
using a mono source.
Turning the power on/off
The INPUT A/MONO jack doubles as the power switch. Power to the
unit is turned on when you plug into the INPUT A/MONO jack; the
power is turned off when the cable is unplugged.
When powering up:
Turn on the power to your amp
last.
When powering down:
Turn off the power to your amp
first.
OUTPUT A/MONO, B jacks
Connect these jacks to your
amp or monitor speakers.
If you’re using a mono setup,
use only the OUTPUT A/
MONO jack.
You can connect an
external effect unit and
use it in conjunction
with the MD-500’s
effects (p. 24).
OUTPUT
* Do not connect
headphones to the
OUTPUT A/MONO, B jacks.
Doing so may damage the
headphones.
INPUT
CTL 1, 2/EXP jack
You can control various parameters by connecting a footswitch (FS-5U, FS-5L, FS-6, FS-7: sold separately) or an expression pedal (such as
the EV-30, Roland EV-5; sold separately) to the CTL 1, 2/EXP jack (p. 25).
When Connecting an FS-5U
(or FS-5L)
When Connecting Two FS-5Us
(or FS-5Ls)
1/4” phone type ,1/4”
phone type
Stereo 1/4” phone type
,1/4” phone type x 2
POLARITY switch
CTL 1
CTL 2
When Connecting an FS-6
Stereo 1/4” phone type
,Stereo 1/4” phone type
CTL 2
When Connecting an FS-7
Stereo 1/4” phone type
,Stereo 1/4” phone type
When connecting expression
pedal
* Use only the specified
expression pedal (EV-30,
Roland EV-5; sold separately).
By connecting any other
expression pedals, you risk
causing malfunction and/or
damage to the unit.
CTL 1
MODE/POLARITY switch
CTL 1
EXP
MODE/POLARITY switch
3
Basic Operation
Adjusting the Effect
[MODE] knob
Selects the type of effect.
A chorus unit that can simulate anything
CHORUS
from a vintage chorus unit to a chorus effect
powered by BOSS’s cutting-edge technology.
Generates a flanging effect. Turn the TURBO
FLANGER
SW “ON” to create an even more intense
sound.
Generates a phase effect. This can also give
PHASER
you the light sound of a vintage phaser.
CLASSIC-VIBE
Models a Uni-vibe.
A vibrato with a unique effect. This can also
VIBRATO
simulate the scanner vibrato of a tonewheel
organ.
An effect that cyclically varies the volume.
TREMOLO
This can also simulate the tremolo of a vintage
guitar amp.
DIMENSION
Models the Roland DIMENSION D (SDD-320).
Produces an unpitched sound with a metallic
RING MOD
character.
[RATE/VALUE] knob
Adjusts the rate at which the effect
sound is modulated.
To make larger changes in the value,
turn the knob while pressing it.
ROTARY
FILTER
SLICER
OVERTONE
[PARAM 1] knob
Adjusts a parameter that is assigned to
each mode.
A realistic simulation of a rotary speaker's
sound.
Lets you use the input to control the filter, or
program the filter's modulation cycle.
Repeatedly cuts the sound to produce a
variety of slice patterns.
Adds new overtones to create resonance and
depth that was not present in the original
sound.
[DEPTH] knob
Adjusts the depth to which the effect
sound is modulated.
[E. LEVEL] knob
Adjusts the volume of the effect sound.
[A] [B] switches
Switch banks/patches (p. 6).
[PARAM 2] knob
Adjusts a parameter that is assigned to
each mode.
[I] [H] buttons
Switch screens.
[H]
Top screen
[I]
[I]
[I]
[H]
Tempo
[H]
[I]
[H]
In simul mode (p. 23)
Turn the [RATE/VALUE] knob to
adjust the value.
4
Note
Note length relative to
the tempo
[TAP/CTL] switch
You can press this switch
to vary the way in which
the effect is applied (p. 7).
By pressing this switch in
time with the tempo of
the song you’re playing
(tap input), you can easily
set the modulation rate to
match your song.
Basic Operation
Turning Effect On/Off
Patch A effect
Each time you press the [A] switch, the effect alternately turns on (lit blue) / off (unlit).
Patch B effect
Each time you press the [B] switch, the effect alternately turns on (lit blue) / off (unlit).
Blue: on
Unlit: off
Press once
MEMO
You can also make settings so that patches A and B are used simultaneously (p. 22).
Patches and Banks
Settings for MODE, DEPTH, and EFFECT LEVEL are collectively called a “patch.” You can select
patches using [A], [B], and [TAP/CTL] switches (p. 22). A combination of patches A, B, and C is
called a “bank.”
BANK 99
Bank up
BANK 02
BANK 01
Patch 01A
Patch 01B
Patch 01C
Bank down
* If you want to use the [TAP/CTL] switch to select patch C, refer to “Assigning the Functions of the [A], [B], and [TAP/CTL]
Switches” (p. 22).
5
Basic Operation
Switching Banks/Patches
1. Switch banks (01–99).
Bank up (press the [B] and [TAP/CTL] switches simultaneously)
Bank down (press the [A] and [B] switches simultaneously)
2. Press a blinking switch ([A] or [B]) to switch patches.
Blinking blue
MEMO
You can recall a different patch by turning the [RATE/VALUE]
knob while you hold down the [EXIT] button.
MEMO
You can change the functions that are controlled by the [A], [B], and [TAP/CTL] switches; for
example, you can make the [A] switch turn effect on/off.
6
Basic Operation
Using the [TAP/CTL] Switch to Control the Effect
By default, the [TAP/CTL] switch is used for tap input, but you can change the setting and use this
switch to vary the way in which the effect is applied.
1. Press the [EDIT] button.
2. Use the [H] [I] buttons to select “CONTROL” and then press the
[EDIT] button.
3. Use the [H] [I] buttons to select a parameter, and use the [RATE/
VALUE] knob to edit the value.
Parameter
TAP/CTL
TAP/CTL PREF
Value
Explanation
Specifies the function of the [TAP/CTL] switch.
PATCH
Different settings can be made for each patch.
SYSTEM
The same settings are shared by all patches.
TAP/CTL Settings
Value
Explanation
OFF
TAP
RESET
MOMENT
BANK UP
BANK DOWN
No assignment.
Lets you specify the modulation rate by tap input.
When you press the pedal, the LFO’s phase returns to the value of INIT PHASE (p. 10).
Outputs the effect sound only while you hold down the switch.
Change banks.
4. Press the [EXIT] button to return to the top screen.
7
Editing a Patch
You can edit a variety of patch-related parameters.
1. Press the [EDIT] button.
2. Use the [H] [I] buttons to select “PATCH,” and then press the
[EDIT] button.
3. Use the [H] [I] buttons to select a parameter, and use the [RATE/
VALUE] knob to edit the value.
