APPENDIX

Troubleshooting... 184 Error Messages.... 185 Specifications.... 187 Glossary.... 189 Index.... 191

How to Use This Manual

You are probably eager to try out your new MU128 Tone Generator right away and hear what it can do, rather than have to read through a lot of instructions before you can even get a sound out of it. The structure of the manual is very straightforward. You can approach it in a linear manner, reading through from beginning to end, or on an on-demand basis, going directly to the information you need as you need it. However, to get the most out of your MU128, we strongly suggest that you read the following sections in the order given:

1) Precautions

This gives you important information on how to care for your new MU128, how to avoid damaging it, and how to ensure long-term, reliable operation.
2) The MU128 What It Is and What It Can Do
This briefly provides an overview of the functions and features of the MU128 and offers some important hints on how you can use it effectively. It also provides convenient page references so that you can easily find out about features and functions of interest.
3) The Controls of the MU128
This section introduces you to the panel controls and connectors.

4) Guided Tour

This is perhaps the most important and valuable section of the manual. It gets you started using your new MU128, helping you set up the instrument and play it and it introduces you to virtually all of the important functions and features. The hands-on experience you gain in this section will help you quickly master the instrument and aid you in navigating the more detailed sections of the manual.
5) Setting Up the MU128 in Your Music System
This section (within the Guided Tour) provides all you need to know to effectively integrate the MU128 into your present computer music system.

6) Reference

Once youre familiar with everything above, lightly go over this comprehensive guide to all editing functions. You wont need (or want) to read everything at once, but it is there for you to refer to when you need information about a certain feature or function.

7) Appendix

2 HOST SELECT switch

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

3 TO HOST terminal

For connection to a host computer that does not have a MIDI interface. ( page 36.)

4 DC IN jack

For connection to the PA-6 AC power adaptor.
1W A R N I N G Use ONLY a Yamaha PA-6 AC Power Adaptor (or other adaptor specifically recommended by Yamaha) to power your instrument from the AC mains. The use of other adaptors may result in irreparable damage to both the adaptor and the MU128.
1C A U T I O N When connecting the AC power adaptor, first make sure that the MU128 is turned off (set to STAND BY). Next, connect one end of the power adaptor to the DC IN jack on the MU128, and connect the other end to an appropriate AC outlet.

5 Power cord hook

Use this to secure the AC power adaptors cord and connector to the MU128, to prevent accidental disconnection. Plug the connector into the DC IN jack, then wrap the cord inside both ends of the hook.
6 OUTPUT L, R jacks (Left, Right)
For connection to a stereo amplifier/speaker system.
7 INPUT L, R jacks (Left, Right)
These are for connection to external sound sources, such as CD players, cassette decks, etc. Neither the front panel VOLUME control nor the built-in effects and equalizer of the MU128 have any effect on the input sound.
8 XG Plug-in Board expansion bay
This bay accommodates up to three XG Plug-in Boards. To install a board, first remove the expansion bay cover (page 179). Since the screw is tightened securely at the factory, you may need to use a screwdriver to loosen it at first. Normally, it can be fastened and removed simply by using your fingers.
The MU128 What It Is and What It Can Do

What It Is.

The MU128 is a full-featured and easy-to-use tone generator, that provides an unprecedented wealth of Voices and expressive sonic control. It features full General MIDI Level 1 compatibility. It also provides XG compatibility, with an huge total of 1149 Voices and 37 drum kits. The MU128 has 128-note polyphony and is 64-Part multi-timbral. In other words, the MU128 has 64 different Parts, each with its own Voice, so that up to 64 different Voices can be sounded simultaneously. Additional A/D Parts let you connect up to two external signals such as a microphone, electric guitar or CD player and mix them with the MU128s Voices. Although Voices cannot be directly edited, the various Part controls and Edit mode give you tools for transforming or customizing the sound of the Voices. Whats more, the MU128 has a built-in multi-effect processor, with seven independent digital effect units for enhancing the sound. The MU128 also features a special Performance mode, in which four Parts are played simultaneously over a single MIDI channel. Connected to a MIDI keyboard, this effectively gives you four tone generators in one. The MU128 gives you 100 factory-programmed Preset Performances plus 100 Internal Performance locations for storing your own original Performances.

Selecting Voice Banks and Voices From the Panel
There are two basic methods of selecting Voices and banks: one using the Voice Category buttons to automatically select specific Voices according to their instrument groups, and the other letting you manually select the Voice bank and Voice. (Voices/banks can also be selected remotely from a MIDI device; see page 48.)
Selecting Voices with the Voice Category Buttons
This convenient method lets you select Voices according to the general instrument groups to which they belong, automatically selecting the appropriate program number and bank for you. Operation 1Select a Part by using the [PART -/+] buttons.

Part number

2 Press the Voice Category button corresponding to the desired Voice group (Piano, Guitar, Bass, etc.). The lowest numbered bank/Voice in the category is automatically selected.

SELECT SELECT

MODE EQ

BANK/PGM

Chrom.perc.
VOL EXP PAN REV CHO VAR KEY

Guitar Bass Strings

Voice Category buttons
For example, when the [Guitar] Voice Category button is pressed, bank 000/Voice 025 [NylonGt#] is selected as shown below.
The following list briefly describes the characteristics of the Voices for each Voice Category button. Piano: Conventional piano sounds, such as acoustic piano and electric piano. Chrom.perc.: Chromatic (pitched) percussion sounds, such as marimba and vibraphone. Organ: Various organ sounds, such as rock organ, pipe organ and accordion. Guitar: Guitar sounds, such as acoustic guitar and distorted guitar. Bass: Bass and wood bass. Strings: Stringed instruments, such as violin and cello. Also includes other orchestral sounds, such as contrabass, harp and timpani. Ensemble: Strings ensemble sounds. Brass: Various brass instruments, such as trumpet and trombone, as well as brass ensemble sounds. Reed: Reed instrument sounds, such as saxophone and clarinet. Pipe: Air reed instruments, such as flute, recorder and shakuhachi. Synth lead: Synthesizer lead sounds. Synth pad: Synthesizer pad sounds. Synth effects: Various synthesizer sound effects and miscellaneous pitched sounds. Ethnic: World, ethnic and folk music instrument sounds. Percussive: Percussion sounds. SFX: Special sound effects. Model excl.: Voices belonging to the MU100 Model Exclusive Voice bank. Drum: Drum and SFX Kits.

Maximum Simultaneous Sounds (Polyphony)
The maximum polyphony of the MU128, or the amount of sounds that can be generated simultaneously, is 128. This number actually refers to the amount of elements used. If you use many two-element Voices in your song data, the number of available simultaneous sounds may be less than expected. When the MU128 receives more MIDI data than can be played back with the maximum polyphony, the earliest played notes will stop sounding to let more recently received notes play. This is called last note priority.

Selecting the Voices

Voice selection on the MU128 is done by using three different numbers: bank select MSB, bank select LSB, and the specific program number. The bank select MSB and LSB values determine the Voice bank. A single Voice bank can contain up to 128 Voices, each of which can be selected by a program number. The bank select MSB and LSB values are used differently depending on which Sound Module mode is selected (as explained below).
Use of bank select MSB and LSB when the Sound Module mode is set to XG or PFM
When the Sound Module mode is set to XG or PFM, the Voices are divided into large groups, selectable by the bank select MSB values shown below. Bank select MSB = 0 XG Voices These are the Voices conforming to the GM System Level 1 standard and its expanded set of Voices. They can be played back to common effect for all XG-compatible tone generators. Bank select MSB = 48 MU100 Exclusive Voices Only the MU100 and MU128 contain these Voices. The order of the Voices by program number assignments does not conform to the GM standard.
NOTE Banks having an MSB value of 48 are used for original tone generator Voices which do not conform to the GM standard in the XG Voice map. When playing back song data using any of these Voices on an XG-compatible tone generator other than the MU128 (or the MU100/100R), the Part using one of these Voices will not sound.
Bank select MSB = 64 SFX Voices These are sound effect Voices. They are included in the Normal Voices and can be played back in pitch. Bank select MSB = 126 SFX Kits These are also sound effects. They are included in the Drum Voices. A different sound is assigned to each note number. These are not available when the Sound Module mode is set to PFM. Bank select MSB = 127 Drum Kits These are Drum Kits, and are not available when the Sound Module mode is set to PFM.
When Sound Module mode is set to XG or PFM (Drum and SFX Kits cannot be selected in PFM)
Normal Voices XG Voices MU100 Exclusive Voices SFX Voices Drum Voices Drum Kits SFX Kits BankSelect MSB 64 BankSelect MSB BankSelect LSB 0~127 0~BankSelect LSB 0 0
The bank select LSB values apply only when the bank select MSB value is set to 0 or 48 these are used for selecting variation Voices. (Additional MSB values are available when an XG Plug-in board is installed.) For a bank select MSB value of 0, there are expanded sets of XG Voices featuring Voice variations under general categories such as Stereo, Bright and Sweep. Each of these variation banks is selected with a different LSB value. The basic map for the 128 Voices in each variation bank is the same as the GM System Level 1 standard, as found in the basic Voices (when bank select LSB = 0). Therefore, you can select the desired Voice by specifying the program number, then select the desired type of Voice variation by specifying the bank select LSB (as shown in the chart below). For example, the basic Voice at program number 49 is Strings1, and you can select variations on the Strings Voice by changing the bank select LSB value while keeping the same program number. The variation bank name (e.g., Stereo, Bright, etc.) indicates how the variation Voices differ from the basic set of Voices. Shaded portions in the chart below indicate Voices that are the same as the basic ones in bank 0.

Edit Menu Parameters

The Edit menu parameters provide more detailed and advanced controls over the Parts. These are powerful tools that let you subtly enhance or fine-tune the sound of a Voice or radically change its character for some wild and unique sounds.
Changing the Filter and EG Settings of a Part
Operation 1 Select the desired Part. Use the [PART -/+] buttons. Also, for the sake of these instructions, select the SquareLd Voice, #081. (page 45.) 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 65 for information on editing drum Parts.)
4 Call up the Filter parameters. Press the [ENTER] button.
5 Select the LPF Cutoff parameter. Use the [SELECT </>] buttons.
The bars graphically indicate parameter values for each Part. Indicates additional parameters Indicates no other parameters are available (to the right). are available (to the left).

Selected Part flashes.

