Yamaha MU100 User Manual

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TONE GENERATOR

OWNER'S MANUAL

BEDIENUNGSANLEITUNG

MODE D'EMPLOI

FCC INFORMATION (U.S.A)

1. IMPORTANT NOTICE : DO NOT MODIFY THIS UNIT!

This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product.

2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s

supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA.

3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B”

digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the user’s manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the problem by using one of the following measures:

Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in

to co-axial type cable. If these corrective measures do not produce satisfactory results, please contact the your local retailer authorized to distribute this type of

product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620

The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.

CANADA

This Class B digital apparatus complies with Canadian ICES-003. Cet appareil numérique de la classe B est conforme à la norme NMB-003 du Canada.

• This applies only to products distributed by Yamaha Canada Music Ltd.

• Ceci ne s’applique qu’aux produits distribués par Yamaha Canada Musique Ltée.

NEDERLAND / THE NETHERLANDS

• Dit apparaat bevat een lithium batterij voor geheugen back-up.

• This apparatus contains a lithium battery for memory back-up.

• Raadpleeg uw leverancier over de verwijdering van de batterij

op het moment dat u het apparaat ann het einde van de levensduur afdankt of de volgende Yamaha Service Afdeiing:

Yamaha Music Nederland Service Afdeiing Kanaalweg 18-G, 3526 KL UTRECHT Tel. 030-2828425

• For the removal of the battery at the moment of the disposal at the end of the service life please consult your retailer or Yamaha Service Center as follows:

Yamaha Music Nederland Service Center Address: Kanaalweg 18-G, 3526 KL UTRECHT Tel : 030-2828425

• Gooi de batterij niet weg, maar lever hem in als KCA.

• Do not throw away the battery. Instead, hand it in as small

chemical waste.

ADVARSEL!

Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering. Udskiftning må kun ske med batteri af samme fabrikat og type. Levér det brugte batteri tilbage til leverandoren.

VARNING

Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera använt batteri enligt fabrikantens instruktion.

VAROITUS

Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty paristo valmistajan ohjeiden mukaisesti.

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.

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.

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 manufacturer’s 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

PLEASE KEEP THIS MANUAL

92-BP

Model

Serial No.

Purchase Date

TONE GENERATOR

OWNER'S MANUAL

BEDIENUNGSANLEITUNG

MODE D'EMPLOI

ENGLISH

DEUTSCH

FRANÇAIS

Welcome to the MU100

Congratulations and thank you for purchasing the Yamaha MU100 Tone Generator!

The MU100 is an advanced tone generator providing an amazing total of 1313 high-quality Voices, full General MIDI compatibility — including Yamaha’s XG — plus flexible computer interfacing in a compact, easyto-use half-rack unit.

With the convenient built-in host computer interface and MIDI termi- nals, the MU100 is ideal for any computer music system — from connection to a simple laptop to integration in a complete MIDI studio. With its large LCD and the intuitive graphic controls on the display, the MU100 is remarkably easy to use.

The MU100 also features completely independent dual MIDI inputs, 32 Part multi-timbral capacity and full 64-note polyphony for playback of even the most sophisticated song data. A special Performance mode gives you flexible four-Voice operation, for live performance applications. Also built into the system are six digital multi-effects and two EQ sections (one per-part, and one overall), which give you enormous versatility in “sweetening” the sound. What’s more, the MU100 provides a host of comprehensive, yet easy-to-use editing tools for getting just the sound you need.

The MU100 has a convenient A/D input that allows you to connect a microphone, electric guitar or other instrument, and mix those signals with the MU100’s Voices. A plug-in connector is also built into the MU100 for easy integration with the XG Plug-in System.

* Company names and product names in this Owner’s Manual are the trade-

marks or registered trademarks of their respective companies and are hereby acknowledged.

How to Use This Manual

Unpacking

Your MU100 package should include the items listed below. Make sure that you have them all. Also, write do wn the serial number of your MU100 in the box below, for future reference.

MU100 Serial No.:

PA-5B AC Power Adaptor*

Owner’s Manual

CD-ROM “XGtools”

* Power supply recommendation may vary from country to country.

Please check with your nearest Yamaha dealer for further details.

Unpacking

GM System Level 1

“GM System Level 1” is a standard specification that defines the arrangement of voices in a tone generator and its MIDI functionality, ensuring that data can be played back with substantially the same sounds on any GM-compatible tone generator, regardless of its manufacturer or model. Tone generators and song data that meet the “GM System Level 1” bear this GM logo.

“XG” is a tone generator format that expands the voice arrangement of the “GM System Level 1” specification to meet the ever-increasing demands of today’s computer peripheral environment, providing richer expressive power while maintaining upward compatibility of data. “XG” greatly expands “GM System Level 1” by defining the ways in which voices are expanded or edited and the structure and type of effects. When commercially available song data bearing the XG logo is played back on a tone generator which bears the XG logo, you will enjoy a full musical experience that includes unlimited expansion voices and effect functions.

About the XG Plug-in System

This system offers powerful expansion and upgrade capabilities for XGPlug-in-compatible tone generators. The XG Plug-in System enables you to equip the tone generator with the latest and most sophisticated technology, ensuring that you keep pace with the rapid and multi-faceted advance in modern music production.

How to Use This Manual

Table of Contents

Welcome to the MU100.......................................................................................................... 6

Unpacking ............................................................................................................................... 7

Table of Contents ................................................................................................................... 8

How to Use This Manual..................................................................................................... 12

PRECAUTIONS................................................................................................................... 13

The Controls of the MU100 ................................................................................................ 15

Front Panel.................................................................................................................. 15

Rear Panel................................................................................................................... 18

The MU100 — What It Is and What It Can Do ............................................................... 19

What It Is... ..................................................................................................................... 19

About General MIDI .................................................................................................. 19

About XG-format ....................................................................................................... 20

What It Can Do... ........................................................................................................... 20

Using With a MIDI Keyboard .................................................................................... 20

Using with the XG Plug-in System ............................................................................ 21

Using With a Computer or Sequencer........................................................................ 21

About the Modes of the MU100 .................................................................................... 22

Play Modes and the Part Controls .............................................................................. 23

Part Edit Mode............................................................................................................ 23

Utility Mode ............................................................................................................... 23

Modes and Function Tree.................................................................................................... 24

GUIDED TOUR

Setting Up Your MU100................................................................................................. 28

What Y ou'll Need........................................................................................................ 28

Making the Connections............................................................................................. 28

Powering Up.................................................................................................................... 30

Playing the Demo Song .................................................................................................. 31

Setting Up the MU100 in Your Music System ............................................................. 33

Connecting to MIDI Devices ..................................................................................... 33

Connecting Directly to a Computer ........................................................................... 35

Macintosh and Compatibles ................................................................................. 35

IBM PC/AT and Compatibles ............................................................................... 37

Selecting and Playing the Performances...................................................................... 39

Calling Up the Performance Play Mode and Playing the Performances................... 39

Selecting and Playing Individual Voices ...................................................................... 42

Calling Up the XG Mode ........................................................................................... 42

Selecting Voice Banks and Voices From the Panel.................................................... 43

Selecting Voices From a MIDI Keyboard .................................................................. 47

Editing in the Multi Mode ............................................................................................. 48

Single Part Controls.................................................................................................... 49

Changing the Volume and Pan settings of a Part.................................................. 50

On Your Own... ............................................................................................... 51

Table of Contents

TABLE OF CONTENTS

Edit Menu Parameters ................................................................................................ 52

Changing the Filter and EG Settings of a Part ..................................................... 52

On Y our Own... ............................................................................................... 54

Editing Drum Voices — with the Drum Setup Controls............................................ 55

Making Changes to Individual Drum Sounds — the "Drum" Parameters .......... 56

On Y our Own... ............................................................................................... 58

Editing in the Performance Mode ................................................................................ 59

All Part Controls......................................................................................................... 60

Transposing the Overall Key of a Performance ......................................................... 61

Single Part Controls — Selecting Different Voices for the Performance.................. 62

On Y our Own... ............................................................................................... 63

Edit Menu Parameters — Creating a Two-Voice Layer ............................................ 64

Setting Up a Keyboard Split....................................................................................... 66

On Y our Own... ............................................................................................... 67

Using the Assignable Controller in a Performance.................................................... 67

Saving Your Original Performance ............................................................................ 68

Assignable Controller (AC1) ......................................................................................... 69

Controllers and Control Numbers .............................................................................. 69

Control Numbers and the Actual Sound..................................................................... 70

Assigning the Assignable Controller.......................................................................... 71

Using the Assignable Controller — Setting Up......................................................... 72

Using the Assignable Controller — Some Applications ............................................ 73

Changing the Brightness on a Piano Voice........................................................... 73

Experssive Volume Control of a Part ................................................................... 75

Expressive Control of Individual Drum Sounds .................................................. 75

On Y our Own... ............................................................................................... 77

Effects .............................................................................................................................. 78

Using Reverb and Chorus........................................................................................... 78

Applying Distortion to a Part — Using the Variation Effects ................................... 80

Equalizer (EQ)................................................................................................................ 82

Adjusting the Tone of a Specific Part — Part EQ...................................................... 82

Adjusting the Overall Tone — Multi EQ ................................................................... 84

Mute/Solo ........................................................................................................................ 85

Using Mute/Solo......................................................................................................... 85

A/D Input ........................................................................................................................ 87

Using the A/D Input ................................................................................................... 87

Data Flow Block Diagram ............................................................................................. 91

MIDI/Computer Connecting Cables ............................................................................ 92

REFERENCE

Multi Mode...................................................................................................................... 95

Part Controls ............................................................................................................... 95

Single Part Control................................................................................................ 96

All Part Control..................................................................................................... 98

Table of Contents

TABLE OF CONTENTS

Multi Edit Mode ....................................................................................................... 100

Filter .................................................................................................................... 100

Envelope Generator (EG) ................................................................................... 102

Equalizer (EQ) .................................................................................................... 105

Vibrato................................................................................................................. 106

Others .................................................................................................................. 107

Drum Setup Controls .......................................................................................... 114

Performance Mode....................................................................................................... 119

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

Effect Edit Mode .......................................................................................................... 133

Reverb (REV) ........................................................................................................... 134

Chorus (CHO)........................................................................................................... 135

Var iation (VAR) ........................................................................................................ 136

Insertion 1, 2 (INS 1, 2)............................................................................................ 138

About the Effect Connections — System and Insertion .......................................... 139

Equalizer (Multi EQ) Edit........................................................................................... 142

Utility Mode .................................................................................................................. 143

System Functions (SYSTEM) .................................................................................. 144

Dump Out Functions (DUMPOUT)......................................................................... 148

Saving and Restoring Data via MIDI ................................................................. 148

Saving and Restoring Data via TO HOST.......................................................... 148

Initialize Functions (INITIAL)................................................................................. 152

Demo Song Play (DEMO) ....................................................................................... 155

Sound Module Mode (MODE).................................................................................... 156

Miscellaneous Functions.............................................................................................. 157

Show Control Change .............................................................................................. 157

Show Exclusive ........................................................................................................ 159

Table of Contents

TABLE OF CONTENTS

APPENDIX

Installing the Optional XG Plug-in System ............................................................... 163

Introducing the XG Plug-in System ......................................................................... 163

Plug-in versatility like never before ................................................................... 163

XG Plug-in System Integration .......................................................................... 164

The Boards of the XG Plug-in System ............................................................... 164

Introducing the XGworks Plug-in System ......................................................... 165

Installation ................................................................................................................ 166

Prior to Installation ............................................................................................. 166

Basic Information.......................................................................................... 166

Backing Up Data ........................................................................................... 166

The Performance Mode................................................................................. 166

Installing a Plug-in Board into the MU100 ........................................................ 167

Troubleshooting ............................................................................................................ 170

Error Messages ............................................................................................................. 171

Specifications ................................................................................................................ 173

Glossary......................................................................................................................... 175

Index .............................................................................................................................. 177

Table of Contents

How to Use This Manual

You are probably eager to try out your new MU100 Tone Generator right

away and hear what it can do, rather than have to read through a lot of in-

structions 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-de-

mand” basis, going directly to the information you need as you need it.

However, to get the most out of your MU100, 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 MU100, how to avoid damaging it, and how to ensure long-term, reliable operation.

2) The MU100 — What It Is and What It Can Do

This briefly provides an overview of the functions and features of the MU100 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 MU100

This section introduces you to the panel controls and connectors.

4) Guided T our

This is perhaps the most important and valuable section of the manual. It gets you started using your new MU100, 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 MU100 in Your Music System; Using the MU100 with a Computer or Sequencer

These sections (within the Tutorial) provide all you need to know to effectively integrate the MU100 into your present computer music system.

6) Reference

Once you’re familiar with everything above, lightly go over this comprehensive guide to all editing functions. You won’t 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

Use the sections in the Appendix as necessary. For example, the Index will come in handy when you need to quickly find information on a specific topic. Other sections, such as the Glossary , Troubleshooting, Installing the optional XG Plug-in System and Error Messages provide additional useful information.

8) Sound List & MIDI Data booklet

This separate booklet features lists of the Performances, Voices, drum sounds, effect types and parameters, as well as details on all relevant MIDI messages and data.

How to Use This Manual

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING

* Please keep these precautions in a safe place for future reference.

WARNING

Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following:

• Do not open the instrument or attempt to disassemble the internal parts or modify them in any way. The instrument contains no user-serviceable parts. If it should appear to be malfunctioning, discontinue use immediately and have it inspected by qualified Yamaha service personnel.

• Do not expose the instrument to rain, use it near water or in damp or wet conditions, or place containers on it containing liquids which might spill into any openings.

• If the AC adaptor cord or plug becomes frayed or damaged, or if there is a sudden loss of sound during use of the instrument, or if any unusual

CAUTION

smells or smoke should appear to be caused by it, immediately turn off the power switch, disconnect the adaptor plug from the outlet, and have the instrument inspected by qualified Yamaha service personnel.

