Yamaha MU128 User Manual

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STAND BY ON

A/D INPUT

VOLUME

TONE GENERATOR

PART VOL EXP PAN

BANK/PGM

Chrom.perc.

Piano

Ensemble Brass Reed Pipe Synth lead Synth pad

Synth effects

PHONESMIDI IN A

REV CHO VAR KEY

StringsBassGuitarOrgan

DrumModel excl.SFXPercussiveEthnic

MU PLG-1 PLG-2 PLG-3

300

TG PERFORM

SELECT

PLAY EDIT

UTIL EFFECT

MODE EQ

PART GROUP

MUTE/ SOLO

ENTER

EXIT

PART

SELECT

VALUE

ALL

PART

SELECT

VALUE

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

This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.

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.

92-BP

MU128

SPECIAL MESSAGE SECTION

This product utilizes batteries or an external power supply (adapter). DO NOT connect this product to any power supply or adapter other than one described in the manual, on the name plate, or specifically recommended by Yamaha.

WARNING: Do not place this product in a position where anyone could walk on, trip over, or roll anything over power or connecting cords of any kind. The use of an extension cord is not recommended! If you must use an extension cord, the minimum wire size for a 25' cord (or less ) is 18 AWG. NOTE: The smaller the AWG number, the larger the current handling capacity. For longer extension cords, consult a local electrician.

This Product should be used only with the components supplied or; a cart, rack, or stand that is recommended by Yamaha. If a cart, etc., is used, please observe all safety markings and instructions that accompany the accessory product.

SPECIFICATIONS SUBJECT TO CHANGE: The information contained in this manual is believed to be correct at the time of printing. However, Yamaha reserves the right to change or modify any of the specifications without notice or obligation to update existing units.

This product, either alone or in combination with an amplifier and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. DO NOT operate for long periods of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. IMPORTANT: The louder the sound, the shorter the time period before damage occurs.

Some Yamaha products may have benches and/or accessory mounting fixtures that are either supplied with the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional fixtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other uses are recommended.

NOTICE: Service charges incurred due to 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.

friendly. We sincerely believe that our products and the production methods used to produce them, meet these goals. In keeping with both the letter and the spirit of the law, we want you to be aware of the following:

Battery Notice: This product MAY contain a small nonrechargeable 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 old 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 top of the product. The model number, power requirements, etc., are located on this plate. (The serial number is located on the rear panel.) 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.

STAND BY ON

A/D INPUT

VOLUME

TONE GENERATOR

PART VOL EXPPAN

BANK/PGM

Chrom.perc.

Piano

Ensemble Brass Reed Pipe Synth lead Synth pad

Synth effects

PHONESMIDI IN A

REV CHOVAR KEY

StringsBassGuitarOrgan

MU PLG-1PLG-2 PLG-3

XG TG

300

PERFORM

SELECT

DrumModel excl.SFXPercussiveEthnic

PLAY EDIT

UTIL EFFECT

MODE EQ

PART GROUP

ALL

MUTE/

PART

SOLO

SELECT

ENTER

VALUE

EXIT

Model

English

ENVIRONMENTAL ISSUES: Yamaha strives to produce products that are both user safe and environmentally

92-BP

PLEASE KEEP THIS MANUAL

Serial No.

Purchase Date

MU128

Welcome to the MU128

Congratulations and thank you for purchasing the Yamaha MU128 Tone Generator!

The MU128 is an advanced tone generator providing an amazing total of 1342 high-quality Voices, full General MIDI compatibility — including Yamaha’s XG — plus flexible computer interfacing in a compact, easyto-use half-rack mount unit.

With the convenient built-in host computer interface and MIDI termi- nals, the MU128 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 MU128 is remarkably easy to use.

The MU128 also features completely independent dual MIDI inputs, 64 Part multi-timbral capacity and full 128-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 five 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 MU128 provides a host of comprehensive, yet easy-to-use editing tools for getting just the sound you need.

The MU128 is also compatible with the powerful XG Plug-in System, allowing you to install up to three optional XG Plug-in boards for additional Voices and effects. Currently available plug-in boards include the:

PLG100-VL Virtual Acoustic — which provides stunning monophonic

synthesizer Voices with the powerful physical modeling tone generation system.

PLG100-VH Vocal Harmony — which produces automatic

“harmonizer” effects, letting you apply one-, two- or three-part harmonies to a vocal signal (via a microphone connected to the A/D Inputs).

PLG100-DX Advanced DX/TX — which provides vintage FM

synthesis Voices, the same as found on the famous Yamaha DX7. Three boards (in any combination) can be installed simultaneously. With the easy-to-remove rear panel cover and the special guide slots, installation is also exceptionally simple.

The MU128 also has convenient A/D inputs that allow you to connect a microphone, electric guitar or other instrument, and mix those signals with

MU128

Welcome to the MU128

the MU128’s Voices.

* 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.

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 GMcompatible tone generator, regardless of its manufacturer or model. T one generators and song data that meet the “GM System Level 1” bear this GM logo.

English

“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 advances in modern music production.

MU128Welcome to the MU100R

Unpacking

Your MU128 package should include the items listed below. Make sure that you have them all. Also, write do wn the serial number of your MU128 in the box below, for future reference.

MU128 Serial No.:

P A-6 AC Power Adaptor*

Owner’s Manual set

CD-ROM (XGtools)

XGtools Setup Guide

* Power supply recommendation may vary from country to country.

Please check with your nearest Yamaha dealer for further details.

(this book and the “Sound List & MIDI Data” booklet)

MU128

TABLE OF CONTENTS

Table of Contents

Welcome to the MU128 ......................................................................................................... 4

Unpacking ............................................................................................................................... 6

Table of Contents ................................................................................................................... 7

How to Use This Manual ..................................................................................................... 11

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

The Controls of the MU128 ................................................................................................ 14

Front Panel.................................................................................................................. 14

Rear Panel................................................................................................................... 17

The MU128 — What It Is and What It Can Do ............................................................... 19

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

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

About XG ................................................................................................................... 20

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

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

Using With a Computer or Sequencer ........................................................................ 20

About the Modes of the MU128 .................................................................................... 21

Play Modes and the Part Controls .............................................................................. 22

Part Edit Mode............................................................................................................ 22

Utility Mode ............................................................................................................... 22

Modes and Function Tree ................................................................................................... 23

English

GUIDED TOUR

Setting Up Your MU128R ............................................................................................. 26

What Y ou'll Need ........................................................................................................ 26

Making the Connections............................................................................................. 26

Powering Up.................................................................................................................... 29

Playing the Demo Song .................................................................................................. 30

About the Demo Song ................................................................................................ 31

Setting Up the MU128 in Your Music System ............................................................ 32

Connecting to MIDI Devices ..................................................................................... 32

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

Selecting and Playing the Performances...................................................................... 38

Calling Up the Performance Play Mode and Playing the Performances................... 38

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

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

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

Selecting Voices with the Voice Category Buttons .................................................... 43

Manually Selecting Voice Banks and Voices ............................................................. 45

Selecting Voices From a MIDI Keyboard .................................................................. 48

About the Parts and Voices of the MU128 .................................................................. 49

Parts ............................................................................................................................ 49

Voices ..........................................................................................................................49

MU128ts

TABLE OF CONTENTS

Normal Voices and Drum Voices ............................................................................... 50

Maximum Simultaneous Sounds (Polyphony) .......................................................... 50

Selecting the Voices.................................................................................................... 50

Use of bank select MSB and LSB when the Sound Module mode is set to

“XG” or “PFM” ................................................................................................... 51

Use of bank select MSB and LSB when the Sound Module mode is

set to “TG300B” ................................................................................................... 52

Part Mode ................................................................................................................... 53

How to select a Voice ................................................................................................. 54

Selecting Voices when the Sound Module mode is set to “XG” or “PFM” ........ 55

Selecting Voices when the Sound Module mode is set to “TG300B” ................. 56

Editing in the Multi Mode ............................................................................................. 58

Single Part Controls.................................................................................................... 59

Changing the Volume and Pan settings of a Part.................................................. 60

Edit Menu Parameters ................................................................................................ 62

Changing the Filter and EG Settings of a Part ..................................................... 62

Editing Drum Kits — with the Drum Setup Controls ............................................... 65

Making Changes to Individual Drum Sounds — the "Drum" Parameters .......... 66

Editing in the Performance Mode ................................................................................ 69

All Part Controls......................................................................................................... 70

Transposing the Overall Key of a Performance ......................................................... 71

Single Part Controls — Selecting Different Voices for the Performance.................. 72

Edit Menu Parameters — Creating a Two-Voice Layer ............................................ 74

Setting Up a Keyboard Split....................................................................................... 76

Using the Assignable Controller in a Performance.................................................... 77

Saving Your Or iginal Performance ............................................................................ 78

Assignable Controller (AC1)......................................................................................... 79

Controllers and Control Numbers .............................................................................. 79

Control Numbers and the Actual Sound .................................................................... 80

Assigning the Assignable Controller.......................................................................... 81

Using the Assignable Controller — Setting Up......................................................... 82

Using the Assignable Controller — Some Applications............................................ 83

Changing the Brightness on a Piano Voice........................................................... 83

Experssive Volume Control of a Part ................................................................... 85

Expressive Control of Individual Drum Sounds .................................................. 85

Effects .............................................................................................................................. 88

Using Reverb and Chorus........................................................................................... 88

Applying Distortion to a Part — Using the Variation Effects ................................... 90

On Your Own... ............................................................................................... 61

On Your Own... ............................................................................................... 64

On Your Own... ............................................................................................... 68

On Your Own... ............................................................................................... 73

On Your Own... ............................................................................................... 77

On Your Own... ............................................................................................... 87

MU128

TABLE OF CONTENTS

Equalizer (EQ)................................................................................................................ 92

Adjusting the Tone of a Specific Part — Part EQ ...................................................... 92

Adjusting the Overall Tone — Main EQ ................................................................... 94

Mute/Solo ........................................................................................................................ 95

Using Mute/Solo......................................................................................................... 95

A/D Inputs ....................................................................................................................... 97

Using the A/D Inputs.................................................................................................. 97

MIDI/Computer Connecting Cables .......................................................................... 101

REFERENCE

Multi Mode.................................................................................................................... 104