6 Adjust the value while listening to the sound. Hold down a note on the connected keyboard and turn the data dial to adjust the value, swinging between the maximum (+63) and minimum (-64) values. Notice how the timbre of the sound changes. Before going to the next step, set LPF Cutoff to +63. 7 Select LPF Reso and change the value. Use the [SELECT </>] buttons. Then, do the same as you did in the last step, holding a note and changing the value with the data dial.
Hint Try holding notes or chords in different octaves of the keyboard as you adjust the parameters, since the Filter effects depend on the pitch or frequency of the sound. Details The effect of the Filter parameters also differs depending on the selected Voice. (For more information on the Filter parameters, see page 111.)
Now, lets change one of the EG parameters: 8 Go back to the Edit menu. Press the [EXIT] button. 9 Select and call up EG. Use the [SELECT </>] buttons to select EG, then press the [ENTER] button. ; Select the Attack Time parameter. Use the [SELECT </>] buttons.

Applying Distortion to a Part Using the Variation Effects
The Variation effect section provides a wealth of additional effects. With a total of 70 different Types, it features some of the same effects found in the Reverb, Chorus and Insertion sections. This is not mere redundancy; it allows you to use two Types of Reverb or Chorus on different Voices. For example, you may want to have a Symphonic effect on one Voice and Phaser on another. Variation also gives you many special effects not found in the Reverb and Chorus sections, such as Delay, Gate Reverb, Wah and Pitch Change. The Variation effect can be applied either to all Parts (as with Reverb and Chorus), or to a single selected Part (as described below). Operation 1 Set Variation Connection to INS (Insertion). To use Variation with a single Part, the Variation Connection parameter should be set to Insertion. To do this: 1) Press the [EFFECT] button. 2) Select VAR (with the [SELECT </>] buttons) and press [ENTER]. 3) Select VarConnect (with the [SELECT >] button), and change the setting to INS (with the [VALUE -/+] buttons or data dial). 2 Select the desired Part and set its Variation Send control to on. To do this: 1) Return to the Multi Play mode Single Part display (press the [PLAY] button), then select the desired Part (with the [PART -/+] buttons). 2) Select VarSend (with the [SELECT </>] buttons), and set it to on (with the [VALUE-/+] buttons or data dial). 3 Return to the Variation parameters, select the Distortion Type, and make other necessary settings. To do this: 1) Press the [EFFECT] button. 2) Select VAR (with the [SELECT -/+] buttons) and press [ENTER]. 3) Select Type (with the [SELECT <] button), and change the setting to DISTORTION (with the [VALUE -/+] buttons or data dial).
4) If you cannot hear the Distortion effect clearly, select the Dry/Wet parameter (with the [SELECT </>] buttons) and adjust it (with the [VALUE -/+] buttons or data dial) until the sound is appropriate. 5) Using the same method (as in step #4), select and adjust other important Distortion parameters as needed, such as Drive and OutputLvl (Output Level). Now, play the Part and hear how Distortion affects the sound. Select other Types and play with them as well. The Variation parameters differ depending on the selected Variation Type. For a list of Variation Types and other information on Variation, see page 149. For a list of the available parameters for each Variation Type, refer to the Sound List & MIDI Data booklet.
Details When Variation is set for use with a single Part (Insertion), only Variation Send is available. (The Dry/Wet parameter in Variation Edit effectively performs the same function as Variation Return in this case; see page 150.) Also, Variation Send can be set to on for only one Part. When Variation is set for use with all Parts (System), both Variation Send and Return must be set to appropriate values. (The operation is the same as step #1 in Using Reverb and Chorus above.)

All Part Control

The All Part controls include: Master Volume, Master Attenuator, Reverb Return, Chorus Return, Variation Return and Transpose. Keep in mind that these controls affect all Parts equally, and either add to or subtract from their individual values. For example, if Note Shift on one Part is set to 12, and Transpose (in All Part) is set to +12, that Parts pitch value will actually be 0 or normal. For basic information on using the All Part controls, see page 61.

Master Volume (M.Volum)

Reverb Return (RevRtn)
This determines the overall Volume of the Parts, while maintaining individual level settings for each Part made in the Single Part controls.
NOTE When the Variation effect is used as a System effect (page 153), you may have to adjust the Variation Return parameter (page 110) as well as the Master Volume parameter, to achieve the desired balance.
This determines the amount of Reverb return in the overall mix.
NOTE Keep in mind that the overall Reverb effect also depends on the Reverb Send setting (page 107) in the Single Part controls.

Chorus Return (ChoRtn)

Master Attenuator (M.Attn)
Range: 000 (maximum volume) 127 (minimum volume)
This determines the amount of Chorus return in the overall mix.
NOTE Keep in mind that the overall Chorus effect also depends on the Chorus Send setting (page 107) in the Single Part controls.
This determines the level of all Parts, but functions as an attenuator; the greater the value, the lower the volume. This is useful when you are playing several songs and want to keep their overall level consistent.
Variation Return (VarRtn)
This determines the amount of Variation return in the overall mix. Variation Return is only available when the Variation Connection parameter is set to SYS. (See page 150.)
NOTES Keep in mind that the amount of the Variation effect also depends on the Variation Send setting in the Single Part controls (page 108). When the Variation Connection parameter (page 150) is set to INS, [***] is shown in the display to indicate that this parameter cannot be set. (Keep in mind that Variation Connection is set to INS as the factory default.)

Transpose (Trans)

This determines the overall Transpose setting of the Parts.
NOTE This parameter has no effect for Parts set to the Drum mode, or for the A/D Parts.

Multi Edit Mode

The Multi Edit mode features various parameters for controlling the Filter, the EG (Envelope Generator), the EQ, and Vibrato. It also features a variety of other miscellaneous controls grouped in the Others parameters. When a Drum Part is selected, Drum-related parameters are also available. For basic information on using the Multi Edit mode, see page 58.

Assignment Parameters

Settings: normal, drum, drumS1 S4
Height of bars indicates selected Part Mode setting for each Part. (A single bar indicates normal setting.)
This determines the mode for the Part. A setting of normal allows selection of the normal instrument Voices. (See the SOUND LIST & MIDI DATA booklet.) The drum setting allows selection of the drum kits. (See the SOUND LIST & MIDI DATA booklet.) The drumS1 S4 settings are locations for storing specially programmed drum setups. These setups can be edited by using the Drum Setup controls in the Multi Edit mode.

Mono/Poly Mode

Settings: mono, poly
Height of bars indicates selected Mono/Poly Mode setting for each Part. (A single bar indicates mono setting, while full height indicates poly.)
Portamento Time (PortametTm)
This determines whether the Parts Voice is played monophonically (only one note at a time) or polyphonically (up to 128 notes at a time). This parameter is not available when the Part Mode is set to Drum.
This determines the time of the Portamento effect, or how long it takes to glide the pitch from one note to the next. Higher values result in a longer pitch glide time. (This parameter is not available for Drum Parts.)

Portamento Parameters

Portamento is a function that creates a smooth pitch glide from one note to another.
Portamento Switch (PortametSw)

Settings: off, on

Height of bars indicates selected Portamento Switch setting for each Part. (A single bar indicates off setting, while full height indicates on.)
This determines whether Portamento is on or off for the Part. (This parameter is not available for Drum Parts.)

Note Limit Parameters

The Note Limit Low and High parameters allow you to set the range of notes for a Parts Voice. Notes outside the range will not be played.
HINT Note Limit can be used to set up keyboard splits. Set two Parts to the same MIDI channel (see page 119), but give them Note Limit settings so that one Part is played from the left side of the keyboard and the other is played from the right.

Dry Level

Note Limit Low (NoteLimitL)

Range: C-2 G8

This determines the level of the unprocessed sound of the Voice (sound with no effect processing). This parameter is only available when the Variation Connection parameter is set to SYS. (See page 150.)
Velocity Sensitivity Parameters
Velocity Sensitivity Depth (VelSensDpt)

The following display briefly appears:
2 At the Are you sure? prompt above, press the ENTER button again to execute the function. If no previously edited Performance data exists, the following display briefly appears, indicating no Performance can be recalled.

Effect Edit Mode

The MU128 features a built-in multi-effect processor with 7 independent digital effects: Reverb, Chorus, Variation, Insertion 1/2, Part EQ, and Multi EQ. The first 5 of these are controlled in the Effect Edit mode. In this section, only the effect Types and the global parameters common to all Types are covered. For descriptions and details on the parameters for each effect Type, refer to the separate SOUND LIST & MIDI DATA booklet. To enter the Effect Edit mode, press the EFFECT button. The following menu appears:
Reverb (REV)... 147 Chorus (CHO)... 148 Variation (VAR)... 149 Insertion 1, 2 (INS 1, 2).. 151 About the Effect Connections System and Insertion.. 152

MU128 Effect Edit Mode

Reverb (REV)
Reverb recreates the sounds of various performance environments by adding an ambient wash of delays or reflections. Several different types of Reverb effects are available to simulate the ambience of different sized rooms. Explanations of the Reverb Type and Reverb Pan parameters are given below. For descriptions and explanations for all other Reverb parameters, refer to the separate SOUND LIST & MIDI DATA booklet.
Settings: NO EFFECT, HALL 1 2, ROOM 1 3, STAGE 1 2, PLATE, WHITE ROOM, TUNNEL, CANYON, BASEMENT

Reverb Pan (RevPan)

This determines the Pan position of the Reverb sound, or where it appears in the stereo image. This determines the Reverb Type. Each Reverb Type has different values for the rest of the Reverb parameters; for example, Basement has a Reverb Time of 0.6 seconds, while Canyon has a Reverb Time of 12.0 seconds.
NOTE When NO EFFECT is selected, Reverb is off and none of the other Reverb parameters are available (with the exception of the Reverb Pan parameter). HINT Generally when using Reverb, you can simply select the particular Type needed, and use it without bothering to adjust the other parameters. If fine tuning of the Reverb sound is necessary, delve into the other parameters as needed.
For details on the parameters for each Reverb Type, refer to the separate SOUND LIST & MIDI DATA booklet.

