Preset Name
input gain
var type
Preset Name
input gain
var type
Preset Name
input gain
var type
Preset Name
input gain
var type
Preset Name
input gain
var type
Preset Name
input gain
var type
(Note 1) Depending on the guitar, the input may be distorted. Adjust the A/D INPUT
(Note 2) AUDIO sets PAN to Lch for A/D1 and Rch for A/D2.
(Note 3) The Stereo setting can be selected only for A/D1.
A/D2
PGM # = 1
Off
mic
Off
mic
Off
line
Off
line
Off
line
Off
line
-
VOLUME or the volume of your guitar.
The A/D1 and A/D2 inputs will be handled as the Lch and Rch respectively of a
stereo signal.
Thus, when you select Stereo, the bank number and program number of part A2
will be displayed as "***" and cannot be set.
2
Mic
mic
Guitar
mic
Keyboard
line
Audio
line
Keyboard
line
Audio
line
-
3
Reverb
mic
Reverb
mic
Reverb
line
Reverb
line
Reverb
line
Reverb
line
-
4
5
Chorus
Chorus+Reverb
mic
mic
-
-
Chorus
Chorus+Reverb
mic
mic
-
-
Chorus
Chorus+Reverb
line
line
-
-
Chorus
Chorus+Reverb
line
line
-
-
Chorus
Chorus+Reverb
line
line
-
-
Chorus
Chorus+Reverb
line
line
-
-
6
Karaoke1
mic
Karaoke1
Tube
mic
Amp Sim.
Phaser EP
line
Phaser
Phaser EP
line
Phaser
7
Karaoke2
mic
Karaoke2
Stack
mic
Amp Sim.
Pan EP
line
Auto Pan
Pan EP
line
Auto Pan
8
Karaoke3
mic
Karaoke3
Flang Gtr
mic
Flanger
Wah Clavi
line
Touch Wah
Wah Clavi
line
Touch Wah
9
Echo
mic
Echo
Clean Gtr
mic
Celeste
Rotary Orgn
line
Rotary Speaker
Rotary Orgn
line
Rotary Speaker
10
Vocal
mic
Stage1
Funk Gtr
mic
Touch Wah
Synth Str
line
Symphonic
Synth Str
line
Symphonic
11
Studio
mic
Exciter
Tremolo
mic
Tremolo
Synth Pad
line
Flanger2
Synth Pad
line
Flanger2
12
Oct Up
mic
Pitch Change
Phaser
mic
Phaser
Synth Lead
line
Delay LCR
Synth Lead
line
Delay LCR
13
Oct Down
mic
Pitch Change
5th Guitar
mic
Pitch Change
SFX
line
Pitch Change
Remarks
Turn off the effect.
Reverb simulating the acoustics of a hall.
˝
Reverb simulating the acoustics of a room.
˝
˝
Reverb appropriate for a solo instrument.
˝
Reverb simulating a metal plate reverb device.
Unique short reverb with a slight initial delay.
Simulation of a cylindrical space extending to left and right.
A hypothetical acoustic space which extends without limit.
Reverb with distinctive resonance following a slight initial delay.
Remarks
Turn off the effect.
A standard chorus effect, adding natural spaciousness to the sound.
˝
˝
˝
An effect which uses a 3-phase LFO to add modulation and spaciousness to the sound.
˝
˝
˝
An effect reminiscent of a jet airplane taking off and landing.
˝
˝
A multi-stage version of CELESTE modulation.
Chorus effect without modulation, created by adding a slightly pitch-shifted sound.
Cyclically changes the phase to modulate the sound.
Remarks
Turns off the effect.
Reverb simulating the acoustics of a hall.
˝
Reverb simulating the acoustics of a room.
˝
˝
Reverb appropriate for a solo instrument.
˝
Reverb simulating a metal plate reverb device.
Distinctive short reverb with a slight initial delay.
Simulation of a cylindrical space extending to left and right.
A hypothetical acoustic space which extends without limit.