Part Controls ............................................................................................................. 104

Single Part Control.............................................................................................. 105

All Part Control................................................................................................... 109

Multi Edit Mode ....................................................................................................... 111

Filter (FIL) .......................................................................................................... 111

Envelope Generator (EG) ................................................................................... 113

Equalizer (EQ) .................................................................................................... 116

Vibrato................................................................................................................. 117

Others .................................................................................................................. 118

Drum Setup Controls .......................................................................................... 126

English

Performance Mode....................................................................................................... 131

Performance Part Control......................................................................................... 132

All Part ................................................................................................................ 132

Single Part ........................................................................................................... 134

Performance Edit Mode............................................................................................ 137

Common.............................................................................................................. 137

Part ...................................................................................................................... 140

Copy and Store Operations ...................................................................................... 142

Copy .................................................................................................................... 142

Store .................................................................................................................... 143

Recall Function......................................................................................................... 145

Effect Edit Mode .......................................................................................................... 146

Reverb (REV) ........................................................................................................... 147

Chorus (CHO)........................................................................................................... 148

Variation (VAR) ........................................................................................................ 149

Insertion 1, 2 (INS 1, 2)............................................................................................ 151

About the Effect Connections — System and Insertion .......................................... 152

Equalizer (Multi EQ) Edit........................................................................................... 155

MU128ts

TABLE OF CONTENTS

Utility Mode .................................................................................................................. 156

System Functions (SYSTEM) .................................................................................. 157

Dump Out Functions (DUMPOUT)......................................................................... 162

Saving and Restoring Data via MIDI ................................................................. 162

Saving and Restoring Data via TO HOST.......................................................... 162

Initialize Functions (INITIAL)................................................................................. 166

Demo Song Play (DEMO) ....................................................................................... 169

Other Functions............................................................................................................ 170

Sound Module Mode (MODE)................................................................................. 170

Show MIDI Data ...................................................................................................... 171

Plug-in System .............................................................................................................. 173

About the XG Plug-in System.................................................................................. 173

Structure of the XG Plug-in System ................................................................... 174

Optional XG Plug-in Boards .............................................................................. 174

Installing the Plug-in Boards.................................................................................... 176

Before Installing the Plug-in Board.................................................................... 176

Setting the Part Assign Parameter ...................................................................... 177

Setting Part Assign from an External MIDI Device........................................... 178

Selecting Voices of an XG Plug-in Board .......................................................... 178

Installing the Plug-in Board................................................................................ 179

APPENDIX

Troubleshooting ............................................................................................................ 184

Error Messages ............................................................................................................. 185

Specifications ................................................................................................................ 187

Glossary......................................................................................................................... 189

Index .............................................................................................................................. 191

MU128

How to Use This Manual

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

1) Precautions

This gives you important information on how to care for your new MU128, how to avoid damaging it, and how to ensure long-term, reliable operation.

2) The MU128 — What It Is and What It Can Do

This briefly provides an overview of the functions and features of the MU128 and offers some important hints on how you can use it effectively. It also provides convenient page references so that you can easily find out about features and functions of interest.

3) The Controls of the MU128

This section introduces you to the panel controls and connectors.

4) Guided T our

This is perhaps the most important and valuable section of the manual. It gets you started using your new MU128, helping you set up the instrument and play it — and it introduces you to virtually all of the important functions and features. The hands-on experience you gain in this section will help you quickly master the instrument and aid you in navigating the more detailed sections of the manual.

English

5) Setting Up the MU128 in Your Music System

This section (within the Guided Tour) provides all you need to know to effectively integrate the MU128 into your present computer music system.

6) Reference

Once 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 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.

MU128

How to Use This Manual

NOTES

•The illustrations and LCD screens as shown in this owner’s manual are for instructional purposes only, and may appear somewhat different from those on your instrument.

•Installing an XG Plug-in Board to the MU128 increases the number of menu items and parameters shown in the display. Unless otherwise indicated, the example displays printed in this manual correspond to a MU128 with no boards installed.

MU128

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

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.

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-6 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.

• Do not place object in front of the instrument's air vent, since this may prevent adequate ventilation of the internal components, and possibly result in the instrument overheating.

• 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.

English

(3)-3

PRECAUTIONS

The Controls of the MU128

Front Panel

STAND BY ON

39A8:

TONE GENERATOR

A/D INPUT

PART VOL EXP PAN

VOLUME

Synth effects

PHONESMIDI IN A

BANK/PGM

Chrom.perc.

Piano

Ensemble Brass Reed Pipe Synth lead Synth pad

5 6 JLK

REV CHO VAR KEY

MU PLG-1 PLG-2 PLG-3

7 N

StringsBassGuitarOrgan

DrumModel excl.SFXPercussiveEthnic

XG TG

300

PERFORM

SELECT

PLAY EDIT

UTIL EFFECT

MODE EQ

PART GROUP

BCM

DEF

ALL

MUTE/

SOLO

ENTER

EXIT

PART

SELECT

VALUE

PART

SELECT

VALUE

1 A/D INPUT 1, 2 jacks

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

2 A/D INPUT VOLUME control

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

3 VOLUME control

For adjusting the overall v olume of the MU128. (This does not affect the exter nal signal received via the rear panel INPUT jacks.).

G H I

4 STAND BY/ON switch (Power Switch)

Pressing this turns the power on and off (stand by).

CAUTION

Even when the switch is in the “STAND BY” position, electricity is still flowing to the instrument at the minimum level. When you are not using the MU128, make sure you unplug the AC power adaptor from the wall AC outlet.

5 MIDI IN A terminal (front panel)

For connection to other MIDI devices, such as a MIDI ke yboard or sequencer. When the HOST SELECT switch is set to “MIDI,” this receives MIDI data for controlling Parts set to receive over channels A01 - A16. When the HOST SELECT switch is set to “Mac,” “PC-1,” or “PC-2,” it transmits the received MIDI data to the TO HOST terminal. The front panel MIDI IN A terminal can be selected for operation in the Utility mode (page 157). A rear panel MIDI IN-A terminal is also provided; however both the front and rear panel terminals cannot be used simultaneously.

6 PHONES jack

For connection to a set of stereo headphones (stereo mini pin).

MU128of the MU90R

The Controls of the MU128

7 Voice Category buttons

For selection of basic Voice categories. Use these b uttons to call up the desired Voice category in the Multi Play mode (Single Part controls; page 59) or in the Performance Play mode (Single Part controls; page 72), then select a specific Voices from the category by using the [VALUE -/+] buttons or data dial. (page 43.)

8 MODE button

For calling up the Sound Module mode display. (page 170.)

9 PLAY button

For entering the Play mode and switching among the different Play displays. (pages 41, 47.)

0 EDIT button

For entering the Edit mode. (pages 58, 69.)

A UTIL (UTILITY) button

For entering the Utility mode. (page 156.)

B EFFECT button

For entering the Effect Edit mode. (page 146.)

English

C EQ button

For entering the EQ Edit mode. (page 155.)

D MUTE/SOLO button

Pressing this alternately mutes or solos the selected Part. (page 95.)

E 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 MIDI data function. (page 171.)

F EXIT button

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

G PART -/+ buttons

For selecting different Parts. In the Effect Edit mode, these can be used to switch among the different effects. Pressing these together alternately switc hes between All Part and Single Part control. (page 61.)

H SELECT </> buttons

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

I VALUE -/+ buttons

For changing the value of a selected parameter or control.

MU128 MU90R

The Controls of the MU128

Hint

You can rapidly move through the values by holding down one of the [VALUE buttons. Y ou 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.

J Data dial

For rapidly adjusting/changing values of the selected function or parameter. Rotate this clockwise to increase the value.

K SELECT button

For switching among the internal Voices of the MU128 and the Voices of any installed optional XG Plug-in boards (page 174). (This applies to tone generator type boards only; effect type boards are selected by a different method.) Press this repeatedly to select the desired board and its Voices. The appropriate LED flashes briefly and the corresponding icon for the board appears in the LCD. (This button has no effect unless a tone generator type plug-in board is installed.) (page 178.)

] button and simultaneously press and hold down the [VALUE

-/+

]

L PART GROUP button

For switching among the Part groups. Press this repeatedly to select the desired Part group (A, B, C, or D).

M Display

This back-lit LCD displays all necessary operation information for the MU128.

N LEDs

These indicate how many plug-in boards are installed. The MU LED indicates the MU128 itself and its built-in Voices and remains lit. PLG-1, PLG-2, and PLG-3 are lit according to the number of XG Plug-in boards installed. When using the SELECT button to select a board, the corresponding LED flashes briefly. During playback of song data (from a sequencer, etc.), these flash to indicate usage of the various sound sources.

MU128of the MU90R

The Controls of the MU128

Rear Panel

1 MIDI terminals

For connection to other MIDI devices, such as a MIDI keyboard, tone generator, or sequencer, or to a computer that has a MIDI interface.

• MIDI IN-A terminal When the HOST SELECT switch is set to “MIDI,” this receives MIDI data for controlling Parts set to receive over channels A01 - A16. When the HOST SELECT switch is set to “Mac,” “PC-1,” or “PC-2,” it transmits the received MIDI data to the TO HOST terminal. The front and rear panel MIDI IN-A terminals cannot be used simultaneously. The rear panel MIDI IN-A terminal can be selected for operation in the Utility mode (page 157).

THRU

OUT IN-A IN-B

MIDI

2 3 4 6 7

HOST SELECT

Mac

MIDI

PC-2 PC-1

TO HOST DC IN

OUTPUT INPUT

SER NO.

English

• MIDI IN-B terminal When the HOST SELECT switch is set to “MIDI,” this receives MIDI data for controlling Parts set to receive over channels B01 - B16.

• MIDI OUT terminal This is for transmitting data to another MIDI device, in the case of sending bulk data to a computer or MIDI data storage device (when the HOST SELECT switch is set to “MIDI”). It also can be used for outputting the data received via the TO HOST terminal, letting you connect other MIDI instruments and use the MU128 as a MIDI interface for your computer (when the HOST SELECT switch is set to “Mac,” “PC-1,” or “PC-2”).

