Yamaha MU100 El manual del propietario

Marca: Yamaha

Modelo: MU100

Categoría: Instrumentos musicales

Tipo: El manual del propietario

Este manual también es adecuado para

MU100B

TONE GENERATOR

OWNER'S MANUAL

BEDIENUNGSANLEITUNG

MODE D'EMPLOI

FCC INFORMATION (U.S.A)

1. IMPORTANT NOTICE : DO NOT MODIFY THIS UNIT!

This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not

expressly approved by Yamaha may void your authority, granted by the FCC, to use the product.

2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s

supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC

authorization to use this product in the USA.

3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B”

digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a

residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio

frequencies and, if not installed and used according to the instructions found in the user’s manual, may cause interference harmful to

the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all

installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”,

please try to eliminate the problem by using one of the following measures:

Relocate either this product or the device that is being affected by the interference.

Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s.

In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in

to co-axial type cable.

If these corrective measures do not produce satisfactory results, please contact the your local retailer authorized to distribute this type of

product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division,

6600 Orangethorpe Ave, Buena Park, CA 90620

The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.

NEDERLAND / THE NETHERLANDS

• Dit apparaat bevat een lithium batterij voor geheugen back-up.

• This apparatus contains a lithium battery for memory back-up.

• Raadpleeg uw leverancier over de verwijdering van de batterij

op het moment dat u het apparaat ann het einde van de

levensduur afdankt of de volgende Yamaha Service Afdeiing:

Yamaha Music Nederland Service Afdeiing

Kanaalweg 18-G, 3526 KL UTRECHT

Tel. 030-2828425

• For the removal of the battery at the moment of the disposal at

the end of the service life please consult your retailer or Yamaha

Service Center as follows:

Yamaha Music Nederland Service Center

Address: Kanaalweg 18-G, 3526 KL UTRECHT

Tel : 030-2828425

• Gooi de batterij niet weg, maar lever hem in als KCA.

• Do not throw away the battery. Instead, hand it in as small

chemical waste.

ADVARSEL!

Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering.

Udskiftning må kun ske med batteri af samme fabrikat og

type. Levér det brugte batteri tilbage til leverandoren.

VARNING

Explosionsfara vid felaktigt batteribyte. Använd samma

batterityp eller en ekvivalent typ som rekommenderas av

apparattillverkaren. Kassera använt batteri enligt fabrikantens

instruktion.

VAROITUS

Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda

paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin.

Hävitä käytetty paristo valmistajan ohjeiden mukaisesti.

• This applies only to products distributed by Yamaha Canada Music Ltd.

• Ceci ne s’applique qu’aux produits distribués par Yamaha Canada Musique Ltée.

CANADA

This Class B digital apparatus complies with Canadian ICES-003.

Cet appareil numérique de la classe B est conforme à la norme NMB-003 du Canada.

This product utilizes batteries or an external power supply

(adapter). DO NOT connect this product to any power

supply or adapter other than one described in the manual, on

the name plate, or specifically recommended by Yamaha.

WARNING: Do not place this product in a position where

anyone could walk on, trip over ,or roll anything over power

or connecting cords of any kind. The use of an extension cord

is not recommended! IF you must use an extension cord, the

minimum wire size for a 25' cord (or less ) is 18 AWG. NOTE:

The smaller the AWG number ,the larger the current handling

capacity. For longer extension cords, consult a local electri-

cian.

This product should be used only with the components

supplied or; a cart, rack, or stand that is recommended by

Yamaha. If a cart, etc., is used, please observe all safety

markings and instructions that accompany the accessory

product.

SPECIFICATIONS SUBJECT TO CHANGE:

The information contained in this manual is believed to be

correct at the time of printing. However, Yamaha reserves

the right to change or modify any of the specifications

without notice or obligation to update existing units.

This product, either alone or in combination with an ampli-

fier and headphones or speaker/s, may be capable of produc-

ing sound levels that could cause permanent hearing loss.

DO NOT operate for long periods of time at a high volume

level or at a level that is uncomfortable. If you experience

any hearing loss or ringing in the ears, you should consult an

audiologist.

IMPORTANT: The louder the sound, the shorter the time

period before damage occurs.

Some Yamaha products may have benches and / or accessory

mounting fixtures that are either supplied with the product or

as optional accessories. Some of these items are designed to

be dealer assembled or installed. Please make sure that

benches are stable and any optional fixtures (where applica-

ble) are well secured BEFORE using.

Benches supplied by Yamaha are designed for seating only.

No other uses are recommended.

NOTICE:

Service charges incurred due to a lack of knowledge relating

to how a function or effect works (when the unit is operating

as designed) are not covered by the manufacturer’s war-

ranty, and are therefore the owners responsibility. Please

study this manual carefully and consult your dealer before

requesting service.

ENVIRONMENTAL ISSUES:

Yamaha strives to produce products that are both user safe

and environmentally friendly. We sincerely believe that our

products and the production methods used to produce them,

meet these goals. In keeping with both the letter and the

spirit of the law, we want you to be aware of the following:

Battery Notice:

This product MAY contain a small non-rechargeable battery

which (if applicable) is soldered in place. The average life

span of this type of battery is approximately five years.

When replacement becomes necessary, contact a qualified

service representative to perform the replacement.

This product may also use “household” type batteries. Some

of these may be rechargeable. Make sure that the battery

being charged is a rechargeable type and that the charger is

intended for the battery being charged.

When installing batteries, do not mix batteries with new, or

with batteries of a different type. Batteries MUST be in-

stalled correctly. Mismatches or incorrect installation may

result in overheating and battery case rupture.

Warning:

Do not attempt to disassemble, or incinerate any battery.

Keep all batteries away from children. Dispose of used

batteries promptly and as regulated by the laws in your area.

Note: Check with any retailer of household type batteries in

your area for battery disposal information.

Disposal Notice:

Should this product become damaged beyond repair, or for

some reason its useful life is considered to be at an end,

please observe all local, state, and federal regulations that

relate to the disposal of products that contain lead, batteries,

plastics, etc. If your dealer is unable to assist you, please

contact Yamaha directly.

NAME PLATE LOCATION:

The name plate is located on the rear of the product. The

model number, serial number, power requirements, etc., are

located on this plate. You should record the model number,

serial number, and the date of purchase in the spaces pro-

vided below and retain this manual as a permanent record of

your purchase.

Model

Serial No.

Purchase Date

SPECIAL MESSAGE SECTION

PLEASE KEEP THIS MANUAL

92-BP

TONE GENERATOR

OWNER'S MANUAL

BEDIENUNGSANLEITUNG

MODE D'EMPLOI

FRANÇAIS

DEUTSCH

ENGLISH

Welcome to the MU100

How to Use This Manual

Welcome to the MU100

Congratulations and thank you for purchasing the Yamaha MU100 Tone

Generator!

The MU100 is an advanced tone generator providing an amazing total of

1313 high-quality Voices, full General MIDI compatibility — including

Yamaha’s XG — plus flexible computer interfacing in a compact, easy-

to-use half-rack unit.

With the convenient built-in host computer interface and MIDI termi-

nals, the MU100 is ideal for any computer music system — from connec-

tion to a simple laptop to integration in a complete MIDI studio. With its

large LCD and the intuitive graphic controls on the display, the MU100 is

remarkably easy to use.

The MU100 also features completely independent dual MIDI inputs, 32

Part multi-timbral capacity and full 64-note polyphony for playback of

even the most sophisticated song data. A special Performance mode

gives you flexible four-Voice operation, for live performance applications.

Also built into the system are six digital multi-effects and two EQ sec-

tions (one per-part, and one overall), which give you enormous versatility

in “sweetening” the sound. What’s more, the MU100 provides a host of

comprehensive, yet easy-to-use editing tools for getting just the sound you

need.

The MU100 has a convenient A/D input that allows you to connect a mi-

crophone, electric guitar or other instrument, and mix those signals with

the MU100’s Voices. A plug-in connector is also built into the MU100 for

easy integration with the XG Plug-in System.

* Company names and product names in this Owner’s Manual are the trade-

marks or registered trademarks of their respective companies and are

hereby acknowledged.

Unpacking

How to Use This Manual

MU100 Serial No.:

PA-5B AC Power Adaptor*

Owner’s Manual

CD-ROM “XGtools”

Unpacking

Your MU100 package should include the items listed below. Make sure that

you have them all. Also, write down the serial number of your MU100 in the

box below, for future reference.

GM System Level 1

“GM System Level 1” is a standard specification that defines the arrange-

ment of voices in a tone generator and its MIDI functionality, ensuring

that data can be played back with substantially the same sounds on any

GM-compatible tone generator, regardless of its manufacturer or model.

Tone generators and song data that meet the “GM System Level 1” bear

this GM logo.

“XG” is a tone generator format that expands the voice arrangement of the

“GM System Level 1” specification to meet the ever-increasing demands

of today’s computer peripheral environment, providing richer expressive

power while maintaining upward compatibility of data. “XG” greatly ex-

pands “GM System Level 1” by defining the ways in which voices are ex-

panded or edited and the structure and type of effects.

When commercially available song data bearing the XG logo is played

back on a tone generator which bears the XG logo, you will enjoy a full

musical experience that includes unlimited expansion voices and effect

functions.

About the XG Plug-in System

This system offers powerful expansion and upgrade capabilities for XG-

Plug-in-compatible tone generators.

The XG Plug-in System enables you to equip the tone generator with the

latest and most sophisticated technology, ensuring that you keep pace with

the rapid and multi-faceted advance in modern music production.

* Power supply recommendation may vary from country to country.

Please check with your nearest Yamaha dealer for further details.

Table of Contents

TABLE OF CONTENTS

Table of Contents

Welcome to the MU100.......................................................................................................... 6

Unpacking ............................................................................................................................... 7

Table of Contents ................................................................................................................... 8

How to Use This Manual ..................................................................................................... 12

PRECAUTIONS................................................................................................................... 13

The Controls of the MU100 ................................................................................................ 15

Front Panel.................................................................................................................. 15

Rear Panel................................................................................................................... 18

The MU100 — What It Is and What It Can Do ............................................................... 19

What It Is... ..................................................................................................................... 19

About General MIDI .................................................................................................. 19

About XG-format ....................................................................................................... 20

What It Can Do... ........................................................................................................... 20

Using With a MIDI Keyboard .................................................................................... 20

Using with the XG Plug-in System ............................................................................ 21

Using With a Computer or Sequencer........................................................................ 21

About the Modes of the MU100 .................................................................................... 22

Play Modes and the Part Controls .............................................................................. 23

Part Edit Mode............................................................................................................ 23

Utility Mode ............................................................................................................... 23

Modes and Function Tree.................................................................................................... 24

GUIDED TOUR

Setting Up Your MU100................................................................................................. 28

What You'll Need........................................................................................................ 28

Making the Connections............................................................................................. 28

Powering Up.................................................................................................................... 30

Playing the Demo Song .................................................................................................. 31

Setting Up the MU100 in Your Music System ............................................................. 33

Connecting to MIDI Devices ..................................................................................... 33

Connecting Directly to a Computer ........................................................................... 35

Macintosh and Compatibles ................................................................................. 35

IBM PC/AT and Compatibles ............................................................................... 37

Selecting and Playing the Performances...................................................................... 39

Calling Up the Performance Play Mode and Playing the Performances................... 39

Selecting and Playing Individual Voices ...................................................................... 42

Calling Up the XG Mode ........................................................................................... 42

Selecting Voice Banks and Voices From the Panel .................................................... 43

Selecting Voices From a MIDI Keyboard .................................................................. 47

Editing in the Multi Mode ............................................................................................. 48

Single Part Controls.................................................................................................... 49

Changing the Volume and Pan settings of a Part.................................................. 50

On Your Own... ............................................................................................... 51

Table of Contents

TABLE OF CONTENTS

Edit Menu Parameters ................................................................................................ 52

Changing the Filter and EG Settings of a Part ..................................................... 52

On Your Own... ............................................................................................... 54

Editing Drum Voices — with the Drum Setup Controls............................................ 55

Making Changes to Individual Drum Sounds — the "Drum" Parameters .......... 56

On Your Own... ............................................................................................... 58

Editing in the Performance Mode ................................................................................ 59

All Part Controls......................................................................................................... 60

Transposing the Overall Key of a Performance......................................................... 61

Single Part Controls — Selecting Different Voices for the Performance.................. 62

On Your Own... ............................................................................................... 63

Edit Menu Parameters — Creating a Two-Voice Layer ............................................ 64

Setting Up a Keyboard Split....................................................................................... 66

On Your Own... ............................................................................................... 67

Using the Assignable Controller in a Performance.................................................... 67

Saving Your Original Performance ............................................................................ 68

Assignable Controller (AC1) ......................................................................................... 69

Controllers and Control Numbers .............................................................................. 69

Control Numbers and the Actual Sound..................................................................... 70

Assigning the Assignable Controller.......................................................................... 71

Using the Assignable Controller — Setting Up ......................................................... 72

Using the Assignable Controller — Some Applications............................................ 73

Changing the Brightness on a Piano Voice........................................................... 73

Experssive Volume Control of a Part ................................................................... 75

Expressive Control of Individual Drum Sounds .................................................. 75

On Your Own... ............................................................................................... 77

Effects .............................................................................................................................. 78

Using Reverb and Chorus........................................................................................... 78

Applying Distortion to a Part — Using the Variation Effects ................................... 80

Equalizer (EQ)................................................................................................................ 82

Adjusting the Tone of a Specific Part — Part EQ...................................................... 82

Adjusting the Overall Tone — Multi EQ ................................................................... 84

Mute/Solo ........................................................................................................................ 85

Using Mute/Solo......................................................................................................... 85

A/D Input ........................................................................................................................ 87

Using the A/D Input ................................................................................................... 87

Data Flow Block Diagram ............................................................................................. 91

MIDI/Computer Connecting Cables ............................................................................ 92

REFERENCE

Multi Mode...................................................................................................................... 95

Part Controls ............................................................................................................... 95

Single Part Control................................................................................................ 96

All Part Control..................................................................................................... 98

Table of Contents

TABLE OF CONTENTS

Multi Edit Mode ....................................................................................................... 100

Filter .................................................................................................................... 100

Envelope Generator (EG) ................................................................................... 102

Equalizer (EQ) .................................................................................................... 105

Vibrato................................................................................................................. 106

Others .................................................................................................................. 107

Drum Setup Controls .......................................................................................... 114

Performance Mode ....................................................................................................... 119

Performance Part Control ......................................................................................... 120

All Part ................................................................................................................ 120

Single Part ........................................................................................................... 121

Performance Edit Mode............................................................................................ 123

Common.............................................................................................................. 123

Part ...................................................................................................................... 126

Copy and Store Operations ...................................................................................... 129

Copy .................................................................................................................... 129

Store .................................................................................................................... 130

Recall Function ................................................................................................... 132

Effect Edit Mode .......................................................................................................... 133

Reverb (REV) ........................................................................................................... 134

Chorus (CHO)........................................................................................................... 135

Variation (VAR) ........................................................................................................ 136

Insertion 1, 2 (INS 1, 2)............................................................................................ 138

About the Effect Connections — System and Insertion .......................................... 139

Equalizer (Multi EQ) Edit........................................................................................... 142

Utility Mode .................................................................................................................. 143

System Functions (SYSTEM) .................................................................................. 144

Dump Out Functions (DUMPOUT)......................................................................... 148

Saving and Restoring Data via MIDI ................................................................. 148

Saving and Restoring Data via TO HOST.......................................................... 148

Initialize Functions (INITIAL)................................................................................. 152

Demo Song Play (DEMO) ....................................................................................... 155

Sound Module Mode (MODE).................................................................................... 156

Miscellaneous Functions.............................................................................................. 157

Show Control Change .............................................................................................. 157

Show Exclusive ........................................................................................................ 159

Table of Contents

TABLE OF CONTENTS

APPENDIX

Installing the Optional XG Plug-in System ............................................................... 163

Introducing the XG Plug-in System ......................................................................... 163

Plug-in versatility like never before ................................................................... 163

XG Plug-in System Integration .......................................................................... 164

The Boards of the XG Plug-in System ............................................................... 164

Introducing the XGworks Plug-in System ......................................................... 165

Installation ................................................................................................................ 166

Prior to Installation ............................................................................................. 166

Basic Information.......................................................................................... 166

Backing Up Data ........................................................................................... 166

The Performance Mode................................................................................. 166

Installing a Plug-in Board into the MU100 ........................................................ 167

Troubleshooting ............................................................................................................ 170

Error Messages ............................................................................................................. 171

Specifications ................................................................................................................ 173

Glossary......................................................................................................................... 175

Index .............................................................................................................................. 177

How to Use This Manual

You are probably eager to try out your new MU100 Tone Generator right

away and hear what it can do, rather than have to read through a lot of in-

structions before you can even get a sound out of it.

The structure of the manual is very straightforward. You can approach it in

a linear manner, reading through from beginning to end, or on an “on-de-

mand” basis, going directly to the information you need as you need it.

However, to get the most out of your MU100, we strongly suggest that you

read the following sections in the order given:

1) Precautions

This gives you important information on how to care for your new

MU100, how to avoid damaging it, and how to ensure long-term, reli-

able operation.

2) The MU100 — What It Is and What It Can Do

This briefly provides an overview of the functions and features of the

MU100 and offers some important hints on how you can use it effec-

tively. It also provides convenient page references so that you can eas-

ily find out about features and functions of interest.

3) The Controls of the MU100

This section introduces you to the panel controls and connectors.

4) Guided Tour

This is perhaps the most important and valuable section of the manual.

It gets you started using your new MU100, helping you set up the in-

strument and play it — and it introduces you to virtually all of the im-

portant functions and features. The hands-on experience you gain in

this section will help you quickly master the instrument and aid you in

navigating the more detailed sections of the manual.

5) Setting Up the MU100 in Your Music System;

Using the MU100 with a Computer or Sequencer

These sections (within the Tutorial) provide all you need to know to effec-

tively integrate the MU100 into your present computer music system.

6) Reference

Once you’re familiar with everything above, lightly go over this com-

prehensive guide to all editing functions. You won’t need (or want) to

read everything at once, but it is there for you to refer to when you

need information about a certain feature or function.

7) Appendix

Use the sections in the Appendix as necessary. For example, the Index

will come in handy when you need to quickly find information on a

specific topic. Other sections, such as the Glossary, Troubleshooting,

Installing the optional XG Plug-in System and Error Messages pro-

vide additional useful information.

8) Sound List & MIDI Data booklet

This separate booklet features lists of the Performances, Voices, drum

sounds, effect types and parameters, as well as details on all relevant

MIDI messages and data.

PRECAUTIONS

• Do not operate the instrument for a long period of time at a high or

uncomfortable volume level, since this can cause permanent hearing

loss. If you experience any hearing loss or ringing in the ears, consult a

physician.

■REPLACING THE BACKUP BATTERY

• This instrument contains a non rechargeable internal backup battery

which permits internal data to remain stored even when the power is off.

When the backup battery needs replacing, the message "Battery Low!"

will display in the display. When this happens, immediately back up

your data (using an external device such as the floppy disk-based

Yamaha MIDI Data Filer MDF3), then have qualified Yamaha service

personnel replace the backup battery.

• Do not attempt to replace the backup battery yourself, in order to prevent

the possible serious hazards. Always have qualified Yamaha service

personnel replace the backup battery.

• Never place the backup battery in a location that a child can reach, since

a child might accidentally swallow the battery. If this should happen,

consult a physician immediately.

■SAVING USER DATA

• Save all data to an external device such as the Yamaha MIDI Data Filer

MDF3, in order to help prevent the loss of important data due to a

malfunction or user operating error.

Yamaha cannot be held responsible for damage caused by improper

use or modifications to the instrument, or data that is lost or destroyed.

Always turn the power off when the instrument is not in use.

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING

* Please keep these precautions in a safe place for future reference.

WARNING

Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical

shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following:

• Do not open the instrument or attempt to disassemble the internal parts

or modify them in any way. The instrument contains no user-serviceable

parts. If it should appear to be malfunctioning, discontinue use

immediately and have it inspected by qualified Yamaha service

personnel.

• Do not expose the instrument to rain, use it near water or in damp or wet

conditions, or place containers on it containing liquids which might

spill into any openings.

• If the AC adaptor cord or plug becomes frayed or damaged, or if there is

a sudden loss of sound during use of the instrument, or if any unusual

smells or smoke should appear to be caused by it, immediately turn off

the power switch, disconnect the adaptor plug from the outlet, and have

the instrument inspected by qualified Yamaha service personnel.

• Use the specified adaptor (PA-5B or an equivalent recommended by

Yamaha) only. Using the wrong adaptor can result in damage to the

instrument or overheating.

• Before cleaning the instrument, always remove the electric plug from

the outlet. Never insert or remove an electric plug with wet hands.

• Check the electric plug periodically and remove any dirt or dust which

may have accumulated on it.

CAUTION

Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage

to the instrument or other property. These precautions include, but are not limited to, the following:

• Do not place the AC adaptor cord near heat sources such as heaters or

radiators, and do not excessively bend or otherwise damage the cord,

place heavy objects on it, or place it in a position where anyone could

walk on, trip over, or roll anything over it.

• When removing the electric plug from the instrument or an outlet, always

hold the plug itself and not the cord.

• Do not connect the instrument to an electrical outlet using a multiple-

connector. Doing so can result in lower sound quality, or possibly cause

overheating in the outlet.

• Unplug the AC power adaptor when not using the instrument, or during

electrical storms.

• Before connecting the instrument to other electronic components, turn

off the power for all components. Before turning the power on or off for

all components, set all volume levels to minimum.

• Do not expose the instrument to excessive dust or vibrations, or extreme

cold or heat (such as in direct sunlight, near a heater, or in a car during

the day) to prevent the possibility of panel disfiguration or damage to

the internal components.

• Do not use the instrument near other electrical products such as

televisions, radios, or speakers, since this might cause interference which

can affect proper operation of the other products.

• Do not place the instrument in an unstable position where it might

accidentally fall over.

• Before moving the instrument, remove all connected adaptor and other

cables.

• When cleaning the instrument, use a soft, dry cloth. Do not use paint

thinners, solvents, cleaning fluids, or chemical-impregnated wiping

cloths. Also, do not place vinyl, plastic or rubber objects on the

instrument, since this might discolor the panel or keyboard.

• Do not rest your weight on, or place heavy objects on the instrument,

and do not use excessive force on the buttons, switches or connectors.

The Controls of the MU90R

The Controls of the MU100

Front Panel

1 A/D INPUT

For connection of a microphone, electric guitar or other electronic instruments

(stereo 1/4” plug).

2 A/D INPUT level control

For control of the level of the A/D input.

3 PHONES jack

For connection to a set of stereo headphones (Stereo Mini-pin).

4 POWER/VOL control

Controls the power off/on functions as well as adjusts the overall volume of

the MU100.

The Controls of the MU90R

The Controls of the MU100

5 PLAY button

For entering the Play mode and switching among the different Play displays.

(See page 40.)

6 EDIT button

For entering the Edit mode. (See page 52.)

7 UTIL (UTILITY) button

For entering the Utility mode. (See page 31.)

8 MODE button

For entering the Sound Module mode. (See page 39.)

9 EFFECT button

For entering the Effect Edit mode. (See page 79.)

: EQ button

For entering the EQ Edit mode. (See page 84.)

A MUTE/SOLO button

Pressing this alternately mutes or solos the selected Part. (See page 85.)

B ENTER button

For calling up menu items in the display and for executing certain functions

and operations. Double-clicking this (pressing it twice quickly) calls up the

Show Exclusive function. (see page 159.)

C EXIT button

For leaving various display pages and returning to previous displays. Also for

canceling certain functions and operations.

56 A

The Controls of the MU90R

The Controls of the MU100

D PART -/+ buttons

For selecting different Parts. In the Effect Edit mode, these can be used to

switch among the different effects. Pressing these together alternately switches

between All Part and Single Part control. (See page 40.)

E SELECT </> buttons

For selecting the various menu items, parameters and controls on the display.

F VALUE -/+ buttons

For changing the value of a selected parameter or control.

Hint

You can rapidly move through the values by holding down one of the [VALUE

]

buttons. You can move even more rapidly by holding down one button and then press-

ing and holding down the other. For example, to rapidly advance (increase) the value,

hold down the [VALUE

] button and simultaneously press and hold down the [VALUE

] button.

The Controls of the MU90R

The Controls of the MU100

Rear Panel

1 MIDI THRU, MIDI OUT and MIDI IN A/B terminals

For connection to other MIDI devices, such as a MIDI keyboard, tone genera-

tor, sequencer, or to a computer that has a MIDI interface. MIDI IN A and B are

independent MIDI ports, allowing full 32-channel MIDI input. MIDI OUT is

for data dumps to another MIDI device, while MIDI THRU is for “daisy-chain”

connection of additional MU100s or other MIDI instruments. (See page 33 for

more information on MIDI connections.)

2 HOST SELECT switch

For selecting the type of host computer. (See page 35.)

3 TO HOST terminal

For connection to a host computer that does not have a MIDI interface. (See

page 35.)

4 DC IN jack

For connection to the PA-5B AC power adaptor.

5 OUTPUT L, R jacks (Left, Right)

For connection to a stereo amplifier/speaker system.

6 INPUT L, R jacks (Left, Right)

For connection between tone generator modules, CD players or other external

audio devices.

Effectors and equalizers cannot be applied to a signal that is input through

these jacks.

MIDI

THRU

OUT I N-A

I N-B

MIDI Mac

PC-2 PC-1

HOST SELECT

TO HOST

DC IN

SER NO.

OUTPUT INPUT

123456

The MU100 — What It Is and What It Can Do

What It Is...

The MU100 is a full-featured and easy-to-use tone generator, that provides an

unprecedented wealth of Voices and expressive sonic control. It features full

General MIDI Level 1 compatibility with 128 General MIDI Voices and 9 drum

Voices. It also provides new XG compatibility, with a huge total of 1267 Voices

and 46 drum Voices.

The MU100 has 64-note polyphony and is 32-Part multi-timbral. In other

words, the MU100 has 32 different Parts, each with its own Voice, so that up to

32 different Voices can be sounded simultaneously. Since the MU100 features

dual MIDI input ports (A and B), 16 Parts can be played from one MIDI port and

the remaining 16 from the other port.

Additional A/D Parts let you connect up to two external signals — such as a

microphone, electric guitar or CD player — and mix them with the MU100’s

Voices through stereo input jack.

The MU100 also has a TO HOST terminal for easy interfacing with a com-

puter, allowing you to play the Voices using your favorite music software. This

is where the advanced multi-timbral capabilities come in, letting you playing

sophisticated arrangements using up to 32 different Voices at the same time.

Although Voices cannot be directly edited, the various Part controls and Edit

mode give you tools for transforming or customizing the sound of the Voices.

What’s more, the MU100 has a built-in multi-effect processor, with six indepen-

dent digital effect “units” for enhancing the sound.

The MU100 also features a special Performance mode, in which four Parts

are played simultaneously over a single MIDI channel. Connected to a MIDI

keyboard, this effectively gives you four tone generators in one. The MU100

gives you 100 factory-programmed Preset Performances plus 100 Internal Per-

formance locations for storing your own original Performances.

About General MIDI

General MIDI is a new addition to the worldwide MIDI standard. MIDI, as

you know, stands for Musical Instrument Digital Interface, and makes it

possible for various electronic musical instruments and other devices to “com-

municate” with each other. For example, by connecting a sequencer to the

MU100’s MIDI IN terminal, you could play back a song on the sequencer

using the Voices of the MU100.

So, where does General MIDI fit in all of this? One of the most important

features of General MIDI is in the standardization of Voices. This means that a

song recorded in the General MIDI format can be played back on any General

MIDI compatible tone generator and sound just as the composer intended. For

The MU100 — What It Is and What It Can Do

example, if there is an alto sax solo in the song, it will be played by an alto sax

Voice on the General MIDI tone generator (and not by a tuba or harpsichord!).

Since the MU100 is fully compatible with General MIDI, you can take advan-

tage of the vast wealth of musical material recorded in that format.

About XG format

The new XG format is an extension of General MIDI, and provides a number of

significant improvements and enhancements. XG-compatible song data takes

advantage of the extensive MIDI control and built-in effects of the MU100 (and

other MU-series instruments).

To take greatest advantage of the powerful capabilities of XG, we recom-

mend using XG-compatible instruments and software. For example, XG-com-

patible keyboards such as the Yamaha CBX-K2 keyboard and software give you

direct controls for accessing the full expressive potential of the MU100’s XG

Voices and the XG-related parameters.

What It Can Do...

Here are a few ideas on how you can use the MU100. The list below is not

comprehensive, but is meant to be a general guide to the possibilities and pro-

vide a starting point or springboard for your own creative ideas and explora-

tions.

Using With a MIDI Keyboard

Use the MU100 as a supplementary tone generator with your MIDI key-

board and play the Voices of both instruments in a layer together. Or, use the

convenient Performance mode, and play four Voices on the MU100 at once.

You can split the four Voices across the keyboard, playing each from a dif-

ferent register. Or you can create sophisticated velocity splits, in which a

different Voice is heard depending on how strongly you play the keyboard.

Or use keyboard and velocity splits together for even greater flexibility.

The MU100 — What It Is and What It Can Do

Using with the XG Plug-in System

The MU100 is equipped with a connector that supports the XG Plug-in Sys-

tem. The system currently (as of September 1998) consists of three easy-to-

use plug-in boards: the PLG100-DX, PLG100-VL and PLG100-VH.

A vast range of features like Virtual Acoustic Sound Synthesis, dynamic

sound effects, powerful FM synthesis voices, vocal harmonies and editing

features enhance the functionality of the MU100 without complicated set-

ups and wiring. The XG Plug-in System provides a seamless, fully inte-

grated solution to help you create the ultimate studio environment.

Using With a Computer or Sequencer

Home Studio Setup

The MU100 integrates instantly and easily into any existing setup. If you have a

MIDI keyboard, computer and sequencing software, the MU100 with its high-qual-

ity Voices and multi-timbral capabilities can expand your home studio system.

Carry It With You

If you have a laptop computer (and sequencing software), simply connect the

MU100, plug in some headphones and you’ve got a complete, high-powered

music making system that’s ready to go wherever you go. Use it for composing,

arranging, practicing or making/playing demos for your band.

Use It at a Gig

Similarly, you can connect a laptop or a MIDI data filer and playback song data with

the MU100’s Voices. Plug a microphone into one of the A/D inputs and a guitar into

the other, and you can mix your own live performance with the sequencer tracks.

Multimedia

Since it’s compatible with General MIDI and XG, the MU100 is a natural for

multimedia applications. Bring it with you to a presentation — since the com-

puter interface is built-in to the MU100, it hooks up instantly and easily to the

computer’s serial port or printer port, without the need for any other equipment.

The MU100 — What It Is and What It Can Do

About the Modes of the MU100

The MU100 has two main operating modes: Multi and Performance. In Multi

mode, the MU100 is a 32-Part multi-timbral tone generator; in Performance

mode, the MU100 effectively functions as four tone generators controlled

over a single MIDI channel.

Which mode the MU100 is in depends on the selected Sound Module

mode. If XG, TG300B or C/M are selected, the MU100 automatically sets

itself to the Multi mode. When PFM is selected, the MU100 is in the Perfor-

mance mode. (For information on selecting the Sound Module mode, see

page 156.)

Each mode provides compatibility with different music software and hard-

ware.

XG: This mode provides the full potential of the MU100, giving you

access to the 1074 XG Voices.

TG300B: This mode provides compatibility with the GM-B mode of the

TG300 Tone Generator.

C/M: This mode provides compatibility with most computer music soft-

ware not supported by the other two Multi modes.

PFM: This mode (Performance) lets you play four Voices simultaneously

over a single MIDI channel. (For more information on using the

Performance mode, see page 39.)

The bottom right of the display indicates the currently selected Sound Mod-

ule mode.

Selected Sound Module mode.

NOTE

When set to the TG300B mode, the MU100 may not be able to play TG300-specific

song data with complete accuracy. However, MIDI data designed for other com-

puter music tone generators is compatible with the MU100.

TG300B

C/M

PERFORM

The MU100 — What It Is and What It Can Do

Modes and Function Tree

Play Modes and the Part Controls

Once the operating mode of the MU100 is set (Multi or Performance), there

are two main ways you can use the MU100: playing and editing. In the Play

modes, you play the Voices; in the various Edit modes, you change their

settings.

Within the Play modes are the Part controls. These let you make basic

settings for the Parts. The Single Part controls allow you to make indepen-

dent settings for each Part, while the All Part controls allow you to change

the overall settings of all Parts. (See pages 96 and 98 for more information.)

The MU100 has several different Edit modes, each with various menus and

operations:

Part Edit Mode

The Part Edit mode allows you to change certain settings for each individual

Part, such as those of the Filter, EG (Envelope Generator), and many other

settings. The internal Voices can be sounded during editing, allowing you to

hear the effects of your edits.

Utility Mode

The Utility mode lets you set functions related to the overall operation of the

MU100, such as Master Tune, display Contrast and reception of certain MIDI

messages that affect the entire instrument. Included also are miscellaneous

operations, such as sending bulk data to a data storage device, initializing of

the MU100 settings, and playing the special Demo song.

The MU100 — What It Is and What It Can Do

Modes and Function Tree

(Without a plug-in board installed)

Multi Play Mode

P. 96

P. 98

P. 121

P. 100

P. 102

P. 105

P. 114

P. 106

P. 107

P. 120

P. 123

P. 126

P. 127

P. 129

P. 130

P. 132

[SELECT </>] Multi Part Control

[SELECT </>] Multi All Part Control

[SELECT </>] Performance Control

[SELECT </>] Performance Part Control

[EDIT]

Performance Edit Mode

[SELECT <] Common Edit [ENTER]

[SELECT <] Filter Edit [ENTER]

[SELECT </>] EG Edit [ENTER]

[SELECT </>] EQ Edit [ENTER]

[SELECT </>] Vibrato Edit [ENTER]

[SELECT >] Others Edit [ENTER]

[SELECT </>] Part Edit [ENTER]

[SELECT </>] Copy [ENTER]

[SELECT </>] Store [ENTER]

[SELECT >] Recall [ENTER]

[PLAY]

[EDIT]

Multi Part Edit Mode

[SELECT <] Filter Edit [ENTER]

[SELECT </>] EQ Edit (Only when Normal or VL Part is selected.) [ENTER]

[SELECT </>] Drum Setup Edit

(Only when Drum Part is selected.)

[ENTER]

[SELECT </>] Vibrato Edit [ENTER]

[SELECT >] Others Edit [ENTER]

P. 119

P. 95

[PART++-]

[SELECT </>] EG Edit [ENTER]

[PART++-]

( When the sound module mode is “XG”, “TG300B”, or “C/M”)

Performance Play Mode (

When the sound module mode is ”PFM”)

The MU100 — What It Is and What It Can Do

Modes and Function Tree

P. 143

: Mode

: Submode

[SELECT <] System Setup [ENTER]

[SELECT </>] Dump Out [ENTER]

[SELECT </>] Initialize [ENTER]

[SELECT >] Demo Song Play [ENTER]

[UTIL]

[MODE]

[EFFECT]

[EQ]

P. 144

P. 156

P. 134

P. 135

P. 136

P. 138

P. 142

P. 148

P. 152

P. 155

[SELECT </>] Chorus Edit [ENTER]

[SELECT </>] Variation Edit [ENTER]

[SELECT </>] Insertion 1 Edit [ENTER]

[SELECT >] Insertion 2 Edit [ENTER]

[SELECT <] Reverb Edit [ENTER]

[SELECT <] or [VALUE-] XG

[SELECT </>] or [VALUE+/-] TG300

[SELECT </>] or [VALUE+/-] C/M

P. 133

[SELECT >] or [VALUE+] PFM

Push on the SELECT buttons either < or > for SELECT < / >.

Push on the PART + and - simultaneously for PART ++ -.

Utility Mode

Sound Module Mode

Effect Mode

Equalizer Mode

The MU100 — What It Is and What It Can Do

UIDED

OUR

When using your MU100 for the first time, read through this

short section of the manual. It guides you step-by-step in us-

ing many of the basic operations: setting the instrument up,

connecting it properly to other equipment, and — most im-

portantly — playing it. It also introduces you to most of the

other, advanced features and operations of the instrument —

enabling you to quickly and effectively get the most out of

your new MU100.

Guided Tour

Setting Up Your MU100

In this section, you’ll learn how to:

an external amplifier/speaker system.

Other setup examples are covered in later sections; for example, setting up

for use with a computer is on page 35. Once you’ve set up the MU100, we

urge you to play the Demo song (page 31) and hear what the instrument is

capable of.

What You’ll Need

☛The MU100 and the included PA-5B power adaptor.

☛A MIDI keyboard, electronic piano, or any instrument that can output

MIDI data.

☛An amplifier/speaker system, preferably stereo. Alternately, you can use

a set of stereo headphones.

☛Audio connecting cables.

☛A MIDI cable.

Making the Connections

CAUTION!

Before making any connections, turn all related equipment off, and make sure the

MU100 power adaptor is not connected to an electrical outlet.

Operation

1 Connect the MIDI cable.

Connect the MIDI OUT terminal of the MIDI keyboard to the

MIDI IN-A of the MU100 (as shown in the illustration).

2 Connect the audio cables.

Connect the L and R OUTPUT jacks of the MU100 to the ap-

propriate inputs on the amplifier speaker system (as shown in

the illustration).

•If you are using stereo headphones, connect them to the front

panel PHONES jack.

Setting Up Your MU100

Guided Tour

3 Set the HOST SELECT switch.

Set this rear panel switch to MIDI (see illustration).

4 Connect the AC power adaptor.

Plug the DC output cable of the PA-5B into the DC IN terminal

on the rear panel, then plug the adaptor into an appropriate

electrical outlet.

CAUTION!

• Do not attempt to use an AC adaptor other than the PA-5B. The use of an in-

compatible adaptor may result in irreparable damage to the MU100, and even

pose a serious shock hazard.

• Be sure to disconnect the power adaptor from the outlet when the MU100 is not

in use.

Now that you’ve set up the MU100, we urge you to go on to the next section,

turn on the instrument, and play the Demo song (page 31) to hear what the

instrument is capable of. If you need information on setting up the MU100

for a different type of system, refer to “Setting Up the MU100 in Your

Music System” on page 33.

MIDI Keyboard

MIDI OUT

MIDI IN-A

MIDI CABLE

Amplifier

Speaker System

PHONES

DC INL

Power

Adaptor

SEQUENCER

PROGRAM

SYSTEM

WHEEL ASSIGN

STOP

SONG

SELECT

START TEMPOCONTINUE

MEASURETOP BOTTOM

TIME SIGNATURE

FIXED

VELOCITY

MIDI

MERGE

ON/OFF

SOUND

OFF

VOICE

MAP

POLY/

MONO

BANK

SELECT

PROGRAM

CHANGE

CHANNEL

MERGE

RESET

CONTROL

TG300B

RESET

SOUND OFF

ALL CH

DEVICE

NUMBER

TOUCH

SENSITIVITY

RPN NRPN

DRUM

NUMBER

CONTROLLER

RPN NRPN

DATA

DENSITY

MSB 1ST/

LSB 1ST

FOOT SW

ASSIGN

CONTROLLER

SLIDER ASSIGN

RPN NRPN

DRUM

NUMBER

CONTROLLER

DATA

DENSITY

RESET

TRANSPOSE

1 MODULATION

2 BREATH

5 PORTA TIME

6 DATA ENTRY

7 VOLUME

10 PANPOT

11 EXPRESSION

64 HOLD1(DAMPER)

65 PORTAMENTO

71 HARMONIC

72 RELEASE TIME

73 ATTACK TIME

74 BRIGHTNESS

84 PORTA CTRL

123 VIBRATO RATE

124 VIBRATO DEPTH

125 VIBRATO DELAY

126 LP FILTER CUTOFF

127 LP FILTER RESONANCE

128 HP FILTER CUTOFF

129 EQ LO GAIN

130 EQ HI GAIN

131 EQ LO FREQUENCY

132 EQ HI FREQUENCY

133 EG ATTACK TIME

134 EG DECAY TIME

135 EG RELEASE TIME

136 DRUM LP FILTER CUTOFF

137 DRUM LP FILTER RESONANCE

138 DRUM EG ATTACK RATE

139 DRUM EG DECAY RATE

140 DRUM PITCH COARSE

141 DRUM PITCH FINE

142 DRUM LEVEL

143 DRUM PAN

144 DRUM REVERB

145 DRUM CHORUS

146 DRUM VARIATION

147 DRUM HP FILTER CUTOFF

148 DRUM EQ LO GAIN

149 DRUM EQ HI GAIN

150 DRUM EQ LO FREQUENCY

151 DRUM EQ HI FREQUENCY

91 REVERB

93 CHORUS

94 VARIATION

120 PB SENSITIVITY

121 FINE TUNE

122 COARSE TUNE

CONTROLLER

NUMBER LIST

CONTROL CHANGE

ENTER

HEXA

DECIMAL

123456 7 89ABCDEF0

RPN

NRPN

152 CH PRESSURE

153 KEY PRESSURE

154 MASTER VOLUME

156 MASTER TUNING

157 VELOCITY

158 TEMPO

OTHERS

Setting Up Your MU100

Guided Tour

Powering Up

Admittedly this is a simple operation, but you should be careful to follow the

instructions below to avoid possible damage to your equipment and speakers.

Operation

1 Turn on the power of your MIDI keyboard.

2 Turn on the power of the MU100.

Press the POWER/VOL switch.

After the animated greeting display finishes, the following dis-

play appears:

3 Turn down all volume controls.

This includes the MU100 and any connected equipment.

4 Turn on the amplifier/speaker system.

5 Set the volume controls.

First, set the volume control on the MU100 to about the mid-

way position, then set the volume on the amplifier to a suitable

level.

Powering Down

When you turn the power off, make sure to do it in the following order:

1) Amplifier/speaker system

2) MU100

3) Other connected equipment (MIDI keyboard, etc.)

This prevents possible damage to the speakers.

Powering Up

Guided Tour

Playing the Demo Song

Now that you’ve set everything up properly, try playing the built-in Demo

song. This showcases the high-quality Voices and the AWM2 tone genera-

tion system of the MU100. It also is an excellent demonstration of the 32-

part multi-timbral capacity and the various expressive controls and effects

that can be used simultaneously. Most importantly, the Demo song will give

you an idea of how powerful the MU100 can be in your own MIDI/com-

puter music setup.

Operation

1 Press the [UTIL] button.

2 Select and open the DEMO menu.

Use the [SELECT </>] buttons to select “DEMO” (the menu

icon flashes), then press the [ENTER] button.

3 Start the Demo song.

Press the [ENTER] button. The Demo Song starts playing imme-

diately and repeats indefinitely until stopped (in step 4 below).

Playback of the individual Parts of the song is shown graphically

by the “level meter” bars in the display.

NOTE

During Demo Song playback, none of the panel controls (with the exception of

the [EXIT] button and the POWER/VOL control) can be used.

Playing the Demo Song

Guided Tour

4 Stop playback of the song.

Press the [EXIT] button.

5 Exit from the Demo Song function.

Press the [EXIT] button again — twice to return to the Play

mode. (Or you can simply press the [PLAY] button.)

Playing the Demo Song

Guided Tour

Setting Up the MU100 in Your Music System

As you learned in the section The MU100 — What It Is and What It Can

Do on page 19, the MU100 can be integrated into a variety of setups. It

would be impossible to cover all connection possibilities in a short manual

as this; however, the section below will help in quickly setting up the MU100

and using it in your system.

Connecting to MIDI Devices

The MU100 is equipped with MIDI IN, OUT, and THRU terminals, allow-

ing you to use it in any MIDI system. Moreover, the two MIDI IN terminals

are independent 16-channel ports, effectively giving you two tone genera-

tors in one. Here are some common connection examples using the built-in

MIDI interface. Refer to the example that most closely matches your setup,

then read the Operation steps at the end of this section.

• MIDI keyboard

In this setup, you can play the sounds of the MU100 from the connected

keyboard.

• Hardware sequencer

In this setup, a hardware sequencer (such as the Yamaha QY700) is used.

The main advantage of such a setup is its portability.

MIDI Keyboard

MIDI OUT

MIDI IN-A or B

MIDI CABLE

SEQUENCER

PROGRAM

SYSTEM

WHEEL ASSIGN

STOP

SONG

SELECT

START TEMPOCONTINUE

MEASURETOP BOTTOM

TIME SIGNATURE

FIXED

VELOCITY

MIDI

MERGE

ON/OFF

SOUND

OFF

VOICE

MAP

POLY/

MONO

BANK

SELECT

PROGRAM

CHANGE

CHANNEL

MERGE

RESET

CONTROL

TG300B

RESET

SOUND OFF

ALL CH

DEVICE

NUMBER

TOUCH

SENSITIVITY

RPN NRPN

DRUM

NUMBER

CONTROLLER

RPN NRPN

DATA

DENSITY

MSB 1ST/

LSB 1ST

FOOT SW

ASSIGN

CONTROLLER

SLIDER ASSIGN

RPN NRPN

DRUM

NUMBER

CONTROLLER

DATA

DENSITY

RESET

TRANSPOSE

1 MODULATION

2 BREATH

5 PORTA TIME

6 DATA ENTRY

7 VOLUME

10 PANPOT

11 EXPRESSION

64 HOLD1(DAMPER)

65 PORTAMENTO

71 HARMONIC

72 RELEASE TIME

73 ATTACK TIME

74 BRIGHTNESS

84 PORTA CTRL

123 VIBRATO RATE

124 VIBRATO DEPTH

125 VIBRATO DELAY

126 LP FILTER CUTOFF

127 LP FILTER RESONANCE

128 HP FILTER CUTOFF

129 EQ LO GAIN

130 EQ HI GAIN

131 EQ LO FREQUENCY

132 EQ HI FREQUENCY

133 EG ATTACK TIME

134 EG DECAY TIME

135 EG RELEASE TIME

136 DRUM LP FILTER CUTOFF

137 DRUM LP FILTER RESONANCE

138 DRUM EG ATTACK RATE

139 DRUM EG DECAY RATE

140 DRUM PITCH COARSE

141 DRUM PITCH FINE

142 DRUM LEVEL

143 DRUM PAN

144 DRUM REVERB

145 DRUM CHORUS

146 DRUM VARIATION

147 DRUM HP FILTER CUTOFF

148 DRUM EQ LO GAIN

149 DRUM EQ HI GAIN

150 DRUM EQ LO FREQUENCY

151 DRUM EQ HI FREQUENCY

91 REVERB

93 CHORUS

94 VARIATION

120 PB SENSITIVITY

121 FINE TUNE

122 COARSE TUNE

CONTROLLER

NUMBER LIST

CONTROL CHANGE

ENTER

HEXA

DECIMAL

1234567 8 9ABCDEF0

RPN

NRPN

152 CH PRESSURE

153 KEY PRESSURE

154 MASTER VOLUME

156 MASTER TUNING

157 VELOCITY

158 TEMPO

OTHERS

MIDI OUT

MIDI IN-A

MIDI CABLE

OCT

DOWN

OCT

DOWN

OCT

BASS

FGAB C

add9

mM7

REST

TRACK

DOWN

TRACK

SOLOMUTE

EDIT

CONTRAST

OUT BOUT AIN B

IN B

MIDI

OUT BOUT A

IN A

PLAYREC

JOB

LOC 2LOC 1

TIE

(

sus4

SECTION

(

)

(9)

dim

ZWV

HGF

UTSRQPO

CBA

MLK

)

(

aug

(

)

(13)

(

11)

(11)

ORG

BASS

CAPS

SHIFT

SPACE

DEL

YESNO

789

456

123

VOICE

SHIFT F1 F2 F3 F4 F5 F6 SHIFT EXIT

-1 +1

MAX

VOLUME

EFFECT

DISK

SONG

PITCH ASSIGNABLE

PATTERN

UTILITY

B C D E F G H

FOOT SWRL/MONO

OUTPUT

MUSIC SEQUENCER

Setting Up the MU100 in Your Music System

Guided Tour

• MIDI data storage device

This setup is used for backing up your important data — including original

Performances you’ve created, as well as settings you’ve changed in the Part

Edit, Effect, EQ, or Utility modes.

In this example, a Yamaha MDF3 MIDI Data Filer is used. To back up

data, connect the MIDI IN of the MDF3 to the MIDI OUT of the MU100. To

restore the data to the MU100, connect the MIDI OUT of the MDF3 to the

MIDI IN of the MU100. Refer to the owner’s manual of the MDF3 (or your

particular data storage device) for specific operating instructions in receiv-

ing or sending data.

With the MDF3, you can also play compatible song data on the MU100

directly from the MDF3 itself, without the need of a sequencer. In this case,

the MIDI OUT of the MDF3 should be connected to the MIDI IN of the

MU100.

• Computer equipped with a MIDI interface

In this setup, you can control the MU100 from a computer (using sequenc-

ing or other song playback software). In a variation on this, you can connect

the computer to MIDI-A and a keyboard to MIDI-B. This allows you to play

parts live over sequencer playback — even if the sequencer uses all 16 MIDI

channels.

MDF3

MIDI IN

MIDI OUT

MIDI CABLE

Setting Up the MU100 in Your Music System

MIDI OUT

MIDI IN-A

MIDI CABLE

Computer

Guided Tour

Operation

1 Set the HOST SELECT switch to MIDI.

2 Connect the MU100 to the appropriate MIDI device.

Refer to the illustrations above. Use a standard MIDI cable (see

page 92).

3 Turn on the the connected device, then the MU100.

4 If you are using a computer, start up your music software, and

set up the appropriate options on the software for operation with

the MU100.

Connecting Directly to a Computer

The MU100 features a built-in host computer interface, allowing you to di-

rectly connect it to your computer — eliminating the need of installing a

special MIDI interface to your computer. The MU100 can be used with the

following computers: Apple Macintosh and compatibles, IBM PC/AT and

compatibles.

If your computer has a MIDI interface you may want to connect the

MU100 to it, rather than using the host computer interface on the MU100.

(See the section “Connecting to MIDI Devices” on page 33.)

Depending on the computer or interface used, set the HOST SELECT

switch to the appropriate setting: MIDI, PC-1, PC-2 (IBM and compatibles),

or Mac (Macintosh and compaibles). For information on the types of cables

that can be used for connection, see the section “MIDI/Computer Con-

necting Cables” on page 92.

Macintosh and Compatibles

Follow these instructions if you have an Apple Macintosh not equipped with

an external MIDI interface. Connect the TO HOST terminal on the MU100

to the Modem or Printer port on the Macintosh.

Modem or

Printer Port

Macintosh

Setting Up the MU100 in Your Music System

Guided Tour

Operation

1 Set the HOST SELECT switch to Mac.

2 Connect the MU100 to the host computer.

Refer to the illustration above. Use a standard Macintosh cable

(8-pin Mini DIN on both ends; see page 92).

3 Turn on the the host computer, then the MU100.

4 Start up your music software.

If necessary, set up the appropriate options on the software for

operation with the MU100. The relevant settings may be found

in menu(s) called “Studio Setup,” “System Setup,” or “MIDI

Setup.”

In this menu, you should be able to set separate MIDI outputs to access the

two MIDI ports on the MU100. For example, the device for MIDI OUT 1

should be set to “Yamaha MU100” (or “MU80,” if “MU100” is not avail-

able).

Other options you may have to set include:

MIDI Interface Type

Standard MIDI Interface

MIDI Time Piece

On (for controlling all 32 Parts of the MU100)

Clock

1 MHz

(The specific menu/parameter names may differ depending on your particu-

lar music software. For detailed instructions, refer to the owner’s manual or

on-line help of the software.)

Hint

If you have a second multi-timbral tone generator (such as the MU50), you can

connect it to the MIDI OUT terminal of the MU100 and have three independent

MIDI ports (for 48-channel operation). The software settings above apply here as

well: Set the device for MIDI OUT 3 to “Yamaha MU50” (or similar). (For more

information, see page 146.)

Setting Up the MU100 in Your Music System

Guided Tour

IBM PC/AT and Compatible

Serial Port

Setting Up the MU100 in Your Music System

IBM PC/AT and Compatibles

Follow these instructions if you have an IBM PC/AT or compatible com-

puter not equipped with an external MIDI interface. Connect the TO HOST

terminal on the MU100 to one of the computer’s serial ports, COM 1 or

COM 2.

The instructions below assume you are running Windows95 or 98 on your

PC. For using the TO HOST connection with other software and operating

systems, consult your Yamaha dealer. If your computer and music software

cannot recognize the TO HOST connection, you can still use the MU100 by

installing a MIDI interface (internal card or external) to the computer.

Operation

1 Install the included driver software.

For Windows95 or 98

Install the included Yamaha CBX Driver.

The driver software is on a CD-ROM included with the MU100.

Make sure to thoroughly read the “\CBX driver\readme.txt” on the

disk. This contains essential information on installing and setting

up the driver on your computer.

2 Set the HOST SELECT switch to PC-2.

3 Connect the MU100 to the host computer.

Refer to the illustration above. Use a standard computer cable

(8-pin Mini DIN to 9-pin D-SUB; see page 92).

4 Turn on the the host computer, then the MU100.

5 Start up your music software.

If necessary, set up the appropriate options on the software for

operation with the MU100. The relevant settings may be found

in menu(s) called “Studio Setup,” “System Setup,” or “MIDI

Setup.”

Guided Tour

In this menu, you should be able to set separate MIDI outputs to access the

two MIDI ports on the MU100. For example, MIDI OUT 1 should be set to

“Yamaha CBX A Driver” (or “Windows MIDI, Output 1”). Similarly, MIDI

OUT 2 should be set to “Yamaha CBX B Driver” (or “Windows MIDI, Out-

put 2”).

(The specific menu/parameter names may differ depending on your particu-

lar music software. For detailed instructions, refer to the owner’s manual or

on-line help of the software.)

Hint

If you have a second multi-timbral tone generator (such as the MU50), you can

connect it to the MIDI OUT terminal of the MU100 and have three independent

MIDI ports (for 48-channel operation). The software settings above apply here as

well: Set MIDI OUT 3 should be set to “Yamaha CBX C Driver” (or “Windows MIDI,

Output 3”). (For more information, see page 146.)

Once you’ve set up the MU100 in your system, check that the MU100 is

properly receiving data.

Setting Up the MU100 in Your Music System

Guided Tour

Selecting and Playing the Performances

As pointed out on page 59, the Performances of the MU100 let you play four

Voices together over one MIDI channel. These specially programmed Per-

formances (100 Preset and 100 Internal) take full advantage of the MU100

dynamic voices and flexible editing functions — giving you exceptionally

powerful and expressive sounds for live performance situations.

In this section, you’ll learn how to:

Calling Up the Performance Play Mode and

Playing the Performances

Operation

1 Press the [MODE] button.

2 Select “PFM” (PERFORMANCE) in the display.

Use the [SELECT >] buttons, [VALUE +] buttons or data dial.

The Performance mode setting is also shown by the arrow at the

bottom right of the display.

NOTE

For more information on the sound module modes, see page 22.

Indicates Performance mode.

Selecting and Playing the Performances

TG300B

C/M

PERFORM

Guided Tour

3 Press the [PLAY] button to go to the Performance Play mode.

You can press the [EXIT] button for this as well.

If the All Part display above (with the keyboard player icon) is not

shown, press both [PART-/+] buttons simultaneously.

4 Select the desired bank of Performances — Preset or Internal.

Use the [SELECT </>] buttons to select the bank parameter,

then use the [VALUE -/+] buttons to select the desired bank,

Preset (Pre) or Internal (Int).

• Preset bank

• Internal bank

“All” and keyboard player icon indicate All Part display

of Performance Play mode.

The upper body of the keyboard player icon is black,

indicating the Preset bank.

The upper body of the keyboard player icon is

white, indicating the Internal bank.

Selecting and Playing the Performances

Guided Tour

5 Select the desired Performance.

Use the [SELECT </>] buttons to select the Program Number

parameter, then use the [VALUE -/+] buttons or data dial to

select the desired Performance number.

6 Play the connected MIDI keyboard.

Make sure that your keyboard is transmitting over MIDI channel

1. (Refer to the owner’s manual of that instrument if necessary.)

If you’ve carefully followed all instructions up to now, the “level

meter” bars in the display should move — and you should be

able to hear the sound of the MU100 as you play.

Go on to select other Performances in the same bank and play those

as well. To try out Performances in the other bank, return to step 4

above.

Performance number

The “level meter” bars indicate the “level” (velocity) of the incom-

ing MIDI data.

These numbers indicate the four Parts of the Performance.

Selecting and Playing the Performances

Guided Tour

Selecting and Playing Individual Voices

The MU100 has a stunningly huge variety of Voices — a total of 1267. In

this section, you’ll select and play Voices in the XG mode, which features

1074 different Voices.

In this section, you’ll learn how to:

Calling Up the XG Mode

Operation

1 Press the [MODE] button.

2 Select “XG” in the display.

Use the [SELECT <] buttons, [VALUE -] buttons or data dial.

The XG mode setting is also shown by the arrow at the bottom right

of the display.

3 Press the [PLAY] button to go to the Play mode.

You can press the [EXIT] button for this as well.

Indicates XG mode.

Selecting and Playing Individual Voices

TG300B

C/M

PERFORM

Guided Tour

About the Modes — Multi and Performance

The MU100 has two main operating modes: Multi and Performance. You used

the Performance mode earlier when playing Performances — playing four

Voices over one MIDI channel. The Multi mode is primarily used in sequencer

and computer music applications, since it allows you to play all 32 Parts inde-

pendently over different MIDI channels.

Which mode the MU100 is set to depends on the selected Sound Module

mode. The XG, TG300B and C/M settings are all Multi mode. When PFM is

selected, the MU100 is in the Performance mode.

Selecting Voice Banks and Voices From the Panel

Operation

1 Select a Part.

Use the [PART -/+] buttons. Depending on the selected Part,

one of the displays below will appear:

• For Parts 1 – 16 and the A/D Parts:

• For Parts 17 – 32:

For this example, select Part 1. Press the appropriate button until

“01” appears in the PART section of the display.

Selecting and Playing Individual Voices

Guided Tour

2 Select the bank number.

Use the [SELECT </>] buttons to highlight the bank number

parameter (as shown below).

3 Change the bank number.

Use the [VALUE -/+] buttons or data dial. Notice that the

bank numbers “jump” as they are selected — the MU100 skips

bank numbers that have the same Voice as bank “000.”

In the XG mode, several banks of Voices are available. Each bank

contains up to 128 different Voices, for a total of 1074 Voices.

4 Select the program (Voice) number.

Use the [SELECT </>] buttons to highlight the program

number parameter (as shown below).

Bank number. Dark arrow

indicates bank number is

selected.

Selecting and Playing Individual Voices

Instrument icon. Arrow at top

left of icon indicates bank

number is selected.

Program number.

Guided Tour

5 Change the program number.

Use the [VALUE -/+] buttons or data dial. In the example dis-

play below, Voice number 25 has been selected.

6 Play the Voice.

Play this new Voice from the connected MIDI keyboard. (Make

sure that the keyboard is transmitting on channel 1.) If you’ve

carefully followed all instructions up to now, the “level meter”

of the Part should move — and you should be able to hear the

sound of the MU100 as you play. Try selecting other Voice

banks and Voices and play them as well. Each Voice bank con-

tains some different Voices, some of which are variations, some

unique.