Reverb with distinctive resonance following a slight initial delay.
Three delay sounds L, R and C (center).
Two delay sounds L and R, with two feedback delays.
Two delays L and R, with independent feedback delay for L and R.
This effect crosses the feedback of two delays.
This effect isolates only the early reflection components of the reverb.
˝
Simulation of gated reverb.
Simulation of gated reverb played back in reverse.
Echo for karaoke.
˝
˝
Conventional chorus effect which gives natural spaciousness to the sound.
˝
˝
˝
A three-phase LFO is used to give modulation and spaciousness to the sound.
˝
˝
˝
An effect reminiscent of a jet airplane taking off and landing.
˝
˝
A multi-stage version of CELESTE modulation.
Chorus effect without modulation, created by adding a slightly pitch-shifted sound.
An effect which adds spatial breadth by blurring the location of the sound.
Simulation of a rotary speaker. AC1 (assignable controller 1) etc. can be used to control the rotation speed.
Simulation of a rotary speaker. AC1 (assignable controller 1) etc. can be used to control the rotation speed.
An effect which cyclically modulates the volume.
An effect which cyclically moves the sound between left/right and front/back.
Cyclically changes the phase to modulate the sound.
˝
Adds distortion with an edge to the sound. Since a noise gate is included, this is suitable for use with A/D input as well.
Since a compressor is included in the first stage, distortion can be applied evenly, regardless of the input level.
Adds mild distortion to the sound. Since a noise gate is included, this is suitable for A/D input as well.
Simulation of a guitar amp. Since a noise gate is included, this is suitable for use with A/D input as well.
Mono EQ with equalization of LOW, MID and HIGH.
Stereo EQ with equalization of LOW and HIGH. Ideal for Drum Parts.
Cyclically changes the center frequency of a wah filter. Can also be used with AC1 etc. as a pedal wah.
Applies DISTORTION to the output of AUTO WAH to distort the sound. Can also be used with AC1 etc. as a pedal wah.
Applies OVERDRIVE to the output of AUTO WAH to distort the sound. Can also be used with AC1 etc. as a pedal wah.
Changes the center frequency of a wah filter according to the input level. Can also be used with AC1 etc. as a pedal way.
Applies DISTORTION to the output of TOUCH WAH to distort the sound. Can also be used with AC1 etc. as a pedal wah.
Applies OVERDRIVE to the output of TOUCH WAH to distort the sound. Can also be used with AC1 etc. as a pedal wah.
Changes the center frequency of a wah filter according to the input level. Can also be used with AC1 etc. as a pedal wah.
This effect changes the pitch of the input signal.
˝
This effect adds new overtones to the input signal to make the sound stand out.
Holds down the output when the input exceeds a specified level. Can also be used to add a sense of attack to the sound.
Gates the input when the input signal falls below a specified level. Useful for cutting noise from the A/D input, etc.
Attenuates the vocal part from sources such as CDs.
Adds a vowel sound to the input signal.
Degrades the audio quality of the input signal.
DISTORTION and DELAY are connected in series.
OVERDRIVE and DELAY are connected in series.
COMPRESSOR, DISTORTION and DELAY are connected in series.
COMPRESSOR, OVERDRIVE and DELAY are connected in series.
TOUCH WAH, DISTORTION and DELAY are connected in series.
TOUCH WAH, OVERDRIVE and DELAY are connected in series.
Bypass without applying an effect.
Aural Exciter® is a registered trademark of Aphex Corporation.
Remarks
Bypass without applying an effect.
Reverb simulating the acoustics of a hall.
˝
Reverb simulating the acoustics of a room.
˝
˝
Reverb appropriate for a solo instrument.
˝
Reverb simulating a metal plate reverb device.
Three delay sounds L, R and C (center).
Two delay sounds L and R, with two feedback delays.
Two delays L and R, with independent feedback delay for L and R.
This effect crosses the feedback of two delays.
Echo for karaoke.
˝
˝
Conventional chorus effect which gives natural spaciousness to the sound.
