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SPECIAL MESSAGE SECTION
This product utilizes batteries or an external power supply (adapter). DO NOT connect this product to any power supply or adapter other than one described in the manual, on the name plate, or specifically recommended by Yamaha. WARNING: Do not place this product in a position where anyone could walk on, trip over ,or roll anything over power or connecting cords of any kind. The use of an extension cord is not recommended! IF you must use an extension cord, the minimum wire size for a 25' cord (or less ) is 18 AWG. NOTE: The smaller the AWG number ,the larger the current handling capacity. For longer extension cords, consult a local electrician. This product should be used only with the components supplied or; a cart, rack, or stand that is recommended by Yamaha. If a cart, etc., is used, please observe all safety markings and instructions that accompany the accessory product. SPECIFICATIONS SUBJECT TO CHANGE: The information contained in this manual is believed to be correct at the time of printing. However, Yamaha reserves the right to change or modify any of the specifications without notice or obligation to update existing units. This product, either alone or in combination with an amplifier and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. DO NOT operate for long periods of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. IMPORTANT: The louder the sound, the shorter the time period before damage occurs. Some Yamaha products may have benches and / or accessory mounting fixtures that are either supplied with the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional fixtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other uses are recommended. NOTICE: Service charges incurred due to a lack of knowledge relating to how a function or effect works (when the unit is operating as designed) are not covered by the manufacturers warranty, and are therefore the owners responsibility. Please study this manual carefully and consult your dealer before requesting service. ENVIRONMENTAL ISSUES: Yamaha strives to produce products that are both user safe and environmentally friendly. We sincerely believe that our products and the production methods used to produce them, meet these goals. In keeping with both the letter and the spirit of the law, we want you to be aware of the following: Battery Notice: This product MAY contain a small non-rechargeable battery which (if applicable) is soldered in place. The average life span of this type of battery is approximately five years. When replacement becomes necessary, contact a qualified service representative to perform the replacement. This product may also use household type batteries. Some of these may be rechargeable. Make sure that the battery being charged is a rechargeable type and that the charger is intended for the battery being charged. When installing batteries, do not mix batteries with new, or with batteries of a different type. Batteries MUST be installed correctly. Mismatches or incorrect installation may result in overheating and battery case rupture. Warning: Do not attempt to disassemble, or incinerate any battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by the laws in your area. Note: Check with any retailer of household type batteries in your area for battery disposal information. Disposal Notice: Should this product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of products that contain lead, batteries, plastics, etc. If your dealer is unable to assist you, please contact Yamaha directly. NAME PLATE LOCATION: The name plate is located on the rear of the product. The model number, serial number, power requirements, etc., are located on this plate. You should record the model number, serial number, and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase.
MIDI CABLE MIDI IN
With the MDF3, you can also play compatible song data on the MU100 directly from the MDF3 itself, without the need of a sequencer. In this case, the MIDI OUT of the MDF3 should be connected to the MIDI IN of the MU100.
Computer equipped with a MIDI interface
In this setup, you can control the MU100 from a computer (using sequencing or other song playback software). In a variation on this, you can connect the computer to MIDI-A and a keyboard to MIDI-B. This allows you to play parts live over sequencer playback even if the sequencer uses all 16 MIDI channels.
Computer MIDI IN-A
Operation 1 Set the HOST SELECT switch to MIDI. 2 Connect the MU100 to the appropriate MIDI device. Refer to the illustrations above. Use a standard MIDI cable (see page 92). 3 Turn on the the connected device, then the MU100. 4 If you are using a computer, start up your music software, and set up the appropriate options on the software for operation with the MU100.
Connecting Directly to a Computer
The MU100 features a built-in host computer interface, allowing you to directly connect it to your computer eliminating the need of installing a special MIDI interface to your computer. The MU100 can be used with the following computers: Apple Macintosh and compatibles, IBM PC/AT and compatibles. If your computer has a MIDI interface you may want to connect the MU100 to it, rather than using the host computer interface on the MU100. (See the section Connecting to MIDI Devices on page 33.) Depending on the computer or interface used, set the HOST SELECT switch to the appropriate setting: MIDI, PC-1, PC-2 (IBM and compatibles), or Mac (Macintosh and compaibles). For information on the types of cables that can be used for connection, see the section MIDI/Computer Connecting Cables on page 92.
Macintosh and Compatibles
Follow these instructions if you have an Apple Macintosh not equipped with an external MIDI interface. Connect the TO HOST terminal on the MU100 to the Modem or Printer port on the Macintosh.
Modem or Printer Port
Operation 1 Set the HOST SELECT switch to Mac. 2 Connect the MU100 to the host computer. Refer to the illustration above. Use a standard Macintosh cable (8-pin Mini DIN on both ends; see page 92). 3 Turn on the the host computer, then the MU100. 4 Start up your music software. If necessary, set up the appropriate options on the software for operation with the MU100. The relevant settings may be found in menu(s) called Studio Setup, System Setup, or MIDI Setup. In this menu, you should be able to set separate MIDI outputs to access the two MIDI ports on the MU100. For example, the device for MIDI OUT 1 should be set to Yamaha MU100 (or MU80, if MU100 is not available). Other options you may have to set include: MIDI Interface Type Standard MIDI Interface MIDI Time Piece On (for controlling all 32 Parts of the MU100) Clock 1 MHz (The specific menu/parameter names may differ depending on your particular music software. For detailed instructions, refer to the owners manual or on-line help of the software.)
Hint You can easily edit the same control for different Parts. To do this, simply remain at the selected control and use the [PART -/+] buttons to change the Part to be edited. Setting different Parts to the same MIDI channel is a way to build fat, richly textured sounds like the four-Voice sounds created in the Performance mode. The advantage to this method here is that you are not limited to four Voices. The disadvantage is that you can only create and use one of these monster sounds at a time. (However, you can store/load your Multi mode settings to/from a computer or data filer; see page 33.) To do this: 1) Select the desired Part (by using the [PART -/ +] buttons). 2) Select the Receive Channel (Rcv CH) control (by using the [SELECT </>] buttons). 3) Set the Receive Channel value (by using the [VALUE -/+] buttons or data dial). 4) With the Receive Channel still selected, select a different Part (with the [PART /+] buttons), and set it to the same value as the other Part. 5) Repeat step #4 above for as many other Parts as desired. For example, if youve set both Parts 1 and 2 to MIDI channel 1, both of their level meters should move together as you play. And, if the two Parts are set to different Voices, you should hear two different Voices sound at the same time. (For instructions on changing the Voice for a Part, refer back to Selecting and Playing Individual Voices on page 42.)