Details

• The MU100’s Voices and program numbers follow the GM (General MIDI) for-

mat. This means that you can select a Voice type by its number, then select

Voice variations by bank. For example, all the nylon guitar Voices are at pro-

gram number 25.

• In the XG mode, the Voices are conveniently organized in the banks according

to their type. For example, Voices having stereo variations or brighter variations

are found in the “Stereo” and “Bright” banks, respectively. (See the “Sound List

& MIDI Data” booklet.)

• Banks MSB 48, 46 and above feature Voices that are not simply variations, but

use different instrument samples. (See the “Sound List & MIDI Data” booklet.)

Program number. Dark arrow

indicates program number is

selected.

Selecting and Playing Individual Voices

Bank number.

Instrument icon, indicating the type of

Voice. Arrow at top right of icon indi-

cates program number is selected.

Guided Tour

• Notice that as you increase the bank number, at some point beyond the XG

Voice banks (above bank 127) the bank number returns to “000” and the fol-

lowing icon appears in the display:

Banks showing this icon are MU100 Exclusive Voice banks, and are different

than the same numbered XG Voice banks. (See the “Sound List & MIDI Data”

booklet.)

• Though the MU100 skips over bank numbers with identical Voices (see step 3

above), it can be set to not skip bank numbers, if desired. (See page 147: Utility

mode/System/Display Bank Select.)

Changing the Play Mode Display

The MU100 lets you view the Parts in three ways, depending on your prefer-

ence.

Press the [PLAY] button repeatedly.

Each press of the [PLAY] button switches among the three displays below.

1) Full level meters

2) All Parts, with half level meters

3) All Parts, with full level meters

This shows the level meters at their maximum height,

but only displays half of the Parts.

This displays all Parts, but the level meters are at half the height.

This displays all Parts with the level meters at maximum height.

However, the Voice name and number are not displayed.

Selecting and Playing Individual Voices

Guided Tour

Selecting Voices From a MIDI Keyboard

You can also select Voices remotely from a connected MIDI keyboard.

Though the actual operation may differ depending on the keyboard used, the

general procedure is the same. These instructions also apply to use with a

computer. (Refer to the owner’s manual of your specific instrument or soft-

ware for detailed instructions.)

Operation

1 Make the necessary settings on the keyboard.

Make sure that the keyboard is set to transmit over the desired

MIDI channel (the same as that of the selected Part), and that it

is set up to send Program Change messages.

2 Select a program number on the keyboard.

The Voice number and name on the MU100 will change, and

will be the same number as the program number you selected

on your keyboard.

Details

• Depending on what keyboard you are using to control the MU100, you may

need to be careful in selecting program numbers. The MU100’s program num-

bers start at “001,” but some keyboards have different numbering systems. For

example, some start at “0” — which means that selecting “25” on the keyboard

will select Voice 026 on the MU100.

• Part 10 is reserved for playing drum “kits.” This is the default factory setting for

all of the Multi modes (XG, TG300B, and C/M). For more information on drum

Parts, see page 55.

Selecting and Playing Individual Voices

Guided Tour

Editing in the Multi Mode

This section takes you step-by-step through an example editing session in

the Multi mode. The operations and techniques you learn here enable you to

perform any editing operation in the Multi mode.

There are two separate sections of the Multi mode that are devoted to

editing: the Single/All Part controls, and the Edit menus.

In this section, you’ll learn how to:

change its Volume and Pan settings.

Generator) settings of a Part.

Hints

• Editing Parts, not Voices

It is important to remember that in editing you are not changing the Voice itself,

but rather the Part the Voice is assigned to. This means that when you change the

Voice of the Part, the edited settings apply to the new voice, whether they’re

appropriate or not.

• Saving your edits

Keep in mind that any edits you make in the Multi mode are automatically saved

as the power-on defaults. In other words, the next time you turn on the power, the

previous condition of all Parts is automatically recalled. If you want to save one

“set” of edits (for example, for use with a specific song) before creating another

set, you must first save the current setup to a sequencer or MIDI data filer. (For

details, see page 148.)

Editing in the Multi Mode

Guided Tour

Single Part Controls

You can make changes to each individual Part by using the Single Part con-

trols. These are displayed in the Multi Play mode, and give you at-a-glance

confirmation and control of the important basic settings of the selected Part.

If the Multi mode was active when you last turned the power off, the next

time you turn the power on, the Single Part controls are automatically called

up.

Let’s take a look at the Play display again:

PART MIDI

BANK/PGM#

VOL EXP PAN REV CHO VAR KEY

Each of these settings are made independently for each Part. For example,

each Part could have a different Volume setting, or a different Pan setting.

Try going through the brief sections below and making some changes in the

Part controls yourself.

Voice name, bank number and program number.

Note Shift

(key transpose).

Chorus Send.

Reverb Send.

Variation Send.

Pan (stereo position).

Expression.

MIDI receive

channel.

Volume.

Part number. (Change this with the [PART -/+] buttons.)

Editing in the Multi Mode

Guided Tour

Changing the Volume and Pan settings of a Part

Here, we’ll change the Volume and Pan settings of one Part’s Voice.

Operation

1 Select the desired Part.

Use the [PART -/+] buttons to select Part 1.

2 Select the desired control.

Use the [SELECT </>] buttons to select the Volume control.

3 Change the setting.

Use the [VALUE -/+] buttons or data dial, and play the key-

board as you edit so you can hear the change in the sound.

Now, let’s change the Pan setting for the Part:

4 Select the desired control.

Use the [SELECT </>] buttons to select the Pan control.

5 Change the setting.

Use the [VALUE -/+] buttons or data dial to change the set-

ting, and play the keyboard again as you make changes.

6 Return to “home base.”

Pressing the [EXIT] button from any of the Single Part Controls

automatically returns to the Voice name/program number dis-

play. This is a convenient way to instantly return to “home base”

from a “distant” control.

Current Volume setting.

Current Pan setting.

Editing in the Multi Mode

Guided Tour

On Your Own...

If you want to, try making changes to some of the other Part controls. The

procedure is the same:

1) Select a Part with the [PART -/+] buttons.

2) Select a control for editing with the [SELECT </>] buttons.

3) Change the setting with the [VALUE -/+] buttons or data dial.

4) Use the [EXIT] button as needed to return to “home base” — Voice

name and number.

Hint

• You can easily edit the same control for different Parts. To do this, simply remain

at the selected control and use the [PART

] buttons to change the Part to be

edited.

• Setting different Parts to the same MIDI channel is a way to build “fat,” richly

textured sounds — like the four-Voice sounds created in the Performance mode.

The advantage to this method here is that you are not limited to four Voices. The

disadvantage is that you can only create and use one of these “monster” sounds

at a time. (However, you can store/load your Multi mode settings to/from a com-

puter or data filer; see page 33.)

To do this:

1) Select the desired Part (by using the [PART

] buttons).

2) Select the Receive Channel (“Rcv CH”) control (by using the [SELECT

]

buttons).

3) Set the Receive Channel value (by using the [VALUE

] buttons or data dial).

4) With the Receive Channel still selected, select a different Part (with the [PART

] buttons), and set it to the same value as the other Part.

5) Repeat step #4 above for as many other Parts as desired.

For example, if you’ve set both Parts 1 and 2 to MIDI channel 1, both of their “level

meters” should move together as you play. And, if the two Parts are set to different

Voices, you should hear two different Voices sound at the same time. (For instruc-

tions on changing the Voice for a Part, refer back to “Selecting and Playing Indi-

vidual Voices” on page 42.)

For more information on the specific Part controls, see page 96.

All Part Controls

The instructions in this section show you how to change the settings for indi-

vidual Parts; these are the Single Part Controls. The All Part Controls, on the

other hand, let you change certain global settings affecting all Parts.

To select the All Part Controls, simultaneously press both [PART -/+] but-

tons. (For more information on the All Part Controls, see page 98.)

Editing in the Multi Mode

Guided Tour

Edit Menu Parameters

The Edit Menu Parameters provide more detailed and advanced controls

over the Parts. These are powerful tools that let you subtly enhance or fine-

tune the sound of a Voice — or radically change its character for some wild

and unique sounds.

Changing the Filter and EG Settings of a Part

Operation

1 Select the desired Part.

Use the [PART -/+] buttons. Also, for the sake of these in-

structions, select the “SquareLd” Voice, #081. (See page 43.)

2 Call up the Edit menu.

Press the [EDIT] button.

3 Select “FILTER” in the display.

Use the [SELECT </>] buttons. The Edit menu has five items:

FILTER, EG (Envelope Generator), EQ (Equalizer), VIBRATO, and

OTHERS. The “flag” next to the item flashes when selected.

Details

• When a drum Part is selected, the EQ menu item is replaced by “DRUM.” (See

page 117 for information on editing drum Parts.)

4 Call up the Filter parameters.

Press the [ENTER] button.

Editing in the Multi Mode

Guided Tour

5 Select the “LPF Cutoff” parameter.

Use the [SELECT </>] buttons.

6 Adjust the value while listening to the sound.

Hold down a note on the connected keyboard and turn the data dial

to adjust the value, swinging between the maximum (+63) and

minimum (-64) values. Notice how the timbre of the sound changes.

Before going to the next step, set LPF Cutoff to “+63.”

7 Select “LPF Reso” and change the value.

Use the [SELECT </>] buttons. Then, do the same as you did in the

last step, holding a note and changing the value with the data dial.

Hint

• Try holding notes or chords in different octaves of the keyboard as you adjust the

parameters, since the Filter effects depend on the pitch or frequency of the sound.

Details

• The effect of the Filter parameters also differs depending on the selected Voice.

(For more information on the Filter parameters, see page 100.)

Now, let’s change one of the EG parameters:

8 Go back to the Edit menu.

Press the [EXIT] button.

9 Select and call up “EG.”

Use the [SELECT </>] buttons to select “EG,” then press the

[ENTER] button.

; Select the “Attack Time” parameter.

Use the [SELECT </>] buttons.

The bars graphically indicate pa-

rameter values for each Part.

Editing in the Multi Mode

Indicates additional parameters

are available (to the right).

Indicates no other parameters

are available (to the left).

Selected Part

flashes.

Guided Tour

a Adjust the value while listening to the sound.

Try setting this to around “+30” and play the keyboard. Notice

how the attack of the sound has become slower.

b Select and adjust the “Release Time” parameter.

Use the [SELECT </>] buttons, then set this to around “+50.”

Play some notes on the keyboard and release them. Notice how the

sound sustains after you release each key.

Details

• The effect of the EG parameters differs depending on the selected Voice. (For

more information on the EG parameters, see page 102.)

On Your Own...

While you’re at it, try making changes to some of the other Edit parameters.

The procedure is the same:

1) Select the desired Part with the [PART -/+] buttons.

2) Call up the Edit menus by pressing the [EDIT] button.

3) Select the desired menu with the [SELECT </>] buttons, and press

[ENTER].

4) Select the desired parameter with the [SELECT </>] buttons, and

change the value with the [VALUE -/+] buttons or data dial.

5) Use the [EXIT] button as needed to return to the Edit menu.

Hint

You can select different Parts (by using the

[PART -/+]

buttons) at any point in the

editing session, no matter which Edit menu or parameter is selected. This lets you

quickly shuttle among the various parts and effectively edit the desired parameters.

The selected Part is always indicated at the bottom left of the display.

For more information on the specific Edit parameters, see page 100.

Editing in the Multi Mode

Guided Tour

Editing Drum Voices — with the Drum Setup Controls

The Drum Setup Controls provide a comprehensive set of tools for control-

ling and changing the drum Voices. These parameters can be set individually

for each sound in a Drum Part. Up to four of your original editing setups can

be permanently stored.

Unless you’ve set them otherwise, Parts 10 and 26 are automatically set

to play a Drum Part and the MIDI channel for both is set to 10. (General

MIDI song data is standardized for playing drum/percussion sounds over

channel 10.)

For the sake of these instructions, we’ll simply select Part 10 and edit the

existing Drum Part. However, you can set up additional Drum Parts on any

of the Part numbers; refer to the box section below.

Remember that once a Part is assigned a Drum Part and different drum

Voices can be selected. (Refer to the “Sound List & MIDI Data” booklet.)

Assigning a Drum Part

This operation allows you to assign a Drum Part to any of the Part numbers —

letting you use two or more different drum Voices within the same song.

1. Select the desired Part.

Use the [PART -/+] buttons.

2. Call up the Edit menu.

Press the [EDIT] button.

3. Select and call up the OTHERS menu.

Use the [SELECT </>] buttons, then press [ENTER].

4. Select the Part Mode parameter.

Use the [SELECT </>] buttons.

5. Set the parameter to “drumS1.”

Use the [VALUE -/+] buttons or data dial. As long as you select one of

the “drum sets” (drumS1 – drumS4), any edits you make will automatically

be saved to the selected set.

Details

• The “normal” setting is for normal Voices; the “drum” setting selects the

Drum Part, but cannot be edited. (For more information on the Part Mode,

see page 108.)

6. Press the [EXIT] button.

Press it once to return to the Edit menus, twice to return to the Play dis-

play.

Editing in the Multi Mode

Guided Tour

Making Changes to Individual Drum Sounds — the “Drum” Parameters

The Drum parameters provide extraordinary flexibility, since they allow you

to make independent settings for the individual drum/percussion sounds in a

Drum Part. We’ll explore a couple of the possiblilities here:

Operation

1 Select “DRUM” from the Edit menus (with the [SELECT </>]

buttons) and press [ENTER].

2 Select “E3: Conga L.”

Play E3 on the connected MIDI keyboard, or use the [PART -/

+] buttons to select “E3.”

Details

• In the Drum parameters you cannot use the

[PART -/+]

buttons to select a

Part; they are reserved for selecting notes/sounds only.

3 Select the Pitch Coarse parameter, and set it to “-22.”

Use the [SELECT </>] buttons to select the parameter, then the

[VALUE -/+] buttons or data dial. This setting creates a deep

log drum sound.

4 Select the Velocity Pitch Sensitivity parameter (VelPchSens), and

set it to “+12.”

Again use the [SELECT </>] buttons, then the [VALUE -/+]

buttons or data dial. Play the key softly to strongly and notice

how the pitch changes according to key velocity.

Editing in the Multi Mode

Guided Tour

5 Select “F#3: Timbale L.”

Play F#3 on the connected keyboard, or use the [PART -/+]

buttons to select “F#3.”

6 Select the LPF Cutoff parameter, and set it to –40.

7 Select the LPF Resonance (LPF Reso) parameter, and set it to

+63.

8 Select the Velocity LPF Sensitivity parameter (VelLPFSens), and

set it to +16.

Play the key softly to strongly and notice how key velocity

changes the timbre of the sound for a “wah-wah” effect.

More Drum Editing

Try some of the other parameters in the edit menus (FILTER, EG, VIBRATO,

OTHERS) on your own and hear how they affect the drum sounds. Keep in

mind that these are applied to the entire Part, and cannot be set individually

for each sound.

As a springboard for further exploration, try editing the following parameters

in the OTHERS menu:

1. With a drum Part selected, call up the OTHERS parameters.

Press [EDIT], select “OTHERS,” then press [ENTER].

2. Select “PitBndCtrl” and set the value to +24.

Play with the pitch bend wheel on the connected keyboard while playing

different keys.

3. Select “MW LFOPMod” and set the value to 090.

Play with the modulation wheel on the connected keyboard while playing

different keys.

Select and change other parameters in the same way.

NOTE

Some of the parameters (such as Release Time in the EG menu) may not have

any affect on the drum sounds at all. Also, the effect of a parameter may differ

depending on the specific drum sound. (For more information on editing Drum

Parts, see page 114.)

Editing in the Multi Mode

Guided Tour

On Your Own...

While you’re at it , try making changes to some of the other Drum param-

eters. The procedure is the same:

1) Select a Drum Part with the [PART -/+] buttons.

2) Call up the Edit menus by pressing the [EDIT] button.

3) Select the “DRUM” menu with the [SELECT </>] buttons, and press

[ENTER].

4) Select the desired drum sound, either by playing the corresponding key

of the MIDI keyboard or by using the [PART -/+] buttons.

5) Select the desired parameter with the [SELECT </>] buttons, and

change the value with the [VALUE -/+] buttons or data dial.

6) Use the [EXIT] button as needed to return to the Edit menu.

Hint

Use of a connected MIDI keyboard is an exceptionally fast and convenient way to

edit Drum Parts. It not only lets you quickly shuttle among the various sounds while

editing, it also lets you hear the sound being edited and see the sound name.

For more information on the specific Drum parameters, see page 114.

Editing in the Multi Mode

Guided Tour

Editing in the Performance Mode

The Performance mode is an exceptionally powerful and flexible mode that

allows you to combine four different Voices (including both A/D inputs) and

play them from a single MIDI channel.

The potential applications of the Performance mode are enormous, and

we’ll touch on some of the main ones here. As the name suggests, the Per-

formance mode is primarily intended for live performance situations. The

four Voices can be played altogether in a huge, “fat” layer, or can be split

across the keyboard in different zones, or can be switched according to key

velocity.

A total of 200 Performances are available: 100 Preset, which are reserved

for only factory settings, and 100 Internal, to which you can save your own

original Performances.

This section takes you step-by-step through an example editing session

in the Performance mode. The operations and techniques you learn here

enable you to perform any editing operation in the Performance mode.

As with the Multi mode, the Performance mode has two separate sec-

tions that are devoted to editing: the Single/All Part controls, and the Edit

menus.

In this section, you’ll learn how to:

Performance.

sections of the keyboard.

wheel on your keyboard.

Editing in the Performance Mode

Guided Tour

All Part Controls

You can make changes to the overall Performance by using the All Part

controls. These are displayed in the Performance Play mode, and give you

at-a-glance confirmation and control of some important basic settings of the

selected Performance.

In the Performance mode, the All Part controls are automatically called

up whenever you turn the power on or select the Performance mode.

Let’s take a look at the All Part Performance Play display:

PART MIDI

BANK/PGM#

VOL EXP PAN REV CHO VAR KEY

For more information on the All Part controls, see page 120.

Performance name, bank (Preset or Internal), and

program number.

System Transpose

(key transpose

setting for entire

Performance).

Reverb Return.

Variation Return.

Performance Pan

(stereo position of entire Performance).

Expression

(not available; always set to maximum).

System Channel (MIDI receive channel for entire Performance).

Performance Volume.

Indicates All Part control.

Chorus Return.

Editing in the Performance Mode

Guided Tour

Transposing the Overall Key of a Performance

In this example, you’ll change the System Transpose setting for the “Rich

Piano” Performance. This All Part control is useful for instantly changing

the key to match the range of a vocalist, or for ease in playing difficult keys.

Operation

1 Select the “Rich Piano” Performance.

First select the Preset bank (“Pre”), then select Performance

number 002 (“Stereo Grand”). (For instructions on selecting Per-

formances, see steps 4 and 5 on page 40.)

2 Select the System Transpose control.

Use the [SELECT >] buttons to move the cursor arrow to the ap-

propriate control. (“SysTran” appears in the display.)

3 Change the System Transpose setting as desired.

Use the [VALUE -/+] buttons or data dial. (The “+00” setting

is normal; ±“12” is up/down one octave.)

Play the connected keyboard and try other transpose settings as you

play.

Current System transpose setting (in semitones).

Editing in the Performance Mode

Guided Tour

Single Part Controls — Selecting Different

Voices for the Performance

In this next section, you’ll use the Single Part controls to change the Voice

settings of the Performance.

Operation

1 Call up the Single Part controls.

From the All Part controls, simultaneously press both [PART -/

+] buttons.

PART MIDI

BANK/PGM#

VOL EXP PAN REV CHO VAR KEY

For more information on the Single Part controls, see page 121.

2 Select the desired Part.

Use the [PART -/+] buttons.

Keep in mind that you should select only from the active Parts —

the ones with a dark bar in the display. Other Parts can be selected

and changed; however, they will not sound in the Performance.

3 Select the desired bank and Voice.

Do this in the same way as you did in the Multi mode. (See steps

2 and 3 on page 44.)

Voice name, bank (Preset or Internal), and program number.

Note Shift

(key transpose

setting for

selected Part).

Reverb Send.

Variation Send.

Part Pan

(stereo position of selected Part).

Expression

(not available; always set to maximum).

(Not available in Single Part.)

Part Volume.

Selected Part number. (Change this with the [PART -/+] buttons.)

Chorus Send.

Performance bank and number.

Editing in the Performance Mode

Guided Tour

Details

• Drum Parts are not available in the Performance mode. However, percussive

Voices (numbers 113 – 120) can be selected.

When editing a Performance:

• Decide how many Parts you want.

When creating a Performance, choose a preset that uses the same number of

Parts (Voices) you intend to use. (You can easily tell how many Parts a Per-

formance has by looking at the “level meters”; a dark bar appears above the

Part numbers that are active.)

• Start with a similar sound.

When editing, it’s a good idea to start with a sound that’s relatively similar to

the one you intend to create. For example, if you want to create an soft, ethe-

real strings pad, you probably wouldn’t start with a brash preset such as

“Dance Chord”! This is not a hard and fast rule, however, since each preset is

only a basic “template” over which you can easily change Voices and create a

completely different sound.

On Your Own...

If you want to, try making changes to some of the other Part controls. The

procedure is the same:

1) Select a Part with the [PART -/+] buttons.

2) Select a control for editing with the [SELECT </>] buttons.

3) Change the setting with the [VALUE -/+] buttons.

4) Use the [EXIT] button as needed to return to “home base.” (When editing

in Single Part, pressing once returns to Voice name and number; pressing

once again returns to All Part.)

For more information on the specific Part controls, see page 96.

Editing in the Performance Mode

Two active Parts

Guided Tour

Edit Menu Parameters — Creating a Two-Voice Layer

Editing a Performance is almost identical to editing Parts in the Multi mode.

The Edit menu tree is slightly different, and certain parameters are different

as well. (For a full list and description of Performance Edit parameters, see

page 123.)

In the following instructions, you’ll use the Edit menu parameters to cre-

ate a two-Voice Performance and “fatten” the sound using Detune.

Operation

1 Select the desired Performance.

For this example, select the Preset bank, then Performance

number 027, “Jump-off.”

2 Select Part 1.

Call up the Single Part controls (simultaneously press both

[PART -/+] buttons), then select Part 1.

3 Solo the selected Part.

Press the [MUTE/SOLO] button twice (or repeatedly until the

display below appears) to solo the selected Part.

Dark bar indicates Part 1 is being soloed.

Editing in the Performance Mode

Using Mute/Solo for effective editing:

The [MUTE/SOLO] button is a convenient tool, especially in editing Perform-

ances. Make sure that the Single Part controls are selected, then use the button

to switch among the following three conditions. (In All Part, the [MUTE/

SOLO] button simply mutes/un-mutes all Parts.)

Mute: Lets you hear what the other Parts of the Performance sound

like, minus the selected Part.

Solo: Lets you hear what the selected Part sounds like by itself.

Normal: Lets you hear all Parts together.

Use this function regularly as you edit the sound. While you’re editing, you should

solo the Part, so you can clearly hear the changes. Make sure to frequently use

Normal (all Parts on), so you can hear the total effect of your edits.

For more on Mute/Solo, see page 85.

Guided Tour

4 Select Part 1 and select a new Voice for it: “HeavySyn” (082).

5 Select Part 2 and select the “HeavySyn” Voice for it as well.

6 Select the “OTHERS” parameters.

Press the [EDIT] button. From the first Edit menu, select and call

up “PART,” then select and call up “OTHERS.”

7 Select and set the Detune parameter for Part 2.

Use the [SELECT <] buttons to select the parameter, then the

[VALUE -/+] buttons or data dial. With Part 2 selected, in-

crease this to “+2.2.”

8 Set the Detune parameter for Part 1.

Keep the display at the Detune parameter and select Part 1. De-

crease this setting to “–2.2.”

This produces a “fat” layered sound. You can check how much

this changes the sound by exiting to the Single Part display and

using [MUTE/SOLO] button to listen to the Parts by themselves

and together.

Now, try changing some other parameters.

9 Exit to the second Edit menu and call up the “VIBRATO” param-

eters.

Press the [EXIT] button once, then select and call up the “VI-

BRATO” parameters.

First Edit menu.

Second Edit menu.

Editing in the Performance Mode

Guided Tour

; Change the Vibrato Rate, Depth, and Delay settings.

Select one of the Parts and set the Vibrato parameters as follows:

Rate: +15

Depth: +04

Delay: +15

This produces a delayed vibrato for Part 1; in other words, the

vibrato effect starts after the keys have been held for a while.

Notes played staccato have no vibrato.

a Exit back to the Single Part control display.

Press the [PLAY] button.

Setting Up a Keyboard Split

In the following steps, you’ll assign two different Parts to separate sections

of the keyboard.

Operation

1 Select Part 2 and select a new Voice for it: “NewAgePd” (089).

From the Single Part display, use [PART -/+] buttons to select

Part 2. Then select Voice 089 in the normal way. (Keep Part 1’s

Voice set to “HeavySyn,” 082, as set in step #4 of “Creating a

Two-Voice Layer” above.)

2 Change the Note Limit High setting for Part 1.

The Note Limit parameters determines the range of notes over

which the Part will sound. To set this:

1) In Edit menu select and call up the “PART” menu, then do

the same with the “OTHERS” menu.

2) Select Part 1.

3) Select and change the “NoteLimitH” setting to “B2.” (Leave

the “NoteLimitL” setting unchanged.)

3 Change the Note Limit Low setting for Part 2.

1) Select Part 2.

2) Select and change the “NoteLimitL” setting to “C3.” (Leave

the “NoteLimitH” setting unchanged.)

Playing notes below middle C on the keyboard plays the synth bass

sound, while notes above middle C play the “New Age” pad.

Hint

• You may want to raise the octave setting of Part 1. To do this, exit to Single Part,

select Part 1, then use the

[SELECT >]

buttons to select the Note Shift control.

For a higher “HeavySyn” Voice, set this to “+00.”)

Editing in the Performance Mode

Guided Tour

If you wish to save this newly created Performance, refer to “Saving

Your Original Performance” on page 68.

On Your Own...

While you’re at it, try making changes to some of the other Edit (part) pa-

rameters. The procedure is the same:

1) Call up the Edit menus by pressing the [EDIT] button.

2) Select “PART” with the [SELECT </>] buttons, then press [ENTER].

3) Select the desired menu with the [SELECT </>] buttons, and press

[ENTER].

4) Select the desired Part with the [PART -/+] buttons.

5) Select the desired parameter with the [SELECT </>] buttons, and

change the value with the [VALUE -/+] buttons or data dial.

6) Use the [EXIT] button as needed to return to the Edit menu.

Using the Assignable Controller in a Performance

In this section, you’ll set up a Performance in which the modulation wheel

on your connected keyboard can be used to “play” dynamic filter sweeps.

This is done with the Assignable Controller functions. Here, we’ll simply

show you what steps to follow; for more detailed information on the Assign-

able Controller and using it in the Multi mode, refer to page 69.

Operation

1 Select the “Dark Pad” Performance (Preset #025).

2 Select and call up “COM” (Common) from the first Edit menu.

3 From the Common menu, select the “AC1 CC No.” parameter

and set it to “01.”

Use the [SELECT </>] buttons, then use the [VALUE -/+]

buttons or data dial.

4 Select the “AC1FilCtrl” parameter and set it to “+63.”

5 Select Part 1 and change some of its Filter settings.

The Filter settings determine how the Part responds to the

“AC1FilCtrl” setting above. To set these:

1) In the Edit menu select and call up the “PART” menu, then

do the same with the “FILTER” menu.

Editing in the Performance Mode

Guided Tour

2) Select Part 1.

3) Select and change these parameters:

LPF Cutoff: –64

LPF Reso: +50

Provided your connected keyboard has a modulation wheel (most

do), and all other settings are appropriate, you can create wide, dy-

namic filter sweeps by holding notes and moving the modulation

wheel.

Saving Your Original Performance

Once you’ve edited a Performance, you can give it a different name and

save it for future recall. The MU100 has 100 Internal memory locations for

your original Performances.

For instructions on naming a newly created Performance, see page 124.

Operation

1 Press the [EDIT] button.

2 Select “STORE.”

Either Preset or Internal Performances can be edited, but they can

only be saved to the Internal bank.

3 Select a different Internal number, if desired.

Use the [VALUE -/+] buttons or data dial.

4 Press the [ENTER] button to save the Performance, or press the

[EXIT] button to cancel.

Editing in the Performance Mode

Guided Tour

Assignable Controller (AC1)

The Assignable Controller (AC1) is one of the more powerful features of the

MU100 — it gives you extraordinarily flexible and expressive real-time

control over the Voices.

In this section, you’ll:

affect the Voices.

* Varying degrees of brightness on a Part

* Filter sweep and “wah” effects

* “Expression pedal” control of volume

* Variable filter control of specific drum sounds

Hint

A good way to introduce yourself to some of the Assignable Controller applications is to

explore the Performances — many of them feature Assignable Controller settings that let

you change some aspect of the sound (usually with the modulation wheel on the con-

nected keyboard). (Refer to the “Sound List & MIDI Data” booklet, and select/play Per-

formances that mention “MW” in the “Comments” section of the lists.)

Controllers and Control Numbers

In the MIDI world, “controllers” are used to change some aspect of the sound.

In this section, we’ll work with “continuous” controllers — so named be-

cause they let you add musical, expressive effects that change smoothly over

time (such as crescendos and decrescendos).

The illustration below shows some continuous controllers you’re likely

to see on a MIDI keyboard.

NOTE

Your own MIDI instrument may not have all the controllers shown in the illustration.

Assignable Controller (AC1)

Modulation wheel

Volume pedal

Foot controller

Breath controller

Data entry slider

MIDI Keyboard

Guided Tour

The actual, physical means of controlling (such as foot pedals, modulation

wheels, etc. on a connected keyboard) are generally assigned to specific

“virtual” control numbers. A few examples of these include the modulation

wheel (at control number 1), foot controller (control number 4), and volume

pedal (control number 7).*

Control Numbers and the Actual Sound

The control numbers described above are in turn assigned to some specific

aspect of the sound on the connected tone generator (for example, to vol-

ume, pitch modulation, dry/wet balance of an effect, etc.). As you might

expect, control number 7 (Volume) affects the volume of the connected tone

generator.

Physical controller

(volume pedal)

In this example, the foot controller of a keyboard controls the volume on the MU100.

Assignable Controller (AC1)

* On some instruments, the control number for the physical controllers

is fixed; some instruments allow you to assign a different control

number to the existing control. (Refer to the owner’s manual of your

instrument for details. Also for more on control numbers, see the

“Sound List & MIDI Data” booklet.)

“Virtual” controller:

control number 7

(MIDI Volume)

MIDI Keyboard

MIDI OUT

MIDI Keyboard

MU100

MIDI IN

MIDI OUT

SEQUENCER

PROGRAM

SYSTEM

WHEEL ASSIGN

STOP

SONG

SELECT

START TEMPOCONTINUE

MEASURETOP BOTTOM

TIME SIGNATURE

FIXED

VELOCITY

MIDI

MERGE

ON/OFF

SOUND

OFF

VOICE

MAP

POLY/

MONO

BANK

SELECT

PROGRAM

CHANGE

CHANNEL

MERGE

RESET

CONTROL

TG300B

RESET

SOUND OFF

ALL CH

DEVICE

NUMBER

TOUCH

SENSITIVITY

RPN NRPN

DRUM

NUMBER

CONTROLLER

RPN NRPN

DATA

DENSITY

MSB 1ST/

LSB 1ST

FOOT SW

ASSIGN

CONTROLLER

SLIDER ASSIGN

RPN NRPN

DRUM

NUMBER

CONTROLLER

DATA

DENSITY

RESET

TRANSPOSE

1 MODULATION

2 BREATH

5 PORTA TIME

6 DATA ENTRY

7 VOLUME

10 PANPOT

11 EXPRESSION

64 HOLD1(DAMPER)

65 PORTAMENTO

71 HARMONIC

72 RELEASE TIME

73 ATTACK TIME

74 BRIGHTNESS

84 PORTA CTRL

123 VIBRATO RATE

124 VIBRATO DEPTH

125 VIBRATO DELAY

126 LP FILTER CUTOFF

127 LP FILTER RESONANCE

128 HP FILTER CUTOFF

129 EQ LO GAIN

130 EQ HI GAIN

131 EQ LO FREQUENCY

132 EQ HI FREQUENCY

133 EG ATTACK TIME

134 EG DECAY TIME

135 EG RELEASE TIME

136 DRUM LP FILTER CUTOFF

137 DRUM LP FILTER RESONANCE

138 DRUM EG ATTACK RATE

139 DRUM EG DECAY RATE

140 DRUM PITCH COARSE

141 DRUM PITCH FINE

142 DRUM LEVEL

143 DRUM PAN

144 DRUM REVERB

145 DRUM CHORUS

146 DRUM VARIATION

147 DRUM HP FILTER CUTOFF

148 DRUM EQ LO GAIN

149 DRUM EQ HI GAIN

150 DRUM EQ LO FREQUENCY

151 DRUM EQ HI FREQUENCY

91 REVERB

93 CHORUS

94 VARIATION

120 PB SENSITIVITY

121 FINE TUNE

122 COARSE TUNE

CONTROLLER

NUMBER LIST

CONTROL CHANGE

ENTER

HEXA

DECIMAL

123456 78 9ABCDEF0

RPN

NRPN

152 CH PRESSURE

153 KEY PRESSURE

154 MASTER VOLUME

156 MASTER TUNING

157 VELOCITY

158 TEMPO

OTHERS

SEQUENCER

PROGRAM

SYSTEM

WHEEL ASSIGN

STOP

SONG

SELECT

START TEMPOCONTINUE

MEASURETOP BOTTOM

TIME SIGNATURE

FIXED

VELOCITY

MIDI

MERGE

ON/OFF

SOUND

OFF

VOICE

MAP

POLY/

MONO

BANK

SELECT

PROGRAM

CHANGE

CHANNEL

MERGE

RESET

CONTROL

TG300B

RESET

SOUND OFF

ALL CH

DEVICE

NUMBER

TOUCH

SENSITIVITY

RPN NRPN

DRUM

NUMBER

CONTROLLER

RPN NRPN

DATA

DENSITY

MSB 1ST/

LSB 1ST

FOOT SW

ASSIGN

CONTROLLER

SLIDER ASSIGN

RPN NRPN

DRUM

NUMBER

CONTROLLER

DATA

DENSITY

RESET

TRANSPOSE

1 MODULATION

2 BREATH

5 PORTA TIME

6 DATA ENTRY

7 VOLUME

10 PANPOT

11 EXPRESSION

64 HOLD1(DAMPER)

65 PORTAMENTO

71 HARMONIC

72 RELEASE TIME

73 ATTACK TIME

74 BRIGHTNESS

84 PORTA CTRL

123 VIBRATO RATE

124 VIBRATO DEPTH

125 VIBRATO DELAY

126 LP FILTER CUTOFF

127 LP FILTER RESONANCE

128 HP FILTER CUTOFF

129 EQ LO GAIN

130 EQ HI GAIN

131 EQ LO FREQUENCY

132 EQ HI FREQUENCY

133 EG ATTACK TIME

134 EG DECAY TIME

135 EG RELEASE TIME

136 DRUM LP FILTER CUTOFF

137 DRUM LP FILTER RESONANCE

138 DRUM EG ATTACK RATE

139 DRUM EG DECAY RATE

140 DRUM PITCH COARSE

141 DRUM PITCH FINE

142 DRUM LEVEL

143 DRUM PAN

144 DRUM REVERB

145 DRUM CHORUS

146 DRUM VARIATION

147 DRUM HP FILTER CUTOFF

148 DRUM EQ LO GAIN

149 DRUM EQ HI GAIN

150 DRUM EQ LO FREQUENCY

151 DRUM EQ HI FREQUENCY

91 REVERB

93 CHORUS

94 VARIATION

120 PB SENSITIVITY

121 FINE TUNE

122 COARSE TUNE

CONTROLLER

NUMBER LIST

CONTROL CHANGE

ENTER

HEXA

DECIMAL

123456 78 9ABCDEF0

RPN

NRPN

152 CH PRESSURE

153 KEY PRESSURE

154 MASTER VOLUME

156 MASTER TUNING

157 VELOCITY

158 TEMPO

OTHERS

Guided Tour

Assigning the Assignable Controller

The Assignable Controller on the MU100 lets you specify the control num-

ber to be used and determine which aspect or aspects of the sound will be

affected. It also lets you set the degree to which the controller affects the

sound.

The best way to understand all this is to go through some actual examples,

so go on to the next section and set up your system:

Physical Controllers Controllers Parameters

Modulation wheel,

Foot controller,

Breath controller, etc.

Filter Control

Amplitude (level) Control

Variation Effect Control

Insertion 1 Effect Control

Insertion 2 Effect Control

(In Performance mode:)

Filter Control

Amplitude Control

LFO Filter Modulation Depth

Assignable Controller (AC1)

Guided Tour

Using the Assignable Controller — Setting Up

Operation

1 Set up the MIDI keyboard or instrument.

Connect the foot controller to the appropriate jack, and make

sure that the instrument is set to transmit over MIDI channel 1.

(If your instrument doesn’t have a foot controller, use another

controller as described in the next step.)

2 Select the desired Part.

From the Multi Play mode, use the [PART -/+] buttons. For

the sake of these instructions, select Part 1.

3 Call up and set the Assignable Controller number.

The control number of your instrument’s controller must match

the Assignable Controller control number. In this example and

all the following instructions in this section, we’ll use the foot

controller. Since the foot controller is control number 4, the As-

signable Controller must be set to “04.”

To do this:

1) Press the [EDIT] button.

2) Use the [SELECT </>] buttons to select “OTHERS,” then

press [ENTER].

3) Use the [SELECT </>] buttons to select “AC1 CC No.”

4) Set the value to “04” with the [VALUE -/+] buttons or data

dial.

If you don’t have a foot controller, you can use another controller,

such as the modulation wheel (01) or volume pedal (07) — making

sure that the Assignable Controller number matches.

Keep in mind that this setting applies only to the selected Part.

Other Parts can have separate control number settings.

Assignable Controller (AC1)

ATTACK

PHONES L/MONO

OUTPUT

R DC IN POWER

FOOT

VOLUME

FOOT

CONTROLLER

FOOT

SWITCH

TO HOST HOST SELECT IN OUT

MIDI

THRU

AMP EG

RELEASE ASSIGN 1/DATAVOLUME

CUTOFF

FILTER

RESONANCE ASSIGN 2

MW/FC

SCENE

ARPEGGIO

HOLD SHIFT

OCTAVE

PART/LAYER/

PRESET USER

VWX

PROGRAM

PERFORMANCE STORE

MULTI

PRESET USER ARPEGGIATOR

UTILITY

YZ'

MNO

PQR

STU

DEF

GHI

JKL

NO/

QUICK PC

YES

ABC

SPACE

ENTER

PERFORMANCE MULTI

DEMO

STORE UTILITY

TYPE

BANK

P BEND

RANGE

NOTE

SFT

ATK

TIME

ATK

TIME

MASTER

TUNE

TEMPO

ARPEGGIATOR PERFORM

LEVEL

EFECT

PROGRAM

SYSTEM MIDI ASSIGN

PMOD

DETUNE

DCY

TIME

DCY

TIME

KBD

TRANS

SUB

DIVIDE

VOLUME

FMOD

REV

TYPE

CUTOFF

FC PORTA

VEL ASSIGN2

LFO

PEG

CHO

TYPE

VARI

TYPE

SWITCH

VARI

PARAM

TIME

VARI

DATA

FMOD

LIMIT

LOW

TUNE

AEG

FEG

NOTE

DCY

LEVEL

DCY

LEVEL

VEL

CURVE

PAN

CUTOFF

LIMIT

HIGH

REL

TIME

REL

TIME

VEL

FIX

REV

SEND

LIMIT

LOW

AMOD

INIT

LEVEL

TRANS

CHO

SEND

LIMIT

HIGH

PMOD

ATK

TIME

EFFECT

RCV

VARI

SEND

OFFSET

FMOD

ATK

LEVEL

DEVICE

CUTOFF

FILTER

DEPTH

WAVE

DCY

TIME

LOCAL

REZ

PARAM

SPEED

REL

TIME

BULK

DUMP

PERFORM

NAME

POLY/

MONO

ASSIGN1

PARAM

DATA

PHASE

INIT

REL

LEVEL

CTRL

COMMON

LAYER

UTILITY

PITCH MODULATION

CS1X

Guided Tour

Modulation Wheel

The modulation wheel is the most common controller, and can be found on

nearly every MIDI keyboard. It is usually used to produce LFO effects (regular

wavering of the sound, like vibrato and tremolo). Since it is so common, the

MU100 features various parameters that are reserved strictly for modulation

wheel control.

In the Multi mode, the modulation wheel can control Pitch LFO. The Per-

formance mode features both Pitch LFO and Filter LFO. For more information

on these parameters, see page 124.

Using the Assignable Controller —

Some Applications

Changing the Brightness on a Piano Voice

Though you can use the Equalizer (page 82) to adjust the brightness of a

Part’s Voice, you may find it convenient to be able to change the character of

the sound “on the fly,” as you play. This uses the AC1 Filter Control param-

eter. Try this with the Grand Piano Voice (001:GrandP #).

Operation

1 Call up the Edit menu.

From the Multi Play mode, press the [EDIT] button.

2 Select and call up “OTHERS.”

Use the [SELECT </>] buttons, then press [ENTER].

3 Select “AC1FilCtrl” and set it to “+63.”

Use the [SELECT </>] buttons to select the Filter Control pa-

rameter, then set the value with the [VALUE -/+] buttons or

data dial. Playing the Part at the minimum pedal position results

in mellow “lounge” piano sound; maximum position results in a

bright “rock’n’roll” piano.

Minimum position —

mellow sound.

Maximum position —

bright sound.

Assignable Controller (AC1)

Guided Tour

4 Try the setting on other Voices.

Exit to the Multi Play mode display (press the [PLAY] button) and

select other Voices, trying out the new setting, and moving the

foot controller up and down as you play. Try out some of these

Voices, and notice how the sound changes:

SynBass2 (040), Saw Ld (082), Warm Pad (090) — for a

“wah” filter sweep effect.

SynVoice (055), NewAgePd (089) — for gradually fading in a

breathy sound.

For details on the AC1 Filter Control parameter, see page 112.

Details

• Keep in mind that the degree and character of the AC1 Filter Control depends

also on the Filter parameter settings for the Part (see page 112). Some Voices

may not change at all unless these parameters are set appropriately. However,

all of the example Voices above should clearly change in response to AC1 (if

the Filter parameters are all at their default setting of 00).

Resetting the parameter values

The simple operation below lets you instantly restore the factory preset values.

Since it automatically cancels any edits you’ve made, you should use it with

care.

1. Press the [MODE] button.

2. Select a different mode, then re-select the original one.

For example, if you were editing in the XG mode, use the [SELECT </>]

buttons to move the cursor to “TG300,” then back to “XG.”

Doing this automatically resets all Part settings to the factory-programmed con-

dition and cancels any edits you made in the Multi mode (including whatever

Voices you selected).

Assignable Controller (AC1)

Guided Tour

Expressive Volume Control of a Part

This example shows you how to use the foot controller as an expression

pedal. This may come in handy when use of MIDI Volume (#7) or Expres-

sion (#11) is unavailable.

Operation

1 Select the desired Part and Voice.

Keep the settings you made to Part 1 (in the last example), and

select a new Part/Voice for this example. From the Multi Play

mode, select Part 2 with the [PART -/+] buttons. (This should

be set to MIDI channel 2; set the MIDI channel on the con-

nected keyboard accordingly.) A good Voice for this application

would be PercOrg# (018); select this with the [VALUE -/+]

buttons or data dial.

2 Set the Assignable Controller number for the Part.

Set this to “04.” (Refer to step 3 in “Using the Assignable Con-

troller — Setting Up” above.)

3 From the “OTHERS” parameters, select “AC1AmpCtrl” and set it

to “+63.”

Use the [SELECT </>] buttons to select the Amplitude (level)

Control parameter, then set the value with the [VALUE -/+]

buttons or data dial.

Now, play the organ sound and use the foot controller to play ex-

pressive volume swells. For details on the AC1 Amplitude Control

parameter, see page 113.

Expressive Control of Individual Drum Sounds

In this example, the foot controller is used to produce expressive timbre

changes and filter sweeps on selected drum sounds, using the Filter Control

parameter.

Operation

1 Select a Drum Part.

Select Part 10 with the [PART -/+] buttons, and make sure

that the connected keyboard is set to transmit over MIDI chan-

nel 10.

2 Set the Assignable Controller number for the Part.

Set this to “04.” (Refer to step 3 in “Using the Assignable Con-

troller — Setting Up” above.)

Assignable Controller (AC1)

Guided Tour

3 Set the AC1 Filter Control to “+63.”

Since you’ve called up the “OTHERS” parameters in the previ-

ous step, select “AC1FilCtrl” (with the [SELECT </>] buttons)

and set it to “+63” (with the [VALUE -/+] buttons or data dial).

4 Select the “DRUM” parameters.

Call up the Edit menu, then select “DRUM” (with the [SELECT

</>] buttons) and press [ENTER].

5 Select “A3: Cabasa.”

Play A3 on the connected keyboard, or use the [PART -/+]

buttons to select “A3.”

6 Set some of the filter parameters for the Cabasa sound.

Select using [SELECT </>] button and set the two parameters

below as indicated:

LPF Cutoff: –40

LPF Reso: +60

Now, play the sound and move the foot controller as you play. No-

tice how this gives you dynamic, expressive control over the timbre

of the selected sound — without affecting the other sounds of the

drum Voice.

Hints

• Since virtually all sequencers record controller data as well as note data, you can

record these expressive sound changes into your song tracks — either while you

record the notes themselves, or separately for a previously recorded track.

• The negative values of the AC1 parameters let you control the sound by moving

the controller in the opposite direction. For example, moving the foot controller

to the minimum position produces the greatest change in the sound.

An application of this might be to create a pedal-controlled crossfade between

two Parts.

To do this:

1) Set two Parts to the same MIDI channel. (See page 96.)

2) Set each Part to a different Voice.

3) Set the “AC1AmpCtrl” parameter for one Part to “–64,” and the same param-

eter for the other Part to “+64.”

• The Assignable Controller can also be used to control one parameter of a se-

lected effect.

Assignable Controller (AC1)

Guided Tour

On Your Own...

While you’re at it, try making some of your own settings. The procedure is

the same:

1) Select the desired Part and Voice.

2) Call up the Edit menus by pressing the [EDIT] button.

3) Select “OTHERS” with the [SELECT </>] buttons, then press

[ENTER].

4) Set the Assignable Controller number for the Part.

5) Select the appropriate parameters with the [SELECT </>] buttons.

•If you are using the AC1 Filter Control, make sure to appropriately set

other filter settings (in “FILTER” parameters, page 100, and/or “DRUM”

parameters, page 114).

•Select the AC1 parameters in the “OTHERS” parameters. (In the

Performance mode, these are in the “COMMON” parameters; see page

125.)

•If you are using a Drum Part, select the desired drum sound, either by

playing the corresponding key or by using the [PART -/+] buttons.

6) Change the value, with the [VALUE -/+] buttons or data dial.

7) Use the [EDIT] button as needed to return to the Edit menu.

Assignable Controller (AC1)

Guided Tour

Effects

To complement the huge variety of Voices and the 32-Part multi-timbral

capacity, the MU100 features a built-in multi-effect processor with seven

independent digital effects: Reverb, Chorus, Variation, Insertion 1 and 2,

and EQ. (In this section, we’ll examine the first five; EQ is covered on page

82.)

These high-quality effects provide an enormous amount of sound pro-

cessing power and flexibility. Combine these with the Part controls in the

Multi mode, and you have a “virtual” 34-channel mixer at your disposal,

with per-channel EQ, master EQ, and six effect sends — complete with six

independent effect units!

The following instructions assume that the XG mode is selected (page

42). However, using effects in the Performance mode and the other modes is

done in virtually the same way.

In this section, you’ll learn how to:

Using Reverb and Chorus

Judicious use of Reverb creates a sense of space and enhances the realism of

the Voices. The selected Reverb Type is applied to all Parts; however, the

amount of Reverb for each Part can be adjusted. This lets you add special

textures to the mix of a song, such as “drenching” one Part in Reverb while

another Part is kept “dry.”

The Chorus effect section features a variety of pitch modulation effects.

These let you subtly enhance or “fatten” the sound, or completely transform

the sound in wild and unique ways. As with Reverb, only one Chorus Type

can be used for all Parts; however, the amount of Chorus for each Part can

be adjusted.

Effects

Guided Tour

Operation

1 First, set the Send and Return controls to appropriate levels.

Before you actually change the Reverb or Chorus settings, you

should set the Send and Return controls, in order to properly

hear the effect and the changes you make.

To do this:

1) Select the desired Part from the Multi Play mode Single

Part display. (Use the [PART -/+] buttons.)

2) Select “RevSend” (Reverb Send) or “ChoSend” (Chorus

Send) with the [SELECT </>] buttons, and set it to “40”

or higher.

3) Select the All Part display (by pressing both [PART -/+]

buttons).

4) Select “RevRtn” (Reverb Return) or “ChoRth” (Chorus Re-

turn) with the [SELECT </>] buttons, and set it to “60”

or higher.

2 Call up the Effect Edit mode.

Press the [EFFECT] button.

3 Select and call up the desired effet section.

Select “REV” (Reverb) or “CHO” (Chorus) with the [SELECT </

>] buttons.

4 Select and change the Type parameter.

Use the [SELECT <] button to select “Type,” then change the

setting with the [VALUE -/+] buttons or data dial.

5 Edit other parameters as desired.

Once you’ve selected a Reverb or Chorus Type, you can adjust

the other parameters.

For Reverb, try changing the Reverb Time and HPF Cutoff and

listen to how the changes affect the Reverb sound. For Chorus,

the parameters differ depending on the selected Chorus Type.

Use the [SELECT </>] buttons to select the parameter, then ad-

just the value with the [VALUE -/+] buttons or data dial.

For a list of Reverb Types and other information on Reverb, see page

134. For a list of the available parameters for each Reverb Type, re-

fer to the “Sound List & MIDI Data” booklet.

For a list of Chorus Types and other information on Chorus, see

page 135. For a list of the available parameters for each Chorus

Type, refer to the “Sound List & MIDI Data” booklet.

Effects

Guided Tour

Applying Distortion to a Part —

Using the Variation Effects

The Variation effect section provides a wealth of additional effects. With a total

of 70 different Types, it features some of the same effects found in the Reverb,

Chorus and Insertion sections. This is not mere redundancy; it allows you to use

two Types of Reverb or Chorus on different Voices. For example, you may want

to have a Symphonic effect on one Voice and Phaser on another. Variation also

gives you many special effects not found in the Reverb and Chorus sections,

such as Delay, Gate Reverb, Wah and Pitch Change.

The Variation effect can be applied either to all Parts (as with Reverb and

Chorus), or to a single selected Part (as described below).

Operation

1 Set Variation Connection to “INS” (Insertion).

To use Variation with a single Part, the Variation Connection pa-

rameter should be set to Insertion.

To do this:

1) Press the [EFFECT] button.

2) Select “VAR” (with the [SELECT </>] buttons) and press

[ENTER].

3) Select “VarConnect” (with the [SELECT >] button), and

change the setting to “INS” (with the [VALUE -/+] but-

tons or data dial).

2 Select the desired Part and set its Variation Send control to “on.”

To do this:

1) Return to the Multi Play mode Single Part display (press

the [PLAY] button), then select the desired Part (with the

[PART -/+] buttons).

2) Select “VarSend” (with the [SELECT </>] buttons), and

set it to “on” (with the [VALUE-/+] buttons or data dial).

3 Return to the Variation parameters, select the Distortion Type,

and make other necessary settings.

To do this:

1) Press the [EFFECT] button.

2) Select “VAR” (with the [SELECT -/+] buttons) and press

[ENTER].

3) Select “Type” (with the [SELECT <] button), and change

the setting to “DISTORTION” (with the [VALUE -/+]

buttons or data dial).

Effects

Guided Tour

4) If you cannot hear the Distortion effect clearly, select the

“Dry/Wet” parameter (with the [SELECT </>] buttons)

and adjust it (with the [VALUE -/+] buttons or data dial)

until the sound is appropriate.

5) Using the same method (as in step #4), select and adjust

other important Distortion parameters as needed, such as

“Drive” and “OutputLvl” (Output Level).

Now, play the Part and hear how Distortion affects the sound. Se-

lect other Types and play with them as well.

The Variation parameters differ depending on the selected Vari-

ation Type. For a list of Variation Types and other information on

Variation, see page 136. For a list of the available parameters for

each Variation Type, refer to the “Sound List & MIDI Data” booklet.

Details

• When Variation is set for use with a single Part (Insertion), only Variation Send is

available. (The Dry/Wet parameter in Variation Edit effectively performs the same

function as Variation Return in this case; see page 137.) Also, Variation Send can

be set to “on” for only one Part.

• When Variation is set for use with all Parts (System), both Variation Send and

Return must be set to appropriate values. (The operation is the same as step 1 in

“Using Reverb” and “Using Chorus” above.)

For more information, refer to “About the Effect Connections — System

and Insertion” on page 139.

Insertion 1 and 2 Effect Sections

The Insertion 1 and 2 sections provide additional signal processing power.

Each of the Insertion sections can be applied to a single selected Part, and

each features 43 effect Types.

For a list of Insertion Types and other information on Insertion, see page 138.

For a list of the available parameters for each Insertion Type, refer to the

“Sound List & MIDI Data” booklet.

Effects

Guided Tour

Equalizer (EQ)

The MU100 features an extensive set of equalization controls that give you

comprehensive control over the tone quality — both of individual Parts and

over the entire instrument sound.

In this section, you’ll learn how to:

Adjusting the Tone of a Specific Part — Part EQ

The Part EQ parameters give you two-band (low and high frequencies) con-

trol over the sound of individual Parts. These can be used in both the Multi

mode and the Performance mode.

NOTE

When a Drum Part is selected, the EQ menu is not available. However, the same

EQ parameters can be adjusted for each individual drum sound in the “DRUM”

menu. (See page 117.)

Operation

1 Select the desired Part.

From the Multi mode Single Part display, use the [PART -/+]

buttons to select the desired Part (excepting Drum Parts).

2 Call up the EQ parameters.

Press the [EDIT] button, then select “EQ” (with the [SELECT </

>] buttons) and press the [ENTER] button.

3 Select the general frequency range — low or high.

In this example, we’ll boost the bass of the Part, so select “Low

Freq” (Low Frequency) with the [SELECT </>] buttons.

Equalizer (EQ)

Guided Tour

4 Set the specific frequency to be adjusted.

For this example, set the Low Frequency value to “315” (Hz).

5 Select the Low Gain parameter and adjust the value.

For this example, set the Low Gain value to “+35.” Play the

Voice (especially in the lower octaves) and hear how the sound

has changed.

NOTE

Depending on the Voice selected for the Part (and depending in which octave you

play the Voice), you may or may not hear very much change in the sound at

certain frequencies.

If you want, try adjusting the High Frequency/Gain parameters as

well.

EQ in the Performance Mode

The EQ settings of individual Parts in the Performance mode can be adjusted

in the same way:

1) Select a Part (in the Single Part controls).

2) Press the [EDIT] button.

3) Select “PART”, then press the [ENTER] button.

4) Select “EQ”, then press the [ENTER] button, and edit the parameters as

shown in steps #3 – #5 above.

Equalizer (EQ)

Guided Tour

Adjusting the Overall Tone — Multi EQ

The multi EQ section gives you five-band control (at specific frequencies)

over the entire sound of the MU100. Special presets are also available for

instantly changing the tone to suit different types of music.

Operation

1 Call up the “EQ TYPE” parameter and select the desired EQ pre-

set.

First press the [EQ] button, then use the [SELECT </>] buttons

to select the parameter. Then use the [VALUE -/+] buttons or

data dial to select the desired preset.

2 If desired, change the values of the five different bands.

Use the [SELECT </>] buttons to select the parameter, then

change the value with the [VALUE -/+] buttons or data dial.

The changes you make to a selected EQ preset are maintained even

when the power is turned off. However, selecting another preset au-

tomatically cancels your original settings.

For more information on the Equalizer effects, see page 142. Also,

refer to the Multi Mode Equalizer Lock parameter (page 144).

Equalizer (EQ)

1) The graphic EQ display shows the EQ curve.

2) The EQ icon’s sliders indicate current settings and move

as the value is adjusted.

Guided Tour

Mute/Solo

The MU100 has convenient Mute and Solo functions for selectively muting

or soloing any of the 32 normal Parts and the A1 and A2 A/D Parts. This is

especially useful when playing back several Parts from a connected com-

puter or sequencer. Mute lets you silence one Part to hear how all of the

other Parts sound without it. Solo lets you isolate a single Part, to hear how

that Part sounds by itself.

In the Performance mode, Mute and Solo are especially effective tools

that help you as you edit the Parts, since they allow you to better hear how

the changes you make affect specific Voices as well as the overall sound of

the Performance.

Using Mute/Solo

Operation

1 Select the desired Part.

Make sure the Single Part mode is active (see page 96), then use

the [PART -/+] buttons to select the Part.

2 Press the [MUTE/SOLO] button.

While playing the keyboard (or during playback of a song from

a sequencer), press the [MUTE] button. Each press cycles

through the three functions: Mute, Solo and Normal operation.

Selected Part number.

The selected Part is muted, while all other Parts sound normally.

Mute/Solo

Guided Tour

The selected Part is soloed, while all other Parts are muted.

All Parts sound normally.

Mute/Solo

Guided Tour

A/D Input

The MU100 features a special A/D (Analog-to-Digital) input function that

allows you to connect a stereo external signal (microphone, electric guitar,

CD player, etc.), with the MU100’s Voices. You can use it to sing or play

guitar over backing tracks played from a MIDI sequencer.

In this section, you’ll learn how to:

Using the A/D Input

Operation

1 Turn down the A/D INPUT VOLUME control on the front panel.

CAUTION!

Before connecting an external input, always turn the VOLUME control down.

2 Connect the microphone or instrument to the A/D INPUT jack.

(Depending on the equipment being used, appropriate conver-

sion adaptors may be necessary; the A/D INPUT jack supports a

1/4” plug.)

A/D Input

Guided Tour

3 Select the corresponding Part.

Use the [PART -/+] buttons. Since you connected to the A/D

INPUT 1 jack above, select Part A1 in this step.

4 Select the appropriate bank of presets.

Do this in the normal way, using the [SELECT </>] buttons to

highlight the bank number parameter, then using the [VALUE -

/+] buttons to change the bank.

The selected bank determines the type of input and sets the appro-

priate gain level. Each bank/type is indicated by an icon in the LCD:

Bank 000

For input of a microphone (or other mic level instruments).

A/D Input

Guided Tour

Bank 001

Bank 002

Bank 003

Bank 018

For input of an electric or electric/acoustic guitar

(or other line level instruments).

For input of a keyboard (or other line level instruments, such as

tone generators, rhythm machines, etc.).

For input of audio equipment (such as CD players, cassette decks, etc.).

