Yamaha MU90RE1 User Manual

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VOLUME

FCC INFORMATION (U.S.A)

1. IMPORTANT NOTICE : DO NOT MODIFY THIS UNIT!

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

2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA.

3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the user’s manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the problem by using one of the following measures:

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

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

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

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

NEDERLAND / NETHERLAND

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

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

• Raadpleeg uw leverancier over de verwijdering van de batterij op

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

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

• For the removal of the battery at the moment of the disposal at the

end of the service life please consult your retailer or Yamaha Service Center as follows:

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

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

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

waste.

ADVARSEL!

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

VARNING

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

VAROITUS

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

SPECIAL MESSAGE SECTION

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

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

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

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

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

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

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, serial number, power requirements, etc., are located on this plate. You should record the model number, serial number, and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase.

NOTICE: Service charges incurred due to lack of knowledge relating to how a function or effect works (when the unit is operating as designed) are not covered by the manufacturer’s warranty, and are therefore the owners responsibility. Please study this manual carefully and consult your dealer before requesting service.

ENVIRONMENTAL ISSUES: Yamaha strives to produce products that are both user safe and environmentally friendly. We sincerely believe that our products and the production methods used to produce them, meet these

PLEASE KEEP THIS MANUAL

92-BP

Model

Serial No.

Purchase Date

WELCOME TO THE MU90R

Welcome to the MU90R

Congratulations and thank you for purchasing the Yamaha MU90R Tone Generator!

The MU90R is an advanced tone generator providing 779 high-quality

Voices, full General MIDI compatibility — including Yamaha’s new XG- MIDI (Extended General MIDI) — plus flexible computer interfacing

in a rack-mount unit.

With the convenient built-in host computer interface and MIDI ter-

minals, the MU90R 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 MU90R is remarkably easy to use.

The MU90R also features completely independent dual MIDI inputs, 32 Part multi-timbral capacity and full 64-note polyphony for playback of even the most sophisticated song data. A special Performance mode gives you flexible four-Voice operation, for live performance applications. Built-in digital multi-effects give you enormous versatility in “sweeten- ing” the sound. Plus, the convenient A/D inputs allow you to connect a microphone, electric guitar or other instrument, and mix those signals with the MU90R’s Voices. What’s more, the MU90R provides a host of comprehensive, yet easy-to-use editing tools for getting just the sound you need.

TABLE OF CONTENTS

Table of Contents

Welcome to the MU90R......................................................................................................... ii

Unpacking .............................................................................................................................. iii

Table of Contents ................................................................................................................... iv

How to Use This Manual .....................................................................................................vii

Precautions...........................................................................................................................viii

The Controls of the MU90R .................................................................................................. 1

Front Panel .................................................................................................................... 1

Rear Panel ..................................................................................................................... 3

The MU90R — What It Is and What It Can Do ................................................................. 4

What It Is…....................................................................................................................... 4

About General MIDI..................................................................................................... 4

What It Can Do…............................................................................................................. 5

Using With MIDI Keyboard ......................................................................................... 5

Using With a Computer or Sequencer .......................................................................... 5

About the Modes of the MU90R...................................................................................... 6

Play Modes and the Part Controls................................................................................. 6

Utility Mode................................................................................................................ 11

Part Edit Mode ............................................................................................................ 11

GUIDED TOUR

Setting Up Your MU90R ................................................................................................ 14

What Y ou’ll Need.................................................................................................. 14

Making the Connections ....................................................................................... 14

Powering Up and Playing the Demo Song.................................................................... 16

Powering Up ............................................................................................................... 16

Playing the Demo Song .............................................................................................. 17

Playing Your MU90R with a MIDI Keyboard ............................................................. 18

Selecting V oices............................................................................................................... 19

Changing the Voice Bank............................................................................................ 20

Selecting Voices From Your MIDI Keyboard ............................................................. 21

Changing Some of the Settings — Part Controls ........................................................ 22

Selecting Another Part and Changing its MIDI Channel............................................ 22

Changing the Volume and Pan Settings of a Part ....................................................... 24

Using Mute/Solo.............................................................................................................. 25

Using the A/D Input........................................................................................................ 26

Setting Up the MU90R in Your Music System............................................................. 29

Connecting With a Computer ..................................................................................... 29

Macintosh .............................................................................................................. 29

IBM PC/AT and Clones ........................................................................................ 30

Connecting to Other MIDI Devices............................................................................ 31

Using the MU90R with a MIDI Data Storage Device ................................................. 33

Data Flow Block Diagram.............................................................................................. 34

MIDI/Computer Connecting Cables............................................................................. 35

TABLE OF CONTENTS

REFERENCE

Multi Mode...................................................................................................................... 38

Multi Play Mode ......................................................................................................... 39

Play Displays .............................................................................................................. 39

Part Controls ............................................................................................................... 40

Single Part Control...................................................................................................... 41

Selecting Single Part Control ................................................................................ 41

Editing in Single Part ............................................................................................ 41

All Part Control........................................................................................................... 46

Editing in All Part.................................................................................................. 46

Multi Edit Mode.......................................................................................................... 49

Filter ...................................................................................................................... 49

EG (Envelope Generator)...................................................................................... 52

EQ (Equalizer) ...................................................................................................... 57

Vibrato................................................................................................................... 59

Others .................................................................................................................... 61

Drum Setup Controls............................................................................................. 73

Calling Up the Drum Setup Menu................................................................... 73

Drum Setup Parameters ................................................................................... 75

Performance Mode ......................................................................................................... 80

Performance Play Mode.............................................................................................. 80

Selecting a Performance and its Individual Parts.................................................. 81

Performance Part Control ........................................................................................... 83

Single Part ............................................................................................................. 83

All Part .................................................................................................................. 86

Performance Edit Mode .............................................................................................. 89

Common ................................................................................................................ 89

Part ........................................................................................................................ 93

Filter ...................................................................................................................... 94

EG ......................................................................................................................... 94

EQ ......................................................................................................................... 94

Vibrato................................................................................................................... 95

Others .................................................................................................................... 95

Copy and Store Operations ......................................................................................... 97

Copy ...................................................................................................................... 97

Store ...................................................................................................................... 98

Recall Function ................................................................................................... 100

Effect Edit Mode........................................................................................................... 101

Reverb (REV) ........................................................................................................... 101

Chorus ....................................................................................................................... 103

Variation .................................................................................................................... 104

Insertion 1, 2 ............................................................................................................. 106

About the Effect Connections — System and Insertion ........................................... 109

Equalizer (EQ) Edit...................................................................................................... 112

Utility Mode .................................................................................................................. 114

System Functions ...................................................................................................... 114

GUIDED TOUR

REFERENCE

APPENDIX

TABLE OF CONTENTS

Dump Out Functions................................................................................................. 119

Saving and Restoring Data via MIDI.................................................................. 119

Saving and Restoring Data via TO HOST .......................................................... 119

Initialize Functions ................................................................................................... 122

Demo Song Play (DEMO) ........................................................................................ 125

Sound Module Mode (MODE) ................................................................................. 126

Show Control Change ............................................................................................... 127

Show Exclusive......................................................................................................... 128

About Cable Messages ........................................................................................ 129

XG .................................................................................................................................. 132

Chapter 0: Format Overview .................................................................................... 132

Chapter 1: MIDI Specifications ................................................................................ 135

Troubleshooting ............................................................................................................ 147

Error Messages ............................................................................................................. 148

Specifications................................................................................................................. 149

Glossary ......................................................................................................................... 151

Index .............................................................................................................................. 153

APPENDIX

How to Use This Manual

You are probably eager to try out your new MU90R Tone Generator right away and hear what it can do, rather than have to read through a lot of instructions before you can even get a sound out of it.

However, to get the most out of your MU90R, 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

MU90R, how to avoid damaging, and how to ensure long-term, reli-

able operation.

2) The Controls of the MU90R

This section introduces you to the panel controls and connectors.

3) The MU90R — What It Is and What It Can Do

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

MU90R and offers some important hints on how you can use it effec-

tively.

HOW TO USE THIS MANUAL

4) Guided Tour

This very important section gets you started using your new MU90R. It

helps you set up the instrument, play it, and use some of the more im-

portant functions and features. The hands-on experience you gain in

this section will help you navigate through the other sections of the

manual.

5) Setting Up the MU90R in Your Music System;

Using the MU90R with a Computer

These sections (within the Guided Tour) provide all you need to know

to effectively integrate the MU90R into your present computer music

system.

