Yamaha B1D Instrukcja obsługi

Yamaha
Marka
Yamaha
Model
B1D
Kategoria
Akcesoria gitarowe
Typ
Instrukcja obsługi

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Owner’s Manual
Bedienungsanleitung
Mode d’emploi
1
Congratulations
Thank you for purchasing the Yamaha B1D Divided Pickup Unit.
The B1D Divided Pickup Unit can pick up the vibrations produced by
an electric bass guitar’s strings, and transmit those signals to a Yamaha
Guitar MIDI Converter (G50). When properly installed and adjusted it
can convert almost any steel stringed bass guitar into a controller for a
guitar synthesizer system. It can be used on normal 4-string basses as
well as 5-string, and 6-string basses.
To get the most out of your B1D, please read this owner’s manual
carefully, and follow the installation instructions within, in order to en-
sure proper operation. Also, keep this manual in a safe place for future
reference.
■ Features
As well as any normal 4-string electric bass, the
unit can also be used on 5-string, and 6-string
basses. A number of installation options are
provided to allow for different guitar shapes, use,
and playing styles. Choose a method that best
suits your bass and playing requirements.
Methods for Attaching the Divided Pickup:
Special Fittings (removable), double-sided
adhesive tape, screw.
Methods for Attaching the Controller:
Velcro fastener, bracket, double-sided
adhesive tape, screw.
• One touch operation allows you to switch
between bass synthesizer sound and bass
guitar sound. Also, the synthesizer’s voice
and bass guitar’s signal can be output
separately or together, offering a wide
variety of sounds for added playing enjoy-
ment.
• Of course, the bass synthesizer’s volume can
be controlled. But you can also control other
functions like octave, parameter values,
program changes (that are transmitted from
the G50’s memory), and G50’s memory
numbers (which can be changed by a value
of +1/-1).
Contents
English
Precautions ....................................... 2
Nomenclature & Functions................ 3
Parts List ........................................... 4
Before You Install............................... 5
Attaching the Divided Pickup ............ 6
Attaching the Controller................... 11
Connections .................................... 13
G50 Settings ................................... 14
Controller & Switch.......................... 15
Getting the Most Out of Your
B1D & G50 ...................................... 16
Troubleshooting............................... 17
Specifications .................................. 18
2
■ Location
Do not expose the B1D to the following condi-
tions to avoid deformation, discoloration, or more
serious damage.
• Direct sunlight (e.g. near a window).
• High temperatures (e.g. near a heat source,
outside, or in a car during the daytime).
• Excessive humidity.
• Excessive dust.
• Strong vibration.
■ Connections
• When connecting the B1D to the Yamaha G50
Guitar MIDI Converter, be sure to use the
specified multi-pin cable (supplied with the
G50 Guitar MIDI Converter).
• Always connect the direct guitar cable (page
4), even if you don’t intend to use the direct
guitar sound. The direct guitar cable is
essential for proper grounding, to minimize
noise and prevent electric shock.
• Always unplug cables by gripping the plug
firmly, not by pulling on the cable.
• Disconnect all cables before moving the
instrument or any connected equipment.
■ Handling and Transport
• Never apply excessive force to the controls,
connectors or other parts of the instrument.
• Physical shocks caused by dropping, bump-
ing, or placing heavy objects on the instru-
ment can result in scratches and more serious
damage.
• Be careful not to damage the B1D controller
when placing the guitar in a case or on a
stand.
Precautions !! PLEASE READ THIS BEFORE PROCEEDING !!␣
Yamaha is not responsible for damage caused by improper installation, handling, or operation.
■ Cleaning
• Clean the unit with a dry soft cloth.
• A slightly damp cloth may be used to remove
stubborn grime and dirt.
• Never use cleaners such as thinner.
■ Notes on Adhesive Tape
• Depending on the surface of the bass guitar the
finish may peel off or be altered chemically
when the pickup/controller is mounted using
adhesive tape (double-sided). To make sure, it
is recommended that you first try this method
of attachment by applying some tape at a place
on the guitar body which is not visible nor-
mally.
• If the pickup must be removed from the base guitar,
always use a fresh layer of double-sided adhesive
tape and/or cushion when reinstalling, as the
adhesive properties of used tape/cushion are reduced
drastically when peeled off the mating surface. Also,
before attaching the adhesive tape or pickup, clean
the mating surface thoroughly, as dust and grease
may cause the pickup to come loose.
■ Service and Modification
• The B1D contains no user serviceable parts.
Opening it or tampering with it in any way can
lead to irreparable damage and possibly electric
shock. Refer all servicing to qualified
YAMAHA personnel.
3
q
t
r
e
w
y
u
i
q Divided Pickup
This magnetic type pickup converts vibrations
from the bass guitar’s individual strings into an
electrical signal.
The pickup is attached to the bass guitar’s body.
→ page 6 “Attaching the Divided Pickup”
w Synth Volume Control
Controls the volume of the synthesizer.
* Does not adjust the volume of the bass guitar.
e Power Indicator
The B1D is receiving power from the G50 Guitar
MIDI Converter when this indicator is lit. The
indicator lights when the B1D is properly con-
nected to the G50 via the 13-pin cable.
r Direct Bass Guitar Input Jack
This jack allows the B1D to receive the combined
output from the bass guitar’s normal pickups (bass
guitar signal) from the guitar’s output jack. Use the
supplied direct bass guitar signal cable when
making connections.
