RED cassette deck microphone input. WHITE cassette deck earphone output. BLACK cassette deck remote input (where applicable)
2. Optional Foot Switch 3. Optional BC-1 Breath Con troller 4. Headphones

5. MIDI Terminals

6. Cassette
7. Battery, AC Power Adaptor
The DX100 operates off 6 C size batteries which are inserted in the battery compartment in the bottom of the synthesizer. Or, insert the optional PA-1210 AC power adaptor cord into the DC IN jack located on the rear panel of the DX100, and then plug the standard 2-prong plug into an AC wall socket. Be sure that your local line voltage matches that specified on the PA-l210. You will find the POWER switch next to the DC IN jack on the rear panel of the DX100.
When setting up your system, be sure to turn the DX100 and any effects units used on BEFORE turning the main amplifier system on. This will prevent the initial power-on shock surge from possibly damaging your amplifier and speaker system. The DX100 features a Power-ON LED indicator, located immediately to the right of the LCD indicator on the top panel. It glows when the Power switch on the rear 8. Power-ON, Low Battery LED Indicator panel is turned ON. Additionally, it flashes to warn of low battery power should such an occasion arise (batteries provide approximately 10 hours of continual use.) 9. LCD Contrast Control 10. ID Function An LCD Contrast Control, located on the back panel immediately behind the LCD indicator, is provided in the DX100 to provide a clearly visible readout under most lighting circumstances. It is possible to change the Welcome to DX! message which appears when the power is first switched ON to anything you like-your name, for example. To change the ID, hold the KEY SHIFT button while turning the power ON. The current ID message will be displayed with a cursor over the first character. <Welcome to DX!> The cursor can then be moved to any character position on the display by successively pressing the KEY SHIFT button. <Welcome to DX!>
Choose the position to enter a new character, then using the DATA ENTRY slider or buttons, select the new character from the available character set.
Move the cursor to the next character position and enter the next character as described above. When your new ID message is complete, simply press any button other than the KEY SHIFT, DATA ENTRY, STORE or FUNCTION buttons to enter the normal operation mode. The new ID message you have entered will now be displayed every time you turn the instrument ON.
11. When using dry batteries
Insert 6 AA size dry batteries (optional). Remove the cover at the rear of the main unit and set the batteries while checking the polarity. When doing so, be sure to set the ribbon for removing batteries under the second one from the left.

2. The INTERNAL PLAY Mode
In this mode, you can play any of the voices currently in the DX100s 24-voice INTERNAL memory individually. 3. The BANK PLAY Mode The BANK PLAY mode enables you to access the 96 BANK memory locations. These initially contain the first group of 96 voices from the 192-voice PRESET ROM. Using the SHIFT mode, however, you can also access the second group of presets while in the BANK PLAY mode. Later, you can store any voices you like in any order in the these BANKS. While in the INTERNAL PLAY mode, press any of the BANK buttons;BANK ABANK D. This will select the appropriate BANK, and the 24 voices in that bank can be selected by pressing any of the DX100s 24 voice buttons. PA 2 NewElectro The SHlFT Mode By entering the DX100 SHIFT mode while in BANK PLAY, the correspondingly numbered voice from the second group (SHIFT group) of preset voices will be selected. Note that in the BANK PLAY mode this only applies to voices which have been stored in the BANK memory from the 192-voice PRESET memory. Voices stored in the BANK from the 24-voice INTERNAL memory will not change when the SHIFT mode is selected. To enter the SHIFT mode, hold down the INTERNAL PLAY button and press the +1 button. To return to the NORMAL mode hold down the INTERNAL PLAY button and press the -1 button.
4. The 192-Voice PRESET Memory
The DX100 comes with 192 different pre-programmed voices in an internal ROM (Read Only Memory).These voiced can be loaded singly into the DX100's selectable 24-voice INTERNAL memory, or into any location in the DX100 bank memory.
THE 192 PRESET ROM VOICES NORMAL MODE VOICES