˝
˝
˝
A three-phase LFO is used to give modulation and spaciousness to the sound.
˝
˝
˝
An effect reminiscent of a jet airplane taking off and landing.
˝
˝
A multi-stage version of CELESTE modulation.
Chorus effect without modulation, created by adding a slightly pitch-shifted sound.
Simulation of a rotary speaker. AC1 (assignable controller 1) etc. can be used to control the rotation speed.
An effect which cyclically modulates the volume.
An effect which cyclically moves the sound between left/right and front/back.
Cyclically changes the phase to modulate the sound.
Adds distortion with an edge to the sound.
Adds mild distortion to the sound.
Simulation of a guitar amp.
Mono EQ with equalization of LOW, MID and HIGH.
Stereo EQ with equalization of LOW and HIGH. Ideal for Drum Parts.
Cyclically changes the center frequency of a wah filter. Can also be used with AC1 etc. as a pedal wah.
Changes the center frequency of a wah filter according to the input level. Can also be used with AC1 etc. as a pedal wah.
®
Changes the center frequency of a wah filter according to the input level. Can also be used with AC1 etc. as a pedal wah.
This effect adds new overtones to the input signal to make the sound stand out.
Holds down the output when the input exceeds a specified level. Can also be used to add a sense of attack to the sound.
Gates the input when the input signal falls below a specified level. Useful for cutting noise from the A/D input, etc.
Aural Exciter® is a registered trademark of Aphex Corporation.
• Parameters marked with a ● in the "Control" column can be controlled from an AC1 (assignable controller 1) etc. However, this is valid only for a Variation effect (when selected for Insertion) and for Insertion effects 1/2.
• Dry/Wet is valid only for a Variation effect (when selected for Insertion) and for Insertion effects
1/2.
• Parameters 1 - 5 can be edited from the front panel of the MU100.
• Abbreviations used in the effect block diagrams
LPF = Low Pass Filter
HPF = High Pass Filter
LSF = Low Shelving Filter
HSF = High Shelving Filter
PDF = Peak Dip Filter
EF = Envelope Follower
ER = Early Reflection
Bit Assign
Cch Delay
Cch Level
Crossover Frequency
Cutoff Frequency Offset
Delay Mix
Delay Offset
Delay Time
Delay2 Level
Density
Depth
Detune
Diffusion
Drive
Drive High
Drive Low
Dry/Wet
Edge(Clip Curve)
Emphasis
EQ High Frequency
EQ High Gain
EQ Low Frequency
EQ Low Gain
EQ Mid Frequency
EQ Mid Gain
EQ Mid Width
Er/Rev Balance
F/R Depth
Feedback Delay
Feedback Delay 1
Feedback Delay 2
Feedback Level
Filter Type
Fine 1
Fine 2
Height
High Adjust
High Damp
HPF Cutoff
Initial Delay
TREMOLO
AMP SIMULATOR
COMPRESSOR type
NOISE GATE
LO-FI
DELAY L,C,R
DELAY L,C,R
2WAY ROTARY SPEAKER
WAH type
DIST+DELAY,OVERDRIVE+DELAY,
COMP+DIST+DELAY,COMP+ODRV+DELAY,
WAH+DIST+DELAY,WAH+ODRV+DELAY
CHORUS type
KARAOKE1,2,3
AMBIENCE
ECHO
REVERB type, EARLY REF type
REVERB type
ENSEMBLE DETUNE
REVERB type, EARLY REF type, PHASER
DISTORTION type
AURAL EXCITER
TALKING MODULATION
2WAY ROTARY SPEAKER
2WAY ROTARY SPEAKER
All types
DISTORTION type
LO-FI
All types
All types
All types
All types
All types
All types
All types
REVERB type
AUTO PAN
DELAY L,C,R
DELAY L,R
DELAY L,R
REVERB type
DELAY type,EARLY REF type,PITCH CHANGE type
KARAOKE type
CHORUS type, FLANGER type
PHASER type
LO-FI
PITCH CHANGE type
PITCH CHANGE type
REVERB type
VOICE CANCELAR
REVERB type,DELAY type,EARLY REF type