6) Reference

Once you’re familiar with everything above, lightly go over this com-

prehensive 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

Finally, 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, Trouble-

shooting and Error Messages provide additional useful information.

vii

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 smells or smoke should appear to be caused by it, immediately turn off

CAUTION

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-3B) only. Using the wrong adaptor can result in damage to the instrument or overheating.

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

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

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

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

• When removing the electric plug from 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.

• Remove the adaptor plug from the outlet when the instrument is not to be used for extended periods of time, 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 or plastic 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.

• Use only the stand/rack specified for the instrument. When attaching the stand or rack, use the provided screws only. Failure to do so could cause damage to the internal components or result in the instrument falling over.

• 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 MDF2), 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 MDF2, 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.

viii

The Controls of the MU90R

Front Panel

THE CONTROLS OF THE MU90R

1 PHONES jack

For connection to a set of stereo headphones (1/4”).

2 VOLUME control

Turning this adjusts the overall volume of the MU90R.

3 A/D INPUT 1, 2 jacks

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

4 A/D INPUT level control

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

5 PLAY button

For entering the Play mode and switching among the different Play displays. (See page 39.)

6 UTIL (UTILITY) button

For entering the Utility mode. (See page 114.)

7 MODE button

For entering the Sound Module mode. (See page 126.)

8 EDIT button

For entering the Edit mode. (See pages 49 and 89.)

9 EFFECT button

For entering the Effect Edit mode. (See page 101.)

10 EQ button

For entering the EQ Edit mode. (See page 112.)

THE CONTROLS OF THE MU90R

11 MUTE/SOLO button

Pressing this alternately mutes or solos the selected Part. (See page 25.)

12 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 System Exclusive hexadecimal message for the current function and parameter value.

13 EXIT button

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

14 PART -/+ buttons

For selecting different Parts. In the Effect Edit mode, these can be used to switch among the different effects. Pressing these together enters and exits from All Part control. (See page 46.)

15 SELECT </> buttons

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

16 VALUE -/+ buttons

For changing the value of a selected parameter or control.

17 DATA dial

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

18 POWER switch

Pressing this turns the power on and off.

Rear Panel

THE CONTROLS OF THE MU90R

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

For connection to other MIDI devices, such as a MIDI keyboard, tone generator, sequencer, or to a computer that has a MIDI interface. MIDI IN A and B are independent MIDI ports, allowing full 32-channel MIDI input. MIDI OUT is for data dumps to another MIDI device, while MIDI THRU is for “daisychain” connection of additional MU90Rs or other MIDI instruments. (See page 14 for more information on MIDI connections.)

2 HOST SELECT switch

For selecting the type of host computer. (See page 29.)

3 TO HOST terminal

For connection to a host computer that does not have a MIDI interface. (See page 31.)

4 DC IN jack

For connection to the PA-3B AC power adaptor.

5 OUTPUT L, R jacks

For connection to a stereo amplifier/speaker system. When using a mono system, connect it to the L/MONO jack.

6 INDIV. OUTPUT 1, 2 jacks

For independent output of selected Parts (1/4”). Parts selected for output through these jacks are not output through the main OUTPUT or PHONES jacks. (See pages 72 and 79.)

THE MU90R — WHAT IT IS AND WHAT IT CAN DO

The MU90R — What It Is and What It Can Do

What It Is…

The MU90R is a fulll-featured and easy-to-use tone generator. It features full General MIDI Level 1 compatibility with 128 General MIDI Voices and 9 drum kits. It also provides new XG-MIDI (Extended General MIDI) compatibility, with a total of 586 Voices and 20 drum kits. The MU90R has 64-note polyphony and is 32-Part multi-timbral. In other words, the MU90R has 32 different Parts, each with its own Voice, so that up to 32 different Voices can be sounded simultaneously. Since the MU90R features dual MIDI input ports (A and B), 16 Parts can be played from one MIDI port and the remaining 16 from the other port.

The MU90R also has a TO HOST terminal for easy interfacing with a computer, allowing you to play the Voices using your favorite music software. This is where the advanced multi-timbral capabilities come in, letting you playing sophisticated arrangements using up to 32 different Voices at the same time.

The MU90R 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 MU90R gives you 100 factory-programmed Preset Performances plus 100 Internal Performance locations for your own original Performances.

About General MIDI

General MIDI is a new addition to the worldwide MIDI standard. MIDI, as you know, stands for Musical Instrument Digital Interface, and makes it possible for various electronic musical instruments and other devices to “communicate” with each other. For example, by connecting a sequencer to the MU90R’s MIDI IN terminal, you could play back a song on the sequencer using the Voices of the MU90R.

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 MU90R is fully compatible with General MIDI, you can take advantage of the vast wealth of musical material recorded in that format.

What It Can Do…

Here are a few ideas on how you can use the MU90R. The list below is not comprehensive, but is meant to be a general guide to the possibilities and provide a starting point or springboard for your own creative ideas and explorations.

Using With MIDI Keyboard

Use the MU90R 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 play four Voices on the MU90R 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.

THE MU90R — WHAT IT IS AND WHAT IT CAN DO

Using With a Computer or Sequencer

Home Studio Setup

The MU90R integrates instantly and easily into any existing setup. If you have a MIDI keyboard, computer and sequencing software, the MU90R with its high-quality Voices and multi-timbral capabilities can expand your home studio system.

Take It With You

If you have a laptop computer (and sequencing software), simply connect the MU90R, plug in some headphones and you’ve got a complete, highpowered music making system that’s exceptionally easy to use. Use it for composing, arranging, practicing or making/playing demos for your band.

Multimedia

Since it’s compatible with General MIDI, the MU90R is a natural for multimedia applications. Since the computer interface is built-in to the MU90R, it hooks up instantly and easily to the computer’s serial port or printer port, without the need for any other equipment.

THE MU90R — WHAT IT IS AND WHAT IT CAN DO

About the Modes of the MU90R

The MU90R has two main operating modes: Multi and Performance. In Multi mode, the MU90R is a 32-Part multi-timbral tone generator; in Performance mode, the MU90R effectively functions as four tone generators controlled over a single MIDI channel.

Which mode the MU90R is in depends on the selected Sound Module mode. If XG, TG300B or C/M are selected, the MU90R automatically sets itself to the Multi mode. When PFM is selected, the MU90R is in the Performance mode.

Sound Module Mode

TG300B

C/M

Performance

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

Selected Sound Module mode.

Play Modes and the Part Controls

Once the operating mode of the MU90R is set (Multi or Performance), there are two main ways you can use the MU90R: 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 41 and 46 for more information.)

THE MU90R — WHAT IT IS AND WHAT IT CAN DO

Play Mode

Part 1 … 32 A ll Part A/D

Receive Channel Device Number Receive Channel

Bank Number Source Variation

Program Number A/D Source

Volume Master Volume Volume

Expression Master Attenuator Expression

Pan Pan

Reverb Send Reverb Return Reverb Send

Chorus Send Chorus Return Chorus Send

Variation Send Variation Return Variation Send

Note Shift Transpose

The MU90R has several different Edit modes, each with various menus and operations:

Part Edit Mode

Filter

LPF Cutoff Frequency

LPF Resonance

HPF Cutoff Frequency

EG Attack Time

EG Decay Time

EG Release Time

Pitch EG Initial Level

Pitch EG Attack Time

Pitch EG Release Level

Pitch EG Release Time

THE MU90R — WHAT IT IS AND WHAT IT CAN DO

Vibrato

Others

EQ Low Frequency

EQ Low Gain

EQ High Frequency

EQ High Gain

Vibrato Rate

Vibrato Depth

Vibrato Delay

Detune

Part Mode

Mono/Poly Mode

Portamento Switch

Portamento Time

Element Reserve

Note Limit Low

Note Limit High

Dry Level (VarConnect=SYS)

Velocity Sensitivity Depth

Velocity Sensitivity Offset

Velocity Limit Low

Velocity Limit High

Pitch Bend Control

Performance Edit Mode

Common

THE MU90R — WHAT IT IS AND WHAT IT CAN DO

MW LFO Pitch Modulation Depth

AC1 Control Change Number

AC1 Filter Control

AC1 Amplitude Control

Output Select

Performance Name

Portamento Switch

Part

Portamento Time

MW LFO Pitch Modulation Depth

MW LFO Filter Modulation Depth

Pitch Bend Control

A/D Part

AC1 Control Change Number

AC1 Filter Control

AC1 Amplitude Control

AC1 LFO Filter Modulation Depth

Filter

LPF Cutoff Frequency

LPF Resonance

HPF Cutoff Frequency

THE MU90R — WHAT IT IS AND WHAT IT CAN DO

EG Attack Time

EG Decay Time

EG Release Time

Pitch EG Initial Level

Pitch EG Attack Time

Pitch EG Release Level

Pitch EG Release Time

EQ Low Frequency

Vibrato

Others

EQ Low Gain

EQ High Frequency

EQ High Gain

Vibrato Rate

Vibrato Depth

Vibrato Delay

Detune

Mono/Poly Mode

Note Limit Low

Note Limit High

Dry Level (VarConnect=SYS)

Velocity Sensitivity Depth

For more information on each of these modes and their menus, see the respective sections in the Reference section.