G r o u p 24

Group 2

Solid Brass

Group 3
01 E a s y 02 E a s y Synth Clav Glocken
IvoryEbony Oprt piano Tonk
Synthe Bass Mono Bass Elec Bass Fretless H o r n s Flugelhorn Hard Brass Power Brass BC1Trumpet S t r i n g s Silk Cello Orchestra Solo Violin Box Cello Richstring 5th String Harpsi low Harpsi Hi Fuzz Clav Clear Clav Squeezebox C e l e s t e Circustime

Strings1 Strings 2 Strings 3
Trombone BC1 Horns 24 B a s s o o n

Zing Plop

The PRESET voice can also be accessed directly and played using the PRESET SEARCH function.
PRESET SEARCH This function allows you to directly access the voices in the PRESET memory, in the order they appear in the PRESET memory. PRESET SEARCH is accessed in the FUNCTION mode. To enter the FUNCTION mode press the FUNCTION button. Then press any of the PRESET SEARCH selectors to access the corresponding voices (these are the same as the BANK AD selectors used in the BANK PLAY mode). In the NORMAL (NON-SHIFT) mode, the PRESET SEARCH selectors call PRESET voice groups 101124, 201224, 301324, and 401424 from the NORMAL preset voice group. In the SHIFT mode (described in The BANK PLAY Mode, above), the correspondingly numbered voices from the SHIFT preset voice group are selected. The 24 voices in each group are selected by pressing the corresponding voice selector. After selecting PRESET SEARCH 101124, for example, the LCD will appear as follows:
F indicates that you are in the FUNCTION mode PRESET SEARCH function. This function lets you review the voices in the PRESET memory. It is also possible to store a voice selected in this mode into any of the 24voice INTERNAL memory locations using the STORE function described later in this manual.
CHAPTER III: THE FUNCTION MODE
The FUNCTION mode permits access to four groups of functions: tuning functions, MIDI functions, memory management functions, and performance functions. In this chapter well describe each of these functions; what they do and how they are programmed. 1. Accessing the FUNCTION Mode The FUNCTION mode is called by pressing the FUNCTION button. Individual parameters to be programmed are then called by pressing the appropriate voice button. Note that when the FUNCTION mode is active, pressing a voice button calls the corresponding FUNCTION parameter. These functions are printed in brown below each voice button. Note also that there are two exceptions: the PITCH B (Pitch Bend) MODE SET and KEY SHIFT KEY SET buttons are NOT included among the voice buttons. These function buttons are located immediately above the DATA ENTRY -1 and +1 buttons. When the FUNCTION mode is called, the LCD should look something like this.

2. Entering Function Data
The display will read F M.Tune= 0, indicating that the FUNCTION mode is active, plus the name of the selected function and its current data. In the example above, the MASTER TUNE function is called (press the 1 button), and the data is currently set at 0. Once the desired function has been selected, its value can be altered using either the linear DATA ENTRY slider located to the left of the panel, or the adjacent -1 /+1 buttons.
Moving the DATA ENTRY slider away from you increases the value of the selected parameter, and moving the control towards you decreases the data value. Pressing the -1 button decreases the value of the selected parameter by one (decrements), and pressing the +1 button increases the value by one (increments). While the DATA entry slider is valuable for quickly approaching the desired value with parameters that have a large data range, the +1 and -1 buttons permit precise step-wise location of a specific value. The switches are also easier to use with parameters that only have two values, i.e. ON (1) or OFF (0). In some cases you will be required to answer YES or NO to prompts which will appear on the LCD display. The -1 /+1 buttons are also used for this purpose. 3. The Performance Parameters Performance parameters are programmable parameters which pertain mainly to real-time performance effects, such as how the pitch bend and modulation wheels affect the sound. After a function is selected using the corresponding button, it can be incremented with further pressing of the same button. 11
* Note that performance parameters 13 through 24 can be individually stored for each voice. They must therefore be stored in the appropriate INTERNAL RAM voice memory location after editing using the STORE function (see CHAPTER IV: VOICE PROGRAMMING, 4. Storing Voice Data). 13: POLY/MONO
This function selects either the POLY or MONO note output mode. Voice programmed with the POLY mode permit simultaneous playing of up to 8 notes. In the MONO mode the DX100 acts as monophonic keyboard. Once the POLY/MONO function is selected, subsequent presses on the 13 button alternate between the POLY and MONO modes. The DATA ENTRY buttons can also be used: the -1 button selects POLY and the +1 button selects MONO. 14: PITCH BEND RANGE
This function sets the pitch range of the pitch bend wheel located to the left of the DX100 panel. The pitch bend wheel automatically centers at normal pitch. It then may be moved upward (away from the player) to raise the pitch, or moved downward (toward the player) to lower the pitch by the specified amount. The Pitch Bend direction can also be reversed: Hold down the PITCH B MODE SET button while switching the DX100 power ON. This provides the same depth of effect, but in the opposite direction of wheel movement, which can be useful in performance situations. The data range is from 0 to 12. At 0, the pitch bend wheel is off. Each increment between 1 and 12 represents a semitone, i.e. the pitch variation between any white key and a black key immediately next to it. Thus, if this function is set to 12, maximum travel of the pitch bend wheel either above or below center position produces a one-octave pitch variation. The DATA ENTRY slider and -1/+1 buttons can be used to enter data. Once the PITCH BEND RANGE function is called, subsequent presses on the 14 button will increment (increase) the data value. PITCH B MODE: MODE SET