• MIDI THRU terminal This is for outputting the data received via the MIDI IN-A terminal as is, without any additional data generated by the MU128 itself. This is commonly used for “daisy-chain” connection of other MIDI instruments.

2 HOST SELECT switch

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

MU128 MU90R

The Controls of the MU128

3 TO HOST terminal

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

36.)

4 DC IN jack

For connection to the PA-6 AC power adaptor.

WARNING

Use ONLY a Yamaha PA-6 AC Power Adaptor (or other adaptor specifically recommended by Yamaha) to power your instrument from the AC mains. The use of other adaptors may result in irreparable damage to both the adaptor and the MU128.

CAUTION

When connecting the AC power adaptor, first make sure that the MU128 is turned off (set to ST AND BY). Next, connect one end of the power adaptor to the DC IN jack on the MU128, and connect the other end to an appropriate AC outlet.

5 Power cord hook

Use this to secure the AC power adaptor’s cord and connector to the MU128, to prevent accidental disconnection. Plug the connector into the DC IN jack, then wrap the cord inside both ends of the hook.

6 OUTPUT L, R jacks (Left, Right)

For connection to a stereo amplifier/speaker system.

7 INPUT L, R jacks (Left, Right)

These are for connection to external sound sources, such as CD players, cassette decks, etc. Neither the front panel VOLUME control nor the built-in effects and equalizer of the MU128 have any effect on the input sound.

8 XG Plug-in Board expansion bay

This bay accommodates up to three XG Plug-in Boards. To install a board, first remove the expansion bay cover (page 179). Since the screw is tightened securely at the factory, you may need to use a screwdriver to loosen it at first. Normally, it can be fastened and removed simply by using your fingers.

MU128of the MU90R

The MU128 — What It Is and What It Can Do

What It Is...

The MU128 is a full-featured and easy-to-use tone generator, that provides an unprecedented wealth of Voices and expressive sonic control. It features full General MIDI Level 1 compatibility . It also pro vides XG compatibility , with an huge total of 1149 Voices and 37 drum kits.

The MU128 has 128-note polyphony and is 64-Part multi-timbral. In other words, the MU128 has 64 different Parts, each with its o wn Voice, so that up to 64 different Voices can be sounded simultaneously.

Additional A/D P arts let you connect up to two e xternal signals — such as a microphone, electric guitar or CD player — and mix them with the MU128’s Voices.

Although Voices cannot be directly edited, the various P art controls and Edit mode give you tools for transforming or customizing the sound of the Voices. What’ s more, the MU128 has a built-in multi-ef fect processor , with se ven independent digital effect “units” for enhancing the sound.

The MU128 also features a special Performance mode, in which four Parts are played simultaneously over a single MIDI channel. Connected to a MIDI keyboard, this effectively gives you four tone generators in one. The MU128 gives you 100 factory-programmed Preset Performances plus 100 Internal Per formance locations for storing your own original Performances.

English

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 MU128’s MIDI IN terminal, you could play back a song on the sequencer using the Voices of the MU128.

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 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 MU128 is fully compatible with General MIDI, you can take advantage of the vast wealth of musical material recorded in that format.

MU128

The MU128 — What It Is and What It Can Do

About XG

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 extensi ve MIDI control and built-in ef fects of the MU128 (and other MU-series instruments).

To take greatest 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 giv e you direct controls for accessing the full expressive potential of the MU128’s XG Voices and the XG-related parameters.

What It Can Do...

Here are a few ideas on how you can use the MU128. 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 creativ e ideas and explorations.

Using W ith MIDI Keyboard

Use the MU128 as supplementary tone generator with your MIDI keyboard and play the Voices of both instruments in a layer together. Or, use the convenient Performance mode, and pla y four Voices on the MU128 at 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.

Using W ith a Computer or Sequencer

Home Studio Setup

The MU128 integrates instantly and easily into any existing setup. If you have a MIDI keyboard, computer and sequencing software, the MU128 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 MU128, 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 on a Gig

Similarly , you can connect a laptop or a MIDI data filer and playback song data with the MU128’s Voices. Plug a microphone into one of the A/D inputs and a guitar into

MU128an Do

The MU128 — What It Is and What It Can Do

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 MU128 is a natural for multimedia applications. Bring it with you to a presentation — since the computer interface is built-in to the MU128, it hooks up instantly and easily to the computer’ s serial port or printer port, without the need for any other equipment.

About the Modes of the MU128

The MU128 has two main operating modes: Multi and Performance. In Multi mode, the MU128 is a 64-Part multi-timbral tone generator; in Performance mode, the MU128 effectively functions as four tone generators controlled over a single MIDI channel.

Which mode the MU128 is in depends on the selected Sound Module mode. If XG or TG300B are selected, the MU128 automatically sets itself to the Multi mode. When PFM is selected, the MU128 is in the Performance mode. (For information on selecting the Sound Module mode, see page 170.)

Each mode provides compatibility with different music software and hardware. XG: This mode provides the full potential of the MU128, giving you

access to the 1149 XG Voices.

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

TG300 Tone Generator.

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

over a single MIDI channel. (For more information on using the Performance mode, see pages 38 and 70.)

English

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

XG TG300B PERFORM

Selected Sound Module mode.

MU128

The MU128 — What It Is and What It Can Do

NOTE

When set to the TG300B mode, the MU128 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 MU128.

Play Modes and the Part Controls

Once the operating mode of the MU128 is set (Multi or Performance), there are two main ways you can use the MU128: 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 Part controls allow you to change the overall settings of all Parts. (See pages 59 and 61 for more information.) The MU128 has several diff erent 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.

Utility Mode

The Utility mode lets you set functions related to the overall operation of the MU128, 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 MU128 settings, and playing the special Demo song.

MU128an Do

Modes and Function Tree

[PLAY]

Multi Play Mode

[SELECT </>] Multi Part Control

[SELECT </>] Multi All Part Control

[EDIT] Multi Part Edit Mode

( When the sound module mode is “XG” or “TG300B”)

[PART-++]

[SELECT <] Filter Edit [ENTER] [SELECT </>] EG Edit [ENTER] [SELECT </>] EQ Edit (Only when Normal Part is selected.) [ENTER] [SELECT </>] Drum Setup Edit (Only when Drum Part is selected.) [SELECT </>] Vibrato Edit [ENTER] [SELECT >] Others Edit [ENTER]

[ENTER]

English

P. 170 P. 105

P. 109

P. 111 P. 111 P. 113 P. 116 P. 126 P. 117 P. 118

[PLAY]

Performance Play Mode ( When the sound module mode is ”PFM”)

[SELECT </>] Performance Control

[PART-++]

[SELECT </>] Performance Part Control

[EDIT] Performance Edit Mode

[SELECT <] Common Edit [ENTER] [SELECT </>] Part Edit [ENTER]

[SELECT <] Filter Edit [ENTER] [SELECT </>] EG Edit [ENTER] [SELECT </>] EQ Edit [ENTER] [SELECT </>] Vibrato Edit [ENTER]

[SELECT >] Others Edit [ENTER] [SELECT </>] Copy [ENTER] [SELECT </>] Store [ENTER] [SELECT >] Recall [ENTER]

P. 170 P. 132

P. 134

P. 137 P. 137 P. 140 P. 141 P. 141 P. 141 P. 141 P. 141 P. 142

P. ?? P. 143 P. 145

MU128t Is and What It Can Do

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+] PFM

Effect Mode

[SELECT <] Reverb Edit [ENTER] [SELECT </>] Chorus Edit [ENTER] [SELECT </>] Variation Edit [ENTER] [SELECT </>] Insertion 1 Edit [ENTER] [SELECT >] Insertion 2 Edit [ENTER]

P. 156

P. 157 P. 162 P. 166 P. 169

P. 170 P. 170 P. 170 P. 170

P. 146 P. 147 P. 148 P. 149 P. 151 P. 151

[EQ]

Equalizer (Multi EQ) Mode

: Mode : Submode

A slash mark ( / ) indicates that either button can be pressed. (For example, SELECT < / > means that either < or > can be pressed.)

A Plus sign ( + ) indicates that both buttons should be pressed simultaneously. (For example, PART -+ + means that both PART - and + should be pressed.)

P. 155

MU128

When using your MU128 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 MU128.

UIDED

OUR

MU128 Guided Tour

Setting Up Y our MU128

Setting Up Your MU128

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 MU128, we urge you to play the Demo song (page 30) and hear what the instrument is capable of.

What You’ll Need

☛ The MU128 and the included PA-6 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 MU128 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 MU128 (as shown in the illustration).

NOTE

The MU128 features both rear and front panel MIDI IN-A terminals. Since both cannot be used simultaneously, you must determine which of them you will use. At the factory, the MIDI IN-A is set for rear panel operation. This can be changed to front panel operation in the Utility mode’s System parameters (page 157).

2 Connect the audio cables.

Connect the R and L OUTPUT jacks of the MU128 to the appropriate inputs on the amplifier speaker system (as shown in the illustration).

MU128 Guided Tour

Setting Up Y our MU128

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

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-6 into the DC IN terminal on the rear panel, then plug the adaptor into an appropriate electrical outlet.

SER NO.

OUTPUT INPUT

• Wrap the DC output cable of the adaptor around the cable clip (as shown at right) to

HOST SELECT

MIDI

PC-2 PC-1

Mac

TO HOST DC IN

prevent accidental unplugging of the cable during operation.

WARNING

• Use ONL Y a Yamaha PA-6 AC Power Adaptor (or other adaptor specifically recommended by Y amaha) to power your instrument from the AC mains. The use of other adaptors may result in irreparable damage to both the adaptor and the MU128.

English

OUTPUT

CAUTION

• Unplug the AC Power Adaptor when not using the MU128, or during electrical storms.

Amplifier

Speaker System

STAND BY ON

PHONES

DC IN

A/D INPUT

VOLUME

PHONESMIDI IN A

TONE GENERATOR

PART VOL EXP PAN

BANK/PGM

Chrom.perc.

