OWNER'S MANUAL VT10160 504CRIT15.2-01A0 M.D.G.
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. For details of products, please contact your nearest Yamaha or the authorized distributor listed below.
WELCOME TO THE MU50 Welcome to the MU50 Congratulations and thank you for purchasing the Yamaha MU50 Tone Generator! The MU50 is an advanced tone generator providing 737 high-quality Voices, full General MIDI compatibility — including Yamaha’s new XGMIDI — plus flexible computer interfacing in a highly compact and portable package.
UNPACKING Unpacking Your MU50 package should include the items listed below. Make sure that you have them all. Also, write down the serial number of your MU50 in the box below, for future reference. MU50 Serial No.: PA-1207 AC Power Adaptor* Owner’s Manual * Power supply recommendation may vary from country to country. Please check with your nearest Yamaha dealer for further details.
TABLE OF CONTENTS Table of Contents Welcome to the MU50 ............................................................................................................ ii Unpacking .............................................................................................................................. iii Table of Contents ................................................................................................................... iv How to Use This Manual ..........................................
APPENDIX XG .................................................................................................................................. 108 Troubleshooting ............................................................................................................ 123 Error Messages ............................................................................................................. 124 Specifications ............................................................................................
HOW TO USE THIS MANUAL How to Use This Manual You are probably eager to try out your new MU50 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.
PRECAUTIONS Precautions Your MU50 will give you years of reliable service if you follow the simple precautions below: 䡵 LOCATION Keep the instrument away from locations where it is likely to be exposed to high temperatures (such as direct sunlight) or humidity. Also avoid locations which are subject to excessive dust accumulation or vibration which could cause mechanical damage. 䡵 USE THE CORRECT POWER ADAPTOR Use only the recommended PA-1207 Power Adaptor for supplying power to the instrument.
PRECAUTIONS 䡵 ELECTROMAGNETIC INTERFERENCE Avoid using the unit near televisions, radios or other equipment generating electromagnetic fields. Proximity to such equipment may cause the unit to malfunction, and may generate interference noise in the other appliance as well. 䡵 DO NOT OPEN THE CASE OR TRY REPAIRING THE INSTRUMENT YOURSELF The instrument contains no user-serviceable parts.
THE CONTROLS OF THE MU50 The Controls of the MU50 Front Panel 1 2 5 8 10 11 13 14 15 3 4 6 7 9 ^ 12 1 INPUT jack For connection of an external audio source. (Accepts either stereo or mono 1/4" plugs.) 2 INPUT level control For control of the INPUT audio level. 3 PHONES jack For connection to a set of stereo headphones (mini-pin). 4 POWER/VOL control Pressing this turns the power on and off. Turning it adjusts the overall volume of the MU50. 5 PLAY button For entering the Play mode. (See page 34.
THE CONTROLS OF THE MU50 1 5 2 8 10 11 13 14 15 3 4 6 7 9 12 9 EFFECT button For entering the Effect Edit mode. (See page 86.) 10 MUTE/SOLO button Pressing this alternately mutes or solos the selected Part. (See page 23.) 11 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 or Control Change hexadecimal message for the current function and parameter value.
THE CONTROLS OF THE MU50 Rear Panel 1 2 3 4 5 1 MIDI THRU, MIDI OUT and MIDI IN 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 is for input of MIDI data. MIDI OUT is for data dumps to another MIDI device, while MIDI THRU is for “daisy-chain” connection of additional MU50s or other MIDI instruments. (See page 12 for more information on MIDI connections.
THE MU50 — WHAT IT IS AND WHAT IT CAN DO The MU50 — What It Is and What It Can Do What It Is… The MU50 is a compact, highly portable and easy-to-use tone generator. It features full General MIDI Level 1 compatibility with 128 General MIDI Voices and 1 drum kit. It also provides new XG-MIDI compatibility, with a total of 480 Voices and 11 drum kits. The MU50 has 32-note polyphony and is 16-Part multi-timbral.
THE MU50 — WHAT IT IS AND WHAT IT CAN DO What It Can Do… Here are a few ideas on how you can use the MU50. The list below is not comprehensive, but is meant to be a general guide to the possibilities and provide a starting point or springboard for your own creative ideas and explorations. Using With a MIDI Keyboard Use the MU50 as supplementary tone generator with your MIDI keyboard and play the Voices of both instruments in a layer together.
THE MU50 — WHAT IT IS AND WHAT IT CAN DO About the Modes of the MU50 The MU50 has two main operating modes: Multi and Performance. In Multi mode, the MU50 is a 16-Part multi-timbral tone generator; in Performance mode, the MU50 effectively functions as four tone generators controlled over a single MIDI channel. Which mode the MU50 is in depends on the selected Sound Module mode. If XG, TG300B, C/M or DOC are selected, the MU50 automatically sets itself to the Multi mode.
THE MU50 — WHAT IT IS AND WHAT IT CAN DO Play Modes and the Part Controls Once the operating mode of the MU50 is set (Multi or Performance), there are two main ways you can use the MU50: 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 MU50 — WHAT IT IS AND WHAT IT CAN DO 䊲 EG 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 Vibrato Vibrato Rate Vibrato Depth Vibrato Delay Others Detune Part Mode Mono/Poly Mode Element Reserve Velocity Sensitivity Depth Velocity Sensitivity Offset Note Limit Low Note Limit High Portamento Switch Portamento Time Velocity Limit Low Velocity Limit High Dry Level (VarConnect=SYS) Pitch Bend Control MW LFO Pitch Modulati
THE MU50 — WHAT IT IS AND WHAT IT CAN DO Performance Mode All Part 1 — 4 System MIDI Channel Performance Bank Bank Number Performance Number Program(Voice) Number Performance Volume Volume Performance Pan Pan Reverb Return Reverb Send Chorus Return Chorus Send Variation Return Variation Send System Transpose Note Shift Performance Edit Mode Part Filter Cutoff Frequency Resonance EG EG Attack Time EG Decay Time EG Release Time Pitch EG Initial Level Pitch EG Attack Time Pitch EG Release Le
THE MU50 — WHAT IT IS AND WHAT IT CAN DO 䊲 Others Detune Mono/Poly Mode Velocity Sensitivity Depth Velocity Sensitivity Offset Note Limit Low Note Limit High Portamento Switch Portamento Time Velocity Limit Low Velocity Limit High Dry Level (VarConnect=SYS) MW LFO Pitch Modulation Depth MW LFO Filter Modulation Depth Pitch Bend Control Assignable Control 1 Filter Control Assignable Control 1 Amplitude Control For more information on each of these modes and their menus, see the respective sections in the
G UIDED T OUR When using your MU50 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.