• Use the specified adaptor (PA-5B or an equivalent recommended by Yamaha) only. Using the wrong adaptor can result in damage to the instrument or overheating.

• Before cleaning the instrument, always remove the electric plug from the outlet. Never insert or remove an electric plug with wet hands.

• Check the electric plug periodically and remove any dirt or dust which may have accumulated on it.

Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the instrument or other property. These precautions include, but are not limited to, the following:

• Do not place the AC adaptor cord near heat sources such as heaters or radiators, and do not excessively bend or otherwise damage the cord, place heavy objects on it, or place it in a position where anyone could walk on, trip over, or roll anything over it.

• When removing the electric plug from the instrument or an outlet, always hold the plug itself and not the cord.

• Do not connect the instrument to an electrical outlet using a multipleconnector. Doing so can result in lower sound quality, or possibly cause overheating in the outlet.

• Unplug the AC power adaptor when not using the instrument, or during electrical storms.

• Before connecting the instrument to other electronic components, turn off the power for all components. Before turning the power on or off for all components, set all volume levels to minimum.

• Do not expose the instrument to excessive dust or vibrations, or extreme cold or heat (such as in direct sunlight, near a heater, or in a car during the day) to prevent the possibility of panel disfiguration or damage to the internal components.

• Do not use the instrument near other electrical products such as televisions, radios, or speakers, since this might cause interference which can affect proper operation of the other products.

• Do not place the instrument in an unstable position where it might accidentally fall over.

• Before moving the instrument, remove all connected adaptor and other cables.

• When cleaning the instrument, use a soft, dry cloth. Do not use paint thinners, solvents, cleaning fluids, or chemical-impregnated wiping cloths. Also, do not place vinyl, plastic or rubber objects on the instrument, since this might discolor the panel or keyboard.

• Do not rest your weight on, or place heavy objects on the instrument, and do not use excessive force on the buttons, switches or connectors.

• Do not operate the instrument for a long period of time at a high or uncomfortable volume level, since this can cause permanent hearing loss. If you experience any hearing loss or ringing in the ears, consult a physician.

■REPLACING THE BACKUP BATTERY

• This instrument contains a non rechargeable internal backup battery which permits internal data to remain stored even when the power is off. When the backup battery needs replacing, the message "Battery Low!" will display in the display. When this happens, immediately back up your data (using an external device such as the floppy disk-based Yamaha MIDI Data Filer MDF3), then have qualified Yamaha service personnel replace the backup battery.

• Do not attempt to replace the backup battery yourself, in order to prevent the possible serious hazards. Always have qualified Yamaha service personnel replace the backup battery.

• Never place the backup battery in a location that a child can reach, since a child might accidentally swallow the battery. If this should happen, consult a physician immediately.

■SAVING USER DATA

• Save all data to an external device such as the Yamaha MIDI Data Filer MDF3, in order to help prevent the loss of important data due to a malfunction or user operating error.

Yamaha cannot be held responsible for damage caused by improper use or modifications to the instrument, or data that is lost or destroyed.

Always turn the power off when the instrument is not in use.

PRECAUTIONS

The Controls of the MU100

Front Panel

The Controls of the MU100

1 A/D INPUT

For connection of a microphone, electric guitar or other electronic instruments (stereo 1/4” plug).

2 A/D INPUT level control

For control of the level of the A/D input.

3 PHONES jack

For connection to a set of stereo headphones (Stereo Mini-pin).

4 POWER/VOL control

Controls the power off/on functions as well as adjusts the overall volume of the MU100.

The Controls of the MU90R

The Controls of the MU100

56 A

789

5 PLAY button

For entering the Play mode and switching among the different Play displays. (See page 40.)

6 EDIT button

For entering the Edit mode. (See page 52.)

7 UTIL (UTILITY) button

For entering the Utility mode. (See page 31.)

8 MODE button

For entering the Sound Module mode. (See page 39.)

9 EFFECT button

For entering the Effect Edit mode. (See page 79.)

: EQ button

For entering the EQ Edit mode. (See page 84.)

A MUTE/SOLO button

Pressing this alternately mutes or solos the selected Part. (See page 85.)

B ENTER button

For calling up menu items in the display and for executing certain functions and operations. Double-clicking this (pressing it twice quickly) calls up the Show Exclusive function. (see page 159.)

C EXIT button

For leaving various display pages and returning to previous displays. Also for canceling certain functions and operations.

The Controls of the MU90R

The Controls of the MU100

D PART -/+ buttons

For selecting different Parts. In the Eff ect Edit mode, these can be used to switch among the different effects. Pressing these together alterna tely switches between All Part and Single Part control. (See page 40.)

E SELECT </> buttons

For selecting the various menu items, parameters and controls on the display.

F VALUE -/+ buttons

For changing the value of a selected parameter or control.

Hint

You can rapidly move through the values by holding down one of the [VALUE buttons. You can move even more rapidly by holding down one button and then pressing and holding down the other. For example, to rapidly advance (increase) the value, hold down the [VALUE

] button.

] button and simultaneously press and hold down the [VALUE

-/+

]

The Controls of the MU90R

The Controls of the MU100

Rear Panel

OUTPUT INPUT

THRU

MIDI

OUT I N-A

I N-B

HOST SELECT

MIDI Mac

PC-2 PC-1

TO HOST

SER NO.

DC IN

123456

1 MIDI THRU, MIDI OUT and MIDI IN A/B terminals

For connection to other MIDI devices, such as a MIDI keyboard, tone generator, sequencer , or to a computer that has a MIDI interface. MIDI IN A and B are independent MIDI ports, allowing full 32-channel MIDI input. MIDI OUT is for data dumps to another MIDI device, while MIDI THR U is for “daisy-chain” connection of additional MU100s or other MIDI instruments. (See page 33 for more information on MIDI connections.)

2 HOST SELECT switch

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

3 TO HOST terminal

For connection to a host computer that does not have a MIDI interface. (See page 35.)

4 DC IN jack

For connection to the PA-5B AC power adaptor.

5 OUTPUT L, R jacks (Left, Right)

For connection to a stereo amplifier/speaker system.

6 INPUT L, R jacks (Left, Right)

For connection between tone generator modules, CD players or other external audio devices. Effectors and equalizers cannot be applied to a signal that is input through these jacks.

The Controls of the MU90R

The MU100 — What It Is and What It Can Do

What It Is...

The MU100 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 with 128 General MIDI Voices and 9 drum Voices. It also provides new XG compatibility , with a huge total of 1267 Voices and 46 drum Voices.

The MU100 has 64-note polyphony and is 32-Part multi-timbral. In other words, the MU100 has 32 different P arts, each with its o wn Voice, so that up to 32 different Voices can be sounded simultaneously. Since the MU100 f eatures dual MIDI input ports (A and B), 16 Parts can be played from one MIDI port and the remaining 16 from the other port.

Additional A/D Par ts let you connect up to two exter nal signals — such as a microphone, electric guitar or CD player — and mix them with the MU100’s Voices through stereo input jack.

The MU100 also has a TO HOST terminal for easy interfacing with a computer, allo wing you to play the Voices using your favorite music softwar e. This is where the advanced multi-timbral capabilities come in, letting you playing sophisticated arrangements using up to 32 different Voices at the same time.

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. What’s mor e, the MU100 has a built-in multi-eff ect processor, with six independent digital effect “units” for enhancing the sound.

The MU100 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 MU100 gives you 100 f actory-programmed Preset Performances plus 100 Internal Performance locations for storing your own original Performances.

About General MIDI

General MIDI is a new addition to the worldwide MIDI standard. MIDI, as you know, stands for Musical Instrument Digital Interface, and makes it possible for various electronic musical instruments and other devices to “communicate” with each other. For example, by connecting a sequencer to the MU100’s MIDI IN terminal, you could play back a song on the sequencer using the Voices of the MU100.

So, where does General MIDI fit in all of this? One of the most important features of General MIDI is in the standardization of Voices. This means that a song recorded in the General MIDI format can be played back on any General MIDI compatible tone generator and sound just as the composer intended. For

The MU100 — What It Is and What It Can Do

example, if there is an alto sax solo in the song, it will be played by an alto sax Voice on the General MIDI tone generator (and not by a tuba or harpsichord!). Since the MU100 is fully compatible with General MIDI, you can take advantage of the vast wealth of musical material recorded in that format.

About XG format

The new XG format is an extension of General MIDI, and provides a number of significant improvements and enhancements. XG-compatible song data takes advantage of the e xtensiv e MIDI control and built-in effects of the MU100 (and other MU-series instruments).

To take grea test advantage of the powerful capabilities of XG, we recommend using XG-compatible instruments and software. For example, XG-compatible keyboards such as the Yamaha CBX-K2 keyboard and software gi ve you direct controls for accessing the full expressive potential of the MU100’s XG Voices and the XG-related parameters.

What It Can Do...

Here are a few ideas on how you can use the MU100. The list below is not comprehensive, but is meant to be a general guide to the possibilities and provide a starting point or springboard for your own creative ideas and explorations.

Using With a MIDI Keyboard

Use the MU100 as a supplementary tone generator with your MIDI keyboard and play the Voices of both instruments in a layer together. Or , use the convenient Perf ormance mode, and play four Voices on the MU100 a t once. You can split the four Voices across the keyboard, playing each from a different register. Or you can create sophisticated velocity splits, in which a different Voice is heard depending on how strongly you play the keyboard. Or use keyboard and velocity splits together for even greater flexibility.

The MU100 — What It Is and What It Can Do

Using with the XG Plug-in System

The MU100 is equipped with a connector that supports the XG Plug-in System. The system currently (as of September 1998) consists of three easy-touse plug-in boards: the PLG100-DX, PLG100-VL and PLG100-VH. A vast range of features like Vir tual Acoustic Sound Synthesis, dynamic sound effects, powerful FM synthesis voices, vocal harmonies and editing features enhance the functionality of the MU100 without complicated setups and wiring. The XG Plug-in System provides a seamless, fully integrated solution to help you create the ultimate studio environment.

Using With a Computer or Sequencer

Home Studio Setup

The MU100 integrates instantly and easily into any existing setup. If you have a MIDI keyboard, computer and sequencing software, the MU100 with its high-quality Voices and multi-timbral capabilities can expand your home studio system.

Carry It With You

If you have a laptop computer (and sequencing software), simply connect the MU100, plug in some headphones and you’ve got a complete, high-powered music making system that’ s ready to go wherever you go. Use it for composing, arranging, practicing or making/playing demos for your band.

Use It at a Gig

Similarly , you can connect a laptop or a MIDI data filer and playback song data with the MU100’s Voices. Plug a microphone into one of the A/D inputs and a guitar into the other, and you can mix your own live performance with the sequencer tracks.

Multimedia

Since it’s compatible with General MIDI and XG, the MU100 is a natural for multimedia applications. Bring it with you to a presentation — since the computer interface is built-in to the MU100, it hooks up instantly and easily to the computer’ s serial port or printer port, without the need for any other equipment.

The MU100 — What It Is and What It Can Do

About the Modes of the MU100

The MU100 has two main operating modes: Multi and Performance. In Multi mode, the MU100 is a 32-Part multi-timbral tone generator; in Performance mode, the MU100 effectively functions as four tone generators controlled over a single MIDI channel.

Which mode the MU100 is in depends on the selected Sound Module mode. If XG, TG300B or C/M are selected, the MU100 automatically sets itself to the Multi mode. When PFM is selected, the MU100 is in the Performance mode. (For information on selecting the Sound Module mode, see page 156.)

Each mode provides compatibility with different music software and hardware. XG: This mode provides the full potential of the MU100, giving you

access to the 1074 XG Voices.

TG300B: This mode provides compatibility with the GM-B mode of the

TG300 Tone Generator.

C/M: This mode provides compatibility with most computer music soft-

ware not supported by the other two Multi modes.

PFM: This mode (Performance) lets you play four V oices simultaneously

over a single MIDI channel. (For more information on using the Performance mode, see page 39.)

The bottom right of the display indicates the currently selected Sound Module mode.

XG TG300B C/M PERFORM

Selected Sound Module mode.

NOTE

When set to the TG300B mode, the MU100 may not be able to play TG300-specific song data with complete accuracy. However, MIDI data designed for other computer music tone generators is compatible with the MU100.

The MU100 — What It Is and What It Can Do

Play Modes and the Part Controls

Once the operating mode of the MU100 is set (Multi or Performance), there are two main ways you can use the MU100: playing and editing. In the Play modes, you play the Voices; in the various Edit modes, you change their settings.

Within the Play modes are the Part controls. These let you make basic settings for the Parts. The Single Part controls allow you to make independent settings for each Part, while the All P art controls allow you to change the overall settings of all Parts. (See pages 96 and 98 for more information.) The MU100 has several different Edit modes, each with various menus and operations:

Part Edit Mode

The Part Edit mode allows you to change certain settings for each individual Part, such as those of the Filter, EG (Envelope Generator), and many other settings. The internal Voices can be sounded during editing, allowing you to hear the effects of your edits.

Modes and Function Tree

Utility Mode

The Utility mode lets you set functions related to the overall operation of the MU100, such as Master T une, display Contrast and reception of certain MIDI messages that affect the entire instrument. Included also are miscellaneous operations, such as sending bulk data to a data storage device, initializing of the MU100 settings, and playing the special Demo song.

The MU100 — What It Is and What It Can Do

Modes and Function Tree

(Without a plug-in board installed)

[PLAY]

Multi Play Mode

[SELECT </>] Multi Part Control

[SELECT </>] Multi All Part Control

[EDIT]

( When the sound module mode is “XG”, “TG300B”, or “C/M”)

[PART++-]

Multi Part Edit Mode

[SELECT <] Filter Edit [ENTER]

[SELECT </>] EG Edit [ENTER]

[SELECT </>] EQ Edit (Only when Normal or VL Part is selected.) [ENTER]

[SELECT </>] Drum Setup Edit (Only when Drum Part is selected.)