REVERB type,EARLY REF type,KARAOKE type,AURAL EXCITER
REVERB type
EARLY REF type
PITCH CHANGE type
All types
CROSS DELAY
AUTO PAN
CROSS DELAY
DELAY type
ECHO
ECHO
ECHO
ENSEMBLE DETUNE
CHORUS type,FLANGER type,SYMPHONIC
ROTARY SPEAKER
PHASER type
WAH type
CHORUS type,FLANGER type,SYMPHONIC
ROTARY SPEAKER
TREMOLO
AUTO PAN
PHASER type
WAH type
®
Explanation of parameter
Depth of volume modulation
Select the type of amp to be simulated
Time until the compressor effect begins to apply
Time until the gate begins to open
Adjust the word length of the audio data
Length of the center channel delay
Volume of the center channel
Crossover frequency between the high-range and low-range speakers
Frequency offset value that will control the wah filter
Mixing amount of delay sound
Offset value of delay modulation
Spacing of reflections for karaoke echo
Delay length
Volume of second delay
Density of reflections. Higher values produce closer spacing
Depth of the simulated room
Amount of pitch shift
Control the spaciousness
Depth of distortion
Depth at which the exciter effect is applied
Depth at which the exciter effect is applied
Depth of modulation caused by rotation of the low-range speaker
Depth of modulation caused by rotation of the high-range speaker
Balance between dry sound and effect sound
Curve of distortion characteristics (sharp(127) distorts suddenly, mild(0) distorts gradually)
Modify the character of the high range
Frequency at which the EQ will boost/cut the high range
Gain amount by which the EQ will boost/cut the high range
Frequency at which the EQ will boost/cut the low range
Gain amount by which the EQ will boost/cut the low range
Frequency at which the EQ will boost/cut the mid range
Gain amount by which the EQ will boost/cut the mid range
Width of the area boosted/cut by the mid-range EQ
Level balance between the early reflections and the reverberation
Depth of front/back panning (valid when PAN Direction=Lturn,Rturn)
Length of feedback delay
Length of feedback delay 1
Length of feedback delay 2
Feedback amount of initial delay
Feedback amount
Setting for repeated reflections
Level at which delay output is again returned to the input (negative values invert the phase)
Level at which phaser output is again returned to the input (negative values insert the phase)
Select the type of tonal effect
Fine adjustment to pitch of first sound
Fine adjustment to pitch of second sound
Height of simulated room
Adjust the upper limit of the mid-frequency range that will be attenuated
Attenuation of the high frequency range (lower values will cause the high range to decay more rapidly)
®
Frequency at which the high pass filter will cut the low range
Delay time until the early reflections
Delay length until ER (GateReverb) sounds
Delay length
Mono/stereo switch for input
Input select
Depth of left/right panning
Delay time from left (input) to right (output)
Length of left channel delay
Length of first left channel delay
Length of second left channel delay
Amount of left channel feedback
Length of left channel delay
Depth of delay modulation
Depth of modulation caused by speaker rotation
Depth of phase modulation
Depth at which the wah filter will be controlled
Frequency of delay modulation
Frequency at which the speaker will rotate
Modulation frequency
Autopan frequency
Phase modulation frequency
Frequency at which wah filter will be controlled
Aural Exciter® is a registered trademark of Aphex Corporation.
MU100 EFFECT
23
Effect Parameter List
LFO Phase Difference
Liveness
Low Adjust
Low/High
LPF Cutoff
LPF Resonance
Mic L-R Angle
Mix Level
Move Speed
Output Gain
Output Level
Output Level 1
Output Level 2
Output Phase
Pan 1
Pan 2
PAN Direction
Phase Shift Offset
Pitch
PM Depth
R->L Delay
Ratio
Rch Delay
Rch Delay1
Rch Delay2
Rch Feedback Level
Rch Init Delay
Release
Resonance
Rev Delay
Reverb Time
Room Size
Rotor Speed
Sampling Freq Control
Sensitive
Stage
Threshold
Type
Vowel
Wah Release
Wall Vary
Width
Word Length
PHASER type,FLANGER type
EARLY REF type
VOICE CANCEL
2WAY ROTARY SPEAKER
All types
LO-FI
2WAY ROTARY SPEAKER
AURAL EXCITER
TALKING MODULATOR
LO-FI
All types
PITCH CHANGE type
PITCH CHANGE type
AMBIENCE
PITCH CHANGE type
PITCH CHANGE type
AUTO PAN
PHASER type
PITCH CHANGE type
TREMOLO
CROSS DELAY
COMPRESSOR type
DELAY type
ECHO
ECHO
ECHO
ENSEMBLE DETUNE
COMPRESSOR type
NOISE GATE
TOUCH WAH2, TOUCH WAH+ODRV
WAH type
REVERB type
REVERB type
EARLY REF type
2WAY ROTARY SPEAKER
LO-FI
WAH type
PHASER type
COMPRESSOR type
NOISE GATE
EARLY REF type
TALKING MODULATOR
WAH+DIST+DELAY,WAH+ODRV+DELAY
REVERB type
REVERB type
LO-FI
®
L/R phase difference for modulation waveform (0 deg (=64) is no phase difference)
ER decay. Lower values cause faster decay.
Adjust the lower frequency limit of the mid-range that will be attenuated
Volume balance between the high-range and low-range speakers
Frequency at which the low pass filter will cut the high frequency range
Add character to the low pass filter of the input
L/R angle of the mic that picks up the output
Level of the effect sound that is mixed into the dry sound
Time over which the sound specified by Vowel is reached
Output gain
Output level
Output level for first unit
Output level for second unit
Swap phase of the effect sound between L/R
Pan of first unit
Pan of second unit
Autopan type (L<->R is sine wave, L/R is square wave)
Offset value for phase modulation
Pitch setting in semitones
Depth of delay modulation
Delay time from right (input) to left (output)
Compression ratio of the compressor
Length of right channel delay
Length of first right channel delay
Length of second right channel delay
Amount of right channel feedback
Length of right channel delay
Time until the sound is released from the compressor effect
Time until the gate closes
Time until the center frequency of the wah filter returns to normal
Bandwidth of the wah filter
Delay time between the early reflections and the reverberation
Length of reverb
Size of room. Increasing this value will lengthen ER.
Frequency at which the speaker rotates
Sampling frequency control
Sensitivity with which the wah filter will change in response to changes in the input
Number of steps for the phase shifter
Input level at which compression will begin
Input level at which the gate will begin to open
Type selection
Vowel selection
Time until the center frequency of the wah filter returns to normal
Condition of the walls of the simulated room (higher values produce more random reflections)
Width of the simulated room
Specify the roughness of the sound
Aural Exciter® is a registered trademark of Aphex Corporation.
Additional note: In the preceding pages, indication of effect types such as REVERB-type respectively
include the following effect types.