Piano

Ensemble Brass Reed Pipe Synth lead Synth pad

Synth effects

REV CHO VAR KEY

MU PLG-1 PLG-2 PLG-3

XG TG

300

PERFORM

StringsBassGuitarOrgan

SELECT

DrumModel excl.SFXPercussiveEthnic

PLAY EDIT

UTIL EFFECT

MODE EQ

PART GROUP

MUTE/ SOLO

ENTER

EXIT

MIDI IN-A

ALL

PART

SELECT

VALUE

MIDI CABLE

MIDI OUT

MU128 Guided Tour

MIDI Keyboard

Setting up your MU128

Now that you’ ve set up the MU128, we ur ge you to go on to the next section, turn on the instrument, and play the Demo song (page 30) to hear what the instrument is capable of. If you need information on setting up the MU128 for a different type of system, refer to “Setting Up the MU128 in Your Music System” on page 32.

MU128 Guided Tour

Powering up

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 MU128.

Press the STAND BY/ON switch. After the animated greeting display finishes, the following dis-

play appears:

English

3 Turn down all volume controls.

This includes the MU128 and any connected equipment.

4 Turn on the amplifier/speaker system. 5 Set the volume controls.

First, set the volume control on the MU128 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) MU128

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

This prevents possible damage to the speakers.

MU128 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 MU128. It also is an excellent demonstration of the 64part multi-timbral capacity and the various expressive controls and effects that can be used simultaneously . Most importantly , the Demo song will gi ve you an idea of how powerful the MU128 can be in your own MIDI/computer music setup.

NOTE

All System Setup and Multi Part Edit settings are initialized to their default values when playing back the demo song. Save your important data to a computer or the MDF3 MIDI Data Filer by using the Dump Out functions (page 162).

Operation 1 Press the [UTIL] button.

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).

NOTES

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

• In the Multi mode, the default setting for Variation Connection is Insertion. In the Performance mode, the default setting differs depending on the selected Performance.

MU128 Guided Tour

Playing the DemoSong

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.)

About the Demo Song

All instrument sounds and processing heard in the demo song were realized exclusively with the Voices and effects of the MU128. It demonstrates just how powerful and realistic sounding the MU128 can be on its own, as the only tone generator in a MIDI sequencing system.

The demo song starts out with a soft orchestral introduction, using the rich and realistic orchestra Voices, then swiftly segues into a hard rock section showcasing fast and furious distorted guitar followed by jazz guitar and overdriven guitar Voices. This breaks into a big band passage, starting with a 40's style swinging sax section and continuing with a powerful full brass arrangement. A rhythm and blues band, complete with an authentic sounding organ and horn section, rounds out the demo, followed by a luscious ambient/world music ending.

English

Make sure to read the display as the demo plays back — this shows the names of some of the Voices used in creating this dynamic piece. Listen to the demo often, as well — it’ll give you ideas and directions for interesting paths to take as you use the MU128 in creating your own music.

Demo Song Credits

Programmed by Paul Lawley Remixed by Graham Lee Produced by XG Tokyo Office and Yamaha MusicSoft Europe Data edited by Yasunori Ogawa

MU128 Guided Tour

Setting Up the MU128 in Your Music System

As you learned in the section The MU128 — What It Is and What It Can Do on page 19, the MU128 can be integrated into a variety of setups. It

would be impossible to cover all connection possibilities in a short manual as this; howev er, the section belo w will help in quickly setting up the MU128 and using it in your system.

Connecting to MIDI Devices

The MU128 is equipped with MIDI IN, OUT, and THRU terminals, allowing you to use it in any MIDI system. Moreover, the two MIDI IN terminals are independent 16-channel ports, effectively giving you two tone generators in one. 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 MU128 from the connected keyboard.

MIDI OUT

THRU

OUT IN-A IN-B

MIDI IN-A

MIDI

TO HOST

HOST SELECT

MIDI

PC-2 PC-1

Mac

TO HOST DC IN

SER NO.

OUTPUT INPUT

MIDI Keyboard

NOTES

• Connect the MIDI OUT terminal of the keyboard or sequencer to the MIDI IN-A terminal of the MU128.

• The MU128 features both rear and front panel MIDI IN-A terminals. Since both cannot be used simultaneously , you must determine which of them you will use. At the factory , the MIDI IN-A is set for rear panel operation. This can be changed to front panel operation in the Utility mode’s System parameters (page 157).

MU128 Guided Tour

Setting Up the MU128 in Your Music System

• 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 OUT

IN A

OUT BOUT A

FOOT SWRL/MONO

IN B

MIDI

PITCH ASSIGNABLE

SONG

VOICE

MAX

VOLUME

SHIFT

CAPS

OCT

OCT DOWN

ORG

BASS

E FGABC

SECTION

B C D E F G H

OUTPUT

PATTERN

UTILITY

EFFECT

DISK

SHIFT F1 F2 F3 F4 F5 F6 SHIFT EXIT

CONTRAST

PLAYREC

EDIT

JOB

LOC 2LOC 1

(

E)D

CBA

C#D

DbE

! MLK

MUSIC SEQUENCER

TRACK

DOWN

SOLOMUTE

REST

TIE

HGF

(

_ UTSRQPO#N

(9)

add9

OUT BOUT AIN B

IN A

MIDI

THRU

OUT IN-A IN-B

MIDI IN-A

MIDI

TO HOST

HOST SELECT

Mac

MIDI

PC-2 PC-1 TO HOST DC IN

OUTPUT INPUT

-1 +1

789

YESNO

456

123

DEL

SPACE

(

)

(11)

sus4

OCT

DOWN

(

11)

(13)

sus4

ZWV

(9)

dim

mM7

add9

aug

(b5

)

SER NO.

• 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 MU128. T o restore the data to the MU128, connect the MIDI OUT of the MDF3 to the MIDI IN-A of the MU128. Refer to the owner’s manual of the MDF3 (or your particular data storage device) for specific operating instructions in receiving or sending data.

English

MIDI IN

THRU

OUT IN-A IN-B

MIDI OUT

MIDI

HOST SELECT

Mac

MIDI

PC-2 PC-1 TO HOST DC IN

SER NO.

OUTPUT INPUT

MDF3

With the MDF3, you can also play compatible song data on the MU128 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-A of the MU128.

MU128 Guided Tour

Setting Up the MU128 in Your Music System

• Computer equipped with a MIDI interface

In this setup, you can control the MU128 from a computer (using sequencing or other song playback software).

MIDI

IN-A

IN-B

TONE GENERATOR

PART VOL EXP PAN

BANK/PGM

REVCHO VAR KEY

Chrom.perc.

Piano

Ensemble Brass Reed Pipe Synth lead Synth pad

MU PLG-1PLG-2 PLG-3

MU128

OUT

StringsBassGuitarOrgan

DrumModel excl.SFXPercussiveEthnic

ALL

PLAY EDIT

MUTE/

PART

SOLO

UTILEFFECT

SELECT

ENTER

MODE EQ

VALUE

300

EXIT

PERFORM

SELECT

PART GROUP

MIDI keyboard controller

A/D INPUT

VOLUME

Synth effects

STAND BY

PHONESMIDI IN A

Connecting to a Macintosh computer (with MIDI interface)

MIDI

MIDI interface

MIDI OUT

Macintosh computer

Connecting to an IBM PC/AT compatible computer (with MIDI interface)

MIDI

MIDI OUT1

MIDI

IBM-PC/AT or compatible

OUT2

HOST SELECT

MIDI Mac

HOST SELECT

MIDI Mac

computer

NOTES

• For Macintosh computers, you may have to change the MIDI interface clock setting on the application software to match your particular MIDI interface.

MIDI Data Flow

MIDI OUT

MU128

MIDI IN-B

MIDI IN

MIDI OUT

MIDI Interface

TO HOST

CBX-K2

THRU OUT

Parts set to receive over channels A1-A16

MIDI IN-A

Parts set to receive over channels B1-B16

MU128 Guided Tour

Setting Up the MU128 in Your Music System

NOTES

• Data received via the MIDI IN-A terminal plays back Parts set to channels A01 A16, and data received via the MIDI IN-B terminal plays back Parts set to channels B01 - B16.

• When the the HOST SELECT switch is set to MIDI, up to 32 Parts can be played simultaneously.

Operation

1 Set the HOST SELECT switch to MIDI. 2 Connect the MU128 to the appropriate MIDI device.

Refer to the illustrations above. Use a standard MIDI cable (see page ??).

3 Turn on the the connected device, then the MU128. 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 MU128.

Connecting Directly to a Computer

English

The MU128 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 MU128 can be used with the following computers: Apple Macintosh and compatibles, IBM PC/AT and compatibles.

If your computer has a MIDI interface you may want to connect the

MU128 to it, rather than using the host computer interface on the MU128. (See the section “Connecting to MIDI Devices” on page 32.)

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 101.

Operation

1 Set the HOST SELECT switch on the rear panel of the MU128 to

the appropriate setting:

For IBM PC/AT or compatible computers: PC-2 For Macintosh computers: Mac

MU128 Guided Tour

Setting Up the MU128 in Your Music System

2 Connect the terminals as shown in the illustration below, using

standard computer cables*.

* Make sure to use the following commercially available standard cable types:

For IBM PC/AT or compatible computers: D-SUB 9-pin to Mini DIN 8-pin (page 101)

For Macintosh computers:8-pin Macintosh Peripheral cable (page 101)

3 Turn on the power of the computer, then the MU128.

4 Start up your music software, and set up the appropriate options

on the software for operation with the MU128.

Connecting directly to an IBM PC/AT compatible computer

HOST SELECT

MIDI Mac

PC-2 PC-1

MIDI keyboard controller

(Used as both tone generator and MIDI interface.)

MU128

* Make sure to connect any external MIDI devices to the MIDI IN-A terminal.

NOTES

• The MU128 features both rear and front panel MIDI IN-A terminals. Since both

• For Windows 95 users:

• For Macintosh computers, you should set the MIDI interface clock setting on the

STAND BY ON

A/D INPUT

VOLUME

PHONESMIDI IN A

MIDI OUT

MIDI IN-A

TONE GENERATOR

PART VOLEXP PAN

BANK/PGM

Chrom.perc.

