Yamaha PLG150-VL de handleiding

Merk: Yamaha

Model: PLG150-VL

Categorie: Digitale piano's

Type: de handleiding

Deze handleiding is ook geschikt voor

PLG150

Precautions

●

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

excessive 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 inside

area of the circuit board or apply excessive pressure 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

computer.

●

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.

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

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.

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 Divi-

sion, 6600 Orangethorpe Ave, Buena Park, CA 90620

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

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.

Congratulations and thank you for purchasing the Yamaha PLG150-DX Advanced DX/TX Plug-

in Board!

The PLG150-DX features the same 6-operator FM tone generation system that powered the

famous DX-series synthesizers. The PLG150-DX can be installed to and integrated with instru-

ments of the Modular Synthesis Plug-in System (such as the CS6x, CS6R, S80, etc.) It can

also be used seamlessly with the MU128 Tone Generator (as well as other MU-series instru-

ments and the SW1000XG PCI Audio/MIDI Board). Once it’s installed, the PLG150-DX puts

the dynamic and ﬂexible sound of FM synthesis right at your ﬁngertips, with a total 912 DX-

series voices.

The settings and parameters of the PLG150-DX can also be conveniently edited via MIDI with a

Windows PC computer by using the DX Easy Editor and DX Simulator software modules

(included in the XGworks Music Sequencer software).

To install your PLG150-DX correctly and to ensure full enjoyment of its sophisticated functions,

be sure to read this manual very carefully. When ﬁnished, keep the manual in a secure and

convenient place for future reference.

Table of Contents

Overview of the PLG150-DX

.....................................4

FM Tone Generation

...................................................6

Operators..............................................................6

Combinations of Two Operators...........................7

Carrier and Modulator...........................................8

Harmonics ............................................................9

Algorithms...........................................................10

Feedback............................................................11

Voice Editing Essentials.....................................12

Memory Buffer Structure

......................................14

Specifications

............................................................15

About the Included CD-ROM and Floppy Disk

.......16

Installing the PLG150-DX

.........................................18

Included Items

...........................................................18

Required and Recommended Items

.......................18

Synthesizer/Tone Generator/

Sound Card Compatible with the Modular

Synthesis or XG Plug-in Systems..................18

XGworks or XGworks lite

Music Sequencing Software..........................19

DX Easy Editor...................................................19

DX Simulator ......................................................19

Installing and Starting the Plug-in

Editor Software (Windows 95/98)

...................20

Installing the Software........................................20

Starting the DX Easy Editor................................20

Starting the DX Simulator...................................21

Selecting DX Voices

(Modular Synthesis Plug-in System)

................ 22

Enabling and Selecting DX Voices .................... 22

Editing the DX Native Part Parameters

(Modular Synthesis Plug-in System)

................ 23

Selecting/Editing the DX System Parameters

(Modular Synthesis Plug-in System)

................ 24

Selecting DX Voices (XG Plug-in System)

............ 25

Enabling and Selecting DX Voices .................... 25

Editing the DX Native Part Parameters

(XG Plug-in System)

............................................. 27

Selecting/Editing the DX System Parameters

(XG Plug-in System)

............................................. 28

Parameters

.............................................................. 29

DX Native Part Parameters................................ 29

DX System Parameters ..................................... 32

Appendix

.................................................................... 34

Chart of Algorithms

............................................. 34

Voice List

............................................................... 36

DX Parameter List

(XG / Modular Synthesis Plug-in System)

.... 46

MIDI Data Format

.................................................. 47

When Your PLG150-DX

Seems to Have a Problem

............................... 57

MIDI Implementation Chart

................................. 60

Overview of the PLG150-DX

■

FM Synthesis

The PLG150-DX employs the same FM tone generation system — with 6 operators and 32 algo-

rithms — as made famous by the popular DX-series synthesizers.

■

912 Preset Voices

Built right into the PLG150-DX is a huge total of 912 DX voices. From conventional instrument

sounds such as electric piano and bass to wild and unusual sound effects, the PLG150-DX gives you

the full range of voices that made the DX-series instruments famous.

■

16-note Polyphony

The PLG150-DX features a maximum polyphony of 16 notes, the same as on the DX7 and DX7II.

However, unlike with those instruments, you can install multiple PLG150-DX boards (up to a maxi-

mum of eight) for a total polyphony of 128 notes. For example, when three PLG150-DX boards are

installed to a MU128 tone generator, the maximum polyphony becomes 48 voices.

■

Voice Data Transfer

Since the PLG150-DX is compatible with the DX-series instruments, voice data can be transferred

between the plug-in board and the DX7 or DX7II. This allows you to use those instruments (or com-

patible editing software) to edit and create voices, which can then be transferred to the PLG150-DX.

The PLG150-DX is also compatible with voice parameters for the DX1, DX7S, TF1 modules (such as

for the TX816), TX7, and the TX802.

Some voices on the compatible devices mentioned above may sound slightly different when played on

the PLG150-DX.

■

Built-in Filters and Equalizer

The PLG150-DX gives you additional sound-shaping power with built-in low pass and high pass ﬁl-

ters, plus a two-band equalizer. You can use these together with other FM voice parameters to create

your own original voices.

Overview of the PLG150-DX

About the Modular Synthesis Plug-in System

The Yamaha Modular Synthesis Plug-in System offers powerful expansion and upgrade capabil-

ities for Modular Synthesis-Plug-in-compatible synthesizers, tone generators and sound cards.

This enables you to easily and effectively take advantage of the latest and most sophisticated

synthesizer and effects technology, allowing you to keep pace with the rapid and multi-faceted

advances in modern music production.

About the XG Plug-in System

The Yamaha XG Plug-in System offers powerful expansion and upgrade capabilities for XG-

Plug-in-compatible tone generators and sound cards. This enables you to easily and effectively

take advantage of the latest and most sophisticated synthesizer and effects technology, allowing

you to keep pace with the rapid and multi-faceted advances in modern music production.

FM Tone Generation

Before actually editing the PLG150-DX voices, let’s get an idea of how the FM tone generator works.

Operators

In the PLG150-DX, there are six special devices called “operators” that generate sine waves. A sine

wave is the fundamental wave of a note, with absolutely no overtones or harmonics added. These six

operators are combined in various ways to make up the different voices produced by the PLG150-DX.

The operators can be used to freely change two different aspects of the sound:

(1) The frequency (pitch) of the generated sine wave.

(2) The amplitude (volume or output level) of the generated sine wave.

The frequency of the

sine wave is changed.

The amplitude of the

sine wave is changed.

This results in the pitch

becoming higher or

lower.

This results in the volume

becoming higher or lower.

Operator Operator

FM Tone Generation

Combinations of Two Operators

Although the six operators can be combined in a wide variety of ways for many different sounds, here

we’ll look at the fundamental combinations of just two operators, to help you understand the basics of

FM synthesis.

Two sine wave operators (labelled “A” and “B” here) can be combined in one of two ways: horizon-

tally or vertically.

(1) Horizontal Combination

When the two operators are combined horizontally, the sounds of the two are simply mixed together.

This combining of two or more different sounds is called additive synthesis.

(2) Vertical Combination

When the two operators are combined vertically, the sound of the top operator (B) “modulates” that of

the lower operator (A). In this situation, operator B produces no sound, but alters the sound of opera-

tor A, producing a sound of greater harmonic complexity. This “stacking” of operators is called Fre-

quency Modulation (FM) synthesis.

To sum it up, when two operators are combined horizontally, both operators generate the sound; when

combined vertically, one operator changes the sound, the other produces it.

A B

Mixed sound of A and B

Operator B changes or modulates the sound

of A (but produces no sound itself).

Operator A produces the actual sound, as

modulated by B.

FM Tone Generation

Carrier and Modulator

In FM tone generation, each of the six operators functions as either a carrier or a modulator. The

operator doing the modulation is called the modulator; the one being modulated and delivering the

actual sound is called the carrier. Referring back to “Vertical Combination” on the previous page,

operator A is the carrier and operator B is the modulator.

Let’s take a look at some more complex conﬁgurations, in which three or more operators are used.

Keep in mind that the modulator/carrier function is the same in all examples.

●

In ﬁg. 1, all operators are combined horizontally and there are no modulators, only carriers. With-

out modulation, all carriers output simple sine waves.

●

In ﬁg. 2, three operators are stacked vertically, and only the lowest is a carrier. The top operator

modulates the middle one, which in turn modulates the carrier at the bottom. This results in a com-

plex waveform, with many harmonics or overtones. (An explanation of harmonics follows on the

next page.)

●

In ﬁg. 3, there are two carriers and one modulator. The sole carrier on the right produces a simple

sine wave, while the modulator/carrier pair on the left produce a more complex waveform with

added harmonics. The actual sound is a mix of the two carriers.

●

In ﬁg. 4, two modulators are used change the sound of a single carrier. Using two modulators pro-

duces an even more complex sound than is possible with one, with a greater amount of harmonics.

●

In ﬁg. 5, there are two modulator/carrier pairs, each generating a complex sound with many har-

monics. As with the operators in ﬁg. 3, the actual sound is a mix of the two carriers.

C C C

M M

C C

“C” Carrier

“M” Modulator

fig. 1

fig. 5

fig. 2

fig. 3 fig. 4

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 harmonics or over-

tones.

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 funda-

mental tone being one, followed by the second harmonic, third harmonic 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 accord-

ing 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 “fat,” warm sound.

Harmonics

Level

Waveform

Time

Natural Harmonic Series

(when C1 is the fundamental tone)

Eighth Harmonic

Seventh Harmonic

Sixth Harmonic

Fifth Harmonic

Fourth Harmonic

Third Harmonic

Second Harmonic

Fundamental

Fourth Harmonic

Third Harmonic

Second Harmonic

Fundamental

Harmonics

Level

Fundamental Wave

Second Harmonic

Third Harmonic

Frequency

Harmonic

Fundamental and

Harmonics (graph)

FM Tone Generation

Algorithms

Although two operators can be combined in only two different ways, six operators can be conﬁgured

in a wide variety of combinations. These combinations are called “algorithms.” Just as on the origi-

nal DX7, the PLG150-DX features 32 different algorithms, giving you different levels of harmonic

complexity for various applications.

Since the function of any given operator depends on the particular algorithm, you should check a

voice’s algorithm carefully while editing the voice. For a chart showing all 32 algorithms, see page

34. Each operator in the algorithm is numbered to distinguish it from the others in editing.

Let’s take a look at algorithm 28 as an example. The various operators function as follows:

Operator 1.............Carrier; is modulated by Operator 2, and outputs the resulting sound.

Operator 2.............Modulator; modulates Operator 1.

Operator 3.............Carrier; is modulated by Operator 4, and outputs the resulting sound.

Operator 4.............Modulator; modulates Operator 3.

Operator 5.............Modulator; modulates itself with a feedback loop, and modulates

Operator 4.

Operator 6.............Carrier; outputs a sine wave.

2 4

1 3 6

Algorithm 28

Feedback loop

(see next section)

FM Tone Generation

Feedback

Each algorithm has a special feedback loop, programmed to a ﬁxed location in the algorithm. With

feedback, a modulator’s output is connected to its own input, so that it modulates itself. This can be

used to increase the harmonic content of the sound, making it more rich and complex. When set to a

high level, feedback can generate noise effects — making it useful for percussive voices, metallic

sounds, and distortion effects.

Some algorithms feature a feedback loop that takes in two or three operators as a group. One such

example is algorithm 4 shown below, in which the output of operator 4 is returned to the input of

operator 6, thus modulating the entire stack. This provides even greater possibilities for tonal varia-

tion and richness.

Algorithm 4

Feedback loop

FM Tone Generation

Voice Editing Essentials

There are four main elements that determine the character of a voice:

(1) Each operator’s output level.

(2) Each operator’s frequency.

(3) The feedback level.

(4) Each operator’s envelope generator (EG).

(1) Operator Output Level

The output levels of the operators are the most important parameters in editing a voice. Among these,

the output level of the modulator(s) has the greatest effect on the timbre or tonal quality of the voice.

If a modulator’s output level is set to “0” so that it does not modulate the carrier, the resulting output

of the carrier will be a simple sine wave (below). Increasing the output of the modulator increases the

degree of modulation and, hence, the amount of harmonics in the sound. Generally, the greater the

modulator’s output, the brighter the sound will be. Extremely high values result in a harsh, noisy

sound.

Since the carrier actually produces the sound, increasing the output level of a carrier increases the vol-

ume of the sound. If there are two or more carriers, changing the output level of individual carriers

may also affect the timbre of the sound, since the volume balance of the different carriers is changed.

(2) Operator Output Frequency

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 com-

bined 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.

The output level is

greatly increased.

The output level is

increased slightly.

Output Level = 0

Sine wave The waveform changes

slightly.

The waveform changes a lot.

Modulator

Carrier

FM Tone Generation

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

becomes 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 wood-

wind voices for like clarinet and oboe.

Furthermore, if “F FINE” is set 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.

(3) Feedback Level

As we saw earlier, feedback is a function in which a modulator’s output is connected to its own input,

so that it modulates itself. Increasing the feedback level increases the harmonic content of the sound,

making it brighter and complex. Keep in mind that the total effect also depends on the output level of

the feedback-applied operator; if that operator’s output level is set to “0,” feedback level will have no

affect on the sound.

(4) EG (Envelope Generator)

The EG (Envelope Generator) parameters allow you to shape the sound of the voice. In other words,

these determine how the level of the voice changes over time, from when a key on the keyboard is

played until it is released and the sound dies out.

The EG parameters let you reproduce the sound of acoustic instruments, and their natural patterns of

attack, sustain and decay. For example, the sound of a piano has a very sharp attack and a moderately

long sustain: The sound gets loud the instant a key is played, and gradually fades away as the key is

held. The tone or timbre of the sound also changes in time, with the sound starting out very bright and

gradually growing warmer and softer (as the harmonics start to fade).

Since each operator has its own EG, the PLG150-DX gives you comprehensive and dynamic control

over both the volume and timbre of the voice, letting you accurately reproduce these natural acoustic

effects. The carrier EGs affect the volume of the sound over time, while the modulator EGs affect the

timbre.

Frequency

ratio 1:2

Frequency

ratio 1:1

Sawtooth wave Rectangular wave

Modulator

Carrier

Memory Buffer Structure

The diagram below shows the memory buffer conﬁguration of the PLG150-DX.

