Plastic spacers DB50XG Daughter board
6. Reinsert the sound card into the computers expansion slot. 7. Replace the top cover of the computer.

Expansion port

Sound card

Setting Up MIDI Mapper

MIDI Mapper lets you select the DB50XG to play MIDI data.

s Procedure

1. Double click the [MIDI Mapper] icon in the Control Panel window. The MIDI Mapper window appears. 2. Select [Setups], and click the [ ] button in the dialog box. A list appears. Choose [(All) MIDI OUT]* from the list. * The actual name of the MIDI map may be different depending on which sound card you are using. (NOTE: For DOS users, select the WaveBlaster or the one which corresponds to the WaveBlaster.)

About the GM and XG

GM (General MIDI) is an addition to the MIDI standard which ensures that any GM-compatible music data can be accurately played by any GM-compatible tone generator, regardless of maker. The GM mark is affixed to all software and hardware products that support the General MIDI standard. The DB50XG supports GM System Level 1.
XG is a new MIDI format created by Yamaha which significantly improves and expands upon the General MIDI standard by providing a greater variety of high-quality Voices plus considerably enhanced effect operationwhile being fully compatible with GM.
DB50XG Overview and Features
The DB50XG has 32-note polyphony and is 16-Part multitimbral, which means it can play up to 16 different instrument Parts (one Part per each of the 16 MIDI channels), each Part having its own Voice. Up to 16 different Voices can be sounded simultaneously. The DB50XG features both XG and TG300B performance modes. Normally the DB50XG plays in XG mode. However, since it automatically recognizes which mode to select based on incoming MIDI data, you can easily change the mode by MIDI System Exclusive messages that you program in sequencer data, at the head of your composition. Please note the following: Starting up your computer will automatically initialize all DB50XG settings, or parameter values. Since the DB50XG requires about half a second to change modes when it receives a mode change message, be sure to insert at least one blank measure at the top in order to allow enough time for the mode to change before your actual music data begins. q XG Mode In XG mode the DB50XG will play XG-compatible multitimbral data, as well as multitimbral data created for the GM System Level 1 format. In XG mode the DB50XG can: Play up to 16 Parts. Choose from 480 Normal Voices and 11 Drum Voices. q TG300B Mode In TG300B mode the DB50XG will play multitimbral music data created for TG300B-compatible tone generators. TG300B mode also provides compatibility with the GM System Level 1 format. In TG300B mode the DB50XG can: Play up to 16 Parts. Choose from 579 Normal Voices and 10 Drum Voices.

s MIDI Messages Received by the DB50XG
The DB50XG is controlled by various types of incoming MIDI messages which automatically determine play mode, select MIDI channels, Voices and effects, change parameter values, and of course play the Voices specified for the various Partscomplete with all the subtle nuances and powerful dynamics of expression that the composer originally intended. Below is an explanation of the various types of MIDI messages which the DB50XG can receive. q Key On/Key Off Key On/Key Off messages, also called Note messages, tell the DB50XG which notes to play, the Velocity value (depending on how hard the keys are struck) at which to play them, and how long to play themi.e., when to start (On) and stop (Off) playing each note. q Control Change Control Change messages let you select a Voice bank, control volume, panning, modulation, portamento time, brightness and various other controller parameters, through specific Control Change numbers which correspond to each of the various parameters. q Program Change Program Change messages tell the DB50XG which Voice to select for each Part. You can insert Program Change messages at any desired location in a song. Combining Bank Select numbers let you select various Voices from the hundreds of Voices available in the DB50XG. q Pitch Bend Pitch Bend messages are continuous controller messages that allow the pitch of designated notes to be raised or lowered by a specified amount over a specified duration. q Channel Aftertouch Channel Aftertouch is a pressure sensing function which lets you control various functions by how hard you press the keys, over the entire channel. q Polyphonic Aftertouch Polyphonic Aftertouch is a pressure sensing function which lets you control various functions by how hard you press the keys, for each individual key. q System Exclusive System Exclusive messages control various functions of the DB50XG, including master volume and master tuning, play mode (XG or TG300B), effect type and various other parameters specifically related to the DB50XG.
s Decimal - Hexadecimal Conversion Chart
Many MIDI messages listed in the MIDI Data Format section, beginning on page 7, are expressed in hexadecimal numbers. The chart below lists the corresponding decimal number for each hexadecimal number. (Hexadecimal numbers may include the letter H as a suffix.)

Dec Hex 0A 0B 0C 0D 0E 0F Dec Hex 1A 1B 1C 1D 1E 1F Dec Hex 2A 2B 2C 2D 2E 2F Dec Hex 3A 3B 3C 3D 3E 3F Dec Hex 4A 4B 4C 4D 4E 4F Dec Hex 5A 5B 5C 5D 5E 5F Dec Hex 6A 6B 6C 6D 6E 6F Dec Hex 7A 7B 7C 7D 7E 7F

MIDI Data Format

By sending various types of MIDI messages you can directly control and change the settings on the DB50XG. Please refer to the owners manual of your software and hardware for information about how to transmit MIDI messages to the DB50XG.

Portamento Time

Messages which control the duration of portamento, or a continuous pitch glide between successively played notes.
CNTRL# PARAMETER DATA RANGE
1. CHANNEL MESSAGES 1.1 Key On / Key Off
Messages which are generated when the keyboard is played. Reception note range = C-2 (0) G8 (127), C3 = 60 Velocity range = (Only the Key On velocity is received) Key On: Generated when a key is pressed. Key Off: Generated when a key is released. Each message includes a specific note number which corresponds to the key which is pressed, plus a velocity value based on how hard the key is struck. If the Multi Part parameter Rcv NOTE MESSAGE (page 29) = OFF for a specific Part, that Part will ignore Key On and Key Off messages. If the Drum Setup parameter Rcv NOTE OFF (page 30) = OFF, the Drum Part will ignore Key Off messages. If the Drum Setup parameter Rcv NOTE ON = OFF (page 30), the Drum Part will ignore Key On messages.
When the parameter 1.2.9 Portamento = ON, values will adjust the speed of pitch change. A setting of 0 = minimum portamento time, and 127 = maximum portamento time.

Data Entry

Messages which set the value for the parameter specified by RPN/NRPN.
Data Entry MSB Data Entry LSB

0127 0127

Parameter value is determined by combining MSB and LSB.

Main Volume

DATA RANGE
Messages which control the volume of each Part.

CNTRL# PARAMETER

A setting of 0 = minimum volume, and 127 = maximum volume.

1.2 Control Change

Messages which control volume, panning, and other controller parameters. Each type of Control Change message is assigned to a specific control number. If the Multi Part parameter for each Control Change Receive (page 29, nn30 nn40) = OFF, that Part will ignore the specific Control Change message.
Messages which control the stereo panning position of each Part.
A setting of 0 = extreme left position, and 127 = extreme right position.

Bank Select

Expression
Messages which select variation Voice bank numbers.
Messages which control intonation expression of each Part.
Bank Select MSB Bank Select LSB
0:Normal, 63:User Voices, 64:SFX, 126:SFX Kit, 127:Drum 0127
A setting of 0 = minimum expression volume, and 127 = maximum expression volume.
You can select the Voice banks with MSB and LSB numbers. MSB and LSB functions differently depending on the play mode. In XG mode, MSB numbers select Voice type (Normal Voice or Drum Voice), and LSB numbers select Voice banks. In TG300B mode, LSB is fixed, and MSB numbers select Voice banks. (See Normal Voice List, Drum Voice List, from page 32.) A new bank selection will not become effective until the next Program Change message is received.
Messages which control sustain on/off.
Settings between = sustain off, and settings between = sustain on.