As you move the DX100 modulation wheel away from you, an increasing amount of LFO (Low Frequency Oscillator) modulation is applied to the selected voice. 13
LFO modulation can be made to modulate the pitch of the voice, producing a range of vibrato type effects. This function is used to set the maximum depth of pitch modulation which can be applied using the modulation wheel. The actual effect produced depends on the settings of the LFO parameters, these will be discussed in CHAPTER IV: VOICE PROGRAMMING. Note, however, that the appropriate voice PITCH MODULATION SENSITIVITY parameter must be set to a value higher than 0 for pitch modulation to be effective. The voice PITCH MODULATION SENSITIVITY parameter will also be discussed in CHAPTER IV. The data range is from 0 to 99. At 0, pitch modulation is OFF, and rotating the modulation wheel will cause no pitch modulation to be applied to the voice. A setting of 99 produces the greatest possible pitch modulation depth. Data is entered using the DATA ENTRY slider or buttons. Once this function is called, subsequent presses on the 18 button will increment the data value. NOTE: Modulation Wheel control direction is reversed simultaneously along with the Pitch Bend Wheel when the PITCH B MODE SET button is pressed while turning on the power to the DX100. 19: MODULATION WHEEL RANGE, AMPLITUDE
As you move the DX100 modulation wheel away from you, an increasing amount of LFO modulation is applied to the selected voice. LFO modulation can be made to modulate the amplitude (level) of specified voice elements (operators), producing a range of tremolo or timbre modulation (wah-wah) type effects. This function is used to set the maximum depth of amplitude modulation that can be applied using the modulation wheel. The actual effect produced depends on the settings of the LFO parameters, these will be discussed in CHAPTER IV: VOICE PROGRAMMING. Note, however, that the appropriate voice AMPLITUDE MODULATION SENSITIVITY parameter must be set to a value higher than 0 for amplitude modulation to be effective. The voice AMPLITUDE MODULATION SENSITIVITY parameter will also be discussed in CHAPTER IV. The data range is from 0 to 99. At 0, amplitude modulation is OFF, and rotating the modulation wheel will cause no amplitude modulation to be applied to the voice. A setting of 99 produces the greatest possible pitch modulation depth. Data is entered using the DATA ENTRY slider or buttons. Once this function is called, subsequent presses on the 19 button will increment the data value. The Yamaha Breath Controller The optional Yamaha BC-1 breath controller is a unique way of adding musical expression as you play the DX100 keyboard. The BC-1 is held in the mouth just like the mouthpiece of a wind instrument. Blowing harder or softer into the BC-1 mouthpiece produces a corresponding effect. The breath controller can be used to apply varying amounts of pitch or amplitude LFO modulation, just like the modulation wheel. In addition, it can be set up to directly affect pitch, amplitude or timbre in response to breath pressure. Set to directly affect amplitude (EG BIAS), for example, the breath controller can be used to apply realistic tonguing effects to brass and other wind instrument sounds. The four BREATH parameters listed below determine just how the breath controller will affect the DX100s sound. These parameters may be set individually, or combined for more complex effects.