When editing the voices (using the DX Simulator), only the User voices can be fully edited; Pre-

set voices can be edited only as far as the XG and DX Native Part parameters.

When Using the User voices:

• When a DX voice is selected from one of the User voices, the DX voice’s settings for the following

parameters take precedence over the corresponding settings.

XG Native Part Parameters

Mono/Poly Mode

Pitch Bend Control

Portamento Switch

Portamento Time

PLG150-DX Native Part Parameters

Pitch Bend Step

Portamento Step

Portamento Mode

In other words, the settings of these XG Part parameters (on an MU128, etc.) are replaced by those

of the selected DX voice. Naturally, once the voice is selected, the Part parameter values can then

be changed from the panel of the XG-compatible “mother” device (MU128, etc.). The XG Native

Part parameters can also be changed by appropriate parameter change messages.

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

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

User Voices

(64 Voices)

Preset Memory

(912 Voices)

Voice Edit Buffer

Edit Recall Buffer

Compare

Edit Recall

Store

Recall

Speciﬁcations

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 PLG150-DX has no ﬁlter functions)

Interface : Plug-in connector

Number of Voices : 912 preset voices, 64 user 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, Uni-

son detune, AMS, Random pitch, Poly/Mono, Unison Sw, Pitch bend

range, step, Portamento mode, step, time)

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

Weight : 63g

Included Items : Owner’s Manual, CD-ROM × 1

* Speciﬁcations subject to change without notice.

About the Included CD-ROM and Floppy Disk

On the included CD-ROM, you’ll ﬁnd special editing software for the PLG150-DX. The included

ﬂoppy disk contains demonstration songs as well as Voice/Performance data for the “mother” device.

To use the editing software and transfer the song/Voice/Performance data to your particular “mother”

device, you should have a computer (running Windows 95/98) with a MIDI interface, with the MIDI

OUT on the interface connected to the MIDI IN of the “mother” device. You should also have

XGworks (v3.0 or higher) or XGworks lite installed to your computer; this is necessary to use the

editing software (page 19). In order to use the editing software, insert the CD-ROM into the com-

puter and start the installation.

For playing back the demonstration songs and transferring the Voice/Performance data, you can use

any compatible sequence software (such as XGworks/XGworks lite) or hardware sequencer capa-

ble of sending bulk data.

The included CD-ROM contains the following software:

■ DX Easy Editor (page 19)

■ DX Simulator (page 19)

The included ﬂoppy disk contains the following software:

■ Demonstration Songs

“Many Colors of the DX7 system” (02Colors.MID)

By: Hirohiko Fukuda of Shofuku

For: Modular Synthesis Plug-in System devices (CS6x, etc.)

One of the strongest points of FM Synthesis is its ability to create complex overtones in real time. In this

song, system exclusive messages are used, in addition to velocity, to directly control the output of the

modulators. This creates an even greater variety of sound changes — allowing complex sound shaping

that just isn’t possible through wave sampling and conventional ﬁlter systems.

“The Soul Of DX” (12SoulDX.MID)

By: Minoru Mukaiya of Casiopea

For: XG Plug-in System devices (MU128, etc.)

This powerful song uses the crystal-clear sound of the DX7 with techno drums, and combines the XG

and DX systems to produce an extraordinarily dynamic sound.

“Ie Kia Bara Hein” (12IeKia.MID)

By: Noritaka Ubukata of Shofuku

For: XG Plug-in System devices (MU128, etc.)

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” (12Voice.MID)

By: Noritaka Ubukata of Shofuku

For: XG Plug-in System devices (MU128, etc.)

Starting with an electric piano sound, this song features a variety of popular voices used with the original

DX7. The changes in velocity produce subtle variations in the sound that cannot be accomplished with

sampling. Another special feature is the FM choir (starting around measure 43). You may want to try

mix this sound with an actual human voice or choir — for example, by using the data in track 1 to also

play a connected sampler — you can get a much more dynamic and realistic choir sound.

“Vel&EffectWorks1” (12V_EfW1.MID)

“Vel&EffectWorks2” (12V_EfW2.MID)

“DX Short Demo” (12ShtDM.MID)

By: Yasuhiko Fukuda of Shofuku

For: XG Plug-in System devices (MU128, etc.)

These songs showcase the unique ability of FM Synthesis to use velocity to produce dramatic changes in

the sound.

About the Included CD-ROM and Floppy Disk

“80’s Pops” (12Pop80.MID)

By: Katsumi Nagae of Idecs Inc.

For: XG Plug-in System devices (MU128, etc.)

This song recalls the pop scene of the 80’s with synth pads and a variety of crisp and bright metallic

sounds.

“D-Rock” (12DRock.MID)

By: Katsumi Nagae of Idecs Inc.

For: XG Plug-in System devices (MU128, etc.)

This song brings back the digital rock sound and features various digital noise and FM sound effects that

are only possible with the DX.

“EP Ballade” (12Ep.MID)

By: Katsumi Nagae of Idecs Inc.

For: XG Plug-in System devices (MU128, etc.)

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.

“House” (12House.MID)

By: Katsumi Nagae of Idecs Inc.

For: XG Plug-in System devices (MU128, etc.)

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” (12Jungle.MID)

By: Katsumi Nagae of Idecs Inc.

For: XG Plug-in System devices (MU128, etc.)

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

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

If no sounds are played, or if you experience other problems with playback, see Appendix “When Your

PLG150-DX Seems to Have a Problem.”

■ Plug-in Voice Data for the CS6x/CS6R/S80

(Modular Synthesis Plug-in System)

This is Plug-in voice data, featuring a total of 64 voices that were created using the PLG150-DX Preset voices.

When the PLG150-DX is installed to PLG1, select the ﬁle “01PlgVc1.mid”; when the board is installed to PLG2,

select the ﬁle “01PlgVc2.mid”.

For a complete list of these voices, refer to the Plug-in Voice List in the Owner’s Manual.

■ Performance Data for the MU128/MU100/MU100R (XG Plug-in System)

This is Performance data, featuring a total of 64 Performances that were created using the PLG150-DX Preset

voices (“11Perf.MID”).

For a complete list of these Performances, refer to the Performance List in the Owner’s Manual.

Installing the PLG150-DX

For detailed instructions on installing the PLG150-DX, refer to the owner’s manual of the Plug-in-

compatible “mother” device (e.g., CS6x, MU128, etc.).

Included Items

The following items have been included in the package of your new PLG150-DX. Please make sure

that you have them all before starting to setup and use the instrument. If an item is missing, contact

the store or dealer from which you purchased the PLG150-DX.

Required and Recommended Items

In addition to the included items listed above, you should also have the following:

Synthesizer/Tone Generator/Sound Card Compatible with the

Modular Synthesis or XG Plug-in Systems

In order to use the PLG150-DX, you’ll need a synthesizer, tone generator or sound card compatile

with the Modular Synthesis Plug-in System or the XG Plug-in System. Compatible instruments

include the CS6x, MU128, and the SW1000XG. The synthesizer/tone generator/sound card should

also have an available slot or space for installing the PLG150-DX.

• PLG150-DX board

• PLG150-DX Owner’s Manual (this book)

• CD-ROM

• Floppy Disk

Required and Recommended Items

XGworks or XGworks lite Music Sequencing Software

When you use Yamaha’s XGworks(lite) as your sequence software, you can take advantage 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 PLG150-DX board.

DX Easy Editor

The DX Easy Editor is a special plug-in software module for XGworks and XGworks lite. It provides

convenient easy-to-use control over the most important PLG150-DX settings and parameters. It also

provides exceptionally intuitive editing, with virtual sliders and buttons, as well as special graphs with

click-and-drag operation.

Using the DX Easy Editor is just like using the Part editing controls on your tone generator — it indi-

rectly and temporarily changes the DX voices without making changes to the original voice. The

changed parameters can either be inserted into a song to automate sound changes, or can be saved as a

DX Parameter ﬁle for future recall. Continuous real-time parameter changes can be recorded to a song

as well. The DX Easy Editor software is contained on the included CD-ROM.

DX Simulator

As with DX Easy Editor above, the DX Simulator is special software for use with XGworks and

XGworks lite. It allows you to directly edit all of the DX voice settings and parameters from your

computer. It also provides exceptionally intuitive editing, with a virtual “front panel” display that lets

you change the settings with buttons and sliders, just as you would on an actual DX7. It also features

a special Edit List window, that lets you quickly and easily edit all parameters from one convenient

chart.

More comprehensive than the DX Easy Editor above, the DX Simulator gives you convenient access

to all of the PLG150-DX’s parameters, controls and functions. The changed parameters can either be

inserted into a song to automate sound changes, or can be saved as a DX Cartridge ﬁle for future

recall. Continuous real-time parameter changes can be recorded to a song as well. It also lets you save

your edits directly as a User voice for future recall. The DX Simulator software is contained on the

included CD-ROM.

Installing and Starting the Plug-in Editor Software

(Windows 95/98)

Installing the Software

Double-click the “Setup.exe” ﬁle on the CD-ROM to start the installation. Click “Next” or “Yes” and

follow the subsequent instructions on the screen to complete the installation.

Starting the DX Easy Editor

1 Start XGworks (or XGworks lite).

2 Click the “Plug-in” menu and select “DX

Easy Editor.”

Alternately, press Alt + P, then D, and ENTER. The

“Select DX Part” dialog box appears.

3 Set the desired Part number and click “OK.”

The DX Easy Editor window appears.

If the PLG150-DX has been properly installed and all computer/MIDI connections have been

properly made, operating the DX Easy Editor should directly affect the PLG150-DX. For details

on using the DX Easy Editor, refer to the on-line help ﬁle that is included with the software.

When using a Modular Synthesis Plug-in System “mother” device, the Part assignment depends on

which mode is used — Voice or Performance — and also on whether the PLG150-DX board is

installed/assigned to PLG1 or PLG2, as described below.

When using the Voice mode:

Depending on which slot the PLG150-DX board has been installed to, press PLG1 or PLG2, then

set the Part to “1” (no matter what the PLG1 or PLG2 assignment is).

When using the Performance (Multi) mode:

If the PLG150-DX board is assigned to PLG1, set the Part to “16.”

If the PLG150-DX board is assigned to PLG2, set the Part to “15.”

Installing and Starting the Plug-in Editor Software (Windows 95/98)

Starting the DX Simulator

1 Start XGworks (or XGworks lite).

2 Click the “Plug-in” menu and select “DX

Simulator.”

Alternately, press Alt + P, then D, and ENTER. The

“Select DX Part” dialog box appears.

3 Set the desired Part number and click “OK.”

The DX Simulator window appears.

If the PLG150-DX has been properly installed and all computer/MIDI connections have been

properly made, operating the DX Simulator should directly affect the PLG150-DX. For details

on using the DX Simulator, refer to the on-line help ﬁle that is included with the software.

● To use the DX Simulator, your copy of XGworks must be version 1.05 or later.

You can download the proper update of XGworks or XGworks lite from the Yamaha website

(http://www.yamaha.co.uk).

● When using a Modular Synthesis Plug-in System “mother” device, the Part assignment depends on

which mode is used — Voice or Performance — and also on whether the PLG150-DX board is

installed/assigned to PLG1 or PLG2, as described below.

When using the Voice mode:

Depending on which slot the PLG150-DX board has been installed to, press PLG1 or PLG2,

then set the Part to “1” (no matter what the PLG1 or PLG2 assignment is).

When using the Performance (Multi) mode:

If the PLG150-DX board is assigned to PLG1, set the Part to “16.”

If the PLG150-DX board is assigned to PLG2, set the Part to “15.”

Selecting DX Voices

(Modular Synthesis Plug-in System)

When the PLG150-DX is installed to a CS6x Control Synthesizer, the DX voices can be selected in

the same way as the internal voices of the synthesizer.

The example displays used in the following explanations are all taken from the CS6x.

Enabling and Selecting DX Voices

1 Press the VOICE button.

2 Press the appropriate PLG button (PLG1 or PLG2, depending on which

slot the PLG150-DX board has been installed to), then press the appropri-

ate BANK button and PROGRAM button to select the desired Plug-in

voice.

To select a different bank, simultaneously hold down the appropriate PLG button and turn knob C (or

press the DEC/INC buttons) to select the desired bank.

The bank is expressed in two numbers: MSB and LSB.

If a selected bank is not available, the bank letter indication in the display (A - H) will not change.

For a list of the available banks and their MSB/LSB values, refer to the “DX-XG Voice Map” at

the back of this manual.

VCE Play) PLG1:001(A01)[--:Plig-InVce]

EQLow-G EQMid-G EQHi-G ------- -------

VCE Play) P1-B:001(A01)[--:MM-Pno 1 ]

BANK= 083/065



Editing the DX Native Part Parameters

(Modular Synthesis Plug-in System)

● Keep in mind that the parameter values and settings below represent offsets of the actual voice settings. This

means that adjustments made to the parameters may not make much change in the actual sound, depending

on the original settings of the voice. For parameter values, a setting of “0” results in no change, while positive

and negative values increase and decrease the value respectively.

● The following explanations show how to edit the DX native part parameters when creating PLG voices, using

the CS6x Control Synthesizer as an example. For information on storing the PLG voices with your particular

Modular Synthesis Plug-in System compatible instrument, refer to the owner’s manual of that instrument.

1 Select the desired DX voice, as described in “Selecting DX Voices” on

page 22.

2 Press the EDIT button.

The EDIT menu display appears.

3 Turn knob A clockwise until “Elem” is shown at the bottom left of the dis-

play.

4 Turn the PAGE knob clockwise until “PLG150-DX” is shown at the bottom

left of the display.

Keep turning the knob to select the different DX Part parameters, indicated just above knob C and

knob 2.

5 Use knobs C and 2 to select the desired parameter and change the value.

Once one of the parameters is selected (the arrow cursor appears next to the value), you can also

adjust the value with the DATA knob or the DEC/INC buttons.

● In order to store User voices on a Modular Synthesis Plug-in System compatible instrument that

have been edited/created with the computer-based DX Simulator (or with the compatible instrument

itself), you’ll need to use an external memory device, such as a memory card. For details on storing

voices, refer to the owner’s manual of your Modular Synthesis Plug-in System compatible instru-

ment.

● The actual parameter names may differ, depending on whether the instrument you are using is XG

Plug-in System compatible or Modular Synthesis Plug-in System compatible. For details, refer to

the Parameter List (XG / Modular Synthesis Plug-in System).

GEN Name) Ctgry a-Z 0-? Cursor

Common [--:MM-Pno 1 ]

OSC Assign) Bank Number

Elem 083/065 1[MM-Pno 1]

NTV Param) Carrier1 Carrier2 

PLG150-DX +00 ***

Selecting/Editing the DX System Parameters

(Modular Synthesis Plug-in System)

The example displays used in the following explanations are all taken from the CS6x.

1 Press the UTILITY button.

The Utility Mode display appears.

2 Turn the PAGE knob clockwise until “PLG150-DX” is shown at the bottom

left of the display.

Keep turning the knob to select the different DX System parameters, indicated just above knob C

and knob 2.

3 Use knobs C and 2 to select the desired DX System parameter and change

the value.

Once one of the parameters is selected (the arrow cursor appears next to the value), you can also

adjust the value with the DATA knob or the DEC/INC buttons.

MSTR TG) Vol NoteShift Tune

Sys 127 + 0 + 0.0c

PLG1 System) BulkBlock VelCurve 

PLG150-DX 01-32 Normal

Selecting DX Voices (XG Plug-in System)

The PLG150-DX voices can be selected just like the voices of the XG tone generator. Keep in mind,

though, that they can only be selected when the Sound Module Mode is set to XG or Performance.

Also, the Part Assign parameter in the Utility mode (see below) must be set to the desired Part.

The example displays used in the following explanations are all taken from the MU128.

Enabling and Selecting DX Voices

1 Set the Sound Module Mode to “XG” or “PFM” (Performance).

Press the MODE button and use the SELECT </> buttons.

The Performance mode is not available on the SW1000XG.

2 Set the Part Assign parameter to the desired Part number.

To do this:

1) Press the UTIL button.

2) Select the “PLUGIN” menu (with the SELECT

> button) and press ENTER.

3) Select the “PLG150-DX” menu if necessary (with the SELECT

</> buttons), and press

ENTER.

4) Select the Part Assign parameter (with the SELECT

< button), and use the VALUE -/+ but-

tons or dial to change the Part number.

The Part Assign range for the XG mode is 1 - 16 and “off”; for the Performance mode, it is 1 - 4 and

“off.”

Press the EXIT button to return to the Play mode.

This operation can also be quickly and conveniently done from the DX Easy Editor or DX Simu-

lator (in XGworks).

3 Enable the PLG150-DX board for the desired Part.

First, make sure that the appropriate Part is selected (using the PART -/+ buttons), then press the

SELECT button. The icon of the selected board appears in the display and the corresponding

LED at the bottom of the panel (PLG-1, -2, or -3) ﬂashes brieﬂy.

Selecting DX Voices (XG Plug-in System)

4 Select the desired bank number.

Move the cursor to the Bank Number parameter with the SELECT </> buttons and use the

VALUE -/+ buttons to select the desired bank.

5 Select the desired voice number.

Move the cursor to the Voice (Program) Number parameter with the SELECT </> buttons and

use the VALUE -/+ buttons to select the desired voice.

Voices (and Voice banks) can also be selected by using the Voice Category buttons.

Alternately, you can select voices from a connected MIDI keyboard, or from sequencing software

(such as XGworks) on a connected computer.

For a list of available voices and their bank/voice numbers, see page 36.

Bank Number parameter

Editing the DX Native Part Parameters

(XG Plug-in System)

Any of the DX voices can be freely edited from the front panel with the DX Part parameters. These

same parameters can also be edited from a computer using the DX Easy Editor software (in

XGworks).

Keep in mind that changing the Part parameters does not permanently affect the original voice set-

tings. The edits that you make here temporarily change the settings of the currently selected voice.

When you select a different voice for the Part, the settings are applied to the newly selected voice.

● The Part parameter settings cannot be saved in Multi Play mode. If you wish to save your Part parameter

edits, do it from the Performance mode or the DX Easy Editor. If you wish to save your edits to a voice, use the

DX Simulator software to edit the parameters of a voice, then save it as a User voice.

● The example displays used in the following explanations are all taken from the MU128.

1 Select the Part having the DX voice, then select the desired voice.

Select the appropriate Part with the PART -/+ buttons, then, with the cursor at the Voice Number

parameter, select the desired voice.

2 Press the EDIT button to enter the Edit mode.

3 Select the “PLUGIN” menu.

Use the SELECT > button, then press the ENTER button. The PLG150-DX Edit menu appears.

4 Select the desired parameter.

Use the [SELECT </>] buttons.

5 Adjust the value or change the setting for the selected parameter.

Use the [VALUE +/-] buttons.

6 Return to the main Play display.

Press the [EXIT] button several times, or press the [PLAY] button once.

Selecting/Editing the DX System Parameters

(XG Plug-in System)

The parameters that apply to the entire system of the PLG150-DX are included in the Utility mode

menu of the XG tone generator.

The example displays used in the following explanations are all taken from the MU128.

1 Press the [UTIL] button.

The Utility mode menu appears.

2 Select the “PLUGIN” menu.

Use the [SELECT >] button to highlight “PLUGIN,” then press the [ENTER] button.

3 Select the PLG150-DX board.

If the PLG150-DX board is the only one installed, “PLG150-DX” is already displayed and can be

selected by pressing the [ENTER] button. If additional boards have been installed to the tone

generator, you may need to select “PLG150-DX.” To do this, ﬁrst use the [SELECT </>] but-

tons, then press [ENTER].

The System parameter menu for the PLG150-DX appears.

4 Select the desired parameter.

Use the [SELECT </>] buttons.

5 Adjust the value or change the setting for the selected parameter.

Use the [VALUE +/-] buttons.

6 Return to the main Play display.

Press the [EXIT] button several times, or press the [PLAY] button once.

Parameters

DX Native Part Parameters

Keep in mind that the parameter values and settings represent offsets of the actual voice settings. This

means that the actual sound that results from the settings made here depends on the original settings

of the voice.

Also keep in mind that these are “Part” parameters and as such, are temporary; they simply alter or

offset the settings of the currently selected voice. The original voice settings are permanently main-

tained in memory.

For parameter values, a setting of “0” results in no change, while positive and negative values increase

and decrease the value respectively.

Let’s look at a speciﬁc example. If the original Feedback Level parameter of the selected voice is set

to +2, and you set the Feedback Level (below) to “-4,” the actual Feedback Level will become “-2.” If

you set it to “+1,” the value will become “+3.” Naturally, this also means that the parameter value can-

not be increased or decreased beyond its maximum or minimum values. In our example, Feedback

values higher than “+5” have no effect on the sound, since the actual range is -7 — +7.

● Depending on the selected voice and the particular parameter being edited, the sound or actual

parameter value of certain voices may change very little or not at all, even when the parameter value

is changed drastically.

● For Modular Synthesis Plug-in System compatible devices, the voices you edit/create can be stored

to the device as PLG voices. For details on storing voices, refer to the owner’s manual of your Mod-

ular Synthesis Plug-in System compatible instrument.

■ Carrier1 — Carrier6 (Carrier Operator 1 — 6 Level)

Range: -64 — +63 (“***” : not available)

• This determines the output level of each of the carrier operators. A carrier operator produces the

sound for the voice. Changing the output level here changes the level of the voice. When more than

one carrier is used in the algorithm, the timbre of the voice is also affected.

• In this parameter, modulators cannot be edited; if a modulator operator is seleceted, “***” appears in

the display and the setting cannot be changed. (To change the modulator operator, use the Modula-

tor 1 — 6 parameter below.) Whether a certain operator is a carrier or not depends on the assigned

algorithm of the selected voice. (For a chart showing the operator conﬁgurations for all 32 algo-

rithms, see page 34.)

■ Modulator1 — Modulator6 (Modulator Operator 1 — 6 Level)

Range: -64 — +63 (“***” : not available)

• This determines the output level of each of the modulator operators. A modulator operator modu-

lates the operator below it in the algorithm. Changing the output level here changes in the timbre or

tonal quality of the voice. Higher levels generally make the sound brighter.

• In this parameter, carriers cannot be edited; if a carrier operator is seleceted, “***” appears in the dis-

play and the setting cannot be changed. (To change the carrier operator, use the Carrier 1 — 6

parameter above.) Whether a certain operator is a modulator or not depends on the assigned algo-

rithm of the selected voice. (For a chart showing the operator conﬁgurations for all 32 algorithms,

see page 34.)

Parameters

■ Feedback

Range: -7 — +7

• This determines the level of the feedback loop in the algorithm. Each algorithm provides a feedback

operator, in which the output signal of the operator is looped back to its input. As its name implies,

Feedback produces harsh noise-like harmonics in the voice. The degree of harshness or amount of

noise depends not only on this setting, but also on the level of the feedback operator and its position

in the algorithm. (For a chart showing the Feedback conﬁgurations for all 32 algorithms, see page

34.)

■ PortaMd (Portamento Mode)

Settings: ﬂw/ftm (Sus-Key P Follow/Full Time Porta)

rtn/fgr (Sus-Key P Retain/Fingered Porta)

• Portamento is an effect that produces a smooth, continuous glide in pitch between two notes (or

chords) of different pitches. This parameter determines the way in which portamento is applied, and

the settings differ depending on the selected keyboard mode, Mono or Poly.

• When the keyboard is in Mono mode, the available settings are “Fingered Porta” and “Full Time

Porta.” Fingered Portamento is glide that occurs only when you play legato — in other words, play-

ing successive notes smoothly, not releasing a previously played note until after the next note is

played. Full Time Portamento produces glide from one note to the next even when you play staccato

(releasing one note before playing the next).

• When the keyboard is in Poly mode, the available settings are “Sus-Key P Follow” and “Sus-Key P

Retain.” In the “Follow” mode, if you play a note or chord and then play another note or chord, the

sustain from the original note/chord glides to the pitch of the most recently played note/chord. In the

“Retain” mode, the pitch of the new note or chord glides from the original pitch(es) without interrupt-

ing the sustain of the original note or chord.

■ PortaStep (Portamento Step)

Range: 0 — 12 (semitones)

• This determines whether the Portamento effect is continuous (setting of “0”), or is a glissando effect,

in which the glide in pitch occurs in discrete semitone steps (settings of 1 — 12). This effect is best

heard with a slower rate and when two widely separated notes are played one after the other. The

value determines the amount of semitones by which the pitch changes. For example, a setting of “1”

changes the pitch in semitone steps; for a setting of “12,” the pitch changes in octave jumps.

■ PitBndStep (Pitch Bend Step)

Range: 0 — 12 (semitones)

• This determines the size of the increments by which the Pitch Bend wheel (on a connected MIDI

keyboard) changes the pitch. A setting of “0” results in perfectly smooth pitch bending. Values other

than “0” represent the number of semitones by which the pitch will “jump” as you move the wheel.

For example, the maximum setting of “12” will cause the wheel to change the pitch in a single, one-

octave jump.

Parameters

■ AC4 CC No. (AC4 Controller Assign)

Settings: OFF

MOD (Modulation wheel)

BC (Breath controller)

FC (Foot controller)

EXP (Expression pedal)

CAT (Channel aftertouch)

PB (Pitch bend wheel)

• This determines which MIDI controller is to be used for controlling EG Bias (when “AC4CtrPrm1”

below is set to “EGbias”).

• When the Amplitude Modulation Sensitivity parameter of a carrier is set to a value other than “0,” this

lets you use the selected controller to change the volume in real time. When the Amplitude Modula-

tion Sensitivity parameter of a modulator is set to a value other than “0,” this lets you use the

selected controller to change the timbre of the sound in real time. Amplitude Modulation Sensitivity

can be edited by using the DX Simulator editing software; see page 19.)

■ AC4CtrPrm1 (AC4 Controller Parameter 1)

Settings: Off, EGbias

• This determines whether the AC4 controller (as set in “AC4 CC No.” above) is used to control EG

Bias or not.

■ AC4CtrDpt1 (AC4 Controller Parameter Depth)

Range: -64 — +63

• This determines the depth over which the AC4 controller affects the EG Bias (when “AC4CtrPrm1”

above is set to “EGbias”). Negative values produce a reverse action in the controller; for example,

for a modulation wheel, moving the wheel down (instead of up) would change the EG Bias.

■ RcvDxSysEx (Receive DX System Exclusive)

Settings: OFF, ON

• The determines 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: User Bank

RcvDxSysEx: ON

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

RcvDxSysEx: ON

Parameters

DX System Parameters

■ Part Assign

Settings: 01 — 16, off

• This determines the Part to which the PLG150-DX voice is assigned. If a Part is not properly

assigned here, none of the PLG150-DX voices can be selected for the Part. (This applies to XG

Plug-in System compatible “mother” devices.)

The PLG150-DX voices can only be assigned to a single Part.

■ BulkBlock

Settings: 01 — 32, 33 — 64

• This determines which User voice memory block (1 — 32, or 33 — 64) will be used when transferring

32-voice bulk data to the PLG150-DX from an external MIDI device or computer.

■ Vel Curve (Velocity Curve)

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

• This determines how key velocity (the strength at which the keys are played) affects the volume of

the voices. Six different preset velocity “curves” let you quickly tailor the response to your playing

preferences.

● DX7

This sets the velocity curve for the DX7 and DX7II.

● Normal

The volume of the sound changes in direct proportion to the

strength at which you play the keyboard.

● Soft1

Compared to “Normal,” this curve produces greater volume in the

soft velocity range, making it suitable for players having a light

touch.

Playing strength

Volume

Playing strength

Volume

Parameters

● Soft2

This curve also produces greater volume in the soft velocity range,

but is less pronounced than “Soft1” above.

● Easy

This curve also produces greater volume in the soft velocity range,

but results in a more consistent, stable response throughout the

entire velocity range than the other “Soft” curves .

● Wide

This curve decreases the volume for softer velocities and increases

it for stronger velocities, resulting in a wider dynamic range overall.

● Hard

Compared to “Normal,” this curve produces greater volume in the

hard (strong) velocity range, making it suitable for players having a

heavy touch.