Portamento

Messages which control portamento on/off.

Modulation

Messages which control vibrato depth.
A setting of 0 = vibrato off, and a setting of 127 = maximum vibrato.
Settings between = portamento off, and settings between = portamento on. The parameter 1.2.3 Portamento Time controls the portamento speed.

1.2.10 Sostenuto

Messages which control sostenuto on/off.
1.2.16 Portamento Control
Messages which apply a portamento between the currentlysounding note and the subsequent note.

Sostenuto

Holding specific notes and then pressing and holding the sostenuto pedal will sustain those notes as you play subsequent notes, until the pedal is released. Settings between = sostenuto off, and settings between = sostenuto on.

Portamento Control 0.127

1.2.11 Soft Pedal
Messages which control soft pedal on/off.

Soft Pedal

Notes played while holding the soft pedal will be dampened. Settings between = soft pedal off, and settings between = soft pedal on.

1.2.12 Harmonic Content

Messages which adjust the resonance set for each Voice.
Portamento Control is transmitted specifying the Note On Key of the currently-sounding note. Specify a Portamento Source Key number between 0 127. When a Portamento Control message is received, the currently sounding pitch will change with a Portamento Time of 0 to the next Key On key on the same channel. For example, the following settings would apply a portamento from note C3 to C4. 90 3C 7F. C3 = Key On B3C. Source Key number set to C48 7F. C4 = Key On (When C4 = on, C3 is raised by a portamento to C4.) Even if the Multi Part parameter Rcv PORTAMENTO (page 29) = OFF, the Portamento Control message will be received.
1.2.17 Effect1 Depth (Reverb Send Level)
Messages which adjust the send level for the Reverb effect.

Exclusive status Universal Real Time Device Number, xxx = irrelevant Sub-ID #1=Device Control Message Sub-ID #2=Master Volume 0sssssss ss Volume LSB 0ttttttttt tt Volume MSB 11110111 F7 End of Exclusive When received, the Volume MSB will be effective for the System Parameter MASTER VOLUME (page 27). * ss is the hexadecimal expression of 0sssssss; same as for tt, aa, etc.
1.6 Polyphonic Aftertouch
Messages which let you control various functions by the pressure you apply to the keys after the initial striking of the keys, for each individual key. If the Multi Part parameter Rcv POLYPHONIC AFTER TOUCH (page 34) = OFF, that Part will not receive Polyphonic Aftertouch. Effective range is between note numbers 36 97.
2.1.3 Universal Non-Realtime Messages 2.1.3.1 General MIDI Mode On
Exclusive status Universal Non-Real Time ID of target device Sub-ID #1=General MIDI Message Sub-ID #2=General MIDI On 11110111 F7 End of Exclusive or, F0 7E 7F 09
Exclusive status Universal Non-Real Time Device Number, xxx = irrelevant Sub-ID #1=General MIDI Message Sub-ID #2=General MIDI On 11110111 F7 End of Exclusive When General MIDI Mode On is received, the play mode will be changed to XG mode. When this happens, the DB50XG will receive the MIDI messages which compatible with GM System Level 1, and consequently will not receive NRPN and Bank Select messages. Since approximately 50ms is required to execute this message, be sure to leave an appropriate interval before the subsequent message. 0xxxnnnn 00001001 F0 7E xn 09
When this data is received, the DB50XG will change the effect type to Echo. 2. To change the effect Dry/Wet balance of Echo to 50% each, first check the Effect Parameter List (page 39), parameter number 10, to identify the Dry(50%)/Wet(50%); in this case the Dry=Wet value is 64 (hexadecimal 40). Next, check the address in <Table 1 - 3> (page 28) for the VARIATION PARAMETER 10; in this case the address is High, Mid, Low = 02, 01, 54, respectively. Apply these to the 2.1.4 XG Native Parameter Change list as follows: 0001nnnn 11110111 F1n 4C 00 F7 Exclusive status YAMAHA ID Device Number XG Model ID Address High Address Mid Address Low Data (MSB) actual value Data (LSB) 00 fixed End of Exclusive
XG Native Parameter Change
With the Parameter Change messages as listed below, you can change the characteristic of a Voice, such as by Effect Type or effect parameter, transpose, tuning, and others. 0001nnnn 01001100 0aaaaaaa 0aaaaaaa 0aaaaaaa 0ddddddd | 11110111 F0 Exclusive status 43 YAMAHA ID 1n* Device Number 4C XG Model ID aa Address High aa Address Mid aa Address Low dd Data | F7 End of Exclusive
When this data is received, the DB50XG will change the effect Dry/Wet balance to 50% each. Be sure to allow enough time for the procedure to take place by inserting an empty measure at the top of the song for every channel.

2.2.1.3 Multi Part Data bulk dump
2.2.1.4 Drums Setup Data bulk dump
See tables <1 - 1> (page 27) and <1 - 5> (page 30).

QS300 Native Bulk Dump

2.1.5 Other parameter changes 2.1.5.1 Master Tuning
0001nnnn 0mmmmmmm 01111111 Occccccc 11110111 F1n mm 11 cc F7 Exclusive status YAMAHA ID Device Number Model ID Sub ID2
Up to 32 Voices created by the QS300 can be saved in the DB50XGs User Memory by bulk dump messages. (Effective only when the XG mode is active.) QS300 User Voices are stored in Bank MSB = 63, LSB = 00. Program Change numbers for User Voices are 1 32. 0000nnnn 01001011 0bbbbbbb 0bbbbbbb 0aaaaaaa 0aaaaaaa 0aaaaaaa 0ddddddd | | 0ccccccc 11110111 F0n 4B bb bb aa aa aa dd | | cc F7 Exclusive status YAMAHA ID Device Number QS300 Model ID ByteCount ByteCount Address High Address Mid Address Low Data
Master Tune MSB Master Tune LSB irrelevant End of Exclusive
This message simultaneously changes the pitch of all channels.

2.2 Bulk Dump

The DB50XG receives the following bulk dump data. [ XG NATIVE ] 1) XG System Data 2) Multi Effect1 Data 3) Multi Part Data 4) Drums Setup Data [ QS300 NATIVE ] 1) QS300 User Normal Voice Data
Check-sum End of Exclusive
* Because of possible differences in number of elements, some QS300 Voices may sound slightly different.
2.2.2.1 QS300 User Normal Voice Data bulk dump
See tables <2 - 1> and <2 - 2> (page 30).

XG Native Bulk Dump

F0n 4C bb bb aa aa aa dd | | cc F7 Exclusive status YAMAHA ID Device Number XG Model ID ByteCount ByteCount Address High Address Mid Address Low Data
3. REALTIME MESSAGES 3.1 Active Sensing
Once FE has been received, if no MIDI data is subsequently received for longer than an interval of approximately 300msec, the DB50XG will perform the same function as when ALL SOUNDS OFF, ALL NOTES OFF, and RESET ALL CONTROLLERS messages are received, and will then return to a status in which FE is not monitored.

41 (=CHORUS1) 00 depends on chorus type depends on chorus type depends on chorus type depends on chorus type depends on chorus type depends on chorus type depends on chorus type depends on chorus type depends on chorus type depends on chorus type 00
Address (H) TOTAL SIZE 48 4A 4C 4E 59 5A 5B 5C 5D 5E 5F 60 TOTAL SIZE TOTAL SIZE Size (H) 6 Data (H) 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F Parameter CHORUS PARAMETER 11 CHORUS PARAMETER 12 CHORUS PARAMETER 13 CHORUS PARAMETER 14 CHORUS PARAMETER 15 CHORUS PARAMETER 16 Description see Effect Parameter List (page 39) see Effect Parameter List (page 39) see Effect Parameter List (page 39) see Effect Parameter List (page 39) see Effect Parameter List (page 39) see Effect Parameter List (page 39) Default value(H) depends on chorus type depends on chorus type depends on chorus type depends on chorus type depends on chorus type depends on chorus type
00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 01 - 7F 00 - 7F 00 - 7F 00 - - 0F, 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F
VARIATION TYPE MSB VARIATION TYPE LSB VARIATION PARAMETER 1 MSB VARIATION PARAMETER 1 LSB VARIATION PARAMETER 2 MSB VARIATION PARAMETER 2 LSB VARIATION PARAMETER 3 MSB VARIATION PARAMETER 3 LSB VARIATION PARAMETER 4 MSB VARIATION PARAMETER 4 LSB VARIATION PARAMETER 5 MSB VARIATION PARAMETER 5 LSB VARIATION PARAMETER 6 MSB VARIATION PARAMETER 6 LSB VARIATION PARAMETER 7 MSB VARIATION PARAMETER 7 LSB VARIATION PARAMETER 8 MSB VARIATION PARAMETER 8 LSB VARIATION PARAMETER 9 MSB VARIATION PARAMETER 9 LSB VARIATION PARAMETER 10 MSB VARIATION PARAMETER 10 LSB VARIATION RETURN VARIATION PAN SEND VARIATION TO REVERB SEND VARIATION TO CHORUS VARIATION CONNECTION VARIATION PART MW VARIATION CONTROL DEPTH BEND VARIATION CONTROL DEPTH CAT VARIATION CONTROL DEPTH AC1 VARIATION CONTROL DEPTH AC2 VARIATION CONTROL DEPTH
see Effect Type List (page 38) 00 : basic type see Effect Parameter List (page 39) see Effect Parameter List (page 39) see Effect Parameter List (page 39) see Effect Parameter List (page 39) see Effect Parameter List (page 39) see Effect Parameter List (page 39) see Effect Parameter List (page 39) see Effect Parameter List (page 39) see Effect Parameter List (page 39) see Effect Parameter List (page 39) see Effect Parameter List (page 39) see Effect Parameter List (page 39) see Effect Parameter List (page 39) see Effect Parameter List (page 39) see Effect Parameter List (page 39) see Effect Parameter List (page 39) see Effect Parameter List (page 39) see Effect Parameter List (page 39) see Effect Parameter List (page 39) see Effect Parameter List (page 39) -dB.0dB.+6dB (0.64.127) L63.C.R63 (1.64.127) -dB.0dB.+6dB (0.64.127) -dB.0dB.+6dB (0.64.127) 0:INSERTION, 1:SYSTEM part1.16 = 0.15, OFF = 127 -64 - +63 -64 - +63 -64 - +63 -64 - +63 -64 - +63

nn 23 nn 24 nn 25 nn 26 nn 27 nn 28 TOTAL SIZE nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn nn 3A 3B 3C 3D 3E 3F 4A 4B 4C 4D 4E 4F 5A 5B 5C 5D 5E 5F 66
BEND BEND BEND BEND BEND BEND
00 - - - - - - - - - - - - - - - - - - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 28 - - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 28 - - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 5F 28 - - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 5F 28 - - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - - 7F
Rcv PITCH BEND Rcv CH AFTER TOUCH (CAT) Rcv PROGRAM CHANGE Rcv CONTROL CHANGE Rcv POLY AFTER TOUCH (PAT) Rcv NOTE MESSAGE Rcv RPN Rcv NRPN Rcv MODULATION Rcv VOLUME Rcv PAN Rcv EXPRESSION Rcv HOLD1 Rcv PORTAMENTO Rcv SOSTENUTO Rcv SOFT PEDAL Rcv BANK SELECT SCALE SCALE SCALE SCALE SCALE SCALE SCALE SCALE SCALE SCALE SCALE SCALE CAT CAT CAT CAT CAT CAT PAT PAT PAT PAT PAT PAT AC1 AC1 AC1 AC1 AC1 AC1 AC1 AC2 AC2 AC2 AC2 AC2 AC2 AC2 TUNING TUNING TUNING TUNING TUNING TUNING TUNING TUNING TUNING TUNING TUNING TUNING C C# D D# E F F# G G# A A# B
0:OFF, 1:ON 0:OFF, 1:ON 0:OFF, 1:ON 0:OFF, 1:ON 0:OFF, 1:ON 0:OFF, 1:ON 0:OFF, 1:ON 0:OFF, 1:ON 0:OFF, 1:ON 0:OFF, 1:ON 0:OFF, 1:ON 0:OFF, 1:ON 0:OFF, 1:ON 0:OFF, 1:ON 0:OFF, 1:ON 0:OFF, 1:ON 0:OFF, 1:ON -64 - +63 [cent] -64 - +63 [cent] -64 - +63 [cent] -64 - +63 [cent] -64 - +63 [cent] -64 - +63 [cent] -64 - +63 [cent] -64 - +63 [cent] -64 - +63 [cent] -64 - +63 [cent] -64 - +63 [cent] -64 - +63 [cent] -24 - +24 [semitones] -9600 - +9450 [cent] -64 - +- - - 127 -24 - +24 [semitones] -9600 - +9450 [cent] -64 - +- - - - 95 -24 - +24 [semitones] -9600 - +9450 [cent] -64 - +- - - - 95 -24 - +24 [semitones] -9600 - +9450 [cent] -64 - +- - - 127 0:OFF, 1:ON 0 - 127
01 XG=01, GM=01 XG=01, GM=00
PITCH CONTROL FILTER CONTROL AMPLITUDE CONTROL LFO PMOD DEPTH LFO FMOD DEPTH LFO AMOD DEPTH PITCH CONTROL FILTER CONTROL AMPLITUDE CONTROL LFO PMOD DEPTH LFO FMOD DEPTH LFO AMOD DEPTH CONTROLLER NUMBER PITCH CONTROL FILTER CONTROL AMPLITUDE CONTROL LFO PMOD DEPTH LFO FMOD DEPTH LFO AMOD DEPTH CONTROLLER NUMBER PITCH CONTROL FILTER CONTROL AMPLITUDE CONTROL LFO PMOD DEPTH LFO FMOD DEPTH LFO AMOD DEPTH

nn 67 nn 68

PORTAMENTO SWITCH PORTAMENTO TIME
Address (H) nn 69 nn 6A nn 6B nn 6C nn 6D nn 6E TOTAL SIZE Size (H) 3F Data (H) 00 - 7F 00 - 7F 00 - 7F 00 - 7F 01 - 7F 01 - 7F Parameter PITCH EG INITIAL LEVEL PITCH EG ATTACK TIME PITCH EG RELEASE LEVEL PITCH EG RELEASE TIME VELOCITY LIMIT LOW VELOCITY LIMIT HIGH Description -64 - +63 -64 - +63 -64 - +63 -64 - +- - 127 Default value(H) 01 7F
nn = Part Number (0 : Part 1, 1 : Part 2, 2 : Part 3,. , 15 : Part 16) For the DRUM PART, the following parameters have no effect. SOFT PEDAL BANK SELECT LSB POLY AFTER TOUCH PITCH EG INITIAL LEVEL
MONO/POLY PITCH EG ATTACK TIME
SCALE TUNING PITCH EG RELEASE LEVEL
PORTAMENTO PITCH EG RELEASE TIME
< Table 1-5 > MIDI Parameter Change table ( DRUM SETUP ) [XG]
Address (H) 3n rr 00 3n rr 01 3n rr 02 3n rr 03 3n rr 04 3n rr 05 3n rr 06 3n rr 07 3n rr 3n rr 3n rr 3n rr 3n rr 3n rr 3n rr 3n rr TOTAL 0A 0B 0C 0D 0E 0F SIZE Size (H) 10 Data (H) 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - - - - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F Parameter PITCH COARSE PITCH FINE LEVEL ALTERNATE GROUP PAN REVERB SEND CHORUS SEND VARIATION SEND KEY ASSIGN Rcv NOTE OFF Rcv NOTE ON FILTER CUTOFF FREQUENCY FILTER RESONANCE EG ATTACK RATE EG DECAY1 RATE EG DECAY2 RATE Description -64 - +63 -64 - +63[cent] 0 - 127 0:OFF, 1 - 127 0:random, L63.C.R63 (1.64.127) 0 - - - 127 0:SINGLE, 1:MULTI 0:OFF, 1:ON 0:OFF, 1:ON -64 - +63 -64 - +63 -64 - +63 -64 - +63 -64 - +63 Default value(H) depend on the note depend on the note depend on the note depend on the note depend on the note 7F 00 depend on the note 40 40

[Note]

n : Drum Setup number (0, 1) rr : note number (0D - 5B) When XG system on or GM mode on messages are received, all Drum Setup parameters are initialized. The Drum Setup Reset message can be used to initialized each Drum Setup parameter. Selecting a Drum Set will cause the Drum Setup parameter values to be initialized.

< Table 2-1 >

Parameter Base Address Model ID = 4B [ QS300 ] Bulk Dump Address High Mid Low 00 : 11 1F 00

User Normal Voice

Description User Normal Voice 1 : User Normal Voice 32
< Table 2-2 > MIDI Bulk Dump table ( USER NORMAL VOICE ) [QS300]
Address (H) 11 nn 00 : : 0A 0B 0C 0D : 3C 3D 3E 3F Size (H) 17D Data (H) 20 - 7E Parameter Description [Common] VOICE NAME

01 - - 7F

NOT USED NOT USED NOT USED ELEMENT SWITCH VOICE LEVEL NOT USED NOT USED NOT USED WAVE NUMBER HIGH WAVE NUMBER LOW NOTE LIMIT LOW NOTE LIMIT HIGH VELOCITY LIMIT LOW VELOCITY LIMIT HIGH FILTER EG VELOCITY CURVE LFO WAVE SELECT LFO PHASE INITIALIZE
1:Element 1 on, 2:Element 2 on, 3:Element 1 and 2 on
00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - - - 01
[Element 1] bit13 - bit7 bit6 - bit0

Instrument Program Bank Group # # Brass 127 Reed Pipe 0 127
EleVoice Name ment Trumpet 1 TrumpetBriteTrp 2 WarmTrp 2 Sax-contrabs 1 Trombone 1 TrmboneSax-harp Tuba 1 Tuba Brass-harp Mute.Trp 1 Brass-guitar Fr.Horn 2 FrHornFrHrSolo 1 HornOrch 2 Brass-guitar BrasSect 1 BrssSecBrass-elecgtrSynBrasPolyBrss 2 SynBrasQuackBr 2 AnaBrssBrass-elecgtrSynBrasSoft Brs 2 SynBrasAnaBrssVelBrasOrch-Hit 1 sitar 1 SprnoSax 1 a.bass Alto Sax 1 HyprAlto 2 a.bass TnrSax BrthTnSx 2 e.bass Bari.Sax 1 e.bass Oboe 2 slapbasEng.Horn 1 slapbasBassoon 1 fretlesClarinet 1 fretlesPiccolo 1 fluteFlute 1 fluteRecorder 1 piccoloPanFlute 1 piccoloBottle 2 recorder 1 Shakhchi 2 panpipes 2 Whistle 1 saxOcarina 1 sax2 1
Instrument Program Bank Group # # Synth Lead 127 Synth Pad 127
EleVoice Name ment SquareLd 2 Square Hollow 1 Mellow 2 SoloSine 2 Shmoog 2 LMSquare 2 SineLead 1 saxSaw.Lead 2 Saw PulseSaw 2 ThickSaw 2 Big Lead 2 VeloLead 2 HeavySyn 2 DynaSaw 1 Dr. Lead 2 WaspySyn 2 saxCaliopLd 2 Pure Pad 2 clarintChiff Ld 2 clarintCharanLd 2 DistLead 2 oboe 1 Voice Ld 2 eng.horn 1 Fifth Ld 2 Big Five 2 bassoon 1 Bass &Ld 2 Big&Low 2 Fat&Prky 2 harmnica 1 NewAgePd 2 FantasytrumpetWarm Pad 2 ThickPad 2 Horn Pad 2 RotarStr 2 Soft Pad 2 trumpetPolySyPd 2 PolyPdtrmboneChoirPad 2 HeaventrmboneBowedPad 2 fr.hornMetalPad 2 Tine Pad 2 Pan Pad 2 fr.hornHalo Pad 2 tuba 2 SweepPad 2 PolarPad 2 Converge 2 Shwimmer 2 Celstial 2 brssect1 1
Instrument Program Bank Group # # Synth Effects Ethnic 127
EleVoice Name ment Rain 2 HrmoRain 2 AfrcnWnd 2 ClaviPad 2 brssectSoundTrk 2 Ancestrl 2 Prologue 2 vibeCrystal 2 SynMalet 1 SftCryst 2 RndGlock 2 LoudGlok 2 GlockChi 2 ClearBel 2 XmasBell 2 VibeBell 2 DigiBell 2 ChorBell 2 AirBells 2 BellHarp 2 Gamelmba 2 vibeAtmosphr 2 WarmAtms 2 NylnHarp 2 Harp Vox 2 HollwRls 2 NylonEP 2 AtmosPad 2 symallet 1 Bright 2 maletwin 2 Goblins 2 GobSyn 2 50sSciFi 2 glocken 2 Echoes 2 EchoBell 2 Echo Pan 2 EchoPadBig Pan 2 SynPiano 2 tubulbel 1 Sci-Fi 2 Starz 2 xylophen 1 Sitar 1 Sitar DetSitar 2 Tambra 2 Tamboura 2 marimba 2 Banjo 1 MuteBnjo 1 Rabab 2 Gopichnt 2 Oud 2 koto 1 Shamisen 1 sho 2 Koto 1 T. Koto 2 Kanoon 2 shakhchi 2 Kalimba 1 whistleBagpipe 2 whistleFiddle 1 bottle 2 Shanai 1 ShanaiPungi 1 Hichriki 2 breath 2
Instrument Program Bank Group # # Percussive Sound Effects 3 127
EleVoice Name ment TnklBell 2 Bonang 2 Gender 2 Gamelan 2 S.Gamlan 2 Rama Cym 2 timpani 1 Agogo 2 melotom 1 SteelDrm 2 deepsnar 1 WoodBlok 1 Castanet 1 e.percTaikoDrm 1 Gr.Cassa 1 e.percMelodTom 2 Real Tom 2 Mel TomRock Tom 2 taiko 1 Syn.Drum 1 Ana Tom 1 ElecPerc 2 taikorim 1 RevCymbl 1 cymbal 2 FretNoiz 2 CuttngNz 1 Str Slap 1 CttngNzcastanet 1 BrthNoiz 2 Fl.KClik 1 triangle 1 Seashore 2 Rain 1 Thunder 1 Wind 1 Stream 2 Bubble 2 orchehit 1 Tweet 2 Dog 1 Horse 1 Bird telphone 1 Telphone 1 Tel.Dial 1 DoorSqek 1 DoorSlam 1 Scratch 1 WindChm 1 Scratchbird 1 Helicptr 1 CarEngin 1 Car Stop 1 Car Pass 1 CarCrash 1 Siren 2 Train 1 Jetplane 2 Starship 2 Burst 2 Coaster 2 jam 1 Applause 1 Laughing 1 Scream 1 Punch 1 Heart 1 FootStep 1 efctwatr 2 Gunshot 1 MchinGun 1 LaserGun 2 Xplosion 2 efctjngl 2

Effect Type List / Liste des types deffets

REVERB

Exclusive MSB LSB Effect Type NO EFFECT HALL1 HALL2 ROOM1 ROOM2 ROOM3 STAGE1 STAGE2 PLATE WHITE ROOM TUNNEL BASEMENT

Description

Effect turned off. Reverb simulating the resonance of a hall. Reverb simulating the resonance of a hall. Reverb simulating the resonance of a room. Reverb simulating the resonance of a room. Reverb simulating the resonance of a room. Reverb appropriate for a solo instrument. Reverb appropriate for a solo instrument. Reverb simulating a metal plate reverb unit. A unique short reverb with a bit of initial delay. Simulation of a tunnel space expanding to left and right. A bit of initial delay followed by reverb with a unique resonance.

CHORUS

Exclusive MSB LSB Effect Type NO EFFECT CHORUS1 CHORUS2 CHORUS3 CHORUS4 CELESTE1 CELESTE2 CELESTE3 CELESTE4 FLANGER1 FLANGER2 FLANGER3
Effect turned off. Conventional chorus program that adds natural spaciousness. Conventional chorus program that adds natural spaciousness. Conventional chorus program that adds natural spaciousness. Chorus with stereo input. The pan setting specified for the Part will also apply to the effect sound. A 3-phase LFO adds modulation and spaciousness to the sound. A 3-phase LFO adds modulation and spaciousness to the sound. A 3-phase LFO adds modulation and spaciousness to the sound. Celeste with stereo input. The pan setting specified for the Part will also apply to the effect sound. Adds a jet-airplane effect to the sound. Adds a jet-airplane effect to the sound. Adds a jet-airplane effect to the sound.

VARIATION

Exclusive MSB LSB 0A 00 0B 00 4A 00 4B 00 4C 00 4D 00 4E 00 Effect Type NO EFFECT HALL1 HALL2 ROOM1 ROOM2 ROOM3 STAGE1 STAGE2 PLATE DELAY L,C,R DELAY L,R ECHO CROSS DELAY EARLY REF1 EARLY REF2 GATE REVERB REVERSE GATE KARAOKE 1 KARAOKE 2 KARAOKE 3 CHORUS1 CHORUS2 CHORUS3 CHORUS4 CELESTE1 CELESTE2 CELESTE3 CELESTE4 FLANGER1 FLANGER2 FLANGER3 SYMPHONIC ROTARY SPEAKER TREMOLO AUTO PAN PHASER1 PHASER2 DISTORTION OVER DRIVE AMP SIMULATOR 3BAND EQ(MONO) 2BAND EQ(STEREO) AUTO WAH(LFO) THRU
Effect turned off. Reverb simulating the resonance of a hall. Reverb simulating the resonance of a hall. Reverb simulating the resonance of a room. Reverb simulating the resonance of a room. Reverb simulating the resonance of a room. Reverb appropriate for a solo instrument. Reverb appropriate for a solo instrument. Reverb simulating a metal plate reverb unit. A program that creates three delay sounds; L, R, and C (center). A program that creates two delay sounds; L and R. Two feedback delays are provided. Two delays (L and R) and independent feedback delays for L and R. A program that crosses the feedback of two delays. An effect that produces only the early reflection component of reverb. An effect that produces only the early reflection component of reverb. A simulation of gated reverb. A program that simulates gated reverb played backwards. A delay with feedback of the same types as used for karaoke reverb. A delay with feedback of the same types as used for karaoke reverb. A delay with feedback of the same types as used for karaoke reverb. Conventional chorus program that adds natural spaciousness. Conventional chorus program that adds natural spaciousness. Conventional chorus program that adds natural spaciousness. Chorus with stereo input. A 3-phase LFO adds modulation and spaciousness to the sound. A 3-phase LFO adds modulation and spaciousness to the sound. A 3-phase LFO adds modulation and spaciousness to the sound. Celeste with stereo input. Adds a jet-airplane effect to the sound. Adds a jet-airplane effect to the sound. Adds a jet-airplane effect to the sound. A multi-phase version of CELESTE. A simulation of a rotary speaker. You can use AC1 (assignable controller) etc. to control the speed of rotation. An effect that cyclically modulates the volume. A program that cyclically moves that sound image to left and right, front and back. Cyclically changes the phase to add modulation to the sound. Phaser with stereo input. Adds a sharp-edged distortion to the sound. Adds mild distortion to the sound. A simulation of a guitar amp. A mono EQ with adjustable LOW, MID, and HIGH equalizing. A stereo EQ with adjustable LOW and HIGH. Ideal for drum Parts. Cyclically modulates the center frequency of a wah filter. With an AC1 etc. this can function as a pedal wah. Bypass without applying an effect.

* MSB, LSB is represented in hexadecimal. * MSB, LSB est reprsent en hexadcimal.
* LSB = 0 is the basic effect type. * LSB = 0 est le type deffet de base.
Effect Parameter List / Liste des paramtres deffet
HALL1,2, ROOM1,2,3 ,STAGE1,2, PLATE

No. * Parameter

Reverb Time Diffusion Initial Delay HPF Cutoff LPF Cutoff
0-69 0-10 0-63 0-52 34-60
0.3~30.0s 0~10 0~63 Thru~8.0kHz 1.0k~Thru

P42**

table#4 table#5 table#3 table#3

Control

Lch Delay1 Lch Feedback Level Rch Delay1 Rch Feedback Level High Damp Lch Delay2 Rch Delay2 Delay2 Level Dry/Wet
0.1~355.0ms -63~+63 0.1~355.0ms -63~+63 0.1~1.0 0.1~355.0ms 0.1~355.0ms 0~127 D63>W ~ D=W ~ D<W63
1-3550 1-127 1-3550 1-127 1-10 1-3550 1-3550 0-127 1-127
Dry/Wet Rev Delay Density Er/ Rev Balance Feedback Level
D63>W ~ D=W ~ D<W63 0~63 0~3 E63> R~ E=R ~ E<R63 -63~+63
1-127 0-63 0-3 1-127 1-127

q table#5

EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain
50Hz~2.0kHz -12~+12dB 500Hz~16.0kHz -12~+12dB

8-40 52-76 28-58 52-76

table#3 table#3
WHITE ROOM ,TUNNEL, BASEMENT
Reverb Time Diffusion Initial Delay HPF Cutoff LPF Cutoff Width Height Depth Wall Vary Dry/Wet Rev Delay Density Er/ Rev Balance Feedback Level

CROSS DELAY

0-69 0-10 0-63 0-52 34-60 0-37 0-73 0-104 0-30 1-127 0-63 0-3 1-127 1-127
0.3~30.0s 0~10 0~63 Thru~8.0kHz 1.0k~Thru 0.5~10.2m 0.5~20.2m 0.5~30.2m 0~30 D63>W ~ D=W ~ D<W63 0~63 0~3 E63> R ~ E=R ~ E<R63 -63~+63
table#4 table#5 table#3 table#3 table#8 table#8 table#8
L->R Delay R->L Delay Feedback Level Input Select High Damp
0.1~355.0ms 0.1~355.0ms -63~+63 L,R,L&R 0.1~1.0
1-3550 1-3550 1-127 0-2 1-10

Dry/Wet

D63>W ~ D=W ~ D<W63

DELAY L,C,R

Lch Delay Rch Delay Cch Delay Feedback Delay Feedback Level Cch Level High Damp

EARLY REF1,2

0.1~715.0ms 0.1~715.0ms 0.1~715.0ms 0.1~715.0ms -63~+63 0~127 0.1~1.0
1-7150 1-7150 1-7150 1-7150 1-127 0-127 1-10
Type Room Size Diffusion Initial Delay Feedback Level HPF Cutoff LPF Cutoff
S-H, L-H, Rdm, Rvs, Plt, Spr 0.1~7.0 0~10 0~63 -63~+63 Thru~8.0kHz 1.0k~Thru
0-5 0-44 0-10 0-63 1-127 0-52 34-60

table#6 table#5

Dry/Wet Liveness Density High Damp
D63>W ~ D=W ~ D<W63 0~10 0~3 0.1~1.0

1-127 0-10 0-3 1-10

DELAY L,R
Lch Delay Rch Delay Feedback Delay 1 Feedback Delay 2 Feedback Level High Damp

GATE REVERB,REVERSE GATE

0.1~715.0ms 0.1~715.0ms 0.1~715.0ms 0.1~715.0ms -63~+63 0.1~1.0

Spcifications technique

Mthode de gnration de sons AWM2 (Advanced Wave Memory 2) Polyphonie simultane maximale 32-notes (priorit la dernire note) Capacit multitimbre 16 Partitions (DVA: Allocation de voix dynamique) Voix internes Voix Normal Total. 676 Mode XG.. 480 Mode TG300B.. 579 Drum Voices (Sets) Total.. 21 Mode XG.. 11 Mode TG300B.. 10 Effets Reverb (11 types), Chorus (11 types), Variation (42 types) Port de carte Port dextension WaveBlaster (26 broches) Consommation lectrique 2W Dimensions (l x h x p) 139 x 89 x 15 mm Poids 65 g (2.3 oz)

Precautions

q Do not expose the daughter board to direct sunlight, excessive humidity, high temperatures, excessive dust or strong vibrations. q Before handling the daughter board, be sure to touch a metal surface to discharge any static electricity which may be in your body. q When holding the daughter board, do not touch the inside area of the circuit board or apply excessive pressure to the board, and be sure to protect the board from contact with water or other liquids. q Before installing the daughter board onto a sound card, unplug the power connector of your computer. q Before connecting the computer to other devices, turn off the power switches of all devices. q Yamaha is not responsible for loss of data through computer malfunctions or operator actions. q The daughter board contains no user-serviceable parts, so never touch the inside area of the circuit board or tamper with the electronic circuitry in any way. Doing so may result in electrical shock or damage to the daughter board. YAMAHA CANNOT BE HELD RESPONSIBLE FOR DAMAGE CAUSED BY IMPROPER CARE AND USE OF THE DAUGHTER BOARD.
* Windows and MS-DOS are registered trademarks of Microsoft Corporation. * SoundBlaster and WaveBlaster are trademarks of Creative Labs, Inc. * Company names and product names in this Owners Manual are the trademarks or registered trademarks of their respective companies and are hereby acknowledged.

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 users 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 local retailer authorized to distribute this type of product. If you can not locate the appropriate, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620

Format Music Data Production Recommendations
Revision history April 20, 1995 ver.1.03 release 1995 Yamaha Corporation of America, CBX Group, P.O. Box 6600, Buena Park, CA 90622
Introduction This document provides recommendations for creating music data compatible with instruments utilizing the Yamaha XG format. In order to create music data that takes the fullest advantage of the XG format, youll need to have a complete understanding of the XG Specifications. We therefore urge you to refer both to this document and to the XG Specifications as you are creating your data. Note that the XG Specifications includes a number of new features which are not defined in the GM System Level 1 Recommendations (MIDI 1.0 Recommended Practice RP-003) of the JMSC (Japanese MIDI Standards Committee, now AMEIthe Association of Musical Electronics Industry). These new features are marked *Non-GM1* in this document. Models currently compatible with the XG Specifications include: Yamaha MU50 (Mid-range reference module, utilizing XG Level 1) Yamaha DB50XG (Sound card daughterboard, utilizing XG Level 1) Yamaha MU80 (High-end reference module, utilizing XG Level 2)

CONTENTS

1. XG implementation levels 2. Data format 3. Channels 4. Simultaneous polyphony 5. Timing distribution 6. Voice selection 7. Effects 8. System Exclusive parameter changes 9. Fade in/out 10. Miscellaneous
1. XG implementation levels There are currently two levels of XG implementation: Level 1, as utilized by the Yamaha MU50 and DB50XG; and Level 2, as utilized by the Yamaha MU80. There are also plans for a future XG Level 3, with details to be announced. While most aspects of XG Levels 1 and 2 are the same, there are a number of important differences between the two, as follows: XG Level 1 XG Level 2 (MU50 / DB50XG) (MU80) --------------------------------------------------------------------------------------------------------------------Number of drums setups Two Four Number of onboard effects Three (Reverb, Chorus, Variation) 42 Five (Reverb, Chorus, Variation, Distortion, Graphic EQ) 49

Number of SFX voices*

Unless otherwise noted, all references in this document apply to both XG Level 1 and Level 2.
* For a complete listing of all Level 1 and Level 2 SFX voices, see section 6-3 in this document.
2. Data format 2-1. Format We recommend the use of Standard MIDI File format 0 (where the file contains a single multichannel track), as opposed to format 1 (where the file contains multiple tracks). 2-2. Tempo We recommend using tempo settings in the range of 32 - 250 bpm. 2-3. Resolution Any resolution (such as 96 ppq or 480 ppq) may be used. For the MIDI events listed below, be sure to allow appropriate spacing between each event (as described below) in order to ensure correct processing by the sequencer: Continuous Control Change data such as Pitchbend, Expression, Volume, and Modulation - If these messages occur in dense succession, tempo can sometimes become unstable, so use the Thin Out (or equivalent) function on your sequencer to reduce the data stream as much as possible. Wherever possible, leave intervals of at least 1/96 (=5/480) between these events. Between Bank Select MSB/LSB and Program Change - If these three events are placed at the same time clock, the sequencer may produce unexpected results. Always leave intervals of at least 1/96 (=5/480) between these events, and always send the Bank Select MSB first, the Bank Select LSB second, and the Program Change last. Between events such as RPN/NRPN Parameter Select, Data Entry MSB/LSB, and Reset Always leave intervals of at least 1/96 (=5/480) between these events. After a System Exclusive message - Always leave an interval of at least 1/96 (=5/480). We recommend the use of System Exclusive messages only within the setup data (see section 2-4 below), and not within the song data itself.
2-4. Setup Data Reserve one or more measures for tone generator setup data at the beginning of the song, and do not place any music data in this setup measure or measures. Use the minimum number of setup measures that are required, as dictated by the time signature and the amount of MIDI events necessary. Always observe the required spacing between each event as given in section 1-3, above. Taking into account the possibility that XG music data may be played back on a GM tone generator, be sure to include a GM System On message in the setup data. The GM System On message must be transmitted before the XG System On message. Allow empty intervals of at least 200 msec after the GM System On, and at least 50 msec after XG System On. Note that the reception of an XG System On message by an XG-compatible instrument causes all parameters to initialize to their factory defaults (see the instruments owners manual for details). Therefore, you need include in the setup data only those messages required to set parameters to values other than their factory defaults. Allow an empty interval of at least 200 msec after the setup data before the song data begins. We recommend the general order of events in the setup measure to be as follows: 1. SMF header chunk 2. SMF track chunk 3. SMF Meta-Events such as tempo, time signature, text events, copyright notice, sequence name, lyric, etc. 4. GM System On message 5. XG System On message 6. All required System Exclusive parameter changes (Effects selection, followed by Effects customization, followed by voice parameter customization) 7a. Bank Select messages (Control Change #0, followed by Control Change #32) for channel 1 7b. Program Change message for channel 1 7c. All required Control Change messages for channel 1 (except Control Change #0 and #32) 7d. All required RPN messages for channel 1 7e. All required NRPN messages for channel 1 8. Repeat 7a - 7e for channel 2, then channels 3. 16 You can utilize the setup data templates provided on the enclosed floppy disk. Be careful to observe the spacing requirements between MIDI events as given in section 2-3 above.

3. Channels 3-1. Number of Parts A maximum of 16 parts (16-way multitimbral) should be used, since this is the minimum requirement for Level 1 XG instruments (Level 2 XG instruments may have up to 32-way multitimbral capability). 3-2. Channel Assignment for Each Part Depending on the character of the song, assign channels 1 - 5 and channel 10 as follows: Minus-one music: Part MIDI Ch. Note ----------------------------------------------------------------------------------------------------------------------Rhythm 10 dedicated rhythm part Melody Sub-melody/ solo/ accompaniment Bass Pad Riff Band music: Part MIDI Ch. Note ----------------------------------------------------------------------------------------------------------------------Rhythm 10 dedicated rhythm part Melody Sub-melody/ solo/ accompaniment Bass Pad Riff 5 lead part solo part or important backing part bass part backing part with mostly sustained notes rhythmic backing part 5 main part to be muted during minus-one play secondary part to be muted during minus-one play bass part backing part with mostly sustained notes rhythmic backing part
Piano practice piece: Part MIDI Ch. ----------------------------------------------------------------------------------------------------------------------Rhythm 10 dedicated rhythm part Melody Sub-melody/ solo/ accompaniment Bass Pad Riff 5 right hand (1st) part left hand (2nd) part bass part backing part with mostly sustained notes rhythmic backing part
Remaining musical parts should be allocated to channels 6 - 9 and 11 - 16, with parts of greater musical importance assigned to lower-numbered channels. 3-3. Rhythm Channel Settings As specified in 3-2 above (and as per General MIDI), channel 10 is always dedicated to the rhythm part. *Non-GM1* If you wish to specify a secondary rhythm part (in addition to channel 10), use either the Bank Select MSB and LSB* or the SysEx parameter change Part Mode** to designate another channel as a rhythm sound. SysEx parameter changes can be used to create drum setup settings for a maximum of two parts, including channel 10. By default, ch.10 is DRUMS 1. (In SysEx parameter change multi-part Part Mode F0H, 43H, 10H, 4CH, 08H, nnH, 07H, ddH, F7H, Part Number nnH=09H, and Data ddH=02H.) For one drum part other than ch.10, use DRUMS 2. (F0H, 43H, 10H, 4CH, 08H, 08H, nnH, 07H, 03H, F7H.) DRUMS 3 and DRUMS 4 are provided by Level 2 XG instruments only, and should not be used. If you do not need to use drum setup to modify the contents of the kit, you can use the SysEx parameter change F0H, 43H, 10H, 4CH, 08H, nnH, 07H, 01H, F7H to set the Part Mode to DRUM. This allows you to specify three or more parts as rhythm sounds. * See the XG Specifications, #4. Control Change / Bank Select MSB/LSB ** See the XG Specifications, #7. System Exclusive Messages / Parameter Change, and Table 1-8

4. Simultaneous polyphony Always keep the song within 16 - 32 notes of simultaneous polyphony. Since some voices use two notes of the total polyphony (because they contain two elements), the maximum available number of simultaneous notes will depend on the type and combination of voices used. Avoid overlapping note on/offs of the same channel and note number. For example, in the following case, it cannot be definitely stated how note-on processing will take place: note on | note off | | ================= =================== | | note on | note off
ch.1, note#60 ch.1, note#60
5. Timing distribution Do not place messages such as Pitch Bend Change and Control Change, etc., in the same time clock. Since some sequencers rearrange the order of MIDI events that occur in a single time clock, the results may be unpredictable. Also, dense successions of events (even if they do not occur in the same time clock) can cause the tempo to be disrupted, or the hardware to respond in unexpected ways. *Non-GM1* Regarding Bank Select, the XG Specification says that As given in the MIDI specification, MSB + LSB + Program Change must be sent as a unit. Here, as a unit should not be understood to mean at the same time, but rather that other MIDI events may not occur between the MSB, LSB and program change. Hypothetically speaking, if these three messages were sent at the same time and the sequencer read the Program Change first and the MSB and LSB later, the voice would be selected from the previously-specified bank. For more information, refer to XG Specifications #4. Control Changes / Bank Select MSB/LSB. Note that the reception of Bank Select MSB/LSB does not immediately change the tone generator voice. The channel stores the received Bank Select MSB/LSB setting, but does not apply it until receipt of the next Program Change.
6. Voice selection *Non-GM1* 6-1. Voice Selection Procedure The XG voice selection procedure is as follows. Melody voice Bank Select MSB = 00H, use Bank Select LSB to specify the bank, then use Program Change to select the voice Bank Select MSB = 40H, Bank Select LSB = 00H (fixed), then use Program Change to select the voice Bank Select MSB = 7EH, Bank Select LSB = 00H (fixed), then use Program Change to select the kit, finally, use Note Number to select the voice Bank Select MSB = 7FH, Bank Select LSB = 00H (fixed), then use Program Change to select the kit, finally, use Note Number to select the voice

SFX voice

SFX kit

Rhythm Kit

For Kit and Voice mapping, refer to the XG Voice List and XG Drum List that are attached to the XG Specifications. In the SFX kit, there are some notes within the valid range of notes that produce no sound (that is, keys to which no voice is assigned). 6-2. Melody Voice Substitution Tone generators that do not have the specified bank when a new melody voice is selected will automatically substitute the sound of the previously selected bank. (By default, this will be the GM basic sound set in Bank 0.) As an example: If you want Bank Select MSB = 00H, LSB = 2DH, Program Change #29 Jazz Man but a substitution of MSB = 00H, LSB = 2BH, Program Change #29 Funk Gtr 2 is possible, first transmit MSB = 00H, LSB = 2BH, Program Change #29 and then transmit MSB = 00H, LSB = 2DH, Program Change #29 This slight detour will minimize the chances of an undesired replacement by the GM basic sound set.

6-3. SFX Voice Substitution Be aware that Level 1 XG instruments (such as the MU50 and DB50XG) do not contain all the Level 2 SFX voices (as provided by the MU80). Level 1 tone generators that do not have the specified SFX voice when a new SFX voice is selected will play silence, so avoid using any SFX voices that are not common to both Level 1 and Level 2 XG instruments. The table below compares the Level 1 (MU50/DB50XG) SFX voice list with the Level 2 (MU80) voice list:
Level 1 (MU50/DB50XG) SFX Voice List Pch# Bank 0 # of Elements ---------------------------------------------------1 CuttngNz CttngNzStr Slap Fl.KClik 33 Rain Thunder Wind Stream Bubble Feed Level 2 (MU80) SFX Voice List Pch# Bank 0 # of Elements ---------------------------------------------------1 CuttngNz CttngNz3 DstCutNz Str Slap B.Slide P.Scrape Fl.KClik 33 Rain Thunder Wind Stream Bubble Feed 44 45
Level 1 (MU50/DB50XG) SFX Voice List Pch# Bank 0 # of Elements ---------------------------------------------------Dog Horse Bird Ghost Maou Tel.Dial DoorSqek Door Slam Scratch Scratch 70 WindChm TelphonCarEngin Car Stop Car Pass CarCrash Siren Train Jetplane Starship Burst Coaster SbMarine 95
Level 2 (MU80) SFX Voice List Pch# Bank 0 # of Elements ---------------------------------------------------Dog Horse Bird 52 Kitty Growl Haunted Ghost Maou Tel.Dial DoorSqek Door Slam Scratch Scratch 70 WindChm TelphonCarEngin Car Stop Car Pass CarCrash Siren Train Jetplane Starship Burst Coaster SbMarine 95
Level 1 (MU50/DB50XG) SFX Voice List Pch# Bank 0 # of Elements ---------------------------------------------------Laughing Scream Punch Heart FootStep 113 MchinGun LaserGun Xplosion FireWork 128
Level 2 (MU80) SFX Voice List Pch# Bank 0 # of Elements ---------------------------------------------------Laughing Scream Punch Heart FootStep Applaus113 MchinGun LaserGun Xplosion FireWork 128
7. Effects *Non-GM1* The following three effect blocks are available for use by both Level 1 and Level 2 XG instruments: Reverb Chorus Variation The types available in each block are listed in the XG Basic (Required) Effect List included with the XG Specifications. There is a risk of losing song data compatibility if you use optional types, optional parameters, or optional effects. Avoid using, for example, White Room or Pitch Change. If your data requires a distortion effect and is intended for playback on a Level 2 XG instrument such as the Yamaha MU80, use a distortion program within the Variation block rather than a distortion program contained within the Distortion (Insertion Effect 1) block. If you use SysEx parameter change effect parameters, do not modify parameters 11 and higher. (Use only parameters 1 - 10.) Details of the parameters are given in the XG Effect Parameter List in the XG Specifications. In the Variation block, Variation Connection is initially set to INS (that is, in F0H, 43H, 10H, 4CH, 02H, 01H, 5AH, ddH, F7H, the default setting is ddH=00H.) In this state, a Variation effect can be used for only one part, so specify Variation Part as needed. (In F0H, 43H, 10H, 4CH, 02H, 01H, 5BH, ddH, F7H, specify ddH. By default, ddH=7FH i.e., OFF) When Variation Connection = INS, Control Change #94 Effect 4 Depth (Variation send) is ignored. By setting Variation Connection to SYS, you can apply Variation effects to two or more parts. (In F0H, 43H, 10H, 4CH, 02H, 01H, 5AH, ddH, F7H, set ddH=01H.) In this case, Control Change #94 (Variation Send) will specify the send levels of each part. Always set Variation Connection to SYS before setting values for Control Change #94.

8. System Exclusive parameter changes *Non-GM1* Avoid using System Exclusive parameter changes that are designated as optional in the XG Specifications. As exceptions, the following three may be used even though they are listed as optional: Multi EQ Data parameter change* Display Data parameter change A/D Part Data parameter change Because Multi EQ parameters are used only by Level 2 XG instruments (and are ignored by Level 1 XG instruments, which always provide a flat EQ response), EQ may be used only as long as a flat response would not cause the character of the song to be lost. Note that later-received SysEx messages always take priority, so when transmitting messages that reset the entire block of parameters (such as Effect Type), give consideration to the appropriate order and spacing. For example: Multi Effect Data parameter change - Send parameters after specifying the effect type. Multi EQ Data parameter change* - Send parameters after specifying the EQ type. Drums Setup parameter change - Use a Program Change message to select a Rhythm Kit, then (if necessary) use Multi Part Data parameter change Part Mode to select Drums Setup. Finally, send parameters.
9. Fade in/out *Non-GM1* To fade a song in or out, use Control Change #11 (Expression) or the universal system exclusive message MIDI Master Volume (F0H, 7FH, 7FH, 04H, 01H, llH, mmH, F7H). Note that MIDI Master Volume changes the relative values of all parts simultaneously. Also, when Variation Connection is SYS, parts which use a Variation effect may not fade correctly. In this case, use the effect parameter change Variation Return (F0H, 43H, 10H, 4CH, 02H, 01H, 56H, ddH, F7H) in conjunction with the MIDI Master Volume message.
10. Miscellaneous 10-1. When a Program Change message is received, the values of Control Change messages such as Volume or RPN/NRPN are not reset. Be aware of this when you use Program Change messages within a song. 10-2. Use Control Change #7 (volume) to adjust the volume balance between parts. If, when inputting song data, you use a pedal-type volume controller for performance expression, the data will be recorded as Control Change #7 data, but you should replace this with Control Change #11 (expression) data. 10-3. For performance expression within a song (such as crescendos and diminuendos), use Control Change #11 (expression). 10-4. *Non-GM1* Control Change #10 (panpot) may be used while a note is sounding. 10-5. For the following four messages, use only values of either 0 or 127 (i.e., on/off switch values)do not use half-pedal data values: Control Change #64 (Sustain) Control Change #65 (Portamento) Control Change #66 (Sostenuto) Control Change #67 (Soft Pedal) 10-6. *Non-GM1* Some parameters (such as Filter Cutoff Frequency, Filter Resonance, EG Attack Rate, and EG Release Rate) can be altered with Control Change messages as well as with NRPNs and/or System Exclusive parameter messages. We recommend that such parameters always be altered with Control Changes rather than with NRPNs or System Exclusive messages. 10-7. Do not use Control Change #84 (Portamento Control). 10-8. Do not use Control Change #120 (All Sound Off) or #123 (All Note Off). 10-9. Do not use AnH (Polyphonic Aftertouch) or DnH (Channel Aftertouch). When inputting data from a keyboard or other controller in realtime, keep Aftertouch out of the music data with the use of a MIDI input filter.