Yamaha MU90R Owner's Manual
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Yamaha MU90R Owner's Manual

Yamaha mu90r 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...

  • 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 With the convenient built-in host computer interface and MIDI ter- minals, the MU90R 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 MU90R is remarkably easy to use.

  • Page 5: Table Of Contents

    The Controls of the MU90R ... 1 Front Panel ... 1 Rear Panel ... 3 The MU90R — What It Is and What It Can Do ... 4 What It Is… ... 4 About General MIDI ... 4 What It Can Do… ... 5 Using With MIDI Keyboard ...
  • Page 6 Multi Mode ... 38 Multi Play Mode ... 39 Play Displays ... 39 Part Controls ... 40 Single Part Control ... 41 Selecting Single Part Control ... 41 Editing in Single Part ... 41 All Part Control ... 46 Editing in All Part ... 46 Multi Edit Mode ...
  • Page 7 TABLE OF CONTENTS Dump Out Functions ... 119 Saving and Restoring Data via MIDI ... 119 Saving and Restoring Data via TO HOST ... 119 Initialize Functions ... 122 Demo Song Play (DEMO) ... 125 Sound Module Mode (MODE) ... 126 Show Control Change ...

  • Page 8: How To Use This Manual

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

  • Page 9: Precautions

    PLEASE READ CAREFULLY BEFORE PROCEEDING * Please keep these precautions in a safe place for future reference. WARNING Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following: •...

  • Page 10: The Controls Of The Mu90R

    1 PHONES jack For connection to a set of stereo headphones (1/4”). 2 VOLUME control Turning this adjusts the overall volume of the MU90R. 3 A/D INPUT 1, 2 jacks For connection of a microphone, electric guitar or other electronic instruments (mono 1/4”...
  • Page 11 THE CONTROLS OF THE MU90R 11 MUTE/SOLO button Pressing this alternately mutes or solos the selected Part. (See page 25.) 12 ENTER button For calling up menu items in the display and for executing certain functions and operations. Double-clicking this (pressing it twice quickly) calls up the System Exclusive hexadecimal message for the current function and param- eter value.

  • Page 12: Rear Panel

    6 INDIV. OUTPUT 1, 2 jacks For independent output of selected Parts (1/4”). Parts selected for output through these jacks are not output through the main OUTPUT or PHONES jacks. (See pages 72 and 79.) THE CONTROLS OF THE MU90R...

  • Page 13: The Mu90R - What It Is And What It Can Do

    586 Voices and 20 drum kits. The MU90R has 64-note polyphony and is 32-Part multi-timbral. In other words, the MU90R has 32 different Parts, each with its own Voice, so that up to 32 different Voices can be sounded simultaneously. Since the MU90R features dual MIDI input ports (A and B), 16 Parts can be played from one MIDI port and the remaining 16 from the other port.

  • Page 14: What It Can Do

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

  • Page 15: About The Modes Of The Mu90R

    Which mode the MU90R is in depends on the selected Sound Module mode. If XG, TG300B or C/M are selected, the MU90R automatically sets itself to the Multi mode. When PFM is selected, the MU90R is in the Per- formance mode.
  • Page 16 Reverb Send Chorus Send Variation Send Note Shift The MU90R has several different Edit modes, each with various menus and operations: Part Edit Mode F i l t e r THE MU90R — WHAT IT IS AND WHAT IT CAN DO...
  • Page 17 THE MU90R — WHAT IT IS AND WHAT IT CAN DO EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Vibrato Vibrato Rate Vibrato Depth Vibrato Delay Others Detune Part Mode Mono/Poly Mode Portamento Switch Portamento Time...
  • Page 18 Performance Edit Mode Common P a r t F i l t e r THE MU90R — WHAT IT IS AND WHAT IT CAN DO MW LFO Pitch Modulation Depth AC1 Control Change Number AC1 Filter Control AC1 Amplitude Control...
  • Page 19 THE MU90R — WHAT IT IS AND WHAT IT CAN DO EG Attack Time EG Decay Time EG Release Time Pitch EG Initial Level Pitch EG Attack Time Pitch EG Release Level Pitch EG Release Time EQ Low Frequency EQ Low Gain...

  • Page 20: Utility Mode

    Utility Mode The Utility mode lets you set functions related to the overall operation of the MU90R, such as Master Tune, display Contrast and reception of cer- tain MIDI messages that affect the entire instrument. Included also are mis- cellaneous operations, such as sending bulk data to a data storage device, initializing of the MU90R settings, and playing the special Demo song.
  • Page 21 MEMO THE MU90R — WHAT IT IS AND WHAT IT CAN DO...
  • Page 22 UIDED When using your MU90R 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 23: Guided Tour

    GUIDED TOUR In this introductory section, you’ll learn how to set up the MU90R for use with a MIDI keyboard. (Setting up for use with a computer is covered on page 29.) What You’ll Need The MU90R and the included power adaptor.
  • Page 24 Do not attempt to use an AC adaptor other than the PA-3B. The use of an incompatible adaptor may result in irreparable damage to the MU90R, and even pose a serious shock hazard. Be sure to disconnect the power adaptor from the outlet when the MU90R is not in use. Amplifier Power...