For input of a stereo keyboard (or other stereo signals from line level

instruments, such as tone generators, rhythm machines, etc.).

A/D Input

Guided Tour

Bank 019

CAUTION!

Do not use line level signals (such as from keyboards, etc.) with the mic level

banks. The signal may be too high, resulting in damage to the MU100.

5 Select the desired preset.

Do this in the normal way (as you selected Voices), using the

[SELECT </>] buttons to highlight the program number param-

eter, then using the [VALUE -/+] buttons to select the preset.

The available presets have been specially programmed to suit

the type of input selected. For example, presets for Mic input in-

clude Karaoke and Vocal; Guitar input presets include Tube,

Stack and Phaser. Explore some of these settings on your own

with a microphone and different instruments. (For a list of all

available A/D input presets, refer to the “Sound List & MIDI

Data” booklet.)

6 Turn up the level.

If the connected source has a volume control, first set it to an

appropriate level, then slowly bring up the A/D INPUT VOL-

UME control on the MU100 while playing the instrument (or

singing into the microphone), until the level is appropriate.

For input of stereo audio equipment

(such as CD players, cassette decks, etc.).

A/D Input

Guided Tour

Data Flow Block Diagram

When HOST SELECT switch is set to MIDI (31,250 bps):

Sound

Module

A1~16CH

TO HOST IN-B IN-A OUT THRU

Sound

Module

B1~16CH

When HOST SELECT switch is set to

PC-1/MAC (31,250 bps) or PC-2 (38,400 bps):

Sound

Module

A1~16CH

TO HOST IN-B IN-A OUT THRU

Sound

Module

B1~16CH

Data Flow Block Diagram

Guided Tour

MIDI/Computer Connecting Cables

MIDI

Standard MIDI cable. Maximum length 15 meters.

DIN 5-PIN DIN 5-PIN

2 (GND)

Mac

Apple Macintosh Peripheral cable (M0197). Maximum length 2 meters.

MINI DIN

8-PIN

MINI DIN

8-PIN

2 (HSK i)

1 (HSK o)

5 (RxD –)

4 4 (GND)

5 3 (TxD –)

6 8 (RxD +)

7 7 (GP i)

8 6 (TxD +)

PC-1

8-pin MINI DIN to D-SUB 25-pin cable. If your PC-1 type computer has a

9-pin serial port, use the PC-2 type cable. Maximum length 1.8 meters.

MINI DIN

8-PIN

D-SUB

25-PIN

5 (CTS)

4 (RTS)

3 (RxD)

4 7 (GND)

5 2 (TxD)

PC-2

8-pin MINI DIN to D-SUB 9-pin cable. Maximum length 1.8 meters.

MINI DIN

8-PIN

D-SUB

9-PIN

8 (CTS)

7 (RTS)

2 (RxD)

4 5 (GND)

5 3 (TxD)

This concludes your basic tour of the important functions of the MU100. To find out

more about how to best use your MU100, look through the Reference section that

follows and try out some of the functions and operations that interest you.

MIDI/Computer Connecting Cables

EFERENCE

The Reference section of this manual covers in detail all of the

functions of the MU100. Refer to it when you need information

about a specific function, feature or operation.

Multi Mode

In the Multi mode, the MU100 performs as a multi-timbral tone generator

capable of playing up to 32 Parts simultaneously, over 32 MIDI channels.

Normally, the MU100 should be set to Multi mode when using it with a

sequencer and General MIDI song data. There are three Multi modes: XG,

TG300B and C/M. (For information on selecting these, see pages 22 and

156.)

Part Controls

Part Controls ................................................................................ 95

Single Part Control................................................................ 96

All Part Control..................................................................... 98

Multi Edit Mode .......................................................................... 100

Filter ................................................................................... 100

Envelope Generator (EG) .................................................... 102

Equalizer (EQ)..................................................................... 105

Vibrato ............................................................................... 106

Others ................................................................................ 107

Drum Setup Controls ...........................................................114

Part Controls

The Part controls in the Play mode give you tools for adjusting the basic

sound and settings for each Part. The MU100 lets you adjust the various

settings for each Part individually (Single Part control) or together (All Part

control). Each of these types is explained in greater detail below.

NOTE

In the Multi mode, no settings can be permanently saved to the internal memory

of the MU100. However, you can use the Dump Out function to save Multi

settings to a MIDI data storage device. (See page 34.)

Multi Mode

Single Part Control

The Single Part controls include: MIDI Receive Channel, Bank Number,

Program Number, Volume, Expression, Pan, Reverb Send, Chorus Send,

Variation Send and Note Shift. For basic information on using the Single

Part control, see page 49.

MIDI Receive Port/Channel

Settings: A1 — A16, B1 — B16, OFF

This determines the MIDI IN port (A or

B) and the receive channel (1 — 16) for

the selected Part.

Bank Number

Settings:

A1 (A/D Input part):

000 — 003, 018, 019

A2 (A/D Input part):

000 — 003

Normal part:

XG: 000, 001, 003, 006, 008, 012,

014, 016 — 022, 024 — 029,

032 — 043, 045, 048, 052 —

054, 064 — 088, 096 — 101,

126, 127

[icon-MU100] 000, 008, 016,

024, 048, 056, 064, 072, 080,

088, 096, 104, 120

[icon-SFX] SFX

TG300B: 000, 001 — 011, 016 — 019,

024 — 026, 032, 033, 040,

126, 127

C/M: Fixed (only one bank)

Drum part:

XG: 126, 127

TG300B: 000

C/M: Fixed (only one bank)

This determines the bank number of the

selected Part’s Voice. (Refer to the SOUND

LIST & MIDI DATA booklet.)

For more information on selecting banks,

see page 44 and Display Bank Select pa-

rameter, page 147.

Program (Voice) Number

Settings:

A1 (A/D Input part): 001 — 013

A2 (A/D Input part): 001 — 005

Normal part: 001 — 128

This determines the Voice for the selected

Part. (Refer to the SOUND LIST & MIDI

DATA booklet.)

Volume

Range: 000 — 127

This determines the Volume setting for

the selected Part’s Voice.

Part Controls

Multi Mode

Expression (Expresn)

Range: 000 — 127

This determines the Expression setting for

the selected Part’s Voice.

Pan

Settings: Rnd (Random),

L63 — C — R63

This determines the stereo position of the

selected Part’s Voice. A setting of “Rnd”

(Random) randomly assigns the Voice to

a pan position. This is useful when you

want to have different Voices sound from

different random parts of the stereo im-

age. (The Random setting does not affect

the A/D input Parts.)

Reverb Send (RevSend)

Range: 000 — 127

This determines the level of the selected

Part’s Voice that is sent to the Reverb ef-

fect. A value of 000 results in a completely

“dry” Voice sound.

NOTE

Keep in mind that the Reverb effect must be

properly enabled and set for this parameter

to work as intended. (See page 134.)

Part Controls

Chorus Send (ChoSend)

Range: 000 — 127

This determines the level of the selected

Part’s Voice that is sent to the Chorus ef-

fect. A value of 000 results in a completely

“dry” Voice sound (no Chorus effect).

NOTE

Keep in mind that the Chorus effect must be

properly enabled and set for this parameter

to work as intended. (See page 135.)

Variation Send (VarSend)

Settings: off, on (when Variation Con-

nection is set to INS);

000 — 127 (when Variation

Connection is set to SYS)

This determines whether the selected Part’s

Voice is sent to the Variation effect or not.

A setting of “off” or “000” results in no

Variation effect being applied to the Voice.

Note Shift (NoteSft)

Range: –24 — +24 semitones

This determines the key transposition set-

ting for the Part’s Voice.

Multi Mode

All Part Control

The All Part controls include: Device Number, Master Volume, Master At-

tenuator, Reverb Return, Chorus Return, Variation Return and Transpose.

Keep in mind that these controls affect all Parts equally, and either add to or

subtract from their individual values. For example, if Note Shift on one Part

is set to –12, and Transpose (in All Part) is set to +12, that Part’s pitch value

will actually be 0 or normal. For basic information on using the All Part

controls, see page 51.

Part Controls

Device Number (DevNo.)

Settings: 1 — 16, all

This determines the Device Number for

the MU100, a kind of MIDI “identifica-

tion” number to distinguish between mul-

tiple units. For example, if you are using

more than one MU100, set a different

Device Number for each. This setting

only applies to the data dump features.

(See page 161.) If you have only one

MU100, set this to “all.”

Master Volume (M.Volum)

Range: 000 — 127

This determines the overall Volume of the

Parts.

Master Attenuator (M.Attn)

Range: 000 (maximum volume) —

127 (minimum volume)

This determines the level of all Parts, but

functions as an attenuator; the greater the

value, the lower the volume. This is useful

when you are playing several songs and

want to keep their overall level consistent.

Reverb Return (RevRtn)

Range: 000 — 127

This determines the amount of Reverb

return in the overall mix.

Chorus Return (ChoRtn)

Range: 000 — 127

This determines the amount of Chorus

return in the overall mix.

Multi Mode

Variation Return (VarRtn)

Range: 000 — 127

This determines the amount of Variation

return in the overall mix. Variation Re-

turn is only available when the Variation

Connection parameter is set to SYS. (See

page 137.)

Transpose (Trans)

Range: –24 — +24 semitones

This determines the overall Transpose

setting of the Parts.

Part Controls

100

Multi Mode

Multi Edit Mode

The Multi Edit mode features various parameters for controlling the Filter,

the EG (Envelope Generator), the EQ, and Vibrato. It also features a variety

of other miscellaneous controls grouped in the Others parameters. When a

Drum Part is selected, Drum-related parameters are also available.

For basic information on using the Multi Edit mode, see page 52.

Filter

Path: [EDIT] button → “FILTER”

Filter ——————————————————————————

●

LPF Cutoff Frequency

●

LPF Resonance

●

HPF Cutoff Frequency

The MU100 features a digital filter that can be used to change the timbre

of the Voices. The filter is affected (together with the level) by the EG

(Envelope Generator), which allows you to change the timbre over time

as well. (See EG, page 102.)

Multi Edit Mode

Multi Mode

101

LPF Cutoff Frequency (LPF Cutoff)

Range: –64 — +63

This determines the cutoff frequency of

the low pass filter (LPF). The LPF filters

out frequencies higher than the cutoff

point and “passes” the lower frequencies.

Lower cutoff values create a deeper, more

rounded tone, while higher values create

a brighter tone.

Frequency

Level

These frequencies are

“cut” or filtered out.

These frequencies

are “passed” or let

through.

LPF Cutoff Frequency

setting

LPF Resonance (LPF Reso)

Range: –64 — +63

This determines the amount of filter reso-

nance or emphasis of the LPF Cutoff Fre-

quency above. Higher values make the

filter effect more pronounced and stron-

ger, creating a resonant peak around the

cutoff frequency.

Frequency

Level

Resonance

LPF Cutoff Frequency setting

HPF Cutoff Frequency (HPF Cutoff)

Range: –64 — +63

This determines the cutoff frequency of the

high pass filter (HPF). The HPF filters out

frequencies lower than the cutoff point and

“passes” the higher frequencies. Lower cut-

off values preserve the fundamental and

lower overtones of the sound, while higher

values create a thinner, brighter tone.

Frequency

Level

These frequencies

are “cut” or

filtered out.

HPF Cutoff Frequency

setting

These frequencies are

“passed” or let through.

Multi Edit Mode

102

Multi Mode

Envelope Generator (EG)

Path: [EDIT] button → “EG”

EG (Envelope Generator) —————————————————

Level/Filter EG Parameters ............................... 103

●

EG Attack Time

●

EG Decay Time

●

EG Release Time

Pitch EG Parameters .......................................... 103

●

Pitch EG Initial Level

●

Pitch EG Attack Time

●

Pitch EG Release Level

●

Pitch EG Release Time

The EG parameters allow you to shape the sound of a Part’s Voice — or,

in other words, set how the level and timbre of the Voice changes over

time. This section also includes independent Pitch Envelope Generator

(PEG) parameters for controlling how the pitch of a Part’s Voice changes

over time.

The relationship of the main EG parameters — Attack, Decay and Re-

lease — are shown in the illustration below. These parameters not only

affect the sound level, but also the timbre (with the Filter parameters; see

page 100).

Multi Edit Mode

1) Short Attack, Decay, Release times:

Level

Attack

Decay Release

Time

is releasedKe

ressed

Min.

Max.

Level

Attack Decay Release

Time

is releasedKe

ressed

Min.

Max.

2) Long Attack, Decay, Release times:

Even though the key is held for the same length of time in both examples,

the sound of the second example slowly reaches full volume and decays

over a longer time. It also sustains longer after the key is released.

Keep in mind that the EG parameters affect each other, and are affected

by how long a note is held. For example, if Decay is set to a low value

and the note is held for a long time, you may not be able to hear changes

made to the Release parameter.

Multi Mode

103

Level/Filter EG Parameters

EG Attack Time

Range: –64 — +63

This determines the Attack Time of the

EG, or how long it takes for the sound to

reach full volume when a note is played.

For the Filter, this determines how long

it takes for the sound to be affected by

the maximum Filter values.

EG Decay Time

Range: –64 — +63

This determines the Decay Time of the

EG, or how rapidly the sound dies out as

a note is held. For the Filter, this deter-

mines how long it takes for the Filter ef-

fect to die out.

EG Release Time

Range: –64 — +63

This determines the Release Time of the

EG, or how long the sound sustains after

a note is released. For the Filter, this de-

termines how long the Filter effect con-

tinues after a note is released.

Pitch EG Parameters

The Pitch EG parameters determine how

the pitch of a Part’s Voice changes over

time. This lets you produce subtle or pro-

nounced pitch changes as a note is played.

In the example Pitch EG settings below,

a played note is gradually bent up to its

normal pitch, and kept there as the note

is held. When the note is released, the

pitch rapidly climbs up.

Normal

Pitch

Time

Key is released

Low

High

NOTE

The Pitch EG parameters may have little or

no effect, depending on the particular Voice

used and the settings made to the main EG

parameters.

Pitch EG Initial Level (PEGInitLvl)

Range: –64 — +63

This determines the initial pitch of the Part’s

Voice, when the note is first played. A set-

ting of 00 corresponds to normal pitch.

Multi Edit Mode

104

Multi Mode

Pitch EG Attack Time (PEGAtakTime)

Range: –64 — +63

This determines the Attack Time of the

Pitch EG, or how long it takes for the pitch

to return to normal (from the pitch value

set in Initial Level above).

Pitch EG Release Level (PEGReleLvel)

Range: –64 — +63

This determines the final pitch of the

Part’s Voice, or the pitch that is reached

after the note is released. A setting of 00

corresponds to normal pitch.

NOTE

The Pitch EG Release Level and Time param-

eters may have no effect if the Voice itself

does not sustain after the note is released.

(Short percussive Voices may fall into this

category.) Also make sure that the main EG

Release Time is set to an appropriate value

so that the sound sustains.

Pitch EG Release Time (PEGReleTime)

Range: –64 — +63

This determines the Release Time of the

Pitch EG, or how long it takes for the pitch

to change to the pitch value set in Release

Level above.

Multi Edit Mode

Multi Mode

105

Multi Edit Mode

Equalizer (EQ)

Path: [EDIT] button → “EQ”

EQ (Equalizer) ——————————————————————

●

EQ Low Frequency

●

EQ Low Gain

●

EQ High Frequency

●

EQ High Gain

The EQ parameters let you adjust and set the tonal quality of a Part’s

Voice, such as boosting the bass sound, or making it brighter. This is a

two-band equalizer with wide frequency variation for each band, and is

independent of the overall EQ controls (see page 142).

EQ Low Frequency (Low Freq)

Range: 32 Hz — 2.0 kHz

This determines the frequency which is

boosted or cut (in the Low Gain param-

eter below) for each Part.

EQ Low Gain

Range: –64 — +00 — +63

This determines the level of the selected

frequency (in Low Freq above). Positive

values boost the level of the selected fre-

quency and negative values attenuate it.

EQ High Frequency (High Freq)

Range: 500 Hz — 16 kHz

This determines the frequency which is

boosted or cut (in the High Gain param-

eter below) for each Part.

EQ High Gain

Range: –64 — +00 — +63

This determines the level of the selected

frequency (in High Freq above). Positive

values boost the level of the selected fre-

quency and negative values attenuate it.

106

Multi Mode

Vibrato

Path: [EDIT] button → “VIBRATO”

Vibrato —————————————————————————

●

Vibrato Rate

●

Vibrato Depth

●

Vibrato Delay

Vibrato produces a quavering, vibrating sound in the Part’s Voice, by regu-

larly modulating the pitch. You can control the speed and depth of the Vi-

brato, as well as the time it takes before the Vibrato effect is applied.

Vibrato Rate

Range: –64 — +63

This determines the speed of the Vibrato

effect. Higher values result in a faster Vi-

brato sound.

Vibrato Depth

Range: –64 — +63

This determines the depth of the Vibrato

effect. Higher values result in a stronger,

more pronounced Vibrato sound.

Vibrato Delay

Range: –64 — +63

This determines the delay in the onset of

the Vibrato effect. Delay is effective es-

pecially on stringed instrument Voices.

For example, violin players often use de-

layed vibrato, especially while playing

long notes. The Delay parameter is use-

ful in recreating this effect, producing a

more natural, lifelike sound. Higher val-

ues result in a longer Delay time.

Multi Edit Mode

Multi Mode

107

Others

Path: [EDIT] button → “OTHERS”

Others —————————————————————————

Detune ................................................................. 108

●

Detune

Assignment Parameters .................................... 108

●

Part Mode

●

Mono/Poly Mode

Portamento Parameters .................................... 109

●

Portamento Switch

●

Portamento Time

Element................................................................ 109

●

Element Reserve

Note Limit Parameters....................................... 110

●

Note Limit Low

●

Note Limit High

Dry Level ............................................................. 110

●

Dry Level (VarConnect=SYS)

Velocity Sensitivity Parameters ....................... 110

●

Velocity Sensitivity Depth

●

Velocity Sensitivity Offset

Velocity Limit Parameters ................................. 111

●

Velocity Limit Low

●

Velocity Limit High

Pitch Bend, Modulation Wheel,

Assignable Controller ......................................... 111

●

Pitch Bend Control

●

MW LFO Pitch Modulation Depth

●

AC1 Control Change Number

●

AC1 Filter Control

●

AC1 Amplitude Control

The Others section of parameters contains miscellaneous controls, in-

cluding those related to tuning, Part Mode, velocity, portamento, note

range, etc.

Multi Edit Mode

108

Multi Mode

Detune

Range: –12.8 — +12.7

This determines the fine tuning of the

Part’s Voice.

HINT

Detune could be used to slightly detune a Voice

compared to the tuning of the rest of the Voices

for a richer sound. It could also be used to

detune two different Voices being played in

unison. For example if two different Parts are

set to the same MIDI channel (see page 96) and

same Voice, a naturally thick chorusing effect

can be obtained by slightly detuning each Voice

in opposite directions here.

Assignment Parameters

Part Mode

Settings: normal, drum, drumS1 — S4

(When Sound Module mode

is set to C/M, both Parts 10

and 26 are set to drumS1.)

This determines the mode for the Part. A

setting of normal allows selection of the

normal instrument Voices. (See the

SOUND LIST & MIDI DATA booklet.)

The drum setting allows selection of the

drum Voices. (See the SOUND LIST &

MIDI DATA booklet.) The drumS1 —

S4 settings are locations for storing spe-

cially programmed drum setups. These

setups can be edited by using the Drum

Setup controls in the Multi Edit mode.

Multi Edit Mode

(See page 114.) The drum and drumS1

— S4 settings are not available in the Per-

formance mode (all Parts are fixed to

“normal”).

The Part Mode settings differ depending

on the Sound Module mode selected, as

described below.

For XG mode:

All settings described above are available.

When normal is selected, any of the ba-

sic or the extended set of Voices can be

used for the Part.

For TG300B mode:

The settings normal and drumS1 — S4

are available; drum cannot be selected.

When normal is selected, either the ba-

sic or the extended set of Voices (for the

TG300B mode) can be used for the Part.

For C/M mode:

The Part Mode settings are fixed in this

mode and cannot be changed: Parts 10

and 26 are set to drumS1, and all other

Parts are set to normal. The MIDI Re-

ceive Channel setting for Parts 1 and 17

is set to off. The 128 Voices of C/M Type

1 can be used for Parts 1 — 9 and 17 —

25; the 64 Voices of C/M Type 2 can be

used for Parts 11 — 16 and 27 — 32.

For PFM (Performance) mode:

All four Parts are set to normal; none of

the drum settings are available. Any of

the basic or the extended set of Voices

can be used for each Part.

NOTE

When two or more different Parts are set to

the same editable drum setup (drumS1 — S4),

any edits made to that drum setup automati-

cally affect all those Parts. For example, when

two Parts are set to drumS1, any changes

made to drumS1 affect both Parts.

Height of bars indicates selected Part Mode

setting for each Part. (A single bar indicates

“normal” setting.)

Multi Mode

109

Multi Edit Mode

Mono/Poly Mode

Settings: mono, poly

This determines whether the Part’s Voice

is played monophonically (only one note

at a time) or polyphonically (up to 64

notes at a time). This parameter is not

available when the Part Mode is set to

Drum.

Portamento Parameters

Portamento is a function that creates a

smooth pitch glide from one note to an-

other.

Portamento Switch (PortametSw)

Settings: off, on

This determines whether Portamento is

on or off for the Part. (This parameter is

not available for Drum Parts.)

Portamento Time (PortametTm)

Range: 000 — 127

This determines the time of the

Portamento effect, or how long it takes

to glide the pitch from one note to the

next. Higher values result in a longer pitch

glide time. (This parameter is not avail-

able for Drum Parts.)

Element

Element Reserve (ElemReserv)

Range: 00 — 64

This determines the minimum number of

sound elements that are reserved for the

Part. This setting ensures that when the

maximum simultaneous polyphony of 64

notes (or elements) is exceeded, the se-

lected Part will still play up to the num-

ber of elements set here. For example, if

the Element Reserve of a Part is set to

10, the sounds for that Part (up to 10 si-

multaneous notes) will not be cut off,

even if the maximum polyphony is ex-

ceeded. The total number of Element

Reserve values for all of the Parts cannot

exceed 64.

This parameter is useful when playing

back dense song data, and it ensures that

the most important Parts in the song data

will play properly without being cut off.

Height of bars indicates selected Mono/Poly

Mode setting for each Part. (A single bar

indicates “mono” setting, while full height

indicates “poly”.)

Height of bars indicates selected Portamento

Switch setting for each Part. (A single bar

indicates “off” setting, while full heignt

indicates “on.”)

110

Multi Mode

Note Limit Parameters

The Note Limit Low and High parameters

allow you to set the range of notes for a

Part’s Voice. Notes outside the range will

not be played.

HINT

Note Limit can be used to set up keyboard

splits. Set two Parts to the same MIDI chan-

nel (see page 96), but give them Note Limit

settings so that one Part is played from the

left side of the keyboard and the other is

played from the right.

Note Limit Low (NoteLimitL)

Range: C-2 — G8

This determines the lowest responding

note for the Part. Notes below this value

will not be played.

Note Limit High (NoteLimitH)

Range: C-2 — G8

This determines the highest responding

note for the Part. Notes above this value

will not be played.

Dry Level

Range: 000 — 127

This determines the level of the unproc-

essed sound of the Voice (sound with no

effect processing). This parameter is only

available when the Variation Connection

parameter is set to SYS. (See page 137.)

Velocity Sensitivity Parameters

Velocity Sensitivity Depth (VelSensDpt)

Range: 000 — 127

This determines the degree to which ve-

locity affects the Part’s Voice. Higher val-

ues make the Voice more sensitive to

changes in velocity.

Multi Edit Mode

Multi Mode

111

Velocity Sensitivity Offset (VelSensOfs)

Range: 000 — 127

This determines the volume range over

which velocity affects. For lower values,

the velocity affects a volume range from

minimum to medium-loud. For higher

values, velocity affects a range from me-

dium-soft to maximum.

Level

127

at 127

at 64

at 0

Velocit

NOTE

Depending on the Voice used, if Velocity Sen-

sitivity Offset is set to too low of a value, the

Voice may not sound, no matter how strong

the velocity.

Velocity Limit Parameters

The Velocity Limit Low and High param-

eters allow you to set the effective veloc-

ity range for a Part’s Voice. Velocity val-

ues outside the range will not be played.

(Velocity is generally the strength at

which notes are played from a MIDI key-

board.)

HINT

Velocity Limit can be used to set up velocity

splits. A velocity split allows you to have one

Part’s Voice sound when you play the con-

nected keyboard strongly, and a different

Voice sound when you play softly. Set two

Parts to the same MIDI channel (see page 96),

but give them different Velocity Limit settings

so that one or the other sounds depending

on how strongly you play the keyboard.

Multi Edit Mode

Velocity Limit Low (VelLimitLo)

Range: 000 — 127

This determines the lowest velocity value

at which the Part’s Voice will play. The

higher the value, the harder the keyboard

must be played for the Voice to sound.

Velocity Limit High (VelLimitHi)

Range: 000 — 127

This determines the highest velocity value

at which the Part’s Voice will play. The

lower the value, the less strength needed

(in playing the keyboard) to get maximum

volume.

sound

1 127

VelLimitLo VelLimitHi

Pitch Bend, Modulation Wheel,

Assignable Controller

Pitch Bend Control (PitBndCtrl)

Range: –24 — +24 semitones

(+/– 2 octaves)

This determines the Pitch Bend range for

the Part’s Voice. (Pitch Bend is usually

controlled by a pitch bend wheel on a

MIDI keyboard.)

112

Multi Mode

Modulation Wheel — LFO Pitch

Modulation Depth (MW LFOPMod)

Range: 000 — 127

This determines how widely the pitch is

modulated by the LFO (low frequency os-

cillator). This is generally controlled from

a modulation wheel on a MIDI keyboard

and produces a vibrato effect. The higher

the value, the deeper the pitch modula-

tion, and hence, the more pronounced the

vibrato effect.

Assignable Controller 1 Control

Change Number (AC1 CC No.)

Range: 00 — 95

This determines which MIDI control

change number is assigned to the Assign-

able Controller (AC1) for the selected

Part. AC1 can be used to affect the Filter

(page 112), volume (Amplitude; page

113), LFO (page 125) or the Variation ef-

fect (page 137).

HINT

Though this parameter allows you to assign

any control change number from 0 to 95, only

a few of these are in common use. The con-

trollers most likely to be encountered include:

01 — Modulation wheel or lever

02 — Breath controller

04 — Foot controller

07 — Volume controller

Some or all of these may be available on your

MIDI instrument, and can be used to control cer-

tain functions on the MU100 in real time. Some

MIDI instruments allow you to change the con-

trol change number for a particular controller:

for example, setting the modulation wheel (nor-

Multi Edit Mode

mally 01) to control Volume (07). Refer to the

owner’s manual of your particular instrument

for more information.

Assignable Controller 1 Filter Control

(AC1 FilCtrl)

Range: –64 — +63

This determines the degree to which Assign-

able Controller 1 (AC1) affects the Cutoff

Frequency of the Low Pass Filter for each

Part. For maximum effect, this should be

set to one of the extreme values, negative

or positive. A setting of 00 results in no con-

trol over the Filter, even when AC1 is oper-

ated (or control change data is received).

Negative settings affect the Filter nega-

tively; in other words, when the controller

is at the minimum position, control over the

Filter is greatest (see illustration below).

(The control number used for AC1 is set in

the Assignable Controller 1 Control Change

Number parameter above.)

For positive values: For negative values:

Minimum

effect

Maximum

effect

Maximum

effect

Minimum

effect

HINT

Positive and negative values can be most ef-

fectively used by setting two different Parts to

opposite settings. In this way, moving the con-

troller (for example, a foot controller) one way

will affect one Part and moving it the oppo-

site way will affect the other Part.

Multi Mode

113

Multi Edit Mode

Assignable Controller 1 Amplitude

Control (AC1 AmpCtrl)

Range: 64 — +63

This determines the degree to which As-

signable Controller 1 (AC1) affects the

volume (Amplitude) for each Part. For

maximum effect, this should be set to one

of the extreme values, negative or posi-

tive. A setting of 00 results in no volume

control, even when AC1 is operated (or

control change data is received). Nega-

tive settings affect the volume negatively;

in other words, when the controller is at

the minimum position, control over the

volume is greatest. (The control number

used for AC1 is set in the Assignable

Controller 1 Control Change Number

parameter above.)

NOTE

For more information on using positive and

negative values, see the illustration and hint in

Assignable Controller 1 Filter Control (page

112).

114

Multi Mode

Drum Setup Controls

The Drum Setup controls allow you to make a wide variety of settings

for the drum sounds in a Drum Part. These settings include Pitch con-

trols, Level, Pan, effect send, filter controls and EG (Envelope Genera-

tor), among others. Moreover, these parameters can be set to completely

independent values for each of the drum sounds in a Part.

The Drum Setup controls can only be called up by first selecting a Part to

which a Drum Part is assigned. (For basic information on using the Drum

setup controls, see page 55.)

Parh: [EDIT] button → “DRUM”

Drum Setup Controls ———————————————————

Pitch Parameters ................................................ 115

●

Pitch Coarse

●

Pitch Fine

●

Velocity Pitch Sensitivity (VelPchSens)

Level..................................................................... 115

●

Level

Pan ........................................................................ 115

●

Pan

Effect Send Parameters .................................... 115

●

Reverb Send (Rev Send)

●

Chorus Send (Cho Send)

●

Variation Send (Var Send)

Filter Parameters ................................................ 116

●

LPF Cutoff Frequency (LPF Cutoff)

●

LPF Resonance (LPF Reso)

●

Velocity LPF Cutoff Sensitivity (VelLPFSens)

●

HPF Cutoff Frequency (HPF Cutoff)

EQ Parameters .................................................... 117

●

EQ Low Frequency (Low Freq)

●

EQ Low Gain

●

EQ High Frequency (High Freq)

●

EQ High Gain

EG Parameters .................................................... 117

●

EG Attack

●

EG Decay 1

●

EG Decay 2

Multi Edit Mode

Multi Mode

115

Multi Edit Mode

Pitch Parameters

Pitch Coarse

Range: –64 — +63 (XG mode), 000 —

127(TG300B or C/M mode)

This determines the coarse pitch setting

of the selected drum sound.

Pitch Fine

Range: –64 — +63

This determines the fine pitch setting of

the selected drum sound.

Velocity Pitch Sensitivity (VelPchSens)

Range: –16 — +16

This determines the degree to which pitch

changes of the selected drum sound respond

to velocity. In other words, you can control

how much the pitch of the sound changes

by how hard or soft you play the keys of a

connected keyboard. Positive values raise

the pitch and negative values lower the

pitch. A value of 00 results in no pitch

change, whatever velocity is received.

Level

Range: 000 — 127

This determines the volume of the se-

lected drum sound.

Pan

Settings: Rnd (Random), L63 — C —

R63

This determines the stereo position of the

selected drum sound. A setting of “Rnd”

(Random) randomly assigns the drum to a

pan position. This is useful when you want

to have different drums sound from differ-

ent random parts of the stereo image.

Effect Send Parameters

Reverb Send (Rev Send)

Range: 000 — 127

This determines the level of the selected

drum sound that is sent to the Reverb ef-

fect. A value of 000 results in a completely

“dry” drum sound, no matter how much

Reverb is applied to the Drum Part.

NOTE

Keep in mind that the Reverb effect must be

properly enabled and set for this parameter to

work as intended. (See page 134.) Also, the pa-

rameters Reverb Send in Single Part control

(page 97) and Reverb Return in All Part control

(page 98) must be set to appropriate values.

Assignment ......................................................... 117

●

Alternate Group

Note On/Off ........................................................ 118

●

Receive Note On (RcvNoteOn)

●

Receive Note Off

The Drum Setup parameters are only available when the Part Mode has

been set to drumS1 — S4. (See page 108.)

116

Multi Mode

Chorus Send (Cho Send)

Range: 000 — 127

This determines the level of the selected

drum sound that is sent to the Chorus ef-

fect. A value of 000 results in a completely

“dry” drum sound, no matter how much

Chorus is applied to the Drum Part.

NOTE

Keep in mind that the Chorus effect must be

properly enabled and set for this parameter to

work as intended. (See page 135.) Also, the pa-

rameters Chorus Send in Single Part control

(page 97) and Chorus Return in All Part control

(page 98) must be set to appropriate values.

Variation Send (Var Send)

Settings: off, on (when Variation Con-

nection is set to INS);

000 — 127 (when Variation

Connection is set to SYS)

This determines the level of the selected

drum sound that is sent to the Variation ef-

fect. A setting of off results in a completely

“dry” drum sound, no matter how much

Variation is applied to the Drum Part.

NOTE

Keep in mind that the Variation effect must be

properly enabled and set for this parameter to

work as intended. (See page 136.) Also, the pa-

rameters Variation Send in Single Part control

(page 97) and Variation Return in All Part con-

trol (page 99) must be set to appropriate values.

Filter Parameters

LPF Cutoff Frequency (LPF Cutoff)

Range: –64 — +63 (XG mode), 000 —

127 (TG300B or C/M mode)

This determines the cutoff frequency of

the low pass filter (LPF) for the selected

drum sound. The LPF filters out frequen-

cies higher than the cutoff point and

“passes” the lower frequencies. Lower

cutoff values create a deeper, more

rounded tone, while higher values create

a brighter tone. (For more information,

see LPF Cutoff Frequency on page 101.)

LPF Resonance (LPF Reso)

Range: –64 — +63 (XG mode), 000 —

127 (TG300B or C/M mode)

This determines the amount of filter reso-

nance or emphasis of the LPF Cutoff Fre-

quency above for the selected drum

sound. Higher values make the filter ef-

fect more pronounced and stronger, cre-

ating a resonant peak around the cutoff

frequency. (For more information, see

LPF Resonance on page 101.)

Velocity LPF Cutoff Sensitivity (VelLPFSens)

Range: –16 — +16

This determines the degree to which the

LPF Cutoff Frequency for the selected

drum sound changes in response to ve-

locity. In other words, you can shift the

LPF Cutoff Frequency of the filter up or

down (and thus change the timbre of the

sound) depending on how hard or soft you

play the keys of a connected keyboard.

Positive values raise the LPF Cutoff Fre-

quency and negative values lower it. A

value of 00 results in no frequency

change, whatever velocity is received.

HPF Cutoff Frequency (HPF Cutoff)

Range: –64 — +63

This determines the cutoff frequency of

the high pass filter (HPF) for the selected

drum sound. The HPF filters out frequen-

cies lower than the cutoff point and

“passes” the higher frequencies. Lower

cutoff values preserve the fundamental

and lower overtones of the sound, while

higher values create a thinner, brighter

tone. (For more information, see HPF

Cutoff Frequency on page 101.)

Multi Edit Mode

Multi Mode

117

Multi Edit Mode

EQ Parameters

EQ Low Frequency (Low Freq)

Range: 32 Hz — 2.0 kHz

This determines the frequency which is

boosted or cut (in the Low Gain param-

eter below) for the selected drum sound.

EQ Low Gain

Range: –64 — +63

This determines the level of the selected

frequency (in Low Freq above). Positive

values boost the level of the selected fre-

quency and negative values attenuate it

for the selected drum sound.

EQ High Frequency (High Freq)

Range: 500 Hz — 16 kHz

This determines the frequency which is

boosted or cut (in the High Gain param-

eter below) for the selected drum sound.

EQ High Gain

Range: –64 — +63

This determines the level of the selected

frequency (in High Freq above) for the

selected drum sound. Positive values

boost the level of the selected frequency

and negative values attenuate it.

EG Parameters

EG Attack

Range: –64 — +63 (XG mode),

000 — 127 (TG300B or

C/M mode)

This determines the Attack Time of the

EG (Envelope Generator), or how long it

takes for the sound of the selected drum

sound to reach full volume when a note

is played. (See page 102 for more infor-

mation about the EG function; also see

illustration below.)

EG Decay 1

Range: –64 — +63 (XG mode), 000 —

127 (TG300B or C/M mode)

This determines the Decay 1 time of the

EG, or how rapidly the sound dies down

to the Decay 2 level. (See illustration be-

low.) Higher values result in a longer

Decay time.

EG Decay 2

Range: –64 — +63 (XG mode), 000 —

127 (TG300B or C/M mode)

This determines the Decay 2 time of the EG,

or how rapidly the sound dies out com-

pletely. (See illustration below.) Higher val-

ues result in a longer Decay time.

Level

EG Attack

EG Decay 1

EG Decay 2

Time

Assignment

Alternate Group

Settings: off, 001 — 127

This determines the group assignment of

the selected drum sound. Drums assigned

to the same group cannot be sounded si-

multaneously. In other words, if one drum

in a group is sounding while a second in

the same group is played, the first drum

sound will be cut off and the second will

sound.

HINT

The main use for this parameter is in creating

realistic hi-hat sounds. By assigning an open

hi-hat and a closed hi-hat to the same group,

you can “choke” or stop the open hi-hat

sound by simply playing the closed hi-hat —

just like pressing the pedal on an actual hi-

hat set.

118

Multi Mode

Note On/Off Parameters

Receive Note On (RcvNoteOn)

Settings: on, off

This determines how the selected drum

sound responds to MIDI Note On messages.

Normally, this should be set to on so that

the corresponding drum sound plays when

a MIDI Note On message is received. Set

this to off when you want to keep the se-

lected drum sound from playing.

Receive Note Off (RcvNoteOff)

Settings: on, off

This determines how the selected drum

sound responds to MIDI Note Off mes-

sages. When this is set to on, the selected

sound will stop in response to the corre-

sponding MIDI Note Off message. An on

setting is good for some sustained sounds

(like a whistle), whose duration you want

to control or for key-controlled cymbal

“chokes.” For most drum sounds, how-

ever, this should be set to off so that the

drum sound plays back in its entirety (is

not cut off).

Multi Edit Mode

Performance Mode

119

Performance Mode

In the Performance mode, the MU100 performs as a four-Part tone genera-

tor, with all Parts controlled over a single MIDI channel. The Performance

mode is so named because it’s ideally suited to live performance situations.

It allows you to play four different Voices at the same time from your MIDI

keyboard — either in a layer, or in sophisticated keyboard and velocity

splits. It also gives you comprehensive control over each of the four Parts

for maximum performance flexibility. A total of 200 Performances are avail-

able: 100 Preset and 100 Internal. For basic information on using the Per-

formance Mode, see page 39.

NOTE

Drum Parts are not available in the Performance mode.

Performance Part Control........................................................... 120

All Part ............................................................................... 120

Single Part .......................................................................... 121

Performance Edit Mode .............................................................. 123

Common ............................................................................ 123

Part..................................................................................... 126

Copy and Store Operations ........................................................ 129

Copy .................................................................................. 129

Store ................................................................................... 130

Recall Function .................................................................. 132

120

Performance Mode

System MIDI Channel (Sys CH)

Settings: 01 — 16

This determines the MIDI receive chan-

nel for all Parts of the Performance.

Performance Bank

Settings: Pre (Preset), Int (Internal)

This determines the bank of Performance

programs: Preset or Internal. Preset Perfor-

mances are those that have been created and

loaded at the factory; the Internal bank is

reserved for user-created Performances.

NOTE

When changing Performance banks, there may

be a slight delay before the sound changes.

Performance Number

Range: 001 — 100

This determines the Performance number.

NOTE

When changing Performance numbers, there

may be a slight delay before the sound changes.

Performance Part Control

All Part

For basic information on using the All Part controls in the Performance mode, see page

60.

Performance Volume (Pfm Vol)

Range: 000 — 127

This determines the overall Volume of the

Performance.

Performance Pan (Pfm Pan)

Range: L63 — C — R63

This determines the overall Pan position

of the Performance.

Reverb Return (RevRtn)

Range: 000 — 127

This determines the amount of Reverb

return for the Performance in the overall

mix.

Performance Part Control

Performance Mode

121

Chorus Return (ChoRtn)

Range: 000 — 127

This determines the amount of Chorus re-

turn for the Performance in the overall mix.

Variation Return (VarRtn)

Range: 000 — 127

This determines the amount of Variation

return in the overall mix of the Perfor-

mance. Variation Return is only available

when the Variation Connection param-

eter is set to SYS. (See page 137.)

System Transpose (SysTran)

Range: –24 — +24 semitones

This determines the overall Transpose

setting of the Performance.

Performance Part Control

Single Part

For basic information on using the Single Part controls in the Performance mode, see

page 62.

Bank Number

Settings:

A1 part: 000 — 003, 018, 019

A2 part: 000 — 003

1 — 4 part:

XG Voice banks,

MU100 Exclusive Voice banks

This determines the bank number of the

selected Part’s Voice. (Refer to the

SOUND LIST & MIDI DATA booklet.)

Program (Voice) Number

Settings:

A1 (A/D Input part): 001 — 013

A2 (A/D Input part): 001 — 005

01 — 04 part : 001 — 128

This determines the Voice for the selected

Part. (Refer to the SOUND LIST &

MIDI DATA booklet.)

122

Performance Mode

Volume

Range: 000 — 127

This determines the Volume setting for

the selected Part’s Voice.

Pan

Settings: Rnd (Random), L63 — C —

R63

This determines the stereo position of the

selected Part’s Voice. A setting of “Rnd”

(Random) randomly assigns the Voice to a

pan position. This is useful when you want

to have different Voices sound from differ-

ent random parts of the stereo image.

Reverb Send (RevSend)

Range: 000 — 127

This determines the level of the selected

Part’s Voice that is sent to the Reverb ef-

fect. A value of 000 results in a completely

“dry” Voice sound.

NOTE

Keep in mind that the Reverb effect must be

properly enabled and set for this parameter

to work as intended. (See page 134.)

Chorus Send (ChoSend)

Range: 000 — 127

This determines the level of the selected

Part’s Voice that is sent to the Chorus ef-

fect. A value of 000 results in a completely

“dry” Voice sound (no Chorus effect).

NOTE

Keep in mind that the Chorus effect must be

properly enabled and set for this parameter

to work as intended. (See page 135.)

Variation Send (VarSend)

Settings:

off, on (when Variation Connection is

set to INS);

000 — 127 (when Variation Connec-

tion is set to SYS)

This determines whether the selected

Part’s Voice is sent to the Variation effect

or not. A setting of off or 000 results in

no Variation effect being applied to the

Voice.

Note Shift (NoteSft)

Range: –24 — +24 semitones

This determines the key transposition set-

ting for the Part’s Voice.

Performance Part Control

Performance Mode

123

Performance Edit Mode

The Performance Edit mode features various functions and parameters,

grouped in the following sections: Common (related to the Performance as a

whole), Part (related to each of the four Parts), and the Copy and Store op-

erations.

For basic information on using the Performance Edit mode, see page 59.

Common

Path: [EDIT] button → “ COM”

Common ————————————————————————

Performance Name............................................. 124

●

Performance Name (Perform Name)

Portamento Parameters .................................... 124

●

Portamento Switch (PortamnSw)

●

Portamento Time (PortamnTm)

Modulation Wheel Parameters .......................... 124

●

LFO Pitch Modulation Depth (MW LEOPMod)

●

LFO Filter Modulation Depth (MW LFOFMod)

Pitch Bend ........................................................... 125

●

Pitch Bend Control (PitBndCtrl)

A/D Part .............................................................. 125

●

A/D Part

Assignable Controller Parameters .................... 125

●

Assignable Controller 1 Control Change Num-

ber (AC1 CC No.)

●

Assignable Controller 1 Filter Control (AC1 FilCtrl)

●

Assignable Controller 1 Amplitude Control

(AC1 AmpCtrl)

●

Assignable Controller 1 LFO Filter Modulation

Depth (AC 1 LFOFMod)

The Common parameters allow you to name a Performance, enable the

A/D Parts for a Performance, and set the control change number for

realtime parameter control.

Performance Edit Mode

124

Performance Mode

Performance Edit Mode

Performance Name

Performance Name (Perform Name)

This allows you to give a name to your

edited Performance.

Operation

1 From the Performance Name dis-

play, press the ENTER button.

2 Use the SELECT </> buttons to

select the character position

(flashing character) in the name

and use the VALUE -/+ buttons

or data dial to change the charac-

ter at that position.

Up to 12 characters can be used

for the Performance name. Avail-

able characters include all letters

of the alphabet, in both upper and

lower case, numbers from 0 to 9,

and a variety of miscellaneous

characters.

Performance name

Flashes to indicate character position.

Use these to move among character positions.

Use these to change character at selected position.

3 Press the EXIT button to return to

the previous display (or press the

PLAY button to return to the Play

display).

After creating and naming a Per-

formance, you’ll probably want to

save that Performance for future

recall. For instructions on saving a

Performance, refer to the Store

operation on page 130.

Portamento Parameters

Portamento Switch (PortamnSw)

Same as the corresponding parameter in

the Multi Edit mode. (See page 109.)

Portamento Time (PortamnTm)

Same as the corresponding parameter in

the Multi Edit mode. (See page 109.)

Modulation Wheel Parameters

Modulation Wheel — LFO Pitch

Modulation Depth (MW LFOPMod)

Same as the corresponding parameter in

the Multi Edit mode. (See page 112.)

Performance Mode

125

Modulation Wheel — LFO Filter

Modulation Depth (MW LFOFMod)

Range: 000 — 127

This determines how widely the Filter

(page 101) is modulated by the LFO (low

frequency oscillator). This is generally

controlled from a modulation wheel on a

MIDI keyboard, and depending on the

Voice used, it creates a “swoosh” or

“wah-wah” filter sweep effect. Higher

values result in deeper filter modulation,

creating a more pronounced filter sweep

effect.

Pitch Bend

Pitch Bend Control (PitBndCtrl)

Same as the corresponding parameter in

the Multi Edit mode. (See page 111.)

A/D Part

Settings: off, on

This determines whether A/D Parts are

enabled for the Performance or not. When

set to “on,” Parts 3 and 4 are automati-

cally set as A/D Parts (A1 and A2).

HINT

You can use the MU100 strictly as an effect

processor for the A/D input (for example, your

guitar or microphone) by Soloing the appro-

priate A/D Part (A1 or A2).

Assignable Controller Parameters

Assignable Controller 1 Control

Change Number (AC1 CC No.)

Same as the corresponding parameter in

the Multi Edit mode (page 112), with the

exception that AC1 in the Performance

mode can also control LFO filter modu-

lation (see Assignable Controller 1 LFO

Filter Modulation Depth below).

Assignable Controller 1 Filter Control

(AC1 FilCtrl)

Same as the corresponding parameter in

the Multi Edit mode. (See page 112.)

Assignable Controller 1 Amplitude

Control (AC1 AmpCtrl)

Same as the corresponding parameter in

the Multi Edit mode. (See page 113.)

Assignable Controller 1 LFO Filter

Modulation Depth (AC1LFOFMod)

Range: 000 — 127

This determines the degree to which As-

signable Controller 1 (AC1) affects the

LFO modulation of the Filter. This cre-

ates a regular and continuous “wah-wah”

or filter sweep effect. The higher the

value, the greater the LFO filter modula-

tion. (The control number used for AC1

is set in the Assignable Controller 1 Con-

trol Change Number parameter above.)

Performance Edit Mode

126

Performance Mode

Part

Path: [EDIT] button → “ PART”

PART —————————————————————————

■

FILTER

●

LPF Cutoff Frequency

●

LPF Resonance

●

HPF Cutoff Frequency

■

EG (Envelope Generator)

Level/Filter EG Parameters

●

EG Attack Time

●

EG Decay Time

●

EG Release Time

Pitch EG Parameters

●

Pitch EG Initial Level

●

Pitch EG Attack Time

●

Pitch EG Release Level

●

Pitch EG Release Time

■

EQ (Equalizer)

●

EQ Low Frequency

●

EQ Low Gain

●

EQ High Frequency

●

EQ High Gain

■

Vibrato

●

Vibrato Rate

●

Vibrato Depth

●

Vibrato Delay

■

Others

Detune .................................................................. 128

●

Detune

Assignment ......................................................... 128

●

Mono/Poly Mode

Note Limit Parameters....................................... 128

●

Note Limit Low

●

Note Limit High

Dry Level ............................................................. 128

●

Dry Level (VarConnect=SYS)

Velocity Parameters........................................... 128

●

Velocity Sensitivity Depth

●

Velocity Sensitivity Offset

●

Velocity Limit Low

●

Velocity Limit High

The Part menu contains the Filter, EG, EQ, Vibrato, and Others param-

eters for the Performance.

Performance Edit Mode

Performance Mode

127

■

Filter

Path:[EDIT] button → “PART” → “FILTER”

The Filter section of Performance Edit parameters are the same as the

corresponding parameters in the Multi Edit mode. (See page 100.)

■

Path:[EDIT] → “PART” → “EG”

The EG section of Performance Edit parameters are the same as the cor-

responding parameters in the Multi Edit mode. (See page 102.)

■

Path:[EDIT] → “PART” → “EQ”

The EQ Performance Edit parameters are the same as the corresponding

parameters in the Multi Edit mode (See page 105).

■

Vibrato

Path:[EDIT] button → “PART” → “VIBRATO”

The Vibrato Performance Edit parameters are the same as the correspond-

ing parameters in the Multi Edit mode. (See page 106.)

■

Others

Path:[EDIT] button → “PART” → “OTHERS”

The Others Performance Edit parameters contains miscellaneous con-

trols, including those related to tuning, velocity, note range, etc. With a

few omitted parameters, these are the same as the parameters in the Multi

Edit mode.

Performance Edit Mode

128

Performance Mode

Performance Edit Mode

Detune

Same as the corresponding parameter in

the Multi Edit mode. (See page 108.)

Assignment

Mono/Poly Mode

Same as the corresponding parameter in

the Multi Edit mode. (See page 109.)

Note Limit Parameters

Note Limit Low (NoteLimitL)

Same as the corresponding parameter in

the Multi Edit mode. (See page 110.)

Note Limit High (NoteLimitH)

Same as the corresponding parameter in

the Multi Edit mode. (See page 110.)

Dry Level

Same as the corresponding parameter in

the Multi Edit mode. (See page 110.) This

parameter is only available when the

Variation Connection parameter is set to

SYS. (See page 137.)

Velocity Parameters

Velocity Sensitivity Depth (VelSensDpt)

Same as the corresponding parameter in

the Multi Edit mode. (See page 110.)

Velocity Sensitivity Offset (VelSensOfs)

Same as the corresponding parameter in

the Multi Edit mode. (See page 111.)

Velocity Limit Low (VelLimitLo)

Same as the corresponding parameter in

the Multi Edit mode. (See page 111.)

Velocity Limit High (VelLimitHi)

Same as the corresponding parameter in

the Multi Edit mode. (See page 111.)

Performance Mode

129

Copy and Store Operations

The Copy and Store operations allow you to save and organize the Perfor-

mances you’ve created.

Copy

The Copy operation allows you to copy the settings of one Performance

program (Preset or Internal) to another Performance number (Internal

only).

Operation

1 From the Performance Edit menu, use the SELECT </> buttons

to select “COPY.” Then, press the ENTER button to call up the

Copy operation.

2 Use the SELECT </> buttons to select the desired parameter:

memory location, source number or destination number. (The

selected parameter flashes.) Then use the VALUE -/+ buttons

or data dial to change the value.

Copy and Store Operations

130

Performance Mode

Memory location (P = Preset, I = Internal)

Source Performance number

Destination Performance number

3 Press the ENTER button to actually execute the Copy operation.

An “Executing…” message flashes in the display during the

operation. When the data has been copied, the MU100 returns to

the Performance Edit menu.

To cancel the operation without copying, press the EXIT button

(before pressing ENTER).

Store

Once you’ve edited or created a Performance, you can save that new

Performance for future recall by using the Store operation. Performances

can be saved to any one of the 100 Internal memory locations. With the

exception of the Receive Channel and Transpose (Note Shift) settings

made from the Play screen, all parameter settings in the Play screen and

in the Edit, Effect and EQ modes are saved to the selected Performance

number.

Operation

1 From the Performance Edit menu, use the SELECT </> buttons

to select “STORE.” Then, press the ENTER button to call up the

Store operation.

Copy and Store Operations

Use these to select desired parameter.

Use these to change value.

Performance Mode

131

2 Use the VALUE -/+ buttons or data dial to change the destination

Performance number.

3 Press the ENTER button to actually execute the Store operation.

An “Executing...” message flashes in the display during the

operation. When the data has been stored, the MU100 returns to

the Performance Edit menu.

To cancel the operation without saving, press the EXIT button

(before pressing ENTER).

Performance number

Use these to change Performance number.

Copy and Store Operations

132

Performance Mode

Recall Function

Recall is a convenient function that allows you to recover an accidently

deleted Performance. For example, if you are editing a Performance and

inadvertently select a different Performance, the edited Performance

would normally be lost. By using Recall before turning off the MU100

or editing another Performance, you can recover the previously edited

Performance data.

To use Recall:

1 Select RECALL in the Performance Edit Mode menu, then press

the ENTER button.

The following display briefly appears:

2 At the “Are you sure?” prompt above, press the ENTER button

again to execute the function.

If no previously edited Performance data exists, the following

display briefly appears, indicating no Performance can be recalled.

Copy and Store Operations

Effect Edit Mode

133

Effect Edit Mode

The MU100 features a built-in multi-effect processor with 7 independent

digital effects: Reverb, Chorus, Variation, Insertion 1/2, Part EQ and Multi

EQ. These are controlled in the Effect Edit mode.

In this section, only the effect Types and the global parameters common

to all Types are covered. For descriptions and details on the parameters for

each effect Type, refer to the separate SOUND LIST & MIDI DATA book-

let.

To enter the Effect Edit mode, press the EFFECT button. The following

menu appears:

Reverb (REV) .............................................................................. 134

Chorus (CHO) ............................................................................ 135

Variation (VAR) ........................................................................... 136

Insertion 1, 2 (INS1, 2) ............................................................... 138

About the Effect Connections — System and Insertion ............... 139

134

Effect Edit Mode

Reverb (REV)

Type

Settings: NO EFFECT, HALL 1 — 2,

ROOM 1 — 3, STAGE 1 —

2, PLATE, WHITE ROOM,

TUNNEL, CANYON, BASE-

MENT

This determines the Reverb Type. Each

Reverb Type has different values for the

rest of the Reverb parameters; for ex-

ample, Basement has a Reverb Time of

0.6 seconds, while Canyon has a Reverb

Time of 12.0 seconds.

NOTE

When “NO EFFECT” is selected, Reverb is

off and none of the other Reverb parameters

are available (with the exception of the Re-

verb Pan parameter).

HINT

Generally when using Reverb, you can sim-

ply select the particular Type needed, and use

it without bothering to adjust the other pa-

rameters. If fine tuning of the Reverb sound

is necessary, delve into the other parameters

as needed.

Reverb Pan (RevPan)

Range: L63 — C — R63

This determines the Pan position of the

Reverb sound, or where it appears in the

stereo image.

For details on the parameters for each

Reverb Type, refer to the separate

SOUND LIST & MIDI DATA booklet.

Reverb (REV)

Reverb recreates the sounds of various performance environments by add-

ing an ambient wash of delays or reflections. Several different types of Re-

verb effects are available to simulate the ambience of different sized rooms.

Explanations of the Reverb Type and Reverb Pan parameters are given

below. For descriptions and explanations for all other Reverb parameters,

refer to the separate SOUND LIST & MIDI DATA booklet.

Effect Edit Mode

135

Chorus (CHO)

The Chorus section uses pitch modulation to create a variety of rich, spa-

cious-sounding effects, including Chorus, Flanger, Symphonic and Phaser.

Explanations of the Chorus Type and Chorus Pan parameters are given

below. For descriptions and explanations for all other Chorus parameters,

refer to the separate SOUND LIST & MIDI DATA booklet.

Chorus (CHO)

Type

Settings: NO EFFECT; CHORUS 1 —

4; CELESTE 1 — 4;

FLANGER 1 — 3; SYM-

PHONIC; ENSEMBLE

DETUNE; PHASER 1

This determines the Chorus Type. De-

pending on the Type selected, the specific

parameters and values may differ.

Chorus 1 and 2 are used to subtly enhance

the sound, and generally make it richer,

fatter and warmer. Flanger uses modula-

tion to create an animated, swirling mo-

tion effect, and produces a characteristic

metallic sound. Symphonic also subtly

enhances the sound by making a single

instrument Voice sound like several.

Phaser is similar to Flanger, but with a

stronger and deeper modulation.

NOTE

When NO EFFECT is selected, Chorus is off

and none of the other Chorus parameters are

available (with the exception of the Chorus

Pan and Send Chorus to Reverb parameters).

Chorus Pan (ChoPan)

Range: L63 — C — R63

This determines the Pan position of the

Chorus sound, or where it appears in the

stereo image.

Send Chorus to Reverb (SendCho →

Rev)

Range: 000 — 127

This determines the level of the Chorus

signal sent to and processed by the Re-

verb effect. A setting of 000 results in

none of the Chorus-processed signal go-

ing to the Reverb.

HINT

Setting this to a relatively high level gives you a

more natural sound, since the Chorus-processed

sound is also being processed by the reverb.

For details on the parameters for each

Chorus Type, refer to the separate

SOUND LIST & MIDI DATA booklet.

136

Effect Edit Mode

Variation (VAR)

The Variation section provides a wealth of additional effects for processing the

Voices of the MU100. It features some of the same effects found in the Reverb,

Chorus and Insertion sections. This is not mere redundancy; it allows you to

use two types of Reverb, Chorus or other effects on different Voices. For ex-

ample, you may want to have the Flanger effect on one Voice and Phaser on

another. Variation also gives you many special effects not found in the other

sections, such as Delay, Gate Reverb, Wah and Pitch Change.

The Variation section of effects can be applied either to a single selected

Part or to all Parts, depending on the connection setting: Insertion or Sys-

tem. (See About the Effect Connections — System and Insertion on page

139 for more information.)

Explanations of the Variation Type and other common parameters are

given below. For specific descriptions of Variation Types and explanations

for all other Variation parameters, refer to the separate SOUND LIST &

MIDI DATA booklet.

Variation (VAR)

Type

Settings: NO EFFECT; HALL 1 — 2;

ROOM 1 — 3; STAGE 1 — 2;

PLATE; WHITE ROOM;

TUNNEL; CANYON; BASE-

MENT; DELAY L,C,R; DELAY

L,R; ECHO; CROSS DELAY;

ER 1 — 2; GATE REVERB;

REVERSE GATE; KARAOKE

1 — 3; CHORUS 1 — 4;

CELESTE 1 — 4; FLANGER

1 — 3; SYMPHONIC; EN-

SEMBLE; DETUNE; AMBI-

ENCE; ROTARY SPEAKER;

2WAY ROTARY SPEAKER;

TREMOLO; AUTO PAN;

PHASER 1 — 2, DISTOR-

TION; COMP+ DISTORTION;

OVER DRIVE; AMP SIMULA-

TOR; 3BAND EQ (MONO);

2BAND EQ (STEREO); AUTO

WAH (LFO); AUTO

WAH+DIST; AUTO

WAH+ODRV; TOUCH WAH 1;

TOUCH WAH+DIST; TOUCH

WAH+ ODRV; TOUCH WAH

2; PITCH CHANGE 1 — 2;

AURAL EXCITER

; COM-

PRESSOR; NOISE GATE;

VOICE CANCEL; TALK MOD;

LO-FI; DIST+DELAY;

ODRV+DELAY;

CMP+DT+DLY;

CMP+OD+DLY;

WAH+DT+DLY;

WAH+OD+DLY; THRU

* Aural Exciter

is a requistered trademark

of Aphex Corporation.