This function sets all voice parameters in the voice edit buffer to their initialized values, permitting voice programming from an effectively neutral set of valuesa clean slate.
When this function is called, the LCD will read Init. Voice? Confirm your intention to initialize the voice edit buffer by pressing the +1 button. The DX100 will then ask you to reconfirm your intention to initialize the voice with Are You Sure ? Press the +1 button again to actually execute the initialize operation. Once executed, the DX100 will automatically enter the EDIT mode, ready for voice programming. Pressing another function button, the PLAY mode button, or the EDIT mode button prior to the final step in the above process will abort the voice initialize function.

8: BANK EDIT

The BANK EDIT function allows you to load PRESET voices of the normal mode or shift mode and 24 INTERNAL memory voices into any of the 96 BANK memory locations, in the order you desire. In PRESET memory, they are immovable. If, for example, you want to have 10 specific voices all in consecutive memory locations
for convenience and ease of selection during a performance, you would use the BANK EDIT function to place your 10 required voices in locations 110 in BANK A. There are 4 entire banks in the BANK memory. This means you can have 4 personally-arranged 24-voice groups to choose from, i.e., separate BANK for each set in a performance. To enter the BANK EDIT function, press the FUNCTION button, followed by the BANK EDIT button. The LCD will respond with Edit BANK? Reaffirm your intention to complete the process by pressing the +1 button. The LCD will again respond, this time with BANK? (A-D). Select a BANK for editing, and in succession the button corresponding to the voice you want to change. Now, select a new voice for that position by using the DATA ENTRY slider or the -1/+1 buttons. Finally, you may select an additional voice to change, or press INTERNAL PLAY to exit the BANK EDIT function.
The following diagram shows approximately where in the DATA ENTRY control range the INTERNAL and PRESET voices are located. IN NORMAL MODE IN SHIFT MODE NORMAL MODE PRESETS 101 ~ 424 SHIFT MODE PRESETS 101 ~ 424
INTERNAL RAM 1 ~ 24 DATA ENTRY NOTE:

INTERNAL RAM 1 ~ 24

The BANK memories are not actually loaded with the voice data, but the voice number. Thus, when a BANK memory location is selected, the voice corresponding to the voice number stored in that location is called from its memory in either the INTERNAL or PRESET memories.

9: CASSETTE SAVE/VERIFY

This function actually incorporates two sub-functions: SAVE and VERIFY. After calling this function, subsequent presses on the 9 button alternate between the SAVE and VERIFY sub-functions. Normally, however, you will start with the SAVE function, which saves the entire contents of the DX100s INTERNAL voice memory onto cassette tape. The VERIFY function is then used to check the saved data against the data still in INTERNAL memory, to ensure that no errors occured in the SAVE process. Before using this function, make sure that an appropriate data cassette recorder is properly connected to the DX100, as described in CHAPTER I: SETTING UP.

Most algorithms have multiple modulators and carriers. In one algorithm a given operator may be a carrier, while in the next it might function as a modulatorthe only difference being how it is connected. In algorithm number 5 for example, there are two vertical stacks of two operators, and the outputs of the carriers in these stacks are connected in parallel (horizontally). Algorithm 5 has an equal number of modulators and carrierstwo modulators and two carriers.

ALGORITHM #5

On the other hand, all operators in algorithm 8 function as carriers. Note that no modulation can occur in this algorithm (except for the feedback loop on operator 4well discuss that later). But algorithm 8 is ideal for creating rich organ voices think of each operator as different organ stops, which can be mixed together as desired. The algorithm alone, however, does not determine the actual sound of the voice. The vital characteristics of the voice you create depend mostly on the frequencies and levels you program into each operator. The 8 algorithms provided in the DX100 were specially selected because they offer the broadest range of voice programming possibilities. The results of using different frequency ratios, as well as different algorithms, are shown graphically in the accompanying illustration. In the left column, you see the waveforms created by 1:1, 2:1 and 3:1 ratios between one modulator and one carrier. In the right column, you see the waveforms which result from the same three ratios, but when the two operators used are both carriers (connected horizontally, this is known as additive synthesis).
Still more variations can be achieved by changing the relative output levels between operators; the greater the level of the modulating operator, the more harmonics are present.