  • Page 25: Powering Up And Playing The Demo Song

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

  • Page 26: 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 MU90R. Operation ENTER NOTE During Demo Song playback, all panel controls (except the EXIT button and the VOLUME control) cannot be used.

  • Page 27: Playing Your Mu90R With A Midi Keyboard

    GUIDED TOUR Operation NOTE If your MIDI keyboard is transmitting on channel 1, the Voice of Part 1 should sound. If it is transmitting on another channel, another Part’s Voice will sound. For the sake of these intro- ductory instructions, set your keyboard so that it transmits on channel 1. (Refer to the own- er’s manual of that instrument if necessary.)

  • Page 28: Selecting Voices

    GUIDED TOUR In this brief section, you’ll learn how to select other Voices. You can do this directly from the panel of the MU90R or remotely, from your MIDI keyboard. Operation PART q SELECT w PART q VALUE q...

  • Page 29: Changing The Voice Bank

    GUIDED TOUR SOUND LIST & MIDI DATA HINT You can rapidly move through the values by holding down one of the VALUE q buttons. You can move even more rapidly by holding down one button and then pressing and hold- ing down the other.

  • Page 30: Selecting Voices From Your Midi Keyboard

    GUIDED TOUR VALUE q SELECT w Selecting Voices From Your MIDI Keyboard Operation...

  • Page 31: 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 MU90R. Let’s take a look at the Play display again: PART Each of these settings can be made independently for each of the Parts.
  • Page 32 Operation PART q SELECT w VALUE q SELECT w If both Parts 1 and 2 have been set to MIDI channel 1, both of their “level meters” should move together as you play. And, if the two Parts are set to dif- ferent Voices, you should hear two different Voices sound at the same time.

  • Page 33: 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 If you want, try making changes to some of the other Part controls.

  • Page 34: Using Mute/Solo

    GUIDED TOUR The MU90R has convenient Mute and Solo functions for selectively mut- ing or soloing any of the 32 Parts and A/D Parts A1 and A2. This is espe- cially useful when playing back several Parts from a connected computer or sequencer.

  • Page 35: Using The A/D Input

    The MU90R features a special A/D (Analog-to-Digital) Input function that allows you to connect a microphone, electric guitar or other instrument and mix in those signals with the MU90R’s Voices. A/D Input is perfect for singing along with your keyboard performance, since it allows you to blend the two signals without the need for an external mixer.
  • Page 36 GUIDED TOUR PART q SELECT w VALUE q SELECT w VALUE q...
  • Page 37 GUIDED TOUR SELECT VALUE q...

  • Page 38: Setting Up The Mu90R In Your Music System

    As you learned in the section The MU90R — What It Is and What It Can Do on page 4, the MU90R can be integrated into a variety of setups. It would be impossible to cover all connection possibilities in a short manual as this;...

  • Page 39: Ibm Pc/At And Clones

    Follow these instructions if you have an IBM PC/AT or compatible computer not equipped with an external MIDI interface. Connect the TO HOST termi- nal on the MU90R to one of the computer’s serial ports, COM 1 or COM 2. IBM PC/AT or Compatible Computer NOTE Your music software must be able to recognize the TO HOST connection.

  • Page 40: Connecting To Other Midi Devices

    Refer to the owner’s manual of your particular music software for more in- formation. Connecting to Other MIDI Devices The MU90R is equipped with MIDI IN and OUT terminals, allowing you to use it in any MIDI system. Example uses for the built-in MIDI interface in- clude: Connecting to a MIDI keyboard (for playing the sounds of the MU90R from that keyboard).
  • Page 41 GUIDED TOUR MIDI OUT MIDI OUT MIDI CONTROLLER NUMBER LIST CONTROL CHANGE 1 MODULATION DEPTH 11 EXPRESSION 73 ATTACK TIME (RPN) 126 FILTER CUTOFF FREQUENCY 2 BREATH CONTROL 64 HOLD1(DAMPER) 74 BRIGHTNESS 120 PITCH BEND SENSITIVITY 127 FILTER RESONANCE 4 FOOT CONTROL 65 PORTAMENTO 84 PORTAMENTO CONTROL 121 FINE TUNING...

  • Page 42: Using The Mu90R With A Midi Data Storage Device

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

  • Page 43: Data Flow Block Diagram

    GUIDED TOUR 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 IN-B IN-A Sound Module A1~16CH IN-B IN-A Sound Module A1~16CH THRU Sound Module...

  • Page 44: Midi/Computer Connecting Cables

    MINI DIN 8-PIN This concludes your basic tour of the important functions of the MU90R. To find out more about how to best use your MU90R, look through the Reference section that fol- lows and try out some of the functions and operations that interest you.
  • Page 45 MEMO...
  • Page 46 The Reference section of this manual covers in detail all of the functions of the MU90R. Refer to it when you need in- formation about a specific function, feature or operation.

  • Page 47: Multi Mode

    Multi modes. NOTE When set to the TG300B mode, the MU90R may not be able to play TG300-specific song data with complete accuracy. However, MIDI data designed for other computer music tone generators is compatible with the MU90R.

  • Page 48: Multi Play Mode

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

  • Page 49: Part Controls

    Each of these types is explained in greater detail below. NOTE In the Multi mode, no settings can be permanently saved to the internal memory of the MU90R. However, you can use the Dump Out function to save Multi settings to a MIDI data storage device. (See page 119.)

  • Page 50: Single Part Control

    Variation Send and Note Shift. Selecting Single Part Control Single Part control is automatically called up when the MU90R is turned on. If All Part is selected, simply press both PART q buttons simulta- neously (or press the EXIT button) to return to Single Part.
  • Page 51 MULTI MODE Bank Number This determines the bank number of the selected Part’s Voice. Each bank contains 128 Voices. (Refer to the SOUND LIST & MIDI DATA booklet.) For more information on selecting banks, see Display Bank Select parameter, page 118. Program (Voice) Number This determines the Voice for the selected Part.
  • Page 52 Volume This determines the Volume setting for the selected Part’s Voice. Expression (Expresn) This determines the Expression setting for the selected Part’s Voice. This determines the stereo position of the selected Part’s Voice. A set- ting of “Rnd” (Random) randomly assigns the Voice to a pan position. This is useful when you want to have different Voices sound from dif- ferent random parts of the stereo image.
  • Page 53 MULTI MODE Reverb Send (RevSend) This determines the level of the selected Part’s Voice that is sent to the Reverb effect. A value of 000 results in a completely “dry” Voice sound. NOTE Keep in mind that the Reverb effect must be properly enabled and set for this parameter to work as intended.
  • Page 54 MULTI MODE Graphically indicates current Variation Send setting. off, on (when Variation Connection is set to INS); (when Variation Connection is set to SYS) Note Shift (NoteSft) This determines the key transposition setting for the Part’s Voice. Graphically indicates current Note Shift setting.

  • Page 55: All Part Control

    2 Change the value of the selected control by using the VALUE q buttons or data dial. Device Number (DevNo.) This determines the Device Number for the MU90R, a kind of MIDI “identification” number to distinguish between multiple units. For Graphically indicates current Device Number setting.
  • Page 56 MU90R, set a different De- vice Number for each. This is especially important when using the data dump features. (See page 119.) If you have only one MU90R, set this to “all.”...
  • Page 57 MULTI MODE Chorus Return (ChoRtn) This determines the amount of Chorus return in the overall mix. Variation Return (VarRtn) This determines the amount of Variation return in the overall mix. Variation Return is only available when the Variation Connection parameter is set to SYS. (See page 106.) Transpose (Trans) This determines the overall Transpose setting of the Parts.

  • Page 58: Multi Edit Mode

    F i l t e r Part Edit Mode The MU90R features a digital filter that can be used to change the timbre of the Voices. The filter is affected (together with the level) by the EG (En- velope Generator), which allows you to change the timbre over time as well.
  • Page 59 MULTI MODE LPF Cutoff Frequency (LPF Cutoff) This determines the cutoff frequency of the low pass filter (LPF). The LPF filters out frequencies higher than the cutoff point and “passes” the lower frequencies. Lower cutoff values create a deeper, more rounded tone, while higher values create a brighter tone.
  • Page 60 Level HPF Cutoff Frequency (HPF Cutoff) This determines the cutoff frequency of the high pass filter (HPF). The HPF filters out frequencies lower than the cutoff point and “passes” the higher frequencies. Lower cutoff values preserve the fundamental and lower overtones of the sound, while higher values create a thinner, brighter tone.

  • Page 61: Eg (Envelope Generator)

    MULTI MODE EG (Envelope Generator) Part Edit Mode The EG parameters allow you to shape the sound of a Part’s Voice — or, in other words, set how the level and timbre of the Voice changes over time. This section also includes independent Pitch Envelope Generator (PEG) pa- rameters for controlling how the pitch of a Part’s Voice changes over time.
  • Page 62 2 ) Long Attack, Decay, Release times: Level Attack Decay 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 63 MULTI MODE EG Decay Time This determines the Decay Time of the EG, or how rapidly the sound dies out as a note is held. For the Filter, this determines how long it takes for the Filter effect to die out. EG Release Time This determines the Release Time of the EG, or how long the sound sustains after a note is released.
  • Page 64 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 65 MULTI MODE 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). This determines the final pitch of the Part’s Voice, or the pitch that is reached after the note is released.

  • Page 66: Eq (Equalizer)

    This determines the Release Time of the Pitch EG, or how long it takes for the pitch to change to the pitch value set in Release Level above. EQ (Equalizer) Part Edit Mode 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.
  • Page 67 MULTI MODE EQ Low Frequency (Low Freq) This determines the frequency which is boosted or cut (in the Low Gain parameter below) for each Part. EQ Low Gain This determines the level of the selected frequency (in Low Freq above). Positive values boost the level of the selected frequency and negative values attenuate it.

  • Page 68: Vibrato

    EQ High Gain This determines the level of the selected frequency (in High Freq above). Positive values boost the level of the selected frequency and negative values attenuate it. Vibrato Part Edit Mode Vibrato produces a quavering, vibrating sound in the Part’s Voice, by regu- larly modulating the pitch.
  • Page 69 MULTI MODE This determines the speed of the Vibrato effect. Higher values result in a faster Vibrato sound. Vibrato Depth This determines the depth of the Vibrato effect. Higher values result in a stronger, more pronounced Vibrato sound. Vibrato Delay This determines the delay in the onset of the Vibrato effect.

  • Page 70: Others

    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. Others Detune Part Mode Mono/Poly Mode Portamento Switch Portamento Time Element Reserve Note Limit Low Note Limit High Dry Level (VarConnect=SYS) Velocity Sensitivity Depth...
  • Page 71 MULTI MODE Detune 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 72 The Part Mode settings differ depending on the Sound Module mode selected, as described below. For XG (Extended General MIDI) mode: All settings described above are available. When normal is selected, any of the basic or the extended set of Voices can be used for the Part. For TG300B mode: The settings normal and drumS1 —...
  • Page 73 MULTI MODE This determines whether the Part’s Voice is played monophonically (only one note at a time) or polyphonically (up to 64 notes at a time). This parameter is not available when the Part Mode is set to Drum. Portamento Parameters Portamento is a function that creates a smooth pitch glide from one note to another.
  • Page 74 Element Reserve (ElemReserv) This determines the minimum number of sound elements that are re- served for the Part. This setting ensures that when the maximum simul- taneous polyphony of 64 notes (or elements) is exceeded, the selected Part will still play up to the number of elements set here. For example, if the Element Reserve of a Part is set to 10, the sounds for that Part (up to 10 simultaneous notes) will not be cut off, even if the maximum polyphony is exceeded.
  • Page 75 MULTI MODE This determines the lowest responding note for the Part. Notes be- low this value will not be played. This determines the highest responding note for the Part. Notes above this value will not be played. Dry Level This determines the level of the unprocessed sound of the Voice (sound with no effect processing).
  • Page 76 This determines the degree to which velocity affects the Part’s Voice. Higher values make the Voice more sensitive to changes in velocity. Velocity Sensitivity Offset (VelSensOfs) Graphically shows Velocity Sensitivity Offset setting for each Part. Selected Part and MIDI channel This determines the volume range over which velocity affects.
  • Page 77 MULTI MODE This determines the lowest velocity value at which the Part’s Voice will play. The higher the value, the harder the keyboard must be played for the Voice to sound. This determines the highest velocity value at which the Part’s Voice will play.
  • Page 78 Pitch Bend Control (PitBndCtrl) Selected Part and MIDI channel This determines the Pitch Bend range for the Part’s Voice. (Pitch Bend is usually controlled by a pitch bend wheel on a MIDI keyboard.) Modulation Wheel — LFO Pitch Modulation Depth (MW LFOPMod) Graphically shows LFO Pitch Modulation Depth setting for each Part.
  • Page 79 Some or all of these may be available on your MIDI instrument, and can be used to control certain functions on the MU90R in real time. Some MIDI instruments allow you to change the control change number for a particular controller: for example, setting the modulation wheel (normally 01) to control Volume (07).
  • Page 80 Assignable Controller 1 Filter Control (AC1 FilCtrl) This determines the degree to which Assignable Controller 1 (AC1) af- fects the Cuttoff Frequency of the Low Pass Filter for each Part. For maximum effect, this should be set to one of the extreme values, nega- tive or positive.
  • Page 81 MULTI MODE Assignable Controller 1 Amplitude Control (AC1 AmpCtrl) This determines the degree to which Assignable Controller 1 (AC1) af- fects the volume (Amplitude) for each Part. For maximum effect, this should be set to one of the extreme values, negative or positive. A set- ting of 00 results in no volume control, even when AC1 is operated (or control change data is received).

  • Page 82: Drum Setup Controls

    NOTE The Output Select Lock parameter (page 116) must be set to “off” in order to change this setting via MIDI. When the Part Mode parameter (page 62) is set to “drum” or “drum S1 — S4”, this setting i s i n a c t i v e . Drum Setup Controls The Drum Setup controls allow you to make a wide variety of settings for the drum sounds in a Drum Part.
  • Page 83 MULTI MODE Use the SELECT w buttons to select “DRUM” in the display, and press the ENTER button. Currently selected parameter name and value. Currently selected note and assigned drum sound. Operation 1 Select the desired note number and its assigned drum sound with the PART q buttons.

  • Page 84: Drum Setup Parameters

    Drum Setup Parameters The Drum Setup parameters are only available when the Part Mode has been set to DrumS1 — S4. (See page 62.) Pitch Coarse This determines the coarse pitch setting of the selected drum sound. Pitch Fine This determines the fine pitch setting of the selected drum sound. Velocity Pitch Sensitivity (VelPchSens) This determines the degree to which pitch changes of the selected drum sound respond to velocity.
  • Page 85 MULTI MODE Chorus Send (Cho Send) This determines the level of the selected drum sound that is sent to the Chorus effect. A value of 000 results in a completely “dry” drum sound, no matter how much Chorus is applied to the Drum Part. NOTE Keep in mind that the Chorus effect must be properly enabled and set for this parameter to work as intended.
  • Page 86 Velocity LPF Cutoff Sensitivity (VelLPFSens) This determines the degree to which the LPF Cutoff Frequency for the selected drum sound changes in response to velocity. In other words, you can shift the LPF Cutoff Frequency of the filter up or down (and thus change the timbre of the sound) depending on how hard or soft you play the keys of a connected keyboard.
  • Page 87 MULTI MODE EQ High Gain This determines the level of the selected frequency (in High Freq above) for the selected drum sound. Positive values boost the level of the selected frequency and negative values attenuate it. EG Attack This determines the Attack Time of the EG (Envelope Generator), or how long it takes for the sound of the selected drum sound to reach full volume when a note is played.
  • Page 88 HINT The main use for this parameter is in creating realistic hi-hat sounds. By assigning an open hi-hat and a closed hi-hat to the same group, you can “choke” or stop the open hi-hat sound by simply playing the closed hi-hat — just like pressing the pedal on an actual hi-hat set. Receive Note On (RcvNoteOn) This determines how the selected drum sound responds to MIDI Note On messages.

  • Page 89: Performance Mode

    PERFORMANCE MODE Performance Mode In the Performance mode, the MU90R 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 90: 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 91 PERFORMANCE MODE 3 Use the SELECT w buttons to select the Program Number pa- rameter, then use the VALUE q buttons or data dial to select the desired Performance number. 4 From the All Part display, press the PART q buttons simulta- neously, so that the Single Part display is shown.

  • Page 92: Performance Part Control

    Performance Part Control S i n g l e P a r t Bank Number Settings: A1 part: A2 part: 1 — 4 part: 000, 001, 003, 006, 008, 012, 014, 016 — 020, 024, This determines the bank number of the selected Part’s Voice. Each bank contains 128 Voices.
  • Page 93 PERFORMANCE MODE Volume Graphically indicates current Volume setting. Range: This determines the Volume 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 po- sition.
  • Page 94 Chorus Send (ChoSend) Graphically indicates current Chorus Send setting. Range: 000 — 127 This determines the level of the selected Part’s Voice that is sent to the Chorus effect. A value of 000 results in a completely “dry” Voice sound (no Chorus effect). NOTE Keep in mind that the Chorus effect must be properly enabled and set for this parameter to work as intended.

  • Page 95: All Part

    PERFORMANCE MODE A l l P a r t System MIDI Channel (Sys CH) Graphically indicates current System MIDI Channel setting. Settings: 01 — 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 96 Performance Volume (Pfm Vol) Graphically indicates current Performance Volume setting. Range: 000 — 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 97 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 98: 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 99 PERFORMANCE MODE Operation 1 From the Performance Name display, press the ENTER button. Performance name 2 Use the SELECT w buttons to select the character position (flashing character) in the name and use the VALUE q but- tons or data dial to change the character at that position. Flashes to indicate character position.
  • Page 100 Portamento Switch (PortamnSw) Same as the corresponding parameter in the Multi Edit mode. (See page 64.) Portamento Time (PortamnTm) Same as the corresponding parameter in the Multi Edit mode. (See page 64.) Modulation Wheel — LFO Pitch Modulation Depth (MW LFOPMod) Same as the corresponding parameter in the Multi Edit mode.
  • Page 101 Parts (A1 and A2). HINT You can use the MU90R strictly as an effect processor for the A/D input (for example, your guitar or microphone) by Soloing the appropriate A/D Part (A1 or A2). Assignable Controller 1 Control Change Number (AC1 CC No.)

  • Page 102: Part

    P a r t Performance Edit Mode P a r t F i l t e r LPF Cutoff Frequency LPF Resonance HPF Cutoff Frequency EG Attack Time EG Decay Time EG Release Time Pitch EG Initial Level Pitch EG Attack Time Pitch EG Release Level Pitch EG Release Time EQ Low Frequency...

  • Page 103: Filter

    PERFORMANCE MODE The Part menu contains the Filter, EG, Vibrato and Others parameters for the Performance. F i l t e r The Filter section of Performance Edit parameters are the same as the cor- responding parameters in the Multi Edit mode. (See page 49.) The EG section of Performance Edit parameters are the same as the corre- sponding parameters in the Multi Edit mode.

  • Page 104: Vibrato

    Vibrato The Vibrato section of Performance Edit parameters are the same as the corresponding parameters in the Multi Edit mode. (See page 59.) Others The Others section of Performance Edit parameters contains miscellaneous controls, including those related to tuning, velocity, note range, etc. With a few additional parameters, these are the same as the parameters in the Multi Edit mode.
  • Page 105 PERFORMANCE MODE Velocity Limit Low (VelLimitLo) Same as the corresponding parameter in the Multi Edit mode. (See page 68.) Velocity Limit High (VelLimitHi) Same as the corresponding parameter in the Multi Edit mode. (See page 68.)

  • Page 106: Copy And Store Operations

    Copy and Store Operations The Copy and Store operations allow you to save and organize the Per- formances 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 107: Store

    3 Press the ENTER button to actually execute the Copy operation. An “Executing…” message flashes in the display during the op- eration. When the data has been copied, the MU90R returns to the Performance Edit menu. To cancel the operation without copying, press the EXIT button (before pressing ENTER).
  • Page 108 3 Press the 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 MU90R returns to the Performance Edit menu. To cancel the operation without saving, press the EXIT button (before pressing ENTER).

  • Page 109: Recall Function

    Performance. For example, if you are editing a Performance and inad- vertently select a different Performance, the edited Performance would nor- mally be lost. By using Recall before turning off the MU90R or editing an- other Performance, you can recover the previously edited Performance data.

  • Page 110: Effect Edit Mode

    Effect Edit Mode The MU90R features a built-in multi-effect processor with 6 independent dig- ital 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 111 EFFECT EDIT MODE This determines the Reverb Type. Each Reverb Type has different values for the rest of the Reverb parameters; for example, Basement has a Reverb Time of 0.6 seconds, while Canyon has a Reverb Time of 12.0 seconds. NOTE When “NO EFFECT”...

  • Page 112: Chorus

    Chorus 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 below. For descriptions and explanations for all other Chorus parameters, refer to the separate SOUND LIST &...

  • Page 113: Variation

    Variation The Variation section provides a wealth of additional effects for processing the Voices of the MU90R. 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, Chorus or other effects on different Voices.
  • Page 114 Type NOTE When NO EFFECT or THRU is selected for the Type, no Variation effect is applied, and only the common parameters shown below are available (with the exception of Dry/Wet). The NO EFFECT setting cancels the Variation effect. When the Variation Connection is set to SYS (System), the sound can be heard with no effect.
  • Page 115 Variation Connection (VarConnect) Determines how the Variation effect is connected in the effect chain of the MU90R. 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 Send Variation parameters (see above).
  • Page 116 The Insertion effects are set up for Insertion routing and can be applied only to a single selected Part. Refer to About the Effect Connections — System and Insertion on page 106 for more information. Type NOTE When Thru is selected, no effect is applied, and none of the parameters are available (with the exception of the Part parameter).

  • Page 117: Insertion 1, 2

    EFFECT EDIT MODE Insertion 1, 2 Part (INS 1, 2 Part) This determines the Part to which the Insertion effect is applied. Insertion can be applied to only one Part at a time.

  • Page 118: About The Effect Connections - System And Insertion

    About the Effect Connections — System and Insertion The multi-effects of the MU90R provide not only a wide range of sound processing controls, but also a flexible system for connecting them. Unlike simple effect routing schemes on conventional sound modules that process all voices with the same effects, the MU90R allows you to put independent, special effects on one or two Parts, as well as use overall effects for processing all 34 Parts together.
  • Page 119 Insertion 1 can be Insertion 2 can be applied to only one applied to only one Part at a time. Part at a time. insertion 1 part insertion 2 part dry level INS1 rev send INS2 part A1 insertion 1 on/off insertion 2 on/off cho send var send...
  • Page 120 Insertion 2 can be Variation can be Insertion 1 can be applied to only one applied to only one applied to only one Part at a time. Part at a time. Part at a time. insertion 1 part insertion 2 part variation part INS1 INS2...

  • Page 121: Equalizer (Eq) Edit

    Equalizer (EQ) Edit The Equalizer (EQ) Edit parameters allow you to adjust the overall tone of the MU90R sound in five separate frequency bands. EQ presets are also pro- vided for instantly calling up tone settings specially suited for different types of music.
  • Page 122 EQ Frequency Parameters Thru: 80 Hz, 500 Hz, 1.0 kHz, 4.0 kHz, 8.0 kHz Jazz: 50 Hz, 125 Hz, 900 Hz, 3.2 kHz, 6.3 kHz Pops: 125 Hz, 315 Hz, 1.0 kHz, 2.0 kHz, 5.0 kHz Rock: 125 Hz, 200 Hz, 1.2 kHz, 2.2 kHz, 6.3 kHz Concert: 80 Hz, 315 Hz, 1.0 kHz, 6.3 kHz, 8.0 kHz Graphically shows the current EQ settings.

  • Page 123: Utility Mode

    The Utility mode lets you set functions related to the overall operation of the MU90R, 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 MU90R settings.
  • Page 124 MU90R as part of General MIDI song data. When Mute Lock is set to off, this resets the Mute status of the Parts on the MU90R. If you want to keep the current Mute settings and disable this reset, set Mute Lock to on.
  • Page 125 UTILITY MODE This determines whether the Equalizer settings (page 57) are initial- ized or change in response to incoming MIDI messages. When this is set to “on,” the current Equalizer settings are maintained, ignor- ing any EQ-related messages that are received with XG System On or GM System On messages, allowing you to protect your original Equalizer settings.
  • Page 126 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 MU90R. (See page 42.) The On setting allows Bank Select messages to be received.
  • Page 127 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 MU90R, this parameter determines which MIDI port’s data will be routed through the MIDI OUT terminal.

  • Page 128: Dump Out Functions

    Dump Out Functions The Dump Out functions allow you to save the various settings of the MU90R (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 129 UTILITY MODE 1 Make sure that the MU90R is properly connected to the device and that the HOST SELECT switch is properly set. When using the MIDI terminals, connect the MIDI OUT of the MU90R to the MIDI IN of the data recorder. (See the illustrations above.) Also, set the HOST SELECT switch to MIDI.
  • Page 130 Multi This transmits the selected MU90R Multi Part data (including Sys- tem, Effect and EQ data) to the connected device. (Use the VALUE q buttons to select the type/amount of data to be transmitted.)

  • Page 131: Initialize Functions

    Dump Out menu. NOTE If you have more than one MU90R connected in your MIDI system and wish to send differ- ent sets of data to each, you can specify a different Device Number for each. (See page 46.) You should set the Device Number on each MU90R you use, before dumping the data to a data storage device.
  • Page 132 GM Init, C/MInit, PFMInit) or Drum (DrumInit) Then, press the ENTER button to call up the selected data dump. Factory Settings (FactSet) This restores the original factory settings of the MU90R. Selected Sound Module Mode: Extended General MIDI (XGInit) UTILITY MODE...
  • Page 133 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 MU90R is reset upon receiving an XG System On or GM System On message.

  • Page 134: Demo Song Play (Demo)

    Drum Setup.) NOTE This parameter is not available when the MU90R is set to Performance mode. 3 From the “Are you sure?” prompt, press the ENTER button to ex- ecute the operation, or press the EXIT button to cancel it and re- turn to the previous display.

  • Page 135: Sound Module Mode (Mode)

    EDIT, UTIL, EFFECT or EQ) to use the MU90R in the current mode. NOTE When the MU90R is not set to the XG mode and an XG System On message is received, the MU90R changes to the XG mode after a slight pause of 0.5 seconds.

  • Page 136: Show Control Change

    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 137: Show Exclusive

    UTILITY MODE 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 138: About Cable Messages

    About Cable Messages The MU90R can receive Cable messages (F5) when the TO HOST termi- nal is connected to the serial terminal of a computer. On the MU90R, MIDI receive channels A1 — A16 are controlled from Port 1, and channels B1 —...
  • Page 139 UTILITY MODE M E M O...
  • Page 140 The Reference section of this manual covers in detail all of the functions of the MU90R. Refer to it when you need in- formation about a specific function, feature or operation.

  • Page 141: Appendix

    Yamaha shall use the XG format as the basis for forthcoming electronic instruments, music software, and tone-generating LSI circuitry, while working to maintain compatibility and scalability among Yamaha models.
  • Page 142 This is why Yamaha is pleased to propose the new XG format — the tone generator format for the 21st century. Basic Concepts The XG format maintains the universality and compatibility of the MIDI and GM standards while significantly increasing the range of expressiveness.
  • Page 143 APPENDIX 1) Voice Extension by Bank-Select LSB Variations of basic GM voices are stored in banks. To select a variation, specify the desired bank by sending the appropriate Bank-Select LSB value. Each bank is as- sociated with a specific type of variation, so that voices are easy to locate. 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.

  • Page 144: Chapter 1: Midi Specifications

    4. System Exclusive Messages Parameter Change System Parameters Effect Parameters Three categories of system effects are supported. One of these categories can be switched with insertion effects. Graphic EQ and multiple insertion effects are supported as options. Part Parameters Filter cutoff and AEG value can be controlled by offset. Display Parameters External Input Control Parameters Drum Setup Parameters...
  • Page 145 APPENDIX 4 . Control Change Status: If multipart parameter “Rcv CONTROL CHANGE” is OFF, the part will continue to accept Channel Mode messages but will ignore all other Control Change messages. Cntrl# Parameter Bank Select MSB Bank Select LSB If multipart parameter “Rcv BANK SELECT” is OFF, the part ignores this message. The new bank selection does not become effective until receipt of the next Program Change message.
  • Page 146 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.
  • Page 147 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 148 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 149 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 Increment Decrement...
  • Page 150 The following NRPN values are supported. NRPN Data Entry If multipart parameter “Rcv NRPN” is OFF, the part ignores this message. Note that MSB values 14H through 1FH (drum parameters) are effective only for rhythm parts. Cntrl# Parameter Data Range RPN LSB 0 to 127 RPN MSB...
  • Page 151 APPENDIX 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 to the default: Pitchbend, Modulation, Expression, Sustain, Portamento, Sostenuto, Registered Parameter Number Resets Portamento Control.
  • Page 152 If multipart parameter “Rcv POLYPHONIC AFTERTOUCH” is Off, the part ignores this message. It is not necessary for the effect to apply to all note numbers (0~127). 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...
  • Page 153 APPENDIX Master Tune can be modified either with System Exclusive messages or on the front panel of a tone generator. Two System Exclusive messages are available i.e. MIDI Master Tuning (F0, 43, 1n, 27, 30, 00, 00, mm, ll, cc, F7) and XG Parameter Change Master Tune (F0, 43, 1n, 4C, 00, 00, 00, dd, dd, dd, dd, F7).
  • Page 154 F0H,43H,1nH,27H,30H,00H,00H,mmH,llH,ccH,F7H 11110000 Exclusive status 01000011 YAMAHA ID 0001nnnn Device Number 00100111 Model ID 00110000 Sub ID2 00000000 00000000 0mmmmmmm Master Tune MSB 0lllllll Master Tune LSB 0ccccccc Don’t care 11110111 End of Exclusive Changes tuning of all channels. 11110000 Exclusive status...
  • Page 155 APPENDIX 11110000 Exclusive status 01000011 YAMAHA ID 0000nnnn Device Number 01001100 Model ID 0bbbbbbb Byte Count MSB 0bbbbbbb Byte Count LSB 0aaaaaaa Address High 0aaaaaaa Address Mid 0aaaaaaa Address Low 0ddddddd Data 0ddddddd Data 0ccccccc Checksum 11110111 End of Exclusive For information about “Address”...

  • Page 156: Troubleshooting

    MIDI IN of the MU90R, and that the MIDI IN of the external device is connected to the MIDI OUT of the MU90R. (See pages 31 — 32.) Or, if you are using the TO HOST terminal with a computer, make sure that the terminal is prop- erly connected to the computer and that the HOST SELECT switch is properly set for your particular computer.

  • Page 157: Error Messages

    A data error resulted during reception of MIDI messages. Try transmitting the data again, or turn the MU90R off and back on again. MIDI Buffer Full! Too much MIDI data is being received by the MU90R at one time. Reduce the amount of data being sent to the MU90R. 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 158: Specifications

    Specifications Tone Generation Method AWM2 (Advanced Wave Memory 2) Maximum Simultaneous Polyphony 64-note 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 Total Voices ...
  • Page 159 PC-2 — 38,400 bps Power Supply Yamaha PA-3B AC Adaptor (included) Dimensions (W 229 44 mm (19" 9" Weight 2.4 kg (5 lbs., 5 oz.) Included Accessories Owner’s Manual, Yamaha PA-3B AC Adaptor 1-3/4") * Specifications subject to change without notice.

  • Page 160: Glossary

    The controlling computer in a com- puter music system. The host computer is con- nected to the MU90R (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 MU90R.
  • Page 161 The Pitch Bend Control param- eter on the MU90R 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 162: Index

    Chorus Send (Performance mode) ... 85 Chorus Type ... 103 Common parameters ... 89 computer, connecting cables ... 35 computer, connecting MU90R with ... 29 computer, IBM PC and clones ... 30 computer, Macintosh ... 29 connections, audio ... 14 connections, MIDI ...
  • Page 163 MIDI data flow (diagram) ... 34 MIDI data storage device ... 31, 33 MIDI devices, connecting to ... 31–33 MIDI keyboard, playing the MU90R with ... 5, 18 MIDI keyboard, selecting Voices with ... 21 MIDI, Receive Channel ... 41 MIDI, Receive Port ...
  • Page 164 APPENDIX Variation Send (Drum Setup) ... 76 Variation Send (Multi mode) ... 44 Variation Send (Performance mode) ... 85 Variation Type ... 105 Velocity LPF Cutoff Frequency ... 76 Velocity Limit High ... 68, 96 Velocity Limit Low ... 68, 96 Velocity Pitch Sensitivity ...
  • Page 165 M E M O APPENDIX...

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