Playing strength

Volume

Playing strength

Volume

Playing strength

Volume

Playing strength

Volume

Chart of Algorithms

Appendix

Chart of Algorithms

Voice List

DX-XG/SFX Bank

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

DX-XG/A Bank

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

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 *

■

DX-XG Voice Map

Voice List

NOTE : Empty areas of the columns produce no sound.

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

E.Pno10 1 5

DX-Clv 5 1 16

SynOrg 1 1 28

Ana Poly 1 22

EBA

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 *

Voice List

NOTE : Empty areas of the columns produce no sound.

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

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

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 B

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

101

EBA

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 *

Court 1 22

EBA

Voice List

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 *

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

DumBells 1 5

EBA

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 *

102

EBA

103

Det.EP1 2 *

Det.EP8 2 *

PercGlok 1 5 *

MelwMrmb 1 8

TmplBel5 1 7

EBA

107

Crystal 1 5

EBA

MeloBell 1 32

108

EBA

Det.Bell 2 *

109

EBA

Voice List

DX-XG/B Bank

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

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 *

Voice List

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 *

Voice List

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

User Bank

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

Voice List

Preset 1 Bank

Bank Select MSB 35

Bank Select LSB 1

Instrument

Group

Pgm#

(1-128)

EAB

Piano 1 E.PIANO1 1 5

2 E.Pno1 1 5

3 ClrE.Pno 1 5 *

4 E.Pno 2 1 5

5 E.Pno 3 1 5

6 FulTine1 1 5

7 DukeEP 1 5

8 BritEP 1 15

9 RatioDob 1 5

10 PrprdPno 1 9 *

11 DX-Road1 1 28

12 WurliEP1 1 3 *

13 DX-Road2 1 12

14 CosaRosa 1 5

15 BritPno1 1 7

16 PowerPno 1 3

17 DXCP-70 1 4

18 HARPSIC1 1 5

19 Harpsi 1 1 5

20 MM-Clav1 1 4

21 SkltnClv 1 18

22 ClavStf1 1 18

Chromatic

Percussion

23 MARIMBA 1 7

24 DX-Vibe1 1 27

25 DX-Vibe2 1 23

26 Carillon 1 9

27 TUB BELL 1 5

28 MiniBell 1 5

29 SoftBell 1 1

Bass 30 SmohBass 1 17

31 BogiBass 1 16

32 SuprBas1 1 17

33 DrhtBass 1 16

34 DX-SyBa2 1 3

35 DX-SyBa3 1 24

36 Cutmandu 1 8

37 DX-SyBa5 1 3

38 DX-SyBa6 1 3

39 DX-Bass4 1 18

40 DiscBass 1 14

Guitar 41 Tite Gtr 1 15

42 DX-JzGt5 1 8 *

43 DX-ClGt1 1 9

44 DX-ClGt5 1 3

45 DetDsGt1 2 –

Organ 46 FullOrgn 1 32 *

47 DrwOrg11 1 32 *

48 DrwOrg14 1 12

49 DrwOrg15 1 31

50 PrcOrg 3 1 29

51 DxJazOr1 1 30

52 PrcOrg 4 1 29 *

53 PrcOrg 5 1 31 *

54 PrcOrg 8 1 31

55 PrcOrg13 1 22 *

56 PrcOrg15 1 31 *

57 RckOrg13 1 29

58 RckOrg15 1 29

59 DXChrch2 1 6

60 PipeOrg6 1 19

61 DX-Acrd2 1 3

62 DX-Acrd4 1 4 *

63 DX-Hmnc1 1 3 *

64 DX-Hmnc3 1 1

Brass 65 BRASS 3 1 18

66 DX-BrSc2 1 22

67 CS80-Br1 1 23 *

68 DX-SBr 1 1 22

69 DX-SBr 2 1 22 *

70 MM-Brss1 1 18

71 MM-Brss2 1 18

72 Funkrhyt 1 3 *

73 SyntiBrs 1 2

74 Kingdom 1 15 *

75 SynHorns 1 18

Ensemble 76 DX-Str 8 1 22

77 Low Str2 1 2

78 DX-Str12 1 15 *

79 DX-Str13 1 2

80 Anna Str 1 9 *

81 SmalSect 1 15 *

82 DX-Syst2 1 25

83 DX-SySt4 1 9 *

84 SolinePf 1 2

85 General 1 2

86 Str&Brs 2 –

87 DX-SySt7 1 4 *

88 ST.Machn 1 3

89 Det.Str2 2 –

Synth Pad 90 HyperSqr 1 5 *

91 DX-ChPd1 1 15 *

92 Ice Glxy 1 3

93 DX-MtPd1 1 6 *

94 Mystrian 1 20

Strings Pipe 95 DX-Harp1 1 3

96 DX-Flt 1 1 16 *

97 Harvest 1 1 *

Synth Lead 98 DX-Squar 1 2

99 DX-SLd 1 1 5

100 DX-SLd 7 1 22 *

101 DXSyLd 1 1 18

102 Winwood 1 2

103 ArrowxMS 1 3

104 SoftLd 1 2 –

105 Giovanni 1 6

106 SnglLine 1 22

107 FrtlsLd 1 4

Synth Effects 108 Fmilters 1 11 *

109 WaterLog 1 16 *

110 RprtRise 1 15 *

111 Aura 1 2 *

112 Chi-S&H1 1 3

113 Baroque 1 15

Ethnic 114 Xanu 1 4

115 Xango 1 4

116 DX-Banjo 1 8

Percussive 117 TrcrBell 1 4

118 StlDrum1 1 5

119 Janpany 1 16

120 MM-SDr 1 1 18 *

SFX 121 REFS WHI 1 18

122 TRAIN 1 5 *

123 DX-Inct1 1 16

124 Scrchers 1 17

125 Flxatone 1 7

126 Laser 2 1 16

127 Wallop 1 1 16

128 ManEater 1 2 *

Bank Select MSB 35

Bank Select LSB 1

Instrument

Group

Pgm#

(1-128)

EAB

Bank Select MSB 35

Bank Select LSB 2

Instrument

Group

Pgm#

(1-128)

EAB

Custom 1 BRASS 1 1 22

2 BRASS 2 1 22

3 BRASS 3 1 18

4 STRINGS1 1 2

5 STRINGS2 1 2

6 STRINGS3 1 15

7 ORCHESTR 1 2

8 PIANO 1 1 19

9 PIANO 2 1 18

10 PIANO 3 1 3

11 E.PIANO1 1 5

12 GUITAR 1 1 8 *

13 GUITAR 2 1 16

14 SYN-LEA1 1 18

15 BASS 1 1 16

16 BASS 2 1 17

17 E.ORGAN1 1 32

18 PIPES 1 1 19

19 HARPSIC1 1 5

20 CLAV 1 1 3

21 VIBE 1 1 23

22 MARIMBA 1 7

23 KOTO 1 2

24 FLUTE 1 1 16 *

25 ORCH-CHI 1 5

26 TUB BELL 1 5

27 STEEL DR 1 15

28 TIMPANI 1 16

29 REFS WHI 1 18

30 VOICE 1 1 7 *

31 TRAIN 1 5 *

32 TAKE OFF 1 10

33 PIANO 4 1 18

34 PIANO 5 1 3

35 E.PIANO2 1 12

36 E.PIANO3 1 5

37 E.PIANO4 1 5

38 PIANO 5T 1 5

39 CELESTE 1 31

40 TOY PIAN 1 30 *

41 HARPSIC2 1 3

42 HARPSIC3 1 3

43 CLAV 2 1 4

44 CLAV 3 1 4

45 E.ORGAN2 1 29

46 E.ORGAN3 1 29

47 E.ORGAN4 1 5

48 E.ORGAN5 1 29

49 PIPES 2 1 3

50 PIPES 3 1 25

51 PIPES 4 1 6

52 CALIOPE 1 16

53 ACCORDIO 1 3

54 SITAR 1 8

55 GUITAR 3 1 14

56 GUITAR 4 1 14

57 GUITAR 5 1 14

58 GUITAR 6 1 3

59 LUTE 1 14

60 BANJO 1 8

61 HARP 1 1 3 *

62 HARP 2 1 3 *

63 BASS 3 1 17 *

64 BASS 4 1 17

Preset 2 Bank

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

Voice List

Pgm#

(1-64)

Plug-in

Voice Name

KNOB1 KNOB2 MW

1 DX E.Piano Reverb Send Chorus Send AMOD

2 FullTine Reverb Send Chorus Send AMOD

3 Duke EP Reverb Send Chorus Send AMOD

4 RatioDub Reverb Send Chorus Send AMOD

5 DX-Road AutoPan

L/RDpth

AutoPan

Speed

AMOD

6 Wurli EP Reverb Send AmpSimula-

tor Drive

AMOD

7 PowerPiano Reverb Send Chorus Send AMOD

8 DX CP-70 Reverb Send Chorus Send AMOD

9 Skltn Clav Reverb Send AutoWah

D/W

AMOD

10 Clav Stf Reverb Send TouchWah

D/W

AMOD

11 DX Vibe Reverb Send Chorus Send AMOD

12 Mini Bell Reverb Send Chorus Send AMOD

13 Bogi Bass Comp

Threshold

Chorus Send PMOD

14 Super Bass AmpSimula-

tor D/W

Chorus Send PMOD

15 DX Syn Bas Reverb Send Chorus Send PMOD

16 Dirty MW Overdrive

LoGain

Overdrive

MidGain

Filter,

EG Bias

17 JazzGuitar Reverb Send Chorus Send PMOD

18 TiteGuitar Reverb Send Chorus Send PMOD,

AMOD

19 Drw Organ Reverb Send Filter Celeste

D/W

20 DX Jazz Or Reverb Send Filter Celeste

D/W

21 Perc Organ Reverb Send Filter Celeste

D/W

22 DX Acrdion Reverb Send Chorus Send EG Bias

23 DX Harmnca Reverb Send Chorus Send AMOD

24 DX BrsSctn Reverb Send Chorus Send PMOD

25 CS80-Brass Reverb Send Flanger D/W EG Bias

26 MM Brass Reverb Send Chorus Send PMOD,

Filter

27 SyntiBrass Reverb Send Chorus Send Filter

28 Syn Horns Reverb Send Chorus Send Filter,

EG Bias

29 DX Strings Reverb Send Chorus Send PMOD,

Filter

30 Anna Strgs Reverb Send Chorus Send AMOD

31 Small Sect Reverb Send Chorus Send Filter,

EG Bias

32 Soline Pf Reverb Send Chorus Send PMOD,

AMOD

33 Mystrian Reverb Send Exciter Drive Filter

34 Amethyst AutoPan

L/RDpth

AutoPan

Speed

EG Bias

35 Solinex Reverb Send Chorus Send Filter

■

Plug-in Voice List (for CS6x/CS6R/S80)

36 Ice Galaxy Reverb Send Phaser D/W PMOD,

Filter

37 DX Flute Reverb Send Chorus Send AMOD

38 Harvest Reverb Send Chorus Send AMOD,

EG Bias

39 DX Solo Ld AmpSimula-

tor D/W

Chorus Send PMOD,

AMOD

40 Wood Lead Exciter Drive Chorus Send PMOD,

AMOD

41 Sing Line Distortion

D/W

Chorus Send Filter

42 FretlessLd Distortion

D/W

Chorus Send PMOD

43 Xanu Reverb Send Chorus Send PMOD,

AMOD

44 Xango Reverb Send Chorus Send PMOD

45 Rangoon Celeste

FBLevel

Celeste D/W EG Bias

46 Steel Drum Reverb Send Chorus Send AMOD

47 Stranger Celeste D/W Celeste

FBLevel

Filter,

EG Bias

48 Water Log Reverb Send Chorus Send Filter

49 Moon Choir Chorus

Speed

Chorus Send Filter,

EG Bias

50 Indigo Overdrive

D/W

Overdrive

Midwidth

EG Bias

51 Katmandu Overdrive

D/W

Overdrive

Drive

Filter

52 Seahorse Celeste D/W Celeste

FBLevel

EG Bias

53 Rampage Comp

Threshold

Chorus Send EG Bias

54 Lipstick Chorus D/W Chorus

FBLevel

Filter

55 Mascara Flanger D/W Flanger

FBLevel

EG Bias

56 Safe Comp Attack Comp

Threshold

Filter

57 Ice Cream Comp

Threshold

Comp Ratio AMOD

58 Panner AutoPan

LoGain

AutoPan

Speed

EG Bias

59 Plasma Chorus

Speed

Chorus D/W Filter

60 Energy AutoWah

Speed

AutoWah

D/W

EG Bias,

AutoWah

Speed

61 SpaceWheel AutoPan

F/RDpth

AutoPan

Speed

EG Bias

62 PunchChord AutoPan

F/RDpth

AutoPan

Speed

Filter,

EG Bias

63 Fast king Chorus

Speed

Chorus D/W Filter,

EG Bias

64 Pointer Flanger

Speed

Flanger D/W Filter,

EG Bias

Pgm#

(1-64)

Plug-in

Voice Name

KNOB1 KNOB2 MW

Voice List

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

expressiveness.

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

response, like the TX81Z sound.

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

board 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 discor-

dance 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

effective 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

velocity.

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.

Undulates 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

crispness 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

crispness 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

effects.

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.

56 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.

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

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

63 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 sus-

pense.

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

piano.

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

marimba, and like a guitar used with orinoco

ﬂow.

No. Name Type Notes

■

Performance List (for MU128/100/100R)

DX Parameter List (XG / Modular Synthesis Plug-in System)

(Common Parameter)

(Element Parameter)

Modular Synthesis Plug-in System XG Plug-in System (LCD of CS6x/CS6R/S80/etc.)