For more information on the specific Part controls, see page 96.
All Part Controls The instructions in this section show you how to change the settings for individual Parts; these are the Single Part Controls. The All Part Controls, on the other hand, let you change certain global settings affecting all Parts. To select the All Part Controls, simultaneously press both [PART -/+] buttons. (For more information on the All Part Controls, see page 98.)
Edit Menu Parameters
The Edit Menu Parameters provide more detailed and advanced controls over the Parts. These are powerful tools that let you subtly enhance or finetune the sound of a Voice or radically change its character for some wild and unique sounds.
Changing the Filter and EG Settings of a Part
Operation 1 Select the desired Part. Use the [PART -/+] buttons. Also, for the sake of these instructions, select the SquareLd Voice, #081. (See page 43.) 2 Call up the Edit menu. Press the [EDIT] button.
3 Select FILTER in the display. Use the [SELECT </>] buttons. The Edit menu has five items: FILTER, EG (Envelope Generator), EQ (Equalizer), VIBRATO, and OTHERS. The flag next to the item flashes when selected.
Details When a drum Part is selected, the EQ menu item is replaced by DRUM. (See page 117 for information on editing drum Parts.)
For more information on the specific Drum parameters, see page 114.
Editing in the Performance Mode
The Performance mode is an exceptionally powerful and flexible mode that allows you to combine four different Voices (including both A/D inputs) and play them from a single MIDI channel. The potential applications of the Performance mode are enormous, and well touch on some of the main ones here. As the name suggests, the Performance mode is primarily intended for live performance situations. The four Voices can be played altogether in a huge, fat layer, or can be split across the keyboard in different zones, or can be switched according to key velocity. A total of 200 Performances are available: 100 Preset, which are reserved for only factory settings, and 100 Internal, to which you can save your own original Performances. This section takes you step-by-step through an example editing session in the Performance mode. The operations and techniques you learn here enable you to perform any editing operation in the Performance mode. As with the Multi mode, the Performance mode has two separate sections that are devoted to editing: the Single/All Part controls, and the Edit menus.
Use the All Part controls to transpose the overall key of a Performance. Set the number of Parts of the Performance. Use the Single Part controls to select different Voices for the Performance. Use the Edit menu parameters to create a fat two-Voice sound. Use the Mute/Solo button for effective editing. Set up a keyboard split with individual Voices playable from different sections of the keyboard. Set up a Performance for playing filter sweeps with the modulation wheel on your keyboard. Save your original Performance.
All Part Controls
You can make changes to the overall Performance by using the All Part controls. These are displayed in the Performance Play mode, and give you at-a-glance confirmation and control of some important basic settings of the selected Performance. In the Performance mode, the All Part controls are automatically called up whenever you turn the power on or select the Performance mode. Lets take a look at the All Part Performance Play display:
Performance name, bank (Preset or Internal), and program number.
BANK/PGM# VOL EXP PAN REV CHO VAR KEY System Transpose (key transpose setting for entire Performance). Variation Return. Chorus Return. Reverb Return. Performance Pan (stereo position of entire Performance). Expression (not available; always set to maximum). Performance Volume. System Channel (MIDI receive channel for entire Performance).
Indicates All Part control.
For more information on the All Part controls, see page 120.
Transposing the Overall Key of a Performance
In this example, youll change the System Transpose setting for the Rich Piano Performance. This All Part control is useful for instantly changing the key to match the range of a vocalist, or for ease in playing difficult keys. Operation 1 Select the Rich Piano Performance. First select the Preset bank (Pre), then select Performance number 002 (Stereo Grand). (For instructions on selecting Performances, see steps 4 and 5 on page 40.) 2 Select the System Transpose control. Use the [SELECT >] buttons to move the cursor arrow to the appropriate control. (SysTran appears in the display.)
Edit Menu Parameters Creating a Two-Voice Layer
Editing a Performance is almost identical to editing Parts in the Multi mode. The Edit menu tree is slightly different, and certain parameters are different as well. (For a full list and description of Performance Edit parameters, see page 123.) In the following instructions, youll use the Edit menu parameters to create a two-Voice Performance and fatten the sound using Detune. Operation 1 Select the desired Performance. For this example, select the Preset bank, then Performance number 027, Jump-off. 2 Select Part 1. Call up the Single Part controls (simultaneously press both [PART -/+] buttons), then select Part 1. 3 Solo the selected Part. Press the [MUTE/SOLO] button twice (or repeatedly until the display below appears) to solo the selected Part.
Dark bar indicates Part 1 is being soloed.
Using Mute/Solo for effective editing: The [MUTE/SOLO] button is a convenient tool, especially in editing Performances. Make sure that the Single Part controls are selected, then use the button to switch among the following three conditions. (In All Part, the [MUTE/ SOLO] button simply mutes/un-mutes all Parts.) Lets you hear what the other Parts of the Performance sound Mute: like, minus the selected Part. Solo: Lets you hear what the selected Part sounds like by itself. Normal: Lets you hear all Parts together. Use this function regularly as you edit the sound. While youre editing, you should solo the Part, so you can clearly hear the changes. Make sure to frequently use Normal (all Parts on), so you can hear the total effect of your edits. For more on Mute/Solo, see page 85.
4 Select Part 1 and select a new Voice for it: HeavySyn (082). 5 Select Part 2 and select the HeavySyn Voice for it as well. 6 Select the OTHERS parameters. Press the [EDIT] button. From the first Edit menu, select and call up PART, then select and call up OTHERS.
First Edit menu.
Second Edit menu.
7 Select and set the Detune parameter for Part 2. Use the [SELECT <] buttons to select the parameter, then the [VALUE -/+] buttons or data dial. With Part 2 selected, increase this to +2.2. 8 Set the Detune parameter for Part 1. Keep the display at the Detune parameter and select Part 1. Decrease this setting to 2.2. This produces a fat layered sound. You can check how much this changes the sound by exiting to the Single Part display and using [MUTE/SOLO] button to listen to the Parts by themselves and together. Now, try changing some other parameters. 9 Exit to the second Edit menu and call up the VIBRATO parameters. Press the [EXIT] button once, then select and call up the VIBRATO parameters.
; Change the Vibrato Rate, Depth, and Delay settings. Select one of the Parts and set the Vibrato parameters as follows: Rate: +15 Depth: +04 Delay: +15 This produces a delayed vibrato for Part 1; in other words, the vibrato effect starts after the keys have been held for a while. Notes played staccato have no vibrato. a Exit back to the Single Part control display. Press the [PLAY] button.
2) Select Part 1. 3) Select and change these parameters: LPF Cutoff: 64 LPF Reso: +50 Provided your connected keyboard has a modulation wheel (most do), and all other settings are appropriate, you can create wide, dynamic filter sweeps by holding notes and moving the modulation wheel.
Saving Your Original Performance
Once youve edited a Performance, you can give it a different name and save it for future recall. The MU100 has 100 Internal memory locations for your original Performances. For instructions on naming a newly created Performance, see page 124. Operation 1 Press the [EDIT] button. 2 Select STORE.
Either Preset or Internal Performances can be edited, but they can only be saved to the Internal bank. 3 Select a different Internal number, if desired. Use the [VALUE -/+] buttons or data dial. 4 Press the [ENTER] button to save the Performance, or press the [EXIT] button to cancel.
Assignable Controller (AC1)
The Assignable Controller (AC1) is one of the more powerful features of the MU100 it gives you extraordinarily flexible and expressive real-time control over the Voices.
In this section, youll:
Learn about MIDI controllers and control numbers, and how they can affect the Voices. Set up your system for using the Assignable Controller. Try out some specific controller application examples, such as: * Varying degrees of brightness on a Part * Filter sweep and wah effects * Expression pedal control of volume * Variable filter control of specific drum sounds
Hint A good way to introduce yourself to some of the Assignable Controller applications is to explore the Performances many of them feature Assignable Controller settings that let you change some aspect of the sound (usually with the modulation wheel on the connected keyboard). (Refer to the Sound List & MIDI Data booklet, and select/play Performances that mention MW in the Comments section of the lists.)
Controllers and Control Numbers
In the MIDI world, controllers are used to change some aspect of the sound. In this section, well work with continuous controllers so named because they let you add musical, expressive effects that change smoothly over time (such as crescendos and decrescendos). The illustration below shows some continuous controllers youre likely to see on a MIDI keyboard.
Minimum position mellow sound.
Maximum position bright sound.
4 Try the setting on other Voices. Exit to the Multi Play mode display (press the [PLAY] button) and select other Voices, trying out the new setting, and moving the foot controller up and down as you play. Try out some of these Voices, and notice how the sound changes: SynBass2 (040), Saw Ld (082), Warm Pad (090) for a wah filter sweep effect. SynVoice (055), NewAgePd (089) for gradually fading in a breathy sound. For details on the AC1 Filter Control parameter, see page 112.
Details Keep in mind that the degree and character of the AC1 Filter Control depends also on the Filter parameter settings for the Part (see page 112). Some Voices may not change at all unless these parameters are set appropriately. However, all of the example Voices above should clearly change in response to AC1 (if the Filter parameters are all at their default setting of 00).
Resetting the parameter values The simple operation below lets you instantly restore the factory preset values. Since it automatically cancels any edits youve made, you should use it with care. 1. Press the [MODE] button. 2. Select a different mode, then re-select the original one. For example, if you were editing in the XG mode, use the [SELECT </>] buttons to move the cursor to TG300, then back to XG. Doing this automatically resets all Part settings to the factory-programmed condition and cancels any edits you made in the Multi mode (including whatever Voices you selected).
Expressive Volume Control of a Part
This example shows you how to use the foot controller as an expression pedal. This may come in handy when use of MIDI Volume (#7) or Expression (#11) is unavailable. Operation 1 Select the desired Part and Voice. Keep the settings you made to Part 1 (in the last example), and select a new Part/Voice for this example. From the Multi Play mode, select Part 2 with the [PART -/+] buttons. (This should be set to MIDI channel 2; set the MIDI channel on the connected keyboard accordingly.) A good Voice for this application would be PercOrg# (018); select this with the [VALUE -/+] buttons or data dial. 2 Set the Assignable Controller number for the Part. Set this to 04. (Refer to step 3 in Using the Assignable Controller Setting Up above.) 3 From the OTHERS parameters, select AC1AmpCtrl and set it to +63. Use the [SELECT </>] buttons to select the Amplitude (level) Control parameter, then set the value with the [VALUE -/+] buttons or data dial. Now, play the organ sound and use the foot controller to play expressive volume swells. For details on the AC1 Amplitude Control parameter, see page 113.
This determines how widely the pitch is modulated by the LFO (low frequency oscillator). This is generally controlled from a modulation wheel on a MIDI keyboard and produces a vibrato effect. The higher the value, the deeper the pitch modulation, and hence, the more pronounced the vibrato effect.
Assignable Controller 1 Control Change Number (AC1 CC No.)
Range: 00 95
This determines which MIDI control change number is assigned to the Assignable Controller (AC1) for the selected Part. AC1 can be used to affect the Filter (page 112), volume (Amplitude; page 113), LFO (page 125) or the Variation effect (page 137).
HINT Though this parameter allows you to assign any control change number from 0 to 95, only a few of these are in common use. The controllers most likely to be encountered include: 01 Modulation wheel or lever 02 Breath controller 04 Foot controller 07 Volume controller Some or all of these may be available on your MIDI instrument, and can be used to control certain functions on the MU100 in real time. Some MIDI instruments allow you to change the control change number for a particular controller: for example, setting the modulation wheel (nor-
This determines the degree to which Assignable Controller 1 (AC1) affects the Cutoff Frequency of the Low Pass Filter for each Part. For maximum effect, this should be set to one of the extreme values, negative or positive. A setting of 00 results in no control over the Filter, even when AC1 is operated (or control change data is received). Negative settings affect the Filter negatively; in other words, when the controller is at the minimum position, control over the Filter is greatest (see illustration below). (The control number used for AC1 is set in the Assignable Controller 1 Control Change Number parameter above.)
For positive values: For negative values:
HINT Positive and negative values can be most effectively used by setting two different Parts to opposite settings. In this way, moving the controller (for example, a foot controller) one way will affect one Part and moving it the opposite way will affect the other Part.
Assignable Controller 1 Amplitude Control (AC1 AmpCtrl)
This determines the degree to which Assignable Controller 1 (AC1) affects the volume (Amplitude) for each Part. For maximum effect, this should be set to one of the extreme values, negative or positive. A setting of 00 results in no volume control, even when AC1 is operated (or control change data is received). Negative settings affect the volume negatively; in other words, when the controller is at the minimum position, control over the volume is greatest. (The control number used for AC1 is set in the Assignable Controller 1 Control Change Number parameter above.)
Settings: on, off
This determines how the selected drum sound responds to MIDI Note On messages. Normally, this should be set to on so that the corresponding drum sound plays when a MIDI Note On message is received. Set this to off when you want to keep the selected drum sound from playing.