The bass guitar signal is output from the GUITAR
DIRECT OUT jack of the G50 (→ pg. 13).
t B1D Output Jack
The selected signal from the Output Selector is
transmitted to the Guitar MIDI Converter via this
jack.
y Output Selector (BASS/MIX/SYNTH)
Selects the type of output to be delivered via the
13-pin cable connector to the Guitar MIDI Con-
verter.
BASS: Only the direct bass sound (output from
the electric bass pickup) will be heard.
SYNTH: Only the synthesizer sound (output from
the divided pickup) will be heard.
MIX: Both the direct bass guitar signal and the
synthesizer sounds will be heard.
u UP Switch
i DOWN Switch
According to settings in the Guitar MIDI Con-
verter, these switches can be used to increase or
decrease the values by 1 for program memory
numbers, parameter values, program change
numbers, octave shift values, etc.
→ Refer to the manual for your Guitar MIDI
Converter for further information.
* G50 owner’s manual: pg. 12
Nomenclature & Functions
Divided Pickup
Controller
4
● B1D Main Unit
(Divided Pickup + Controller)
Parts List
Before you install the B1D, please make sure you have all of the parts listed below.
● Direct Bass Guitar Cable ● Clearance Gauge
................. 2 Pieces
● Divided Pickup Attachment Parts
• Bracket ................. 1
• Spacer A (Thickness: 1mm)
............... 10 Pieces
• Spacer B (Thickness: 0.3mm)
............... 12 Pieces
• Pickup Cushion
(Double-Sided Adhesive)
................. 8 Pieces
• Pickup Double-Sided Adhesive Tape
............... 16 Pieces
• Springs..... 2 Pieces • Tapping Screws 3x25mm ............. 2
Used to attach the pickup to the body.
• Small Screws
3x6mm, with washer.................. 2
Used to attach the pickup fittings to the
base plate.
• Small Screws
3x6, 3x8, 3x10, 3x12mm .. 2 each
Used to attach the pickup to the pickup
fittings.
• Plate Tapping Screws
3x10mm, 1 type ..............2 pieces
Used to attach the base plate to the bass
body.
• Base Plate (Right, Left) .......1 Set • Double-Sided Adhesive Tape for
Base Plate ..................... 8 Pieces
• Pickup Attachment Fittings
(Right, Left) ..........................1 Set
● Controller Attachment Parts
• Velcro Fastener.... 1 • Suction Cups ................. 3 Pieces
• Tapping Screw
3x16mm ............... 1
Used to attach the controller to the
body.
• Controller Cushion
(Double Sided-Adhesive Tape)
................. 6 Pieces
5
■ Installing on the Bass Guitar
Before you install the B1D on your bass
guitar, carefully read the advice provided
below. Select an installation method
which is best suited to your bass guitar
and playing requirements.
●
Select the Method of Installation
Three methods for installing the divided pickup
are listed below.
● Base Plate Installation (Removable)
• Height adjustment is easily performed.
• The divided pickup can easily be removed yet
pickup height adjustment is maintained.
● Double-sided Adhesive Tape
• Reduces the risk of damaging the bass guitar body.
• More time and care must be taken to achieve proper
pickup height.
● Spring and Screw Installation
• Height adjustment is easily performed.
• The pickup can be securely attached to the bass
body.
• It will be necessary to drill holes in the bass
guitar’s body.
Five methods for installing the Controller unit
are listed below.
● Velcro Installation
• Easy removal and replacement.
● Bracket Installation
• Used in conjunction with adhesive tape, the control-
ler can be installed on bodies that are not flat.
• The bracket can also be attached using the bass
guitar’s strap pin. However, some caution must be
used to keep from damaging the strap pin screw.
● Suction Cup Installation
• Easy to remove, replace and transport the unit.
• Easy to attach the controller unit to a bass guitar
with a flat top and a smooth, shiny finish.
● Double-sided Adhesive Tape
• Easy and secure attachment is possible.
● Screw Installation
• Used in conjunction with adhesive tape, the control-
ler can be installed on bodies that are not flat.
• It will be necessary to drill a hole in the bass
guitar body.
* If you use the base plate attachment (remov-
able) for the divided pickup, it is a good idea
to attach the controller with Velcro tape or
suctions cups so it is removable as well.
Before You Install
● The Bass Guitar
The B1D is a divided pickup designed for use with
steel string electric basses. It can be used with 4-
string as well as 5- and 6-string basses. If your bass
guitar is one of the types listed below, the B1D will
not function properly with it.
• 8-string basses or other non-standard string
configurations other than 4-, 5-, and 6- string
basses.
• Nylon string or other non-metallic string bass
guitars.
• Basses with extremely wide or narrow string
spacing. Any bass guitar that the strings will not
properly fit over the magnetic pickup (→ refer to
“Specifications” on pg. 18).
• Basses with extremely low string clearance.
Depending upon the manner in which the pickup is
attached, make sure that there is more than10-
13mm (0.39"-0.51") of clearance.
The divided pickup is specially designed
and adjusted for use on bass guitars with
up to 6-strings, the pickup will not func-
tion with 6-string guitars.
The divided pickup should be attached between the
bridge and rear pickup, ideally 10-20mm (0.39
"
-
0.79
"
) from the bridge. Make sure you have ad-
equate space for proper installation of the pickup.
Make sure your bass’ neck (truss rod) and string
height/intonation (bridge) are properly adjusted
before installing the B1D.
Disconnect the Direct Bass Guitar Signal
cable and the 13-pin cable from the B1D
controller before installation.
Installing the Pickup Controller
Due to the divided pickup’s magnetic strength, the
double-sided tape may peel off the bass guitar body if
the point of attachment is weak. Also, the pickup and
controller may be knocked off, if the bass guitar is
subject to strong shock or prolonged use, if an
attachment method other than screw installation is
used. Select a method of attachment according to
installation position, and the strengths of the method
of installation.