Parameter Name Parameter Name Group Parameter

Volume VOLUME QED*Level Vol

Pan PAN QED*Level Pan

Reverb Send REVERB SEND QED*Level RevSend

Chorus Send CHORUS SEND QED*Level ChoSend

LPF Cutoff Frequency LOW PASS FILTER CUTOFF FREQUENCY QED*Filter Cutoff

LPF Resonance LOW PASS FILTER RESONANCE QED*Filter Reso

Attack Time EG ATTACK TIME QED*EG Attack

Decay Time EG DECAY TIME QED*EG Decay

Release Time EG RELEASE TIME QED*EG Release

Pitch Bend Range BEND PITCH CONTROL CTL*Pitch Pitch Bend

Portamento Switch PORTAMENTO SWITCH CTL*Pitch Portamento

Portamento Time PORTAMENTO TIME CTL*Pitch Time

Mono/Poly Mode MONO/POLY MODE GEN*Other Mode

Same Note Number Key On Assign SAME NOTE NUMBER KEY ON ASSIGN GEN*Other Assign

Parameter Name

Parameter Name Group Parameter

Plug-in Board Voice Bank MSB BANK SELECT MSB PLG*Assign Bank

Plug-in Board Voice Bank LSB BANK SELECT LSB PLG*Assign Bank

Plug-in Board Voice Program Number PROGRAM NUMBER PLG*Assign Number

Note Shift NOTE SHIFT PLG*Velocity NoteSft

Velocity Sense Depth VELOCITY SENSE DEPTH PLG*Velocity Depth

Velocity Sense Offset VELOCITY SENSE OFFSET PLG*Velocity Offset

Pitch EG Initial Level PITCH EG INITIAL LEVEL PCH*PEG InitLvl

Pitch EG Attack Time PITCH EG ATTACK TIME PCH*PEG Attack

Pitch EG Release Level PITCH EG RELEASE LEVEL PCH*PEG ---Level

Pitch EG Release Time PITCH EG RELEASE TIME PCH*PEG Release

LFO Rate VIBRATO RATE LFO Param Speed

LFO Pitch Modulation Depth VIBRATO DEPTH LFO Param PMod

LFO Delay VIBRATO DELAY LFO Param Delay

HPF Cutoff Frequency HIGH PASS FILTER CUTOFF FREQUENCY QED*Filter HPF

EQ Low Gain EQ BASS GAIN EQ*Param LoGain

EQ High Gain EQ TREBLE GAIN EQ*Param HiGain

EQ Low Frequency EQ BASS FREQUENCY EQ*Param LoFreq

EQ High Frequency EQ TREBLE FREQUENCY EQ*Param HiFreq

MW Filter Control MW LOW PASS FILTER CONTROL CTL*MW Control Filter

MW LFO Pitch Modulation Depth MW LFO PMOD DEPTH CTL*MW Modulation PMod

MW LFO Filter Modulation Depth MW LFO FMOD DEPTH CTL*MW Modulation FMod

MW LFO Amplitude Modulation Depth MW LFO AMOD DEPTH CTL*MW Modulation AMod

CAT Pitch Control CAT PITCH CONTROL CTL*AT Control Pitch

CAT Filter Control CAT LOW PASS FILTER CONTROL CTL*AT Control Filter

CAT LFO Pitch Modulation Depth CAT LFO PMOD DEPTH CTL*AT Modulation PMod

CAT LFO Filter Modulation Depth CAT LFO FMOD DEPTH CTL*AT Modulation FMod

CAT LFO Amplitude Modulation Depth CAT LFO AMOD DEPTH CTL*AT Modulation AMod

AC1 Controller Number AC1 CONTROLLER NUMBER CTL*AC Control Source

AC1 Filter Control AC1 LOW PASS FILTER CONTROL CTL*AC Control Filter

AC1 LFO Pitch Modulation Depth AC1 LFO PMOD DEPTH CTL*AC Modulation PMod

AC1 LFO Filter Modulation Depth AC1 LFO FMOD DEPTH CTL*AC Modulation FMod

AC1 LFO Amplitude Modulation Depth AC1 LFO AMOD DEPTH CTL*AC Modulation AMod

MIDI Data Format

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 6 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 receive

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 Pan-

pot. 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 rela-

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

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

tings.

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 rela-

tive 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 rela-

tive to 64. Increasing this value will make the attack more gradual, and decreas-

ing 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 rela-

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

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

tings.

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

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.

*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 mes-

sage.

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 effects

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

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.

The following data is not changed

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

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

Control# Parameter Data Range

121 Reset All Controllers 0

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 num-

ber) 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.

NRPN

MSB LSB

Data Entry*1

MSB LSB

Parameter Name and Data Range

01H 08H

mm --*2 Vibrato rate

mm: 00H - 40H - 7FH (-64 ...0...+63)

01H 09H

mm -- Vibrato depth

mm: 00H - 40H - 7FH (-64 ...0...+63)

01H 0AH

mm --*3 Vibrato delay

mm: 00H - 40H - 7FH (-64 ...0...+63)

01H 20H

mm -- Low pass ﬁlter cutoff frequency

mm: 00H - 40H - 7FH (-64 ...0...+63)

01H 24H

mm -- High pass ﬁlter cutoff frequency

mm: 00H - 40H - 7FH (-64 ...0...+63)

01H 30H

mm -- EQ bass gain

mm: 00H - 40H - 7FH (-64 ...0...+63)

01H 31H

mm -- EQ treble gain

mm: 00H - 40H - 7FH (-64 ...0...+63)

01H 34H

mm -- EQ bass frequency

mm: 04H - 28H (32 ... 2.0K [Hz])

01H 35H

mm -- EQ treble frequency

mm: 1CH - 3AH (500 ... 16.0K [Hz])

01H 63H

mm -- EG Attack Time

mm: 00H - 40H - 7FH (-64 ...0...+63)

01H 64H

mm -- EG Decay Time

mm: 00H - 40H - 7FH (-64 ...0...+63)

01H 66H

mm -- EG Release Time

mm: 00H - 40H - 7FH (-64 ...0...+63)

RPN

MSB LSB

Data Entry *1

MSB LSB

Parameter Name and Value Range

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.

Controller Value

Pitch bend change

Channel pressure

Polyphonic key pressure

Modulation

Expression

Hold

Portamento

Sostenuto

RPN

NRPN

±0 (Center)

0 (OFF)

127 (Max.)

0 (OFF)

Number unset, internal data is not affected.

MIDI Data Format

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 fol-

lowing ﬁve effects can be controlled.

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

* Multi Part Parameter

1. BEND PITCH CONTROL

2. BEND FILTER CONTROL

3. BEND AMPLITUDE CONTROL

4. BEND LFO PMOD DEPTH

5. BEND LFO AMOD DEPTH

By default, the Pitch Control effect is applied.

If the Multi Part parameter Rcv PITCH BEND CHANGE = OFF, that part will

not receive pitch bend messages.

1.6 Channel aftertouch

This message conveys the pressure after the key is played on the keyboard (for an

entire MIDI channel). The pressure can be controlled for each part. This message

will affect the notes currently playing.

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

* Multi Part Parameter

1. CAT PITCH CONTROL

2. CAT FILTER CONTROL

3. CAT AMPLITUDE CONTROL

4. CAT LFO PMOD DEPTH

5. CAT LFO AMOD DEPTH

By default, there will be no effect.

If the Multi Part parameter Rcv CHANNEL AFTER TOUCH = OFF, that part

will not receive Channel Aftertouch.

1.7 Polyphonic aftertouch

This message conveys the pressure after the key is played on the keyboard (for

individual note numbers). The pressure can be controlled for each part. This mes-

sage will affect the notes currently playing.

The effect of this message is determined by the following Multi Part parameters.

l. PAT PITCH CONTROL

2. PAT AMPLITUDE CONTROL

3. PAT LFO PMOD DEPTH

4. PAT LFO AMOD DEPTH

By default, there will be no effect.

If the Multi Part parameter Rcv POLY AFTER TOUCH = OFF, that part will not

receive Polyphonic Aftertouch.

2. System exclusive messages

2.1 Parameter changes

This device uses the following parameter changes.

[ UNIVERSAL REALTIME MESSAGE ]

1) Master Volume

[ UNIVERSAL NON REALTIME MESSAGE ]

1) General MIDI System On

[ XG PARAMETER CHANGE]

1) XG System on

2) XG System parameter change

3) Multi Part parameter change

[ PLG150-DX NATIVE PARAMETER CHANGE ]

1) PLG150-DX System parameter change

2) PLG150-DX Multi Part parameter change

[ DX PARAMETER CHANGE ]

1) VCED parameter change

2) ACED parameter change

2.1.1 Universal realtime messages

2.1.1.1 Master Volume

11110000

F0H = Exclusive status

01111111

7FH = Universal Real Time

01111111

7FH = ID of target device

00000100

04H = Sub-ID #1=Device Control Message

00000001

01H = Sub-ID #2=Master Volume

0sssssss

SSH = Volume LSB

0ttttttt

TTH = Volume MSB

11110111

F7H = End of Exclusive

11110000

F0H = Exclusive status

01111111

7FH = Universal Real Time

0xxxnnnn

XNH = Device Number, xxx = don’t care

00000100

04H = Sub-ID #1=Device Control Message

00000001

01H = Sub-ID #2=Master Volume

0sssssss

SSH = Volume LSB

0ttttttt

TTH = Volume MSB

11110111

F7H = End of Exclusive

When received, the Volume MSB is reﬂected in the System Parameter MAS-

TER VOLUME.

* The binary expression 0sssssss is expressed in hexadecimal as SSH.

The same applies elsewhere.

2.1.2 Universal non-realtime messages

2.1.2.1 General MIDI System On

11110000

F0H = Exclusive status

01111110

7EH = Universal Non-Real Time

01111111

7FH = ID of target device

00001001

09H = Sub-ID #1=General MIDI Message

00000001

01H = Sub-ID #2=General MIDI On

11110111

F7H = End of Exclusive

11110000

F0H = Exclusive status

01111110

7EH = Universal Non-Real Time

0xxxnnnn

XNH = N:Device Number, X:don’t care

00001001

09H = Sub-ID #1=General MIDI Message

00000001

01H = Sub-ID #2=General MIDI On

11110111

F7H = End of Exclusive

When this message is received, the SOUND MODULE MODE is set to XG,

and all data except for MIDI Master Tuning will be restored to the default

value.

However this message will not be received when SOUND MODULE MODE

= C/M.

Since approximately 50ms is required to process this message, be sure to

allow an appropriate interval before sending the next message.

2.1.3 XG Parameter Change

This message sets XG-related parameters. Each message can set a single

parameter.

The message format is as follows.

11110000

F0H Exclusive status

01000011

43H YAMAHA ID

0001nnnn

1NH N:device Number

01001100

4CH Model ID

0ggggggg

GGH Address High

0mmmmmmm

MMH Address Mid

0lllllll

LLH Address Low

0vvvvvvv

VVH Data

: : :

11110111

F7H End of Exclusive

For parameters whose Data Size is 2 or 4, the appropriate amount of data will

be transmitted as indicated by Size.

2.1.3.1 XG System On

11110000

F0H Exclusive status

01000011

43H YAMAHA ID

0001nnnn

1NH N:device Number

01001100

4CH Model ID

00000000

00H Address High

00000000

00H Address Mid

01111110

7EH Address Low

00000000

00H Data

11110111

F7H End of Exclusive

When ON is received, the SOUND MODULE MODE changes to XG.

Since approximately 50ms is required to process this message, be sure to

allow an appropriate interval before sending the next message.

2.1.3.2 XG System parameter change

This message sets the XG SYSTEM block (see Tables <1-1> and <1-2>).

2.1.3.3 Multi Part parameter change

This message sets the Multi Part block (see Tables <1-1> and <1-3>).

2.1.4 PLG150-DX Native parameter change

This message sets parameters unique to the PLG150-DX.

Each message can set a single parameter. The message format is as follows.

11110000

F0H Exclusive status

01000011

43H YAMAHA ID

0001nnnn

1NH N:Device Number

01100010

62H Model ID

0ggggggg

GGH Address High

0mmmmmmm

MMH Address Mid

0lllllll LLH Address Low

0vvvvvvv VVH Data

: : :

11110111 F7H End of Exclusive

For parameters whose Data Size is 2 or 4, the appropriate amount of data will

be transmitted as indicated by Size.

MIDI Data Format

2.1.4.1 PLG150-DX Native System parameter change

This message sets the PLG150-DX SYSTEM block (see Tables <2-1> and

<2-2>).

2.1.4.2 PLG150-DX Native Part parameter change

This message sets the PLG150-DX MULTI PART block (see Tables <2-1>

and <2-3>).

2.1.5 DX Parameter Change

11110000 F0H Exclusive status

01000011 43H YAMAHA ID

0001nnnn 1NH N:Device Number

0ggggghh GGH Parameter Group No.

0ppppppp PPH Parameter No.

0vvvvvvv VVH Data

11110111 F7H End of Exclusive

2.1.5.1 VCED parameter change

This message sets the VCED block (see Tables <3-1> and <3-2>).

2.1.5.2 ACED parameter change

This message sets the ACED block (see Tables <3-1> and <3-3>).

2.2 Bulk dump

This device uses only the following bulk dump messages.

[ XG BULK DUMP ]

1) XG System bulk dump

2) Multi Part bulk dump

[ PLG150-DX NATIVE BULK DUMP ]

1) Native System bulk dump

2) Multi Part bulk dump

[DX BULK DUMP ]

1) VCED

2) ACED

3) VMEM

4) AMEM

2.2.1 XG bulk dump

This message sets XG-related parameters. Unlike parameter change mes-

sages, a single message can modify multiple parameters.

This message format is as follows.

11110000 F0H Exclusive status

01000011 43H YAMAHA ID

0000nnnn 0NH N:Device Number

01001100 4CH Model ID

0sssssss SSH ByteCountMSB

0ttttttt TTH ByteCountLSB

0ggggggg GGH Address High

0mmmmmmm MMH Address Mid

0lllllll LLH Address Low

0vvvvvvv VVH Data

: : :

0kkkkkkk KKH Check-sum

11110111 F7H End of Exclusive

Address and Byte Count are given in tables <1-n>.

Byte Count is indicated by the total size of the Data in tables <1-n>.

Bulk dump is received when the beginning of the block is speciﬁed in

"Address."

"Block" indicates the unit of the data string that is indicated in tables <1-n>

as "Total Size."

Check sum is the value that produces a lower 7 bits of 0 when ths Start

Address, Byte Count, Data, and the Check sum itself are added.

2.2.1.1 XG System bulk dump

This message sets the XG SYSTEM block (see Tables <1-1> and <1-2>).

2.2.1.2 Multi Part bulk dump

This message sets the MULTI PART block (see Tables <1-1> and <1-3>).

2.2.2 PLG150-DX Native Bulk Dump

This message sets the special parameters for PLG150-DX.