Utility Mode

The Utility mode lets you set functions related to the overall operation of the MU90R, such as Master Tune, 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 MU90R settings, and playing the special Demo song.

THE MU90R — WHAT IT IS AND WHAT IT CAN DO

Velocity Sensitivity Offset

Velocity Limit Low

Velocity Limit High

Copy

Store

Recall

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.

THE MU90R — WHAT IT IS AND WHAT IT CAN DO

MEMO

When using your MU90R 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.

UIDED

OUR

GUIDED TOUR

Setting Up Your MU90R

In this introductory section, you’ll learn how to set up the MU90R for use with a MIDI keyboard. (Setting up for use with a computer is covered on page 29.)

What You’ll Need

☛ The MU90R and the included 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, make sure that all equipment to be connected is turned off, and that the MU90R power adaptor is not connected to an electrical outlet.

Operation

1 Connect one end of the MIDI cable to the MIDI OUT terminal of

the MIDI keyboard and the other to MIDI IN-A of the MU90R (as

shown in the illustration below).

2 Connect the audio cables from the R and L/MONO OUTPUT

jacks of the MU90R to the appropriate inputs on the amplifier

speaker system (as shown in the illustration below). You can also

connect cables to the INDIV. OUTPUT jacks.

If the amplifier has only one input, use the L/MONO jack on the MU90R. If you are using stereo headphones, connect them to the front panel PHONES jack.

3 Set the HOST SELECT switch on the MU90R to MIDI.

Connect the power adaptor to the DC IN terminal on the MU90R

and plug the adaptor into an appropriate electrical outlet.

GUIDED TOUR

CAUTION!

● Do not attempt to use an AC adaptor other than the PA-3B. The use of an incompatible

adaptor may result in irreparable damage to the MU90R, and even pose a serious shock hazard.

● Be sure to disconnect the power adaptor from the outlet when the MU90R is not in use.

PHONES

Amplifier

Speaker System

Power

Adaptor

DC INL/MONO

OCTAVE SHIFT

MIDI IN-A

MIDI CABLE

MIDI OUT

DC IN

CONTROLLER NUMBER LIST

CONTROL CHANGE

1 MODULATION DEPTH 2 BREATH CONTROL 4 FOOT CONTROL 5 PORTAMENTO TIME 6 DATA ENTRY 7 MAIN VOLUME

ASSIGNABLE

STOP CONTINUE START

8 BALANCE CONTROL 10 PANPOT

PROGRAM RESET SYSTEM WHEEL ASSIGNSEQUENCER

PROGRAM

GMONXG

BANK

CHANGE

TEMPO

SELECT

PITCH

SHIFT

OCTAVE

OCTAVE RESET

73 ATTACK TIME

11 EXPRESSION

74 BRIGHTNESS

64 HOLD1(DAMPER)

84 PORTAMENTO CONTROL

65 PORTAMENTO

91 REVERB DEPTH

66 SOSTENUTO(CHORD HOLD)

92 TREMOLO DEPTH

67 SOFT PEDAL

93 CHORUS DEPTH

69 HOLD2 (FREEZE)

94 VARIATION DEPTH

71 HARMONIC CONTENT

95 PHASER DEPTH

72 RELEASE TIME

MIDI

SOUND

MERGE

FIXED

DRUM

CONTROLLER

NRPN

RPN

OFF

ON/OFF 1 2 3 4 5 6 7 8 9 A B C D E F 0

VELOCITY

NUMBER

(RPN) 120 PITCH BEND SENSITIVITY 121 FINE TUNING 122 COARSE TUNING (NRPN) 123 VIBRATO RATE 124 VIBRATO DEPTH 125 VIBRATO DELAY

TRANSPOSE

IN MIDI OUT

126 FILTER CUTOFF FREQUENCY 127 FILTER RESONANCE 128 EG ATTACK TIME 129 EG DECAY TIME 130 EG RELEASE TIME 131 DRUM FILTER CUTOFF FREQUENCY 132 DRUM FILTER RESONANCE 133 DRUM EG ATTACK RATE

134 DRUM EG DECAY RATE 135 DRUM PITCH COARSE 136 DRUM PITCH FINE 137 DRUM LEVEL 138 DRUM PAN 139 DRUM REVERB DEPTH 140 DRUM CHORUS DEPTH 141 DRUM VARIATION DEPTH

POWER ON OFF

OTHERS

142 CHANNEL PRESSURE 143 POLYPHONIC KEY PRESSURE 144 MASTER VOLUME 145 MASTER BALANCE 146 MASTER TUNING 147 VELOCITY 148 TEMPO

MIDI KEYBOARD CBX-K1

HEXA

DECIMAL

ENTER

DECIMAL

MIDI Keyboard

GUIDED TOUR

Powering Up and Playing the Demo Song

Once you’ve connected everything properly, you’re ready to turn the MU90R on and start playing it. However, a small word of caution before you begin: Follow the instructions given below to avoid possible damage to your equipment and speakers.

Powering Up

Operation

1 If you haven’t done so already, press the POWER switch on the

MU90R.

After the greeting display, the following display will appear:

2 Turn on the power of your MIDI keyboard.

3 Make sure that all volume controls (on the MU90R and the con-

nected amplifier) are turned down. Then, turn on the power of your amplifier speaker system.

4 Finally, set the volume control on the MU90R to about the mid-

way position and set the volume on the amplifier to a suitable level.

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 MU90R.

Operation

1 Press the UTIL button.

2 Select “DEMO” with the SELECT w buttons and press the

ENTER button.

GUIDED TOUR

3 Press the ENTER button to start the Demo Song.

The Demo Song starts playing immediately and repeats indefinitely until stopped (in step 4 below). After a while, playback of the individual Parts of the song is shown graphically by the “level meter” bars in the display.

NOTE During Demo Song playback, all panel controls (except the EXIT button and the VOLUME control) cannot be used.

4 To stop playback of the song, press the EXIT button.

5 To exit from the Demo Song function, press the EXIT button

again.

GUIDED TOUR

Playing Your MU90R With a MIDI Keyboard

Operation

Play some notes on your MIDI keyboard.

If you’ve carefully followed all instructions up to now, one of the “level meter” bars in the display should move — and you should be able to hear the sound of the MU90R as you play.

The “level meter” bar indicates the “level” (velocity) of the incoming MIDI data.

The number under the moving “level meter” indicates the Part number.

NOTE If your MIDI keyboard is transmitting on channel 1, the Voice of Part 1 should sound. If it is transmitting on another channel, another Part’s Voice will sound. For the sake of these introductory instructions, set your keyboard so that it transmits on channel 1. (Refer to the owner’s manual of that instrument if necessary.)

Selecting Voices

In this brief section, you’ll learn how to select other Voices. You can do this directly from the panel of the MU90R or remotely, from your MIDI keyboard.

Operation

1 First, select a Part. Use the PA R T q buttons to select Part 1.

Press the appropriate button until “01” appears in the PART section of the display.

GUIDED TOUR

2 Use the SELECT w buttons to move the arrow cursor to the

right side of the instrument icon, as shown below.

Solid arrow at Voice number (currently selected).

Arrow cursor (indicates currently selected control). The arrow is directly above “PGM#” on the panel,

Voice name.

Instrument icon of current Voice.

MIDI receive channel for current Part.

Part number. (This is selectable only with the PAR T q buttons.)

indicating that Program Number is currently selected.

Voice number (program number).

3 Use the VALUE q buttons or data dial to change the Voice

number. In the display below, Voice number 26 has been selected.

Use these to move arrow cursor.

GUIDED TOUR

Play this new Voice from the keyboard. Try selecting other Voices and play them as well. (For a list of all the available Voices, refer to the SOUND LIST & MIDI DATA booklet.

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

Changing the Voice Bank

In the current Sound Module mode (XG), several banks of Voices are available. Each bank can contain up to 128 different Voices.

Operation

1 Use the SELECT w buttons to move the arrow cursor to the

left side of the instrument icon, as shown below.