Receive Note Off (RcvNoteOff)
This determines how the selected drum sound responds to MIDI Note Off messages. When this is set to on, the selected sound will stop in response to the corresponding MIDI Note Off message. An on setting is good for some sustained sounds (like a whistle), whose duration you want to control or for key-controlled cymbal chokes. For most drum sounds, however, this should be set to off so that the drum sound plays back in its entirety (is not cut off).
In the Performance mode, the MU100 performs as a four-Part tone generator, with all Parts controlled over a single MIDI channel. The Performance mode is so named because its ideally suited to live performance situations. It allows you to play four different Voices at the same time from your MIDI keyboard either in a layer, or in sophisticated keyboard and velocity splits. It also gives you comprehensive control over each of the four Parts for maximum performance flexibility. A total of 200 Performances are available: 100 Preset and 100 Internal. For basic information on using the Performance Mode, see page 39.
NOTE Drum Parts are not available in the Performance mode.
Performance Part Control... 120 All Part... 120 Single Part... 121 Performance Edit Mode.. 123 Common... 123 Part... 126 Copy and Store Operations... 129 Copy.... 129 Store... 130 Recall Function... 132
Performance Part Control
For basic information on using the All Part controls in the Performance mode, see page 60.
System MIDI Channel (Sys CH)
Settings: 01 16
Performance Volume (Pfm Vol)
This determines the MIDI receive channel for all Parts of the Performance.
This determines the overall Volume of the Performance.
Settings: Pre (Preset), Int (Internal)
Performance Pan (Pfm Pan)
Range: L63 C R63
This determines the bank of Performance programs: Preset or Internal. Preset Performances are those that have been created and loaded at the factory; the Internal bank is reserved for user-created Performances.
NOTE When changing Performance banks, there may be a slight delay before the sound changes.
This determines the overall Pan position of the Performance.
Range: 001 100
This determines the amount of Reverb return for the Performance in the overall mix.
This determines the Performance number.
NOTE When changing Performance numbers, there may be a slight delay before the sound changes.
NOTE The common parameters above are common to nearly all the Variation effect types. (Exceptions are described in the separate SOUND LIST & MIDI DATA booklet.)
Variation Pan (VarPan) (System connection)
Determines the pan position of the Variation effect.
Send Variation to Chorus (SendVarCho) (System connection)
Determines the amount of Variation effect sound that is sent to the Chorus effect.
Send Variation to Reverb (SendVarRev) (System connection)
Determines the amount of Variation effect sound that is sent to the Reverb effect.
Insertion 1, 2 (INS 1, 2)
The Insertion 1 and 2 effects provide additional effects for processing individual Parts. Explanations of the Type, Dry/Wet Balance and Part parameters are given below. For descriptions and explanations for all other parameters, refer to the separate SOUND LIST & MIDI DATA booklet. The Insertion effects are set up for Insertion routing and can be applied only to a single selected Part. Refer to About the Effect Connections System and Insertion on page 139 for more information.
Settings: THRU; HALL 1 2; ROOM 1 3; STAGE 1 2; PLATE; DELAY L,C,R; DELAY L,R; ECHO; CROSS DELAY; KARAOKE 1 3; CHORUS 1 4; CELESTE 1 4; FLANGER 1 3; SYMPHONIC; ENSEMBLE DETUNE; ROTARY SPEAKER; TREMOLO; AUTO PAN; PHASER 1; DISTORTION; OVER DRIVE; AMP SIMULATOR; 3BAND EQ (MONO); 2BAND EQ (STEREO); AUTO WAH (LFO); TOUCH WAH 1 2, AURAL EXCITER , COMPRESSOR; NOISE GATE
Assignable Controller 1 Insertion 1/2 Control (AC1INS1/2Ctrl)
This determines the degree to which Assignable Controller 1 (AC1) affects the MIDI-controllable parametes of the Insertion effects. Each of the Insertion effect types have one parameter which can be controlled by the AC1. (For details, see the Effect Parameter List of the SOUND LIST & MIDI DATA booklet.) This parameter is not available in the performance mode.
Insertion 1, 2 Part (INS 1, 2 Part)
NOTE When Thru is selected, no effect is applied, and none of the parameters are available (with the exception of the Assignable Controller and the Part parameter).
NOTE At around 440 Hz, 1 Hz is approximately equal to 4 cents.
This determines whether or not the current parameter values and Variation effect settings of the A/D Parts are reset when receiving a GM System On or XG System On message. If you want to keep the current parameter values and Variation settings of the A/D Parts, set Mute Lock to on. (This parameter has no effect in the Performance mode.)
Multi Mode Equalizer Lock (Mlt EQ Lock)
This determines whether or not the Part Mute status of the MU100 is reset when receiving a GM System On or XG System On message. Generally, this message is automatically transmitted to the MU100 as part of General MIDI song data. When Mute Lock is set to off, this resets the Mute status of the Parts on the MU100. If you want to keep the current Mute settings and disable this reset, set Mute Lock to on. (For more information on the Mute function, see page 85.)
This determines whether the Equalizer settings (page 142) are initialized or change in response to incoming MIDI messages. When this is set to on, the current Equalizer settings are maintained, ignoring any EQ-related messages that are received with XG System On or GM System On messages, allowing you to protect your original Equalizer settings. When set to off, the Equalizer changes according to incoming XG/GM System On messages. This setting affects the Multi mode only, and not the Performance mode.
Receive General MIDI Exclusive (RcvGMExcl)
Receive Bank Select (RcvBankSel)
This determines whether GM System On or XG System On messages are received or not. The on setting allows these messages to be received.
Receive System Exclusive (RcvSysExcl)
This determines whether Bank Select messages are received or not. Bank Select messages can be sent from another MIDI device to change the banks of Voices on the MU100. (See page 47.) The On setting allows Bank Select messages to be received.
This determines whether System Exclusive messages are received or not. System Exclusive messages are data specifically (or exclusively) related to the MU100. The On setting allows these messages to be received. This should be to On when receiving bulk data from a MIDI data storage device. (See page 34.)
This determines the contrast of the display. Adjust this as necessary for optimum visibility. (At extreme settings, the display may not be readable.)
Dump Interval (DumpIntrval)
Settings: 50, 100, 150, 200, 300
This determines the length of time the MU100 pauses when sending blocks of data in the Dump Out functions. If the receiving device fails to process the data or displays a buffer full type message, try setting this parameter to a higher value and send the data again.
NOTES Only the Voice map of the basic Voice bank (MSB = 0, LSB = 0) is affected by this parameter. The other extended Voice banks are not affected. This setting is not affected by incoming XG System On or GM System On MIDI messages.
Dump Out Functions (DUMPOUT)
The Dump Out functions allow you to save the various settings of the MU100 (such as settings for Parts, Performances, system, etc.) to a MIDI sequencer, computer or a MIDI data recorder (such as the Yamaha MDF3 MIDI Data Filer). The following illustrations show example connections for the Dump Out functions.
Saving and Restoring Data via MIDI
MU100 MIDI OUT MIDI IN MIDI Data Recorder MIDI IN MIDI OUT
Bulk Dump data can be sent and received using the MIDI IN and MIDI OUT connections.
Saving and Restoring Data via TO HOST
MU100 TO HOST Computer SERIAL PORT (with sequencer or MIDI librarian software)
Bulk Dump data can be sent and received using the TO HOST and SERIAL PORT connections.
Operation 1 Make sure that the MU100 is properly connected to the device and that the HOST SELECT switch is properly set. When using the MIDI terminals, connect the MIDI OUT of the MU100 to the MIDI IN of the data recorder. (See the illustrations above.) Also, set the HOST SELECT switch to MIDI. When using the TO HOST terminal, make sure that the HOST SELECT switch is set corresponding to the device to be used. (Refer to page 35 for more on host computer connections.)
2 Press the UTIL button and select DUMPOUT, then press the ENTER button.
3 From the Dump Out menu, select the type of data to be sent: All, Multi or Performance. Then, press the ENTER button to call up the selected data dump.
This transmits all MU100 data (including Part, Performance, system, and all parameter values) to the connected device.
Settings: 32 Parts, 16 Parts, 32 Parts + A/D, 16 Parts + A/D
This transmits the selected MU100 Multi Part data (including System, Effect and EQ data) to the connected device. (Use the VALUE -/+ buttons to select the type/amount of data to be transmitted.)
Settings: ALL, I 001 I 100 (Internal Performance numbers)
This transmits the selected MU100 Performance data to the connected device. (Use the VALUE -/+ buttons or data dial to select the type/amount of data to be transmitted.) 4 From the Are you sure? prompt, press the ENTER button to execute the operation, or press the EXIT button to cancel it and return to the Dump Out menu. A Transmitting message appears in the display during the operation. When the transmission is completed, the MU100 returns to the Dump Out menu.
Prior to Installation
The features of the XG Plug-in Board are only supported when the sound module is in the XG or PFM (Performance) mode. Only voice parts 1 through 16 of the PLG100-DX and PLG100-VL (tone generators) are supported. MIDI receive channels B1 to B16 are also not supported; be sure to set the MU100 to MIDI receive channels A1 through A16. When controlling a plug-in board via an external MIDI device, be sure to use the MIDI IN-A port if the HOST SELECT switch is set to MIDI. Use port 1 (A1-A16) if the HOST SELECT switch is not set to MIDI. The various voices of a plug-in board can be selected via the control panel by specifying the bank number. The voice bank of a plug-in board is listed after the voice bank of the main unit. You can set the XG part parameters of a plug-in board in the Multi Edit mode. However, depending on the board, some parameters may not be supported. Please consult the documentation that came with your plugin board for details. Plug-in board parameters that can be set via the control panel of the main unit are output using an operation similar to a Dump Out.
Backing Up Data
XG Plug-in Boards are not equipped with a backup function. However, at startup it is possible to send the plug-in board parameters that can be set via the control panel of the MU100 as backup data to the plug-in board. It takes some time for the main unit to backup data when some of the external MIDI parameters are changed via the main units control panel. Always wait for the backup process to finish. Data will be lost if power to the main unit is turned off before the backup process has finished. After setting parameters for a MIDI device that could not be set through the control panel of the main unit, turn off the power in order to initialize the system and to disable the backup function.
The Performance Mode
Plug-in boards can be used in the Performance Mode. However, only plug-in board parameters that can be set via the control panel of the main unit can be stored as performance data. Some plug-in board parameters can be changed via an external MIDI device. The value that appears on the display of the main unit may be different from parameter settings of a plug-in board when settings are made via an external MIDI device.
Interface Adapter for EWI 3000 and EWI 3020 Instruments With Software
Thank you for purchasing this WindWorks Design product. To ensure you get optimum performance from CV-Midi PRO, please read these instructions before starting operation.
WindWorks Design warrants the CV-Midi PROTM Interface Adapter to be free from manufacturing defects and hardware failure for 1 year from date of purchase. Failure from abuse, neglect, or wear and tear is not covered by this warranty. The software associated with this product is provided as a use-license only, and therefore not subject to warranty. Except for exclusive remedy limited to the CV-Midi PROTM Interface Adapter, the use, application and information is provided as is without warranty of any kind, either expressed or implied, including but not limited to implied warranties of merchantability and/or fitness for a particular purpose. WindWorks Design assumes no liability for any incidental or consequential damages. Repair Information If you find you need the unit repaired, or modified for any custom needs (programming or electronic), please contact WindWorks Design at email@example.com.
2002 - 2005 by WindWorks Design The software is the express property of WindWorks Design and is offered only as a license. You may not make copies except for backup purposes. This license is non-transferable, and you are specifically prohibited from distributing the software and/or documentation to others (commercial or otherwise) without prior written permission from WindWorks Design. CV-Midi PROTM Users Guide 2005 by WindWorks Design
CV-Midi PROTM, Auto-VibeTM, and WindWorks DesignTM are trademarks of WindWorks Design. EWI, EWI 1000, EWI 3000, EWI 3020, and Akai are trademarks of Akai Musical Instrument Corp. Windows 98 Second Edition (Win98SE), Windows 2000 (Win2000), and Windows XP (WinXP) are trademarks of Microsoft Corporation.
WindWorks Design Contact Information
WindWorks Design 251 Drumcliff Way Rochester, NY 14612-3113 phone: 585-225-2023 website: www.windworksdesign.com
CV-Midi PROTM Software CD CV-Midi PROTM Interface Adapter 12 V AC Power Adapter 25-pin Parallel Cable
If any of the above items were not included in the original packaging, please contact WindWorks Design.