NOTE

When NO EFFECT or THRU is selected for

the Type, no Variation effect is applied, and

only the common parameters shown below

are available (with the exception of Dry/Wet).

The NO EFFECT setting cancels the Variation

effect. When the Variation Connection is set

to SYS (System), the sound can be heard with

no effect. When the Variation Connection is

set to INS (Insertion), no sound is output for

the Part.

When set to THRU, the sound of the Part (or

Parts) is output without any Variation effect.

Generally, when Variation Connection is set

to INS (Insertion), you should set the Type to

Thru. When Variation Connection is set to

SYS (System), you should set the Type to NO

EFFECT.

Effect Edit Mode

137

Dry/Wet (Insertion connection)

Range: D63>W — (D=W) — D<W63

Adjusts the level balance of original

sound (dry, or D) and processed sound

(wet, or W). A setting of (D=W) results

in an equal balance of dry and wet sound.

Assignable Controller 1 Variation Con-

trol (AC1VarCtrl) (Insertion connection)

Range: –64 — +00 — +63

Determines the amount of effect the As-

signable Controller has on the Variation

effect.

Variation Pan (VarPan) (System

connection)

Range: L63 — C — R63

Determines the pan position of the Varia-

tion effect.

Send Variation to Chorus

(SendVar→Cho) (System connection)

Range: 000 — 127

Determines the amount of Variation ef-

fect sound that is sent to the Chorus ef-

fect.

Send Variation to Reverb

(SendVar→Rev) (System connection)

Range: 000 — 127

Determines the amount of Variation ef-

fect sound that is sent to the Reverb ef-

fect.

Variation Connection (VarConnect)

Settings: INS (Insertion), SYS (System)

Determines how the Variation effect is

connected in the effect chain of the

MU100. When set to SYS (System),

Variation is applied to all Parts, accord-

ing to the amount of Variation Send set

for each Part. When set to INS (Insertion),

Variation is applied to only the selected

Part, set in Send Variation parameters (see

above).

NOTE

The common parameters above are common

to nearly all the Variation effect types. (Ex-

ceptions are described in the separate

SOUND LIST & MIDI DATA booklet.)

Variation (VAR)

138

Effect Edit Mode

Insertion 1, 2 (INS 1, 2)

The Insertion 1 and 2 effects provide additional effects for processing indi-

vidual Parts.

Explanations of the Type, Dry/Wet Balance and Part parameters are given

below. For descriptions and explanations for all other parameters, refer to

the separate SOUND LIST & MIDI DATA booklet.

The Insertion effects are set up for Insertion routing and can be applied only

to a single selected Part. Refer to About the Effect Connections — System

and Insertion on page 139 for more information.

Insertion 1, 2 (INS 1, 2)

Type

Settings: THRU; HALL 1 — 2; ROOM

1 — 3; STAGE 1 — 2;

PLATE; DELAY L,C,R;

DELAY L,R; ECHO; CROSS

DELAY; KARAOKE 1 — 3;

CHORUS 1 — 4; CELESTE

1 — 4; FLANGER 1 — 3;

SYMPHONIC; ENSEMBLE

DETUNE; ROTARY

SPEAKER; TREMOLO;

AUTO PAN; PHASER 1;

DISTORTION; OVER

DRIVE; AMP SIMULATOR;

3BAND EQ (MONO);

2BAND EQ (STEREO);

AUTO WAH (LFO); TOUCH

WAH 1 — 2, AURAL EX-

CITER

, COMPRESSOR;

NOISE GATE

* Aural Exciter

is a requistered trademark

of Aphex Corporation.

NOTE

When Thru is selected, no effect is applied,

and none of the parameters are available

(with the exception of the Assignable Con-

troller and the Part parameter).

Dry/Wet Balance

Range: D63>W — (D=W) — D<W63

This determines the balance between the

direct, unprocessed signal (dry) and the pro-

cessed sound (wet).

Assignable Controller 1 Insertion 1/2

Control (AC1INS1/2Ctrl)

Range: –64 — +63

This determines the degree to which As-

signable Controller 1 (AC1) affects the

MIDI-controllable parametes of the In-

sertion effects. Each of the Insertion ef-

fect types have one parameter which can

be controlled by the AC1. (For details,

see the “Effect Parameter List” of the

“SOUND LIST & MIDI DATA” book-

let.) This parameter is not available in the

performance mode.

Insertion 1, 2 Part (INS 1, 2 Part)

Range: Part 1 — 32, AD 1, AD 2, off

This determines the Part to which the In-

sertion effect is applied. Insertion can be

applied to only one Part at a time.

Effect Edit Mode

139

About the Effect Connections — System and Insertion

About the Effect Connections

— System and Insertion

The multi-effects of the MU100 provide not only a wide range of sound

processing controls, but also a flexible system for connecting them. Unlike

simple effect routing schemes on conventional sound modules that process

all voices with the same effects, the MU100 allows you to put independent,

special effects on one or two Parts, as well as use overall effects for process-

ing all 34 Parts together. For example, you can have a Distortion effect on a

guitar Part and a rotary speaker effect for an organ Part, yet still use ambient

effects such as Reverb and Chorus for processing the overall mix.

All the effect sections are connected or routed in one of two ways: System

or Insertion. System applies the selected effect to all 34 Parts, while Inser-

tion applies the selected effect to one specific Part. Reverb, Chorus, and EQ

are all System effects, and Insertion 1 and 2, and Harmony are Insertion

effects. The Variation effect section, on the other hand, can be configured

for either System or Insertion routing. (This is done from the Variation Con-

nection parameter; see page 137.) Since System and Insertion are part of the

XG format, you can create and play back song data using the same flexible

effect routings on any tone generator or sound module having the XG mark.

NOTE

The Variation Connection default setting is Insertion in the Multi mode, or dif-

fers depending on the individual Performance settings in the Performance mode.

The illustrations and explanations below cover the System and Insertion

connections in greater detail.

140

Effect Edit Mode

When Variation is set to System:

NOTES

• The Parts to which Insertion 1, 2 are applied is determined by the Part parameter in the Insertion section (page 138).

• Even though the System routing applies the selected effect to all Parts, you can control how much the Reverb, Chorus and Variation effects are

applied to any individual Part (with the Reverb Send, Chorus Send and Variation Send parameters in the Single Part controls; see page 97). For

the effects to be properly heard, the Reverb Return, Chorus Return and Variation Return parameters in the All Parts controls must also be set to

appropriate values (see pages 98 — 99).

• The stereo position of the effects is controlled by the Reverb Pan, Chorus Pan and Variation Pan parameters; see pages 134, 135, 137.

• You can set Reverb, Chorus and Variation to be routed in parallel or in serial, and you can determine the amount of Variation effect that is sent

to Chorus and Reverb, as well as the amount of Chorus that is sent to Reverb. This is done with the Send Variation to Chorus (page 137), Send

Variation to Reverb (page 137), and Send Chorus to Reverb (page 135) parameters. When these are all set to 0, all three effects are in parallel

routing. Higher values for each provide varying degrees of serial routing.

About the Effect Connections — System and Insertion

INS2

rev send

cho send

var send

insertion 2 on/off

dry level

VARIATION

REVERB

reverb return

chorus return

variation return

send chorus to reverb

send variation to chorus

send variation to reverb

DRY LINE

PAN

reverb pan

chorus pan

variation pan

OUT

Thick line indicates stereo signal.

Insertion 2 can be

applied to only one

Part at a time.

CHORUS

VARIATION CONNECTION = SYSTEM

insertion 2 part

INS2

rev send

cho send

var send

insertion 2 on/off

dry level

INS2

rev send

cho send

var send

insertion 2 on/off

dry level

INS2

rev send

cho send

var send

insertion 2 on/off

dry level

INS1

insertion 1 on/off

part A1

Insertion 1 can be

applied to only one

Part at a time.

insertion 1 part

INS1

insertion 1 on/off

INS1

insertion 1 on/off

INS1

insertion 1 on/off

part A2

part 1

part 32

Effect Edit Mode

141

About the Effect Connections — System and Insertion

When Variation is set to Insertion:

NOTES

• As with System above, the Parts to which Insertion 1, 2 are applied is determined by the Part parameter in the Insertion section (page 138). Also,

the Part to which Variation is applied is determined by the Variation Send control in the Single Part controls (page 97).

• As with System above, the effects cannot be properly heard unless the Reverb Send, Chorus Send parameters in the Single Part controls (page 97)

and the Reverb Return and Chorus Return parameters in the All Parts controls are set to appropriate values.

• The stereo position of the effects is controlled by the Reverb Pan and Chorus Pan parameters. (See pages 134, 135.)

• You can set Reverb and Chorus to be routed in parallel or in serial, and you can determine the amount of Chorus that is sent to Reverb. This is

done with the Send Chorus to Reverb parameter (see page 135). When this is set to 0, Reverb and Chorus are in parallel routing. Higher values

for each provide varying degrees of serial routing.

rev send

dry

cho send

rev send

dry

cho send

rev send

dry

cho send

insertion2 part

variation part

part1

REVERB

reverb

pan

send chorus to reverb

part32

DRY LINE

PAN

reverb

return

chorus

pan

chorus

return

OUT

Thick line indicates stereo signal.

insertion2 can be applied to

only one Part at a time

CHORUS

Varationcan be applied to

only one Part at a time

insertion1 part

insertion1 can be applied to

only one Part at a time

rev send

cho send

part A1

part A2

INS2

VAR

insertion2

on/off variation on/off

insertion2

on/off variation on/off

insertion2

on/off variation on/off

insertion2

on/off

insertion1

on/off

insertion1

on/off

insertion1

on/off

insertion1

on/off variation on/off

dry

INS1

142

Equalizer (EQ) Edit

Equalizer (Multi EQ) Edit

The Equalizer (Multi EQ) Edit parameters allow you to adjust the over-

all tone of the MU100 sound in five separate frequency bands. EQ

presets are also provided for instantly calling up tone settings spe-

cially suited for different types of music.

0 dB

Fre

uenc

Low Lo Mid Mid Hi Mid High

To enter the Equalizer Edit mode, press the EQ button.

EQ Type

Settings: Flat, Jazz, Pops, Rock, Con-

cert

EQ Type provides five different preset EQ

settings, specially programmed for spe-

cific types of music. The Flat setting is a

“flat” EQ preset with no change in equal-

ization. Jazz, Pops, Rock and Concert

each have different EQ settings and fre-

quency bands, specially suited for those

types of music.

EQ Frequency Parameters

Flat: 80 Hz, 500 Hz, 1.0 kHz, 4.0

kHz, 8.0 kHz

Jazz: 50 Hz, 125 Hz, 900 Hz, 3.2

kHz, 6.3 kHz

Pops: 125 Hz, 315 Hz, 1.0 kHz, 2.0

kHz, 5.0 kHz

Rock: 125 Hz, 200 Hz, 1.2 kHz, 2.2

kHz, 6.3 kHz

Concert: 80 Hz, 315 Hz, 1.0 kHz, 6.3

kHz, 8.0 kHz

Range: –12 — +12 dB

The remaining EQ parameters let you set

the level of each of the five frequency

ranges: low, low-mid, mid, high-mid and

high. The bars in the display show the EQ

settings as a frequency “curve,” with

peaks indicating level boosts in the fre-

quency range and valleys indicating level

cuts. A setting of 00 dB corresponds to

no level change.

NOTE

Changing the EQ Type automatically restores

the default Frequency Parameter settings and

cancels any Frequency Parameter settings you

have made.

Utility Mode

143

Utility Mode

The Utility mode lets you set functions related to the overall operation of

the MU100, such as Master Tune, display contrast and playing of the Demo

Song. Included also are utility operations, such as various kinds of data

transfer with an external data storage device, and initializing of the MU100

settings.

To enter the Utility mode, press the UTIL button. The following menu appears:

System Functions (SYSTEM) ........................................................ 144

Dump Out Functions (DUMPOUT) ............................................ 148

Saving and Restoring Data via MIDI ................................... 148

Saving and Restoring Data via TO HOST ............................ 148

Initialize Functions (INITIAL) ..................................................... 152

Demo Song Play (DEMO) ........................................................... 155

144

Utility Mode

System Functions (SYSTEM)

The System functions provide various controls of the overall operation of

the MU100, such as Master Tune, Mute and A/D Part Lock, some MIDI

receive filters and a display Contrast control.

A/D Part Lock

Settings: off, on

This determines whether or not the cur-

rent parameter values and Variation ef-

fect settings of the A/D Parts are reset

when receiving a GM System On or XG

System On message. If you want to keep

the current parameter values and Varia-

tion settings of the A/D Parts, set Mute

Lock to on. (This parameter has no ef-

fect in the Performance mode.)

Multi Mode Equalizer Lock

(Mlt EQ Lock)

Settings: off, on

This determines whether the Equalizer set-

tings (page 142) are initialized or change in

response to incoming MIDI messages.

When this is set to “on,” the current Equal-

izer settings are maintained, ignoring any

EQ-related messages that are received with

XG System On or GM System On mes-

sages, allowing you to protect your origi-

nal Equalizer settings. When set to “off,”

the Equalizer changes according to incom-

ing XG/GM System On messages. This

setting affects the Multi mode only, and not

the Performance mode.

System Functions (SYSTEM)

Master Tune (M.Tune)

Range: –102.4 — +102.3 cents

(approx. +/– 1 semitone)

This determines the overall fine tuning of

the MU100’s Voices. It does not affect the

pitch of the individual drum/percussion

sounds of the drum kits. Master Tune is es-

pecially useful for adjusting the pitch of the

MU100 when playing with other instru-

ments. The actual pitch of each Voice de-

pends also on the other pitch related param-

eters: Note Shift, Transpose (in Play mode)

and Detune (in Edit mode).

NOTE

At around 440 Hz, 1 Hz is approximately

equal to 4 cents.

Mute Lock

Settings: off, on

This determines whether or not the Part Mute

status of the MU100 is reset when receiving

a GM System On or XG System On mes-

sage. Generally, this message is automatically

transmitted to the MU100 as part of General

MIDI song data. When Mute Lock is set to

off, this resets the Mute status of the Parts on

the MU100.

If you want to keep the current

Mute settings and disable this reset, set Mute

Lock to on. (For more information on the

Mute function, see page 85.)

Utility Mode

145

Receive General MIDI Exclusive

(RcvGMExcl)

Settings: off, on

This determines whether GM System On

or XG System On messages are received

or not. The on setting allows these mes-

sages to be received.

Receive System Exclusive (RcvSysExcl)

Settings: off, on

This determines whether System Exclu-

sive messages are received or not. Sys-

tem Exclusive messages are data specifi-

cally (or “exclusively”) related to the

MU100. The On setting allows these mes-

sages to be received. This should be to

On when receiving bulk data from a MIDI

data storage device. (See page 34.)

Receive Bank Select (RcvBankSel)

Settings: off, on

This determines whether Bank Select

messages are received or not. Bank Se-

lect messages can be sent from another

MIDI device to change the banks of

Voices on the MU100. (See page 47.) The

On setting allows Bank Select messages

to be received.

Contrast

Range: 1 — 8

This determines the contrast of the dis-

play. Adjust this as necessary for optimum

visibility. (At extreme settings, the dis-

play may not be readable.)

System Functions (SYSTEM)

146

Utility Mode

Tone Generator

Computer and

Software with

multiple-port

capability

MIDI

OUT

Port 1: Channels A1 — A16

Port 2: Channels B1 — B16

Thru Port setting:

3 — 8

MIDI IN

Dump Interval (DumpIntrval)

Settings: 50, 100, 150, 200, 300

This determines the length of time the

MU100 pauses when sending blocks of

data in the Dump Out functions. If the

receiving device fails to process the data

or displays a “buffer full” type message,

try setting this parameter to a higher value

and send the data again.

Thru Port

Range: 1 — 8

Some MIDI devices and sequencers are

capable of transmitting data over several

MIDI “ports,” effectively breaking the

16-channel barrier. When this data is re-

ceived via the TO HOST terminal on the

MU100, this parameter determines which

MIDI port’s data will be routed through

the MIDI OUT terminal. This allows you

to connect another multi-timbral tone

generator to the MU100 and play back

data over 48 independent MIDI channels

— 32 on the MU100 and another 16 on

the connected tone generator.

NOTE

The MU100 can receive Cable messages (F5)

when the TO HOST terminal is connected to

the serial terminal of a computer. On the

MU100, MIDI receive channels A1 — A16

are controlled from Port 1, and channels B1

— B16 are controlled from Port 2. If the soft-

ware you are using can address separate MIDI

ports, data can be received over 32 channels

simultaneously, allowing 32 parts to be

played with only one serial cable. By con-

necting another multi-timbral tone generator

to the MIDI OUT terminal of the MU100 and

setting the Thru Port function to a value other

than 1 or 2, you can play back data over a

total of 48 MIDI channels — 32 on the

MU100 and another 16 on the connected

tone generator.

System Functions (SYSTEM)

Utility Mode

147

Display Bank Select (DispBankSel)

Settings: 1 (displays only banks with

unique Voices),

2 (displays all banks)

This determines whether the MU100 dis-

plays all Voice banks or not when chang-

ing banks. (For information on changing

banks, see page 44.) When this is set to

“1,” the MU100 conveniently skips over

banks that have the same Voice. In other

words, when you step through the avail-

able banks, the display stops only on

banks for which the Voice is unique or

different (for the selected program num-

ber). If “2” is selected, all banks are dis-

played in succession, regardless of

whether the Voices are the same or not.

The Display Bank Select setting itself

cannot be changed by incoming MIDI

messages.

Voice Map (Map)

Settings: MU basic, MU100Native

This determines the Voice configuration

or assignment of the XG Voice set of the

MU100. This parameter should be set to

match particular types of song data. For

playback of data recorded on or intended

for the MU90/90R, MU80, and MU50,

set this to “MU basic.” For playback of

other GM- and XG-compatible data, as

well as the most recent song data (espe-

cially that intended for the MU100), this

should be set to “MU100Native.”

NOTES

• Only the Voice map of the basic Voice

bank (MSB = 0, LSB = 0) is affected by this

parameter. The other extended Voice

banks are not affected.

• This setting is not affected by incoming XG

System On or GM System On MIDI mes-

sages.

System Functions (SYSTEM)

148

Utility Mode

Dump Out Functions (DUMPOUT)

The Dump Out functions allow you to save the various settings of the MU100

(such as settings for Parts, Performances, system, etc.) to a MIDI sequencer,

computer or a MIDI data recorder (such as the Yamaha MDF3 MIDI Data

Filer).

The following illustrations show example connections for the Dump Out

functions.

Saving and Restoring Data via MIDI

Bulk Dump data can be sent and received using the MIDI IN and MIDI OUT connections.

MU100

MIDI Data

Recorder

MIDI IN

MIDI OUT

MIDI IN

MIDI OUT

Saving and Restoring Data via TO HOST

Computer

(with sequencer or

MIDI librarian

software)

TO HOST SERIAL PORT

Bulk Dump data can be sent and received using the TO HOST and SERIAL PORT connections.

MU100

Dump Out Functions (DUMPOUT)

Operation

1 Make sure that the MU100 is properly connected to the device

and that the HOST SELECT switch is properly set.

When using the MIDI terminals, connect the MIDI OUT of the

MU100 to the MIDI IN of the data recorder. (See the illustrations

above.) Also, set the HOST SELECT switch to MIDI.

When using the TO HOST terminal, make sure that the HOST

SELECT switch is set corresponding to the device to be used. (Refer

to page 35 for more on host computer connections.)

Utility Mode

149

2 Press the UTIL button and select “DUMPOUT,” then press the

ENTER button.

3 From the Dump Out menu, select the type of data to be sent: All,

Multi or Performance. Then, press the ENTER button to call up the

selected data dump.

All

This transmits all MU100 data (including Part, Performance, system,

and all parameter values) to the connected device.

Dump Out Functions (DUMPOUT)

150

Utility Mode

Multi

Settings: 32 Parts, 16 Parts, 32 Parts + A/D, 16 Parts + A/D

This transmits the selected MU100 Multi Part data (including

System, Effect and EQ data) to the connected device. (Use the

VALUE -/+ buttons to select the type/amount of data to be

transmitted.)

Performance (PERFORM)

Settings: ALL, I 001 — I 100 (Internal Performance numbers)

This transmits the selected MU100 Performance data to the

connected device. (Use the VALUE -/+ buttons or data dial to

select the type/amount of data to be transmitted.)

4 From the “Are you sure?” prompt, press the ENTER button to

execute the operation, or press the EXIT button to cancel it and

return to the Dump Out menu.

A “Transmitting…” message appears in the display during the

operation. When the transmission is completed, the MU100 returns

to the Dump Out menu.

NOTE

If you have more than one MU100 connected in your MIDI system and wish to send differ-

ent sets of data to each, you can specify a different Device Number for each. (See page 98.)

You should set the Device Number on each MU100 you use, before dumping the data to a

data storage device. Then, when you reload the data to the connected MU100s, each unit

will automatically receive only the data that has the corresponding Device Number.

Dump Out Functions (DUMPOUT)

Utility Mode

151

Dump Out Functions (DUMPOUT)

To reload the data from the data recorder back to the MU100:

Make sure that the devices are properly connected (see the Restoring

Data illustrations on page 34), and execute the appropriate data trans-

fer operation from the data recorder. (Refer to the owner’s manual of

that device for instructions.) The MU100 automatically receives in-

coming bulk data.

152

Utility Mode

Initialize Functions (INITIAL)

The Initialize functions allow you to restore the factory settings of the MU100.

NOTE

Since the Initialize functions replace existing data, you should save any and all

important settings to a MIDI data storage device before using these functions.

(See page 34.)

Operation

1 Press the UTIL button and select “INITIAL,” then press the

ENTER button.

2 From the Initialize menu, select the type of data to be initialized:

Factory Settings (FactSet), selected Sound Module mode (XGInit,

GM Init, C/MInit, PFMInit) or Drum (DrumInit) Then, press the

ENTER button to call up the selected data dump.

Initialize Functions (INITIAL)

Utility Mode

153

Factory Settings (FactSet)

This restores the original factory settings of the MU100.

Selected Sound Module Mode:

Extended General MIDI (XGInit)

General MIDI (GM Init)

Computer Music (C/MInit)

Initialize Functions (INITIAL)

154

Utility Mode

Performance (PFMInit)

One of the four parameters above will be available, depending on

the currently selected Sound Module mode: XG, TG300B, C/M or

PFM. Initializing this parameter restores the original settings for

the selected mode.

NOTES

• For the PFMInit setting, only the currently selected Performance will be initialized.

• For XGInit and GM Init, the initialized settings are the same as when the MU100 is reset

upon receiving an XG System On or GM System On message.

Drum (DrumInit)

Range: DrumS1 — DrumS4

This restores the original drum settings for the selected Drum Setup

S1 — S4. (Use the VALUE -/+ buttons or data dial to select the

desired Drum Setup.)

NOTE

This parameter is not available when the MU100 is set to Performance mode.

3 From the “Are you sure?” prompt, press the ENTER button to

execute the operation, or press the EXIT button to cancel it and

return to the previous display.

An “Executing…” message appears in the display during the

operation. When the operation is completed, the MU100 returns

to the Initialize menu.

Initialize Functions (INITIAL)

Utility Mode

155

Demo Song Play (DEMO)

The Demo Song function in the Utility menu allows you to play the built-in

Demo Song.

Operation

1 Press the UTIL button and select “DEMO,” then press the

ENTER button.

2 Press the ENTER button to start the Demo Song.

The Demo Song starts playing immediately and repeats indefinitely

until stopped (in step 4 below). Playback of the individual Parts of

the song is shown graphically by the “level meter” bars in the

display.

NOTE

During Demo Song playback, no panel controls (with the exception of the EXIT button and

the VOLUME control) can be used.

3 To stop playback of the song, press the EXIT button.

4 To exit from the Demo Song function, press the EXIT button again.

Demo Song Play (DEMO)

156

Sound Module Mode (MODE)

This lets you select the operating mode of the MU100. Press the MODE

button, then use the SELECT </> buttons to select the desired Sound

Module mode: XG, TG300B, C/M (Computer Music) or PFM (Per-

formance). If XG, TG300B or C/M are selected, the MU100 auto-

matically sets itself to the Multi mode. When PFM is selected, the

MU100 is in the Performance mode. (See page 22.)

The bottom right of the display indicates the currently selected Sound

Module mode.

Press the EXIT button (or any one of the other mode select buttons: PLAY,

EDIT, UTIL, EFFECT or EQ) to use the MU100 in the current mode.

NOTES

• When the MU100 is not set to the XG mode and an XG System On message

is received, the MU100 changes to the XG mode after a slight pause of 0.5

seconds.

• In the C/M mode, the Voices available in Parts 11 - 16 are different from those

available in Parts 1 - 9. (Refer to the “Sound List & MIDI Data” booklet.)

• The TG300B mode also has multiple banks. In the C/M mode, there is only

one bank (“Fix” appears at the Bank Number parameter), and for the drum

Part only one drum kit can be selected.

Arrow indicates selected Sound Module mode.

TG300B

C/M

PERFORM

Miscellaneous Functions

157

Miscellaneous Functions

Show Control Change

This function allows you to view the currently used control change number,

its type and its value (in decimal format). It also lets you transmit the dis-

played value with a single button press.

Operation

1 From the Multi Play mode or Performance Play mode, double-

click the ENTER button (press it twice quickly). (The Show Control

Change display appears.)

2 To transmit the currently displayed message, press the ENTER button

again. The message is transmitted via the MIDI or TO HOST

terminals.

3 Press the EXIT button to return to the Play display.

Show Control Change

Number of controller

Type of controller

Current value

158

Miscellaneous Functions

This is convenient for quickly entering desired settings to a sequencer.

Displaying/Sending Voice Bank Settings

The Show Control Change function also allows you to view and send Voice

bank MSB and LSB settings within the XG mode.

To do this:

1) From the Multi Play mode (XG mode), select the desired bank number.

(For information on selecting banks, see page 44.)

2) With the bank number parameter highlighted, double-click the [ENTER]

button.

3) Press the [EXIT] button to return to the Play display.

NOTE

MSB/LSB values are used in conjunction with each other to provide a greater number of

banks than would be possible with the 128-number limit of MIDI's hexadecimal system.

For example, the XG Voices are contained on banks 000 - 127; these banks are selected

over MIDI with the MSB value of 000. MU100 Exclusive Voice banks are at MSB 048.

Show Control Change

Miscellaneous Functions

159

Show Exclusive

This function allows you to view the current system exclusive message (in

hexadecimal format). It also lets you transmit the displayed value with a

single button press.

Operation

1 Double-click the ENTER button (press it twice quickly). (The Show

Exclusive display appears.)

2 To transmit the currently displayed message, press the ENTER button

again. The message is transmitted via the MIDI or TO HOST

terminals.

3 Press the EXIT button to return to the previous display.

Show Exclusive

System Exclusive message (in hexadecimal format)

160

Miscellaneous Functions

PPENDIX

Appendix

163

Installing the Optional XG Plug-in System

Introducing the XG Plug-in System

Plug-in versatility like never before

The XG Plug-in System is a hardware-based solution for expanding the func-

tions of your XG tone generator. Similar to the software based XGworks

Plug-in System, the optional XG system consists of a series of plug-in boards

that allow you to easily create just the sound you need.

XG Plug-in System-compatible XG tone generators and synthesizers are

equipped with connectors for installing XG Plug-in Boards. The number of

connectors available will be different according to the type of XG Plug-in

System-compatible equipment that you have. The MU100 is equipped with

one plug-in connector. Make sure that your XG tone generator or synthe-

sizer is XG Plug-in System-compliant. This is indicated by the logo that

appears on all XG Plug-in System-compliant products.

The XG Plug-in System logo appears on all three of the currently available,

optional plug-in boards: the PLG100-DX, PLG100-VL and PLG100-VH.

As the XG Plug-in System grows, be sure to look for the XG Plug-in System

logo on every plug-in board. This logo ensures compatibility with all of

your XG Plug-in System-compliant tone generators and synthesizers.

Installing the Optional XG Plug-in System

164

Appendix

XG Plug-in System Integration

The XG Plug-in System is not merely an add-on. It is a series of fully inte-

grated components that work seamlessly and naturally with your XG tone

generator. As a result, the functions of the plug-in system not only expand

the features of the XG tone generator but compliment them as well.

Through the system, a tone generating plug-in board is assigned its own part

when installed into the MU100. Since the digital signal of the plug-in board

is sent in the same way as a Part from the MU100, the entire range of the

main unit’s features including system effects, insertion effects, system EQ,

etc. are available. As soon as you mount the plug-in board into the MU100,

you can edit parameters as well as make settings through the plug-in board’s

menu that appears on the display.

XG insertion effects are supported by mounting an effect-type plug-in board

into the MU100. Effect settings for the plug-in board can be made directly

through the MU100.

The Boards of the XG Plug-in System

Currently, the XG Plug-in System consists of three optional plug-in boards:

the PLG100-DX, PLG100-VL and PLG100-VH.

PLG100-DX

This board supports the same powerful FM synthesis voices as

YAMAHA’s legendary DX7. Plug this board into your MU100 for 912

unbelievable FM voices with up to16-note polyphony.

PLG100-VL

The Virtual Acoustic Plug-in Board provides the same “Virtual Acous-

tic”, realistic sounds of the VL70-m by S/VA physical modeling. Addi-

tionally, this plug-in installs a preset bank of 256 voices that range from

traditional to uniquely inventive.

PLG100-VH

This plug-in board is optimal for installing enhanced vocal-harmony

features onto your MU100. The Vocal Harmony Plug-in Board includes

four different types of harmonic effects: “Vocoder”, “Chordal”,

“Detune” and “Chromatic”. Use the board to apply one-, two- or three-

part harmonies to vocal signals that are input through the A/D inputs, or

to change the harmony interval of chords. This plug-in also includes a

unique voice changer that allows you to experiment with choral effects

as well as interchange male with female voice qualities.

Installing the Optional XG Plug-in System

Appendix

165

Introducing the XGworks Plug-in System

XGworks plug-ins are series of software plug-ins that allows you to expand the

features of the XGworks/XGworks lite software applications. XGworks/

XGworks lite gives you the power to easily create music that you may never

have dreamed possible.

The CD-ROM that comes with the MU100 contains several different

XGworks plug-ins.

VL Visual Editor

This application allows you to create, edit and save voices generated on

PLG100-VL. The features of this plug-in allow you to intuitively edit

and compose complex musical passages with ease.

VH Effect Editor

Installing this plug-in on your personal computer allows you to graphi-

cally manage and control all of the settings of the PLG100-VH. The

windowing environment allows you to easily enter values into the

XGworks List Window using drag-and-drop commands. The application

includes a special list window for specifying settings in the Chordal

Mode.

DX Easy Editor

This application is a great tool for changing the part parameters of the op-

tional PLG100-DX plug-in board. Use the DX Easy Editor to edit all of the

part parameters for the XG as well as the exclusive, “native” parameters of

the PLG100-DX. The application allows you to save your changes and pa-

rameter edits either as a “song event” or a DX parameter file.

DX Simulator

Use your mouse to manipulate all of the settings of the DX7’s front

panel display. You can fully edit custom voices as well as view param-

eters on the edit list just like on the DX7. The DX Simulator provides

multiple options for saving your edited voices including bulk data or file

formats.

These plug-ins are designed to be used with the XGworks/XGworks lite

software applications.

For instructions on how to install any of the optional XGworks plug-ins,

please refer to the manual titled “XGtools Setup Guide”. For details on func-

tions and features of a specific plug-in application, please refer to the online

help of that application.

Installing the Optional XG Plug-in System

166

Appendix

Installation

Prior to Installation

Basic Information

• The features of the XG Plug-in Board are only supported when the

sound module is in the XG or PFM (Performance) mode.

• Only voice parts 1 through 16 of the PLG100-DX and PLG100-VL

(tone generators) are supported.

MIDI receive channels B1 to B16 are also not supported; be sure to set

the MU100 to MIDI receive channels A1 through A16.

• When controlling a plug-in board via an external MIDI device, be sure

to use the MIDI IN-A port if the HOST SELECT switch is set to MIDI.

Use port 1 (A1-A16) if the HOST SELECT switch is not set to MIDI.

• The various voices of a plug-in board can be selected via the control

panel by specifying the bank number. The voice bank of a plug-in board

is listed after the voice bank of the main unit.

• You can set the XG part parameters of a plug-in board in the Multi Edit

mode. However, depending on the board, some parameters may not be

supported. Please consult the documentation that came with your plug-

in board for details.

• Plug-in board parameters that can be set via the control panel of the

main unit are output using an operation similar to a Dump Out.

Backing Up Data

• XG Plug-in Boards are not equipped with a backup function. However, at

startup it is possible to send the plug-in board parameters that can be set via

the control panel of the MU100 as backup data to the plug-in board.

• It takes some time for the main unit to backup data when some of the

external MIDI parameters are changed via the main unit’s control panel.

Always wait for the backup process to finish. Data will be lost if power

to the main unit is turned off before the backup process has finished.

• After setting parameters for a MIDI device that could not be set through

the control panel of the main unit, turn off the power in order to initial-

ize the system and to disable the backup function.

The Performance Mode

• Plug-in boards can be used in the Performance Mode. However, only

plug-in board parameters that can be set via the control panel of the

main unit can be stored as performance data.

• Some plug-in board parameters can be changed via an external MIDI

device. The value that appears on the display of the main unit may be

different from parameter settings of a plug-in board when settings are

made via an external MIDI device.

Installing the Optional XG Plug-in System

Appendix

167

Installing a Plug-in Board into the MU100

Warning

Installation and removal of a plug-in board into the MU100 initializes some of the

setup and multi-part settings of the main unit. Be sure to save any of your important

settings onto a personal computer or MIDI Data Filer MDF3 before installing or

removing a plug-in board.

CAUTION!

Be careful not to injure your hands or fingers while installing or removing the plug-

in board.

Be careful not to injure yourself when handling the jagged surfaces or sharp areas of

the plug-in board.

Instructions

1 Turn off the power of any devices that may be connected to the

MU100 and remove the MU100’s AC adaptor from its power

source.

CAUTION!

Accidents can occur if the plug-in board is installed or removed while the AC

adaptor is connected to a power source. Be sure to unplug the AC adaptor of the

MU100 before installing or removing the plug-in board.

2 Turn the MU100 upside down.

Remove the installation lid by removing the four (4) silver

screws that secure it to the MU100.

Installing the Optional XG Plug-in System

168

Appendix

3 Remove the four (4), black, XG Plug-in Board installation screws

that are secured to the inside of the installation lid. Unlatch and

remove the holder that secures the connector. Extend the con-

nector.

Keep the holder for use when the XG Plug-in Board is removed.

4 Remove the XG Plug-in Board from the ant-static bag.

CAUTION!

Before handling the XG Plug-in Board, be sure to touch a grounded, metal surface

in order to remove any static electricity from your clothes or body. Do not touch

any of the patterned surfaces of the board or its connector.

5 Insert the expansion connector of the MU100 into the connec-

tor of the XG Plug-in Board.

Make sure to insert the connector so that it faces the proper di-

rection and the right and left tabs of the expansion connector

lock into place (as shown in the illustration).

Holder

Tab

Expansion connector Insert the connector

so that the tabs on

the right and left

sides lock.

XG Plug-in Connector

XG Plug-in Board

Installing the Optional XG Plug-in System

Appendix

169

6 Attach the XG Plug-in Board to the installation lid using the four

(4), black screws that were removed in Step 3.

Install the XG Plug-in Board so that the side with the IC chips is

facing the installation lid.

Position the XG Plug-in Board from above, onto the installation

lid, making sure to align the holes of the board with the holes

on the lid. If the holes are not properly aligned, damage to the

plug-in board’s chip my result.

7 Secure the installation lid back onto the MU100 using the same

four (4) silver screws that were removed in Step 2.

Secure the screws in the order shown in the illustration.

XG Plug-in Board

Side without the connector

Screw (black)

Arrange the cables of

the connector as

shown, so that they do

not become pinched or

damaged.

Screw (silver)

Installing the Optional XG Plug-in System

170

Appendix

Troubleshooting

Even though the MU100 is exceptionally easy to use, it may occasionally

not function as you expect it to. If that happens, check the possible problems

and solutions below before assuming that the instrument is faulty.

Problem

No power.

No sound.

No sound when playing the MU100

from a computer, sequencer or

external keyboard.

Notes are cut off or omitted.

Reverb, Chorus and/or Variation

effects cannot be heard.

The A/D input sound (mic, guitar,

etc.) cannot be heard.

Possible Cause and Solution

Check that the adaptor is properly plugged into both the AC outlet and the MU100 (See

page 18.)

Check that:

●

The panel volume control is set to an appropriate level.

●

Other volume-related parameters are set to appropriate levels. (See Volume and Ex-

pression in the Single Part controls, page 96, and Master Volume and Master Attenua-

tor in the All Part controls, page 98.)

●

Mute or Solo are not active. (See page 85.) If a Part is being muted, or an empty Part is

being soloed, you may not get any sound.

●

The Variation effect settings are appropriate. No sound will be output at all if Variation

Connection is set to INS (page 137), Variation Send is turned on for the Part (page 97),

and NO EFFECT is selected for the Variation Type (page 136). The easiest solution in

such a case is to turn off Variation Send for the Part.

●

The EG Attack Time (page 103) is appropriately short, for short percussive sounds.

●

The Velocity Sensitivity Offset (page 111) is appropriate.

●

The Note Limit Low and Note Limit High (pages 110, 128) settings are appropriate. If

the former is set higher than the latter, no sound will be output.

●

The Velocity Limit Low and Velocity Limit High (pages 111, 128) settings are appro-

priate. If the former is set too high and the latter too low, no sound may be output.

Check all MIDI connections, making sure that the MIDI OUT of the external device is

connected to the MIDI IN of the MU100, and that the MIDI IN of the external device is

connected to the MIDI OUT of the MU100. (See pages 33 – 35.) Or, if you are using the

TO HOST terminal with a computer, make sure that the terminal is properly connected to

the computer and that the HOST SELECT switch is properly set for your particular com-

puter. (See pages 35 – 38.) Also, make sure that you have turned on the connected MIDI

instrument or computer before turning on the MU100. If you haven’t, simply turning the

MU100 off and back on again may solve the problem.

The maximum polyphony of the MU100 may be exceeded. The MU100 can play no more

than 64 notes at once. (Though 64 notes may seem to be more than enough, you may run

short when playing a connected keyboard along with some densely arranged song data.)

Check all Reverb-, Chorus- and Variation-related controls: Reverb Send, Chorus Send

and Variation Send in Single Part controls (page 97); Reverb Return, Chorus Return and

Variation Return (when Variation Connection is set to SYS) in All Part controls (pages 98

— 99). Also check the individual effect settings; if no Type has been selected, or if the

parameter settings are too low, there may be no effect sound.

Make sure that the appropriate A/D Part (A1 or A2) has been turned on and that the A/D

INPUT control is set to an appropriate level. Also for best results, make sure that the A/D

input type (Mic, Guitar, Keyboard, Audio) is set to match the input you are using.

Appendix

171

Error Messages

Battery Low!

The battery voltage (for internal memory backup) may be too low. Bring the unit to

your local Yamaha dealer or any other authorized Yamaha service personnel.

Check Sum ERROR!

The checksum of the received System Exclusive message is incorrect. Check the

checksum of the message and try transmitting again.

HOST is Offline!

This message appears when the host computer is not turned on, the connecting cable

is not properly connected, or the sequencing software is not active.

Illegal Data!

A data error resulted during reception of MIDI messages. Try transmitting the data

again, or turn the MU100 off and back on again.

MIDI Buffer Full!

Too much MIDI data is being received by the MU100 at one time. Reduce the amount

of data being sent to the MU100.

No Parameter

The selected parameter for use with the Show Exclusive function does not exist as a

valid parameter.

No RecallPerform!

When performing a Recall in the Performance Edit mode, this message appears if

performance data cannot be recalled because the data has not been saved in the

MU100.

Not Available

This message appears in order to indicate that drum voices cannot be selected when

the Sound Module mode is set to PFM (Performance).

PB Com ERROR!

This message appears when data cannot be properly transmitted between the MU100

and a plug-in board. Unplug the power cord and make sure that the connector of the

plug-in board is properly connected.

Too much MIDI data is being received by the plug-in board at one time. Reduce the

amount of data being sent to the plug-in board.

Rcv CH is OFF!

The selected parameter for use with the Show Exclusive function cannot be con-

verted to a MIDI message value since the Receive Channel for the Part is off. Set the

Receive Channel to an appropriate value.

172

Appendix

Select drumS1 → 4 When You Edit

This message appears when editing a drum voice if the Part mode is set to Drum. It

appears as a reminder that the Part Mode must be set to drumS1-4 before the drum

voice can be edited.

SysEx Adrs ERROR!

The data of the received System Exclusive message is incorrect. Check the address

of the message and try transmitting again.

SysEx Data ERROR!

The data of the received System Exclusive message is incorrect. Check the data of

the message (as to whether it requires an MSB or LSB header) and try transmitting

again.

SysEx Size ERROR!

The data of the received System Exclusive message is incorrect. Check the size of

the message and try transmitting again.

This Parameter Isn’t Excl Data

The selected parameter has no System Exclusive value and cannot be displayed with

the Show Exclusive function.

Error Messages

Appendix

173

Specifications

Tone Generation Method

AWM2 (Advanced Wave Memory 2)

Maximum Simultaneous Polyphony

64-note

Sound Module Modes

XG, TG300B, C/M, and Performance

Multi-timbral Capacity

32-Part (on 32 MIDI channels; with element reserve priority for later notes and

dynamic Voice allocation)

Internal Voice/Program Structure

Normal Programs

Total Voices......................... 1267

XG mode............................. 1074

TG300B mode .................... 614

C/M mode ........................... 128 (Parts 1 — 9), 64 (Parts 11 — 16)

Drum Programs

Total Kits............................. 46

XG mode............................. 36

TG300B mode .................... 10

C/M mode ........................... 1

Performance Programs

Up to four Voices plus all effect settings can be memorized to a Performance.

Preset Programs .................. 100

User Programs..................... 100

Effects

Six sections of multi-effects: Reverb (12 Types), Chorus (14 Types),

Variation (70 Types), Insertion 1, 2 (43 Types), Multi EQ (4 Types), and Part EQ

(1 Type)

Display

Custom back-lit LCD

Specifications

174

Appendix

Controls

POWER/VOL control, A/D INPUT level control; Mode select buttons: PLAY,

UTIL (UTILITY), MODE, EDIT, EFFECT, EQ; other buttons: MUTE/SOLO,

ENTER, EXIT, PART -/+, SELECT </>, VALUE -/+

Jacks and Terminals

Front panel: PHONES jack (Stereo Mini-pin), A/D INPUT (stereo 1/4” plug)

Rear panel: OUTPUT R,L (RCA-pin), INPUT R, L (RCA-pin); DC IN jack; TO

HOST terminal; HOST SELECT switch; MIDI IN-A/B, MIDI OUT and MIDI

THRU terminals

Computer/MIDI Interface

Direct connection to host computer port (RS-232C, RS-422); MIDI terminals

allow connection to MIDI sequencer or MIDI controller

Data Transfer (Baud) Rate

MIDI — 31,250 bps (bits per second)

Mac — 31,250 bps

PC-1 — 31,250 bps

PC-2 — 38,400 bps

Power Supply

Yamaha PA-5B AC Adaptor (included)

Dimensions (W × D × H)

220 × 210 × 44 mm (8-11/16" × 8-1/4" × 1-3/4")

Weight

1.3 kg (2 lbs., 14 oz.)

Included Accessories

Owner’s Manual, Yamaha PA-5B AC Adaptor,

XGtools Setup Guide, CD-ROM “XGtools”

* Specifications subject to change without notice.

Specifications

Appendix

175

Glossary

A/D input Abbreviation for analog-to-digital. The A/

D inputs of the MU100 allow you to process analog

inputs (such as a microphone, electric guitar, CD

player, or another electronic instrument) with the

digital effects of the MU100 and mix them with the

internal Voices.

Assignable Controller 1 Certain functions on the

MU100 (such as the Filter, Volume or Variation ef-

fect) can be changed in real time by controllers on a

connected MIDI instrument. Assignable Controller

1 lets you determine which controller (for example:

modulation wheel, breath controller, foot control-

ler, etc.) is used for that purpose.

AWM2 Abbreviation for Advanced Wave Memory 2,

an enhanced version of Yamaha’s original tone gen-

eration system, featuring digital filters for superior

sound.

bank A set of Voices or programs. The MIDI standard

supports up to 128 banks, each of which can con-

tain up to 128 Voices or programs.

edit Editing is the process of changing or adjusting

the settings of the MU100.

EG Abbreviation for Envelope Generator, a common

control on electronic instruments that affects the

“shape” (or envelope) of the sound in time. The

MU100 provides two types of EGs: one for level

and the other for pitch.

Filter A control for affecting the frequency content of a

sound. Filters are used to selectively cut or boost cer-

tain frequency ranges in the sound — subtly enhanc-

ing the sound, or dramatically changing its character.

On the MU100, the Filter can be controlled in real

time with the Assignable Controller 1.

General MIDI (GM) An addition to the MIDI stan-

dard which effectively ensures that any General

MIDI-compatible song data can be properly played

back on any General MIDI-compatible tone gen-

erator. The standard specifies that a GM-compat-

ible tone generator must have at least 24-note po-

lyphony, 16-part multi-timbral capacity and 128

standard voices. The MU100 exceeds this with 64-

note polyphony, 32-part multi-timbral capacity and

1267 Voices.

host computer The controlling computer in a com-

puter music system. The host computer is connected

to the MU100 (via the TO HOST or MIDI termi-

nals) and runs the software necessary for recording

and playing back song data, which is reproduced

by the internal sound sources and effects of the

MU100.

LFO Abbreviation for low frequency oscillator, which

generates a low frequency signal that is used to

modulate certain aspects of the sound, such as pitch

or level. Chorus, Flanger, Tremolo, Vibrato and

other modulation effects use LFOs.

MIDI Acronym for Musical Instrument Digital Inter-

face, a worldwide standard that allows MIDI-com-

patible instruments and devices to communicate

with each other. For the instruments to communi-

cate, they normally must be set to the same MIDI

channel.

modulation wheel A controller found on most MIDI

keyboards which is normally used to control pitch

and other types of modulation. It can be used to

control various aspects of the MU100 sound by

proper setting of the Assignable Controller 1. (See

page 69.)

multi-timbral This refers to the capacity of a tone

generator to produce several different sounds at

once. The MU100 is a 32-Part multi-timbral tone

generator, capable of playing 32 different instru-

ment Voices at once, each over an independent MIDI

channel.

Mute The Mute function of the MU100 allows you to

silence one Part to hear how all of the other Parts

sound without it.

parameter The word “parameter” refers to any ad-

justable setting of an electronic musical instrument.

For example, the Vibrato function of the MU100

has three parameters: Rate, Depth, and Delay.

Part The Voices of the MU100 are assigned to sepa-

rate Parts, and up to 32 of these Parts can sound

simultaneously. Parts are analogous to the various

instrumental parts in music: e.g., piano part, guitar

part, etc.

Glossary

176

Appendix

Performance In the MU100, “Performance” refers to

an operation mode and the programs that are used

in that mode. A Performance can contain up to four

different Parts, all controllable over the same MIDI

channel. The preset Performances of the MU100

are special multi-Part sound programs designed

particularly for live performance and studio record-

ing purposes.

Pitch Bend A function found on virtually all MIDI

keyboards (usually controlled with a pitch bend

wheel) that allows the pitch to be raised or lowered

continously. The Pitch Bend Control parameter on

the MU100 allows you to set the range over which

the pitch can be changed.

polyphony The number of notes that can be sounded

simultaneously by an electronic instrument. The

MU100 has 64-note polyphony, ensuring that even

the most complex song data will play back com-

pletely and accurately, with no “note robbing.”

port To answer the need for more MIDI channels (the

limit is 16), many MIDI interfaces offer two or more

MIDI ports, each of which can address 16 MIDI

channels. The MU100 is equipped with two inde-

pendent MIDI ports (A and B), providing 32-chan-

nel operation. The two ports are also addressable

via the TO HOST computer interface.

Portamento A function found on early synthesizers

that creates a continuous pitch glide between suc-

cessively played notes. On the MU100, the time of

the pitch glide can be adjusted.

return Related to effect operation, “return” refers to

the effect-processed signal that is returned to the

overall sound mix. For example, the parameter Re-

verb Return determines the amount of Reverb-pro-

cessed signal that is blended with the overall sound

mix of the MU100. (“Return” is the companion

function of “send” below.)

send Related to effect operation, “send” refers to the

signal that is sent to an effect for processing. For

example, the parameter Reverb Send determines the

degree to which an individual Part is processed with

the Reverb effect. (“Send” is the companion func-

tion of “return” above.)

sequencer A device used for recording, editing and

playing back of MIDI data. Sequencers are gener-

ally of two types: “dedicated” sequencer units, and

computer-based sequencing software. The MU100

can be used with either type.

Solo The Solo function of the MU100 allows you to

isolate a single Part, to hear how that Part sounds

by itself.

Sound Module mode The MU100 has four Sound

Module modes, and these determine the basic op-

eration of the unit as a tone generator. Three Multi

modes (XG, TG300B and C/M) and one Perfor-

mance mode (PFM) are available.

tone generator An electronic instrument that func-

tions as a MIDI-controllable sound source. For the

most part, the term “tone generator” refers to those

devices that have no keyboard or other controller,

but are meant to be connected to and played from a

separate keyboard or computer.

Variation In the MU100, “Variation” refers to the spe-

cial section of various effects, including Reverb,

Delay, Chorus, and many others. The Variation ef-

fects total 70, and can be used simultaneously with

the other effect sections of the MU100: Reverb,

Chorus, Insertion 1, 2 and EQ.

velocity The speed at which a note is played (for ex-

ample, on a keyboard). Normally, the faster (or

harder) a key is struck, the higher the correspond-

ing note’s velocity — and, hence, the louder the

sound produced. The MU100 features a variety of

velocity-related parameters that provide extensive

control over the velocity response of the Voices, and

even allow you to set up sophisticated velocity splits,

in which the Voices change in response to playing

velocity.

Vibrato Vibrato is a quavering, vibrating sound, and

is produced in the MU100 by regularly modulating

the pitch of a Voice. The speed and depth of the

Vibrato can be adjusted, as well as the time it takes

before the Vibrato effect is applied.

Voice The basic sound unit (or sound program) of the

MU100. There are a total of 1267 Voices available

on the MU100.

XG A new standard created by Yamaha which signifi-

cantly improves on the General MIDI standard by

providing a greater variety of high-quality Voices

and enhanced effect operation.

Glossary

Appendix

177

Index

A/D input ................................................................87

A/D Part ..........................................................87, 125

A/D Part Lock ......................................................144

All Part control ......................................... 51, 98, 120

Alternate Group (Drum Setup) ............................. 117

Assignable Controller 1 ..........................69, 112, 125

Assignable Controller 1 Amplitude

Control.................................................... 113, 125

Assignable Controller 1 Control Change

Number................................................... 112, 125

Assignable Controller 1 Filter Control .........112, 125

Assignable Controller 1 Insertion 1/2 Control ..... 138

Assignable Controller 1 LFO Filter

Modulation Depth ..........................................125

Assignable Controller 1 Variation Control ........... 137

Bank (Performance mode)...................... 40, 120–121

Bank Number (Multi mode) ............................. 43, 96

Boards of the XG Plug-in System ........................164

C/M mode ............................................................... 22

Chorus ..................................................................135

Chorus Pan ........................................................... 135

Chorus Return (Multi mode) ..................................98

Chorus Return (Performance mode)..................... 120

Chorus Send (Drum Setup) ..................................116

Chorus Send (Multi mode) ..................................... 97

Chorus Send (Performance mode)........................122

Chorus Type..........................................................135

Common parameters............................................. 123

computer, connecting cables................................... 35

computer, connecting MU100 with ........................35

computer, IBM PC and clones................................37

computer, Macintosh ..............................................35

connections, audio .................................................. 28

connections, MIDI ..................................................33

Contrast ................................................................146

Copy ..................................................................... 129

Demo song ......................................................31, 155

Detune ..........................................................108, 128

Device number........................................................98

Display Bank Select ............................................. 147

Drum Setup controls............................................. 114

Dry Level .....................................................110, 128

Dry/Wet (Variation) ..............................................137

Dry/Wet Balance (Insertion)................................. 138

Dump Interval....................................................... 146

Dump Out functions ............................................. 148

DX Easy Editor ....................................................165

DX Simulator ....................................................... 165

Effect Edit mode ...................................................133

effect connections (System and Insertion) ...........139

EG (Envelope Generator) .............................102, 127

EG Attack (Drum Setup) ...................................... 117

EG Attack Time .................................................... 103

EG Decay 1 (Drum Setup) ................................... 117

EG Decay 2 (Drum Setup) ................................... 117

EG Decay Time ....................................................103

EG Release Time ..................................................104

Element Reserve ...................................................109

EQ Frequency parameters ....................................142

EQ High Frequency...................................... 105, 117

EQ High Gain ............................................... 105, 117

EQ Low Frequency....................................... 105, 117

EQ Low Gain................................................ 105, 117

EQ Type................................................................ 142

Equalizer (EQ)................................82, 105, 127, 142

Expression .............................................................. 97

Filter .............................................................100, 127

HPF Cutoff Frequency (Drum Setup) .................. 116

HPF Cutoff Frequency (Multi mode) ...................101

Initialize functions ................................................152

Insertion connection .....................................137, 139

Insertion 1, 2 effects .............................................138

Insertion Part ........................................................138

Insertion Type .......................................................138

Level (Drum Setup).............................................. 115

LPF Cutoff Frequency (Drum Setup) ................... 116

LPF Cutoff Frequency (Multi mode) ...................101

LPF Resonance (Drum Setup).............................. 116

LPF Resonance (Multi mode) .............................101

Master Attenuator ................................................... 98

Master Tune ..........................................................144

Master Volume ........................................................98

MIDI channel..................................................96, 120

MIDI data flow (diagram) ......................................91

MIDI data storage device .......................................34

MIDI devices, connecting to ..................................33

MIDI keyboard, playing the MU100 with..............33

MIDI keyboard, selecting Voices with ...................47

MIDI, Receive Channel..................................96, 120

MIDI, Receive Port ................................................ 96

178

Appendix

Index

Modulation Wheel —

LFO Filter Modulation Depth ........................125

Modulation Wheel —

LFO Pitch Modulation Depth................. 112, 124

Mono/Poly Mode.......................................... 109, 128

MU100 Exclusive Voice .........................................46

Multi Edit mode....................................................100

Multi mode .............................................................85

Multi Mode Equalizer Lock .................................144

Mute........................................................................85

Mute Lock ............................................................144

Note Limit High ........................................... 110, 128

Note Limit Low ............................................ 110, 128

Note Shift (Multi mode) .........................................97

Note Shift (Performance mode)............................122

Others parameters .........................................107, 127

Output Select (Drum Setup) ................................. 118

Output Select (Multi mode).................................. 113

Output Select Lock ...............................................145

Pan (Drum Setup) ................................................. 115

Pan (Multi mode)....................................................97

Pan (Performance mode) ......................................122

Part Mode .............................................................108

Parts, selecting........................................................43

Performance Bank ................................................120

Performance Edit mode ........................................123

Performance mode.......................................... 59, 119

Performance Name ...............................................124

Performance Number............................................120

Performance Pan...................................................120

Performance Part control...................................... 120

Performance Volume ............................................120

Performances, selecting Preset or Internal .............40

Pitch Bend Control ....................................... 111, 125

Pitch Coarse (Drum Setup)................................... 115

Pitch EG ...............................................................104

Pitch EG Attack Time ...........................................104

Pitch EG Initial Level ...........................................104

Pitch EG Release Level ........................................104

Pitch EG Release Time .........................................104

Pitch Fine (Drum Setup)....................................... 115

PLG100-DX .........................................................164

PLG100-VH .........................................................164

PLG100-VL.......................................................... 164

Portamento Switch .......................................109, 124

Portamento Time .......................................... 109, 124

Program (Voice) Number (Multi mode) .................96

Program (Voice) Number (Performance mode) ...121

Recall Function.....................................................132

Receive Bank Select .............................................145

Receive General MIDI Exclusive.........................145

Receive Note Off (Drum Setup) ........................... 118

Receive Note On (Drum Setup) ........................... 118

Receive System Exclusive.................................... 145

Resonance (LPF; Drum Setup)............................. 116

Resonance (LPF; Multi mode) ............................. 101

Reverb ..................................................................134

Reverb Pan ........................................................... 134

Reverb Return (Multi mode) .................................. 98

Reverb Return (Performance mode)..................... 120

Reverb Send (Drum Setup) .................................. 115

Reverb Send (Multi mode) ..................................... 97

Reverb Send (Performance mode)........................122

Reverb Type..........................................................134

Send Chorus to Reverb ......................................... 135

Send Variation to Chorus ...................................... 137

Send Variation to Reverb ...................................... 137

Show Control Change ..........................................157

Show Exclusive ....................................................159

Single Part control (Multi mode)............................ 49

Single Part control (Performance mode) ..............121

Solo......................................................................... 85

Sound Module mode ......................................22, 156

Store...................................................................... 130

System connection ................................................140

System functions ..................................................144

System MIDI Channel ..........................................120

System Transpose ................................................. 121

TG300B mode ........................................................22

Thru Port............................................................... 146

Transpose................................................................ 99

Utility mode ..........................................................143

Variation ............................................................... 136

Variation Connection ............................................137

Variation Pan ........................................................137

Variation Return (Multi mode) ............................... 99

Variation Return (Performance mode)..................121

Variation Send (Drum Setup) ............................... 116

Variation Send (Multi mode) ..................................97

Variation Send (Performance mode) .................... 122

Variation Type....................................................... 136

Velocity LPF Cutoff Frequency............................ 116

Velocity Limit High ...................................... 111, 128

Velocity Limit Low ...................................... 111, 128

Velocity Pitch Sensitivity ..................................... 115

Velocity Sensitivity Depth ............................ 110, 128

Velocity Sensitivity Offset............................ 111, 128

VH Effect Editor................................................... 165

Vibrato ..........................................................106, 127

Vibrato Delay........................................................ 106

Vibrato Depth ....................................................... 106

Vibrato Rate..........................................................106

Appendix

179

Index

VL Visual Editor................................................... 165

Voice Map............................................................. 147

Voices, selecting ..................................................... 42

Volume (Multi mode) ............................................. 96

Volume (Performance mode)........................ 120, 122

XG mode ..........................................................22, 42

XG Plug-in System............................................... 163

XGworks ..............................................................165

XGworks lite ........................................................165

XGworks Plug-in System ..................................... 165

Memo

For details of products, please contact your nearest Yamaha or the

authorized distributor listed below.

Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha

ou au distributeur le plus proche de vous figurant dans la liste

suivante.

NORTH AMERICA

CANADA

Yamaha Canada Music Ltd.

135 Milner Avenue, Scarborough, Ontario,

M1S 3R1, Canada

Tel: 416-298-1311

U.S.A.

Yamaha Corporation of America

6600 Orangethorpe Ave., Buena Park, Calif. 90620,

U.S.A.

Tel: 714-522-9011

AFRICA

Yamaha Corporation,

International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2312

MIDDLE EAST

TURKEY/CYPRUS

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen,

F.R. of Germany

Tel: 04101-3030

OTHER COUNTRIES

Yamaha Corporation,

International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2312

ASIA

HONG KONG

Tom Lee Music Co., Ltd.

11/F., Silvercord Tower 1, 30 Canton Road,

Tsimshatsui, Kowloon, Hong Kong

Tel: 2737-7688

INDONESIA

PT. Yamaha Music Indonesia (Distributor)

PT. Nusantik

Gedung Yamaha Music Center, Jalan Jend. Gatot

Subroto Kav. 4, Jakarta 12930, Indonesia

Tel: 21-520-2577

KOREA

Cosmos Corporation

#131-31, Neung-Dong, Sungdong-Ku, Seoul

Korea

Tel: 02-466-0021~5

MALAYSIA

Yamaha Music Malaysia, Sdn., Bhd.

Lot 8, Jalan Perbandaran, 47301 Kelana Jaya,

Petaling Jaya, Selangor, Malaysia

Tel: 3-703-0900

PHILIPPINES

Yupangco Music Corporation

339 Gil J. Puyat Avenue, P.O. Box 885 MCPO,

Makati, Metro Manila, Philippines

Tel: 819-7551

SINGAPORE

Yamaha Music Asia Pte., Ltd.

Blk 202 Hougang, Street 21 #02-01,

Singapore 530202

Tel: 747-4374

TAIWAN

Yamaha KHS Music Co., Ltd.

10F, 150, Tun-Hwa Northroad,

Taipei, Taiwan, R.O.C.

Tel: 02-2713-8999

THAILAND

Siam Music Yamaha Co., Ltd.

121/60-61 RS Tower 17th Floor,

Ratchadaphisek RD., Dindaeng,

Bangkok 10320, Thailand

Tel: 02-641-2951

THE PEOPLE’S REPUBLIC OF CHINA

AND OTHER ASIAN COUNTRIES

Yamaha Corporation,

International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2317

OCEANIA

AUSTRALIA

Yamaha Music Australia Pty. Ltd.

17-33 Market Street, South Melbourne, Vic. 3205,

Australia

Tel: 3-699-2388

NEW ZEALAND

Music Houses of N.Z. Ltd.

146/148 Captain Springs Road, Te Papapa,

Auckland, New Zealand

Tel: 9-634-0099

COUNTRIES AND TRUST

TERRITORIES IN PACIFIC OCEAN

Yamaha Corporation,

International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2317

HEAD OFFICE Yamaha Corporation, XG Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2936

XG1-02

EUROPE

THE UNITED KINGDOM

Yamaha-Kemble Music (U.K.) Ltd.

Sherbourne Drive, Tilbrook, Milton Keynes,

MK7 8BL, England

Tel: 01908-366700

IRELAND

Danfay Ltd.

61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin

Tel: 01-2859177

GERMANY/SWITZERLAND

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen,

F.R. of Germany

Tel: 04101-3030

AUSTRIA

Yamaha Music Austria

Schleiergasse 20, A-1100 Wien Austria

Tel: 01-60203900

THE NETHERLANDS

Yamaha Music Nederland

Kanaalweg 18G, 3526KL, Utrecht, The Netherlands

Tel: 030-2828411

BELGIUM

Yamaha Music Belgium

Keiberg Imperiastraat 8, 1930 Zaventem, Belgium

Tel: 02-7258220

FRANCE

Yamaha Musique France,

Division Professionnelle

BP 70-77312 Marne-la-Vallée Cedex 2, France

Tel: 01-64-61-4000

Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten

Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen

Bestimmungsländern erhältlich.

Para detalles sobre productos, contacte su tienda Yamaha más cercana

o el distribuidor autorizado que se lista debajo.

CENTRAL & SOUTH AMERICA

MEXICO

Yamaha de Mexico S.A. De C.V.,

Departamento de ventas

Javier Rojo Gomez No.1149, Col. Gpe Del

Moral, Deleg. Iztapalapa, 09300 Mexico, D.F.

Tel: 686-00-33

BRAZIL

Yamaha Musical do Brasil LTDA.

Av. Rebouças 2636, São Paulo, Brasil

Tel: 011-853-1377

ARGENTINA

Yamaha Music Argentina S.A.

Viamonte 1145 Piso2-B 1053,

Buenos Aires, Argentina

Tel: 1-371-7021

PANAMA AND OTHER LATIN

AMERICAN COUNTRIES/

CARIBBEAN COUNTRIES

Yamaha de Panama S.A.

Torre Banco General, Piso 7, Urbanización

Marbella,

Calle 47 y Aquilino de la Guardia,

Ciudad de Panamá, Panamá

Tel: 507-269-5311

ITALY

Yamaha Musica Italia S.P.A.,

Combo Division

Viale Italia 88, 20020 Lainate (Milano), Italy

Tel: 02-935-771

SPAIN

Yamaha-Hazen Electronica Musical, S.A.

Jorge Juan 30, 28001, Madrid, Spain

Tel: 91-577-7270

PORTUGAL

Valentim de Carvalho CI SA

Estrada de Porto Salvo, Paço de Arcos 2780 Oeiras,

Portugal

Tel: 01-443-3398/4030/1823

GREECE

Philippe Nakas S.A.

Navarinou Street 13, P.Code 10680, Athens, Greece

Tel: 01-364-7111

SWEDEN

Yamaha Scandinavia AB

J. A. Wettergrens Gata 1

Box 30053

S-400 43 Göteborg, Sweden

Tel: 031 89 34 00

DENMARK

YS Copenhagen Liaison Office

Generatorvej 8B

DK-2730 Herlev, Denmark

Tel: 44 92 49 00

FINLAND

Warner Music Finland OY/Fazer Music

Aleksanterinkatu 11, P.O. Box 260

SF-00101 Helsinki, Finland

Tel: 0435 011

NORWAY

Norsk filial av Yamaha Scandinavia AB

Grini Næringspark 1

N-1345 Østerås, Norway

Tel: 67 16 77 70

ICELAND

Skifan HF

Skeifan 17 P.O. Box 8120

IS-128 Reykjavik, Iceland

Tel: 525 5000

OTHER EUROPEAN COUNTRIES

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen, F.R. of

Germany

Tel: 04101-3030

M.D.G., EMI Division, C Yamaha Corporation 1998, Printed in Japan

V319070 810CRIT5.2-01A0

Transcripción de documentos

TONE GENERATOR OWNER'S MANUAL BEDIENUNGSANLEITUNG MODE D'EMPLOI FCC INFORMATION (U.S.A) 1. IMPORTANT NOTICE : DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA. 3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the user’s manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. If these corrective measures do not produce satisfactory results, please contact the your local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620 * The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries. CANADA This Class B digital apparatus complies with Canadian ICES-003. Cet appareil numérique de la classe B est conforme à la norme NMB-003 du Canada. • This applies only to products distributed by Yamaha Canada Music Ltd. • Ceci ne s’applique qu’aux produits distribués par Yamaha Canada Musique Ltée. NEDERLAND / THE NETHERLANDS • Dit apparaat bevat een lithium batterij voor geheugen back-up. • This apparatus contains a lithium battery for memory back-up. • Raadpleeg uw leverancier over de verwijdering van de batterij op het moment dat u het apparaat ann het einde van de levensduur afdankt of de volgende Yamaha Service Afdeiing: Yamaha Music Nederland Service Afdeiing Kanaalweg 18-G, 3526 KL UTRECHT Tel. 030-2828425 • For the removal of the battery at the moment of the disposal at the end of the service life please consult your retailer or Yamaha Service Center as follows: Yamaha Music Nederland Service Center Address : Kanaalweg 18-G, 3526 KL UTRECHT Tel : 030-2828425 • Gooi de batterij niet weg, maar lever hem in als KCA. • Do not throw away the battery. Instead, hand it in as small chemical waste. ADVARSEL! Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering. Udskiftning må kun ske med batteri af samme fabrikat og type. Levér det brugte batteri tilbage til leverandoren. VARNING Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera använt batteri enligt fabrikantens instruktion. VAROITUS Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty paristo valmistajan ohjeiden mukaisesti. SPECIAL MESSAGE SECTION This product utilizes batteries or an external power supply (adapter). DO NOT connect this product to any power supply or adapter other than one described in the manual, on the name plate, or specifically recommended by Yamaha. WARNING: Do not place this product in a position where anyone could walk on, trip over ,or roll anything over power or connecting cords of any kind. The use of an extension cord is not recommended! IF you must use an extension cord, the minimum wire size for a 25' cord (or less ) is 18 AWG. NOTE: The smaller the AWG number ,the larger the current handling capacity. For longer extension cords, consult a local electrician. This product should be used only with the components supplied or; a cart, rack, or stand that is recommended by Yamaha. If a cart, etc., is used, please observe all safety markings and instructions that accompany the accessory product. SPECIFICATIONS SUBJECT TO CHANGE: The information contained in this manual is believed to be correct at the time of printing. However, Yamaha reserves the right to change or modify any of the specifications without notice or obligation to update existing units. This product, either alone or in combination with an amplifier and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. DO NOT operate for long periods of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. IMPORTANT: The louder the sound, the shorter the time period before damage occurs. Some Yamaha products may have benches and / or accessory mounting fixtures that are either supplied with the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional fixtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other uses are recommended. NOTICE: Service charges incurred due to a lack of knowledge relating to how a function or effect works (when the unit is operating as designed) are not covered by the manufacturer’s warranty, and are therefore the owners responsibility. Please study this manual carefully and consult your dealer before requesting service. products and the production methods used to produce them, meet these goals. In keeping with both the letter and the spirit of the law, we want you to be aware of the following: Battery Notice: This product MAY contain a small non-rechargeable battery which (if applicable) is soldered in place. The average life span of this type of battery is approximately five years. When replacement becomes necessary, contact a qualified service representative to perform the replacement. This product may also use “household” type batteries. Some of these may be rechargeable. Make sure that the battery being charged is a rechargeable type and that the charger is intended for the battery being charged. When installing batteries, do not mix batteries with new, or with batteries of a different type. Batteries MUST be installed correctly. Mismatches or incorrect installation may result in overheating and battery case rupture. Warning: Do not attempt to disassemble, or incinerate any battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by the laws in your area. Note: Check with any retailer of household type batteries in your area for battery disposal information. Disposal Notice: Should this product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of products that contain lead, batteries, plastics, etc. If your dealer is unable to assist you, please contact Yamaha directly. NAME PLATE LOCATION: The name plate is located on the rear of the product. The model number, serial number, power requirements, etc., are located on this plate. You should record the model number, serial number, and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase. Model Serial No. ENVIRONMENTAL ISSUES: Yamaha strives to produce products that are both user safe and environmentally friendly. We sincerely believe that our Purchase Date PLEASE KEEP THIS MANUAL 92-BP ENGLISH FRANÇAIS OWNER'S MANUAL BEDIENUNGSANLEITUNG MODE D'EMPLOI DEUTSCH TONE GENERATOR Welcome to the MU100 Welcome to the MU100 Congratulations and thank you for purchasing the Yamaha MU100 Tone Generator! The MU100 is an advanced tone generator providing an amazing total of 1313 high-quality Voices, full General MIDI compatibility — including Yamaha’s XG — plus flexible computer interfacing in a compact, easyto-use half-rack unit. With the convenient built-in host computer interface and MIDI terminals, the MU100 is ideal for any computer music system — from connection to a simple laptop to integration in a complete MIDI studio. With its large LCD and the intuitive graphic controls on the display, the MU100 is remarkably easy to use. The MU100 also features completely independent dual MIDI inputs, 32 Part multi-timbral capacity and full 64-note polyphony for playback of even the most sophisticated song data. A special Performance mode gives you flexible four-Voice operation, for live performance applications. Also built into the system are six digital multi-effects and two EQ sections (one per-part, and one overall), which give you enormous versatility in “sweetening” the sound. What’s more, the MU100 provides a host of comprehensive, yet easy-to-use editing tools for getting just the sound you need. The MU100 has a convenient A/D input that allows you to connect a microphone, electric guitar or other instrument, and mix those signals with the MU100’s Voices. A plug-in connector is also built into the MU100 for easy integration with the XG Plug-in System. * Company names and product names in this Owner’s Manual are the trademarks or registered trademarks of their respective companies and are hereby acknowledged. 6 How to Use This Manual Unpacking Unpacking Your MU100 package should include the items listed below. Make sure that you have them all. Also, write down the serial number of your MU100 in the box below, for future reference. MU100 Serial No.: PA-5B AC Power Adaptor* Owner’s Manual CD-ROM “XGtools” * Power supply recommendation may vary from country to country. Please check with your nearest Yamaha dealer for further details. GM System Level 1 “GM System Level 1” is a standard specification that defines the arrangement of voices in a tone generator and its MIDI functionality, ensuring that data can be played back with substantially the same sounds on any GM-compatible tone generator, regardless of its manufacturer or model. Tone generators and song data that meet the “GM System Level 1” bear this GM logo. XG “XG” is a tone generator format that expands the voice arrangement of the “GM System Level 1” specification to meet the ever-increasing demands of today’s computer peripheral environment, providing richer expressive power while maintaining upward compatibility of data. “XG” greatly expands “GM System Level 1” by defining the ways in which voices are expanded or edited and the structure and type of effects. When commercially available song data bearing the XG logo is played back on a tone generator which bears the XG logo, you will enjoy a full musical experience that includes unlimited expansion voices and effect functions. About the XG Plug-in System This system offers powerful expansion and upgrade capabilities for XGPlug-in-compatible tone generators. The XG Plug-in System enables you to equip the tone generator with the latest and most sophisticated technology, ensuring that you keep pace with the rapid and multi-faceted advance in modern music production. How to Use This Manual 7 TABLE OF CONTENTS Table of Contents Welcome to the MU100 .......................................................................................................... 6 Unpacking ............................................................................................................................... 7 Table of Contents ................................................................................................................... 8 How to Use This Manual ..................................................................................................... 12 PRECAUTIONS ................................................................................................................... 13 The Controls of the MU100 ................................................................................................ 15 Front Panel .................................................................................................................. 15 Rear Panel ................................................................................................................... 18 The MU100 — What It Is and What It Can Do ............................................................... 19 What It Is... ..................................................................................................................... 19 About General MIDI .................................................................................................. 19 About XG-format ....................................................................................................... 20 What It Can Do... ........................................................................................................... 20 Using With a MIDI Keyboard .................................................................................... 20 Using with the XG Plug-in System ............................................................................ 21 Using With a Computer or Sequencer ........................................................................ 21 About the Modes of the MU100 .................................................................................... 22 Play Modes and the Part Controls .............................................................................. 23 Part Edit Mode ............................................................................................................ 23 Utility Mode ............................................................................................................... 23 Modes and Function Tree .................................................................................................... 24 GUIDED TOUR Setting Up Your MU100 ................................................................................................. 28 What You'll Need ........................................................................................................ 28 Making the Connections ............................................................................................. 28 Powering Up .................................................................................................................... 30 Playing the Demo Song .................................................................................................. 31 Setting Up the MU100 in Your Music System ............................................................. 33 Connecting to MIDI Devices ..................................................................................... 33 Connecting Directly to a Computer ........................................................................... 35 Macintosh and Compatibles ................................................................................. 35 IBM PC/AT and Compatibles ............................................................................... 37 Selecting and Playing the Performances ...................................................................... 39 Calling Up the Performance Play Mode and Playing the Performances ................... 39 Selecting and Playing Individual Voices ...................................................................... 42 Calling Up the XG Mode ........................................................................................... 42 Selecting Voice Banks and Voices From the Panel .................................................... 43 Selecting Voices From a MIDI Keyboard .................................................................. 47 Editing in the Multi Mode ............................................................................................. 48 Single Part Controls .................................................................................................... 49 Changing the Volume and Pan settings of a Part .................................................. 50 On Your Own... ............................................................................................... 51 8 Table of Contents TABLE OF CONTENTS Edit Menu Parameters ................................................................................................ 52 Changing the Filter and EG Settings of a Part ..................................................... 52 On Your Own... ............................................................................................... 54 Editing Drum Voices — with the Drum Setup Controls ............................................ 55 Making Changes to Individual Drum Sounds — the "Drum" Parameters .......... 56 On Your Own... ............................................................................................... 58 Editing in the Performance Mode ................................................................................ 59 All Part Controls ......................................................................................................... 60 Transposing the Overall Key of a Performance ......................................................... 61 Single Part Controls — Selecting Different Voices for the Performance .................. 62 On Your Own... ............................................................................................... 63 Edit Menu Parameters — Creating a Two-Voice Layer ............................................ 64 Setting Up a Keyboard Split ....................................................................................... 66 On Your Own... ............................................................................................... 67 Using the Assignable Controller in a Performance .................................................... 67 Saving Your Original Performance ............................................................................ 68 Assignable Controller (AC1) ......................................................................................... 69 Controllers and Control Numbers .............................................................................. 69 Control Numbers and the Actual Sound ..................................................................... 70 Assigning the Assignable Controller .......................................................................... 71 Using the Assignable Controller — Setting Up ......................................................... 72 Using the Assignable Controller — Some Applications ............................................ 73 Changing the Brightness on a Piano Voice ........................................................... 73 Experssive Volume Control of a Part ................................................................... 75 Expressive Control of Individual Drum Sounds .................................................. 75 On Your Own... ............................................................................................... 77 Effects .............................................................................................................................. 78 Using Reverb and Chorus ........................................................................................... 78 Applying Distortion to a Part — Using the Variation Effects ................................... 80 Equalizer (EQ) ................................................................................................................ 82 Adjusting the Tone of a Specific Part — Part EQ ...................................................... 82 Adjusting the Overall Tone — Multi EQ ................................................................... 84 Mute/Solo ........................................................................................................................ 85 Using Mute/Solo ......................................................................................................... 85 A/D Input ........................................................................................................................ 87 Using the A/D Input ................................................................................................... 87 Data Flow Block Diagram ............................................................................................. 91 MIDI/Computer Connecting Cables ............................................................................ 92 REFERENCE Multi Mode ...................................................................................................................... 95 Part Controls ............................................................................................................... 95 Single Part Control................................................................................................ 96 All Part Control ..................................................................................................... 98 Table of Contents 9 TABLE OF CONTENTS Multi Edit Mode ....................................................................................................... 100 Filter .................................................................................................................... 100 Envelope Generator (EG) ................................................................................... 102 Equalizer (EQ) .................................................................................................... 105 Vibrato ................................................................................................................. 106 Others .................................................................................................................. 107 Drum Setup Controls .......................................................................................... 114 Performance Mode ....................................................................................................... 119 Performance Part Control ......................................................................................... 120 All Part ................................................................................................................ 120 Single Part ........................................................................................................... 121 Performance Edit Mode ............................................................................................ 123 Common .............................................................................................................. 123 Part ...................................................................................................................... 126 Copy and Store Operations ...................................................................................... 129 Copy .................................................................................................................... 129 Store .................................................................................................................... 130 Recall Function ................................................................................................... 132 Effect Edit Mode .......................................................................................................... 133 Reverb (REV) ........................................................................................................... 134 Chorus (CHO) ........................................................................................................... 135 Variation (VAR) ........................................................................................................ 136 Insertion 1, 2 (INS 1, 2) ............................................................................................ 138 About the Effect Connections — System and Insertion .......................................... 139 Equalizer (Multi EQ) Edit ........................................................................................... 142 Utility Mode .................................................................................................................. 143 System Functions (SYSTEM) .................................................................................. 144 Dump Out Functions (DUMPOUT) ......................................................................... 148 Saving and Restoring Data via MIDI ................................................................. 148 Saving and Restoring Data via TO HOST .......................................................... 148 Initialize Functions (INITIAL) ................................................................................. 152 Demo Song Play (DEMO) ....................................................................................... 155 Sound Module Mode (MODE) .................................................................................... 156 Miscellaneous Functions .............................................................................................. 157 Show Control Change .............................................................................................. 157 Show Exclusive ........................................................................................................ 159 10 Table of Contents TABLE OF CONTENTS APPENDIX Installing the Optional XG Plug-in System ............................................................... 163 Introducing the XG Plug-in System ......................................................................... 163 Plug-in versatility like never before ................................................................... 163 XG Plug-in System Integration .......................................................................... 164 The Boards of the XG Plug-in System ............................................................... 164 Introducing the XGworks Plug-in System ......................................................... 165 Installation ................................................................................................................ 166 Prior to Installation ............................................................................................. 166 Basic Information .......................................................................................... 166 Backing Up Data ........................................................................................... 166 The Performance Mode ................................................................................. 166 Installing a Plug-in Board into the MU100 ........................................................ 167 Troubleshooting ............................................................................................................ 170 Error Messages ............................................................................................................. 171 Specifications ................................................................................................................ 173 Glossary ......................................................................................................................... 175 Index .............................................................................................................................. 177 Table of Contents 11 How to Use This Manual How to Use This Manual You are probably eager to try out your new MU100 Tone Generator right away and hear what it can do, rather than have to read through a lot of instructions before you can even get a sound out of it. The structure of the manual is very straightforward. You can approach it in a linear manner, reading through from beginning to end, or on an “on-demand” basis, going directly to the information you need as you need it. However, to get the most out of your MU100, we strongly suggest that you read the following sections in the order given: 1) Precautions This gives you important information on how to care for your new MU100, how to avoid damaging it, and how to ensure long-term, reliable operation. 2) The MU100 — What It Is and What It Can Do This briefly provides an overview of the functions and features of the MU100 and offers some important hints on how you can use it effectively. It also provides convenient page references so that you can easily find out about features and functions of interest. 3) The Controls of the MU100 This section introduces you to the panel controls and connectors. 4) Guided Tour This is perhaps the most important and valuable section of the manual. It gets you started using your new MU100, helping you set up the instrument and play it — and it introduces you to virtually all of the important functions and features. The hands-on experience you gain in this section will help you quickly master the instrument and aid you in navigating the more detailed sections of the manual. 5) Setting Up the MU100 in Your Music System; Using the MU100 with a Computer or Sequencer These sections (within the Tutorial) provide all you need to know to effectively integrate the MU100 into your present computer music system. 6) Reference Once you’re familiar with everything above, lightly go over this comprehensive guide to all editing functions. You won’t need (or want) to read everything at once, but it is there for you to refer to when you need information about a certain feature or function. 7) Appendix Use the sections in the Appendix as necessary. For example, the Index will come in handy when you need to quickly find information on a specific topic. Other sections, such as the Glossary, Troubleshooting, Installing the optional XG Plug-in System and Error Messages provide additional useful information. 8) Sound List & MIDI Data booklet This separate booklet features lists of the Performances, Voices, drum sounds, effect types and parameters, as well as details on all relevant MIDI messages and data. 12 How to Use This Manual PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING * Please keep these precautions in a safe place for future reference. WARNING Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following: • Do not open the instrument or attempt to disassemble the internal parts or modify them in any way. The instrument contains no user-serviceable parts. If it should appear to be malfunctioning, discontinue use immediately and have it inspected by qualified Yamaha service personnel. • Do not expose the instrument to rain, use it near water or in damp or wet conditions, or place containers on it containing liquids which might spill into any openings. • If the AC adaptor cord or plug becomes frayed or damaged, or if there is a sudden loss of sound during use of the instrument, or if any unusual smells or smoke should appear to be caused by it, immediately turn off the power switch, disconnect the adaptor plug from the outlet, and have the instrument inspected by qualified Yamaha service personnel. • Use the specified adaptor (PA-5B or an equivalent recommended by Yamaha) only. Using the wrong adaptor can result in damage to the instrument or overheating. • Before cleaning the instrument, always remove the electric plug from the outlet. Never insert or remove an electric plug with wet hands. • Check the electric plug periodically and remove any dirt or dust which may have accumulated on it. CAUTION Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the instrument or other property. These precautions include, but are not limited to, the following: • Do not place the AC adaptor cord near heat sources such as heaters or radiators, and do not excessively bend or otherwise damage the cord, place heavy objects on it, or place it in a position where anyone could walk on, trip over, or roll anything over it. • Do not operate the instrument for a long period of time at a high or uncomfortable volume level, since this can cause permanent hearing loss. If you experience any hearing loss or ringing in the ears, consult a physician. • When removing the electric plug from the instrument or an outlet, always hold the plug itself and not the cord. ■REPLACING THE BACKUP BATTERY • Do not connect the instrument to an electrical outlet using a multipleconnector. Doing so can result in lower sound quality, or possibly cause overheating in the outlet. • Unplug the AC power adaptor when not using the instrument, or during electrical storms. • Before connecting the instrument to other electronic components, turn off the power for all components. Before turning the power on or off for all components, set all volume levels to minimum. • Do not expose the instrument to excessive dust or vibrations, or extreme cold or heat (such as in direct sunlight, near a heater, or in a car during the day) to prevent the possibility of panel disfiguration or damage to the internal components. • Do not use the instrument near other electrical products such as televisions, radios, or speakers, since this might cause interference which can affect proper operation of the other products. • Do not place the instrument in an unstable position where it might accidentally fall over. • Before moving the instrument, remove all connected adaptor and other cables. • When cleaning the instrument, use a soft, dry cloth. Do not use paint thinners, solvents, cleaning fluids, or chemical-impregnated wiping cloths. Also, do not place vinyl, plastic or rubber objects on the instrument, since this might discolor the panel or keyboard. • This instrument contains a non rechargeable internal backup battery which permits internal data to remain stored even when the power is off. When the backup battery needs replacing, the message "Battery Low!" will display in the display. When this happens, immediately back up your data (using an external device such as the floppy disk-based Yamaha MIDI Data Filer MDF3), then have qualified Yamaha service personnel replace the backup battery. • Do not attempt to replace the backup battery yourself, in order to prevent the possible serious hazards. Always have qualified Yamaha service personnel replace the backup battery. • Never place the backup battery in a location that a child can reach, since a child might accidentally swallow the battery. If this should happen, consult a physician immediately. ■SAVING USER DATA • Save all data to an external device such as the Yamaha MIDI Data Filer MDF3, in order to help prevent the loss of important data due to a malfunction or user operating error. Yamaha cannot be held responsible for damage caused by improper use or modifications to the instrument, or data that is lost or destroyed. Always turn the power off when the instrument is not in use. • Do not rest your weight on, or place heavy objects on the instrument, and do not use excessive force on the buttons, switches or connectors. PRECAUTIONS 13 The Controls of the MU100 The Controls of the MU100 Front Panel 1 2 3 4 1 A/D INPUT For connection of a microphone, electric guitar or other electronic instruments (stereo 1/4” plug). 2 A/D INPUT level control For control of the level of the A/D input. 3 PHONES jack For connection to a set of stereo headphones (Stereo Mini-pin). 4 POWER/VOL control Controls the power off/on functions as well as adjusts the overall volume of the MU100. The Controls of the MU90R 15 The Controls of the MU100 5 6 A D E F 7 9 8 B 0 C 5 PLAY button For entering the Play mode and switching among the different Play displays. (See page 40.) 6 EDIT button For entering the Edit mode. (See page 52.) 7 UTIL (UTILITY) button For entering the Utility mode. (See page 31.) 8 MODE button For entering the Sound Module mode. (See page 39.) 9 EFFECT button For entering the Effect Edit mode. (See page 79.) : EQ button For entering the EQ Edit mode. (See page 84.) A MUTE/SOLO button Pressing this alternately mutes or solos the selected Part. (See page 85.) B ENTER button For calling up menu items in the display and for executing certain functions and operations. Double-clicking this (pressing it twice quickly) calls up the Show Exclusive function. (see page 159.) C EXIT button For leaving various display pages and returning to previous displays. Also for canceling certain functions and operations. 16 The Controls of the MU90R The Controls of the MU100 D PART -/+ buttons For selecting different Parts. In the Effect Edit mode, these can be used to switch among the different effects. Pressing these together alternately switches between All Part and Single Part control. (See page 40.) E SELECT </> buttons For selecting the various menu items, parameters and controls on the display. F VALUE -/+ buttons For changing the value of a selected parameter or control. Hint You can rapidly move through the values by holding down one of the [VALUE -/+] buttons. You can move even more rapidly by holding down one button and then pressing and holding down the other. For example, to rapidly advance (increase) the value, hold down the [VALUE +] button and simultaneously press and hold down the [VALUE -] button. The Controls of the MU90R 17 The Controls of the MU100 Rear Panel MIDI OUTPUT HOST SELECT INPUT L MIDI Mac PC-2 PC-1 THRU OUT I N-A TO HOST DC IN R I N-B SER NO. 1 2 3 4 5 6 1 MIDI THRU, MIDI OUT and MIDI IN A/B terminals For connection to other MIDI devices, such as a MIDI keyboard, tone generator, sequencer, or to a computer that has a MIDI interface. MIDI IN A and B are independent MIDI ports, allowing full 32-channel MIDI input. MIDI OUT is for data dumps to another MIDI device, while MIDI THRU is for “daisy-chain” connection of additional MU100s or other MIDI instruments. (See page 33 for more information on MIDI connections.) 2 HOST SELECT switch For selecting the type of host computer. (See page 35.) 3 TO HOST terminal For connection to a host computer that does not have a MIDI interface. (See page 35.) 4 DC IN jack For connection to the PA-5B AC power adaptor. 5 OUTPUT L, R jacks (Left, Right) For connection to a stereo amplifier/speaker system. 6 INPUT L, R jacks (Left, Right) For connection between tone generator modules, CD players or other external audio devices. Effectors and equalizers cannot be applied to a signal that is input through these jacks. 18 The Controls of the MU90R The MU100 — What It Is and What It Can Do The MU100 — What It Is and What It Can Do What It Is... The MU100 is a full-featured and easy-to-use tone generator, that provides an unprecedented wealth of Voices and expressive sonic control. It features full General MIDI Level 1 compatibility with 128 General MIDI Voices and 9 drum Voices. It also provides new XG compatibility, with a huge total of 1267 Voices and 46 drum Voices. The MU100 has 64-note polyphony and is 32-Part multi-timbral. In other words, the MU100 has 32 different Parts, each with its own Voice, so that up to 32 different Voices can be sounded simultaneously. Since the MU100 features dual MIDI input ports (A and B), 16 Parts can be played from one MIDI port and the remaining 16 from the other port. Additional A/D Parts let you connect up to two external signals — such as a microphone, electric guitar or CD player — and mix them with the MU100’s Voices through stereo input jack. The MU100 also has a TO HOST terminal for easy interfacing with a computer, allowing you to play the Voices using your favorite music software. This is where the advanced multi-timbral capabilities come in, letting you playing sophisticated arrangements using up to 32 different Voices at the same time. Although Voices cannot be directly edited, the various Part controls and Edit mode give you tools for transforming or customizing the sound of the Voices. What’s more, the MU100 has a built-in multi-effect processor, with six independent digital effect “units” for enhancing the sound. The MU100 also features a special Performance mode, in which four Parts are played simultaneously over a single MIDI channel. Connected to a MIDI keyboard, this effectively gives you four tone generators in one. The MU100 gives you 100 factory-programmed Preset Performances plus 100 Internal Performance locations for storing your own original Performances. About General MIDI General MIDI is a new addition to the worldwide MIDI standard. MIDI, as you know, stands for Musical Instrument Digital Interface, and makes it possible for various electronic musical instruments and other devices to “communicate” with each other. For example, by connecting a sequencer to the MU100’s MIDI IN terminal, you could play back a song on the sequencer using the Voices of the MU100. So, where does General MIDI fit in all of this? One of the most important features of General MIDI is in the standardization of Voices. This means that a song recorded in the General MIDI format can be played back on any General MIDI compatible tone generator and sound just as the composer intended. For The MU100 — What It Is and What It Can Do 19 The MU100 — What It Is and What It Can Do example, if there is an alto sax solo in the song, it will be played by an alto sax Voice on the General MIDI tone generator (and not by a tuba or harpsichord!). Since the MU100 is fully compatible with General MIDI, you can take advantage of the vast wealth of musical material recorded in that format. About XG format The new XG format is an extension of General MIDI, and provides a number of significant improvements and enhancements. XG-compatible song data takes advantage of the extensive MIDI control and built-in effects of the MU100 (and other MU-series instruments). To take greatest advantage of the powerful capabilities of XG, we recommend using XG-compatible instruments and software. For example, XG-compatible keyboards such as the Yamaha CBX-K2 keyboard and software give you direct controls for accessing the full expressive potential of the MU100’s XG Voices and the XG-related parameters. What It Can Do... Here are a few ideas on how you can use the MU100. The list below is not comprehensive, but is meant to be a general guide to the possibilities and provide a starting point or springboard for your own creative ideas and explorations. Using With a MIDI Keyboard Use the MU100 as a supplementary tone generator with your MIDI keyboard and play the Voices of both instruments in a layer together. Or, use the convenient Performance mode, and play four Voices on the MU100 at once. You can split the four Voices across the keyboard, playing each from a different register. Or you can create sophisticated velocity splits, in which a different Voice is heard depending on how strongly you play the keyboard. Or use keyboard and velocity splits together for even greater flexibility. 20 The MU100 — What It Is and What It Can Do The MU100 — What It Is and What It Can Do Using with the XG Plug-in System The MU100 is equipped with a connector that supports the XG Plug-in System. The system currently (as of September 1998) consists of three easy-touse plug-in boards: the PLG100-DX, PLG100-VL and PLG100-VH. A vast range of features like Virtual Acoustic Sound Synthesis, dynamic sound effects, powerful FM synthesis voices, vocal harmonies and editing features enhance the functionality of the MU100 without complicated setups and wiring. The XG Plug-in System provides a seamless, fully integrated solution to help you create the ultimate studio environment. Using With a Computer or Sequencer Home Studio Setup The MU100 integrates instantly and easily into any existing setup. If you have a MIDI keyboard, computer and sequencing software, the MU100 with its high-quality Voices and multi-timbral capabilities can expand your home studio system. Carry It With You If you have a laptop computer (and sequencing software), simply connect the MU100, plug in some headphones and you’ve got a complete, high-powered music making system that’s ready to go wherever you go. Use it for composing, arranging, practicing or making/playing demos for your band. Use It at a Gig Similarly, you can connect a laptop or a MIDI data filer and playback song data with the MU100’s Voices. Plug a microphone into one of the A/D inputs and a guitar into the other, and you can mix your own live performance with the sequencer tracks. Multimedia Since it’s compatible with General MIDI and XG, the MU100 is a natural for multimedia applications. Bring it with you to a presentation — since the computer interface is built-in to the MU100, it hooks up instantly and easily to the computer’s serial port or printer port, without the need for any other equipment. The MU100 — What It Is and What It Can Do 21 The MU100 — What It Is and What It Can Do About the Modes of the MU100 The MU100 has two main operating modes: Multi and Performance. In Multi mode, the MU100 is a 32-Part multi-timbral tone generator; in Performance mode, the MU100 effectively functions as four tone generators controlled over a single MIDI channel. Which mode the MU100 is in depends on the selected Sound Module mode. If XG, TG300B or C/M are selected, the MU100 automatically sets itself to the Multi mode. When PFM is selected, the MU100 is in the Performance mode. (For information on selecting the Sound Module mode, see page 156.) Each mode provides compatibility with different music software and hardware. XG: This mode provides the full potential of the MU100, giving you access to the 1074 XG Voices. TG300B: This mode provides compatibility with the GM-B mode of the TG300 Tone Generator. C/M: This mode provides compatibility with most computer music software not supported by the other two Multi modes. PFM: This mode (Performance) lets you play four Voices simultaneously over a single MIDI channel. (For more information on using the Performance mode, see page 39.) The bottom right of the display indicates the currently selected Sound Module mode. XG TG300B C/M PERFORM Selected Sound Module mode. NOTE When set to the TG300B mode, the MU100 may not be able to play TG300-specific song data with complete accuracy. However, MIDI data designed for other computer music tone generators is compatible with the MU100. 22 The MU100 — What It Is and What It Can Do Modes and Function Tree Play Modes and the Part Controls Once the operating mode of the MU100 is set (Multi or Performance), there are two main ways you can use the MU100: playing and editing. In the Play modes, you play the Voices; in the various Edit modes, you change their settings. Within the Play modes are the Part controls. These let you make basic settings for the Parts. The Single Part controls allow you to make independent settings for each Part, while the All Part controls allow you to change the overall settings of all Parts. (See pages 96 and 98 for more information.) The MU100 has several different Edit modes, each with various menus and operations: Part Edit Mode The Part Edit mode allows you to change certain settings for each individual Part, such as those of the Filter, EG (Envelope Generator), and many other settings. The internal Voices can be sounded during editing, allowing you to hear the effects of your edits. Utility Mode The Utility mode lets you set functions related to the overall operation of the MU100, such as Master Tune, display Contrast and reception of certain MIDI messages that affect the entire instrument. Included also are miscellaneous operations, such as sending bulk data to a data storage device, initializing of the MU100 settings, and playing the special Demo song. The MU100 — What It Is and What It Can Do 23 Modes and Function Tree Modes and Function Tree (Without a plug-in board installed) [PLAY] Multi Play Mode ( When the sound module mode is “XG”, “TG300B”, or “C/M”) [SELECT </>] Multi Part Control P. 95 P. 96 [PART++-] [SELECT </>] Multi All Part Control [EDIT] [PLAY] P. 98 Multi Part Edit Mode P. 100 [SELECT <] Filter Edit [ENTER] P. 100 [SELECT </>] EG Edit [ENTER] P. 102 [SELECT </>] EQ Edit (Only when Normal or VL Part is selected.) [ENTER] P. 105 [SELECT </>] Drum Setup Edit P. 114 (Only when Drum Part is selected.) [ENTER] [SELECT </>] Vibrato Edit [ENTER] P. 106 [SELECT >] Others Edit [ENTER] P. 107 Performance Play Mode ( When the sound module mode is ”PFM”) [SELECT </>] Performance Control P. 119 P. 120 [PART++-] [SELECT </>] Performance Part Control [EDIT] 24 P. 121 Performance Edit Mode P. 123 [SELECT <] Common Edit [ENTER] P. 123 [SELECT </>] Part Edit [ENTER] P. 126 [SELECT <] Filter Edit [ENTER] P. 127 [SELECT </>] EG Edit [ENTER] P. 127 [SELECT </>] EQ Edit [ENTER] P. 127 [SELECT </>] Vibrato Edit [ENTER] P. 127 [SELECT >] Others Edit [ENTER] P. 127 [SELECT </>] Copy [ENTER] P. 129 [SELECT </>] Store [ENTER] P. 130 [SELECT >] Recall [ENTER] P. 132 The MU100 — What It Is and What It Can Do Modes and Function Tree [UTIL] [MODE] [EFFECT] [EQ] P. 143 Utility Mode [SELECT <] System Setup [ENTER] P. 144 [SELECT </>] Dump Out [ENTER] P. 148 [SELECT </>] Initialize [ENTER] P. 152 [SELECT >] Demo Song Play [ENTER] P. 155 Sound Module Mode P. 156 [SELECT <] or [VALUE-] XG P. 156 [SELECT </>] or [VALUE+/-] TG300 P. 156 [SELECT </>] or [VALUE+/-] C/M P. 156 [SELECT >] or [VALUE+] PFM P. 156 Effect Mode P. 133 [SELECT <] Reverb Edit [ENTER] P. 134 [SELECT </>] Chorus Edit [ENTER] P. 135 [SELECT </>] Variation Edit [ENTER] P. 136 [SELECT </>] Insertion 1 Edit [ENTER] P. 138 [SELECT >] Insertion 2 Edit [ENTER] P. 138 Equalizer Mode P. 142 : Mode : Submode Push on the SELECT buttons either < or > for SELECT < / >. Push on the PART + and - simultaneously for PART ++ -. The MU100 — What It Is and What It Can Do 25 26 The MU100 — What It Is and What It Can Do G UIDED T OUR When using your MU100 for the first time, read through this short section of the manual. It guides you step-by-step in using many of the basic operations: setting the instrument up, connecting it properly to other equipment, and — most importantly — playing it. It also introduces you to most of the other, advanced features and operations of the instrument — enabling you to quickly and effectively get the most out of your new MU100. Setting Up Your MU100 Setting Up Your MU100 In this section, you’ll learn how to: © Connect the MU100 in the most basic setup — with a MIDI keyboard and an external amplifier/speaker system. Other setup examples are covered in later sections; for example, setting up for use with a computer is on page 35. Once you’ve set up the MU100, we urge you to play the Demo song (page 31) and hear what the instrument is capable of. What You’ll Need ☛ The MU100 and the included PA-5B power adaptor. ☛ A MIDI keyboard, electronic piano, or any instrument that can output MIDI data. ☛ An amplifier/speaker system, preferably stereo. Alternately, you can use a set of stereo headphones. ☛ Audio connecting cables. ☛ A MIDI cable. Making the Connections CAUTION! Before making any connections, turn all related equipment off, and make sure the MU100 power adaptor is not connected to an electrical outlet. Operation 1 Connect the MIDI cable. Connect the MIDI OUT terminal of the MIDI keyboard to the MIDI IN-A of the MU100 (as shown in the illustration). 2 Connect the audio cables. Connect the L and R OUTPUT jacks of the MU100 to the appropriate inputs on the amplifier speaker system (as shown in the illustration). •If you are using stereo headphones, connect them to the front panel PHONES jack. 28 Guided Tour Setting Up Your MU100 3 Set the HOST SELECT switch. Set this rear panel switch to MIDI (see illustration). 4 Connect the AC power adaptor. Plug the DC output cable of the PA-5B into the DC IN terminal on the rear panel, then plug the adaptor into an appropriate electrical outlet. CAUTION! • Do not attempt to use an AC adaptor other than the PA-5B. The use of an incompatible adaptor may result in irreparable damage to the MU100, and even pose a serious shock hazard. • Be sure to disconnect the power adaptor from the outlet when the MU100 is not in use. Amplifier Speaker System L R DC IN Power Adaptor MIDI IN-A MIDI CABLE PHONES MIDI OUT CONTROLLER NUMBER LIST B SONG SELECT TIME SIGNATURE TOP BOTTOM MEASURE SEQUENCER STOP CONTINUE START VOICE MAP POLY/ MONO RESET SOUND OFF TG300B CONTROL ALL CH RESET BANK PROGRAM SELECT CHANGE CHANNEL DEVICE TOUCH MERGE NUMBER SENSITIVITY RESET PROGRAM TEMPO GM ON SOUND OFF SYSTEM XG ON MERGE ON/OFF MIDI CH FIXED VELOCITY RPN CONTROLLER NRPN DATA DENSITY WHEEL ASSIGN RPN CONTROLLER NRPN MSB 1ST/ FOOT SW LSB 1ST ASSIGN TRANSPOSE DRUM NUMBER DATA PB DENSITY DENSITY CONTROL CHANGE 1 MODULATION 2 BREATH 5 PORTA TIME 6 DATA ENTRY 7 VOLUME 10 PANPOT SLIDER ASSIGN RPN CONTROLLER NRPN DRUM NUMBER B 11 64 65 71 72 73 74 84 OTHERS NRPN EXPRESSION HOLD1(DAMPER) PORTAMENTO HARMONIC RELEASE TIME ATTACK TIME BRIGHTNESS PORTA CTRL 1 2 91 93 94 123 VIBRATO RATE 124 VIBRATO DEPTH 125 VIBRATO DELAY 126 LP FILTER CUTOFF 127 LP FILTER RESONANCE 128 HP FILTER CUTOFF 129 EQ LO GAIN 130 EQ HI GAIN REVERB CHORUS VARIATION RPN 120 PB SENSITIVITY 121 FINE TUNE 122 COARSE TUNE 3 4 5 6 7 131 EQ LO FREQUENCY 132 EQ HI FREQUENCY 133 EG ATTACK TIME 134 EG DECAY TIME 135 EG RELEASE TIME 136 DRUM LP FILTER CUTOFF 137 DRUM LP FILTER RESONANCE 138 DRUM EG ATTACK RATE 8 9 A B 139 DRUM EG DECAY RATE 140 DRUM PITCH COARSE 141 DRUM PITCH FINE 142 DRUM LEVEL 143 DRUM PAN 144 DRUM REVERB 145 DRUM CHORUS 146 DRUM VARIATION C D E 152 CH PRESSURE 153 KEY PRESSURE 154 MASTER VOLUME 156 MASTER TUNING 157 VELOCITY 158 TEMPO 147 DRUM HP FILTER CUTOFF 148 DRUM EQ LO GAIN 149 DRUM EQ HI GAIN 150 DRUM EQ LO FREQUENCY 151 DRUM EQ HI FREQUENCY ENTER F 0 HEXA DECIMAL DECIMAL MIDI Keyboard Now that you’ve set up the MU100, we urge you to go on to the next section, turn on the instrument, and play the Demo song (page 31) to hear what the instrument is capable of. If you need information on setting up the MU100 for a different type of system, refer to “Setting Up the MU100 in Your Music System” on page 33. Guided Tour 29 Powering Up Powering Up Admittedly this is a simple operation, but you should be careful to follow the instructions below to avoid possible damage to your equipment and speakers. Operation 1 Turn on the power of your MIDI keyboard. 2 Turn on the power of the MU100. Press the POWER/VOL switch. After the animated greeting display finishes, the following display appears: 3 Turn down all volume controls. This includes the MU100 and any connected equipment. 4 Turn on the amplifier/speaker system. 5 Set the volume controls. First, set the volume control on the MU100 to about the midway position, then set the volume on the amplifier to a suitable level. Powering Down When you turn the power off, make sure to do it in the following order: 1) Amplifier/speaker system 2) MU100 3) Other connected equipment (MIDI keyboard, etc.) This prevents possible damage to the speakers. 30 Guided Tour Playing the Demo Song Playing the Demo Song Now that you’ve set everything up properly, try playing the built-in Demo song. This showcases the high-quality Voices and the AWM2 tone generation system of the MU100. It also is an excellent demonstration of the 32part multi-timbral capacity and the various expressive controls and effects that can be used simultaneously. Most importantly, the Demo song will give you an idea of how powerful the MU100 can be in your own MIDI/computer music setup. Operation 1 Press the [UTIL] button. 2 Select and open the DEMO menu. Use the [SELECT </>] buttons to select “DEMO” (the menu icon flashes), then press the [ENTER] button. 3 Start the Demo song. Press the [ENTER] button. The Demo Song starts playing immediately and repeats indefinitely until stopped (in step 4 below). Playback of the individual Parts of the song is shown graphically by the “level meter” bars in the display. NOTE During Demo Song playback, none of the panel controls (with the exception of the [EXIT] button and the POWER/VOL control) can be used. Guided Tour 31 Playing the Demo Song 4 Stop playback of the song. Press the [EXIT] button. 5 Exit from the Demo Song function. Press the [EXIT] button again — twice to return to the Play mode. (Or you can simply press the [PLAY] button.) 32 Guided Tour Setting Up the MU100 in Your Music System Setting Up the MU100 in Your Music System As you learned in the section The MU100 — What It Is and What It Can Do on page 19, the MU100 can be integrated into a variety of setups. It would be impossible to cover all connection possibilities in a short manual as this; however, the section below will help in quickly setting up the MU100 and using it in your system. Connecting to MIDI Devices The MU100 is equipped with MIDI IN, OUT, and THRU terminals, allowing you to use it in any MIDI system. Moreover, the two MIDI IN terminals are independent 16-channel ports, effectively giving you two tone generators in one. Here are some common connection examples using the built-in MIDI interface. Refer to the example that most closely matches your setup, then read the Operation steps at the end of this section. • MIDI keyboard In this setup, you can play the sounds of the MU100 from the connected keyboard. MIDI CABLE MIDI OUT CONTROLLER NUMBER LIST B SONG SELECT TIME SIGNATURE TOP BOTTOM MEASURE SEQUENCER STOP CONTINUE START VOICE MAP POLY/ MONO RESET SOUND OFF TG300B CONTROL ALL CH RESET BANK PROGRAM SELECT CHANGE CHANNEL DEVICE TOUCH MERGE NUMBER SENSITIVITY RESET PROGRAM TEMPO GM ON RPN CONTROLLER NRPN SYSTEM SOUND OFF XG ON MERGE ON/OFF MIDI CH MSB 1ST/ FOOT SW DATA DENSITY LSB 1ST ASSIGN WHEEL ASSIGN FIXED VELOCITY RPN CONTROLLER NRPN PB DATA DENSITY DENSITY CONTROL CHANGE 1 MODULATION 2 BREATH 5 PORTA TIME 6 DATA ENTRY 7 VOLUME 10 PANPOT SLIDER ASSIGN TRANSPOSE DRUM NUMBER RPN CONTROLLER NRPN DRUM NUMBER B 11 64 65 71 72 73 74 84 NRPN EXPRESSION HOLD1(DAMPER) PORTAMENTO HARMONIC RELEASE TIME ATTACK TIME BRIGHTNESS PORTA CTRL 1 2 91 93 94 3 4 OTHERS 123 VIBRATO RATE 124 VIBRATO DEPTH 125 VIBRATO DELAY 126 LP FILTER CUTOFF 127 LP FILTER RESONANCE 128 HP FILTER CUTOFF 129 EQ LO GAIN 130 EQ HI GAIN REVERB CHORUS VARIATION RPN 120 PB SENSITIVITY 121 FINE TUNE 122 COARSE TUNE 5 6 7 131 EQ LO FREQUENCY 132 EQ HI FREQUENCY 133 EG ATTACK TIME 134 EG DECAY TIME 135 EG RELEASE TIME 136 DRUM LP FILTER CUTOFF 137 DRUM LP FILTER RESONANCE 138 DRUM EG ATTACK RATE 8 9 A B 139 DRUM EG DECAY RATE 140 DRUM PITCH COARSE 141 DRUM PITCH FINE 142 DRUM LEVEL 143 DRUM PAN 144 DRUM REVERB 145 DRUM CHORUS 146 DRUM VARIATION C D E 152 CH PRESSURE 153 KEY PRESSURE 154 MASTER VOLUME 156 MASTER TUNING 157 VELOCITY 158 TEMPO 147 DRUM HP FILTER CUTOFF 148 DRUM EQ LO GAIN 149 DRUM EQ HI GAIN 150 DRUM EQ LO FREQUENCY 151 DRUM EQ HI FREQUENCY ENTER F 0 HEXA DECIMAL DECIMAL MIDI Keyboard MIDI IN-A or B • Hardware sequencer In this setup, a hardware sequencer (such as the Yamaha QY700) is used. The main advantage of such a setup is its portability. MIDI CABLE MIDI OUT L/MONO OUTPUT R IN A FOOT SW IN B OUT A MIDI OUT B IN A IN B MUSIC SEQUENCER PITCH OUT A OUT B MIDI ASSIGNABLE SONG PATTERN UTILITY VOICE EFFECT DISK MAX VOLUME SHIFT REC PLAY A OCT DOWN OCT UP F# B Gb G# C F4 TRACK DOWN TRACK UP MUTE SOLO REST TIE F5 ( D A# C# ) E Db D# F Eb # 7( 5) b 7( 5) G # 7( 9) b 7( 9) H F6 SHIFT ? N +1 NO YES EXIT a I 7sus4 b 7( 13) m7(11) # 7( 11) 3 7 8 9 4 5 6 1 2 3 0 - DEL SPACE J sus4 OCT DOWN OCT UP 3 c % Q S # O -1 7 (13) c ! M P _ & R E F G A B C D A B C D E F G S add9 M SECTION F3 JOB LOC 2 Bb Ab ORG BASS _ L K F2 EDIT LOC 1 SHIFT CAPS ON BASS F1 CONTRAST T M7(9) M7 / V U 6(9) 6 7(9) 7 W add9 m X Y m7 (9) mM7 m7 m6 Z dim m7( b 5) aug H MIDI IN-A Guided Tour 33 Setting Up the MU100 in Your Music System • MIDI data storage device This setup is used for backing up your important data — including original Performances you’ve created, as well as settings you’ve changed in the Part Edit, Effect, EQ, or Utility modes. In this example, a Yamaha MDF3 MIDI Data Filer is used. To back up data, connect the MIDI IN of the MDF3 to the MIDI OUT of the MU100. To restore the data to the MU100, connect the MIDI OUT of the MDF3 to the MIDI IN of the MU100. Refer to the owner’s manual of the MDF3 (or your particular data storage device) for specific operating instructions in receiving or sending data. MIDI CABLE MIDI IN MDF3 MIDI OUT With the MDF3, you can also play compatible song data on the MU100 directly from the MDF3 itself, without the need of a sequencer. In this case, the MIDI OUT of the MDF3 should be connected to the MIDI IN of the MU100. • Computer equipped with a MIDI interface In this setup, you can control the MU100 from a computer (using sequencing or other song playback software). In a variation on this, you can connect the computer to MIDI-A and a keyboard to MIDI-B. This allows you to play parts live over sequencer playback — even if the sequencer uses all 16 MIDI channels. MIDI OUT MIDI CABLE Computer MIDI IN-A 34 Guided Tour Setting Up the MU100 in Your Music System Operation 1 Set the HOST SELECT switch to MIDI. 2 Connect the MU100 to the appropriate MIDI device. Refer to the illustrations above. Use a standard MIDI cable (see page 92). 3 Turn on the the connected device, then the MU100. 4 If you are using a computer, start up your music software, and set up the appropriate options on the software for operation with the MU100. Connecting Directly to a Computer The MU100 features a built-in host computer interface, allowing you to directly connect it to your computer — eliminating the need of installing a special MIDI interface to your computer. The MU100 can be used with the following computers: Apple Macintosh and compatibles, IBM PC/AT and compatibles. If your computer has a MIDI interface you may want to connect the MU100 to it, rather than using the host computer interface on the MU100. (See the section “Connecting to MIDI Devices” on page 33.) Depending on the computer or interface used, set the HOST SELECT switch to the appropriate setting: MIDI, PC-1, PC-2 (IBM and compatibles), or Mac (Macintosh and compaibles). For information on the types of cables that can be used for connection, see the section “MIDI/Computer Connecting Cables” on page 92. Macintosh and Compatibles Follow these instructions if you have an Apple Macintosh not equipped with an external MIDI interface. Connect the TO HOST terminal on the MU100 to the Modem or Printer port on the Macintosh. Modem or Printer Port Macintosh Guided Tour 35 Setting Up the MU100 in Your Music System Operation 1 Set the HOST SELECT switch to Mac. 2 Connect the MU100 to the host computer. Refer to the illustration above. Use a standard Macintosh cable (8-pin Mini DIN on both ends; see page 92). 3 Turn on the the host computer, then the MU100. 4 Start up your music software. If necessary, set up the appropriate options on the software for operation with the MU100. The relevant settings may be found in menu(s) called “Studio Setup,” “System Setup,” or “MIDI Setup.” In this menu, you should be able to set separate MIDI outputs to access the two MIDI ports on the MU100. For example, the device for MIDI OUT 1 should be set to “Yamaha MU100” (or “MU80,” if “MU100” is not available). Other options you may have to set include: MIDI Interface Type g Standard MIDI Interface MIDI Time Piece g On (for controlling all 32 Parts of the MU100) Clock g 1 MHz (The specific menu/parameter names may differ depending on your particular music software. For detailed instructions, refer to the owner’s manual or on-line help of the software.) Hint If you have a second multi-timbral tone generator (such as the MU50), you can connect it to the MIDI OUT terminal of the MU100 and have three independent MIDI ports (for 48-channel operation). The software settings above apply here as well: Set the device for MIDI OUT 3 to “Yamaha MU50” (or similar). (For more information, see page 146.) 36 Guided Tour Setting Up the MU100 in Your Music System IBM PC/AT and Compatibles Follow these instructions if you have an IBM PC/AT or compatible computer not equipped with an external MIDI interface. Connect the TO HOST terminal on the MU100 to one of the computer’s serial ports, COM 1 or COM 2. Serial Port IBM PC/AT and Compatible The instructions below assume you are running Windows95 or 98 on your PC. For using the TO HOST connection with other software and operating systems, consult your Yamaha dealer. If your computer and music software cannot recognize the TO HOST connection, you can still use the MU100 by installing a MIDI interface (internal card or external) to the computer. Operation 1 Install the included driver software. For Windows95 or 98 Install the included Yamaha CBX Driver. The driver software is on a CD-ROM included with the MU100. Make sure to thoroughly read the “\CBX driver\readme.txt” on the disk. This contains essential information on installing and setting up the driver on your computer. 2 Set the HOST SELECT switch to PC-2. 3 Connect the MU100 to the host computer. Refer to the illustration above. Use a standard computer cable (8-pin Mini DIN to 9-pin D-SUB; see page 92). 4 Turn on the the host computer, then the MU100. 5 Start up your music software. If necessary, set up the appropriate options on the software for operation with the MU100. The relevant settings may be found in menu(s) called “Studio Setup,” “System Setup,” or “MIDI Setup.” Guided Tour 37 Setting Up the MU100 in Your Music System In this menu, you should be able to set separate MIDI outputs to access the two MIDI ports on the MU100. For example, MIDI OUT 1 should be set to “Yamaha CBX A Driver” (or “Windows MIDI, Output 1”). Similarly, MIDI OUT 2 should be set to “Yamaha CBX B Driver” (or “Windows MIDI, Output 2”). (The specific menu/parameter names may differ depending on your particular music software. For detailed instructions, refer to the owner’s manual or on-line help of the software.) Hint If you have a second multi-timbral tone generator (such as the MU50), you can connect it to the MIDI OUT terminal of the MU100 and have three independent MIDI ports (for 48-channel operation). The software settings above apply here as well: Set MIDI OUT 3 should be set to “Yamaha CBX C Driver” (or “Windows MIDI, Output 3”). (For more information, see page 146.) Once you’ve set up the MU100 in your system, check that the MU100 is properly receiving data. 38 Guided Tour Selecting and Playing the Performances Selecting and Playing the Performances As pointed out on page 59, the Performances of the MU100 let you play four Voices together over one MIDI channel. These specially programmed Performances (100 Preset and 100 Internal) take full advantage of the MU100 dynamic voices and flexible editing functions — giving you exceptionally powerful and expressive sounds for live performance situations. In this section, you’ll learn how to: © Call up the Performance mode. © Select and play Performances. Calling Up the Performance Play Mode and Playing the Performances Operation 1 Press the [MODE] button. 2 Select “PFM” (PERFORMANCE) in the display. Use the [SELECT >] buttons, [VALUE +] buttons or data dial. XG TG300B C/M PERFORM Indicates Performance mode. The Performance mode setting is also shown by the arrow at the bottom right of the display. NOTE For more information on the sound module modes, see page 22. Guided Tour 39 Selecting and Playing the Performances 3 Press the [PLAY] button to go to the Performance Play mode. You can press the [EXIT] button for this as well. “All” and keyboard player icon indicate All Part display of Performance Play mode. If the All Part display above (with the keyboard player icon) is not shown, press both [PART-/+] buttons simultaneously. 4 Select the desired bank of Performances — Preset or Internal. Use the [SELECT </>] buttons to select the bank parameter, then use the [VALUE -/+] buttons to select the desired bank, Preset (Pre) or Internal (Int). • Preset bank The upper body of the keyboard player icon is black, indicating the Preset bank. • Internal bank The upper body of the keyboard player icon is white, indicating the Internal bank. 40 Guided Tour Selecting and Playing the Performances 5 Select the desired Performance. Use the [SELECT </>] buttons to select the Program Number parameter, then use the [VALUE -/+] buttons or data dial to select the desired Performance number. Performance number 6 Play the connected MIDI keyboard. Make sure that your keyboard is transmitting over MIDI channel 1. (Refer to the owner’s manual of that instrument if necessary.) If you’ve carefully followed all instructions up to now, the “level meter” bars in the display should move — and you should be able to hear the sound of the MU100 as you play. The “level meter” bars indicate the “level” (velocity) of the incoming MIDI data. These numbers indicate the four Parts of the Performance. Go on to select other Performances in the same bank and play those as well. To try out Performances in the other bank, return to step 4 above. Guided Tour 41 Selecting and Playing Individual Voices Selecting and Playing Individual Voices The MU100 has a stunningly huge variety of Voices — a total of 1267. In this section, you’ll select and play Voices in the XG mode, which features 1074 different Voices. In this section, you’ll learn how to: © © © © Call up the XG mode. Select Voice banks and Voices from the panel controls. Change the Play mode display to suit your preference. Select and play Voices from a MIDI keyboard. Calling Up the XG Mode Operation 1 Press the [MODE] button. 2 Select “XG” in the display. Use the [SELECT <] buttons, [VALUE -] buttons or data dial. XG TG300B C/M PERFORM Indicates XG mode. The XG mode setting is also shown by the arrow at the bottom right of the display. 3 Press the [PLAY] button to go to the Play mode. You can press the [EXIT] button for this as well. 42 Guided Tour Selecting and Playing Individual Voices About the Modes — Multi and Performance The MU100 has two main operating modes: Multi and Performance. You used the Performance mode earlier when playing Performances — playing four Voices over one MIDI channel. The Multi mode is primarily used in sequencer and computer music applications, since it allows you to play all 32 Parts independently over different MIDI channels. Which mode the MU100 is set to depends on the selected Sound Module mode. The XG, TG300B and C/M settings are all Multi mode. When PFM is selected, the MU100 is in the Performance mode. Selecting Voice Banks and Voices From the Panel Operation 1 Select a Part. Use the [PART -/+] buttons. Depending on the selected Part, one of the displays below will appear: • For Parts 1 – 16 and the A/D Parts: • For Parts 17 – 32: For this example, select Part 1. Press the appropriate button until “01” appears in the PART section of the display. Guided Tour 43 Selecting and Playing Individual Voices 2 Select the bank number. Use the [SELECT </>] buttons to highlight the bank number parameter (as shown below). Instrument icon. Arrow at top left of icon indicates bank number is selected. Bank number. Dark arrow indicates bank number is selected. Program number. 3 Change the bank number. Use the [VALUE -/+] buttons or data dial. Notice that the bank numbers “jump” as they are selected — the MU100 skips bank numbers that have the same Voice as bank “000.” In the XG mode, several banks of Voices are available. Each bank contains up to 128 different Voices, for a total of 1074 Voices. 4 Select the program (Voice) number. Use the [SELECT </>] buttons to highlight the program number parameter (as shown below). 44 Guided Tour Selecting and Playing Individual Voices Bank number. Instrument icon, indicating the type of Voice. Arrow at top right of icon indicates program number is selected. Program number. Dark arrow indicates program number is selected. 5 Change the program number. Use the [VALUE -/+] buttons or data dial. In the example display below, Voice number 25 has been selected. 6 Play the Voice. Play this new Voice from the connected MIDI keyboard. (Make sure that the keyboard is transmitting on channel 1.) If you’ve carefully followed all instructions up to now, the “level meter” of the Part should move — and you should be able to hear the sound of the MU100 as you play. Try selecting other Voice banks and Voices and play them as well. Each Voice bank contains some different Voices, some of which are variations, some unique. Details • The MU100’s Voices and program numbers follow the GM (General MIDI) format. This means that you can select a Voice type by its number, then select Voice variations by bank. For example, all the nylon guitar Voices are at program number 25. • In the XG mode, the Voices are conveniently organized in the banks according to their type. For example, Voices having stereo variations or brighter variations are found in the “Stereo” and “Bright” banks, respectively. (See the “Sound List & MIDI Data” booklet.) • Banks MSB 48, 46 and above feature Voices that are not simply variations, but use different instrument samples. (See the “Sound List & MIDI Data” booklet.) Guided Tour 45 Selecting and Playing Individual Voices • Notice that as you increase the bank number, at some point beyond the XG Voice banks (above bank 127) the bank number returns to “000” and the following icon appears in the display: Banks showing this icon are MU100 Exclusive Voice banks, and are different than the same numbered XG Voice banks. (See the “Sound List & MIDI Data” booklet.) • Though the MU100 skips over bank numbers with identical Voices (see step 3 above), it can be set to not skip bank numbers, if desired. (See page 147: Utility mode/System/Display Bank Select.) Changing the Play Mode Display The MU100 lets you view the Parts in three ways, depending on your preference. Press the [PLAY] button repeatedly. Each press of the [PLAY] button switches among the three displays below. 1) Full level meters This shows the level meters at their maximum height, but only displays half of the Parts. 2) All Parts, with half level meters This displays all Parts, but the level meters are at half the height. 3) All Parts, with full level meters This displays all Parts with the level meters at maximum height. However, the Voice name and number are not displayed. 46 Guided Tour Selecting and Playing Individual Voices Selecting Voices From a MIDI Keyboard You can also select Voices remotely from a connected MIDI keyboard. Though the actual operation may differ depending on the keyboard used, the general procedure is the same. These instructions also apply to use with a computer. (Refer to the owner’s manual of your specific instrument or software for detailed instructions.) Operation 1 Make the necessary settings on the keyboard. Make sure that the keyboard is set to transmit over the desired MIDI channel (the same as that of the selected Part), and that it is set up to send Program Change messages. 2 Select a program number on the keyboard. The Voice number and name on the MU100 will change, and will be the same number as the program number you selected on your keyboard. Details • Depending on what keyboard you are using to control the MU100, you may need to be careful in selecting program numbers. The MU100’s program numbers start at “001,” but some keyboards have different numbering systems. For example, some start at “0” — which means that selecting “25” on the keyboard will select Voice 026 on the MU100. • Part 10 is reserved for playing drum “kits.” This is the default factory setting for all of the Multi modes (XG, TG300B, and C/M). For more information on drum Parts, see page 55. Guided Tour 47 Editing in the Multi Mode Editing in the Multi Mode This section takes you step-by-step through an example editing session in the Multi mode. The operations and techniques you learn here enable you to perform any editing operation in the Multi mode. There are two separate sections of the Multi mode that are devoted to editing: the Single/All Part controls, and the Edit menus. In this section, you’ll learn how to: © Select a Part for editing. © Use the Single Part controls — to change the MIDI channel of a Part, and change its Volume and Pan settings. © Use the Edit menu parameters — to change the filter and EG (Envelope Generator) settings of a Part. © Use the Drum Setup controls — to edit the Part settings for a drum Voice. Hints • Editing Parts, not Voices It is important to remember that in editing you are not changing the Voice itself, but rather the Part the Voice is assigned to. This means that when you change the Voice of the Part, the edited settings apply to the new voice, whether they’re appropriate or not. • Saving your edits Keep in mind that any edits you make in the Multi mode are automatically saved as the power-on defaults. In other words, the next time you turn on the power, the previous condition of all Parts is automatically recalled. If you want to save one “set” of edits (for example, for use with a specific song) before creating another set, you must first save the current setup to a sequencer or MIDI data filer. (For details, see page 148.) 48 Guided Tour Editing in the Multi Mode Single Part Controls You can make changes to each individual Part by using the Single Part controls. These are displayed in the Multi Play mode, and give you at-a-glance confirmation and control of the important basic settings of the selected Part. If the Multi mode was active when you last turned the power off, the next time you turn the power on, the Single Part controls are automatically called up. Let’s take a look at the Play display again: Voice name, bank number and program number. PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY Note Shift (key transpose). Variation Send. Chorus Send. Reverb Send. Pan (stereo position). MIDI receive channel. Expression. Volume. Part number. (Change this with the [PART -/+] buttons.) Each of these settings are made independently for each Part. For example, each Part could have a different Volume setting, or a different Pan setting. Try going through the brief sections below and making some changes in the Part controls yourself. Guided Tour 49 Editing in the Multi Mode Changing the Volume and Pan settings of a Part Here, we’ll change the Volume and Pan settings of one Part’s Voice. Operation 1 Select the desired Part. Use the [PART -/+] buttons to select Part 1. 2 Select the desired control. Use the [SELECT </>] buttons to select the Volume control. Current Volume setting. 3 Change the setting. Use the [VALUE -/+] buttons or data dial, and play the keyboard as you edit so you can hear the change in the sound. Now, let’s change the Pan setting for the Part: 4 Select the desired control. Use the [SELECT </>] buttons to select the Pan control. Current Pan setting. 5 Change the setting. Use the [VALUE -/+] buttons or data dial to change the setting, and play the keyboard again as you make changes. 6 Return to “home base.” Pressing the [EXIT] button from any of the Single Part Controls automatically returns to the Voice name/program number display. This is a convenient way to instantly return to “home base” from a “distant” control. 50 Guided Tour Editing in the Multi Mode On Your Own... If you want to, try making changes to some of the other Part controls. The procedure is the same: 1) 2) 3) 4) Select a Part with the [PART -/+] buttons. Select a control for editing with the [SELECT </>] buttons. Change the setting with the [VALUE -/+] buttons or data dial. Use the [EXIT] button as needed to return to “home base” — Voice name and number. Hint • You can easily edit the same control for different Parts. To do this, simply remain at the selected control and use the [PART -/+] buttons to change the Part to be edited. • Setting different Parts to the same MIDI channel is a way to build “fat,” richly textured sounds — like the four-Voice sounds created in the Performance mode. The advantage to this method here is that you are not limited to four Voices. The disadvantage is that you can only create and use one of these “monster” sounds at a time. (However, you can store/load your Multi mode settings to/from a computer or data filer; see page 33.) To do this: 1) Select the desired Part (by using the [PART -/ +] buttons). 2) Select the Receive Channel (“Rcv CH”) control (by using the [SELECT </>] buttons). 3) Set the Receive Channel value (by using the [VALUE -/+] buttons or data dial). 4) With the Receive Channel still selected, select a different Part (with the [PART /+] buttons), and set it to the same value as the other Part. 5) Repeat step #4 above for as many other Parts as desired. For example, if you’ve set both Parts 1 and 2 to MIDI channel 1, both of their “level meters” should move together as you play. And, if the two Parts are set to different Voices, you should hear two different Voices sound at the same time. (For instructions on changing the Voice for a Part, refer back to “Selecting and Playing Individual Voices” on page 42.) For more information on the specific Part controls, see page 96. All Part Controls The instructions in this section show you how to change the settings for individual Parts; these are the Single Part Controls. The All Part Controls, on the other hand, let you change certain global settings affecting all Parts. To select the All Part Controls, simultaneously press both [PART -/+] buttons. (For more information on the All Part Controls, see page 98.) Guided Tour 51 Editing in the Multi Mode Edit Menu Parameters The Edit Menu Parameters provide more detailed and advanced controls over the Parts. These are powerful tools that let you subtly enhance or finetune the sound of a Voice — or radically change its character for some wild and unique sounds. Changing the Filter and EG Settings of a Part Operation 1 Select the desired Part. Use the [PART -/+] buttons. Also, for the sake of these instructions, select the “SquareLd” Voice, #081. (See page 43.) 2 Call up the Edit menu. Press the [EDIT] button. 3 Select “FILTER” in the display. Use the [SELECT </>] buttons. The Edit menu has five items: FILTER, EG (Envelope Generator), EQ (Equalizer), VIBRATO, and OTHERS. The “flag” next to the item flashes when selected. Details • When a drum Part is selected, the EQ menu item is replaced by “DRUM.” (See page 117 for information on editing drum Parts.) 4 Call up the Filter parameters. Press the [ENTER] button. 52 Guided Tour Editing in the Multi Mode 5 Select the “LPF Cutoff” parameter. Use the [SELECT </>] buttons. Selected Part The bars graphically indicate paflashes. rameter values for each Part. Indicates additional parameters Indicates no other parameters are available (to the right). are available (to the left). 6 Adjust the value while listening to the sound. Hold down a note on the connected keyboard and turn the data dial to adjust the value, swinging between the maximum (+63) and minimum (-64) values. Notice how the timbre of the sound changes. Before going to the next step, set LPF Cutoff to “+63.” 7 Select “LPF Reso” and change the value. Use the [SELECT </>] buttons. Then, do the same as you did in the last step, holding a note and changing the value with the data dial. Hint • Try holding notes or chords in different octaves of the keyboard as you adjust the parameters, since the Filter effects depend on the pitch or frequency of the sound. Details • The effect of the Filter parameters also differs depending on the selected Voice. (For more information on the Filter parameters, see page 100.) Now, let’s change one of the EG parameters: 8 Go back to the Edit menu. Press the [EXIT] button. 9 Select and call up “EG.” Use the [SELECT </>] buttons to select “EG,” then press the [ENTER] button. ; Select the “Attack Time” parameter. Use the [SELECT </>] buttons. Guided Tour 53 Editing in the Multi Mode a Adjust the value while listening to the sound. Try setting this to around “+30” and play the keyboard. Notice how the attack of the sound has become slower. b Select and adjust the “Release Time” parameter. Use the [SELECT </>] buttons, then set this to around “+50.” Play some notes on the keyboard and release them. Notice how the sound sustains after you release each key. Details • The effect of the EG parameters differs depending on the selected Voice. (For more information on the EG parameters, see page 102.) On Your Own... While you’re at it, try making changes to some of the other Edit parameters. The procedure is the same: 1) Select the desired Part with the [PART -/+] buttons. 2) Call up the Edit menus by pressing the [EDIT] button. 3) Select the desired menu with the [SELECT </>] buttons, and press [ENTER]. 4) Select the desired parameter with the [SELECT </>] buttons, and change the value with the [VALUE -/+] buttons or data dial. 5) Use the [EXIT] button as needed to return to the Edit menu. Hint You can select different Parts (by using the [PART -/+] buttons) at any point in the editing session, no matter which Edit menu or parameter is selected. This lets you quickly shuttle among the various parts and effectively edit the desired parameters. The selected Part is always indicated at the bottom left of the display. For more information on the specific Edit parameters, see page 100. 54 Guided Tour Editing in the Multi Mode Editing Drum Voices — with the Drum Setup Controls The Drum Setup Controls provide a comprehensive set of tools for controlling and changing the drum Voices. These parameters can be set individually for each sound in a Drum Part. Up to four of your original editing setups can be permanently stored. Unless you’ve set them otherwise, Parts 10 and 26 are automatically set to play a Drum Part and the MIDI channel for both is set to 10. (General MIDI song data is standardized for playing drum/percussion sounds over channel 10.) For the sake of these instructions, we’ll simply select Part 10 and edit the existing Drum Part. However, you can set up additional Drum Parts on any of the Part numbers; refer to the box section below. Remember that once a Part is assigned a Drum Part and different drum Voices can be selected. (Refer to the “Sound List & MIDI Data” booklet.) Assigning a Drum Part This operation allows you to assign a Drum Part to any of the Part numbers — letting you use two or more different drum Voices within the same song. 1. Select the desired Part. Use the [PART -/+] buttons. 2. Call up the Edit menu. Press the [EDIT] button. 3. Select and call up the OTHERS menu. Use the [SELECT </>] buttons, then press [ENTER]. 4. Select the Part Mode parameter. Use the [SELECT </>] buttons. 5. Set the parameter to “drumS1.” Use the [VALUE -/+] buttons or data dial. As long as you select one of the “drum sets” (drumS1 – drumS4), any edits you make will automatically be saved to the selected set. Details • The “normal” setting is for normal Voices; the “drum” setting selects the Drum Part, but cannot be edited. (For more information on the Part Mode, see page 108.) 6. Press the [EXIT] button. Press it once to return to the Edit menus, twice to return to the Play display. Guided Tour 55 Editing in the Multi Mode Making Changes to Individual Drum Sounds — the “Drum” Parameters The Drum parameters provide extraordinary flexibility, since they allow you to make independent settings for the individual drum/percussion sounds in a Drum Part. We’ll explore a couple of the possiblilities here: Operation 1 Select “DRUM” from the Edit menus (with the [SELECT </>] buttons) and press [ENTER]. 2 Select “E3: Conga L.” Play E3 on the connected MIDI keyboard, or use the [PART -/ +] buttons to select “E3.” Details • In the Drum parameters you cannot use the [PART -/+] buttons to select a Part; they are reserved for selecting notes/sounds only. 3 Select the Pitch Coarse parameter, and set it to “-22.” Use the [SELECT </>] buttons to select the parameter, then the [VALUE -/+] buttons or data dial. This setting creates a deep log drum sound. 4 Select the Velocity Pitch Sensitivity parameter (VelPchSens), and set it to “+12.” Again use the [SELECT </>] buttons, then the [VALUE -/+] buttons or data dial. Play the key softly to strongly and notice how the pitch changes according to key velocity. 56 Guided Tour Editing in the Multi Mode 5 Select “F#3: Timbale L.” Play F#3 on the connected keyboard, or use the [PART -/+] buttons to select “F#3.” 6 Select the LPF Cutoff parameter, and set it to –40. 7 Select the LPF Resonance (LPF Reso) parameter, and set it to +63. 8 Select the Velocity LPF Sensitivity parameter (VelLPFSens), and set it to +16. Play the key softly to strongly and notice how key velocity changes the timbre of the sound for a “wah-wah” effect. More Drum Editing Try some of the other parameters in the edit menus (FILTER, EG, VIBRATO, OTHERS) on your own and hear how they affect the drum sounds. Keep in mind that these are applied to the entire Part, and cannot be set individually for each sound. As a springboard for further exploration, try editing the following parameters in the OTHERS menu: 1. With a drum Part selected, call up the OTHERS parameters. Press [EDIT], select “OTHERS,” then press [ENTER]. 2. Select “PitBndCtrl” and set the value to +24. Play with the pitch bend wheel on the connected keyboard while playing different keys. 3. Select “MW LFOPMod” and set the value to 090. Play with the modulation wheel on the connected keyboard while playing different keys. Select and change other parameters in the same way. NOTE Some of the parameters (such as Release Time in the EG menu) may not have any affect on the drum sounds at all. Also, the effect of a parameter may differ depending on the specific drum sound. (For more information on editing Drum Parts, see page 114.) Guided Tour 57 Editing in the Multi Mode On Your Own... While you’re at it , try making changes to some of the other Drum parameters. The procedure is the same: 1) Select a Drum Part with the [PART -/+] buttons. 2) Call up the Edit menus by pressing the [EDIT] button. 3) Select the “DRUM” menu with the [SELECT </>] buttons, and press [ENTER]. 4) Select the desired drum sound, either by playing the corresponding key of the MIDI keyboard or by using the [PART -/+] buttons. 5) Select the desired parameter with the [SELECT </>] buttons, and change the value with the [VALUE -/+] buttons or data dial. 6) Use the [EXIT] button as needed to return to the Edit menu. Hint Use of a connected MIDI keyboard is an exceptionally fast and convenient way to edit Drum Parts. It not only lets you quickly shuttle among the various sounds while editing, it also lets you hear the sound being edited and see the sound name. For more information on the specific Drum parameters, see page 114. 