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.
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.

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.

!! PLEASE READ THIS BEFORE PROCEEDING !!
s Location Do not expose the G50 to the following conditions to avoid deformation, discoloration, or more serious damage. Direct sunlight (e.g. near a window). High temperatures (e.g. near a heat source, outside, or in a car during the daytime). Excessive humidity. Excessive dust. Strong vibration. s USE THE CORRECT POWER SUPPLY Power to the G50 should be supplied only from the appropriate Yamaha AC adaptor (the PA-3B or another adaptor specifically recommended by Yamaha). Use of another adaptor may cause serious damage to the unit. Also make sure that the adaptor you have is appropriate for the AC mains supply voltage in the area where you intend to use the G50. (The correct input voltage is marked on the adaptor.) s Power Supply Turn the power switch OFF when the instrument is not in use. The power adaptor should be unplugged from the AC outlet if the G50 is not to be used for an extended period of time. Unplug the G50 during electric storms. Avoid plugging the G50 into the same AC outlet as appliances with high power consumption, such as electric heaters or ovens. Also avoid using multi-plug adaptors since these can result in reduced sound quality and possibly damage. s Turn Power OFF When Making Connections To avoid damage to the G50 and other devices to which it is connected (a sound system, for example), turn the power switches of all related devices OFF prior to connecting or disconnecting audio and MIDI cables. s MIDI Connections When connecting the G50 to MIDI equipment, be sure to use high-quality cables made especially for MIDI data transmission. Avoid MIDI cables longer than about 15 meters. Longer cables can pick up electrical noise that can causes data errors.
s Handling and Transport Never apply excessive force to the controls, connectors or other parts of the instrument. Always unplug cables by gripping the plug firmly, not by pulling on the cable. Disconnect all cables before moving the instrument. Physical shocks caused by dropping, bumping, or placing heavy objects on the instrument can result in scratches and more serious damage. s Cleaning Clean the cabinet and panel with a dry soft cloth. A slightly damp cloth may be used to remove stubborn grime and dirt. Never use cleaners such as alcohol or thinner. Avoid placing vinyl objects on top of the instrument (vinyl can stick to and discolor the surface). s Electrical Interference This instrument contains digital circuitry and may cause interference if placed too close to radio or television receivers. If this occurs, move the instrument further away from the affected equipment. s Data Backup The G50 contains a special long-life battery that retains the contents of its internal memory even when the power is turned OFF. The backup battery should last for several years. When the backup battery needs to be replaced BALo will appear on the display when the power is turned on. When this happens, have the backup battery replaced by qualified Yamaha service personnel. DO NOT ATTEMPT TO REPLACE THE BACKUP BATTERY YOURSELF! s Service and Modification The G50 contains no user serviceable parts. Opening it or tampering with it in any way can lead to irreparable damage and possibly electric shock. Refer all servicing to qualified YAMAHA personnel.

YAMAHA is not responsible for damage caused by improper handling or operation.

G50 Overview

The G50 is basically an interface which converts the analog output from a G1D Divided Pickup Unit installed on your guitar (or directly from the guitars normal output if used without the G1D in the mono synthesizer mode) to corresponding MIDI data which is transmitted to a MIDI tone generator to produce the synthesized sound output. When you play a note or chord on your guitar, the G50 instantly generates MIDI data corresponding to the note(s) you play along with the appropriate pitch bend data if you bend a note so that you can use most standard guitar techniques to play any voice that can be produced by the connected MIDI tone generator brass, strings, organ, percussion anything! You can play just the synthesized sound, mix the synthesized sound with the normal guitar sound played through a standard guitar amplifier or sound system, or just play the normal guitar sound.

Guitar

MIDI OUT

GUITAR DIRECT OUT

MIDI Tone Generator

Synthesized Sound

Normal Guitar Sound
The G50 has 128 programs that you can select and play. In fact, you can edit each of these programs to provide precisely the response and playing features you want. You can, for example, specify the G50s sensitivity in response to notes you play on the guitar, the pitch bend range, which voice on your tone generator will be selected when the G50 program is selected, and much more. There are also special split functions which let you play different voices on different strings, or different voices at different picking positions. You could, for example, play upright bass on the lowest two strings (5 and 6) while playing organ on the top 4 strings (1 through 4). The G50 offers many other features that provide an extraordinary range of creative possibilities.

q Split function example

Organ Upright bass
The Controls & Connectors

Front Panel

1 [POWER] Switch Press to turn the G50 power on or off. The PARAMETER & MEMORY#/VALUE display will light when the power is on. 2 INPUT-DIVIDED Connector One end of the multi-pin cable supplied with the G50 plugs in here. The cable plugs in with the release button facing upward. This is a locking connector the release button must be pressed to unplug the cable. The other end of cable connects to the G1D Divided Pickup Unit (refer to the G1D owners manual for details). 3 MONO SYNTH Jack The normal output from a guitar can be plugged in here via a standard 1/4" phone-plug cable if the G50 is to be used without the G1D Divided Pickup Unit in the monophonic mode. The monophonic mode is automatically selected when the multi-pin cable is disconnected and a standard guitar cable is plugged in here. Page 7 for details. 4 PARAMETER & MEMORY#/VALUE Display