6
NGOK
OK
E A D G
B E A D G
E A D G C
B E A D G C
■ Mark the Installation position
for the divided Pickup.
The divided pickup should be located between the
rear pickup and bridge so that the cable end of the
pickup is oriented toward the lower bass string (the
pickup will not function if it is attached facing the
opposite direction).
The divided pickup is designed for use on basses
with up to 6 strings (6B, 5E, 4A, 3D, 2G, 1C). If the
pickup is to be used on a 4-string bass, align the 4
magnetic yokes, in the center portion of the pickup,
with the strings.
For 5-string basses with a [B, E, A, D, G] tuning,
use the 5 magnetic yokes on the cable end of the
pickup. If the tuning is [E, A, D, G, C] use the 5
magnetic yokes opposite the cable end of the
pickup.
• For 4-string basses (4E, 3A, 2D, 1G)
Place the divided pickup on the body and decide
the optimum position for installation.
From the low end string side, slide the divided
pickup under the bass guitar strings. Using the
magnetic attraction of the pickup to the strings,
adjust the position so that each string passes over
its corresponding magnetic yoke.
Attaching the Divided Pickup
String
Pickup’s Magnetic Yokes
Rear Pickup
Adjust the position of the pickup so that it meets the
conditions listed below.
1. Each string must pass over its corresponding
magnet.
The pickup will not function properly if the
string does not properly pass over the magnetic
yoke. Check that the strings pass over the
magnetic yokes, even when bending the strings.
2. The distance between the divided pickup
and the bridge should be about 10-20mm
(0.39"-0.79").
* Make sure the pickup is not in contact with
the bridge.
* The distance can be increased to more than
20mm (0.79") as long as the strings pass over
the magnetic yokes when bending the strings.
Divided Pickup
Bridge
10-20mm
(0.39"-0.79")
• For 5-string basses (5B, 4E, 3A, 2D, 1G)
• For 5-string basses (5E, 4A, 3D, 2G, 1C)
• For 6-string basses (6B, 5E, 4A, 3D, 2G, 1C)
3. String height should not be widely varied.
Extreme variations in string height will result
in a poor output level for the pickup (The
output level can be somewhat controlled with
the G50’s Gain Setting).
7
Once the optimum installation position has
been decided, you can prepare to attach the
pickup. However, the distance between the
string and the pickup’s magnetic yoke is ex-
tremely important.
Since the height of the pickup’s magnetic yokes
cannot be adjusted individually, the pickup posi-
tion, the pickup’s overall height, and string height,
can be adjusted to meet the conditions necessary
for optimum string/pickup clearance.
The distance between the top of the pickup’s
magnetic yokes and the bottom of each string
should be about 1-2mm (0.04"-0.08") when each
string is fretted at the highest note on the neck. The
distance between the pickup and the bottom of the
strings can be set to less than 1mm (0.04") as long
as the strings do not touch the pickup when the
bass is played. However, as long as other strings
can be set to a height of 2.0mm (0.08") or less, try
to set the E and B strings between 1.5 (0.06") and
2.0mm (0.08").
Also, the output level for each of the magnetic
pickups is fairly different so after the divided
pickup has been attached make sure you set Input
Gain each strings with the Guitar MIDI Converter.
The chart below lists the optimum string/pickup
distance and G50 Input Gain Settings for average
bass guitars. Use the chart as a reference when
setting up your pickup.
* For 4-string basses
(looking from the bridge side).
Distance *1 Gain Setting *2
4-string bass G string 1.0mm (0.04") 15
D string 2.0mm (0.08") 30
A string 2.0mm (0.08") 30
E string 1.5mm (0.06") 10
5-string bass G string 1.0mm (0.04") 15
D string 1.0mm (0.04") 15
A string 1.5mm (0.06") 22
E string 2.0mm (0.08") 20
B string 1.0mm (0.04") 6
6-string bass C string 1.0mm (0.04") 15
G string 1.5mm (0.06") 22
D string 1.0mm (0.04") 15
A string 1.0mm (0.04") 15
E string 2.0mm (0.08") 20
B string 2.0mm (0.08") 10
*1 The distance between the string and magnetic
yoke when the string is fretted on its highest
note.
*2 The G50’s individual input gain settings (1-50).
Use the supplied clearance gauge (1mm (0.04")
thick) to check pickup clearance. Put two gauges
together to check for a clearance of 2mm (0.08").
■ First, make sure the truss rod and string
height are properly adjusted, then tune the
strings to their normal pitch.
■ Determine the optimum method of attach-
ing the divided pickup.
Refer to the “Select the Method of Installa-
tion” section on page 5, and determine the
optimum method of attachment in regards to
the attachment position, materials, type of
body, playing requirements, etc.
■ Use the supplied suction cups to tempo-
rarily attach the Controller to the body so
that it doesn’t get in the way while attach-
ing the Divided Pickup.
Divided Pickup
E string
A string D string
G string
1.5
(0.06")
2.0
(0.08
"
)
1.0 (0.04")
2.0
(0.08
"
)
Bass guitar body
Clearance gauge
20mm
(0.08")
1mm (0.04")
Attaching the Divided Pickup
Unit : mm (inch)
8
■ Attach the Divided Pickup
(Removable) Fittings Attachment
The divided pickup can easily be removed yet
pickup height adjustment is still maintained.
1. Apply the base plate’s double-sided adhesive
tape, to the underside of the base plate. (Do not
remove the backing yet.)
2. Fix the Pickup Attachment Fittings to the
Divided Pickup with the screws and springs.