FEEDBACK

Note that every algorithm has one operator with a feedback looprepresented by a line from the output of the operator which feeds back to the input of the same operator. In effect, a feedback loop means that the operator is modulating itself. While every algorithm has one feedback loop, feedback is not necessarily used in every voice. One of the DX100 editing functions permits the feedback level to be set between 0 (no feedback) and 7 (maximum feedback).

ENVELOPE GENERATORS

Consider what happens when you play a note on an acoustic instrument. The level of the sound initially goes up to some value, then eventually falls to nothing, following a pattern that is characteristic of the particular instrument played. For example, a low note on a pipe organ starts slowly when you press a key, because it takes a while for the large column of air within the pipe to build up to maximum oscillation level, and takes a while to die down once the key is released. A note played on a wood block, on the other hand, starts quickly as the mallet strikes the block, and stops quickly as the block stops resonating. The characteristic volume pattern of any note played on any instrument is known as its volume envelope. Most acoustic instruments also have a timbre envelope, in which the harmonic

Feedback can be applied to one operator in each algorithm. Pressing this button permits setting the amount (level) of feedback which will be applied. The feedback level range is from 0 to 7. At 0, feedback is OFF, and at 7 maximum feedback is applied. Data is entered via the DATA ENTRY slider or buttons.

The LFO

LFO stands for Low Frequency Oscillator. This oscillator is used to apply modulation effects such as tremolo or vibrato to the DX100 voices. By setting the LFO WAVE, SPEED, and SYNC parameters, you determine the effect that will be applied to the currently selected voice when the modulation wheel or breath controller is operated. The effect can also be applied without using the Wheel or Breath Controller by adjusting the AMD and PMD parameters. The LFO parameters work together with the MODULATION SENSITIVITY (9 and 10) parameters, and these must be set carefully to achieve the desired effect.

3: LFO WAVE

Permits selection of the low frequency oscillator waveform. The available waveforms are SAW UP (a rising sawtooth waveform), SQUARE, TRIANGL, and S/HOLD (sample and hold). When used in conjunction with LFO SPEED, DELAY, LFO PMD, and LFO AMD, a vast range of phase shifting and flanging-type effects can be obtained. And depending upon the depth of your individual settings for any particular voice, these effects could range from subtle, sympathetic coloration of a piano voice, or a pipe organ voice with an extremely broad low-frequency sweep.

sawtooth

square

triangl

These waveforms are selected using the DATA ENTRY slider or buttons.

4: LFO SPEED

Permits setting the speed of the low frequency oscillator. The data range is from 0 to 99.0 corresponds to the slowest LFO speed (0.0008 Hz), and 99 corresponds to the fastest LFO speed (55 Hz).

5: LFO DELAY

Permits setting a delay of between 0 and approximately 10.7 seconds before the LFO modulation effect begins after a key is played. This is particularly useful for simulating brass instruments, human voice, etc., in which a vibrato effect is gradually applied after the note has been initiated. The data range is from 0 to 99. At 0 there is no delay, and a setting of 99 produces an initial delay of approximately 10.7 seconds, which slowly increases over a period of 10.7 seconds. With longer delay settings the modulation effect begins gradually for a remarkably natural sound.

6: LFO PMD

This parameter sets the depth of pitch variation simultaneously produced by LFO modulation for all operators. This function is independent from pitch modulation produced by the modulation wheel and breath controller, and is always ON once set. The data range is from 0 to 99. At 0 pitch modulation is OFF, and a setting of 99 produces the greatest pitch variation, dependent on the PITCH MODULATION SENSITIVITY setting, described below (9). When the PITCH MODULATION SENSITIVITY parameter is set to maximum (7), the maximum pitch variation (PM DEPTH = 99) will be 800 cents. Even if this parameter is set to 0, pitch modulation can still be applied via the modulation wheel or breath controller.

11: EG BIAS SENSITIVITY

This sets the operators sensitivity to EG BIAS effects applied via the breath controller. EG bias changes the overall output level from the operator. The harder you blow into the breath controller, the higher the maximum envelope level. When EG BIAS is applied to a carrier via the breath controller, the result is volume (expression) control. Applied to a modulator, the result is brilliance control. The data range is from 0 to 7. At 0, EG BIAS sensitivity is OFF and no EG BIAS
effects can be applied to the selected operators. A setting of 7 produces maximum sensitivity and therefore maximum effect depth.