Chorus (CHO)

The Chorus section uses pitch modulation to create a variety of rich, spacious-sounding effects, including Chorus, Flanger, Symphonic and Phaser. Explanations of the Chorus Type, Chorus Pan, and Send Chorus to Reverb parameters are given below. For descriptions and explanations for all other Chorus parameters, refer to the separate SOUND LIST & MIDI DATA booklet.
Settings: NO EFFECT; CHORUS 1 4; CELESTE 1 4; FLANGER 1 3; SYMPHONIC; ENSEMBLE DETUNE; PHASER 1

insertion2 part

INS1 VAR

rev send cho send variation on/off

reverb pan

insertion1on/off

insertion2 on/off

INS2 VAR
Part A2 send chorus to reverb

PAN chorus pan

When Variation is set to Insertion:

Part64

NOTES As with System above, the Parts to which Insertion 1, 2 are applied is determined by the Part parameter in the Insertion section (page 151). Also, the Part to which Variation is applied is determined by the Variation Send control in the Single Part controls (pages 108, 128, 136). As with System above, the effects cannot be properly heard unless the Reverb Send and Chorus Send parameters in the Single Part controls (pages 107, 127, 128, 135) and the Reverb Return and Chorus Return parameters in the All Part controls (pages 109, 133) are set to appropriate values. The stereo position of the effects is controlled by the Reverb Pan and Chorus Pan parameters. (pages 147, 148.) You can set Reverb and Chorus to be routed in parallel or in serial, and you can determine the amount of Chorus that is sent to Reverb. This is done with the Send Chorus to Reverb parameter (page 148). When this is set to 0, Reverb and Chorus are in parallel routing. Higher values for each provide varying degrees of serial routing.
Equalizer (Multi EQ) Edit
The Equalizer (Multi EQ) Edit parameters allow you to adjust the overall tone of the MU128 sound in five separate frequency bands. EQ presets are also provided for instantly calling up tone settings specially suited for different types of music.
Low Lo Mid Mid Hi Mid High

Frequency

To enter the Equalizer Edit mode, press the EQ button. EQ Type
Settings: Flat, Jazz, Pops, Rock, Concert Concert: Range: 80 Hz, 315 Hz, 1.0 kHz, 6.3 kHz, 8.0 kHz 12 +12 dB
EQ Type provides five different preset EQ settings, specially programmed for specific types of music. The Flat setting is a flat EQ preset with no change in equalization. Jazz, Pops, Rock and Concert each have different EQ settings and frequency bands, specially suited for those types of music.
The remaining EQ parameters let you set the level of each of the five frequency ranges: low, low-mid, mid, high-mid and high. The bars in the display show the EQ settings as a frequency curve, with peaks indicating level boosts in the frequency range and valleys indicating level cuts. A setting of 00 dB corresponds to no level change.

PLG100-DX (Advanced DX/TX Plug-in Board)
This XG Plug-in board lets you add vintage FM synthesis Voices to the MU128. The PLG100-DX features the same synthesis engine as the famous Yamaha DX7, with six operators and thirty-two algorithms, and provides a total of 912 stunning preset FM Voices with all their crystalline clarity and pristine punch.
Installing the Plug-in Board
Before Installing the Plug-in Board
Here are some things you should know about the XG Plug-in boards before you install and use them.

In general:

The XG Plug-in board can be used only when the Sound Module mode is set to XG or PFM (Performance). Tone generator type Plug-in boards (such as the PLG100-VL and PLG100-DX) can be used only for Parts 1 - 16. Set the MIDI receive channel to A01 - A16. (No sound is output when setting to B01 - D16.) In order to control the XG Plug-in board from the external MIDI device, use the MIDI IN-A terminal when the HOST SELECT switch is set to MIDI, or use port 1 (A01 - A16) when the HOST SELECT switch is at a setting other than MIDI. Voices on the Plug-in board can be selected in the normal way. However, first you will need to: 1) Set the Part Assign parameter (so that the board is assigned to the desired Part). 2) Select the desired Part with the [PART -/+] buttons. 3) Select the desired board by pressing the [SELECT] button. (page 182.) XG Part parameters of the Plug-in board can be set from the Multi Edit mode. However, some parameters may not be available on certain boards. Refer to the owners manual of the particular Plugin board for details. When a Plug-in board is installed, the parameters of the board that can be set from the panel of the MU128 can also transmitted to an external MIDI device.

Data Backup:

The XG Plug-in boards themselves do not have any data backup function. However, the MU128 saves any parameter edits made to an installed XG Plug-in board from the panel of the MU128, and this backup data is sent to the Plug-in board whenever the power is turned on. It takes a small amount of time for the MU128 to execute the backup function when editing parameter values of the board (which can normally be edited from the panel) from an external MIDI device. If you edit parameters via MIDI, make sure to wait a short
time before turning off the power, since data may be deleted if you turn off the power before the backup operation is completed. When editing any hidden parameters on the board (parameters that can only be accessed via MIDI) from an external MIDI device, these parameters will be initialized to their default values once you turn off the power. (The backup function does not apply to these hidden parameters.)

Performance Mode:

No sound when playing the MU128 from a computer, sequencer or external keyboard.
Check all MIDI connections, making sure that the MIDI OUT of the external device is connected to the MIDI IN of the MU128, and that the MIDI IN of the external device is connected to the MIDI OUT of the MU128. (page 32.) Or, if you are using the TO HOST terminal with a computer, make sure that the terminal is properly connected to the computer and that the HOST SELECT switch is properly set for your particular computer. (pages 35, 36.) Also, make sure that you have turned on the connected MIDI instrument or computer before turning on the MU128. If you havent, simply turning the MU128 off and back on again may solve the problem. The maximum polyphony of the MU128 may be exceeded. The MU128 can play no more than 128 notes at once. (Though 128 notes may seem to be more than enough, you may run short when playing a connected keyboard along with some densely arranged song data.) Check all Reverb-, Chorus- and Variation-related controls: Reverb Send, Chorus Send and Variation Send in Single Part controls (pages 107, 108); Reverb Return, Chorus Return and Variation Return (when Variation Connection is set to SYS) in All Part controls (pages 109, 110). Also check the individual effect settings; if no Type has been selected, or if the parameter settings are too low, there may be no effect sound. Make sure that the appropriate A/D Part (A/D1 or A/D2) has been turned on and that the A/D INPUT control is set to an appropriate level. Also for best results, make sure that the A/D input type (Mic, Guitar, Keyboard, Audio) is set to match the input you are using (pages 98-100).
Notes are cut off or omitted.
Reverb, Chorus and/or Variation effects cannot be heard.
The A/D input sound (mic, guitar, etc.) cannot be heard.

MU 128 Appendix

Error Messages

Battery Low!

The battery voltage (for internal memory backup) may be too low. Bring the unit to your local Yamaha dealer or any other authorized Yamaha service personnel.

Illegal Data!

A data error resulted during reception of MIDI messages. Try transmitting the data again, or turn the MU128 off and back on again.

MIDI Buffer Full!

Too much MIDI data is being received by the MU128 at one time. Reduce the amount of data being sent to the MU128.

HOST is Offline!

This message appears when the host computer is not turned on, the connecting cable is not properly connected, or the sequencing software is not active.

SysEx Adrs ERROR!

Note Limit High... 122 Note Limit Low.. 122 Note Shift (Multi mode).. 108 Note Shift (Performance mode).. 136
Send Chorus to Reverb... 148 Send Variation to Chorus.. 150 Send Variation to Reverb.. 150 Show MIDI Data.. 171 Single Part control (Multi mode).. 59, 105 Single Part control (Performance mode). 72, 134 Solo... 95 Sound Module mode.. 6, 170 Store... 143 System connection.. 153 System functions.. 157 System Transpose.. 133
Others parameters... 118, 141
Pan (Drum Setup).. 127 Pan (Multi mode).. 107 Pan (Performance mode).. 135 Part Assign.. 177 Part Mode... 120 Parts, selecting... 43 Performance Bank.. 132 Performance Edit mode.. 74, 137 Performance Receive Channel.. 157 Performance mode.. 69,131 Performance Name.. 138 Performance Number.. 132 Performance Pan... 132 Performance Part control.. 132 Performance Volume.. 132 Performances, selecting Preset or Internal. 39 Pitch Bend Control.. 123, 139 Pitch Coarse (Drum Setup).. 127 Pitch EG... 114 Pitch EG Attack Time.. 115 Pitch EG Initial Level.. 114 Pitch EG Release Level.. 115 Pitch EG Release Time... 115 Pitch Fine (Drum Setup).. 127 Plug-in System... 173 Portamento Switch.. 121, 138 Portamento Time.. 121, 138 Program (Voice) Number (Multi mode).. 106 Program (Voice) Number (Performance mode). 135
TG300B mode... 21 Thru Port... 160 Transpose.. 110

Utility mode... 156

Variation... 149 Variation Connection.. 150 Variation Pan... 150 Variation Return (Multi mode).. 110 Variation Return (Performance mode). 133 Variation Send (Drum Setup). 128 Variation Send (Multi mode).. 108 Variation Send (Performance mode).. 136 Variation Type.. 149 Velocity LPF Cutoff Frequency.. 128 Velocity Limit High.. 123, 136 Velocity Limit Low.. 123, 136 Velocity Pitch Sensitivity.. 127 Velocity Sensitivity Depth.. 122, 136 Velocity Sensitivity Offset.. 123, 136 Vibrato... 117, 141 Vibrato Delay... 117 Vibrato Depth.. 117 Vibrato Rate... 117 Voice Map... 161 Voice Category.. 43, 105, 134 Voices, selecting... 43, 45, 48 Volume (Multi mode).. 107 Volume (Performance mode).. 135
Recall Function... 145 Receive Bank Select.. 159 Receive Channel... 119 Receive Note Off (Drum Setup).. 130 Receive Note On (Drum Setup).. 130 Receive System Exclusive. 159 Receive System On... 159 Resonance (LPF; Drum Setup).. 128 Resonance (LPF; Multi mode).. 112 Reverb... 147 Reverb Pan... 147

15 Input Mode 16

mono/stereo
11 Drive (Variation block) 16
LSF HSF AUTO WAH + DISTORTION

dry (L) dry (L)

R LSF HSF

AUTO WAH

dry (R) dry (R)
Insertion Block When input mode="stereo"

L LSF PDF HSF L

L LSF HSF AUTO WAH AUTO WAH R LSF HSF
q AUTO WAH+DIST AUTO WAH+ODRV (Variation block)
No. Parameter LFO Frequency LFO Depth Cutoff Frequency Offset Resonance EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Dry/Wet Drive EQ Low Gain(distortion) EQ Mid Gain(distortion) LPF Cutoff Output Level Display 0.00Hz 39.7Hz 1.0 12.0 32Hz 2.0kHz -12 +12dB 500Hz 16.0kHz -12 +12dB D63>W D=W D<W127 -12 +12dB -12 +12dB 1.0kHz thru Value See Table 0-127 table#1 0-127 0-127 10-120 4-40 52-76 28-58 52-76 1-127 0-127 52-76 52-76 34-60 0-127 table#3 table#3 Control
q TOUCH WAH 1 (Variation, Insertion 1, 2 block) TOUCH WAH+DIST (Variation block)
No. Parameter Sensitive Cutoff Frequency Offset Resonance Display 1.0 12.0 Value See Table 0-127 0-127 10-120 Control
32Hz 2.0kHz -12 +12dB 500Hz 16.0kHz -12 +12dB D63>W D=W D<W127
4-40 52-76 28-58 52-76 1-127 0-127

table#3

HSF AUTO WAH
Variation Block: TOUCH WAH 1
L LSF HSF TOUCH WAH + EF TOUCH WAH R LSF HSF
dry (R) dry (R) dry (L) dry (L)
+ DISTORTION AUTO WAH R LSF HSF