4. Press the [EXIT] button to return to the top screen.
* Save the edited patch as described in the procedure on “Saving a Patch” (p. 9).
Basic [EDIT] operations
Use the [H] [I] buttons to move the cursor
Use the [RATE/VALUE] knob to edit the value
[EDIT] button
[EDIT] button
[EXIT] button
Use the [H] [I] buttons
to move the cursor
8
Saving a Patch
Here’s how to save a patch that you’ve edited.
1. Press the [EXIT] button and [EDIT] button simultaneously.
2. Use the [RATE/VALUE] knob to select the save-destination
number.
Bank
[A] switch
[B] switch
[TAP/CTL] switch
Bank 01
Bank 02
:
Bank 99
01A
02A
:
99A
01B
02B
:
99B
01C
02C
:
99C
* Patch C can be selected only if FSW MODE (p. 22) is set to “A/B/C.”
3. Press the [H] button to select the patch name.
4. Edit the patch name.
[H] [I] buttons
[RATE/VALUE] knob
Move the cursor
Edit the character
5. Press the [EDIT] button to save the patch.
If you decide to cancel, press the [EXIT] button.
By moving the cursor to “WRITE TO” and turning the [RATE/VALUE] knob, you can initialize a
patch (INIT) or exchange patches (EXCHANGE).
9
Parameter List
PATCH
Parameters Common to All Modes
Parameter
MODE
EFFECT LEVEL (*1)
DIRECT LEVEL
INIT PHASE (*2)
TEMPO HOLD (*3)
INSERT SW
OUTPUT GAIN
Value
Explanation
Selects the type of effect (p. 4). The same function as the [MODE] knob.
0–100
Adjusts the volume of the effect sound.
0–100
Adjusts the volume of the direct sound.
0–345 deg
Adjusts the LFO’s phase.
Specifies whether the tempo (BPM) changes or is maintained when you switch
patches. Maintaining the tempo lets you maintain the RATE setting. However,
OFF, ON
if the NOTE setting (such as ¸ or ˙) of the newly selected patch is different, the
RATE also changes.
Specifies the insert position when using the insert loop function with an external effect unit (p. 24).
OFF
The insert loop function is not used.
PRE
The insert loop is connected before the patch.
POST
The insert loop is connected after the patch.
-6–+6 dB
Adjusts the output level.
*1: Except when MODE is “OVERTONE”
*2: Except when MODE is “DIMENSION,” “FILTER (T-WAH G/B, PATTERN FILTER),” “SLICER” or “OVERTONE”
*3: Except when MODE is “DIMENSION,” “RING MOD,” “FILTER (T-WAH G/B),” or “OVERTONE”
Parameters for Each Mode
CHORUS
Parameter
TYPE
Value
Selects the type of chorus.
PRIME
CE-1 CHORUS
CE-1 VIBRATO
TRI-CHO
PRIME
RATE
0.01–20.00 Hz
BPM
6.0–600.0
NOTE
DEPTH
`–Œ
0–100
PRE-DELAY
0.0–40.0 ms
WAVEFORM
SWEETNESS
BELL
LOW LEVEL
LOW FREQ
HIGH LEVEL
HIGH FREQ
1–10
0–100
0–100
-50–+50
20.0–800 Hz
-50–+50
630–16.0 kHz
LOW CUT
FLAT, 20–800 Hz
HIGH CUT
630 Hz–16.0 kHz, FLAT
OUTPUT MODE
MONO, STEREO
10
Explanation
A chorus sound unique to the MD-500.
The chorus sound of the CE-1.
The vibrato sound of the CE-1.
Models the SONGBIRD TSC-1380S, a three-phase chorus unit that took the world
by storm in the ‘80s.
Adjusts the rate of the chorus.
Specifies the tempo.
The range of this setting depends on the RATE or NOTE value.
Adjusts the rate of the chorus, specified as a note value relative to BPM.
Adjusts the depth of the chorus.
Adjusts the time from when the direct sound is output until when the effect
sound is output.
Adjusts the sense of modulation for the chorus.
Higher values produce a more enveloping sound.
Higher values produce a more brilliant sound.
Adjusts the low frequency range tone.
Specifies the frequency adjusted by the LOW LEVEL setting.
Adjusts the high frequency range tone.
Specifies the frequency adjusted by the HIGH LEVEL setting.
This sets the frequency at which the low cut filter begins to take effect. When
FLAT is selected, the low cut filter will have no effect.
This sets the frequency at which the high cut filter begins to take effect. When
FLAT is selected, the high cut filter will have no effect.
Specifies whether the output is mono (MONO) or stereo (STEREO).
Parameter List
Parameter
Value
Explanation
CE-1 CHORUS, CE-1 VIBRATO
RATE
0.01–20.00 Hz
BPM
NOTE
DEPTH
LOW LEVEL
LOW FREQ
HIGH LEVEL
HIGH FREQ
PREAMP SW
PREAMP GAIN
PREAMP LEVEL
OUTPUT MODE
Adjusts the rate of the chorus.
Specifies the tempo.
The range of this setting depends on the RATE or NOTE value.
`–Œ
Adjusts the rate of the chorus, specified as a note value relative to BPM.
0–100
Adjusts the depth of the chorus.
-50–+50
Adjusts the low frequency range tone.
20.0–800 Hz
Specifies the frequency adjusted by the LOW LEVEL setting.
-50–+50
Adjusts the high frequency range tone.
630–16.0 kHz
Specifies the frequency adjusted by the HIGH LEVEL setting.
OFF, ON
Specifies whether the CE-1’s preamp is simulated (ON) or not simulated (OFF).
1–100
Adjusts the gain of the preamp. Higher settings will produce distortion.
0–100
Adjusts the volume of the preamp.
Specifies the output of the chorus.
MONO
Mono output.
Direct sound is output from the OUTPUT A/MONO jack, and effect sound is
STEREO
output from the B jack.
6.0–600.0
TRI-CHO
RATE (*1)
0.01–20.00 Hz
BPM (*1)
6.0–600.0
NOTE (*1)
INTENSITY1 (*2)
INTENSITY2 (*2)
INTENSITY3 (*2)
`–Œ
Selects the LFO mode.
PRESET
MANUAL
P+M
0–100
0–100
0–100
BRIGHT
OFF, ON
LOW LEVEL
LOW FREQ
HIGH LEVEL
HIGH FREQ
OUTPUT MODE
-50–+50
20.0–800 Hz
-50–+50
630–16.0 kHz
MONO, STEREO
LFO MODE
Adjusts the rate of the chorus.
Specifies the tempo.
The range of this setting depends on the RATE or NOTE value.
Adjusts the rate of the chorus, specified as a note value relative to BPM.
The RATE is fixed (4.98 Hz).
RATE adjusts the rate of the chorus.
The PRESET and MANUAL LFOs are summed.
Adjust the depth of the three-phase chorus.