For proper height adjustment, select the best
length screw (6, 8, 10, 12mm).
To start with, loosely fix the pickup with the
6mm screws, and adjust the height after the base
plate is attached to the body.
3. Use the 3x6 screws (with washer) to attach the
pickup attachment fittings to the base plate.
4. With the pickup carefully positioned on the bass
body, mark the position where the base plates
(left/right) will be attached.
5. Remove the backing from the double-sided
adhesive tape on the base plates (left/right).
6. Without letting the adhesive side of the tape
come in contact with the bass body, position the
base plate over the place where it is to be
attached and then lower the base plate onto the
body surface.
* Holding both ends of the pickup, apply light
pressure to attach the pickup to the body.
* If the base plate is to be attached with screws,
remove the pickup and pickup attachment fittings
from the base plate. Drill a 2mm (0.08”, approx).
diameter hole into the bass guitar’s body making
sure that the hole is drilled vertically. Use the plate
tapping screws (3x10mm) to fix the base plate to
the bass guitar body.
7. With the bass properly tuned, use the small
screws to adjust the distance between each of
the strings and their corresponding pickup yoke.
With each string fretted at its highest note on the
neck, check the distance between each string
and its corresponding pickup using the supplied
clearance gauge (→ pg. 7).
* To remove the base plate from the bass guitar’s
body, use a minus screwdriver to gently pry the
base plate from the body, or use a pair of pliers to
lift the base plate from the body. Either way, be
careful not to scratch or damage the bass guitar
body or the base plate while removing the base
plate.
8. Once pickup height has been properly set, adjust
the individual input levels on the Guitar MIDI
Converter (Refer to pg. 14. Also, the Guitar
MIDI Converter manual).
The pickup can be removed by loosening the
3x6mm small screws (with washer), and sliding
the pickup attachment fittings out of the base
plate. The next time the pickup is attached to
the base plate, the previously set height
adjustment will be maintained so further
height adjustment will not be necessary.
Double-Sided
Adhesive Tape for
Base Plate
* If the base plate is in contact with the bass
guitar’s volume knob or, removal and replace-
ment of the divided pickup is hindered, attach
the base plate in the direction shown in the
illustration below.
Remove in the order shown (1→ 2).
Small Screw
(3x6 with washer)
Base Plate
(Right)
Base Plate (Left)
Small Screw
(3x6/8/10/12)
Step 2
Small Screw
(3x6 with washer)
Plate Tapping
Screw (3x10)
Pickup
Attachment
Fitting (Left)
Base Plate (Left)
Step 1
Step 3
Volume Knob, etc.
Attaching the Divided Pickup
Spring
Divided Pickup
9
Double-Sided Adhesive Tape Attachment
2. Determine how many spacers and/or cushions
will be needed to attain proper height for the
pickup.
With the backing still in place, stack spacers
A (1mm thick), B (0.3mm thick), and the
cushion underneath both ends of pickup (with
the pickup underneath the strings) until proper
clearance between the strings and magnetic
yokes is achieved (→ pg. 7). Do not remove
the backing from the cushions or spacers
when initially setting up the pickup height.
Initially use spacers A (1mm thick) and the
cushion to gain the approximate height
necessary, then use spacers B (0.3mm thick)
to fine-tune the height of the pickup.
* Before you adjust the pickup height, make sure
that the bass guitar is properly tuned.
* Please note that the cushion/spacer backing
adds about 0.1 millimeter to their thickness, so
take this added thickness into account when
using a number of spacers.
* If the body surface is not flat, use the double-
sided adhesive tape or cushion to attach the
pickup to the bass guitar body so that the
pickup properly adheres to the body.
* If you need to compensate for differences in
height between the low and high strings, cut
the double-sided adhesive tape and cushion
into one-quarter or one-third widths and adjust
the height.
3. Once the number of pieces has been deter-
mined, apply the cushions (with double-sided
adhesive) or double-sided adhesive tape to the
bottom of the pickup, then apply one spacer
and check the clearance with the clearance
gauge while the highest note on the neck is
fretted (→ pg. 7). Add spacers one by one,
continually checking the clearance, until the
proper height is attained. Do not remove the
backing from the tape that is used to attach to
the pickup to the bass guitar body until you
are sure that proper height is achieved.
4. Once the proper height is achieved, remove
the backing from the tape used to attach the
pickup to the body. Keeping the exposed tape
from coming into contact with the body, slide
the pickup under the strings. From the high
string side of the bass guitar, slide a minus
driver or similar tool under the strings, to help
support the pickup from the opposite side.
Once the pickup is slid into position, attach
the pickup/spacer assembly to the body.
* Make sure that the bass body is free from dust
and oil which might prevent the adhesive from
sticking to the body.
* Holding both ends of the pickup, apply light
pressure to attach the pickup to the body.
5. Once the pickup is attached and the height
has been adjusted, adjust the input gain levels
on the Guitar MIDI Converter (Refer to pg.
14. Also, the Guitar MIDI Converter manual).
* To remove the divided pickup from the body
without causing damage to the bass body, leave
the spacer attached to the body in place and
gently pry off the second layer spacer.
Backing
Cushion or
Double-Sided
Adhesive Tape
Spacer
A or B
Attaching the Divided Pickup
Use the cushions and spacers to adjust the height
of the pickup, and use the double-sided adhesive
tape to attach the pickup to the bass guitar.
1. Cut in half the spacers (A, B) used to adjust
the pickup’s height.
10
Use the following steps if you need to read-
just the pickup height.
1. Determine the number of spacers you need
to add or remove.