Piano

Ensemble Brass Reed Pipe Synth lead Synth pad

Synth effects

REVCHO VARKEY

MU PLG-1PLG-2PLG-3

StringsBassGuitarOrgan

DrumModel excl.SFXPercussiveEthnic

TO HOST

PLAY EDIT

UTILEFFECT

MODE EQ

XG TG

300

PERFORM

SELECT

PART GROUP

ALL

MUTE/

PART

SOLO

SELECT

ENTER

VALUE

EXIT

RS-232C

(DB-9)

IBM-PC/AT or

compatible computer

Connecting directly to a Macintosh computer

HOST SELECT

TO HOST

MIDI Mac

PC-2 PC-1

RS422

Macintosh computer

cannot be used simultaneously , you must determine which of them you will use. At the factory , the MIDI IN-A is set for rear panel operation. This can be changed to front panel operation in the Utility mode’s System parameters (page 157).

In order to use the TO HOST connection of the MU128 with your computer,

you’ll need to install special MIDI driver software (Y AMAHA CBX Driver for W indows 95). This driver is contained in the included CD-ROM.

application software to 1 MHz.

MU128 Guided Tour

Selecting and Playing the Performances

MIDI Data Flow

ECHO BACK = ON

MIDI OUT

RS-232C

MIDI keyboard controller

MIDI

THRU OUT

MIDI data of the Port set in the Thru Port parameter

Port 1 Port 2 Port 3

Parts set to receive over channels A1-A16

Parts set to receive over channels B1-B16

IN-A

MU128

MIDI IN-B

Parts set to receive over channels C1-C16

TO HOST

Port 4

Parts set to receive over channels D1-D16

NOTES

• Data received via the MIDI IN-A terminal is transmitted directly to the computer

(via the TO HOST terminal) without affecting the Parts of the MU128. To have Parts on the MU128 respond to data received via the MIDI IN-A terminal (for example, to hear sounds while entering data to the computer), make sure that the MIDI Thru (or MIDI Echo) function on the music software is set to on. This function allows you to route data coming into the computer back out again.

• Providing your particular music software is capable of multi-port operation, you

can independently play all 64 Parts of the MU128 from your computer. With a second multi-timbral tone generator , you can even expand this to a full 80 Parts. To do this, connect the tone generator to the MIDI OUT terminal, then set the Thru Port parameter (page 160) to a value of 5 or higher — giving you an additional 16 MIDI channels.

IBM-PC/AT or

compatible computer

ECHO BACK = ON

Macintosh computer

English

MU128 Guided Tour

Selecting and Playing the Performances

As pointed out on page 21, the Performances of the MU128 let you play four Voices together over one MIDI channel. These specially programmed Performances (100 Preset and 100 Internal) take full advantage of the MU128 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 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 170.

MU128 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

English

• Internal bank

MU128 Guided Tour

Selecting and Playing Individual V oices

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 MU128 as you play.

The “level meter” bars indicate the “level” (velocity) of the incoming MIDI data.

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.

MU128 Guided Tour

Selecting and Playing Individual Voices

Changing the Play Mode Display

The MU128 lets you view the Parts of the Performance in two ways, depending on your preference.

Press the [PLAY] button repeatedly. Each press of the [PLAY] button switches between the two displays below.

Performance number and name are indicated.

Voice names which make up the Performance are indicated.

English

MU128 Guided Tour

Selecting and Playing Individual V oices

The MU128 has a stunningly huge variety of Voices — a total of 1342. In this section, you’ll select and play Voices in the XG mode, which features 1149 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 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.

MU128 Guided Tour

Selecting and Playing Individual Voices

About the Modes — Multi and Performance

The MU128 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 64 Parts independently over different MIDI channels.

Which mode the MU128 is set to depends on the selected Sound Module mode. The XG andTG300B settings are all Multi mode. When PFM is selected, the MU128 is in the Performance mode.

Selecting Voice Banks and Voices From the Panel

There are two basic methods of selecting Voices and banks: one using the Voice Category buttons to automatically select specific Voices according to their instrument groups, and the other letting you manually select the Voice bank and Voice. (Voices/banks can also be selected remotely from a MIDI device; see page 48.)

Selecting Voices with the Voice Category Buttons

English

This convenient method lets you select Voices according to the general instrument groups to which they belong, automatically selecting the appropriate program number and bank for you.

Operation

1 Select a Part by using the [PART -/+] buttons.

Part number

2 Press the Voice Category button corresponding to the desired

Voice group (Piano, Guitar, Bass, etc.). The lowest numbered bank/Voice in the category is automatically selected.

MU128 Guided Tour

Selecting and Playing Individual V oices

STAND BY ON

TONE GENERATOR

A/D INPUT

PART VOL EXP PAN

VOLUME

PHONESMIDI IN A

BANK/PGM

Chrom.perc.

Piano

Ensemble Brass Reed Pipe Synth lead Synth pad

Synth effects

REV CHO VAR KEY

StringsBassGuitarOrgan

DrumModel excl.SFXPercussiveEthnic

MU PLG-1 PLG-2 PLG-3

XG TG

300

PERFORM

SELECT

PLAY EDIT

UTIL EFFECT

MODE EQ

PART GROUP

MUTE/ SOLO

ENTER

ALL

PART

SELECT

VALUE

EXIT

Voice Category buttons

For example, when the [Guitar] Voice Category button is pressed, bank 000/Voice 025 [NylonGt#] is selected as shown below.

The following list briefly describes the characteristics of the Voices for each Voice Category button. Piano: Conventional piano sounds, such as acoustic piano and electric

piano.

Chrom.perc.: Chromatic (pitched) percussion sounds, such as marimba and

vibraphone.

Organ: Various organ sounds, such as rock organ, pipe organ and

accordion. Guitar: Guitar sounds, such as acoustic guitar and distorted guitar. Bass: Bass and wood bass. Strings: Stringed instruments, such as violin and cello. Also includes

other orchestral sounds, such as contrabass, harp and timpani. Ensemble: Strings ensemble sounds. Brass: Various brass instruments, such as trumpet and trombone, as

well as brass ensemble sounds. Reed: Reed instrument sounds, such as saxophone and clarinet. Pipe: Air reed instruments, such as flute, recorder and shakuhachi. Synth lead: Synthesizer lead sounds. Synth pad: Synthesizer pad sounds. Synth effects: Various synthesizer sound effects and miscellaneous pitched

sounds. Ethnic: World, ethnic and folk music instrument sounds. Percussive: Percussion sounds. SFX: Special sound effects. Model excl.: Voices belonging to the MU100 Model Exclusive Voice bank. Drum: Drum and SFX Kits.

NOTE

The V oice Category buttons can also be used to select Voices on an optional Plugin board (when it has been selected first with the [SELECT] button). Depending on the board, however, certain categories may not be available. Also, the Model excl. category features the original Voices of the board, which do not conform to the GM standard.

MU128 Guided Tour

Selecting and Playing Individual Voices

3 Use the [VALUE -/+] buttons or data dial to select the desired

Voice from within the current category. The selected bank and Voice numbers start from the lowest number and “wrap around” at the beginning and end. Try selecting different Voices for the other Parts using the same operation.

Details

The MU128 features two different Voice maps: MU Basic and MU100 Native.

■

MU Basic — This V oice map maintains compatibility with the widest range of XG

tone generators.

■

MU 100 Native — This V oice map (selected as the default at the factory) includes

the upgraded Voices and Voices utilizing new waveforms not included on older XG tone generators.

These two V oice maps have the same order and number of the V oices. However , the actual sounds and overall balance may differ for each map when playing back identical song data, since the actual character of some of the Voices differs greatly. When playing back song data created on or for other XG tone generators, try switching between the two different maps to achieve the optimum playback condition for the song. The map setting can be changed in the Utility mode’s System parameters (page

161). The MU128 includes additional Voices for both of the two maps that are not included on the MU100.

English

Manually Selecting Voice Banks and Voices

Operation

1 Select a Part.

Use the [PART -/+] buttons. For this example, select Part 1. Press the appropriate button until “01A1” appears in the PART section of the display.

MU128 Guided Tour

Selecting and Playing Individual V oices

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 MU128 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 1149 Voices.

4 Select the program (Voice) number.

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

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

Bank number.

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.

MU128 Guided Tour

About the Parts and Voices of the MU128

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 MU128 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 MU128’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 V oices are conveniently or ganized in the banks according to their type. For example, V oices having stereo variations or brighter variations are found in the “Stereo” and “Bright” banks, respectively. (See the “Sound List & MIDI Data” booklet.)

• Though the MU128 skips over bank numbers with identical V oices (see step #3 above), it can be set to not skip bank numbers, if desired. (See page 161: Utility mode/System/Display Bank Select.)

English

Refer to page 49 for more details about the MU128 voice organization.

Changing the Play Mode Display

The MU128 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.

MU128 Guided Tour

About the Parts and V oices of the MU128

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 keyboard used, the general procedure is the same. These instructions also apply to use with a computer. (Refer to the owner’s manual of your 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 MU128 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 MU128, you may need to be careful in selecting program numbers. The MU128’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 MU128.

• Parts 10, 26, 42 and 58 are reserved for playing drum “kits.” This is the default factory setting for all of the Multi modes (XG and TG300B). For more information on drum Parts, see page 65.

MU128 Guided Tour

About the Parts and Voices of the MU128

About the Parts and V oices of the MU128

This section covers basic information about the Parts and Voices of the MU128. It’ s not necessary to absorb all this information at once; yet if you familiarize yourself with the concepts and details of this section, you’ll be on your way to quickly mastering the operations of the MU128.

Parts

When the Sound Module mode is set to “XG” or “TG300B,” the tone generator section of the MU128 is fully multi-timbral and is made up of 64 independent Parts. By assigning different MIDI channels to each of these 64 Parts, you can play back complex song data having up to 64 separate and simultaneous instrument tracks.

The Parts are designated by their Part group letters (A - D) and numbers (01 - 16), as well as their individual Part numbers (1 - 64). The chart belo w shows the Part numbers and their default MIDI channel settings.

Part Number Part Group MIDI Channel (default)

1 A01 A01

A16

17 B01 B01

B16

33 B16 B16

C16

49 D01 D01

D16

English

Voices

When the Sound Module mode is set to “PFM, ” the MU128 effecti vely functions as four tone generators, playing back up to four Parts over a single MIDI channel.

Voices are the individual instrument sounds of the MU128. The MU128 features a total of 1342 Normal Voices and 47 Dr um Voice “kits.” (The number of the Voices that can be used differs depending on the selected Sound Module mode.) A Voice is actually comprised of one or two sound elements, the “building blocks” of the sound.