Specifies whether the high-frequency region of the effect sound is boosted (ON)
or not boosted (OFF).
Adjusts the low frequency range tone.
Specifies the frequency adjusted by the LOW LEVEL setting.
Adjusts the high frequency range tone.
Specifies the frequency adjusted by the HIGH LEVEL setting.
Specifies whether the output is mono (MONO) or stereo (STEREO).
*1: Unavailable if LFO MODE is “PRESET”
*2: Shown if LFO MODE is “MANUAL” or “P+M”
11
Parameter List
FLANGER
Parameter
RATE
Value
Selects the type of flanger.
PRIME G
PRIME B
0.01–20.00 Hz
BPM
6.0–600.0
NOTE
DEPTH
RESONANCE
MANUAL
TURBO
LOW DAMP
HIGH DAMP
`–Œ
0–100
0–100
0–100
OFF, ON
-100–0
-100–0
LOW CUT
FLAT, 20–800 Hz
HIGH CUT
630 Hz–16.0 kHz, FLAT
SEPARATION (*1)
0–180 deg
STEP RATE
OFF, ª–`
WAVEFORM
1–10
INPUT SENS
0–100
POLARITY
UP, DOWN
OUTPUT MODE
MONO, STEREO
TYPE
Explanation
For guitar
For bass
Adjusts the speed of modulation.
Specifies the tempo.
The range of this setting depends on the RATE or NOTE value.
Adjusts the speed of modulation, specified as a note value relative to BPM.
Adjusts the depth of modulation.
Adjusts the amount of resonance (feedback).
Adjusts the center frequency at which the effect is applied.
If this is “ON,” a more intense effect is produced.
Adjusts the amount of feedback for the low-frequency region.
Adjusts the amount of feedback for the high-frequency region.
This sets the frequency at which the low cut filter begins to take effect. When
FLAT is selected, the low cut filter will have no effect.
This sets the frequency at which the high cut filter begins to take effect. When
FLAT is selected, the high cut filter will have no effect.
Adjusts the spread. Higher settings increase the left/right spread.
Adjusts the rate of the step function which varies the rotation in a step-wise
manner. Higher settings make the change occur in smaller steps. Turn this "OFF"
if you don't want to use the step function.
Selects the type of wave.
The width of the sweep changes according to the input. Higher settings extend
the sweep.
Specifies whether the sweep extends upward (UP) or downward (DOWN) when
INPUT SENS is raised.
Specifies whether the output is mono (MONO) or stereo (STEREO).
*1: Unavailable if OUTPUT MODE is “MONO”
PHASER
Parameter
Value
Selects the type of phaser.
PRIME G
PRIME B
SCRIPT
Explanation
PRIME G, PRIME B
RATE
0.01–20.00 Hz
BPM
6.0–600.0
NOTE
DEPTH
RESONANCE
MANUAL
LOW DAMP
HIGH DAMP
`–Œ
0–100
0–100
0–100
-100–0
-100–0
LOW CUT
FLAT, 20–800 Hz
HIGH CUT
630 Hz–16.0 kHz, FLAT
SEPARATION
WAVEFORM
0–180 deg
1–10
INPUT SENS
0–100
POLARITY
UP, DOWN
STAGE
2, 4, 8, 16, 24
Adjusts the speed of rotation.
Specifies the tempo.
The range of this setting depends on the RATE or NOTE value.
Adjusts the speed of rotation, specified as a note value relative to BPM.
Adjusts the depth of the rotation effect.
Adjusts the amount of resonance (feedback).
Adjusts the center frequency at which the rotation effect is applied.
Adjusts the amount of feedback for the low-frequency region.
Adjusts the amount of feedback for the high-frequency region.
This sets the frequency at which the low cut filter begins to take effect. When
FLAT is selected, the low cut filter will have no effect.
This sets the frequency at which the high cut filter begins to take effect. When
FLAT is selected, the high cut filter will have no effect.
Adjusts the spread. Higher settings increase the left/right spread.
Selects the type of wave.
The width of the sweep changes according to the input. Higher settings extend
the sweep.
Specifies whether the sweep extends upward (UP) or downward (DOWN) when
INPUT SENS is raised.
Selects the structure of the phaser.
TYPE
12
For guitar
For bass
Models the MXR Phase 90 which was manufactured during the ‘70s.
Parameter List
Parameter
Value
STEP RATE
OFF, ª–`
Bi-PHASE
OFF, ON
OUTPUT MODE
SCRIPT
RATE
MONO, STEREO
BPM
6.0–600.0
NOTE
DEPTH
`–Œ
0–100
0.01–20.00 Hz
Explanation
Adjusts the rate of the step function which varies the rotation in a step-wise
manner. Higher settings make the change occur in smaller steps. Turn this “OFF”
if you don’t want to use the step function.
Specifies whether the two phase shift circuits are connected in series (ON) or
not (OFF).
Specifies whether the output is mono (MONO) or stereo (STEREO).
Adjusts the speed of rotation.
Specifies the tempo.
The range of this setting depends on the RATE or NOTE value.
Adjusts the speed of rotation, specified as a note value relative to BPM.
Adjusts the depth of the rotation effect.
CLASSIC-VIBE
Parameter
RATE
Value
Selects the type of output.
CHORUS
VIBRATO
0.01–20.00 Hz
BPM
6.0–600.0
NOTE
`–Œ
DEPTH
0–100
TYPE
Explanation
Direct sound and effect sound are mixed and output.
Only effect sound is output.
Adjusts the rate at which the effect is applied.
Specifies the tempo.
The range of this setting depends on the RATE or NOTE value.
Adjusts the rate at which the effect is applied, specified as a note value relative
to BPM.
Adjusts the depth at which the effect is applied.
VIBRATO
Parameter
TYPE
Value
Explanation
Selects the type of vibrato.
PRIME
A vibrato unique to the MD-500. A wide range of settings are possible.
SCANNER
Simulates the scanner vibrato of a tonewheel organ.
PRIME
RATE
0.01–20.00 Hz
BPM
6.0–600.0
NOTE
DEPTH
COLOR
TRIGGER
`–Œ
0–100
0–100
OFF, ON
RISE TIME
0–100
ENVELOPE SENS
0–100
WAVEFORM
1–10
INPUT SENS
0–100
SCANNER
SCAN SPEED
0.01–20.00 Hz
BPM
6.0–600.0
NOTE
`–Œ
Selects the SCANNER mode.
V1–V3
Applies vibrato. Higher values produce a deeper effect.
Applies chorus. Higher values produce a deeper effect.
C1–C3
Mixes effect sound with direct sound, adding depth to the sound.
MODE
Adjusts the rate of vibrato.
Specifies the tempo.
The range of this setting depends on the RATE or NOTE value.
Adjusts the rate of vibrato, specified as a note value relative to BPM.
Adjusts the depth at which vibrato is applied.