[SELECT </>] Vibrato Edit [ENTER]

[SELECT >] Others Edit [ENTER]

Performance Play Mode (

[SELECT </>] Performance Control

[PART++-]

When the sound module mode is ”PFM”)

[ENTER]

P. 95

P. 96

P. 98

P. 100

P. 102

P. 105

P. 114

P. 106

P. 107

P. 119

P. 120

[SELECT </>] Performance Part Control

[EDIT]

Performance Edit Mode

[SELECT <] Common Edit [ENTER]

[SELECT </>] Part Edit [ENTER]

[SELECT </>] Copy [ENTER]

[SELECT </>] Store [ENTER]

[SELECT >] Recall [ENTER]

The MU100 — What It Is and What It Can Do

[SELECT <] Filter Edit [ENTER]

[SELECT </>] EG Edit [ENTER]

[SELECT </>] EQ Edit [ENTER]

[SELECT </>] Vibrato Edit [ENTER]

[SELECT >] Others Edit [ENTER]

P. 121

P. 123

P. 126

P. 127

P. 129

P. 130

P. 132

Modes and Function Tree

[UTIL]

[MODE]

[EFFECT]

Utility Mode

[SELECT <] System Setup [ENTER]

[SELECT </>] Dump Out [ENTER]

[SELECT </>] Initialize [ENTER]

[SELECT >] Demo Song Play [ENTER]

Sound Module Mode

[SELECT <] or [VALUE-] XG

[SELECT </>] or [VALUE+/-] TG300

[SELECT </>] or [VALUE+/-] C/M

[SELECT >] or [VALUE+] PFM

Effect Mode

[SELECT <] Reverb Edit [ENTER]

[SELECT </>] Chorus Edit [ENTER]

[SELECT </>] Variation Edit [ENTER]

[SELECT </>] Insertion 1 Edit [ENTER]

P. 143

P. 144

P. 148

P. 152

P. 155

P. 156

P. 133

P. 134

P. 135

P. 136

P. 138

[SELECT >] Insertion 2 Edit [ENTER]

[EQ]

Equalizer Mode

: Mode

: Submode

Push on the SELECT buttons either < or > for SELECT < / >.

Push on the PART + and - simultaneously for PART ++ -.

The MU100 — What It Is and What It Can Do

P. 138

P. 142

The MU100 — What It Is and What It Can Do

When using your MU100 for the first time, read through this short section of the manual. It guides you step-by-step in using many of the basic operations: setting the instrument up, connecting it properly to other equipment, and — most importantly — playing it. It also introduces you to most of the other, advanced features and operations of the instrument — enabling you to quickly and effectively get the most out of your new MU100.

UIDED

OUR

Setting Up Your MU100

In this section, you’ll learn how to:

an external amplifier/speaker system.

Other setup examples are covered in later sections; for example, setting up for use with a computer is on page 35. Once you’ve set up the MU100, we urge you to play the Demo song (page 31) and hear what the instrument is capable of.

What You’ll Need

☛The MU100 and the included PA-5B power adaptor. ☛A MIDI keyboard, electronic piano, or any instrument that can output

MIDI data.

☛An amplifier/speaker system, preferably stereo. Alternately, you can use

a set of stereo headphones.

☛Audio connecting cables. ☛A MIDI cable.

Making the Connections

CAUTION!

Before making any connections, turn all related equipment off, and make sure the MU100 power adaptor is not connected to an electrical outlet.

Operation

1 Connect the MIDI cable.

Connect the MIDI OUT terminal of the MIDI keyboard to the MIDI IN-A of the MU100 (as shown in the illustration).

2 Connect the audio cables.

Connect the L and R OUTPUT jacks of the MU100 to the appropriate inputs on the amplifier speaker system (as shown in the illustration).

•If you are using stereo headphones, connect them to the front panel PHONES jack.

Guided Tour

Setting Up Your MU100

3 Set the HOST SELECT switch.

Set this rear panel switch to MIDI (see illustration).

4 Connect the AC power adaptor.

Plug the DC output cable of the PA-5B into the DC IN terminal on the rear panel, then plug the adaptor into an appropriate electrical outlet.

CAUTION!

• Do not attempt to use an AC adaptor other than the PA-5B. The use of an incompatible adaptor may result in irreparable damage to the MU100, and even pose a serious shock hazard.

• Be sure to disconnect the power adaptor from the outlet when the MU100 is not in use.

PHONES

Amplifier

Speaker System

DC INL

Power

Adaptor

MIDI IN-A

MIDI CABLE

MIDI OUT

TIME SIGNATURE

SONG

MEASURETOP BOTTOM

SELECT

SEQUENCER

STOP

START TEMPOCONTINUE

VOICE

POLY/

DEVICE

TOUCH

CHANNEL

TG300B

SOUND OFF

RESET

MAP

MONO

ALL CH

CONTROL

RESET

PROGRAM

BANK

SOUND

PROGRAM

SELECT

OFFXGONGMON

CHANGE

DATA

MSB 1ST/

FOOT SW

NUMBER

SENSITIVITY

MERGE

RESET

RPN NRPN

CONTROLLER

ASSIGN

DENSITY

LSB 1ST

SYSTEM

FIXED

MIDICHMERGE

VELOCITY

ON/OFF

RPN NRPN

SLIDER ASSIGN

WHEEL ASSIGN

TRANSPOSE

DRUM

CONTROLLER

RPN NRPN

CONTROLLER

NUMBER

CONTROLLER

CONTROL CHANGE

NUMBER LIST

DATA DENSITYPBDENSITY

DRUM NUMBER

NRPN

1 MODULATION

11 EXPRESSION

123VIBRATO RATE

131EQ LO FREQUENCY

91 REVERB

2 BREATH

64 HOLD1(DAMPER)

124VIBRATO DEPTH

132EQ HI FREQUENCY

93 CHORUS

5 PORTA TIME

65 PORTAMENTO

125VIBRATO DELAY

133EG ATTACK TIME

94 VARIATION

6 DATA ENTRY

71 HARMONIC

126LP FILTER CUTOFF

134EG DECAY TIME

RPN

7 VOLUME

72 RELEASE TIME

127LP FILTER RESONANCE

135EG RELEASE TIME

73 ATTACK TIME

128HP FILTER CUTOFF

136DRUM LP FILTER CUTOFF

120PB SENSITIVITY

10 PANPOT

74 BRIGHTNESS

129EQ LO GAIN

137DRUM LP FILTER RESONANCE

121FINE TUNE

84 PORTA CTRL

130EQ HI GAIN

138DRUM EG ATTACK RATE

122COARSE TUNE

1234567 89ABCDEF0

139DRUM EG DECAY RATE 140DRUM PITCH COARSE 141DRUM PITCH FINE 142DRUM LEVEL 143DRUM PAN 144DRUM REVERB 145DRUM CHORUS 146DRUM VARIATION

147DRUM HP FILTER CUTOFF 148DRUM EQ LO GAIN 149DRUM EQ HI GAIN 150DRUM EQ LO FREQUENCY 151DRUM EQ HI FREQUENCY

OTHERS

152CH PRESSURE 153KEY PRESSURE 154MASTER VOLUME 156MASTER TUNING 157VELOCITY 158TEMPO

ENTER

HEXA DECIMAL

DECIMAL

MIDI Keyboard

Now that you’ v e set up the MU100, we urge you to go on to the next section, turn on the instrument, and play the Demo song (page 31) to hear what the instrument is capable of. If you need information on setting up the MU100 for a different type of system, refer to “Setting Up the MU100 in Your Music System” on page 33.

Guided Tour

Powering Up

Admittedly this is a simple operation, but you should be careful to follow the instructions below to avoid possible damage to your equipment and speakers.

Operation

1 Turn on the power of your MIDI keyboard.

2 Turn on the power of the MU100.

Press the POWER/VOL switch.

After the animated greeting display finishes, the following display appears:

3 Turn down all volume controls.

This includes the MU100 and any connected equipment.

4 Turn on the amplifier/speaker system.

5 Set the volume controls.

First, set the volume control on the MU100 to about the midway position, then set the volume on the amplifier to a suitable level.

Powering Down

When you turn the power off, make sure to do it in the following order:

1) Amplifier/speaker system

2) MU100

3) Other connected equipment (MIDI keyboard, etc.)

This prevents possible damage to the speakers.

Guided Tour

Playing the Demo Song

Now that you’ve set everything up properly, try playing the built-in Demo song. This showcases the high-quality Voices and the AWM2 tone generation system of the MU100. It also is an excellent demonstration of the 32part multi-timbral capacity and the various expressive controls and effects that can be used simultaneously . Most importantly, the Demo song will give you an idea of how powerful the MU100 can be in your own MIDI/computer music setup.

Operation 1 Press the [UTIL] button.

Playing the Demo Song

2 Select and open the DEMO menu.

Use the [SELECT </>] buttons to select “DEMO” (the menu icon flashes), then press the [ENTER] button.

3 Start the Demo song.

Press the [ENTER] button. The Demo Song starts playing immediately and repeats indefinitely until stopped (in step 4 below). Playback of the individual Parts of the song is shown graphically by the “level meter” bars in the display.

NOTE

During Demo Song playback, none of the panel controls (with the exception of the [EXIT] button and the POWER/VOL control) can be used.

Guided Tour

Playing the Demo Song

4 Stop playback of the song. Press the [EXIT] button.

5 Exit from the Demo Song function.

Press the [EXIT] button again — twice to return to the Play mode. (Or you can simply press the [PLAY] button.)

Guided Tour

MIDI Keyboard

MIDI OUT

MIDI IN-A or B

MIDI CABLE

SEQUENCER

PROGRAM

SYSTEM

WHEEL ASSIGN

STOP

SONG SELECT

START TEMPOCONTINUE

MEASURETOP BOTTOM

TIME SIGNATURE

FIXED VELOCITY

MIDICHMERGE

ON/OFF

SOUND OFFXGONGMON

VOICE MAP

POLY/ MONO

BANK

SELECT

PROGRAM CHANGE

CHANNEL

MERGE

RESET

CONTROL

TG300B RESET

SOUND OFF ALL CH

DEVICE NUMBER

TOUCH SENSITIVITY

RPN NRPN

DRUM NUMBER

CONTROLLER

RPN NRPN

DATA DENSITY

MSB 1ST/ LSB 1ST

FOOT SW ASSIGN

CONTROLLER

SLIDER ASSIGN

RPN NRPN

DRUM NUMBER

CONTROLLER

DATA DENSITYPBDENSITY

RESET

TRANSPOSE

1MODULATION 2BREATH 5PORTA TIME 6DATA ENTRY 7VOLUME 10PANPOT

11EXPRESSION 64HOLD1(DAMPER) 65PORTAMENTO 71HARMONIC 72RELEASE TIME 73ATTACK TIME 74BRIGHTNESS 84PORTA CTRL

123VIBRATO RATE 124VIBRATO DEPTH 125VIBRATO DELAY 126LP FILTER CUTOFF 127LP FILTER RESONANCE 128HP FILTER CUTOFF 129EQ LO GAIN 130EQ HI GAIN

131EQ LO FREQUENCY 132EQ HI FREQUENCY 133EG ATTACK TIME 134EG DECAY TIME 135EG RELEASE TIME 136DRUM LP FILTER CUTOFF 137DRUM LP FILTER RESONANCE 138DRUM EG ATTACK RATE

139DRUM EG DECAY RATE 140DRUM PITCH COARSE 141DRUM PITCH FINE 142DRUM LEVEL 143DRUM PAN 144DRUM REVERB 145DRUM CHORUS 146DRUM VARIATION

147DRUM HP FILTER CUTOFF 148DRUM EQ LO GAIN 149DRUM EQ HI GAIN 150DRUM EQ LO FREQUENCY 151DRUM EQ HI FREQUENCY

91REVERB 93CHORUS 94VARIATION

120PB SENSITIVITY 121FINE TUNE 122COARSE TUNE

CONTROLLER NUMBER LIST

CONTROL CHANGE

ENTER

HEXA DECIMAL

DECIMAL

12345678 9ABCDEF0

RPN

NRPN

152CH PRESSURE 153KEY PRESSURE 154MASTER VOLUME 156MASTER TUNING 157VELOCITY 158TEMPO

OTHERS

Setting Up the MU100 in Your Music System

As you learned in the section The MU100 — What It Is and Wha t It Can Do on page 19, the MU100 can be integrated into a variety of setups. It

would be impossible to cover all connection possibilities in a short manual as this; howe ver, the section below will help in quickly setting up the MU100 and using it in your system.

Connecting to MIDI Devices

The MU100 is equipped with MIDI IN, OUT, and THRU terminals, allowing you to use it in any MIDI system. Moreov er , the two MIDI IN terminals are independent 16-channel ports, effectively giving you two tone generators in one. Here are some common connection examples using the built-in MIDI interface. Refer to the example that most closely matches your setup, then read the Operation steps at the end of this section.

• MIDI keyboard

In this setup, you can play the sounds of the MU100 from the connected keyboard.

• Hardware sequencer

In this setup, a hardware sequencer (such as the Yamaha QY700) is used. The main advantage of such a setup is its portability.

MIDI CABLE

MIDI OUT

IN A

OUT BOUT A

IN B

FOOT SWRL/MONO

MIDI

OUTPUT

MUSIC SEQUENCER

PITCH ASSIGNABLE

PATTERN

UTILITY

SONG

EFFECT

VOICE

DISK

MAX

VOLUME

SHIFT F1 F2 F3 F4 F5 F6 SHIFT EXIT

CONTRAST

PLAYREC

TRACK

JOB

EDIT

DOWN

CAPS

OCT

DOWN

ON BASS

SECTION

SHIFT

CBA

ORG BASS

MLK

FGABC

B C D E F G H

LOC 2LOC 1

REST

(

E)D

(

C#D

(

DbE

(9)

add9

OUT BOUT AIN B

IN A

MIDI

-1 +1

TRACK

789

YESNO

456

SOLOMUTE

TIE

123

DEL

SPACE

)

(

HGF

(

9) (11)

sus4

OCT

DOWN

11)

(

(13)

sus4

ZWV

UTSRQPO#N

(9)

dim

add9

mM7

aug

(b5

)

MIDI IN-A

Guided Tour

Setting Up the MU100 in Your Music System

• MIDI data storage device

This setup is used for backing up your important data — including original Performances you’ve created, as well as settings you’ve changed in the Part Edit, Effect, EQ, or Utility modes.