Solid arrow at Bank number (currently selected).

Bank number.

Arrow cursor (indicates currently selected control). The arrow is directly above “BANK” on the panel, indicating that Bank number is currently selected.

Use these to move arrow cursor.

2 Use the VALUE q buttons or data dial to change the Bank

number.

3 Finally, use the SELECT w buttons again to move the arrow

cursor back to the right side of the instrument icon — for Voice selection.

Selecting Voices From Your MIDI Keyboard

GUIDED TOUR

You can also select Voices remotely from the connected MIDI keyboard. Though the actual operation may differ depending on the keyboard used, the general procedure is the same. (Refer to the owner’s manual of your instrument for specific instructions.)

Operation

1 Make sure that your keyboard is set up to send Program Change

messages.

2 Use the panel controls to select a program on your keyboard.

Generally, if everything has been set up properly, the Voice number and name on the MU90R will change, and will be the same number as the program number you selected on your keyboard.

GUIDED TOUR

Changing Some of the Settings — Part Controls

You can make changes to each individual Part by using the Part controls. These are always displayed in the Play mode, giving you at-a-glance confirmation of the various basic settings of the MU90R. Let’s take a look at the Play display again:

Voice name, bank number and program number for the selected Part.

PART MIDI

Part number.

BANK/PGM# VOL EXP PAN REV CHO VAR KEY

Note Shift setting for the selected Part.

Variation Send setting for the selected Part.

Chorus Send setting for the selected Part.

Pan setting for the selected Part.

Expression setting for the selected Part.

Volume setting for the selected Part.

MIDI receive channel for the selected Part.

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

Selecting Another Part and Changing its MIDI Channel

Here we’ll select Part 2 and change its MIDI channel to 1, so that it matches the MIDI channel of Part 1. This allows you to play the Voices of both Part 1 and Part 2 over MIDI channel 1.

GUIDED TOUR

Operation

1 Use the PA RT q buttons to select Part 2.

Part 2.

2 Use the SELECT w buttons to call up the “Rcv CH” display

below.

Current MIDI Receive Channel.

3 Use the VALUE q buttons or data dial to change the MIDI

Receive Channel to “A01.”

4 Finally, use the SELECT w buttons to move the arrow cursor

back to the instrument icon (so that the Voice name is displayed), and play the MIDI keyboard again.

Both “level meters” move together.

If both Parts 1 and 2 have been set to MIDI channel 1, both of their “level meters” should move together as you play. And, if the two Parts are set to different Voices, you should hear two different Voices sound at the same time. (T o change the Voice for a Part, refer back to Selecting V oices above.)

GUIDED TOUR

Changing the Volume and Pan Settings of a Part

Now that you’re playing two Voices at the same time, you may want to adjust their settings. Here, we’ll change the Volume and Pan settings of one Part’s Voice.

Operation

Use the PART q buttons to select the desired Part (Part 1 or 2).

2 Use the SELECT w buttons to call up the “Volume” display

below.

Current Volume setting.

3 Use the VA L UE q buttons or data dial to change the setting,

and play the keyboard as you make changes.

4 Now that you’ve adjusted the Volume balance of the two Voices,

change one of the Part’s Pan setting. Use the SELECT w buttons to call up the “Pan” display below.

Current Pan setting.

5 Use the VA L UE q buttons or data dial to change the setting,

and play the keyboard again as you make changes.

If you want, try making changes to some of the other Part controls. The procedure is the same: 1) Use the PART q buttons to select a Part, 2) use the SELECT w buttons to choose the desired control, and 3) use the VALUE q buttons or data dial to change the setting. For more information on the Part controls, see page 40.

Using Mute/Solo

The MU90R has convenient Mute and Solo functions for selectively muting or soloing any of the 32 Parts and A/D Parts A1 and A2. 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.

Mute and Solo are 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.

Operation

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.

GUIDED TOUR

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

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

All Parts sound normally.

GUIDED TOUR

Using the A/D Input

The MU90R features a special A/D (Analog-to-Digital) Input function that allows you to connect a microphone, electric guitar or other instrument and mix in those signals with the MU90R’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 mixer. Or you can use it to sing or play guitar over backing tracks played from a MIDI sequencer. There are two A/D Parts — A1 and A2 — and they include several different pre-programmed settings that take advantage of the built-in effects of the MU90R.

The MU90R has two inputs on the front panel. The signals from these

are mixed.

Operation

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

2 Connect the microphone, instrument or audio source to the A/D

INPUT jack(s) on the front panel. (Depending on the equipment you intend to connect, converting adaptors may be necessary.)

GUIDED TOUR

3 Use the PA RT q buttons to select Part A1.

4 Use the SELECT w buttons to move the arrow cursor to

PGM#, as shown below, and use the VALUE q buttons or data dial to select number 002.

5 Move the arrow cursor to BANK (with the SELECT w buttons)

and use the VALUE q buttons or data dial to select the type of input: Mic, Guitar, Keyboard, Audio, Stereo Keyboard or Stereo Audio. This determines the gain level of the input. Select the type corresponding to the input you’ll use.

6 Slowly bring up the A/D INPUT control on the front panel and

play the instrument (or sing into the microphone) until the level is appropriate.

GUIDED TOUR

7 Now, move the arrow cursor back to PGM# (with the SELECT

w buttons) and try selecting some different A/D programs

(with the VALUE q buttons or data dial).

The available programs have been specially programmed to suit the type of input selected. For example, programs for Mic input include Karaoke and Vocal; Guitar input programs include Tube, Stack and Phaser. Explore some of these settings on your own with a microphone and different instruments.

GUIDED TOUR

Setting Up the MU90R in Your Music System

As you learned in the section The MU90R — What It Is and What It Can Do on page 4, the MU90R can be integrated into a variety of setups. It

would be impossible to cover all connection possibilities in a short manual as this; however, the section below will help in quickly setting up the MU90R and using it in your system.

Connecting With a Computer

The MU90R 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 MU90R can be used with the following computers: Apple Macintosh and IBM PC.

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

MU90R to it, rather than using the host computer interface on the MU90R. (See the section “Connecting to Other MIDI Devices” on page 31.)

Depending on the computer or interface used, set the HOST SELECT

switch to the appropriate setting: MIDI, PC-1, PC-2 (IBM and clones), or Mac (Macintosh). For information on the types of cables that can be used for connection, see the section “MIDI/Computer Connecting Cables” on page 35.

Macintosh

Follow these instructions if you have an Apple Macintosh not equipped with an external MIDI interface. Connect the TO HOST terminal on the MU90R to the Modem or Printer port on the Macintosh.

Modem or Printer Port

Macintosh

GUIDED TOUR

Operation

1 Set the HOST SELECT switch to Mac.

2 Connect the MU90R to the host computer, as shown in the illus-

tration above. Use a standard Macintosh cable (8-pin Mini DIN on both ends; see page 35).

3 Turn on the the host computer, then the MU90R.

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

on the software for operation with the MU90R.

The options you may have to set include:

MIDI Interface Type MIDI Time Piece Clock

Standard MIDI Interface

gg gg

On (for controlling all 32 Parts of the MU90R)

gg gg

1 MHz

Other options and settings may have to be made as well. Refer to the owner’s manual of your particular music software for more information.

IBM PC /AT and Clones

Follow these instructions if you have an IBM PC/AT or compatible computer not equipped with an external MIDI interface. Connect the TO HOST terminal on the MU90R to one of the computer’s serial ports, COM 1 or COM 2.

Serial Port

IBM PC/AT or Compatible Computer

NOTE Your music software must be able to recognize the TO HOST connection. Consult your Yamaha dealer for more details. If your software is not compatible, you can still use the MU90R by installing a MIDI interface (internal card or external) to the computer.

Operation

1 Set the HOST SELECT switch to PC-2.

2 Connect the MU90R to the host computer, as shown in the illus-

tration above. Use a standard computer cable (8-pin Mini DIN to 9-pin D-SUB; see page 35).

3 Turn on the the host computer, then the MU90R.

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

on the software for operation with the MU90R.

Refer to the owner’s manual of your particular music software for more information.

Connecting to Other MIDI Devices

GUIDED TOUR

The MU90R is equipped with MIDI IN and OUT terminals, allowing you to use it in any MIDI system. Example uses for the built-in MIDI interface include:

☛ Connecting to a MIDI keyboard (for playing the sounds of the MU90R

from that keyboard).

☛ Connecting to a computer equipped with a MIDI interface (either in-

ternal or external).

☛ Connecting to a hardware sequencer (such as the Yamaha QY700). ☛ Connecting to a MIDI data storage device (such as the Yamaha MDF2

MIDI Data Filer).