Voice

Element 1 Element 2

MU128 Guided Tour

About the Parts and V oices of the MU128

Normal Voices and Drum Voices

The MU128 features two types of Voices: Normal and Drum.

Normal V oices

Normal Voices are pitched — in other words, the pitch of the Voice changes according to the keys of the keyboard. A Normal Voice is made up of a maximum of two sound elements. Voices having two elements include: thick sounds that cannot be created by a single element, Voices in which the sound changes depending on how strongly the keys are played, or layered Voices in which two sounds are blended together (for example, piano and strings). For details on how many elements specific Voices use, refer to the Voice List of Normal Voices in the “Sound List & MIDI Data” booklet.

Drum V oices

The Drum Voice is a special Voice containing onl y drum and percussion sounds, and each individual sound is assigned to a specific key of the keyboard (in the range of C#-1 — C5). For details on which drum sounds are assigned to which keys, refer to the Drum Map charts in the “Sound List & MIDI Data” booklet.

Maximum Simultaneous Sounds (Polyphony)

The maximum polyphony of the MU128, or the amount of sounds that can be generated simultaneously, is 128. This number actually refers to the amount of elements used. If you use many two-element Voices in your song data, the number of available simultaneous sounds may be less than expected.

When the MU128 receives more MIDI data than can be played back with the maximum polyphony, the earliest played notes will stop sounding to let more recently received notes play. This is called “last note priority.”

Selecting the Voices

Voice selection on the MU128 is done by using three different numbers: bank select MSB, bank select LSB, and the specific program number.

The bank select MSB and LSB values determine the Voice bank. A single Voice bank can contain up to 128 Voices, each of which can be selected by a program number.

The bank select MSB and LSB values are used differently depending on which Sound Module mode is selected (as explained below).

MU128 Guided Tour

About the Parts and Voices of the MU128

Use of bank select MSB and LSB when the Sound Module mode is set to “XG” or “PFM”

When the Sound Module mode is set to “XG” or “PFM,” the Voices are divided into large groups, selectable by the bank select MSB values shown below.

Bank select MSB = 0 — XG Voices

These are the Voices conforming to the GM System Level 1 standar d and its expanded set of Voices. They can be played back to common effect for all XG-compatible tone generators.

Bank select MSB = 48 — MU100 Exclusive Voices

Only the MU100 and MU128 contain these Voices. The order of the Voices by program number assignments does not conform to the GM standard.

NOTE

Banks having an MSB value of 48 are used for original tone generator V oices which do not conform to the GM standard in the XG V oice map. When playing back song data using any of these Voices on an XG-compatible tone generator other than the MU128 (or the MU100/100R), the Part using one of these Voices will not sound.

English

Bank select MSB = 64 — SFX Voices

These are sound effect Voices. They are included in the Normal Voices and can be played back in pitch.

Bank select MSB = 126 — SFX Kits

These are also sound effects. They are included in the Drum Voices. A different sound is assigned to each note number. These are not available when the Sound Module mode is set to “PFM.”

Bank select MSB = 127 — Drum Kits

These are Drum Kits, and are not available when the Sound Module mode is set to “PFM.”

When Sound Module mode is set to “XG” or “PFM” (Drum and SFX Kits cannot be selected in “PFM”)

Normal Voices BankSelect MSB BankSelect LSB

Drum Voices

XG Voices MU100 Exclusive Voices SFX Voices

BankSelect MSB BankSelect LSB

Drum Kits

SFX Kits

0 0~127 48 0~120 64 0

127 0 126 0

MU128 Guided Tour

About the Parts and V oices of the MU128

The bank select LSB values apply only when the bank select MSB value is set to 0 or 48 — these are used for selecting variation Voices. (Additional MSB values are available when an XG Plug-in board is installed.)

For a bank select MSB value of 0, there are expanded sets of XG Voices featuring Voice variations under general categories such as Stereo, Bright and Sweep. Each of these variation banks is selected with a different LSB value. The basic map for the 128 Voices in each variation bank is the same as the GM System Level 1 standard, as found in the basic Voices (when bank select LSB = 0). Therefore, you can select the desired Voice by specifying the program number, then select the desired type of Voice variation by specifying the bank select LSB (as shown in the chart below).

For example, the basic Voice at program number 49 is “Strings1,” and you can select variations on the Strings Voice by changing the bank select LSB value while keeping the same program number. The variation bank name (e.g., Stereo, Bright, etc.) indicates how the variation Voices differ from the basic set of Voices.

Shaded portions in the chart below indicate Voices that are the same as the basic ones in bank 0.

Bank Select LSB

Bank127 ~

Bank64 (Other Waves)

Bank40 (Tutti)

: Bank3 (Stereo) Bank1 (Key Scale Panning) Bank0 (Basic GM

Voice set)

::: :

:::::

ElGrPno2PianoStr

:::::

ElGrPnoKGrndPnoK BritPnoK

El.Grand Strings1 GunshotGrandPno BritePno

3 49 12812

70s Str

Orchestr

S.Strngs

~~ ~~

Program Number

Use of bank select MSB and LSB when the Sound Module mode is set to “TG300B”

The bank select LSB value is set to a fixed number and the bank is selected by changing the bank select MSB value. The bank select MSB is used to select the variation Voices; however , unlike the XG Voices, individual banks are not organized into specific variation categories.

MU128 Guided Tour

About the Parts and Voices of the MU128

When Sound Module mode is set to "TG300B"

Normal Voices BankSelect MSB BankSelect LSB

GM Voice set and variation set of Voices

C/M Voices*

Drum Voices

Drum Kits

* The C/M Voice set is included to provide multi-timbral compatibility for

Part Mode

The Part mode is used to determine whether the selected Part uses Normal Voices or Drum Voices. It also lets you select a particular drum setup for editing the Drum Voice. This is done in the Multi Part Edit mode (page

120).

Normal mode and Drum mode

The Part mode features two settings: Normal mode and Drum mode. In the Normal mode (“normal”), Normal Voices can be selected. In the Drum mode (“drum,” “drumS1 - S4”), Drum Voices can be selected.

English

0~41

126, 127

BankSelect MSB BankSelect LSB

computer music systems and song data that predate the GM System Level 1 standard.

NOTES

• When the Sound Module mode is set to “PFM,” the Part mode is fixed to normal and cannot be changed. (The Part Mode parameter is not displayed.)

• When using the Voice Category buttons to select Drum and Normal Voices, the Part mode is automatically changed to the appropriate mode. Pressing one of the Voice Category buttons [Piano] - [Model excl.] automatically sets the Part mode to Normal, and pressing the [Drum] button automatically sets the Part mode to Drum (“drum,” “drumS1 - S4”).

About Drum Setups

The Drum Voice cannot be edited directly on the MU128. First, assign one of the drum setups to a Part, then edit the selected setup. Editing of drum setups is done in the Multi Part Edit mode (page 126).

The MU128 has four internal drum setups (“drumS1 - S4”), and each can be assigned to different Parts and ha ve different settings for the drum sounds. However, if the same drum setup is selected simultaneously for more than one Part, editing the drum setup in one Part will automatically change all the other Parts to which the same drum setup is assigned.

By setting the Part mode to “drum” for more than one Part, you can have different Drum Voices assigned to each of these Parts. However, the Drum Voices for Parts set to “drum” cannot be edited.

MU128 Guided Tour

About the Parts and V oices of the MU128

How to Select a Voice

Any MU128 Voice can be selected by specifying two numbers: the bank number and the program number.

The method of selecting Voices differs depending on the selected Sound Module mode or Part mode. (pages 55-57.) The operation of changing the bank number and the program number is explained first, followed by instructions for selecting Voices in each of the Sound Module modes.

Operation

1 From the Single Part controls of the Multi Play mode or

Performance Play mode, use the [SELECT </>] buttons to move the cursor to the bank number parameter.

BANK

Bank

2 Change the bank number by using the [VALUE -/+] buttons

or data dial.

3 Press the [SELECT >] button once to move the cursor to the

program number parameter.

PGM#

Program Number

4 Select the program number by using the [VALUE -/+] buttons

or data dial.

Details

• Voices (and V oice banks) can also be selected by using the Voice Category buttons (page 43).

MU128 Guided Tour

About the Parts and Voices of the MU128

Selecting Voices when the Sound Module mode is set to “XG” or “PFM”

When the Part mode is set to “normal”

The bank select MSB is set to 0 as the default factory setting, and the bank select LSB value (default setting of 000) is indicated in the display. In this condition, the bank number can be changed over the range of 000 - 127. Changing the program number lets you select individual XG Voices.

Increasing the bank number value past 127 (with the [VALUE -/+] buttons or data dial) selects bank number 000. This is not the same as bank 000 in the range above; it is the first bank in the range for the bank select MSB value of 48 (changed from 0 abov e). The bank select LSB is displayed in the bank number, b ut the bank select MSB value is not shown. Howe ver, the new bank select MSB is indicated by the “MU100” icon in the bit map window in the display.

In this condition, the bank number can be changed over the range of 000

- 120. Changing the program number lets you select individual MU100 Exclusive Voices.

Increasing the bank number value past 120 (with the [VALUE -/+] buttons or data dial) selects the SFX bank. Here, the MSB value changes from 48 to 64. The “SFX” icon is shown in the display. Changing the program number lets you select individual SFX Voices.

English

When Sound Module mode is set to “XG” or “PFM” and Part mode is set to “normal”

Bit Map

Window

Instrument

[VALUE-]

BANK

[VALUE+]

NOTE

The “Silence” Voice name indicates that no Voice is assigned for the currently selected bank.

icon

MU100

icon

SFX icon

Bank Number

BankSelect

MSB

BankSelect

LSB

0~1270000~127 0~12048000~120

064SFX

Voice Type

XG Voices MU100 Exclusive

Voices SFX Voices

When the Part mode is set to “drum” (XG mode only)

The bank number in the display indicates the bank select MSB value. (The bank select LSB is fixed at 0.)

Move the cursor to the bank number parameter , then use the [VALUE/+] buttons to select bank 126 or 127. Change the program number to select the desired SFX kit or Drum Voice.