In this example, a Yamaha MDF3 MIDI Data Filer is used. To back up data, connect the MIDI IN of the MDF3 to the MIDI OUT of the MU100. T o restore the data to the MU100, connect the MIDI OUT of the MDF3 to the MIDI IN of the MU100. Refer to the owner’s manual of the MDF3 (or your particular data storage device) for specific operating instructions in receiving or sending data.

MIDI IN

MDF3

MIDI CABLE

MIDI OUT

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 keyboar d to MIDI-B. This allows you to play parts live over sequencer playback — even if the sequencer uses all 16 MIDI channels.

MIDI OUT

Computer

MIDI CABLE

MIDI IN-A

Guided Tour

Modem or Printer Port

Macintosh

Setting Up the MU100 in Your Music System

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 compatib les, 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 Con- necting Cables” on page 92.

Macintosh and Compatibles

Follow these instructions if you ha ve 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.

Guided Tour

Setting Up the MU100 in Your Music System

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 MIDI Time Piece Clock

Standard MIDI Interface

On (for controlling all 32 Parts of the MU100)

1 MHz (The specif ic menu/parameter names may differ depending on your particular music software. For detailed instructions, ref er to the owner’s manual or on-line help of the software.)

Hint

If you have a second multi-timbral tone generator (such as the MU50), you can connect it to the MIDI OUT terminal of the MU100 and have three independent MIDI ports (for 48-channel operation). The software settings above apply here as well: Set the device for MIDI OUT 3 to “Yamaha MU50” (or similar). (For more information, see page 146.)

Guided Tour

IBM PC/AT and Compatible

Serial Port

IBM PC/AT and Compatibles

Follow these instructions if you have an IBM PC/AT or compatib le computer not equipped with an external MIDI interface. Connect the T O HOST terminal on the MU100 to one of the computer’s serial ports, COM 1 or COM 2.

The instructions below assume you are running Windows95 or 98 on your PC. For using the TO HOST connection with other software and operating systems, consult your Yamaha dealer. If your computer and music software cannot recognize the TO HOST connection, you can still use the MU100 by installing a MIDI interface (internal card or external) to the computer.

Setting Up the MU100 in Your Music System

Operation

1 Install the included driver software.

For Windows95 or 98 Install the included Yamaha CBX Driver. The driver software is on a CD-ROM included with the MU100. Make sure to thoroughly read the “\CBX driver\readme.txt” on the disk. This contains essential information on installing and setting up the driver on your computer.

2 Set the HOST SELECT switch to PC-2.

3 Connect the MU100 to the host computer.

Refer to the illustration above. Use a standard computer cable (8-pin Mini DIN to 9-pin D-SUB; see page 92).

4 Turn on the the host computer, then the MU100.

5 Start up your music software.

Guided Tour

Setting Up the MU100 in Your Music System

In this menu, you should be able to set separate MIDI outputs to access the two MIDI ports on the MU100. For example, MIDI OUT 1 should be set to “Yamaha CBX A Dri ver” (or “W indo ws MIDI, Output 1”). Similarly, MIDI OUT 2 should be set to “Yamaha CBX B Driver” (or “Windo ws MIDI, Output 2”). (The specif ic menu/parameter names may differ depending on your particular music software. For detailed instructions, ref er to the owner’s manual or on-line help of the software.)

Hint

If you have a second multi-timbral tone generator (such as the MU50), you can connect it to the MIDI OUT terminal of the MU100 and have three independent MIDI ports (for 48-channel operation). The software settings above apply here as well: Set MIDI OUT 3 should be set to “Yamaha CBX C Driver” (or “Windows MIDI, Output 3”). (For more information, see page 146.)

Once you’ve set up the MU100 in your system, check that the MU100 is properly receiving data.

Guided Tour

Selecting and Playing the Performances

As pointed out on page 59, the Performances of the MU100 let you play four Voices together over one MIDI channel. These specially programmed Performances (100 Preset and 100 Internal) take full advantage of the MU100 dynamic voices and flexible editing functions — giving you exceptionally powerful and expressive sounds for live performance situations.

In this section, you’ll learn how to:

Calling Up the Performance Play Mode and

Playing the Performances

Operation

1 Press the [MODE] button.

2 Select “PFM” (PERFORMANCE) in the display.

Use the [SELECT >] buttons, [VALUE +] buttons or data dial.

XG TG300B C/M PERFORM

Indicates Performance mode.

The Performance mode setting is also shown by the arrow at the bottom right of the display.

NOTE

For more information on the sound module modes, see page 22.

Guided Tour

Selecting and Playing the Performances

3 Press the [PLAY] button to go to the Performance Play mode.

You can press the [EXIT] button for this as well.

“All” and keyboard player icon indicate All Part display of Performance Play mode.

If the All Part display above (with the keyboard player icon) is not shown, press both [PART-/+] buttons simultaneously.

4 Select the desired bank of Performances — Preset or Internal.

Use the [SELECT </>] buttons to select the bank parameter, then use the [VALUE -/+] buttons to select the desired bank, Preset (Pre) or Internal (Int).

• Preset bank

The upper body of the keyboard player icon is black, indicating the Preset bank.

• Internal bank

The upper body of the keyboard player icon is white, indicating the Internal bank.

Guided Tour

Selecting and Playing the Performances

5 Select the desired Performance.

Use the [SELECT </>] buttons to select the Program Number parameter, then use the [VALUE -/+] buttons or data dial to select the desired Performance number.

Performance number

6 Play the connected MIDI keyboard.

Make sure that your keyboard is transmitting over MIDI channel

1. (Refer to the owner’s manual of that instrument if necessary.) If you’ve carefully followed all instructions up to now, the “level meter” bars in the display should move — and you should be able to hear the sound of the MU100 as you play.

The “level meter” bars indicate the “level” (velocity) of the incoming MIDI data. These numbers indicate the four Parts of the Performance.

Go on to select other Performances in the same bank and play those as well. To try out Performances in the other bank, return to step 4 above.

Guided Tour

Selecting and Playing Individual Voices

The MU100 has a stunningly huge variety of Voices — a total of 1267. In this section, you’ll select and play Voices in the XG mode, which features 1074 different Voices.

In this section, you’ll learn how to:

Calling Up the XG Mode

Operation

1 Press the [MODE] button.

2 Select “XG” in the display.

Use the [SELECT <] buttons, [VALUE -] buttons or data dial.

XG TG300B C/M PERFORM

Indicates XG mode.

The XG mode setting is also shown by the arrow at the bottom right of the display.

3 Press the [PLAY] button to go to the Play mode.

You can press the [EXIT] button for this as well.

Guided Tour

Selecting and Playing Individual Voices

About the Modes — Multi and Performance

The MU100 has two main operating modes: Multi and Performance. You used the Performance mode earlier when playing Performances — playing four Voices over one MIDI channel. The Multi mode is primarily used in sequencer and computer music applications, since it allows you to play all 32 Parts independently over different MIDI channels.

Which mode the MU100 is set to depends on the selected Sound Module mode. The XG, TG300B and C/M settings are all Multi mode. When PFM is selected, the MU100 is in the Performance mode.

Selecting Voice Banks and Voices From the Panel

Operation

1 Select a Part.

Use the [PART -/+] buttons. Depending on the selected Part, one of the displays below will appear:

• For Parts 1 – 16 and the A/D Parts:

• For Parts 17 – 32:

For this example, select Part 1. Press the appropriate button until “01” appears in the PART section of the display.

Guided Tour

Selecting and Playing Individual Voices

2 Select the bank number.

Use the [SELECT </>] buttons to highlight the bank number parameter (as shown below).

Instrument icon. Arrow at top left of icon indicates bank number is selected.

Bank number. Dark arrow indicates bank number is selected.

Program number.

3 Change the bank number.

Use the [VALUE -/+] buttons or data dial. Notice that the bank numbers “jump” as they are selected — the MU100 skips bank numbers that have the same Voice as bank “000.”

In the XG mode, several banks of Voices are available. Each bank contains up to 128 different Voices, for a total of 1074 Voices.

4 Select the program (Voice) number.

Use the [SELECT </>] buttons to highlight the program number parameter (as shown below).

Guided Tour

Selecting and Playing Individual Voices

Bank number.

Instrument icon, indicating the type of Voice. Arrow at top right of icon indicates program number is selected.

Program number. Dark arrow indicates program number is selected.

5 Change the program number.

Use the [VALUE -/+] buttons or data dial. In the example dis- play below, Voice number 25 has been selected.

6 Play the Voice.

Play this new Voice from the connected MIDI keyboard. (Make sure that the keyboard is transmitting on channel 1.) If you’ve carefully followed all instructions up to now, the “level meter” of the Part should move — and you should be able to hear the sound of the MU100 as you play. Try selecting other Voice banks and Voices and play them as well. Each Voice bank contains some different Voices, some of which are variations, some unique.

Details

• The MU100’s Voices and program numbers follow the GM (General MIDI) format. This means that you can select a Voice type by its number, then select Voice variations by bank. For example, all the nylon guitar Voices are at program number 25.

• In the XG mode, the Voices are conveniently organized in the banks according to their type. For example, Voices having stereo variations or brighter variations are found in the “Stereo” and “Bright” banks, respectively. (See the “Sound List & MIDI Data” booklet.)

• Banks MSB 48, 46 and above feature Voices that are not simply variations, but use different instrument samples. (See the “Sound List & MIDI Data” booklet.)

Guided Tour

Selecting and Playing Individual Voices

• Notice that as you increase the bank number, at some point beyond the XG Voice banks (above bank 127) the bank number returns to “000” and the following icon appears in the display:

Banks showing this icon are MU100 Exclusive Voice banks, and are different than the same numbered XG Voice banks. (See the “Sound List & MIDI Data” booklet.)

• Though the MU100 skips over bank numbers with identical Voices (see step 3 above), it can be set to not skip bank numbers, if desired. (See page 147: Utility mode/System/Display Bank Select.)

Changing the Play Mode Display

The MU100 lets you view the Parts in three ways, depending on your preference.

Press the [PLAY] button repeatedly. Each press of the [PLAY] button switches among the three displays below.

1) Full level meters

This shows the level meters at their maximum height, but only displays half of the Parts.

2) All Parts, with half level meters

This displays all Parts, but the level meters are at half the height.

3) All Parts, with full level meters

This displays all Parts with the level meters at maximum height. However, the Voice name and number are not displayed.

Guided Tour

Selecting and Playing Individual Voices

Selecting Voices From a MIDI Keyboard

You can also select Voices remotely from a connected MIDI keyboard. Though the actual operation may differ depending on the keyboar d used, the general procedure is the same. These instructions also apply to use with a computer. (Refer to the owner’ s manual of y our specific instrument or software for detailed instructions.)

Operation

1 Make the necessary settings on the keyboard.

Make sure that the keyboard is set to transmit over the desired MIDI channel (the same as that of the selected Part), and that it is set up to send Program Change messages.

2 Select a program number on the keyboard.

The Voice number and name on the MU100 will change, and will be the same number as the program number you selected on your keyboard.

Details

• Depending on what keyboard you are using to control the MU100, you may need to be careful in selecting program numbers. The MU100’s program numbers start at “001,” but some keyboards have different numbering systems. For example, some start at “0” — which means that selecting “25” on the keyboard will select Voice 026 on the MU100.

• Part 10 is reserved for playing drum “kits.” This is the default factory setting for all of the Multi modes (XG, TG300B, and C/M). For more information on drum Parts, see page 55.

Guided Tour

Editing in the Multi Mode

This section takes you step-by-step through an example editing session in the Multi mode. The operations and techniques you learn here enable you to perform any editing operation in the Multi mode.

There are two separate sections of the Multi mode that are devoted to

editing: the Single/All Part controls, and the Edit menus.

In this section, you’ll learn how to:

change its Volume and Pan settings.

Generator) settings of a Part.

Hints

• Editing Parts, not Voices

It is important to remember that in editing you are not changing the Voice itself, but rather the Part the Voice is assigned to. This means that when you change the Voice of the Part, the edited settings apply to the new voice, whether they’re appropriate or not.

• Saving your edits

Keep in mind that any edits you make in the Multi mode are automatically saved as the power-on defaults. In other words, the next time you turn on the power, the previous condition of all Parts is automatically recalled. If you want to save one “set” of edits (for example, for use with a specific song) before creating another set, you must first save the current setup to a sequencer or MIDI data filer. (For details, see page 148.)

Guided Tour

Single Part Controls

You can make changes to each individual Part by using the Single Part controls. These are displayed in the Multi Play mode, and give you at-a-glance confirmation and control of the important basic settings of the selected Part. If the Multi mode was active when you last turned the power off, the next time you turn the power on, the Single Part controls are automatically called up.

Let’s take a look at the Play display again:

Editing in the Multi Mode

Voice name, bank number and program number.

PART MIDI

Part number. (Change this with the [PART -/+] buttons.)

BANK/PGM# VOL EXP PAN REV CHO VAR KEY

Chorus Send.

Reverb Send.

Pan (stereo position).

MIDI receive channel.

Expression.

Volume.

Note Shift (key transpose).

Variation Send.

Each of these settings are made independently for each Part. For example, each Part could have a diff erent Volume setting, or a different Pan setting. Try going through the brief sections belo w and making some changes in the Part controls yourself.

Guided Tour

Editing in the Multi Mode

Changing the Volume and Pan settings of a Part

Here, we’ll change the Volume and Pan settings of one Part’s Voice.