GUIDED TOUR

MIDI CABLE

MIDI OUT

OCTAVE SHIFT

MDF2

MIDI IN-A or IN-B

MIDI CABLE

MIDI OUT

DC IN

IN MIDI OUT

CONTROLLER NUMBER LIST

CONTROL CHANGE

11 EXPRESSION

73 ATTACK TIME

(RPN)

1 MODULATION DEPTH

64 HOLD1(DAMPER)

2 BREATH CONTROL 4 FOOT CONTROL 5 PORTAMENTO TIME 6 DATA ENTRY 7 MAIN VOLUME 8 BALANCE CONTROL

PITCH

ASSIGNABLE

10 PANPOT

PROGRAM RESET SYSTEM WHEEL ASSIGNSEQUENCER

PROGRAM

BANK

CHANGE

STOP CONTINUE START

TEMPO

SHIFT

OCTAVE

OCTAVE RESET

SELECT

74 BRIGHTNESS

65 PORTAMENTO

84 PORTAMENTO CONTROL

66 SOSTENUTO(CHORD HOLD)

91 REVERB DEPTH

67 SOFT PEDAL

92 TREMOLO DEPTH

69 HOLD2 (FREEZE)

93 CHORUS DEPTH

71 HARMONIC CONTENT

94 VARIATION DEPTH

72 RELEASE TIME

95 PHASER DEPTH

MIDI

GMONXG

SOUND

MERGE

FIXED

CONTROLLER

RPN

OFF

ON/OFF 1 2 3 4 5 6 7 8 9 A B C D E F 0

VELOCITY

126 FILTER CUTOFF FREQUENCY

120 PITCH BEND SENSITIVITY

127 FILTER RESONANCE

121 FINE TUNING

128 EG ATTACK TIME

122 COARSE TUNING

129 EG DECAY TIME

(NRPN)

130 EG RELEASE TIME

123 VIBRATO RATE

131 DRUM FILTER CUTOFF FREQUENCY

124 VIBRATO DEPTH

132 DRUM FILTER RESONANCE

125 VIBRATO DELAY

133 DRUM EG ATTACK RATE

TRANSPOSE

DRUM

NRPN

NUMBER

134 DRUM EG DECAY RATE 135 DRUM PITCH COARSE 136 DRUM PITCH FINE 137 DRUM LEVEL 138 DRUM PAN 139 DRUM REVERB DEPTH 140 DRUM CHORUS DEPTH 141 DRUM VARIATION DEPTH

POWER ON OFF

OTHERS

142 CHANNEL PRESSURE

143 POLYPHONIC KEY PRESSURE 144 MASTER VOLUME 145 MASTER BALANCE 146 MASTER TUNING 147 VELOCITY 148 TEMPO

MIDI KEYBOARD CBX-K1

ENTER

HEXA

DECIMAL

MIDI Keyboard

MIDI IN-B

Operation

1 Set the HOST SELECT switch to MIDI.

2 Connect the MU90R to the appropriate MIDI device, as shown

in the illustrations above. Use a standard MIDI cable (see page

35).

3 Turn on the the connected device, then the MU90R.

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 MU90R.

GUIDED TOUR

Using the MU90R with a MIDI Data Storage Device

You can also use the MU90R with a MIDI data storage device, such as the Yamaha MDF2 MIDI Data Filer. This lets you save or back up whatever changes you’ve made in the settings of the Utility and Part Edit modes, as well as changes to the EQ built-in effects and Performances. Then, when you want to recall those settings, you can transfer the appropriate data from the storage device.

The MDF2 also allows you to play compatible song data on the

MU90R directly from the MDF2 itself, without the need of a sequencer.

Make sure that the MU90R is properly connected to the data storage device (via MIDI). Use the Dump Out function (page 119) to send data to the device. Also refer to the owner’s manual of your data storage device for specific operating instructions in receiving or sending data.

MIDI CABLE

MIDI IN

MDF2

MIDI OUT

GUIDED TOUR

Data Flow Block Diagram

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

TO HOST IN-B IN-A OUT THRU

Sound

Module

A1~16CH

Sound

Module

B1~16CH

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

TO HOST IN-B IN-A OUT THRU

Sound

Module

A1~16CH

Sound

Module

B1~16CH

MIDI/Computer Connecting Cables

MIDI

Standard MIDI cable. Maximum length 15 meters.

GUIDED TOUR

DIN 5-PIN DIN 5-PIN

4 2 5

4 2 (GND) 5

Mac

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

MINI DIN 8-PIN

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

2 (HSK i) 1 (HSK o) 5 (RxD –)

MINI DIN 8-PIN

PC-1

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

MINI DIN 8-PIN

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

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

D-SUB 25-PIN

PC-2

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

MINI DIN 8-PIN

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

This concludes your basic tour of the important functions of the MU90R. To find out more about how to best use your MU90R, look through the Reference section that follows and try out some of the functions and operations that interest you.

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

D-SUB 9-PIN

MEMO

The Reference section of this manual covers in detail all of the functions of the MU90R. Refer to it when you need information about a specific function, feature or operation.

EFERENCE

MULTI MODE

Multi Mode

In the Multi mode, the MU90R performs as a multi-timbral tone generator capable of playing up to 32 Parts simultaneously, over 32 MIDI channels. Normally, the MU90R should be set to Multi mode when using it with a sequencer and General MIDI song data. There are three Multi modes: XG, TG300B and C/M. Each mode provides compatibility with different music software and hardware. XG: This stands for Extended General MIDI and provides the full poten-

tial of the MU90R, giving you access to all 586 Voices.

TG300B: This mode provides compatibility with the GM-B mode of the TG300

Tone Generator.

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

ware not supported by the other two Multi modes.

NOTE When set to the TG300B mode, the MU90R 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 MU90R.

To set the Multi mode:

1 Press the MODE button.

2 Use theg SELECT w buttons to select the desired Multi mode:

XG, TG300B or C/M. 3 Press the EXIT button or the PLAY button to return to the Play

display.

XG TG300B C/M PERFORMANCE

Indicates currently selected mode.

The currently selected mode setting is shown by the arrow at the bottom right of the display.

Multi Play Mode

The Play mode (with the main Play display shown below) is the normal operating mode of the MU90R. To select the Play mode from any other mode, press the PLAY button. (The Play mode is also automatically se- lected when you turn on the MU90R.)

MULTI MODE

Current Part number.

NOTE Applications that are capable of controlling 32 Parts (e.g., Performer) are set to a clock rate of 1 MHz.

Play Displays

The Play mode has three basic displays, that can be changed according to your preference. Simply press the PLAY button repeatedly, and the display alternates as shown below:

Velocity “level meters” for each Part.

MIDI port (A or B) and channel number for currently selected Part.

Voice number and name for currently selected Part.

Shows full “level meter” indication for the A1 and A2 A/D Parts and Parts 1 — 16. Currently selected parameter (here, Voice number and name) is displayed at the right side.

MULTI MODE

Parts 17 — 32 can be displayed by selecting one of those Parts with the PART q buttons. For example, when Part 18 is selected, the changes as shown below:

Shows half “level meter” indication for the A1 and A2 A/D Parts and all 32 Parts. Currently selected parameter (here, Voice number and name) is displayed at top.

Shows full “level meter” indication for the A1 and A2 A/D Parts and all 32 Parts. Currently selected parameter is not displayed.

Part Controls

The Part controls in the Play mode give you tools for adjusting the basic sound and settings for each Part. The MU90R lets you adjust the various settings for each Part individually (Single Part control) or together (All Part control). Each of these types is explained in greater detail below.

NOTE In the Multi mode, no settings can be permanently saved to the internal memory of the MU90R. However, you can use the Dump Out function to save Multi settings to a MIDI data storage device. (See page 119.)

Single Part Control

The Single Part controls include: MIDI Receive Channel, Bank Number, Program Number, Volume, Expression, Pan, Reverb Send, Chorus Send, Variation Send and Note Shift.

Selecting Single Part Control

Single Part control is automatically called up when the MU90R is turned on. If All Part is selected, simply press both PART q buttons simulta- neously (or press the EXIT button) to return to Single Part.

MULTI MODE

Editing in Single Part

Operation

1 Select the Part to be edited by using the PART q buttons.

2 Select the desired control for the selected Part by using the

SELECT w buttons.

3 Change the value of the selected control by using the VALUE

q buttons or data dial.

MIDI Receive Port/Channel

This determines the MIDI IN port (A or B) and the receive channel (1

— 16) for the selected Part.