Higher settings produce a more complex modulation.
Turns the vibrato on/off.
Specifies the time from when trigger turns on until the specified vibrato effect
is obtained.
Adjusts the time over which the vibrato depth reaches the maximum according
to the input.
Selects the type of wave.
The vibrato depth changes according to the input. If this is set to “0,” vibrato is
applied at a fixed depth regardless of the input. With higher values, less vibrato is
applied for louder input.
Adjusts the speed of vibrato.
Specifies the tempo.
The range of this setting depends on the SCAN SPEED or NOTE value.
Adjusts the speed of vibrato, specified as a note value relative to BPM.
13
Parameter List
TREMOLO
Parameter
TYPE
Value
Explanation
Selects the type of tremolo.
PRIME T
A tremolo unique to the MD-500. A wide range of settings are possible.
Alternates the volume of the left and right channels; when played in stereo, this
produces the impression that the sound is moving back and forth between the
PRIME P
left and right speakers (pan).
TWIN
DELUXE
* This does not produce the intended effect unless you use stereo output.
Models the tremolo of the Fender Twin Reverb.
Models the tremolo of the Fender Deluxe Reverb.
PRIME T, PRIME P
RATE
0.01–20.00 Hz
BPM
6.0–600.0
NOTE
DEPTH
TRIGGER
`–Œ
0–100
OFF, ON
RISE TIME
0–100
ENVELOPE SENS
0–100
WAVEFORM
1–100
INPUT SENS
0–100
TWIN, DELUXE
SPEED
0.01–20.00 Hz
BPM
6.0–600.0
NOTE
INTENSITY
`–Œ
0–100
Adjusts the speed of the tremolo.
Specifies the tempo.
The range of this setting depends on the SPEED or NOTE value.
Adjusts the speed of the tremolo, specified as a note value relative to the BPM.
Adjusts the tremolo depth.
Value
Explanation
Adjusts the rate of the tremolo.
Specifies the tempo.
The range of this setting depends on the RATE or NOTE value.
Adjusts the speed of the tremolo, specified as a note value relative to the BPM.
Adjusts the tremolo depth.
Turns the tremolo on/off.
Specifies the time from when trigger turns on until the specified tremolo effect
is obtained.
Adjusts the time over which the tremolo depth reaches the maximum according
to the input.
Selects the type of wave.
The tremolo depth changes according to the input. If this is set to “0,” tremolo is
applied at a fixed depth regardless of the input. With higher values, less tremolo
is applied for louder input.
DIMENSION
Parameter
DIMENSION MODE
MODE 1–4 SW
MODE 5 SW
OUTPUT MODE
Selects the mode of the Roland DIMENSION D (SDD-320).
Models the mode switches of the Roland DIMENSION D (SDD-320). If this is set to
1–4, USER
“USER,” you can freely combine the various mode switches.
Turn each mode switch on/off.
OFF, ON
Each switch can be turned on simultaneously.
OFF, ON
A mode that is unique to the MD-500 and is not found on the SDD-320.
MONO, STEREO
Specifies whether the output is mono (MONO) or stereo (STEREO).
RING MOD
Parameter
Value
Explanation
FREQUENCY
FREQUENCY MOD RATE
FREQUENCY MOD DEPTH
82.4–3136.0 Hz
0.01–20.00 Hz
0–100
INTELLIGENT
OFF, GUITAR, BASS
Adjusts the oscillation frequency of the internal oscillator.
Adjusts the rate at which the internal oscillator is modulated.
Adjusts the depth to which the internal oscillator is modulated.
Varies the oscillator frequency according to the pitch of the input sound,
producing a sound with a different sense of pitch than usual.
“GUITAR” is for guitar, and “BASS” is for bass.
* This effect will not produce the expected effect unless the pitch of the guitar
sound is correctly detected. We recommend that you use it with single notes.
14
Parameter List
ROTARY
Parameter
Value
Explanation
SPEED SELECT
SLOW RATE
FAST RATE
SLOW, FAST
0.01–20.00 Hz
0.01–20.00 Hz
RISE TIME
1–100
FALL TIME
1–100
MIC DISTANCE
ROTOR/HORN
DRIVE
0–100
100:0–0:100
0–100
Switches the speaker rotation speed between SLOW (slow) and FAST (fast).
Adjusts the speed of rotation when SPEED SELECT is set to SLOW.
Adjusts the speed of rotation when SPEED SELECT is set to FAST.
Adjusts the transition time over which the rotation speed changes when SPEED
SELECT is switched from SLOW to FAST.
Adjusts the transition time over which the rotation speed changes when SPEED
SELECT is switched from FAST to SLOW.
Adjusts the distance between the horn/rotor and the mic.
Adjusts the volume balance between the horn and rotor.
Adjusts the amount of distortion in the preamp.
FILTER
Parameter
TYPE
Value
Explanation
Selects the type of wah effect and filter.
Automatically produces a wah effect by cyclically modulating the filter
A-WAH G
(for guitar).
A-WAH B
Automatically produces a wah effect by cyclically modulating the filter (for bass).
Produces a wah effect by modulating the filter according to the volume of the
T-WAH G
input signal (for guitar).
Produces a wah effect by modulating the filter according to the volume of the
T-WAH B
input signal (for bass).
PATTERN
Lets you freely program how the filter changes.
A-WAH G, A-WAH B
RATE
0.01–20.00 Hz
BPM
6.0–600.0
NOTE
DEPTH
FREQUENCY
`–Œ
Selects the wah mode.
LPF
HPF
BPF
0–100
0–100
RESONANCE
0–100
WAVEFORM
SIN, TRI, SQR, SAW-UP,
SAW-DOWN, RAMP
FILTER MODE
Adjusts the rate of the wah.
Specifies the tempo.
The range of this setting depends on the RATE or NOTE value.
Adjusts the rate of the wah, specified as a note value relative to the BPM.
Low pass filter. Passes only the low-frequency region.
High pass filter. Passes only the high-frequency region.
Band pass filter. Passes only the specified frequency region.
Adjusts the wah depth.
Adjusts the center frequency of the wah effect.
Adjusts how the wah effect is applied in the region of the center frequency.
Higher values boost the filter effect, producing a strongly distinctive character. A
value of “50” produces the typical wah sound.
Selects the type of wave.
T-WAH G, T-WAH B
FILTER MODE
POLARITY
SENS
FREQUENCY
RESONANCE
DECAY
Selects the filter mode.
LPF
Low pass filter. Passes only the low-frequency region.
HPF
High pass filter. Passes only the high-frequency region.
BPF
Band pass filter. Passes only the specified frequency region.
Selects the direction in which the filter changes according to the input.
DOWN
The filter moves toward a lower frequency.
UP
The filter moves toward a higher frequency.