Unlike Parameter change, one message can modify multiple parameters.

11110000 F0H Exclusive status

01000011 43H YAMAHA ID

0000nnnn 0NH N:Device Number

01100010 62H Model ID

0sssssss SSH ByteCountMSB

0ttttttt TTH ByteCountLSB

0ggggggg GGH Address High

0mmmmmmm MMH Address Mid

0lllllll LLH Address Low

0vvvvvvv VVH Data

: : :

0kkkkkkk KKH Check-sum

11110111 F7H End of Exclusive

The detail are the same as for 2.2.1 XG Bulk Dump. However, see Tables <2-

n> for the Address, Byte, Count, and block.

2.2.2.1 PLG150-DX Naitve System bulk dump

This message sets the PLG150-DX SYSTEM block (see Tables <2-1> and

<2-2>).

2.2.2.2 PLG150-DX Multi Part bulk dump

This message sets the PLG150-DX Multi Part block (see Tables <2-1> and

<2-3>).

2.2.3 DX bulk dump

11110000 F0H Exclusive status

01000011 43H YAMAHA ID

0000nnnn 0NH N:Device Number

0ttttttt TTH Format No.

0sssssss SSH ByteCountMSB

0ttttttt TTH ByteCountLSB

0vvvvvvv VVH Data

: : :

0kkkkkkk KKH Check-sum

11110111 F7H End of Exclusive

Address and Byte Count are given in tables <3-n>. Byte Count is indicated

by the total size of the Data in tables <4-n>.

Bulk dump is received when the beginning of the block is speciﬁed in

"Address".

Block" indicates the unit of the data string that is indicated in tables 3-n as

"Total size".

Check sum is the value that produces a lower 7 bits of 0 when the DATA, and

the Check-sum itself are added.

2.2.3.1 VCED Bulk Dump

This message sets the VCED block (see Tables <4-1> and <3-2>.

2.2.3.2 ACED Bulk Dump

This message sets the ACED block (see Tables <4-1> and <3-3>.

2.2.3.3 VMEM Bulk Dump

This message sets the VMEM block (see Tables <4-1> and <4-2>.

2.2.3.4 AMEM Bulk Dump

This message sets the AMEM block (see Tables <4-1> and <4-3>.

3. Realtime Messages

3.1 Active Sensing

a) Send

This is not transmitted.

b) Receive

After FE is received one time, if the MIDI signal does not come within 400

msec, PLG150-DX will act the same as when ALL SOUND OFF, ALL

NOTE OFF, and RESET ALL CONTROLLERS are received, and return

to the condition where has not been received once.

MIDI Data Format

<1-1>

Parameter Base Address

MODEL ID = 4C

<1-2>

MIDI Parameter Change table ( XG SYSTEM )

Address Size Data Parameter Description Default Value

(H) (H) (H) (H)

0 0 0 4 00 - 0F MASTER TUNE -102.4...0...+102.3[cent] 00 04 00 00

1 00 - 0F 1st bit3-0mbit15-12

2 00 - 0F 2nd bit3-0mbit11-8

3 00 - 0F 3rd bit3-0mbit7-4

4th bit3-0mbit3-0

4 1 00 - 7F MASTER VOLUME** 0...127 7F

5 1 00 - 7F MASTER ATTENUATOR** 0...127 0

6 1 28 - 58 TRANSPOSE -24...0...+24[semitones] 40

7D 1 NOT USED

7E 1 0 XG SYSTEM ON 00=XG system ON (receive only) —

7F 1 0 ALL PARAMETER RESET 00=ON (receive only) —

TOTAL SIZE 7

** Processed on the XG platform side (MU128, etc.)

<1-3>

MIDI Parameter Change table ( MULTI PART )

Address Size Data Parameter Description Default Value

(H) (H) (H) (H)

8 nn 0 1 NOT USED

nn 1 1 00 - 7F BANK SELECT MSB 0...127 0

nn 2 1 00 - 7F BANK SELECT LSB 0...127 0

nn 3 1 00 - 7F PROGRAM NUMBER 1...128 0

nn 4 1 00-1F,7F Rcv CHANNEL A1...A16, OFF Part No.

nn 5 1 00 - 01 MONO/POLY MODE MONO, POLY 1

nn 6 1 00 - 02 SAME NOTE NUMBER SINGLE, MULTI,... 1

KEY ON ASSIGN

nn 7 1 00 - 05 PART MODE NORMAL,... 0

nn 8 1 28 - 58 NOTE SHIFT -24...0...+24[semitones] 40

nn 9 2 00 - 0F DETUNE -12.8...0...+12.7[Hz] 08 00

nn 0A 00 - 0F 1st bit3-0mbit7-4

2nd bit3-0mbit3-0

nn 0B 1 00 - 7F VOLUME** 0...127 64

nn 0C 1 00 - 7F VELOCITY SENSE DEPTH 0...127 40

nn 0D 1 00 - 7F VELOCITY SENSE OFFSET 0...127 40

nn 0E 1 00 - 7F PAN** C, L63...C...R63 40

nn 0F 1 00 - 7F NOTE LIMIT LOW C-2...G8 0

nn 10 1 00 - 7F NOTE LIMIT HIGH C-2...G8 7F

nn 11 1 00 - 7F DRY LEVEL** 0...127 7F

nn 12 1 00 - 7F CHORUS SEND** 0...127 0

nn 13 1 00 - 7F REVERB SEND** 0...127 28

nn 14 1 00 - 7F VARIATION SEND** 0...127 0

nn 15 1 00 - 7F VIBRATO RATE -64...0...+63 40

nn 16 1 00 - 7F VIBRATO DEPTH -64...0...+63 40

nn 17 1 00 - 7F VIBRATO DELAY -64...0...+63 40

nn 18 1 00 - 7F LOW PASS FILTER CUTOFF FREQUENCY -64...0...+63 40

nn 19 1 00 - 7F LOW PASS FILTER RESONANCE -64...0...+63 40

nn 1A 1 00 - 7F EG ATTACK TIME -64...0...+63 40

nn 1B 1 00 - 7F EG DECAY TIME -64...0...+63 40

nn 1C 1 00 - 7F EG RELEASE TIME -64...0...+63 40

nn 1D 1 28 - 58 MW PITCH CONTROL -24...0...+24[semitones] 40

nn 1E 1 00 - 7F MW LOW PASS FILTER CONTROL -9600...0...+9450[cent] 40

nn 1F 1 00 - 7F MW AMPLITUDE CONTROL** -100...0...+100[%] 40

nn 20 1 00 - 7F MW LFO PMOD DEPTH 0...127 0A

nn 21 1 NOT USED —

nn 22 1 00 - 7F MW LFO AMOD DEPTH 0...127 0

nn 23 1 28 - 58 BEND PITCH CONTROL -24...0...+24[semitones] 42

nn 24 1 00 - 7F BEND LOW PASS FILTER CONTROL -9600...0...+9450[cent] 40

nn 25 1 00 - 7F BEND AMPLITUDE CONTROL** -100...0...+100[%] 40

nn 26 1 00 - 7F BEND LFO PMOD DEPTH 0...127 0

nn 27 1 NOT USED —

nn 28 1 00 - 7F BEND LFO AMOD DEPTH 0...127

TOTAL SIZE 29 0

Parameter Address Description

(H) (M) (L)

XG SYSTEM 00 00 00 System

00 00 7E XG System On

00 00 7F All Parameter Reset

MULTI PART 08 00 00

: : :

08 0F 00

Multi Part 1

Multi Part 16

MULTI PART

(additional)

0A 00 00

: : :

0A 0F 00

Multi Part 1

Multi Part 16

PART ASSIGN 70 02 00 PLG150-DX Part Assign

MIDI Data Format

nn 30 1 00 - 01 Rcv PITCH BEND OFF, ON 1

nn 31 1 00 - 01 Rcv CH AFTER TOUCH(CAT) OFF, ON 1

nn 32 1 00 - 01 Rcv PROGRAM CHANGE OFF, ON 1

nn 33 1 00 - 01 Rcv CONTROL CHANGE OFF, ON 1

nn 34 1 00 - 01 Rcv POLY AFTER TOUCH(PAT) OFF, ON 1

nn 35 1 00 - 01 Rcv NOTE MESSAGE OFF, ON 1

nn 36 1 00 - 01 Rcv RPN OFF, ON 1

nn 37 1 00 - 01 Rcv NRPN OFF, ON XGmode=01, GMmode=00

nn 38 1 00 - 01 Rcv MODULATION OFF, ON 1

nn 39 1 00 - 01 Rcv VOLUME OFF, ON 1

nn 3A 1 00 - 01 Rcv PAN OFF, ON 1

nn 3B 1 00 - 01 Rcv EXPRESSION OFF, ON 1

nn 3C 1 00 - 01 Rcv HOLD1 OFF, ON 1

nn 3D 1 00 - 01 Rcv PORTAMENTO OFF, ON 1

nn 3E 1 00 - 01 Rcv SOSTENUTO OFF, ON 1

nn 3F 1 NOT USED —

nn 40 1 00 - 01 Rcv BANK SELECT OFF, ON XGmode=01, GMmode=00

nn 41 1 00 - 7F SCALE TUNING C -64...0...+63[cent] 40

nn 42 1 00 - 7F SCALE TUNING C# -64...0...+63[cent] 40

nn 43 1 00 - 7F SCALE TUNING D -64...0...+63[cent] 40

nn 44 1 00 - 7F SCALE TUNING D# -64...0...+63[cent] 40

nn 45 1 00 - 7F SCALE TUNING E -64...0...+63[cent] 40

nn 46 1 00 - 7F SCALE TUNING F -64...0...+63[cent] 40

nn 47 1 00 - 7F SCALE TUNING F# -64...0...+63[cent] 40

nn 48 1 00 - 7F SCALE TUNING G -64...0...+63[cent] 40

nn 49 1 00 - 7F SCALE TUNING G# -64...0...+63[cent] 40

nn 4A 1 00 - 7F SCALE TUNING A -64...0...+63[cent] 40

nn 4B 1 00 - 7F SCALE TUNING A# -64...0...+63[cent] 40

nn 4C 1 00 - 7F SCALE TUNING B -64...0...+63[cent] 40

nn 4D 1 28 - 58 CAT PITCH CONTROL -24...0...+24[semitones] 40

nn 4E 1 00 - 7F CAT LOW PASS FILTER CONTROL -9600...0...+9450[cent] 40

nn 4F 1 00 - 7F CAT AMPLITUDE CONTROL** -100...0...+100[%] 40

nn 50 1 00 - 7F CAT LFO PMOD DEPTH 0...127 0

nn 51 1 NOT USED —

nn 52 1 00 - 7F CAT LFO AMOD DEPTH 0...127 0

nn 53 1 28 - 58 PAT PITCH CONTROL -24...0...+24[semitones] 40

nn 54 1 NOT USED —

nn 55 1 00 - 7F PAT AMPLITUDE CONTROL** -100...0...+100[%] 40

nn 56 1 00 - 7F PAT LFO PMOD DEPTH 0...127 0

nn 57 1 NOT USED —

nn 58 1 00 - 7F PAT LFO AMOD DEPTH 0...127 0

nn 59 1 00 - 5F AC1 CONTROLLER NUMBER 0...95 10

nn 5A 1 28 - 58 AC1 PITCH CONTROL -24...0...+24[semitones] 40

nn 5B 1 00 - 7F AC1 LOW PASS FILTER CONTROL -9600...0...+9450[cent] 40

nn 5C 1 00 - 7F AC1 AMPLITUDE CONTROL** -100...0...+100[%] 40

nn 5D 1 00 - 7F AC1 LFO PMOD DEPTH 0...127 0

nn 5E 1 NOT USED —

nn 5F 1 00 - 7F AC1 LFO AMOD DEPTH 0...127 0

nn 60 1 00 - 5F AC2 CONTROLLER NUMBER 0...95 11

nn 61 1 28 - 58 AC2 PITCH CONTROL -24...0...+24[semitones] 40

nn 62 1 00 - 7F AC2 LOW PASS FILTER CONTROL -9600...0...+9450[cent] 40

nn 63 1 00 - 7F AC2 AMPLITUDE CONTROL** -100...0...+100[%] 40

nn 64 1 00 - 7F AC2 LFO PMOD DEPTH 0...127 0

nn 65 1 NOT USED —

nn 66 1 00 - 7F AC2 LFO AMOD DEPTH 0...127 0

nn 67 1 00 - 01 PORTAMENTO SWITCH OFF, ON 0

nn 68 1 00 - 7F PORTAMENTO TIME 0...127 0

nn 69 1 00 - 7F PITCH EG INITIAL LEVEL -64...0...+63 40

nn 6A 1 00 - 7F PITCH EG ATTACK TIME -64...0...+63 40

nn 6B 1 00 - 7F PITCH EG RELEASE LEVEL -64...0...+63 40

nn 6C 1 00 - 7F PITCH EG RELEASE TIME -64...0...+63 40

nn 6D 1 01 - 7F VELOCITY LIMIT LOW 1...127 1

nn 6E 1 01 - 7F VELOCITY LIMIT HIGH 1...127 7F

TOTAL SIZE 3F

nn 70 1 NOT USED —

nn 71 1 NOT USED —

nn 72 1 00 - 7F EQ BASS GAIN -12 - +12[dB] 40

nn 73 1 00 - 7F EQ TREBLE GAIN -12 - +12[dB] 40

TOTAL SIZE 4

nn 74 1 NOT USED —

nn 75 1 NOT USED —

nn 76 1 04 - 28 EQ BASS FREQUENCY 32...2.0k[Hz] 0C

nn 77 1 1C - 3A EQ TREBLE FREQUENCY 500...16.0k[Hz] 36

nn 78 1 NOT USED —

nn 79 1 NOT USED —

nn 7A 1 NOT USED —

nn 7B 1 NOT USED —

nn 7C 1 NOT USED —

nn 7D 1 NOT USED —

nn 7E 1 NOT USED —

nn 7F 1 NOT USED —

TOTAL SIZE 0C

0A nn 20 1 00 - 7F HIGH PASS FILTER CUTOFF FREQUENCY-64...0...+63 40

nn 21 1 NOT USED —

TOTAL SIZE 2

nn = PART NUMBER

** Processed on the XG platform side (MU128/100, etc.)

MIDI Data Format

<1-4>

MIDI Parameter Change table ( PART ASSIGN )