12: KEY VELOCITY

While the DX100 has no key velocity sensitivity of its own, its voice generators will accept key velocity data from an external MIDI controller keyboard which does have this feature. This function determines the sensitivity of each operator to keyboard velocity sensitivity data from an external keyboard connected to the DX100 MIDI IN terminal (key velocity sensitivity = the harder you play a key, the louder the note. Timbre variations are produced when keyboard sensitivity is applied to a modulator), The data range is from 0 to 7. At 0, key velocity sensitivity for the selected operator is OFF. A setting of 7 produces the highest sensitivity, and therefore the greatest effect. If KEY VELOCITY is set to other than 0, the volume produced when DX100 keys are pressed will decrease.

13: FREQUENCY RATIO

These parameters determine the actual frequency of each operator. For operators which function as carriers, this determines the actual pitch of the sound produced. For operators functioning as modulators, this determines the harmonic spectrum of the sound produced. Each operator can be set to any of 64 different frequency ratios, as follows: DX100 OPERATOR FREQUENCY RATIOS 0.50 1.57 3.46 5.65 7.85 9.89 12.00 14.00 15.70 19.03 22.49 0.71 1.73 4.00 6.00 8.00 10.00 12.11 14.10 16.96 19.78 23.55 0.78 2.00 4.24 6.28 8.48 10.38 12.56 14.13 17.27 20.41 24.22 0.87 2.82 4.71 6.92 8.65 10.99 12.72 15.00 17.30 20.76 25.95 1.00 3.00 5.00 7.00 9.00 11.00 13.00 15.55 18.37 21.20 1.41 3.14 5.19 7.07 9.42 11.30 13.84 15.57 18.84 21.98

MIDI DATA FORMAT

1. Transmission Conditions
ACTIVE SENSING NOTE ON /OFF SUSTAIN SWITCH PITCH BENDER POLY MODE MONO MODE MODULATION WHEEL BREATH CONTROLER DATA ENTRY SLIDER VOLUME (DATA ENTRY SLIDER : PLAY MODE) PORTAMENTO SWlTCH PROGRAM CHANGE
PARAMETER CHANGE I VOICE BULK 32 VOICE BULK

2. Transmission Data

All MIDI data is transmitted when the MIDI ON/OFF function is ON. The MIDI transmission channel is determined by the setting of the MIDI T CH function. 2-1. Channel Information 2-1-1 Channel Voice Message (1) Key On/Off Status Note. no. Velocity (2) Control Change Status Control no. Control code 1011nnnn(Bn) 0ccccccc 0vvvvvvv n=channel no. 1001nnnn(9n) 0kkkkkkk 01000000(40) 00000000(00) n=channel no. k=36(C1) ~ 84(C5) Key on Key off
a) Transmitted whether MIDI CH INFO is ON or OFF Control no. C=64: Sustain SW. C=126: POLY mode C=127: MONO mode b) Transmitted when MIDI CH INFO is ON Control No. C=1: modulation wheel C=2: breath control C=6: data entry slider C=7: volume (data entry) C=65: portamento SW. C=96: data entry +1 C=97: data entry -1 (3) Program Change Status Program no. 1100nnnn(Cn) 0ppppppp n=channel no. p=0 ~ 23: INTERNAL p=24 ~ 119: BANK Control code V=0 ~ 127 V=0 ~ 127 V=0 ~ 127 V=0 ~ 127 V=0: OFF, 127: ON Control code. V=0: OFF, 127: ON
This data is transmitted when a voice selector is pressed during the play mode, when MIDI CH INFO is ON and MIDI SYS INFO is OFF. (4) Pitch Bend Status Code (LSB) Code (MSB) 1110nnnn(En) 0uuuuuuu 0vvvvvvv n=channel no.
The transmitted data is as follows: MSB 01111111 LSB 01111110 Lowest value Center value Highest value
2-2 System Information 2-2-1 System Real-Time Message
Active sensing Status 11111110(FE)
Transmitted once approximately every 200 milliseconds 2-2-2 System Exclusive Message Transmitted only when MIDI SYS INFO is ON (1) Parameter Change Status ID no. Substatus/ch. no. Parameter group no. Parameter no. Data EOX 11110000(F0) 01000011(43) 0001 nnnn(1n) n=channel no. 00010010(12) 0ppppppp 0ddddddd 11110111(F7)
This data is transmitted when voice or function Parameters are changed in the EDIT or FUNCTION modes. The voice parameters transmitted are those given in voice parameter table 5-2, and the function parameters transmitted are shown in function parameter table 5-3. (2) 1 Voice Bulk Data Status ID no. Substatus / ch. no. Format no. Byte count Byte count Data 11110000(F0) 01000011(43) 0000nnnn(0n) 00000011(03) 00000000(00) 01011101(5D) 0ddddddd 0ddddddd 0eeeeeee 11110111(F7)