Specifies the sensitivity with which the filter moves in the direction specified by
0–100
the POLARITY setting. Higher values increase the response; with a setting of “0,”
the wah effect does not respond to your picking.
0–100
Adjusts the center frequency of the wah effect.
0–100
Adjusts how the wah effect is applied in the region of the center frequency.
0–100
Adjusts the rate at which the filter is moved.
15
Parameter List
Parameter
Value
Explanation
PATTERN FILTER
RATE
0.01–20.00 Hz
BPM
6.0–600.0
NOTE
`–Œ
PATTERN
PAT1–PAT10, USER
STEP NUMBER
RESONANCE
TRANSITION
8, 12, 16, 24
Selects the filter mode.
LPF
HPF
BPF
0–100
0–100
Adjusts the rate of the filter.
Specifies the tempo.
The range of this setting depends on the RATE or NOTE value.
Adjusts the rate of the filter, specified as a note value relative to the BPM.
Selects the pattern.
PAT1–10: Selects a preset pattern.
USER: Lets you create an original pattern.
Selects the number of steps into which the sound is divided.
STEP1–STEP24 FREQ (*1)
0–100
Adjusts the frequency of each step.
Parameter
Value
Explanation
RATE
0.01–20.00 Hz
BPM
6.0–600.0
NOTE
`–Œ
PATTERN
P1–30, H1–H20, USER
Adjusts the rate at which the sound is sliced.
Specifies the tempo.
The range of this setting depends on the RATE or NOTE value.
Adjusts the rate at which the sound is sliced, specified as a note value relative
to the BPM.
Selects the slice pattern at which the sound is sliced.
P1–30, H1–H20: Selects a preset pattern.
USER: Lets you create an original pattern.
FX TYPE (*1)
Selects the effect type.
OFF
PITCH
FLANGER
PHASER
SWEEP
FILTER
RING
STEP NUMBER (*1)
8, 12, 16, 24
FILTER MODE
Low pass filter. Passes only the low-frequency region.
High pass filter. Passes only the high-frequency region.
Band pass filter. Passes only the specified frequency region.
Adjusts the resonance.
Adjusts the time (smoothness) of the transition between steps.
*1: Shown if PATTERN is “USER”
SLICER
STEP1–STEP24 LENGTH (*1) 0–100
STEP1–STEP24 LEVEL (*1)
0–100
STEP1–STEP24 BAND (*1)
THRU, BAND1–BAND6
STEP1–STEP24 EFFECT (*1)
0–100
ATTACK
DUTY (*2)
0–100
1–99
MONO, FIXED, RANDOM,
PngPong, AUTO
OUTPUT MODE
*1: Shown if PATTERN is “USER”
*2: Unavailable if PATTERN is set to “USER.”
16
Effect off
Pitch change
Flanger
Phaser
Sweep filter
Filter
Ring modulator
Selects the number of steps that play back as a pattern.
For example, if this is “8,” one measure is equally divided into eight steps for
playback.
Adjusts the length (duration) of each step.
0: No sound is heard.
1–99: The sound is heard for the duration specified here.
100: The sound is connected with the next step.
Adjusts the volume of each step.
Specifies how the bandwidth of each step is limited.
THRU: The bandwidth is not limited.
BAND1–BAND6: Smaller values allow a higher bandwidth to pass.
Adjusts the volume of the effect sound for each step.
If FX TYPE is set to "PITCH," this adjusts the pitch (-12–+12).
Adjusts the volume of the attacks for the slice pattern.
Adjusts the duration of the sound for the slice pattern.
Selects how output occurs.
Parameter List
OVERTONE
Parameter
TYPE
Value
Explanation
Selects the type of overtones.
OVERTONE
Thickens the sound by adding overtones.
DETUNE
Thickens the sound by adding slightly pitch-shifted sound.
OVERTONE
LOWER LEVEL
UPPER LEVEL
0–100
0–100
UNISON LEVEL
0–100
DETUNE
LOW
HIGH
DETUNE
PITCH 1
PITCH 2
EFFECT LEVEL 1
EFFECT LEVEL 2
0–100
-50–+50
-50–+50
Adjusts the volume of the overtones one octave below.
Adjusts the volume of the overtones one octave above.
Adjusts the volume of added sound whose pitch is slightly shifted relative to the
direct sound.
Adjusts the depth to which the entire effect sound is modulated.
Adjusts the low frequency range tone.
Adjusts the high frequency range tone.
-50–+50
Adjusts the pitch (1-cent units).
0–100
Adjusts the volume of the effect sound.
17
Parameter List
CONTROL
You can specify the functions of the [TAP/CTL] switch and of a footswitch or expression pedal
connected to the CTL 1,2/EXP jack.
55 “Using the [TAP/CTL] Switch to Control the Effect” (p. 7)
55 “Assigning a Function to an External Pedal” (p. 25)
ASSIGN
ASSIGN INPUT SENS
Parameter
Value
Explanation
ASGN INPUT SENS
0–100
Adjusts the input sensitivity when “INPUT” is selected for SRC.
Parameter
Value
Explanation
SW
OFF, ON
Turns the ASSIGN 1–8 on/off.
Specifies the controller (source).
TAP/CTL
[TAP/CTL] switch.
ASSIGN 1–8
EXP PDL
(EXP PEDAL)
External expression pedal (EV-30, EV-5 etc.; sold separately) connected to the
CTL 1,2/EXP jack.
CTL1, 2 PDL
External footswitch connected to the CTL 1,2/EXP jack.
Internal pedal
The virtual expression pedal will begin operating when started
by the specified trigger (TRIGGER), modifying the parameter
specified by “TARGET.”
For details on the parameters that can be assigned to the internal
pedal, refer to “TIME” and “CURVE” (p. 19)
Wave pedal
The virtual expression pedal will cyclically modify the parameter specified by
“TARGET” in a fixed wave form.
INT PDL
SRC (SOURCE)
WAVE PDL
INPUT
The assigned target parameter will change according to the input level.
(INPUT LEVEL)
MODE (SOURCE MODE)
* If you want to adjust the input sensitivity, set the SENS (INPUT SENS).
CC#1–31, CC#64–95
Controller number from an external MIDI device
Specifies the operation of the controller.
The value will normally be OFF (minimum value), and will be ON
(maximum value) only while the control is being operated.
MOMENT
TOGGLE
* If you want to use the internal pedal or wave pedal, set to “MOMENT.”
The value will toggle between OFF (minimum) and ON (maximum) each time the
control is operated.
TRG (TARGET)
This selects the parameter to be changed.
MIN (TARGET MIN)
MAX (TARGET MAX)
Specifies the range of change for the parameter. The values will depend on the parameter that’s assigned by
“TARGET.”
18
Parameter List
Parameter
Value
ACT LOW
0–126
ACT HIGH
0–127
WAVE RATE (*1)
0–100, –
Explanation
Within the operating range of the source, this specifies the range that will
control the target parameter.