CHORUS type
COMPRESSOR type
DELAY type
DISTORTION type
EARLY REF type
FLANGER type
KARAOKE type
PHASER type
PITCH CHANGE type
REVERB type
WAH type
24
CHORUS1,CHORUS2,CHORUS3,CHORUS4,CELESTE1,CELESTE2,CELESTE3,CELESTE4
COMPRESSOR,COMP+DIST, COMP+DIST+DELAY, COMP+OVERDRIVE+DELAY
DELAY L,C,R, DELAY L,R, ECHO, CROSS DELAY, DIST+DELAY, OVERDRIVE+DELAY, COMP+DIST+DELAY, COMP+DIST+DELAY,
COMP+OVERDRIVE+DELAY, WAH+DIST+DELAY, WAH+OVERDRIVE+DELAY
DISTORTION, OVERDRIVE, AMP SIMULATOR, AUTO WAH+DIST, AUTO WAH+ODRV, TOUCH WAH+DIST, TOUCH WAH+ODRV,
COMP+DIST, DIST+DELAY, OVERDRIVE+DELAY, COMP+DIST+DELAY, COMP+DIST+DELAY, COMP+OVERDRIVE+DELAY,
WAH+DIST+DELAY, WAH+OVERDRIVE+DELAY
EARLY REF1, EARLY REF2, GATE REVERB, REVERSE GATE
FLANGER1,FLANGER2, FLANGER3
KARAOKE1, KARAOKE2, KARAOKE3
PHASER1, PHASER2
PITCH CHANGE1, PITCH CHANGE2
HALL1,HALL2,ROOM1,ROOM2,ROOM3,STAGE1,STAGE2,PLATE,
WHITE ROOM,TUNNEL,CANYON,BASEMENT
AUTO WAH, AUTO WAH+DIST, AUTO WAH+ODRV, TOUCH WAH1, TOUCH WAH2, TOUCH WAH+DIST, TOUCH WAH+ODRV,
WAH+DIST+DELAY, WAH+OVERDRIVE+DELAY
These messages convey keyboard performance data.
Note-on is transmitted when a note is pressed, and note-off is
transmitted when a note is released.
These messages contain a "note number" which indicates the key that
was played, and a "velocity" which indicates how strongly it was
played.
When a note-on of velocity "0" is received, it has the same effect as a
note-off.
Range of note numbers received = 0 (C-2)...60 (C3)...127 (G8)
Velocity range= 1...127 (Velocity is received only
for note-on)
When the Multi Part parameter "Rcv NOTE MESSAGE" = OFF, that
part will not receive these messages.
For a drum part*, key-off is not received if the DrumSetup parameter
Rcv NOTE OFF = OFF.
For a drum part, key-on is not received if the DrumSetup parameter
Rcv NOTE ON = OFF.
* Drum Part indicates that the Multi Part parameter PART
MODE is "set to DRUM or DRUMS1...4."
1.2 Control changes
These messages control volume or pan etc.
Their functions are differentiated by the control number (Ctrl#).
If the Multi Part parameter Rcv CONTROL CHANGE = OFF, that
part will not receive control changes.
1.2.1Bank Select
This voice selects the voice bank.
The voice bank is selected by the combination of two control
change messages: MSB and LSB.
The function of the MSB and LSB will differ depending on
the sound module mode.
In the case of "XG," the MSB value will specify the major
division of voices, and the LSB value will specify the detailed
division.
In the case of "TG300B," the LSB value is fixed, and only
the MSB value will specify the detailed voice division.
In the case of "C/M," Bank Select is not received.
Control#ParameterData Range
0Bank Select MSB0...127
32Bank Select LSB0...127
The Bank Select data will be processed only after a Program
Change is received, and then voice bank will change at that
time.
If you wish to change the voice bank as well as the voice,
you must transmit Bank Select and Program Change
messages as a set, in the order of Bank Select MSB, LSB,
and Program Change.
1.2.2Modulation
This message is used primarily to control the depth of vibrato,
but the depth of the following 7 types of effect can be
controlled.
The effect of this message can be changed by the following
parameters.
• Multi Part Parameter
1. MW PITCH CONTROL
2. MW FILTER CONTROL
3. MW AMPLITUDE CONTROL
4. MW LFO PMOD DEPTH
5. MW LFO FMOD DEPTH
6. MW LFO AMOD DEPTH
• Effect1 Parameter
7. MW VARIATION CONTROL DEPTH
(Valid when Variation Effect is assigned to a part as
Insertion)
By default, an LFO Pitch Modulation (PMOD) effect will
apply.
Control#ParameterData Range
1Modulation0...127
If the Multi Part parameter Rcv MODULATION = OFF,
that part will not receive Modulation.
If the receive channel is a drum part, effects 5 and 6 will not
apply.
