Yamaha MU50 Owner's Manual
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Yamaha MU50 Owner's Manual

Yamaha tone generator owner's manual
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OWNER'S MANUAL

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  • Page 1 OWNER'S MANUAL...
  • 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...
  • Page 3 With the convenient built-in host computer interface and MIDI ter- minals, the MU50 is ideal for any computer music system — from connec- tion to a simple laptop to integration in a complete MIDI studio. With its large LCD and the intuitive graphic controls on the display, the MU50 is remarkably easy to use.

  • Page 4: 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 PA-1207 AC Power Adaptor* Owner’s Manual * Power supply recommendation may vary from country to country.

  • Page 5: Table Of Contents

    How to Use This Manual ... vi Precautions ... vii The Controls of the MU50 ... 1 The MU50 — What It Is and What It Can Do ... 4 What It Is… ... 4 About General MIDI ... 4 What It Can Do…...

  • Page 6: Table Of Contents

    Selecting Single Part Control ... 36 Editing in Single Part ... 36 All Part Control ... 40 Editing in All Part ... 40 Multi Edit Mode ... 43 Filter ... 43 EG (Envelope Generator) ... 45 Vibrato ... 50 Others ... 52 Drum Setup Controls ...

  • Page 7: How To Use This Manual

    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 in- structions before you can even get a sound out of it.

  • Page 8: Precautions

    Precautions Your MU50 will give you years of reliable service if you follow the simple precautions below: 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 loca- tions which are subject to excessive dust accumulation or vibration which could cause mechanical damage.
  • Page 9 YOURSELF The instrument contains no user-serviceable parts. Never open the case or tamper with the internal circuitry in any way, since doing so may result in damage to the instrument. Refer all servicing to qualified Yamaha service personnel. MIDI CABLES When connecting the instrument to other MIDI equipment, be sure to use only high-quality cables made especially for MIDI data transmission.

  • Page 10: The Controls Of The Mu50

    The Controls of the MU50 Front Panel 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).
  • Page 11 THE CONTROLS OF THE MU50 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.

  • Page 12: Rear Panel

    4 DC IN jack For connection to the PA-1207 AC power adaptor. 5 OUTPUT R, L/MONO jacks (Right, Left/Mono) For connection to a stereo amplifier/speaker system. When using a mono sys- tem, connect it to the L/MONO jack. THE CONTROLS OF THE MU50...

  • Page 13: The Mu50 - What It Is And What It Can Do

    “communicate” with each other. For example, by connecting a sequencer to the MU50’s MIDI IN terminal, you could play back a song on the sequencer using the Voices of the MU50.

  • Page 14: 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 ex- plorations.

  • Page 15: About The Modes Of The Mu50

    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. When PERFORM is selected, the MU50 is in the Performance mode.

  • Page 16: 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.
  • Page 17 THE MU50 — WHAT IT IS AND WHAT IT CAN DO EG Attack Time EG Decay Time EG Release Time Pitch EG Initial Level Pitch EG Attack Time Pitch EG Release Level Pitch EG Release Time Vibrato Vibrato Vibrato Vibrato...
  • Page 18 Filter Filter Vibrato Vibrato Vibrato Vibrato Vibrato THE MU50 — WHAT IT IS AND WHAT IT CAN DO Part 1 — 4 Part 1 — 4 Part 1 — 4 Part 1 — 4 Part 1 — 4 Bank Number...

  • Page 19: 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 reception of certain MIDI messages that affect the entire instrument. Included also are miscel- laneous operations, such as sending bulk data to a data storage device, ini- tializing of the MU50 settings, and playing the special Demo song.
  • Page 20 UIDED When using your MU50 for the first time, read through this short section of the manual. It guides you step-by-step in us- ing many of the basic operations: setting the instrument up, connecting it properly to other equipment, and — most im-...

  • Page 21: Guided Tour

    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.
  • Page 22 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. Power Adaptor...

  • Page 23: Powering Up And Playing The Demo Song

    After the greeting display, the following display will appear: 2 Turn on the power of your MIDI keyboard. 3 Make sure that all volume controls (on the MU50 and the con- nected amplifier) are turned down. Then, turn on the power of your amplifier speaker system.

  • Page 24: Playing The Demo Song

    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 MU50. Operation 1 Press the UTIL UTIL UTIL UTIL button.
  • Page 25 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 number under the moving “level meter” indicates the Part number.

  • Page 26: Selecting Voices

    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 key- board. Operation 1 First, select a Part. Use the PART Press the appropriate button until “01”...

