English Deutsch Français TONE GENERATOR ALL PLAY EDIT MUTE/ SOLO PART PART UTIL EFFECT 1 ENTER A/D INPUT XG TG300B PERFORM 2 STAND BY ON VOLUME MIDI IN A Piano MODE EQ PART BANK/PGM VOL EXP PAN REV CHO VAR KEY Chrom.perc. Organ Guitar Bass Strings Ensemble Brass Reed Pipe Synth lead Synth pad Synth effects Ethnic Percussive SFX Model excl.
FCC INFORMATION (U.S.A) 1. IMPORTANT NOTICE : DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions.
SPECIAL MESSAGE SECTION WARNING: Do not place this product in a position where anyone could walk on, trip over, or roll anything over power or connecting cords of any kind. The use of an extension cord is not recommended! If you must use an extension cord, the minimum wire size for a 25' cord (or less ) is 18 AWG. NOTE: The smaller the AWG number, the larger the current handling capacity. For longer extension cords, consult a local electrician.
Welcome to the MU128 Welcome to the MU128 Congratulations and thank you for purchasing the Yamaha MU128 Tone Generator! The MU128 is an advanced tone generator providing an amazing total of 1342 high-quality Voices, full General MIDI compatibility — including Yamaha’s XG — plus flexible computer interfacing in a compact, easyto-use half-rack mount unit.
Welcome to the MU128 the MU128’s Voices. GM System Level 1 “GM System Level 1 is a standard specification that defines the arrangement of voices in a tone generator and its MIDI functionality, ensuring that data can be played back with substantially the same sounds on any GMcompatible tone generator, regardless of its manufacturer or model. Tone generators and song data that meet the “GM System Level 1” bear this GM logo.
Unpacking Unpacking Your MU128 package should include the items listed below. Make sure that you have them all. Also, write down the serial number of your MU128 in the box below, for future reference. MU128 Serial No.: PA-6 AC Power Adaptor* Owner’s Manual set (this book and the “Sound List & MIDI Data” booklet) CD-ROM (XGtools) XGtools Setup Guide * Power supply recommendation may vary from country to country. Please check with your nearest Yamaha dealer for further details.
TABLE OF CONTENTS Welcome to the MU128 ......................................................................................................... 4 Unpacking ............................................................................................................................... 6 Table of Contents ................................................................................................................... 7 How to Use This Manual .................................................................
TABLE OF CONTENTS Normal Voices and Drum Voices ............................................................................... 50 Maximum Simultaneous Sounds (Polyphony) .......................................................... 50 Selecting the Voices .................................................................................................... 50 Use of bank select MSB and LSB when the Sound Module mode is set to “XG” or “PFM” .......................................................................
TABLE OF CONTENTS REFERENCE Multi Mode .................................................................................................................... 104 Part Controls ............................................................................................................. 104 Single Part Control.............................................................................................. 105 All Part Control ........................................................................................
TABLE OF CONTENTS Utility Mode .................................................................................................................. 156 System Functions (SYSTEM) .................................................................................. 157 Dump Out Functions (DUMPOUT) ......................................................................... 162 Saving and Restoring Data via MIDI .................................................................
How to Use This Manual You are probably eager to try out your new MU128 Tone Generator right away and hear what it can do, rather than have to read through a lot of instructions before you can even get a sound out of it. The structure of the manual is very straightforward. You can approach it in a linear manner, reading through from beginning to end, or on an “on-demand” basis, going directly to the information you need as you need it.
How to Use This Manual NOTES •The illustrations and LCD screens as shown in this owner’s manual are for instructional purposes only, and may appear somewhat different from those on your instrument. •Installing an XG Plug-in Board to the MU128 increases the number of menu items and parameters shown in the display. Unless otherwise indicated, the example displays printed in this manual correspond to a MU128 with no boards installed.
PRECAUTIONS English 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: • Do not open the instrument or attempt to disassemble the internal parts or modify them in any way.
The Controls of the MU128 The Controls of the MU128 Front Panel 1 23 M 8 A 9 C B : DEF TONE GENERATOR ALL PLAY EDIT MUTE/ SOLO PART PART UTIL EFFECT 1 ENTER A/D INPUT XG TG300B PERFORM 2 STAND BY ON EQ EXIT VALUE VALUE G H I PART BANK/PGM VOL EXP PAN REV CHO VAR KEY Piano Chrom.perc. Organ Guitar Bass Strings VOLUME MIDI IN A MODE SELECT SELECT Ensemble Brass Reed Pipe Synth lead Synth pad Synth effects Ethnic Percussive SFX Model excl.
The Controls of the MU128 7 Voice Category buttons 8 MODE button For calling up the Sound Module mode display. (page 170.) 9 PLAY button For entering the Play mode and switching among the different Play displays. (pages 41, 47.) 0 EDIT button For entering the Edit mode. (pages 58, 69.) A UTIL (UTILITY) button For entering the Utility mode. (page 156.) B EFFECT button For entering the Effect Edit mode. (page 146.) C EQ button For entering the EQ Edit mode. (page 155.
The Controls of the MU128 Hint You can rapidly move through the values by holding down one of the [VALUE -/+] buttons. You can move even more rapidly by holding down one button and then pressing and holding down the other. For example, to rapidly advance (increase) the value, hold down the [VALUE +] button and simultaneously press and hold down the [VALUE -] button. J Data dial For rapidly adjusting/changing values of the selected function or parameter. Rotate this clockwise to increase the value.
The Controls of the MU128 Rear Panel 2 MIDI HOST SELECT 3 4 6 7 English 1 OUTPUT INPUT L Mac MIDI PC-2 PC-1 THRU OUT IN-A TO HOST DC IN IN-B R SER NO. 5 8 1 MIDI terminals For connection to other MIDI devices, such as a MIDI keyboard, tone generator, or sequencer, or to a computer that has a MIDI interface. • MIDI IN-A terminal When the HOST SELECT switch is set to “MIDI,” this receives MIDI data for controlling Parts set to receive over channels A01 - A16.
The Controls of the MU128 3 TO HOST terminal For connection to a host computer that does not have a MIDI interface. ( page 36.) 4 DC IN jack For connection to the PA-6 AC power adaptor. 1W A R N I N G Use ONLY a Yamaha PA-6 AC Power Adaptor (or other adaptor specifically recommended by Yamaha) to power your instrument from the AC mains. The use of other adaptors may result in irreparable damage to both the adaptor and the MU128.
The MU128 — What It Is and What It Can Do English The MU128 — What It Is and What It Can Do What It Is... The MU128 is a full-featured and easy-to-use tone generator, that provides an unprecedented wealth of Voices and expressive sonic control. It features full General MIDI Level 1 compatibility. It also provides XG compatibility, with an huge total of 1149 Voices and 37 drum kits. The MU128 has 128-note polyphony and is 64-Part multi-timbral.
The MU128 — What It Is and What It Can Do About XG The new XG format is an extension of General MIDI, and provides a number of significant improvements and enhancements. XG-compatible song data takes advantage of the extensive MIDI control and built-in effects of the MU128 (and other MU-series instruments). To take greatest advantage of the powerful capabilities of XG, we recommend using XG-compatible instruments and software.
The MU128 — What It Is and What It Can Do the other, and you can mix your own live performance with the sequencer tracks. Since it’s compatible with General MIDI and XG, the MU128 is a natural for multimedia applications. Bring it with you to a presentation — since the computer interface is built-in to the MU128, it hooks up instantly and easily to the computer’s serial port or printer port, without the need for any other equipment.
The MU128 — What It Is and What It Can Do NOTE When set to the TG300B mode, the MU128 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 MU128. Play Modes and the Part Controls Once the operating mode of the MU128 is set (Multi or Performance), there are two main ways you can use the MU128: playing and editing.
Modes and Function Tree [PLAY] Multi Play Mode ( When the sound module mode is “XG” or “TG300B”) [SELECT ] Multi Part Control P. 170 P. 105 [PART-++] [SELECT ] Multi All Part Control [EDIT] [PLAY] P. 109 Multi Part Edit Mode P. 111 [SELECT <] Filter Edit [ENTER] P. 111 [SELECT ] EG Edit [ENTER] P. 113 [SELECT ] EQ Edit (Only when Normal Part is selected.) [ENTER] P. 116 [SELECT ] Drum Setup Edit P. 126 (Only when Drum Part is selected.
Modes and Function Tree [UTIL] [MODE] [EFFECT] [EQ] P. 156 Utility Mode [SELECT <] System Setup [ENTER] P. 157 [SELECT ] Dump Out [ENTER] P. 162 [SELECT ] Initialize [ENTER] P. 166 [SELECT >] Demo Song Play [ENTER] P. 169 Sound Module Mode P. 170 [SELECT <] or [VALUE-] XG P. 170 [SELECT ] or [VALUE+/-] TG300 P. 170 [SELECT >] or [VALUE+] PFM P. 170 Effect Mode P. 146 [SELECT <] Reverb Edit [ENTER] P. 147 [SELECT ] Chorus Edit [ENTER] P.
G UIDED T OUR When using your MU128 for the first time, read through this short section of the manual. It guides you step-by-step in using many of the basic operations: setting the instrument up, connecting it properly to other equipment, and — most importantly — playing it. It also introduces you to most of the other, advanced features and operations of the instrument — enabling you to quickly and effectively get the most out of your new MU128.
Setting Up Your MU128 Setting Up Your MU128 In this section, you’ll learn how to: © Connect the MU128 in the most basic setup — with a MIDI keyboard and an external amplifier/speaker system. Other setup examples are covered in later sections; for example, setting up for use with a computer is on page 35. Once you’ve set up the MU128, we urge you to play the Demo song (page 30) and hear what the instrument is capable of. What You’ll Need ☛ The MU128 and the included PA-6 power adaptor.
Setting Up Your MU128 3 Set the HOST SELECT switch. Set this rear panel switch to MIDI (see illustration). 4 Connect the AC power adaptor. Plug the DC output cable of the PA-6 into the DC IN terminal on the rear panel, then plug the adaptor into an appropriate electrical outlet. OUTPUT INPUT HOST SELECT •Wrap the DC output cable of the adaptor around the cable clip (as shown at right) to prevent accidental unplugging of the cable during operation. L Mac MIDI PC-2 PC-1 TO HOST DC IN R SER NO.
Setting up your MU128 Now that you’ve set up the MU128, we urge you to go on to the next section, turn on the instrument, and play the Demo song (page 30) to hear what the instrument is capable of. If you need information on setting up the MU128 for a different type of system, refer to “Setting Up the MU128 in Your Music System” on page 32.
Powering up Admittedly this is a simple operation, but you should be careful to follow the instructions below to avoid possible damage to your equipment and speakers. Operation 1 Turn on the power of your MIDI keyboard. 2 Turn on the power of the MU128. Press the STAND BY/ON switch. After the animated greeting display finishes, the following display appears: 3 Turn down all volume controls. This includes the MU128 and any connected equipment. 4 Turn on the amplifier/speaker system.
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 generation system of the MU128. It also is an excellent demonstration of the 64part multi-timbral capacity and the various expressive controls and effects that can be used simultaneously. Most importantly, the Demo song will give you an idea of how powerful the MU128 can be in your own MIDI/computer music setup.
Playing the DemoSong English 4 Stop playback of the song. Press the [EXIT] button. 5 Exit from the Demo Song function. Press the [EXIT] button again — twice to return to the Play mode. (Or you can simply press the [PLAY] button.) About the Demo Song All instrument sounds and processing heard in the demo song were realized exclusively with the Voices and effects of the MU128.
Setting Up the MU128 in Your Music System Setting Up the MU128 in Your Music System As you learned in the section The MU128 — What It Is and What It Can Do on page 19, the MU128 can be integrated into a variety of setups. It would be impossible to cover all connection possibilities in a short manual as this; however, the section below will help in quickly setting up the MU128 and using it in your system.
Setting Up the MU128 in Your Music System • Hardware sequencer MIDI OUT L/MONO OUTPUT R IN A FOOT SW IN B OUT A MIDI OUT B IN A IN B MUSIC SEQUENCER PITCH OUT A OUT B MIDI ASSIGNABLE SONG PATTERN UTILITY VOICE EFFECT DISK MAX VOLUME SHIFT REC PLAY A OCT UP OCT DOWN ON BASS F# G# B Gb C F4 TRACK DOWN TRACK UP MUTE SOLO REST TIE ( D A# C# ) E Db D# F F5 Eb # 7( 5) b 7( 5) G # 7( 9) b 7( 9) H F6 SHIFT ? N +1 NO YES EXIT 7 (13) sus4 m7(11) # 7( 11)
Setting Up the MU128 in Your Music System • Computer equipped with a MIDI interface In this setup, you can control the MU128 from a computer (using sequencing or other song playback software).
Setting Up the MU128 in Your Music System Operation 1 Set the HOST SELECT switch to MIDI. 2 Connect the MU128 to the appropriate MIDI device. Refer to the illustrations above. Use a standard MIDI cable (see page ??). 3 Turn on the the connected device, then the MU128. 4 If you are using a computer, start up your music software, and set up the appropriate options on the software for operation with the MU128.
Setting Up the MU128 in Your Music System 2 Connect the terminals as shown in the illustration below, using standard computer cables*. * Make sure to use the following commercially available standard cable types: For IBM PC/AT or compatible computers: D-SUB 9-pin to Mini DIN 8-pin (page 101) For Macintosh computers:8-pin Macintosh Peripheral cable (page 101) 3 Turn on the power of the computer, then the MU128.
Selecting and Playing the Performances MIDI Data Flow English ECHO BACK = ON MIDI OUT RS-232C IBM-PC/AT or compatible computer MIDI keyboard controller THRU OUT MIDI IN-A MIDI IN-B TO HOST ECHO BACK = ON MIDI data of the Port set in the Thru Port parameter Port 1 Parts set to receive over channels A1-A16 Port 2 Parts set to receive over channels B1-B16 Port 3 Port 4 Parts set to receive over channels C1-C16 Parts set to receive over channels D1-D16 Macintosh computer MU128 NOTES • Data rec
Selecting and Playing the Performances Selecting and Playing the Performances As pointed out on page 21, the Performances of the MU128 let you play four Voices together over one MIDI channel. These specially programmed Performances (100 Preset and 100 Internal) take full advantage of the MU128 dynamic Voices and flexible editing functions — giving you exceptionally powerful and expressive sounds for live performance situations. In this section, you’ll learn how to: © Call up the Performance mode.
Selecting and Playing the Performances English 3 Press the [PLAY] button to go to the Performance Play mode. You can press the [EXIT] button for this as well. “All” and keyboard player icon indicate All Part display of Performance Play mode. If the All Part display above (with the keyboard player icon) is not shown, press both [PART-/+] buttons simultaneously. 4 Select the desired bank of Performances — Preset or Internal.
Selecting and Playing Individual Voices 5 Select the desired Performance. Use the [SELECT ] buttons to select the Program Number parameter, then use the [VALUE -/+] buttons or data dial to select the desired Performance number. Performance number 6 Play the connected MIDI keyboard. Make sure that your keyboard is transmitting over MIDI channel 1. (Refer to the owner’s manual of that instrument if necessary.
Selecting and Playing Individual Voices Changing the Play Mode Display Press the [PLAY] button repeatedly. Each press of the [PLAY] button switches between the two displays below. Performance number and name are indicated. Voice names which make up the Performance are indicated. MU128 Guided Tour 41 English The MU128 lets you view the Parts of the Performance in two ways, depending on your preference.
Selecting and Playing Individual Voices Selecting and Playing Individual Voices The MU128 has a stunningly huge variety of Voices — a total of 1342. In this section, you’ll select and play Voices in the XG mode, which features 1149 different Voices. In this section, you’ll learn how to: © © © © Call up the XG mode. Select Voice banks and Voices from the panel controls. Change the Play mode display to suit your preference. Select and play Voices from a MIDI keyboard.
Selecting and Playing Individual Voices About the Modes — Multi and Performance Selecting Voice Banks and Voices From the Panel There are two basic methods of selecting Voices and banks: one using the Voice Category buttons to automatically select specific Voices according to their instrument groups, and the other letting you manually select the Voice bank and Voice. (Voices/banks can also be selected remotely from a MIDI device; see page 48.
Selecting and Playing Individual Voices TONE GENERATOR ALL PLAY EDIT MUTE/ SOLO PART PART UTIL EFFECT 1 ENTER A/D INPUT XG TG300B PERFORM 2 STAND BY ON PART VOLUME MIDI IN A BANK/PGM SELECT SELECT MODE EQ EXIT VALUE VALUE VOL EXP PAN REV CHO VAR KEY Piano Chrom.perc. Organ Guitar Ensemble Brass Reed Pipe Synth lead Synth pad Bass Strings Synth effects Ethnic Percussive SFX Model excl.
Selecting and Playing Individual Voices Details The MU128 features two different Voice maps: MU Basic and MU100 Native. ■ MU Basic — This Voice map maintains compatibility with the widest range of XG tone generators. ■ MU 100 Native — This Voice map (selected as the default at the factory) includes the upgraded Voices and Voices utilizing new waveforms not included on older XG tone generators. These two Voice maps have the same order and number of the Voices.
Selecting and Playing Individual Voices 2 Select the bank number. Use the [SELECT ] buttons to highlight the bank number parameter (as shown below). Instrument icon. Arrow at top left of icon indicates bank number is selected. Bank number. Dark arrow indicates bank number is selected. Program number. 3 Change the bank number. Use the [VALUE -/+] buttons or data dial. Notice that the bank numbers “jump” as they are selected — the MU128 skips bank numbers that have the same Voice as bank “000.
About the Parts and Voices of the MU128 English 6 Play the Voice. Play this new Voice from the connected MIDI keyboard. (Make sure that the keyboard is transmitting on channel 1.) If you’ve carefully followed all instructions up to now, the “level meter” of the Part should move — and you should be able to hear the sound of the MU128 as you play. Try selecting other Voice banks and Voices and play them as well. Each Voice bank contains some different Voices, some of which are variations, some unique.
About the Parts and Voices of the MU128 Selecting Voices From a MIDI Keyboard You can also select Voices remotely from a connected MIDI keyboard. Though the actual operation may differ depending on the keyboard used, the general procedure is the same. These instructions also apply to use with a computer. (Refer to the owner’s manual of your specific instrument or software for detailed instructions.) Operation 1 Make the necessary settings on the keyboard.
About the Parts and Voices of the MU128 This section covers basic information about the Parts and Voices of the MU128. It’s not necessary to absorb all this information at once; yet if you familiarize yourself with the concepts and details of this section, you’ll be on your way to quickly mastering the operations of the MU128. Parts When the Sound Module mode is set to “XG” or “TG300B,” the tone generator section of the MU128 is fully multi-timbral and is made up of 64 independent Parts.
About the Parts and Voices of the MU128 Normal Voices and Drum Voices The MU128 features two types of Voices: Normal and Drum. Normal Voices Normal Voices are pitched — in other words, the pitch of the Voice changes according to the keys of the keyboard. A Normal Voice is made up of a maximum of two sound elements.
About the Parts and Voices of the MU128 When the Sound Module mode is set to “XG” or “PFM,” the Voices are divided into large groups, selectable by the bank select MSB values shown below. Bank select MSB = 0 — XG Voices These are the Voices conforming to the GM System Level 1 standard and its expanded set of Voices. They can be played back to common effect for all XG-compatible tone generators. Bank select MSB = 48 — MU100 Exclusive Voices Only the MU100 and MU128 contain these Voices.
About the Parts and Voices of the MU128 The bank select LSB values apply only when the bank select MSB value is set to 0 or 48 — these are used for selecting variation Voices. (Additional MSB values are available when an XG Plug-in board is installed.) For a bank select MSB value of 0, there are expanded sets of XG Voices featuring Voice variations under general categories such as Stereo, Bright and Sweep. Each of these variation banks is selected with a different LSB value.
About the Parts and Voices of the MU128 When Sound Module mode is set to "TG300B" BankSelect LSB BankSelect LSB * The C/M Voice set is included to provide multi-timbral compatibility for computer music systems and song data that predate the GM System Level 1 standard. Part Mode The Part mode is used to determine whether the selected Part uses Normal Voices or Drum Voices. It also lets you select a particular drum setup for editing the Drum Voice. This is done in the Multi Part Edit mode (page 120).
About the Parts and Voices of the MU128 How to Select a Voice Any MU128 Voice can be selected by specifying two numbers: the bank number and the program number. The method of selecting Voices differs depending on the selected Sound Module mode or Part mode. (pages 55-57.) The operation of changing the bank number and the program number is explained first, followed by instructions for selecting Voices in each of the Sound Module modes.
About the Parts and Voices of the MU128 When the Part mode is set to “normal” The bank select MSB is set to 0 as the default factory setting, and the bank select LSB value (default setting of 000) is indicated in the display. In this condition, the bank number can be changed over the range of 000 - 127. Changing the program number lets you select individual XG Voices. Increasing the bank number value past 127 (with the [VALUE -/+] buttons or data dial) selects bank number 000.
Editing in the Multi Mode When Sound Module mode is set to “XG,” and Part mode is set to “drum” [VALUE-] BANK [VALUE+] Bit Map Window Drum icon Drum icon Bank Number BankSelect MSB BankSelect LSB 126 126 0 SFX Kits 127 127 0 Drum Kits Voice Type Selecting Voices when the Sound Module mode is set to “TG300B” When the Part mode is set to “normal” The bank number in the display indicates the bank select MSB value. (The bank select LSB is fixed at 0.
Editing in the Multi Mode The Voices included in each Voice category are shown below. Also refer to the Voice List and Drum Map charts in the “Sound List & MIDI Data” booklet. In XG and Performance (PFM)modes [Normal Voices] Piano Program numbers 1 - 8*1 Chrom.perc.
Editing in the Multi Mode Editing in the Multi Mode This section takes you step-by-step through an example editing session in the Multi mode. The operations and techniques you learn here enable you to perform any editing operation in the Multi mode. There are two separate sections of the Multi mode that are devoted to editing: the Single/All Part controls, and the Edit menus. In this section, you’ll learn how to: © Select a Part for editing.
Editing in the Multi Mode You can make changes to each individual Part by using the Single Part controls. These are displayed in the Multi Play mode, and give you at-a-glance confirmation and control of the important basic settings of the selected Part. If the Multi mode was active when you last turned the power off, the next time you turn the power on, the Single Part controls are automatically called up. Let’s take a look at the Play display again: Voice name, bank number and program number.
Editing in the Multi Mode Changing the Volume and Pan settings of a Part Here, we’ll change the Volume and Pan settings of one Part’s Voice. Operation 1 Select the desired Part. Use the [PART -/+] buttons to select Part 1. 2 Select the desired control. Use the [SELECT ] buttons to select the Volume control. Current Volume setting. 3 Change the setting. Use the [VALUE -/+] buttons or data dial, and play the keyboard as you edit so you can hear the change in the sound.
Editing in the Multi Mode On Your Own... 1) 2) 3) 4) Select a Part with the [PART -/+] buttons. Select a control for editing with the [SELECT ] buttons. Change the setting with the [VALUE -/+] buttons or data dial. Use the [EXIT] button as needed to return to “home base” — Voice name and number. Hint You can easily edit the same control for different Parts. To do this, simply remain at the selected control and use the [PART -/+] buttons to change the Part to be edited.
Editing in the Multi Mode Edit Menu Parameters The Edit menu parameters provide more detailed and advanced controls over the Parts. These are powerful tools that let you subtly enhance or fine-tune the sound of a Voice — or radically change its character for some wild and unique sounds. Changing the Filter and EG Settings of a Part Operation 1 Select the desired Part. Use the [PART -/+] buttons. Also, for the sake of these instructions, select the “SquareLd” Voice, #081. (page 45.
Editing in the Multi Mode English 5 Select the “LPF Cutoff” parameter. Use the [SELECT ] buttons. Selected Part flashes. The bars graphically indicate parameter values for each Part. Indicates additional parameters Indicates no other parameters are available (to the right). are available (to the left). 6 Adjust the value while listening to the sound. Hold down a note on the connected keyboard and turn the data dial to adjust the value, swinging between the maximum (+63) and minimum (-64) values.
Editing in the Multi Mode a Adjust the value while listening to the sound. Try setting this to around “+30” and play the keyboard. Notice how the attack of the sound has become slower. b Select and adjust the “Release Time” parameter. Use the [SELECT ] buttons, then set this to around “+50.” Play some notes on the keyboard and release them. Notice how the sound sustains after you release each key. Details The effect of the EG parameters differs depending on the selected Voice.
Editing in the Multi Mode The Drum Setup controls provide a comprehensive set of tools for controlling and changing the drum kit Voices. These parameters can be set individually for each sound in a Drum Part. Up to four of your original editing setups can be permanently stored. Unless you’ve set them otherwise, Parts 10, 26, 42 and 58 are automatically set to play a Drum Part and the MIDI channel for all of them is set to 10.
Editing in the Multi Mode Making Changes to Individual Drum Sounds — the “Drum” Parameters The Drum parameters provide extraordinary flexibility, since they allow you to make independent settings for the individual drum/percussion sounds in a Drum Part. We’ll explore a couple of the possiblilities here: Operation 1 Select “DRUM” from the Edit menus (with the [SELECT ] buttons) and press [ENTER]. 2 Select “E3: Conga L.
Editing in the Multi Mode 6 Select the LPF Cutoff parameter, and set it to –40. 7 Select the LPF Resonance (LPF Reso) parameter, and set it to +63. 8 Select the Velocity LPF Sensitivity parameter (VelLPFSens), and set it to +16. Play the key softly to strongly and notice how key velocity changes the timbre of the sound for a “wah-wah” effect. More Drum Editing Try some of the other parameters in the edit menus (FILTER, EG, VIBRATO, OTHERS) on your own and hear how they affect the drum sounds.
On Your Own... 1) Select a Drum Part with the [PART -/+] buttons. 2) Call up the Edit menus by pressing the [EDIT] button. 3) Select the “DRUM” menu with the [SELECT ] buttons, and press [ENTER]. 4) Select the desired drum sound, either by playing the corresponding key of the MIDI keyboard or by using the [SELECT ] buttons. Details If you wish, you can alternately disable/enable this keyboard entry function by pressing the [MUTE/SOLO] button (while the “DRUM” menu is selected).
Editing in the Performance Mode The Performance mode is an exceptionally powerful and flexible mode that allows you to combine four different Voices (including both A/D inputs) and play them from a single MIDI channel. The potential applications of the Performance mode are enormous, and we’ll touch on some of the main ones here. As the name suggests, the Performance mode is primarily intended for live performance situations.
Editing in the Performance Mode All Part Controls You can make changes to the overall Performance by using the All Part controls. These are displayed in the Performance Play mode, and give you at-a-glance confirmation and control of some important basic settings of the selected Performance. In the Performance mode, the All Part controls are automatically called up whenever you turn the power on or select the Performance mode.
Editing in the Performance Mode In this example, you’ll change the System Transpose setting for the “Rich Piano” Performance. This All Part control is useful for instantly changing the key to match the range of a vocalist, or for ease in playing difficult keys. Operation 1 Select the “Rich Piano” Performance. First select the Preset bank (“Pre”), then select Performance number 002 (“Stereo Grand”). (For instructions on selecting Performances, see steps #4 and #5 on pages 39 and 40.
Editing in the Performance Mode Single Part Controls — Selecting Different Voices for the Performance In this next section, you’ll use the Single Part controls to change the Voice settings of the Performance. Operation 1 Call up the Single Part controls. Simultaneously press both [PART -/+] buttons. Performance bank and number PART Voice name, bank (Preset or Internal), and program number. BANK/PGM# VOL EXP PAN REV CHO VAR KEY Note Shift (key transpose setting for selected Part). Variation Send.
Editing in the Performance Mode When editing a Performance: • Decide how many Parts you want. When creating a Performance, choose a preset that uses the same number of Parts (Voices) you intend to use. (You can easily tell how many Parts a Performance has by looking at the “level meters”; a dark bar appears above the Part numbers that are active.) Two active Parts • Start with a similar sound. When editing, it’s a good idea to start with a sound that’s relatively similar to the one you intend to create.
Editing in the Performance Mode Edit Menu Parameters — Creating a Two-Voice Layer Editing a Performance is almost identical to editing Parts in the Multi mode. The Edit menu tree is slightly different, and certain parameters are different as well. (For a full list and description of Performance Edit parameters, see page 137.) In the following instructions, you’ll use the Edit menu parameters to create a two-Voice Performance and “fatten” the sound using Detune. Operation 1 Select the desired Performance.
Editing in the Performance Mode 4 Select Part 1 and select a new Voice for it: “HeavySyn” (082). English 5 Select Part 2 and select the “HeavySyn” Voice for it as well. 6 Select the “OTHERS” parameters. Press the [EDIT] button. From the first Edit menu, select and call up “PART,” then select and call up “OTHERS.” First Edit menu. Second Edit menu. 7 Select and set the Detune parameter for Part 2. Use the [SELECT <] buttons to select the parameter, then the [VALUE -/+] buttons or data dial.
Editing in the Performance Mode ; Change the Vibrato Rate, Depth, and Delay settings. Select one of the Parts and set the Vibrato parameters as follows: Rate: +15 Depth: +04 Delay: +15 This produces a delayed vibrato for Part 1; in other words, the vibrato effect starts after the keys have been held for a while. Notes played staccato have no vibrato. a Exit back to the Single Part control display. Press the [PLAY] button.
Editing in the Performance Mode On Your Own... While you’re at it, try making changes to some of the other Edit (part) parameters. The procedure is the same: 1) Call up the Edit menus by pressing the [EDIT] button. 2) Select “PART” with the [SELECT ] buttons, then press [ENTER]. 3) Select the desired menu with the [SELECT ] buttons, and press [ENTER]. 4) Select the desired Part with the [PART -/+] buttons.
Editing in the Performance Mode 3) Select and change these parameters: LPF Cutoff: –64 LPF Reso: +50 Provided your connected keyboard has a modulation wheel (most do), and all other settings are appropriate, you can create wide, dynamic filter sweeps by holding notes and moving the modulation wheel. Saving Your Original Performance Once you’ve edited a Performance, you can give it a different name and save it for future recall. The MU128 has 100 Internal memory locations for your original Performances.
Assignable Controller (AC1) The Assignable Controller (AC1) is one of the more powerful features of the MU128 — it gives you extraordinarily flexible and expressive real-time control over the Voices. In this section, you’ll: © Learn about MIDI controllers and control numbers, and how they can affect the Voices. © Set up your system for using the Assignable Controller.
Assignable Controller (AC1) The actual, physical means of controlling (such as foot pedals, modulation wheels, etc. on a connected keyboard) are generally assigned to specific “virtual” control numbers. A few examples of these include the modulation wheel (at control number 1), foot controller (control number 4), and volume pedal (control number 7).
Assignable Controller (AC1) The Assignable Controller on the MU128 lets you specify the control number to be used and determine which aspect or aspects of the sound will be affected. It also lets you set the degree to which the controller affects the sound.
Assignable Controller (AC1) Using the Assignable Controller — Setting Up Operation 1 Set up the MIDI keyboard or instrument. Connect the foot controller to the appropriate jack, and make sure that the instrument is set to transmit over MIDI channel 1. (If your instrument doesn’t have a foot controller, use another controller as described in the next step.
Assignable Controller (AC1) Modulation Wheel Using the Assignable Controller — Some Applications Changing the Brightness on a Piano Voice Though you can use the Equalizer (page 116) to adjust the brightness of a Part’s Voice, you may find it convenient to be able to change the character of the sound “on the fly,” as you play. This uses the AC1 Filter Control parameter. Try this with the Grand Piano Voice (001:GrandP #). Operation 1 Call up the Edit menu. From the Multi Play mode, press the [EDIT] button.
Assignable Controller (AC1) 4 Try the setting on other Voices. Exit to the Multi Play mode display (press the [PLAY] button) and select other Voices, trying out the new setting, and moving the foot controller up and down as you play. Try out some of these Voices, and notice how the sound changes: SynBass2 (040), Saw Ld (082), Warm Pad (090) — for a “wah” filter sweep effect. SynVoice (055), NewAgePd (089) — for gradually fading in a breathy sound.
Assignable Controller (AC1) Expressive Volume Control of a Part Operation 1 Select the desired Part and Voice. Keep the settings you made to Part 1 (in the last example), and select a new Part/Voice for this example. From the Multi Play mode, select Part 2 with the [PART -/+] buttons. (This should be set to MIDI channel 2; set the MIDI channel on the connected keyboard accordingly.) A good Voice for this application would be PercOrg# (018); select this with the [VALUE -/+] buttons or data dial.
Assignable Controller (AC1) 3 Set the AC1 Filter Control to “+63.” Since you’ve called up the “OTHERS” parameters in the previous step, select “AC1FilCtrl” (with the [SELECT ] buttons) and set it to “+63” (with the [VALUE -/+] buttons or data dial). 4 Select the “DRUM” parameters. Call up the Edit menu, then select “DRUM” (with the [SELECT ] buttons) and press [ENTER]. 5 Select “A3: Cabasa.” Play A3 on the connected keyboard, or use the [PART -/+] buttons to select “A3.
Assignable Controller (AC1) On Your Own... MU 128 Guided Tour 87 English While you’re at it, try making some of your own settings. The procedure is the same: 1) Select the desired Part and Voice. 2) Call up the Edit menus by pressing the [EDIT] button. 3) Select “OTHERS” with the [SELECT ] buttons, then press [ENTER]. 4) Set the Assignable Controller number for the Part. 5) Select the appropriate parameters with the [SELECT ] buttons.
Effects Effects To complement the huge variety of Voices and the 64-Part multi-timbral capacity, the MU128 features a built-in multi-effect processor with seven independent digital effects: Reverb, Chorus, Variation, Insertion 1 and 2, Part EQ, and Multi EQ. (In this section, we’ll examine the first five; EQ is covered on page155.) These high-quality effects provide an enormous amount of sound processing power and flexibility.
Effects Operation 2 Call up the Effect Edit mode. Press the [EFFECT] button. 3 Select and call up the desired effect section. Select “REV” (Reverb) or “CHO” (Chorus) with the [SELECT ] buttons and press [ENTER]. 4 Select and change the Type parameter. Use the [SELECT <] button to select “Type,” then change the setting with the [VALUE -/+] buttons or data dial. 5 Edit other parameters as desired. Once you’ve selected a Reverb or Chorus Type, you can adjust the other parameters.
Effects Applying Distortion to a Part — Using the Variation Effects The Variation effect section provides a wealth of additional effects. With a total of 70 different Types, it features some of the same effects found in the Reverb, Chorus and Insertion sections. This is not mere redundancy; it allows you to use two Types of Reverb or Chorus on different Voices. For example, you may want to have a Symphonic effect on one Voice and Phaser on another.
Effects Now, play the Part and hear how Distortion affects the sound. Select other Types and play with them as well. The Variation parameters differ depending on the selected Variation Type. For a list of Variation Types and other information on Variation, see page 149. For a list of the available parameters for each Variation Type, refer to the “Sound List & MIDI Data” booklet. Details • When Variation is set for use with a single Part (Insertion), only Variation Send is available.
Equalizer (EQ) Equalizer (EQ) The MU128 features an extensive set of equalization controls that give you comprehensive control over the tone quality — both of individual Parts and over the entire instrument sound. In this section, you’ll learn how to: © Use the Part EQ edit parameters to adjust the tone of a specific Part. © Use the Multi EQ to adjust the overall tone of the MU128.
Equalizer (EQ) 5 Select the Low Gain parameter and adjust the value. For this example, set the Low Gain value to “+35.” Play the Voice (especially in the lower octaves) and hear how the sound has changed. NOTE Depending on the Voice selected for the Part (and depending in which octave you play the Voice), you may or may not hear very much change in the sound at certain frequencies. If you want, try adjusting the High Frequency/Gain parameters as well.
Equalizer (EQ) Adjusting the Overall Tone — Multi EQ The Multi EQ section gives you five-band control (at specific frequencies) over the entire sound of the MU128. Special presets are also available for instantly changing the tone to suit different types of music. Operation 1 Call up the “EQ TYPE” parameter and select the desired EQ preset. First press the [EQ] button, then use the [SELECT ] buttons to select the parameter. Then use the [VALUE -/+] buttons or data dial to select the desired preset.
Mute/Solo The MU128 has convenient Mute and Solo functions for selectively muting or soloing any of the 64 normal Parts and the two A/D Parts. This is especially useful when playing back several Parts from a connected computer or sequencer. Mute lets you silence one Part to hear how all of the other Parts sound without it. Solo lets you isolate a single Part, to hear how that Part sounds by itself.
Mute/Solo The selected Part is soloed, while all other Parts are muted. All Parts sound normally.
A/D Inputs The MU128 features a special A/D (Analog-to-Digital) input function that allows you to connect up to two different external signals (microphone, electric guitar, CD player, etc.), and mix those signals with the MU128’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. Or you can use it to sing or play guitar over backing tracks played from a MIDI sequencer.
A/D Inputs TONE GENERATOR 1 A/D INPUT 2 VOLUME XG TG PE STAND BY ON MIDI IN A Piano PART BANK/PGM VOL EXP PAN REV CHO VAR KEY Chrom.perc. Organ Guitar Bass Strings Ensemble Brass Reed Pipe Synth lead Synth pad Synth effects Ethnic Percussive SFX Model excl. SE Drum PHONES MU PLG-1 PLG-2 PLG-3 3 Select the corresponding Part. Use the [PART -/+] buttons. Since you connected to the A/D INPUT 1 jack above, select Part A/D1 in this step. 4 Select the appropriate bank of presets.
A/D Inputs Bank 001 English For input of an electric or electric/acoustic guitar (or other mic level instruments). Bank 002 For input of a keyboard (or other line level instruments, such as tone generators, rhythm machines, etc.). Bank 003 For input of audio equipment (such as CD players, cassette decks, etc.). Bank 018 For input of a stereo keyboard (or other stereo signals from line level instruments, such as tone generators, rhythm machines, etc.).
A/D Inputs Bank 019 For input of stereo audio equipment (such as CD players, cassette decks, etc.). CAUTION Do not use line level signals (such as from keyboards, etc.) with the mic level banks. The signal may be too high, resulting in damage to the MU128. 1 5 Select the desired preset. Do this in the normal way (as you selected Voices), using the [SELECT ] buttons to highlight the program number parameter, then using the [VALUE -/+] buttons to select the preset.
MIDI/Computer Connecting Cables MIDI Standard MIDI cable. Maximum length 15 meters. DIN 5-PIN 4 2 (GND) 5 4 2 5 DIN 5-PIN Mac Apple Macintosh Peripheral cable (M0197). Maximum length 2 meters. MINI DIN 8-PIN 2 (HSK i) 1 (HSK o) 5 (RxD –) 4 (GND) 3 (TxD –) 8 (RxD +) 7 (GP i) 6 (TxD +) 1 2 3 4 5 6 7 8 MINI DIN 8-PIN PC-1 8-pin MINI DIN to D-SUB 25-pin cable. If your PC-1 type computer has a 9-pin serial port, use the PC-2 type cable. Maximum length 1.8 meters.
MU128 Guided Tour
R EFERENCE The Reference section of this manual covers in detail all of the functions of the MU128. Refer to it when you need information about a specific function, feature or operation.
Part Controls Multi Mode In the Multi mode, the MU128 performs as a multi-timbral tone generator capable of playing up to 64 Parts simultaneously, over 64 MIDI channels. Normally, the MU128 should be set to Multi mode when using it with a sequencer and General MIDI song data. There are two Multi modes: XG and TG300B. (For information on selecting these, see pages 43 and 170.) Part Controls ............................................................................... 104 Single Part Control .............
Part Controls The Single Part controls include: Bank Number, Program Number, Volume, Expression, Pan, Reverb Send, Chorus Send, Variation Send and Note Shift. For basic information on using the Single Part control, see page 59. Voice Category When both BANK and PGM# are indicated by cursors, Voices in the current Voice category can be selected.
Part Controls This determines the bank number of the selected Part’s Voice. (Refer to the SOUND LIST & MIDI DATA booklet.) This determines the Voice for the selected Part. (Refer to the SOUND LIST & MIDI DATA booklet.) Once you’ve selected a Voice, you can easily select the related variation Voices by changing the bank number.
Part Controls Volume Reverb Send (RevSend) 000 — 127 Range: This determines the Volume setting for the selected Part’s Voice. Expression (Expresn) Range: 000 — 127 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. NOTES • Keep in mind that the Reverb effect must be properly enabled and set for this parameter to work as intended. (See page 88.
Part Controls Variation Send (VarSend) Settings: Note Shift (NoteSft) off, on (when Variation Connection is set to INS); 000 — 127 (when Variation Connection is set to SYS) Range: –24 — +24 semitones This determines the key transposition setting for the Part’s Voice. When the Variation Connection parameter (page 150) is set to “INS,” this determines whether the Variation effect is applied to the selected Part or not.
Part Controls The All Part controls include: Master Volume, Master Attenuator, Reverb Return, Chorus Return, Variation Return and Transpose. Keep in mind that these controls affect all Parts equally, and either add to or subtract from their individual values. For example, if Note Shift on one Part is set to –12, and Transpose (in All Part) is set to +12, that Part’s pitch value will actually be 0 or normal. For basic information on using the All Part controls, see page 61. Master Volume (M.
Part Controls Variation Return (VarRtn) Range: 000 — 127 This determines the amount of Variation return in the overall mix. Variation Return is only available when the Variation Connection parameter is set to SYS. (See page 150.) NOTES • Keep in mind that the amount of the Variation effect also depends on the Variation Send setting in the Single Part controls (page 108).
Multi Edit Mode The Multi Edit mode features various parameters for controlling the Filter, the EG (Envelope Generator), the EQ, and Vibrato. It also features a variety of other miscellaneous controls grouped in the Others parameters. When a Drum Part is selected, Drum-related parameters are also available. For basic information on using the Multi Edit mode, see page 58.
Multi Edit Mode LPF Cutoff Frequency (LPF Cutoff) Range: –64 — +63 HPF Cutoff Frequency (HPF Cutoff) Range: 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. This determines the cutoff frequency of the high pass filter (HPF).
Multi Edit Mode Path: [EDIT] button → “EG” EG (Envelope Generator) ___________________________________ Level/Filter EG Parameters ..................................... 114 ● EG Attack Time ● EG Decay Time ● EG Release Time Pitch EG Parameters ...............................................
Multi Edit Mode Level/Filter EG Parameters Pitch EG Parameters EG Attack Time Range: –64 — +63 This determines the Attack Time of the EG, or how long it takes for the sound to reach full volume when a note is played. For the Filter, this determines how long it takes for the sound to be affected by the maximum Filter values. 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.
Multi Edit Mode Pitch EG Attack Time (PEGAtakTime) –64 — +63 English Range: This determines the Attack Time of the Pitch EG, or how long it takes for the pitch to return to normal (from the pitch value set in Initial Level above). Pitch EG Release Level (PEGReleLvel) Range: –64 — +63 This determines the final pitch of the Part’s Voice, or the pitch that is reached after the note is released. A setting of 00 corresponds to normal pitch.
Multi Edit Mode Equalizer (Part EQ) NOTE This menu is not available when the Drum Part is selected. However, the Drum Part EQ can be set for each of the individual parts in the Drum Setup Controls (page 129).
Multi Edit Mode Path: [EDIT] button → “VIBRATO” Vibrato __________________________________________________ ● Vibrato Rate ● Vibrato Depth ● Vibrato Delay Vibrato produces a quavering, vibrating sound in the Part’s Voice, by regularly modulating the pitch. You can control the speed and depth of the Vibrato, as well as the time it takes before the Vibrato effect is applied. Vibrato Rate Range: Vibrato Delay –64 — +63 Range: This determines the speed of the Vibrato effect.
Multi Edit Mode Others Path: [EDIT] button → “OTHERS” Others __________________________________________________ Receive Channel .................................................... 119 ● Receive Channel Detune .................................................................. 120 ● Detune Assignment Parameters .......................................... 120 ● Part Mode ● Mono/Poly Mode Portamento Parameters ..........................................
Multi Edit Mode Receive Channel Range: A01 — 16, B01 — 16, C01 — 16, D01 — 16, off This determines the MIDI receive channel for each part. Parts set to channels A01 - 16 receive MIDI data from the MIDI IN-A terminal (when the HOST SELECT switch is set to “MIDI”), or MIDI data via Port 1 of the TO HOST terminal (when the HOST SELECT switch is set to “Mac,” “PC-1,” or “PC-2”).
Multi Edit Mode Detune (See page ??.) The drum and drumS1 — S4 settings are not available in the Performance mode (all Parts are fixed to “normal”). The Part Mode settings differ depending on the Sound Module mode selected, as described below. Detune Range: –12.8 — +12.7 This determines the fine tuning of the Part’s Voice. HINT Detune could be used to slightly detune a Voice compared to the tuning of the rest of the Voices for a richer sound.
Multi Edit Mode Mono/Poly Mode Portamento Time (PortametTm) mono, poly Range: 000 — 127 English Settings: Height of bars indicates selected Mono/Poly Mode setting for each Part. (A single bar indicates “mono” setting, while full height indicates “poly”.) This determines whether the Part’s Voice is played monophonically (only one note at a time) or polyphonically (up to 128 notes at a time). This parameter is not available when the Part Mode is set to Drum.
Multi Edit Mode Note Limit Parameters Dry Level 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 119), 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.
Multi Edit Mode Velocity Sensitivity Offset (VelSensOfs) Velocity Limit Low (VelLimitLo) 000 — 127 Range: This determines the volume range over which velocity affects. For lower values, the velocity affects a volume range from minimum to medium-loud. For higher values, velocity affects a range from medium-soft to maximum. 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.
Multi Edit Mode Modulation Wheel — LFO Pitch Modulation Depth (MW LFOPMod) Range: 000 — 127 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). Refer to the owner’s manual of your particular instrument for more information. Assignable Controller 1 Filter Control (AC1 FilCtrl) This determines how widely the pitch is modulated by the LFO (low frequency oscillator).
Multi Edit Mode Range: English Assignable Controller 1 Amplitude Control (AC1 AmpCtrl) 64 — +63 This determines the degree to which Assignable Controller 1 (AC1) affects the volume (Amplitude) for each Part. For maximum effect, this should be set to one of the extreme values, negative or positive. A setting of 00 results in no volume control, even when AC1 is operated (or control change data is received).
Multi Edit Mode Drum Setup Controls The Drum Setup controls allow you to make a wide variety of settings for the drum sounds in a Drum Part. These settings include Pitch controls, Level, Pan, effect send, filter controls and EG (Envelope Generator), among others. Moreover, these parameters can be set to completely independent values for each of the drum sounds in a Part. The Drum Setup controls can only be called up by first selecting a Part to which a Drum Part is assigned.
Multi Edit Mode Note On/Off .......................................................... 130 ● Receive Note On (RcvNoteOn) ● Receive Note Off The Drum Setup parameters are only available when the Part Mode has been set to drumS1 — S4. (See page 120.) Pitch Parameters Pitch Coarse Pan Range: Pan –64 — +63 (XG mode) 0 — 127 (TG300B mode) This determines the coarse pitch setting of the selected drum sound. Pitch Fine Range: –64 — +63 This determines the fine pitch setting of the selected drum sound.
Multi Edit Mode Filter Parameters Chorus Send (Cho Send) Range: 000 — 127 LPF Cutoff Frequency (LPF Cutoff) 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. (See page 88.
Multi Edit Mode HPF Cutoff Frequency (HPF Cutoff) –64 — +63 EG Parameters EG Attack This determines the cutoff frequency of the high pass filter (HPF) for the selected drum sound. 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. (For more information, see HPF Cutoff Frequency on page 112.
Multi Edit Mode Assignment Note On/Off Parameters Alternate Group Receive Note On (RcvNoteOn) Settings: off, 001 — 127 Settings: This determines the group assignment of the selected drum sound. Drums assigned to the same group cannot be sounded simultaneously. In other words, if one drum in a group is sounding while a second in the same group is played, the first drum sound will be cut off and the second will sound.
In the Performance mode, the MU128 performs as a four-Part tone generator, with all Parts controlled over a single MIDI channel. The Performance mode is so named because it’s ideally suited to live performance situations. It allows you to play four different Voices at the same time from your MIDI keyboard — either in a layer, or in sophisticated keyboard and velocity splits. It also gives you comprehensive control over each of the four Parts for maximum performance flexibility.
Performance Part Control Performance Part Control All Part For basic information on using the All Part controls in the Performance mode, see page 70. Performance Bank Settings: Performance Volume (Pfm Vol) Pre (Preset), Int (Internal) This determines the bank of Performance programs: Preset or Internal. Preset Performances are those that have been created and loaded at the factory; the Internal bank is reserved for user-created Performances.
Performance Part Control Reverb Return (RevRtn) 000 — 127 This determines the amount of Reverb return for the Performance in the overall mix. NOTE Keep in mind that the overall Reverb effect also depends on the Reverb Send setting (page 135) in the Single Part controls. NOTES • Keep in mind that the amount of the Variation effect also depends on the Variation Send setting in the Single Part controls (page 136).
Performance Part Control Single Part For basic information on using the Single Part controls in the Performance mode, see page 72. Voice Category When both BANK and PGM# are indicated by cursors, Voices in the current Voice category can be selected. In this condition, using the [VALUE -/ +] buttons or data dial changes the bank number and the program number, and only those Voices that belong to the specified Voice category are displayed and selected.
Performance Part Control Program (Voice) Number Reverb Send (RevSend) Range: 000 — 127 This determines the Voice for the selected Part. (Refer to the SOUND LIST & MIDI DATA booklet.) NOTE Drum Voices are not available in the Performance mode. Volume Range: 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.
Performance Part Control Variation Send (VarSend) Note Shift (NoteSft) Settings: off, on (when Variation Connection is set to INS); 000 — 127 (when Variation Connection is set to SYS) Range: –24 — +24 semitones This determines the key transposition setting for the Part’s Voice. When the Variation Connection parameter (page 150) is set to “INS,” this determines whether the Variation effect is applied to the selected Part or not.
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, Store, and Recall operations. For basic information on using the Performance Edit mode, see page 69. Common Path: [EDIT] button → “ COM” Common ———————————————————————— Performance Name ................................................
Performance Edit Mode Performance Name Performance Name (Perform Name) This allows you to give a name to your edited Performance. Operation 1 From the Performance Name display, press the ENTER button. Performance name 2 Use the SELECT buttons to select the character position (flashing character) in the name and use the VALUE -/+ buttons or data dial to change the character at that position.
Performance Edit Mode Range: 000 — 127 This determines how widely the Filter (page 111) is modulated by the LFO (low frequency oscillator). This is generally controlled from a modulation wheel on a MIDI keyboard, and depending on the Voice used, it creates a “swoosh” or “wah-wah” filter sweep effect. Higher values result in deeper filter modulation, creating a more pronounced filter sweep effect. Assignable Controller Parameters Assignable Controller 1 Control Change Number (AC1 CC No.
Performance Edit Mode Part Path: [EDIT] button → “ PART” PART ————————————————————————— ■ FILTER ● LPF Cutoff Frequency ● LPF Resonance ● HPF Cutoff Frequency ■ EG (Envelope Generator) Level/Filter EG Parameters ● EG Attack Time ● EG Decay Time ● EG Release Time Pitch EG Parameters ● Pitch EG Initial Level ● Pitch EG Attack Time ● Pitch EG Release Level ● Pitch EG Release Time ■ EQ (Equalizer) ● EQ Low Frequency ● EQ Low Gain ● EQ High Frequency ● EQ High Gain ■ Vibrato ● Vibrato Rate ● Vibrato Depth ● Vi
Performance Edit Mode ■ Filter The Filter section of Performance Edit parameters are the same as the corresponding parameters in the Multi Edit mode. (page 111.) ■ EG Path: [EDIT] button → “PART” → “EG” The EG section of Performance Edit parameters are the same as the corresponding parameters in the Multi Edit mode. (page 113.) ■ EQ Path: [EDIT] button → “PART” → “EQ” The EQ Performance Edit parameters are the same as the corresponding parameters in the Multi Edit mode (page 116).
Copy and Store Operations Copy and Store Operations The Copy and Store operations allow you to save and organize the Performances you’ve created. Copy The Copy operation allows you to copy the settings of one Performance program (Preset or Internal) to another Performance number (Internal only). Operation 1 From the Performance Edit menu, use the SELECT buttons to select “COPY.” Then, press the ENTER button to call up the Copy operation.
Copy and Store Operations English Memory location (P = Preset, I = Internal) Source Performance number Use these to select desired parameter. TONE GENERATOR ALL PLAY EDIT MUTE/ SOLO PART PART UTIL EFFECT 1 ENTER A/D INPUT XG TG300B PERFORM 2 STAND BY ON EQ EXIT VALUE VALUE PART BANK/PGM VOL EXP PAN REV CHO VAR KEY Piano Chrom.perc.
Copy and Store Operations 2 Use the VALUE -/+ buttons or data dial to change the destination Performance number. Performance number TONE GENERATOR ALL PLAY EDIT MUTE/ SOLO PART PART UTIL EFFECT 1 ENTER A/D INPUT XG TG300B PERFORM 2 STAND BY ON VOLUME MIDI IN A Piano MODE SELECT SELECT EQ EXIT VALUE VALUE PART BANK/PGM VOL EXP PAN REV CHO VAR KEY Chrom.perc. Organ Guitar Bass Strings Ensemble Brass Reed Pipe Synth lead Synth pad Synth effects Ethnic Percussive SFX Model excl.
Copy and Store Operations Recall is a convenient function that allows you to recover an accidently deleted Performance. For example, if you are editing a Performance and inadvertently select a different Performance, the edited Performance would normally be lost. By using Recall before turning off the MU128 or editing another Performance, you can recover the previously edited Performance data. To use Recall: 1 Select RECALL in the Performance Edit Mode menu, then press the ENTER button.
Effect Edit Mode The MU128 features a built-in multi-effect processor with 7 independent digital effects: Reverb, Chorus, Variation, Insertion 1/2, Part EQ, and Multi 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. For descriptions and details on the parameters for each effect Type, refer to the separate SOUND LIST & MIDI DATA booklet. To enter the Effect Edit mode, press the EFFECT button.
Reverb (REV) Reverb recreates the sounds of various performance environments by adding an ambient wash of delays or reflections. Several different types of Reverb effects are available to simulate the ambience of different sized rooms. Explanations of the Reverb Type and Reverb Pan parameters are given below. For descriptions and explanations for all other Reverb parameters, refer to the separate SOUND LIST & MIDI DATA booklet.
Chorus (CHO) Chorus (CHO) The Chorus section uses pitch modulation to create a variety of rich, spacious-sounding effects, including Chorus, Flanger, Symphonic and Phaser. Explanations of the Chorus Type, Chorus Pan, and Send Chorus to Reverb parameters are given below. For descriptions and explanations for all other Chorus parameters, refer to the separate SOUND LIST & MIDI DATA booklet.
Variation (VAR) The Variation section provides a wealth of additional effects for processing the Voices of the MU128. 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. For example, you may want to have the Flanger effect on one Voice and Phaser on another.
Variation (VAR) When set to THRU, the sound of the Part (or Parts) is output without any Variation effect. Generally, when Variation Connection is set to INS (Insertion), you should set the Type to Thru. When Variation Connection is set to SYS (System), you should set the Type to NO EFFECT. Dry/Wet (Insertion connection) Range: D63>W — (D=W) — D
Insertion 1, 2 (INS 1, 2) The Insertion 1 and 2 effects provide additional effects for processing individual Parts. Explanations of the Type, Dry/Wet Balance and Part parameters are given below. For descriptions and explanations for all other parameters, refer to the separate SOUND LIST & MIDI DATA booklet. 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 152 for more information.
About the Effect Connections — System and Insertion About the Effect Connections — System and Insertion The multi-effects of the MU128 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 MU128 allows you to put independent, special effects on one or two Parts, as well as use overall effects for processing all 64 Parts together.
insertion 1 on/off INS1 insertion 1 on/off INS1 insertion 1 on/off INS1 insertion 1 on/off insertion 2 on/off INS2 insertion 2 on/off INS2 insertion 2 on/off INS2 insertion 2 on/off var send cho send rev send dry level var send cho send rev send dry level var send cho send rev send dry level var send cho send rev send dry level DRY LINE VARIATION send variation to reverb send variation to chorus CHORUS send chorus to reverb REVERB chorus return reverb return PAN
MU128 Effect Edit Mode insertion1on/off INS1 insertion1on/off INS1 insertion1on/off INS1 insertion1on/off INS2 insertion2 on/off INS2 insertion2 on/off INS2 insertion2 on/off INS2 insertion2 on/off insertion2 part insertion2 can be applied to only one Part at a time variation on/off VAR variation on/off VAR variation on/off VAR variation on/off VAR variation part Varationcan be applied to only one Part at a time dry cho send rev send dry cho send rev send dry cho send
The Equalizer (Multi EQ) Edit parameters allow you to adjust the overall tone of the MU128 sound in five separate frequency bands. EQ presets are also provided for instantly calling up tone settings specially suited for different types of music. Low Lo Mid Mid Hi Mid High 0 dB Frequency To enter the Equalizer Edit mode, press the EQ button. EQ Type Settings: Concert: Flat, Jazz, Pops, Rock, Concert EQ Type provides five different preset EQ settings, specially programmed for specific types of music.
Utility Mode The Utility mode lets you set functions related to the overall operation of the MU128, 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 MU128 settings. To enter the Utility mode, press the UTIL button. The following menu appears: System Functions (SYSTEM) ........................................................
System Functions (SYSTEM) The System functions provide various controls of the overall operation of the MU128, such as Master Tune, Mute and A/D Part Lock, some MIDI receive filters and a display Contrast control. Master Tune (M.Tune) Range: –102.4 — +102.3 cents (approx. +/– 1 semitone) This determines the overall fine tuning of the MU128’s Voices. It does not affect the pitch of the individual drum/percussion sounds of the drum kits.
System Functions (SYSTEM) Mute Lock Settings: off, on This determines whether or not the Part Mute status of the MU128 is reset when receiving a GM System On or XG System On message. Generally, this message is automatically transmitted to the MU128 as part of GM or XG song data. When Mute Lock is set to off, this resets the Mute status of the Parts on the MU128. If you want to keep the current Mute settings and disable this reset, set Mute Lock to on.
System Functions (SYSTEM) Receive System On (RcvSysOn) Receive Bank Select (RcvBankSel) off, on Settings: This determines whether GM System On or XG System On messages are received or not. The on setting allows these messages to be received. Hint If you’ve changed any of the panel settings on the MU128 and wish to keep those changes while playing back song data, setting this to “off” prevents those changes from being cancelled or reset by playing back the song data from the beginning.
System Functions (SYSTEM) Dump Interval (DumpIntrval) Settings: Thru Port 50, 100, 150, 200, 300 (ms) This determines the length of time the MU128 pauses when sending blocks of data in the Dump Out functions. (page 162.) If the receiving device fails to process the data or displays a “buffer full” type message, try setting this parameter to a higher value and send the data again.
System Functions (SYSTEM) Display Bank Select (DispBankSel) 1 (displays only banks with unique Voices), 2 (displays all banks) This determines whether the MU128 displays all Voice banks or not when changing banks. (For information on changing banks, see page 43.) When this is set to “1,” the MU128 conveniently skips over banks that have the same Voice.
Dump Out Functions (DUMPOUT) Dump Out Functions (DUMPOUT) The Dump Out functions allow you to save the various settings of the MU128 (such as settings for Parts, Performances, system, etc.) to a MIDI sequencer, computer or a MIDI data recorder (such as the Yamaha MDF3 MIDI Data Filer). The following illustrations show example connections for the Dump Out functions.
Dump Out Functions (DUMPOOUT) 3 From the Dump Out menu, select the type of data to be sent: All, Multi or Performance. Then, press the ENTER button to call up the selected data dump. All This transmits all MU128 data (including Part, Performance, system, and all parameter values) to the connected device. MU128 Utility Mode 163 English 2 Press the UTIL button and select “DUMPOUT,” then press the ENTER button.
Dump Out Functions (DUMPOUT) Multi Settings: 64 Parts, 32 Parts, 16 Parts, 64 Parts + A/D, 32 Parts + A/D, 16 Parts + A/D This transmits the selected MU128 Multi Part data (including System, Effect and EQ data) to the connected device. (Use the VALUE -/+ buttons to select the type/amount of data to be transmitted.) Performance (PERFORM) Settings: ALL, I 001 — I 100 (Internal Performance numbers) This transmits the selected MU128 Performance data to the connected device.
Dump Out Functions (DUMPOUT) MU128 Utility Mode 165 English To reload the data from the data recorder back to the MU128: Make sure that the devices are properly connected (see the illustrations on page 162), and execute the appropriate data transfer operation from the data recorder. (Refer to the owner’s manual of that device for instructions.) The MU128 automatically receives incoming bulk data.
Initialize Functions (INITIAL) Initialize Functions (INITIAL) The Initialize functions allow you to restore the factory settings of the MU128. NOTE Since the Initialize functions replace existing data, you should save any and all important settings to a MIDI data storage device before using these functions. (page 162.) Operation 1 Press the UTIL button and select “INITIAL,” then press the ENTER button.
Initialize Functions (INITIAL) Factory Settings (FactSet) English This restores the original factory settings of the MU128. Selected Sound Module Mode: Extended General MIDI (XG Init) General MIDI (GM Init) Performance (PFMInit) One of the three parameters above will be available, depending on the currently selected Sound Module mode: XG, TG300B or PFM. Initializing this parameter restores the original settings for the selected mode.
Initialize Functions (INITIAL) Drum (DrumInit) Range: DrumS1 — DrumS4 This restores the original drum settings for the selected Drum Setup S1 — S4. (Use the VALUE -/+ buttons or data dial to select the desired Drum Setup.) NOTE This parameter is not available when the MU128 is set to Performance mode. 3 From the “Are you sure?” prompt, press the ENTER button to execute the operation, or press the EXIT button to cancel it and return to the previous display.
DEMO Song Play (DEMO) The Demo Song function in the Utility menu allows you to play the built-in Demo Song. NOTE All System Setup and Multi Part Edit settings are initialized to their default values when playing back the demo song. Save your important data to a computer or the MDF3 MIDI Data Filer by using the Dump Out functions (page 162). Operation 1 Press the UTIL button and select “DEMO,” then press the ENTER button. 2 Press the ENTER button to start the Demo Song.
Sound Module Mode (MODE) Other Functions Sound Module Mode (MODE) This lets you select the operating mode of the MU128. Press the MODE button, then use the SELECT buttons to select the desired Sound Module mode: XG, TG300B or PFM (Performance). If XG or TG300B is selected, the MU128 automatically sets itself to the Multi mode. When PFM is selected, the MU128 is in the Performance mode. (page 38.) The bottom right of the display indicates the currently selected Sound Module mode.
Show MIDI Data This convenient function lets you instantly view MIDI data for any parameter setting in any mode, and send that data to an external MIDI device. By using this function, you can easily control any of the MU128 parameters from an external MIDI device. When recording song data on a sequencer, you can make changes to various parameters on the MU128 (such as the filter or EG settings of a Part, or changes in the effects) and record those changes to specific measures in the song.
Show MIDI Data Details • The parameter values can be changed also by using the [VALUE-/+] buttons. • When the cursor is at the bank number parameter in the XG mode or TG300B mode, double-click the [ENTER] button, so that the two control change messages (bank select MSB, LSB) and the program numbers are displayed. 2 To transmit the currently displayed message, press the [ENTER] button again. The message is transmitted via the MIDI OUT terminal or the TO HOST terminal.
Aout the XG Plug-in System English Plug-in System About the XG Plug-in System This system offers powerful expansion and upgrade capabilities for XG-Plug-in-compatible tone generators, including the MU128. The XG Plug-in System enables you to equip the MU128 with the latest and most sophisticated technology, ensuring that you keep pace with the rapid and multi-faceted advances in modern music production.
About Plug-in System Structure of the XG Plug-in System The beauty and usefulness of the XG Plug-in System is in its compatibility. When an XG Plug-in board is installed to a compatible XG tone generator, the board and tone generator function together seamlessly, as if the board were actually installed as part of the tone generator’s circuitry at the factory! This is why the XG Plug-in System goes far beyond the simple expansion of Voices or effects.
About Plug-in System PLG100-VH (Vocal Harmony Plug-in Board) PLG100-DX (Advanced DX/TX Plug-in Board) This XG Plug-in board lets you add vintage FM synthesis Voices to the MU128. The PLG100-DX features the same synthesis engine as the famous Yamaha DX7, with six operators and thirty-two algorithms, and provides a total of 912 stunning preset FM Voices with all their crystalline clarity and pristine punch.
About Plug-in System Installing the Plug-in Board Before Installing the Plug-in Board Here are some things you should know about the XG Plug-in boards before you install and use them. In general: • The XG Plug-in board can be used only when the Sound Module mode is set to “XG” or “PFM” (Performance). • Tone generator type Plug-in boards (such as the PLG100-VL and PLG100-DX) can be used only for Parts 1 - 16. Set the MIDI receive channel to A01 - A16. (No sound is output when setting to B01 - D16.
About Plug-in System Performance Mode: • XG Plug-in boards can be also used in the Performance mode. However, the parameters of the Plug-in board which can be stored as the performance data are limited to those which can be set from the panel. • By sending appropriate parameter change messages corresponding to each Plug-in board, the settings of the Plug-in board(s) can be changed from an external MIDI device; however, the display of the MU128 may not match with the actual settings made to the board(s).
About Plug-in System Setting Part Assign from an External MIDI Device The Part Assign parameter can also be set from an external MIDI device by using the system exclusive message given below. F0 43 1n 4C 70 PBtype Serial# Part# F7 (hexadecimal) n: Device number (of the MU128) PBtype: Indicates the type of XG Plug-in board. For example, the PLG100-DX is “2.” Serial#: This number distinguishes individual boards when more than one of the same type XG Plug-in board are installed.
About Plug-in System 1C a u t i o n • When installing or uninstalling the XG Plug-in board, the System Setup and Multi Part settings of the MU128 are initialized to their default values. Always save your important settings to a computer or MIDI data filer (such as MDF3) by using the Dump Out functions beforehand. • To avoid injury, be careful while handling and installing/uninstalling the XG Plug-in board. Operation 1 Turn off the power of the MU128 and any connected devices.
About Plug-in System 4 Insert the board along the guide rails about two-thirds of the way inside the MU128, with the connector side face down and toward you (as shown below). Make sure to insert it slowly and gently, keeping the edges of the board inside the proper guide rails, as shown in the illustration. With the board in place, plug in one of the three cable connectors to the connector on the XG Plug-in board. Any one of the cable connectors can be used.
About Plug-in System M ID TH I R U O U T IN -A H O ST IN -B SE LE C T M ID PC I -2 M PC ac -1 TO H O ST O U TP D C U L IN T IN PU T R SE R N O . 6 Replace the cover with the screw you removed in step #2 above. Latch the hinges on the cover to the inside of the expansion bay and secure the cover to the rear panel with the screw. Press down hard on the cover as you replace it; the sponge cushion on the back holds the installed board(s) securely in place.
About Plug-in System 7 When the power to the MU128 is turned on again, the board is automatically installed and ready for operation. The appropriate LEDs on the front panel (PLG-1 - 3) light to indicate the installed XG Plug-in boards. For tone generator type XG Plug-in boards, you can select the desired board (PLG-1 - 3) by pressing the [SELECT] button. (The Part Assign parameter must be set and the assigned Part must be selected first; see page 176.
A PPENDIX MU128 Appendix
Troubleshooting Troubleshooting Even though the MU128 is exceptionally easy to use, it may occasionally not function as you expect it to. If that happens, check the possible problems and solutions below before assuming that the instrument is faulty. Problem No power. No sound. Possible Cause and Solution Check that the adaptor is properly plugged into both the MU128 and the AC outlet (page 27.) Check that: The panel volume control is set to an appropriate level.
Error Messages Battery Low! The battery voltage (for internal memory backup) may be too low. Bring the unit to your local Yamaha dealer or any other authorized Yamaha service personnel. Illegal Data! A data error resulted during reception of MIDI messages. Try transmitting the data again, or turn the MU128 off and back on again. MIDI Buffer Full! Too much MIDI data is being received by the MU128 at one time. Reduce the amount of data being sent to the MU128.
Error Messages No RecallPerform! This message appears if you use the Recall function (page 145) in the Performance Edit mode when there is no edited Performance data to be recalled. Not Available Drum Voices cannot be selected when the Sound Module mode is set to “PFM.” Not Available with PLG The selected XG Plug-in board does not have Voices for the selected Voice category. PB Com ERROR! • An error occurred in the communication between the MU128 and the XG Plug-in board.
Specifications English Specifications Tone Generation Method AWM2 (Advanced Wave Memory 2) Maximum Simultaneous Polyphony 128-note Sound Module Modes XG, TG300B, and Performance Multi-timbral Capacity 64-Part (on 64 MIDI channels; with dynamic Voice allocation) Internal Voice/Program Structure Normal Voices Total Voices ......................... 1342 XG mode ............................. 1149 TG300B mode .................... 664 Drum Voices Total Voices ......................... 47 XG mode ...............
Specifications Controls VOLUME control; A/D INPUT level control; Mode select buttons: PLAY, UTIL (UTILITY), MODE, EDIT, EFFECT, EQ; other buttons: MUTE/SOLO, ENTER, EXIT, PART -/+, SELECT , VALUE -/+ Voice Category buttons, SELECT, PART GROUP; data dial; STAND BY/ON switch Jacks and Terminals Front panel: PHONES jack (stereo mini pin), A/D INPUT 1, 2 jacks (1/4" mono), MIDI IN-A terminal Rear panel: INPUT L, R jacks (Left, Right); OUTPUT L, R jacks (Left, Right); DC IN jack; TO HOST terminal; HOST SELEC
Glossary English Glossary A/D input Abbreviation for analog-to-digital. The A/ D inputs of the MU128 allow you to process analog inputs (such as a microphone, electric guitar, CD player, or another electronic instrument) with the digital effects of the MU128 and mix them with the internal Voices. host computer The controlling computer in a computer music system.
Glossary Performance In the MU128, “Performance” refers to an operation mode and the programs that are used in that mode. A Performance can contain up to four different Parts, all controllable over the same MIDI channel. The preset Performances of the MU128 are special multi-Part sound programs designed particularly for live performance and studio recording purposes.
Index A A/D input ................................................................ 97 A/D Part .......................................................... 97, 139 A/D Part Lock ...................................................... 158 All Part control ....................................... 70, 109, 132 Alternate Group (Drum Setup) ............................. 130 Assignable Controller 1 .......................... 79, 124, 139 Assignable Controller 1 Amplitude Control .....................................
Index MU100 Exclusive Voice ......................................... 44 Multi Edit mode ............................................... 61,111 Multi mode ..................................................... 58, 104 Multi Mode Equalizer Lock ................................. 158 Mute ........................................................................ 95 Mute Lock ............................................................ 158 N S Note Limit High ...................................................
English MU128 Appendix 193
For details of products, please contact your nearest Yamaha or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario,M1S 3R1, Canada Tel: 416-298-1311 U.S.A. Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A.
M.D.G.,EMI Division c Yamaha Corporation 1998 V319100 810ITCRIT5.