a) Received whether MIDI CH INFO is ON or OFF Control no. C=64: Sustain sw. b) Received when MIDI CH INFO is ON Control no. C=1: modulation wheel C=2: breath control C=5: portamento time C=7: volume C=65: portamento SW. (4) Program Change Status Program no. 1100nnnn(Cn) n=channel no. 0ppppppp Control code V=0 ~127 V=0 ~127 V=0 ~127 V=0 ~127 V=0 ~126: OFF, 127: ON Control code. V=0~126: OFF, 127: ON
Recieved only in the PLAY mode when MIDI CH INFO is ON. Number 120 through 127 will be processed as 119. (5) Pitch Bend Status Code(LSB) Code(MSB) 1110nnnn 0uuuuuuu 0vvvvvvv n=channel no.
Functions only on MSB data: MSB 01111111 Lowest value Center value Highest value
4-1-2 Channel Mode Message Status 1011nnnn 0ccccccc 0vvvvvvv n=channel no.
Received whether MIDI CH INFO is ON or OFF C=123 C=126 C=127 4-2 System Information 4-2-1 System Real-Time Message Active sensing Status 11111110(FE) V=0 V=1 V=0 All notes OFF MONO mode ON POLY mode ON
within 300 milliseconds the MIDI receive buffer will be cleared and the currently output note will be turned OFF. 4-2-2 System Exclusive Message (1) Parameter Change (switch mode)
Status ID no. Substatus / ch. no. Parameter group no. Switch no. Data EOX 11110000(F0) 01000011(43) 0001nnnn(1n) 00001000 (08) 0mmmmm 0ddddddd 11110111(F7)

d=0: OFF, 1 ~ 127: ON

All panel switches are controlled. The switch numbers are arranged as shown in the illustration below. Received only when MIDI SYS INFO is ON.
(2) Parameter Change The format is the same as the transmitted parameter change data. Received only when MIDI SYS INFO is ON. Permits changing voice and function parameters while the EDIT mode is active. It is also possible to change modes: PLAY, EDIT,etc. The parameter no. and data received are show in voice parameter table 5-2 and function parameter table 5-3.
(3) 1 Voice Bulk Data Received only when MIDI SYS INFO is ON. The format is the same as for the transmitted 1 voice bulk data. The 93 voice data bytes are read into the voice edit buffer, replacing the current voice data. The 93 received data bytes are show in voice parameter table 5-2. CHORUS, FOOT VOLUME RANGE and PEG data are ignored. (4) 32 Voice Bulk Data Received only when MIDI SYS INFO is ON. The format is the same as for the transmitted 32 voice bulk data. This data can be received only when the MEMORY PROTECT function is OFF. The received voice data is stored in the 24 RAM voice memory locations. Voices numbered 25 anf higher will be ignored. The MIDI RECEIVED!! display appears to confirm complete reception of voice bulk data. (5) Dump Request Status ID no. Substatus/ch. no. Format no. EOX 11110000(Fn) 01000011(43) 0010nnnn(2n) 0fffffff 11110111(F7)