This display shows the current program number when the G50 is in the PLAY mode, and the appropriate parameters and/or values when any other mode is engaged.
7 [TUNER] Button Engages the G50s built-in guitar tuner, allowing precise, easy tuning of each guitar string. If pressed while holding the [PLAY] button, the [TUNER] button also accesses a selection of preset program sets. Pages 10, 8 for details. 8 [MIDI] Button Allows the MIDI transmit/receive channel(s) of the G50 to be set to match the connected MIDI device(s). It is also possible to transmit MIDI bulk data corresponding to the G50s 128 programs to an external storage device by pressing the [MIDI] button while holding the [PLAY] button. Page 19 for details. 9 PARAMETER SELECT [v](NO) and [w](YES) Buttons These buttons are used to select the G50s editable parameters (A through Y). Press either button briefly to select the next parameter in the corresponding direction ([w] to select the next parameter toward Y, or [v] to select the next parameter toward A), or hold either button for continuous scrolling in the corresponding direction. These same buttons are also used to confirm (YES) or cancel (NO) the G50 program copy, swap, and other functions. Page 13 for details. J MEMORY#/VALUE [-1] & [+1] Buttons These buttons are used to increment (increase) or decrement (decrease) program numbers or the value/setting of any of the G50s editable parameters. Press either button briefly to select the next number/setting in the corresponding direction ([+1] to increment; [-1] to decrement), or hold either button for continuous scrolling in the corresponding direction. It is also possible to skip in tens (e.g. 30 etc. or the reverse) by pressing the opposite button while holding the button corresponding to the direction in which you want to increment/ decrement.
5 [PLAY] Button This button engages the normal G50 PLAY mode (the PLAY mode is selected by default whenever the G50 power switch is turned ON). Any of the G50s 128 programs can be selected and played in this mode. Page 11 for details. 6 [INPUT] Button

String 2 3

with tone generators or synthesizers which only allows reception on a single MIDI channel at a time, and is the best choice for use with a monophonic tone generator such as the Yamaha VL1-m Version 2 (of course it can also be used with multi-timbral tone generators). The Single-channel Polyphonic Mode is also ideal for MIDI recording applications (i.e. when recording the output of the G50 to a MIDI sequencer). This mode is fully polyphonic so you can play chords, but since pitch bend data is derived from the last note played the results of doublechoking techniques may not be exactly as expected. Further, if you bend a note more than a semitone, the pitch will jump a semitone). The MIDI receive channel in this mode is the same as the transmit channel. The next highest channel is used by the G50 hold function. (e.g. if C3 is selected, channel 4 is used for the hold function.)
q Multi-channel Mode Settings Setting H O L D S1 S2 S3 S4 S5 S6 S7 S8 S9 S11 S12 S13 S14 S15 S15 16
Monophonic Mode (settings M 1 through M 16 on the G50 dsly. ipa) This mode is automaticaly selected when the multi-pin cable is unplugged and a standard guitar cable is plugged into the G50 MONO SYNTH jack (see page 5 for details). The data for all strings is transmitted on the single specified MIDI channel, and only one note can be played at a time. The Q: Split, T: Picking Position Control and A: Playing Style functions have no effect in this mode. The MIDI receive channel in this mode is the same as the transmit channel.
s To Select a MIDI Mode & Channel Setting: 1 Engage the MIDI Mode. Press the [MIDI] button. The indicator above the [MIDI] button will light. 2 Select a Mode/Setting. Use the [-1] and [+1] buttons to select the desired MIDI mode and channel setting: S 1" through S 16 (M 1 through M 16) or C 1 through C 16. The S and M modes are switched automatically.
The HOLD channel in the above chart is used by the G50 hold function, described on page 18.
Single-channel Polyphonic Mode (settings C 1 through C 16 on the G50 dsly. ipa) In this mode the MIDI data derived from all strings is transmitted from the G50 on the single specified MIDI channel (1 through 16). This mode can be used

s NOTES The normal guitar sound received via either the G1D or MONO SYNTH JACK is not affected by the input level settings.
3 Adjust the Input Gain. When the string stops playing, or when the [-1] or [+1] button is pressed, the current input gain setting for that string will appear in place of the detected peak input gain. The gain setting is preceded by a G, and ranges from G1 (minimum gain) through G50 (maximum gain). If necessary adjust the input gain via the [-1] and [+1] buttons until the optimum input gain is achieved.
1. Engage the Input Level Adjustment Mode Press the [INPUT LEVEL] button. The indicator above the [INPUT LEVEL] button will light. 2. Play a Single String Play a single string on the guitar at the loudest level you will actually be playing it. The number of the string played will appear on the left side of the display (1 for the high E string through 6 for the low E string) and a number corresponding to the detected level will appear on the right of the display while the string is being played. The level values range from 1 (minimum) to 100 (maximum).

Input gain

4 Repeat for All Strings. Repeat steps 2 and 3 for all strings, then check the balance between the strings and re-adjust if necessary.
s NOTES If you are using an MU-80 or MU-50 sound module, the multiple level meters on its display can be used as a handly level guide (set the Velocity parameter to Wide see page 14)
5 Return to the PLAY Mode. Press the [PLAY] button to return to the PLAY mode when the input gain for all six strings has been properly adjusted.

String number

Input level value
The ideal input level setting should produce an oLd display only on the slightly louder notes. When if the sound can be heard as double notes, you have to readjust the input level to lower.
s NOTES No string number will appear when the G50 is being used in the monophonic mode, and any gain settings made (as described in the next step) will apply to all strings.
The [v] and[w] buttons can be used to select different string numbers when there is no input from the guitar.

Input Gain Adjustment

Tuning
The G50s built-in tuner makes it easy to precisely tune your guitar even in a noisy environment. 1 Engage the Tuner Mode. Press the [TUNER] button. The red indicator above the [TUNER] button will light and the current base tuning pitch will appear on the display: normally A 440. Although standard concert pitch is A = 440 Hz, the base pitch can be set anywhere from 440 to 445 hertz in 1hertz steps at this point by using the [-1] and [+1] buttons. 3 Tune the String. Tune the string while watching the display and the three indicators above the [TUNER] button (the latter indicate precise tuning in the TUNER mode). Tune so that the current sting number and note name appears on the display, and so that all three indicators above the [TUNER] button light simultaneously.