Operation

1 Select the desired Part.

Use the [PART -/+] buttons to select Part 1.

2 Select the desired control.

Use the [SELECT </>] buttons to select the Volume control.

Current Volume setting.

3 Change the setting.

Use the [VALUE -/+] buttons or data dial, and play the key- board as you edit so you can hear the change in the sound.

Now, let’s change the Pan setting for the Part:

4 Select the desired control.

Use the [SELECT </>] buttons to select the Pan control.

Current Pan setting.

5 Change the setting.

Use the [VALUE -/+] buttons or data dial to change the set- ting, and play the keyboard again as you make changes.

6 Return to “home base.”

Pressing the [EXIT] button from any of the Single Part Controls automatically returns to the Voice name/program number display. This is a convenient way to instantly return to “home base” from a “distant” control.

Guided Tour

Editing in the Multi Mode

On Your Own...

If you want to, try making changes to some of the other Part controls. The procedure is the same:

1) Select a Part with the [PART -/+] buttons.

2) Select a control for editing with the [SELECT </>] buttons.

3) Change the setting with the [VALUE -/+] buttons or data dial.

4) Use the [EXIT] button as needed to return to “home base” — Voice

name and number.

Hint

• You can easily edit the same control for different Parts. To do this, simply remain at the selected control and use the [PART 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

2) Select the Receive Channel (“Rcv CH”) control (by using the [SELECT buttons).

3) Set the Receive Channel value (by using the [VALUE

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.

-/+

] buttons to change the Part to be

-/+

] buttons).

-/+

] buttons or data dial).

</>

]

For example, if you’ve 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 Indi- vidual 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.)

Guided Tour

Editing in the Multi Mode

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 in- structions, 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.)

4 Call up the Filter parameters.

Press the [ENTER] button.

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5 Select the “LPF Cutoff” parameter.

Use the [SELECT </>] buttons.

Editing in the Multi Mode

Selected Part flashes.

Indicates no other parameters are available (to the left).

The bars graphically indicate parameter values for each Part.

Indicates additional parameters are available (to the right).

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 100.)

Now, let’s 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.

Guided Tour

Editing in the Multi Mode

a Adjust the value while listening to the sound.

Try setting this to around “+30” and play the keyboard. Notice how the attack of the sound has become slower.

b Select and adjust the “Release Time” parameter.

Use the [SELECT </>] buttons, then set this to around “+50.”

Play some notes on the keyboard and release them. Notice how the sound sustains after you release each key.

Details

• The effect of the EG parameters differs depending on the selected Voice. (For more information on the EG parameters, see page 102.)

On Your Own...

While you’re at it, try making changes to some of the other Edit parameters. The procedure is the same:

1) Select the desired Part with the [PART -/+] buttons.

2) Call up the Edit menus by pressing the [EDIT] button.

3) Select the desired menu with the [SELECT </>] buttons, and press [ENTER].

4) Select the desired parameter with the [SELECT </>] buttons, and change the value with the [VALUE -/+] buttons or data dial.

5) Use the [EXIT] button as needed to return to the Edit menu.

Hint

You can select different Parts (by using the editing session, no matter which Edit menu or parameter is selected. This lets you quickly shuttle among the various parts and effectively edit the desired parameters. The selected Part is always indicated at the bottom left of the display.

For more information on the specific Edit parameters, see page 100.

[PART -/+]

buttons) at any point in the

Guided Tour

Editing in the Multi Mode

Editing Drum Voices — with the Drum Setup Controls

The Drum Setup Controls provide a comprehensive set of tools f or controlling and changing the drum Voices. These parameters can be set individually for each sound in a Drum Part. Up to four of your original editing setups can be permanently stored.

Unless you’ve set them otherwise, Parts 10 and 26 are automatically set to play a Drum Part and the MIDI channel for both is set to 10. (General MIDI song data is standardized for playing drum/percussion sounds over channel 10.)

For the sake of these instructions, we’ll simply select Part 10 and edit the existing Drum Part. However, you can set up additional Drum Parts on any of the Part numbers; refer to the box section below.

Remember that once a Part is assigned a Drum Part and different drum Voices can be selected. (Refer to the “Sound List & MIDI Data” booklet.)

Assigning a Drum Part

This operation allows you to assign a Drum Part to any of the Part numbers — letting you use two or more different drum Voices within the same song.

1. Select the desired Part. Use the [PART -/+] buttons.

2. Call up the Edit menu. Press the [EDIT] button.

3. Select and call up the OTHERS menu. Use the [SELECT </>] buttons, then press [ENTER].

4. Select the Part Mode parameter. Use the [SELECT </>] buttons.

5. Set the parameter to “drumS1.” Use the [VALUE -/+] buttons or data dial. As long as you select one of the “drum sets” (drumS1 – drumS4), any edits you make will automatically be saved to the selected set.

Details

• The “normal” setting is for normal Voices; the “drum” setting selects the Drum Part, but cannot be edited. (For more information on the Part Mode, see page 108.)

6. Press the [EXIT] button. Press it once to return to the Edit menus, twice to return to the Play display.

Guided Tour

Editing in the Multi Mode

Making Changes to Individual Drum Sounds — the “Drum” Parameters

The Drum parameters provide e xtraordinary flexibility , since they allow you to make independent settings for the individual drum/percussion sounds in a Drum Part. We’ll explore a couple of the possiblilities here:

Operation

1 Select “DRUM” from the Edit menus (with the [SELECT </>]

buttons) and press [ENTER].

2 Select “E3: Conga L.”

Play E3 on the connected MIDI keyboard, or use the [PART -/

+] buttons to select “E3.”

Details

• In the Drum parameters you cannot use the Part; they are reserved for selecting notes/sounds only.

[PART -/+]

buttons to select a

3 Select the Pitch Coarse parameter, and set it to “-22.”

Use the [SELECT </>] buttons to select the parameter, then the [VALUE -/+] buttons or data dial. This setting creates a deep log drum sound.

4 Select the Velocity Pitch Sensitivity parameter (VelPchSens), and

set it to “+12.” Again use the [SELECT </>] buttons, then the [VALUE -/+] buttons or data dial. Play the key softly to strongly and notice how the pitch changes according to key velocity.

Guided Tour

Editing in the Multi Mode

5 Select “F#3: Timbale L.”

Play F#3 on the connected keyboard, or use the [PART -/+] buttons to select “F#3.”

6 Select the LPF Cutoff parameter, and set it to –40.

7 Select the LPF Resonance (LPF Reso) parameter, and set it to

+63.

8 Select the Velocity LPF Sensitivity parameter (VelLPFSens), and

set it to +16. Play the key softly to strongly and notice how key velocity changes the timbre of the sound for a “wah-wah” effect.

More Drum Editing

Try some of the other parameters in the edit menus (FILTER, EG, VIBRATO, OTHERS) on your own and hear how they affect the drum sounds. Keep in mind that these are applied to the entire Part, and cannot be set individually for each sound.

As a springboard for further exploration, try editing the following parameters in the OTHERS menu:

1. With a drum Part selected, call up the OTHERS parameters. Press [EDIT], select “OTHERS,” then press [ENTER].

2. Select “PitBndCtrl” and set the value to +24. Play with the pitch bend wheel on the connected keyboard while playing different keys.

3. Select “MW LFOPMod” and set the value to 090. Play with the modulation wheel on the connected keyboard while playing different keys.

Select and change other parameters in the same way.

NOTE

Some of the parameters (such as Release Time in the EG menu) may not have any affect on the drum sounds at all. Also, the effect of a parameter may differ depending on the specific drum sound. (For more information on editing Drum Parts, see page 114.)

Guided Tour

Editing in the Multi Mode

On Your Own...

While you’re at it , try making changes to some of the other Drum parameters. The procedure is the same:

1) Select a Drum Part with the [PART -/+] buttons.

2) Call up the Edit menus by pressing the [EDIT] button.

3) Select the “DRUM” menu with the [SELECT </>] buttons, and press [ENTER].

4) Select the desired drum sound, either by playing the corresponding key of the MIDI keyboard or by using the [PART -/+] buttons.

5) Select the desired parameter with the [SELECT </>] buttons, and change the value with the [VALUE -/+] buttons or data dial.

6) Use the [EXIT] button as needed to return to the Edit menu.

Hint

Use of a connected MIDI keyboard is an exceptionally fast and convenient way to edit Drum Parts. It not only lets you quickly shuttle among the various sounds while editing, it also lets you hear the sound being edited and see the sound name.

For more information on the specific Drum parameters, see page 114.

Guided Tour

Editing in the Performance Mode

The Performance mode is an exceptionally powerful and flexible mode that allows you to combine four diff erent Voices (including both A/D inputs) and play them from a single MIDI channel.

The potential applications of the Performance mode are enormous, and we’ll 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.

In this section, you’ll learn how to:

Performance.

sections of the keyboard.

wheel on your keyboard.

Guided Tour

Editing in the Performance Mode

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.

Let’s take a look at the All Part Performance Play display:

Performance name, bank (Preset or Internal), and program number.

PART MIDI

Indicates All Part control.

BANK/PGM# VOL EXP PAN REV CHO VAR KEY

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).

For more information on the All Part contr ols, see pa ge 120.

System Transpose (key transpose setting for entire Performance).

Guided Tour

Editing in the Performance Mode

Transposing the Overall Key of a Performance

In this example, you’ll 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.)

Current System transpose setting (in semitones).

3 Change the System Transpose setting as desired.

Use the [VALUE -/+] buttons or data dial. (The “+00” setting

is normal; ±“12” is up/down one octave.)

Play the connected keyboard and try other transpose settings as you play.

Guided Tour

Editing in the Performance Mode

Single Part Controls — Selecting Different

Voices for the Performance

In this next section, you’ll use the Single Part controls to change the Voice settings of the Performance.

Operation

1 Call up the Single Part controls.

From the All Part controls, simultaneously press both [PART -/ +] buttons.

Performance bank and number.

Voice name, bank (Preset or Internal), and program number.

PART MIDI

Selected Part number. (Change this with the [PART -/+] buttons.)

BANK/PGM# VOL EXP PAN REV CHO VAR KEY

Note Shift (key transpose setting for selected Part).

Variation Send.

Chorus Send.

Reverb Send.

Part Pan (stereo position of selected Part).

Expression (not available; always set to maximum).

Part Volume.

(Not available in Single Part.)

For more information on the Single Part controls, see page 121.

2 Select the desired Part.

Use the [PART -/+] buttons.

Keep in mind that you should select only from the active Parts — the ones with a dark bar in the display. Other Parts can be selected and changed; however, they will not sound in the Performance.

3 Select the desired bank and Voice.

Do this in the same way as you did in the Multi mode. (See steps 2 and 3 on page 44.)

Guided Tour

Editing in the Performance Mode

Details

• Drum Parts are not available in the Performance mode. However, percussive Voices (numbers 113 – 120) can be selected.

When editing a Performance:

• Decide how many Parts you want.

When creating a Performance, choose a preset that uses the same number of Parts (Voices) you intend to use. (You can easily tell how many Parts a Performance has by looking at the “level meters”; a dark bar appears above the Part numbers that are active.)

Two active Parts

• Start with a similar sound.

When editing, it’s a good idea to start with a sound that’s relatively similar to the one you intend to create. For example, if you want to create an soft, ethereal strings pad, you probably wouldn’t start with a brash preset such as “Dance Chord”! This is not a hard and fast rule, however, since each preset is only a basic “template” over which you can easily change Voices and create a completely different sound.

On Your Own...

If you want to, try making changes to some of the other Part controls. The procedure is the same:

1) Select a Part with the [PART -/+] buttons.

2) Select a control for editing with the [SELECT </>] buttons.

3) Change the setting with the [VALUE -/+] buttons.

4) Use the [EXIT] button as needed to return to “home base.” (When editing

in Single Part, pressing once returns to Voice name and number; pressing once again returns to All Part.)

For more information on the specific Part controls, see page 96.

Guided Tour

Editing in the Performance Mode

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 par ameters are dif ferent as well. (For a full list and description of Performance Edit parameters, see page 123.)

In the following instructions, you’ll use the Edit menu parameters to cre-

ate 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.)

Mute: Lets you hear what the other Parts of the Performance sound

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 you’re 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.

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Editing in the Performance Mode

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, in- crease 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” param-

eters. Press the [EXIT] button once, then select and call up the “VIBRATO” parameters.

Guided Tour

Editing in the Performance Mode

; 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.

Setting Up a Keyboard Split

In the following steps, you’ll assign two different Parts to separate sections of the keyboard.

Operation

1 Select Part 2 and select a new Voice for it: “NewAgePd” (089).

From the Single Part display, use [PART -/+] buttons to select Part 2. Then select Voice 089 in the normal way. (Keep Part 1’s Voice set to “HeavySyn,” 082, as set in step #4 of “Creating a Two-Voice Layer” above.)

2 Change the Note Limit High setting for Part 1.

The Note Limit parameters determines the range of notes over which the Part will sound. To set this:

1) In Edit menu select and call up the “PART” menu, then do the same with the “OTHERS” menu.

2) Select Part 1.

3) Select and change the “NoteLimitH” setting to “B2.” (Leave the “NoteLimitL” setting unchanged.)

3 Change the Note Limit Low setting for Part 2.

1) Select Part 2.

2) Select and change the “NoteLimitL” setting to “C3.” (Leave the “NoteLimitH” setting unchanged.)

Playing notes below middle C on the keyboard plays the synth bass sound, while notes above middle C play the “New Age” pad.

Hint

• You may want to raise the octave setting of Part 1. To do this, exit to Single Part, select Part 1, then use the For a higher “HeavySyn” Voice, set this to “+00.”)

[SELECT >]

Guided Tour

buttons to select the Note Shift control.

Editing in the Performance Mode

If you wish to save this newly created Performance, refer to “Saving Your Original Performance” on page 68.

On Your Own...