1.2.3Portamento Time
This message controls the degree of Portamento (refer to
1.2.11).
Control#ParameterData Range
5Portamento Time0...127
When Portamento (control number 065) is ON, this regulates
the speed of the pitch change.
A value of 0 is the shortest portamento time, and 127 is the
longest portamento time.
If the receive channel is a drum part, Portamento Time is
not received.
1.2.4Data Entry
This message sets the value of the parameter which was
specified by RPN MSB/LSB (see 1.2.22) and NRPN MSB/
LSB (see 1.2.21).
Control#ParameterData Range
6Data Entry MSB0...127
38Data Entry LSB0...127
28
MU100 MIDI
MIDI data format
1.2.5Main Volume
This message controls the volume of each part.
This is used to adjust the volume balance between parts.
Control#ParameterData Range
7Main Volume0...127
When the Multi Part parameter Rcv VOLUME = OFF, that
part will not receive Main Volume.
With a value of 0 there will be no sound, and a value of 127
will be the maximum volume.
1.2.6Panpot
This message control the panning (stereo location) of each
part.
This will be the location of the sound when heard in stereo.
Control#ParameterData Range
10Pan0...64...127
When the Multi Part parameter Rcv PAN = OFF, that part
will not receive Panpot.
0 is left, 64 is center, and 127 is right.
1.2.7Expression
This message controls expression (dynamics within a
musical line) for each part.
It is used to create volume changes during a song.
Control#ParameterData Range
11Expression0...127
If the Multi Part parameter Rcv EXPRESSION = OFF, that
part will not receive Expression.
With a value of 0 there will be no sound, and with a value of
127 the volume will be maximum.
1.2.9Portamento
This message controls portamento on/off.
When the pedal is pressed, a portamento effect will be
applied.
Control#ParameterData Range
65Portamento0...63, 64...127
(OFF, ON)
For data of 0...63 the portamento pedal will be OFF
(released), and for 64...127 it will be ON (pressed).
When this is ON, the pitch will change smoothly between
notes. The time over which the pitch changes is adjusted by
Portamento Time (see 1.2.3). Also, when the Multi Part
parameter MONO/POLY MODE = MONO, the tone will
also change smoothly (legato) if Portamento = ON.
If any of the following Multi Part parameter settings apply,
that part will not receive Portamento.
• Rcv PORTAMENTO = OFF
• PART MODE = DRUM, DRUMS1...4
1.2.10 Sostenuto
This message controls sostenuto pedal on/off.
Notes which were already pressed when the pedal was
pressed will be sustained.
Control#ParameterData Range
66Sostenuto0...63,64...127
(OFF, ON)
For data of 0...63, the sostenuto pedal will be OFF (released),
and for 64...127 it will be ON (pressed).
If sostenuto is turned on while a note is sounding, that note
will be sustained until sostenuto is turned OFF.
If the Multi Part parameter Rcv SOSTENUTO = OFF, that
part will not receive Sostenuto.
Has no effect on VL sounds.
1.2.8Hold1
This message controls sustain pedal on/off.
The notes that are sounding while the pedal is pressed will
be sustained.
Control#ParameterData Range
64Hold10...63,64...127
(OFF, ON)
For data of 0...63 the sustain pedal will be OFF (released),
and for data of 64...127 it will be on (pressed).
When this is ON, currently-sounding notes will continue to
sound even if note-off messages are received.
If the Multi Part parameter Rcv HOLD1 = OFF, that part
will not receive Hold1.
MU100 MIDI
1.2.11 Soft Pedal
This message controls soft pedal on/off.
The sound will become more mellow while the pedal is
pressed.
Control#ParameterData Range
67Soft Pedal0...63, 64...127
(OFF, ON)
For data of 0...63, the soft pedal is OFF (released), and for
64...127 it is ON (pressed).
If any of the following Multi Part parameter settings apply,
that part will not receive the Soft Pedal.
• Rcv SOFT PEDAL = OFF
• PART MODE = DRUM, DRUM1...4
29
MIDI data format
1.2.12 Harmonic Content
This message adjusts the resonance of the filter that is
specified for the sound.