MU128 Guided Tour

Editing in the Multi Mode

When Sound Module mode is set to “XG,” and Part mode is set to “drum”

[VALUE-]

BANK

[VALUE+]

Bit Map Window

Drum

icon

Drum

icon

Bank Number

126 127

BankSelect

MSB

BankSelect

LSB

0126 0127

Voice Type

SFX Kits

Drum Kits

Selecting Voices when the Sound Module mode is set to “TG300B”

When the Part mode is set to “normal”

The bank number in the display indicates the bank select MSB value. (The bank select LSB is fixed at 0.) In this condition, the bank number can be changed over the range of 000 - 041. Changing the program number lets you select individual GM format Voices and their variations. To select C/M Voices, set the bank number to 126 or 127.

When Sound Module mode is set to “TG300B,” and Part mode is set to “normal”

[VALUE-]

BANK

[VALUE+]

Bit Map

Window

Instrument

icon C/M

icon

Bank Number

000~041 126, 127

BankSelect

MSB

0~41

126, 127

BankSelect

LSB

Voice Type

GM Voice set and Variation Voices

C/M Voices

When the Part mode is set to “drum”

The bank number is fixed and cannot be changed. Change the program number to select the desired Drum Voice or SFX kit.

When Sound Module mode is set to “TG300B,” and Part mode is set to “drum”

Bit Map

Window

Drum

icon

Details

• To select Voices from an external MIDI device, first use the control change numbers 0 and 32 to specify the bank select MSB and LSB values, respectively, then specify the desired program change number.

• The value range of the program change messages is 0 - 127 and is offset by 1 from the actual program numbers on the MU128 (1 - 128). Depending on the sequencer or MIDI device you are using, this means you may have to subtract 1 from the desired MU128 V oice number to determine the necessary program change number .

• When the cursor is at the bank number parameter, you can check the MSB, LSB, and program change values for the currently selected V oice by pressing the [ENTER] button twice rapidly (Show MIDI Data function). For more information, see page 171.

Bank Number

000

BankSelect

MSB

BankSelect

LSB

Voice Type

Drum kits

MU128 Guided Tour

Editing in the Multi Mode

When selecting the Voices with the Voice Category buttons and the [VALUE

-/+] buttons or data dial, Voices in the selected category are called up in succession, skipping unrelated bank numbers and program numbers.

The Voices included in each Voice category are shown below. Also refer to the Voice List and Drum Map charts in the “Sound List & MIDI Data” booklet.

In XG and Performance In TG300B mode

(PFM)modes [Normal Voices] Piano Program numbers 1 - 8* Chrom.perc.Program numbers 9 - 16* Organ Program numbers 17 - 24* Guitar Program numbers 25 - 32* Bass Program numbers 33 - 40* Strings Program numbers 41 - 48* Ensemble Program numbers 49 - 56* Bass Program numbers 57 - 64* Reed Program numbers 65 - 72* Pipe Program numbers 73 - 80* Synth lead Program numbers 81 - 88* Synth pad Program numbers 89 - 96* Synth effectsProgram numbers 97 - 104*

Program numbers 1 - 8* Program numbers 9 - 16*

Program numbers 17 - 24*

Program numbers 25 - 32*

Program numbers 33 - 40*

Program numbers 41 - 48*

Program numbers 49 - 56*

Program numbers 57 - 64*

Program numbers 65 - 72*

Program numbers 73 - 80*

Program numbers 81 - 88*

Program numbers 89 - 96*

Program numbers 97 - 104* Ethic Program numbers 105 - 112*1Program numbers 105 - 112* Percussive Program numbers 113 - 120*1Program numbers 113 - 120* SFX Program numbers 121 - 128*2Program numbers 121 - 128*

3 3 3 3 3 3 3 3 3 3

3 3 3

and all Voices in the bank where MSB is set to 64. Program numbers 121 - 128*

Model excl. All Voices in the banks All Voices in banks 126

where MSB is set to 48. and 127. [Drum Voices] Drum All Drum and SFX Kits in the Drum Kits

banks where MSB is set to 126 (TG300B Drum Map Voice)

or 127. (XG Drum Map Voices)

English

Excepting Voices in the banks where MSB is set to 64, 48, 126, or 127.

Excepting Voices in the banks where MSB is set to 48, 126, or 127.

Excepting Voices in banks 126 and 127.

Using the Voice Category buttons to select Voices also lets you automatically change the Part mode (Normal/Drum) according to the selected Voice category.

When an optional Plug-in board is selected, the Voices of the board are assigned to the appropriate Voice Category buttons in the same way as shown above. However, certain categories may not be available (depending on the board), and some of the Voices may be assigned to categories they do not perfectly match. The original Voices of the board which are not included in the XG format are assigned to the Model excl. button.

MU128 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 V olume 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 V oice 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 162.)

MU128 Guided Tour

Editing in the Multi Mode

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:

PART

BANK/PGM# VOL EXP PAN REV CHO VAR KEY

English

Voice name, bank number and program number.

Note Shift (key transpose).

Variation Send.

Chorus Send.

Reverb Send.

Pan (stereo position).

Expression.

Volume.

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

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

MU128 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.

MU128 Guided Tour

Editing in the Multi Mode

On Y our 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

Y ou can easily edit the same control for different Parts. To do this, simply remain at the selected control and use the [PART -/+] buttons to change the Part to be edited.

For more information on the specific Part controls, see page 104.

All Part controls

The instructions in the above 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 the Parts.

English

To select the All Part controls, simultaneously press both [PART -/+] buttons. (For more information on the All Part controls, see page 109.)

MU128 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 fine-tune the sound of a Voice — or radically change its character for some wild and unique sounds.

Changing the Filter and EG Settings of a Part

Operation

1 Select the desired Part.

Use the [PART -/+] buttons. Also, for the sake of these in- structions, select the “SquareLd” Voice, #081. (page 45.)

2 Call up the Edit menu.

Press the [EDIT] button.

3 Select “FILTER” in the display.

Use the [SELECT </>] buttons. The Edit menu has five items: FILTER, EG (Envelope Generator), EQ (Equalizer), VIBRATO, and OTHERS. The “flag” next to the item flashes when selected.

Details

• When a drum Part is selected, the EQ menu item is replaced by “DRUM.” (See page 65 for information on editing drum Parts.)

4 Call up the Filter parameters.

Press the [ENTER] button.

MU128 Guided Tour

Editing in the Multi Mode

5 Select the “LPF Cutoff” parameter.

Use the [SELECT </>] buttons.

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.

English

Hint

Try holding notes or chords in different octaves of the keyboard as you adjust the parameters, since the Filter effects depend on the pitch or frequency of the sound.

Details

The effect of the Filter parameters also differs depending on the selected Voice. (For more information on the Filter parameters, see page 111.)

Now, 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.

MU128 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 V oice. (For more information on the EG parameters, see page 113.)

On Y our 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.

[PART -/+]

For more information on the specific Edit parameters, see page 111.

buttons) at any point in the

MU128 Guided Tour

Editing in the Multi Mode

Editing Drum Kits — with the Drum Setup Controls

English

The Drum Setup controls provide a comprehensive set of tools for controlling and changing the drum kit 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, 26, 42 and 58 are automati-

cally set to play a Drum Part and the MIDI channel for all of them 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, different drum kit 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 kits 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 V oices; the “drum” setting selects the Drum Part, but cannot be edited. (For more information on the Part Mode, see page

120.)

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

MU128 Guided Tour

Editing in the Multi Mode

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

The Drum parameters provide extraordinary flexibility , since the y 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.

-/+

] buttons to select a Part;

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.

MU128 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.

English

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 126)

MU128 Guided Tour

On Y our Own...

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 [SELECT </>] buttons.

Details

If you wish, you can alternately disable/enable this keyboard entry function by pressing the [MUTE/SOLO] button (while the “DRUM” menu is selected).

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 126.

MU128 Guided Tour

Editing in the Performance Mode

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

The potential applications of the Performance mode are enormous, and 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, w hich 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.

English

In this section, you’ll learn how to:

Performance.

sections of the keyboard.

wheel on your keyboard.

MU 128 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

BANK/PGM# VOL EXP PAN REV CHO VAR KEY

Indicates All Part control.

Chorus Return.

Reverb Return.

Performance Pan (stereo position of entire Performance).

Expression (not available; always set to maximum).

Performance Volume.

For more information on the All Part controls, see page 132.

System Transpose (key transpose setting for entire Performance).

MU128 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 dif f icult ke ys.

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 pages 39 and 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.)

English

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.

MU 128 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.

Simultaneously press both [PART -/+] buttons.

Performance bank and number

PART

BANK/PGM# VOL EXP PAN REV CHO VAR KEY

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

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

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.

For more information on the Single Part controls, see page 134.

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 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. (pages 43 and 45.)

MU128 Guided Tour

Editing in the Performance Mode

Details

Drum Parts are not available in the Performance mode. However , percussive V oices (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 firm rule, however, since each preset is only a basic “template” over which you can easily change Voices and create a completely different sound.

English

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 134.

MU 128 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 parameters are different as well. (For a full list and description of Performance Edit parameters, see page 137.)

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 95.

MU128 Guided Tour

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.

English

Second Edit menu.

7 Select and set the Detune parameter for Part 2.

Use the [SELECT <] buttons to select the parameter, then the [VALUE -/+] buttons or data dial. With Part 2 selected, increase this to “+2.2.”

8 Set the Detune parameter for Part 1.

Keep the display at the Detune parameter and select Part 1. Decrease this setting to “–2.2.”

This produces a “fat” layered sound. You can check how much this changes the sound by exiting to the Single Part display and using [MUTE/SOLO] button to listen to the Parts by themselves and together.

Now, try changing some other parameters.

9 Exit to the second Edit menu and call up the “VIBRATO” param-

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

MU 128 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 dif ferent 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 [SELECT a higher “HeavySyn” V oice, set this to “+00.”)

MU128 Guided Tour

] buttons to select the Note Shift control. For

Editing in the Performance Mode

If you wish to save this newly created Performance, refer to “Saving Your Original Performance” on page 78.

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 AR T” 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 follow; for more detailed information on the Assignable Controller and using it in the Multi mode, refer to page 79.

English

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

2) Select Part 1.