Graphically indicates current Receive Channel setting.

Settings: A1 — A16, B1 — B16

MULTI MODE

Bank Number

This determines the bank number of the selected Part’s Voice. Each

bank contains 128 Voices. (Refer to the SOUND LIST & MIDI DATA

booklet.)

A1/A2 (A/D Input) part:

000 — 003

Normal part:

XG: 000, 001, 003, 006, 008, 012, 014, 016 — 020, 024 —

028, 032 — 043, 045, 064 — 072, 096 — 101, SFX

TG300B: 000 — 011, 016 — 019, 024 — 026, 032, 033, 040, 080,

126, 127

C/M: Fixed (only one bank)

Drum part:

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

For more information on selecting banks, see Display Bank Select parameter, page 118.

Program (Voice) Number

This determines the Voice for the selected Part. (Refer to the SOUND

LIST & MIDI DATA booklet.)

Range: 001 — 128

MULTI MODE

Volume

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

Graphically indicates current Volume setting.

Range: 000 — 127

Expression (Expresn)

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

Graphically indicates current Expression setting.

Range: 000 — 127

Pan

This determines the stereo position of the selected Part’s Voice. A set-

ting of “Rnd” (Random) randomly assigns the Voice to a pan position.

This is useful when you want to have different Voices sound from dif-

ferent random parts of the stereo image. (The Random setting does not

affect the A/D input Parts.)

Graphically indicates current Pan setting.

Settings: Rnd (Random), L63 — C — R63

MULTI MODE

Reverb Send (RevSend)

This determines the level of the selected Part’s Voice that is sent to the

Reverb effect. A value of 000 results in a completely “dry” Voice sound.

Graphically indicates current Reverb Send setting.

Range: 000 — 127

NOTE Keep in mind that the Reverb effect must be properly enabled and set for this parameter to work as intended. (See page 101.)

Chorus Send (ChoSend)

This determines the level of the selected Part’s Voice that is sent to the

Chorus effect. A value of 000 results in a completely “dry” Voice sound

(no Chorus effect).

Graphically indicates current Chorus Send setting.

Range: 000 — 127

NOTE Keep in mind that the Chorus effect must be properly enabled and set for this parameter to work as intended. (See page 103.)

Variation Send (VarSend)

This determines whether the selected Part’s Voice is sent to the Varia-

tion effect or not. A setting of “off” results in no Variation effect being

applied to the Voice.

Graphically indicates current Variation Send setting.

Settings: off, on (when Variation Connection is set to INS);

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

Note Shift (NoteSft)

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

Graphically indicates current Note Shift setting.

MULTI MODE

Range: –24 — +24 semitones

MULTI MODE

All Part Control

The All Part controls include: Device Number, Master Volume, Master Attenuator, Reverb Return, Chorus Return, Variation Return and Transpose.

Keep in mind that these controls affect all Parts equally, and either add to or subtract from their individual values. For example, if Note Shift on one Part is set to –12, and Transpose (in All Part) is set to +12, that Part’s pitch value will actually be 0 or normal.

Selecting All Part Control

To select All Part control, press both PART q buttons simultaneously. (or press the EXIT button). (“All” appears in the P ART section of the display.)

Editing in All Part

Operation

1 Select the desired control for all Parts by using the SELECT

w buttons.

2 Change the value of the selected control by using the VALUE

q buttons or data dial.

Device Number (DevNo.)

Settings: 1 — 16, all

This determines the Device Number for the MU90R, a kind of MIDI “identification” number to distinguish between multiple units. For

Graphically indicates current Device Number setting.

example, if you are using more than one MU90R, set a different Device Number for each. This is especially important when using the data dump features. (See page 119.) If you have only one MU90R, set this to “all.”

Master Volume (M.Volum)

Range: 000 — 127

This determines the overall Volume of the Parts.

Master Attenuator (M.Attn)

MULTI MODE

Graphically indicates current Master Volume setting.

Graphically indicates current Master Attenuator setting.

Range: 000 (maximum volume) — 127 (minimum volume)

This determines the level of all Parts, but functions as an attenuator; the greater the value, the lower the volume. This is useful when you are playing several songs and want to keep their overall level consistent.

Reverb Return (RevRtn)

Graphically indicates current Reverb Return setting.

Range: 000 — 127

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

MULTI MODE

Chorus Return (ChoRtn)

Graphically indicates current Chorus Return setting.

Range: 000 — 127

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

Variation Return (VarRtn)

Graphically indicates current Variation Return setting.

Range: 000 — 127

This determines the amount of Variation return in the overall mix. Variation Return is only available when the Variation Connection parameter is set to SYS. (See page 106.)

Transpose (Trans)

Range: –24 — +24 semitones

This determines the overall Transpose setting of the Parts.

Graphically indicates current Transpose setting.

Multi Edit Mode

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

To enter the Multi Edit mode, press the EDIT button. When a normal Part is selected, the following menu appears:

When a Drum Part is selected, the following menu appears:

MULTI MODE

Filter

Part Edit Mode

Filter

LPF Cutoff Frequency

LPF Resonance

HPF Cutoff Frequency

The MU90R features a digital filter that can be used to change the timbre of the Voices. The filter is affected (together with the level) by the EG (Envelope Generator), which allows you to change the timbre over time as well. (See EG, page 52.)

MULTI MODE

LPF Cutoff Frequency (LPF Cutoff)

This determines the cutoff frequency of the low pass filter (LPF). The

LPF filters out frequencies higher than the cutoff point and “passes” the

lower frequencies. Lower cutoff values create a deeper, more rounded

tone, while higher values create a brighter tone.

Graphically shows LPF Cutoff Frequency setting for each Part.

Selected Part and MIDI channel

Range: –64 — +63

Level

These frequencies are

“passed” or let through.

These frequencies are “cut” or filtered out.

Frequency

LPF Cutoff Frequency setting

LPF Resonance (LPF Reso)

This determines the amount of filter resonance or emphasis of the LPF

Cutoff Frequency above. Higher values make the filter effect more pro-

nounced and stronger, creating a resonant peak around the cutoff fre-

quency.

Graphically shows LPF Resonance setting for each Part.

Selected Part and MIDI channel

Range: –64 — +63

MULTI MODE

Level

Resonance

Frequency

LPF Cutoff Frequency setting

HPF Cutoff Frequency (HPF Cutoff)

This determines the cutoff frequency of the high pass filter (HPF). The

HPF filters out frequencies lower than the cutoff point and “passes” the

higher frequencies. Lower cutoff values preserve the fundamental and

lower overtones of the sound, while higher values create a thinner,

brighter tone.

Graphically shows HPF Cutoff Frequency setting for each Part.

Selected Part and MIDI channel

Range: –64 — +63

Level

These frequencies are

“cut” or filtered out.

These frequencies are “passed” or let through.

Frequency

HPF Cutoff Frequency setting

MULTI MODE

EG (Envelope Generator)

Part Edit Mode

EG Attack Time

EG Decay Time

EG Release Time

Pitch EG Initial Level

Pitch EG Attack Time

Pitch EG Release Level

Pitch EG Release Time

The EG parameters allow you to shape the sound of a Part’s Voice — or, in other words, set how the level and timbre of the Voice changes over time. This section also includes independent Pitch Envelope Generator (PEG) parameters for controlling how the pitch of a Part’s Voice changes over time.

The relationship of the main EG parameters — Attack, Decay and Release — are shown in the illustration below. These parameters not only affect the sound level, but also the timbre (with the Filter parameters; see page 49).

1) Short Attack, Decay, Release times:

Level

Attack Decay Release

Max.

Min.

Key is releasedKey is pressed

Time

2) Long Attack, Decay, Release times:

Level

Attack Decay Release

Max.

MULTI MODE

Min.

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

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

EG Attack Time

Time

Key is releasedKey is pressed

Graphically shows EG Attack Time setting for each Part.

Selected Part and MIDI channel

Range: –64 — +63

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

MULTI MODE

EG Decay Time

Graphically shows EG Decay Time setting for each Part.

Selected Part and MIDI channel

Range: –64 — +63

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

EG Release Time

Graphically shows EG Release Time setting for each Part.

Selected Part and MIDI channel

Range: –64 — +63

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

Pitch EG Parameters

The Pitch EG parameters determine how the pitch of a Part’s Voice changes over time. This lets you produce subtle or pronounced pitch changes as a note is played.

In the example Pitch EG settings below, a played note is gradually bent up to its normal pitch, and kept there as the note is held. When the note is released, the pitch rapidly climbs up.