The value of 0~127 is taken as -64~+63, and added as an
offset value to the original sound data to modify the
resonance.
Control#ParameterData Range
71Harmonic Content0...64...127
(-64...0...+63)
Since this is a relative change parameter, it specifies a boost
or cut relative to 64.
Higher values will produce a more distinctive sound.
For some sounds, the effective range may be less than the
possible range of settings.
1.2.13 Release Time
This message adjusts the EG release time that was specified
by the sound data.
The value of 0~127 is taken as -64~+63, and added to the
original sound data as an offset value to modify the release
time.
Control#ParameterData Range
72Release Time0...64...127
(-64...0...+63)
Since this is a relative change parameter, it specifies an
increase or decrease relative to 64.
Increasing this value will lengthen the release that follows a
note-off.
Since this is a relative change parameter, it specifies an
increase or decrease relative to 64.
Lower values will produce a more mellow sound.
For some sounds, the effective range may be less than the
possible range of settings.
1.2.16 Portamento Control
This message specifies the portamento source key number
(the key number at which portamento will begin).
Data of 0...127 specifies the portamento source key.
When Portamento Control is received, the currentlysounding pitch will change at a Portamento Time of 0 to the
key of the next-received note-on of the same channel.
Control#ParameterData Range
84Portamento Control0...127
(C-2...G8)
This is received even if Rcv PORTAMENTO = OFF.
Has no effect on VL sounds.
1.2.17 Effect1 Depth(Reverb Send Level)
This message specifies the send level for the reverb effect.
Control#ParameterData Range
91Effect1 Depth0...127
Increasing this value will produce a richer reverb. The effect
of the value will depend on the state of the reverb effect.
1.2.18 Effect3 Depth(Chorus Send Level)
This message specifies the send level for the chorus effect.
1.2.14 Attack Time
This message adjusts the EG attack time that was specified
by the sound data.
The value of 0~127 is taken as -64~+63, and added to the
original sound data as an offset value to modify the attack
time.
Control#ParameterData Range
73Attack Time0...64...127
(-64...0...+63)
Since this a relative change parameter, it specifies an increase
or decrease relative to 64.
Increasing this value will make the attack more gradual, and
decreasing this value will make the attack sharper.
1.2.15 Brightness
This message adjusts the cutoff frequency of the low pass
filter specified by the sound data.
The value of 0~127 is taken as -64~+63, and added to the
original sound data as an offset value to modify the cutoff
frequency.
Control#ParameterData Range
74Brightness0...64...127
(-64...0...+63)
Control#ParameterData Range
93Effect3 Depth0...127
Raising this value will increase the modulation or spaciousness. The effect of the value will depend on the state of the
chorus effect.
1.2.19 Effect4 Depth (Variation Effect Send
Level)
This message specifies the send level for the variation effect.
Control#ParameterData Range
94Effect4 Depth0...127
However, this is not received if the Variation Effect
parameter Variation Connection = 0 (Insertion).
1.2.20 Data Increment/Decrement (for RPN)
After RPN (see 1.2.22) is used to specify a parameter such
as Pitch Bend Sensitivity, Fine Tune, or Coarse Tune, this
message is used to increment or decrement the respective
parameter value in steps of 1.
Control#ParameterData Range
96RPN Increment-97RPN Decrement--
The data byte is ignored.
30
MU100 MIDI
MIDI data format
1.2.21 NRPN (Non-registered parameter
number)
This message is used to specify a sound parameter (such as
vibrato, filter, EG, drum setup etc.) as an offset value.
Use NRPN MSB and NRPN LSB to specify the parameter
that you wish to modify, and then use Data Entry (see 1.2.4)
to set the value for the specified parameter.
Control#ParameterData Range
98NRPN LSB0...127
99NRPN MSB0...127
If the Multi Part parameter Rcv NRPN = OFF, that part will
not receive NRPN.