58 Guided Tour Editing in the Performance Mode Editing in the Performance Mode The Performance mode is an exceptionally powerful and flexible mode that allows you to combine four different Voices (including both A/D inputs) and play them from a single MIDI channel. The potential applications of the Performance mode are enormous, and we’ll touch on some of the main ones here. As the name suggests, the Performance mode is primarily intended for live performance situations. The four Voices can be played altogether in a huge, “fat” layer, or can be split across the keyboard in different zones, or can be switched according to key velocity. A total of 200 Performances are available: 100 Preset, which are reserved for only factory settings, and 100 Internal, to which you can save your own original Performances. This section takes you step-by-step through an example editing session in the Performance mode. The operations and techniques you learn here enable you to perform any editing operation in the Performance mode. As with the Multi mode, the Performance mode has two separate sections that are devoted to editing: the Single/All Part controls, and the Edit menus. In this section, you’ll learn how to: © Use the All Part controls — to transpose the overall key of a Performance. © Set the number of Parts of the Performance. © Use the Single Part controls — to select different Voices for the Performance. © Use the Edit menu parameters to create a “fat” two-Voice sound. © Use the Mute/Solo button for effective editing. © Set up a keyboard split — with individual Voices playable from different sections of the keyboard. © Set up a Performance for “playing” filter sweeps with the modulation wheel on your keyboard. © Save your original Performance. Guided Tour 59 Editing in the Performance Mode All Part Controls You can make changes to the overall Performance by using the All Part controls. These are displayed in the Performance Play mode, and give you at-a-glance confirmation and control of some important basic settings of the selected Performance. In the Performance mode, the All Part controls are automatically called up whenever you turn the power on or select the Performance mode. Let’s take a look at the All Part Performance Play display: Performance name, bank (Preset or Internal), and program number. PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY System Transpose (key transpose setting for entire Performance). Variation Return. Chorus Return. Reverb Return. Performance Pan (stereo position of entire Performance). Expression (not available; always set to maximum). Performance Volume. System Channel (MIDI receive channel for entire Performance). Indicates All Part control. For more information on the All Part controls, see page 120. 60 Guided Tour Editing in the Performance Mode Transposing the Overall Key of a Performance In this example, you’ll change the System Transpose setting for the “Rich Piano” Performance. This All Part control is useful for instantly changing the key to match the range of a vocalist, or for ease in playing difficult keys. Operation 1 Select the “Rich Piano” Performance. First select the Preset bank (“Pre”), then select Performance number 002 (“Stereo Grand”). (For instructions on selecting Performances, see steps 4 and 5 on page 40.) 2 Select the System Transpose control. Use the [SELECT >] buttons to move the cursor arrow to the appropriate control. (“SysTran” appears in the display.) Current System transpose setting (in semitones). 3 Change the System Transpose setting as desired. Use the [VALUE -/+] buttons or data dial. (The “+00” setting is normal; ±“12” is up/down one octave.) Play the connected keyboard and try other transpose settings as you play. Guided Tour 61 Editing in the Performance Mode Single Part Controls — Selecting Different Voices for the Performance In this next section, you’ll use the Single Part controls to change the Voice settings of the Performance. Operation 1 Call up the Single Part controls. From the All Part controls, simultaneously press both [PART -/ +] buttons. Performance bank and number. PART MIDI Voice name, bank (Preset or Internal), and program number. BANK/PGM# VOL EXP PAN REV CHO VAR KEY Note Shift (key transpose setting for selected Part). Variation Send. Chorus Send. Reverb Send. Part Pan (stereo position of selected Part). Expression (not available; always set to maximum). Part Volume. (Not available in Single Part.) Selected Part number. (Change this with the [PART -/+] buttons.) For more information on the Single Part controls, see page 121. 2 Select the desired Part. Use the [PART -/+] buttons. Keep in mind that you should select only from the active Parts — the ones with a dark bar in the display. Other Parts can be selected and changed; however, they will not sound in the Performance. 3 Select the desired bank and Voice. Do this in the same way as you did in the Multi mode. (See steps 2 and 3 on page 44.) 62 Guided Tour Editing in the Performance Mode Details • Drum Parts are not available in the Performance mode. However, percussive Voices (numbers 113 – 120) can be selected. When editing a Performance: • Decide how many Parts you want. When creating a Performance, choose a preset that uses the same number of Parts (Voices) you intend to use. (You can easily tell how many Parts a Performance has by looking at the “level meters”; a dark bar appears above the Part numbers that are active.) Two active Parts • Start with a similar sound. When editing, it’s a good idea to start with a sound that’s relatively similar to the one you intend to create. For example, if you want to create an soft, ethereal strings pad, you probably wouldn’t start with a brash preset such as “Dance Chord”! This is not a hard and fast rule, however, since each preset is only a basic “template” over which you can easily change Voices and create a completely different sound. On Your Own... If you want to, try making changes to some of the other Part controls. The procedure is the same: 1) Select a Part with the [PART -/+] buttons. 2) Select a control for editing with the [SELECT </>] buttons. 3) Change the setting with the [VALUE -/+] buttons. 4) Use the [EXIT] button as needed to return to “home base.” (When editing in Single Part, pressing once returns to Voice name and number; pressing once again returns to All Part.) For more information on the specific Part controls, see page 96. Guided Tour 63 Editing in the Performance Mode Edit Menu Parameters — Creating a Two-Voice Layer Editing a Performance is almost identical to editing Parts in the Multi mode. The Edit menu tree is slightly different, and certain parameters are different as well. (For a full list and description of Performance Edit parameters, see page 123.) In the following instructions, you’ll use the Edit menu parameters to create a two-Voice Performance and “fatten” the sound using Detune. Operation 1 Select the desired Performance. For this example, select the Preset bank, then Performance number 027, “Jump-off.” 2 Select Part 1. Call up the Single Part controls (simultaneously press both [PART -/+] buttons), then select Part 1. 3 Solo the selected Part. Press the [MUTE/SOLO] button twice (or repeatedly until the display below appears) to solo the selected Part. Dark bar indicates Part 1 is being soloed. Using Mute/Solo for effective editing: The [MUTE/SOLO] button is a convenient tool, especially in editing Performances. Make sure that the Single Part controls are selected, then use the button to switch among the following three conditions. (In All Part, the [MUTE/ SOLO] button simply mutes/un-mutes all Parts.) Mute: Lets you hear what the other Parts of the Performance sound like, minus the selected Part. Solo: Lets you hear what the selected Part sounds like by itself. Normal: Lets you hear all Parts together. Use this function regularly as you edit the sound. While you’re editing, you should solo the Part, so you can clearly hear the changes. Make sure to frequently use Normal (all Parts on), so you can hear the total effect of your edits. For more on Mute/Solo, see page 85. 64 Guided Tour Editing in the Performance Mode 4 Select Part 1 and select a new Voice for it: “HeavySyn” (082). 5 Select Part 2 and select the “HeavySyn” Voice for it as well. 6 Select the “OTHERS” parameters. Press the [EDIT] button. From the first Edit menu, select and call up “PART,” then select and call up “OTHERS.” First Edit menu. Second Edit menu. 7 Select and set the Detune parameter for Part 2. Use the [SELECT <] buttons to select the parameter, then the [VALUE -/+] buttons or data dial. With Part 2 selected, increase this to “+2.2.” 8 Set the Detune parameter for Part 1. Keep the display at the Detune parameter and select Part 1. Decrease this setting to “–2.2.” This produces a “fat” layered sound. You can check how much this changes the sound by exiting to the Single Part display and using [MUTE/SOLO] button to listen to the Parts by themselves and together. Now, try changing some other parameters. 9 Exit to the second Edit menu and call up the “VIBRATO” parameters. Press the [EXIT] button once, then select and call up the “VIBRATO” parameters. Guided Tour 65 Editing in the Performance Mode ; Change the Vibrato Rate, Depth, and Delay settings. Select one of the Parts and set the Vibrato parameters as follows: Rate: +15 Depth: +04 Delay: +15 This produces a delayed vibrato for Part 1; in other words, the vibrato effect starts after the keys have been held for a while. Notes played staccato have no vibrato. a Exit back to the Single Part control display. Press the [PLAY] button. Setting Up a Keyboard Split In the following steps, you’ll assign two different Parts to separate sections of the keyboard. Operation 1 Select Part 2 and select a new Voice for it: “NewAgePd” (089). From the Single Part display, use [PART -/+] buttons to select Part 2. Then select Voice 089 in the normal way. (Keep Part 1’s Voice set to “HeavySyn,” 082, as set in step #4 of “Creating a Two-Voice Layer” above.) 2 Change the Note Limit High setting for Part 1. The Note Limit parameters determines the range of notes over which the Part will sound. To set this: 1) In Edit menu select and call up the “PART” menu, then do the same with the “OTHERS” menu. 2) Select Part 1. 3) Select and change the “NoteLimitH” setting to “B2.” (Leave the “NoteLimitL” setting unchanged.) 3 Change the Note Limit Low setting for Part 2. 1) Select Part 2. 2) Select and change the “NoteLimitL” setting to “C3.” (Leave the “NoteLimitH” setting unchanged.) Playing notes below middle C on the keyboard plays the synth bass sound, while notes above middle C play the “New Age” pad. Hint • You may want to raise the octave setting of Part 1. To do this, exit to Single Part, select Part 1, then use the [SELECT >] buttons to select the Note Shift control. For a higher “HeavySyn” Voice, set this to “+00.”) 66 Guided Tour Editing in the Performance Mode If you wish to save this newly created Performance, refer to “Saving Your Original Performance” on page 68. On Your Own... While you’re at it, try making changes to some of the other Edit (part) parameters. The procedure is the same: 1) Call up the Edit menus by pressing the [EDIT] button. 2) Select “PART” with the [SELECT </>] buttons, then press [ENTER]. 3) Select the desired menu with the [SELECT </>] buttons, and press [ENTER]. 4) Select the desired Part with the [PART -/+] buttons. 5) Select the desired parameter with the [SELECT </>] buttons, and change the value with the [VALUE -/+] buttons or data dial. 6) Use the [EXIT] button as needed to return to the Edit menu. Using the Assignable Controller in a Performance In this section, you’ll set up a Performance in which the modulation wheel on your connected keyboard can be used to “play” dynamic filter sweeps. This is done with the Assignable Controller functions. Here, we’ll simply show you what steps to follow; for more detailed information on the Assignable Controller and using it in the Multi mode, refer to page 69. Operation 1 Select the “Dark Pad” Performance (Preset #025). 2 Select and call up “COM” (Common) from the first Edit menu. 3 From the Common menu, select the “AC1 CC No.” parameter and set it to “01.” Use the [SELECT </>] buttons, then use the [VALUE -/+] buttons or data dial. 4 Select the “AC1FilCtrl” parameter and set it to “+63.” 5 Select Part 1 and change some of its Filter settings. The Filter settings determine how the Part responds to the “AC1FilCtrl” setting above. To set these: 1) In the Edit menu select and call up the “PART” menu, then do the same with the “FILTER” menu. Guided Tour 67 Editing in the Performance Mode 2) Select Part 1. 3) Select and change these parameters: LPF Cutoff: –64 LPF Reso: +50 Provided your connected keyboard has a modulation wheel (most do), and all other settings are appropriate, you can create wide, dynamic filter sweeps by holding notes and moving the modulation wheel. Saving Your Original Performance Once you’ve edited a Performance, you can give it a different name and save it for future recall. The MU100 has 100 Internal memory locations for your original Performances. For instructions on naming a newly created Performance, see page 124. Operation 1 Press the [EDIT] button. 2 Select “STORE.” Either Preset or Internal Performances can be edited, but they can only be saved to the Internal bank. 3 Select a different Internal number, if desired. Use the [VALUE -/+] buttons or data dial. 4 Press the [ENTER] button to save the Performance, or press the [EXIT] button to cancel. 68 Guided Tour Assignable Controller (AC1) Assignable Controller (AC1) The Assignable Controller (AC1) is one of the more powerful features of the MU100 — it gives you extraordinarily flexible and expressive real-time control over the Voices. In this section, you’ll: © Learn about MIDI controllers and control numbers, and how they can affect the Voices. © Set up your system for using the Assignable Controller. © Try out some specific controller application examples, such as: * Varying degrees of brightness on a Part * Filter sweep and “wah” effects * “Expression pedal” control of volume * Variable filter control of specific drum sounds Hint A good way to introduce yourself to some of the Assignable Controller applications is to explore the Performances — many of them feature Assignable Controller settings that let you change some aspect of the sound (usually with the modulation wheel on the connected keyboard). (Refer to the “Sound List & MIDI Data” booklet, and select/play Performances that mention “MW” in the “Comments” section of the lists.) Controllers and Control Numbers In the MIDI world, “controllers” are used to change some aspect of the sound. In this section, we’ll work with “continuous” controllers — so named because they let you add musical, expressive effects that change smoothly over time (such as crescendos and decrescendos). The illustration below shows some continuous controllers you’re likely to see on a MIDI keyboard. Breath controller Data entry slider Foot controller Modulation wheel MIDI Keyboard Volume pedal NOTE Your own MIDI instrument may not have all the controllers shown in the illustration. Guided Tour 69 Assignable Controller (AC1) The actual, physical means of controlling (such as foot pedals, modulation wheels, etc. on a connected keyboard) are generally assigned to specific “virtual” control numbers. A few examples of these include the modulation wheel (at control number 1), foot controller (control number 4), and volume pedal (control number 7).* MIDI OUT CONTROLLER NUMBER LIST SONG SELECT B TIME SIGNATURE TOP BOTTOM MEASURE VOICE MAP SEQUENCER STOP CONTINUE POLY/ MONO RESET SOUND OFF TG300B CONTROL ALL CH RESET TEMPO CHANNEL DEVICE TOUCH MERGE NUMBER SENSITIVITY RESET PROGRAM START BANK PROGRAM SELECT CHANGE GM ON SOUND OFF SYSTEM XG ON MERGE ON/OFF MIDI CH Physical controller (volume pedal) RPN CONTROLLER NRPN DATA DENSITY WHEEL ASSIGN FIXED VELOCITY RPN CONTROLLER NRPN MSB 1ST/ FOOT SW LSB 1ST ASSIGN TRANSPOSE DRUM NUMBER PB DATA DENSITY DENSITY CONTROL CHANGE 1 MODULATION 2 BREATH 5 PORTA TIME 6 DATA ENTRY 7 VOLUME 10 PANPOT SLIDER ASSIGN RPN CONTROLLER NRPN DRUM NUMBER 11 64 65 71 72 73 74 84 B OTHERS NRPN EXPRESSION HOLD1(DAMPER) PORTAMENTO HARMONIC RELEASE TIME ATTACK TIME BRIGHTNESS PORTA CTRL 1 91 93 94 123 VIBRATO RATE 124 VIBRATO DEPTH 125 VIBRATO DELAY 126 LP FILTER CUTOFF 127 LP FILTER RESONANCE 128 HP FILTER CUTOFF 129 EQ LO GAIN 130 EQ HI GAIN REVERB CHORUS VARIATION RPN 120 PB SENSITIVITY 121 FINE TUNE 122 COARSE TUNE 2 3 4 5 6 7 131 EQ LO FREQUENCY 132 EQ HI FREQUENCY 133 EG ATTACK TIME 134 EG DECAY TIME 135 EG RELEASE TIME 136 DRUM LP FILTER CUTOFF 137 DRUM LP FILTER RESONANCE 138 DRUM EG ATTACK RATE 8 9 A 139 DRUM EG DECAY RATE 140 DRUM PITCH COARSE 141 DRUM PITCH FINE 142 DRUM LEVEL 143 DRUM PAN 144 DRUM REVERB 145 DRUM CHORUS 146 DRUM VARIATION B C D 152 CH PRESSURE 153 KEY PRESSURE 154 MASTER VOLUME 156 MASTER TUNING 157 VELOCITY 158 TEMPO 147 DRUM HP FILTER CUTOFF 148 DRUM EQ LO GAIN 149 DRUM EQ HI GAIN 150 DRUM EQ LO FREQUENCY 151 DRUM EQ HI FREQUENCY E ENTER F 0 HEXA DECIMAL DECIMAL “Virtual” controller: control number 7 (MIDI Volume) MIDI Keyboard * On some instruments, the control number for the physical controllers is fixed; some instruments allow you to assign a different control number to the existing control. (Refer to the owner’s manual of your instrument for details. Also for more on control numbers, see the “Sound List & MIDI Data” booklet.) Control Numbers and the Actual Sound The control numbers described above are in turn assigned to some specific aspect of the sound on the connected tone generator (for example, to volume, pitch modulation, dry/wet balance of an effect, etc.). As you might expect, control number 7 (Volume) affects the volume of the connected tone generator. MIDI OUT CONTROLLER NUMBER LIST B SONG SELECT TIME SIGNATURE TOP BOTTOM MEASURE SEQUENCER STOP CONTINUE START VOICE MAP POLY/ MONO RESET SOUND OFF TG300B CONTROL ALL CH RESET TEMPO CHANNEL DEVICE TOUCH MERGE NUMBER SENSITIVITY RESET PROGRAM BANK PROGRAM SELECT CHANGE GM ON SOUND OFF SYSTEM XG ON MERGE ON/OFF MIDI CH FIXED VELOCITY RPN CONTROLLER NRPN DATA DENSITY WHEEL ASSIGN RPN CONTROLLER NRPN MSB 1ST/ FOOT SW LSB 1ST ASSIGN TRANSPOSE DRUM NUMBER PB DATA DENSITY DENSITY CONTROL CHANGE 1 MODULATION 2 BREATH 5 PORTA TIME 6 DATA ENTRY 7 VOLUME 10 PANPOT SLIDER ASSIGN RPN CONTROLLER NRPN DRUM NUMBER B 11 64 65 71 72 73 74 84 OTHERS NRPN EXPRESSION HOLD1(DAMPER) PORTAMENTO HARMONIC RELEASE TIME ATTACK TIME BRIGHTNESS PORTA CTRL 1 2 91 93 94 REVERB CHORUS VARIATION 123 VIBRATO RATE 124 VIBRATO DEPTH 125 VIBRATO DELAY 126 LP FILTER CUTOFF 127 LP FILTER RESONANCE 128 HP FILTER CUTOFF 129 EQ LO GAIN 130 EQ HI GAIN RPN 120 PB SENSITIVITY 121 FINE TUNE 122 COARSE TUNE 3 4 5 6 7 131 EQ LO FREQUENCY 132 EQ HI FREQUENCY 133 EG ATTACK TIME 134 EG DECAY TIME 135 EG RELEASE TIME 136 DRUM LP FILTER CUTOFF 137 DRUM LP FILTER RESONANCE 138 DRUM EG ATTACK RATE 8 9 A B 139 DRUM EG DECAY RATE 140 DRUM PITCH COARSE 141 DRUM PITCH FINE 142 DRUM LEVEL 143 DRUM PAN 144 DRUM REVERB 145 DRUM CHORUS 146 DRUM VARIATION C D E 147 DRUM HP FILTER CUTOFF 148 DRUM EQ LO GAIN 149 DRUM EQ HI GAIN 150 DRUM EQ LO FREQUENCY 151 DRUM EQ HI FREQUENCY 152 CH PRESSURE 153 KEY PRESSURE 154 MASTER VOLUME 156 MASTER TUNING 157 VELOCITY 158 TEMPO MIDI IN ENTER F 0 HEXA DECIMAL DECIMAL MU100 MIDI Keyboard In this example, the foot controller of a keyboard controls the volume on the MU100. 70 Guided Tour Assignable Controller (AC1) Assigning the Assignable Controller The Assignable Controller on the MU100 lets you specify the control number to be used and determine which aspect or aspects of the sound will be affected. It also lets you set the degree to which the controller affects the sound. Physical Controllers Modulation wheel, Controllers Parameters Filter Control Amplitude (level) Control Variation Effect Control Insertion 1 Effect Control Insertion 2 Effect Control Foot controller, (In Performance mode:) Filter Control Amplitude Control LFO Filter Modulation Depth Breath controller, etc. The best way to understand all this is to go through some actual examples, so go on to the next section and set up your system: Guided Tour 71 Assignable Controller (AC1) Using the Assignable Controller — Setting Up Operation 1 Set up the MIDI keyboard or instrument. Connect the foot controller to the appropriate jack, and make sure that the instrument is set to transmit over MIDI channel 1. (If your instrument doesn’t have a foot controller, use another controller as described in the next step.) PHONES L/MONO R DC IN POWER OUTPUT FOOT FOOT FOOT VOLUME CONTROLLER SWITCH TO HOST HOST SELECT IN OUT THRU MIDI ARPEGGIATOR TEMPO TYPE P BEND RANGE MULTI ATTACK RELEASE ASSIGN 1/DATA ARPEGGIO HOLD STORE UTILITY SHIFT + PART/LAYER/ OCTAVE 2 MW/FC PRESET USER + 1 PROGRAM FILTER SCENE PITCH CUTOFF RESONANCE PRESET USER ARPEGGIATOR YZ' 7 8 MNO PQR 4 5 DEF GHI 1 2 LEVEL CUTOFF REV TYPE FMOD CHO TYPE FC CUTOFF NOTE LIMIT HIGH EFECT VARI TYPE VARI VARI PARAM DATA PORTA SWITCH TIME VARI EF VEL OFFSET LIMIT LOW LIMIT HIGH LIMIT LOW DCY LEVEL REL TIME AMOD PMOD FMOD DCY TIME DCY LEVEL REL TIME INIT LEVEL VOLUME PAN REV SEND ATK TIME EFFECT CHO SEND ATK LEVEL PROGRAM VEL FIX TRANS CH RCV CH DEPTH AEG *& ATK TIME 9 DCY TIME 6 PERFORM NAME ASSIGN1 PARAM COMMON ASSIGN2 DATA PARAM LFO FEG STU WAVE SPEED PHASE INIT PEG VARI SEND DCY REL TIME TIME FILTER CUTOFF REZ LAYER REL LEVEL POLY/ MONO JKL DEMO 3 ABC SPACE 0 ENTER NO/ QUICK PC PERFORM SUB DIVIDE MW FMOD PMOD TUNE DETUNE ATK TIME BANK NOTE SFT VWX PERFORMANCE AMP EG VOLUME YES PERFORMANCE MULTI STORE UTILITY ASSIGN 2 MASTER TUNE SYSTEM KBD VEL CURVE TRANS MIDI DEVICE NO LOCAL BULK DUMP ASSIGN CTRL NO UTILITY MODULATION CS1X 2 Select the desired Part. From the Multi Play mode, use the [PART -/+] buttons. For the sake of these instructions, select Part 1. 3 Call up and set the Assignable Controller number. The control number of your instrument’s controller must match the Assignable Controller control number. In this example and all the following instructions in this section, we’ll use the foot controller. Since the foot controller is control number 4, the Assignable Controller must be set to “04.” To do this: 1) Press the [EDIT] button. 2) Use the [SELECT </>] buttons to select “OTHERS,” then press [ENTER]. 3) Use the [SELECT </>] buttons to select “AC1 CC No.” 4) Set the value to “04” with the [VALUE -/+] buttons or data dial. If you don’t have a foot controller, you can use another controller, such as the modulation wheel (01) or volume pedal (07) — making sure that the Assignable Controller number matches. Keep in mind that this setting applies only to the selected Part. Other Parts can have separate control number settings. 72 Guided Tour Assignable Controller (AC1) Modulation Wheel The modulation wheel is the most common controller, and can be found on nearly every MIDI keyboard. It is usually used to produce LFO effects (regular wavering of the sound, like vibrato and tremolo). Since it is so common, the MU100 features various parameters that are reserved strictly for modulation wheel control. In the Multi mode, the modulation wheel can control Pitch LFO. The Performance mode features both Pitch LFO and Filter LFO. For more information on these parameters, see page 124. Using the Assignable Controller — Some Applications Changing the Brightness on a Piano Voice Though you can use the Equalizer (page 82) to adjust the brightness of a Part’s Voice, you may find it convenient to be able to change the character of the sound “on the fly,” as you play. This uses the AC1 Filter Control parameter. Try this with the Grand Piano Voice (001:GrandP #). Operation 1 Call up the Edit menu. From the Multi Play mode, press the [EDIT] button. 2 Select and call up “OTHERS.” Use the [SELECT </>] buttons, then press [ENTER]. 3 Select “AC1FilCtrl” and set it to “+63.” Use the [SELECT </>] buttons to select the Filter Control parameter, then set the value with the [VALUE -/+] buttons or data dial. Playing the Part at the minimum pedal position results in mellow “lounge” piano sound; maximum position results in a bright “rock’n’roll” piano. Minimum position — mellow sound. Maximum position — bright sound. Guided Tour 73 Assignable Controller (AC1) 4 Try the setting on other Voices. Exit to the Multi Play mode display (press the [PLAY] button) and select other Voices, trying out the new setting, and moving the foot controller up and down as you play. Try out some of these Voices, and notice how the sound changes: SynBass2 (040), Saw Ld (082), Warm Pad (090) — for a “wah” filter sweep effect. SynVoice (055), NewAgePd (089) — for gradually fading in a breathy sound. For details on the AC1 Filter Control parameter, see page 112. Details • Keep in mind that the degree and character of the AC1 Filter Control depends also on the Filter parameter settings for the Part (see page 112). Some Voices may not change at all unless these parameters are set appropriately. However, all of the example Voices above should clearly change in response to AC1 (if the Filter parameters are all at their default setting of 00). Resetting the parameter values The simple operation below lets you instantly restore the factory preset values. Since it automatically cancels any edits you’ve made, you should use it with care. 1. Press the [MODE] button. 2. Select a different mode, then re-select the original one. For example, if you were editing in the XG mode, use the [SELECT </>] buttons to move the cursor to “TG300,” then back to “XG.” Doing this automatically resets all Part settings to the factory-programmed condition and cancels any edits you made in the Multi mode (including whatever Voices you selected). 74 Guided Tour Assignable Controller (AC1) Expressive Volume Control of a Part This example shows you how to use the foot controller as an expression pedal. This may come in handy when use of MIDI Volume (#7) or Expression (#11) is unavailable. Operation 1 Select the desired Part and Voice. Keep the settings you made to Part 1 (in the last example), and select a new Part/Voice for this example. From the Multi Play mode, select Part 2 with the [PART -/+] buttons. (This should be set to MIDI channel 2; set the MIDI channel on the connected keyboard accordingly.) A good Voice for this application would be PercOrg# (018); select this with the [VALUE -/+] buttons or data dial. 2 Set the Assignable Controller number for the Part. Set this to “04.” (Refer to step 3 in “Using the Assignable Controller — Setting Up” above.) 3 From the “OTHERS” parameters, select “AC1AmpCtrl” and set it to “+63.” Use the [SELECT </>] buttons to select the Amplitude (level) Control parameter, then set the value with the [VALUE -/+] buttons or data dial. Now, play the organ sound and use the foot controller to play expressive volume swells. For details on the AC1 Amplitude Control parameter, see page 113. Expressive Control of Individual Drum Sounds In this example, the foot controller is used to produce expressive timbre changes and filter sweeps on selected drum sounds, using the Filter Control parameter. Operation 1 Select a Drum Part. Select Part 10 with the [PART -/+] buttons, and make sure that the connected keyboard is set to transmit over MIDI channel 10. 2 Set the Assignable Controller number for the Part. Set this to “04.” (Refer to step 3 in “Using the Assignable Controller — Setting Up” above.) Guided Tour 75 Assignable Controller (AC1) 3 Set the AC1 Filter Control to “+63.” Since you’ve called up the “OTHERS” parameters in the previous step, select “AC1FilCtrl” (with the [SELECT </>] buttons) and set it to “+63” (with the [VALUE -/+] buttons or data dial). 4 Select the “DRUM” parameters. Call up the Edit menu, then select “DRUM” (with the [SELECT </>] buttons) and press [ENTER]. 5 Select “A3: Cabasa.” Play A3 on the connected keyboard, or use the [PART -/+] buttons to select “A3.” 6 Set some of the filter parameters for the Cabasa sound. Select using [SELECT </>] button and set the two parameters below as indicated: LPF Cutoff: –40 LPF Reso: +60 Now, play the sound and move the foot controller as you play. Notice how this gives you dynamic, expressive control over the timbre of the selected sound — without affecting the other sounds of the drum Voice. Hints • Since virtually all sequencers record controller data as well as note data, you can record these expressive sound changes into your song tracks — either while you record the notes themselves, or separately for a previously recorded track. • The negative values of the AC1 parameters let you control the sound by moving the controller in the opposite direction. For example, moving the foot controller to the minimum position produces the greatest change in the sound. An application of this might be to create a pedal-controlled crossfade between two Parts. To do this: 1) Set two Parts to the same MIDI channel. (See page 96.) 2) Set each Part to a different Voice. 3) Set the “AC1AmpCtrl” parameter for one Part to “–64,” and the same parameter for the other Part to “+64.” • The Assignable Controller can also be used to control one parameter of a selected effect. 76 Guided Tour Assignable Controller (AC1) On Your Own... While you’re at it, try making some of your own settings. The procedure is the same: 1) Select the desired Part and Voice. 2) Call up the Edit menus by pressing the [EDIT] button. 3) Select “OTHERS” with the [SELECT </>] buttons, then press [ENTER]. 4) Set the Assignable Controller number for the Part. 5) Select the appropriate parameters with the [SELECT </>] buttons. • If you are using the AC1 Filter Control, make sure to appropriately set other filter settings (in “FILTER” parameters, page 100, and/or “DRUM” parameters, page 114). • Select the AC1 parameters in the “OTHERS” parameters. (In the Performance mode, these are in the “COMMON” parameters; see page 125.) • If you are using a Drum Part, select the desired drum sound, either by playing the corresponding key or by using the [PART -/+] buttons. 6) Change the value, with the [VALUE -/+] buttons or data dial. 7) Use the [EDIT] button as needed to return to the Edit menu. Guided Tour 77 Effects Effects To complement the huge variety of Voices and the 32-Part multi-timbral capacity, the MU100 features a built-in multi-effect processor with seven independent digital effects: Reverb, Chorus, Variation, Insertion 1 and 2, and EQ. (In this section, we’ll examine the first five; EQ is covered on page 82.) These high-quality effects provide an enormous amount of sound processing power and flexibility. Combine these with the Part controls in the Multi mode, and you have a “virtual” 34-channel mixer at your disposal, with per-channel EQ, master EQ, and six effect sends — complete with six independent effect units! The following instructions assume that the XG mode is selected (page 42). However, using effects in the Performance mode and the other modes is done in virtually the same way. In this section, you’ll learn how to: © Set the Reverb Type and adjust the amount applied to a Part. © Set the Chorus Type and adjust the amount applied to a Part. © Use the Variation effects to apply distortion to a Part. Using Reverb and Chorus Judicious use of Reverb creates a sense of space and enhances the realism of the Voices. The selected Reverb Type is applied to all Parts; however, the amount of Reverb for each Part can be adjusted. This lets you add special textures to the mix of a song, such as “drenching” one Part in Reverb while another Part is kept “dry.” The Chorus effect section features a variety of pitch modulation effects. These let you subtly enhance or “fatten” the sound, or completely transform the sound in wild and unique ways. As with Reverb, only one Chorus Type can be used for all Parts; however, the amount of Chorus for each Part can be adjusted. 78 Guided Tour Effects Operation 1 First, set the Send and Return controls to appropriate levels. Before you actually change the Reverb or Chorus settings, you should set the Send and Return controls, in order to properly hear the effect and the changes you make. To do this: 1) Select the desired Part from the Multi Play mode Single Part display. (Use the [PART -/+] buttons.) 2) Select “RevSend” (Reverb Send) or “ChoSend” (Chorus Send) with the [SELECT </>] buttons, and set it to “40” or higher. 3) Select the All Part display (by pressing both [PART -/+] buttons). 4) Select “RevRtn” (Reverb Return) or “ChoRth” (Chorus Return) with the [SELECT </>] buttons, and set it to “60” or higher. 2 Call up the Effect Edit mode. Press the [EFFECT] button. 3 Select and call up the desired effet section. Select “REV” (Reverb) or “CHO” (Chorus) with the [SELECT </ >] buttons. 4 Select and change the Type parameter. Use the [SELECT <] button to select “Type,” then change the setting with the [VALUE -/+] buttons or data dial. 5 Edit other parameters as desired. Once you’ve selected a Reverb or Chorus Type, you can adjust the other parameters. For Reverb, try changing the Reverb Time and HPF Cutoff and listen to how the changes affect the Reverb sound. For Chorus, the parameters differ depending on the selected Chorus Type. Use the [SELECT </>] buttons to select the parameter, then adjust the value with the [VALUE -/+] buttons or data dial. For a list of Reverb Types and other information on Reverb, see page 134. For a list of the available parameters for each Reverb Type, refer to the “Sound List & MIDI Data” booklet. For a list of Chorus Types and other information on Chorus, see page 135. For a list of the available parameters for each Chorus Type, refer to the “Sound List & MIDI Data” booklet. Guided Tour 79 Effects Applying Distortion to a Part — Using the Variation Effects The Variation effect section provides a wealth of additional effects. With a total of 70 different Types, it features some of the same effects found in the Reverb, Chorus and Insertion sections. This is not mere redundancy; it allows you to use two Types of Reverb or Chorus on different Voices. For example, you may want to have a Symphonic effect on one Voice and Phaser on another. Variation also gives you many special effects not found in the Reverb and Chorus sections, such as Delay, Gate Reverb, Wah and Pitch Change. The Variation effect can be applied either to all Parts (as with Reverb and Chorus), or to a single selected Part (as described below). Operation 1 Set Variation Connection to “INS” (Insertion). To use Variation with a single Part, the Variation Connection parameter should be set to Insertion. To do this: 1) Press the [EFFECT] button. 2) Select “VAR” (with the [SELECT </>] buttons) and press [ENTER]. 3) Select “VarConnect” (with the [SELECT >] button), and change the setting to “INS” (with the [VALUE -/+] buttons or data dial). 2 Select the desired Part and set its Variation Send control to “on.” To do this: 1) Return to the Multi Play mode Single Part display (press the [PLAY] button), then select the desired Part (with the [PART -/+] buttons). 2) Select “VarSend” (with the [SELECT </>] buttons), and set it to “on” (with the [VALUE-/+] buttons or data dial). 3 Return to the Variation parameters, select the Distortion Type, and make other necessary settings. To do this: 1) Press the [EFFECT] button. 2) Select “VAR” (with the [SELECT -/+] buttons) and press [ENTER]. 3) Select “Type” (with the [SELECT <] button), and change the setting to “DISTORTION” (with the [VALUE -/+] buttons or data dial). 80 Guided Tour Effects 4) If you cannot hear the Distortion effect clearly, select the “Dry/Wet” parameter (with the [SELECT </>] buttons) and adjust it (with the [VALUE -/+] buttons or data dial) until the sound is appropriate. 5) Using the same method (as in step #4), select and adjust other important Distortion parameters as needed, such as “Drive” and “OutputLvl” (Output Level). Now, play the Part and hear how Distortion affects the sound. Select other Types and play with them as well. The Variation parameters differ depending on the selected Variation Type. For a list of Variation Types and other information on Variation, see page 136. For a list of the available parameters for each Variation Type, refer to the “Sound List & MIDI Data” booklet. Details • When Variation is set for use with a single Part (Insertion), only Variation Send is available. (The Dry/Wet parameter in Variation Edit effectively performs the same function as Variation Return in this case; see page 137.) Also, Variation Send can be set to “on” for only one Part. • When Variation is set for use with all Parts (System), both Variation Send and Return must be set to appropriate values. (The operation is the same as step 1 in “Using Reverb” and “Using Chorus” above.) For more information, refer to “About the Effect Connections — System and Insertion” on page 139. Insertion 1 and 2 Effect Sections The Insertion 1 and 2 sections provide additional signal processing power. Each of the Insertion sections can be applied to a single selected Part, and each features 43 effect Types. For a list of Insertion Types and other information on Insertion, see page 138. For a list of the available parameters for each Insertion Type, refer to the “Sound List & MIDI Data” booklet. Guided Tour 81 Equalizer (EQ) Equalizer (EQ) The MU100 features an extensive set of equalization controls that give you comprehensive control over the tone quality — both of individual Parts and over the entire instrument sound. In this section, you’ll learn how to: © Use the Part EQ edit parameters to adjust the tone of a specific Part. © Use the main EQ to adjust the overall tone of the MU100. Adjusting the Tone of a Specific Part — Part EQ The Part EQ parameters give you two-band (low and high frequencies) control over the sound of individual Parts. These can be used in both the Multi mode and the Performance mode. NOTE When a Drum Part is selected, the EQ menu is not available. However, the same EQ parameters can be adjusted for each individual drum sound in the “DRUM” menu. (See page 117.) Operation 1 Select the desired Part. From the Multi mode Single Part display, use the [PART -/+] buttons to select the desired Part (excepting Drum Parts). 2 Call up the EQ parameters. Press the [EDIT] button, then select “EQ” (with the [SELECT </ >] buttons) and press the [ENTER] button. 3 Select the general frequency range — low or high. In this example, we’ll boost the bass of the Part, so select “Low Freq” (Low Frequency) with the [SELECT </>] buttons. 82 Guided Tour Equalizer (EQ) 4 Set the specific frequency to be adjusted. For this example, set the Low Frequency value to “315” (Hz). 5 Select the Low Gain parameter and adjust the value. For this example, set the Low Gain value to “+35.” Play the Voice (especially in the lower octaves) and hear how the sound has changed. NOTE Depending on the Voice selected for the Part (and depending in which octave you play the Voice), you may or may not hear very much change in the sound at certain frequencies. If you want, try adjusting the High Frequency/Gain parameters as well. EQ in the Performance Mode The EQ settings of individual Parts in the Performance mode can be adjusted in the same way: 1) Select a Part (in the Single Part controls). 2) Press the [EDIT] button. 3) Select “PART”, then press the [ENTER] button. 4) Select “EQ”, then press the [ENTER] button, and edit the parameters as shown in steps #3 – #5 above. Guided Tour 83 Equalizer (EQ) Adjusting the Overall Tone — Multi EQ The multi EQ section gives you five-band control (at specific frequencies) over the entire sound of the MU100. Special presets are also available for instantly changing the tone to suit different types of music. Operation 1 Call up the “EQ TYPE” parameter and select the desired EQ preset. First press the [EQ] button, then use the [SELECT </>] buttons to select the parameter. Then use the [VALUE -/+] buttons or data dial to select the desired preset. 2 If desired, change the values of the five different bands. Use the [SELECT </>] buttons to select the parameter, then change the value with the [VALUE -/+] buttons or data dial. 1) The graphic EQ display shows the EQ curve. 2) The EQ icon’s sliders indicate current settings and move as the value is adjusted. The changes you make to a selected EQ preset are maintained even when the power is turned off. However, selecting another preset automatically cancels your original settings. For more information on the Equalizer effects, see page 142. Also, refer to the Multi Mode Equalizer Lock parameter (page 144). 84 Guided Tour Mute/Solo Mute/Solo The MU100 has convenient Mute and Solo functions for selectively muting or soloing any of the 32 normal Parts and the A1 and A2 A/D Parts. This is especially useful when playing back several Parts from a connected computer or sequencer. Mute lets you silence one Part to hear how all of the other Parts sound without it. Solo lets you isolate a single Part, to hear how that Part sounds by itself. In the Performance mode, Mute and Solo are especially effective tools that help you as you edit the Parts, since they allow you to better hear how the changes you make affect specific Voices as well as the overall sound of the Performance. Using Mute/Solo Operation 1 Select the desired Part. Make sure the Single Part mode is active (see page 96), then use the [PART -/+] buttons to select the Part. Selected Part number. 2 Press the [MUTE/SOLO] button. While playing the keyboard (or during playback of a song from a sequencer), press the [MUTE] button. Each press cycles through the three functions: Mute, Solo and Normal operation. The selected Part is muted, while all other Parts sound normally. Guided Tour 85 Mute/Solo The selected Part is soloed, while all other Parts are muted. All Parts sound normally. 86 Guided Tour A/D Input A/D Input The MU100 features a special A/D (Analog-to-Digital) input function that allows you to connect a stereo external signal (microphone, electric guitar, CD player, etc.), with the MU100’s Voices. You can use it to sing or play guitar over backing tracks played from a MIDI sequencer. In this section, you’ll learn how to: © Set up the MU100 for using the A/D input. © Call up the A/D input presets. Using the A/D Input Operation 1 Turn down the A/D INPUT VOLUME control on the front panel. CAUTION! Before connecting an external input, always turn the VOLUME control down. 2 Connect the microphone or instrument to the A/D INPUT jack. (Depending on the equipment being used, appropriate conversion adaptors may be necessary; the A/D INPUT jack supports a 1/4” plug.) Guided Tour 87 A/D Input 3 Select the corresponding Part. Use the [PART -/+] buttons. Since you connected to the A/D INPUT 1 jack above, select Part A1 in this step. 4 Select the appropriate bank of presets. Do this in the normal way, using the [SELECT </>] buttons to highlight the bank number parameter, then using the [VALUE /+] buttons to change the bank. The selected bank determines the type of input and sets the appropriate gain level. Each bank/type is indicated by an icon in the LCD: Bank 000 For input of a microphone (or other mic level instruments). 88 Guided Tour A/D Input Bank 001 For input of an electric or electric/acoustic guitar (or other line level instruments). Bank 002 For input of a keyboard (or other line level instruments, such as tone generators, rhythm machines, etc.). Bank 003 For input of audio equipment (such as CD players, cassette decks, etc.). Bank 018 For input of a stereo keyboard (or other stereo signals from line level instruments, such as tone generators, rhythm machines, etc.). Guided Tour 89 A/D Input Bank 019 For input of stereo audio equipment (such as CD players, cassette decks, etc.). CAUTION! Do not use line level signals (such as from keyboards, etc.) with the mic level banks. The signal may be too high, resulting in damage to the MU100. 5 Select the desired preset. Do this in the normal way (as you selected Voices), using the [SELECT </>] buttons to highlight the program number parameter, then using the [VALUE -/+] buttons to select the preset. The available presets have been specially programmed to suit the type of input selected. For example, presets for Mic input include Karaoke and Vocal; Guitar input presets include Tube, Stack and Phaser. Explore some of these settings on your own with a microphone and different instruments. (For a list of all available A/D input presets, refer to the “Sound List & MIDI Data” booklet.) 6 Turn up the level. If the connected source has a volume control, first set it to an appropriate level, then slowly bring up the A/D INPUT VOLUME control on the MU100 while playing the instrument (or singing into the microphone), until the level is appropriate. 90 Guided Tour Data Flow Block Diagram Data Flow Block Diagram When HOST SELECT switch is set to MIDI (31,250 bps): TO HOST IN-B IN-A OUT THRU Sound Module B1~16CH Sound Module A1~16CH When HOST SELECT switch is set to PC-1/MAC (31,250 bps) or PC-2 (38,400 bps): TO HOST IN-B IN-A Sound Module A1~16CH OUT THRU Sound Module B1~16CH Guided Tour 91 MIDI/Computer Connecting Cables MIDI/Computer Connecting Cables MIDI Standard MIDI cable. Maximum length 15 meters. DIN 5-PIN 4 2 5 4 2 (GND) 5 DIN 5-PIN Mac Apple Macintosh Peripheral cable (M0197). Maximum length 2 meters. MINI DIN 8-PIN 1 2 3 4 5 6 7 8 2 (HSK i) 1 (HSK o) 5 (RxD –) 4 (GND) 3 (TxD –) 8 (RxD +) 7 (GP i) 6 (TxD +) MINI DIN 8-PIN PC-1 8-pin MINI DIN to D-SUB 25-pin cable. If your PC-1 type computer has a 9-pin serial port, use the PC-2 type cable. Maximum length 1.8 meters. MINI DIN 8-PIN 5 (CTS) 4 (RTS) 3 (RxD) 7 (GND) 1 2 3 4 8 5 D-SUB 25-PIN 2 (TxD) PC-2 8-pin MINI DIN to D-SUB 9-pin cable. Maximum length 1.8 meters. MINI DIN 8-PIN 1 2 3 4 8 5 8 (CTS) 7 (RTS) 2 (RxD) 5 (GND) D-SUB 9-PIN 3 (TxD) This concludes your basic tour of the important functions of the MU100. To find out more about how to best use your MU100, look through the Reference section that follows and try out some of the functions and operations that interest you. 92 Guided Tour R EFERENCE The Reference section of this manual covers in detail all of the functions of the MU100. Refer to it when you need information about a specific function, feature or operation. Part Controls Multi Mode In the Multi mode, the MU100 performs as a multi-timbral tone generator capable of playing up to 32 Parts simultaneously, over 32 MIDI channels. Normally, the MU100 should be set to Multi mode when using it with a sequencer and General MIDI song data. There are three Multi modes: XG, TG300B and C/M. (For information on selecting these, see pages 22 and 156.) Part Controls ................................................................................ 95 Single Part Control ................................................................ 96 All Part Control ..................................................................... 98 Multi Edit Mode .......................................................................... 100 Filter ................................................................................... 100 Envelope Generator (EG) .................................................... 102 Equalizer (EQ)..................................................................... 105 Vibrato ............................................................................... 106 Others ................................................................................ 107 Drum Setup Controls ...........................................................114 Part Controls The Part controls in the Play mode give you tools for adjusting the basic sound and settings for each Part. The MU100 lets you adjust the various settings for each Part individually (Single Part control) or together (All Part control). Each of these types is explained in greater detail below. NOTE In the Multi mode, no settings can be permanently saved to the internal memory of the MU100. However, you can use the Dump Out function to save Multi settings to a MIDI data storage device. (See page 34.) Multi Mode 95 Part Controls Single Part Control The Single Part controls include: MIDI Receive Channel, Bank Number, Program Number, Volume, Expression, Pan, Reverb Send, Chorus Send, Variation Send and Note Shift. For basic information on using the Single Part control, see page 49. MIDI Receive Port/Channel Settings: A1 — A16, B1 — B16, OFF This determines the bank number of the selected Part’s Voice. (Refer to the SOUND LIST & MIDI DATA booklet.) This determines the MIDI IN port (A or B) and the receive channel (1 — 16) for the selected Part. For more information on selecting banks, see page 44 and Display Bank Select parameter, page 147. Bank Number Settings: A1 (A/D Input part): 000 — 003, 018, 019 A2 (A/D Input part): 000 — 003 Normal part: XG: 000, 001, 003, 006, 008, 012, 014, 016 — 022, 024 — 029, 032 — 043, 045, 048, 052 — 054, 064 — 088, 096 — 101, 126, 127 [icon-MU100] 000, 008, 016, 024, 048, 056, 064, 072, 080, 088, 096, 104, 120 [icon-SFX] SFX TG300B: 000, 001 — 011, 016 — 019, 024 — 026, 032, 033, 040, 126, 127 C/M: Fixed (only one bank) Drum part: XG: 126, 127 TG300B: 000 C/M: Fixed (only one bank) Program (Voice) Number Settings: A1 (A/D Input part): 001 — 013 A2 (A/D Input part): 001 — 005 Normal part: 001 — 128 This determines the Voice for the selected Part. (Refer to the SOUND LIST & MIDI DATA booklet.) Volume Range: 000 — 127 This determines the Volume setting for the selected Part’s Voice. 96 Multi Mode Part Controls Expression (Expresn) Range: Chorus Send (ChoSend) 000 — 127 Range: This determines the Expression setting for the selected Part’s Voice. This determines the level of the selected Part’s Voice that is sent to the Chorus effect. A value of 000 results in a completely “dry” Voice sound (no Chorus effect). Pan Settings: 000 — 127 Rnd (Random), L63 — C — R63 NOTE Keep in mind that the Chorus effect must be properly enabled and set for this parameter to work as intended. (See page 135.) Variation Send (VarSend) Settings: This determines the stereo position of the selected Part’s Voice. A setting of “Rnd” (Random) randomly assigns the Voice to a pan position. This is useful when you want to have different Voices sound from different random parts of the stereo image. (The Random setting does not affect the A/D input Parts.) This determines whether the selected Part’s Voice is sent to the Variation effect or not. A setting of “off” or “000” results in no Variation effect being applied to the Voice. Reverb Send (RevSend) Range: off, on (when Variation Connection is set to INS); 000 — 127 (when Variation Connection is set to SYS) 000 — 127 Note Shift (NoteSft) Range: –24 — +24 semitones This determines the level of the selected Part’s Voice that is sent to the Reverb effect. A value of 000 results in a completely “dry” Voice sound. NOTE Keep in mind that the Reverb effect must be properly enabled and set for this parameter to work as intended. (See page 134.) Multi Mode This determines the key transposition setting for the Part’s Voice. 97 Part Controls All Part Control The All Part controls include: Device Number, Master Volume, Master Attenuator, Reverb Return, Chorus Return, Variation Return and Transpose. Keep in mind that these controls affect all Parts equally, and either add to or subtract from their individual values. For example, if Note Shift on one Part is set to –12, and Transpose (in All Part) is set to +12, that Part’s pitch value will actually be 0 or normal. For basic information on using the All Part controls, see page 51. Device Number (DevNo.) Settings: Master Attenuator (M.Attn) 1 — 16, all Range: This determines the Device Number for the MU100, a kind of MIDI “identification” number to distinguish between multiple units. For example, if you are using more than one MU100, set a different Device Number for each. This setting only applies to the data dump features. (See page 161.) If you have only one MU100, set this to “all.” 000 (maximum volume) — 127 (minimum volume) This determines the level of all Parts, but functions as an attenuator; the greater the value, the lower the volume. This is useful when you are playing several songs and want to keep their overall level consistent. Reverb Return (RevRtn) Range: 000 — 127 Master Volume (M.Volum) Range: 000 — 127 This determines the amount of Reverb return in the overall mix. This determines the overall Volume of the Parts. Chorus Return (ChoRtn) Range: 000 — 127 This determines the amount of Chorus return in the overall mix. 98 Multi Mode Part Controls Variation Return (VarRtn) Range: 000 — 127 This determines the amount of Variation return in the overall mix. Variation Return is only available when the Variation Connection parameter is set to SYS. (See page 137.) Transpose (Trans) Range: –24 — +24 semitones This determines the overall Transpose setting of the Parts. Multi Mode 99 Multi Edit Mode Multi Edit Mode The Multi Edit mode features various parameters for controlling the Filter, the EG (Envelope Generator), the EQ, and Vibrato. It also features a variety of other miscellaneous controls grouped in the Others parameters. When a Drum Part is selected, Drum-related parameters are also available. For basic information on using the Multi Edit mode, see page 52. Filter Path: [EDIT] button → “FILTER” Filter —————————————————————————— ● LPF Cutoff Frequency ● LPF Resonance ● HPF Cutoff Frequency The MU100 features a digital filter that can be used to change the timbre of the Voices. The filter is affected (together with the level) by the EG (Envelope Generator), which allows you to change the timbre over time as well. (See EG, page 102.) 100 Multi Mode Multi Edit Mode LPF Cutoff Frequency (LPF Cutoff) Range: HPF Cutoff Frequency (HPF Cutoff) –64 — +63 Range: This determines the cutoff frequency of the low pass filter (LPF). The LPF filters out frequencies higher than the cutoff point and “passes” the lower frequencies. Lower cutoff values create a deeper, more rounded tone, while higher values create a brighter tone. This determines the cutoff frequency of the high pass filter (HPF). The HPF filters out frequencies lower than the cutoff point and “passes” the higher frequencies. Lower cutoff values preserve the fundamental and lower overtones of the sound, while higher values create a thinner, brighter tone. Level Level These frequencies are “cut” or filtered out. These frequencies are “passed” or let through. –64 — +63 These frequencies are “passed” or let through. These frequencies are “cut” or filtered out. Frequency LPF Cutoff Frequency setting Frequency HPF Cutoff Frequency setting LPF Resonance (LPF Reso) Range: –64 — +63 This determines the amount of filter resonance or emphasis of the LPF Cutoff Frequency above. Higher values make the filter effect more pronounced and stronger, creating a resonant peak around the cutoff frequency. Level Resonance Frequency LPF Cutoff Frequency setting Multi Mode 101 Multi Edit Mode Envelope Generator (EG) Path: [EDIT] button → “EG” EG (Envelope Generator) ————————————————— Level/Filter EG Parameters ............................... 103 ● EG Attack Time ● EG Decay Time ● EG Release Time Pitch EG Parameters .......................................... 103 ● Pitch EG Initial Level ● Pitch EG Attack Time ● Pitch EG Release Level ● Pitch EG Release Time The EG parameters allow you to shape the sound of a Part’s Voice — or, in other words, set how the level and timbre of the Voice changes over time. This section also includes independent Pitch Envelope Generator (PEG) parameters for controlling how the pitch of a Part’s Voice changes over time. The relationship of the main EG parameters — Attack, Decay and Release — are shown in the illustration below. These parameters not only affect the sound level, but also the timbre (with the Filter parameters; see page 100). 1) Short Attack, Decay, Release times: Level Attack Decay Max. Level Release Attack Decay Release Max. Min. Key is pressed 2) Long Attack, Decay, Release times: Time Key is released Min. Key is pressed Time Key is released Even though the key is held for the same length of time in both examples, the sound of the second example slowly reaches full volume and decays over a longer time. It also sustains longer after the key is released. Keep in mind that the EG parameters affect each other, and are affected by how long a note is held. For example, if Decay is set to a low value and the note is held for a long time, you may not be able to hear changes made to the Release parameter. 102 Multi Mode Multi Edit Mode Level/Filter EG Parameters Pitch EG Parameters EG Attack Time Range: The Pitch EG parameters determine how the pitch of a Part’s Voice changes over time. This lets you produce subtle or pronounced pitch changes as a note is played. In the example Pitch EG settings below, a played note is gradually bent up to its normal pitch, and kept there as the note is held. When the note is released, the pitch rapidly climbs up. –64 — +63 This determines the Attack Time of the EG, or how long it takes for the sound to reach full volume when a note is played. For the Filter, this determines how long it takes for the sound to be affected by the maximum Filter values. Pitch High Normal EG Decay Time Range: Low –64 — +63 Time Key is released This determines the Decay Time of the EG, or how rapidly the sound dies out as a note is held. For the Filter, this determines how long it takes for the Filter effect to die out. NOTE The Pitch EG parameters may have little or no effect, depending on the particular Voice used and the settings made to the main EG parameters. Pitch EG Initial Level (PEGInitLvl) Range: –64 — +63 EG Release Time Range: –64 — +63 This determines the initial pitch of the Part’s Voice, when the note is first played. A setting of 00 corresponds to normal pitch. This determines the Release Time of the EG, or how long the sound sustains after a note is released. For the Filter, this determines how long the Filter effect continues after a note is released. Multi Mode 103 Multi Edit Mode Pitch EG Attack Time (PEGAtakTime) Range: –64 — +63 This determines the Attack Time of the Pitch EG, or how long it takes for the pitch to return to normal (from the pitch value set in Initial Level above). Pitch EG Release Level (PEGReleLvel) Range: –64 — +63 This determines the final pitch of the Part’s Voice, or the pitch that is reached after the note is released. A setting of 00 corresponds to normal pitch. NOTE The Pitch EG Release Level and Time parameters may have no effect if the Voice itself does not sustain after the note is released. (Short percussive Voices may fall into this category.) Also make sure that the main EG Release Time is set to an appropriate value so that the sound sustains. Pitch EG Release Time (PEGReleTime) Range: –64 — +63 This determines the Release Time of the Pitch EG, or how long it takes for the pitch to change to the pitch value set in Release Level above. 104 Multi Mode Multi Edit Mode Equalizer (EQ) Path: [EDIT] button → “EQ” EQ (Equalizer) —————————————————————— ● EQ Low Frequency ● EQ Low Gain ● EQ High Frequency ● EQ High Gain The EQ parameters let you adjust and set the tonal quality of a Part’s Voice, such as boosting the bass sound, or making it brighter. This is a two-band equalizer with wide frequency variation for each band, and is independent of the overall EQ controls (see page 142). EQ Low Frequency (Low Freq) Range: EQ High Frequency (High Freq) 32 Hz — 2.0 kHz Range: This determines the frequency which is boosted or cut (in the Low Gain parameter below) for each Part. EQ Low Gain Range: 500 Hz — 16 kHz This determines the frequency which is boosted or cut (in the High Gain parameter below) for each Part. EQ High Gain –64 — +00 — +63 Range: This determines the level of the selected frequency (in Low Freq above). Positive values boost the level of the selected frequency and negative values attenuate it. Multi Mode –64 — +00 — +63 This determines the level of the selected frequency (in High Freq above). Positive values boost the level of the selected frequency and negative values attenuate it. 105 Multi Edit Mode Vibrato Path: [EDIT] button → “VIBRATO” Vibrato ————————————————————————— ● Vibrato Rate ● Vibrato Depth ● Vibrato Delay Vibrato produces a quavering, vibrating sound in the Part’s Voice, by regularly modulating the pitch. You can control the speed and depth of the Vibrato, as well as the time it takes before the Vibrato effect is applied. Vibrato Rate Range: Vibrato Delay –64 — +63 Range: This determines the speed of the Vibrato effect. Higher values result in a faster Vibrato sound. Vibrato Depth Range: –64 — +63 This determines the depth of the Vibrato effect. Higher values result in a stronger, more pronounced Vibrato sound. 106 Multi Mode –64 — +63 This determines the delay in the onset of the Vibrato effect. Delay is effective especially on stringed instrument Voices. For example, violin players often use delayed vibrato, especially while playing long notes. The Delay parameter is useful in recreating this effect, producing a more natural, lifelike sound. Higher values result in a longer Delay time. Multi Edit Mode Others Path: [EDIT] button → “OTHERS” Others ————————————————————————— Detune ................................................................. 108 ● Detune Assignment Parameters .................................... 108 ● Part Mode ● Mono/Poly Mode Portamento Parameters .................................... 109 ● Portamento Switch ● Portamento Time Element ................................................................ 109 ● Element Reserve Note Limit Parameters....................................... 110 ● Note Limit Low ● Note Limit High Dry Level ............................................................. 110 ● Dry Level (VarConnect=SYS) Velocity Sensitivity Parameters ....................... 110 ● Velocity Sensitivity Depth ● Velocity Sensitivity Offset Velocity Limit Parameters ................................. 111 ● Velocity Limit Low ● Velocity Limit High Pitch Bend, Modulation Wheel, Assignable Controller ......................................... 111 ● Pitch Bend Control ● MW LFO Pitch Modulation Depth ● AC1 Control Change Number ● AC1 Filter Control ● AC1 Amplitude Control The Others section of parameters contains miscellaneous controls, including those related to tuning, Part Mode, velocity, portamento, note range, etc. Multi Mode 107 Multi Edit Mode Detune (See page 114.) The drum and drumS1 — S4 settings are not available in the Performance mode (all Parts are fixed to “normal”). The Part Mode settings differ depending on the Sound Module mode selected, as described below. Detune Range: –12.8 — +12.7 This determines the fine tuning of the Part’s Voice. HINT Detune could be used to slightly detune a Voice compared to the tuning of the rest of the Voices for a richer sound. It could also be used to detune two different Voices being played in unison. For example if two different Parts are set to the same MIDI channel (see page 96) and same Voice, a naturally thick chorusing effect can be obtained by slightly detuning each Voice in opposite directions here. Assignment Parameters Part Mode Settings: normal, drum, drumS1 — S4 (When Sound Module mode is set to C/M, both Parts 10 and 26 are set to drumS1.) Height of bars indicates selected Part Mode setting for each Part. (A single bar indicates “normal” setting.) This determines the mode for the Part. A setting of normal allows selection of the normal instrument Voices. (See the SOUND LIST & MIDI DATA booklet.) The drum setting allows selection of the drum Voices. (See the SOUND LIST & MIDI DATA booklet.) The drumS1 — S4 settings are locations for storing specially programmed drum setups. These setups can be edited by using the Drum Setup controls in the Multi Edit mode. 108 Multi Mode For XG mode: All settings described above are available. When normal is selected, any of the basic or the extended set of Voices can be used for the Part. For TG300B mode: The settings normal and drumS1 — S4 are available; drum cannot be selected. When normal is selected, either the basic or the extended set of Voices (for the TG300B mode) can be used for the Part. For C/M mode: The Part Mode settings are fixed in this mode and cannot be changed: Parts 10 and 26 are set to drumS1, and all other Parts are set to normal. The MIDI Receive Channel setting for Parts 1 and 17 is set to off. The 128 Voices of C/M Type 1 can be used for Parts 1 — 9 and 17 — 25; the 64 Voices of C/M Type 2 can be used for Parts 11 — 16 and 27 — 32. For PFM (Performance) mode: All four Parts are set to normal; none of the drum settings are available. Any of the basic or the extended set of Voices can be used for each Part. NOTE When two or more different Parts are set to the same editable drum setup (drumS1 — S4), any edits made to that drum setup automatically affect all those Parts. For example, when two Parts are set to drumS1, any changes made to drumS1 affect both Parts. Multi Edit Mode Mono/Poly Mode Settings: Portamento Time (PortametTm) mono, poly Range: 000 — 127 Height of bars indicates selected Mono/Poly Mode setting for each Part. (A single bar indicates “mono” setting, while full height indicates “poly”.) This determines whether the Part’s Voice is played monophonically (only one note at a time) or polyphonically (up to 64 notes at a time). This parameter is not available when the Part Mode is set to Drum. This determines the time of the Portamento effect, or how long it takes to glide the pitch from one note to the next. Higher values result in a longer pitch glide time. (This parameter is not available for Drum Parts.) Element Element Reserve (ElemReserv) Range: Portamento Parameters 00 — 64 Portamento is a function that creates a smooth pitch glide from one note to another. Portamento Switch (PortametSw) Settings: off, on Height of bars indicates selected Portamento Switch setting for each Part. (A single bar indicates “off” setting, while full heignt indicates “on.”) This determines whether Portamento is on or off for the Part. (This parameter is not available for Drum Parts.) Multi Mode This determines the minimum number of sound elements that are reserved for the Part. This setting ensures that when the maximum simultaneous polyphony of 64 notes (or elements) is exceeded, the selected Part will still play up to the number of elements set here. For example, if the Element Reserve of a Part is set to 10, the sounds for that Part (up to 10 simultaneous notes) will not be cut off, even if the maximum polyphony is exceeded. The total number of Element Reserve values for all of the Parts cannot exceed 64. This parameter is useful when playing back dense song data, and it ensures that the most important Parts in the song data will play properly without being cut off. 109 Multi Edit Mode Note Limit Parameters Dry Level The Note Limit Low and High parameters allow you to set the range of notes for a Part’s Voice. Notes outside the range will not be played. Dry Level Range: HINT Note Limit can be used to set up keyboard splits. Set two Parts to the same MIDI channel (see page 96), but give them Note Limit settings so that one Part is played from the left side of the keyboard and the other is played from the right. This determines the level of the unprocessed sound of the Voice (sound with no effect processing). This parameter is only available when the Variation Connection parameter is set to SYS. (See page 137.) Note Limit Low (NoteLimitL) Range: C-2 — G8 000 — 127 Velocity Sensitivity Parameters Velocity Sensitivity Depth (VelSensDpt) Range: 000 — 127 This determines the lowest responding note for the Part. Notes below this value will not be played. This determines the degree to which velocity affects the Part’s Voice. Higher values make the Voice more sensitive to changes in velocity. Note Limit High (NoteLimitH) Range: C-2 — G8 This determines the highest responding note for the Part. Notes above this value will not be played. 110 Multi Mode Multi Edit Mode Velocity Sensitivity Offset (VelSensOfs) Range: Velocity Limit Low (VelLimitLo) 000 — 127 Range: This determines the volume range over which velocity affects. For lower values, the velocity affects a volume range from minimum to medium-loud. For higher values, velocity affects a range from medium-soft to maximum. This determines the lowest velocity value at which the Part’s Voice will play. The higher the value, the harder the keyboard must be played for the Voice to sound. Velocity Limit High (VelLimitHi) Range: 127 Level at 000 — 127 7 12 at 64 at 0 000 — 127 0 Velocity This determines the highest velocity value at which the Part’s Voice will play. The lower the value, the less strength needed (in playing the keyboard) to get maximum volume. 127 NOTE Depending on the Voice used, if Velocity Sensitivity Offset is set to too low of a value, the Voice may not sound, no matter how strong the velocity. 1 Velocity Limit Parameters no sound VelLimitLo The Velocity Limit Low and High parameters allow you to set the effective velocity range for a Part’s Voice. Velocity values outside the range will not be played. (Velocity is generally the strength at which notes are played from a MIDI keyboard.) no 127 sound VelLimitHi Pitch Bend, Modulation Wheel, Assignable Controller Pitch Bend Control (PitBndCtrl) HINT Velocity Limit can be used to set up velocity splits. A velocity split allows you to have one Part’s Voice sound when you play the connected keyboard strongly, and a different Voice sound when you play softly. Set two Parts to the same MIDI channel (see page 96), but give them different Velocity Limit settings so that one or the other sounds depending on how strongly you play the keyboard. Multi Mode Range: –24 — +24 semitones (+/– 2 octaves) This determines the Pitch Bend range for the Part’s Voice. (Pitch Bend is usually controlled by a pitch bend wheel on a MIDI keyboard.) 111 Multi Edit Mode Modulation Wheel — LFO Pitch Modulation Depth (MW LFOPMod) Range: mally 01) to control Volume (07). Refer to the owner’s manual of your particular instrument for more information. 000 — 127 Assignable Controller 1 Filter Control (AC1 FilCtrl) Range: This determines how widely the pitch is modulated by the LFO (low frequency oscillator). This is generally controlled from a modulation wheel on a MIDI keyboard and produces a vibrato effect. The higher the value, the deeper the pitch modulation, and hence, the more pronounced the vibrato effect. This determines the degree to which Assignable Controller 1 (AC1) affects the Cutoff Frequency of the Low Pass Filter for each Part. For maximum effect, this should be set to one of the extreme values, negative or positive. A setting of 00 results in no control over the Filter, even when AC1 is operated (or control change data is received). Negative settings affect the Filter negatively; in other words, when the controller is at the minimum position, control over the Filter is greatest (see illustration below). (The control number used for AC1 is set in the Assignable Controller 1 Control Change Number parameter above.) Assignable Controller 1 Control Change Number (AC1 CC No.) Range: 00 — 95 This determines which MIDI control change number is assigned to the Assignable Controller (AC1) for the selected Part. AC1 can be used to affect the Filter (page 112), volume (Amplitude; page 113), LFO (page 125) or the Variation effect (page 137). For positive values: Minimum effect HINT Though this parameter allows you to assign any control change number from 0 to 95, only a few of these are in common use. The controllers most likely to be encountered include: 01 — Modulation wheel or lever 02 — Breath controller 04 — Foot controller 07 — Volume controller Some or all of these may be available on your MIDI instrument, and can be used to control certain functions on the MU100 in real time. Some MIDI instruments allow you to change the control change number for a particular controller: for example, setting the modulation wheel (nor- 112 –64 — +63 Multi Mode Maximum effect For negative values: Maximum effect Minimum effect HINT Positive and negative values can be most effectively used by setting two different Parts to opposite settings. In this way, moving the controller (for example, a foot controller) one way will affect one Part and moving it the opposite way will affect the other Part. Multi Edit Mode Assignable Controller 1 Amplitude Control (AC1 AmpCtrl) Range: 64 — +63 This determines the degree to which Assignable Controller 1 (AC1) affects the volume (Amplitude) for each Part. For maximum effect, this should be set to one of the extreme values, negative or positive. A setting of 00 results in no volume control, even when AC1 is operated (or control change data is received). Negative settings affect the volume negatively; in other words, when the controller is at the minimum position, control over the volume is greatest. (The control number used for AC1 is set in the Assignable Controller 1 Control Change Number parameter above.) NOTE For more information on using positive and negative values, see the illustration and hint in Assignable Controller 1 Filter Control (page 112). Multi Mode 113 Multi Edit Mode Drum Setup Controls The Drum Setup controls allow you to make a wide variety of settings for the drum sounds in a Drum Part. These settings include Pitch controls, Level, Pan, effect send, filter controls and EG (Envelope Generator), among others. Moreover, these parameters can be set to completely independent values for each of the drum sounds in a Part. The Drum Setup controls can only be called up by first selecting a Part to which a Drum Part is assigned. (For basic information on using the Drum setup controls, see page 55.) Parh: [EDIT] button → “DRUM” Drum Setup Controls ——————————————————— Pitch Parameters ................................................ 115 ● Pitch Coarse ● Pitch Fine ● Velocity Pitch Sensitivity (VelPchSens) Level ..................................................................... 115 ● Level Pan ........................................................................ 115 ● Pan Effect Send Parameters .................................... 115 ● Reverb Send (Rev Send) ● Chorus Send (Cho Send) ● Variation Send (Var Send) Filter Parameters ................................................ 116 ● LPF Cutoff Frequency (LPF Cutoff) ● LPF Resonance (LPF Reso) ● Velocity LPF Cutoff Sensitivity (VelLPFSens) ● HPF Cutoff Frequency (HPF Cutoff) EQ Parameters .................................................... 117 ● EQ Low Frequency (Low Freq) ● EQ Low Gain ● EQ High Frequency (High Freq) ● EQ High Gain EG Parameters .................................................... 117 ● EG Attack ● EG Decay 1 ● EG Decay 2 114 Multi Mode Multi Edit Mode Assignment ......................................................... 117 ● Alternate Group Note On/Off ........................................................ 118 ● Receive Note On (RcvNoteOn) ● Receive Note Off The Drum Setup parameters are only available when the Part Mode has been set to drumS1 — S4. (See page 108.) Pitch Parameters Pan Pitch Coarse Pan Range: –64 — +63 (XG mode), 000 — 127(TG300B or C/M mode) Settings: This determines the coarse pitch setting of the selected drum sound. This determines the stereo position of the selected drum sound. A setting of “Rnd” (Random) randomly assigns the drum to a pan position. This is useful when you want to have different drums sound from different random parts of the stereo image. Pitch Fine Range: Rnd (Random), L63 — C — R63 –64 — +63 This determines the fine pitch setting of the selected drum sound. Effect Send Parameters Velocity Pitch Sensitivity (VelPchSens) Range: Reverb Send (Rev Send) –16 — +16 Range: This determines the degree to which pitch changes of the selected drum sound respond to velocity. In other words, you can control how much the pitch of the sound changes by how hard or soft you play the keys of a connected keyboard. Positive values raise the pitch and negative values lower the pitch. A value of 00 results in no pitch change, whatever velocity is received. Level 000 — 127 This determines the level of the selected drum sound that is sent to the Reverb effect. A value of 000 results in a completely “dry” drum sound, no matter how much Reverb is applied to the Drum Part. NOTE Keep in mind that the Reverb effect must be properly enabled and set for this parameter to work as intended. (See page 134.) Also, the parameters Reverb Send in Single Part control (page 97) and Reverb Return in All Part control (page 98) must be set to appropriate values. Level Range: 000 — 127 This determines the volume of the selected drum sound. Multi Mode 115 Multi Edit Mode Chorus Send (Cho Send) Range: LPF Resonance (LPF Reso) 000 — 127 Range: This determines the level of the selected drum sound that is sent to the Chorus effect. A value of 000 results in a completely “dry” drum sound, no matter how much Chorus is applied to the Drum Part. NOTE Keep in mind that the Chorus effect must be properly enabled and set for this parameter to work as intended. (See page 135.) Also, the parameters Chorus Send in Single Part control (page 97) and Chorus Return in All Part control (page 98) must be set to appropriate values. This determines the amount of filter resonance or emphasis of the LPF Cutoff Frequency above for the selected drum sound. Higher values make the filter effect more pronounced and stronger, creating a resonant peak around the cutoff frequency. (For more information, see LPF Resonance on page 101.) Velocity LPF Cutoff Sensitivity (VelLPFSens) Range: Variation Send (Var Send) Settings: This determines the level of the selected drum sound that is sent to the Variation effect. A setting of off results in a completely “dry” drum sound, no matter how much Variation is applied to the Drum Part. HPF Cutoff Frequency (HPF Cutoff) Filter Parameters LPF Cutoff Frequency (LPF Cutoff) Range: –64 — +63 (XG mode), 000 — 127 (TG300B or C/M mode) This determines the cutoff frequency of the low pass filter (LPF) for the selected drum sound. The LPF filters out frequencies higher than the cutoff point and “passes” the lower frequencies. Lower cutoff values create a deeper, more rounded tone, while higher values create a brighter tone. (For more information, see LPF Cutoff Frequency on page 101.) 116 –16 — +16 This determines the degree to which the LPF Cutoff Frequency for the selected drum sound changes in response to velocity. In other words, you can shift the LPF Cutoff Frequency of the filter up or down (and thus change the timbre of the sound) depending on how hard or soft you play the keys of a connected keyboard. Positive values raise the LPF Cutoff Frequency and negative values lower it. A value of 00 results in no frequency change, whatever velocity is received. off, on (when Variation Connection is set to INS); 000 — 127 (when Variation Connection is set to SYS) NOTE Keep in mind that the Variation effect must be properly enabled and set for this parameter to work as intended. (See page 136.) Also, the parameters Variation Send in Single Part control (page 97) and Variation Return in All Part control (page 99) must be set to appropriate values. –64 — +63 (XG mode), 000 — 127 (TG300B or C/M mode) Multi Mode Range: –64 — +63 This determines the cutoff frequency of the high pass filter (HPF) for the selected drum sound. The HPF filters out frequencies lower than the cutoff point and “passes” the higher frequencies. Lower cutoff values preserve the fundamental and lower overtones of the sound, while higher values create a thinner, brighter tone. (For more information, see HPF Cutoff Frequency on page 101.) Multi Edit Mode EQ Parameters EG Decay 1 Range: EQ Low Frequency (Low Freq) Range: 32 Hz — 2.0 kHz This determines the Decay 1 time of the EG, or how rapidly the sound dies down to the Decay 2 level. (See illustration below.) Higher values result in a longer Decay time. This determines the frequency which is boosted or cut (in the Low Gain parameter below) for the selected drum sound. EQ Low Gain Range: –64 — +63 This determines the level of the selected frequency (in Low Freq above). Positive values boost the level of the selected frequency and negative values attenuate it for the selected drum sound. EG Decay 2 Range: –64 — +63 (XG mode), 000 — 127 (TG300B or C/M mode) This determines the Decay 2 time of the EG, or how rapidly the sound dies out completely. (See illustration below.) Higher values result in a longer Decay time. EQ High Frequency (High Freq) Range: –64 — +63 (XG mode), 000 — 127 (TG300B or C/M mode) 500 Hz — 16 kHz Level This determines the frequency which is boosted or cut (in the High Gain parameter below) for the selected drum sound. EG Attack EG Decay 1 EG Decay 2 Time EQ High Gain Range: Assignment –64 — +63 This determines the level of the selected frequency (in High Freq above) for the selected drum sound. Positive values boost the level of the selected frequency and negative values attenuate it. Alternate Group EG Parameters EG Attack Range: –64 — +63 (XG mode), 000 — 127 (TG300B or C/M mode) This determines the Attack Time of the EG (Envelope Generator), or how long it takes for the sound of the selected drum sound to reach full volume when a note is played. (See page 102 for more information about the EG function; also see illustration below.) Multi Mode Settings: off, 001 — 127 This determines the group assignment of the selected drum sound. Drums assigned to the same group cannot be sounded simultaneously. In other words, if one drum in a group is sounding while a second in the same group is played, the first drum sound will be cut off and the second will sound. HINT The main use for this parameter is in creating realistic hi-hat sounds. By assigning an open hi-hat and a closed hi-hat to the same group, you can “choke” or stop the open hi-hat sound by simply playing the closed hi-hat — just like pressing the pedal on an actual hihat set. 117 Multi Edit Mode Note On/Off Parameters Receive Note On (RcvNoteOn) Settings: on, off This determines how the selected drum sound responds to MIDI Note On messages. Normally, this should be set to on so that the corresponding drum sound plays when a MIDI Note On message is received. Set this to off when you want to keep the selected drum sound from playing. Receive Note Off (RcvNoteOff) Settings: on, off This determines how the selected drum sound responds to MIDI Note Off messages. When this is set to on, the selected sound will stop in response to the corresponding MIDI Note Off message. An on setting is good for some sustained sounds (like a whistle), whose duration you want to control or for key-controlled cymbal “chokes.” For most drum sounds, however, this should be set to off so that the drum sound plays back in its entirety (is not cut off). 118 Multi Mode Performance Mode In the Performance mode, the MU100 performs as a four-Part tone generator, with all Parts controlled over a single MIDI channel. The Performance mode is so named because it’s ideally suited to live performance situations. It allows you to play four different Voices at the same time from your MIDI keyboard — either in a layer, or in sophisticated keyboard and velocity splits. It also gives you comprehensive control over each of the four Parts for maximum performance flexibility. A total of 200 Performances are available: 100 Preset and 100 Internal. For basic information on using the Performance Mode, see page 39. NOTE Drum Parts are not available in the Performance mode. Performance Part Control ........................................................... 120 All Part ............................................................................... 120 Single Part .......................................................................... 121 Performance Edit Mode .............................................................. 123 Common ............................................................................ 123 Part ..................................................................................... 126 Copy and Store Operations ........................................................ 129 Copy .................................................................................. 129 Store ................................................................................... 130 Recall Function .................................................................. 132 Performance Mode 119 Performance Part Control Performance Part Control All Part For basic information on using the All Part controls in the Performance mode, see page 60. System MIDI Channel (Sys CH) Settings: Performance Volume (Pfm Vol) 01 — 16 Range: This determines the MIDI receive channel for all Parts of the Performance. Performance Bank Settings: 000 — 127 This determines the overall Volume of the Performance. Performance Pan (Pfm Pan) Pre (Preset), Int (Internal) This determines the bank of Performance programs: Preset or Internal. Preset Performances are those that have been created and loaded at the factory; the Internal bank is reserved for user-created Performances. Range: L63 — C — R63 This determines the overall Pan position of the Performance. Reverb Return (RevRtn) Range: 000 — 127 NOTE When changing Performance banks, there may be a slight delay before the sound changes. Performance Number Range: This determines the amount of Reverb return for the Performance in the overall mix. 001 — 100 This determines the Performance number. NOTE When changing Performance numbers, there may be a slight delay before the sound changes. 120 Performance Mode Performance Part Control Chorus Return (ChoRtn) Range: System Transpose (SysTran) 000 — 127 Range: This determines the amount of Chorus return for the Performance in the overall mix. –24 — +24 semitones This determines the overall Transpose setting of the Performance. Variation Return (VarRtn) Range: 000 — 127 This determines the amount of Variation return in the overall mix of the Performance. Variation Return is only available when the Variation Connection parameter is set to SYS. (See page 137.) Single Part For basic information on using the Single Part controls in the Performance mode, see page 62. Bank Number Program (Voice) Number Settings: A1 part: 000 — 003, 018, 019 A2 part: 000 — 003 1 — 4 part: XG Voice banks, MU100 Exclusive Voice banks This determines the bank number of the selected Part’s Voice. (Refer to the SOUND LIST & MIDI DATA booklet.) Settings: A1 (A/D Input part): 001 — 013 A2 (A/D Input part): 001 — 005 01 — 04 part : 001 — 128 This determines the Voice for the selected Part. (Refer to the SOUND LIST & MIDI DATA booklet.) Performance Mode 121 Performance Part Control Volume Range: Chorus Send (ChoSend) 000 — 127 Range: This determines the Volume setting for the selected Part’s Voice. Pan Settings: Rnd (Random), L63 — C — R63 000 — 127 This determines the level of the selected Part’s Voice that is sent to the Chorus effect. A value of 000 results in a completely “dry” Voice sound (no Chorus effect). NOTE Keep in mind that the Chorus effect must be properly enabled and set for this parameter to work as intended. (See page 135.) Variation Send (VarSend) This determines the stereo position of the selected Part’s Voice. A setting of “Rnd” (Random) randomly assigns the Voice to a pan position. This is useful when you want to have different Voices sound from different random parts of the stereo image. Settings: off, on (when Variation Connection is set to INS); 000 — 127 (when Variation Connection is set to SYS) Reverb Send (RevSend) Range: 000 — 127 This determines whether the selected Part’s Voice is sent to the Variation effect or not. A setting of off or 000 results in no Variation effect being applied to the Voice. This determines the level of the selected Part’s Voice that is sent to the Reverb effect. A value of 000 results in a completely “dry” Voice sound. NOTE Keep in mind that the Reverb effect must be properly enabled and set for this parameter to work as intended. (See page 134.) 122 Note Shift (NoteSft) Range: –24 — +24 semitones This determines the key transposition setting for the Part’s Voice. Performance Mode Performance Edit Mode Performance Edit Mode The Performance Edit mode features various functions and parameters, grouped in the following sections: Common (related to the Performance as a whole), Part (related to each of the four Parts), and the Copy and Store operations. For basic information on using the Performance Edit mode, see page 59. Common Path: [EDIT] button → “ COM” Common ———————————————————————— Performance Name ............................................. 124 ● Performance Name (Perform Name) Portamento Parameters .................................... 124 ● Portamento Switch (PortamnSw) ● Portamento Time (PortamnTm) Modulation Wheel Parameters .......................... 124 ● LFO Pitch Modulation Depth (MW LEOPMod) ● LFO Filter Modulation Depth (MW LFOFMod) Pitch Bend ........................................................... 125 ● Pitch Bend Control (PitBndCtrl) A/D Part .............................................................. 125 ● A/D Part Assignable Controller Parameters .................... 