Address Size Data Parameter Description Default Value

(H) (H) (H) (H)

70 2 nn 1 00 - 0F,7F Part Assign A1...A16, OFF 0

TOTAL SIZE 1

nn = PLG150-DX Serial Number

<2-1>

Parameter Bass Address

MODEL ID = 62

<2-2>

MIDI Parameter Change table ( PLG150-DX Native SYSTEM )

Address Size Data Parameter Description Default Value

(H) (H) (H) (H)

0 0 7 1 NOT USED —

8 1 00 - 06 VELOCITY CURVE DX,normal,Soft1,Soft2,Easy,Wide,Hard 1

9 1 NOT USED —

0A 1 NOT USED —

0B 1 NOT USED —

0C 1 NOT USED —

0D 1 NOT USED —

0E 1 00 - 01 32 BULK RECEIVE BLOCK 1-32, 33-64 0

0F 1 NOT USED —

TOTAL SIZE 9

<2-3>

MIDI Parameter Change table ( PLG150-DX Native MULTI PART )

Address Size Data Parameter Description Default Value

(H) (H) (H) (H)

60 nn 0 1 00 - 06 AC4 Controller Off, MOD, BC, FC, EXP, CAT, PB 0

nn 1 1 00 - 01 AC4 Parameter Select Noassign, EGbias 0

nn 2 1 NOT USED 0

nn 3 1 NOT USED 0

nn 4 1 NOT USED 0

nn 5 1 00 - 7F AC4 Parameter Depth -64...0...+63 40

nn 6 1 NOT USED 40

nn 7 1 NOT USED 40

nn 8 1 NOT USED 40

nn 9 1 NOT USED 0

nn 0A 1 NOT USED 0

nn 0B 1 00 - 7F Carrier Level1 -64...0...+63 40

nn 0C 1 00 - 7F Carrier Level2 -64...0...+63 40

nn 0D 1 00 - 7F Carrier Level3 -64...0...+63 40

nn 0E 1 00 - 7F Carrier Level4 -64...0...+63 40

nn 0F 1 00 - 7F Carrier Level5 -64...0...+63 40

nn 10 1 00 - 7F Carrier Level6 -64...0...+63 40

nn 11 1 NOT USED 40

nn 12 1 NOT USED 40

nn 13 1 00 - 7F Modulator Level1 -64...0...+63 40

nn 14 1 00 - 7F Modulator Level2 -64...0...+63 40

nn 15 1 00 - 7F Modulator Level3 -64...0...+63 40

nn 16 1 00 - 7F Modulator Level4 -64...0...+63 40

nn 17 1 00 - 7F Modulator Level5 -64...0...+63 40

nn 18 1 00 - 7F Modulator Level6 -64...0...+63 40

nn 19 1 NOT USED 40

nn 1A 1 NOT USED 40

nn 1B 1 39 - 47 FeedBack Level -7...0...+7 40

TOTAL SIZE 1C

60 nn 1C 1 00 - 01 Portamento Mode 0:retain(poly),ﬁngered(mono), 1

1:follow(mono),fulltime(poly)

nn 1D 1 00 - 0C Portamento Step 0...12 0

nn 1E 1 00 - 0C PitchBend Step 0...12 0

nn 1F 1 NOT USED 0

TOTAL SIZE 4

nn 20 1 00 - 01 RcvDxSysEx 0:OFF 1:ON 1

nn = PART NUMBER

Parameter Address Description

(H) (M) (L)

PLG150-DX SYSTEM 00 00 00 System

PLG150-DX

MULTI PART

Multi Part 1

Multi Part 16

MIDI Data Format

<3-1>

Parameter Group Number

<3-2>

MIDI Parameter Change table ( DX Voice Parameter - VCED format )

Parameter Group# Parameter# Size Data Parameter Description Default Value

g h OP6 OP5 OP4 OP3 OP2 OP1

(H) (H) (H) (H) (H) (H) (H) (H) (H) (H) (H)

00 00 00 15 2A 3F 54 69 1 00 - 63 EG RATE1 0...99 63

00 01 16 2B 40 55 6A 1 00 - 63 EG RATE2 0...99 63

00 02 17 2C 41 56 6B 1 00 - 63 EG RATE3 0...99 63

00 03 18 2D 42 57 6C 1 00 - 63 EG RATE4 0...99 63

00 04 19 2E 43 58 6D 1 00 - 63 EG LEVEL1 0...99 63

00 05 1A 2F 44 59 6E 1 00 - 63 EG LEVEL2 0...99 63

00 06 1B 30 45 5A 6F 1 00 - 63 EG LEVEL3 0...99 63

00 07 1C 31 46 5B 70 1 00 - 63 EG LEVEL4 0...99 00

00 08 1D 32 47 5C 71 1 00 - 63 BREAK POINT A-1...C8 27

00 09 1E 33 48 5D 72 1 00 - 63 LEFT DEPTH 0...99 00

00 0A 1F 34 49 5E 73 1 00 - 63 RIGHT DEPTH 0...99 00

00 0B 20 35 4A 5F 74 1 00 - 03 LEFT CURVE -lin,-exp,+exp,+lin 00

00 0C 21 36 4B 60 75 1 00 - 03 RIGHT CURVE -lin,-exp,+exp,+lin 00

00 0D 22 37 4C 61 76 1 00 - 07 RATE SCALING 0...7 00

00 0E 23 38 4D 62 77 1 00 - 03 AMPLITUDE MODULATION SENSITIVITY 0...3 00

00 0F 24 39 4E 63 78 1 00 - 07 TOUCH SENSITIVITY 0...7 00

00 10 25 3A 4F 64 79 1 00 - 63 TOTAL LEVEL 0...99 OP1=99,otherOP=0

00 11 26 3B 50 65 7A 1 00 - 01 FREQUENCY MODE ratio,ﬁxed 00

00 12 27 3C 51 66 7B 1 00 - 1F FREQUENCY COURSE 0...31 01

00 13 28 3D 52 67 7C 1 00 - 63 FREQUENCY FINE 0...99 00

00 14 29 3E 53 68 7D 1 00 - 0E DETUNE -7...0...+7 07

00 7E 1 00 - 63 PEG RATE1 0...99 63

00 7F 1 00 - 63 PEG RATE2 0...99 63

01 00 1 00 - 63 PEG RATE3 0...99 63

01 01 1 00 - 63 PEG RATE4 0...99 63

01 02 1 00 - 63 PEG LEVEL1 0...99 32

01 03 1 00 - 63 PEG LEVEL2 0...99 32

01 04 1 00 - 63 PEG LEVEL3 0...99 32

01 05 1 00 - 63 PEG LEVEL4 0...99 32

01 06 1 00 - !F ALGORITHM SELECTOR 1...32 00

01 07 1 00 - 07 FEEDBACK LEVEL 0...7 00

01 08 1 00 - 01 OSC PHASE INIT off,on 01

01 09 1 00 - 63 LFO SPEED 0...99 23

01 0A 1 00 - 63 LFO DELAY TIME 0...99 00

01 0B 1 00 - 63 PITCH MODULATION DEPTH 0...99 00

01 0C 1 00 - 63 AMPLITUDE MODULATION DEPTH 0...99 00

01 0D 1 00 - 01 LFO KEY SYNC off,on 01

01 0E 1 00 - 05 LFO WAVE triangle,sawdown, 00

sawup,square,

sine,s/hold

01 0F 1 00 - 07 LFO PITCH MODULATION SENSITIVITY 0...7 03

01 10 1 00 - 2F TRANSPOSE C1...C5 18

01 11 1 25 - 58 VOICE NAME 32...127 (ASCII CHARACTER) ‘I’

01 12 1 25 - 58 VOICE NAME 32...127 (ASCII CHARACTER) ‘N’

01 13 1 25 - 58 VOICE NAME 32...127 (ASCII CHARACTER) ‘I’

01 14 1 25 - 58 VOICE NAME 32...127 (ASCII CHARACTER) ‘T’

01 15 1 25 - 58 VOICE NAME 32...127 (ASCII CHARACTER)

01 16 1 25 - 58 VOICE NAME 32...127 (ASCII CHARACTER) ‘V’

01 17 1 25 - 58 VOICE NAME 32...127 (ASCII CHARACTER) ‘O’

01 18 1 25 - 58 VOICE NAME 32...127 (ASCII CHARACTER) ‘I’

01 19 1 25 - 58 VOICE NAME 32...127 (ASCII CHARACTER) ‘C’

01 1A 1 25 - 58 VOICE NAME 32...127 (ASCII CHARACTER) ‘E’

TOTAL SIZE 9B

01 1B 1 00 - 3F OPERATOR ENABLE Bit5:OP1,Bit4:OP2,Bit3:OP3, 3F

Bit2:OP4,Bit1:OP5,Bit0:OP6 off,on

<3-3>

IDI Parameter Change table ( DX Voice Additional Parameter - ACED format )

Parameter Group# Parameter# Size Data Parameter Description Default Value

(H) (H) (H) (H) (H) (H)

06 00 00 1 NOT USED —

01 1 NOT USED —

02 1 NOT USED —

03 1 NOT USED —

04 1 NOT USED —

05 1 NOT USED —

06 1 00 - 07 OP6 AMPLITUDE MODULATION SENSITIVITY 0...7 00

Parameter

Group No. Description parameter#

VCED (Voice Edit Buffer)

0...127

0...28

06 00 ACED (Additional Edit Buffer) 0...73

MIDI Data Format

07 1 00 - 07 OP5 AMPLITUDE MODULATION SENSITIVITY 0...7 00

08 1 00 - 07 OP4 AMPLITUDE MODULATION SENSITIVITY 0...7 00

09 1 00 - 07 OP3 AMPLITUDE MODULATION SENSITIVITY 0...7 00

0A 1 00 - 07 OP2 AMPLITUDE MODULATION SENSITIVITY 0...7 00

0B 1 00 - 07 OP1 AMPLITUDE MODULATION SENSITIVITY 0...7 00

0C 1 00 - 03 PITCH EG RANGE 8va,2va,1va,1/2va 00

0D 1 00 - 01 LFO KEY TRIGGER single,multi 00

0E 1 00 - 01 PITCH EG BY VELOCITY SWITCH off,on 00

0F 1 00 - 03 POLY/MONO,UNISON SWITCH bit0:poly/mono,bit1:unison off/on 00

10 1 00 - 0C PITCH BEND RANGE 0...12 02

11 1 00 - 0C PITCH BEND STEP 0...12 00

12 1 NOT USED —

13 1 00 - 07 RANDOM PITCH FLUCTUATION 0...7 00

14 1 00 - 01 PORTAMENTO MODE rtn/ﬂw, ﬁngrd/ﬂltm 00

15 1 00 - 0C PORTAMENTO STEP 0...12 00

16 1 00 - 63 PORTAMENTO TIME 0...99 00

17 1 NOT USED —

18 1 NOT USED —

19 1 NOT USED —

1A 1 NOT USED —

1B 1 NOT USED —

1C 1 NOT USED —

1D 1 NOT USED —

1E 1 NOT USED —

1F 1 NOT USED —

20 1 NOT USED —

21 1 NOT USED —

22 1 NOT USED —

23 1 NOT USED —

24 1 NOT USED —

25 1 NOT USED —

26 1 00 - 07 PITCH EG RATE SCALING DEPTH 0...7 —

40 1 NOT USED —

41 1 NOT USED —

42 1 NOT USED —

43 1 NOT USED —

44 1 NOT USED —

45 1 NOT USED —

46 1 NOT USED —

47 1 NOT USED —

48 1 00 - 07 UNISON DETUNE DEPTH 0...7 00

49 1 NOT USED —

TOTAL SIZE 31

<4-1>

Parameter Group Number

<4-2>

DX Packed Voice Parameter - VMEM format

Parameter# Size Parameter Description

OP6 OP5 OP4 OP3 OP2 OP1 BIT6 BIT5 BIT4 BIT3 BIT2 BIT1 BIT0

(H) (H) (H) (H) (H) (H) (H)

00 11 22 33 44 55 1 EG RATE1 R1

01 12 23 34 45 56 1 EG RATE2 R2

02 13 24 35 46 57 1 EG RATE3 R3

03 14 25 36 47 58 1 EG RATE4 R4

04 15 26 37 48 59 1 EG LEVEL1 L1

05 16 27 38 49 5A 1 EG LEVEL2 L2

06 17 28 39 4A 5B 1 EG LEVEL3 L3

07 18 29 3A 4B 5C 1 EG LEVEL4 L4

08 19 2A 3B 4C 5D 1 BREAK POINT BP

09 1A 2B 3C 4D 5E 1 LEFT DEPTH LD

0A 1B 2C 3D 4E 5F 1 RIGHT DEPTH RD

0B 1C 2D 3E 4F 60 1 RIGHT CURVE/LEFT CURVE --- RC LC

0C 1D 2E 3F 50 61 1 DETUNE/RATE SCALING PD RS

0D 1E 2F 40 51 62 1 TOUCH SENSITIVITY/AMPLITUDE MODULATION SENSITIVITY --- TS AMS

0E 1F 30 41 52 63 1 TOTAL LEVEL TL

0F 20 31 42 53 64 1 FREQUENCY COURSE/FREQUENCY MODE --- PC PM

10 21 32 43 54 65 1 FREQUENCY FINE PF

66 1 PEG RATE1 PR1

67 1 PEG RATE2 PR2

68 1 PEG RATE3 PR3

69 1 PEG RATE4 PR4

6A 1 PEG LEVEL1 PL1

6B 1 PEG LEVEL2 PL2

6C 1 PEG LEVEL3 PL3

6D 1 PEG LEVEL4 PL4

Format No. Description Total Size

00 VCED (Voice Edit Buffer) 155

05 ACED (Additional Edit Buffer) 49

06 AMEM (packed 32 supplement) 1120

09 VMEM (packed 32 voice) 4096

MIDI Data Format

6E 1 ALGORITHM SELECTOR --- ALS

6F 1 OSC PHASE INIT / FEEDBACK LEVEL --- OPI FBL

70 1 LFO SPEED LFS

71 1 LFO DELAY TIME LFD

72 1 PITCH MODULATION DEPTH LPMD

73 1 AMPLITUDE MODULATION DEPTH LAMD

74 1 LFO PITCH MODULATION SENSITIVITY / LFO WAVE / LFO KEY SYNC LPMS LFW LFKS

75 1 TRANSPOSE TRNP

76 1 VOICE NAME VNAM1

77 1 VOICE NAME VNAM2

78 1 VOICE NAME VNAM3

79 1 VOICE NAME VNAM4

7A 1 VOICE NAME VNAM5

7B 1 VOICE NAME VNAM6

7C 1 VOICE NAME VNAM7

7D 1 VOICE NAME VNAM8

7E 1 VOICE NAME VNAM9

7F 1 VOICE NAME

TOTAL SIZE1000 (80h X 20h = 1000h)