Pitch

High

Normal

MULTI MODE

Low

Key is released

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

Time

Pitch EG Initial Level (PEGInitLvl)

Graphically shows Pitch EG Initial Level setting for each Part.

Selected Part and MIDI channel

Range: –64 — +63

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

MULTI MODE

Pitch EG Attack Time (PEGAtakTime)

Graphically shows Pitch EG Attack Time setting for each Part.

Selected Part and MIDI channel

Range: –64 — +63

This determines the Attack Time of the Pitch EG, or how long it takes for the pitch to return to normal (from the pitch value set in Initial Level above).

Pitch EG Release Level (PEGReleLvel)

Graphically shows Pitch EG Release Level setting for each Part.

Selected Part and MIDI channel

Range: –64 — +63

This determines the final pitch of the Part’s Voice, or the pitch that is reached after the note is released. A setting of 00 corresponds to normal pitch.

NOTE The Pitch EG Release Level and Time parameters may have no effect if the Voice itself does not sustain after the note is released. (Short percussive Voices may fall into this category.) Also make sure that the main EG Release Time is set to an appropriate value so that the sound sustains.

Pitch EG Release Time (PEGReleTime)

Range: –64 — +63

This determines the Release Time of the Pitch EG, or how long it takes for the pitch to change to the pitch value set in Release Level above.

EQ (Equalizer)

MULTI MODE

Graphically shows Pitch EG Release Time setting for each Part.

Selected Part and MIDI channel

Part Edit Mode

EQ Low Frequency

EQ Low Gain

EQ High Frequency

EQ High Gain

The EQ parameters let you adjust and set the tonal quality of a Part’s Voice, such as boosting the bass sound, or making it brighter. This is a two-band equalizer with wide frequency variation for each band, and is independent of the overall EQ controls (see page 112).

MULTI MODE

EQ Low Frequency (Low Freq)

This determines the frequency which is boosted or cut (in the Low Gain parameter below) for each Part.

Graphically shows the Low Frequency setting for each Part.

Selected Part and MIDI channel

Range: 32 Hz — 2.0 kHz

EQ Low Gain

This determines the level of the selected frequency (in Low Freq above). Positive values boost the level of the selected frequency and negative values attenuate it.

Graphically shows the Low Gain setting for each Part.

Selected Part and MIDI channel

Range: –64 — +00 — +63

EQ High Frequency (High Freq)

This determines the frequency which is boosted or cut (in the High Gain parameter below) for each Part.

Graphically shows the High Frequency setting for each Part.

Selected Part and MIDI channel

Range: 500 Hz — 16 kHz

Vibrato

MULTI MODE

EQ High Gain

This determines the level of the selected frequency (in High Freq above). Positive values boost the level of the selected frequency and negative values attenuate it.

Graphically shows the High Gain setting for each Part.

Selected Part and MIDI channel

Range: –64 — +00 — +63

Part Edit Mode

Vibrato

Vibrato Rate

Vibrato Depth

Vibrato Delay

Vibrato produces a quavering, vibrating sound in the Part’s Voice, by regularly modulating the pitch. You can control the speed and depth of the Vibrato, as well as the time it takes before the Vibrato effect is applied.

Vibrato Rate

Graphically shows Vibrato Rate setting for each Part.

Selected Part and MIDI channel

MULTI MODE

Range: –64 — +63

This determines the speed of the Vibrato effect. Higher values result in a faster Vibrato sound.

Vibrato Depth

Graphically shows Vibrato Depth setting for each Part.

Selected Part and MIDI channel

Range: –64 — +63

This determines the depth of the Vibrato effect. Higher values result in a stronger, more pronounced Vibrato sound.

Vibrato Delay

Range: –64 — +63

This determines the delay in the onset of the Vibrato effect. Delay is effective especially on stringed instrument Voices. For example, violin players often use delayed vibrato, especially while playing long notes. The Delay parameter is useful in recreating this effect, producing a more natural, lifelike sound. Higher values result in a longer Delay time.

Graphically shows Vibrato Delay setting for each Part.

Selected Part and MIDI channel

Others

MULTI MODE

Part Edit Mode

Others

Detune

Part Mode

Mono/Poly Mode

Portamento Switch

Portamento Time

Element Reserve

Note Limit Low

Note Limit High

Dry Level (VarConnect=SYS)

Velocity Sensitivity Depth

Velocity Sensitivity Offset

Velocity Limit Low

Velocity Limit High

Pitch Bend Control

MW LFO Pitch Modulation Depth

AC1 Control Change Number

AC1 Filter Control

AC1 Amplitude Control

Output Select

The Others section of parameters contains miscellaneous controls, including those related to tuning, Part Mode, velocity, portamento, note range, etc.

MULTI MODE

Detune

Graphically shows Detune setting for each Part.

Selected Part and MIDI channel

Range: –12.8 — +12.7

This determines the fine tuning of the Part’s Voice.

HINT Detune could be used to slightly detune a Voice compared to the tuning of the rest of the Voices for a richer sound. It could also be used to detune two different Voices being played in unison. For example if two different Parts are set to the same MIDI channel (see page 41) and same Voice, a naturally thick chorusing effect can be obtained by slightly detuning each Voice in opposite directions here.

Part Mode

Height of bars indicates selected Part Mode setting for each Part.

Selected Part and MIDI channel

Settings: normal, drum, drumS1 — S4

(When Sound Module mode is set to C/M, both Parts 10 and 26 are set to drumS1.)

This determines the mode for the Part. A setting of normal allows selection of the normal instrument Voices. (See the SOUND LIST & MIDI DATA booklet.) The drum setting allows selection of the drum kits. (See the SOUND LIST & MIDI DATA booklet.) The drumS1 — S4 settings are locations for storing specially programmed drum setups. These setups can be edited by using the Drum Setup controls in the Multi Edit mode. (See page 73.) The drum and drumS1 — S4 settings are not available in the Performance mode (all Parts are fixed to “normal”).

(A single bar indicates “normal” setting.)

MULTI MODE

The Part Mode settings differ depending on the Sound Module mode

selected, as described below.

For XG (Extended General MIDI) mode:

All settings described above are available. When normal is selected, any of the basic or the extended set of Voices can be used for the Part.

For TG300B mode:

The settings normal and drumS1 — S4 are available; drum cannot be selected. When normal is selected, either the basic or the extended set of Voices (for the TG300B mode) can be used for the Part.

For C/M mode:

The Part Mode settings are fixed in this mode and cannot be changed: Parts 10 and 26 are set to drumS1, and all other Parts are set to nor- mal. The MIDI Receive Channel setting for Parts 1 and 17 is set to off. The 128 Voices of C/M Type 1 can be used for Parts 1 — 9 and 17 — 25; the 64 Voices of C/M Type 2 can be used for Parts 11 — 16 and 27 — 32.

For PFM (Performance) mode:

All four Parts are set to normal; none of the drum settings are available. Any of the basic or the extended set of Voices can be used for each Part.

NOTE When two or more different Parts are set to the same editable drum setup (drumS1 — S4), any edits made to that drum setup automatically affect all those Parts. For example, when two Parts are set to drumS1, any changes made to drumS1 affect both Parts.

Mono/Poly Mode

Height of bars indicates selected Mono/Poly Mode setting for each Part.

(A single bar indicates “mono” setting, while full height indicates “poly.”)

Selected Part and MIDI channel

MULTI MODE

Settings: mono, poly

This determines whether the Part’s Voice is played monophonically (only one note at a time) or polyphonically (up to 64 notes at a time). This parameter is not available when the Part Mode is set to Drum.

Portamento Parameters

Portamento is a function that creates a smooth pitch glide from one note to another.

Portamento Switch (PortametSw)

This determines whether Portamento is on or off for the Part. (This parameter is not available for Drum Parts.)

Height of bars indicates selected Portamento Switch setting for each Part.

(A single bar indicates “off” setting, while full height indicates “on.”)

Selected Part and MIDI channel

Settings: off, on

Portamento Time (PortametTm)

This determines the time of the Portamento effect, or how long it takes to glide the pitch from one note to the next. Higher values result in a longer pitch glide time. (This parameter is not available for Drum Parts.)

Graphically shows Portamento Time setting for each Part.

Selected Part and MIDI channel

Range: 000 — 127

MULTI MODE

Element Reserve (ElemReserv)

This determines the minimum number of sound elements that are reserved for the Part. This setting ensures that when the maximum simultaneous polyphony of 64 notes (or elements) is exceeded, the selected Part will still play up to the number of elements set here. For example, if the Element Reserve of a Part is set to 10, the sounds for that Part (up to 10 simultaneous notes) will not be cut off, even if the maximum polyphony is exceeded. The total number of Element Reserve values for all of the Parts cannot exceed 64.