  • Page 27: Changing The Voice Bank

    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 You can move even more rapidly by holding down one button and then pressing and hold- ing down the other.

  • Page 28: Selecting Voices From Your Midi Keyboard

    2 Use the panel controls to select a program on your keyboard. Generally, if everything has been set up properly, the Voice number and name on the MU50 will change, and will be the same number as the program number you selected on your keyboard.

  • Page 29: 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 con- firmation of the various basic settings of the MU50. Let’s take a look at the Play display again: Part number.
  • Page 30 Operation 1 Use the PART PART q buttons to select Part 2. PART PART PART Part 2. 2 Use the SELECT SELECT w buttons to call up the “Rcv CH” display SELECT SELECT SELECT below. Current MIDI Receive Channel. 3 Use the VALUE VALUE q buttons to change the MIDI Receive Chan- VALUE VALUE...

  • Page 31: Changing The Volume And Pan Settings Of A Part

    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 ad- just their settings. Here, we’ll change the Volume and Pan settings of one Part’s Voice. Operation 1 Use the PART 2 Use the SELECT...

  • Page 32: Using Mute/Solo

    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 si- lence 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.

  • Page 33: Using The Input Jack

    3 Slowly bring up the INPUT control on the front panel and play the external instrument or sound source until the level is appropriate. NOTE When the MU50 receives a mono signal, only the A1 (left) level meter bar is indicated.

  • Page 34: Setting Up The Mu50 In Your Music System

    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;...

  • Page 35: Ibm Pc And Clones

    Follow these instructions if you have an IBM PC/AT or compatible computer not equipped with an external MIDI interface. Connect the TO HOST termi- nal on the MU50 to one of the computer’s serial ports, COM 1 or COM 2. IBM PC/AT or Compatible Computer...

  • Page 36: Connecting To Other Midi Devices

    Connecting to Other MIDI Devices The MU50 is equipped with MIDI IN and OUT terminals, allowing you to use it in any MIDI system. Example uses for the built-in MIDI interface include: Connecting to a MIDI keyboard (for playing the sounds of the MU50 from that keyboard).
  • Page 37 HOST SELECT switch to MIDI. HOST SELECT 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.

  • Page 38: Using The Mu50 With A Midi Data Storage Device

    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.

  • Page 39: Data Flow Block Diagram

    GUIDED TOUR 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/PC-2/Mac: HOST SELECT = PC-1 (31,250bps) TO HOST Sound Module 1~16CH PC-2 (38,400bps) Mac (31,250bps) Sound Module 1~16CH THRU...

  • Page 40: Midi/Computer Connecting Cables

    MINI DIN 8-PIN This concludes your basic tour of the important functions of the MU50. To find out more about how to best use your MU50, look through the Reference section that fol- lows and try out some of the functions and operations that interest you.
  • Page 41 GUIDED TOUR...
  • Page 42 The Reference section of this manual covers in detail all of the functions of the MU50. Refer to it when you need infor- mation about a specific function, feature or operation.

  • Page 43: Multi Mode

    TG300B mode, the MU50 may not be able to play TG300-specific song data with complete TG300B TG300B accuracy. However, MIDI data designed for other computer music tone generators is compatible with the MU50. To set the Multi mode: 1 Press the MODE MODE MODE button.

  • Page 44: Multi Play Mode

    NOTE In the Multi mode, no settings can be permanently saved to the internal memory of the MU50. However, you can use the Dump Out function to save Multi settings to a MIDI data storage device. (See page 98.) Velocity “level meters” for each Part.

  • Page 45: Single Part Control

    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 simultane- ously (or press the EXIT button) to return to Single Part.
  • Page 46 Bank Number 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, C/M: Fixed (only one bank) DOC:...
  • Page 47 MULTI MODE Expression (Expresn) Graphically indicates current Expression setting. This determines the Expression setting for the selected Part’s Voice. Graphically indicates current Pan setting. This determines the stereo position of the selected Part’s Voice. A setting of “Rnd” (Random) randomly assigns the Voice to a pan po- sition.
  • Page 48 Chorus Send (ChoSend) Graphically indicates current Chorus Send setting. 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.

  • Page 49: All Part Control

    2 Change the value of the selected control by using the VALUE q buttons. Device Number (DevNo.) Graphically indicates current Device Number setting. This determines the Device Number for the MU50, a kind of MIDI “identification” number to distinguish between multiple units. For SELECT SELECT...
  • Page 50 MU50, set a different De- vice 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.”...
  • Page 51 MULTI MODE Variation Return (VarRtn) Graphically indicates current Variation Return setting. 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.