The target parameter will be controlled within the range specified. Normally, you
should leave ACT LOW at “0” and ACT HIGH at “127.”
Specifies the time for one cycle of the wave pedal.
* If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a
period either 1/2 or 1/4 of that time.
Select one of the following to specify the change produced by the wave pedal.
SAW
WAVE FORM (*1)
TRI
SIN
SAW, TRI, SIN
Specifies how the motion of the internal pedal will be triggered.
TRIGGER
(INT PEDAL TRIGGER)
(*2)
TIME
(INT PEDAL TIME)
(*2)
PAT CNG
(PATCH CHANGE)
This is activated when a patch is selected.
EXP LOW
This is activated when an external expression pedal connected to the CTL 1,2/
EXP jack is set to the minimum position.
EXP MID
This is activated when the external expression pedal connected to the CTL 1,2/
EXP jack is moved through the middle position.
EXP HIGH
This is activated when the external expression pedal connected to the CTL 1,2/
EXP jack is set to the maximum position.
CTL1, 2 PDL
This is activated when an external footswitch connected to the CTL 1,2/EXP jack
is operated.
CC#1–#31
CC#64–#95
This is activated when a control change is received.
0–100
This specifies the time over which the internal pedal will move from the toeraised position to the toe-down position.
Select one of the following curves to specify the change produced by the
internal pedal.
CURVE
(INT PEDAL CURVE)
(*2)
LINEAR,
SLOW (SLOW RISE),
FAST (FAST RISE)
LINEAR
SLOW
FAST
*1: SRC=WAVE PDL only
*2: SRC=INT PDL only
19
Parameter List
BANK
You can specify how patches A and B are connected and output when using simul mode.
55 “Using Two Patches Simultaneously (Simul Mode)” (p. 23)
SYSTEM
Parameter
Value
CONTRAST
INSERT LOOP
1–16
Adjusting the contrast of the display
OFF, ON
Specifies whether the insert loop function (p. 24) is used (ON) or not used (OFF).
Specifies the timing at which the patch is changed when you change banks.
Switching the bank only changes the indication of the screen, and does not
WAIT
switch the patch at that point. When you press the [A] or [B] switch, the bank
and number are finalized, and operation switches to the next patch.
IMMEDIATE
Operation immediately switches to the next patch when you switch banks.
01–99
Sets the lower limit for the banks.
01–99
Sets the upper limit for the banks.
OFF, ON
Specifies whether knob operations are disabled (ON) or not disabled (OFF).
When you move a knob, this setting specifies whether control data for that
IMMEDIATE, HOOK
knob position is always output (IMMEDIATE) or is output only after the knob
position has passed through the current value of the parameter (HOOK).
BUFFERED, TRUE
Specifies how the bypass sound is output (buffered bypass or true bypass).
Specifies whether the operation occurs when you press the [A], [B], or [TAP/CTL]
PUSH, RELEASE
switch or when you release the switch.
Specifies how the footswitch is used (p. 22).
Specifies the USB operating mode (p. 27).
BANK MODE
BANK EXTENT MIN
BANK EXTENT MAX
KNOB LOCK
KNOB MODE
BYPASS
PEDAL ACT
FSW MODE
USB MODE
Explanation
MIDI
Parameter
Value
Rx CHANNEL
Ch.1–16, OFF
Tx CHANNEL
Ch.1–16, Rx, OFF
PC IN
PC OUT
OFF, ON
OFF, ON
BANK SEL OUT
MSB, M+L
CC IN
CC OUT
OFF, ON
OFF, ON
20
Explanation
Specifies the receive channel.
If this is “OFF,” MIDI messages are not received.
Specifies the transmit channel.
If this is “OFF,” MIDI messages are not transmitted.
Specifies whether program changes are received.
Specifies whether program changes are transmitted.
Specifies the bank select message that is transmitted simultaneously with the
program change.
If you select MSB, only MSB (CC#0) is transmitted. If you select M+L, both MSB
and LSB (CC#32) are transmitted.
Specifies whether control changes are received.
Specifies whether control changes are transmitted.
Parameter List
Parameter
Value
RATE CC
DEPTH CC
E.LEVEL CC
PARAM 1 CC
PARAM 2 CC
[RATE] knob
[DEPTH] knob
Specifies the controller number of the
[E. LEVEL] knob
corresponding knobs or switches.
[PARAM 1] knob
The parameters that can be controlled differ
[PARAM 2] knob
depending on the mode.
Specifies the controller
OFF, CC#1–31, 64–95
number that switches
MEMO
between effect-on and
For details on MIDI, refer to “MIDI
bypass.
Implementation” (PDF).
External CTL1 switch
http://www.boss.info/manuals/
External CTL2 switch
External EXP pedal
Selects the tempo clock input that is used for synchronization.
INTERNAL
Synchronizes to the internal tempo.
EXT (USB)
Synchronizes to the tempo from the USB port.
EXT (MIDI)
Synchronizes to the tempo from the MIDI IN connector.
Normally synchronizes to the internal tempo, but if MIDI clock is being input
from the MIDI IN connector or the USB port, the tempo is synchronized to MIDI
AUTO
clock (AUTO).
If the MD-500 is a slave device, choose the “AUTO” setting.
Selects the source of the realtime messages that are transmitted from the MIDI OUT connector or the USB
port.
INT
Internal realtime messages are the source.
USB
Realtime messages from the USB port are the source.
MIDI
Realtime messages from the MIDI IN connector are the source.
Specifies the connector to which MIDI messages received from the MIDI IN connector and the USB port are
output.
OFF
MIDI messages are not output.
USB
MIDI messages are output to the USB port.
MIDI
MIDI messages are output to the MIDI OUT connector.
U+M
MIDI messages are output to the USB port and the MIDI OUT connector.
Sets the MIDI Device ID used for transmitting and receiving System Exclusive
1–32
messages.
EFFECT SW
EFFECT A SW
EFFECT B SW
CTL1 CC
CTL2 CC
EXP CC
SYNC
REALTIME SRC
MIDI IN->OUT
USB IN->OUT
DEVICE ID
Explanation
MIDI PC MAP
Parameter
Value
Explanation
BNK-PC# 1:001–3:128
01A–99C
Specifies the program number that corresponds to each patch number.
21
Convenient Functions
Assigning the Functions of the [A], [B], and [TAP/CTL] Switches
1. Press the [EDIT] button.
2. Use the [H] [I] buttons to select “SYSTEM” and then press the
[EDIT] button.
3. Use the [H] [I] buttons to select “FSW MODE,” and use the [RATE/
VALUE] knob to select the mode.
Mode
NORMAL
A/B/C
A/B SIMUL
SW DN/UP
Explanation
Use the [A] and [B] switches to select patch A or patch B, and use the [TAP/CTL]
switch for tap input.
Use the [TAP/CTL] switch to select patch C.