Table of Contents
Packing List.....3 Safety Instructions.....4 Specifications.....4 General......4 Power.....4 Size......4 Installing the CV-Midi PROTM Software....5 With Auto-run:.....5 Without Auto-run:.....5 Connecting the CV-Midi PROTM Interface Adapter...5 Front:......6 Instrument In.....6 Power LED......6 Rear:.....6 Power In.....6 25-pin Parallel Connector....6 Using the CV-Midi PROTM Software.....7 Overview of Menu and Functions....8 Main Window.....8 Calibration.....9 LPT Port......9 MIDI Devices.....9 Factory Reset.....9 Controls......10 Appendix.....12 1. Error Messages....12 2. Troubleshooting.....12 3. Synthesizer Interfaces....13
WARNING When using your CV-Midi PROTM Interface Adapter, certain precautions should always be followed, such as: Read all instructions first. Do not use your CV-Midi PROTM Interface Adapter near water, such as in the bath, pool, or sink. Water will damage the Interface Adapter and increases your risk of electrical shock. Do not put your CV-Midi PROTM Interface Adapter on or near any strong heat sources, such as radiators or heat registers. The AC Power Adapter should be unplugged from the wall socket when you will not be using the CV-Midi PROTM Interface Adapter for an extended amount of time. Do not drop, bounce, vibrate or shake your CV-Midi PROTM Interface Adapter, as it could be damaged. It is sturdy, but not indestructible. Do not spill liquids into the CV-Midi PROTM Interface Adapter, as this will damage the Interface Adapter. If your CV-Midi PROTM Interface Adapter stops working, do not try to repair it yourself. Contact WindWorks Design to arrange for repair.
The CV-Midi PROTM product is a PC interface for EWI 30x0 controllers that are made by the Akai Corp. The combination of CV-Midi PROTM Interface Adapter and Software provides the following functions: Connect a controller to a PC by a parallel port (EWI 30x0 connector and db25 connector) compatible with Win98SE, Win2000, WinXP MIDI port selection Define key and octave calibration points for controllers Set controller threshold and sensitivity Select controller mapping of MIDI output assignments
Supplied 12 V AC Power Adapter (Mains: 115 V AC and 230 V AC versions available) Warning: Use of any AC Adapter other than the supplied 12 V AC Power Adapter can cause serious damage to the CV-Midi PROTM Interface Adapter, your controller, or other MIDI equipment. The use of a travel transformer is not recommended for adapting to voltages and frequencies other than that specifically indicated on the supplied AC Power Adapter. Contact WindWorks Design to purchase specific AC Power Adapters.
WxDxH 10.2 cm x 8.9 cm x 3.8 cm 4.0 in. x 3.5 in. x 1.5 in.
Installing the CV-Midi PROTM Software
The installation of CV-Midi PROTM Software is a 2-stage process: Setup.exe is run from the Install directory on the CD to install the CV-Midi PROTM Software Setup.exe is run from the DlportIO directory on the CD to install the communication to the parallel port.
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. Insert the CV-Midi PROTM CD into the CD Drive on your computer. The CD should Auto-run, and the Menu for the CD should automatically display. Select Install CV-Midi PRO. The License Agreement screen displays. Select I Accept. The Installation screen displays. Click on Install 1st Stage CV-Midi PRO. The Setup.exe from the Install directory runs. Follow the prompts. When the first stage of the installation is complete, the message Installation is complete displays. Click OK. Click on Install 2nd Stage Port Handler from the Installation screen of the CD. The second stage of the installation runs. Follow the prompts, but choose not to reboot at this time. Now that both stages of the installation are complete, click Done. Shutdown the computer. Continue with Connecting_the_CV_Midi_PRO Interface Adapter on page 5.
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. Insert the CV-Midi PROTM CD into the CD Drive on your computer. Right-click on the CD Drive icon, and select Open. A window showing the contents of the CD displays. Double-click on the Install folder. Double-click on the file setup.exe Follow the prompts. When the first stage of the installation is complete, the message Installation is complete displays. Click OK. The window showing the contents of the CD is still displayed. Double-click on the DlportIO folder. Double-click on the file SETUP.EXE to start the second stage of the installation. Follow the prompts, but choose not to reboot at this time. Shutdown the computer. Continue with Connecting_the_CV_Midi_PRO Interface Adapter on page 5.
Connecting the CV-Midi PROTM Interface Adapter
1. 2. Connect one end of the supplied 25-pin Parallel Cable to the 25-pin parallel port on the Rear of the CV-Midi PROTM Interface Adapter. Connect the other end of the supplied 25-pin Parallel Cable to the parallel port on the computer. Note: Use the supplied 25-pin Parallel Cable. If you choose to use an IEEE 1284 compliant cable that is different or longer, data degradation or failure of the system may result. Contact WindWorks Design for details on custom cables or other configurations. 3. 4. 5. 6. 7. Connect the EWI 30x0 to the Instrument In connector on the Front of the Interface Adapter. Connect the supplied 12 V AC Power Adapter to the Interface Adapter. Plug the other end of the supplied 12 V AC Power Adapter into a source of power. The Power LED on the Interface Adapter should glow red. Power up your computer. Continue with Using_the_CV_Midi_PRO_Software on page 7. 5
This input connector is designed for the EWI instrument controller cable when connected ONLY to the Akai EWI3000 and EWI3020 controllers. Plug and unplug the instrument cable only when the EWI controller is attached and when the Power LED is OFF. Warning: Do not attempt to plug in an Akai EWI 1000. The voltages and connector are different and your EWI 1000 will be damaged.
The red LED will turn on when the 12 V AC Power Adapter is plugged in to the Interface Adapter and a power source.
Power for the unit is provided via the supplied 12 V AC Power Adapter. The main AC input power (mains voltage) for the 12 V AC Power Adapter is either 115 V AC or 230 V AC depending on the model. Make sure you are plugging the Power Adapter into the correct mains voltage. Warning: Use of any AC Adapter other than the supplied 12 V AC Power Adapter can cause serious damage to the CV-Midi PROTM Interface Adapter, your controller, or other MIDI equipment.
25-pin Parallel Connector
Plug the 25-pin Parallel Cable into this connector and then plug into the parallel port of the PC. DO NOT plug or unplug the 25-pin Parallel Cable while the CV-Midi PROTM Interface Adapter or the PC is powered on. A proprietary data stream is provided on this industry standard 25-pin connector. The software processes the data, then delivers MIDI data, compliant with MIDI specification 1.0, to the MIDI port of the computer, which was chosen by the user from the MIDI Device Menu in the software. 6
Using the CV-Midi PROTM Software
1. 2. 3. Launch CV-Midi PROTM from the Start > Programs menu. The splash screen displays. Click anywhere on the splash screen to dismiss it. The first time you use CV-Midi PROTM, the MIDI Setup menu automatically displays. Choose your MIDI Out Device and Channel, and click OK. (Clicking [Cancel] will exit the program without saving the settings.)