2. Remove only the pickup from the body.
Without applying any excessive force to
the pickup, carefully pry the pickup from
the spacers by sliding a thin, flat object
under the low string end of the pickup,
and gently lifting the pickup away from
the spacer.
* Bending or twisting the pickup may cause
the coil inside the pickup to snap, resulting
in a damaged pickup. Use caution.
Screw and Spring Attachment
It will be necessary to drill holes in the bass
guitar body to attach the pickup with screws
and springs.
1. Place the pickup in the position in which it
will be attached, then carefully mark the
centers of the two screw holes at either end of
the pickup on the bass guitar body.
2. Drill the screw holes. Carefully drill a 2mm
(0.08", approx.) diameter hole at both marked
locations. Make sure that the holes are drilled
vertically.
3. Insert the springs into the underside of the
pickup, insert the tapping screws (3x25)
through the screw holes and springs, and
screw the screws in the holes in the body.
4. With the bass properly tuned, adjust the
pickup height by loosening or tightening the
pickup screws. Adjust the clearance while the
highest note on each string is fretted. Pickup
clearance can be checked using the supplied
clearance gauge (→ pg. 7).
5. If proper clearance is achieved, adjust the
input gain levels on the Guitar MIDI Con-
verter (Refer to pg. 14. Also, the Guitar MIDI
Converter manual).
3. Carefully remove the double-sided tape
from the underside of the pickup.
4. Readjust the height as required. If spacers
must be added, remove the double-sided
tape from the existing spacer. If spacers
must be removed, be sure to remove both
the spacer and its double-sided tape.
5. Finally, attach fresh double-sided tape or a
cushion to the bottom of the pickup,
remove the backing, carefully attach the
pickup to the uppermost spacer.
6. Re-tune the bass and check the clearance
with the supplied clearance gauge.
7. If proper clearance is achieved, adjust the
input gain levels on the Guitar MIDI
Converter (Refer to pg. 14. Also, the
Guitar MIDI Converter manual).
Tapping Screw
3x25
Attaching the Divided Pickup
11
■ Decide the position for
attaching the controller.
Consider the following points carefully when
deciding on the best location to install the controller.
• The controller and cable should not hinder perfor-
mance.
• The controller should not block of hamper access to
any of the bass guitar’s controls: volume, tone,
switches, etc.
• The B1D controller should be positioned in an
easily accessible position.
• Do not position the controller in a manner that will
apply excessive force to the cord that connects the
divided pickup and controller.
• Do not position the controller in a manner that will
apply excessive force to the cord that connects the
direct bass guitar signal and controller.
• Do not position the controller in a manner that will
apply excessive force on the controller or cords
when the bass is placed on a guitar stand.
• Do not position the controller in a manner that will
apply excessive force on the B1D or bass guitar
when the bass is placed in its case.
■
Determine the optimum method
of attaching the controller.
Refer to the “Select the Method of Installation”
section on page 5, and determine the optimum
method of attachment in regards to the attachment
position, materials, type of body, playing require-
ments, etc.
Before you install the controller, disconnect the
direct bass guitar signal cable and the 13-pin cable
from the controller.
■ Attach the Controller
Velcro Tape Attachment
1. With the male and female portions of the
Velcro still attached, cut the Velcro tape into
three pieces, and attach one side of the Velcro
to the underside of the controller.
2. Remove the backing from the other side of
the Velcro tape, and attach the controller to
the bass guitar’s body.
Attaching the Controller
13-pin
Cable
Bracket Attachment
1. Use the two screws (marked with arrows) on
the bottom of the controller to attach the
bracket to the controller.
2. Attach an appropriate number of cushion
(double-sided adhesive) to the bracket so that
the bass guitar surface does not come in
contact with the screw heads, and attach the
bracket to the guitar in the appropriate posi-
tion.
Divided
Pickup
Controller
Secure any excess cord to
the bass body with tape.
Direct Bass Guitar Signal Cable.
Bottom of Controller
Cut the Velcro into 3
pieces.
Cushion
(Double-sided Adhesive)
12
The bracket can also be fixed to the bass guitar
using the strap pin.
An alternate method is to attach the bracket using
the bass guitar’s strap pin. Loosen the screw
holding the strap pin to the bass guitar body, slide
the slot in the bracket under the pin, then tighten
the pin screw until the bracket is held firmly in
position.
* Attach enough cushion (double-sided adhesive) so
that the screws, that are used to fix the bracket to
the controller, do not come in contact with the
bass guitar body.
* Repeated loosening and tightening of the strap
pin, or application of excessive force to the
bracket, can cause the strap pin screw to become
loose.
* The bracket can also be used in combination with
suction cups.
Cushion Attachment
Attach three pieces of controller cushion to the
bottom of the controller.
Suction Cup Attachment
Insert the three suction cups into the three holes on
the bottom of the controller unit, then simply press
the controller unit onto the bass guitar top at the
appropriate location.
* Make sure the surface or your bass guitar top is
free from any dirt and grease.
* The suction cups can be removed by slightly lifting
the edge of each cup.
If your bass guitar body is not flat (arched top, etc.),
use as many of the controller cushions (double-
sided adhesive) as needed in the appropriate
location(s) to position the controller as required.
* Make sure the surface or your bass guitar top is free
from any dirt and grease.
Screw Attachment
Double check the attachment position of the
controller before attaching.
1. Place the controller in exactly the position it
is to be installed, and mark the center of the
screw hole. Set the controller unit aside and
carefully drill a 2mm (0.08", approx.)
diameter hole at the marked location. Make
sure the hole is drilled vertically.