* In this case, you can’t use the [TAP/CTL] switch to change how the effect is
applied.
Patches A and B can be used simultaneously (p. 23). Press the unlit [A] or [B]
switch to make both light.
Use the [A] switch to turn effect on/off, and use the [B] switch and [TAP/CTL]
switch to change patches.
4. Press the [EXIT] button to return to the top screen.
22
Convenient Functions
Using Two Patches Simultaneously (Simul Mode)
If FSW MODE is set to “A/B SIMUL,” you can use two patches A and B simultaneously (simul mode).
1. Set FSW MODE to “A/B SIMUL” (p. 22).
Selected patch
2. Press the unlit [A] or [B] switch to make them both light.
Now you can use two patches simultaneously.
MEMO
55 The patch that’s selected in the screen (selected by the [I] [H] buttons) is the patch that
your editing will affect.
55 The TAP/CTL (p. 7) and external footswitch setting (p. 25) apply to both patches A and B.
The lit/blinking state of the [TAP/CTL] switch follows the setting of the patch that’s selected
in the screen.
Simul mode settings (BANK)
Here’s how to specify how patches A and B are connected and output when in simul mode.
1. Press the [EDIT] button.
2. Use the [H] [I] buttons to select “BANK,” and then press the [EDIT]
button.
3. Use the [H] [I] buttons to select a parameter, and use the [RATE/
VALUE] knob to edit the value.
Parameter
CONNECTION
OUTPUT MODE (*1)
INSERT SW
SYNC (*3)
Value
Explanation
Specifies how patches A and B are connected.
SERIES
Patches A and B are connected in series, in the order A0B.
PARALLEL
Patches A and B are connected in parallel.
Specifies how sound is output from the OUTPUT A/MONO and B jacks.
MIX
Patches A and B are mixed and output.
Sound that is input to the INPUT A/MONO jack passes through
patch A and is output to the OUTPUT A/MONO jack.
A/B
Sound that is input to the INPUT B jack passes through patch B
and is output to the OUTPUT B jack.
Specifies the connection position at which an external effect unit is inserted by
the insert loop function (p. 24).
OFF
Not connected.
PRE
Connected before patches A and B.
POST
Connected after patches A and B.
MIDDLE (*2) Connected between patches A and B.
Selects whether the tempo of patch B is synchronized to the
tempo of patch A (ON) or is not synchronized (OFF).
OFF, ON
NOTE can be adjusted for each patch.
*1: Shown if CONNECTION is “PARALLEL”
*2: Shown if CONNECTION is “SERIES”
*3: Not available for modes that do not have RATE or BPM
4. Press the [EXIT] button to return to the top screen.
23
Inserting an External Effect Unit
You can connect an external effect unit between the OUTPUT A jack and INPUT B jack, and use it in conjunction with the MD-500’s effect
(insert loop function).
You can also change the connection order of the effects.
(Example)
OUTPUT
MD-500
AMP
INPUT
Guitar
[MODE]
CHORUS
Guitar
AMP
Setting the Insert Loop Function
Turning the insert loop function on
1. Press the [EDIT] button.
2. Use the [H] [I] buttons to select “SYSTEM,” and then press the
[EDIT] button.
3. Use the [H] [I] buttons to select “INSERT LOOP,” and use the
[RATE/VALUE] knob to turn the setting “ON.”
4. Press the [EXIT] button to return to the top screen.
Specifying the connection position of the external effect unit
1. Press the [EDIT] button.
2. Use the [H] [I] buttons to select “PATCH,” and then press the
[EDIT] button.
3. Use the [H] [I] buttons to select “INSERT SW,” and use the [RATE/
VALUE] knob to edit the value.
Value
Explanation
PRE
POST
Connect before the MD-500's effect.
Connect after the MD-500's effect.
4. Press the [EXIT] button to return to the top screen.
* Save the edited patch as described in “Saving a Patch” (p. 9).
MEMO
You can also use the insert loop function in simul mode (p. 23).
24
Assigning a Function to an External Pedal
You can assign a function to a footswitch (sold separately: FS-5U, FS-5L, FS-6, FS-7) or expression
pedal (sold separately: EV-30, Roland EV-5 etc.) connected to the CTL 1,2/EXP jack.
1. Press the [EDIT] button.
2. Use the [H] [I] buttons to select “CONTROL,” and then press the
[EDIT] button.
3. Use the [H] [I] buttons to select a parameter, and use the [RATE/
VALUE] knob to edit the value.
Parameter
CTL 1/2 FUNC
EXP FUNC
TRG MIN
TRG MAX
CTL 1/2 PREF
EXP PREF
Value
Explanation
Specifies the function of a footswitch connected to the CTL 1,2/EXP jack.
Specifies the function of an expression pedal connected to the CTL 1,2/EXP jack.
Specify the minimum value (MIN) and maximum value (MAX) of the parameter that is controlled by the
expression pedal. The values depend on the parameter that is assigned in EXP FUNC.
PATCH
Different settings can be made for each patch.
SYSTEM
The same settings are shared by all patches.
CTL1 FUNC and CTL2 FUNC Settings
Value
Explanation
OFF
TAP
RESET
MOMENT
BANK UP
BANK DOWN
No assignment.
Lets you specify the modulation rate by tap input.
Pressing the pedal returns the LFO phase to the INIT PHASE (p. 10) value.
Outputs the effect sound only while you hold down the switch.
Change banks.
EXP FUNC Settings
Value
Explanation
OFF
RATE
DEPTH
E.LEVEL
PARAM1/2
No function is assigned. Select this if you’re using the ASSIGN1–8 setting (p. 18).
Adjusts the rate at which the effect sound is modulated.
Adjusts the depth to which the effect sound is modulated.
Adjusts the volume of the effect sound.
Adjust the parameters that are assigned to the [PARAM 1] knob and the [PARAM 2] knob.
4. Press the [EXIT] button to return to the top screen.
25
Synchronizing with a DAW or External MIDI Device
You can synchronize your MD-500 performance with a computer or an external MIDI device by
sending and receiving MIDI messages.
For example, an external MIDI device or DAW could switch patches on the MD-500 or control its
tempo.
Connection Example
DAW
External MIDI device
MIDI Messages That Can Be Transmitted and Received
Patch changes
Bank select (CC#0, #32) and program change
Synchronization
Must be ON
Tempo clock (F8)
Patch data
System exclusive messages
Other messages
Switch, knob
MIDI message
[RATE/VALUE] knob
[DEPTH] knob
[E. LEVEL] knob
[PARAM 1] knob
[PARAM 2] knob
CTL 1 switch
CTL 2 Switch
EXP pedal
Controller Number 17
Controller Number 18
Controller Number 19
Controller Number 20
Controller Number 21
Controller Number 80
Controller Number 81
Controller Number 16
0–127
Effect on, Bypass
Controller Number 27
ON, OFF
Effect A on, Bypass
Effect B on, Bypass
Controller Number 28
Controller Number 29
ON, OFF
ON, OFF
26
Value
Remarks
0–127
–
0, 127
Transmits “127” when pressed, “0” when
released
–
ON = Effect on, OFF = Bypass
In simul mode, this turns the selected
patch on/off.