  • Page 52: Multi Edit Mode

    Filter Part Edit Mode The MU50 features a digital filter that can be used to change the timbre of the Voices. The filter is affected (together with the level) by the EG (Enve- lope Generator), which allows you to change the timbre over time as well.
  • Page 53 MULTI MODE Cutoff Frequency (CutoffFreq) Graphically shows Cutoff Frequency setting for each Part. 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 cre- ate a thinner, brighter tone.

  • Page 54: Eg (Envelope Generator)

    This determines the amount of filter resonance or emphasis of the Cutoff Frequency parameter above. Higher values increase the em- phasis of the Cutoff Frequency, producing a higher resonant peak, while lower values produce a relatively flat response. EG (Envelope Generator) Part Edit Mode The EG parameters allow you to shape the sound of a Part’s Voice —...
  • Page 55 MULTI MODE EG Parameters 1) Short Attack, Decay, Release times: Level Attack Decay Max. Min. Key is pressed 2) Long Attack, Decay, Release times: Level Max. Min. Key is pressed 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.
  • Page 56 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 57 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 gradu- ally bent up to its normal pitch, and kept there as the note is held.
  • Page 58 Graphically shows Pitch EG Attack Time setting for each Part. Selected Part and MIDI channel 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).

  • Page 59: Vibrato

    MULTI MODE Graphically shows Pitch EG Release Time setting for each Part. 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 produces a quavering, vibrating sound in the Part’s Voice, by regu-...
  • Page 60 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 This determines the depth of the Vibrato effect. Higher values result in a stronger, more pronounced Vibrato sound.

  • Page 61: Others

    MULTI MODE Others Part Edit Mode The Others section of parameters contains miscellaneous controls, includ- ing those related to tuning, Part Mode, velocity, portamento, note range, etc. Detune Graphically shows Detune setting for each Part. Others Others Others Others Others Detune Part Mode Mono/Poly Mode...

  • Page 62: Part Mode

    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 63 MULTI MODE For TG300B TG300B TG300B TG300B TG300B mode: The settings normal and drumS1, drumS2 are available; drum can- not be selected. When normal is selected, either the basic or the ex- tended set of Voices (for the TG300B mode) can be used for the Part. For C/M C/M mode: The Part Mode settings are fixed in this mode and cannot be changed:...
  • Page 64 Element Reserve (ElemReserv) Height of bars indicates selected Element Reserve setting for each Part. Selected Part and MIDI channel 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”...
  • Page 65 MULTI MODE Velocity Sensitivity Offset (VelSensOfs) Graphically shows Velocity Sensitivity Offset setting for each Part. 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.
  • Page 66 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.
  • Page 67 MULTI MODE Portamento Parameters Portamento is a function that creates a smooth pitch glide from one note to another. Height of bars indicates selected Portamento Switch setting for each Part. (A single bar indicates “off” setting, while full height indicates “on.”) This determines whether Portamento is on or off for the Part.
  • Page 68 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 Veloc- ity Limit settings so that one or the other sounds depending on how strongly you play the keyboard.
  • Page 69 MULTI MODE Dry Level 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.

  • Page 70: Drum Setup Controls

    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.

  • Page 71: Drum Setup Parameters

    MULTI MODE Operation 1 Select the desired note number and its assigned drum sound with P A R T q buttons. the P A R T P A R T P A R T P A R T For a list of the available sounds and their note assignments, see the SOUND LIST &...
  • Page 72 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) This determines the level of the selected drum sound that is sent to the Chorus effect.
  • Page 73 MULTI MODE Resonance This determines the amount of filter resonance or emphasis of the Cutoff Frequency parameter above. Higher values increase the em- phasis of the Cutoff Frequency, producing a higher resonant peak, while lower values produce a relatively flat response. Alternate Group (AlterGroup) This determines the group assignment of the selected drum sound.
  • Page 74 Receive Note 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.”...

  • Page 75: Performance Mode

    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 —...

  • Page 76: Selecting A Performance And Its Individual Parts

    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. NOTE The display is automatically set to All Part when the Performance Play mode is selected.
  • Page 77 PERFORMANCE MODE 3 Use the SELECT rameter, then use the VALUE Performance number. 4 From the All Part display, press the PART neously, so that the Single Part display is shown. Indicates currently selected Part. 5 Select the desired Part by using the PART 6 Select the desired Voice bank for the Part by using the SELECT w buttons to select the Bank parameter, and using the VALUE q buttons to change the bank number.

  • Page 78: Performance Part Control

    Performance Part Control Single Part Bank Number Settings: 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: This determines the Voice for the selected Part. (Refer to the SOUND LIST &...
  • Page 79 PERFORMANCE MODE Volume Graphically indicates current Volume setting. Range: This determines the Volume setting for the selected Part’s Voice. 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”...
  • Page 80 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).

  • Page 81: All Part

    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 Per- formance. When this is set to “all,” the Performance responds over any incoming MIDI channel.
  • Page 82 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.
  • Page 83 PERFORMANCE MODE Chorus Return (ChoRtn) Graphically indicates current Chorus Return setting. Range: This determines the amount of Chorus return for the Performance in the overall mix. Variation Return (VarRtn) Graphically indicates current Variation Return setting. Range: This determines the amount of Variation return in the overall mix of the Performance.

  • Page 84: 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 operations. To enter the Performance Edit mode, press the EDIT button (from the Performance Play mode).
  • Page 85 PERFORMANCE MODE Operation 1 From the Performance Name display, press the ENTER Performance name 2 Use the SELECT (flashing character) in the name and use the VALUE tons to change the character at that position. Flashes to indicate character position. Up to 12 characters can be used for the Performance name.
  • Page 86 Some or all of these may be available on your MIDI instrument, and can be used to control certain functions on the MU50 in real time. Some MIDI instruments allow you to change the control change number for a particular controller: for example, setting the modulation wheel (normally 01) to control Volume (07).

  • Page 87: Part

    PERFORMANCE MODE Part Performance Edit Mode Part Part Part Part Part Filter Filter Filter Filter Filter Cutoff Frequency Resonance 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...

  • Page 88: Filter

    The Part menu contains the Filter, EG, Vibrato and Others parameters for the Performance. Filter The Filter section of Performance Edit parameters are the same as the cor- responding parameters in the Multi Edit mode. (See page 43.) The EG section of Performance Edit parameters are the same as the corre- sponding parameters in the Multi Edit mode.

  • Page 89: Vibrato

    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.
  • Page 90 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.
  • Page 91 PERFORMANCE MODE Assignable Control 1 Filter Control (AC1FilCtrl) Graphically shows AC1 Filter Control setting for each Part. Range: 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;...

  • Page 92: Copy And Store Operations

    Copy and Store Operations The Copy and Store operations allow you to save and organize the Perform- ances 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 93: Store

    Destination Performance number 3 Press the ENTER An “Executing…” message flashes in the display during the op- eration. When the data has been copied, the MU50 returns to the Performance Edit menu. To cancel the operation without copying, press the EXIT...
  • Page 94 ENTER button to actually execute the Store operation. An “Executing...” message flashes in the display during the op- eration. When the data has been stored, the MU50 returns to the Performance Edit menu. To cancel the operation without saving, press the EXIT...

  • Page 95: Effect Edit Mode

    EFFECT EDIT MODE Effect Edit Mode The MU50 features a built-in multi-effect processor with three independent dig- ital 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.
  • Page 96 This determines the Reverb Type. Each Reverb Type has different values for the rest of the Reverb parameters. NOTE When “NO EFFECT NO EFFECT NO EFFECT NO EFFECT” is selected, Reverb is off and none of the other Reverb parameters are NO EFFECT available (with the exception of the Reverb Pan parameter).

  • Page 97: Chorus (Cho)

    EFFECT EDIT MODE Chorus (CHO) The Chorus section uses pitch modulation to create a variety of rich, spa- cious-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 &...

  • Page 98: Variation (Var)

    Variation (VAR) The Variation section provides a wealth of additional effects for processing the Voices of the MU50. It features some of the same effects found in the Reverb and Chorus sections. This is not mere redundancy; it allows you to use two types of Reverb or Chorus on different Voices.
  • Page 99 EFFECT EDIT MODE T ype NOTE When NO EFFECT NO EFFECT or THRU NO EFFECT NO EFFECT NO EFFECT the common parameters shown below are available (with the exception of Dry/Wet The NO EFFECT NO EFFECT NO EFFECT NO EFFECT NO EFFECT setting cancels the Variation effect.
  • Page 100 Variation Connection (VarConnect) Determines how the Variation effect is connected in the effect chain of the MU50. When set to SYS (System), Variation is applied to all Parts, according to the amount of Variation Send set for each Part. When set to INS (Insertion), Variation is applied to only the selected Part, set in Variation Send.

  • Page 101: About The Effect Connections - System And Insertion

    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...
  • Page 102 VARIATION CONNECTION = SYSTEM Dry Level Volume Expression Rev Send Part 1 Cho Send Var Send Dry Level Rev Send Volume Expression Part 2 Cho Send Var Send Dry Level Rev Send Volume Expression Part 3 Cho Send Var Send Dry Level Rev Send Volume...
  • Page 103 VARIATION CONNECTION = INSERTION The variation effect can be applied to only one Part at a time. Variation Part Volume Expression Rev Send Part1 Variation on/off Cho Send Volume Expression Rev Send Part2 Cho Send Variation on/off Volume Expression Rev Send Part3 Variation on/off Cho Send...

  • Page 104: Utility Mode

    To enter the Utility mode, press the UTIL System Functions The System functions provide various controls of the overall operation of the MU50, such as Master Tune, Mute, some MIDI receive filters and a dis- play Contrast control. Master Tune (M.Tune) Range: –102.4 —...
  • Page 105 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.
  • Page 106 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 —...

  • Page 107: Dump Out Functions

    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.
  • Page 108 Operation 1 Make sure that the MU50 is properly connected to the device and that the HOST SELECT HOST SELECT HOST SELECT HOST SELECT switch is properly set. HOST SELECT When using the MIDI terminals, connect the MIDI OUT MU50 to the MIDI IN MIDI IN MIDI IN of the data recorder.
  • Page 109 Multi Part This transmits the MU50 Multi Part data (including System and Effect data) to the connected device. (Use the VALUE q but- tons to select the type/amount of data to be transmitted.) Performance (PERFORM) Settings: ALL, I 001 —...

  • Page 110: Initialize Functions

    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 storage device.
  • Page 111 Factory Settings (FactSet), selected Sound Module mode (XG Init, GM Init, C/MInit, DOCInit, PFMInit) or Drum (DrumInit) Then, press the ENTER Factory Settings (FactSet) This restores the original factory settings of the MU50. Selected Sound Module Mode: Extended General MIDI (XG Init) ENTER...
  • Page 112 Init Init and DOCInit DOCInit DOCInit DOCInit DOCInit, the initialized settings are the same as when the MU50 is reset upon receiving an XG System On XG System On XG System On XG System On, GM System On XG System On...

  • Page 113: Demo Song Play (Demo)

    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 ecute the operation, or press the EXIT turn to the previous display.

  • Page 114: Sound Module Mode (Mode)

    4 To exit from the Demo Song function, press the EXIT Sound Module Mode (MODE) This lets you select the operating mode of the MU50. Press the MODE but- ton, then use the VALUE w buttons to select the desired Sound Mod- ule mode: XG (XG MIDI), TG300B (General MIDI), C/M (Computer Mu- sic), DOC (Disk Orchestra) or PERFORM (Performance).
  • Page 115 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.
  • Page 116 The Reference section of this manual covers in detail all of the functions of the MU50. Refer to it when you need infor- mation about a specific function, feature or operation.

  • Page 117: Appendix

    This is why Yamaha is pleased to propose the new XG format — the tone generator format for the 21st century.

  • Page 118: Basic Concepts

    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 conti- nuity, and to provide equipment manufacturers with considerable flexibility in designing ma- chines that satisfy its requirements.
  • Page 119 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 rhythm- part play.
  • Page 120 If multipart parameter “Rcv PROGRAM CHANGE” is OFF, the part ignores this message. Melody Voice As indicated in MU50 Sound List & MIDI Data booklet. Voices can be added through use of Bank Select LSB. (Refer to description of Bank Select, below.) Rhythm Voices As indicated in MU50 Sound List &...
  • Page 121 An XG machine need not support all LSB-selectable extension voices listed in the MU50 Sound List & MIDI Data booklet. If support is included for one or more voices in an extension bank, however, all the other Program Change Numbers in that bank are filled with the corresponding Bank #0 voice (basic voice).
  • Page 122 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.
  • Page 123 APPENDIX Cntrl# Parameter Panpot If multipart parameter “Rcv PAN” is OFF, the part ignores this message. Produces relative variations in pan among different installments of the rhythm part. Cntrl# Parameter Expression 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.
  • Page 124 Cntrl# 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.
  • Page 125 APPENDIX Cntrl# Parameter Effect-1 Depth Adjusts the reverb send level. Cntrl# Parameter Effect-3 Depth Adjusts the chorus send level. Cntrl# Parameter Effect-4 Depth Adjusts the variation effect send level. Effective only if “Variation Connection = System”. Cntrl# Parameter RPN Increment RPN Decrement The data byte has no meaning.
  • Page 126 The following NRPN values are supported. NRPN Data-entry If multipart parameter “Rcv NRPN” is OFF, the part ignores these messages. Note that LSB values 14H through 1FH (drum parameters) are effective only for rhythm parts. Cntrl# Parameter Data Range RPN LSB 0 to 127 RPN MSB 0 to 127...
  • Page 127 APPENDIX Minimum operational range is 00H00H-0CH00H ( octave). 5. Channel Mode Messages Cntrl# Parameter — Switches off sound from all parts. Does not reset the settings established by Channel Messages. Cntrl# Parameter — Resets the following values: Pitchbend, Modulation, Expression, Sustain, Registered Param- eter Number, parameter settings.
  • Page 128 Cntrl# Parameter — Same processing as for All Notes Off. (“OMNI ON” operation not supported.) Cntrl# Parameter Mono 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). Cntrl# Parameter —...
  • Page 129 APPENDIX 8. Exclusive Messages F0H,43H,1nH,4CH,00H,00H,7EH,00H,F7H 11110000 Exclusive status 01000011 YAMAHA ID 0001nnnn Device Number 01001100 Model ID 00000000 Address High 00000000 Address Mid 01111110 Address Low 00000000 Data 11110111 End of Exclusive The message switches SOUND MODULE MODE to XG and initializes the XG settings.
  • Page 130 11110000 Exclusive status 01000011 YAMAHA ID 0001nnnn Device Number 01001100 Model ID 0aaaaaaa Address High 0aaaaaaa Address Mid 0aaaaaaa Address Low 0ddddddd Data 0ddddddd Data 11110111 End of Exclusive Includes 2 or 4 bytes of data, depending on parameter size.
  • Page 131 APPENDIX 11110000 Exclusive status 01000011 YAMAHA ID 0011nnnn Device Number 01001100 Model ID 0aaaaaaa Address High 0aaaaaaa Address Mid 0aaaaaaa Address Low 11110111 End of Exclusive 11110000 Exclusive status 01000011 YAMAHA ID 0010nnnn Device Number 01001100 Model ID 0aaaaaaa Address High...

  • Page 132: Troubleshooting

    Check all MIDI connections, making sure that the MIDI OUT of the external device is connected to the MIDI IN of the MU50, and that the MIDI IN of the external device is connected to the MIDI OUT of the MU50. (See pages 28—29.) Or, if you are using...

  • Page 133: Error Messages

    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. HOST is OffLine! This message appears when the host computer is not turned on, the connecting ca- ble is not properly connected, or the sequencing software is not active.

  • Page 134: Specifications

    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 ...
  • Page 135 PC-2 — 38,400 bps Power Supply Yamaha PA-1207 AC Adaptor (included) Dimensions (W D H) 210 44 mm (8-5/8" Weight 1.3 kg (2 lbs., 14 oz.) Included Accessories Owner’s Manual, Yamaha PA-1207 AC Adaptor 8-1/4" 1-3/4") * Specifications subject to change without notice.

  • Page 136: Glossary

    The controlling computer in a com- puter music system. The host computer is con- nected to the MU50 (via the TO HOST or MIDI terminals) and runs the software necessary for re- cording and playing back song data, which is re- produced by the internal sound sources and effects of the MU50.
  • Page 137 The Pitch Bend Control parameter on the MU50 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 138: Index

    MIDI data flow (diagram) ... 30 MIDI data storage device ... 29, 98 MIDI devices, connecting to ... 12–13, 27–28, 98 MIDI keyboard, playing the MU50 with ... 16 MIDI keyboard, selecting Voices with ... 19 MIDI, Receive Channel ... 36 MIDI, Receive Port ...
  • Page 139 APPENDIX Note Shift (Multi mode) ... 39 Note Shift (Performance mode) ... 71 Others parameters ... 52, 80 Pan (Drum Setup) ... 62 Pan (Multi mode) ... 38 Pan (Performance mode) ... 70 Part controls ... 6, 20, 35–42, 69–74 Part Edit mode ...
  • Page 140 M.D.G., EMI Division, © Yamaha Corporation 1995, Printed in Japan...

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