Example of selecting an internal Sound Card
Example of selecting a USB port device
The LPT Port menu displays a selection of base port addresses. Choose the port for your device, and click OK. (Note: If you get an error message I didnt find the Interface the first time you use CV-Midi PROTM, click [OK]. The LPT Port menu should then display.) Helpful Hint to find out what your parallel port setting is: For Windows 98, right-click on My Computer, select Properties. Click on Device Manager tab, expand Ports (COM & LPT), double-click on the Printer Port, and click on the Resources tab. The Input/Output Range displays the setting you should use. Note: CV-Midi PROTM operates with Win98SE, but WindWorks Design does not actively support issues with that operating system. For Windows XP, open Control Panel, double-click Systems, click Hardware tab, click Device Manager button, expand Ports (COM & LPT), double-click on the Printer Port, and click on the Resources tab. The Input/Output Range displays the setting you should use. For Windows 2000, right-click on My Computer, select Properties, click Hardware tab, click Device Manager button, expand Ports (COM & LPT), double-click on the Printer Port, and click on the Resources tab. The Input/Output Range displays the setting you should use. For example, if the Input/Output Range on your PC displays 03BC 03BE, select the 3BCH radio button.
The main screen of CV-Midi PROTM displays. Select the menu and functions you wish to use from the main screen. See Overview_of_Menu_and_Functions on page 8. (Clicking [Cancel] will exit the program without saving the settings.) 7
Overview of Menu and Functions Main Window
The following table displays the menu and functions of the software from the Main window: Menu Name File Setup Function Exit Calibration Choices OK Cancel Cancel OK Description Closes the application. Returns to the application. This screen displays each note name for the compass of an EWI instrument, as well as the analog-to-digital conversion values. Each note and octave also has a box that allows you to type in what the number is for a given fingering. Clicking OK records the values you have set. Displays the 3 available parallel ports as hex values. You can select which LPT Port to use. Clicking OK records the port you selected. MIDI Setup screen shows the various MIDI devices that exist on your computer. You can select the Device to send the MIDI data to, and select the Channel (1 16). If yes is selected, all values will be returned to the defaults set by the factory. Displays help topics and index. Displays information about the application. The sliders let you set the control voltages for the parameters under each of the functional groups. The numbers give an indication of responsiveness of the controller for each parameter. These functions are explained in more detail on the next page. Provides a check-box to Enable or Disable MIDI. The m key works as a toggle for this check box.
LPT Port MIDI Devices
Cancel OK MIDI Out Device MIDI Out Channel Cancel OK Yes No ----Threshold Sensitivity Curve Center Depth Threshold Sensitivity Threshold Sensitivity ---
Factory Reset Help Controls Button Help About Breath CV Bend CV A-Vibe / Vibe CV Glide CV MIDI On Check Box ---
Selecting Calibration from the Setup menu displays this window: You can calibrate your controller for each note with the CV counts. In this example, a G note generates 101 CV counts. You can change the value for each note to match the CV count that the controller produces. Doing this calibrates the controller and the software. You can hear audio output from your synth while using your controller and this screen. You may notice some latency in playing. Each octave is calibrated the same way. In this example, the second octave roller on the controller is being touched. You must click [OK] for the values to be saved. Note: Adjustments using this calibration screen are unusual. Significant differences from factory settings indicate a problem with your EWI.
Selecting LPT Port for the Setup menu displays this window: You can select the LPT port to use. You must click [OK] for the values to be saved. See LPT_Port on page 7.
Selecting MIDI Devices from the Setup menu displays this window: You can select which driver and which channel to use for the MIDI Out function. You must click [OK] for the values to be saved. See Midi_Setup on page 7.
Selecting Factory Reset from the Setup menu displays this window: Click [Yes] to reset all the values in CV-Midi PROTM to the default values set at the factory. Click [No] to cancel the reset, and keep your existing values.
Selecting the [Controls] button from the Main window displays this window: The sliders let you set the control voltages (CV counts) for the parameters under each of the functional groups. The numbers give an indication of responsiveness of the controller for each parameter. The Threshold slider allows you to set the point at which MIDI data is transmitted. The CV counts field highlights in blue when the threshold is crossed and MIDI data is being transmitted. If you set Sensitivity to zero (0, all the way to the left), no controller data will be transmitted for that functional group.
Function Name Breath
Description This slider controls the point that MIDI data is sent. Hold the controller but do not blow into it. The natural air pressure CV count displays. Set the Threshold about 5 CV counts greater. If you set the threshold value to less than the natural air pressure, the controller will self-play. The sensitivity sets how fast the controller responds to breath pressure. If you tend to use light breath pressure, you may want to increase the sensitivity by moving the slider some CV counts to the right. This is like a gain control. Choose a breath response curve of Exponential, Linear, or Logarithmic. Exp a rapid rise in response then response slows Lin response is directly proportional to breath pressure Log small response to low breath pressure, but very responsive to high breath pressure You can select to transpose up or down by steps in either direction of 0. Zero, 0, sets no transposition. Duo-note allows you to have a second note sound relative to each note played. You can select Duo-note by checking the check box. Set how many steps away from the note being played you want the second note to be.
Function Name A-Vibe, or Auto-VibeTM, set to Controller Bend
Description This sets the continuous controller to either Bend or Mod Wheel. Sensitivity sets how responsive the controller will be to bite pressure. For high response to bite, move the slider to the right. For less response to bite, move the slider to the left. This is like a gain control. NOTE: Because A-Vibe has no Threshold, the CV will not highlight in blue.
Vibe set to Controller Mod Wheel
This sets the continuous controller to either Bend or Mod Wheel. Threshold is only available for Vibe when Mod Wheel is selected. This slider controls the point that vibe data is sent. Hold the controller but do not blow into it or bite. The no bite pressure CV count displays. Set the Threshold about 10 CV counts greater. The Threshold CV highlights in blue when the Threshold is crossed. To increase the sensitivity to touching the glide strip, move the slider to the right. To decrease sensitivity, move the slider to the left. Description This slider controls the point that touching the glide strip is recognized. Hold the controller but do not touch the glide strip. The no glide CV count displays. Set the Threshold about CV counts greater. To increase the sensitivity to touching the glide strip, move the slider to the right. To decrease sensitivity, move the slider to the left. This sets the continuous controller to either Portamento Time or Aftertouch.
Function Name Glide
Hold the controller but do not touch the up or down bend plates. The no bend CV count displays. Set the Center as close as possible to the no bend CV count. Depth is similar to sensitivity as it sets how much response to bend. For more response, move the slider to the right. 11
1. Error Messages
Error: The following is an error message you may receive, along with corrective actions.
Action: Connect the CV-Midi PROTM to the parallel port of your computer. Select the correct parallel port setting by clicking Setup > LPT Port. (See Helpful_Hint on page 7 to assist you in finding the setting you should use.) Error:
Action: You must install DLportIO onto your computer. See your installation CD and follow the instructions for installing the Port Handler.
Symptom Corrective Actions or Possible Causes 1. Check that the correct MIDI device is selected. 2. Check that the MIDI On box is selected. 1. Adjust the touch sensitivity on the controller. 2. Verify the calibration. 1. The Bend slider may not be centered. Adjust the Bend slider. 2. The Vibe may be active above the threshold. Adjust the Vibe threshold. Set the sensitivity and threshold.
No MIDI output Notes are wrong Notes are flat or sharp
No Vibe Glide Breath Bend
Connecting a Synthesizer to CV-Midi PRO: CV-Midi PRO is strictly an interface for your Akai EWI controller to a PC. It does not directly output MIDI. The software uses a driver called DlPortIO to translate the controller digital data into internal MIDI data. How you use the internal MIDI data depends on your synthesizer interface. This section of the user manual is intended to provide a few examples on how to hook up a synthesizer (software or hardware). Interface to an external MIDI synthesizer or device via Joystick Port: Any PC that is going to connect to an external MIDI synthesizer or device will require a MIDI hardware port. On some older computers, the MIDI port is part of a joystick interface. These joystick interfaces are most often found on the back of the PC as a 15-pin connector, either as part of a PCI soundcard or directly on the motherboard. To get the MIDI signals out of this connector to an external synthesizer you need a special joystick-MIDI breakout cable. These can be easily purchased from musical supply companies. Any device driver software will most likely be already installed as part of the original computer setup. In the MIDI DEVICE pull down menu of CV-Midi PRO software, you will see the MIDI interface (usually by soundcard brand name or motherboard port). Just select this MIDI device and your EWI will be connected to your MIDI port. Then just hook up your synthesizer to the MIDI connectors on the breakout cable and you are ready to play.
Interface to an external MIDI synthesizer or device via USB Port: To connect to an external MIDI synthesizer or device on a modern computer that doesnt have built in MIDI, you can most often use the USB Port. Most musical supply companies sell USB-MIDI interfaces. These come with the required software and hardware to have a small MIDI interface device cabled into a USB port. When this device and driver software are installed, you will see the MIDI interface (usually by brand name) in the MIDI DEVICE pull down menu of CV-Midi PRO software. Just select this MIDI device and your EWI will be connected to your USBMIDI port. Then just hook up your synthesizer to the USB-MIDI port and you are ready to play.
The following list is provided only as a resource for joystick cables and/or USB-MIDI interfaces. This list is not as an endorsement: WoodWind & BrassWind: 1-800-348-5003 American Musical Supply: 1-800-458-4076 Musicians Friend: 1-800-776-5173
Interface to soundcard synthesizer (soundcard): When using a synthesizer built into a sound card installed inside the same PC thats running CV-Midi PRO, you do not need a hardware MIDI port. The soundcard synthesizer will automatically install the correct MIDI drivers needed to connect with CV-Midi PRO. After installing the soundcard, just startup CV-Midi PRO and select the software synthesizer from the pull down menu under MIDI DEVICE>
Which Synth Modules work best with a wind controller? Of currently manufactured tone generators, Yamahas VL70m is a favorite synth module. Its "physical modeling" synthesis is by far the most expressive many people every try. Other tone modules also use the VL synth engine internally - Yamaha MU100R and EX5, as well as the PC soundcard by Yamaha called the SX1000. Finally, the older synths that used FM synthesis technology work very well for wind control: Yamahas TX81Z and WT11 are both excellent choices for synths, and there are many patches available for use with a wind controller. Other synthesizers that work very well with wind control include: Roland JV-series synths (JV1010, JV2080), Roland VX-series, Kurzweil synthesizers, and the Alesis Quadrasynth series. Also, nearly all Yamaha hardware synthesizers work well with wind controllers. Why won't my wind synth sequence properly? Some people ask us I really want to do is get the music into my pc. I can get random notes to play, but my software is not understanding the parameters of the wind controller and I see no way to adjust it. Does a sequencer program have the capability to adjust the different controllers like velocity and such (as the notes are being played)? The answer depends on what synth module you are using with your EWI and sequencer. If you using the synth on your soundcard, the problem is that the voices (patches) on your soundcard are designed for keyboard MIDI data, and hence respond to Velocity MIDI messages instead of Breath MIDI messages. You will need to edit the voices (patches) to get them to respond nicely to the Breath data from your EWI/CV-Midi PRO, or find breath control voices for your specific synthesizer. Breath control voices can be found free on the internet, or purchased from several commercial firms. Breath Control Voices for your synthesizer: You can use your EWI and CV-Midi PRO directly with your PC-synth, but you may be un-impressed with the sounds. The voices in your PC-synth are designed for a percussive type attack such as a keyboard would offer (velocity control). Even the saxophone voices are specifically designed to be "ok" when played via a keyboard. The voice samples in most stock synthesizers are setup for velocity control, and hence you would be underwhelmed with the musical results. Playable - YES, especially keyboard type sounds like piano, harpsichord, percussion, bass, and guitar. But outstanding emulations of flute, clarinet, sax, and other wind blown instruments, only OK at best. Now, if you were to learn voice programming, you can pretty easily alter the behavior of the voice to more expressively respond to breath data from the EWI and CV-Midi PRO. PC-synths and low-end GM synth boxes are not particularly strong for breath programming, as that's not what they were designed to do. Mid-priced and highpriced synths are very flexible and highly programmable, and hence can be programmed for outstanding breath response. Synths such as Yamaha TG55(old), TG77(old), EX5R, Kurzweil 2K and 2500, Alesis NanoSynth and related QS6,7,and 8's. There are others too. If you don't like to program, there are commercial voices (patches) available for many synths as well as free voices on the internet. 14
About the VL70m: It was designed specifically for wind control. Like the now out of production VL1m, the VL70m uses a mathematically based synthesis called Physical Modeling. This is such a highly flexible and complex synthesis method that it can be easily configured to respond supremely to wind control. The VL-series synths are considered the best for wind control. Yamaha even included a direct plug-in port on the front for a WX5 controller, and most of the patches built in are designed for breath control. But its also outstanding for EWI with CV-Midi PRO. That's why we all like it so much. As with the other synths, there is a wealth of breath controlled voices (patches) for the VL70m.
2002 - 2005 WindWorks Design Rev: 081405 Manual layout, screen captures, and writing by Mardou Case and Art Whitfield
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