2. In the same manner described in the “Double-
sided Adhesive Tape Attachment” section,
attach the double-sided adhesive tape to the
bottom of the controller unit.
3. Making sure that the screw hole in the control-
ler is perfectly aligned with the screw hole,
attach the controller unit to the bass guitar
body. Screw the supplied self-tapping screw
(3x16mm) into the pre-drilled hole in the body
through the hole in the controller. Make sure
that the screw does not go in crooked.
Screw Hole
Attaching the Controller
13
Make sure the power is OFF on all related
equipment before making any connections.
Also, set the amp volume to its lowest setting.
1. Use the direct bass guitar signal cable to
connect the bass guitar’s output jack to the
B1D’s bass guitar input jack.
* Always connect the direct bass guitar signal cable,
even if you don’t intend to use the direct bass
guitar sound. The direct signal cable is essential for
proper grounding, to minimize noise, and prevent
electric shock.
Connections
2. Use the 13-pin cable to connect the Guitar
MIDI Converter’s Divided Input to the B1D.
Direct Bass Guitar
Signal Cable
13-pin Cable
* For extra security and to prevent damage it is a
good idea to pass the cable between the strap and
bass guitar body near the body strap pin.
* The special 13-pin cable is of a locking type. To
disconnect the cable, always unlock the cable and
then remove the cable by gripping the plug firmly,
not by pulling on the cable.
2. Unplug cable by gripping
the plug firmly.
1. Press release button.
Strap
13-pin Cable
3. Connect the tone generator, bass amp, and
any other related devices to the Guitar
MIDI Converter.
4. Adjust the pickup settings on the Guitar
MIDI Converter (Refer to your Guitar
MIDI Converter manual).
If you are using the G50 Guitar MIDI Con-
verter, set the GUITAR/BASS mode switch
located on the rear panel of the G50 to the
BASS position.
5. Turn ON the power in the following order,
Tone Generator→Guitar MIDI Converter→
Related Equipment→Bass Amp
The B1D power indicator should light. If you
are using the G50, “ ASS” will appear in
the display. With this, connection is finished
and you are ready to play.
* If the indicator does not light, double check all
connections.
G50 Rear Panel Connections
to tone generator
MU80, VL70-m, etc.
from foot switch
FC4, FC5, etc.
from MIDI foot controller
MFC10, etc.
to bass amp.
14
If you are using the Yamaha Guitar MIDI Converter G50, set the following settings
on the G50.
Also, if you play with your fingers, the picking
finger may hit the adjacent low string causing
unwanted triggering of the lower string (ex. when
you play the A string, notes on the E string sound),
so it is preferable to use lower input gain settings
(E string) to remedy this problem.
On the same fret play with the same amount of
force on all of the strings, while checking the
balance of the input level value set the input gain
level and make sure that each string is in balance
with the others (→ Refer to the list on pg. 7).
● Set the Playing Style (Refer to the
G50 owner’s manual: pg. 14)
The Playing Style setting adjusts the G50’s input
level and velocity to the playing style you intend to
use.
Pic (Pick): Pick mode
Standard setting for the bass mode, good for
playing with your fingers. If you play with a pick
or use a tapping technique, this mode should also
be used.
SLP (Slap): Slap mode
Use this mode if you use a slap technique. How-
ever, it is recommended that you mix the direct
bass sound with the synth so that the slap attack
covers up any delay in the triggering of synth
sounds.
G50 Settings
● Guitar/Bass Mode Switch
With the G50 power switched OFF. Set the
GUITAR/BASS mode switch, located on the rear
panel of the G50, to the BASS position.
When the G50 is in the BASS mode, “ ASS”
will appear on the G50 display when the power is
switched ON. Verify.
● Load the Bass Preset Program
With the G50 set to the BASS mode, bass preset
program memory will be loaded into the G50’s
memory when the Initialize operation (→ refer to
the G50 owner’s manual: pg. 20) or the Preset
Program Set operation (→refer to the G50 owner’s
manual: pg. 8) is carried out.
* Bass Preset Program List
(Refer to the G50 owner’s manual: pg. 25).
* When the G50 is initialized, all program data
stored in the G50 will be erased (it will be replaced
with new data). If you have any data you want to
save, use the MIDI bulk dump operation to save
the data to an external MIDI device (→Refer to the
G50 owner’s manual: pg.19).
● Set the Input Gain (Refer to the G50
owner’s manual: pg. 9)
Under normal playing conditions, the input level
value should be between 20 and 60, playing harder
may increase the level to about 90 or more.
However, the level for the E and B strings may
only reach 80 when played hard.
Even if the input level is set to the above levels,
you may experience double notes, other notes may
sound, or the 5th and 7th fret harmonics may
unexpectedly sound, so the input gain level for
each string should be carefully adjusted. Particu-
larly, the E and B strings should be set to low
levels (5-10).
15
After connection and setup is finished, try to play your bass guitar.
Controller and Switch
● Play a synth sound only
• Set the output select switch to the SYNTH
position
• Use the VOL knob to control the synth
volume. Turn the knob right to increase the
volume and left to decrease.
• The UP/DOWN buttons can be used to select
different synthesizer voices and other func-
tions on the Guitar MIDI Converter.
If you are using the G50, you can increase or
decrease, by a value of one, Program Memory
Numbers, Parameter Values, Program Num-
bers, and Octave Shift Values.
Refer to the Guitar MIDI Converter manual
for more information.
● Play the Bass Guitar sound only.
• Set the output select switch to the BASS
position.
• The bass direct signal volume will not change
even if the VOL knob is turned.
● Play the Bass Guitar and Synth sounds
together.