+ DISTORTION

Insertion Block: TOUCH WAH 1
Variation Block: TOUCH WAH+DIST
q TOUCH WAH 2 (Variation, Insertion 1, 2 block) TOUCH WAH+ODRV (Variation block)
q PITCH CHANGE 1 (Variation block)
No. Parameter Pitch Initial Delay Fine 1 Fine 2 Feedback Level Display -24 +127 -50 +50 -50 +50 -99 +99% Value See Table 40-88 0-127 table#7 14-114 14-114 1-127 Control
Dry/Wet Pan 1 Output Level 1 Pan 2 Output Level 2
D63>W D=W D<W63 L63 R127 L63 R127
1-127 1-127 0-127 1-127 0-127
EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Dry/Wet Drive EQ Low Gain(distortion) EQ Mid Gain(distortion) LPF Cutoff Output Level Release
32Hz 2.0kHz -12 +12dB 500Hz 16.0kHz -12 +12dB D63>W D=W D<W127 -12 +12dB -12 +12dB 1.0kHz thru 10 680ms
4-40 52-76 28-58 52-76 1-127 0-127 52-76 52-76 34-60 0-127 52-67
PITCH CHANGE 2 (Variation block)
No. Parameter Pitch Initial Delay Fine 1 Fine 2 Feedback Level Display -24 +127 -50 +50cent -50 +50cent -99 +99% Value See Table 40-88 0-127 table#7 14-114 14-114 1-127 Control
Variation Block: TOUCH WAH 2
Insertion Block: TOUCH WAH 2

Drive High Drive Low Dry/Wet Edge(Clip Curve) Emphasis EQ High Frequency EQ High Gain EQ Low Frequency EQ Low Gain EQ Mid Frequency EQ Mid Gain EQ Mid Width Er/Rev Balance F/R Depth Feedback Delay Feedback Delay 1 Feedback Delay 2 Feedback Level
Filter Type Fine 1 Fine 2 Height High Adjust High Damp HPF Cutoff Initial Delay
Input Mode Input Select L/R Depth L->R Delay Lch Delay Lch Delay1 Lch Delay2 Lch Feedback Level Lch Init Delay LFO Depth

LFO Frequency

Offset value of delay modulation Spacing of reflections for karaoke echo Delay length Volume of second delay Density of reflections. Higher values produce closer spacing Depth of the simulated room Amount of pitch shift Control the spaciousness Depth of distortion Depth at which the exciter effect is applied Depth at which the exciter effect is applied Depth of modulation caused by rotation of the low-range speaker Depth of modulation caused by rotation of the high-range speaker Balance between dry sound and effect sound Curve of distortion characteristics (sharp(127) distorts suddenly, mild(0) distorts gradually) Modify the character of the high range Frequency at which the EQ will boost/cut the high range Gain amount by which the EQ will boost/cut the high range Frequency at which the EQ will boost/cut the low range Gain amount by which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the mid range Gain amount by which the EQ will boost/cut the mid range Width of the area boosted/cut by the mid-range EQ Level balance between the early reflections and the reverberation Depth of front/back panning (valid when PAN Direction=Lturn,Rturn) Length of feedback delay Length of feedback delay 1 Length of feedback delay 2 Feedback amount of initial delay Feedback amount Setting for repeated reflections Level at which delay output is again returned to the input (negative values invert the phase) Level at which phaser output is again returned to the input (negative values insert the phase) Select the type of tonal effect Fine adjustment to pitch of first sound Fine adjustment to pitch of second sound Height of simulated room Adjust the upper limit of the mid-frequency range that will be attenuated Attenuation of the high frequency range (lower values will cause the high range to decay more rapidly) Frequency at which the high pass filter will cut the low range Delay time until the early reflections Delay length until ER (GateReverb) sounds Delay length Mono/stereo switch for input Input select Depth of left/right panning Delay time from left (input) to right (output) Length of left channel delay Length of first left channel delay Length of second left channel delay Amount of left channel feedback Length of left channel delay Depth of delay modulation Depth of modulation caused by speaker rotation Depth of phase modulation Depth at which the wah filter will be controlled Frequency of delay modulation Frequency at which the speaker will rotate Modulation frequency Autopan frequency Phase modulation frequency Frequency at which wah filter will be controlled

1.2.16 Portamento Control
This message specifies the portamento source key number (the key number at which portamento will begin). Data of 0.127 specifies the portamento source key. When Portamento Control is received, the currentlysounding pitch will change at a Portamento Time of 0 to the key of the next-received note-on of the same channel. Control# 84 Parameter Portamento Control Data Range 0.127 (C-2.G8) Control# Parameter NRPN LSB NRPN MSB Data Range 0.127 0.127
If the Multi Part parameter Rcv NRPN = OFF, that part will not receive NRPN. The following NRPN messages can be received. NRPN MSB LSB Data Entry *1 MSB LSB mm -- *2
Parameter name and value range Vibrato rate mm: 00 - 64 - 127 (-64.0.+63) Vibrato depth mm: 00 - 64 - 127 (-64.0.+63) Vibrato delay mm: 00 - 64 - 127 (-64.0.+63) Low pass filter cutoff frequency mm: 00 - 64 - 127 (-64.0.+63) Low pass filter resonance mm : 00 - 64 - 127 (-64.0.+63) High pass filter cutoff frequency mm: 00 - 64 - 127 (-64.0.+63) EQ bass gain mm: 00 - 64 - 127 (-64.0.+63) EQ treble gain mm: 00 - 64 - 127 (-64.0.+63) EQ bass frequency mm: 04 - 40 (32.2.0k [Hz]) EQ treble frequency mm: 28 - 58 (500.16.0k [Hz]) EG attack time mm: 00 - 64 - 127 (-64.0.+63) EG decay time mm: 00 - 64 - 127 (-64.0.+63) EG release time mm: 00 - 64 - 127 (-64.0.+63)
This is received even if Rcv PORTAMENTO = OFF.
1.2.17 Effect1 Depth(Reverb Send Level)
This message specifies the send level for the reverb effect. Control# 91 Parameter Effect1 Depth Data Range 0.Increasing this value will produce a richer reverb. The effect of the value will depend on the state of the reverb effect. 10 mm -- *09 mm --
1.2.18 Effect3 Depth(Chorus Send Level)
This message specifies the send level for the chorus effect. Control# 93 Parameter Effect3 Depth Data Range 0.127
Raising this value will increase the modulation or spaciousness. The effect of the value will depend on the state of the chorus effect.
1.2.19 Effect4 Depth (Variation Effect Send Level)
This message specifies the send level for the variation effect. Control# 94 Parameter Effect4 Depth Data Range 0.48 mm -- *4
However, this is not received if the Variation Effect parameter Variation Connection = 0 (Insertion). mm -- *4
1.2.20 Data Increment/Decrement (for RPN)
This message increases or decreases the parameter value specified for RPN (see 1.2.22), by increments of 1. Control# Parameter RPN Increment RPN Decrement Data Range --mm -- *4
The data byte is ignored.
1.2.21 NRPN (Non-registered parameter number)
This message is used to specify a sound parameter (such as vibrato, filter, EG, drum setup etc.) as an offset value. Use NRPN MSB and NRPN LSB to specify the parameter that you wish to modify, and then use Data Entry (see 1.2.4) to set the value for the specified parameter.

1.5 Pitch bend

This message conveys movements of the pitch bender. This message is generally used to modify the pitch of a part, but the depth of the following seven effects can be controlled. The effect of this message can be modified by the following parameters. Multi Part Parameter 1. BEND PITCH CONTROL 2. BEND FILTER CONTROL 3. BEND AMPLITUDE CONTROL 4. BEND LFO PMOD DEPTH 5. BEND LFO FMOD DEPTH 6. BEND LFO AMOD DEPTH Effect1 Parameter 7. BEND VARIATION CONTROL DEPTH (Valid when Variation Effect is assigned to a part as Insertion) Effect2 Parameter 8. BEND INSERTION CONTROL DEPTH By default, the Pitch Control effect is applied. If the receive channel is a drum part, effects 5 and 6 will not apply. If the Multi Part parameter Rcv PITCH BEND CHANGE = OFF, that part will not receive pitch bend messages.
2. System exclusive messages

2.1 Parameter changes

This devices uses the following parameter changes. [UNIVERSAL REALTIME MESSAGE] 1) Master Volume [UNIVERSAL NON REALTIME MESSAGE] 1) General MIDI System On 2) Identity Request(INQUIRY MESSAGE) 3) Identity Reply(INQUIRY MESSAGE) [XG PARAMETER CHANGE] 1) XG System on 2) XG System parameter change 3) Multi Effect1 parameter change 4) Multi EQ parameter change 5) Multi Effect2 parameter change 6) Display parameter change 7) Multi Part parameter change 8) AD Part parameter change 9) AD System parameter change 10) Drums Setup parameter change 11) Plugin Board parameter change [MU128 NATIVE PARAMETER CHANGE 1] 1) MU128 System parameter change 2) Remote switch

1.6 Channel aftertouch

This message conveys the pressure which is applied to the keyboard after playing a note in order to create tonal changes (for an entire MIDI channel). The pressure can be controlled for each part. This message will affect the currently-sounding notes. The effect of this message will be determined by the settings of the following parameters. Multi Part Parameter 1. CAT PITCH CONTROL 2. CAT FILTER CONTROL 3. CAT AMPLITUDE CONTROL 4. CAT LFO PMOD DEPTH 5. CAT LFO FMOD DEPTH 6. CAT LFO AMOD DEPTH Effect1 Parameter 7. CAT VARIATION CONTROL DEPTH
[MU128 NATIVE PARAMETER CHANGE 2] 1) Current Performance parameter change [Others] 1) Master tuning When this message is received, the SOUND MODULE MODE is set to XG, and all MIDI messages defined by GM will be received. All data except for MIDI Master Tuning will be restored to the default value. However this message will not be received in any of the following cases. MU128 System Parameter (see table 2-2) Rcv GM EXCLUSIVE MESSAGE= OFF Since approximately 50[ms] is required in order to process this message, be sure to allow an appropriate interval before sending the next message.

This message modifies parameters unique to the MU128. Unlike parameter change messages, a single message will modify multiple parameters. 0000nnnn 01001001 0sssssss 0ttttttt 0ggggggg 0mmmmmmm 0lllllll 0vvvvvvv : 0kkkkkkk 11110111 F0H 43H 0NH 49H SSH TTH GGH MMH LLH VVH : KKH F7H Exclusive status YAMAHA ID N:Device Number Model ID ByteCountMSB ByteCountLSB Address High Address Mid Address Low Data Check-sum End of Exclusive

XG parameter request

This message requests transmission of XG parameter settings. Settings are transmitted in the format of an XG parameter change (refer to 2.1.3). 0011nnnn 01001100 0ggggggg 0mmmmmmm 0lllllll 11110111 F0H 43H 3NH 4CH GGH MMH LLH F7H Exclusive status YAMAHA ID N:device Number Model ID Address High Address Mid Address Low End of Exclusive
Details are the same as for 2.2.1 XG Bulk Dump. However, refer to table 2-n for the address, byte count, and block.

2.2.2.1

System bulk dump
MU128 native parameter request (1)
This message requests transmission of a parameter value unique to the MU128. The output is transmitted in the format of a MU128 native parameter change (refer to 2.1.4). 0011nnnn 01001001 0ggggggg 0mmmmmmm 0lllllll 11110111 F0H 43H 3NH 49H GGH MMH LLH F7H Exclusive status YAMAHA ID N:Device Number Model ID Address High Address Mid Address Low End of Exclusive

2.2.2.2

MU80, MU50 Internal Performance bulk dump
This message is in MU80 / MU50 data format. It sets the INTERNAL PERFORMANCE block (refer to tables <2 - 1>, <2 - 4>).
MU128 native bulk dump (2)
This message sets parameters unique to the MU128. Unlike parameter change messages, a single message can modify multiple parameters. 0000nnnn 01011001 0sssssss 0ttttttt 0ggggggg 0mmmmmmm 0lllllll F0H 43H 0NH 59H SSH TTH GGH MMH LLH Exclusive status YAMAHA ID N:Device Number Model ID ByteCountMSB ByteCountLSB Address High Address Mid Address Low
MU128 native parameter request (2)
This message requests the transmission of a parameter value unique to the MU128. The output format is the same as for a MU128 native parameter change (refer to 2.1.5). 0011nnnn 01011001 0ggggggg F0H 43H 3NH 59H GGH Exclusive status YAMAHA ID N:Device Number Model ID Address High
0mmmmmmm 0lllllll 11110111 MMH LLH F7H Address Mid Address Low End of Exclusive Details are the same as for 2.4.1 XG Bulk Dump Request.

3. Realtime messages

3.1 Active sensing
a) Transmission not transmitted. b) Receive Once FE has been received, failure to receive any MIDI message for an interval longer than approximately 300 msec will cause processing to be performed as if ALL SOUND OFF, ALL NOTE OFF, and RESET ALL CONTROLLERS messages were received, and the unit will reset to a condition in which FE was never received.

Receives parameter changes only Receives parameter changes only Receives parameter changes only Receives dump request only
Receives parameter changes only Receives parameter changes only
Receives parameter changes only
Address Parameter 3n 0D 00 note number 13 3n 0E 00 note number 14 : : 3n 5B 00 note number 91

< Table 1 - 2 >

MIDI Parameter Change table (XG SYSTEM) Address Size Data Parameter (H) (H) (H) 00 - 0F MASTER TUNE - 0F - 0F - 0F 06 7D 7E 7F TOTAL SIZE - 7F 00 - 7F 28 - 58 N MASTER VOLUME MASTER ATTENUATOR TRANSPOSE DRUM SETUP RESET XG SYSTEM ON ALL PARAMETER RESET [XG] Description Default value (H) 00 00
-102.4.0.+102.3 [cent] 1st bit3-0bit15-12 2nd bit3-0bit11-8 3rd bit3-0bit7-4 4th bit3-0bit3-0 0.127 7F 0.-24.0.+24 [semitones] 40 N: Drum setup number (receive only) -00 = XG system ON (receive only) -00 = ON (receive only) --

< Table 1 - 3 >

MIDI Parameter Change table (SYSTEM INFORMATION) Address Size Data Parameter (H) (H) (H) 00 E 20 - 7F Model Name 1 : : : 0D 20 - 7F Model Name 14 0E - 7F XG Level 1 0F - 7F XG Level 2 TOTAL SIZE 10 Transmitted in response to Dump Request. Not received. [XG]
32.127(ASCII CHARACTER) : 32.127 (ASCII CHARACTER)

< Table 1 - 4 >

MIDI Parameter Change table (EFFECT 1) Address Size Data (H) (H) (H) 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 0A - 7F 0B - 7F 0C - 7F 0D - 7F TOTAL SIZE 0E SIZE - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F Parameter REVERB TYPE MSB REVERB TYPE LSB REVERB PARAMETER 1 REVERB PARAMETER 2 REVERB PARAMETER 3 REVERB PARAMETER 4 REVERB PARAMETER 5 REVERB PARAMETER 6 REVERB PARAMETER 7 REVERB PARAMETER 8 REVERB PARAMETER 9 REVERB PARAMETER 10 REVERB RETURN REVERB PAN [XG] Description refer to Effect Type List -dB.0dB.+6dB (0.96.127) L63.C.R63 Default value (H) 01 (= HALL1) (depends on reverb type) 0A () 08 () 0D () 31 () 00 () 00 () 00 () 00 () 00 () 40 40
REVERB PARAMETER 11 REVERB PARAMETER 12 REVERB PARAMETER 13 REVERB PARAMETER 14 REVERB PARAMETER 15 REVERB PARAMETER 16
refer to Effect Parameter List
00 (depends on reverb type) 04 () 32 () 08 () 40 () 00 ()

TOTAL 02 01

00 - 7F 00 - 7F 00 - 7F
CHORUS TYPE MSB CHORUS TYPE LSB CHORUS PARAMETER 1
refer to Effect Type List
41 (= CHORUS1) (depends on chorus type)
29 2A 2B 2C 2D 2E TOTAL SIZE TOTAL SIZE 48 4A 4C 4E 59 5A 5B 0F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 01 - 7F 00 - 7F CHORUS PARAMETER 2 CHORUS PARAMETER 3 CHORUS PARAMETER 4 CHORUS PARAMETER 5 CHORUS PARAMETER 6 CHORUS PARAMETER 7 CHORUS PARAMETER 8 CHORUS PARAMETER 9 CHORUS PARAMETER 10 CHORUS RETURN CHORUS PAN SEND CHORUS TO REVERB -dB.0dB.+6dB (0.96.127) L63.C.R63 (1.64.127) -dB.0dB.+6dB (0.96.127) 36 () 4D ( ) 6A ( ) 00 () 1C () 40 () 2E () 40 () 40 () 00

TOTAL SIZE - 7F 00 - 7F VARIATION PARAMETER 15 VARIATION PARAMETER 16 2E () 40 ()

< Table 1 - 5 >

MIDI Parameter Change table (MULTI EQ) Address Size Data Parameter (H) (H) (H) 00 - 04 EQ TYPE 34 - 4C EQ GAIN- 28 EQ FREQUENCY- 78 EQ Q- 01 EQ SHAPE- 4C EQ GAIN1 0E - 36 EQ FREQUENCY- 78 EQ Q1 NOT USED 34 - 4C EQ GAIN3 0A 1 0E - 36 EQ FREQUENCY3 0B - 78 EQ Q3 0C 1 NOT USED 0D - 4C EQ GAIN4 0E 1 0E - 36 EQ FREQUENCY4 0F - 78 EQ Q1 NOT USED 34 - 4C EQ GAIN1 1C - 3A EQ FREQUENCY- 78 EQ Q- 01 EQ SHAPE5 TOTAL SIZE 15 [XG] Description flat, jazz, pops, rock, classic -12.0.+12 [dB] 32.2.0k [Hz] 0.1.12.0 shelving, peaking -12.0.+12 [dB] 100.10.0k [Hz] 0.1.12.0 -12.0.+12 [dB] 100.10.0k [Hz] 0.1.12.0 -12.0.+12 [dB] 100.10.0k [Hz] 0.1.12.0 -12.0.+12 [dB] 0.5k.16.0k [Hz] 0.1.12.0 shelving, peaking Default value (H) (depends on EQ type) 0C () 07 () 00 () 40 () 1C () 07 () -40 () 22 () 07 () -40 () 2E () 07 () -40 () 34 () 07 () 00 ()

< Table 1 - 6 >

MIDI Parameter Change table (EFFECT 2) Address Size Data (H) (H) (H) 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 0A - 7F 0B - 7F 0C - 7F Parameter INSERTION EFFECT1 TYPE MSB INSERTION EFFECT1 TYPE LSB INSERTION EFFECT1 PARAMETER1 INSERTION EFFECT1 PARAMETER2 INSERTION EFFECT1 PARAMETER3 INSERTION EFFECT1 PARAMETER4 INSERTION EFFECT1 PARAMETER5 INSERTION EFFECT1 PARAMETER6 INSERTION EFFECT1 PARAMETER7 INSERTION EFFECT1 PARAMETER8 INSERTION EFFECT1 PARAMETER9 INSERTION EFFECT1 PARAMETER10 INSERTION EFFECT1 PART NUMBER [XG] Description refer to Effect Type List Part1.64 (0.63) AD1, AD2 (64, 65) OFF (127) -64.0.+63 -64.0.+63 -64.0.+63 -64.0.+63 -64.0.+63 Default value (H) 49 (= DISTORTION) (depends on insertion effect1 type) 14 () 48 () 35 () 40 () 00 () 2B () 4A () 0A () 7F () 7F

0D 0E 0F TOTAL SIZE 24

MW INSERTION CONTROL DEPTH BEND INSERTION CONTROL DEPTH CAT INSERTION CONTROL DEPTH AC1 INSERTION CONTROL DEPTH AC2 INSERTION CONTROL DEPTH
INSERTION EFFECT1 PARAMETER11 INSERTION EFFECT1 PARAMETER12 INSERTION EFFECT1 PARAMETER13 INSERTION EFFECT1 PARAMETER14 INSERTION EFFECT1 PARAMETER15

78 (depends on insertion effect2 type) 00 () 00 () 00 () 00 () 00 ()
38 3A 3C 3E TOTAL SIZE - 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 INSERTION EFFECT2 PARAMETER1 MSB INSERTION EFFECT2 PARAMETER1 LSB INSERTION EFFECT2 PARAMETER2 MSB INSERTION EFFECT2 PARAMETER2 LSB INSERTION EFFECT2 PARAMETER3 MSB INSERTION EFFECT2 PARAMETER3 LSB INSERTION EFFECT2 PARAMETER4 MSB INSERTION EFFECT2 PARAMETER4 LSB INSERTION EFFECT2 PARAMETER5 MSB INSERTION EFFECT2 PARAMETER5 LSB INSERTION EFFECT2 PARAMETER6 MSB INSERTION EFFECT2 PARAMETER6 LSB INSERTION EFFECT2 PARAMETER7 MSB INSERTION EFFECT2 PARAMETER7 LSB INSERTION EFFECT2 PARAMETER8 MSB INSERTION EFFECT2 PARAMETER8 LSB INSERTION EFFECT2 PARAMETER9 MSB INSERTION EFFECT2 PARAMETER9 LSB INSERTION EFFECT2 PARAMETER10 MSB INSERTION EFFECT2 PARAMETER10 LSB refer to Effect Parameter List 00 (depends on insertion effect2 type) 28 () 00 () 14 () 00 () 48 () 00 () 35 () 00 () 40 () 00 () 00 () 00 () 2B () 00 () 4A () 00 () 0A () 00 () 7F ()
When using an EFFECT TYPE which does not require the MSB, parameters of addresses 02~0B are received, and parameters of addresses 30~42 are not received. When using an EFFECT TYPE which requires the MSB, parameters of addresses 30~42 are received, and parameters of addresses 02~0B are not received. Transmission of bulk data which includes EFFECT TYPE data will always include the parameters of addresses 02~0B, but in the case of an EFFECT TYPE which does not require the MSB, parameters of addresses 02~0B will not be received even in bulk reception. The EFFECT TYPE that require MSB are: DELAY L,C,R, DELAY L,R, ECHO, CROSS DELAY.

< Table 1 - 7 >

MIDI Parameter Change table (DISPLAY DATA) Address Size Data Parameter (H) (H) (H) 20 - 7F DISPLAY LETTER Data1 : : 1F DISPLAY LETTER Data32 TOTAL SIZE 00 : 2F TOTAL SIZE 00 - 7F DISPLAY BITMAP Data1* : DISPLAY BITMAP Data[XG] Description Default value (H) 32.127(ASCII CHARACTER) -: : 32.127(ASCII CHARACTER) --

0.127 : 0.127

* The relation between DISPLAY BITMAP data and the display screen Seven pixels horizontally are one byte of data. Set a bit to 1 to display the corresponding pixel, and set a bit to 0 to turn it off. This data is mapped to the screen as follows. b7 b6 b5 b4 b3 b2 b1 b0 b7 b6 b5 b4 b3 b2 b1 b0 b7 b6 b5 b4 b3 b2 b1 b0 (b stands for bit) Data* * * * * * * Data* * * * * * * Data* * - - - - Data2 Data18 Data34 Data3 Data19 Data35 Data4 Data20 Data36 Data5 Data21 Data37 Data6 Data22 Data38 Data7 Data23 Data39 Data8 Data24 Data40 Data9 Data25 Data41 Data10 Data26 Data42 Data11 Data27 Data43 Data12 Data28 Data44 Data13 Data29 Data45

3n pp 13 3n pp 14 3n pp 15 3n pp 16 3n pp 17 3n pp 18 3n pp 19 3n pp 1A 3n pp 1B 3n pp 1C 3n pp 1D 3n pp 1E 3n pp 1F 3n pp 20 3n pp 21 TOTAL SIZE 3n pp 30 3n pp TOTAL SIZE
00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 01 - 7F 01 - 7F 00 - 7F 00 - 7F 04 - 28 1C - 3A 00 - 7F

BANK SELECT MSB BANK SELECT LSB
depends on performance number
n: performance part number pp:performance number pp 00 pp 0C pp 0D pp 0E pp 0F pp 10 pp 11 pp 12 pp 13 pp 14 pp 15 pp 16 pp 17 TOTAL SIZE 40 pp pp pp pp pp pp pp pp pp pp pp pp pp pp pp 2A 2B 2C 2D 2E 40 0C 20 - 7F 00 - 7F 01 - 7F 00 - - - 7F 00 - 7F 28 - - 7F 00 - 7F 00 - 7F 00 - - 7F
(00-03) (00-63) PERFORMANCE NAME PERFORMANCE VOLUME PERFORMANCE PAN AC1 CC NUMBER A/D INPUT MW LFO PMOD DEPTH MW LFO FMOD DEPTH BEND PITCH CONTROL AC1 FILTER CONTROL AC1 AMPLITUDE CONTROL AC1 LFO FMOD DEPTH PORTAMENTO SWITCH PORTAMENTO TIME 32.127 (ASCII CHARACTER) depends on performance number 0.127 L63.C.R63 (1.64.127) 0.95, CAT OFF, ON 0.127 0.127 -24.0.+24 [semitones] -64.0.+63 -100.0.+100 [%] 0.127 OFF, ON (0, 1) 0.127
00-7F 00-7F 00-7F 00-7F 00-7F 00-7F 00-7F 00-7F 01-7F 00-7F 00-7F 00-7F 00-7F 00-7F 00-7F
REVERB TYPE MSB REVERB TYPE LSB REVERB PARAMETER 1 REVERB PARAMETER 2 REVERB PARAMETER 3 REVERB PARAMETER 4 REVERB PARAMETER 5 REVERB RETURN REVERB PAN CHORUS TYPE MSB CHORUS TYPE LSB CHORUS PARMETER 1 CHORUS PARMETER 2 CHORUS PARMETER 3 CHORUS PARMETER 4
refer to Effect Program List -dB.0dB.+6dB (0.96.127) L63.C.R63 refer to Effect Program List
pp pp pp pp pp pp pp pp pp pp pp pp pp pp pp pp pp pp pp pp pp pp pp pp pp 2F 3A 3B 3C 3D 3E 3F 00-7F 00-7F 01-7F 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 00-7F 00-01 00-03, 7F CHORUS PARMETER 5 CHORUS RETURN CHORUS PAN SEND CHORUS TO REVERB VARIATION TYPE MSB VARIATION TYPE LSB VARIATION PARMETER 1 MSB VARIATION PARMETER 1 LSB VARIATION PARMETER 2 MSB VARIATION PARMETER 2 LSB VARIATION PARMETER 3 MSB VARIATION PARMETER 3 LSB VARIATION PARMETER 4 MSB VARIATION PARMETER 4 LSB VARIATION PARMETER 5 MSB VARIATION PARMETER 5 LSB VARIATION PARMETER 10 MSB VARIATION PARMETER 10 LSB VARIATION RETURN VARIATION PAN SEND VARIATION TO REVERB SEND VARIATION TO CHORUS AC1 VARIATION CONTROL DEPTH VARIATION CONNECTION VARATION PART -dB.0dB.+6dB (0.96.127) L63.C.R63 -dB.0dB.+6dB (0.96.127) refer to Effect Program List -dB.0dB.+6dB (0.96.127) L63.C.R63 (1.64.127) -dB.0dB.+6dB (0.96.127) -dB.0dB.+6dB (0.96.127) 0.127 INSERTION, SYSTEM Part1.4 (0.3) AD1, AD2 (64, 65) OFF (127)

1 MelloGrP VX El.PVX El.PHarpsi.K Balafon ** 60sDrOr2 SloRotar 2 ChurOrgNylonGtMandolin 1 FunkGtr1 PowerGt2 ** 1 AcoHarmo ** 1 RubberFstResBResoBass 2 RubberBa 1 El.Harp S.Strngs 2 LoFi Hit 1 4th TP HornOrch 1 BrssFall ** 2 AnaBrssAnaBrss2
Continued on page 98 Same as Bank 0

2 Balimba

2 60sDrOr2

PowerGt1 ** 1 2

SynBa2Dk

VelBrss2

E: Number of elements : MU128 Extension

Bank 18

Bank 19

Bank 24

Bank 25

Bank 26

Bank 27
60sEl.P1 DX Hard Harpsi.2

1 HardEl.P 2 2

2 MelloEP1

Log Drum

60sDrOr3
2 70sDrOrCheezOrg FstRotar OrgFlute

Dst.5ths **

RckRthm2 ** 2 RckRthm1 ** 2

MelloSB1

1 SmthSynB

Velo.Str

BriteTrp

2 Warm Trp

OctBrass

Continued on page 99

Bank Select MSB Instrument Group Piano Pgm # 63 64

Bank 0

Bank 29

Bank 30

Bank 31

Bank 32

Bank 33
Continued on page 100 Same as Bank 0

El.Pno1K El.Pno2K

DrawOrg2 PercOrg2 TrmOrgFl

2 Even Bar 2 2

Ch.Aahs2

Synth Tp

Bank 34

Bank 35

Bank 40

Bank 41

Bank 126

Bank 127

Organ Ba

Requinto

A-Piano1 A-Piano2 A-Piano3 A-Piano4 A-Piano5 A-Piano6 A-Piano7 E-Piano1 E-Piano2 E-Piano3 A-Guitr1 A-Guitr2 A-Guitr3 E-Guitr1 E-Guitr2 Slap-1 Slap-2 Slap-3 Slap-4 Slap-5 Slap-6 Slap-7 Slap-8 Finger-1 Finger-2 Picked-1 Picked-2 FretlsBs A-Bass Choir-1 Choir-2 Choir-3 Choir-4 Strngs-1 Strngs-2 Strngs-3 Strngs-4 E-Organ1 E-Organ2 E-Organ3 E-Organ4 E-Organ5 E-Organ6 E-Organ7 E-Organ8 E-Organ9 SoftTP-1 SoftTP-2 TP/TRB-1 TP/TRB-2 TP/TRB-3 TP/TRB-4 TP/TRB-5 TP/TRB-6 Sax-1 Sax-2 Sax-3 Sax-4 Brass-1 Brass-2 Brass-3 Brass-4 Brass-5 Orch-Hit
a.piano1 a.piano2 a.piano3 e.piano1 e.piano2 e.piano3 e.piano4 hnkytnk e.organ1 e.organ2 e.organ3 e.organ4 pipeorg1 pipeorg2 pipeorg3 acordion harpsi1 harpsi2 harpsi3 clavi1 clavi2 clavi3 celesta1 celesta2 synbras1 synbras2 synbras3 synbras4 synbass1 synbass2 synbass3 synbass4 newagepd synharmo choir pd bowed pd soundtrk atmosphr syn warm synfunny synecho1 rain synoboe synecho2 synsolo synrdorg synbell squareld strsect1 strsect2 strsect3 pizz.str violin 1 violin 2 cello 1 cello 2 contrabs harp 1 harp 2 guitar 1 guitar 2 elecgtr1 elecgtr2 sitar

30 F# G# A# 0

1 Open Rim Shot Dry HPF **** 1 Open Rim Shot Sl ****

37 C# D# 1

1 Snare Snappy Short **** 1 Snare Snappy Short H **** 1
1 Floor Tom L Short Sk **** 1 Floor Tom L Tight **** 1 Floor Tom H Short Sk **** 1 Floor Tom H Tight ****

42 F# G# A# 1

1 Mid Tom H Short Sk **** 1 Mid Tom H Tight ****

49 C# D# 2

1 Chinese Cymbal HPF **** 1 Chinese Cymbal L **** 1 Tambourine Q **** 1 Splash Cymbal H **** 1 Cowbell HPF **** Ride Cymbal 2 Q **** 1 Bongo H HPF **** 1 Bongo L HPF **** 1 Conga H Mute HPF **** 1 Conga L HPF **** 1 Timbale H HPF **** 1 Timbale L HPF **** 1 Agogo H HPF **** 1 Agogo L HPF **** 1 Cabasa BPF **** 1 Maracas L **** 1 Ride Cymbal 2 L**** 1 Bongo H V *** 1 Bongo L V *** 1 Conga H Mute V *** 1 Conga L H **** 1 Timbale H V *** 1 Timbale L V *** 1 Agogo H V *** 1 Agogo L V *** Maracas Q ****
1 Chinese Cymbal 2 H **** Ride Cymbal Cup 2 H **** 1 Tambourine H **** 1 Splash Cymbal H **** 1 Cowbell H **** 1 Crash Cymbal 4 H **** 1 Ride Cymbal 4 **** 1 Bongo H V *** 1 Bongo L V *** 1 Conga H Mute 2 H **** 1 Conga H Open 2 H **** 1 Conga L 2 H **** 1 Timbale H V *** 1 Timbale L V *** 1 Agogo H V *** 1 Agogo L V *** 1 Maracas Q **** 1 Samba Whistle H V *** 1 Samba Whistle L V *** 1
Ride Cymbal Cup Short *** 1 Ride Cup Q ****

54 F# G# A# 2

1 Crash Cymbal 2 Dark **** 1 Crash Cymbal 2 L ****

61 C# D# 3

1 Conga H Open HPF **** 1 Conga H Open V ***

66 F# G# A# 3

1 Samba Whistle H BPF **** 1 Samba Whistle H V *** 1 Samba Whistle L BPF **** 1 Samba Whistle L V *** 1 Cuica Open H **** Cuica Open H ****

73 C# D# 4

78 F# G# A# 4

1 Cuica Open H ****

85 C# D# 5

90 F# 5

: Same : No

as Standard Kit sound

****: MU800 Extension ****: MU900 Extension ****: MU100 Extension : MU128 Extension
Bank Select MSB Bank Select LSB Program# Key Alternate Note# Note Off Group 13 C# -D -D# -E -F -F# -G -G# -A -A# -B -C 26 D 28 E 29 F 31 G 33 A 35 B 36 C 38 D 40 E 41 F 43 G 45 A 47 B 48 C 50 D 52 E 53 F 55 G 57 A 59 B 60 C 62 D 64 E 65 F 67 G 69 A 71 B 72 C 74 D 76 E 77 F 79 G 81 A 83 B 84 C 86 D 88 E 89 F 91 G 0 Brush Tap V *** Brush Swirl V *** Brush Slap V *** Brush Tap Swirl V *** Snare Roll V *** 1 Snare Noisy Kick Tight 2 Kick Dark *** Kick Room ** Snare Snappy Snare Tight Snappy Tom Room Tom Room Tom Room Tom Room 4 Tom Room 5 Tom Room Kick Room Gate *** 1 Snare Snappy 2 *** 1 Kick Kick Gate 1 Snare Rock Brush Tap V *** Brush Swirl V *** Brush Slap V *** Brush Tap Swirl V *** Snare Roll V *** 1 Snare Noisy 5 *** 1 Kick Tight 3 *** 1 Kick 4 *** 1 Kick Gate 2 *** 1 Snare Rock 2 *** 1 Snare Rock Rim Q *** 1 Tom Rock 1 H *** Hi-Hat Closed 2 *** 1 Tom Rock 2 H *** Hi-Hat Pedal 2 *** 1 Tom Rock 3 L Short *** Hi-Hat Open 2 *** 1 Tom Rock 4 L Short *** 1 Tom Rock 5 L Short *** 1 Tom Rock 6 L Short *** Ride Cymbal 1 V *** Chinese Cymbal V *** Reverse Cymbal 1 Hi Q Snare Snappy Electro 1 Kick Kick Gate 1 Kick Gate Heavy 1 Snare Noisy Snare Noisy Tom Electro 1 Tom Electro 1 Tom Electro 1 Tom Electro Tom Electro Tom Electro Hi Q Snare Noisy Kick Tight Kick Analog Short 1 Kick Analog Side Stick Analog 1 Snare Analog 1 Snare Analog Tom Analog 1 Hi-Hat Closed Analog 1 Tom Analog 2 Hi-Hat Closed Analog Tom Analog 3 Hi-Hat Open Analog 1 Tom Analog Tom Analog 5 Crash Analog 1 Tom Room 6 L Dark *** Ride Cymbal 1 V *** Chinese Cymbal V *** 1 Tom Rock Tom Analog Reverse Cymbal Brush Tap V *** Brush Swirl V *** Brush Slap V *** 1 Reverse Cymbal *** Snare Roll V *** 1 Hi Q 2 *** 1 Snare Analog 3 *** 1 Kick Techno Soft *** 1 Kick Techno Tight *** 1 Kick Techno *** 1 Side Stick Analog *** 1 Snare Techno *** 1 Snare Techno 2 *** 1 Tom Analog 1 *** 1 Tom Analog 2 *** 1 Tom Analog 3 *** 1 Hi-Hat Open Analog *** 1 Tom Analog 4 *** 1 Tom Analog 5 *** 1 Crash Analog *** 1 Tom Analog 6 *** Ride Cymbal 1 V *** Chinese Cymbal V *** Reverse Cymbal *** Hi Q 2 *** 1 Snare Techno 3 *** 1 Kick Techno Q *** 1 Kick Techno L *** 1 Kick Techno 2 *** 1 Side Stick Analog *** 1 Snare Clap *** 1 Snare Dry 2 *** 1 Tom Analog 1 *** 1 Tom Analog 2 *** 1 Tom Analog 3 *** 1 Hi-Hat Open 3 *** 1 Tom Analog 4 *** 1 Tom Analog 5 *** 1 Crash Analog *** 1 Tom Analog 6 *** Open Rim Shot 2 Soft *** Kick Dry Soft 2 *** 1 Open Rim Shot 2 *** 1 Kick Dim *** 1 Kick Boon *** 1 Side Stick Dry *** 2 Snare Dry Mute *** 1 Snare White *** 1 Floor Tom L Short *** 1 Hi-Hat Closed 2 H *** 1 Floor Tom H Short *** 1 Low Tom Short *** 1 Hi-Hat Open 2 L *** 1 Mid Tom L Short *** 1 Mid Tom H Short *** 1 Crash Cymbal 1 V *** 1 High Tom Short *** Ride Cymbal 1 V *** Chinese Cymbal V *** 1 Brush Tap V *** Brush Swirl V *** Brush Slap V *** 1 Brush Tap Swirl V *** Snare Roll V *** O 0 O 0 O 3 Maracas 2 Samba Whistle H V *** Samba Whistle L V *** Samba Whistle H V *** Samba Whistle L V *** 1 Maracas 2 *** Samba Whistle H V *** Samba Whistle L V *** 1 Maracas 2 *** 1 Samba Whistle H V *** Samba Whistle L V *** 3 O 4 O 4 O Claves Claves 2 *** 1 Claves 2 *** 4 Cuica Mute V *** Cuica Open V *** Cuica Mute V *** Cuica Open V *** 1 Scratch H Scratch L Scratch H Scratch L Scratch H 2 *** 1 Scratch L 3 *** 1 Scratch H 2 *** 1 Scratch L 3 *** 1 Cuica Mute V *** 1 Cuica Open V *** Splash Cymbal V *** Crash Cymbal 2 V *** Ride Cymbal 2 V *** Bongo H V *** Bongo L V *** Conga H Mute V *** Conga H Open V *** Conga L V *** Timbale H V *** Timbale L V *** Agogo H V *** Agogo L V *** Splash Cymbal V *** Crash Cymbal 2 V *** Ride Cymbal 2 V *** Bongo H V *** Bongo L V *** Conga H Mute V *** Conga H Open V *** Conga L V *** Timbale H V *** Timbale L V *** Agogo H V *** Agogo L V *** 1 Cowbell Analog 1 Conga Analog H Conga Analog M Conga Analog L Splash Cymbal V *** 1 Cowbell Analog *** Crash Cymbal 2 V *** Ride Cymbal 2 V *** Bongo H V *** Bongo L V *** 1 Conga Analog H *** 1 Conga Analog M *** 1 Conga Analog L *** Timbale H V *** Timbale L V *** Agogo H V *** Agogo L V *** Cowbell Analog *** 1 Conga Analog H *** 1 Conga Analog M *** 1 Conga Analog L *** 1 Crash Cymbal 2 V *** Ride Cymbal 2 V *** Bongo H V *** Bongo L V *** 1 Conga H Mute V *** 1 Conga H Open V *** 1 Conga L V *** Timbale H V *** Timbale L V *** Agogo H V *** Agogo L V *** 1 Splash Cymbal V *** C# D# 3 Room Kit E Dark Room Kit *** Surdo Mute V *** Surdo Open V *** E Rock Kit E Rock Kit 2 *** Surdo Mute V *** Surdo Open V *** E Electro Kit E Analog Kit E Analog Kit 2 *** Surdo Mute V *** Surdo Open V *** E Dance Kit *** E Hip Hop Kit *** Surdo Mute V *** Surdo Open V *** E 29

Bangzi Muyu High Muyu Mid-High Muyu Mid Muyu Mid-Low Muyu Low
Rude Loop Cymbal H **** 1 Rude Loop Cymbal L **** 1

TG300B Drum Map

Program# Note# Note C# 0 D 0 D# 0 E F assign
9 E Room Kit 1 Kick Room 1
17 E Power Kit E Electro Kit

25 E Analog Kit

26 E Jazz Kit

33 E Brush Kit

41 E Orchestra Kit

49 E SFX Set

57 E C/M Kit
Alternate Standard Kit Snare Roll TG Finger Snap TG Hi Q TG Whip Slap TG Scratch H TG Scratch L TG Sticks TG Click Noise TG Metronome Bell TG Kick Tight Kick Side Stick Snare Hand Clap Snare Tight Floor Tom L 1 Hi-Hat Closed Floor Tom H Hi-Hat Pedal Low Tom Hi-Hat Open Mid Tom L Mid Tom H Crash Cymbal 1 High Tom Ride Cymbal 1 Chinese Cymbal Ride Cymbal Cup Tambourine Splash Cymbal Cowbell Crash Cymbal 2 Vibraslap Ride Cymbal 2 Bongo H Bongo L Conga H Mute Conga H Open Conga L Timbale H Timbale L Agogo H Agogo L Cabasa Maracas 3 3
Hi-Hat Closed Orchestra Hi-Hat Pedal Orchestra Hi-Hat Open Orchestra Ride Cymbal 1 Orchestra
F# 0 G 0 G# 0 A B A# 0 C 1 C# 1 D 1 D# 1 E F 1 1
Metronome Click TG 1 Kick Tight Jazz TG 1 Kick Tight Jazz TG 1 Kick Orchestra 1 Kick Power 1 Kick Electro TG 1 Kick Analog Side Stick Analog Snare Power 1 Snare Electro TG Snare Power Snare Analog Tom Analog 1 Hi-Hat Closed Analog 1 Tom Analog 2 Hi-Hat Closed Analog Tom Analog 3 Hi-Hat Open Analog 1 Tom Analog Tom Analog 5 Crash Analog 1 Tom Analog Tom Jazz 1 Tom Jazz 1 Tom Jazz 1 Tom Jazz Tom Jazz 1 Tom Jazz Tom Jazz Tom Jazz Tom Jazz Tom Jazz Tom Jazz Kick Jazz Brush Tap TG Brush Slap TG Brush Swirl TG 1 Tom Jazz Band Snare TG 1 Castanet TG Band Snare TG 1 Timpani F Timpani F# 1 Timpani G Timpani G# 1 Timpani A Timpani A# 1 Timpani B 1 Timpani C Timpani C# 1 Timpani D Timpani D# Reverse Cymbal TG 1 Timpani E Timpani F' Hi Q TG 1 Whip Slap TG 1 Scratch H TG 1 Scratch L TG 1 Sticks TG 1 Click Noise TG 1 Metronome Bell TG 1 Guitar Fret Noise 1 Cutting Noise H 1 Cutting Noise L 1 String Slap 1 Flute Key Click 1 Laugh 1 Scream Punch Heartbeat Cowbell Analog 1 Hand Cymbal H TG Hand Cymbal L TG Footsteps 1 Footsteps Applause 1 Door Squeak Door Slam Scratch Cut Conga Analog H Conga Analog M Conga Analog L 1 Wind Chime Ignition Squeal Exhaust Crash Siren Train Jet Plane Maracas Helicopter Starship Gunshot Machine Gun Laser Gun Claves Explosion Dog Horse Bird Tweet Shower Thunder Wind Seashore Stream Bubble 1 Kick Small 1 Gran Cassa Orchestra Kick Tight CM Kick CM Side Stick CM Snare CM 1 Hand Clap CM 1 Snare Electro CM 1 Floor Tom L CM 1 Hi-Hat Closed CM 1 Floor Tom H CM 1 Hi-Hat Open Short CM 1 Hi-Hat Open CM 2 Mid Tom L CM 1 Mid Tom H CM 1 Crash Cymbal CM 1 High Tom CM 1 Ride Cymbal CM 1 Tambourine CM Cowbell CM Bongo H CM 1 Bongo L CM 1 Conga H Mute CM 1 Conga H Open CM 1 Conga L CM 1 Timbale H CM 1 Timbale L CM 1 Agogo H CM 1 Agogo L CM 2 Cabasa CM 1 Maracas CM 1 1

PF : piano CP : chromatic percussion OR : organ, accordion, harmonica GT : guitar BA : bass ST : strings EN : ensemble BR : brass RD : reed PI : pipe LD : synth lead PD : synth pad FX : synth effects ET : ethnics PC : percussive SE : sound effects CO : combinations KS : keyboard splits SC : synth comp
(Internal Performance List 2 MSB=002, LSB=000)
Pgm# Category 1 PF 2 PF 3 PF 4 PF 5 PF 6 PF 7 PD 8 PD 9 PD 10 PD 11 PD 12 PD 13 PD 14 SC 15 SC 16 SC 17 SC 18 SC 19 OR 20 OR 21 OR 22 OR 23 OR 24 OR 25 OR 26 OR 27 GT 28 GT 29 GT 30 GT 31 GT 32 GT 33 BA 34 BA 35 BA 36 BA 37 BA 38 EN 39 EN 40 EN 41 EN 42 EN 43 EN 44 EN 45 BR 46 BR 47 BR 48 BR 49 SC 50 BR 51 LD 52 LD 53 LD 54 LD 55 LD 56 LD 57 FX 58 FX 59 FX 60 FX 61 PF 62 PF 63 PF 64 PF 65 PF 66 CP 67 SC 68 SC 69 SC 70 SC 71 SC 72 SC 73 SC 74 OR 75 OR 76 OR 77 OR 78 OR 79 OR 80 OR 81 OR 82 BA 83 BA 84 BA 85 KS 86 RD 87 ET 88 ET 89 SE 90 SE 91 SE 92 KS 93 CO 94 CO 95 CO 96 ET 97 FX 98 FX 99 FX 100 SE Performance Name Concert Grand Midi & Grand 60s Piano CP Pad Rhody Phaze Rich DX EP Grand Pad Pictures II Movie Pad II Hmu Choirer Polypad Blonk Y Dark Pad Analog SQ 1 Analog SQ 2 Xen Short SQ Fat Poly Backyard Organ Rock Organ Stereo Field Organ Drawbars 1 AT Drawbars 2 MW Full Church Old Rock Organ Progressive Organ 12-string Fantasy Wah Guitar FM Jazz EG Rich 12-string Guitar Pedal Steel Wheeler Chorus Guitar Hip Bais Rezzy Bass Fuzzline Bassline 1 Bassline 2 Pink Bass MW Vienna Strings Orchestra Plus Litepad Mello Strings Ooh Choir Compu Vox Cutting Brass Tijuana Brass CS80 Mind Fat Ensemble Beat Hit Analog Brass Mono Wire Lead Vintage Lead Sticky Lead Saww Lead Fat Glide Early Lead Dreamer Slow Sweep Flower High Light DX Lover Clav Western TX802 EP Chorus DX EP EP Velo SW Cool Vibes Poly Syn Tech Chord 2 Hi Pass SQ 1 Eight Oscis HPF Flight Acid Hook Fat Comp 70s Rock Organ Click Organ MW Nice Organ Sacral Organ Baroque Feel Plain Pipe French Accordion Lambada Accordion Lately Bass FM Slap Frankfurt Bass Pizza Time Soprano Sax Banjo Man Kanoonics Devil's House Alien Sea View Phat & Funky Horn & Strings Clavorgue 1950's Jazz Asian Beat Sweepy Line Blue & Blue Going UP MU Creation Comment Rich full-concert grand piano that simulates even the resonances. Grand piano + electric piano. Vintage stage electric piano with a slight distortion effect. Layer with a pad that takes advantage of the character of the Yamaha CP80. Electric piano with phase effect. Electric piano sound of the classic DX7. Warm and dark synth pad. Two-octave layer. Spacy synth pad with a unique feel of pitch rise. Vintage synth-type pad. Synth pad featuring human voice. Good old analog synth pad. Combination of analog sound and voice pad. Aftertouch controls the filter. Dark-feeling pad suitable for pop. Analog synth with decay, suitable for sequenced phrases. Short decay analog synth, suitable for sequenced phrases. Unique hit sound in which each key plays a chord. Analog synth with extremely short decay, suitable for sequenced phrases. Thick synth sound suitable for dance. Jazzy organ suitable for backing. The ultimate rock organ, with distortion and rotary speaker effect. Organ with stereo feel. Drawbar organ of the 70's. Aftertouch changes the rotary speed. Sentimental organ. MW changes the rotary speed. Church pipe organ. Electric organ of the 60's. Organ typical of progressive rock. MW applies a rotary speaker effect. 12 string guitar sound. Continue pressing, and a pad will be added. Funky electric guitar with auto-wah. Jazz guitar typical of FM tone generators. Acoustic 12 string guitar. Pedal steel guitar. Try using the pitch bend wheel. Electric guitar with chorus. Synth bass with wah. MW controls the filter. Synth bass with strong resonance, suitable for sequenced techno phrases. Synth bass with distortion. MW controls the filter. Synth bass suitable for dance or techno. Synth bass with short decay. Synth bass with distortion and portamento. String ensemble with an acoustic feel. Orchestral sound with added timpani at strong velocities. Light-feeling synth pad. The strings sound of a legendary instrument. Chorus, with effects used to create a feel of spaciousness. Use on sequenced phrases. MW controls the auto-pan speed. Sharp brass section. Soft brass section of the 60's. Brass of Yamaha's famous analog synthesizer, the CS80. Warm analog synth-like pad. Hit sound, effective when used in an intro. Analog brass with strong sense of attack. Mild synth lead. Old-style analog solo synth. Synth lead in which velocity creates unique tonal change in the attack. Percussive synth lead with detune. Thick-sounding synth lead. Mild synth lead with attack. MW controls the filter. Soft-attack synth sound with a feel of sweep. MW controls the filter. Synth sound in which the filter changes slowly. Layered harp and chorus. Synth sound that layers various sounds. Rich electric piano that blends tasty DX-type sounds. Old-style clavi-type sound. FM-type electric piano. A versatile sound usable in a variety of styles. DX electric piano with chorus. Old-style electric piano with tonal change controlled by velocity. Percussive vibraphone with reverb. The classic analog poly synthesizer. Dance sound with layered minor third and fifth. MW controls the filter. Synth sound using a high pass filter. Thick-sounding synth brass. Light-feeling synth lead suitable for sequenced phrases. Percussive synth sound. Also usable as synth bass. Versatile comping sound that can be played either as brass or lead. Rock organ of the 70's. Electronic organ with key-click sound. MW changes the rotary speed. Bright-feeling organ of the 80's. Full digital organ. MW changes the rotary speed. Solemn pipe organ with layered strings. Simple-feeling pipe organ. Accordion with a French touch. Accordion suitable for tango or lambada. Synth bass typical of FM tone generators (4 operator). Slap bass typical of FM tone generators. Synth bass with deep resonance, suitable for sequenced phrases. Split ensemble strings and pizzicato. Soprano sax that simulates even the breathing. Banjo sound suitable for Dixie style. Percussive-feeling canoon (an instrument with tone similar to a Japanese Koto). Sound effect evoking a devil's lair. Play strongly in the C3 region to hear demon voices and screams. A mysterious space creature appears. For strong velocities you will hear groaning. Pretend that you are on a deep-sea voyage. Split with strings and wah guitar. Versatile strings with horn added. A blend of clavi and organ. Split with vintage wood bass and piano. Asiatic percussion with mysterious sense of pitch. Play strongly to sound a drum. Percussive synth with a feeling of resonance. Transparent pad. Ambient-type sound with unique feeling of ascent. Avant-garde sound effect expressed by a diverse variety of sounds.