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Cylinder/Set 1
Control: Oil 2:1 2:1 2:1 2:1 2:1
Passenger Car/Multi-functional Vehicle Application No. 29 Engine Model Fukang 475Q SIGMA1.3 Fukang 479Q 5AFE,8AFE,JL479Q 479Q JL4G18 Jetta 1.9LDiesel SQR480Q K4,N4 KV6,NV6 Santana 481Q Jettafive valves Jettatwo valves Jettanew two valves Jetta (2005 model),POLO1.6L 4AFE,7AFE,JL481Q Elantra1.8L,Sonata2.0L Passat2.0L NJG415 Perla 1.7L 483QFamily Mitsubishi 4G63 3Y,486Q Mitsubishi 4G64 CA488 EQ491 4Y, 491Q XG4G22D4,XG4G20D4 4JB1,493Q OEM Supplied Citroen Nanjing Fiat Citroen Toyota, Chery, Huanpi, Lifan Dawoo Geely Jetta Chery Roewe, MG Roewe, MG Shanghai VW FAW VW FAW FVW FAW VW FAW VW Toyata, Geely, Huanpu, Lifan Hyundai Shanghai VW Nanjing FIAT Nanjing FIAT Hainan Mazda, BYD Shenyang Mitsubishi Xinguang, Mianyang Shenyang Mitsubishi FAW Dongfeng Xinguang,Great Wall Mianyang Xinguang JMC,Great Wall, Mianyang Cylinder Diameter 78.5 78.79 79.5 79.82.86.5 87.5 90.Cylinder/Set 4
493ZQ,GW2,8TDI GW2.8TC,GW2.5TCI 4C27F,495Q
JMC, Great Wall, Mianyang Great Wall Mianyang Mini-Vehicle Application

Engine Model

OEM supplied Suzuki,Changan,Dongan,

Cylinder Diameter 62

Cylinder/ Set 4

F8A,DA462Q,JL462Q

Jiangling,Hanjiang,LiuJi,Huaihai, Zongshen Suzuki,Changan,Dongan,
F10A,DA475Q,JL465Q JL465Q5 G4HC DA468QL F8B,GL368Q,ST308T 3EA,HH368Q 1E TJ370Q CD800 4G13(DA471Q) B3,471Q G4K,471Q SQR372Q JL472Q BYD473Q QR473H G13,JL474Q G4AE,475Q JL376Q 276Q 4G14,4G18,DA476Q 476Q(SOHC,DOHC) Hyundai 1.6L 477Q(MAZDA323) Elantra 1.6L JL4G15 JL378Q
Jiangling,Chery,LiuJi,Yuan, Huaihai,Zongshen Changan,Jiangling Hyundai Dongan Suzuki,Jilin,Changan,Huaihai, Qinchuan,Zongshen Dawoo,Huanhai Daihatsu,Huali ASIA Dongan Mitsubishi KIA Hyundai Chery Changan BYD Chery Suzuki,Changan Hyundai Xiali,Geely,Liuzhou Liuzhou,Yunque,Sandi Dongan Mitsubishi Daewoo, POLO 1.4L Hyundai Hainan Mazda Hyundai Chery Chery
65.68.5 68.71 71.75.76.5 76.77.4 77.8 78
Construction Machinery Application No. 1 OEM Supplied Weichai Engine Engine Model WD615 D226B WD415.23(Euro II 2 CNHDC Hangfa WD615.61AG26 WD615(Euro III Shangchai Dongfeng Cummins Perkins Beinei SC11C(121) SC5D(4114) 6BT 6CT 1000Series FL912 FL913 YC6M YC6108ZGB 7 Yuchai YC6108 YC4108G YC4108ZG YC2115G YZ4102ZLQ YZ4102QF 8 Yangchai YZ4105QF YZ485ZLQ YZ4108Q YZ4DD1 YD480G YSD490G 9 Yang Dong Y4100 Y4102 4YDEHuanfeng R6105ZG3 ZH4100G14-3 Cylinder Diameter 126 120.105 100
Vessel Application No. Engine Model DEUTZ 105(226B) DEUTZ 105ZQ(226B) DEUTZ 226B II Weichai 6160 Weichai 6107 Shangchai 6135G Nantong N6135 Nantong NTU6135 Nantong 8138 Jichai 190 Cylinder Diameter Control:Oil 2:1 2:1 2:1 3:1 3:1 3:1 2:1 3:1 3:1 3:1
Notes: - ductile casting,CCC - composite chrome coating.