No input. Flat (pitch too low). Sharp (pitch too high). Perfect tuning (within 3 cents).
s NOTES Tuning pitch is remained in the memory even if power is turned off. Tuning data is transmitted via the MIDI OUT terminal when power is turned on or the Tuning pitch is changed.
4 Repeat for All Strings. Repeat steps 2 and 3 for all strings. 5 Return to the PLAY Mode. Press the [PLAY] button to return to the PLAY mode when all six strings have been precisely tuned.
2 Play a Single String. Play the first string you want to tune. The closest note to the current pitch of the string played will appear on the display: A through G# (a # is indicated by the small to the upper right of the note name). When the detected pitch is close to that of the standard tuning for the guitar string, the string number will also appear on the left of the display: e.g. 5 A for the 5th string on a guitar, normally tuned to A.
s NOTES The string numbers for guitar are: 6E, 5A, 4d, 3G, 2b, and 1. E
The string numbers for bass are: 6B, 5E, 4A, 3D, 2G, and 1c. The extra string numbers (6B and 1c) apply to 5-string and 6-string basses.

Play Mode

Any of the G50s 128 programs can be selected and played in the PLAY mode. Each program includes a range of settings which determine, for example, how the G50 responds to notes you play on the guitar, which voice is selected on your tone generator, split modes, and more. The actual settings for each program can be individually edited by you via the EDIT mode, described in the following section. If you want to start playing right away, before editing any of the programs, you will be using the default settings (listed with each parameter in the Edit Mode section, beginning on page 22). With the default settings each G50 program selects the correspondingly numbered voice on the tone generator. The default settings are designed to provide basic playability with most tone generators, but they may not be ideal for your particular system. You may have to do a little editing to get the best sound and response. You will definitely have to read the Edit Mode section and do a little editing if you want to use many of the G50s advanced features such as string or position based voice splitting.
Selecting Programs & Playing In the PLAY Mode
1 Check Your G1D Settings. Make sure your guitars volume control and the G1D volume control are set appropriately (the G1D volume control affects only the synthesized sound), and that the G1D GUITAR/MIX/SYNTH selector is set to the desired position: 3 Select a Program. You can select any of the G50s 128 programs via either the G50 [-1] and [+1] buttons or the [DOWN] and [UP] buttons on the G1D Divided Pickup Unit. Press either button briefly to select the next program number in the corresponding direction ([+1] or [UP] to increment; [-1] or [DOWN] to decrement), or hold either button for continuous scrolling in the corresponding direction. When using the G50 panel buttons it is also possible to skip in tens (e.g. 030 etc. or the reverse) by pressing the opposite button while holding the button corresponding to the direction in which you want to increment/decrement.

Edit Mode 1 5

M: Assignable Control Number 1 Settings: off, 1 31, 33 120, AF N: Assignable Control Value 1 Settings: 0 127, --O: Assignable Control Number 2 Settings: off, 1 31, 33 120, AF P: Assignable Control Value 2 Settings: 0 127, --These parameters specify one or two MIDI control change numbers with corresponding values to be transmitted when the current G50 program is selected. MIDI control change numbers generally correspond to controller functions such as modulation, sustain pedal, expression, breath control, etc. Some of the control numbers are already assigned according to the MIDI specifications (refer to the owners manual of the receiving devices for
details on MIDI Control Change Numbers), but many are unassigned and can sometimes be assigned to voice or effect parameters via the synthesizer or tone generator. The Assignable Control Number 1 and 2 parameters (M and O) specify the control number(s) to be transmitted. The range is from 1 through 31, 33 through 120, or AF for After Touch. The Assignable Control Value 1 and 2 parameters (N and P) specify the control change value to be sent with the corresponding control change number: N: Assignable Control Value 1 specifies the control change value for M: Assignable Control Number 1, and P: Assignable Control Value 2 specifies the control change value for O: Assignable Control Number 2. The control value range is from 0 to 127. --- will appear on the display and the parameter will be unavailable if the corresponding Assignable Control Number parameter is turned off.

Real Time Control

The Real Time Control group includes a range of parameters that enable and define the operation of several advanced real-time performance features. Q Slt : pi Settings: off, Sr1 Sr5, P1 P10 The G50 has two split modes which allow two different programs to be played at the same time.
q String Split In this mode the two programs are played on different groups of strings. For example, you could play acoustic bass on the two lowest strings (5 and 6) while playing organ on the remaining four strings (1 through 4). The String Split settings are Sr1 through Sr5. The number represents the string at which the split occurs. With the Sr1 setting, the split occurs between the 1st string (high E) and the lower 5 strings (2 through 6). With the Sr5 setting the split occurs between strings 1 through 5 and string 6. Intermediate settings produce a split between the corresponding string groups. q Picking Position Split In the Picking Position Split mode the split is horizontal rather than vertical as in the String Split mode. In other words, one program is played on the neck side of a certain point on the string, while the second program is played on the bridge side of the split position. The appropriate program change number is transmitted whenever the split point is crossed. The Picking Position Split settings are P1 through P10. Lower values move the split position toward the bridge and higher settings move the split position toward the neck. Experiment with the settings to find the ideal split position.

In the split modes the first program is the currently selected program. The second program is specified by the R: Split Memory 2 Number parameter, below. No split occurs when this parameter is set to off. If the G50 is being used in the monophonic mode, --- appears on the display and this parameter is not available. Also, the P1 through P10 settings are not available when the A: Playing Style parameter is set to Fin for guitar or SLP for bass (--- will appear on the display). R: Split Memory 2 Number Settings: 1 128, --This parameter specifies the second program to played in the String Split or Picking Position Split mode (see Q: Split, above). The S: Memory Location parameter, below, determines which side of the split the second program is assigned to. The settings are 1 through 128, corresponding to the desired second program number. When the Q: Split parameter is set to off (i.e. no split mode is selected), --- appears on the display and this parameter is not available.
S: Memory Location S t i g :L ,H ,- etns o i This parameter determines whether the second split-mode program (specified by the R: Split Memory 2 Number parameter, above) is played on the lower or upper string group when the String Split mode is selected, or on the neck or bridge side of the split position when the Picking Position Split mode is selected. When set to Lo, the second program is played on the lower-pitched string group in the String Split mode, or on the nut side of the split position in the Picking Position Split mode. When set to Hi, the second program is played on the higher-pitched string group in the String Split mode, or on the bridge side of the split position in the Picking Position Split mode. When the Q: Split parameter is set to off (i.e. no split mode is selected), --- appears on the display and this parameter is not available.
q String split current split position memory 2 q Picking position split memory 2
change value to be sent: U: Picking Front Position Value specifies the control change value for the nut side of the split position, and V: Picking Rear Position Value specifies the control change value for the bridge side of the split position. The control value range is from 0 to 127. --- will appear on the display and the parameter will be unavailable if the T: Picking Position Control parameter is turned off.

(front) (er ra)

control data

position

W: Touch Control Settings: off, 1 31, 33 120, AF

0 is the actual envelope 127 q Settings "-1" through "-7" 0 -1
s NOTES When using either T: Picking Position Control or W: Touch Control to control a MIDI NRPN function, set the appropriate NRPN MSB and LSB via the Assignable Control Number 1 and 2 parameters (page 16) then set the data entry MSB via the T: Picking Position Control or W: Touch Control parameter.
Y: Sustain/Hold Pedal Settings: SU1, SU2, An optional Yamaha FC4 or FC5 footswitch can be connected to the rear-panel SUSTAIN/HOLD jack for sustain or hold function control, as described below. When either the SU1 or SU2 is selected, the footswitch functions as a sustain pedal.
q SU1 The SUSTAIN 1 mode: the pedal functions like the sustain pedal on a piano, sustaining notes played until the pedal is released. In this mode new notes can be played while the pedal is held. q SU2 The SUSTAIN 2 mode: played notes are sustained while the pedal is held, and pitch bend/vibrato data will be recognized. Subsequent notes played on the same string will not be recognized while the pedal is held. Other strings are processed in the normal way. Long tones can be played with string bends or vibrato without the need for additional note-on data.
MIDI Bulk Dump Transmission & Reception
Editing all 128 of the G50s programs can involve a fair amount of time and effort. The MIDI Bulk Dump feature makes it possible to save single programs or all programs to an external MIDI data recorder such as the Yamaha MDF2 or a sequencer with MIDI data recorder capability. Another use for this feature is to create different sets of programs for different applications. You can create a library of G50 programs to cover all your needs.
s MIDI Bulk Dump Reception
Program data can be reloaded from an external storage device while the G50 is in the PLAY mode. The data is loaded automatically when received from the external storage device. A single program will be loaded into the currently selected G50 program number, replacing the previous program. If all programs are received, all 128 of the G50s programs will be replaced. rEc will appear on the G50 display during MIDI bulk dump reception, then don will appear when the data has been successfully received. If an error is encountered during reception, MErr will appear on the display and the receive operaytion will be aborted. The don or MErr message will disappear when any mode button is pressed.
s MIDI Bulk Dump Transmission
1 Press [MIDI] While Holding [PLAY]. To transmit the program data from the G50 to an external device, first press the [MIDI] button while holding the [PLAY] button. A small b will appear to the left of the program number, and the entire display will flash.
2 Specify a Program Number or ALL. Use the [-1] and [+1] buttons to select a single program to transmit (1 through 128), or select ALL to transmit all 128 programs. 3 Transmit the Data. Press the [w] (YES) button to begin the actual bulk dump transmission, or [v] (NO) to cancel. If you start the transmission, Snd will appear on the display while the data is being transmitted, then don will appear briefly when the transmission is done.

Programme / Liste des programmes prrgls
GUITAR gestellt ist / Slecteur guitare/basse : quand GUITAR est slectionn
Type: 2 When Preset Program Type 2 is selected, the data listed below will be loaded into the G50s memory. VL 70-m tone data (Cst001006.Int001) will also be sent with the bulk. Beim Auswhlen von Preset-Programmset 2 werden die unten aufgefhrten Daten in den Speicher des G50 geladen. Zusammen mit den Bulk-Daten werden auch Sounddaten fr den VL70-m bertragen (Cst001 bis Cst006, Int001). Lorsque le type de programme prrgl 2 est slectionn, les donnes listes ci-dessous sont charges dans la mmoire du G50. Les donnes de sonorits (Cst001-006.Int001) du VL70-m sont galement envoyes en bloc.
MEM# PGM MSB LSB Voice name SteamBas BooBass AtackSyn India YamSteel Mu DinoPerc Formula Jurassic SpcHorse Suedhead JazzyGtr L7 Pluck Carlos Destiny Grunge Ossyncro Talk Box SyncLead Old Mini Fat Mini Parlapho SimpleSy Choronic SlitMinu Flaggoot SynSkex FlatLead PhilTur ChalPuls Pluck Ld Brassyn AcoSynLd Moby LyricOff Rezzawi Macro Claribo Binaphon Persinet PicoPipe Gertrude Xynth Electrum Edgeopho BassCla! WX Clari WX Oboe Shakuha! LipClari Vento Sintax LiteAlto Trmbone! Air Sax TenrSax! Coca Viol Inn BrethBow Trumpt!2 Flumpet WXTrumpt Melwbone NerzoBr NuHorne WX Horn DoublBow C Flute2 OakFlute RzdeFlt Nz Flute Bamboo Remarks

MSB

Voice name Shakuhac GuitHero TenorSax Birdland OldMini RockPigs Shakuhac GuitHero Yhokihi Igneous Wynth OsciLead SqrLead Bigger AnaSquid SharpSyn Fnground FlageoBs DampBass Fretles! ThumBass WarmBass Box Bass FruitBas SqrBass! PulsClav MogueBas BoppaBas BuzzrBas MuteHrBs TranzBas Chamlion ParaSynB

Remarks *1 *1

*2 *1, 3 *4
Touch Control = Breath Noise Picking Position Control=Modulation Picking Position Control=Embouchure Picking Position Control=Tonguing TOUCH CONTROL = Breath Noise PICKING CONTROL = Modulation PICKING CONTROL = Embouchure PICKING CONTROL = Tonguing Contrle de toucher = Bruit de souffle Contrle de position de pincement = Modulation Contrle de position de pincement = Embouchure Contrle de position de pincement = Tongueing

MEM# 128

PGM 128

MSB

Voice name Flurinet Flurmod NuSopSax SoprPipe AnaSoprn NuAltSax AcidSax BellMike Oboe! Bassoon! Lonely MizuHorn BowLead MouthKey AmpdHarp CromHarp WahUpHp YamaBotl Blowsoo Brappo Crumbon Klarina ReedWin

1.2 Channel Message

Usually during performance, strings 1-6 use 6 separate MIDI channels however, strings 1-6 can also be combined to use a single MIDI channel. Also, the ability to change between 2 voices on the same string is provided with Program changes, etc. When the Hold function is used, a 7th MIDI channel is used to transmit data for the Hold function. Because MIDI channel 10 is normally reserved for drums and rhythm in many multi-timbral applications, channel 10 is not available in the Multi-channel mode. 1.2.1 Note On/Off Velocity range = 1-127. Does not receive Note On/Off Messages 1.2.2 Control Change, Pitch Bend, After Touch Data for Control Change, Pitch Bend and After Touch messages received via MIDI, are only transmitted to the currently used channels. However, when Master Volume ($Bn.7.0-127) is received via MIDI, it will be recognized as the External TG Control Volumes maximum volume range (SYNTH VOL=MAX) before volume control takes place. Also, when Sustain ($Bn.64.0/127) is received via MIDI, messages will control the sustain in the same manner (on/off) as the external sustain pedal. Pitch Bend Sensitivity of RPN is transmitted accordingly as Pitch Bend Range settings. Tuning Pitch settings are transmitted accordingly as RPN Fine Tuning. 1.2.3 Program Change In the Play mode, program changes of 0-127, when received, will change the Memory number 1-128. According to the Edit Buffers Tone Generator Setup, Program Change, etc., data will be transmitted via MIDI. In the Edit Mode, Program Changes of 0-127, when received via MIDI, will not change Memory Numbers but, Program Changes will be transmitted to the currently used channels 1.2.4 Reset All Controller The Reset All Controller is transmitted when parameters for the External TG Setups Assignable 1,2 are changed, or Control Change by Real-time Control parameters are changed or when the newly selected memory has the above parameters assigned.
< MIDI Send Conditions > $9n (Note on/off) $Bn (Control change) $Cn (Program change) $Dn (After Touch) $En (Pitch Bend) $F00 7A bb bb LM__0256OM (1 Memory bulk) $F00 7A bb bb LM__0256MA (All memory bulk) $F00 7A bb bb LM__0256SY (System bulk) $FE (Active Sensing) MIDI OUT
1.3 System Real-time Message
1.3.1 Status F8, FA, FB, FC Does not transmit or receive. 1.3.2 Status F9, FD, FF Does not transmit or receive.
1.4. Status FE (Active Sensing)
Transmitted every 200ms. Does not receive.
MIDI Data Format / MIDI-Datenformat / Format des donnes MIDI

Format des donnes MIDI

2. Bulk Dump
Bulk dumps and dump requests are recognized while in the Play Mode only. If ALL is selected, all Memory and System Setup data will be transmitted when MIDI Bulk transmission is carried out. When Data is divided into several blocks for transmission, there is an interval of 150ms between the transmission of each block. Internal parameters are all 8 bit data, bit 7 is assigned as the 1st bit of the MSB (byte), MSB and LSB are always separated into 2 bytes and transmitted and received in order. The Dump Request is only received when in the Play Mode.

Owners Manual Bedienungsanleitung Mode demploi
The G1D is a high-performance guitar synthesizer pickup/driver designed for use with the Yamaha G50 Guitar MIDI Converter. When properly installed and adjusted it can add high-performance MIDI guitar synthesizer capability to just about any electric or steel-string acoustic guitar. Please read this owners manual carefully, and follow the installation instructions within in order to ensure proper operation.

Contents

Precautions. 2 Nomenclature. 3 I s a l t o. 4 ntlain Setup. 12 Specifications. 14

Precautions

!! PLEASE READ THIS BEFORE PROCEEDING !!
s Handling and Transport Never apply excessive force to the controls, connectors or other parts of the instrument. Physical shocks caused by dropping, bumping, or placing heavy objects on the instrument can result in scratches and more serious damage. Be careful not to damage the G1D controller when placing the guitar in a case or on a stand. s Cleaning Clean the unit with a dry soft cloth. A slightly damp cloth may be used to remove stubborn grime and dirt. Never use cleaners such as alcohol or thinner. s Service and Modification The G1D contains no user serviceable parts. Opening it or tampering with it in any way can lead to irreparable damage and possibly electric shock. Refer all servicing to qualified YAMAHA personnel.
s Location Do not expose the G1D to the following conditions to avoid deformation, discoloration, or more serious damage. Direct sunlight (e.g. near a window). High temperatures (e.g. near a heat source, outside, or in a car during the daytime). Excessive humidity. Excessive dust. Strong vibration. s Connections When connecting the G1D to the Yamaha G50 Guitar MIDI Converter, be sure to use the specified multi-pin cable (supplied with the G50 Guitar MIDI Converter). Always connect the direct guitar cable (page 12), even if you dont intend to use the direct guitar sound. The direct guitar cable is essential for proper grounding, to minimize noise and prevent electric shock. Always unplug cables by gripping the plug firmly, not by pulling on the cable. Disconnect all cables before moving the instrument or any connected equipment.
YAMAHA is not responsible for damage caused by improper installation, handling, or operation.

Nomenclature

4 Power Indicator
The G1D is receiving power from the G50 Guitar MIDI Converter when this indicator is lit. The indicator lights when the G1D is properly connected to the G50 via the multi-pin cable, and the G50 power is turned ON.

5 Volume Control

Controls the volume of the MIDI tone generator(s) connected to the G50 Guitar MIDI Converter (the G50 translates the position of this control to MIDI master volume data which is sent to the tone generator). Use the guitars original volume controls to adjust the volume of the direct guitar sound.
6 UP/DOWN Buttons 1 Pickup
This is the actual pickup unit which converts the physical motion of the guitars strings into an electrical signal which can be processed by the G1D and transmitted to the G50 Guitar MIDI Converter.
s CAUTION! Because of its slender dimensions the pickup unit is quite delicate and can be damaged if subjected to unnecessary force, bending, or twisting. Handle the pickup carefully!
These button can be used to select different synthesizer voices and select other functions while playing the G1D. Press either button briefly to increment or decrement the G50 Guitar MIDI Converter memory number by one (and thereby the voice number of the synthesizer or tone generator it is driving), or hold either button for continuous scrolling in the corresponding direction.
7 GUITAR/MIX/SYNTH Selector
Selects the type of output to be delivered via the multi-pin cable connector to the G50 Guitar MIDI Converter, as listed below:
GUITAR Only the direct guitar sound will be heard (i.e. no synthesizer sound will be produced). Both the direct guitar sound and individual-string synthesizer output will be heard. Only the individual-string synthesizer output is sent to the G50 (no direct guitar sound will be heard).
2 Multi-pin Cable Connector
This is the main output from the G1D. One end of the multi-pin cable supplied with the G50 Guitar MIDI Converter is plugged in here, and the other end of the cable is plugged into the DIVIDED INPUT connector on the G50. The multi-pin cable connector delivers both the individual string output from the G1D pickup and the combined output from the guitars output jack to the G50 Guitar MIDI Converter. It also supplies power from the G50 to the G1D, and sends the control signals produced by the G1D UP/DOWN buttons and VOL control to the G50.

3 Direct Guitar Input Jack
This jack receives the combined output from the guitars normal pickups from the guitars output jack. The short cable supplied with the G1D is used to connect the guitars output jack (large 1/4" phone jack end of the cable) to the G1D direct guitar input jack (small mini-jack end of the cable).

Nomenclature 3

Installation
Installing the G1D on a guitar is not a difficult process, but it does require care and at least a modicum of mechanical ability. If you dont feel totally confident that you can handle the job, it might be a good idea to leave the installation to someone experienced in guitar modification or repair.
IMPORTANT! Make sure your guitars neck (truss rod) and string height/intonation (bridge) are properly adjusted before installing the G1D.

Guitar Compatibility

The G1D can be installed on most electric and steel-string acoustic guitars, with the following exceptions: Since the G1D employs a magnetic pickup, it will not work with nylon or other non-metallic strings. The G1D is designed for use with 6-string guitars. It will not work properly with 12-string guitars or other non-standard string configurations. The G1D pickup should be installed between the guitars bridge and bridge pickup. Installation may not be possible if there is not enough room between the bridge and bridge pickup of your guitar, or between the guitar top and strings.
Installing the Controller Ui nt
Install the controller unit before installing the pickup, being careful not to damage the pickup during the installation process. A number of installation options are provided: Screw. Double-sided adhesive tape. Re-usable adhesive pads. Velcro fastener. Bracket. Suction cups.
Choose the method which best is best suited to your guitar and playing requirements.

s Hardware

The following parts are provided for installation of the controller unit. Please make sure you have all the parts. Self-tapping round-head screw (3x16mm).. 1

s Installation Procedure

1. Determine the optimum location for installation.
Normally, the controller should be attached somewhere behind the guitars bridge, as shown in the illustration. It should be accessible, but it should not interfere with your playing or any of the guitars controls or adjustments. Consider the following points carefully when deciding on the best location to install the controller:

Pickup Controller

Double-sided adhesive tape.. 3
Re-usable double-sided adhesive pads (transparent).. 3

GUITAR MIX SYNTH

DOWN UP VOL
Spacer (double-sided adhesive). 6
Direct guitars cable Multi-pin cable

Velcro fastener... 1

The controller and pickup cable should not get in the way of your picking-hand at any time. Make sure the location you choose will not affect your playing style. The controller should not block or hamper access to any of the guitars controls: tone, volume, bridge adjustments (especially watch out for intonation/saddle screws accessed from the rear of the bridge). The controller must be well within reach of both the pickup cable (when the pickup is in its final installed position) and the direct guitar cable Neither the controller unit itself nor any of the connected cable plugs should extend beyond the body of the guitar to prevent accidental damage.

Bracket... 1

Suction cups.. 3

Installation 5

2. Mark and drill the controller screw hole (see NOTES below).
s CAUTION! Make sure the multi-pin cable and direct guitar's cable are disconnected from the controller before installation.
3. Attach the controller. (screw/adhesive tape)
Remove the protective backing from one side of the adhesive tape patches and attach them to the bottom of the controller as shown in the illustration.
While holding the controller unit in exactly the position it is to be installed, use a fine pen or scribe to mark the center of the screw hole (located in the multi-pin cable recess of the controller) on the body of your guitar. Then set the controller unit aside and carefully drill a 2-millimeter (1/16" inch, approx.) hole at the marked location.
screw hole s NOTES You can use the standard adhesive tape or the reusable adhesive pads on just about any type of guitar. See The Re-usable Adhesive Pads below, for details. The adhesive tape/pads may react chemically with the finish on some guitars, causing discoloration or otherwise marring the finish. It might be a good idea to try attaching a small piece of tape/pad at some location that is not obvious for a few days before actual installation. If your guitar has an arched top or is shaped in such a way that the controller wont sit properly with only the standard adhesive tape, use as many of the spacers as required in the appropriate location(s) to position the controller as required. The spacers are adhesive on both sides, with protective backing like the standard adhesive tape.
s NOTES For acoustic or semi-acoustic guitars, or simply if the idea of drilling a hole in your guitar makes you shudder, the controller can be attached using only the adhesive tape, the Velcro faster, or any of the other installation options described below. Please note, however, that screw installation is the most secure method, and is recommended wherever possible. The Velcro fastener is provided for players who will be frequently removing and reattaching the G1D. DO NOT use the adhesive pads if you use the Velcro fastener.

Bottom side

Next, carefully clean the area on the guitar body to which the controller is to be attached to eliminate dust, dirt, and particularly any oil or grease which might prevent the adhesive from sticking. Then remove the protective backing from the exposed side of the adhesive tape, and carefully attach the controller to the guitar making sure that the screw hole in the controller is perfectly aligned with the screw hole in the body of your guitar (if you drilled one). Press firmly but dont use excessive force to ensure that the tape sticks securely. Finally, screw the supplied self-tapping roundhead screw (3 x 16 mm) into the pre-drilled hole in the guitar body through the hole in the controller. Screw only finger tight if you attempt to screw the screw in too far or too tight you might damage the controller and or your guitar!
The Re-usable Adhesive Pads The re-usable adhesive pads can be used in the same way as the standard double-sided adhesive tape for controller unit installation. They can be reused many times, and if their adhesive qualities deteriorate due to accumulated dust and dirt, they can be restored to virtually like-new conditions by washing carefully with a neutral detergent. If you do repeatedly attach and remove the re-usable adhesive pads, it is a good idea to replace the original protective backing when the pads are not in use to keep them in top condition.
An alternative method is to attach the bracket using the guitars strap pin (the spacers should still be used to prevent the controller/bracket assembly from scratching the surface of the guitar). Loosen the strap pin on the guitar body by unscrewing its attachment screw by a few turns, slide the slot in the bracket under the pin as shown in the illustration, then tighten the pin screw until the bracket is held firmly in position.
Bracket Installation This installation option has the advantages that no holes need to be drilled in the guitar. To use the bracket, first unscrew the two screws marked with arrows on the bottom of the controller unit, then use the same screws to attach the controller unit to the bracket as shown in the illustration.
s CAUTION! Repeated loosening and tightening of the strap pin, or application of excessive force to the bracket, can cause the strap pin screw to become loose.
Suction Cup Installation The supplied suction cups are a handy and fairly secure way to attach the controller unit to guitars with a flat top and a smooth, shiny finish. To use the suction cups, first insert the bases of the three suction cups into the large openings in the three holes on the bottom of the controller unit, then slide the bases of the cups toward the narrow section of the holes until they are held securely. Then, after making sure the surface of your guitar is free from dirt and grease, simply press the controller unit onto the guitar top at the appropriate location. The suction cups can be removed by slightly lifting the edge of each cup.

Next, attach the spacers (double-sided adhesive) to the bracket to protect the guitar surface from the screw heads, and attach the bracket to the guitar in the appropriate position, as shown in the illustration.
Spacer (Double-sided adhesive tape)

Installation 7

Installing the Pickup
Once youve installed the controller, the pickup can be installed using either double-sided tape or screws. Although the tape is convenient, screwinstallation is recommended because it provides greater security and allows pickup height adjustment for optimum performance.
s Installation Procedure Tape
1. Mark the optimum position for installation.
The pickup should be located between the bridge pickup and bridge, ideally 20-mm from the bridge. If the ideal 20-mm placement is not possible, the pickup should be located as far as possible, but no more than 20 millimeters away from the bridge. The cable end of the pickup should be oriented toward the sixth string (low E). One pair of the pickups magnetic yokes should be under each string. String spacing varies somewhat on different guitars, and the pickup will function properly as long as each string passes over part of the corresponding yokes (not necessarily the exact center). Check that the strings pass over the yokes, even when bending the strings.

Bridge pickup Bridge

The following parts, supplied with the G1D, are required or optional for installation of the pickup. Please make sure you have all the parts. Self-tapping round-head screws (3x25mm). 2

Springs.. 2

Double-sided adhesive tape.. 4

Pickup cushion.. 1

Pickup
No more than 20 millimeters (3/4")
Pickup spacers A (1mm).. 5
String Pickups magnetic yokes
Pickup spacers B (0.3mm).. 10
s NOTES Make sure the pickup does not interfere with the operation of a tremolo arm or other guitar controls. If the bridge side pickup of your guitar is a humbucking type, attach the divided pickup to the bridge side pickup. (See above illustration.)
Re-usable double-sided adhesive pads. 2
Once the pickup has been positioned correctly, carefully mark the position on the guitar body. Small pieces of marking tape can be used if you dont want to mark directly on the guitar body.
2. Set the pickup height.
First make sure the truss rod and string height are adjusted properly, then tune the strings to their normal pitch. Adjust the height of the pickup using the appropriate spacer or combination of spacers (see NOTES below) so that the distance between the top of the pickup and the bottom of each string is about 1 millimeter (0.04") when each string is fretted at the highest note on the neck. The pickup height can be checked by using the supplied clearance gauge. The distance between the pickup and the bottom of the strings can be set less than 1 mm as long as the strings do not touch the pickup when fretted at the highest note on the neck.