• Set the output select switch to the MIX
position.
• Turning the VOL knob changes the synthesizer
volume only. The bass guitar’s volume will not
change.
• The UP/DOWN buttons function is identical to
that described in the “Play a synth sound only”
section above.
Volume Control
Memory or Parameter,
etc., switch
16
Please use the following functions to get the most out of your B1D and G50.
How can you effectively use the Split
Mode functions?
As an example, you can play a slap bass tone on the
first and second strings, and a fingered bass tone on
the third and fourth strings, each style (or string) can
be assigned sounds. You can get the best characteristics
out of each style (or strings) by assigning different
tones to different strings (→ Refer to the G50 owner’s
manual: pg. 17).
How can you effectively use the Split
Mode in relation to picking position.
As an example, you can set up your bass so that by
playing in the normal picking position you can play a
fingered bass tone, and playing closer to the bridge
you can play a slap bass tone, and switch between the
two sounds by just changing your playing position (→
Refer to the G50 owner’s manual : pg. 16 [Q: Split]).
Program change data is transmitted when the split
mode is active (when the tone is changed), and this
data can be used with a sequencer as well.
How can you effectively use the
Picking Position Control function?
If you set the G50’s [H: Program Number] to a synth
bass tone, and set the [T: Picking Position Control] to
“74” (filter cut-off frequency), you can create a techno-
bass tone (→ Refer to the G50 owner’s manual: pg. 17).
How can you effectively use the Touch
Control function?
If you set the G50’s [H: Program Number] to a synth
bass tone, and set the [W: Touch Control] to “74”
(filter cut-off frequency), you can create a synth-bass
tone (→ Refer to the G50 owner’s manual: pg. 17).
How can you effectively use the
Sustain 2 function?
Use a non-decaying tone, pluck and hold the lowest
string (multiple strings can also be held), and you can
play a melody on the other strings while the low string
pitch sustains
(→ Refer to the G50 owner’s manual: pg. 18).
How can you effectively use the Hold
function?
Use a non-decaying tone, play a chord and hold it,
play a melody with a different tone while the chord
holds. Also, by assigning an [H: Program Number]
program that is set to “oFF”, to the [Y: Sustain/Hold
Pedal] you can hold a chord and play the direct bass
sound over the chord (→ Refer to the G50 owner’s
manual: pg. 18).
Is the direct bass sound, coming from the
G50, inferior?
The B1D has an internal buffer so there should be no
problems with noise, but variations in signal levels
may make the sound produced by the G50 may be a
little louder or softer than the bass’s direct sound.
Getting the most out of your B1D & G50
What playing style will you use?
Set the G50’s [A: Playing Style] to the “Pic” (pick)
setting if you are going to play with your fingers.
When using a pick, as long as you use a firm attack, not
letting the pick “slide” over the strings, there should be
no problems.
If you are going to use a slap technique, set the [A:
Playing Style] to the “SLP” (slap) setting. However, it
is recommended that you mix the direct bass sound with
the synth so that the slap attack covers up any delay in
the triggering of synth sounds.
Also, the synth sound is sometimes delayed due to the
difficulties in accurately processing the slap attack, it is
recommended that a “sweep” type of synth sound be
used to provide a better overall sound (→ Refer to the
G50 owner’s manual: pg. 14).
Can you adjust the dynamics?
Set the G50’s [D: Velocity] setting according to the type
of sound you will be using. The following settings are
possible, “nAr” (narrow), “nor” (normal), “uui”
(wide), “1”-”127” (fixed). The velocity setting
specifies how the G50 will control the dynamic range of
your playing style.
When programming data for a sequencer “nAr” or
“1”-”127”
(fixed) settings will keep velocity data to a
average.
Also, the “uui” (wide) setting can be used in conjunc-
tion with a velocity switch to change synth sounds with
velocity (→ Refer to the G50 owner’s manual: pg. 14).
Do you want to decrease pitch bend data
going to the sequencer?
Set the G50’s [E: Chromatic] setting to “On” or “Au”.
Or set the [G: Pitch Bend Range] setting to “0” and
pitch bend data will not be produced at all (→ Refer to
the G50 owner’s manual: pgs. 14-15).
Can you control the synthesizer’s attack
and release?
By setting one of the G50’s control numbers as follows
[M(O): Assignable Control Number] to “73” (Attack
Time) or to “72” (Release Time), you can control the
parameter with [N(P): Assignable Control Value]. Value: 0
(Short) - 64 (Factory Default) - 127 (Long) (→ Refer to
pg. 16 in the G50 Owner’s Manual).
Depending on the type of tone generator, it may be
impossible to carry out some control changes. If that is the
case, the Attack and Release Times should be set on the
tone generator itself.
Do you use a fretless bass?
You can use a fretless bass as well as fretted one. If you
set the G50’s [E: Chromatic] setting to “oFF”, the
sensitivity and unique pitch characteristics of the fretless
bass will be accurately reproduced by the G50 (
→ Refer
to the G50 owner’s manual: pgs. 14-15
).
17
If you think there may be a problem with your B1D and G50, first check the infor-
mation below for a possible solution. If that does not solve the problem, contact the
nearest Yamaha dealer or the music store where you purchased the device.
Troubleshooting
Low pitches produce no sound.
→ Is the GUITAR/BASS selector switch on the rear
panel of the G50 set to BASS? (→ pg. 14).
Multiple notes sound.
→ If the string vibrates against a fret other, than the
one being fretted, the resulting noise may interfere
with the pitch being played. Try readjusting the
neck of your bass guitar or adjust the string height
to eliminate unwanted noise.