125 ● Assignable Controller 1 Control Change Number (AC1 CC No.) ● Assignable Controller 1 Filter Control (AC1 FilCtrl) ● Assignable Controller 1 Amplitude Control (AC1 AmpCtrl) ● Assignable Controller 1 LFO Filter Modulation Depth (AC 1 LFOFMod) The Common parameters allow you to name a Performance, enable the A/D Parts for a Performance, and set the control change number for realtime parameter control. Performance Mode 123 Performance Edit Mode Performance Name Performance Name (Perform Name) This allows you to give a name to your edited Performance. Operation 1 From the Performance Name display, press the ENTER button. Performance name 2 Use the SELECT </> buttons to select the character position (flashing character) in the name and use the VALUE -/+ buttons or data dial to change the character at that position. 3 Press the EXIT button to return to the previous display (or press the PLAY button to return to the Play display). After creating and naming a Performance, you’ll probably want to save that Performance for future recall. For instructions on saving a Performance, refer to the Store operation on page 130. Portamento Parameters Portamento Switch (PortamnSw) Same as the corresponding parameter in the Multi Edit mode. (See page 109.) Use these to move among character positions. Portamento Time (PortamnTm) Flashes to indicate character position. Same as the corresponding parameter in the Multi Edit mode. (See page 109.) Use these to change character at selected position. Up to 12 characters can be used for the Performance name. Available characters include all letters of the alphabet, in both upper and lower case, numbers from 0 to 9, and a variety of miscellaneous characters. 124 Modulation Wheel Parameters Modulation Wheel — LFO Pitch Modulation Depth (MW LFOPMod) Same as the corresponding parameter in the Multi Edit mode. (See page 112.) Performance Mode Performance Edit Mode Modulation Wheel — LFO Filter Modulation Depth (MW LFOFMod) Range: 000 — 127 This determines how widely the Filter (page 101) is modulated by the LFO (low frequency oscillator). This is generally controlled from a modulation wheel on a MIDI keyboard, and depending on the Voice used, it creates a “swoosh” or “wah-wah” filter sweep effect. Higher values result in deeper filter modulation, creating a more pronounced filter sweep effect. Assignable Controller Parameters Assignable Controller 1 Control Change Number (AC1 CC No.) Same as the corresponding parameter in the Multi Edit mode (page 112), with the exception that AC1 in the Performance mode can also control LFO filter modulation (see Assignable Controller 1 LFO Filter Modulation Depth below). Assignable Controller 1 Filter Control (AC1 FilCtrl) Same as the corresponding parameter in the Multi Edit mode. (See page 112.) Assignable Controller 1 Amplitude Control (AC1 AmpCtrl) Same as the corresponding parameter in the Multi Edit mode. (See page 113.) Pitch Bend Pitch Bend Control (PitBndCtrl) Same as the corresponding parameter in the Multi Edit mode. (See page 111.) Assignable Controller 1 LFO Filter Modulation Depth (AC1LFOFMod) Range: 000 — 127 A/D Part A/D Part Settings: off, on This determines whether A/D Parts are enabled for the Performance or not. When set to “on,” Parts 3 and 4 are automatically set as A/D Parts (A1 and A2). This determines the degree to which Assignable Controller 1 (AC1) affects the LFO modulation of the Filter. This creates a regular and continuous “wah-wah” or filter sweep effect. The higher the value, the greater the LFO filter modulation. (The control number used for AC1 is set in the Assignable Controller 1 Control Change Number parameter above.) HINT You can use the MU100 strictly as an effect processor for the A/D input (for example, your guitar or microphone) by Soloing the appropriate A/D Part (A1 or A2). Performance Mode 125 Performance Edit Mode Part Path: [EDIT] button → “ PART” PART ————————————————————————— ■ FILTER ● LPF Cutoff Frequency ● LPF Resonance ● HPF Cutoff Frequency ■ EG (Envelope Generator) Level/Filter EG Parameters ● EG Attack Time ● EG Decay Time ● EG Release Time Pitch EG Parameters ● Pitch EG Initial Level ● Pitch EG Attack Time ● Pitch EG Release Level ● Pitch EG Release Time ■ EQ (Equalizer) ● EQ Low Frequency ● EQ Low Gain ● EQ High Frequency ● EQ High Gain ■ Vibrato ● Vibrato Rate ● Vibrato Depth ● Vibrato Delay ■ Others Detune .................................................................. 128 ● Detune Assignment ......................................................... 128 ● Mono/Poly Mode Note Limit Parameters ....................................... 128 ● Note Limit Low ● Note Limit High Dry Level ............................................................. 128 ● Dry Level (VarConnect=SYS) Velocity Parameters ........................................... 128 ● Velocity Sensitivity Depth ● Velocity Sensitivity Offset ● Velocity Limit Low ● Velocity Limit High The Part menu contains the Filter, EG, EQ, Vibrato, and Others parameters for the Performance. 126 Performance Mode Performance Edit Mode ■ Filter Path:[EDIT] button → “PART” → “FILTER” The Filter section of Performance Edit parameters are the same as the corresponding parameters in the Multi Edit mode. (See page 100.) ■ EG Path:[EDIT] → “PART” → “EG” The EG section of Performance Edit parameters are the same as the corresponding parameters in the Multi Edit mode. (See page 102.) ■ EQ Path:[EDIT] → “PART” → “EQ” The EQ Performance Edit parameters are the same as the corresponding parameters in the Multi Edit mode (See page 105). ■ Vibrato Path:[EDIT] button → “PART” → “VIBRATO” The Vibrato Performance Edit parameters are the same as the corresponding parameters in the Multi Edit mode. (See page 106.) ■ Others Path:[EDIT] button → “PART” → “OTHERS” The Others Performance Edit parameters contains miscellaneous controls, including those related to tuning, velocity, note range, etc. With a few omitted parameters, these are the same as the parameters in the Multi Edit mode. Performance Mode 127 Performance Edit Mode Detune Velocity Parameters Detune Velocity Sensitivity Depth (VelSensDpt) Same as the corresponding parameter in the Multi Edit mode. (See page 108.) Assignment Same as the corresponding parameter in the Multi Edit mode. (See page 110.) Velocity Sensitivity Offset (VelSensOfs) Mono/Poly Mode Same as the corresponding parameter in the Multi Edit mode. (See page 109.) Note Limit Parameters Same as the corresponding parameter in the Multi Edit mode. (See page 111.) Velocity Limit Low (VelLimitLo) Same as the corresponding parameter in the Multi Edit mode. (See page 111.) Note Limit Low (NoteLimitL) Same as the corresponding parameter in the Multi Edit mode. (See page 110.) Note Limit High (NoteLimitH) Velocity Limit High (VelLimitHi) Same as the corresponding parameter in the Multi Edit mode. (See page 111.) Same as the corresponding parameter in the Multi Edit mode. (See page 110.) Dry Level Dry Level Same as the corresponding parameter in the Multi Edit mode. (See page 110.) This parameter is only available when the Variation Connection parameter is set to SYS. (See page 137.) 128 Performance Mode Copy and Store Operations Copy and Store Operations The Copy and Store operations allow you to save and organize the Performances you’ve created. Copy The Copy operation allows you to copy the settings of one Performance program (Preset or Internal) to another Performance number (Internal only). Operation 1 From the Performance Edit menu, use the SELECT </> buttons to select “COPY.” Then, press the ENTER button to call up the Copy operation. 2 Use the SELECT </> buttons to select the desired parameter: memory location, source number or destination number. (The selected parameter flashes.) Then use the VALUE -/+ buttons or data dial to change the value. Performance Mode 129 Copy and Store Operations Memory location (P = Preset, I = Internal) Source Performance number Use these to select desired parameter. Destination Performance number Use these to change value. 3 Press the ENTER button to actually execute the Copy operation. An “Executing…” message flashes in the display during the operation. When the data has been copied, the MU100 returns to the Performance Edit menu. To cancel the operation without copying, press the EXIT button (before pressing ENTER). Store Once you’ve edited or created a Performance, you can save that new Performance for future recall by using the Store operation. Performances can be saved to any one of the 100 Internal memory locations. With the exception of the Receive Channel and Transpose (Note Shift) settings made from the Play screen, all parameter settings in the Play screen and in the Edit, Effect and EQ modes are saved to the selected Performance number. Operation 1 From the Performance Edit menu, use the SELECT </> buttons to select “STORE.” Then, press the ENTER button to call up the Store operation. 130 Performance Mode Copy and Store Operations 2 Use the VALUE -/+ buttons or data dial to change the destination Performance number. Performance number Use these to change Performance number. 3 Press the ENTER button to actually execute the Store operation. An “Executing...” message flashes in the display during the operation. When the data has been stored, the MU100 returns to the Performance Edit menu. To cancel the operation without saving, press the EXIT button (before pressing ENTER). Performance Mode 131 Copy and Store Operations Recall Function Recall is a convenient function that allows you to recover an accidently deleted Performance. For example, if you are editing a Performance and inadvertently select a different Performance, the edited Performance would normally be lost. By using Recall before turning off the MU100 or editing another Performance, you can recover the previously edited Performance data. To use Recall: 1 Select RECALL in the Performance Edit Mode menu, then press the ENTER button. The following display briefly appears: 2 At the “Are you sure?” prompt above, press the ENTER button again to execute the function. If no previously edited Performance data exists, the following display briefly appears, indicating no Performance can be recalled. 132 Performance Mode Effect Edit Mode The MU100 features a built-in multi-effect processor with 7 independent digital effects: Reverb, Chorus, Variation, Insertion 1/2, Part EQ and Multi EQ. These are controlled in the Effect Edit mode. In this section, only the effect Types and the global parameters common to all Types are covered. For descriptions and details on the parameters for each effect Type, refer to the separate SOUND LIST & MIDI DATA booklet. To enter the Effect Edit mode, press the EFFECT button. The following menu appears: Reverb (REV) .............................................................................. 134 Chorus (CHO) ............................................................................ 135 Variation (VAR) ........................................................................... 136 Insertion 1, 2 (INS1, 2) ............................................................... 138 About the Effect Connections — System and Insertion ............... 139 Effect Edit Mode 133 Reverb (REV) Reverb (REV) Reverb recreates the sounds of various performance environments by adding an ambient wash of delays or reflections. Several different types of Reverb effects are available to simulate the ambience of different sized rooms. Explanations of the Reverb Type and Reverb Pan parameters are given below. For descriptions and explanations for all other Reverb parameters, refer to the separate SOUND LIST & MIDI DATA booklet. Type Settings: Reverb Pan (RevPan) NO EFFECT, HALL 1 — 2, ROOM 1 — 3, STAGE 1 — 2, PLATE, WHITE ROOM, TUNNEL, CANYON, BASEMENT This determines the Reverb Type. Each Reverb Type has different values for the rest of the Reverb parameters; for example, Basement has a Reverb Time of 0.6 seconds, while Canyon has a Reverb Time of 12.0 seconds. Range: This determines the Pan position of the Reverb sound, or where it appears in the stereo image. For details on the parameters for each Reverb Type, refer to the separa te SOUND LIST & MIDI DATA booklet. NOTE When “NO EFFECT” is selected, Reverb is off and none of the other Reverb parameters are available (with the exception of the Reverb Pan parameter). HINT Generally when using Reverb, you can simply select the particular Type needed, and use it without bothering to adjust the other parameters. If fine tuning of the Reverb sound is necessary, delve into the other parameters as needed. 134 L63 — C — R63 Effect Edit Mode Chorus (CHO) Chorus (CHO) The Chorus section uses pitch modulation to create a variety of rich, spacious-sounding effects, including Chorus, Flanger, Symphonic and Phaser. Explanations of the Chorus Type and Chorus Pan parameters are given below. For descriptions and explanations for all other Chorus parameters, refer to the separate SOUND LIST & MIDI DATA booklet. Type Settings: Chorus Pan (ChoPan) NO EFFECT; CHORUS 1 — 4; CELESTE 1 — 4; FLANGER 1 — 3; SYMPHONIC; ENSEMBLE DETUNE; PHASER 1 Range: L63 — C — R63 This determines the Pan position of the Chorus sound, or where it appears in the stereo image. This determines the Chorus Type. Depending on the Type selected, the specific parameters and values may differ. Send Chorus to Reverb (SendCho → Rev) Chorus 1 and 2 are used to subtly enhance the sound, and generally make it richer, fatter and warmer. Flanger uses modulation to create an animated, swirling motion effect, and produces a characteristic metallic sound. Symphonic also subtly enhances the sound by making a single instrument Voice sound like several. Phaser is similar to Flanger, but with a stronger and deeper modulation. This determines the level of the Chorus signal sent to and processed by the Reverb effect. A setting of 000 results in none of the Chorus-processed signal going to the Reverb. NOTE When NO EFFECT is selected, Chorus is off and none of the other Chorus parameters are available (with the exception of the Chorus Pan and Send Chorus to Reverb parameters). Range: 000 — 127 HINT Setting this to a relatively high level gives you a more natural sound, since the Chorus-processed sound is also being processed by the reverb. For details on the parameters for each Chorus Type, refer to the separate SOUND LIST & MIDI DATA booklet. Effect Edit Mode 135 Variation (VAR) Variation (VAR) The Variation section provides a wealth of additional effects for processing the Voices of the MU100. It features some of the same effects found in the Reverb, Chorus and Insertion sections. This is not mere redundancy; it allows you to use two types of Reverb, Chorus or other effects on different Voices. For example, you may want to have the Flanger effect on one Voice and Phaser on another. Variation also gives you many special effects not found in the other sections, such as Delay, Gate Reverb, Wah and Pitch Change. The Variation section of effects can be applied either to a single selected Part or to all Parts, depending on the connection setting: Insertion or System. (See About the Effect Connections — System and Insertion on page 139 for more information.) Explanations of the Variation Type and other common parameters are given below. For specific descriptions of Variation Types and explanations for all other Variation parameters, refer to the separate SOUND LIST & MIDI DATA booklet. Type Settings: 136 NO EFFECT; HALL 1 — 2; ROOM 1 — 3; STAGE 1 — 2; PLATE; WHITE ROOM; TUNNEL; CANYON; BASEMENT; DELAY L,C,R; DELAY L,R; ECHO; CROSS DELAY; ER 1 — 2; GATE REVERB; REVERSE GATE; KARAOKE 1 — 3; CHORUS 1 — 4; CELESTE 1 — 4; FLANGER 1 — 3; SYMPHONIC; ENSEMBLE; DETUNE; AMBIENCE; ROTARY SPEAKER; 2WAY ROTARY SPEAKER; TREMOLO; AUTO PAN; PHASER 1 — 2, DISTORTION; COMP+ DISTORTION; OVER DRIVE; AMP SIMULATOR; 3BAND EQ (MONO); 2BAND EQ (STEREO); AUTO WAH (LFO); AUTO WAH+DIST; AUTO WAH+ODRV; TOUCH WAH 1; TOUCH WAH+DIST; TOUCH WAH+ ODRV; TOUCH WAH 2; PITCH CHANGE 1 — 2; AURAL EXCITER®; COMPRESSOR; NOISE GATE; VOICE CANCEL; TALK MOD; LO-FI; DIST+DELAY; ODRV+DELAY; CMP+DT+DLY; CMP+OD+DLY; WAH+DT+DLY; WAH+OD+DLY; THRU * Aural Exciter ® is a requistered trademark of Aphex Corporation. NOTE When NO EFFECT or THRU is selected for the Type, no Variation effect is applied, and only the common parameters shown below are available (with the exception of Dry/Wet). The NO EFFECT setting cancels the Variation effect. When the Variation Connection is set to SYS (System), the sound can be heard with no effect. When the Variation Connection is set to INS (Insertion), no sound is output for the Part. When set to THRU, the sound of the Part (or Parts) is output without any Variation effect. Generally, when Variation Connection is set to INS (Insertion), you should set the Type to Thru. When Variation Connection is set to SYS (System), you should set the Type to NO EFFECT. Effect Edit Mode Variation (VAR) Dry/Wet (Insertion connection) Range: Variation Connection (VarConnect) D63>W — (D=W) — D<W63 Adjusts the level balance of original sound (dry, or D) and processed sound (wet, or W). A setting of (D=W) results in an equal balance of dry and wet sound. Assignable Controller 1 Variation Control (AC1VarCtrl) (Insertion connection) Range: –64 — +00 — +63 Determines the amount of effect the Assignable Controller has on the Variation effect. Variation Pan (VarPan) (System connection) Range: Settings: INS (Insertion), SYS (System) Determines how the Variation effect is connected in the effect chain of the MU100. When set to SYS (System), Variation is applied to all Parts, according to the amount of Variation Send set for each Part. When set to INS (Insertion), Variation is applied to only the selected Part, set in Send Variation parameters (see above). NOTE The common parameters above are common to nearly all the Variation effect types. (Exceptions are described in the separate SOUND LIST & MIDI DATA booklet.) L63 — C — R63 Determines the pan position of the Variation effect. Send Variation to Chorus (SendVar→Cho) (System connection) Range: 000 — 127 Determines the amount of Variation effect sound that is sent to the Chorus effect. Send Variation to Reverb (SendVar→Rev) (System connection) Range: 000 — 127 Determines the amount of Variation effect sound that is sent to the Reverb effect. Effect Edit Mode 137 Insertion 1, 2 (INS 1, 2) Insertion 1, 2 (INS 1, 2) The Insertion 1 and 2 effects provide additional effects for processing individual Parts. Explanations of the Type, Dry/Wet Balance and Part parameters are given below. For descriptions and explanations for all other parameters, refer to the separate SOUND LIST & MIDI DATA booklet. The Insertion effects are set up for Insertion routing and can be applied only to a single selected Part. Refer to About the Effect Connections — System and Insertion on page 139 for more information. Type Settings: THRU; HALL 1 — 2; ROOM 1 — 3; STAGE 1 — 2; PLATE; DELAY L,C,R; DELAY L,R; ECHO; CROSS DELAY; KARAOKE 1 — 3; CHORUS 1 — 4; CELESTE 1 — 4; FLANGER 1 — 3; SYMPHONIC; ENSEMBLE DETUNE; ROTARY SPEAKER; TREMOLO; AUTO PAN; PHASER 1; DISTORTION; OVER DRIVE; AMP SIMULATOR; 3BAND EQ (MONO); 2BAND EQ (STEREO); AUTO WAH (LFO); TOUCH WAH 1 — 2, AURAL EXCITER ®, COMPRESSOR; NOISE GATE * Aural Exciter® is a requistered trademark of Aphex Corporation. Assignable Controller 1 Insertion 1/2 Control (AC1INS1/2Ctrl) Range: –64 — +63 This determines the degree to which Assignable Controller 1 (AC1) affects the MIDI-controllable parametes of the Insertion effects. Each of the Insertion effect types have one parameter which can be controlled by the AC1. (For details, see the “Effect Parameter List” of the “SOUND LIST & MIDI DATA” booklet.) This parameter is not available in the performance mode. Insertion 1, 2 Part (INS 1, 2 Part) Range: NOTE When Thru is selected, no effect is applied, and none of the parameters are available (with the exception of the Assignable Controller and the Part parameter). Dry/Wet Balance Range: D63>W — (D=W) — D<W63 This determines the Part to which the Insertion effect is applied. Insertion can be applied to only one Part at a time. This determines the balance between the direct, unprocessed signal (dry) and the processed sound (wet). 138 Part 1 — 32, AD 1, AD 2, off Effect Edit Mode About the Effect Connections — System and Insertion About the Effect Connections — System and Insertion The multi-effects of the MU100 provide not only a wide range of sound processing controls, but also a flexible system for connecting them. Unlike simple effect routing schemes on conventional sound modules that process all voices with the same effects, the MU100 allows you to put independent, special effects on one or two Parts, as well as use overall effects for processing all 34 Parts together. For example, you can have a Distortion effect on a guitar Part and a rotary speaker effect for an organ Part, yet still use ambient effects such as Reverb and Chorus for processing the overall mix. All the effect sections are connected or routed in one of two ways: System or Insertion. System applies the selected effect to all 34 Parts, while Insertion applies the selected effect to one specific Part. Reverb, Chorus, and EQ are all System effects, and Insertion 1 and 2, and Harmony are Insertion effects. The Variation effect section, on the other hand, can be configured for either System or Insertion routing. (This is done from the Variation Connection parameter; see page 137.) Since System and Insertion are part of the XG format, you can create and play back song data using the same flexible effect routings on any tone generator or sound module having the XG mark. NOTE The Variation Connection default setting is Insertion in the Multi mode, or differs depending on the individual Performance settings in the Performance mode. The illustrations and explanations below cover the System and Insertion connections in greater detail. Effect Edit Mode 139 140 Effect Edit Mode insertion 1 on/off INS1 insertion 1 on/off INS1 insertion 1 on/off INS1 insertion 1 on/off insertion 2 on/off INS2 insertion 2 on/off INS2 insertion 2 on/off INS2 insertion 2 on/off var send cho send rev send dry level var send cho send rev send dry level var send cho send rev send dry level var send cho send rev send dry level DRY LINE REVERB VARIATION send variation to reverb send variation to chorus CHORUS send chorus to reverb VARIATION CONNECTION = SYSTEM chorus return reverb return PAN variation pan variation return PAN chorus pan reverb pan PAN Thick line indicates stereo signal. EQ OUT NOTES • The Parts to which Insertion 1, 2 are applied is determined by the Part parameter in the Insertion section (page 138). • Even though the System routing applies the selected effect to all Parts, you can control how much the Reverb, Chorus and Variation effects are applied to any individual Part (with the Reverb Send, Chorus Send and Variation Send parameters in the Single Part controls; see page 97). For the effects to be properly heard, the Reverb Return, Chorus Return and Variation Return parameters in the All Parts controls must also be set to appropriate values (see pages 98 — 99). • The stereo position of the effects is controlled by the Reverb Pan, Chorus Pan and Variation Pan parameters; see pages 134, 135, 137. • You can set Reverb, Chorus and Variation to be routed in parallel or in serial, and you can determine the amount of Variation effect that is sent to Chorus and Reverb, as well as the amount of Chorus that is sent to Reverb. This is done with the Send Variation to Chorus (page 137), Send Variation to Reverb (page 137), and Send Chorus to Reverb (page 135) parameters. When these are all set to 0, all three effects are in parallel routing. Higher values for each provide varying degrees of serial routing. part 32 part 1 part A2 part A1 INS2 insertion 2 part insertion 1 part INS1 Insertion 2 can be applied to only one Part at a time. Insertion 1 can be applied to only one Part at a time. About the Effect Connections — System and Insertion When Variation is set to System: Effect Edit Mode insertion1on/off INS1 insertion1on/off INS1 insertion1on/off INS1 insertion1on/off INS2 insertion2 on/off INS2 insertion2 on/off INS2 insertion2 on/off INS2 insertion2 on/off insertion2 part insertion2 can be applied to only one Part at a time variation on/off VAR variation on/off VAR variation on/off VAR variation on/off VAR variation part Varationcan be applied to only one Part at a time dry cho send rev send dry cho send rev send dry cho send rev send dry cho send rev send DRY LINE CHORUS send chorus to reverb REVERB chorus pan PAN PAN reverb pan chorus return reverb return Thick line indicates stereo signal. EQ OUT NOTES • As with System above, the Parts to which Insertion 1, 2 are applied is determined by the Part parameter in the Insertion section (page 138). Also, the Part to which Variation is applied is determined by the Variation Send control in the Single Part controls (page 97). • As with System above, the effects cannot be properly heard unless the Reverb Send, Chorus Send parameters in the Single Part controls (page 97) and the Reverb Return and Chorus Return parameters in the All Parts controls are set to appropriate values. • The stereo position of the effects is controlled by the Reverb Pan and Chorus Pan parameters. (See pages 134, 135.) • You can set Reverb and Chorus to be routed in parallel or in serial, and you can determine the amount of Chorus that is sent to Reverb. This is done with the Send Chorus to Reverb parameter (see page 135). When this is set to 0, Reverb and Chorus are in parallel routing. Higher values for each provide varying degrees of serial routing. part32 part1 part A2 part A1 INS1 insertion1 part insertion1 can be applied to only one Part at a time About the Effect Connections — System and Insertion When Variation is set to Insertion: 141 Equalizer (Multi EQ) Edit The Equalizer (Multi EQ) Edit parameters allow you to adjust the overall tone of the MU100 sound in five separate frequency bands. EQ presets are also provided for instantly calling up tone settings specially suited for different types of music. Low Lo Mid Mid Hi Mid High 0 dB Frequency To enter the Equalizer Edit mode, press the EQ button. EQ Type Settings: Concert: Flat, Jazz, Pops, Rock, Concert EQ Type provides five different preset EQ settings, specially programmed for specific types of music. The Flat setting is a “flat” EQ preset with no change in equalization. Jazz, Pops, Rock and Concert each have different EQ settings and frequency bands, specially suited for those types of music. EQ Frequency Parameters Flat: Jazz: Pops: Rock: 142 80 Hz, 500 Hz, 1.0 kHz, 4.0 kHz, 8.0 kHz 50 Hz, 125 Hz, 900 Hz, 3.2 kHz, 6.3 kHz 125 Hz, 315 Hz, 1.0 kHz, 2.0 kHz, 5.0 kHz 125 Hz, 200 Hz, 1.2 kHz, 2.2 kHz, 6.3 kHz Range: 80 Hz, 315 Hz, 1.0 kHz, 6.3 kHz, 8.0 kHz –12 — +12 dB The remaining EQ parameters let you set the level of each of the five frequency ranges: low, low-mid, mid, high-mid and high. The bars in the display show the EQ settings as a frequency “curve,” with peaks indicating level boosts in the frequency range and valleys indicating level cuts. A setting of 00 dB corresponds to no level change. NOTE Changing the EQ Type automatically restores the default Frequency Parameter settings and cancels any Frequency Parameter settings you have made. Equalizer (EQ) Edit Utility Mode The Utility mode lets you set functions related to the overall operation of the MU100, such as Master Tune, display contrast and playing of the Demo Song. Included also are utility operations, such as various kinds of data transfer with an external data storage device, and initializing of the MU100 settings. To enter the Utility mode, press the UTIL button. The following menu appears: System Functions (SYSTEM) ........................................................ 144 Dump Out Functions (DUMPOUT) ............................................ 148 Saving and Restoring Data via MIDI ................................... 148 Saving and Restoring Data via TO HOST ............................ 148 Initialize Functions (INITIAL) ..................................................... 152 Demo Song Play (DEMO) ........................................................... 155 Utility Mode 143 System Functions (SYSTEM) System Functions (SYSTEM) The System functions provide various controls of the overall operation of the MU100, such as Master Tune, Mute and A/D Part Lock, some MIDI receive filters and a display Contrast control. Master Tune (M.Tune) Range: A/D Part Lock –102.4 — +102.3 cents (approx. +/– 1 semitone) Settings: This determines whether or not the current parameter values and Variation effect settings of the A/D Parts are reset when receiving a GM System On or XG System On message. If you want to keep the current parameter values and Variation settings of the A/D Parts, set Mute Lock to on. (This parameter has no effect in the Performance mode.) This determines the overall fine tuning of the MU100’s Voices. It does not affect the pitch of the individual drum/percussion sounds of the drum kits. Master Tune is especially useful for adjusting the pitch of the MU100 when playing with other instruments. The actual pitch of each Voice depends also on the other pitch related parameters: Note Shift, Transpose (in Play mode) and Detune (in Edit mode). NOTE At around 440 Hz, 1 Hz is approximately equal to 4 cents. off, on Multi Mode Equalizer Lock (Mlt EQ Lock) Settings: off, on Mute Lock Settings: off, on This determines whether or not the Part Mute status of the MU100 is reset when receiving a GM System On or XG System On message. Generally, this message is automatically transmitted to the MU100 as part of General MIDI song data. When Mute Lock is set to off, this resets the Mute status of the Parts on the MU100. If you want to keep the current Mute settings and disable this reset, set Mute Lock to on. (For more information on the Mute function, see page 85.) 144 Utility Mode This determines whether the Equalizer settings (page 142) are initialized or change in response to incoming MIDI messages. When this is set to “on,” the current Equalizer settings are maintained, ignoring any EQ-related messages that are received with XG System On or GM System On messages, allowing you to protect your original Equalizer settings. When set to “off,” the Equalizer changes according to incoming XG/GM System On messages. This setting affects the Multi mode only, and not the Performance mode. System Functions (SYSTEM) Receive General MIDI Exclusive (RcvGMExcl) Settings: Receive Bank Select (RcvBankSel) Settings: off, on This determines whether Bank Select messages are received or not. Bank Select messages can be sent from another MIDI device to change the banks of Voices on the MU100. (See page 47.) The On setting allows Bank Select messages to be received. This determines whether GM System On or XG System On messages are received or not. The on setting allows these messages to be received. Receive System Exclusive (RcvSysExcl) Settings: off, on off, on Contrast Range: This determines whether System Exclusive messages are received or not. System Exclusive messages are data specifically (or “exclusively”) related to the MU100. The On setting allows these messages to be received. This should be to On when receiving bulk data from a MIDI data storage device. (See page 34.) Utility Mode 1—8 This determines the contrast of the display. Adjust this as necessary for optimum visibility. (At extreme settings, the display may not be readable.) 145 System Functions (SYSTEM) Dump Interval (DumpIntrval) Settings: 50, 100, 150, 200, 300 This determines the length of time the MU100 pauses when sending blocks of data in the Dump Out functions. If the receiving device fails to process the data or displays a “buffer full” type message, try setting this parameter to a higher value and send the data again. NOTE The MU100 can receive Cable messages (F5) when the TO HOST terminal is connected to the serial terminal of a computer. On the MU100, MIDI receive channels A1 — A16 are controlled from Port 1, and channels B1 — B16 are controlled from Port 2. If the software you are using can address separate MIDI ports, data can be received over 32 channels simultaneously, allowing 32 parts to be played with only one serial cable. By connecting another multi-timbral tone generator to the MIDI OUT terminal of the MU100 and setting the Thru Port function to a value other than 1 or 2, you can play back data over a total of 48 MIDI channels — 32 on the MU100 and another 16 on the connected tone generator. Thru Port Range: Thru Port setting: 3—8 MIDI IN Tone Generator Some MIDI devices and sequencers are capable of transmitting data over several MIDI “ports,” effectively breaking the 16-channel barrier. When this data is received via the TO HOST terminal on the MU100, this parameter determines which MIDI port’s data will be routed through the MIDI OUT terminal. This allows you to connect another multi-timbral tone generator to the MU100 and play back data over 48 independent MIDI channels — 32 on the MU100 and another 16 on the connected tone generator. 146 MIDI OUT 1—8 Utility Mode Port 1: Channels A1 — A16 Port 2: Channels B1 — B16 Computer and Software with multiple-port capability System Functions (SYSTEM) Display Bank Select (DispBankSel) Settings: Voice Map (Map) 1 (displays only banks with unique Voices), 2 (displays all banks) This determines whether the MU100 displays all Voice banks or not when changing banks. (For information on changing banks, see page 44.) When this is set to “1,” the MU100 conveniently skips over banks that have the same Voice. In other words, when you step through the available banks, the display stops only on banks for which the Voice is unique or different (for the selected program number). If “2” is selected, all banks are displayed in succession, regardless of whether the Voices are the same or not. The Display Bank Select setting itself cannot be changed by incoming MIDI messages. Utility Mode Settings: MU basic, MU100Native This determines the Voice configuration or assignment of the XG Voice set of the MU100. This parameter should be set to match particular types of song data. For playback of data recorded on or intended for the MU90/90R, MU80, and MU50, set this to “MU basic.” For playback of other GM- and XG-compatible data, as well as the most recent song data (especially that intended for the MU100), this should be set to “MU100Native.” NOTES • Only the Voice map of the basic Voice bank (MSB = 0, LSB = 0) is affected by this parameter. The other extended Voice banks are not affected. • This setting is not affected by incoming XG System On or GM System On MIDI messages. 147 Dump Out Functions (DUMPOUT) Dump Out Functions (DUMPOUT) The Dump Out functions allow you to save the various settings of the MU100 (such as settings for Parts, Performances, system, etc.) to a MIDI sequencer, computer or a MIDI data recorder (such as the Yamaha MDF3 MIDI Data Filer). The following illustrations show example connections for the Dump Out functions. Saving and Restoring Data via MIDI MU100 MIDI OUT MIDI IN MIDI Data Recorder MIDI IN MIDI OUT Bulk Dump data can be sent and received using the MIDI IN and MIDI OUT connections. Saving and Restoring Data via TO HOST MU100 TO HOST Computer SERIAL PORT (with sequencer or MIDI librarian software) Bulk Dump data can be sent and received using the TO HOST and SERIAL PORT connections. Operation 1 Make sure that the MU100 is properly connected to the device and that the HOST SELECT switch is properly set. When using the MIDI terminals, connect the MIDI OUT of the MU100 to the MIDI IN of the data recorder. (See the illustrations above.) Also, set the HOST SELECT switch to MIDI. When using the TO HOST terminal, make sure that the HOST SELECT switch is set corresponding to the device to be used. (Refer to page 35 for more on host computer connections.) 148 Utility Mode Dump Out Functions (DUMPOUT) 2 Press the UTIL button and select “DUMPOUT,” then press the ENTER button. 3 From the Dump Out menu, select the type of data to be sent: All, Multi or Performance. Then, press the ENTER button to call up the selected data dump. All This transmits all MU100 data (including Part, Performance, system, and all parameter values) to the connected device. Utility Mode 149 Dump Out Functions (DUMPOUT) Multi Settings: 32 Parts, 16 Parts, 32 Parts + A/D, 16 Parts + A/D This transmits the selected MU100 Multi Part data (including System, Effect and EQ data) to the connected device. (Use the VALUE -/+ buttons to select the type/amount of data to be transmitted.) Performance (PERFORM) Settings: ALL, I 001 — I 100 (Internal Performance numbers) This transmits the selected MU100 Performance data to the connected device. (Use the VALUE -/+ buttons or data dial to select the type/amount of data to be transmitted.) 4 From the “Are you sure?” prompt, press the ENTER button to execute the operation, or press the EXIT button to cancel it and return to the Dump Out menu. A “Transmitting…” message appears in the display during the operation. When the transmission is completed, the MU100 returns to the Dump Out menu. NOTE If you have more than one MU100 connected in your MIDI system and wish to send different sets of data to each, you can specify a different Device Number for each. (See page 98.) You should set the Device Number on each MU100 you use, before dumping the data to a data storage device. Then, when you reload the data to the connected MU100s, each unit will automatically receive only the data that has the corresponding Device Number. 150 Utility Mode Dump Out Functions (DUMPOUT) To reload the data from the data recorder back to the MU100: Make sure that the devices are properly connected (see the Restoring Data illustrations on page 34), and execute the appropriate data transfer operation from the data recorder. (Refer to the owner’s manual of that device for instructions.) The MU100 automatically receives incoming bulk data. Utility Mode 151 Initialize Functions (INITIAL) Initialize Functions (INITIAL) The Initialize functions allow you to restore the factory settings of the MU100. NOTE Since the Initialize functions replace existing data, you should save any and all important settings to a MIDI data storage device before using these functions. (See page 34.) Operation 1 Press the UTIL button and select “INITIAL,” then press the ENTER button. 2 From the Initialize menu, select the type of data to be initialized: Factory Settings (FactSet), selected Sound Module mode (XGInit, GM Init, C/MInit, PFMInit) or Drum (DrumInit) Then, press the ENTER button to call up the selected data dump. 152 Utility Mode Initialize Functions (INITIAL) Factory Settings (FactSet) This restores the original factory settings of the MU100. Selected Sound Module Mode: Extended General MIDI (XGInit) General MIDI (GM Init) Computer Music (C/MInit) Utility Mode 153 Initialize Functions (INITIAL) Performance (PFMInit) One of the four parameters above will be available, depending on the currently selected Sound Module mode: XG, TG300B, C/M or PFM. Initializing this parameter restores the original settings for the selected mode. NOTES • For the PFMInit setting, only the currently selected Performance will be initialized. • For XGInit and GM Init, the initialized settings are the same as when the MU100 is reset upon receiving an XG System On or GM System On message. Drum (DrumInit) Range: DrumS1 — DrumS4 This restores the original drum settings for the selected Drum Setup S1 — S4. (Use the VALUE -/+ buttons or data dial to select the desired Drum Setup.) NOTE This parameter is not available when the MU100 is set to Performance mode. 3 From the “Are you sure?” prompt, press the ENTER button to execute the operation, or press the EXIT button to cancel it and return to the previous display. An “Executing…” message appears in the display during the operation. When the operation is completed, the MU100 returns to the Initialize menu. 154 Utility Mode Demo Song Play (DEMO) Demo Song Play (DEMO) The Demo Song function in the Utility menu allows you to play the built-in Demo Song. Operation 1 Press the UTIL button and select “DEMO,” then press the ENTER button. 2 Press the ENTER button to start the Demo Song. The Demo Song starts playing immediately and repeats indefinitely until stopped (in step 4 below). Playback of the individual Parts of the song is shown graphically by the “level meter” bars in the display. NOTE During Demo Song playback, no panel controls (with the exception of the EXIT button and the VOLUME control) can be used. 3 To stop playback of the song, press the EXIT button. 4 To exit from the Demo Song function, press the EXIT button again. Utility Mode 155 Sound Module Mode (MODE) This lets you select the operating mode of the MU100. Press the MODE button, then use the SELECT </> buttons to select the desired Sound Module mode: XG, TG300B, C/M (Computer Music) or PFM (Performance). If XG, TG300B or C/M are selected, the MU100 automatically sets itself to the Multi mode. When PFM is selected, the MU100 is in the Performance mode. (See page 22.) The bottom right of the display indicates the currently selected Sound Module mode. XG TG300B C/M PERFORM Arrow indicates selected Sound Module mode. Press the EXIT button (or any one of the other mode select buttons: PLAY, EDIT, UTIL, EFFECT or EQ) to use the MU100 in the current mode. NOTES • When the MU100 is not set to the XG mode and an XG System On message is received, the MU100 changes to the XG mode after a slight pause of 0.5 seconds. • In the C/M mode, the Voices available in Parts 11 - 16 are different from those available in Parts 1 - 9. (Refer to the “Sound List & MIDI Data” booklet.) • The TG300B mode also has multiple banks. In the C/M mode, there is only one bank (“Fix” appears at the Bank Number parameter), and for the drum Part only one drum kit can be selected. 156 Sound Module Mode (MODE) Show Control Change Miscellaneous Functions Show Control Change This function allows you to view the currently used control change number, its type and its value (in decimal format). It also lets you transmit the displayed value with a single button press. Operation 1 From the Multi Play mode or Performance Play mode, doubleclick the ENTER button (press it twice quickly). (The Show Control Change display appears.) Type of controller Number of controller Current value 2 To transmit the currently displayed message, press the ENTER button again. The message is transmitted via the MIDI or TO HOST terminals. 3 Press the EXIT button to return to the Play display. Miscellaneous Functions 157 Show Control Change This is convenient for quickly entering desired settings to a sequencer. Displaying/Sending Voice Bank Settings The Show Control Change function also allows you to view and send Voice bank MSB and LSB settings within the XG mode. To do this: 1) From the Multi Play mode (XG mode), select the desired bank number. (For information on selecting banks, see page 44.) 2) With the bank number parameter highlighted, double-click the [ENTER] button. 3) Press the [EXIT] button to return to the Play display. NOTE MSB/LSB values are used in conjunction with each other to provide a greater number of banks than would be possible with the 128-number limit of MIDI's hexadecimal system. For example, the XG Voices are contained on banks 000 - 127; these banks are selected over MIDI with the MSB value of 000. MU100 Exclusive Voice banks are at MSB 048. 158 Miscellaneous Functions Show Exclusive Show Exclusive This function allows you to view the current system exclusive message (in hexadecimal format). It also lets you transmit the displayed value with a single button press. Operation 1 Double-click the ENTER button (press it twice quickly). (The Show Exclusive display appears.) System Exclusive message (in hexadecimal format) 2 To transmit the currently displayed message, press the ENTER button again. The message is transmitted via the MIDI or TO HOST terminals. 3 Press the EXIT button to return to the previous display. Miscellaneous Functions 159 160 Miscellaneous Functions A PPENDIX Installing the Optional XG Plug-in System Installing the Optional XG Plug-in System Introducing the XG Plug-in System Plug-in versatility like never before The XG Plug-in System is a hardware-based solution for expanding the functions of your XG tone generator. Similar to the software based XGworks Plug-in System, the optional XG system consists of a series of plug-in boards that allow you to easily create just the sound you need. XG Plug-in System-compatible XG tone generators and synthesizers are equipped with connectors for installing XG Plug-in Boards. The number of connectors available will be different according to the type of XG Plug-in System-compatible equipment that you have. The MU100 is equipped with one plug-in connector. Make sure that your XG tone generator or synthesizer is XG Plug-in System-compliant. This is indicated by the logo that appears on all XG Plug-in System-compliant products. The XG Plug-in System logo appears on all three of the currently available, optional plug-in boards: the PLG100-DX, PLG100-VL and PLG100-VH. As the XG Plug-in System grows, be sure to look for the XG Plug-in System logo on every plug-in board. This logo ensures compatibility with all of your XG Plug-in System-compliant tone generators and synthesizers. Appendix 163 Installing the Optional XG Plug-in System XG Plug-in System Integration The XG Plug-in System is not merely an add-on. It is a series of fully integrated components that work seamlessly and naturally with your XG tone generator. As a result, the functions of the plug-in system not only expand the features of the XG tone generator but compliment them as well. Through the system, a tone generating plug-in board is assigned its own part when installed into the MU100. Since the digital signal of the plug-in board is sent in the same way as a Part from the MU100, the entire range of the main unit’s features including system effects, insertion effects, system EQ, etc. are available. As soon as you mount the plug-in board into the MU100, you can edit parameters as well as make settings through the plug-in board’s menu that appears on the display. XG insertion effects are supported by mounting an effect-type plug-in board into the MU100. Effect settings for the plug-in board can be made directly through the MU100. The Boards of the XG Plug-in System Currently, the XG Plug-in System consists of three optional plug-in boards: the PLG100-DX, PLG100-VL and PLG100-VH. PLG100-DX This board supports the same powerful FM synthesis voices as YAMAHA’s legendary DX7. Plug this board into your MU100 for 912 unbelievable FM voices with up to16-note polyphony. PLG100-VL The Virtual Acoustic Plug-in Board provides the same “Virtual Acoustic”, realistic sounds of the VL70-m by S/VA physical modeling. Additionally, this plug-in installs a preset bank of 256 voices that range from traditional to uniquely inventive. PLG100-VH This plug-in board is optimal for installing enhanced vocal-harmony features onto your MU100. The Vocal Harmony Plug-in Board includes four different types of harmonic effects: “Vocoder”, “Chordal”, “Detune” and “Chromatic”. Use the board to apply one-, two- or threepart harmonies to vocal signals that are input through the A/D inputs, or to change the harmony interval of chords. This plug-in also includes a unique voice changer that allows you to experiment with choral effects as well as interchange male with female voice qualities. 164 Appendix Installing the Optional XG Plug-in System Introducing the XGworks Plug-in System XGworks plug-ins are series of software plug-ins that allows you to expand the features of the XGworks/XGworks lite software applications. XGworks/ XGworks lite gives you the power to easily create music that you may never have dreamed possible. The CD-ROM that comes with the MU100 contains several different XGworks plug-ins. VL Visual Editor This application allows you to create, edit and save voices generated on PLG100-VL. The features of this plug-in allow you to intuitively edit and compose complex musical passages with ease. VH Effect Editor Installing this plug-in on your personal computer allows you to graphically manage and control all of the settings of the PLG100-VH. The windowing environment allows you to easily enter values into the XGworks List Window using drag-and-drop commands. The application includes a special list window for specifying settings in the Chordal Mode. DX Easy Editor This application is a great tool for changing the part parameters of the optional PLG100-DX plug-in board. Use the DX Easy Editor to edit all of the part parameters for the XG as well as the exclusive, “native” parameters of the PLG100-DX. The application allows you to save your changes and parameter edits either as a “song event” or a DX parameter file. DX Simulator Use your mouse to manipulate all of the settings of the DX7’s front panel display. You can fully edit custom voices as well as view parameters on the edit list just like on the DX7. The DX Simulator provides multiple options for saving your edited voices including bulk data or file formats. These plug-ins are designed to be used with the XGworks/XGworks lite software applications. For instructions on how to install any of the optional XGworks plug-ins, please refer to the manual titled “XGtools Setup Guide”. For details on functions and features of a specific plug-in application, please refer to the online help of that application. Appendix 165 Installing the Optional XG Plug-in System Installation Prior to Installation Basic Information • The features of the XG Plug-in Board are only supported when the sound module is in the XG or PFM (Performance) mode. • Only voice parts 1 through 16 of the PLG100-DX and PLG100-VL (tone generators) are supported. MIDI receive channels B1 to B16 are also not supported; be sure to set the MU100 to MIDI receive channels A1 through A16. • When controlling a plug-in board via an external MIDI device, be sure to use the MIDI IN-A port if the HOST SELECT switch is set to MIDI. Use port 1 (A1-A16) if the HOST SELECT switch is not set to MIDI. • The various voices of a plug-in board can be selected via the control panel by specifying the bank number. The voice bank of a plug-in board is listed after the voice bank of the main unit. • You can set the XG part parameters of a plug-in board in the Multi Edit mode. However, depending on the board, some parameters may not be supported. Please consult the documentation that came with your plugin board for details. • Plug-in board parameters that can be set via the control panel of the main unit are output using an operation similar to a Dump Out. Backing Up Data • XG Plug-in Boards are not equipped with a backup function. However, at startup it is possible to send the plug-in board parameters that can be set via the control panel of the MU100 as backup data to the plug-in board. • It takes some time for the main unit to backup data when some of the external MIDI parameters are changed via the main unit’s control panel. Always wait for the backup process to finish. Data will be lost if power to the main unit is turned off before the backup process has finished. • After setting parameters for a MIDI device that could not be set through the control panel of the main unit, turn off the power in order to initialize the system and to disable the backup function. The Performance Mode • Plug-in boards can be used in the Performance Mode. However, only plug-in board parameters that can be set via the control panel of the main unit can be stored as performance data. • Some plug-in board parameters can be changed via an external MIDI device. The value that appears on the display of the main unit may be different from parameter settings of a plug-in board when settings are made via an external MIDI device. 166 Appendix Installing the Optional XG Plug-in System Installing a Plug-in Board into the MU100 Warning Installation and removal of a plug-in board into the MU100 initializes some of the setup and multi-part settings of the main unit. Be sure to save any of your important settings onto a personal computer or MIDI Data Filer MDF3 before installing or removing a plug-in board. CAUTION! Be careful not to injure your hands or fingers while installing or removing the plugin board. Be careful not to injure yourself when handling the jagged surfaces or sharp areas of the plug-in board. Instructions 1 Turn off the power of any devices that may be connected to the MU100 and remove the MU100’s AC adaptor from its power source. CAUTION! Accidents can occur if the plug-in board is installed or removed while the AC adaptor is connected to a power source. Be sure to unplug the AC adaptor of the MU100 before installing or removing the plug-in board. 2 Turn the MU100 upside down. Remove the installation lid by removing the four (4) silver screws that secure it to the MU100. Appendix 167 Installing the Optional XG Plug-in System 3 Remove the four (4), black, XG Plug-in Board installation screws that are secured to the inside of the installation lid. Unlatch and remove the holder that secures the connector. Extend the connector. Keep the holder for use when the XG Plug-in Board is removed. Holder 4 Remove the XG Plug-in Board from the ant-static bag. CAUTION! Before handling the XG Plug-in Board, be sure to touch a grounded, metal surface in order to remove any static electricity from your clothes or body. Do not touch any of the patterned surfaces of the board or its connector. 5 Insert the expansion connector of the MU100 into the connector of the XG Plug-in Board. Make sure to insert the connector so that it faces the proper direction and the right and left tabs of the expansion connector lock into place (as shown in the illustration). Tab Expansion connector XG Plug-in Connector XG Plug-in Board 168 Appendix Insert the connector so that the tabs on the right and left sides lock. Installing the Optional XG Plug-in System 6 Attach the XG Plug-in Board to the installation lid using the four (4), black screws that were removed in Step 3. Install the XG Plug-in Board so that the side with the IC chips is facing the installation lid. Position the XG Plug-in Board from above, onto the installation lid, making sure to align the holes of the board with the holes on the lid. If the holes are not properly aligned, damage to the plug-in board’s chip my result. Side without the connector XG Plug-in Board Screw (black) 7 Secure the installation lid back onto the MU100 using the same four (4) silver screws that were removed in Step 2. Secure the screws in the order shown in the illustration. Screw (silver) 4 2 1 3 Arrange the cables of the connector as shown, so that they do not become pinched or damaged. Appendix 169 Troubleshooting Troubleshooting Even though the MU100 is exceptionally easy to use, it may occasionally not function as you expect it to. If that happens, check the possible problems and solutions below before assuming that the instrument is faulty. Problem Possible Cause and Solution No power. Check that the adaptor is properly plugged into both the AC outlet and the MU100 (See page 18.) No sound. Check that: ● The panel volume control is set to an appropriate level. ● Other volume-related parameters are set to appropriate levels. (See Volume and Expression in the Single Part controls, page 96, and Master Volume and Master Attenuator in the All Part controls, page 98.) ● Mute or Solo are not active. (See page 85.) If a Part is being muted, or an empty Part is being soloed, you may not get any sound. ● The Variation effect settings are appropriate. No sound will be output at all if Variation Connection is set to INS (page 137), Variation Send is turned on for the Part (page 97), and NO EFFECT is selected for the Variation Type (page 136). The easiest solution in such a case is to turn off Variation Send for the Part. ● The EG Attack Time (page 103) is appropriately short, for short percussive sounds. ● The Velocity Sensitivity Offset (page 111) is appropriate. ● The Note Limit Low and Note Limit High (pages 110, 128) settings are appropriate. If the former is set higher than the latter, no sound will be output. ● The Velocity Limit Low and Velocity Limit High (pages 111, 128) settings are appropriate. If the former is set too high and the latter too low, no sound may be output. No sound when playing the MU100 from a computer, sequencer or external keyboard. Check all MIDI connections, making sure that the MIDI OUT of the external device is connected to the MIDI IN of the MU100, and that the MIDI IN of the external device is connected to the MIDI OUT of the MU100. (See pages 33 – 35.) Or, if you are using the TO HOST terminal with a computer, make sure that the terminal is properly connected to the computer and that the HOST SELECT switch is properly set for your particular computer. (See pages 35 – 38.) Also, make sure that you have turned on the connected MIDI instrument or computer before turning on the MU100. If you haven’t, simply turning the MU100 off and back on again may solve the problem. Notes are cut off or omitted. The maximum polyphony of the MU100 may be exceeded. The MU100 can play no more than 64 notes at once. (Though 64 notes may seem to be more than enough, you may run short when playing a connected keyboard along with some densely arranged song data.) Reverb, Chorus and/or Variation effects cannot be heard. Check all Reverb-, Chorus- and Variation-related controls: Reverb Send, Chorus Send and Variation Send in Single Part controls (page 97); Reverb Return, Chorus Return and Variation Return (when Variation Connection is set to SYS) in All Part controls (pages 98 — 99). Also check the individual effect settings; if no Type has been selected, or if the parameter settings are too low, there may be no effect sound. The A/D input sound (mic, guitar, etc.) cannot be heard. Make sure that the appropriate A/D Part (A1 or A2) has been turned on and that the A/D INPUT control is set to an appropriate level. Also for best results, make sure that the A/D input type (Mic, Guitar, Keyboard, Audio) is set to match the input you are using. 170 Appendix Error Messages Error Messages Battery Low! The battery voltage (for internal memory backup) may be too low. Bring the unit to your local Yamaha dealer or any other authorized Yamaha service personnel. Check Sum ERROR! The checksum of the received System Exclusive message is incorrect. Check the checksum of the message and try transmitting again. HOST is Offline! This message appears when the host computer is not turned on, the connecting cable is not properly connected, or the sequencing software is not active. Illegal Data! A data error resulted during reception of MIDI messages. Try transmitting the data again, or turn the MU100 off and back on again. MIDI Buffer Full! Too much MIDI data is being received by the MU100 at one time. Reduce the amount of data being sent to the MU100. No Parameter The selected parameter for use with the Show Exclusive function does not exist as a valid parameter. No RecallPerform! When performing a Recall in the Performance Edit mode, this message appears if performance data cannot be recalled because the data has not been saved in the MU100. Not Available This message appears in order to indicate that drum voices cannot be selected when the Sound Module mode is set to PFM (Performance). PB Com ERROR! This message appears when data cannot be properly transmitted between the MU100 and a plug-in board. Unplug the power cord and make sure that the connector of the plug-in board is properly connected. Too much MIDI data is being received by the plug-in board at one time. Reduce the amount of data being sent to the plug-in board. Rcv CH is OFF! The selected parameter for use with the Show Exclusive function cannot be converted to a MIDI message value since the Receive Channel for the Part is off. Set the Receive Channel to an appropriate value. Appendix 171 Error Messages Select drumS1 → 4 When You Edit This message appears when editing a drum voice if the Part mode is set to Drum. It appears as a reminder that the Part Mode must be set to drumS1-4 before the drum voice can be edited. SysEx Adrs ERROR! The data of the received System Exclusive message is incorrect. Check the address of the message and try transmitting again. SysEx Data ERROR! The data of the received System Exclusive message is incorrect. Check the data of the message (as to whether it requires an MSB or LSB header) and try transmitting again. SysEx Size ERROR! The data of the received System Exclusive message is incorrect. Check the size of the message and try transmitting again. This Parameter Isn’t Excl Data The selected parameter has no System Exclusive value and cannot be displayed with the Show Exclusive function. 172 Appendix Specifications Specifications Tone Generation Method AWM2 (Advanced Wave Memory 2) Maximum Simultaneous Polyphony 64-note Sound Module Modes XG, TG300B, C/M, and Performance Multi-timbral Capacity 32-Part (on 32 MIDI channels; with element reserve priority for later notes and dynamic Voice allocation) Internal Voice/Program Structure Normal Programs Total Voices ......................... 1267 XG mode ............................. 1074 TG300B mode .................... 614 C/M mode ........................... 128 (Parts 1 — 9), 64 (Parts 11 — 16) Drum Programs Total Kits............................. 46 XG mode ............................. 36 TG300B mode .................... 10 C/M mode ........................... 1 Performance Programs Up to four Voices plus all effect settings can be memorized to a Performance. Preset Programs .................. 100 User Programs..................... 100 Effects Six sections of multi-effects: Reverb (12 Types), Chorus (14 Types), Variation (70 Types), Insertion 1, 2 (43 Types), Multi EQ (4 Types), and Part EQ (1 Type) Display Custom back-lit LCD Appendix 173 Specifications Controls POWER/VOL control, A/D INPUT level control; Mode select buttons: PLAY, UTIL (UTILITY), MODE, EDIT, EFFECT, EQ; other buttons: MUTE/SOLO, ENTER, EXIT, PART -/+, SELECT </>, VALUE -/+ Jacks and Terminals Front panel: PHONES jack (Stereo Mini-pin), A/D INPUT (stereo 1/4” plug) Rear panel: OUTPUT R,L (RCA-pin), INPUT R, L (RCA-pin); DC IN jack; TO HOST terminal; HOST SELECT switch; MIDI IN-A/B, MIDI OUT and MIDI THRU terminals Computer/MIDI Interface Direct connection to host computer port (RS-232C, RS-422); MIDI terminals allow connection to MIDI sequencer or MIDI controller Data Transfer (Baud) Rate MIDI Mac PC-1 PC-2 — — — — 31,250 bps (bits per second) 31,250 bps 31,250 bps 38,400 bps Power Supply Yamaha PA-5B AC Adaptor (included) Dimensions (W × D × H) 220 × 210 × 44 mm (8-11/16" × 8-1/4" × 1-3/4") Weight 1.3 kg (2 lbs., 14 oz.) Included Accessories Owner’s Manual, Yamaha PA-5B AC Adaptor, XGtools Setup Guide, CD-ROM “XGtools” * Specifications subject to change without notice. 174 Appendix Glossary Glossary A/D input Abbreviation for analog-to-digital. The A/ D inputs of the MU100 allow you to process analog inputs (such as a microphone, electric guitar, CD player, or another electronic instrument) with the digital effects of the MU100 and mix them with the internal Voices. host computer The controlling computer in a computer music system. The host computer is connected to the MU100 (via the TO HOST or MIDI terminals) and runs the software necessary for recording and playing back song data, which is reproduced by the internal sound sources and effects of the MU100. Assignable Controller 1 Certain functions on the MU100 (such as the Filter, Volume or Variation effect) can be changed in real time by controllers on a connected MIDI instrument. Assignable Controller 1 lets you determine which controller (for example: modulation wheel, breath controller, foot controller, etc.) is used for that purpose. LFO Abbreviation for low frequency oscillator, which generates a low frequency signal that is used to modulate certain aspects of the sound, such as pitch or level. Chorus, Flanger, Tremolo, Vibrato and other modulation effects use LFOs. AWM2 Abbreviation for Advanced Wave Memory 2, an enhanced version of Yamaha’s original tone generation system, featuring digital filters for superior sound. MIDI Acronym for Musical Instrument Digital Interface, a worldwide standard that allows MIDI-compatible instruments and devices to communicate with each other. For the instruments to communicate, they normally must be set to the same MIDI channel. bank A set of Voices or programs. The MIDI standard supports up to 128 banks, each of which can contain up to 128 Voices or programs. edit Editing is the process of changing or adjusting the settings of the MU100. EG Abbreviation for Envelope Generator, a common control on electronic instruments that affects the “shape” (or envelope) of the sound in time. The MU100 provides two types of EGs: one for level and the other for pitch. Filter A control for affecting the frequency content of a sound. Filters are used to selectively cut or boost certain frequency ranges in the sound — subtly enhancing the sound, or dramatically changing its character. On the MU100, the Filter can be controlled in real time with the Assignable Controller 1. General MIDI (GM) An addition to the MIDI standard which effectively ensures that any General MIDI-compatible song data can be properly played back on any General MIDI-compatible tone generator. The standard specifies that a GM-compatible tone generator must have at least 24-note polyphony, 16-part multi-timbral capacity and 128 standard voices. The MU100 exceeds this with 64note polyphony, 32-part multi-timbral capacity and 1267 Voices. modulation wheel A controller found on most MIDI keyboards which is normally used to control pitch and other types of modulation. It can be used to control various aspects of the MU100 sound by proper setting of the Assignable Controller 1. (See page 69.) multi-timbral This refers to the capacity of a tone generator to produce several different sounds at once. The MU100 is a 32-Part multi-timbral tone generator, capable of playing 32 different instrument Voices at once, each over an independent MIDI channel. Mute The Mute function of the MU100 allows you to silence one Part to hear how all of the other Parts sound without it. parameter The word “parameter” refers to any adjustable setting of an electronic musical instrument. For example, the Vibrato function of the MU100 has three parameters: Rate, Depth, and Delay. Part The Voices of the MU100 are assigned to separate Parts, and up to 32 of these Parts can sound simultaneously. Parts are analogous to the various instrumental parts in music: e.g., piano part, guitar part, etc. Appendix 175 Glossary Performance In the MU100, “Performance” refers to an operation mode and the programs that are used in that mode. A Performance can contain up to four different Parts, all controllable over the same MIDI channel. The preset Performances of the MU100 are special multi-Part sound programs designed particularly for live performance and studio recording purposes. Pitch Bend A function found on virtually all MIDI keyboards (usually controlled with a pitch bend wheel) that allows the pitch to be raised or lowered continously. The Pitch Bend Control parameter on the MU100 allows you to set the range over which the pitch can be changed. polyphony The number of notes that can be sounded simultaneously by an electronic instrument. The MU100 has 64-note polyphony, ensuring that even the most complex song data will play back completely and accurately, with no “note robbing.” port To answer the need for more MIDI channels (the limit is 16), many MIDI interfaces offer two or more MIDI ports, each of which can address 16 MIDI channels. The MU100 is equipped with two independent MIDI ports (A and B), providing 32-channel operation. The two ports are also addressable via the TO HOST computer interface. Portamento A function found on early synthesizers that creates a continuous pitch glide between successively played notes. On the MU100, the time of the pitch glide can be adjusted. return Related to effect operation, “return” refers to the effect-processed signal that is returned to the overall sound mix. For example, the parameter Reverb Return determines the amount of Reverb-processed signal that is blended with the overall sound mix of the MU100. (“Return” is the companion function of “send” below.) send Related to effect operation, “send” refers to the signal that is sent to an effect for processing. For example, the parameter Reverb Send determines the degree to which an individual Part is processed with the Reverb effect. (“Send” is the companion function of “return” above.) Solo The Solo function of the MU100 allows you to isolate a single Part, to hear how that Part sounds by itself. Sound Module mode The MU100 has four Sound Module modes, and these determine the basic operation of the unit as a tone generator. Three Multi modes (XG, TG300B and C/M) and one Performance mode (PFM) are available. tone generator An electronic instrument that functions as a MIDI-controllable sound source. For the most part, the term “tone generator” refers to those devices that have no keyboard or other controller, but are meant to be connected to and played from a separate keyboard or computer. Variation In the MU100, “Variation” refers to the special section of various effects, including Reverb, Delay, Chorus, and many others. The Variation effects total 70, and can be used simultaneously with the other effect sections of the MU100: Reverb, Chorus, Insertion 1, 2 and EQ. velocity The speed at which a note is played (for example, on a keyboard). Normally, the faster (or harder) a key is struck, the higher the corresponding note’s velocity — and, hence, the louder the sound produced. The MU100 features a variety of velocity-related parameters that provide extensive control over the velocity response of the Voices, and even allow you to set up sophisticated velocity splits, in which the Voices change in response to playing velocity. Vibrato Vibrato is a quavering, vibrating sound, and is produced in the MU100 by regularly modulating the pitch of a Voice. The speed and depth of the Vibrato can be adjusted, as well as the time it takes before the Vibrato effect is applied. Voice The basic sound unit (or sound program) of the MU100. There are a total of 1267 Voices available on the MU100. XG A new standard created by Yamaha which significantly improves on the General MIDI standard by providing a greater variety of high-quality Voices and enhanced effect operation. sequencer A device used for recording, editing and playing back of MIDI data. Sequencers are generally of two types: “dedicated” sequencer units, and computer-based sequencing software. The MU100 can be used with either type. 176 Appendix Index Index A E A/D input ................................................................ 87 A/D Part .......................................................... 87, 125 A/D Part Lock ...................................................... 144 All Part control ......................................... 51, 98, 120 Alternate Group (Drum Setup) ............................. 117 Assignable Controller 1 .......................... 69, 112, 125 Assignable Controller 1 Amplitude Control .................................................... 113, 125 Assignable Controller 1 Control Change Number ................................................... 112, 125 Assignable Controller 1 Filter Control ......... 112, 125 Assignable Controller 1 Insertion 1/2 Control ..... 138 Assignable Controller 1 LFO Filter Modulation Depth .......................................... 125 Assignable Controller 1 Variation Control ........... 137 B Bank (Performance mode) ...................... 40, 120–121 Bank Number (Multi mode) ............................. 43, 96 Boards of the XG Plug-in System ........................ 164 Effect Edit mode ................................................... 133 effect connections (System and Insertion) ........... 139 EG (Envelope Generator) ............................. 102, 127 EG Attack (Drum Setup) ...................................... 117 EG Attack Time .................................................... 103 EG Decay 1 (Drum Setup) ................................... 117 EG Decay 2 (Drum Setup) ................................... 117 EG Decay Time .................................................... 103 EG Release Time .................................................. 104 Element Reserve ................................................... 109 EQ Frequency parameters .................................... 142 EQ High Frequency ...................................... 105, 117 EQ High Gain ............................................... 105, 117 EQ Low Frequency ....................................... 105, 117 EQ Low Gain ................................................ 105, 117 EQ Type ................................................................ 142 Equalizer (EQ) ................................ 82, 105, 127, 142 Expression .............................................................. 97 F Filter ............................................................. 100, 127 C C/M mode ............................................................... 22 Chorus .................................................................. 135 Chorus Pan ........................................................... 135 Chorus Return (Multi mode) .................................. 98 Chorus Return (Performance mode) ..................... 120 Chorus Send (Drum Setup) .................................. 116 Chorus Send (Multi mode) ..................................... 97 Chorus Send (Performance mode) ........................ 122 Chorus Type .......................................................... 135 Common parameters ............................................. 123 computer, connecting cables ................................... 35 computer, connecting MU100 with ........................ 35 computer, IBM PC and clones ................................ 37 computer, Macintosh .............................................. 35 connections, audio .................................................. 28 connections, MIDI .................................................. 33 Contrast ................................................................ 146 Copy ..................................................................... 129 H HPF Cutoff Frequency (Drum Setup) .................. 116 HPF Cutoff Frequency (Multi mode) ................... 101 I Initialize functions ................................................ 152 Insertion connection ..................................... 137, 139 Insertion 1, 2 effects ............................................. 138 Insertion Part ........................................................ 138 Insertion Type ....................................................... 138 L Level (Drum Setup) .............................................. 115 LPF Cutoff Frequency (Drum Setup) ................... 116 LPF Cutoff Frequency (Multi mode) ................... 101 LPF Resonance (Drum Setup) .............................. 116 LPF Resonance (Multi mode) ............................. 101 D M Demo song ...................................................... 31, 155 Detune .......................................................... 108, 128 Device number ........................................................ 98 Display Bank Select ............................................. 147 Drum Setup controls ............................................. 114 Dry Level ..................................................... 110, 128 Dry/Wet (Variation) .............................................. 137 Dry/Wet Balance (Insertion) ................................. 138 Dump Interval ....................................................... 146 Dump Out functions ............................................. 148 DX Easy Editor .................................................... 165 DX Simulator ....................................................... 165 Master Attenuator ................................................... 98 Master Tune .......................................................... 144 Master Volume ........................................................ 98 MIDI channel.................................................. 96, 120 MIDI data flow (diagram) ...................................... 91 MIDI data storage device ....................................... 34 MIDI devices, connecting to .................................. 33 MIDI keyboard, playing the MU100 with .............. 33 MIDI keyboard, selecting Voices with ................... 47 MIDI, Receive Channel .................................. 96, 120 MIDI, Receive Port ................................................ 96 Appendix 177 Index Modulation Wheel — LFO Filter Modulation Depth ........................ 125 Modulation Wheel — LFO Pitch Modulation Depth ................. 112, 124 Mono/Poly Mode .......................................... 109, 128 MU100 Exclusive Voice ......................................... 46 Multi Edit mode .................................................... 100 Multi mode ............................................................. 85 Multi Mode Equalizer Lock ................................. 144 Mute ........................................................................ 85 Mute Lock ............................................................ 144 N Note Limit High ........................................... 110, 128 Note Limit Low ............................................ 110, 128 Note Shift (Multi mode) ......................................... 97 Note Shift (Performance mode)............................ 122 O Others parameters ......................................... 107, 127 Output Select (Drum Setup) ................................. 118 Output Select (Multi mode) .................................. 113 Output Select Lock ............................................... 145 P Pan (Drum Setup) ................................................. 115 Pan (Multi mode) .................................................... 97 Pan (Performance mode) ...................................... 122 Part Mode ............................................................. 108 Parts, selecting ........................................................ 43 Performance Bank ................................................ 120 Performance Edit mode ........................................ 123 Performance mode .......................................... 59, 119 Performance Name ............................................... 124 Performance Number............................................ 120 Performance Pan ................................................... 120 Performance Part control ...................................... 120 Performance Volume ............................................ 120 Performances, selecting Preset or Internal ............. 40 Pitch Bend Control ....................................... 111, 125 Pitch Coarse (Drum Setup) ................................... 115 Pitch EG ............................................................... 104 Pitch EG Attack Time ........................................... 104 Pitch EG Initial Level ........................................... 104 Pitch EG Release Level ........................................ 104 Pitch EG Release Time ......................................... 104 Pitch Fine (Drum Setup) ....................................... 115 PLG100-DX ......................................................... 164 PLG100-VH ......................................................... 164 PLG100-VL .......................................................... 164 Portamento Switch ....................................... 109, 124 Portamento Time .......................................... 109, 124 Program (Voice) Number (Multi mode) ................. 96 Program (Voice) Number (Performance mode) ... 121 R Recall Function ..................................................... 132 Receive Bank Select ............................................. 145 Receive General MIDI Exclusive ......................... 145 178 Receive Note Off (Drum Setup) ........................... 118 Receive Note On (Drum Setup) ........................... 118 Receive System Exclusive .................................... 145 Resonance (LPF; Drum Setup) ............................. 116 Resonance (LPF; Multi mode) ............................. 101 Reverb .................................................................. 134 Reverb Pan ........................................................... 134 Reverb Return (Multi mode) .................................. 98 Reverb Return (Performance mode) ..................... 120 Reverb Send (Drum Setup) .................................. 115 Reverb Send (Multi mode) ..................................... 97 Reverb Send (Performance mode) ........................ 122 Reverb Type .......................................................... 134 S Send Chorus to Reverb ......................................... 135 Send Variation to Chorus ...................................... 137 Send Variation to Reverb ...................................... 137 Show Control Change .......................................... 157 Show Exclusive .................................................... 159 Single Part control (Multi mode) ............................ 49 Single Part control (Performance mode) .............. 121 Solo ......................................................................... 85 Sound Module mode ...................................... 22, 156 Store ...................................................................... 130 System connection ................................................ 140 System functions .................................................. 144 System MIDI Channel .......................................... 120 System Transpose ................................................. 121 T TG300B mode ........................................................ 22 Thru Port ............................................................... 146 Transpose ................................................................ 99 U Utility mode .......................................................... 143 V Variation ............................................................... 136 Variation Connection ............................................ 137 Variation Pan ........................................................ 137 Variation Return (Multi mode) ............................... 99 Variation Return (Performance mode) .................. 121 Variation Send (Drum Setup) ............................... 116 Variation Send (Multi mode) .................................. 97 Variation Send (Performance mode) .................... 122 Variation Type ....................................................... 136 Velocity LPF Cutoff Frequency ............................ 116 Velocity Limit High ...................................... 111, 128 Velocity Limit Low ...................................... 111, 128 Velocity Pitch Sensitivity ..................................... 115 Velocity Sensitivity Depth ............................ 110, 128 Velocity Sensitivity Offset ............................ 111, 128 VH Effect Editor ................................................... 165 Vibrato .......................................................... 106, 127 Vibrato Delay ........................................................ 106 Vibrato Depth ....................................................... 106 Vibrato Rate .......................................................... 106 Appendix Index VL Visual Editor ................................................... 165 Voice Map ............................................................. 147 Voices, selecting ..................................................... 42 Volume (Multi mode) ............................................. 96 Volume (Performance mode) ........................ 120, 122 X XG mode .......................................................... 22, 42 XG Plug-in System ............................................... 163 XGworks .............................................................. 165 XGworks lite ........................................................ 165 XGworks Plug-in System ..................................... 165 Appendix 179 Memo For details of products, please contact your nearest Yamaha or the authorized distributor listed below. Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen Bestimmungsländern erhältlich. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. Para detalles sobre productos, contacte su tienda Yamaha más cercana o el distribuidor autorizado que se lista debajo. NORTH AMERICA CANADA Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311 U.S.A. Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A. Tel: 714-522-9011 CENTRAL & SOUTH AMERICA ITALY Yamaha Musica Italia S.P.A., Combo Division Viale Italia 88, 20020 Lainate (Milano), Italy Tel: 02-935-771 SPAIN Yamaha-Hazen Electronica Musical, S.A. Jorge Juan 30, 28001, Madrid, Spain Tel: 91-577-7270 PORTUGAL Valentim de Carvalho CI SA Estrada de Porto Salvo, Paço de Arcos 2780 Oeiras, Portugal Tel: 01-443-3398/4030/1823 GREECE MEXICO Yamaha de Mexico S.A. De C.V., Departamento de ventas Javier Rojo Gomez No.1149, Col. Gpe Del Moral, Deleg. Iztapalapa, 09300 Mexico, D.F. Tel: 686-00-33 BRAZIL Yamaha Musical do Brasil LTDA. Av. Rebouças 2636, São Paulo, Brasil Tel: 011-853-1377 Philippe Nakas S.A. Navarinou Street 13, P.Code 10680, Athens, Greece Tel: 01-364-7111 Yamaha Music Argentina S.A. Viamonte 1145 Piso2-B 1053, Buenos Aires, Argentina Tel: 1-371-7021 PANAMA AND OTHER LATIN AMERICAN COUNTRIES/ CARIBBEAN COUNTRIES Yamaha de Panama S.A. Torre Banco General, Piso 7, Urbanización Marbella, Calle 47 y Aquilino de la Guardia, Ciudad de Panamá, Panamá Tel: 507-269-5311 EUROPE THE UNITED KINGDOM Yamaha-Kemble Music (U.K.) Ltd. Sherbourne Drive, Tilbrook, Milton Keynes, MK7 8BL, England Tel: 01908-366700 IRELAND Danfay Ltd. 61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin Tel: 01-2859177 GERMANY/SWITZERLAND Yamaha Europa GmbH. Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030 AUSTRIA Yamaha Music Austria Schleiergasse 20, A-1100 Wien Austria Tel: 01-60203900 THE NETHERLANDS Yamaha Music Nederland Kanaalweg 18G, 3526KL, Utrecht, The Netherlands Tel: 030-2828411 BELGIUM Yamaha Music Belgium Keiberg Imperiastraat 8, 1930 Zaventem, Belgium Tel: 02-7258220 FRANCE Tom Lee Music Co., Ltd. 11/F., Silvercord Tower 1, 30 Canton Road, Tsimshatsui, Kowloon, Hong Kong Tel: 2737-7688 INDONESIA PT. Yamaha Music Indonesia (Distributor) PT. Nusantik Gedung Yamaha Music Center, Jalan Jend. Gatot Subroto Kav. 4, Jakarta 12930, Indonesia Tel: 21-520-2577 KOREA Cosmos Corporation #131-31, Neung-Dong, Sungdong-Ku, Seoul Korea Tel: 02-466-0021~5 MALAYSIA SWEDEN Yamaha Scandinavia AB J. A. Wettergrens Gata 1 Box 30053 S-400 43 Göteborg, Sweden Tel: 031 89 34 00 DENMARK ARGENTINA ASIA HONG KONG YS Copenhagen Liaison Office Generatorvej 8B DK-2730 Herlev, Denmark Tel: 44 92 49 00 FINLAND Warner Music Finland OY/Fazer Music Aleksanterinkatu 11, P.O. Box 260 SF-00101 Helsinki, Finland Tel: 0435 011 NORWAY Norsk filial av Yamaha Scandinavia AB Grini Næringspark 1 N-1345 Østerås, Norway Tel: 67 16 77 70 Yamaha Music Malaysia, Sdn., Bhd. Lot 8, Jalan Perbandaran, 47301 Kelana Jaya, Petaling Jaya, Selangor, Malaysia Tel: 3-703-0900 PHILIPPINES Yupangco Music Corporation 339 Gil J. Puyat Avenue, P.O. Box 885 MCPO, Makati, Metro Manila, Philippines Tel: 819-7551 SINGAPORE Yamaha Music Asia Pte., Ltd. Blk 202 Hougang, Street 21 #02-01, Singapore 530202 Tel: 747-4374 TAIWAN Yamaha KHS Music Co., Ltd. 10F, 150, Tun-Hwa Northroad, Taipei, Taiwan, R.O.C. Tel: 02-2713-8999 THAILAND Siam Music Yamaha Co., Ltd. 121/60-61 RS Tower 17th Floor, Ratchadaphisek RD., Dindaeng, Bangkok 10320, Thailand Tel: 02-641-2951 ICELAND Skifan HF Skeifan 17 P.O. Box 8120 IS-128 Reykjavik, Iceland Tel: 525 5000 OTHER EUROPEAN COUNTRIES Yamaha Europa GmbH. Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030 THE PEOPLE’S REPUBLIC OF CHINA AND OTHER ASIAN COUNTRIES Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2317 AFRICA Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2312 MIDDLE EAST TURKEY/CYPRUS Yamaha Europa GmbH. Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030 OTHER COUNTRIES Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2312 OCEANIA AUSTRALIA Yamaha Music Australia Pty. Ltd. 17-33 Market Street, South Melbourne, Vic. 3205, Australia Tel: 3-699-2388 NEW ZEALAND Music Houses of N.Z. Ltd. 146/148 Captain Springs Road, Te Papapa, Auckland, New Zealand Tel: 9-634-0099 COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2317 Yamaha Musique France, Division Professionnelle BP 70-77312 Marne-la-Vallée Cedex 2, France Tel: 01-64-61-4000 HEAD OFFICE XG1-02 Yamaha Corporation, XG Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2936 V319070 810CRIT5.2-01A0 M.D.G., EMI Division, C Yamaha Corporation 1998, Printed in Japan