GUIDED TOUR Setting Up Your MU50 In this introductory section, you’ll learn how to set up the MU50 for use with a MIDI keyboard. (Setting up for use with a computer is covered on page 25.) What You’ll Need ☛ The MU50 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.
GUIDED TOUR CAUTION! ● Do not attempt to use an AC adaptor other than the PA-1207. The use of an incompatible adaptor may result in irreparable damage to the MU50, and even pose a serious shock hazard. ● Be sure to disconnect the power adaptor from the outlet when the MU50 is not in use.
GUIDED TOUR Powering Up and Playing the Demo Song Once you’ve connected everything properly, you’re ready to turn the MU50 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/VOL control on the MU50. After the greeting display, the following display will appear: 2 Turn on the power of your MIDI keyboard.
GUIDED TOUR Playing the Demo Song Now that you’ve set everything up properly, try playing the built-in Demo Song. This showcases the high-quality Voices and the AWM2 tone generation system of the MU50. Operation 1 Press the UTIL button. 2 Select “DEMO” with the S E L E C T w buttons and press the ENTER button. 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).
GUIDED TOUR Playing Your MU50 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 MU50 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.
GUIDED TOUR Selecting Voices In this brief section, you’ll learn how to select other Voices. You can do this directly from the panel of the MU50 or remotely, from your MIDI keyboard. Operation 1 First, select a Part. Use the PART q buttons to select Part 1. Press the appropriate button until “01” appears in the PART section of the display. 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).
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 V A L U E q buttons. You can move even more rapidly by holding down one button and then pressing and holding down the other.
GUIDED TOUR 2 Use the VALUE q buttons 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 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.
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 MU50. Let’s take a look at the Play display again: Voice name, bank number and program number for the selected Part. Note Shift setting for the selected Part. Variation Send setting for the selected Part. Chorus Send setting for the selected Part.
GUIDED TOUR Operation 1 Use the PART 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 to change the MIDI Receive Channel to “01.” 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 meter” move together.
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 1 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 VALUE q buttons to change the setting, and play the keyboard as you make changes.
GUIDED TOUR Using Mute/Solo The MU50 has convenient Mute and Solo functions for selectively muting or soloing any of the 16 Parts. This is especially useful when playing back several Parts from a connected computer or sequencer. Mute lets you silence one Part to hear how all of the other Parts sound without it. Solo lets you isolate a single Part, to hear how that Part sounds by itself.
GUIDED TOUR Using the INPUT Jack The MU50 also features an INPUT function that allows you to connect an external audio source (such as an electric guitar, keyboard or CD player) and mix in those signals with the MU50’s Voices — without the need for an external mixer. For example, this allows you to play a guitar or keyboard over backing tracks played with the MU50’s Voices from a MIDI sequencer.
GUIDED TOUR Setting Up the MU50 in Your Music System As you learned in the section The MU50 — What It Is and What It Can Do on page 4, the MU50 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 MU50 and using it in your system.
GUIDED TOUR Operation 1 Set the HOST SELECT switch to Mac Mac. 2 Connect the MU50 to the host computer, as shown in the illustration above. Use a standard Macintosh cable (8-pin Mini DIN on both ends; see page 31). 3 Turn on the the host computer, then the MU50. 4 Start up your music software, and set up the appropriate options on the software for operation with the MU50.
GUIDED TOUR Operation 1 Set the HOST SELECT switch to PC-2 PC-2. 2 Connect the MU50 to the host computer, as shown in the illustration above. Use a standard computer cable (8-pin Mini DIN to 9-pin D-SUB; see page 31). 3 Turn on the the host computer, then the MU50. 4 Start up your music software, and set up the appropriate options on the software for operation with the MU50. Refer to the owner’s manual of your particular music software for more information.
GUIDED TOUR MIDI CABLE MIDI OUT MIDI IN MIDI OUT MIDI IN MDF2 MIDI CABLE MIDI OUT MIDI IN MIDI OUT MIDI IN MIDI Keyboard Operation 1 Set the HOST SELECT switch to MIDI. 2 Connect the MU50 to the appropriate MIDI device, as shown in the illustrations above. Use a standard MIDI cable (see page 31). 3 Turn on the the connected device, then the MU50. 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 MU50.
GUIDED TOUR Using the MU50 with a MIDI Data Storage Device You can also use the MU50 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 built-in effects and Performances. Then, when you want to recall those settings, you can transfer the appropriate data from the storage device.
GUIDED TOUR Data Flow Block Diagram When HOST SELECT switch is set to MIDI (31,250 bps): TO HOST IN OUT THRU Sound Module 1~16CH When HOST SELECT switch is set to PC-1/PC-2/Mac: HOST SELECT = PC-1 (31,250bps) PC-2 (38,400bps) Mac (31,250bps) TO HOST IN Sound Module 1~16CH 30 OUT THRU
GUIDED TOUR MIDI/Computer Connecting Cables MIDI Standard MIDI cable. Maximum length 15 meters. 4 2 5 DIN 5-PIN 4 2 (GND) 5 DIN 5-PIN Mac Apple Macintosh Peripheral cable (M0197). Maximum length 2 meters. MINI DIN 8-PIN 1 2 3 4 5 6 7 8 2 (HSK i) 1 (HSK o) 5 (RxD –) 4 (GND) 3 (TxD –) 8 (RxD +) 7 (GP i) 6 (TxD +) 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.
GUIDED TOUR 32
R EFERENCE The Reference section of this manual covers in detail all of the functions of the MU50. Refer to it when you need information about a specific function, feature or operation.
MULTI MODE Multi Mode In the Multi mode, the MU50 performs as a multi-timbral tone generator capable of playing up to 16 Parts simultaneously, over 16 MIDI channels. Normally, the MU50 should be set to Multi mode when using it with a sequencer and General MIDI song data. There are four Multi modes: XG, TG300B, C/M and DOC. Each mode provides compatibility with different music software and hardware as described below: XG: Provides compatibility with the XG format.
MULTI MODE Multi Play Mode The Play mode (with the main Play display shown below) is the normal operating mode of the MU50. To select the Play mode from any other mode, press the PLAY button. (The Play mode is also automatically selected when you turn on the MU50.) Velocity “level meters” for each Part. Voice number and name for currently selected Part. Level meters for INPUT jack signals. (A1: left, A2: right) Current Part number. MIDI channel number for currently selected Part.
MULTI MODE 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 MU50 is turned on. If All Part is selected, simply press both PART q buttons simultaneously (or press the EXIT button) to return to Single Part.
MULTI MODE Bank Number Settings: XG: 000, 001, 003, 006, 008, 012, 014, 016 — 020, 024, 025, 027, 028, 032 — 043, 045, 064 — 072, 096 — 101, SFX TG300B: 000 — 011, 016 — 019, 024 — 026, 032, 033, 040, 126, 127 C/M: Fixed (only one bank) DOC: Fixed (only one bank) This determines the bank number of the selected Part’s Voice. Each bank contains 128 Voices. (Refer to the SOUND LIST & MIDI DATA booklet. Program (Voice) Number Range: 1 — 128 This determines the Voice for the selected Part.
MULTI MODE Expression (Expresn) Graphically indicates current Expression setting. Range: 0 — 127 This determines the Expression setting for the selected Part’s Voice. Pan Graphically indicates current Pan setting. Settings: Rnd (Random), L63 — C — R63 This determines the stereo position of the selected Part’s Voice. A setting of “Rnd” (Random) randomly assigns the Voice to a pan position. This is useful when you want to have different Voices sound from different random parts of the stereo image.
MULTI MODE Chorus Send (ChoSend) Graphically indicates current Chorus Send setting. Range: 0 — 127 This determines the level of the selected Part’s Voice that is sent to the Chorus effect. A value of 0 results in a completely “dry” Voice sound (no Chorus effect). NOTE Keep in mind that the Chorus effect must be properly enabled and set for this parameter to work as intended. (See page 88.) Variation Send (VarSend) Graphically indicates current Variation Send setting.
MULTI MODE All Part Control The All Part controls include: Device Number, Master Volume, 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.
MULTI MODE example, if you are using more than one MU50, set a different Device Number for each. This is especially important when using the data dump features. (See page 98.) If you have only one MU50, set this to “all.” Master Volume (M.Volum) Graphically indicates current Master Volume setting. Range: 0 — 127 This determines the overall Volume of the Parts. Reverb Return (RevRtn) Graphically indicates current Reverb Return setting.
MULTI MODE Variation Return (VarRtn) Graphically indicates current Variation Return setting. Range: 0 — 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 92.) Transpose (Trans) Graphically indicates current Transpose setting. Range: –24 — +24 semitones This determines the overall Transpose setting of the Parts.
MULTI MODE Multi Edit Mode The Multi Edit mode features various parameters for controlling the Filter, the EG (Envelope Generator) 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.
MULTI MODE Cutoff Frequency (CutoffFreq) Graphically shows Cutoff Frequency setting for each Part. Selected Part and MIDI channel Level Range: –64 — +63 Default: 0 This determines the cutoff frequency of the filter, or the frequency point above which other frequencies are filtered out. Lower cutoff values create a deeper, more rounded tone, while higher values create a thinner, brighter tone. Low (–64) Cutoff Frequency Resonance Graphically shows Resonance setting for each Part.
MULTI MODE Range: –64 — +63 Default: 0 This determines the amount of filter resonance or emphasis of the Cutoff Frequency parameter above. Higher values increase the emphasis of the Cutoff Frequency, producing a higher resonant peak, while lower values produce a relatively flat response.
MULTI MODE EG Parameters 1) Short Attack, Decay, Release times: Level Attack Decay Release Max. Min. Time Key is pressed Key is released 2) Long Attack, Decay, Release times: Level Attack Decay Release Max. Min. Time Key is pressed Key is released 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.
MULTI MODE Range: –64 — +63 Default: 0 This determines the Attack Time of the EG, or how long it takes for the sound to reach full volume when a note is played. For the Filter, this determines how long it takes for the sound to be affected by the maximum Filter values. EG Decay Time Graphically shows EG Decay Time setting for each Part. Selected Part and MIDI channel Range: –64 — +63 Default: 0 This determines the Decay Time of the EG, or how rapidly the sound dies out as a note is held.
MULTI MODE 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.
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 Default: 0 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 (PEGReleLvl) Graphically shows Pitch EG Release Level setting for each Part.
MULTI MODE Pitch EG Release Time (PEGReleTime) Graphically shows Pitch EG Release Time setting for each Part. Selected Part and MIDI channel Range: –64 — +63 Default: 0 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. Vibrato 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.
MULTI MODE Range: –64 — +63 Default: 0 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 Default: 0 This determines the depth of the Vibrato effect. Higher values result in a stronger, more pronounced Vibrato sound. Vibrato Delay Graphically shows Vibrato Delay setting for each Part.
MULTI MODE Others Part Edit Mode Others Detune Part Mode Mono/Poly Mode Element Reserve Velocity Sensitivity Depth Velocity Sensitivity Offset Note Limit Low Note Limit High Portamento Switch Portamento Time Velocity Limit Low Velocity Limit High Dry Level (VarConnect=SYS) Pitch Bend Control MW LFO Pitch Moduration Depth The Others section of parameters contains miscellaneous controls, including those related to tuning, Part Mode, velocity, portamento, note range, etc.
MULTI MODE Range: –12.8 — +12.7 Default: 0.0 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 36) and same Voice, a naturally thick chorusing effect can be obtained by slightly detuning each Voice in opposite directions here.
MULTI MODE For TG300B mode: The settings normal and drumS1, drumS2 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: Part 10 is set to drumS1, and all other Parts are set to normal. The MIDI Receive Channel setting for Part 1 is set to off.
MULTI MODE Element Reserve (ElemReserv) Height of bars indicates selected Element Reserve setting for each Part. Selected Part and MIDI channel Range: 0 — 32 Default: 2 (Parts 1 — 9, 11 — 16) Default: 0 (Part 10) This determines the amount of elements (or notes) that are reserved for the selected Part, effectively letting you keep notes of certain Parts from being “stolen” by other Parts. Normally, elements are dynamically allocated to Parts.
MULTI MODE Velocity Sensitivity Offset (VelSensOfs) Graphically shows Velocity Sensitivity Offset setting for each Part. Selected Part and MIDI channel Range: 0 — 127 Default: 64 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 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 36), 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.
MULTI MODE Portamento Parameters Portamento is a function that creates a smooth pitch glide from one note to another. Portamento Switch (PortamntSw) 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 Default: off This determines whether Portamento is on or off for the Part. (This parameter is not available for Drum Parts.
MULTI MODE 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 36), but give them different Velocity Limit settings so that one or the other sounds depending on how strongly you play the keyboard. Velocity Limit Low (VelLimitLo) Graphically shows Velocity Limit Low setting for each Part.
MULTI MODE Dry Level Range: 0 — 127 Default: 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 92.) Pitch Bend Control (PitBndCtrl) Graphically shows Pitch Bend Control setting for each Part. Selected Part and MIDI channel Range: –24 — +24 semitones (+/– 2 octaves) Default: +2 This determines the Pitch Bend range for the Part’s Voice.
MULTI MODE Drum Setup Controls 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.
MULTI MODE Operation 1 Select the desired note number and its assigned drum sound with the P A R T q buttons. For a list of the available sounds and their note assignments, see the SOUND LIST & MIDI DATA booklet. HINT You can also select the desired note number by simply pressing the appropriate key on a connected MIDI keyboard. 2 Select the desired parameter with the SELECT w buttons. Refer to the descriptions below for details on the individual parameters.
MULTI MODE NOTE Keep in mind that the Reverb effect must be properly enabled and set for this parameter to work as intended. (See page 86.) Also, the parameters Reverb Send in Single Part control (page 38) and Reverb Return in All Part control (page 41) must be set to appropriate values. Chorus Send (Cho Send) Range: 0 — 127 This determines the level of the selected drum sound that is sent to the Chorus effect.
MULTI MODE Resonance Range: –64 — +63 This determines the amount of filter resonance or emphasis of the Cutoff Frequency parameter above. Higher values increase the emphasis of the Cutoff Frequency, producing a higher resonant peak, while lower values produce a relatively flat response. Level Resonant Peak Lower Resonance Higher Resonance Cutoff Frequency Alternate Group (AlterGroup) Settings: off, 1 — 127 This determines the group assignment of the selected drum sound.
MULTI MODE Receive Note Off Settings: on, off This determines how the selected drum sound responds to MIDI Note Off messages. When this is set to on, the selected sound will stop in response to the corresponding MIDI Note Off message. An on setting is good for some sustained sounds (like a whistle), or for key-controlled cymbal “chokes.” For most drum sounds, however, this should be set to off so that the drum sound plays back in its entirety (is not cut off).
PERFORMANCE MODE Performance Mode In the Performance mode, the MU50 performs as a four-Part tone generator, with all Parts controlled over a single MIDI channel. The Performance mode is so named because it’s ideally suited to live performance situations. It allows you to play four different Voices at the same time from your MIDI keyboard — either in a layer, or in sophisticated keyboard and velocity splits.
PERFORMANCE MODE Selecting a Performance and its Individual Parts To call up a Preset or Internal Performance and select individual Parts of that Performance: 1 From the Performance Play mode (see section above), press the PART q buttons simultaneously, so that the All Part display is shown. Indicates All Part display. NOTE The display is automatically set to All Part when the Performance Play mode is selected.
PERFORMANCE MODE 3 Use the SELECT w buttons to select the Program Number parameter, then use the VALUE q buttons to select the desired Performance number. Performance number 4 From the All Part display, press the PART q buttons simultaneously, so that the Single Part display is shown. Indicates currently selected Part. 5 Select the desired Part by using the PART q buttons.
PERFORMANCE MODE Performance Part Control Single Part Bank Number Settings: XG: 000, 001, 003, 006, 008, 012, 014, 016 — 020, 024, 025, 027, 028, 032 — 043, 045, 064 — 072, 096 — 101, SFX This determines the bank number of the selected Part’s Voice. Each bank contains 128 Voices. (Refer to the SOUND LIST & MIDI DATA booklet. Program (Voice) Number Range: 1 — 128 This determines the Voice for the selected Part. (Refer to the SOUND LIST & MIDI DATA booklet.
PERFORMANCE MODE Volume Graphically indicates current Volume setting. Range: 0 — 127 This determines the Volume setting for the selected Part’s Voice. Pan Graphically indicates current Pan setting. Settings: Rnd (Random), L63 — C — R63 This determines the stereo position of the selected Part’s Voice. A setting of “Rnd” (Random) randomly assigns the Voice to a pan position. This is useful when you want to have different Voices sound from different random parts of the stereo image.
PERFORMANCE MODE Chorus Send (Cho Send) Graphically indicates current Chorus Send setting. Range: 0 — 127 This determines the level of the selected Part’s Voice that is sent to the Chorus effect. A value of 0 results in a completely “dry” Voice sound (no Chorus effect). NOTE Keep in mind that the Chorus effect must be properly enabled and set for this parameter to work as intended. (See page 88.) Variation Send (Var Send) Graphically indicates current Variation Send setting.
PERFORMANCE MODE All Part System MIDI Channel (Sys CH) Graphically indicates current System MIDI Channel setting. Settings: 1 — 16, all This determines the MIDI receive channel for all Parts of the Performance. When this is set to “all,” the Performance responds over any incoming MIDI channel. Performance Bank Settings: Pre (Preset), Int (Internal) This determines the bank of Performance programs: Preset or Internal.
PERFORMANCE MODE Performance Volume (Pfm Vol) Graphically indicates current Performance Volume setting. Range: 0 — 127 This determines the overall Volume of the Performance. Performance Pan (Pfm Pan) Graphically indicates current Performance Pan setting. Range: L63 — C — R63 This determines the overall Pan position of the Performance. Reverb Return (RevRtn) Graphically indicates current Reverb Return setting.
PERFORMANCE MODE Chorus Return (ChoRtn) Graphically indicates current Chorus Return setting. Range: 0 — 127 This determines the amount of Chorus return for the Performance in the overall mix. Variation Return (VarRtn) Graphically indicates current Variation Return setting. Range: 0 — 127 This determines the amount of Variation return in the overall mix of the Performance. Variation Return is only available when the Variation Connection parameter is set to SYS. (See page 92.
PERFORMANCE MODE Performance Edit Mode The Performance Edit mode features various functions and parameters, grouped in the following sections: Common (related to the Performance as a whole), Part (related to each of the four Parts), and the Copy and Store operations. To enter the Performance Edit mode, press the EDIT button (from the Performance Play mode).
PERFORMANCE MODE Operation 1 From the Performance Name display, press the ENTER button. Performance name 2 Use the SELECT w buttons to select the character position (flashing character) in the name and use the VALUE q buttons to change the character at that position. Flashes to indicate character position. Use these to move among character positions. Use these to change character at selected position. Up to 12 characters can be used for the Performance name.
PERFORMANCE MODE Assignable Controller1 Control Change Number (AC1 CC No.) Graphically indicates Control Change Number setting. Range: 0 — 95 This determines which Control Change number will be used for Assignable Controller 1 in the Performance. Assignable Controller 1 can be used to affect the Filter (page 43), the Amplitude or the Variation effect (page 90). 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.
PERFORMANCE MODE Part Performance Edit Mode Part Filter Cutoff Frequency Resonance EG 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 Vibrato Vibrato Rate Vibrato Depth Vibrato Delay 䊲 78
PERFORMANCE MODE 䊲 Others Detune Mono/Poly Mode Velocity Sensitivity Depth Velocity Sensitivity Offset Note Limit Low Note Limit High Portamento Switch Portamento Time Velocity Limit Low Velocity Limit High Dry Level (VarConnect=SYS) MW LFO Pitch Moduration Depth MW LFO Filter Moduration Depth Pitch Bend Control Assignable Control 1 Filter Control Assignable Control 1 Amplitude Control The Part menu contains the Filter, EG, Vibrato and Others parameters for the Performance.
PERFORMANCE MODE Vibrato The Vibrato section of Performance Edit parameters are the same as the corresponding parameters in the Multi Edit mode. (See page 52.) Others The Others section of Performance Edit parameters contains miscellaneous controls, including those related to tuning, velocity, portamento, note range, etc. With a few additional parameters, these are the same as the parameters in the Multi Edit mode.
PERFORMANCE MODE Portamento Time (PortametTm) Same as the corresponding parameter in the Multi Edit mode. (See page 58.) Velocity Limit Low (VelLimitLo) Same as the corresponding parameter in the Multi Edit mode. (See page 59.) Velocity Limit High (VelLimitHi) Same as the corresponding parameter in the Multi Edit mode. (See page 59.) Dry Level Same as the corresponding parameter in the Multi Edit mode. (See page 60.) This parameter is only available when the Variation Connection parameter is set to SYS.
PERFORMANCE MODE Assignable Control 1 Filter Control (AC1FilCtrl) Graphically shows AC1 Filter Control setting for each Part. Range: –64 — +63 This determines the degree to which Assignable Controller 1 affects the Filter. A setting of 0 results in no control over the Filter. Negative settings affect the Filter negatively; in other words, when the controller is at the minimum position, control over the filter is greatest. In the illustration below, a foot controller is used as Assignable Controller 1.
PERFORMANCE MODE Copy and Store Operations The Copy and Store operations allow you to save and organize the Performances you’ve created. Copy The Copy operation allows you to copy the settings of one Performance program (Preset or Internal) to another Performance number (Internal only). Operation 1 From the Performance Edit menu, use the SELECT w buttons to select “COPY.” Then, press the ENTER button to call up the Copy operation.
PERFORMANCE MODE Memory location (P = Preset, I = Internal) Source Performance number Use these to select desired parameter. Destination Performance number Use these to change value. 3 Press the ENTER button to actually execute the Copy operation. An “Executing…” message flashes in the display during the operation. When the data has been copied, the MU50 returns to the Performance Edit menu. To cancel the operation without copying, press the EXIT button (before pressing ENTER ENTER).
PERFORMANCE MODE 2 Use the VALUE q buttons to change the destination Performance number. Performance number Use these to change Performance number. 3 Press the ENTER button to actually execute the Store operation. An “Executing...” message flashes in the display during the operation. When the data has been stored, the MU50 returns to the Performance Edit menu. To cancel the operation without saving, press the EXIT button (before pressing ENTER ENTER).
EFFECT EDIT MODE Effect Edit Mode The MU50 features a built-in multi-effect processor with three independent digital effects: Reverb, Chorus and Variation. These are controlled in the Effect Edit mode. In this section, only the effect Types and the global parameters common to all Types are covered. For descriptions and details on the parameters for each effect Type, refer to the separate SOUND LIST & MIDI DATA booklet. To enter the Effect Edit mode, press the EFFECT button.
EFFECT EDIT MODE Settings: NO EFFECT, HALL 1, HALL 2, ROOM 1, ROOM 2, ROOM 3, STAGE 1, STAGE 2, PLATE, WHITE ROOM, TUNNEL, BASEMENT This determines the Reverb Type. Each Reverb Type has different values for the rest of the Reverb parameters. NOTE NO EFFECT When “NO EFFECT” is selected, Reverb is off and none of the other Reverb parameters are available (with the exception of the Reverb Pan parameter).
EFFECT EDIT MODE Chorus (CHO) The Chorus section uses pitch modulation to create a variety of rich, spacious-sounding effects, including Chorus, Celeste and Flanger. Explanations of the Chorus Type and Chorus Pan parameters are given below. For descriptions and explanations for all other Chorus parameters, refer to the separate SOUND LIST & MIDI DATA booklet. Type Settings: NO EFFECT, CHORUS 1 — 4, CELESTE 1 — 4, FLANGER 1 — 3 Default: CHORUS 1 This determines the Chorus Type.
EFFECT EDIT MODE Range: L63 — C — R63 This determines the Pan position of the Chorus sound, or where it appears in the stereo image. Send Chorus to Reverb (SendCho → Rev) Range: 0 — 127 This determines the level of the Chorus signal sent to and processed by the Reverb effect. A setting of 0 results in none of the Chorusprocessed signal going to the Reverb. HINT Setting this to a relatively high level gives you a more natural sound, since the Chorus-processed sound is also being processed by the reverb.
EFFECT EDIT MODE Type Settings: NO EFFECT; HALL 1 & 2; ROOM 1 — 3; STAGE 1 & 2; PLATE; DELAY LCR; DELAY L,R; ECHO; CROSS DELAY; EARLY REFLECTION 1 & 2; GATE REVERB; REVERSE GATE; KARAOKE 1 — 3; CHORUS 1 — 4; CELESTE 1 — 4; FLANGER 1 — 3; SYMPHONIC; ROTARY SPEAKER; TREMOLO; AUTO PAN; PHASER 1 — 2; DISTORTION; OVERDRIVE; AMP SIMULATOR; 3-BAND EQ; 2-BAND EQ; THRU NOTE When NO EFFECT or THRU is selected for the Type, no Variation effect is applied, and only the common parameters shown below are available (wit
EFFECT EDIT MODE Common Parameters (Insertion connection): Dry/Wet Range: D63>W — (D=W) — D
EFFECT EDIT MODE About the Effect Connections — System and Insertion The multi-effects of the MU50 provide not only a wide range of sound processing controls, but also a flexible system for connecting them. Unlike simple effect routing schemes on conventional sound modules that process all voices with the same effects, the MU50 allows you to put independent, special effects on one Part, as well as use overall effects for processing all 16 Parts together.
When Variation is set to System: VARIATION CONNECTION = SYSTEM Thick line indicates stereo signal.
Thick line indicates stereo signal. The variation effect can be applied to only one Part at a time.
UTILITY MODE Utility Mode The Utility mode lets you set functions related to the overall operation of the MU50, such as Master Tune, display contrast and playing of the Demo Song. Included also are utility operations, such as various kinds of data transfer with an external data storage device, and initializing of the MU50 settings. To enter the Utility mode, press the UTIL button.
UTILITY MODE Mute Lock Settings: off, on Default: off This determines whether or not the Part Mute status of the MU50 is reset when receiving a GM System On, XG System On or Disk Orchestra On message. Generally, this message is automatically transmitted to the MU50 as part of General MIDI song data. When Mute Lock is set to off, this resets the Mute status of the Parts on the MU50. If you want to keep the current Mute settings and disable this reset, set Mute Lock to on.
UTILITY MODE ceived. This should be to On when receiving bulk data from a MIDI data storage device. (See page 102.) Receive Bank Select (RcvBankSel) Settings: off, on Default: on This determines whether Bank Select messages are received or not. Bank Select messages can be sent from another MIDI device to change the banks of Voices on the MU50. The On setting allows Bank Select messages to be received. Contrast Range: 1 — 8 Default: 2 This determines the contrast of the display.
UTILITY MODE Thru Port Range: 1 — 8 Default: 1 Some MIDI devices and sequencers are capable of transmitting data over several MIDI “ports,” effectively breaking the 16-channel barrier. When this data is received via the TO HOST terminal on the MU50, this parameter determines which MIDI port’s data will be routed through the MIDI OUT terminal.
UTILITY MODE Operation 1 Make sure that the MU50 is properly connected to the device and that the HOST SELECT switch is properly set. When using the MIDI terminals, connect the MIDI OUT of the MU50 to the MIDI IN of the data recorder. (See the illustrations above.) Also, set the HOST SELECT switch to MIDI MIDI. When using the TO HOST terminal, make sure that the HOST SELECT switch is set corresponding to the device to be used. (Refer to page 25 for more on host computer connections.
UTILITY MODE All This transmits all MU50 data (including Part, Performance, system, and all parameter values) to the connected device. Multi Part This transmits the MU50 Multi Part data (including System and Effect data) to the connected device. (Use the VALUE q buttons to select the type/amount of data to be transmitted.) Performance (PERFORM) Settings: ALL, I 001 — I 128 (Internal Performance numbers) This transmits the selected MU50 Performance data to the connected device.
UTILITY MODE A “Transmitting…” message appears in the display during the operation. When the transmission is completed, the MU50 returns to the Dump Out menu. NOTE If you have more than one MU50 connected in your MIDI system and wish to send different sets of data to each, you can specify a different Device Number for each. (See page 40.) You should set the Device Number on each MU50 you use, before dumping the data to a data storage device.
UTILITY MODE 2 From the Initialize menu, select the type of data to be initialized: Factory Settings (FactSet), selected Sound Module mode (XG Init, GM Init, C/MInit, DOCInit, PFMInit) or Drum (DrumInit) Then, press the ENTER button to call up the selected data dump. Factory Settings (FactSet) This restores the original factory settings of the MU50.
UTILITY MODE General MIDI (GM Init) Computer Music (C/MInit) Disk Orchestra (DOCInit) Performance (PFMInit) One of the four parameters above will be available, depending on the currently selected Sound Module mode: XG, TG300B, C/M, DOC or PERFORM. Initializing this parameter restores the original settings for the selected mode. NOTES ● For the PFMInit setting, only the currently selected Performance will be initialized.
UTILITY MODE Drum (DrumInit) Setting: DrumS1, DrumS2 This restores the original drum settings for the selected Drum SetupS1, SetupS2. (Use the VALUE q buttons to select the desired Drum Setup.) When C/M or DOC is selected, only DrumS1 can be selected. NOTE This parameter is not available when the MU50 is set to Performance mode. 3 From the “Are you sure?” prompt, press the ENTER button to execute the operation, or press the EXIT button to cancel it and return to the previous display.
UTILITY MODE The Demo Song starts playing immediately and repeats indefinitely until stopped (in step 4 below). Playback of the individual Parts of the song is shown graphically by the “level meter” bars in the display. NOTE During Demo Song playback, no panel controls (with the exception of the EXIT button and the VOLUME control) can be used. 3 To stop playback of the song, press the EXIT button. 4 To exit from the Demo Song function, press the EXIT button again.
UTILITY MODE About Cable Messages The MU50 can receive Cable messages (F5) when the TO HOST terminal is connected to the serial terminal of a computer. On the MU50, MIDI receive channels 1 — 16 are controlled from Port 1. By connecting another multi-timbral tone generator to the MIDI OUT terminal of the MU50 and setting the Thru Port function (page 98) to a value other than 1, you can play back data over a total of 32 MIDI channels — 16 on the MU50 and another 16 on the connected tone generator.
APPENDIX The Reference section of this manual covers in detail all of the functions of the MU50. Refer to it when you need information about a specific function, feature or operation.
APPENDIX XG Chapter 0: Format Overview Yamaha introduces a new tone-generator control format designed to meet the requirements of the coming multimedia environment. The new XG format — an extension of the existing GM format — provides broader capabilities suited to the demands of an increasingly sophisticated and diversified computerized environment.
APPENDIX Basic Concepts The XG format maintains the universality and compatibility of the MIDI and GM standards while significantly increasing the range of expressiveness. It is designed to ensure data continuity, and to provide equipment manufacturers with considerable flexibility in designing machines that satisfy its requirements. Specifically, the XG format does the following.
APPENDIX 2) Bank-Select MSB adds an SFX bank The Bank-Select LSB method is not useful for extension of distinctive SFX voices that have no meaningful variation. For this reason the XG format supports a full SFX bank of extension effects, which you can select by sending a Bank-Select MSB value of 40H. Bank-Select MSB 7EH or 7FH, in contrast, can be used to set any channel to rhythmpart play.
APPENDIX 4. System Exclusive Messages Parameter Change System Parameters Effects Parameters Three categories of system effects are supported. One of these categories can be switched with insertion effects. Graphic EQ and multiple insertion effects are supported as options. Part Parameters Filter cutoff and AEG value can be controlled by offset. Display Parameters External-Input Control Parameters Enable control of external signals input into internal mixer.
APPENDIX 4. Control Change Status: BnH If multipart parameter “Rcv CONTROL CHANGE” is OFF, the part will continue to accept Channel Mode messages but will ignore all other Control Change messages. Bank Select MSB/LSB: 00H/20H Cntrl# 0 32 Parameter Data Range Bank Select MSB Bank Select LSB 0:Normal 64:SFX voice 126:SFX kit 127:Drum 0 to 127 Default: 00 00H If multipart parameter “Rcv BANK SELECT” is OFF, the part ignores this message.
APPENDIX Note 5: If a Bank Select MSB value of 01H~7EH (SFX voice, or unused MSB) is received and the tone generator does not have a voice corresponding to the last received LSB and Program Change, the tone generator will produce no sound for that channel regardless of subsequent Key On messages. (Commentary) Users employing the XG format to generate music data should note the following general points.
APPENDIX Panpot: 0AH Cntrl# 10 Parameter Data Range Panpot 0 to 127 Default: 40H If multipart parameter “Rcv PAN” is OFF, the part ignores this message. Produces relative variations in pan among different installments of the rhythm part. Expression: 0BH Cntrl# Parameter Data Range 11 Expression 0 to 127 Default: 7FH If multipart parameter “Rcv EXPRESSION” is OFF, the part ignores this message. This message is used to control intonation expression (diminuendo and crescendo) during play.
APPENDIX Harmonic Content: 47H Cntrl# 71 Parameter Data Range Harmonic Content 0 to 127 (0:-64 64:+0 127:+63) Default: 40H Applies adjustment to the resonance value set by the voice. This parameter specifies relative change, with value 64 producing zero adjustment. As values get higher the sound becomes increasingly eccentric. Note that for some voices the effective parameter range is narrower than the legal parameter range.
APPENDIX Effects Send Level 1 (reverb): 5BH Cntrl# 91 Parameter Data Range Effect-1 Depth 0 to 127 Default: 28H Adjusts the reverb send level. Effects Send Level 3 (chorus): 5DH Cntrl# 93 Parameter Data Range Effect-3 Depth 0 to 127 Default: 00H Adjusts the chorus send level. Effects Send Level 4 (variation): 5EH Cntrl# 94 Parameter Data Range Effect-4 Depth 0 to 127 Default: 00H Adjusts the variation effect send level. Effective only if “Variation Connection = System”.
APPENDIX The following NRPN values are supported.
APPENDIX Minimum operational range is 00H00H-0CH00H (± octave). 01H 00H mmH Fine Tune 02H 00H mmH Coarse Tune 7FH 7FH Null mm: 00H-40H-7FH (-64-0-+63) Default: 40 00H mm: 00H-40H-7FH (-64-0-+63) Default: 40 00H — 5. Channel Mode Messages All Sound Off: 78H Cntrl# 120 Parameter Data Range — 0 Switches off sound from all parts. Does not reset the settings established by Channel Messages.
APPENDIX OMNI On: 7DH Cntrl# 125 Parameter Data Range — 0 Same processing as for All Notes Off. (“OMNI ON” operation not supported.) MONO: 7EH Cntrl# 126 Parameter Data Range Mono 0 to 16 Generates “All Sound Off” operation. If the value of the third byte (mono number) is 0~16, the channel changes to Mode 4 (m=1). POLY: 7FH Cntrl# 127 Parameter Data Range — 0 Generates “All Sound Off” operation, and sets the channel to Mode 3. 6.
APPENDIX 8. Exclusive Messages XG System On F0H,43H,1nH,4CH,00H,00H,7EH,00H,F7H 11110000 01000011 0001nnnn 01001100 00000000 00000000 01111110 00000000 11110111 F0 43 1n 4C 00 00 7E 00 F7 Exclusive status YAMAHA ID Device Number Model ID Address High Address Mid Address Low Data End of Exclusive The message switches SOUND MODULE MODE to XG and initializes the XG settings. The message requires approximately 50ms to execute, so sufficient time should be allowed before the next message is sent.
APPENDIX Parameter Change 11110000 01000011 0001nnnn 01001100 0aaaaaaa 0aaaaaaa 0aaaaaaa 0ddddddd | 0ddddddd 11110111 F0 43 1n 4C aa aa aa dd | dd F7 Exclusive status YAMAHA ID Device Number Model ID Address High Address Mid Address Low Data Data End of Exclusive Includes 2 or 4 bytes of data, depending on parameter size. The following eight types of parameter change are provided.
APPENDIX Parameter Request 11110000 01000011 0011nnnn 01001100 0aaaaaaa 0aaaaaaa 0aaaaaaa 11110111 F0 43 3n 4C aa aa aa F7 Exclusive status YAMAHA ID Device Number Model ID Address High Address Mid Address Low End of Exclusive F0 43 2n 4C aa aa aa F7 Exclusive status YAMAHA ID Device Number Model ID Address High Address Mid Address Low End of Exclusive Dump Request 11110000 01000011 0010nnnn 01001100 0aaaaaaa 0aaaaaaa 0aaaaaaa 11110111 Sending or receiving of dump request cannot be switched off excep
APPENDIX Troubleshooting Even though the MU50 is exceptionally easy to use, it may occasionally not function as you expect it to. If that happens, check the possible problems and solutions below before assuming that the instrument is faulty. Problem Possible Cause and Solution No power. If you are using an AC adaptor, check that the adaptor is properly plugged into both the AC outlet and the MU50 (See page 12.) No sound. Check that: ● The panel volume control is set to an appropriate level.
APPENDIX Error Messages Battery Low! The battery voltage (for internal memory backup) may be too low. Bring the unit to your local Yamaha dealer or any other authorized Yamaha service personnel. Illegal Data! A data error resulted during reception of MIDI messages. Try transmitting the data again, or turn the MU50 off and back on again. MIDI Buffer Full! Too much MIDI data is being received by the MU50 at one time. Reduce the amount of data being sent to the MU50.
APPENDIX Specifications Tone Generation Method AWM2 (Advanced Wave Memory 2) Maximum Simultaneous Polyphony 32-note Sound Module Modes XG (Extended General MIDI), TG300B, C/M, DOC, and Performance Multi-timbral Capacity 16-Part (on 16 MIDI channels; with element reserve priority for later notes and dynamic Voice allocation) Internal Voice/Program Structure Normal Programs Total Voices ......................... XG mode ............................. TG300B mode .................... C/M mode .................
APPENDIX Display Custom back-lit LCD Controls INPUT level control; POWER/VOL control; Mode select buttons: PLAY, UTIL (UTILITY), MODE, EDIT, EFFECT; other buttons: MUTE/SOLO, ENTER, EXIT, PART q , SELECT w , VALUE q Jacks and Terminals Front panel: INPUT jack (stereo 1/4"), PHONES jack (stereo mini-pin) Rear panel: OUTPUT R, L/MONO jacks (Right, Left/Mono); DC IN jack; TO HOST terminal; HOST SELECT switch; MIDI IN, MIDI OUT, and MIDI THRU terminals Computer/MIDI Interface Direct connection to host computer
APPENDIX Glossary Assignable Controller 1 Certain functions on the MU50 (such as the Filter, Volume or Variation effect) can be changed in real time by controllers on a connected MIDI instrument. Assignable Controller 1 lets you determine which controller (for example: modulation wheel, breath controller, foot controller, etc.) is used for that purpose.
APPENDIX Pitch Bend A function found on virtually all MIDI keyboards (usually controlled with a pitch bend wheel) that allows the pitch to be raised or lowered continously. The Pitch Bend Control parameter on the MU50 allows you to set the range over which the pitch can be changed. tone generator An electronic instrument that functions as a MIDI-controllable sound source.
APPENDIX Index A All Part control ..................................... 40–42, 72–74 All Part control, selecting ....................................... 40 Alternate Group (Drum Setup) ............................... 64 Assignable Controller 1 .................................... 77, 82 Assignable Controller 1 Amplitude Control ........... 82 Assignable Controller 1 Control Change Number ............................................................. 77 Assignable Controller 1 Filter Control ................
APPENDIX Note Shift (Multi mode) ......................................... 39 Note Shift (Performance mode) .............................. 71 O Others parameters ............................................. 52, 80 P Pan (Drum Setup) ................................................... 62 Pan (Multi mode) .................................................... 38 Pan (Performance mode) ........................................ 70 Part controls ................................
SOUND LIST & MIDI DATA M.D.G.