1 millimeter (0.04")

3. Attach the pickup.

Remove the strings from the guitar. Apply the double-sided tape to the bottom of the pickup and remove the backing. Remove the backing from the required pickup cushion/spacers and carefully attach them to the bottom of the pickup. Finally, carefully attach the pickup/spacer assembly to the guitar at the marked position, then re-string and tune the guitar.
Cut Double-sided adhesive tape
Spacers A, B Bridge pickup Guitar body Pickup Bridge Cushion
Clearance gauge 20 millimeter (3/4") 1 millimeter (0.04") s NOTES Dont remove the backing from the pickup cushion or spacers when initially setting up the pickup height. Please note that the cushion/spacer backing adds about 0.1 millimeter (0.004") to their thickness, so take this added thickness into account when using a number of spacers. To compensate for differences in height between the first and sixth strings (e.g. if your guitar has an arched top), use an appropriate number of one-quarter or one-third width spacers under the lower end of the pickup (the spacers can be cut easily with a good pair of scissors). Cut Double-sided adhesive tape
s NOTES The re-usable double-sided adhesive pads (page 8) can be used in place of the bottom layer of adhesive tape (guitar side). Cut the pads to match the shape of the pickup, as required.

4. Check the height.

Check the pickup height again, and play the guitar in all ranges to ensure that the strings do not come in contact with the pickup. If all is well, then the installation is complete.

Cut spacers

If you need to readjust the pickup height If the pickup height needs to be re-adjusted, remove the strings and carefully pry the pickup from the guitar by sliding a thin, flat object (e.g. a small knife blade) under the sixth-string end of the pickup between the pickup and top spacer and gently lifting the pickup away from the spacer.
s Installation Procedure Screw
Screw installation has several advantages over tape installation: screw installation is more secure, the height of the pickup can be more precisely adjusted., and pickup height can be easily readjusted as required without having to remove and reattach double-sided tape.

s NOTES Screw installation requires at least a 13 millimeter (1/2) space between the guitar top and strings. Adjust the pickup height using spacers (no springs) if the distance between guitar top and strings is less than 13 mm.
The double-sided tape can then be rolled off the bottom of the pickup as shown in the illustration.
The pickup should be located between the bridge pickup and bridge (see NOTES below). The cable end of the pickup should be oriented toward the sixth string (low E). One pair of the pickups magnetic yokes should be under each string. String spacing varies somewhat on different guitars, and the pickup will function properly as long as each string passes over part of the corresponding yokes (not necessarily the exact center).
Readjust the height as required by adding or removing spacers: To add a new spacer in order to raise the pickup, remove any used double-sided tape from the existing spacer, then attach the new spacer to the top of the existing spacer after removing its backing. When removing a spacer to lower the pickup, be sure to remove both the spacer and its backing tape. Finally, attach fresh double-sided tape to the bottom of the pickup, remove the backing, carefully attach the pickup to the uppermost spacer, then re-string and tune the guitar.

String

Pickups magnetic yokes
s NOTES The pickup should be located as far as possible but no more than 20 millimeters (3/4") from the bridge. Make sure the pickup does not interfere with the operation of a tremolo arm or other guitar controls.
4. Re-string and adjust the pickup height.
Re-string and tune the guitar, then carefully adjust the pickup height by loosening or tightening the pickup screws. The distance between the top of the pickup and the bottom of each string should be about 1 millimeter (0.04") when each string is fretted at the highest note on the neck. The pickup height can be checked by using the supplied clearance gauge.
Once the pickup has been positioned correctly, carefully mark the centers of the two screw holes at either end of the pickup on the guitar body using a fine pen or scribe.

2. Drill the screw holes.
Remove the strings from the guitar and very carefully drill 2-millimeter (0.08", approx.) holes at the marked locations. The holes may have to be slightly larger in diameter if your guitars body is made from a very hard wood such as maple, cherry, or rosewood.
Insert the two self-tapping round-head screws (3x25mm) through the screw holes in the pickup, and place the springs over the screw shafts extending below the pickup. Screw the screws in the corresponding holes in the guitar top.
s CAUTION! Be careful not to damage the pickup cable when installing the pickup.

Installation 1 1

Once installation is complete, youre ready to connect and check out your MIDI guitar system (assuming you also have a G50 Guitar MIDI Converter and appropriate tone-generator/sound hardware).
2. Connect the G1D to the G50.
After making sure that the G50 Guitar MIDI Converter power is OFF, plug one end of the multipin cable supplied with the G50 into the G1D multi-pin connector, and the other end into the DIVIDED INPUT connector on the G50. The release button on the multi-pin plug should face outward.
1. Connect the direct guitar cable.
Connect the 1/4" mono phone plug end of the direct guitar cable (supplied with the G1D) to the guitars output jack, and the mono mini-plug end of the cable to the G1D direct guitar input jack.

DIVIDED

MONO SYNTH

Multi-pin cable

Direct guitar cable
s NOTES For extra security and damage prevention it is a good idea to pass the cable between the strap and guitar body near the body strap pin.
s NOTES Always connect the direct guitar cable, even if you dont intend to use the direct guitar sound. The direct guitar cable is essential for proper grounding, to minimize noise and prevent electric shock.

DOWN UP

See the G50 owners manual for G50 setup and operation details. The multi-pin cable plug release button must be pressed when unplugging the multi-pin cable from the G1D.

1. Press release button.

D IDE DIV
2. Unplug cable by gripping the puing firmly.

3. Turn on the G50.

When the G50 power is turned ON, the G1D power indicator should light indicating that it is receiving power from the G50.

4. Play.

Assuming that your G50, tone generator, and other equipment are set up properly (refer to the appropriate owners manuals for details), youre now ready to play.

Setup 1 3

Specifications

s Functions

Volume Control (VOL) GUITAR/MIX/SYNTH Selector UP/DOWN Buttons Power Indicator Pickup (individual-string synthesizer output) Direct Guitar Input Jack Multi-pin Cable Connector (individual-string synthesizer output + direct guitar sound)

s Package Contents

Pickup & Controller Unit Direct guitar cable (1/4" mono phone <--> mono mini-plug) Installing hardware parts

s Dimensions (W x H x D)

85.1mm x 75.9mm x 28.8mm (3-1/3" x 3" x 1-1/8")

s Weight

70 g (2.5 oz)
M.D.G., EMI Division Yamaha Corporation 1996 VU83880 706POCP5.2-03C0 Printed in Japan