This parameter is useful when playing back dense song data, and it ensures that the most important Parts in the song data will play properly without being cut off.

Graphically shows the Element Reserve setting for each Part.

Selected Part and MIDI channel

Range: 00 — 32

Note Limit Parameters

The Note Limit Low and High parameters allow you to set the range of notes for a Part’s Voice. Notes outside the range will not be played.

HINT Note Limit can be used to set up keyboard splits. Set two Parts to the same MIDI channel (see page 41), but give them Note Limit settings so that one Part is played from the left side of the keyboard and the other is played from the right.

Note Limit Low (NoteLimitL)

Graphically shows Note Limit Low setting for each Part.

Selected Part and MIDI channel

MULTI MODE

Range: C-2 — G8

This determines the lowest responding note for the Part. Notes below this value will not be played.

Note Limit High (NoteLimitH)

Graphically shows Note Limit High setting for each Part.

Selected Part and MIDI channel

Range: C-2 — G8

This determines the highest responding note for the Part. Notes above this value will not be played.

Dry Level

Range: 000 — 127

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

106.)

Velocity Sensitivity Depth (VelSensDpt)

Graphically shows Velocity Sensitivity Depth setting for each Part.

Selected Part and MIDI channel

Range: 000 — 127

This determines the degree to which velocity affects the Part’s Voice. Higher values make the Voice more sensitive to changes in velocity.

Velocity Sensitivity Offset (VelSensOfs)

Graphically shows Velocity Sensitivity Offset setting for each Part.

Selected Part and MIDI channel

Range: 000 — 127

This determines the volume range over which velocity affects. For lower values, the velocity affects a volume range from minimum to medium-loud. For higher values, velocity affects a range from medium-soft to maximum.

MULTI MODE

127

at 127

Level

NOTE Depending on the Voice used, if Velocity Sensitivity Offset is set to too low of a value, the Voice may not sound, no matter how strong the velocity.

at 64

Velocity

at 0

127

Velocity Limit Parameters

The Velocity Limit Low and High parameters allow you to set the effective velocity range for a Part’s Voice. Velocity values outside the range will not be played. (Velocity is generally the strength at which notes are played from a MIDI keyboard.)

HINT Velocity Limit can be used to set up velocity splits. A velocity split allows you to have one Part’s Voice sound when you play the connected keyboard strongly, and a different Voice sound when you play softly. Set two Parts to the same MIDI channel (see page 41), but give them different Velocity Limit settings so that one or the other sounds depending on how strongly you play the keyboard.

MULTI MODE

Velocity Limit Low (VelLimitLo)

Graphically shows Velocity Limit Low setting for each Part.

Selected Part and MIDI channel

Range: 000 — 127

This determines the lowest velocity value at which the Part’s Voice will play. The higher the value, the harder the keyboard must be played for the Voice to sound.

Velocity Limit High (VelLimitHi)

Graphically shows Velocity Limit High setting for each Part.

Selected Part and MIDI channel

Range: 000 — 127

This determines the highest velocity value at which the Part’s Voice will play. The lower the value, the less strength needed (in playing the keyboard) to get maximum volume.

1 127

sound

VelLimitLo VelLimitHi

sound

Pitch Bend Control (PitBndCtrl)

Graphically shows Pitch Bend Control setting for each Part.

Selected Part and MIDI channel

Range: –24 — +24 semitones (+/– 2 octaves)

This determines the Pitch Bend range for the Part’s Voice. (Pitch Bend is usually controlled by a pitch bend wheel on a MIDI keyboard.)

Modulation Wheel — LFO Pitch Modulation Depth (MW LFOPMod)

Graphically shows LFO Pitch Modulation Depth setting for each Part.

MULTI MODE

Selected Part and MIDI channel

Range: 000 — 127

This determines how widely the pitch is modulated by the LFO (low frequency oscillator). This is generally controlled from a modulation wheel on a MIDI keyboard and produces a vibrato effect. The higher the value, the deeper the pitch modulation, and hence, the more pronounced the vibrato effect.

MULTI MODE

Assignable Controller 1 Control Change Number (AC1 CC No.)

This determines the which MIDI control change number is assigned to the Assignable Controller (AC1) for the selected Part. AC1 can be used to affect the Filter (page 71), volume (Amplitude; page 72), LFO (page

69) or the Variation effect (page 104). Make sure that parameters you don’t want to be affected by AC1 are properly set to 00.

Graphically shows the AC 1 Control Change Number setting for each Part.

Selected Part and MIDI channel

Range: 00 — 95

HINT Though this parameter allows you to assign any control change number from 0 to 95, only a few of these are in common use. The controllers most likely to be encountered include:

01 — Modulation wheel or lever 02 — Breath controller 04 — Foot controller 07 — Volume controller

Some or all of these may be available on your MIDI instrument, and can be used to control certain functions on the MU90R in real time. Some MIDI instruments allow you to change the control change number for a particular controller: for example, setting the modulation wheel (normally 01) to control Volume (07). Refer to the owner’s manual of your particular instrument for more information.

MULTI MODE

Assignable Controller 1 Filter Control (AC1 FilCtrl)

This determines the degree to which Assignable Controller 1 (AC1) affects the Cuttoff Frequency of the Low Pass Filter for each Part. For maximum effect, this should be set to one of the extreme values, negative or positive. A setting of 00 results in no control over the Filter, even when AC1 is operated (or control change data is received). Negative settings affect the Filter negatively; in other words, when the controller is at the minimum position, control over the Filter is greatest. (The control number used for AC1 is set in the Assignable Controller 1 Control Change Number parameter above.)

Graphically shows the AC 1 Filter Control setting for each Part.

Selected Part and MIDI channel

Range: –64 — +63

In the illustration below, a foot controller is used as Assignable Controller 1.

For positive values: For negative values:

Minimum

effect

HINT Positive and negative values can be most effectively used by setting two different Parts to opposite settings. In this way, moving the controller (for example, a foot controller) one way will affect one Part and moving it the opposite way will affect the other Part.

Maximum

effect

Maximum

effect

Minimum

effect

MULTI MODE

Assignable Controller 1 Amplitude Control (AC1 AmpCtrl)

This determines the degree to which Assignable Controller 1 (AC1) affects the volume (Amplitude) for each Part. For maximum effect, this should be set to one of the extreme values, negative or positive. A setting of 00 results in no volume control, even when AC1 is operated (or control change data is received). Negative settings affect the volume negatively; in other words, when the controller is at the minimum position, control over the volume is greatest. (The control number used for AC1 is set in the Assignable Controller 1 Control Change Number parameter above.)

Graphically shows the AC 1 Amplitude Control setting for each Part.

Selected Part and MIDI channel

Range: 64 — +63

NOTE For more information on using positive and negative values, see the illustration and hint in Assignable Controller 1 Filter Control (page 71).

Output Select (OutPtSel)

This determines the output configuration for the selected Part. When set to “stereo,” the Part is output (with effects) through the main OUTPUT and PHONES jacks. When set to one of the “ind” (individual) settings, it is output through the INDIV. OUTPUT jacks. In this case, only Insertion effects can be applied; System effects cannot be applied to the INDIV. OUTPUT jacks. When set to “ind1+2,” the Part is output in stereo (1: left, 2: right). Settings of “ind1” and “ind2” output the Part in mono to the corresponding jack. (Parts output through the INDIV. OUTPUT jacks cannot be heard through the PHONES jack.)

Selected Part and MIDI channel

Settings: stereo, ind1+2, ind1, ind2

NOTE

●

The Output Select Lock parameter (page 116) must be set to “off” in order to change this setting via MIDI.

●

When the Part Mode parameter (page 62) is set to “drum” or “drum S1 — S4”, this setting is inactive.

Drum Setup Controls

MULTI MODE

Graphically shows the Output Select setting for each Part.

The Drum Setup controls allow you to make a wide variety of settings for the drum sounds in a Drum Part. These settings include Pitch controls, Level, Pan, effect send, filter controls and EG (Envelope Generator), among others. Moreover, these parameters can be set to completely independent values for each of the drum sounds in a Part.

Calling Up the Drum Setup Menu

To call up the Drum Setup menu, select a Part for which a Drum Part has been assigned. The Drum Setup controls automatically come up in the Edit mode. For example, if Part 10 is assigned a Drum Part, the Drum Setup menu will appear in the main Edit menu:

Yamaha MU90RE1 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual