Yamaha PLG100-DX Handleiding

Merk: Yamaha

Model: PLG100-DX

Categorie: Muziekinstrumenten

Type: Handleiding

Deze handleiding is ook geschikt voor

PLG100

Precautions

● Do not expose the plug-in board to direct sunlight, ex-

cessive humidity, high temperatures, excessive dust or

strong vibrations.

● Before handling the plug-in board, be sure to touch a

metal surface to discharge any static electricity which

may be in your body.

● When holding the plug-in board, do not touch the in-

side area of the circuit board or apply excessive pres-

sure to the board, and be sure to protect the board from

contact with water or other liquids.

● Before installing the plug-in board onto a tone genera-

tor/sound card, unplug the power connector of your com-

puter.

● Before connecting the computer to other devices, turn

off the power switches of all devices.

● Yamaha is not responsible for loss of data through com-

puter malfunctions or operator actions.

● The plug-in board contains no user-serviceable parts,

so never touch the inside area of the circuit board or

tamper with the electronic circuitry in any way. Doing

so may result in electrical shock or damage to the plug-

in board.

YAMAHA CANNOT BE HELD RESPONSIBLE

FOR DAMAGE CAUSED BY IMPROPER

CARE AND USE OF THE PLUG-IN BOARD.

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. Failure to follow instructions could void

your FCC authorization to use this product in the USA.

3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class

”B” digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product

in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/

uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause

interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that

interference will not occur in all installations. If this product is found to be the source of interference, which can be determined

by turning the unit ”OFF” and ”ON”, please try to eliminate the problem by using one of the following measures:

Relocate either this product or the device that is being affected by the interference.

Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s.

In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change

the lead-in to co-axial type cable.

If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this

type of product. If you can not locate the appropriate, please contact Yamaha Corporation of America, Electronic Service

Division, 6600 Orangethorpe Ave, Buena Park, CA 90620

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.

* The company names and product names in this Owner’s Manual are the trademarks or regis-

tered trademarks of their respective companies.

* The screens as illustrated in this owner’s manual are for instructional purposes only, and may

appear somewhat different from the ones of your instrument.

CANADA

This Class B digital apparatus complies with Canadian ICES-003.

Cet appareil numérique de la classe B est conforme à la norme NMB-003 du Canada.

• This applies only to products distributed by Yamaha Canada Music Ltd.

• Ceci ne s’applique qu’aux produits distribués par Yamaha Canada Musique Ltée.

Introduction

Thank you for purchasing the Yamaha XG Plug-in board PLG100-DX.

The PLG100-DX is a plug-in board that offers a six-operator FM generator equivalent to the one that

made the DX7 series so famous. The PLG100-DX is compatible with the XG plug-in system, and you

can install it into the MU128 or any other tone generator or sequencer that supports XG plug-ins. Once

it’s installed, the unique FM tone generator voices that built the reputation of the DX series will be right

at your fingertips, ready to play. The PLG100-DX has 912 preset DX series voices built right in, and

you can send the DX7 and DX7II voice data through MIDI.

To install your PLG100-DX correctly, and to ensure full enjoyment of its outstanding functions, be sure

to read this manual very carefully. After you finish reading your owner’s manual, be sure to keep it

someplace safe, where you can refer to it whenever you have a question about your PLG100-DX.

About the XG Plug-in System

With the Yamaha XG Plug-in System, you can expand your tone generation system by simply

mounting an optional board onto the “mother” tone generator/sound card. For example, you will

be able to use extra voices from a different sound synthesis such as Virtual Acoustic Synthesis,

apply a completely new dimension to your music, and/or add the latest technology to your music.

About DX-XG

The DX Extension for XG (“DX Extension for XG” is abbreviated to DX-XG) included in the

PLG100-DX significantly enhances and expands the musical capabilities of the XG format with

the superior sound and expressive potential of Yamaha FM synthesis. The PLG100-DX supports

the same powerful FM synthesis voices as Yamaha’s legendary DX7. Plug this board into your

tone generator/sound card for 912 unbelievable FM voices with up to 16-note polyphony.

About the PLG100-DX ......................................... 4

Features of the PLG100-DX ..................................... 4

Installing the PLG100-DX ......................................... 4

Included Items .......................................................... 5

Necessary Items that Are Not Included .................. 5

Specifications ........................................................... 6

About the CD-ROM ................................................... 7

Installing and Starting the Plug-in Software .......... 8

FM Tone Generation ........................................... 10

Operators ................................................................ 10

Combinations of Two Operators ........................... 11

Carrier and Modulator ............................................ 12

Harmonics ............................................................... 13

Algorithms............................................................... 14

Feedback ................................................................. 14

Essentials for Determining Voices ....................... 15

Memory Buffer Configuration........................ 18

DX Voice Selection................................................ 19

Choosing the Voices to be Used........................... 19

Specifying Part/Performance Layers .................... 20

Editing DX Part Parameters............................ 21

PLG100-DX Part Parameters ................................. 22

PLG100-DX System Parameters.................... 26

System Parameters ................................................ 27

Appendix ................................................................... 28

Chart of Algorithms ................................................ 28

Voice List................................................................. 30

Performance List .................................................... 38

MIDI Data Format .................................................... 39

MIDI Implementation Chart .................................... 50

Glossary .................................................................. 52

When Your PLG100-DX Seems to Have a Problem..

Conditions for Using the Software........................ 61

Guide to User Support Services ........................... 62

Table of Contents

About the PLG100-DX

Features of the PLG100-DX

• Features the same FM tone generator that has won acclaim in the DX

series synthesizers.

The PLG100-DX employs an FM tone generator system, with six operators and 32

algorithms, that has been a favorite of musicians in DX series synthesizers like the

DX7 and the DX7II.

• Maximum 16 voice simultaneous polyphony

Ensures maximum 16 voice simultaneous polyphony equal to the DX7 and DX7II.

Furthermore, by installing multiple PLG100-DX boards, the maximum polyphony can

be increased to 128 voices (when eight boards are installed). By installing, for ex-

ample, three PLG100-DX boards in the MU128 tone generator, maximum polyphony

will be 48 voices.

• 912 preset voices

The PLG100-DX already has 912 preset voices built right in. From electric piano to

bass, and reaching all the way to effect sounds, the preset voices have been selected for

usability centering on the sounds that made the DX series famous.

• Voice data can be exchanged in bulk between the DX7 and the DX7II

Because the PLG100-DX is compatible with the DX series, it can be used for bulk

transfer of voice parameters between the DX7 and the DX7II. The DX7 and DX7II can

be used as editors for the PLG100-DX. By using the edit software for the DX7 and the

DX7II, editing can be done for the PLG100-DX. Voice parameters for the DX1, DX7S,

TF1 (such as the TX816) TX7 and the TX802 are also supported.

• Some voices may sound slightly different than the voices of the devices mentioned above.

• Comes equipped with a low pass filter, a high pass filter and a two-band

equalizer.

A low pass filter, a high pass filter and a two-band equalizer have been installed in the

PLG100-DX. These features can be used together with the voice editing parameters for

the FM tone generator to create new voices. Even if you install the PLG100-DX in a

platform that doesn’t have these functions, the filters and EQ built into the PLG100-

DX will work.

• Compatible with the XG Plug-In system

Because the PLG100-DX is an XG plug-in board, it can be installed in any XG plug-in

tone generator, like the MU128.

Installing the PLG100-DX

To install your PLG100-DX board, see the manual that came with the “mother” tone gen-

erator (such as the MU128 or SW1000XG) or synthesizer.

Included Items

The items below are packaged together with your new PLG100-DX. Before using your

board, be sure to check that everything has been included. In the rare event that some item

is missing, please contact the store where you bought your PLG100-DX as soon as pos-

sible.

● PLG100-DX Board

● PLG100-DX Owner’s Manual

● CD-ROM “XGtools”

Necessary Items that Are Not Included

XG tone generator or synthesizer

To use your PLG100-DX, you will need an XG tone generator or synthesizer equipped

with an XG Plug-in platform function that is compatible with the XG Plug-in system,

such as the MU128 or SW1000XG.

The MU128 and SW1000XG are equipped with each of the XG Plug-in platform func-

tions, and can be used for installing the PLG100-DX.

The software programs explained below will put the functions of the PLG100-DX right

at your fingertips, helping you get the most enjoyment out of it.

XGworks(lite)

When you use Yamaha’s XGworks(lite) as your sequence software, you can take ad-

vantage of the two editing software programs explained below, the “DX Simulator”

and the “DX Easy Editor.” These programs make it really easy to edit the voices of

your PLG100-DX board.

DX Easy Editor

The DX Easy Editor lets you indirectly change the PLG100-DX voices by changing the

part parameters. It’s not for directly editing the voice parameters. Using this software,

you can edit both the XG part parameters (XG parameters) that are shared by all the

parts, and the native part parameters that are specially for the PLG100-DX (DX param-

eters). The changed parameters can be either inserted into the song as events, or saved

as a DX parameter file.

Because the DX Easy Editor is plug-in software for XGworks(lite), you must have

XGworks(lite) in order to use it.

The DX Easy Editor is included on the CD-ROM that was packaged with your PLG100-

DX board.

About the PLG100-DX

DX Simulator

The DX Simulator is special software for editing the custom voices of the PLG100-

DX. When you start up the program, an image of the DX7 front panel is displayed on

your computer screen. Using your mouse to operate the buttons and sliders, you can

edit voices just like using a real DX7. You can also display an edit list where you can

edit voices while checking all the parameters in a table on the screen. The edited voice

data can be either saved in memory or to a file, or can be inserted into a track as bulk

data.

Because the DX Simulator is plug-in software for XGworks(lite), you must have

XGworks(lite) in order to use it.

The DX Simulator is included on the CD-ROM that was packaged with your PLG100-

DX board.

Tone Generator Type:

FM tone generator with six operators and 32 algorithms

Maximum Simultaneous Polyphony:

16 notes (latest note priority)

By using multiple boards in combination, polyphony can be expanded to a maximum of 128 notes (with 8

boards)

Filters:

Part EQ (two band), low pass filter, high pass filter (effective only when the platform for the PLG100-DX

has no filter functions)

Interface:

XG Plug-in connector

Number of Voices:

912 preset voices, 64 custom voices

Bulk Information that Can Be Received from Other Devices:

DX7 Voice Edit Buffer, Packed 32 Voice

DX7II Voice Edit Buffer, Packed 32 voice, a portion of the Additional Edit Buffer, a portion of the

Packed 32 Additional (Pitch EG range, rs, velocity switch, Unison detune, AMS, Random pitch,

Poly/Mono, Unison Sw, Pitch bend range, step, Portamento mode, step, time)

Parameter Changes that Can Be Received from Other Devices:

DX7 VCED, a portion of ACED (Pitch EG range, rs, velocity switch, Unison detune, AMS, Random

pitch, Poly/Mono, Unison Sw, Pitch bend range, step, Portamento mode, step, time)

Dimensions:

138.5mm (W) x 89.0mm (D) x 8.5mm (H)

Weight 63g

Included Items:

Owner’s Manual, CD-ROM x 1

*Specifications or dimensions may change without notice due to improvements in this product.

Specifications

About the PLG100-DX

About the CD-ROM

In addition to the two plug-in software programs, DX Simulator and DX Easy Editor, the

CD-ROM that was packaged with your board also contains several demonstration songs

that showcase the special features of the PLG100-DX, and also performance data (voice

settings) for use in the platform where you have installed your PLG100-DX. The demon-

stration songs can be enjoyed by playing them with sequence software like XGworks

V2.0 or XGworks(lite), or with a QY700. (A platform for connecting the PLG100-DX is

also necessary.) Use the same sequence software or device to send the performance data

as bulk data to the platform for the PLG100-DX.

● Demonstration Songs

“Ie Kia Bara Hein” (IeKiaBar.MID) by Noritaka Ubukata (Shofuku)

The title of the song means “What kind of spell is this?” in the Hindi language. It

features the voice that simulates a santur (hammer dulcimer) together with a sitar.

“DX VOICE” (DXVoice.MID) by Noritaka Ubukata (Shofuku)

Starting with the electric piano, this song features a series of the sounds of DX7

Shofuku. Unlike sampling, this music offers the listener subtle variation in the sound

caused by changes in velocity. Another special feature is the FM choir, where a more

realistic sound is created by combining FM synthesis with sampled human voices.

“Vel&EffectWorks1” (V1_EfWk1.MID)

“Vel&EffectWorks2” (V1_EfWk2.MID)

“DX Short Demo” (DxShtDM.MID) by Yasuhiko Fukuda (Shofuku)

These songs showcase a unique feature of FM: the violent changes in sound that are

caused by velocity.

“80’s Pops” (80Pop.MID) by Katsumi Nagae (Idecs Inc.)

Recalls the pop scene of the 80’s with synpads and metallic sounds like dum bells.

“D-Rock” (D-Rock.MID) by Katsumi Nagae (Idecs Inc.)

This song brings back the digital rock sound using the noise and SE system voices

that only DX has.

If you want to use digital noise, there is nothing that works like DX!

“EP Ballade” (EP.MID) by Katsumi Nagae (Idecs Inc.)

If it’s ballads you want—well, there is nothing like DX electric piano.

The voice in the electric piano part will also work with different electric pianos. Try

playing the song with different piano voices.

About the PLG100-DX

“House” (HOUSE.MID) by Katsumi Nagae (Idecs Inc.)

The typical house music sound is simulated in this song, which experiments with

reproducing sampling phrases using the DX Voice system. In addition, the second

half of the song features the metalic sound that is a strong point of the DX.

“Jungle” (DXJungle.MID) by Katsumi Nagae (Idecs Inc.)

This song adds a touch of Chinese feeling to the Jungle. The Oriental image is under-

scored by the “CHINA_S&” and “IMAGE9” plug-in SE voices.

If no sounds are played, or if you experience other problems with playback, see Ap-

pendix “When Your PLG100-DX Seems to Have a Problem” (→P. 59).

■ Installing the Plug-in Software.......................................................

Double-click on the Setup.exe file in the Plug_ folder on the CD-ROM to start the

installation.

Click on “Next” or “Yes” as these words appear on the screen to complete the in-

stallation.

Installing and Starting the Plug-in Software (Windows95 only)

■ Starting the DX Easy Editor............................................................

1. Start XGworks(lite).

2. Select “DX Easy Editor” from the XGworks(lite) plug-in menu.

The “Select DX Part” dialog will open.

3. Set the part numbers to be assigned to the PLG100-DX, then click on the [OK]

button. If there is DX bulk data in the sequence data, the DX mark will be dis-

played under the part number.

About the PLG100-DX

Open the DX Easy Editor Window

• For details about using the DX Easy Editor, see the help file that comes with the DX Easy Editor.

• If the DX Easy Editor does not appear on the Plug-In menu of XGworks(lite), the program may

not be properly installed in the XGworks(lite) folder. You can install it by running the plug-in

installation program.

■ Starting the DX Simulator...............................................................

1. Start XGworks(lite).

2. Select “Select DX Simulator” from the XGworks(lite) plug-in menu.

The “Select DX Part” dialog will open.

3. Set the part numbers to be assigned to the PLG100-DX, then click on the [OK]

button. If there is DX bulk data in the sequence data, the DX mark will be dis-

played under the part number.

Open the DX Simulator Window

About the PLG100-DX

• For details about using the DX Simulator, see the help file that comes with it.

• If the DX Simulator does not appear on the Plug-In menu of XGworks(lite), the program may not

be properly installed in the XGworks(lite) folder. You can install it by running the plug-in instal-

lation program.

FM Tone Generation

Before actually editing the PLG100-DX voices, let’s get an idea of how the FM tone generator is

put together.

Operators

In the PLG100-DX, there are six special devices called “operators” that generate sine

waves. These six operators are combined in various ways to make up the different voices

produced by the PLG100-DX. The operators have the following two functions:

(1) They can freely change the frequency (pitch) of the generated sine wave.

(2) They can freely change the amplitude (volume or output level) of the generated

sine wave.

A sine wave is the fundamental wave of a note, with absolutely no overtones added.

Command

Operator

The frequency of

the sine wave is

changed.

Command

Operator

The amplitude

of the sine wave

is changed.

FM Tone Generation

Although the six operators can be combined in myriad ways, here the fundamental combi-

nations that involve two operators will be explained.

Two operators can be combined in the following two ways (the two operators will be

called A and B respectively):

(1) Horizontal Combination

When the two operators are combined horizontally, the sound generated by each is mixed

with the sound from the other. The actual sound (sine wave) is produced by A and B acting

together.

Combinations of Two Operators

(2) Vertical Combination

When the two operators are combined vertically, the upper operator B works to change the

sound of the lower operator A, and a complex waveform with many overtones added to it

will be the output from operator A. In this situation, the B operator serves only to change

the sound of operator A, and does not generate the actual sound. Operator A generates the

actual sound as it undergoes changes caused by B. When the upper operator works to

change the sound of the lower operator in this way, it is called FM modulation (or simply

modulation).

When these are put together, it looks like this:

• Horizontal Combination The two operators both generate the sound.

• Vertical Combination One operator is for changing the sound of the other operator.

One operator is for making the sound.

When two operators are combined vertically in this way, they both work completely dif-

ferently.

A B

The actual sound is generated by

A and B together

B changes the sound of A (it generates no tone).

While A undergoes changes caused by B, it generates

the actual sound.

Mixed sound of A and B

(3)

FM Tone Generation

To distinguish the two operators when they are combined vertically, they are called the

“Carrier” and the “Modulator.”

• Carrier ................. The operator in the lowest position, that produces the actual sound. (Called A

in the previous section.)

• Modulator............ An operator positioned above another operator, which changes (modulates)

the sound of the next operator down. (Called B in the previous section.)

When there are three or more operators, each operator is classified as a carrier or modula-

tor in the same way.

Carrier and Modulator

(1) When all the operators are combined horizontally, there is no modulator and they are

all carriers. Because there is no modulation, all waveforms generated by the carriers

are sine waves.

(2) When three operators are piled vertically, only the lowest operator is a carrier. The

modulator on the top modulates the lower modulator, and the modulated waveform

from the lower modulator in turn modulates the carrier. The modulation of the carrier

becomes deeper and the sound output has more overtones.

(3) Here there are two carriers and one modulator. The modulator modulates the carrier

immediately below it. The modulated carrier generates sound with overtones. The

other carrier produces a pure sine wave. Finally, the sound from the two carriers is

mixed to form the whole sound.

(4) Here there is one carrier and two modulators. The two modulators each independently

modulate the single carrier. Since the carrier is modulated by the two modulators, it

generates a sound that has more overtones.

(5) Here there are two sets of two operators that have been combined vertically. In each of

them, the modulator modulates the carrier immediately below it, and the carrier gen-

erates a sound that has overtones. Finally, the sound from the two carriers is mixed to

form the whole sound.

“C” Carrier

“M” Modulator

C C C

M M

C C

(1)

(2)

(4)

(5)

FM Tone Generation

Harmonics

Most sounds are made up of multiple tones that are different than the pitch (frequency).

Within these multiple tones, the one that determines the pitch of the entire sound is called

the fundamental tone (fundamental frequency). All the tones besides the fundamental tone

are called partials or overtones.

When all the harmonics that are related to a particular fundamental tone are arranged in

order, it is called a harmonic series. Each tone in the harmonic series is given a name in

order, with the fundamental tone being one, followed by the second harmonic, third har-

monic and so on.

The frequency of each harmonic in the harmonic series is a natural number multiple of the

frequency of the fundamental tone. Overtones that have frequencies that are not natural

number multiples of the fundamental are called unharmonic overtones.

Generally, the more harmonics the tone has, the brighter the sound. On the other hand, if

the amount of harmonics is reduced, the tone will sound darker. Furthermore, the voice

will change a lot according to the type and volume of the harmonics. For example, if there

are a lot of high pitched harmonics in the tone, it will have a brilliant, crisp sound. On the

other hand, a tone with a large amount of lower harmonics will have a rather massive,

dignified sound.

Harmonics

Waveform

Level

Time

Graph of the Harmonics

that Make Up the Tone

Level

Harmonics

Fundamental Wave

Second Harmonic

Third Harmonic

Natural Harmonic Series

(when C1 is the fundamental tone)

Frequency

Eighth Harmonic

Seventh Harmonic

Sixth Harmonic

Fifth Harmonic

Fourth Harmonic

Third Harmonic

Second Harmonic

Fundamental

Fourth Harmonic

Third Harmonic

Second Harmonic

Fundamental

FM Tone Generation

While there may be only two ways to combine two operators, when you start talking about

six operators, the number of possible combinations becomes much larger. These combina-

tions of six operators are called “algorithms,” and in both the DX7 series and the PLG100-

DX, 32 of these combinations have been selected that can be used for creating voices.

In an FM tone generator, which operators work as carriers and which work as modulators

are changed dynamically by the algorithms. For this reason, the first thing you have to

know when editing a voice is which algorithm is used by that voice.

The algorithms are numbered from 1 to 32. For information about the 32 algorithms, see

“Appendix, Chart of Algorithms” (→P. 28).

The six operators have also been numbered from one to six to help in distinguishing them.

Let’s take algorithm 28 as an example. In this algorithm, the operators work as follows:

Algorithms

Operator 1 ............. Outputs sounds while being modulated by Operator 2 (Carrier).

Operator 2 ............. Modulates Operator 1 (Modulator).

Operator 3 ............. Outputs sounds while being modulated by Operator 4 (Carrier)

Operator 4 ............. Modulates Operator 3 while being modulated by Operator 5 (Modulator)

Operator 5 .............

Modulates Operator 4 while being modulated with its own feedback (Modulator).

Operator 6 ............. Outputs a sine wave (Carrier)

Feedback

Feedback is a function where a portion of the output of an operator is returned back to the

operator again, where it is used to modulate the operator itself. Using feedback results in a

deeper sound.

Every one of the 32 algorithms has feedback set in one location. Among them there is even

one algorithm, number 4, where the output of three operators as a group is used as feed-

back. When a portion of the output of operator 4 in this algorithm is returned to operator 6,

an extremely deep sound is obtained.

Feedback

(See next section)

2 4

1 3 6

Algorithm 28

FM Tone Generation

Essentials for Determining Voices

Voices are determined by the following main elements:

(1) The output level from each operator (OUTPUT LEVEL).

(2) The frequency of the tone put out by each operator

(OUTPUT FREQUENCY).

(3) The feedback level (FEEDBACK LEVEL).

(4) The Envelope Generator (EG).

Each of these will be explained in order.

(1) The output level from each operator

When voices are edited, the most important point is the output level for each operator.

Among these, the output level of the modulator has the largest effect on the voice. For

example, when two operators are vertically combined, and the output level of modulator B

is set to zero, the output waveform of carrier A will be a simple sine wave (a dark tone with

no harmonics included). If the output level of the modulator is gradually increased from

this condition, the amount of modulation will become deeper and the output waveform

from the carrier will change to one with many harmonics in it. As the harmonics increase,

the tone will also become brighter, finally changing to a harsh, grating sound.

From this we can conclude that the degree of modulation, which equals the brightness of

the sound, changes in relation to the output level of the modulator.

Feedback

Algorithm 4

The waveform changes a lot.

Modulator

Output Level = 0

Carrier

Sine wave

The output level is

increased slightly.

The waveform changes

slightly.

The output level is

greatly increased.

FM Tone Generation

On the other hand, because the carrier actually makes the sound, changing the output level

causes a change in the strength (volume) of the sound. If there is only one carrier, this will

simply cause the overall volume to change. However, if there are multiple carriers in the

algorithm, the timbre may also be changed as the balance in volume between the different

carriers is changed.

To summarize these points:

• The voice changes according to the output level of the modulators.

• The volume changes according to the output level of the carriers. The voice may also be changed

as the balance in volume between multiple carriers changes.

(2) The Frequency of the Tone Output from Each Operator

The type of harmonics added to the carrier output by means of the modulator is determined

by the ratio between the frequencies of the modulator and carrier. For example, when two

operators are combined vertically, and “F COARSE” for both of them is set to 1.00, the

frequency ratio will be 1:1 and the first, second, third and following whole number series

harmonics will be generated in order. This type of harmonic configuration is called a

sawtooth wave, and is used for making voices like brass, strings, or piano.

If the “F COARSE” for the modulation in this situation is changed to 2.00, the frequency

ratio will be 1:2, and the odd numbered harmonics, the first, third and fifth and following

harmonics will be generated. This harmonic configuration is called a rectangular wave,

and is used for creating voices for woodwinds like the clarinet and oboe.

Furthermore, if “F FINE” is used so that the frequency ratio is not a whole number, many

non-integer overtones will be produced. The sound can be used for creating metallic sounds,

the noise when strings are hit with something, or breath noise.

Modulator

Frequency

ratio 1:1

Carrier

Sawtooth wave

Frequency

ratio 1:2

Rectangular wave

FM Tone Generation

(3) FEEDBACK LEVEL

By raising the feedback level, the modulation deepens, and the timbre of the sound be-

comes brighter.

(4) Envelope Generator (EG)

The EG creates the changes over time in the output level from the instant a key on the

keyboard is pressed to the time that the sound disappears.

If you listen to various musical instruments, you soon realize that besides the differences

in the timbre of the sounds they create, there is a large difference in the way that the sound

first comes out, and in the way in which it fades away. For example, the sound from a

piano gets very loud the instant a key is struck, then the volume gradually fades away, even

if you continue pressing down the key. Also, if you look at the change in tone over time,

there is a bright sound with a lot of overtones the moment the key is struck, but the over-

tones soon fade away, and the tone takes on a darker aspect.

The function that produces the instrument’s change in volume and timbre over time is the

EG.

In an FM tone generator, an EG is built into each operator. The EG for the carrier changes

its volume over time, while the EG for the modulator changes the timbre of the sound over

time.

The memory buffer of the PLG100-DX is configured as shown in the diagram below.

Memory Buffer Configuration

• The only voices that can be edited using an editing program like the DX Simulator are the custom

voices.

When using the custom bank

• The following parameters are not valid when using the custom bank because they are saved as voice

parameters.

XG Native Part Parameters

MONO/POLY MODE

BEND PITCH CONTROL

PORTAMENTO SWITCH

PORTAMENTO TIME

PLG100-DX Native Part Parameters

PitchBend Step

Portamento Step

Portamento Mode

However, MONO/POLY MODE, BEND PITCH CONTROL, PORTAMENTO SWITCH, and

PORTAMENTO TIME are received through CC (Control Change). (When changing to another cus-

tom bank voice, that voice will be set to the saved parameters.)

• If an XG System On is received, or part assignment is changed, the custom voices will be initialized, but

the 64 voice VMEM and AMEM areas will not be initialized.

Voice Edit Buffer

Compare

Edit Recall

Edit Recall Buffer

Recall

Preset Memory

(912 Voices)

Custom Voices

(64 Voices)

Store

DX Voice Selection

The PLG100-DX voices can be selected just like the voices for the XG tone generator itself.

However, to use the PLG100-DX voices, XG mode or performance mode (PERFORM) must be

selected in the Sound Module Mode of the XG tone generator. Also the part/performance layer

assigned to the PLG100-DX must be specified in the sub-mode (PLUGIN) of the utility mode of

the XG tone generator.

• The displays used below for explaining tone generator operations are from the MU100. The screens may be

different for the tone generator you are using.

• For tone generators, like the SW1000XG, that have no display, the settings must be sent as System Exclusive

Messages (

→

MIDI Data Format).

• The SW1000XG does not support the Performance Mode.

■ Selecting the Voices to be Used .............................................................................

1. Set the Sound Module Mode of the XG tone generator to XG or PERFORM.

When XG is selected, the tone generator will enter Multi Mode.

When PERFORM is selected, the tone generator will enter Performance Play Mode.

• DX voices can be selected only when the Part Mode is set to Normal.

• In XG Mode, DX voices can be used as one part, and in Performance Mode, as one layer.

2. Press the [SELECT / ] buttons, and move the cursor to the bank number.

3. Press the [VALUE / ] buttons and select the bank of the voice you wish to use.

Depending on the bank you have selected, one of the following will appear in the bank

number location of the display: 000,064 to 082, 096 to 109 (DX-XG/A); 000,064 to

082 (DX-XG/B); 000 (DX-XG/SFX) or 000 (Custom).

When a DX voice is selected, a DX voice icon will appear in the icon area of the

display.

• Please note that the bank number displayed may be one for the XG tone generator itself. You can make

sure that it is one for the PLG100-DX by checking for a DX voice icon in the icon area of the display.

4. Press the [SELECT / ] buttons, and move the cursor to the program number.

Bank number display location

Icon display area

DX-XG/A DX-XG/B

Custom

DX-XG/SFX

5. Use the [VALUE / ] buttons to select the voice you wish to use.

DX Voice Selection

• When a program number that does not exist for the PLG100-DX is selected when the chosen bank is

from 000 to 099, the icon for the voice selected in the XG tone generator itself will be displayed in the

icon area.

■ Specifying Parts/Performance Layers....................................................................

1. Press the [UTIL] button on the panel, and display the utility mode.

2. Press the [SELECT ] button several times to move the cursor to “PLUGIN”, then

press [ENTER].

3. Press the [SELECT / ] buttons as needed to move the cursor to “PLG100-DX,”

then press the [ENTER] button. An editing screen for the system parameters expanded

by the PLG100-DX will be displayed.

4. Press the [SELECT / ] buttons several times to display “PartAssign,” then press

the [VALUE

/ ] buttons to select the part or layer you want to assign to the

PLG100-DX.

When the Sound Modulation Mode is XG, use 01 to 16, or off.

When the Sound Modulation Mode is PERFORM, use 01 to 04, or off.

• SW1000XG does not support the performance mode.

Program number display location

Editing DX Part Parameters

Editing with the parameters below is valid for voices in all banks. However, they cannot be set

separately for each voice. This means that whatever editing changes you have made will be

transferred as is to the new voice whenever you switch voices (editing done for the previous

voice will be also valid for the next voice chosen).

• When voices are switched after the parameters have been changed, or when the algorithm is changed with the

DX Simulator, unexpected sounds may cause injury to your ears. Always exercise caution when making changes.

• Parameters that have been edited cannot be stored in custom voices.

• When using the DX Simulator, voices can be edited, then stored in custom voices.

1. In Multi Play Mode, choose the part assigned to the PLG100-DX, then select the voice

to be edited.

2. Press the [EDIT] button.

The Multipart edit menu screen will be displayed.

3. Press the [SELECT ] button and move the cursor to “PLUGIN”. Press the [EN-

TER] button.

The parameter screen for the selected plug-in board will be displayed.

4. Press the [SELECT / ] buttons to move the cursor to the parameter to be edited.

Next, change the value for the parameter using the [VALUE

/ ] buttons.

5. Press the [EXIT] button several times to return to the initial screen.

• On the MU100 panel, normal part parameters that can be edited will be valid for DX voices.

Editing DX Part Parameters

■ PLG100-DX Part Parameters ...................................................................................

Carrier1 (Carrier Operator 1 Level) to Carrier6 (Carrier Operator 6 Level)

Settings: -64 to +63

Explanation:

• Sets the output level for operators that are working as carriers.

• Carriers are operators that work to output the actual sound. Changing the carrier output

level changes the loudness of the sound that is produced. If an algorithm is selected that

has multiple carriers, the quality of the sound, or “timbre” can be edited by changing

the volume balance between the carriers.

• Because this setting acts as an offset added to the output level set for the voice in the

PLG100-DX, it indirectly changes the timbre of the voice. When this parameter is set at

zero, the voice will remain as is. Setting it to +1 or more will increase the volume, while

setting it to -1 or less will decrease it.

• The operators that are assigned as modulators will be displayed as “***”, and it will not

be possible to edit them. To clarify matters when editing voices, look up the algorithm

number for the voice being edited on the voice list, then check which operators have

been assigned as carriers on the Chart of Algorithms (→P. 28).

Modulator1 (Modulator Operator 1 Level) to Modulator6 (Modulator Operator 6 Level)

Settings: -64 to +63

Explanation:

• Sets the output level for operators that are working as modulators.

• Modulators are operators that serve to modulate other operators. Changing the modula-

tor output level changes the brightness (amount of overtones) of the sound that is pro-

duced.

• Because this setting acts as an offset added to the output level set for the voice in the

PLG100-DX, it indirectly changes the timbre of the voice. When this parameter is set

to zero, the voice will remain as is. Setting it to +1 or more will make the sound brighter

(increase the overtones), while setting it to -1 or less will darken it (decrease the over-

tones).

• The operators that are assigned as carriers will be displayed as “***”, and it will not be

possible to edit them. To clarify matters when editing voices, look up the algorithm

number for the voice being edited on the voice list, then check which operators have

been assigned as modulators on the Chart of Algorithms (→P. 28).

Editing DX Part Parameters

FeedBack

Settings: -7 to +7

Explanation:

• Sets the level of feedback.

• Feedback is a function where a portion of the output of an operator is returned

back to the operator again, where it is used to modulate the operator itself. Feed-

back can be used to change the brightness (amount of overtones) of the sound.

• Because this setting acts as an offset added to the output level set for the voice in

the PLG100-DX, it indirectly changes the timbre of the voice. When this param-

eter is set to zero, the voice will remain as is. Setting it to +1 or more will make the

sound brighter (increase the overtones), while setting it to -1 or less will darken it

(decrease the overtones).

PortaMd (Portamento Mode)

Settings: flw/ftm, rtn/fgr

Explanation:

• Portamento is an effect that produces a smooth glide between two notes of differ-

ent pitch.

• The way in which the Portamento effect is applied is set with the Portamento

Mode. However, there will be a large difference in the effect depending on the

Poly/Mono setting for the selected voice.

When Poly Mode is set:

• When flw/ftm is set, the Portamento effect will also be applied to the sustained

sound from when the sustain pedal is depressed, and to the lingering sound after

the hand is removed from the key. The sound will change to the pitch of the next

note played.

• When rtn/fgr is set, the Portamento effect will not be applied to the sustained

sound from when the sustain pedal is depressed, or to the lingering sound after the

hand is removed from the key.

When Mono Mode is set:

• When flw/ftm is set, normal Portamento effect is applied.

• When rtn/fgr is set, the Portamento effect is only applied when the next key is

pressed while the first key is held down.

• In the DX7, each is called as follows:

flw: Sus-key P Follow

ftm: Full Time Porta

rtn: Sus-key P Retain

fgr: Fingered Porta

PortaStep (Portamento Step)

Settings: 0 to 12

Explanation:

• Sets the way in which the pitch is changed by the Portamento effect.

• The 0 value sets a normal continuous change.

• Setting 1 to 12 changes sound according to the scale. For example, if 1 is set, the

change is by semitones, if 2 is set, it is by whole tones.

PitBndStep (Pitch Bend Step)

Setting Values : 0 to 12

Explanation:

• Determines the way in which the pitch is changed by the pitch bend wheel.

• The 0 value sets a continuous change (the normal setting). Setting 1 to 12 changes the

sound according to the scale. For example, if 1 is set, the change is by semitones, if 2 is

set, it is by whole tones.

AC4 CC No. (AC4 Controller Assign)

Settings: OFF, MOD, BC, FC, EXP, CAT, PB

Explanation:

• When the AC4 controller parameter is set to EGbias, this parameter sets the controller

which operates EGbias.

• The settings indicate controllers as follows:

MOD ..... Modulation wheel

BC......... Breath controller

FC ......... Foot controller

EXP....... Expression pedal

CAT....... Channel aftertouch

PB ......... Pitch bend wheel

• When the amplitude modulation sensitivity of the selected voice has been set to carrier,

operating the controller that has been set in this parameter will change the volume in

realtime. When the amplitude modulation sensitivity has been set to modulator, the

timbre will change.

AC4CtrPrm1 (AC4 Controller Parameter 1)

Settings: Off, EGbias

Explanation:

This specifies whether the EGbias will be controlled by the controller that has been set

in the AC4 Control Change Number parameter.

AC4CtrDpt1 (AC4 Controller Parameter Depth)

Setting: -64 to +63

Explanation:

Specifies the depth of operation when EGbias is controlled by the controller that has

been set in the AC4 Control Change Number parameter.

• When AC4CtrPrm1 has been set to EGbias, the sound may change when AC4CtrDept1 is set positive, even

if the output from the controller set in AC4CCNo.is zero.

Editing DX Part Parameters

RcvDxSysEx (Receive DX System Exclusive)

Setting: OFF, ON

Explanation:

Specifies whether DX system exclusive messages will be received or not.

• The follow conditions must be met for DX system exclusive messages to be received:

With VCED, ACED (Parameter change, Bulk Dump)

Bulk select: Custom Bank

RcvDxSysEx: ON

With VMEM, AMEM: (bulk dump, 32 voice bulk dump)

RcvDxSysEx: ON

The parameters that apply to the entire system of the PLG100-DX are added to the utilities of the

main XG tone generator.

PLG100-DX System Parameters

1. Press the [UTIL] button.

The menu screen for the Utility Mode will be displayed.

2. Pressing the [SELECT ] button and move the cursor to “PLUGIN,” then press the

[ENTER] button. The plug-in board select screen will be displayed.

3. Press the [SELECT / ] buttons and move the cursor to the plug-in board to be

edited, then press the [ENTER] button (select PLG100-DX here).

The parameter screen for the selected plug-in board will be displayed.

4. Pressing the [SELECT / ] buttons, move the cursor to the parameter which is to

be set. Change the value for the parameter using the [VALUE

/ ] buttons.

5. Press the [EXIT] button several times to return to the initial screen.

PLG100-DX System Parameters

■ System Parameters ..................................................................................................

PartAssign

Setting: 1 to 16, OFF

Explanation:

• Sets the part assigned to PLG100-DX.

• When set to OFF, the parts will not be assigned. Settings 1 to 16 specify part numbers

1 to 16.

BulkBlock

Setting: 01-32, 33-64

Explanation:

• Specifies which custom voice memory, 1 to 32 or 33 to 64, will be used for writing 32

voice bulk data sent to the PLG100-DX from an external MIDI device or computer.

VelCurve (Velocity Curve)

Setting: DX7, Normal, Soft1, Soft2, Easy, Wide, Hard

Explanation:

• Sets the velocity curve.

• The velocity curve is the curve that expresses the relationship between the velocity

signal received and the volume when the sound is actually generated.

• DX7 sets the velocity curve for the DX7 and DX7II.

• Normal makes velocity proportional to the strength at which the key is struck. This is

the velocity curve used in ordinary synthesizers.

• Soft1 is a velocity curve that makes all sounds easy to produce. It is designed for people

who have a light touch on the keyboard, or who are beginners at keyboard playing.

• Soft2 is a velocity curve that makes all sounds easy to produce. It is closer to the normal

curve than Soft1.

• Easy is a velocity curve where relatively large velocities are easy to produce. Because

velocity change in the middle area of the curve is gentle, the velocity is stable.

• Wide is a curve where the velocity is controlled in sections where the key touch is light,

and is easy to produce in area where the touch is strong. It gives the feeling of a wide

dynamic range.

• Hard is a curve where the sound is not easy to produce over the entire range. It is aimed

a people who have a strong touch.

Appendix

Chart of Algorithms

4 5

123

Appendix

Instrument

Group

Pgm #

(1-128)

SFX 1

100

101

102

103

104

105

113

114

115

116

117

118

119

120

121

122

123

124

125

126

127

128

Turn Tbl 1 18

DX-Clave 1 6

SideStck 1 17

Snapie 1 2

Deep Snr 1 2

SumohDrm 1 3

DX-Wave 1 17

Image 3 1 17

DX-Piyo1 1 0

DX-Inct1 1 16

DX-Grwl1 1 2

DX-Grwl2 1 18

Help me! 1 17

DX-Wolf 1 6

JnglBell 1 5 *

DX-Inct2 1 3 *

DX-Ring1 1 23 *

DX-TlCal 1 5 *

DX-TlBsy 1 23 *

DX-TlTne 1 12

DX-Ring2 1 3 *

DX-BigBn 1 6

IronEch1 1 5

IronEch2 1 5

DX-RvCy1 1 5 *

DX-RvCy2 1 17 *

DX-Hlcpt 1 5

DX-Train 1 5 *

Take Off 1 10

Mobile 1 1 18

MotrCycl 1 18

DX-Ship 1 18

Closing 1 5 *

Scrchers 1 17

MM-Fall 1 18

DX-Flght 1 18 *

MobyDick 1 12 *

OutLimit 1 5 *

Paranoir 1 17 *

CaGhstLn 1 0

MM-Shk 2 1 1

Image 1 1 0

Image 2 1 1

Tenjiku 1 0

Metal 1 1

Flxatone 1 0

Spoon 1 1

WhikShot 1 18 *

PercShot 1 17

Crasher 1 18 *

Laser 1 1 16

Laser 2 1 16

Laser 3 1 1

Stopper 1 16 *

Wallop 1 1 16

Wallop 2 1 16

StreetSD 1 4 *

ManEater 1 2 *

SmbaWhsl 1 18

Refs Wsl 1 18

Triangl1 1 23

Triangl2 1 23

SlighBel 1 18

Bank Select LSB 0

Bank Select MSB 67

Instrument

Group

Bank Select LSB

Bank Select MSB

Pgm #

(1-128)

Piano 1

Chromatic 9

Percussion 10

Organ 17

Guitar 25

Bass 33

Strings 41

Ensemble 49

Brass 57

Reed 65

Pipe 73

Synth 81

Lead 82

Synth Pad 89

Synth 98

Effects 99

100

101

102

103

104

Ethnic 105

106

107

108

109

110

111

112

Percussive 113

114

115

116

117

119

FrtePno2 1 18

BritPno2 1 18

El.Gnd 1 1 16 *

ToyPno 1 1 30 *

BigWurlt 1 17 *

ClrE.Pno 1 5 *

Cembalim 1 5

MM-Clav2 1 3

Celesta2 1 32

Glocken2 1 32

MM-Vibe1 1 23

BritMrmb 1 7

DX-Xylo2 1 5

DX-Bel 1 1 27

DrwOrg 1 1 32 *

PrcOrg 2 1 18

RckOrg 2 1 5

PipeOrg1 1 3

SoftRdOr 1 28

DX-Acrd2 1 3

DX-Hmnc2 1 1 *

DX-AcGt2 1 8

DX-PkGt2 1 14

DX-JzGt2 1 17

DX-ClGt2 1 14

DX-MtGt2 1 12

DX-DsGt1 1 16

DX-WdBa2 1 17

DX-FgBa2 1 17

PickPluk 1 18

FrtlsBa2 1 18

SlapStrg 1 4 *

SuprBas1 1 17

DX-SyBa2 1 3

Remark 1 17

DX-Vln 2 1 2

DX-Vla 2 1 17 *

Rosin 1 18 *

Pizz Str 1 5

Syn Harp 1 3

Mid Str2 1 15

Low Str1 1 15

Anna Str 1 9 *

DX-SySt7 1 4 *

DX-Cho 2 1 6

DX-Cho 7 1 7 *

DX-Trpt2 1 18 *

DX-Trb 2 1 22

DX-Tuba2 1 18 *

MelwHrn1 1 2 *

DX-BrSc2 1 22

CS80-Br2 1 22 *

SyntiBrs 1 2

DX-Tsax 1 15 *

Oboe 2 1 3

SlowClar 1 4

Piccolo2 1 5 *

DX-Flt 2 1 7

Recordr2 1 6 *

Forest99 1 2

DX-Botle 1 15

DX-Ocrn2 1 4

DX-SLd 1 1 5

DXSyLd 2 1 9

CaliopL2 1 16 *

DX-WahLd 1 7

LeadPhon 1 19

Giovanni 1 6

Fifths 2 1 1

BassLead 1 22

Cho+Mrmb 1 14

DX-SawPd 1 15

SyBr Pd1 1 12 *

Anna Pad 1 2 *

BowPad 2 1 5 *

InitEnsm 1 6

StacHevn 1 9

Evlution 1 1 *

BellPluk 1 11

Brassy 1 2

DX-Brit2 1 6

DX-ScFi2 1 16

DX-Sitr2 1 3

Shamisn2 1 22

Koto+Flt 1 2

DX-Klmb2 1 18

HandBel2 1 5

DX-Aggo2 1 15

StlDrum2 1 13

SoftHead 1 15 *

MM-SDr 2 1 18 *

MM-Pno 1 1 19

BritPno3 1 3

El.Gnd 2 1 4

ToyPno 2 1 9

WurliEP1 1 3 *

E.Pno 2 1 5

AD1600s1 1 3 *

SkltnClv 1 18

Celesta3 1 5

Glocken3 1 7

DX-Vibe2 1 23

DX-Mrmb2 1 7

MM-Bell 1 27

DrwOrg 2 1 29

PrcOrg 3 1 29

RckOrg 3 1 16

PipeOrg2 1 29

PufOrgn2 1 12 *

DX-Acrd3 1 4 *

BuzzHarp 1 17 *

DX-AcGt3 1 1

DX-PkGt3 1 2

DX-JzGt3 1 8 *

DX-ClGt3 1 4

DX-MtGt3 1 17

DX-DsGt2 1 14

DX-WdBa3 1 3

HarmBass 1 17

ChifBass 1 7 *

FrtlsBa3 1 12

LiteSlap 1 3

DrhtBass 1 16

DX-SyBa3 1 24

DX-Bass2 1 17 *

DX-Vln 3 1 2

DX-Celo2 1 11

OrchHarp 1 3 *

Brit Str 1 15

Low Str2 1 2

SmalSect 1 15 *

DX-AnSt3 1 15

DX-Cho 3 1 24

DX-Cho 8 1 29 *

DX-Trpt3 1 18 *

Mute Trb 1 7

MelwHrn2 1 3 *

5th Brss 1 2

DX-SBr 1 1 22

DX-SBr 7 1 18

Oboe 3 1 27

DX-Clar1 1 2 *

DX-Flt 3 1 16 *

Recordr3 1 6 *

Harvest 1 1 *

Quena 1 2

DX-Ocrn3 1 3

DX-SLd 2 1 22

DXSyLd 3 1 24

PuffPipe 1 12

BrsLead2 1 2

SweepLd 1 18

SnglLine 1 22

EadgbeLd 1 14

IceHeven 1 9

ElecComb 1 4 *

SyBr Pd2 1 5 *

Whisper1 1 6 *

BowPad 3 1 7 *

MtlSweep 1 9 *

Phasers 1 15 *

MtalDlcm 1 27

Electric 1 4

SynBrite 1 3

Baroque 1 15

JuceHarp 1 18

Shamisn3 1 15

DX-Klmb3 1 16

TrcrBell 1 4

Jamaica 1 16

Tom Herz 1 18

Digi Pno 1 16

5th Pno1 1 5

El.Gnd 3 1 11

ToyPno 3 1 3

EP 1980 1 17 *

Urban 1 7

AD1600s2 1 3

ClavStf1 1 18

Glocken4 1 24

DX-Vibe3 1 5

DX-Mrmb3 1 7

MiniBell 1 5

DrwOrg 3 1 29

DxJazOr1 1 30

RckOrg 4 1 11 *

DXChrch2 1 6

StretOrg 1 16

DX-Acrd4 1 4 *

FM-Hmnc1 1 1 *

DX-AcGt4 1 8

DX-PkGt4 1 3

DX-JzGt4 1 8

DX-ClGt4 1 13

DX-MtGt4 1 3

DX-DsGt3 1 16

SmohBass 1 17

NstyBass 1 17

Plktrmbs 1 8

FrtlsBa4 1 18

ImpctBas 1 16

Brainacs 1 7

Cutmandu 1 8

DX-Bass3 1 17

DX-Celo3 1 11

Harp+Flt 1 3 *

DX-Str 1 1 2

DX-Str10 1 5

Michelle 1 15

MM-Str 1 1 17

DX-Cho 4 1 4

MM-Vce 1 1 7 *

DX-Trpt4 1 18 *

MletHorn 1 18

TightBr1 1 2

DX-SBr 2 1 22 *

SamplBrs 1 2

DX-Clar2 1 15 *

DX-Flt 4 1 5 *

LyleLead 1 3

Super DX 1 4

CaliopL3 1 16 *

BrsLead3 1 15

LdSbHarm 1 26 *

DX-Ba+Ld 1 2

MM-Prety 1 3

Fl.Cloud 1 5

SyBr Pd3 1 15

Ethereal 1 5

Gior Pad 1 19

FM-Grwth 1 17

MetalBox 1 11

DX-Atms1 1 15

DX-ScFi3 1 15 *

Xanu 1 4

SteelCan 1 1

EBABA

EBA

MM-EGnd1 1 19

ToyPno 4 1 12

DX-Road2 1 12

E.Pno 3 1 5

Harpsi 2 1 5

Revinett 1 18

DX-Vibe4 1 7

MtalMrmb 1 6

DX-Bel 2 1 15

JazOrg 1 1 32

PrcOrg 4 1 29 *

RckOrg 5 1 26 *

PipeOrg3 1 6

DX-Acrd5 1 3 *

FM-Hmnc2 1 3 *

Lute Gtr 1 14

DX-PkGt5 1 8

DX-ClGt5 1 3

HevyGage 1 18

DX-DsGt4 1 16

After 88 1 17 *

FustBass 1 18

Owl Bass 1 4

FrtlsBa5 1 3

Afresh 1 3

DigiBas2 1 16

DX-SyBa4 1 9

Hop Bass 1 16

DX-Str 2 1 2

DX-Str11 1 2

DX-SySt2 1 25

WarmStr3 1 15 *

DX-Cho 5 1 6

MM-Vce 2 1 6 *

SlvTrmpt 1 18

BlnchHrn 1 2

TightBr2 1 22

DX-SBr 3 1 5

SinglBrs 1 22

DX-Flt 5 1 16 *

DX-SLd 3 1 6

DXSyLd 4 1 2

DXAtkLd 1 16

FrtlsLd 1 4

TngVoice 1 17

Floating 1 19 *

SyBr Pd4 1 2

Glassy 1 11

DX-Atms2 1 8

DX-Stars 1 23

EthrFour 1 5

EBA

MM-EGnd2 1 19

PrprdPno 1 9 *

DX-Road3 1 12

Vics EP 1 11 *

Harpsi 3 1 3

Clavecn1 1 2

BellVibe 1 23

DX-Bel 3 1 5

Farf Out 1 29 *

PrcOrg 5 1 31 *

RckOrg 6 1 16

PipeOrg4 1 5 *

DX-AcGt5 1 16

DX-PkGt6 1 14

DX-ClGt6 1 17

DX-DsGt5 1 1

DX-WdBa4 1 22

ClavBass 1 10

MtalBass 1 4

BassNovo 1 7 *

Excite 1 17

DX-Str 3 1 15

DX-Str12 1 15 *

DX-SySt3 1 25

WarmStr4 1 15 *

MM-Vce 3 1 6 *

AlpsHorn 1 15 *

BlowBrss 1 9 *

DX-SBr 4 1 2 *

ThickBrs 1 2

DX-Flt 6 1 16 *

DX-SLd 4 1 18

DXSyLd 5 1 5 *

Str Tine 1 12

BrsyWarm 1 15 *

SyBr Pd5 1 4

GlssHarp 1 16

EBA

DigiPoly 1 5

Bell Pno 1 5

Old Jazz 1 5

E.Pno 4 1 5

Harpsi 4 1 18

E.P/Clav 1 11

LFO Vibe 1 2 *

DX-Bel 4 1 9

DrwOrg 4 1 31

PrcOrg 6 1 31

RckOrg 7 1 22 *

PipeOrg5 1 5

Mrmb Gtr 1 12

DX-PkGt7 1 3

DX-ClGt7 1 3

DX-WdBa5 1 17

DX-FgBa3 1 17 *

WireBass 1 10

DX-SyBa5 1 3

DX-Bass4 1 18

DX-Str 4 1 15

DX-Str13 1 2

DX-SySt4 1 9 *

HalOrch1 1 12

Dbvoxfem 1 26 *

VibraHrn 1 17 *

BrssSect 1 2

DX-SBr 5 1 2

XyloBrss 1 29 *

DX-Flt 7 1 16 *

DX-SLd 5 1 6

DXSyLd 6 1 1

WhstlPad 1 25 *

SyBr Pd6 1 19

Ice Glxy 1 3

EBA

8383

83 83 83 83 83 83

Mark III 1 10 *

Andrian 1 9

Knock EP 1 13

E.Pno 5 1 5

Caffeine 1 9

DX-Clv 1 1 18

Vibetron 1 6 *

DX-Bel 5 1 4

DrwOrg 5 1 32

PrcOrg 7 1 20 *

RckOrg 8 1 25

Tite Gtr 1 15

DX-ClGt8 1 3

Inorganc 1 3

DX-SyBa6 1 3

DX-Str 5 1 2

DX-AnSt1 1 2

HalOrch2 1 12

Lady Vox 1 26

WarmBrss 1 9 *

DX-SBr 6 1 22

OrchBrss 1 2

MtalFlut 1 2 *

DX-SLd 6 1 2

DXSyLd 7 1 18

SyBr Pd7 1 2

SpceTrip 1 23

EBA

FrtePno1 1 9

BritPno1 1 7

DXCP-70 1 4

DX-Rgtim 1 15

DX-Road1 1 28

E.Pno 1 1 5

Harpsi 1 1 5

MM-Clav1 1 4

Celesta1 1 31

Glocken1 1 23

MusicBx1 1 5

DX-Vibe1 1 27

DX-Mrmb1 1 7

DX-Xylo1 1 9

Carillon 1 9

DX-Dlcm1 1 10

FullOrgn 1 32 *

PrcOrg 1 1 29 *

RckOrg 1 1 3 *

DXChrch1 1 6

PufOrgn1 1 12 *

DX-Acrd1 1 3 *

DX-Hmnc1 1 3 *

DX-TngAc 1 3

DX-AcGt1 1 14

DX-PkGt1 1 14

DX-JzGt1 1 18

DX-ClGt1 1 9

DX-MtGt1 1 9

DX-ODGt 1 14

Fuzz Gtr 1 1

DX-WdBa1 1 17

DX-FgBa1 1 16

DX-PkBa1 1 16

FrtlsBa1 1 17

RundWund 1 18

DigiBas1 1 16

DX-SyBa1 1 16 *

DX-Bass1 1 17

DX-Vln 1 1 2 *

DX-Vla 1 1 15

DX-Celo1 1 2

DX-Pizz1 1 2

LuteHarp 1 14

DX-Tmpni 1 16

Mid Str1 1 15

WarmStr1 1 15

DX-SySt1 1 15

DX-SySt6 1 2

DX-Cho 1 1 5 *

DX-Cho 6 1 11 *

DX-Trpt1 1 18 *

DX-Trb 1 1 18 *

DX-Tuba1 1 18 *

DX-Horn 1 9

DX-BrSc1 1 22

CS80-Br1 1 23 *

ChorsBrs 1 2

SprnoSax 1 10 *

Alto Sax 1 18 *

TenorSax 1 27 *

Oboe 1 1 3 *

Eng.Horn 1 4 *

Bassoon 1 2

VbrtClar 1 5 *

Piccolo1 1 5

DX-Flt 1 1 16 *

Recordr1 1 5

DX-PnFl1 1 5

Fuhppps! 1 11 *

Whistle1 1 16 *

DX-Ocrn1 1 14 *

DX-Squar 1 2

DXSyLd 1 1 18

CaliopL1 1 16

BrsLead1 1 2

Au Campo 1 2 *

DX-VceLd 1 18

Fifths 1 1 3

LeadLine 1 18

HyperSqr 1 5 *

Film Pad 1 16

BritePad 1 15

DX-ChPd1 1 15 *

BowPad 1 1 5 *

DX-MtPd1 1 6 *

GrngePad 1 15

SweepPd1 1 9 *

FluvPush 1 1

MtalGlkn 1 5

PrdsGlok 1 5

DX-Brit1 1 5

Fmilters 1 11 *

WaterLog 1 16 *

DX-ScFi1 1 6 *

DX-Sitr1 1 8

DX-Banjo 1 8

Shamisn1 1 16

DX-Koto 1 2

DX-Klmb1 1 30 *

DX-BgPip 1 20 *

DX-Fidle 1 2

ScchTone 1 17

HandBel1 1 5

DX-Aggo1 1 8

StlDrum1 1 5

Block 1 18

Janpany 1 16

MM-SDr 1 1 18 *

Voice List

DX-XG/SFX Voices

DX-XG/A Voices

NOTE : Empty areas of the columns produce no sound.

E : Element number A : Algorithm number B : EG Bias (voices with this effect are marked “*”)

Appendix

Instrument

Group

Bank Select LSB

Bank Select MSB

Pgm #

(1-128)

Piano 1

Chromatic 9

Percussion 10

Organ 17

Guitar 25

Bass 33

Strings 41

Ensemble 49

Brass 57

Reed 65

Pipe 73

Synth 81

Lead 82

Synth Pad 89

Synth 98

Effects 99

100

101

102

103

104

Ethnic 105

106

107

108

109

110

111

112

Percussive 113

114

115

116

117

119

RatioDob 1 5

SftEPno1 1 5

EP 1970 1 11 *

FulTine1 1 5

HarpsiWr 1 2

ClavComp 1 15

DX-Bel 6 1 5

DrwOrg 6 1 29

PrcOrg 8 1 31

RckOrg 9 1 22

Gtr Box 1 15

DX-SyBa7 1 17

DX-Str 6 1 2

DX-AnSt2 1 2

Maxi Str 1 2

SpaceVox 1 26

Horn Ens 1 20 *

MM-Brss1 1 18

Ensemble 1 9 *

AirBlowr 1 16 *

Vibratrn 1 4

ClaviPad 1 8

SftEPno2 1 5

DX-Road4 1 12

Duke EP 1 5

Harpsi 5 1 5

DX-Clv 2 1 3 *

TmplBel1 1 5

DrwOrg 7 1 29

PrcOrg 9 1 32

RckOrg10 1 32 *

LongNail 1 16

DX-SyBa8 1 5

DX-Str 7 1 2

AgtateMs 1 2 *

SilkHall 1 5

Syn Vox 1 25 *

Fanfare 1 18

MM-Brss2 1 18

Kingdom 1 15 *

DXSyLd 8 1 22

Dspo Pad 1 4

GlockPno 1 3 *

PrcEPno1 1 5

E.Pno 6 1 5

DX-Clv 3 1 18

TmplBel2 1 11

DrwOrg 8 1 32

PrcOrg10 1 31 *

RckOrg11 1 29

Firenze 1 3

DX-Str 8 1 22

SolinePf 1 2

Aftrnoon 1 2

MM-Brss3 1 17

Winwood 1 2

FnerThng 1 11

EBABA

EBA

ModEPno1 1 5 *

E.Pno 7 1 5

ClavExcl 1 17

TmplBel3 1 11

DrwOrg 9 1 29

PrcOrg11 1 31 *

RckOrg12 1 29 *

Folknik 1 18

Soft Bow 1 2

ST.Machn 1 3

Funkrhyt 1 3 *

MnstrPad 1 15

EBA

FulTine2 1 5

BritClv1 1 18

DrwOrg10 1 24 *

PrcOrg12 1 22

SynOrg 2 1 22

RytmPluk 1 17

GntlMind 1 9

MoterDrv 1 2

PowerDrv 1 23

WhaserPd 1 15

EBA

E.Pno 8 1 6

BritClv2 1 4 *

DrwOrg11 1 32 *

PrcOrg13 1 22 *

Gypsy 1 18 *

RahlBrss 1 23 *

BackSuir 1 2

EBA

8383

83 83 83 83 83 83

E.Pno 9 1 5

DX-Clv 4 1 3

DrwOrg12 1 25

PrcOrg14 1 16

UltraDrv 1 2

PsrSweep 1 8

EBA

FrtePno1 1 9

BritPno1 1 7

DXCP-70 1 4

DX-Rgtim 1 15

DX-Road1 1 28

E.Pno 1 1 5

Harpsi 1 1 5

MM-Clav1 1 4

Celesta1 1 31

Glocken1 1 23

MusicBx1 1 5

DX-Vibe1 1 27

DX-Mrmb1 1 7

DX-Xylo1 1 9

Carillon 1 9

DX-Dlcm1 1 10

FullOrgn 1 32 *

PrcOrg 1 1 29 *

RckOrg 1 1 3 *

DXChrch1 1 6

PufOrgn1 1 12 *

DX-Acrd1 1 3 *

DX-Hmnc1 1 3 *

DX-TngAc 1 3

DX-AcGt1 1 14

DX-PkGt1 1 14

DX-JzGt1 1 18

DX-ClGt1 1 9

DX-MtGt1 1 9

DX-ODGt 1 14

Fuzz Gtr 1 1

DX-WdBa1 1 17

DX-FgBa1 1 16

DX-PkBa1 1 16

FrtlsBa1 1 17

RundWund 1 18

DigiBas1 1 16

DX-SyBa1 1 16 *

DX-Bass1 1 17

DX-Vln 1 1 2 *

DX-Vla 1 1 15

DX-Celo1 1 2

DX-Pizz1 1 2

LuteHarp 1 14

DX-Tmpni 1 16

Mid Str1 1 15

WarmStr1 1 15

DX-SySt1 1 15

DX-SySt6 1 2

DX-Cho 1 1 5 *

DX-Cho 6 1 11 *

DX-Trpt1 1 18 *

DX-Trb 1 1 18 *

DX-Tuba1 1 18 *

DX-Horn 1 9

DX-BrSc1 1 22

CS80-Br1 1 23 *

ChorsBrs 1 2

SprnoSax 1 10 *

Alto Sax 1 18 *

TenorSax 1 27 *

Oboe 1 1 3 *

Eng.Horn 1 4 *

Bassoon 1 2

VbrtClar 1 5 *

Piccolo1 1 5

DX-Flt 1 1 16 *

Recordr1 1 5

DX-PnFl1 1 5

Fuhppps! 1 11 *

Whistle1 1 16 *

DX-Ocrn1 1 14 *

DX-Squar 1 2

DXSyLd 1 1 18

CaliopL1 1 16

BrsLead1 1 2

Au Campo 1 2 *

DX-VceLd 1 18

Fifths 1 1 3

LeadLine 1 18

HyperSqr 1 5 *

Film Pad 1 16

BritePad 1 15

DX-ChPd1 1 15 *

BowPad 1 1 5 *

DX-MtPd1 1 6 *

GrngePad 1 15

SweepPd1 1 9 *

FluvPush 1 1

MtalGlkn 1 5

PrdsGlok 1 5

DX-Brit1 1 5

Fmilters 1 11 *

WaterLog 1 16 *

DX-ScFi1 1 6 *

DX-Sitr1 1 8

DX-Banjo 1 8

Shamisn1 1 16

DX-Koto 1 2

DX-Klmb1 1 30 *

DX-BgPip 1 20 *

DX-Fidle 1 2

ScchTone 1 17

HandBel1 1 5

DX-Aggo1 1 8

StlDrum1 1 5

Block 1 18

Janpany 1 16

MM-SDr 1 1 18 *

NOTE : Empty areas of the columns produce no sound.

E : Element number A : Algorithm number B : EG Bias (voices with this effect are marked “*”)

Instrument

Group

Bank Select LSB

Bank Select MSB

Pgm #

(1-128)

Piano 1

Chromatic 9

Percussion 10

Organ 17

Guitar 25

Bass 33

Strings 41

Ensemble 49

Brass 57

Reed 65

Pipe 73

Synth 81

Lead 82

Synth Pad 89

Synth 98

Effects 99

100

101

102

103

104

Ethnic 105

106

107

108

109

110

111

112

Percussive 113

114

115

116

117

119

Juice 1 20

EBA

MM-Pno 2 1 19

PowerPno 1 3

El.Gnd 4 1 17

Soft EP1 1 5

DynoRoad 1 5

Harpsi 6 1 5 *

MM-Clav3 1 3

Celesta4 1 23

Glocken5 1 5 *

MusicBx2 1 5

MM-Vibe2 1 23

DX-Mrmb4 1 7 *

DX-Xylo3 1 7

DX-Bel 7 1 5

SilkRoad 1 10

DrwOrg13 1 5 *

PrcOrg15 1 31 *

RckOrg13 1 29

PipeOrg6 1 19

LateDown 1 16

DX-Acrd6 1 3

DX-Hmnc3 1 1

DX-PkGt8 1 8

DX-JzGt5 1 8 *

DX-ClGt9 1 18 *

DetDsGt1 2 *

DX-WdBa6 1 14

SkwkBass 1 9

DX-PkBa2 1 18

DetFlBa1 2 *

WireStrg 1 9

SuprBas2 1 17

DX-SyBa9 1 3

DX-Bass5 1 16

DX-Vln 4 1 2

DX-Vla 3 1 18 *

DX-Celo4 1 4

DX-Harp1 1 3

DX-Str 9 1 15 *

WarmStr2 1 15

DX-SySt5 1 3 *

Det.Str2 2 *

DX-Vce 1 1 32 *

MM-Vce 4 1 6

Solo Tp 1 18 *

DX-Trb 3 1 18

SimplHrn 1 9

HardBrss 1 22 *

AnaFatBr 1 2 *

SynHorns 1 18

DX-ASax1 1 18

DX-Clar3 1 6 *

Song Flt 1 12 *

DX-PnFl2 2 *

Sukiyaki 1 16

DX-SLd 7 1 22 *

ReedLead 1 17

DX-BrLd1 1 2

MpndgDom 1 31 *

Cho Elms 1 5

Dstrcted 1 12 *

Mystrian 1 20

BirdView 1 1 *

ChiLight 1 6 *

DX-HpSt1 1 22 *

BellStr1 1 9 *

DX-BL+Ch 2 *

Fntasynt 1 26 *

Zimbalon 1 8

DX-Klmb4 1 18

Twincle 1 3

Cowbell 1 6

DX-StDr1 1 15

Log Drum 1 14

CongaDrm 1 1

DX-MtSnr 1 2

EBA

Dark Pno 1 19

5th Pno2 1 5

Hard EP1 1 28

Prds Pno 1 13

Harpsi 7 1 9

DX-Clv 6 1 4

Hallowen 1 14 *

Glocken6 1 5 *

MusicBx3 1 19

DX-Mrmb5 1 5

DX-Xylo4 1 7

DX-Bel 8 1 16

Frzntime 1 16

DrwOrg14 1 12

PrcOrg16 1 5

RckOrg14 1 29

PipeOrg7 1 25

X-ReedOg 2 *

DX-Hmnc4 1 28

Stlypika 1 17

DXClGt10 1 17

DetDsGt2 2 *

DX-WdBa7 1 14

DX-FgBa4 1 16

DX-PkBa3 1 18

BassRsWp 1 6

DX-Bass6 1 16 *

Det.Vln1 2 *

DX-Harp2 1 3

Violtron 1 2

Det.Str3 2 *

DX-Vce 2 1 1 *

AnalogBr 1 9

EP+Brs 1 1 5

DX-ASax2 1 17

Whistle2 1 6 *

DX-SLd 8 1 22

ArrowxMs 1 3

DX-SwLd1 1 16

EP Pad 2 *

DX-ChPd2 1 16 *

DX-MtPd2 2 *

Sanctus 1 23

IceRvEco 1 8 *

BellStr2 2 *

RprtRise 1 15 *

Xango 1 4

DX-StDr2 1 15

DX-Perc1 1 16

EBA

Pno+Flt 1 3

Hard EP2 1 11

Brit EP 2 *

Harpsi 8 1 3

DX-Clv 7 1 4 *

MM-Clsta 1 29

Bali 1 5 *

MusicBx4 1 24 *

DX-Mrmb6 1 7

DX-Xylo5 1 6

DX-Bel 9 1 17

DX-Dlcm2 1 2

DrwOrg15 1 31

PrcOrg17 1 6

RckOrg15 1 29

PipeOrg8 1 29

DetClGt1 2 *

DXClGt11 1 12

BogiBass 1 16

FngaPcka 1 17

DX-PkBa4 1 17

DetSyBa1 2 *

DiscBass 1 14 *

DX-Harp3 1 3

General 1 2

Det.Str4 2 *

DX-FatBr 1 2 *

EP+Brs 2 1 2 *

Whistle3 1 6

DX-SLd 9 1 18 *

Att.Lead 1 8

DX-SwLd2 1 18

AngelEvo 1 27

Glastine 1 5 *

DX-HpSt2 2 *

Aura 1 2 *

India 1 9

DX-StCn1 1 1

Nou 1 14

EBA

83 83 83 83 83

Hard EP3 1 5 *

Det.EP4 2 *

Harpsi 9 1 3 *

MuteClav 1 11

WrapRund 1 8

MusicBx5 1 22

DX-Mrmb7 1 7

DX-Xylo6 1 5

DX-Bel10 1 30

Grinder 1 11

BritOrgn 1 25

DetClGt2 2 *

BassLgnd 1 18

HardFngr 1 18

CompedEB 1 18

PercBass 1 14

Apollon 1 3

OchChime 1 5

Det.Str5 2 *

SyPdBrss 2 *

Csmwhist 1 5

DXSyLd9 2 *

DX-SwLd3 2 *

DX-ChPd3 2 *

MM-Shk 1 1 5

Pilgrim 1 2

Glaeser 1 5

DX-Bongo 1 7

EBA

FrtePno1 1 9

BritPno1 1 7

DXCP-70 1 4

DX-Rgtim 1 15

DX-Road1 1 28

E.Pno 1 1 5

Harpsi 1 1 5

MM-Clav1 1 4

Celesta1 1 31

Glocken1 1 23

MusicBx1 1 5

DX-Vibe1 1 27

DX-Mrmb1 1 7

DX-Xylo1 1 9

Carillon 1 9

DX-Dlcm1 1 10

FullOrgn 1 32 *

PrcOrg 1 1 29 *

RckOrg 1 1 3 *

DXChrch1 1 6

PufOrgn1 1 12 *

DX-Acrd1 1 3 *

DX-Hmnc1 1 3 *

DX-TngAc 1 3

DX-AcGt1 1 14

DX-PkGt1 1 14

DX-JzGt1 1 18

DX-ClGt1 1 9

DX-MtGt1 1 9

DX-ODGt 1 14

Fuzz Gtr 1 1

DX-WdBa1 1 17

DX-FgBa1 1 16

DX-PkBa1 1 16

FrtlsBa1 1 17

RundWund 1 18

DigiBas1 1 16

DX-SyBa1 1 16 *

DX-Bass1 1 17

DX-Vln 1 1 2 *

DX-Vla 1 1 15

DX-Celo1 1 2

DX-Pizz1 1 2

LuteHarp 1 14

DX-Tmpni 1 16

Mid Str1 1 15

WarmStr1 1 15

DX-SySt1 1 15

DX-SySt6 1 2

DX-Cho 1 1 5 *

DX-Cho 6 1 11 *

DX-Trpt1 1 18 *

DX-Trb 1 1 18 *

DX-Tuba1 1 18 *

DX-Horn 1 9

DX-BrSc1 1 22

CS80-Br1 1 23 *

ChorsBrs 1 2

SprnoSax 1 10 *

Alto Sax 1 18 *

TenorSax 1 27 *

Oboe 1 1 3 *

Eng.Horn 1 4 *

Bassoon 1 2

VbrtClar 1 5 *

Piccolo1 1 5

DX-Flt 1 1 16 *

Recordr1 1 5

DX-PnFl1 1 5

Fuhppps! 1 11 *

Whistle1 1 16 *

DX-Ocrn1 1 14 *

DX-Squar 1 2

DXSyLd 1 1 18

CaliopL1 1 16

BrsLead1 1 2

Au Campo 1 2 *

DX-VceLd 1 18

Fifths 1 1 3

LeadLine 1 18

HyperSqr 1 5 *

Film Pad 1 16

BritePad 1 15

DX-ChPd1 1 15 *

BowPad 1 1 5 *

DX-MtPd1 1 6 *

GrngePad 1 15

SweepPd1 1 9 *

FluvPush 1 1

MtalGlkn 1 5

PrdsGlok 1 5

DX-Brit1 1 5

Fmilters 1 11 *

WaterLog 1 16 *

DX-ScFi1 1 6 *

DX-Sitr1 1 8

DX-Banjo 1 8

Shamisn1 1 16

DX-Koto 1 2

DX-Klmb1 1 30 *

DX-BgPip 1 20 *

DX-Fidle 1 2

ScchTone 1 17

HandBel1 1 5

DX-Aggo1 1 8

StlDrum1 1 5

Block 1 18

Janpany 1 16

MM-SDr 1 1 18 *

E.Pno10 1 5

DX-Clv 5 1 16

SynOrg 1 1 28

Ana Poly 1 22

Court 1 22

EBA

83 83

Appendix

NOTE : Empty areas of the columns produce no sound.

E : Element number A : Algorithm number B : EG Bias (voices with this effect are marked “*”)

Instrument

Group

Bank Select LSB

Bank Select MSB

Pgm #

(1-128)

Piano 1

Chromatic 9

Percussion 10

Organ 17

Guitar 25

Bass 33

Strings 41

Ensemble 49

Brass 57

Reed 65

Pipe 73

Synth 81

Lead 82

Synth Pad 89

Synth 98

Effects 99

100

101

102

103

104

Ethnic 105

106

107

108

109

110

111

112

Percussive 113

114

115

116

117

119

104

Det.EP 2 2 *

Det.EP 9 2 *

Gtrimba 1 12

BlowBell 1 5

EBA

105

Det.EP 3 2 *

Det.EP10 2 *

SynDecay 2 *

SoftBell 1 1

EBA

106

83 83 83

DumBells 1 5

EBA

FrtePno1 1 9

BritPno1 1 7

DXCP-70 1 4

DX-Rgtim 1 15

DX-Road1 1 28

E.Pno 1 1 5

Harpsi 1 1 5

MM-Clav1 1 4

Celesta1 1 31

Glocken1 1 23

MusicBx1 1 5

DX-Vibe1 1 27

DX-Mrmb1 1 7

DX-Xylo1 1 9

Carillon 1 9

DX-Dlcm1 1 10

FullOrgn 1 32 *

PrcOrg 1 1 29 *

RckOrg 1 1 3 *

DXChrch1 1 6

PufOrgn1 1 12 *

DX-Acrd1 1 3 *

DX-Hmnc1 1 3 *

DX-TngAc 1 3

DX-AcGt1 1 14

DX-PkGt1 1 14

DX-JzGt1 1 18

DX-ClGt1 1 9

DX-MtGt1 1 9

DX-ODGt 1 14

Fuzz Gtr 1 1

DX-WdBa1 1 17

DX-FgBa1 1 16

DX-PkBa1 1 16

FrtlsBa1 1 17

RundWund 1 18

DigiBas1 1 16

DX-SyBa1 1 16 *

DX-Bass1 1 17

DX-Vln 1 1 2 *

DX-Vla 1 1 15

DX-Celo1 1 2

DX-Pizz1 1 2

LuteHarp 1 14

DX-Tmpni 1 16

Mid Str1 1 15

WarmStr1 1 15

DX-SySt1 1 15

DX-SySt6 1 2

DX-Cho 1 1 5 *

DX-Cho 6 1 11 *

DX-Trpt1 1 18 *

DX-Trb 1 1 18 *

DX-Tuba1 1 18 *

DX-Horn 1 9

DX-BrSc1 1 22

CS80-Br1 1 23 *

ChorsBrs 1 2

SprnoSax 1 10 *

Alto Sax 1 18 *

TenorSax 1 27 *

Oboe 1 1 3 *

Eng.Horn 1 4 *

Bassoon 1 2

VbrtClar 1 5 *

Piccolo1 1 5

DX-Flt 1 1 16 *

Recordr1 1 5

DX-PnFl1 1 5

Fuhppps! 1 11 *

Whistle1 1 16 *

DX-Ocrn1 1 14 *

DX-Squar 1 2

DXSyLd 1 1 18

CaliopL1 1 16

BrsLead1 1 2

Au Campo 1 2 *

DX-VceLd 1 18

Fifths 1 1 3

LeadLine 1 18

HyperSqr 1 5 *

Film Pad 1 16

BritePad 1 15

DX-ChPd1 1 15 *

BowPad 1 1 5 *

DX-MtPd1 1 6 *

GrngePad 1 15

SweepPd1 1 9 *

FluvPush 1 1

MtalGlkn 1 5

PrdsGlok 1 5

DX-Brit1 1 5

Fmilters 1 11 *

WaterLog 1 16 *

DX-ScFi1 1 6 *

DX-Sitr1 1 8

DX-Banjo 1 8

Shamisn1 1 16

DX-Koto 1 2

DX-Klmb1 1 30 *

DX-BgPip 1 20 *

DX-Fidle 1 2

ScchTone 1 17

HandBel1 1 5

DX-Aggo1 1 8

StlDrum1 1 5

Block 1 18

Janpany 1 16

MM-SDr 1 1 18 *

100

Hard EP4 1 5

Det.EP5 2 *

AD1900s1 1 5

ChrsClav 1 4

HamerGlk 1 5

MusicBx6 1 24 *

EchoMlt1 1 5

DigiXylo 1 24 *

DX-Bel11 1 22

DrwOrg16 2 *

TamePipe 1 25

BassMgic 1 17

EzAction 1 19

HarpStrm 1 3

Ep + Str 2 *

LyerBrs1 2 *

SoftLd1 2 *

DX-ChPd4 2 *

New Elms 1 5

Kinzoku1 1 3

LigtYear 1 4

CosaRosa 1 5

Det.EP6 2 *

BasoClav 1 17

PppThing 1 5

MusicBx7 1 16

EchoMlt2 1 5

DX-Bel12 1 5

DrwOrg17 2 *

DetPkBa1 2 *

DetDXBa1 2 *

CmbaHarp 1 19 *

Det.Str1 2 *

LyerBrs2 2 *

Chi-S&H1 1 3

Kinzoku2 1 5

EP 1985 1 15

Det.EP 7 2 *

Det.Clav 2 *

Syn.Glok 1 5

MusicBx8 1 5

EchoMlt3 1 5

TmplBel4 1 5

DrwOrg18 2 *

DetPkBa2 2 *

Str&Brs 2 *

DX-Echo1 2 *

EBA

101

EBA

102

EBA

103

Det.EP1 2 *

Det.EP8 2 *

PercGlok 1 5 *

MelwMrmb 1 8

TmplBel5 1 7

EBA

83 83 83 83

Appendix

NOTE : Empty areas of the columns produce no sound.

E : Element number A : Algorithm number B : EG Bias (voices with this effect are marked “*”)

Instrument

Group

Bank Select LSB

Bank Select MSB

Pgm #

(1-128)

Piano 1

Chromatic 9

Percussion 10

Organ 17

Guitar 25

Bass 33

Strings 41

Ensemble 49

Brass 57

Reed 65

Pipe 73

Synth 81

Lead 82

Synth Pad 89

Synth 98

Effects 99

100

101

102

103

104

Ethnic 105

106

107

108

109

110

111

112

Percussive 113

114

115

116

117

119

FrtePno1 1 9

BritPno1 1 7

DXCP-70 1 4

DX-Rgtim 1 15

DX-Road1 1 28

E.Pno 1 1 5

Harpsi 1 1 5

MM-Clav1 1 4

Celesta1 1 31

Glocken1 1 23

MusicBx1 1 5

DX-Vibe1 1 27

DX-Mrmb1 1 7

DX-Xylo1 1 9

Carillon 1 9

DX-Dlcm1 1 10

FullOrgn 1 32 *

PrcOrg 1 1 29 *

RckOrg 1 1 3 *

DXChrch1 1 6

PufOrgn1 1 12 *

DX-Acrd1 1 3 *

DX-Hmnc1 1 3 *

DX-TngAc 1 3

DX-AcGt1 1 14

DX-PkGt1 1 14

DX-JzGt1 1 18

DX-ClGt1 1 9

DX-MtGt1 1 9

DX-ODGt 1 14

Fuzz Gtr 1 1

DX-WdBa1 1 17

DX-FgBa1 1 16

DX-PkBa1 1 16

FrtlsBa1 1 17

RundWund 1 18

DigiBas1 1 16

DX-SyBa1 1 16 *

DX-Bass1 1 17

DX-Vln 1 1 2 *

DX-Vla 1 1 15

DX-Celo1 1 2

DX-Pizz1 1 2

LuteHarp 1 14

DX-Tmpni 1 16

Mid Str1 1 15

WarmStr1 1 15

DX-SySt1 1 15

DX-SySt6 1 2

DX-Cho 1 1 5 *

DX-Cho 6 1 11 *

DX-Trpt1 1 18 *

DX-Trb 1 1 18 *

DX-Tuba1 1 18 *

DX-Horn 1 9

DX-BrSc1 1 22

CS80-Br1 1 23 *

ChorsBrs 1 2

SprnoSax 1 10 *

Alto Sax 1 18 *

TenorSax 1 27 *

Oboe 1 1 3 *

Eng.Horn 1 4 *

Bassoon 1 2

VbrtClar 1 5 *

Piccolo1 1 5

DX-Flt 1 1 16 *

Recordr1 1 5

DX-PnFl1 1 5

Fuhppps! 1 11 *

Whistle1 1 16 *

DX-Ocrn1 1 14 *

DX-Squar 1 2

DXSyLd 1 1 18

CaliopL1 1 16

BrsLead1 1 2

Au Campo 1 2 *

DX-VceLd 1 18

Fifths 1 1 3

LeadLine 1 18

HyperSqr 1 5 *

Film Pad 1 16

BritePad 1 15

DX-ChPd1 1 15 *

BowPad 1 1 5 *

DX-MtPd1 1 6 *

GrngePad 1 15

SweepPd1 1 9 *

FluvPush 1 1

MtalGlkn 1 5

PrdsGlok 1 5

DX-Brit1 1 5

Fmilters 1 11 *

WaterLog 1 16 *

DX-ScFi1 1 6 *

DX-Sitr1 1 8

DX-Banjo 1 8

Shamisn1 1 16

DX-Koto 1 2

DX-Klmb1 1 30 *

DX-BgPip 1 20 *

DX-Fidle 1 2

ScchTone 1 17

HandBel1 1 5

DX-Aggo1 1 8

StlDrum1 1 5

Block 1 18

Janpany 1 16

MM-SDr 1 1 18 *

107

Crystal 1 5

MeloBell 1 32

Det.Bell 2 *

EBA

108

EBA

109

EBA

83 83 83

Appendix

NOTE : Empty areas of the columns produce no sound.

E : Element number A : Algorithm number B : EG Bias (voices with this effect are marked “*”)

Instrument

Group

Bank Select LSB

Bank Select MSB

Pgm #

(1-128)

Piano 1

Chromatic 9

Percussion 10

Organ 17

Guitar 25

Bass 33

Strings 41

Ensemble 49

Brass 57

Reed 65

Pipe 73

Synth 81

Lead 82

Synth Pad 89

Synth 98

Effects 99

100

101

102

103

104

Ethnic 105

106

107

108

109

110

111

112

Percussive 113

114

115

116

117

119

FrtePno2 1 18

BritPno2 1 18

El.Gnd 1 1 16 *

ToyPno 1 1 30 *

BigWurlt 1 17 *

ClrE.Pno 1 5 *

Cembalim 1 5

MM-Clav2 1 3

Celesta2 1 32

Glocken2 1 32

MM-Vibe1 1 23

BritMrmb 1 7

DX-Xylo2 1 5

DX-Bel 1 1 27

DrwOrg 1 1 32 *

PrcOrg 2 1 18

RckOrg 2 1 5

PipeOrg1 1 3

SoftRdOr 1 28

DX-Acrd2 1 3

DX-Hmnc2 1 1 *

DX-AcGt2 1 8

DX-PkGt2 1 14

DX-JzGt2 1 17

DX-ClGt2 1 14

DX-MtGt2 1 12

DX-DsGt1 1 16

DX-WdBa2 1 17

DX-FgBa2 1 17

PickPluk 1 18

FrtlsBa2 1 18

SlapStrg 1 4 *

SuprBas1 1 17

DX-SyBa2 1 3

Remark 1 17

DX-Vln 2 1 2

DX-Vla 2 1 17 *

Rosin 1 18 *

Pizz Str 1 5

Syn Harp 1 3

Mid Str2 1 15

Low Str1 1 15

Anna Str 1 9 *

DX-SySt7 1 4 *

DX-Cho 2 1 6

DX-Cho 7 1 7 *

DX-Trpt2 1 18 *

DX-Trb 2 1 22

DX-Tuba2 1 18 *

MelwHrn1 1 2 *

DX-BrSc2 1 22

CS80-Br2 1 22 *

SyntiBrs 1 2

DX-Tsax 1 15 *

Oboe 2 1 3

SlowClar 1 4

Piccolo2 1 5 *

DX-Flt 2 1 7

Recordr2 1 6 *

Forest99 1 2

DX-Botle 1 15

DX-Ocrn2 1 4

DX-SLd 1 1 5

DXSyLd 2 1 9

CaliopL2 1 16 *

DX-WahLd 1 7

LeadPhon 1 19

Giovanni 1 6

Fifths 2 1 1

BassLead 1 22

Cho+Mrmb 1 14

DX-SawPd 1 15

SyBr Pd1 1 12 *

Anna Pad 1 2 *

BowPad 2 1 5 *

InitEnsm 1 6

StacHevn 1 9

Evlution 1 1 *

BellPluk 1 11

Brassy 1 2

DX-Brit2 1 6

DX-ScFi2 1 16

DX-Sitr2 1 3

Shamisn2 1 22

Koto+Flt 1 2

DX-Klmb2 1 18

HandBel2 1 5

DX-Aggo2 1 15

StlDrum2 1 13

SoftHead 1 15 *

MM-SDr 2 1 18 *

MM-Pno 1 1 19

BritPno3 1 3

El.Gnd 2 1 4

ToyPno 2 1 9

WurliEP1 1 3 *

E.Pno 2 1 5

AD1600s1 1 3 *

SkltnClv 1 18

Celesta3 1 5

Glocken3 1 7

DX-Vibe2 1 23

DX-Mrmb2 1 7

MM-Bell 1 27

DrwOrg 2 1 29

PrcOrg 3 1 29

RckOrg 3 1 16

PipeOrg2 1 29

PufOrgn2 1 12 *

DX-Acrd3 1 4 *

BuzzHarp 1 17 *

DX-AcGt3 1 1

DX-PkGt3 1 2

DX-JzGt3 1 8 *

DX-ClGt3 1 4

DX-MtGt3 1 17

DX-DsGt2 1 14

DX-WdBa3 1 3

HarmBass 1 17

ChifBass 1 7 *

FrtlsBa3 1 12

LiteSlap 1 3

DrhtBass 1 16

DX-SyBa3 1 24

DX-Bass2 1 17 *

DX-Vln 3 1 2

DX-Celo2 1 11

OrchHarp 1 3 *

Brit Str 1 15

Low Str2 1 2

SmalSect 1 15 *

DX-AnSt3 1 15

DX-Cho 3 1 24

DX-Cho 8 1 29 *

DX-Trpt3 1 18 *

Mute Trb 1 7

MelwHrn2 1 3 *

5th Brss 1 2

DX-SBr 1 1 22

DX-SBr 7 1 18

Oboe 3 1 27

DX-Clar1 1 2 *

DX-Flt 3 1 16 *

Recordr3 1 6 *

Harvest 1 1 *

Quena 1 2

DX-Ocrn3 1 3

DX-SLd 2 1 22

DXSyLd 3 1 24

PuffPipe 1 12

BrsLead2 1 2

SweepLd 1 18

SnglLine 1 22

EadgbeLd 1 14

IceHeven 1 9

ElecComb 1 4 *

SyBr Pd2 1 5 *

Whisper1 1 6 *

BowPad 3 1 7 *

MtlSweep 1 9 *

Phasers 1 15 *

MtalDlcm 1 27

Electric 1 4

SynBrite 1 3

Baroque 1 15

JuceHarp 1 18

Shamisn3 1 15

DX-Klmb3 1 16

TrcrBell 1 4

Jamaica 1 16

Tom Herz 1 18

Digi Pno 1 16

5th Pno1 1 5

El.Gnd 3 1 11

ToyPno 3 1 3

EP 1980 1 17 *

Urban 1 7

AD1600s2 1 3

ClavStf1 1 18

Glocken4 1 24

DX-Vibe3 1 5

DX-Mrmb3 1 7

MiniBell 1 5

DrwOrg 3 1 29

DxJazOr1 1 30

RckOrg 4 1 11 *

DXChrch2 1 6

StretOrg 1 16

DX-Acrd4 1 4 *

FM-Hmnc1 1 1 *

DX-AcGt4 1 8

DX-PkGt4 1 3

DX-JzGt4 1 8

DX-ClGt4 1 13

DX-MtGt4 1 3

DX-DsGt3 1 16

SmohBass 1 17

NstyBass 1 17

Plktrmbs 1 8

FrtlsBa4 1 18

ImpctBas 1 16

Brainacs 1 7

Cutmandu 1 8

DX-Bass3 1 17

DX-Celo3 1 11

Harp+Flt 1 3 *

DX-Str 1 1 2

DX-Str10 1 5

Michelle 1 15

MM-Str 1 1 17

DX-Cho 4 1 4

MM-Vce 1 1 7 *

DX-Trpt4 1 18 *

MletHorn 1 18

TightBr1 1 2

DX-SBr 2 1 22 *

SamplBrs 1 2

DX-Clar2 1 15 *

DX-Flt 4 1 5 *

LyleLead 1 3

Super DX 1 4

CaliopL3 1 16 *

BrsLead3 1 15

LdSbHarm 1 26 *

DX-Ba+Ld 1 2

MM-Prety 1 3

Fl.Cloud 1 5

SyBr Pd3 1 15

Ethereal 1 5

Gior Pad 1 19

FM-Grwth 1 17

MetalBox 1 11

DX-Atms1 1 15

DX-ScFi3 1 15 *

Xanu 1 4

SteelCan 1 1

EBABA

EBA

MM-EGnd1 1 19

ToyPno 4 1 12

DX-Road2 1 12

E.Pno 3 1 5

Harpsi 2 1 5

Revinett 1 18

DX-Vibe4 1 7

MtalMrmb 1 6

DX-Bel 2 1 15

JazOrg 1 1 32

PrcOrg 4 1 29 *

RckOrg 5 1 26 *

PipeOrg3 1 6

DX-Acrd5 1 3 *

FM-Hmnc2 1 3 *

Lute Gtr 1 14

DX-PkGt5 1 8

DX-ClGt5 1 3

HevyGage 1 18

DX-DsGt4 1 16

After 88 1 17 *

FustBass 1 18

Owl Bass 1 4

FrtlsBa5 1 3

Afresh 1 3

DigiBas2 1 16

DX-SyBa4 1 9

Hop Bass 1 16

DX-Str 2 1 2

DX-Str11 1 2

DX-SySt2 1 25

WarmStr3 1 15 *

DX-Cho 5 1 6

MM-Vce 2 1 6 *

SlvTrmpt 1 18

BlnchHrn 1 2

TightBr2 1 22

DX-SBr 3 1 5

SinglBrs 1 22

DX-Flt 5 1 16 *

DX-SLd 3 1 6

DXSyLd 4 1 2

DXAtkLd 1 16

FrtlsLd 1 4

TngVoice 1 17

Floating 1 19 *

SyBr Pd4 1 2

Glassy 1 11

DX-Atms2 1 8

DX-Stars 1 23

EthrFour 1 5

EBA

MM-EGnd2 1 19

PrprdPno 1 9 *

DX-Road3 1 12

Vics EP 1 11 *

Harpsi 3 1 3

Clavecn1 1 2

BellVibe 1 23

DX-Bel 3 1 5

Farf Out 1 29 *

PrcOrg 5 1 31 *

RckOrg 6 1 16

PipeOrg4 1 5 *

DX-AcGt5 1 16

DX-PkGt6 1 14

DX-ClGt6 1 17

DX-DsGt5 1 1

DX-WdBa4 1 22

ClavBass 1 10

MtalBass 1 4

BassNovo 1 7 *

Excite 1 17

DX-Str 3 1 15

DX-Str12 1 15 *

DX-SySt3 1 25

WarmStr4 1 15 *

MM-Vce 3 1 6 *

AlpsHorn 1 15 *

BlowBrss 1 9 *

DX-SBr 4 1 2 *

ThickBrs 1 2

DX-Flt 6 1 16 *

DX-SLd 4 1 18

DXSyLd 5 1 5 *

Str Tine 1 12

BrsyWarm 1 15 *

SyBr Pd5 1 4

GlssHarp 1 16

EBA

DigiPoly 1 5

Bell Pno 1 5

Old Jazz 1 5

E.Pno 4 1 5

Harpsi 4 1 18

E.P/Clav 1 11

LFO Vibe 1 2 *

DX-Bel 4 1 9

DrwOrg4 1 31

PrcOrg 6 1 31

RckOrg 7 1 22 *

PipeOrg5 1 5

Mrmb Gtr 1 12

DX-PkGt7 1 3

DX-ClGt7 1 3

DX-WdBa5 1 17

DX-FgBa3 1 17 *

WireBass 1 10

DX-SyBa5 1 3

DX-Bass4 1 18

DX-Str 4 1 15

DX-Str13 1 2

DX-SySt4 1 9 *

HalOrch1 1 12

Dbvoxfem 1 26 *

VibraHrn 1 17 *

BrssSect 1 2

DX-SBr 5 1 2

XyloBrss 1 29 *

DX-Flt 7 1 16 *

DX-SLd 5 1 6

DXSyLd 6 1 1

WhstlPad 1 25 *

SyBr Pd6 1 19

Ice Glxy 1 3

EBA

9999

99 99 99 99 99 99

Mark III 1 10 *

Andrian 1 9

Knock EP 1 13

E.Pno 5 1 5

Caffeine 1 9

DX-Clv 1 1 18

Vibetron 1 6 *

DX-Bel 5 1 4

DrwOrg 5 1 32

PrcOrg 7 1 20 *

RckOrg 8 1 25

Tite Gtr 1 15

DX-ClGt8 1 3

Inorganc 1 3

DX-SyBa6 1 3

DX-Str 5 1 2

DX-AnSt1 1 2

HalOrch2 1 12

Lady Vox 1 26

WarmBrss 1 9 *

DX-SBr 6 1 22

OrchBrss 1 2

MtalFlut 1 2 *

DX-SLd 6 1 2

DXSyLd 7 1 18

SyBr Pd7 1 2

SpceTrip 1 23

EBA

FrtePno1 1 9

BritPno1 1 7

DXCP-70 1 4

DX-Rgtim 1 15

DX-Road1 1 28

E.Pno 1 1 5

Harpsi 1 1 5

MM-Clav1 1 4

Celesta1 1 31

Glocken1 1 23

MusicBx1 1 5

DX-Vibe1 1 27

DX-Mrmb1 1 7

DX-Xylo1 1 9

Carillon 1 9

DX-Dlcm1 1 10

FullOrgn 1 32 *

PrcOrg 1 1 29 *

RckOrg 1 1 3 *

DXChrch1 1 6

PufOrgn1 1 12 *

DX-Acrd1 1 3 *

DX-Hmnc1 1 3 *

DX-TngAc 1 3

DX-AcGt1 1 14

DX-PkGt1 1 14

DX-JzGt1 1 18

DX-ClGt1 1 9

DX-MtGt1 1 9

DX-ODGt 1 14

Fuzz Gtr 1 1

DX-WdBa1 1 17

DX-FgBa1 1 16

DX-PkBa1 1 16

FrtlsBa1 1 17

RundWund 1 18

DigiBas1 1 16

DX-SyBa1 1 16 *

DX-Bass1 1 17

DX-Vln 1 1 2 *

DX-Vla 1 1 15

DX-Celo1 1 2

DX-Pizz1 1 2

LuteHarp 1 14

DX-Tmpni 1 16

Mid Str1 1 15

WarmStr1 1 15

DX-SySt1 1 15

DX-SySt6 1 2

DX-Cho 1 1 5 *

DX-Cho 6 1 11 *

DX-Trpt1 1 18 *

DX-Trb 1 1 18 *

DX-Tuba1 1 18 *

DX-Horn 1 9

DX-BrSc1 1 22

CS80-Br1 1 23 *

ChorsBrs 1 2

SprnoSax 1 10 *

Alto Sax 1 18 *

TenorSax 1 27 *

Oboe 1 1 3 *

Eng.Horn 1 4 *

Bassoon 1 2

VbrtClar 1 5 *

Piccolo1 1 5

DX-Flt 1 1 16 *

Recordr1 1 5

DX-PnFl1 1 5

Fuhppps! 1 11 *

Whistle1 1 16 *

DX-Ocrn1 1 14 *

DX-Squar 1 2

DXSyLd 1 1 18

CaliopL1 1 16

BrsLead1 1 2

Au Campo 1 2 *

DX-VceLd 1 18

Fifths 1 1 3

LeadLine 1 18

HyperSqr 1 5 *

Film Pad 1 16

BritePad 1 15

DX-ChPd1 1 15 *

BowPad 1 1 5 *

DX-MtPd1 1 6 *

GrngePad 1 15

SweepPd1 1 9 *

FluvPush 1 1

MtalGlkn 1 5

PrdsGlok 1 5

DX-Brit1 1 5

Fmilters 1 11 *

WaterLog 1 16 *

DX-ScFi1 1 6 *

DX-Sitr1 1 8

DX-Banjo 1 8

Shamisn1 1 16

DX-Koto 1 2

DX-Klmb1 1 30 *

DX-BgPip 1 20 *

DX-Fidle 1 2

ScchTone 1 17

HandBel1 1 5

DX-Aggo1 1 8

StlDrum1 1 5

Block 1 18

Janpany 1 16

MM-SDr 1 1 18 *

Appendix

DX-XG/B Voices

NOTE : Empty areas of the columns produce the same sounds as the bank 0 of the XG tone generator.

E : Element number A : Algorithm number B : EG Bias (voices with this effect are marked “*”)

Instrument

Group

Bank Select LSB

Bank Select MSB

Pgm #

(1-128)

Piano 1

Chromatic 9

Percussion 10

Organ 17

Guitar 25

Bass 33

Strings 41

Ensemble 49

Brass 57

Reed 65

Pipe 73

Synth 81

Lead 82

Synth Pad 89

Synth 98

Effects 99

100

101

102

103

104

Ethnic 105

106

107

108

109

110

111

112

Percussive 113

114

115

116

117

119

RatioDob 1 5

SftEPno1 1 5

EP 1970 1 11 *

FulTine1 1 5

HarpsiWr 1 2

ClavComp 1 15

DX-Bel 6 1 5

DrwOrg 6 1 29

PrcOrg 8 1 31

RckOrg 9 1 22

Gtr Box 1 15

DX-SyBa7 1 17

DX-Str 6 1 2

DX-AnSt2 1 2

Maxi Str 1 2

SpaceVox 1 26

Horn Ens 1 20 *

MM-Brss1 1 18

Ensemble 1 9 *

AirBlowr 1 16 *

Vibratrn 1 4

ClaviPad 1 8

SftEPno2 1 5

DX-Road4 1 12

Duke EP 1 5

Harpsi 5 1 5

DX-Clv 2 1 3 *

TmplBel1 1 5

DrwOrg 7 1 29

PrcOrg 9 1 32

RckOrg10 1 32 *

LongNail 1 16

DX-SyBa8 1 5

DX-Str 7 1 2

AgtateMs 1 2 *

SilkHall 1 5

Syn Vox 1 25 *

Fanfare 1 18

MM-Brss2 1 18

Kingdom 1 15 *

DXSyLd 8 1 22

Dspo Pad 1 4

GlockPno 1 3 *

PrcEPno1 1 5

E.Pno 6 1 5

DX-Clv 3 1 18

TmplBel2 1 11

DrwOrg 8 1 32

PrcOrg10 1 31 *

RckOrg11 1 29

Firenze 1 3

DX-Str 8 1 22

SolinePf 1 2

Aftrnoon 1 2

MM-Brss3 1 17

Winwood 1 2

FnerThng 1 11

EBABA

EBA

ModEPno1 1 5 *

E.Pno 7 1 5

ClavExcl 1 17

TmplBel3 1 11

DrwOrg 9 1 29

PrcOrg11 1 31 *

RckOrg12 1 29 *

Folknik 1 18

Soft Bow 1 2

ST.Machn 1 3

Funkrhyt 1 3 *

MnstrPad 1 15

EBA

FulTine2 1 5

BritClv1 1 18

DrwOrg10 1 24 *

PrcOrg12 1 22

SynOrg 2 1 22

RytmPluk 1 17

GntlMind 1 9

MoterDrv 1 2

PowerDrv 1 23

WhaserPd 1 15

EBA

E.Pno 8 1 6

BritClv2 1 4 *

DrwOrg11 1 32 *

PrcOrg13 1 22 *

Gypsy 1 18 *

RahlBrss 1 23 *

BackSuir 1 2

EBA

9999

99 99 99 99 99 99

E.Pno 9 1 5

DX-Clv 4 1 3

DrwOrg12 1 25

PrcOrg14 1 16

UltraDrv 1 2

PsrSweep 1 8

EBA

FrtePno1 1 9

BritPno1 1 7

DXCP-70 1 4

DX-Rgtim 1 15

DX-Road1 1 28

E.Pno 1 1 5

Harpsi 1 1 5

MM-Clav1 1 4

Celesta1 1 31

Glocken1 1 23

MusicBx1 1 5

DX-Vibe1 1 27

DX-Mrmb1 1 7

DX-Xylo1 1 9

Carillon 1 9

DX-Dlcm1 1 10

FullOrgn 1 32 *

PrcOrg 1 1 29 *

RckOrg 1 1 3 *

DXChrch1 1 6

PufOrgn1 1 12 *

DX-Acrd1 1 3 *

DX-Hmnc1 1 3 *

DX-TngAc 1 3

DX-AcGt1 1 14

DX-PkGt1 1 14

DX-JzGt1 1 18

DX-ClGt1 1 9

DX-MtGt1 1 9

DX-ODGt 1 14

Fuzz Gtr 1 1

DX-WdBa1 1 17

DX-FgBa1 1 16

DX-PkBa1 1 16

FrtlsBa1 1 17

RundWund 1 18

DigiBas1 1 16

DX-SyBa1 1 16 *

DX-Bass1 1 17

DX-Vln 1 1 2 *

DX-Vla 1 1 15

DX-Celo1 1 2

DX-Pizz1 1 2

LuteHarp 1 14

DX-Tmpni 1 16

Mid Str1 1 15

WarmStr1 1 15

DX-SySt1 1 15

DX-SySt6 1 2

DX-Cho 1 1 5 *

DX-Cho 6 1 11 *

DX-Trpt1 1 18 *

DX-Trb 1 1 18 *

DX-Tuba1 1 18 *

DX-Horn 1 9

DX-BrSc1 1 22

CS80-Br1 1 23 *

ChorsBrs 1 2

SprnoSax 1 10 *

Alto Sax 1 18 *

TenorSax 1 27 *

Oboe 1 1 3 *

Eng.Horn 1 4 *

Bassoon 1 2

VbrtClar 1 5 *

Piccolo1 1 5

DX-Flt 1 1 16 *

Recordr1 1 5

DX-PnFl1 1 5

Fuhppps! 1 11 *

Whistle1 1 16 *

DX-Ocrn1 1 14 *

DX-Squar 1 2

DXSyLd 1 1 18

CaliopL1 1 16

BrsLead1 1 2

Au Campo 1 2 *

DX-VceLd 1 18

Fifths 1 1 3

LeadLine 1 18

HyperSqr 1 5 *

Film Pad 1 16

BritePad 1 15

DX-ChPd1 1 15 *

BowPad 1 1 5 *

DX-MtPd1 1 6 *

GrngePad 1 15

SweepPd1 1 9 *

FluvPush 1 1

MtalGlkn 1 5

PrdsGlok 1 5

DX-Brit1 1 5

Fmilters 1 11 *

WaterLog 1 16 *

DX-ScFi1 1 6 *

DX-Sitr1 1 8

DX-Banjo 1 8

Shamisn1 1 16

DX-Koto 1 2

DX-Klmb1 1 30 *

DX-BgPip 1 20 *

DX-Fidle 1 2

ScchTone 1 17

HandBel1 1 5

DX-Aggo1 1 8

StlDrum1 1 5

Block 1 18

Janpany 1 16

MM-SDr 1 1 18 *

Appendix

NOTE : Empty areas of the columns produce the same sounds as the bank 0 of the XG tone generator.

E : Element number A : Algorithm number B : EG Bias (voices with this effect are marked “*”)

Instrument

Group

Bank Select LSB

Bank Select MSB

Pgm #

(1-128)

Piano 1

Chromatic 9

Percussion 10

Organ 17

Guitar 25

Bass 33

Strings 41

Ensemble 49

Brass 57

Reed 65

Pipe 73

Synth 81

Lead 82

Synth Pad 89

Synth 98

Effects 99

100

101

102

103

104

Ethnic 105

106

107

108

109

110

111

112

Percussive 113

114

115

116

117

119

Juice 1 20

EBA

FrtePno1 1 9

BritPno1 1 7

DXCP-70 1 4

DX-Rgtim 1 15

DX-Road1 1 28

E.Pno 1 1 5

Harpsi 1 1 5

MM-Clav1 1 4

Celesta1 1 31

Glocken1 1 23

MusicBx1 1 5

DX-Vibe1 1 27

DX-Mrmb1 1 7

DX-Xylo1 1 9

Carillon 1 9

DX-Dlcm1 1 10

FullOrgn 1 32 *

PrcOrg 1 1 29 *

RckOrg 1 1 3 *

DXChrch1 1 6

PufOrgn1 1 12 *

DX-Acrd1 1 3 *

DX-Hmnc1 1 3 *

DX-TngAc 1 3

DX-AcGt1 1 14

DX-PkGt1 1 14

DX-JzGt1 1 18

DX-ClGt1 1 9

DX-MtGt1 1 9

DX-ODGt 1 14

Fuzz Gtr 1 1

DX-WdBa1 1 17

DX-FgBa1 1 16

DX-PkBa1 1 16

FrtlsBa1 1 17

RundWund 1 18

DigiBas1 1 16

DX-SyBa1 1 16 *

DX-Bass1 1 17

DX-Vln 1 1 2 *

DX-Vla 1 1 15

DX-Celo1 1 2

DX-Pizz1 1 2

LuteHarp 1 14

DX-Tmpni 1 16

Mid Str1 1 15

WarmStr1 1 15

DX-SySt1 1 15

DX-SySt6 1 2

DX-Cho 1 1 5 *

DX-Cho 6 1 11 *

DX-Trpt1 1 18 *

DX-Trb 1 1 18 *

DX-Tuba1 1 18 *

DX-Horn 1 9

DX-BrSc1 1 22

CS80-Br1 1 23 *

ChorsBrs 1 2

SprnoSax 1 10 *

Alto Sax 1 18 *

TenorSax 1 27 *

Oboe 1 1 3 *

Eng.Horn 1 4 *

Bassoon 1 2

VbrtClar 1 5 *

Piccolo1 1 5

DX-Flt 1 1 16 *

Recordr1 1 5

DX-PnFl1 1 5

Fuhppps! 1 11 *

Whistle1 1 16 *

DX-Ocrn1 1 14 *

DX-Squar 1 2

DXSyLd 1 1 18

CaliopL1 1 16

BrsLead1 1 2

Au Campo 1 2 *

DX-VceLd 1 18

Fifths 1 1 3

LeadLine 1 18

HyperSqr 1 5 *

Film Pad 1 16

BritePad 1 15

DX-ChPd1 1 15 *

BowPad 1 1 5 *

DX-MtPd1 1 6 *

GrngePad 1 15

SweepPd1 1 9 *

FluvPush 1 1

MtalGlkn 1 5

PrdsGlok 1 5

DX-Brit1 1 5

Fmilters 1 11 *

WaterLog 1 16 *

DX-ScFi1 1 6 *

DX-Sitr1 1 8

DX-Banjo 1 8

Shamisn1 1 16

DX-Koto 1 2

DX-Klmb1 1 30 *

DX-BgPip 1 20 *

DX-Fidle 1 2

ScchTone 1 17

HandBel1 1 5

DX-Aggo1 1 8

StlDrum1 1 5

Block 1 18

Janpany 1 16

MM-SDr 1 1 18 *

E.Pno10 1 5

DX-Clv 5 1 16

SynOrg 1 1 28

Ana Poly 1 22

Court 1 22

EBA

99 99

Instrument

Group

Pgm #

(1-128)

Custom 1

BRASS 1 1 22

BRASS 2 1 22

BRASS 3 1 18

STRINGS1 1 2

STRINGS2 1 2

STRINGS3 1 15

ORCHESTR 1 2

PIANO 1 1 19

PIANO 2 1 18

PIANO 3 1 3

E.PIANO1 1 5

GUITAR 1 1 8 *

GUITAR 2 1 16

SYN-LEA1 1 18

BASS 1 1 16

BASS 2 1 17

E.ORGAN1 1 32

PIPES 1 1 19

HARPSIC1 1 5

CLAV 1 1 3

VIBE 1 1 23

MARIMBA 1 7

KOTO 1 2

FLUTE 1 1 16 *

ORCH-CHI 1 5

TUB BELL 1 5

STEEL DR 1 15

TIMPANI 1 16

REFS WHI 1 18

VOICE 1 1 7 *

TRAIN 1 5 *

TAKE OFF 1 10

PIANO 4 1 18

PIANO 5 1 3

E.PIANO2 1 12

E.PIANO3 1 5

E.PIANO4 1 5

PIANO 5T 1 5

CELESTE 1 31

TOY PIAN 1 30 *

HARPSIC2 1 3

HARPSIC3 1 3

CLAV 2 1 4

CLAV 3 1 4

E.ORGAN2 1 29

E.ORGAN3 1 29

E.ORGAN4 1 5

E.ORGAN5 1 29

PIPES 2 1 3

PIPES 3 1 25

PIPES 4 1 6

CALIOPE 1 16

ACCORDIO 1 3

SITAR 1 8

GUITAR 3 1 14

GUITAR 4 1 14

GUITAR 5 1 14

GUITAR 6 1 3

LUTE 1 14

BANJO 1 8

HARP 1 1 3 *

HARP 2 1 3 *

BASS 3 1 17 *

BASS 4 1 17

Bank Select LSB 0

Bank Select MSB 35

Appendix

Custom Voices

NOTE : Empty areas of the columns produce the same sounds as the bank 0 of the XG tone generator.

E : Element number A : Algorithm number B : EG Bias (voices with this effect are marked “*”)

Appendix

No. Name Type Notes

1 EP Layer 1 FM + 1 AWM FM electronic piano layer sound similar to DX1

layer.

2 Doctor DX 1 FM + 1 AWM FM Electronic piano with a bright, sharp edge.

3 Golden Wires 1 FM + 1 AWM Features the metallic ring of electronic piano

oscillators. For use in performance.

4 SuperConga 1 FM The percussion sound of a conga, rich in ex-

pressiveness.

5 Tubular 1 FM + 1 AWM FM tubular bells. Velocity change that can’t be

obtained with FM is added with AWM, giving a

velocity cross fade.

6 New Koto 1 FM Koto sound with an echo effect applied.

7 Cello Edge 1 FM + 1 AWM Cello rich in expressiveness. The edge of the

bow sound is expressed with FM, the natural

cello sound with AWM.

8 Plasticlav 1 FM + 1 AWM A plastic clicking sound is added to a typical

clavier.

9 TX Bass 1 FM A heavy bass sound with good velocity re-

sponse, like the TX81Z sound.

10 Bachsichord 1 FM + 1 AWM Harpsichord nuanced with FM’s crisp keyboard

expression and AWM’s realistic sound.

11 That’s FM 1 FM + 1 AWM A bright, FM-like clavier string sound with lots

of metallic overtones

12 3D Rodes 1 FM + 1 AWM A hard electronic piano with a lively click sound

and phaser effect added.

13 Mr. Clav 1 FM + 1 AWM Clavier featuring FM’s crispness and attack and

AWM’s realistic sound.

14 Snooper Bass 1 FM Bass with a distinct sound that’s good for

hiphop, rap, or dance music.

15 Digicomp 1 FM Crisp FM percussive sound with a discordance

that appears with as velocity increases. Good

for performance.

16 Glasswirl 1 FM Analog-like FM pad sound rich in expressive

power.

17 RealAcoustic 1 FM + 1 AWM Steel string acoustic guitar. The crisply played

feeling comes from FM, while the natural tone

generation comes from AWM.

18 SparkleStabs 1 FM Sparkling percussive pad sound with a slightly

metallic feel. Good for music with a new age

or pop feeling.

19 Zed Bass 1 FM TX81Z type bass featuring metallic string sound

20 CE20 Bass 1 FM FM bass sound like Yamaha’s CE20. Good for

solo or ensemble use.

21 Harpist 1 FM Bright harp with a transparent feeling. More ef-

fective if played with glissando.

22 Steel Cans 1 FM + 1 AWM Realistic steel drum sound.

23 Zambeezi 1 FM + 1 AWM Ethnic sound, like a log drum.

24 Perkethnic 1 FM + 1 AWM Ethnic drum. Noise is added in relation to ve-

locity.

25 Cembalom 1 FM + 1 AWM Bright, sparkling FM cembalon (dulcimer)with

DK type EG.

26 Smackabass 1 FM Heavy FM smack bass with distortion.

27 ClockStrikz1 1 FM + 1 AWM “Big Ben” type bell sound, like TX802 sound.

28 DoubleGlock 1 FM + 1 AWM Dual voice glockenspiel using FM and AWM.

29 Stage 73 1 FM + 1 AWM Electric piano with a compressor applied. Un-

dulates as velocity gets stronger.

30 HandBells 1 FM + 1 AWM FM handbells with realistic AWM effects added.

31 Xylophone 1 FM + 1 AWM Very natural xylophone.

32 Marimboid 1 FM + 1 AWM A realistic marimba

33 Vivaldi 1 FM + 2 AWM Violin created with FM and AWM that can be

used for solo or ensemble. Highlights the crisp-

ness of FM and the realism of AWM.

34 Industrial 1 FM + 1 AWM Industrial bass with a good crisp string sound

in the attack.

35 2 FD 1 FM + 1 AWM FM sound that layers bell and electronic piano,

like a DX7II FD.

36 Cmprsd Strat 1 FM + 1 AWM Lively electric guitar sound combining the crisp-

ness of FM with the realism of AWM.

37 Uprighteous 1 FM + 1 AWM Amplified upright bass with FM supplying the

feeling of strings being hit.

38 Chackawacka 1 FM + 1 AWM Percussion sound heard in Chinatown during

the Chinese New Year. Discordant sounds add

a metallic feeling and string attack as velocity

increases.

39 Woodknocker 1 FM + 1 AWM FM sound with overtones that give a woody

feeling, like a cross between a wood drum and

bass strings.

40 Temple Gongs 1 FM + 1 AWM FM gong. If played lightly, it sounds like a gong

hit lightly with a rubber mallet. Holding the key

makes a metallic sound like brushing the back

of the gong.

41 Kundoon 1 FM + 3 AWM Split sound. The right side of the keyboard

sounds like gongs/wind bells played with a bow,

the left like a dulcimer.

42 GS1-ness 1 FM + 1 AWM Strong metallic comp pad sound based on

Yamaha’s GS1 with deep chorus applied.

43 Ice Breath 1 FM + 1 AWM You can hear the breath sounds in this flute

that has something of a VL feeling to it.

44 Bronze Lead 1 FM + 1 AWM Monotone metallic lead/solo sound.

45 Monster Pad 1 FM + 1 AWM With a dramatic sound just like a movie

soundtrack, this pad really catches the flavor

of FM.

46 Aluminum 1 FM + 1 AWM Strong pad with chiff (organ pipe noise) added

with metallic overtones.

47 Bite-a-Synth 1 FM + 1 AWM Really crisp, metallic FM oscillator sound. Good

for performance or pad use.

48 Tinezzz 1 FM + 2 AWM DX piano layered with a nicely ringing pad and

with chorus applied.

49 Tam-Tam 1 FM + 1 AWM Untuned gong sound. By striking multiple keys

with a lot of spirit, you can get really good ef-

fects.

50 Clickorgan 1 FM + 1 AWM An organ sound with heavy plastic click in the

attack.

51 FreshSection 1 FM + 3 AWM Fresh sax section. Play it crisply.

52 Ascension 1 FM + 2 AWM Sounds like a magic spell being cast.

53 Better Days 1 FM + 2 AWM Makes an eerie noise. Play one note at a time.

54 Touch me!! 1 FM + 1 AWM That stereo feeling just shines (old electronic

mandolin sound).

55 Blue Mirror 1 FM + 3 AWM Quivering bell sound.

FlameSwaying

1 FM + 3 AWM Swaying sound of the harp.

57 Spring Bass 1 FM + 3 AWM Synth bass with a hard attack.

58 Vintage Game 1 FM + 3 AWM The so-called electronic sound.

59 From a Home 1 FM + 3 AWM The old family organ has gone hi-fi.

60 Danger Caves 1 FM + 3 AWM Play it from below-as dark as can be.

Afternoon Jam

1 FM + 3 AWM Guitar and vibraphone played in unison.

62 HappyEnd 1 FM + 2 AWM An old organ. Play it dramatically.

Fantasy Songs

1 FM + 3 AWM A perfect voice for playing Disney songs.

64 Relax Square 1 FM + 3 AWM Synth chorus voice.

65 Coriander 1 FM + 3 AWM Well-matched voice for ethnic songs.

66 Drive Bass 1 FM + 3 AWM Synth bass with a special attack.

67 LoFi Clavi 1 FM + 2 AWM Voice like a 70’s distorted clavier.

68 ColdWater-DX 1 FM + 3 AWM A voice with refreshing DX clarity.

69 HiSpeedBrass 1 FM + 3 AWM Live brass section with a stereo feeling.

70 Ambient Park 1 FM + 3 AWM Soft Pad.

71 Picked CP 1 FM + 2 AWM Electric piano that sounds like an electric grand

played with a pick.

72 Sand Pad 1 FM + 2 AWM Warm synth pad with layered DX strings and

chorus.

73 DX-Brass1 1 FM + 2 AWM Brass that emphasizes the hard attack of the

trumpet.

74 DX-Brass2 1 FM + 1 AWM Brass with the unique tension of the DX7.

75 Plucked Wow 1 FM DX clavinet with auto-wow applied.

76 Plucked EP 1 FM + 2 AWM Electric piano that sounds like a harp.

77 Brass Pad 1 FM + 1 AWM Analog synth style brass pad.

78 Octave Decay 1 FM Hard decay sound.

79 Slap Bass 1 FM + 1 AWM Slap bass as only the DX7 can do it.

80 Ethnic Groove 1 FM + 1 AWM Ethnic synth drum.

81 Thai Noodles 1 FM + 1 AWM A lead voice that makes you want to eat Thai

noodles.

82 ElectrcNylon 1 FM + 1 AWM A nylon guitar played though a pick-up.

83 DX Martenot 1 FM Martenot style voice that’s classic for suspense.

84 CP80M+DX Ep 1 FM + 1 AWM Voice with layered CP80M and DX electric pi-

ano.

85 Viscous Bass 1 FM + 1 AWM Gluey synth bass sound.

86 Woody Plucked 1 FM + 1 AWM Plucked sound with a woody feel.

87 Arco Strings 1 FM + 1 AWM String section played with bows.

88 Matrix 1 FM + 1 AWM Thick synth brass pad.

89 PanFlute 1 FM + 2 AWM Pan flute

90 DigiMute 1 FM + 1 AWM DX-like mute.

91 DigiSlap 1 FM + 1 AWM Hard synth bass.

92 SuperDX 1 FM + 1 AWM Hard slap bass style lead.

93 Friction 1 FM + 2 AWM Brass pad with a hard friction feel.

94 Comped EP 1 FM + 2 AWM Percussive electric piano.

95 Clean Guitar 1 FM + 1 AWM Electric guitar played with a guitar amp that has

chorus.

96 Mandolin 1 FM + 1 AWM Mandolin that brings back memories of good

old movies.

97 Reed-Lead 1 FM + 1 AWM Digital sax-style lead

98 BigBang 1 FM + 2 AWM SE-type pad that has an attack with a lot of

violent modulation.

99 DX-Bang! 1 FM + 2 AWM SE-type pad that has an attack with a lot of

violent modulation.

100 OrinocoDecay 1 FM + 2 AWM Sound for arpeggio with an attack like a ma-

rimba, and like a guitar used with orinoco flow.

Performance List

Appendix

1. Channel messages

1.1 Note on/note off

These messages convey keyboard performance data.

Range of note numbers received = C-2...G8

Velocity range = 1...127 (Velocity is received only for

note-on)

When the Multi Part parameter “Rcv NOTE MESSAGE” = OFF, that part

will not receive these messages.

1.2 Control changes

These messages convey control operation information for volume or pan etc.

Their functions are differentiated by the control number (Ctrl#).

If the Multi Part parameter Rcv CONTROL CHANGE = OFF, that part will not

receive control changes.

1.2.1 Bank Select

This message selects the voice bank.

Control# Parameter Data Range

0 Bank Select MSB 0...127

32 Bank Select LSB 0...127

The Bank Select data will be processed only after a Program Change is received,

and then voice bank will change at that time. If you wish to change the voice

bank as well as the voice, you must transmit Bank Select and Program Change

messages as a set, in the following order: Bank Select MSB, LSB, and Program

Change.

1.2.2 Modulation

This message is used primarily to control the depth of vibrato, but the depth of

the following 5 types of effect can be controlled. The effect of this message can

be changed by the following parameters.

* Multi Part Parameter

l. MW PITCH CONTROL

2. MW FILTER CONTROL

3. MW AMPLITUDE CONTROL

4. MW LFO PMOD DEPTH

5. MW LFO AMOD DEPTH

By default, an LFO Pitch Modulation (PMOD) effect will apply.

Control# Parameter Data Range

1 Modulation 0...127

If the Multi Part parameter Rcv MODULATION = OFF, that part will not

receive Modulation.

1.2.3 Portamento Time

This message controls the degree of Portamento (see 1.2.9).

Control# Parameter Data Range

5 Portamento Time 0...127

When Portamento is ON, this regulates the speed of the pitch change. A value of

0 is the shortest Portamento time, and 127 is the longest Portamento time.

1.2.4 Data Entry

This message sets the value of the parameter which was specified by RPN (see

1.2.17) and NRPN (see 1.2.16).

Control# Parameter Data Range

6 Data Entry MSB 0...127

38 Data Entry LSB 0...127

1.2.5 Main Volume

This message controls the volume of each part. (It is used to adjust the volume

balance between parts.)

Control# Parameter Data Range

7 Main Volume 0...127

When the Multi Part parameter Rcv VOLUME = OFF, that part will not re-

ceive Main Volume. With a value of 0 there will be no sound, and a value of

127 will produce the maximum volume.

1.2.6 Panpot

This message controls the panning (stereo location) of each part.

Control# Parameter Data Range

10 Pan 0...64...127

When the Multi Part parameter Rcv PAN = OFF, that part will not receive

Panpot. 0 is left, 64 is center, and 127 is right.

1.2.7 Expression

This message controls expression for each part. It is used to create volume changes

during a song.

Control# Parameter Data Range

1l Expression 0...127

If the Multi Part parameter Rcv EXPRESSION = OFF, that part will not

receive Expression.

1.2.8 Holdl

This message controls sustain pedal on/off.

Control# Parameter Data Range

64 Hold1 0...63, 64...127

(OFF, ON)

When this is ON, currently-sounding notes will continue to sound even if note-

off messages are received. If the Multi Part parameter Rcv HOLD1 = OFF,

that part will not receive Holdl.

1.2.9 Portamento

This message controls Portamento pedal on/off.

Control# Parameter Data Range

65 Portamento 0...63, 64...127

(OFF, ON)

When ON, Portamento produces a smooth glide connecting two notes of differ-

ent pitch. The time over which the pitch changes is adjusted by Portamento

Time (see 1.2.3). When the Multi Part Parameter MONO/POLY MODE = MONO,

the tone will also change smoothly (legato) if Portamento = ON.

If the Multi Part parameter Rcv PORTAMENTO = OFF, that part will not

receive Portamento.

* Rcv PORTAMENTO = OFF

1.2.10 Sostenuto

This message controls sostenuto pedal on/off.

Control# Parameter Data Range

66 Sostenuto 0...63,64... 127

(OFF, ON)

If sostenuto is turned on while a note is sounding, that note will be sustained

until sostenuto is turned OFF.

If the Multi Part parameter Rcv SOSTENUTO = OFF, that part will not

receive Sostenuto.

1.2.11 Harmonic Content

This message adjusts the resonance of the filter that is specified for the sound.

Control# Parameter Data Range

71 Harmonic Content 0...64...127

(-64...0...+63)

Since this is a relative change parameter, it specifies an increase or decrease

relative to 64. Higher values will produce a more distinctive sound.

For some sounds, the effective range may be less than the possible range of

settings.

1.2.12 Release Time

This message adjusts the EG release time that was specified by the sound data.

Control# Parameter Data Range

72 Release Time 0...64... 127

(-64...0...+63)

Since this is a relative change parameter, it specifies an increase or decrease

relative to 64. Increasing this value will lengthen the release time that follows a

note-off.

1.2.13 Attack Time

This message adjusts the EG attack time that was specified by the sound data.

Control# Parameter Data Range

73 Attack Time 0...64... 127

(-64...0...+63)

Since this is a relative change parameter, it specifies an increase or decrease

relative to 64. Increasing this value will make the attack more gradual, and de-

creasing this value will make the attack sharper.

1.2.14 Brightness

This message adjusts the cutoff frequency of the low pass filter specified by the

sound data.

Control# Parameter Data Range

74 Brightness 0...64...127

(-64...0...+63)

Since this is a relative change parameter, it specifies an increase or decrease

relative to 64. Lower values will produce a more mellow sound.

For some sounds, the effective range may be less than the possible range of

settings.

1.2.15 Data Increment/Decrement (for RPN)

This message is used to increment or decrement values for parameters specified

by RPN (see 1.2.17), in steps of 1.

Control# Parameter Data Range

96 RPN Increment —

97 RPN Decrement —

The data byte is ignored.

MIDI Data Format

Appendix

1.2.16 NRPN (Non-registered parameter number)

This is a message for setting the sound for things like vibrato, filter or EG. Use

NRPN MSB and NRPN LSB to specify the parameter that you wish to modify,

and then use Data Entry (see 1.2.4) to set the value for the specified parameter.

Control# Parameter Data Range

98 NRPN LSB 0...127

99 NPRN MSB 0...127

If the Multi Part parameter Rcv NRPN = OFF, that part will not receive

NRPN.

The following NRPN messages can be received.

The AC1 control change number is specified by the Multi Part parameter ACl

CONTROLLER NUMBER, and the AC2 control change number is specified

by the Multi Part parameter AC2 CONTROLLER NUMBER.

1.3 Channel mode messages

These messages specify the basic operation of a part.

1.3.1 All Sound Off

This message silences all notes being played on the corresponding channel.

However, channel messages such as Note-on and Hold-on will be maintained in

their present state.

Control# Parameter Data Range

120 All Sound Off 0

1.3.2 Reset All Controllers

This message changes the settings of the following controllers.

Controller Value

Pitch bend change ±0 (Center)

Channel pressure 0 (OFF)

Polyphonic key pressure 0 (OFF)

Modulation 0 (OFF)

Expression 127 (Max.)

Hold 0 (OFF)

Portamento 0 (OFF)

Sostenuto 0 (OFF)

RPN Number unset, internal data is not affected.

NRPN Number unset, internal data is not affected.

The following data is not changed

Parameter values specified for program change, bank select MSB/LSB, vol-

ume, pan, effect send levels 1, 3, 4, RPN and NRPN.

Control# Parameter Data Range

121

Reset All Controllers

1.3.3 All Note Off

This message turns off all notes which are currently on for the corresponding

part.

However, if Hold 1 or Sostenuto are on, notes will continue to sound until these

are turned off.

Control# Parameter Data Range

123 All Note Off 0

1.3.4 Omni Off

Works the same as when All Note Off is received.

Control# Parameter Data Range

124 Omni Off 0

1.3.5 Omni On

Works the same as when All Note Off is received.

Control# Parameter Data Range

125 Omni On 0

1.3.6 Mono

Works the same as when All Sound Off is received, and if the value (mono

number) is in the range of 0... 16, sets the corresponding channel to Mode4*

(m = 1).

Control# Parameter Data Range

126 Mono 0 ... 16

* Mode4 is a state in which only channel messages on the specified channel will

be received, and notes will be played individually (monophonically).

1.3.7 Poly

Works the same as when All Sound Off is received, and sets the corresponding

channel to Mode3*.

Control# Parameter Data Range

127 Poly 0

*Mode3 is when channel messages will be received only on the specified chan-

nel, and notes will be sounded polyphonically.

1.4 Program change

This message is used to switch voices.

It changes the program number on the receiving channel. When the change is to

include the voice bank, transmit the program change after sending the Bank

Select message (see 1.2.1).

If the Multi Part parameter Rcv PROGRAM CHANGE = OFF, that part will not

receive program changes.

1.5 Pitch bend

This message conveys information on pitch bend operations.

Basically, this message is for changing the pitch of a part, but the depth of the

following five effects can be controlled.

The effect of this message can be modified by the following parameters.

*1 See 1.2.4

*2 “–” means that the set value will be ignored.

*3 Adjusts the time after the note is played until vibrato begins to take effect.

The effect will begin more quickly for lower values, and more slowly for higher

values.

1.2.17 RPN (Registered parameter number)

This message is used to specify part parameters such as Pitch Bend Sensitivity

or Tuning. Use RPN MSB and RPN LSB to specify the parameter that you wish

to modify, and then use Data Entry (see 1.2.4) to set the value of the specified

parameter.

Control# Parameter Data Range

100 RPN LSB 0 ... 127

101 RPN MSB 0 ... 127

If the Multi Part parameter Rcv RPN = OFF, that part will not receive this

message.

The following RPN messages can be received.

*1 Refer to 1.2.4

*2 “–” means that the set value will be ignored.

1.2.18 Assignable controller

By assigning a control change number of 0...95 to a part, application of ef-

fects can be controlled. This device allows two control change numbers (AC1

and AC2) to be specified for each part.

The following parameters specify the effect of AC1 and AC2:

* Multi Part Parameter

1. AC1, AC2 PITCH CONTROL

2. AC1, AC2 FILTER CONTROL

3. AC1, AC2 AMPLITUDE CONTROL

4. AC1, AC2 LFO PMOD DEPTH

5. AC1, AC2 LFO AMOD DEPTH

RPN Data Entry *1 Parameter name and value range

MSB LSB MSB LSB

00 00H mm —*2 Pitch bend sensitivity

mm: 00-18H (0...+24 semitones)

Specify up to 2 octaves in semitone steps

00 01H mm ll Fine tuning

mm ll: 00H 00H -100 cents

mm 11: 40H 00H 0 cents

mm ll: 7FH 7FH +100 cents

Note: The next after mm 11: 00H 7FH (= -87.5) cent

is 01H 00H (-87.4) cents.

00H 02H mm — Coarse tuning

mm: 28H - 40H - 58H (-24...0...+24

semitones)

7FH 7FH — — RPN Null

This empties settings from RPN and NRPN numbers.

Internal data is not affected.

NRPN Data Entry*1 Parameter Name and Data Range

MSB LSB MSB LSB

01H 08H mm — *2 Vibrato rate