MU 128 Guided Tour

Editing in the Performance Mode

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 Performance, you can give it a different name and save it for future recall. The MU128 has 100 Internal memory locations for your original Performances.

For instructions on naming a newly created Performance, see page 138.

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.

NOTE

If the contents of the internal bank of Performances has been changed, you can use the Initialize function to restore the internal Performances to their factory settings. Keep in mind that doing this automatically erases any original Performances in the internal memory. For this reason, you should save any important Performance data to a MIDI data filer (such as the Y amaha MDF3) before executing the Initialize function.

MU128 Guided Tour

Assignable Controller (AC1)

The Assignable Controller (A C1) is one of the more po werful features of the MU128 — 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.)

English

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, expressi ve effects that change smoothly ov er 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

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

MIDI Keyboard

Breath controller

Foot controller

Volume pedal

MU 128 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).*

"Virtual" controller: control number 7 (MIDI Volume)

Physical controller (volume pedal)

MIDI OUT

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 .

REV CHOVAR KEY

StringsBassGuitarOrgan

XG TG PERFORM

SELECT

DrumModel excl.SFXPercussiveEthnic

MIDI IN-A

PLAY EDIT

MUTE/ SOLO

UTIL EFFECT

ENTER

MODE EQ

300

EXIT

PART GROUP

ALL

PART

SELECT

VALUE

MIDI OUT

MIDI Keyboard

STAND BY ON

A/D INPUT

VOLUME

TONE GENERATOR

PART VOL EXPPAN

BANK/PGM

Chrom.perc.

Piano

Ensemble Brass Reed Pipe Synth lead Synth pad

Synth effects

PHONESMIDI IN A

MU PLG-1PLG-2 PLG-3

In this example, the foot controller of a keyboard controls the volume on the MU128.

MU128 Guided Tour

Assignable Controller (AC1)

Assigning the Assignable Controller

The Assignable Controller on the MU128 lets you specify the contr ol 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,

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

English

Foot controller,

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

Breath controller, etc.

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:

MU 128 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

DEMO

PERFORMANCE MULTI

ENTER

STORE UTILITY

NO/

YES

QUICK PC

ARPEGGIATOR PERFORM

TYPE

TEMPO

SUB

LEVEL

DIVIDE

P BEND

MW FMOD

CUTOFF

RANGE

PMOD

TUNE

NOTE

LIMIT

NOTE

LIMIT

DETUNE

HIGH

SFT

LOW

AEG

REL

ATK

DCY

TIME

LEVEL

TIME

FEG

REL

ATK

DCY

TIME

LEVEL

TIME

PAN

BANK

PROGRAM

VOLUME

SYSTEM MIDI ASSIGN

VEL

MASTER

VEL

KBD

FIX

TUNE

CURVE

TRANS

PERFORM

EFECT

NAME

VARI

REV

CHO

TYPE

PARAM

DATA

TYPE

COMMON

ASSIGN1

FC PORTA

PARAM

SWITCH

TIME

FMOD

CUTOFF

VARI

VEL ASSIGN2

DATA

LIMIT

OFFSET

DEPTH

PARAM

LOW

HIGH

LFO

PHASE

AMOD

PMOD

FMOD

WAVE

SPEED

INIT

LAYER

PEG

REL

INIT

ATK

DCY

REL

LEVEL

TIME

LEVEL

TIME

POLY/

FILTER

EFFECT

MONO

REV

CHO

VARI

CUTOFF

REZ

SEND

UTILITY

CTRL

TRANS

RCV

DEVICE

LOCAL

BULK

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.

MU128 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 MU128 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 pages 124 and 139.

Using the Assignable Controller —

Some Applications

Changing the Brightness on a Piano Voice

Though you can use the Equalizer (page 116) to adjust the brightness of a Part’ s Voice, you may find it conv enient 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 #).

English

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.

MU 128 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 124.

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 111). 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 “TG300B,” 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).

MU128 Guided Tour

Assignable Controller (AC1)

Expressive Volume Control of a Part

This example shows you how to use the foot controller as an expression pedal. This may come in handy when use of MIDI Volume (#7) or Expression (#11) is unavailable.

Operation

1 Select the desired Part and Voice.

Keep the settings you made to Part 1 (in the last example), and select a new Part/Voice for this example. From the Multi Play mode, select Part 2 with the [PART -/+] buttons. (This should be set to MIDI channel 2; set the MIDI channel on the connected keyboard accordingly.) A good Voice for this application would be PercOrg# (018); select this with the [VALUE -/+] buttons or data dial.

2 Set the Assignable Controller number for the Part.

Set this to “04.” (Refer to step #3 in “Using the Assignable Controller — Setting Up” above.)

3 From the “OTHERS” parameters, select “AC1AmpCtrl” and set it

to “+63.” Use the [SELECT </>] buttons to select the Amplitude (level) Control parameter, then set the value with the [VALUE -/+] buttons or data dial.

English

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 125.

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.)

MU 128 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 kit.

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. (page 119.)

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.

MU128 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 you are using the AC1 Filter Control, make sure to appropriately set other filter settings. (in “FIL TER” parameters, page 111, and/or “DR UM” parameters, page 126.)

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

137.)

•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.

English

MU 128 Guided Tour

Effects

To complement the huge variety of Voices and the 64-Part multi-timbral capacity, the MU128 features a built-in multi-effect processor with seven independent digital effects: Reverb, Chorus, Variation, Insertion 1 and 2, Part EQ, and Multi EQ. (In this section, we’ll examine the first five; EQ is covered on page155.)

These high-quality effects provide an enormous amount of sound processing power and flexibility. Combine these with the Part controls in the Multi mode, and you have a “virtual” 64-channel mixer at your disposal, with per-channel EQ (Part EQ), master EQ (Multi EQ), and fi ve ef fect sends — complete with seven independent effect units!

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

42). Howev er, using effects 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 Type can be used for all Parts; however, the amount of Chorus for each Part can be adjusted.

MU128 Guided Tour

Effects

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 [P ART -/+] 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 “ChoRtn” (Chorus Return) with the [SELECT </>] buttons, and set it to “60” or higher.

2 Call up the Effect Edit mode.

Press the [EFFECT] button.

3 Select and call up the desired effect section.

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

English

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

147. 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

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

MU128 Guided Tour

Effects

Applying Distortion to a Part —

Using the Variation Effects

The Variation effect section provides a wealth of additional ef fects. With a total of 70 different Types, it features some of the same effects found in the Reverb, Chorus and Insertion sections. This is not mere redundancy; it allows you to use two T ypes of Re verb or Chorus on dif ferent Voices. For example, you may want to have a Symphonic effect on one Voice and Phaser on another. Variation also gives you many special effects not found in the Reverb and Chorus sections, such as Delay , Gate Reverb, Wah and Pitch Change.

The Variation effect can be applied either to all Parts (as with Re verb 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).

MU128 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 149. For a list of the available parameters for each Variation Type, refer to the “Sound List & MIDI Data” booklet.

Details

• When Variation is set for use with a single Part (Insertion), only Variation Send is

available. (The Dry/Wet parameter in V ariation Edit effectively performs the same function as V ariation Return in this case; see page 150.) Also, Variation Send can be set to “on” for only one Part.

• When Variation is set for use with all Parts (System), both Variation Send and

Return must be set to appropriate values. (The operation is the same as step #1 in “Using Reverb and Chorus” above.)

English

For more information, refer to “About the Effect Connections — System and Insertion” on page 152.

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

MU128 Guided Tour

Equalizer (EQ)Equalizer (EQ)

Equalizer (EQ)

The MU128 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 129.)

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.

MU128 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 V oice 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.

English

MU128 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 MU128. 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.

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 155. Also, refer to the Multi Mode Equalizer Lock parameter (page 158).

MU128 Guided Tour

Mute/Solo

The MU128 has convenient Mute and Solo functions for selectively muting or soloing any of the 64 normal Parts and the two 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

Operation

1 Select the desired Part.

Make sure the Single Part mode is active (page 59), then use the [PART -/+] buttons to select the Part.

English

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.

MU128 Guided Tour

Mute/Solo

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

All Parts sound normally.

MU128 Guided Tour

A/D Inputs

The MU128 features a special A/D (Analog-to-Digital) input function that allows you to connect up to two dif ferent external signals (microphone, electric guitar, CD player , etc.), and mix those signals with the MU128’ s Voices. A/D input is perfect for singing along with your keyboard performance, since it allows you to blend the two signals without the need for an external mix er . Or you can use it to sing or play guitar over backing tracks played from a MIDI sequencer.

There are two A/D Parts (A/D1 and A/D2) and they can be manipulated in much the same way as the other parts — for example, they can have independent Volume, Pan, and effect send settings. What’s more, you can control certain parameters automatically via a connected MIDI sequencer.

The two A/D Parts include several specially programmed presets, complete with proper gain settings and suitable effects — using the built-in effects of the MU128.

In this section, you’ll learn how to:

English

Using the A/D Inputs

Operation

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

CAUTION

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

2 Connect the microphone or instrument to one of the A/D INPUT

jacks. For this example, connect to the A/D INPUT 1 jack. (Depending on the equipment being used, appropriate conversion adaptors may be necessary; the A/D INPUT jacks accept 1/4” phone plugs.)

A/D INPUT

VOLUME

MU128 Guided Tour

A/D Inputs

G G

TONE GENERATOR

A/D INPUT

PART VOL EXP PAN

BANK/PGM

Chrom.perc.

Piano

Ensemble Brass Reed Pipe Synth lead Synth pad

Synth effects

PHONESMIDI IN A

STAND BY ON

VOLUME

3 Select the corresponding Part.

Use the [PART -/+] buttons. Since you connected to the A/D INPUT 1 jack above, select Part A/D1 in this step.

REV CHOVAR KEY

StringsBassGuitarOrgan

DrumModel excl.SFXPercussiveEthnic

MU PLG-1 PLG-2PLG-3

X T PE

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).

MU128 Guided Tour

Bank 001

Bank 002

A/D Inputs

English

For input of an electric or electric/acoustic guitar (or other mic 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.).

MU128 Guided Tour

A/D Inputs

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 MU128.

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 MU128 while playing the instrument (or singing into the microphone), until the level is appropriate.

100

MU128 Guided Tour

Yamaha MU128 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual