Yamaha MU100R Owner's Manual
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Yamaha MU100R Owner's Manual

Yamaha mu100r synthesizer: user guide
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  • Page 2 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.

  • Page 3: Special Message Section

    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.
  • Page 4 Synthesis tone generator. With the convenient built-in host computer interface and MIDI termi- nals, the MU100R is ideal for any computer music system — from con- nection to a simple laptop to integration in a complete MIDI studio. With its large LCD and the intuitive graphic controls on the display, the MU100R is remarkably easy to use.

  • Page 5: Unpacking

    Unpacking Your MU100R package should include the items listed below. Make sure that you have them all. Also, write down the serial number of your MU100R in the box below, for future reference. MU100R PA-5B AC Power Adaptor Owner’s Manual Floppy Disk Serial No.:...

  • Page 6: Table Of Contents

    The Controls of the MU100R ... 1 Front Panel ... 1 Rear Panel ... 3 The MU100R — What It Is and What It Can Do ... 4 What It Is..4 About General MIDI ... 4 About XG-MIDI ... 5 What It Can Do...

  • Page 7: Table Of Contents

    Edit Menu Parameters ... 36 Changing the Filter and EG Settings of a Part ... 36 On Your Own..38 Editing Drum Kits — with the Drum Setup Controls ... 39 Making Changes to Individual Drum Sounds — the "Drum" Parameters ... 40 On Your Own...
  • Page 8 TABLE OF CONTENTS Mute/Solo ... 85 Using Mute/Solo ... 85 A/D Inputs ... 87 Using the A/D Inputs ... 87 Data Flow Block Diagram ... 91 MIDI/Computer Connecting Cables ... 92 Multi Mode ... 95 Part Controls ... 95 Single Part Control ... 96 All Part Control ...
  • Page 9 Utility Mode ... 156 System Functions (SYS) ... 157 Dump Out Functions (DUMP) ... 161 Saving and Restoring Data via MIDI ... 161 Saving and Restoring Data via TO HOST ... 161 Initialize Functions (INIT) ... 165 Demo Song Play (DEMO) ... 168 VL Voice and Harmony System Parameters (PLUGIN) ...

  • Page 10: How To Use This Manual

    “on-de- mand” basis, going directly to the information you need as you need it. However, to get the most out of your MU100R, we strongly suggest that you read the following sections in the order given:...

  • Page 11: Precautions

    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.

  • Page 12: The Controls Of The Mu100R

    1 PHONES jack For connection to a set of stereo headphones (1/4” plug). 2 VOLUME control For adjusting the overall volume of the MU100R. 3 A/D INPUT 1, 2 jacks For connection of a microphone, electric guitar or other electronic instruments (mono 1/4”...

  • Page 13: Power Switch

    The Controls of the MU100R A MUTE/SOLO button Pressing this alternately mutes or solos the selected Part. (See page 85.) B ENTER button For calling up menu items in the display and for executing certain functions and operations. Double-clicking this (pressing it twice quickly) calls up the Show Exclusive function (see page 175).

  • Page 14: Rear Panel

    For independent output of selected Parts (1/4” jack). Parts selected for output through these jacks are not output through the main OUTPUT or PHONES jacks. (See pages 113 and 118.) The Controls of the MU90R The Controls of the MU100R...

  • Page 15: The Mu100R - What It Is And What It Can Do

    Yamaha’s sophisticated Virtual Acoustic Synthesis system. The MU100R has 64-note polyphony and is 32-Part multi-timbral. In other words, the MU100R has 32 different Parts, each with its own Voice, so that up to 32 different Voices can be sounded simultaneously. Since the MU100R 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.

  • Page 16: About Xg-Midi

    XG Voices and the XG-related parameters. What It Can Do... Here are a few ideas on how you can use the MU100R. The list below is not comprehensive, but is meant to be a general guide to the possibilities and pro- vide a starting point or springboard for your own creative ideas and explorations.

  • Page 17: About The Modes Of The Mu100R

    Similarly, you can connect a laptop or a MIDI data filer and playback song data with the MU100R’s Voices. Plug a microphone into one of the A/D inputs and a guitar into the other, and you can mix your own live performance with the sequencer tracks.

  • Page 18: Play Modes And The Part Controls

    The bottom right of the display indicates the currently selected Sound Mod- ule mode. NOTE When set to the TG300B mode, the MU100R may not be able to play TG300-spe- cific song data with complete accuracy. However, MIDI data designed for other computer music tone generators is compatible with the MU100R.

  • Page 19: Modes And Function Tree

    [SELECT </>] Copy [ENTER] [SELECT </>] Store [ENTER] [SELECT >] Recall [ENTER] The MU100R — What It Is and What It Can Do When the sound module mode is ”PFM”) [SELECT <] Filter Edit [ENTER] [SELECT </>] EG Edit [ENTER] [SELECT </>] EQ Edit [ENTER]...
  • Page 20 Push on the SELECT buttons either < or > for SELECT < / >. Push on the PART + and - simultaneously for PART ++ -. The MU100R — What It Is and What It Can Do Modes and Function Tree P.
  • Page 21 The MU100R — What It Is and What It Can Do...

  • Page 22: Guided Tour

    UIDED When using your MU100R 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 im- portantly —...

  • Page 23: Setting Up Your Mu100R

    Other setup examples are covered in later sections; for example, setting up for use with a computer is on page 19. Once you’ve set up the MU100R, we urge you to play the Demo song (page 15) and hear what the instrument is capable of.
  • Page 24 DC IN PHONES Now that you’ve set up the MU100R, we urge you to go on to the next section, turn on the instrument, and play the Demo song (page 15) to hear what the instrument is capable of. If you need information on setting up the MU100R for a different type of system, refer to “Setting Up the MU100R...

  • Page 25: Powering Up

    This includes the MU100R and any connected equipment. 4 Turn on the amplifier/speaker system. 5 Set the volume controls. First, set the volume control on the MU100R to about the mid- way position, then set the volume on the amplifier to a suitable level.

  • Page 26: 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 genera- tion system of the MU100R. It also is an excellent demonstration of the 32- part multi-timbral capacity and the various expressive controls and effects that can be used simultaneously.
  • Page 27 Playing the Demo Song 4 Stop playback of the song. Press the [EXIT] button. 5 Exit from the Demo Song function. Press the [EXIT] button again — twice to return to the Play mode. (Or you can simply press the [PLAY] button.) Guided Tour...

  • Page 28: Setting Up The Mu100R In Your Music System

    As you learned in the section The MU100R — What It Is and What It Can Do on page 4, the MU100R can be integrated into a variety of setups. It would be impossible to cover all connection possibilities in a short manual as this;...
  • Page 29 In this example, a Yamaha MDF2 MIDI Data Filer is used. To back up data, connect the MIDI IN of the MDF2 to the MIDI OUT of the MU100R. To restore the data to the MU100R, connect the MIDI OUT of the MDF2 to the MIDI IN of the MU100R.

  • Page 30: Connecting Directly To A Computer

    The MU100R 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 MU100R can be used with the following computers: Apple Macintosh and compatibles, IBM PC/AT and compatibles.
  • Page 31 In this menu, you should be able to set separate MIDI outputs to access the two MIDI ports on the MU100R. For example, the device for MIDI OUT 1 should be set to “Yamaha MU100” (or “MU80,” if “MU100” is not avail- able).

  • Page 32: Ibm Pc/At And Compatibles

    Follow these instructions if you have an IBM PC/AT or compatible com- puter not equipped with an external MIDI interface. Connect the TO HOST terminal on the MU100R to one of the computer’s serial ports, COM 1 or COM 2.
  • Page 33 MIDI OUT terminal of the MU100R and have three independent MIDI ports (for 48-channel operation). The software settings above apply here as well: Set MIDI OUT 3 should be set to “Yamaha CBX C Driver” (or “Windows MIDI, Output 3”). (For more information, see page 159.) Once you’ve set up the MU100R in your system, check that the MU100R is...

  • Page 34: Selecting And Playing The Performances

    Selecting and Playing the Performances As pointed out on page 43, the Performances of the MU100R let you play four Voices together over one MIDI channel. These specially programmed Performances (100 Preset and 100 Internal) take full advantage of the MU100R dynamic Voices and flexible editing functions —...
  • Page 35 Selecting and Playing the Performances 3 Press the [PLAY] button to go to the Performance Play mode. You can press the [EXIT] button for this as well. “All” and keyboard player icon indicate All Part display of Performance Play mode. If the All Part display above (with the keyboard player icon) is not shown, press both [PART-/+] buttons simultaneously.
  • Page 36 If you’ve carefully followed all instructions up to now, the “level meter” bars in the display should move — and you should be able to hear the sound of the MU100R as you play. The “level meter” bars indicate the “level” (velocity) of the incom- ing MIDI data.

  • Page 37: Selecting And Playing Individual Voices

    Selecting and Playing Individual Voices Selecting and Playing Individual Voices The MU100R has a stunningly huge variety of Voices — a total of 1267. In this section, you’ll select and play Voices in the XG mode, which features 1074 different Voices. The MU100R also features a built-in VL tone genera- tor that provides 256 Voices using the sophisticated Virtual Acoustic Syn- thesis system (page 63).

  • Page 38: Selecting Voice Banks And Voices From The Panel

    32 Parts independently over different MIDI channels. Which mode the MU100R is set to depends on the selected Sound Module mode. The XG, TG300B and C/M settings are all Multi mode. When PFM is selected, the MU100R is in the Performance mode.
  • Page 39 3 Change the bank number. Use the [VALUE -/+] buttons or data dial. Notice that the bank numbers “jump” as they are selected — the MU100R skips bank numbers that have the same Voice as bank “000.” In the XG mode, several banks of Voices are available. Each bank contains up to 128 different Voices, for a total of 1074 Voices.
  • Page 40 Details • The MU100R’s Voices and program numbers follow the GM (General MIDI) format. This means that you can select a Voice type by its number, then select Voice variations by bank. For example, all the nylon guitar Voices are at pro- gram number 25.
  • Page 41 #3 above), it can be set to not skip bank numbers, if desired. (See page 160: Utility mode/System/Display Bank Select.) Changing the Play Mode Display The MU100R lets you view the Parts in three ways, depending on your prefer- ence. Press the [PLAY] button repeatedly.

  • Page 42: Selecting Voices From A Midi Keyboard

    Details • Depending on what keyboard you are using to control the MU100R, you may need to be careful in selecting program numbers. The MU100R’s program num- bers start at “001,” but some keyboards have different numbering systems. For example, some start at “0”...

  • Page 43: Editing In The Multi Mode

    You can use this to your advantage by recording all Multi settings to your se- quencer, before the actual song data. This lets you instantly reconfigure the MU100R and all its settings for each song. • Saving your edits Keep in mind that any edits you make in the Multi mode are automatically saved as the power on defaults.

  • Page 44: Single Part Controls

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

  • Page 45: Changing The Volume And Pan Settings Of A Part

    Editing in the Multi Mode Changing the Volume and Pan settings of a Part Here, we’ll change the Volume and Pan settings of one Part’s Voice. Operation 1 Select the desired Part. Use the [PART -/+] buttons to select Part 1. 2 Select the desired control.

  • Page 46: On Your Own

    On Your Own... If you want to, try making changes to some of the other Part controls. The procedure is the same: 1) Select a Part with the [PART -/+] buttons. 2) Select a control for editing with the [SELECT </>] buttons. 3) Change the setting with the [VALUE -/+] buttons or data dial.

  • Page 47: Edit Menu Parameters

    Editing in the Multi Mode Edit Menu Parameters The Edit menu parameters provide more detailed and advanced controls over the Parts. These are powerful tools that let you subtly enhance or fine-tune the sound of a Voice — or radically change its character for some wild and unique sounds.
  • Page 48 5 Select the “LPF Cutoff” parameter. Use the [SELECT </>] buttons. Selected Part The bars graphically indicate pa- flashes. rameter values for each Part. Indicates no other parameters are available (to the left). 6 Adjust the value while listening to the sound. Hold down a note on the connected keyboard and turn the data dial to adjust the value, swinging between the maximum (+63) and minimum (-64) values.

  • Page 49: On Your Own

    Editing in the Multi Mode a Adjust the value while listening to the sound. Try setting this to around “+30” and play the keyboard. Notice how the attack of the sound has become slower. b Select and adjust the “Release Time” parameter. Use the [SELECT </>] buttons, then set this to around “+50.”...

  • Page 50: Editing Drum Kits - With The Drum Setup Controls

    Editing Drum Kits — with the Drum Setup Controls The Drum Setup controls provide a comprehensive set of tools for control- ling and changing the drum kit Voices. Many of these parameters can be set individually for each sound in a Drum Part. Up to four of your original edit- ing setups can be permanently stored.

  • Page 51: Making Changes To Individual Drum Sounds - The "Drum" Parameters

    Editing in the Multi Mode Making Changes to Individual Drum Sounds — the “Drum” Parameters The Drum parameters provide extraordinary flexibility, since they allow you to make independent settings for the individual drum/percussion sounds in a Drum Part. We’ll explore a couple of the possiblilities here: Operation 1 Select “DRUM”...
  • Page 52 5 Select “F#3: Timbale L.” Play F#3 on the connected keyboard, or use the [PART -/+] buttons to select “F#3.” 6 Select the LPF Cutoff parameter, and set it to –40. 7 Select the LPF Resonance (LPF Reso) parameter, and set it to +63.

  • Page 53: On Your Own

    Editing in the Multi Mode On Your Own... 1) Select a Drum Part with the [PART -/+] buttons. 2) Call up the Edit menus by pressing the [EDIT] button. 3) Select the “DRUM” menu with the [SELECT </>] buttons, and press [ENTER].

  • Page 54: Editing In The Performance Mode

    Editing in the Performance Mode The Performance mode is an exceptionally powerful and flexible mode that allows you to combine four different Voices (including both A/D inputs) and play them from a single MIDI channel. The potential applications of the Performance mode are enormous, and we’ll touch on some of the main ones here.

  • Page 55: All Part Controls

    Editing in the Performance Mode All Part Controls You can make changes to the overall Performance by using the All Part con- trols. These are displayed in the Performance Play mode, and give you at-a- glance confirmation and control of some important basic settings of the se- lected Performance.

  • Page 56: Transposing The Overall Key Of A Performance

    Transposing the Overall Key of a Performance In this example, you’ll change the System Transpose setting for the “Rich Piano” Performance. This All Part control is useful for instantly changing the key to match the range of a vocalist, or for ease in playing difficult keys. Operation 1 Select the “Rich Piano”...

  • Page 57: Single Part Controls - Selecting Different Voices For The Performance

    Editing in the Performance Mode Single Part Controls — Selecting Different In this next section, you’ll use the Single Part controls to change the Voice settings of the Performance. Operation 1 Call up the Single Part controls. Simultaneously press both [PART -/+] buttons. Indicates active Part(s) of the Performance.

  • Page 58: On Your Own

    Details • Drum Parts are not available in the Performance mode. However, percussive Voices (numbers 113 – 120) can be selected. When editing a Performance: • Decide how many Parts you want. When creating a Performance, choose a preset that uses the same number of Parts (Voices) you intend to use.

  • Page 59: Edit Menu Parameters - Creating A Two-Voice Layer

    Editing in the Performance Mode Edit Menu Parameters — Creating a Two-Voice Layer Editing a Performance is almost identical to editing Parts in the Multi mode. The Edit menu tree is slightly different, and certain parameters are different as well. (For a full list and description of Performance Edit parameters, see page 131.) In the following instructions, you’ll use the Edit menu parameters to cre- ate a two-Voice Performance and “fatten”...
  • Page 60 4 Select Part 1 and select a new Voice for it: “HeavySyn” (082). 5 Select Part 2 and select the “HeavySyn” Voice for it as well. 6 Select the “OTHERS” parameters. Press the [EDIT] button. From the first Edit menu, select and call up “PART,”...

  • Page 61: Setting Up A Keyboard Split

    Editing in the Performance Mode ; Change the Vibrato Rate, Depth, and Delay settings. Select one of the Parts and set the Vibrato parameters as follows: Rate: Depth: Delay: This produces a delayed vibrato for Part 1; in other words, the vibrato effect starts after the keys have been held for a while.

  • Page 62: On Your Own

    If you wish to save this newly created Performance, refer to “Saving Your Original Performance” on page 52. On Your Own... While you’re at it, try making changes to some of the other Edit (part) pa- rameters. The procedure is the same: 1) Call up the Edit menus by pressing the [EDIT] button.

  • Page 63: Saving Your Original Performance

    Saving Your Original Performance Once you’ve edited a Performance, you can give it a different name and save it for future recall. The MU100R has 100 Internal memory locations for your original Performances. For instructions on naming a newly created Performance, see page 132.

  • Page 64: Assignable Controller (Ac1)

    Assignable Controller (AC1) The Assignable Controller (AC1) is one of the more powerful features of the MU100R — it gives you extraordinarily flexible and expressive real-time control over the Voices. In this section, you’ll: Learn about MIDI controllers and control numbers, and how they can affect the Voices.

  • Page 65: Control Numbers And The Actual Sound

    TEMPO SELECT CHANGE ON/OFF OCTAVE OCTAVE SHIFT OCTAVE RESET In this example, the foot controller of a keyboard controls the volume on the MU100R. MIDI OUT MIDI DC IN CONTROLLER NUMBER LIST CONTROL CHANGE 11 EXPRESSION 1 MODULATION DEPTH 73 ATTACK TIME...

  • Page 66: Assigning The Assignable Controller

    Assigning the Assignable Controller The Assignable Controller on the MU100R lets you specify the control num- ber to be used and determine which aspect or aspects of the sound will be affected. It also lets you set the degree to which the controller affects the sound.

  • Page 67: Using The Assignable Controller - Setting Up

    Assignable Controller (AC1) Using the Assignable Controller — Setting Up Operation 1 Set up the MIDI keyboard or instrument. Connect the foot controller to the appropriate jack, and make sure that the instrument is set to transmit over MIDI channel 1. (If your instrument doesn’t have a foot controller, use another controller as described in the next step.) PITCH...

  • Page 68: Using The Assignable Controller - Some Applications

    MIDI keyboard. It is usually used to produce LFO effects (regular wavering of the sound, like vibrato and tremolo). Since it is so common, the MU100R features various parameters that are reserved strictly for modulation wheel control. In the Multi mode, the modulation wheel can control Pitch LFO. The Per- formance mode features both Pitch LFO and Filter LFO.
  • Page 69 Assignable Controller (AC1) 4 Try the setting on other Voices. Exit to the Multi Play mode display (press the [PLAY] button) and select other Voices, trying out the new setting, and moving the foot controller up and down as you play. Try out some of these Voices, and notice how the sound changes: SynBass2 (040), Saw Ld (082), Warm Pad (090) —...

  • Page 70: Experssive Volume Control Of A Part

    Expressive Volume Control of a Part This example shows you how to use the foot controller as an expression pedal. This may come in handy when use of MIDI Volume (#7) or Expres- sion (#11) is unavailable. Operation 1 Select the desired Part and Voice. Keep the settings you made to Part 1 (in the last example), and select a new Part/Voice for this example.
  • Page 71 Assignable Controller (AC1) 3 Set the AC1 Filter Control to “+63.” Since you’ve called up the “OTHERS” parameters in the previ- ous step, select “AC1FilCtrl” (with the [SELECT </>] buttons) and set it to “+63” (with the [VALUE -/+] buttons or data dial). 4 Select the “DRUM”...

  • Page 72: On Your Own

    On Your Own... While you’re at it, try making some of your own settings. The procedure is the same: 1) Select the desired Part and Voice. 2) Call up the Edit menus by pressing the [EDIT] button. 3) Select “OTHERS” with the [SELECT </>] buttons, then press [ENTER].

  • Page 73: Playing And Editing Vl Voices

    Parts of the MU100R. VL Voices can be used only in the XG and Performance modes, and only one Part can be used to play a VL Voice at a time.

  • Page 74: Virtual Acoustic Synthesis

    The VL tone generator section offers many advantages in terms of musical per- formance. Not just in terms of sound, but also in terms of the “behavior” that makes acoustic instruments so … well, musical! Yamaha Virtual Acoustic Syn- thesis is simply the most musical tone generation system ever created.

  • Page 75: The Instrument

    Playing and Editing VL Voices The Instrument The key block in this algorithm is the instrument, since it is here that the fundamental tone or “timbre” of the sound is defined. The instrument model consists primarily of a driver — the reed/mouthpiece, lip/mouthpiece, or bow/string system —...

  • Page 76: The Controllers

    The Controllers The input to an acoustic wind instrument comes from the player’s lungs, trachea, oral cavity, and lips. In a string instrument it comes from the player’s arm movement, transmitted to the string via a bow. These elements actually form an important part of the sound generating system and, in the VL tone generator section, are included in the controllers block.

  • Page 77: The Modifiers

    Playing and Editing VL Voices The Modifiers The modifiers block consists of 4 sections as shown in the diagram. Al- though these may appear to be simple effects, they are actually intimately related to the VL’s sound-producing model and have a significant effect on the sound.

  • Page 78: Voice Organization

    The CUSTOM bank has 6 memory locations (program numbers 001 - 006) in which you can load the Voices created by the Yamaha VL70-m. The loaded Voices cannot be backed up. When the MU100R is turned on, the Voices are reset to their defaults, the sound-effect type Voices from the PRESET banks.
  • Page 79 Playing and Editing VL Voices NOTE • If you save the MU100R Performance mixed and layered with a VL Voice, the VL Voice number and its VL parameter setting edited on the MU100R panel will be stored. • Note that the “program numbers” here are 001~128 and the “MIDI program change numbers”...

  • Page 80: Selecting Vl Voice Banks And Vl Voices

    The VL Voices can be selected in the much the same way as the XG Voices. Selecting VL Voices from an External Device If you want to control the MU100R including the VL tone generator section by using sequencing software and/or use the tone generator without panel but- tons (e.g., sound card), you’ll need to transmit the MIDI messages such as XG...
  • Page 81 Playing and Editing VL Voices 3 Return to the Play mode, and select the approriate Part. Press the [PLAY] button, then use the [PART -/+] buttons to select the same Part as you assigned in step #2 above. 4 Select one of the VL bank numbers. Use the [SELECT </>] buttons to highlight the bank number parameter, then use the [VALUE -/+] buttons or data dial to select one of the VL Voice banks.

  • Page 82: Editing A Vl Voice

    Editing a VL Voice This section shows you the basic steps in editing VL Voices. The VL param- eters here are completely different from those of the normal Voices, the ones you edited on page 36. (For more information on the VL Edit parameters, see page 119.) Keep in mind that in editing the VL Voices, you are not changing the Voice itself, but rather the Part the Voice is assigned to.
  • Page 83 Playing and Editing VL Voices 4 Select the desired parameter. Use the [SELECT </>] buttons to select the parameter for edit- ing. For complete descriptions and details of all VL Edit param- eters, see page 119. 5 Change the parameter value or setting. Use the [VALUE -/+] buttons or data dial to change the value or setting.

  • Page 84: Effects

    Effects To complement the huge variety of Voices and the 32-Part multi-timbral capacity, the MU100R features a built-in multi-effect processor with seven independent digital effects: Reverb, Chorus, Variation, Insertion 1 and 2, Harmony, and EQ. (In this section, we’ll examine the first five; Harmony and EQ are covered on pages 77 and 80, respectively.)
  • Page 85 Effects Operation 1 First, set the Send and Return controls to appropriate levels. Before you actually change the Reverb or Chorus settings, you should set the Send and Return controls, in order to properly hear the effect and the changes you make. To do this: 1) Select the desired Part from the Multi Play mode Single Part display.

  • Page 86: Applying Distortion To A Part - Using The Variation Effects

    Applying Distortion to a Part — The Variation effect section provides a wealth of additional effects. With a total of 70 different Types, it features some of the same effects found in the Reverb, Chorus and Insertion sections. This is not mere redundancy; it allows you to use two Types of Reverb or Chorus on different Voices.
  • Page 87 Effects 4) If you cannot hear the Distortion effect clearly, select the “Dry/Wet” parameter (with the [SELECT </>] buttons) and adjust it (with the [VALUE -/+] buttons or data dial) until the sound is appropriate. 5) Using the same method (as in step #4), select and adjust other important Distortion parameters as needed, such as “Drive”...

  • Page 88: Harmony Effect

    In this way, when you play back the song and sing along with it, all the appro- priate backing harmonies will be produced automatically. 2 Connect a microphone to the MU100R and set up the A/D Part. Connect a microphone to the A/D INPUT 1 jack, select Part “A1,”...
  • Page 89 Harmony Effect 3 Call up the Harmony System menu (in the Utility mode). To do this: 1) Press the [UTIL] button. 2) Select “PLUGIN” with the [SELECT </>] buttons, and press the [ENTER] button. 3) Select “PLG100-VH” (Harmony) with the [SELECT >] but- ton, and press the [ENTER] button.

  • Page 90: On Your Own

    7 Set the Harmony Type to Chordal. Select “Type” (with the [SELECT <] button), then set the param- eter to “CHORDAL HM” (with the [VALUE -/+] buttons or data dial). When set to Chordal, chords you play on the connected MIDI keyboard determine the notes of the Harmony effect.

  • Page 91: Equalizer (Eq)

    In this section, you’ll learn how to: Use the Part EQ edit parameters to adjust the tone of a specific Part. Use the main EQ to adjust the overall tone of the MU100R. Adjusting the Tone of a Specific Part — Part EQ The Part EQ parameters give you two-band (low and high frequencies) con- trol over the sound of individual Parts.
  • Page 92 4 Set the specific frequency to be adjusted. For this example, set the Low Frequency value to “315” (Hz). 5 Select the Low Gain parameter and adjust the value. For this example, set the Low Gain value to “+35.” Play the Voice (especially in the lower octaves) and hear how the sound has changed.

  • Page 93: Adjusting The Overall Tone - Main Eq

    Adjusting the Overall Tone — Main EQ The main EQ section gives you five-band control (at specific frequencies) over the entire sound of the MU100R. Special presets are also available for instantly changing the tone to suit different types of music.

  • Page 94: Individual Outputs

    If you don’t have an external mixer yet want to use the individual output and an external effect to process a Part, you can do so and return the output from the effect device back into the MU100R via one of the A/D inputs. (For information on using the A/D inputs, see page 87.)
  • Page 95 Individual Outputs 2 Select the desired Part. From the Multi mode Single Part display, use the [PART -/+] buttons to select the desired Part for using with the individual output. 3 Set the Output Select parameter to the desired setting. Here, we’ll set the selected Part to output from the INDIV.

  • Page 96: Mute/Solo

    Mute/Solo The MU100R has convenient Mute and Solo functions for selectively mut- ing or soloing any of the 32 normal Parts and the A1 and A2 A/D Parts. This is especially useful when playing back several Parts from a connected com- puter or sequencer.
  • Page 97 Mute/Solo The selected Part is soloed, while all other Parts are muted. All Parts sound normally. Guided Tour...

  • Page 98: A/D Inputs

    The MU100R features a special A/D (Analog-to-Digital) input function that allows you to connect up to two different external signals (microphone, elec- tric guitar, CD player, etc.), mix those signals with the MU100R’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.
  • Page 99 A/D Inputs 3 Select the corresponding Part. Use the [PART -/+] buttons. Since you connected to the A/D INPUT 1 jack above, select Part A1 in this step. 4 Select the appropriate bank of presets. Do this in the normal way, using the [SELECT </>] buttons to highlight the bank number parameter, then using the [VALUE - /+] buttons to change the bank.
  • Page 100 Bank 001 For input of an electric or electric/acoustic guitar (or other mic level instruments). Bank 002 For input of a keyboard (or other line level instruments, such as tone generators, rhythm machines, etc.). Bank 003 For input of audio equipment (such as CD players, cassette decks, etc.). Bank 018 For input of a stereo keyboard (or other stereo signals from line level instruments, such as tone generators, rhythm machines, etc.).
  • Page 101 CAUTION! Do not use line level signals (such as from keyboards, etc.) with the mic level banks. The signal may be too high, resulting in damage to the MU100R. 5 Select the desired preset. Do this in the normal way (as you selected Voices), using the [SELECT </>] buttons to highlight the program number param-...

  • Page 102: Data Flow Block Diagram

    Data Flow Block Diagram When HOST SELECT switch is set to MIDI (31,250 bps): TO HOST When HOST SELECT switch is set to PC-1/MAC (31,250 bps) or PC-2 (38,400 bps): TO HOST Sound Module A1~16CH IN-B IN-A Sound Sound Module Module A1~16CH B1~16CH...

  • Page 103: Midi/Computer Connecting Cables

    MINI DIN 8-PIN This concludes your basic tour of the important functions of the MU100R. To find out more about how to best use your MU100R, look through the Reference section that follows and try out some of the functions and operations that interest you.
  • Page 104 EFERENCE The Reference section of this manual covers in detail all of the functions of the MU100R. Refer to it when you need information about a specific function, feature or operation.

  • Page 106: Multi Mode

    In the Multi mode, the MU100R performs as a multi-timbral tone generator capable of playing up to 32 Parts simultaneously, over 32 MIDI channels. Normally, the MU100R 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.

  • Page 107: Single Part Control

    Part Controls Single Part Control The Single Part controls include: MIDI Receive Channel, Bank Number, Program Number, Volume, Expression, Pan, Reverb Send, Chorus Send, Variation Send and Note Shift. For basic information on using the Single Part control, see page 33. MIDI Receive Port/Channel Settings: A1 —...
  • Page 108 Expression (Expresn) Range: 000 — 127 This determines the Expression setting for the selected Part’s Voice. 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.

  • Page 109: All Part Control

    MU100R, a kind of MIDI “identifi- cation” number to distinguish between multiple units. For example, if you are using more than one MU100R, set a dif- ferent Device Number for each. This set- ting only applies to the data dump fea- tures.
  • Page 110 Variation Return (VarRtn) Range: 000 — 127 This determines the amount of Variation return in the overall mix. Variation Re- turn is only available when the Variation Connection parameter is set to SYS. (See page 145.) Transpose (Trans) Range: –24 — +24 semitones This determines the overall Transpose setting of the Parts.

  • Page 111: Multi Edit Mode

    Path: [EDIT] button Filter —————————————————————————— The MU100R features a digital filter that can be used to change the tim- bre 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.
  • Page 112 LPF Cutoff Frequency (LPF Cutoff) Range: –64 — +63 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.

  • Page 113: Envelope Generator (Eg)

    Multi Edit Mode Envelope Generator (EG) Path: [EDIT] button EG (Envelope Generator) ————————————————— 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.

  • Page 114: Eg Attack Time

    Level/Filter EG Parameters EG Attack Time Range: –64 — +63 This determines the Attack Time of the EG, or how long it takes for the sound to reach full volume when a note is played. For the Filter, this determines how long it takes for the sound to be affected by the maximum Filter values.
  • Page 115 Multi Edit Mode Pitch EG Attack Time (PEGAtakTime) 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) Range: –64 —...

  • Page 116: Equalizer (Eq)

    Equalizer (EQ) Path: [EDIT] button EQ (Equalizer) —————————————————————— 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 155).

  • Page 117: Vibrato

    Multi Edit Mode Vibrato Path: [EDIT] button Vibrato ————————————————————————— Vibrato produces a quavering, vibrating sound in the Part’s Voice, by regu- larly modulating the pitch. You can control the speed and depth of the Vi- brato, as well as the time it takes before the Vibrato effect is applied. Vibrato Rate Range: –64 —...

  • Page 118: Others

    Others Path: [EDIT] button Others ————————————————————————— The Others section of parameters contains miscellaneous controls, in- cluding those related to tuning, Part Mode, velocity, portamento, note range, etc. “OTHERS” Detune ... 108 Detune Assignment Parameters ... 108 Part Mode Mono/Poly Mode Portamento Parameters ...

  • Page 119: Detune

    Multi Edit Mode Detune Detune 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.

  • Page 120: Mono/Poly Mode

    Mono/Poly Mode Settings: mono, poly Height of bars indicates selected Mono/Poly Mode setting for each Part. (A single bar indicates “mono” setting, while full height indicates “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).

  • Page 121: Note Limit Parameters

    Multi Edit 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.

  • Page 122: Velocity Sensitivity Offset

    Velocity Sensitivity Offset (VelSensOfs) 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 me- dium-soft to maximum. Velocity NOTE Depending on the Voice used, if Velocity Sen-...
  • Page 123 Some or all of these may be available on your MIDI instrument, and can be used to control cer- tain functions on the MU100R in real time. Some MIDI instruments allow you to change the con- trol change number for a particular controller: for example, setting the modulation wheel (nor- mally 01) to control Volume (07).

  • Page 124: Output Assignment

    Assignable Controller 1 Amplitude Control (AC1 AmpCtrl) Range: 64 — +63 This determines the degree to which As- signable 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 posi- tive.

  • Page 125: Drum Setup Controls

    Multi Edit 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.

  • Page 126: Pitch Parameters

    The Drum Setup parameters are only available when the Part Mode has been set to drumS1 — S4. (See page 108.) Pitch Parameters Pitch Coarse Range: –64 — +63 This determines the coarse pitch setting of the selected drum sound. Pitch Fine Range: –64 —...

  • Page 127: Chorus Send (Cho Send)

    Multi Edit Mode Chorus Send (Cho Send) Range: 000 — 127 This determines the level of the selected drum sound that is sent to the Chorus ef- fect. A value of 000 results in a com- pletely “dry” drum sound, no matter how much Chorus is applied to the Drum Part.

  • Page 128: Eq Parameters

    EQ Parameters EQ Low Frequency (Low Freq) Range: 32 Hz — 2.0 kHz This determines the frequency which is boosted or cut (in the Low Gain param- eter below) for the selected drum sound. EQ Low Gain Range: –64 — +63 This determines the level of the selected frequency (in Low Freq above).
  • Page 129 Multi Edit Mode Note On/Off Parameters Receive Note On (RcvNoteOn) Settings: on, off This determines how the selected drum sound responds to MIDI Note On messages. Normally, this should be set to on so that the corresponding drum sound plays when a MIDI Note On message is received.

  • Page 130: Vl Voice Part Parameters (Plugin)

    The VL Voice Part parameters give you comprehensive tools for chang- ing the character and expressive control of the VL Voices. As with the other MU100R Voices, the edits that you make to these parameters affect the Part and not the actual Voice itself. In other words, any parameter changes made are applied to any other VL Voices you select.

  • Page 131: Filter

    Multi Edit Mode Filter Filter Envelope Generator Depth (FilEG Dept) Settings: -64 — +63 Sets the amount of variation produced by the controller assigned to dynamic filter. The higher the value the greater the variation. Posi- tive values cause an increase in filter cutoff fre- quency in response to higher controller values (e.g., increased breath pressure or higher modu- lation wheel position), while negative values...

  • Page 132: Embouchure Control Depth

    Embouchure Control Depth (EmbCtrlDpt) Settings: -64 — +63 Sets the amount of variation produced by the controller assigned to embouchure. The higher the value the greater the varia- tion. Positive values cause an increase in embouchure in response to higher con- troller values (e.g., increased breath pres- sure or higher modulation wheel posi- tion), while negative values cause an de-...

  • Page 133: Scream Control Depth

    Multi Edit Mode Scream Control Depth (ScrCtrlDpt) Settings: -64 — +63 Sets the amount of variation produced by the controller assigned to scream. The higher the value the greater the variation. Positive values cause an increase in scream effect in response to higher con- troller values (e.g., increased breath pres- sure or higher modulation wheel posi- tion), while negative values cause a de-...

  • Page 134: Growl Control Depth

    Growl Control Depth (GrlCtrlDpt) Settings: -64 — +63 Sets the amount of variation produced by the controller assigned to growl. The higher the value, the greater the variation. Positive values cause an increase in growl effect in response to higher controller values (e.g., increased breath pressure or higher modu- lation wheel position), while negative val- ues cause a decrease in growl effect in re-...

  • Page 135: Harmonic Enhancer Control Depth

    Multi Edit Mode Harmonic Enhancer Control Depth (HrmCtrlDpt) Settings: -64 — +63 Sets the amount of variation produced by the controller assigned to the harmonic enhancer. The higher the value, the greater the variation. Positive values cause an increase in harmonic enhancer depth in response to higher controller values (e.g., increased breath pressure or higher modu- lation wheel position), while negative...

  • Page 136: Absorption Control Depth

    Absorption Control Depth (AbsCtrlDpt) Settings: -64 — +63 Sets the amount of variation produced by the controller assigned to absorption. The higher the value, the greater the variation. Positive values cause a decrease in ab- sorption in response to higher controller values (e.g., increased breath pressure or higher modulation wheel position), while negative values cause an increase in ab-...
  • Page 137 Multi Edit Mode Velocity Although normally assigned to pressure (particularly in plucked string Voices), keyboard velocity can also be assigned to any other controller parameter. Others The MIDI protocol provides 119 control change numbers, some of which are pre- assigned to specific controllers — as noted above, “01”...

  • Page 138: Performance Mode

    Performance Mode In the Performance mode, the MU100R performs as a four-Part tone gen- erator, with all Parts controlled over a single MIDI channel. The Perfor- mance 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 —...

  • Page 139: Performance Part Control

    Performance Part Control Performance Part Control All Part For basic information on using the All Part controls in the Performance mode, see page System MIDI Channel (Sys CH) Settings: 01 — 16 This determines the MIDI receive chan- nel for all Parts of the Performance. Performance Bank Settings: Pre (Preset), Int (Internal)

  • Page 140: Single Part

    Chorus Return (ChoRtn) Range: 000 — 127 This determines the amount of Chorus re- turn for the Performance in the overall mix. Variation Return (VarRtn) Range: 000 — 127 This determines the amount of Variation return in the overall mix of the Perfor- mance.
  • Page 141 Performance Part Control Volume Range: 000 — 127 This determines the Volume setting for the selected Part’s Voice. Settings: Rnd (Random), L63 — C — This determines the stereo position of the selected Part’s Voice. A setting of “Rnd” (Random) randomly assigns the Voice to a pan position.

  • Page 142: Performance Edit 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 op- erations. For basic information on using the Performance Edit mode, see page 43.

  • Page 143: Performance Name

    Performance Edit Mode Performance Name Performance Name (Perform Name) This allows you to give a name to your edited Performance. Operation 1 From the Performance Name dis- play, press the ENTER button. Performance name 2 Use the SELECT </> buttons to select the character position (flashing character) in the name and use the VALUE -/+ buttons...

  • Page 144: Pitch Bend

    “on,” Parts 3 and 4 are automati- cally set as A/D Parts (A1 and A2). HINT You can use the MU100R strictly as an effect processor for the A/D input (for example, your guitar or microphone) by Soloing the appro- priate A/D Part (A1 or A2).

  • Page 145: Part

    Performance Edit Mode Part Path: [EDIT] button PART ————————————————————————— FILTER EG (Envelope Generator) EQ (Equalizer) Vibrato Others Plugin The Part menu contains the Filter, EG, Vibrato, Others and Plugin pa- rameters for the Performance. “ PART” LPF Cutoff Frequency LPF Resonance HPF Cutoff Frequency Level/Filter EG Parameters EG Attack Time...
  • Page 146 Filter Path:[EDIT] button The Filter section of Performance Edit parameters are the same as the corresponding parameters in the Multi Edit mode. (See page 100.) Path:[EDIT] The EG section of Performance Edit parameters are the same as the cor- responding parameters in the Multi Edit mode. (See page 102.) Path:[EDIT] The EQ Performance Edit parameters are the same as the corresponding parameters in the Multi Edit mode (See page 105).
  • Page 147 Performance Edit Mode Detune Detune Same as the corresponding parameter in the Multi Edit mode. (See page 108.) Assignment Mono/Poly Mode Same as the corresponding parameter in the Multi Edit mode. (See page 109.) Note Limit Parameters Note Limit Low (NoteLimitL) Same as the corresponding parameter in the Multi Edit mode.

  • Page 148: Copy And Store Operations

    Copy and Store Operations The Copy and Store operations allow you to save and organize the Perfor- mances 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).

  • Page 149: Store

    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 MU100R returns to the Performance Edit menu. To cancel the operation without copying, press the EXIT button (before pressing ENTER).
  • Page 150 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 MU100R returns to the Performance Edit menu. To cancel the operation without saving, press the EXIT button (before pressing ENTER).

  • Page 151: Recall Function

    Performance. For example, if you are editing a Performance and inadvertently select a different Performance, the edited Performance would normally be lost. By using Recall before turning off the MU100R or editing another Performance, you can recover the previously edited Performance data.

  • Page 152: Effect Edit Mode

    Effect Edit Mode The MU100R features a built-in multi-effect processor with 6 independent digital effects: Reverb, Chorus, Variation, Insertion 1/2 and EQ. The first 5 of 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.

  • Page 153: Reverb (Rev)

    Reverb (REV) Reverb (REV) Reverb recreates the sounds of various performance environments by add- ing an ambient wash of delays or reflections. Several different types of Re- verb effects are available to simulate the ambience of different sized rooms. Explanations of the Reverb Type and Reverb Pan parameters are given be- low.

  • Page 154: Chorus (Cho)

    Chorus (CHO) The Chorus section uses pitch modulation to create a variety of rich, spa- cious-sounding effects, including Chorus, Flanger, Symphonic and Phaser. Explanations of the Chorus Type and Chorus Pan parameters are given be- low. For descriptions and explanations for all other Chorus parameters, refer to the separate SOUND LIST &...

  • Page 155: Variation (Var)

    Variation (VAR) The Variation section provides a wealth of additional effects for processing the Voices of the MU100R. It features some of the same effects found in the Reverb, Chorus and Insertion sections. This is not mere redundancy; it al- lows you to use two types of Reverb, Chorus or other effects on different Voices.
  • Page 156 INS (Insertion), SYS (System) Determines how the Variation effect is connected in the effect chain of the MU100R. When set to SYS (System), Variation is applied to all Parts, accord- ing to the amount of Variation Send set for each Part. When set to INS (Insertion),...

  • Page 157: Insertion 1, 2 (Ins 1, 2)

    Insertion 1, 2 (INS 1, 2) Insertion 1, 2 (INS 1, 2) The Insertion 1 and 2 effects provide additional effects for processing indi- vidual Parts. Explanations of the Type, Dry/Wet Balance and Part parameters are given below. For descriptions and explanations for all other parameters, refer to the separate SOUND LIST &...

  • Page 158: Plugin (Plg) - Harmony Parameters

    Plugin (PLG) — Harmony Parameters Path: [EFFECT] button These parameters control the Harmony effect. Other Harmony param- eters not included in this section are the MIDI channel settings for the harmony and melody, which are set in the Utility mode (see page 171). For general information on the Harmony effect and how to use it, refer to the Guided Tour section, page 77.
  • Page 159 Plugin (PLG) — Harmony Parameters In general, the Chordal Type is best suited when you want to simply play the chords and have the Harmony effect automati- cally sort out the suitable notes. Chords Recognized in Chordal Type Detune This produces a slightly “detuned” pitch and mixes it with the input signal for a rich chorusing effect.
  • Page 160 trio below (Trio Below) Produces two harmony notes, in pitches below the lead note. trio a&b+b (Trio Above & Below+Bass) Produces three harmony notes — one in a pitch above the lead note, and two be- low — one of them an octave below the chord root harmony.
  • Page 161 Plugin (PLG) — Harmony Parameters NOTE The Harmony Gender Type parameter is not available when Harmony Type is set to Detune (page 147). Lead Gender Type (L.GendrTyp) Settings: off, unis (unison), male, fem. (female) These settings determine whether the gen- der of the “lead”...
  • Page 162 Lead Gender Depth (L.GendrDpt) Range: -64 — +63 This determines the quality or character of the lead voice, and depends on the setting made in Lead Gender Type above. (This parameter has no effect when Lead Gender Type is set to “off.”) Extreme negative or positive values result in pronounced distor- tion of the voice quality.

  • Page 163: About The Effect Connections - System And Insertion

    About the Effect Connections — System and Insertion About the Effect Connections The multi-effects of the MU100R 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...
  • Page 164 About the Effect Connections — System and Insertion When Variation is set to System: Effect Edit Mode...
  • Page 165 About the Effect Connections — System and Insertion When Variation is set to Insertion: Effect Edit Mode...

  • Page 166: Equalizer (Eq) Edit

    Equalizer (EQ) Edit The Equalizer (EQ) Edit parameters allow you to adjust the overall tone of the MU100R sound in five separate frequency bands. EQ pre- sets are also provided for instantly calling up tone settings specially suited for different types of music.

  • Page 167: Utility Mode

    Utility Mode The Utility mode lets you set functions related to the overall operation of the MU100R, 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 MU100R settings.

  • Page 168: System Functions (Sys)

    System Functions (SYS) The System functions provide various controls of the overall operation of the MU100R, such as Master Tune, Mute and A/D Part Lock, some MIDI receive filters and a display Contrast control. Master Tune (M.Tune) Range: –102.4 — +102.3 cents (approx.
  • Page 169 Bank Se- lect messages can be sent from another MIDI device to change the banks of Voices on the MU100R. (See page 31.) The On setting allows Bank Select mes- sages to be received. Utility Mode...
  • Page 170 MIDI OUT terminal. This allows you to connect another multi- timbral tone generator to the MU100R and play back data over 48 independent MIDI channels — 32 on the MU100R and another 16 on the connected tone genera- tor. NOTE...
  • Page 171 Voice banks or not when changing banks. (For information on changing banks, see page 28.) When this is set to “1,” the MU100R conveniently skips over banks that have the same Voice. In other words, when you step through...

  • Page 172: Dump Out Functions (Dump)

    Dump Out Functions (DUMP) The Dump Out functions allow you to save the various settings of the MU100R (such as settings for Parts, Performances, system, etc.) to a MIDI sequencer, computer or a MIDI data recorder (such as the Yamaha MDF2 MIDI Data Filer).
  • Page 173 3 From the Dump Out menu, select the type of data to be sent: All, Multi or Performance. Then, press the ENTER button to call up the selected data dump. This transmits all MU100R data (including Part, Performance, system, and all parameter values) to the connected device. Utility Mode...
  • Page 174 Dump Out menu. NOTE If you have more than one MU100R 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 98.) You should set the Device Number on each MU100R you use, before dumping the data...
  • Page 175 Dump Out Functions (DUMP) To reload the data from the data recorder back to the MU100R: Make sure that the devices are properly connected (see the Restoring Data illustrations on page 18), and execute the appropriate data trans- fer operation from the data recorder. (Refer to the owner’s manual of that device for instructions.) The MU100R automatically receives in-...

  • Page 176: Initialize Functions (Init)

    Initialize Functions (INIT) The Initialize functions allow you to restore the factory settings of the MU100R. NOTE Since the Initialize functions replace existing data, you should save any and all important settings to a MIDI data storage device before using these functions.
  • Page 177 Initialize Functions (INIT) Factory Settings (FactSet) This restores the original factory settings of the MU100R. NOTE This function replaces internal performance data to the “Internal Performance 2.” To restore the “Internal Performance 1” (loaded at first), load the data from included floppy disk. (Refer to the “Sound List &...
  • Page 178 • For the PFMInit setting, only the currently selected Performance will be initialized. • For XGInit and GM Init, the initialized settings are the same as when the MU100R is reset upon receiving an XG System On or GM System On message.

  • Page 179: Demo Song Play (Demo)

    Demo Song Play (DEMO) Demo Song Play (DEMO) The Demo Song function in the Utility menu allows you to play the built-in Demo Song. Operation 1 Press the UTIL button and select “DEMO,” then press the ENTER button. 2 Press the ENTER button to start the Demo Song. The Demo Song starts playing immediately and repeats indefinitely until stopped (in step 4 below).

  • Page 180: Vl Voice And Harmony System Parameters (Plugin)

    Sets the control source to be used for “breath” control. This parameter should be set to “BC/WX” when a breath con- troller or Yamaha WX-series Wind MIDI Controller is being used. When “Veloc- ity” is selected, breath variation is con- trolled by keyboard initial touch response.

  • Page 181: Breath Control

    VL Voices and Harmony System Parameters (PLUGIN) Breath Control Settings: BC, Exp This determines the MIDI control change number to be used for breath control of the VL Voice, when breath controller data (number 02) is received via MIDI. When “BC”...

  • Page 182: Harmony System Parameters

    Harmony System Parameters Path: [UTIL] button These parameters include the MIDI channel settings for the harmony and melody. For general information on the Harmony effect and how to use it, refer to the Guided Tour section, page 77. Harmony Channel (Harmony Ch) Settings: off, 1 - 16 This determines the MIDI channel over...

  • Page 183: Sound Module Mode (Mode)

    EDIT, UTIL, EFFECT or EQ) to use the MU100R in the current mode. NOTES • When the MU100R is not set to the XG mode and an XG System On message is received, the MU100R changes to the XG mode after a slight pause of 0.5 seconds.

  • Page 184: Miscellaneous Functions

    Miscellaneous Functions Show Control Change This function allows you to view the currently used control change number, its type and its value (in decimal format). It also lets you transmit the dis- played value with a single button press. Operation 1 From the Multi Play mode or Performance Play mode, double- click the ENTER button (press it twice quickly).
  • Page 185 Show Control Change This is convenient for quickly entering desired settings to a sequencer. Displaying/Sending Voice Bank Settings The Show Control Change function also allows you to view and send Voice bank MSB and LSB settings within the XG mode. To do this: 1) From the Multi Play mode (XG mode), select the desired bank number.

  • Page 186: Show Exclusive

    Show Exclusive This function allows you to view the current system exclusive message (in hexadecimal format). It also lets you transmit the displayed value with a single button press. Operation 1 Double-click the ENTER button (press it twice quickly). (The Show Exclusive display appears.) 2 To transmit the currently displayed message, press the ENTER button again.
  • Page 187 Miscellaneous Functions...

  • Page 188: Appendix

    PPENDIX...

  • Page 189: Troubleshooting

    MIDI IN of the MU100R, and that the MIDI IN of the external device is connected to the MIDI OUT of the MU100R. (See pages 17 – 19.) Or, if you are using the TO HOST terminal with a computer, make sure that the terminal is properly connected to the computer and that the HOST SELECT switch is properly set for your particular com- puter.
  • Page 190 Problem About VL Section Some voices sound as if they are in the original octave even when shifted down an octave. Portamento produces more of a glissando effect on some voices. The filter, EG, and other parameters have more effect on some voices than others.

  • Page 191: Error Messages

    A data error resulted during reception of MIDI messages. Try transmitting the data again, or turn the MU100R off and back on again. MIDI Buffer Full! Too much MIDI data is being received by the MU100R at one time. Reduce the amount of data being sent to the MU100R. HOST is OffLine! This message appears when the host computer is not turned on, the connecting cable is not properly connected, or the sequencing software is not active.

  • Page 192: Specifications

    Specifications Tone Generation Method AWM2 (Advanced Wave Memory 2), Virtual Acoustic Synthesis System (VL) Maximum Simultaneous Polyphony 64-note + 1-note (VL) Sound Module Modes XG (Extended General MIDI), TG300B, C/M, and Performance Multi-timbral Capacity 32-Part (on 32 MIDI channels; with element reserve priority for later notes and dynamic Voice allocation) Internal Voice/Program Structure Normal Programs...
  • Page 193 PC-2 — 38,400 bps Power Supply Yamaha PA-5B AC Adaptor (included) Dimensions (W 44 mm (19" Weight 2.4 kg (5 lbs., 5 oz.) Included Accessories Owner’s Manual, Yamaha PA-5B AC Adaptor Floppy Disk 9" 1-3/4") * Specifications subject to change without notice. Appendix...

  • Page 194: Glossary

    Glossary A/D input Abbreviation for analog-to-digital. The A/ D inputs of the MU100R allow you to process ana- log inputs (such as a microphone, electric guitar, CD player, or another electronic instrument) with the digital effects of the MU100R and mix them with the internal Voices.
  • Page 195 The Pitch Bend Control parameter on the MU100R allows you to set the range over which the pitch can be changed. polyphony The number of notes that can be sounded simultaneously by an electronic instrument.

  • Page 196: Index

    Chorus Type ... 143 Chromatic Type ... 148 Common parameters ... 131 computer, connecting cables ... 19 computer, connecting MU100R with ... 19 computer, IBM PC and clones ... 21 computer, Macintosh ... 19 connections, audio ... 12 connections, MIDI ... 17 Contrast ...
  • Page 197 MIDI data flow (diagram) ... 91 MIDI data storage device ... 18 MIDI devices, connecting to ... 17 MIDI keyboard, playing the MU100R with ... 17 MIDI keyboard, selecting Voices with ... 31 MIDI, Receive Channel ... 96, 128 MIDI, Receive Port ... 96 Modulation Wheel —...
  • Page 198 System MIDI Channel ... 128 System Transpose ... 129 TG300B mode ... 6 Throat Formant Control Change Number ... 123 Throat Formant Control Depth ... 123 Thru Port ... 159 Tonguing Control Change Number ... 121 Tonguing Control Depth ... 121 Transpose ...
  • Page 199 For details of products, please contact your nearest Yamaha or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd.
  • Page 200 VZ03920 708CMIT23.2-01AO M.D.G., EMI Division Yamaha Corporation 1997, Printed in Japan...

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