While you’re at it, try making changes to some of the other Edit (part) parameters. The procedure is the same:

1) Call up the Edit menus by pressing the [EDIT] button.

2) Select “P ART” with the [SELECT </>] buttons, then press [ENTER].

3) Select the desired menu with the [SELECT </>] buttons, and press

[ENTER].

4) Select the desired Part with the [PART -/+] buttons.

5) Select the desired parameter with the [SELECT </>] buttons, and

change the value with the [VALUE -/+] buttons or data dial.

6) Use the [EXIT] button as needed to return to the Edit menu.

Using the Assignable Controller in a Performance

In this section, you’ll set up a Performance in which the modulation wheel on your connected keyboard can be used to “play” dynamic filter sweeps. This is done with the Assignable Controller functions. Here, we’ll simply show you what steps to follo w; for more detailed information on the Assignable Controller and using it in the Multi mode, refer to page 69.

Operation

1 Select the “Dark Pad” Performance (Preset #025).

2 Select and call up “COM” (Common) from the first Edit menu.

3 From the Common menu, select the “AC1 CC No.” parameter

and set it to “01.” Use the [SELECT </>] buttons, then use the [VALUE -/+] buttons or data dial.

4 Select the “AC1FilCtrl” parameter and set it to “+63.”

5 Select Part 1 and change some of its Filter settings.

The Filter settings determine how the Part responds to the “AC1FilCtrl” setting above. To set these:

1) In the Edit menu select and call up the “PART” menu, then do the same with the “FILTER” menu.

Guided Tour

Editing in the Performance Mode

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 you’ve edited a Perf ormance, 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.

Guided Tour

Assignable Controller (AC1)

The Assignable Controller (AC1) is one of the more po werful features of the MU100 — it gives you extraordinarily flexible and expressive real-time control over the Voices.

In this section, you’ll:

affect the Voices.

* 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, we’ll work with “continuous” controllers — so named because they let you add musical, expressive ef fects tha t change smoothly over time (such as crescendos and decrescendos).

The illustration below shows some continuous controllers you’re likely

to see on a MIDI keyboard.

Data entry slider

Modulation wheel

NOTE

Your own MIDI instrument may not have all the controllers shown in the illustration.

MIDI Keyboard

Breath controller

Foot controller

Volume pedal

Guided Tour

Assignable Controller (AC1)

The actual, physical means of controlling (such as foot pedals, modulation wheels, etc. on a connected keyboard) are generally assigned to specific “virtual” control numbers. A few examples of these include the modulation wheel (at control number 1), foot controller (control number 4), and volume pedal (control number 7).*

MIDI OUT

CONTROLLER

CONTROL CHANGE

NRPN

NUMBER LIST

1MODULATION

11EXPRESSION

123VIBRATO RATE

131EQ LO FREQUENCY

91REVERB

2BREATH

64HOLD1(DAMPER)

124VIBRATO DEPTH

132EQ HI FREQUENCY

93CHORUS

5PORTA TIME

65PORTAMENTO

125VIBRATO DELAY

133EG ATTACK TIME

94VARIATION

6DATA ENTRY

71HARMONIC

126LP FILTER CUTOFF

134EG DECAY TIME

RPN

7VOLUME

72RELEASE TIME

127LP FILTER RESONANCE

TIME SIGNATURE

VOICE

POLY/

CHANNEL

TOUCH

DEVICE

SONG

TG300B

SOUND OFF

RESET

MAP

MONO

MEASURETOP BOTTOM

SELECT

CONTROL

SEQUENCER

PROGRAM

BANK

PROGRAM

SELECT

CHANGE

STOP

START TEMPOCONTINUE

MSB 1ST/

FOOT SW

DATA

MERGE

NUMBER

SENSITIVITY

RESET

ALL CH

SYSTEM

RESET

FIXED

MIDICHMERGE

SOUND

VELOCITY

ON/OFF

OFFXGONGMON

DATA

CONTROLLER

RPN NRPN

ASSIGN

DENSITY

LSB 1ST

DENSITYPBDENSITY

SLIDER ASSIGN

WHEEL ASSIGN

TRANSPOSE

DRUM

RPN NRPN

CONTROLLER

RPN NRPN

CONTROLLER

NUMBER

135EG RELEASE TIME

73ATTACK TIME

128HP FILTER CUTOFF

136DRUM LP FILTER CUTOFF

120PB SENSITIVITY

10PANPOT

74BRIGHTNESS

129EQ LO GAIN

137DRUM LP FILTER RESONANCE

121FINE TUNE

84PORTA CTRL

130EQ HI GAIN

138DRUM EG ATTACK RATE

122COARSE TUNE

12345678 9ABCDEF0

OTHERS

152CH PRESSURE

139DRUM EG DECAY RATE

147DRUM HP FILTER CUTOFF

153KEY PRESSURE

140DRUM PITCH COARSE

148DRUM EQ LO GAIN

154MASTER VOLUME

141DRUM PITCH FINE

149DRUM EQ HI GAIN

156MASTER TUNING

142DRUM LEVEL

150DRUM EQ LO FREQUENCY

157VELOCITY

143DRUM PAN

151DRUM EQ HI FREQUENCY

158TEMPO

144DRUM REVERB 145DRUM CHORUS 146DRUM VARIATION

ENTER

HEXA DECIMAL

DECIMAL

“Virtual” controller: control number 7 (MIDI Volume)

Physical controller (volume pedal)

MIDI Keyboard

* On some instruments, the control number for the physical controllers

is fixed; some instruments allow you to assign a different control number to the existing control. (Refer to the owner’s manual of your instrument for details. Also for more on control numbers, see the “Sound List & MIDI Data” booklet.)

Control Numbers and the Actual Sound

The control numbers described above are in turn assigned to some specific aspect of the sound on the connected tone generator (for example, to volume, pitch modulation, dry/wet balance of an effect, etc.). As you might expect, control number 7 (Volume) affects the volume of the connected tone generator .

MIDI OUT

CONTROLLER

CONTROL CHANGE

NRPN

NUMBER LIST

1MODULATION

91REVERB

131EQ LO FREQUENCY

123VIBRATO RATE

11EXPRESSION

2BREATH

93CHORUS

132EQ HI FREQUENCY

124VIBRATO DEPTH

64HOLD1(DAMPER)

5PORTA TIME

94VARIATION

133EG ATTACK TIME

125VIBRATO DELAY

65PORTAMENTO

6DATA ENTRY

134EG DECAY TIME

126LP FILTER CUTOFF

71HARMONIC

RPN

135EG RELEASE TIME

127LP FILTER RESONANCE

72RELEASE TIME

TIME SIGNATURE

VOICE

POLY/

CHANNEL

TOUCH SONG SELECT

STOP

DEVICE

TG300B

SOUND OFF

RESET

MAP

MONO

MEASURETOP BOTTOM

CONTROL

SEQUENCER

PROGRAM

BANK

PROGRAM

SELECT

CHANGE

START TEMPOCONTINUE

MSB 1ST/

FOOT SW

DATA

MERGE

NUMBER

SENSITIVITY

RESET

ALL CH

CONTROLLER

RPN NRPN

ASSIGN

DENSITY

LSB 1ST

SYSTEM

RESET

SOUND

ON/OFF

OFFXGONGMON

SLIDER ASSIGN

WHEEL ASSIGN

TRANSPOSE

FIXED

MIDICHMERGE

DRUM

VELOCITY

RPN NRPN

CONTROLLER

RPN NRPN

CONTROLLER

NUMBER

7VOLUME

DATA DENSITYPBDENSITY

DRUM

NUMBER

120PB SENSITIVITY

136DRUM LP FILTER CUTOFF

128HP FILTER CUTOFF

73ATTACK TIME

10PANPOT

121FINE TUNE

137DRUM LP FILTER RESONANCE

129EQ LO GAIN

74BRIGHTNESS

122COARSE TUNE

138DRUM EG ATTACK RATE

130EQ HI GAIN

84PORTA CTRL

12345678 9ABCDEF0

OTHERS

147DRUM HP FILTER CUTOFF

139DRUM EG DECAY RATE

152CH PRESSURE

148DRUM EQ LO GAIN

140DRUM PITCH COARSE

153KEY PRESSURE

149DRUM EQ HI GAIN

141DRUM PITCH FINE

154MASTER VOLUME

150DRUM EQ LO FREQUENCY

142DRUM LEVEL

156MASTER TUNING

151DRUM EQ HI FREQUENCY

143DRUM PAN

157VELOCITY

144DRUM REVERB

158TEMPO 145DRUM CHORUS 146DRUM VARIATION

ENTER

HEXA

DECIMAL

MIDI IN

MU100

MIDI Keyboard

In this example, the foot controller of a keyboard controls the volume on the MU100.

Guided Tour

Assignable Controller (AC1)

Assigning the Assignable Controller

The Assignable Controller on the MU100 lets you specify the control number to be used and determine which aspect or aspects of the sound will be affected. It also lets you set the degree to which the controller affects the sound.

Physical Controllers Controllers Parameters

Modulation wheel,

Foot controller,

Breath controller, etc.

Filter Control Amplitude (level) Control Variation Effect Control Insertion 1 Effect Control Insertion 2 Effect Control

(In Performance mode:) Filter Control Amplitude Control LFO Filter Modulation Depth

The best way to understand all this is to go through some actual examples, so go on to the next section and set up your system:

Guided Tour

Assignable Controller (AC1)

Using the Assignable Controller — Setting Up

Operation

1 Set up the MIDI keyboard or instrument.

Connect the foot controller to the appropriate jack, and make sure that the instrument is set to transmit over MIDI channel 1. (If your instrument doesn’t have a foot controller, use another controller as described in the next step.)

PHONES L/MONO

R DC IN POWER

FOOT

TO HOSTHOST SELECT IN OUT

THRU

SWITCH

MIDI

YZ'8&

VWX

PERFORMANCE STORE

MULTI

UTILITY

MNO4PQR5STU

HOLD SHIFT

ARPEGGIO

OCTAVE

PART/LAYER/

PRESET USER

PROGRAM

PRESETUSER ARPEGGIATOR

DEF1GHI2JKL

ABC0SPACE

QUICK PC

DEMO

PERFORMANCE MULTI

ENTER

STORE UTILITY

NO/

YES

ARPEGGIATOR PERFORM

TYPE

TEMPO

SUB

LEVEL

DIVIDE

P BEND

FMOD

CUTOFF

PMOD

RANGE

TUNE

NOTE

LIMIT

NOTE

DETUNE

LIMIT

HIGH

SFT

LOW

AEG

REL

DCY

ATK

DCY

TIME

LEVEL

FEG

REL

DCY

ATK

DCY

TIME

LEVEL

PAN

BANK

PROGRAM

VOLUME

SYSTEM MIDI ASSIGN

VEL

KBD

MASTER

VEL

FIX

TUNE

CURVE

TRANS

PERFORM

EFECT

NAME

REV

CHO

VARI

TYPE

PARAM

DATA

COMMON

ASSIGN1

FC PORTA

PARAM

FMOD

CUTOFF

VARI

SWITCH

TIME

VEL ASSIGN2

DATA

LIMIT

OFFSET

DEPTH

PARAM

LOW

HIGH

LFO

PHASE

FMOD

WAVE

SPEED

AMOD

PMOD

INIT

LAYER

PEG

REL

ATK

DCY

REL

INIT

ATK

LEVEL

TIME

LEVEL

TIME

POLY/

FILTER

EFFECT

MONO

REV

CHO

VARI

CUTOFF

REZ

SEND

UTILITY

CTRL

DEVICE

LOCAL

BULK

TRANS

RCV

DUMP

CS1X

PITCH MODULATION

VOLUME

CONTROLLER

OUTPUT

AMP EG

ATTACK

RELEASE ASSIGN 1/DATAVOLUME

MW/FC

FILTER

CUTOFF

RESONANCE ASSIGN 2

SCENE

2 Select the desired Part.

From the Multi Play mode, use the [PART -/+] buttons. For the sake of these instructions, select Part 1.

3 Call up and set the Assignable Controller number.

The control number of your instrument’s controller must match the Assignable Controller control number. In this example and all the following instructions in this section, we’ll use the foot controller. Since the foot controller is control number 4, the Assignable Controller must be set to “04.”

To do this:

1) Press the [EDIT] button.

2) Use the [SELECT </>] buttons to select “OTHERS,” then

press [ENTER].

3) Use the [SELECT </>] buttons to select “AC1 CC No.”

4) Set the value to “04” with the [VALUE -/+] buttons or data

dial.

If you don’t have a foot controller, you can use another controller, such as the modulation wheel (01) or volume pedal (07) — making sure that the Assignable Controller number matches.

Keep in mind that this setting applies only to the selected Part.

Other Parts can have separate control number settings.

Guided Tour

Assignable Controller (AC1)

Modulation Wheel

The modulation wheel is the most common controller, and can be found on nearly every MIDI keyboard. It is usually used to produce LFO effects (regular wavering of the sound, like vibrato and tremolo). Since it is so common, the MU100 features various parameters that are reserved strictly for modulation wheel control.

In the Multi mode, the modulation wheel can control Pitch LFO. The Performance mode features both Pitch LFO and Filter LFO. For more information on these parameters, see page 124.

Using the Assignable Controller —

Some Applications

Changing the Brightness on a Piano Voice

Though you can use the Equalizer (page 82) to adjust the brightness of a Part’ s Voice, y ou may find it con venient to be able to change the character of the sound “on the fly,” as you play. This uses the AC1 Filter Control parameter. Try this with the Grand Piano Voice (001:GrandP #).

Operation

1 Call up the Edit menu.

From the Multi Play mode, press the [EDIT] button.

2 Select and call up “OTHERS.”

Use the [SELECT </>] buttons, then press [ENTER].

3 Select “AC1FilCtrl” and set it to “+63.”

Use the [SELECT </>] buttons to select the Filter Control parameter, then set the value with the [VALUE -/+] buttons or data dial. Playing the Part at the minimum pedal position results in mellow “lounge” piano sound; maximum position results in a bright “rock’n’roll” piano.

Minimum position —

mellow sound.

Maximum position —

bright sound.

Guided Tour

Assignable Controller (AC1)

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 you’ve 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).

Guided Tour

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.)

Assignable Controller (AC1)

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.

Expressive Control of Individual Drum Sounds

In this example, the foot controller is used to produce expressive timbre changes and filter sweeps on selected drum sounds, using the Filter Control parameter .

Operation

1 Select a Drum Part.

Select Part 10 with the [PART -/+] buttons, and make sure that the connected keyboard is set to transmit over MIDI channel 10.

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.)

Guided Tour

Assignable Controller (AC1)

3 Set the AC1 Filter Control to “+63.”

Since you’ve called up the “OTHERS” parameters in the previous step, select “AC1FilCtrl” (with the [SELECT </>] buttons) and set it to “+63” (with the [VALUE -/+] buttons or data dial).

4 Select the “DRUM” parameters.

Call up the Edit menu, then select “DRUM” (with the [SELECT </>] buttons) and press [ENTER].

5 Select “A3: Cabasa.”

Play A3 on the connected keyboard, or use the [PART -/+] buttons to select “A3.”

6 Set some of the filter parameters for the Cabasa sound.

Select using [SELECT </>] button and set the two parameters below as indicated:

LPF Cutoff: –40 LPF Reso: +60

Now, play the sound and move the foot controller as you play. Notice how this gives you dynamic, expressive control over the timbre of the selected sound — without affecting the other sounds of the drum Voice.

Hints

• Since virtually all sequencers record controller data as well as note data, you can record these expressive sound changes into your song tracks — either while you record the notes themselves, or separately for a previously recorded track.

• The negative values of the AC1 parameters let you control the sound by moving the controller in the opposite direction. For example, moving the foot controller to the minimum position produces the greatest change in the sound. An application of this might be to create a pedal-controlled crossfade between two Parts.

To do this:

1) Set two Parts to the same MIDI channel. (See page 96.)

2) Set each Part to a different Voice.

3) Set the “AC1AmpCtrl” parameter for one Part to “–64,” and the same parameter for the other Part to “+64.”

• The Assignable Controller can also be used to control one parameter of a selected effect.

Guided Tour

Assignable Controller (AC1)

On Your Own...

While you’re at it, try making some of your own settings. The procedure is the same:

1) Select the desired Part and Voice.

2) Call up the Edit menus by pressing the [EDIT] button.

3) Select “OTHERS” with the [SELECT </>] buttons, then press [ENTER].

4) Set the Assignable Controller number for the Part.

5) Select the appropriate parameters with the [SELECT </>] buttons.

•If y ou are using the AC1 F ilter Control, make sure to appropriately set other filter settings (in “FIL TER” parameter s, page 100, and/or “DRUM” parameters, page 114).

• Select the AC1 parameters in the “OTHERS” parameters. (In the Performance mode, these are in the “COMMON” parameters; see page

125.)

• If you are using a Drum Part, select the desired drum sound, either by playing the corresponding key or by using the [PART -/+] buttons.

6) Change the value, with the [VALUE -/+] buttons or data dial.

7) Use the [EDIT] button as needed to return to the Edit menu.

Guided Tour

Effects

To complement the hug e variety of Voices and the 32-Part multi-timbral capacity, the MU100 features a built-in multi-effect processor with seven independent digital effects: Reverb, Chorus, Var iation, Insertion 1 and 2, and EQ. (In this section, we’ll examine the first five; EQ is covered on page

82.) These high-quality effects provide an enormous amount of sound pro-

cessing power and flexibility. Combine these with the Part controls in the Multi mode, and you have a “virtual” 34-channel mixer at your disposal, with per-c hannel EQ, master EQ, and six effect sends — complete with six independent effect units!

The following instructions assume that the XG mode is selected (page

42). Howe ver , using ef fects in the Performance mode and the other modes is

done in virtually the same way.

In this section, you’ll learn how to:

Using Reverb and Chorus

Judicious use of Reverb creates a sense of space and enhances the realism of the Voices. The selected Reverb Type is applied to all Parts; however, the amount of Reverb for each Part can be adjusted. This lets you add special textures to the mix of a song, such as “drenching” one Part in Reverb while another Part is kept “dry.”

The Chorus effect section features a variety of pitch modulation effects. These let you subtly enhance or “fatten” the sound, or completely transform the sound in wild and unique ways. As with Reverb, only one Chorus T ype can be used for all Parts; however, the amount of Chorus for each Part can be adjusted.

Guided Tour

Operation

1 First, set the Send and Return controls to appropriate levels.

Before you actually change the Reverb or Chorus settings, you should set the Send and Return controls, in order to properly hear the effect and the changes you make.

To do this:

1) Select the desired Part from the Multi Play mode Single

Part display. (Use the [PART -/+] buttons.)

2) Select “RevSend” (Reverb Send) or “ChoSend” (Chorus

Send) with the [SELECT </>] buttons, and set it to “40” or higher.

3) Select the All Part display (by pressing both [PART -/+]

buttons).

4) Select “RevRtn” (Reverb Return) or “ChoRth” (Chorus Re-

turn) with the [SELECT </>] buttons, and set it to “60” or higher.

2 Call up the Effect Edit mode.

Press the [EFFECT] button.

Effects

3 Select and call up the desired effet section.

Select “REV” (Reverb) or “CHO” (Chorus) with the [SELECT </ >] buttons.

4 Select and change the Type parameter.

Use the [SELECT <] button to select “Type,” then change the setting with the [VALUE -/+] buttons or data dial.

5 Edit other parameters as desired.

Once you’ve selected a Reverb or Chorus Type, you can adjust the other parameters. For Reverb, try changing the Reverb Time and HPF Cutoff and listen to how the changes affect the Reverb sound. For Chorus, the parameters differ depending on the selected Chorus Type. Use the [SELECT </>] buttons to select the parameter, then adjust the value with the [VALUE -/+] buttons or data dial.

For a list of Reverb Types and other information on Reverb, see page

134. For a list of the available parameters for each Reverb Type, refer to the “Sound List & MIDI Data” booklet.

For a list of Chorus Types and other information on Chorus, see page 135. For a list of the available parameters for each Chorus Type, refer to the “Sound List & MIDI Data” booklet.

Guided Tour

Effects

Applying Distortion to a Part —

Using the Variation Effects

The V ar iation 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 allo ws you to use two Types of Reverb or Chorus on differ ent Voices. For example, you may want to hav e 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 -/+] but- tons 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).

Guided Tour

Effects

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 136. 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 137.) 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 “Using Chorus” above.)

For more information, refer to “About the Effect Connections — System and Insertion” on page 139.

Insertion 1 and 2 Effect Sections

The Insertion 1 and 2 sections provide additional signal processing power. Each of the Insertion sections can be applied to a single selected Part, and each features 43 effect Types.

For a list of Insertion Types and other information on Insertion, see page 138. For a list of the available parameters for each Insertion Type, refer to the “Sound List & MIDI Data” booklet.

Guided Tour

Equalizer (EQ)

The MU100 features an extensive set of equalization controls that give you comprehensive control over the tone quality — both of individual Parts and over the entire instrument sound.

In this section, you’ll learn how to:

Adjusting the Tone of a Specific Part — Part EQ

The Part EQ parameters give you two-band (low and high frequencies) control over the sound of individual Parts. These can be used in both the Multi mode and the Performance mode.

NOTE

When a Drum Part is selected, the EQ menu is not available. However, the same EQ parameters can be adjusted for each individual drum sound in the “DRUM” menu. (See page 117.)

Operation

1 Select the desired Part.

From the Multi mode Single Part display, use the [PART -/+] buttons to select the desired Part (excepting Drum Parts).

2 Call up the EQ parameters.

Press the [EDIT] button, then select “EQ” (with the [SELECT </ >] buttons) and press the [ENTER] button.

3 Select the general frequency range — low or high.

In this example, we’ll boost the bass of the Part, so select “Low Freq” (Low Frequency) with the [SELECT </>] buttons.

Guided Tour

Equalizer (EQ)

4 Set the specific frequency to be adjusted.

For this example, set the Low Frequency value to “315” (Hz).

5 Select the Low Gain parameter and adjust the value.

For this example, set the Low Gain value to “+35.” Play the

Voice (especially in the lower octaves) and hear how the sound

has changed.

NOTE

Depending on the Voice selected for the Part (and depending in which octave you play the Voice), you may or may not hear very much change in the sound at certain frequencies.

If you want, try adjusting the High Frequency/Gain parameters as well.

EQ in the Performance Mode

The EQ settings of individual Parts in the Performance mode can be adjusted in the same way:

1) Select a Part (in the Single Part controls).

2) Press the [EDIT] button.

3) Select “PART”, then press the [ENTER] button.

4) Select “EQ”, then press the [ENTER] button, and edit the parameters as

shown in steps #3 – #5 above.

Guided Tour

Equalizer (EQ)

Adjusting the Overall Tone — Multi EQ

The multi EQ section gives you five-band control (at specific frequencies) over the entire sound of the MU100. Special presets are also available for instantly changing the tone to suit different types of music.

Operation

1 Call up the “EQ TYPE” parameter and select the desired EQ pre-

set. First press the [EQ] button, then use the [SELECT </>] buttons to select the parameter. Then use the [VALUE -/+] buttons or data dial to select the desired preset.

2 If desired, change the values of the five different bands.

Use the [SELECT </>] buttons to select the parameter, then change the value with the [VALUE -/+] buttons or data dial.

1) The graphic EQ display shows the EQ curve.

2) The EQ icon’s sliders indicate current settings and move as the value is adjusted.

The changes you make to a selected EQ preset are maintained even when the power is turned off. However, selecting another preset automatically cancels your original settings.

For more information on the Equalizer effects, see page 142. Also, refer to the Multi Mode Equalizer Lock parameter (page 144).

Guided Tour

Mute/Solo

The MU100 has convenient Mute and Solo functions for selectively muting or soloing any of the 32 normal Parts and the A1 and A2 A/D Parts. This is especially useful when playing back several Parts from a connected computer or sequencer. Mute lets you silence one Part to hear how all of the other Parts sound without it. Solo lets you isolate a single Part, to hear how that Part sounds by itself.

In the Performance mode, Mute and Solo are especially effective tools that help you as you edit the Parts, since they allow you to better hear how the changes you make affect specific Voices as well as the overall sound of the Performance.

Using Mute/Solo

Mute/Solo

Operation

1 Select the desired Part.

Make sure the Single Part mode is active (see page 96), then use the [PART -/+] buttons to select the Part.

Selected Part number.

2 Press the [MUTE/SOLO] button.

While playing the keyboard (or during playback of a song from a sequencer), press the [MUTE] button. Each press cycles through the three functions: Mute, Solo and Normal operation.

The selected Part is muted, while all other Parts sound normally.

Guided Tour

Mute/Solo

The selected Part is soloed, while all other Parts are muted.

All Parts sound normally.

Guided Tour

A/D Input

The MU100 features a special A/D (Analog-to-Digital) input function that allows you to connect a stereo external signal (microphone, electric guitar, CD player, etc.), with the MU100’s Voices. You can use it to sing or play guitar over backing tracks played from a MIDI sequencer.

In this section, you’ll learn how to:

Using the A/D Input

Operation

1 Turn down the A/D INPUT VOLUME control on the front panel.

A/D Input

CAUTION!

Before connecting an external input, always turn the VOLUME control down.

2 Connect the microphone or instrument to the A/D INPUT jack.

(Depending on the equipment being used, appropriate conversion adaptors may be necessary; the A/D INPUT jack supports a 1/4” plug.)

Guided Tour

A/D Input

3 Select the corresponding Part.

Use the [PART -/+] buttons. Since you connected to the A/D INPUT 1 jack above, select Part A1 in this step.

4 Select the appropriate bank of presets.

Do this in the normal way, using the [SELECT </>] buttons to highlight the bank number parameter, then using the [VALUE - /+] buttons to change the bank.

The selected bank determines the type of input and sets the appropriate gain level. Each bank/type is indicated by an icon in the LCD:

Bank 000

For input of a microphone (or other mic level instruments).

Guided Tour

Bank 001

Bank 002

A/D Input

For input of an electric or electric/acoustic guitar (or other line level instruments).

Bank 003

Bank 018

For input of a keyboard (or other line level instruments, such as tone generators, rhythm machines, etc.).

For input of audio equipment (such as CD players, cassette decks, etc.).

For input of a stereo keyboard (or other stereo signals from line level instruments, such as tone generators, rhythm machines, etc.).

Guided Tour

A/D Input

Bank 019

For input of stereo audio equipment (such as CD players, cassette decks, etc.).

CAUTION!

Do not use line level signals (such as from keyboards, etc.) with the mic level banks. The signal may be too high, resulting in damage to the MU100.

5 Select the desired preset.

Do this in the normal way (as you selected Voices), using the [SELECT </>] buttons to highlight the program number param- eter, then using the [VALUE -/+] buttons to select the preset.

The available presets have been specially programmed to suit the type of input selected. For example, presets for Mic input include Karaoke and Vocal; Guitar input presets include Tube, Stack and Phaser. Explore some of these settings on your own with a microphone and different instruments. (For a list of all available A/D input presets, refer to the “Sound List & MIDI Data” booklet.)

6 Turn up the level.

If the connected source has a volume control, first set it to an appropriate level, then slowly bring up the A/D INPUT VOLUME control on the MU100 while playing the instrument (or singing into the microphone), until the level is appropriate.

Guided Tour

Data Flow Block Diagram

When HOST SELECT switch is set to MIDI (31,250 bps):

TO HOST IN-B IN-A OUT THRU

Data Flow Block Diagram

Sound

Module

A1~16CH

Sound

Module

B1~16CH

When HOST SELECT switch is set to PC-1/MAC (31,250 bps) or PC-2 (38,400 bps):

TO HOST IN-B IN-A OUT THRU

Sound

Module

A1~16CH

Sound

Module

B1~16CH

Guided Tour

MIDI/Computer Connecting Cables

MIDI

Standard MIDI cable. Maximum length 15 meters.

DIN 5-PIN DIN 5-PIN

4 2 5

4 2 (GND) 5

Mac

Apple Macintosh Peripheral cable (M0197). Maximum length 2 meters.

MINI DIN 8-PIN

1 2 3 4 4 (GND) 5 3 (TxD –) 6 8 (RxD +) 7 7 (GP i) 8 6 (TxD +)

2 (HSK i) 1 (HSK o) 5 (RxD –)

MINI DIN 8-PIN

PC-1

8-pin MINI DIN to D-SUB 25-pin cable. If your PC-1 type computer has a 9-pin serial port, use the PC-2 type cable. Maximum length 1.8 meters.

MINI DIN 8-PIN

1 2 3 4 7 (GND) 8 5 2 (TxD)

5 (CTS) 4 (RTS) 3 (RxD)

D-SUB 25-PIN

PC-2

8-pin MINI DIN to D-SUB 9-pin cable. Maximum length 1.8 meters.

MINI DIN 8-PIN

1 2 3 4 5 (GND) 8 5 3 (TxD)

This concludes your basic tour of the important functions of the MU100. To find out more about how to best use your MU100, look through the Reference section that follows and try out some of the functions and operations that interest you.

Guided Tour

8 (CTS) 7 (RTS) 2 (RxD)

D-SUB 9-PIN

The Reference section of this manual covers in detail all of the functions of the MU100. Refer to it when you need information about a specific function, feature or operation.

EFERENCE

Multi Mode

In the Multi mode, the MU100 performs as a multi-timbral tone generator capable of playing up to 32 Parts simultaneously, over 32 MIDI channels. Normally, the MU100 should be set to Multi mode when using it with a sequencer and General MIDI song data. There are three Multi modes: XG, TG300B and C/M. (For information on selecting these, see pages 22 and

156.)

Part Controls ................................................................................ 95

Single Part Control................................................................ 96

All Part Control..................................................................... 98

Multi Edit Mode .......................................................................... 100

Filter ................................................................................... 100

Envelope Generator (EG) .................................................... 102

Equalizer (EQ)..................................................................... 105

Part Controls

Vibrato ............................................................................... 106

Others ................................................................................ 107

Drum Setup Controls ...........................................................114

Part Controls

The Part controls in the Play mode give you tools for adjusting the basic sound and settings for each Part. The MU100 lets you adjust the various settings for each Part individually (Single Part control) or together (All Part control). Each of these types is explained in greater detail below.

NOTE

In the Multi mode, no settings can be permanently saved to the internal memory of the MU100. However, you can use the Dump Out function to save Multi settings to a MIDI data storage device. (See page 34.)

Multi Mode

Part Controls

Single Part Control

The Single Part controls include: MIDI Receive Channel, Bank Number, Program Number, Volume, Expression, Pan, Reverb Send, Chorus Send, Variation Send and Note Shift. For basic information on using the Single Part control, see page 49.

MIDI Receive Port/Channel

Settings: A1 — A16, B1 — B16, OFF

This determines the MIDI IN port (A or B) and the receive channel (1 — 16) for the selected Part.

Bank Number

Settings: A1 (A/D Input part):

000 — 003, 018, 019

A2 (A/D Input part):

000 — 003

Normal part:

XG: 000, 001, 003, 006, 008, 012,

014, 016 — 022, 024 — 029, 032 — 043, 045, 048, 052 — 054, 064 — 088, 096 — 101, 126, 127 [icon-MU100] 000, 008, 016, 024, 048, 056, 064, 072, 080, 088, 096, 104, 120 [icon-SFX] SFX

TG300B: 000, 001 — 011, 016 — 019,

024 — 026, 032, 033, 040, 126, 127

C/M: Fixed (only one bank)

Drum part:

XG: 126, 127 TG300B: 000 C/M: Fixed (only one bank)

This determines the bank number of the selected Part’ s Voice. (Refer to the SOUND LIST & MIDI D ATA booklet.)

For more information on selecting banks, see page 44 and Display Bank Select parameter, page 147.

Program (Voice) Number

Settings: A1 (A/D Input part): 001 — 013 A2 (A/D Input part): 001 — 005 Normal part: 001 — 128

This determines the Voice for the selected Part. (Refer to the SOUND LIST & MIDI DATA booklet.)

Volume

Range: 000 — 127

This determines the Volume setting for the selected Part’s Voice.

Multi Mode

Part Controls

Expression (Expresn)

Range: 000 — 127

This determines the Expression setting for the selected Part’s Voice.

Pan

Settings: Rnd (Random),

L63 — C — R63

This determines the stereo position of the selected Part’s Voice. A setting of “Rnd” (Random) randomly assigns the Voice to a pan position. This is useful when you want to have diff erent Voices sound from different random parts of the stereo image. (The Random setting does not affect the A/D input Parts.)

Reverb Send (RevSend)

Range: 000 — 127

Chorus Send (ChoSend)

Range: 000 — 127

This determines the level of the selected Part’s Voice that is sent to the Chor us effect. A v alue of 000 results in a completely “dry” Voice sound (no Chorus effect).

NOTE

Keep in mind that the Chorus effect must be properly enabled and set for this parameter to work as intended. (See page 135.)

Variation Send (VarSend)

Settings: off, on (when Variation Con-

nection is set to INS); 000 — 127 (when Variation Connection is set to SYS)

This determines whether the selected Part’s Voice is sent to the Variation effect or not. A setting of “off” or “000” results in no Variation effect being applied to the Voice.

This determines the level of the selected Part’s Voice that is sent to the Reverb effect. A v alue of 000 results in a completely “dry” Voice sound.

NOTE

Keep in mind that the Reverb effect must be properly enabled and set for this parameter to work as intended. (See page 134.)

Multi Mode

Note Shift (NoteSft)

Range: –24 — +24 semitones

This determines the key transposition setting for the Part’s Voice.

Part Controls

All Part Control

The All Part controls include: Device Number, Master Volume , Master Attenuator, Reverb Return, Chorus Return, Variation Return and Transpose. Keep in mind that these controls aff ect all Par ts equally , and either add to or subtract from their individual values. For example, if Note Shift on one Part is set to –12, and T ranspose (in All Part) is set to +12, that Part’s pitch value will actually be 0 or normal. For basic information on using the All Part controls, see page 51.

Device Number (DevNo.)

Settings: 1 — 16, all

This determines the Device Number for the MU100, a kind of MIDI “identification” number to distinguish between multiple units. For example, if you are using more than one MU100, set a different Device Number for each. This setting only applies to the data dump features. (See page 161.) If you have only one MU100, set this to “all.”

Master Volume (M.Volum)

Range: 000 — 127

Master Attenuator (M.Attn)

Range: 000 (maximum volume) —

127 (minimum volume)

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.

Reverb Return (RevRtn)

Range: 000 — 127

This determines the overall V olume of the Parts.

This determines the amount of Reverb return in the overall mix.

Chorus Return (ChoRtn)

Range: 000 — 127

This determines the amount of Chorus return in the overall mix.

Multi Mode

Variation Return (VarRtn)

Range: 000 — 127

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 137.)

Transpose (Trans)

Range: –24 — +24 semitones

Part Controls

This determines the overall Transpose setting of the Parts.

Multi Mode

Multi Edit Mode

The Multi Edit mode features various parameters for controlling the Filter, the EG (En velope 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 52.

Filter

Path: [EDIT] button → “FILTER”

Filter ——————————————————————————

The MU100 features a digital filter that can be used to change the timbre of the Voices. The filter is affected (together with the level) by the EG (Envelope Generator), which allows you to change the timbre over time as well. (See EG, page 102.)

●

LPF Cutoff Frequency

●

LPF Resonance

●

HPF Cutoff Frequency

100

Multi Mode

Multi Edit Mode

LPF Cutoff Frequency (LPF Cutoff)

Range: –64 — +63

This determines the cutoff frequency of the low pass filter (LPF). T he LPF filters out frequencies higher than the cutoff point and “passes” the lower frequencies. Lower cutoff values crea te a deeper, more rounded tone, while higher values create a brighter tone.

Level

These frequencies are “passed” or let through.

These frequencies are “cut” or filtered out.

Frequency

LPF Cutoff Frequency setting

HPF Cutoff Frequency (HPF Cutoff)

Range: –64 — +63

This determines the cutoff frequency of the high pass filter (HPF). The HPF filters out frequencies lower than the cutoff point and “passes” the higher frequencies. Lower cutoff values preserve the fundamental and lower overtones of the sound, while higher values create a thinner , brighter tone .

Level

These frequencies are “cut” or filtered out.

These frequencies are “passed” or let through.

Frequency

HPF Cutoff Frequency setting

LPF Resonance (LPF Reso)

Range: –64 — +63

This determines the amount of filter resonance or emphasis of the LPF Cutoff Frequency above. Higher values make the filter effect more pronounced and stronger, creating a resonant peak around the cutoff frequency.

Level

Resonance

Frequency

LPF Cutoff Frequency setting

Multi Mode

101

Multi Edit Mode

Envelope Generator (EG)

Path: [EDIT] button → “EG”

EG (Envelope Generator) —————————————————

Level/Filter EG Parameters ............................... 103

●

EG Attack Time

●

EG Decay Time

●

EG Release Time

Pitch EG Parameters .......................................... 103

●

Pitch EG Initial Level

●

Pitch EG Attack Time

●

Pitch EG Release Level

●

Pitch EG Release Time

The EG parameters allow you to shape the sound of a Par t’ s V oice — or, in other words, set how the level and timbre of the Voice changes over time. This section also includes independent Pitch Envelope Generator (PEG) parameters for controlling how the pitch of a Part’ s V oice c hanges over time. The relationship of the main EG parameters — Attack, Decay and Release — are shown in the illustration below. These parameters not only affect the sound level, but also the timbre (with the Filter parameters; see page 100).

1) Short Attack, Decay, Release times:

Level

Attack

Decay Release

Max.

Min.

is releasedKey is pressed

Even though the key is held for the same length of time in both examples, the sound of the second example slowly reaches full volume and decays over a longer time. It also sustains longer after the key is released.

Keep in mind that the EG parameters affect each other, and are affected by how long a note is held. For example, if Decay is set to a low value and the note is held for a long time, you may not be able to hear changes made to the Release parameter.

102

2) Long Attack, Decay, Release times:

Level

Attack Decay Release

Max.

Time

Multi Mode

Min.

Time

is releasedKey is pressed

Multi Edit Mode

Level/Filter EG Parameters

EG Attack Time

Range: –64 — +63

This determines the Attack Time of the EG, or how long it takes for the sound to reach full volume when a note is played. For the Filter, this determines how long it takes for the sound to be affected by the maximum Filter values.

EG Decay Time

Range: –64 — +63

This determines the Decay Time of the EG, or how rapidly the sound dies out as a note is held. For the Filter, this determines how long it takes for the Filter effect to die out.

Pitch EG Parameters

The Pitch EG parameters determine how the pitch of a Part’s Voice changes over time. This lets you produce subtle or pronounced pitch changes as a note is played. In the example Pitch EG settings below, a played note is gradually bent up to its normal pitch, and kept there as the note is held. When the note is released, the pitch rapidly climbs up.

Pitch

High

Normal

Low

Key is released

NOTE

The Pitch EG parameters may have little or no effect, depending on the particular Voice used and the settings made to the main EG parameters.

Pitch EG Initial Level (PEGInitLvl)

Range: –64 — +63

Time

EG Release Time

Range: –64 — +63

This determines the Release Time of the EG, or how long the sound sustains after a note is released. For the Filter, this determines how long the Filter effect continues after a note is released.

Multi Mode

This determines the initial pitch of the Part’ s Voice, when the note is first played. A setting of 00 corresponds to normal pitch.

103

Yamaha MU100 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Welcome to the MU100

Unpacking

TABLE OF CONTENTS

How to Use This Manual

PRECAUTIONS

The Controls of the MU100

Front Panel

Rear Panel

What It Is...

About General MIDI

About XG format

What It Can Do...

Using With a MIDI Keyboard

Using with the XG Plug-in System

Using With a Computer or Sequencer

About the Modes of the MU100

Play Modes and the Part Controls

Part Edit Mode

Utility Mode

Modes and Function Tree

Setting Up Your MU100

Making the Connections

Powering Up

Playing the Demo Song

Setting Up the MU100 in Your Music System

Connecting to MIDI Devices

Connecting Directly to a Computer

Macintosh and Compatibles

IBM PC/AT and Compatibles

Selecting and Playing the Performances

Selecting and Playing Individual Voices

Calling Up the XG Mode

Selecting Voice Banks and Voices From the Panel

Selecting Voices From a MIDI Keyboard

Editing in the Multi Mode

Single Part Controls

Changing the Volume and Pan settings of a Part

On Your Own...

Edit Menu Parameters

Changing the Filter and EG Settings of a Part

On Your Own...

On Your Own...

Editing in the Performance Mode

All Part Controls

Transposing the Overall Key of a Performance

On Your Own...

Setting Up a Keyboard Split

On Your Own...

Using the Assignable Controller in a Performance

Saving Your Original Performance

Assignable Controller (AC1)

Controllers and Control Numbers

Control Numbers and the Actual Sound

Assigning the Assignable Controller

Changing the Brightness on a Piano Voice

Expressive Volume Control of a Part

Expressive Control of Individual Drum Sounds

On Your Own...

Effects

Using Reverb and Chorus

Equalizer (EQ)

Mute/Solo

Using Mute/Solo

A/D Input

Using the A/D Input

Data Flow Block Diagram

MIDI/Computer Connecting Cables

Multi Mode

Part Controls

Single Part Control

All Part Control

Multi Edit Mode

Filter

Envelope Generator (EG)