→ Are the strings coming into contact with the divided
pickup? Adjust the height of the pickup (→ pg. 7).
→ Is the G50 Input Level set too high? Try lowering
the Input Gain Level (→ pg. 7 & 14).
→ Are your fingernails hitting a string or do you rub
the pick against a string? If you play hard you may
get multiple notes even if the Play Style is set to the
“SLP” (slap) mode.
→ Is the G50 [G: Pitch Bend Range] setting set to
“0”? Try setting it to “12” (→ G50 owner’s
manual: pg. 15).
Strings sound without being played.
→ Is the G50 Input Level set too high? You can
control the problem using the G50 [B: Note ON
Level] but, first try lowering the Input Gain Level
(→ pg. 7 & 14. Also, the G50 owner’s manual: pg.
14).
The 5th and 7th fret harmonics sound.
→ If the G50’s Input Level is set too high, harmonics
will easily be picked up by the pickup. Try lowering
the Input Gain Level (→ pg. 7 & 14).
→ Harmonics are easily produced if the string is
fretted exactly on top of the fret and then the finger
is removed from the string. Try fretting the string
slightly behind the fret.
The pitch is off.
→ Are the strings coming into contact with the divided
pickup? Adjust the height of the pickup (→ pg. 7).
→ Is the G50’s Input Level set too high? Try lowering
the Input Gain Level (→pg. 7 & 14).
→ Properly tune the bass guitar. Also, make sure the
frets are properly tuned. If the G50 [E: Chromatic]
setting is set to “On”, pitch bend can only be done
in half-tone increments, even using the “Au”
setting, if the bass guitar’s pitch is slightly off, that
pitch will be used as the center of the pitch bend
(→ G50 owner’s manual: pg. 14).
→ If the G50 [G: Pitch Bend Range] and the pitch
bend range setting on the tone generator differs,
the pitch will be off. When you change programs
with the G50, the program’s pitch bend range data
is transmitted to the tone generator but, depending
upon the type of tone generator, pitch bend range
data may not be received. In that case, the pitch
bend range should be set on the tone generator
itself.
If you send data to a MIDI sequencer, the pitch
bend range and pitch bend center information must
be set in the very beginning of the song in order
for the sequencer to play back at the correct pitch.
→ Depending upon the type of tone (piano, etc). you
are using, pitch bends may not match well. In that
case try setting the G50 [E: Chromatic] to “On”
or, [G: Pitch Bend Range] to “0” (→ G50 owner’s
manual: pg. 14).
Vibrato is not detected.
→ Set the G50 [E: Chromatic] setting to “oFF”. If it
is set to “On”, pitch bend will only change the
pitch by half-tone increments or decrements. If it is
set to “Au” it will be hard to detect the slight
variations of the vibrato pitch (→ G50 owner’s
manual: pg. 14).
The pitch lowers a half-step when your
finger is removed from the fret.
→ When you play the bass directly, the same thing
happens, it’s just that the sound fades so quickly
that you don’t notice. This problem often occurs
when tones with a long release time are used. If
that is the case, try setting the G50 [E: Chromatic]
to “On” and [G: Pitch Bend Range] to “12”. Or,
try setting the [G: Pitch Bend Range] to “0”.
When you glissando, new notes are
triggered as you slide up the neck.
→ If the range set in [G: Pitch Bend Range] is
exceeded, a new note on will be produced. Change
the range value (→ G50 owner’s manual: pg. 15).
→ Is the G50’s Input Level set too high? Try lowering
the Input Gain Level (→pg. 7 & 14). Or, play a
note softly before you glissando.
18
● Main Function
Synthesizer Volume Knob
Output Selector Switch (BASS/MIX/SYNTH)
UP/DOWN Buttons
Power Indicator
Divided Pickup (6-string independent)
Direct Bass Guitar Input Jack
B1D Output Jack (Divided Pickup + Bass
Guitar Signal)
● Package Contents
Direct Bass Guitar Cable (1/4" mono phone
←→ mono mini-plug)
Hardware Parts for Installation
Specifications
● Bass Guitar String Spacing
4-string : 17-20mm (0.67"-0.79")
5-string : 18-20mm (0.71"-0.78")
6-string : 18-19mm (0.71"-0.75")
● Weight
78 g (2 lbs.12oz)
● Dimensions (W x D x H)
85.1mm x 75.9mm x 28.8mm
(3-3/8" x 2-15/16" x 1-1/8")
Unit : mm (inch)
152.8 (6")
141.8 (5-9/16")
85.1 (3-3/8")
75.9
(2-15/16")
8.3
(5/16")
7.3
(5/16")
11.0
(7/16")
19
YAMAHA• GUITAR• MIDI• CONVERTER
Close interaction between Yamaha
and some today’s leading artists
lead to the development the TRB
line. These 4-,5-, and 6-string
basses reflect the growing needs
of today’s discriminating bassists.
Each is a statement of quality
craftsmanship and technological
vision that offers unmatchable
sound and playability.
YAMAHA• ELECTRIC• BASSES
The G50 is a high-performance Guitar MIDI Converter designed to work in conjunction
with the Yamaha B1D Divided Pickup Unit installed on an electric or steel-string acous-
tic guitar. The G50 offers unprecedented MIDI guitar synthesizer performance with
exceptionally fast response and a range of advanced features that bring the true
creative potential of MIDI control to guitar players for the first time.
TRB-4
Natural Satin
TRB-6
Cherry Sunbust
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Yamaha B1D Instrukcja obsługi

Yamaha
Marka
Yamaha
Model
B1D
Kategoria
Akcesoria gitarowe
Typ
Instrukcja obsługi
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