ON = Effect (patch A) on, OFF = Bypass
ON = Effect (patch B) on, OFF = Bypass
Synchronizing with a DAW or External MIDI Device
MIDI Routing
For details on how to set the MIDI parameters, refer to “Basic [EDIT] operations” (p. 8).
Main Setting Items
Item
Parameter
Explanation
Synchronization source
SYNC
Specifies whether the synchronization source is the MD-500
(INTERNAL), USB, or an external device connected via
MIDI.
Realtime messages
REALTIME SRC
MIDI IN->OUT
MIDI message output
destination
USB IN->OUT
Specifies whether realtime messages generated by the MD-500 are transmitted, and
whether realtime messages received via the MIDI IN connector or the USB port are
transmitted.
Specifies the MIDI messages that are transmitted from
the MIDI OUT connector.
Specifies the MIDI messages that are transmitted from
the USB port.
If you experience problems connecting with your DAW
Normally, you don’t need to install a driver in order to connect the MD-500 to your computer.
However, if some problem occurs, or if the performance is poor, using the BOSS original driver
may solve the problem.
In this case, setting “USB MODE” to “VENDOR” on the MD-500, install the
driver on your personal computer.
For details on downloading and installing the BOSS original driver, refer
to the BOSS website. For further details, refer to the Readme.htm file that
comes with the download.
& http://www.boss.info/support/
The program you need to use, and the steps you need to take to install the USB driver will
differ depending on your computer setup, so please carefully read and refer to the Readme.
htm file that comes with the download.
27
Restoring the Factory Default Settings
Here’s how to reset the settings to their factory state. If you like, you can also reset the system
settings or just a specific range of patches.
1. Press the [EDIT] button.
2. Use the [H] [I] buttons to select “FACTORY RESET,” and then press
the [EDIT] button.
3. Use “FROM” and “TO” to specify the range that you want to reset.
Parameter
Value
Explanation
FROM
TO
SYSTEM
01A–99C
BANK01–99
System parameter settings.
Settings for Patches.
Settings for Banks (Patch A–C, BANK parameters).
4. Press the [EDIT] button.
A confirmation message appears.
5. Press the [EDIT] button to reset the settings.
If you decide to cancel without resetting, press the [EXIT] button.
Transmitting Data to an External MIDI Device
You can use Exclusive messages to set another MD-500 to the same settings or to save effect sound
settings to MIDI sequencers and other such devices. This transmission of data is referred to as bulk
dump.
1. Press the [EDIT] button.
2. Use the [H] [I] buttons to select “MIDI BULK DUMP,” and then
press the [EDIT] button.
3. Use “FROM” and “TO” to specify the range that you want to reset.
Parameter
Value
Explanation
FROM
TO
SYSTEM
01A–99C
BANK01–99
TEMP
System parameter settings.
Settings for Patches.
Settings for Banks (Patch A–C, BANK parameters).
Current effect settings in the panel display.
4. Press the [EDIT] button.
The bulk dump is executed.
28
Troubleshooting
Problem
Items to check
Power does not turn on
Is your guitar correctly connected to the
INPUT A/MONO jack?
Could the batteries be low?
Is the specified PSA-S series AC adaptor
connected correctly?
No sound is output
Could the insert loop function be
assigned?
Footswitch does not change sounds as
you expect
Is the SYSTEM: FSW MODE (p. 22) setting
correct?
Action
Check the connection once again.
Install fresh batteries.
Check the connection once again.
If the insert loop function is on, there will
be no sound unless the external effect
unit is correctly connected and its power
is on (p. 24).
The FSW MODE (p. 22) setting determines
what happens when you press the [A], [B],
and [TAP/CTL] switches. Check the setting.
Main Specifications
BOSS MD-500: Modulation
Power Supply
Current Draw
Battery Life for Continuous
Use
Dimensions
Weight (including batteries)
Accessories
Options (sold separately)
Alkaline battery (AA, LR6) x 4
AC adaptor
225 mA
Alkaline batteries (AA, LR6): Approximately 4.5 hours
* This figure will vary depending on the actual conditions of use.
170 (W) x 138 (D) x 62 (H) mm
6-3/4 (W) x 5-7/16 (D) x 2-1/2 (H) inches
1.0 kg
2 lbs 4 oz
Owner’s manual, Leaflet “USING THE UNIT SAFELY,” Alkaline Batteries (AA LR6) x 4
AC adaptor: PSA-S series
Footswitch: FS-5U, FS-5L
Dual Footswitch: FS-6, FS-7
Expression pedal: FV-500H, FV-500L, EV-30, Roland EV-5
* 0 dBu = 0.775 Vrms
* This document explains the specifications of the product at the time that the document was issued. For the latest information, refer to the
Roland website.
29
USING THE UNIT SAFELY
Keep small items out of the reach of children
To prevent accidental ingestion of the parts listed
below, always keep them out of the reach of small
children.
• Included Parts
Rubber feet (p. 2)
IMPORTANT NOTES
Power Supply: Use of Batteries
• Batteries should always be installed or replaced before
connecting any other devices. This way, you can prevent
malfunction and damage.
• If operating this unit on batteries, please use alkaline batteries.
Repairs and Data
• Before sending the unit away for repairs, be sure to make
a backup of the data stored within it; or you may prefer to
write down the needed information. Although we will do our
utmost to preserve the data stored in your unit when we carry
out repairs, in some cases, such as when the memory section
is physically damaged, restoration of the stored content may
be impossible. Roland assumes no liability concerning the
restoration of any stored content that has been lost.
Additional Precautions
• Any data stored within the unit can be lost as the result of
equipment failure, incorrect operation, etc. To protect yourself
against the irretrievable loss of data, try to make a habit of
creating regular backups of the data you’ve stored in the unit.
• Roland assumes no liability concerning the restoration of any
stored content that has been lost.
• Never strike or apply strong pressure to the display.
• Do not use connection cables that contain a built-in resistor.
30
Intellectual Property Right
• This product contains eParts integrated software platform of
eSOL Co.,Ltd. eParts is a trademark of eSOL Co., Ltd. in Japan.
• Roland, BOSS, and SLICER are either registered trademarks or
trademarks of Roland Corporation in the United States and/or
other countries.
• Company names and product names appearing in this
document are registered trademarks or trademarks of their
respective owners.
• The product names mentioned in this document are registered
trademarks or trademarks of their respective owners. In this
manual, these names are used because it is the most practical
way of describing the sounds that are simulated using COSM
technology.
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