<4-3>

DX Packed Voice Additional Parameter - AMEM format

Parameter# Size Parameter Description

(H) (H) BIT6 BIT5 BIT4 BIT3 BIT2 BIT1 BIT0

00 1 NOT USED ---

01 1 AMPLITUDE MODULATION SENSITIVITY --- OP5 OP6

02 1 AMPLITUDE MODULATION SENSITIVITY --- OP3 OP4

03 1 AMPLITUDE MODULATION SENSITIVITY --- OP1 OP2

04 1 RANDOM PITCH / PEG VELOCITY SW / LFO KEY TRIGGER / PEG RANGE RNDP VPSW LTRG PEGR

05 1 PITCH BEND RANGE / POLY/MONO,UNISON SWITCH --- PBR PMOD

06 1 PITCH BEND STEP --- PBS

07 1 PORTAMENTO STEP / PORTAMENTO MODE --- PQNT

PORM

08 1 PORTAMENTO TIME POS

09 1 NOT USED ---

0A 1 NOT USED ---

0B 1 NOT USED ---

0C 1 NOT USED ---

0D 1 NOT USED ---

0E 1 NOT USED ---

0F 1 NOT USED ---

10 1 NOT USED ---

11 1 NOT USED ---

12 1 NOT USED ---

13 1 NOT USED ---

14 1 NOT USED ---

15 1 NOT USED ---

16 1 NOT USED ---

17 1 NOT USED ---

18 1 PITCH EG RATE SCALING DEPTH --- PGRS

19 1 NOT USED ---

1A 1 NOT USED ---

1B 1 NOT USED ---

1C 1 NOT USED ---

1D 1 NOT USED ---

1E 1 NOT USED ---

1F 1 NOT USED ---

20 1 NOT USED ---

21 1 NOT USED ---

22 1 UNISON DETUNE DEPTH --- UDTN

TOTAL SIZE460 (23h X 20h = 460h)

When Your PLG150-DX Seems to Have a Problem

Please check the items below when your PLG150-DX isn’t generating sounds or when it isn’t functioning normally. Also,

when the current status of the settings for your PLG150-DX isn’t clear, it’s a good idea to turn the power off, then on again

(returning the settings to their defaults), and try entering your settings again.

The PLG150-DX doesn’t produce sounds

• Are the MU128 and the playback equipment (such as speakers or headphones) correctly connected?

• Is the PLG150-DX board properly mounted in the XG plug-in connector? Take a look at the pages in your XG tone

generator manual that explain how to install the board.

• Are the volume and expression for the part selected for the PLG150-DX voice raised to the proper level?

the carrier output level set at -64? (page 29)

• This may happen when voices are placed in the user bank and edited with the DX Simulator. Check the settings.

In Multipart Edit, the “PLUGIN” menu doesn’t appear.

• Is the PLG150-DX correctly installed?

The pitch is not right

• Has note shift or transpose information been set?

• This may happen when voices are placed in the user bank and edited with the DX simulator. Check the settings.

Notes won’t stop playing

• Because EG Release Level (L4) is set for the voices below, they won’t stop playing, even when a Note Off is received

(The same applies to the User voice).

MSB LSB Program Ch. Voice Name

83 0 52 DX Grw12

83 0 82 DX-Train

83 0 91 MobyDick

83 0 123 ManEater

If you switch voices, the sound will stop.

The vibrato is different for each voice

• This happens because an appropriate LFO Mode is set for each voice. When a chord is played with some voices,

vibrato is applied individually to match the dynamics for the way each key was played. For other voices, the same

vibrato that was applied for the dynamics of the ﬁrst key played will be applied to all notes.

Notes sound different for each Note ON

• Because an appropriate oscillator sync is set for each voice, phase shift occurs between the operators. Depending on

the voice, the sound may be slightly different each time a key is played.

Wenn Probleme mit der PLG150-DX auftreten

Überprüfen Sie bitte folgendes, wenn die PLG150-DX keinen Sound erzeugt oder nicht ordnungsgemäß funktioniert. Auch

wenn der aktuelle Status der Einstellungen für die PLG150-DX nicht eindeutig ist, sollten Sie das Gerät ausschalten, wieder

einschalten (so kehren Sie zu den Standardeinstellungen zurück), und jetzt erneut versuchen, Ihre Einstellungen vorzuneh-

men.

Die PLG150-DX erzeugt keinen Sound

• Ist das MU128 und die Wiedergabegeräte (wie z. B. Lautsprecher oder Kopfhörer) korrekt angeschlossen?

• Ist die PLG150-DX-Karte korrekt in den XG-Plug-in-Anschluß eingesetzt? Lesen Sie bitte im Handbuch des XG-

Klangerzeugers nach, wie die Karte installiert wird.

• Sind die Lautstärke und der Ausdruck für den Part, der für die PLG150-DX-Stimme gewählt wurde, auf den entspre-

chenden Pegel eingestellt? Ist der Trägerausgabepegel auf -64 eingestellt? (Seite 29)

• Das kann der Fall sein, wenn Voices (Stimmen) in benutzerdeﬁnierte Banken plaziert und mit dem DX-Simulator bear-

beitet werden. Überprüfen Sie die Einstellungen.

In Multipart Edit (Multipartbearbeitung) wir das Menü “PLUGIN” nicht angezeigt.

• Ist die PLG150-DX korrekt installiert?

Die Tonhöhe stimmt nicht

• Wurden Informationen für Notenwechsel oder dem Andern der Tonhöhe eingestellt?

• Das kann der Fall sein, wenn Voices (Stimmen) in benutzerdeﬁnierte Banken plaziert und mit dem DX-Simulator bear-

beitet werden. Überprüfen Sie die Einstellungen.

Noten werden endlos gespielt

• Da der EG-Release-Pegel (L4) für die darunterliegenden Voices (Stimmen) eingestellt ist, wird die Wiedergabe nicht

beendet, selbst wenn der Befehl Note-Off empfangen wird (Das gleiche gilt für die Benutzerstimme).

MSB LSB Programmkanal Voice Name (Stimmenname)

83 0 52 DX Grw12

83 0 82 DX-Train

83 0 91 MobyDick

83 0 123 ManEater

Wenn Sie die Voice (Stimme) wechseln, stoppt der Sound.

Das Vibrato ist für jede Voice (Stimme) anders

• Das ist der Fall, weil für jede Stimme ein entsprechender LFO-Modus festgelegt wurde. Wenn ein Akkord mit ver-

schiedenen Voices (Stimmen) gespielt wird, wird das Vibrato individuell angewendet, so daß es mit der Dynamik über-

einstimmt, mit der jede Taste gespielt wurde. Bei anderen Voices (Stimmen) wird das gleiche Vibrato, das auf die

Dynamik der ersten gespielten Taste angewendet wurde auf alle Noten angewendet.

Noten klingen bei jedem Note-ON anders

• Da für jede Voice (Stimme) eine Oszillatorsynchronisation festgelegt wurde, wird zwischen den Operatoren eine Pha-

senverschiebung ausgeführt. Abhängig von der Voice (Stimme), kann der Sound bei jedem Spielen der Taste ein wenig

anders klingen.

Lorsque votre PLG150-DX semble avoir un problème

Vériﬁez les éléments ci-dessous lorsque votre PLG150-DX ne génère aucun son ou ne fonctionne pas normalement. De plus,

si vous n'êtes pas sûr de l'état actuel des réglages de votre PLG150-DX, nous vous recommandons d'éteindre puis de rallumer

(ce qui rétablit les valeurs par défaut), et d'essayer de rentrer à nouveau vos réglages.

La carte PLG150-DX ne produit aucun son.

• L'appareil MU128 et le matériel de reproduction (par exemple, les écouteurs ou haut-parleurs) sont-ils correctement

connectés ?

• La carte PLG150-DX est-elle montée correctement dans le connecteur plug-in XG ? Reportez-vous aux pages de votre

mode d'emploi du générateur de son XG qui expliquent comment installer la carte.

• Le volume et l'expression pour la partie sélectionnée pour le son PLG150-DX sont-ils réglés au bon niveau ?

le niveau de sortie est-il réglé à -64 ? (voir page 29).

• Cela peut arriver lorsque les sons sont placés dans la banque personnalisée et édités avec DX Simulator. Vériﬁez les

réglages.

Dans Multipart Edit (Édition multi-parties), le menu “PLUGIN” n'apparaît pas.

• La carte PLG150-DX est-elle correctement installée ?

La hauteur n'est pas bonne.

• Des informations de transposition ou de décalage de notes ont-elles été déﬁnies ?

• Cela peut arriver lorsque les sons sont placés dans la banque personnalisée et édités avec DX Simulator. Vériﬁez les

réglages.

Les notes ne cessent d'être reproduites

• Puisque EG Release Level (Niveau de relâchement de GE) (L4) est déﬁni pour les sons ci-dessous, ils ne cesseront pas

d'être joués même si Note Off (Désactivation de note) est reçue (cela s'applique aussi au son Utilisateur).

MSB LSB Canal progr. Nom de son

83 0 52 DX Grw12

83 0 82 DX-Train

83 0 91 MobyDick

83 0 123 ManEater

Si vous changez les sons, ils ne seront plus joués.

Le vibrato varie selon les sons

• Cela se produit lorsqu'un Mode LFO (Mode OBF) approprié est déﬁni pour chaque son. Lorsqu'un accord est joué avec

certains sons, le vibrato appliqué à chaque note est différent selon la dynamique avec laquelle la note a été jouée. Pour

les autres sons, le vibrato appliqué pour la dynamique de la première note jouée sera appliqué également à toutes les

autres notes.

Les notes ont un son différent pour chaque Note ON (Activation de note)

• Comme une synchronisation d'oscillateur appropriée est déﬁnie pour chaque son, un changement de phase se produit

entre les opérateurs. En fonction du son, le résultat peut être légèrement différent chaque fois qu'une note est jouée.

MIDI Implementation Chart

YAMAHA [ Advanced DX/TX Plug-in Board ] Date:07-OCT-1999

Model PLG150-DX MIDI Implementation Chart Version : 1.0

Transmitted Recognized Remarks

Function...

Basic Default x 1

Channel Changed x 1 - 16

Default x 3

Mode Messages x 3, 4 (m=1) *2

Altered ************** x

Note x 0 - 127

Number : True voice ************** 0 - 127

Velocity Note ON x o 9nH,v=1-127

Note OFF x x

After Key's x o *1

Touch Ch's x o *1

Pitch Bend x o 0-24 semi *1

0,32 x o *1 Bank Select

1,5,7,10,11 x o *1

6,38 x o *1 Data Entry

64-66 x o *1

Control 71-74 x o *1 Sound Controller

Change 96-97 x o *1 RPN Inc,Dec

98-99 x o *1 NRPN LSB,MSB

100-101 x o *1 RPN LSB,MSB

MIDI Implementation Chart

Prog x o 0 - 127

Change : True # **************

System Exclusive o *3 o *3

: Song Pos. x x

Common : Song Sel. x x

: Tune x x

System :Clock x x

Real Time:Commands x x

Aux :All Sound Off x o(120,126,127)

:Reset All Cntrls x o(121)

:Local ON/OFF x x

:All Notes OFF x o(123-125)

Mes- :Active Sense x o

sages:Reset x x

Notes: *1 receive if switch is on.

*2 m is always treated as "1" regardless of its value.

*3 transmit/receive if exclusive switch is on.

Mode 1 : OMNI ON , POLY Mode 2 : OMNI ON ,MONO o : Yes

Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF,MONO x : No

SOFTWARE LICENSING AGREEMENT

The following is a legal agreement between you, the end user, and Yamaha Corporation (“Yamaha”). The enclosed

Yamaha software program is licensed by Yamaha to the original purchaser for use only on the terms set forth herein.

Please read this licensing agreement with care. Opening this package indicates that you accept all terms outlined

herein. If you do not agree to the terms, return this package unopened to Yamaha for a full refund.

1. GRANT OF LICENSE AND COPYRIGHT

Yamaha grants you, the original purchaser, the right to use one copy of the enclosed software program and data

(“SOFTWARE”) on a single-user computer system. You may not use it on more than one computer or computer termi-

nal. The SOFTWARE is owned by Yamaha and is protected by Japanese copyright laws and all applicable interna-

tional treaty provisions. You are entitled to claim ownership of the media in which the SOFTWARE is included.

Therefore, you must treat the SOFTWARE like any other copyrighted materials.

2. RESTRICTIONS

The SOFTWARE program is copyrighted. You may not engage in reverse engineering or reproduction of the SOFT-

WARE by other conceivable methods. You may not reproduce, modify, change, rent, lease, resell, or distribute the

SOFTWARE in whole or in part, or create derivative works from the SOFTWARE. You may not transmit or network

the SOFTWARE with other computers.

You may transfer ownership of the SOFTWARE and the accompanying written materials on a permanent basis pro-

vided that you retain no copies and the recipient agrees to the terms of the licensing agreement.

3. TERMINATION

The licensing condition of the software program becomes effective on the day that you receive the SOFTWARE. If

any one of the copyright laws or clauses of the licensing conditions is violated, the licensing agreement shall be termi-

nated automatically without notice from Yamaha. In this case, you must destroy the licensed SOFTWARE and its cop-

ies immediately.

4. PRODUCT WARRANTY

Yamaha warrants to the original purchaser that if the SOFTWARE, when used in normal conditions, will not perform

the functions described in the manual provided by Yamaha, the sole remedy will be that Yamaha will replace any media

which proves defective in materials or workmanship on an exchange basis without charge. Except as expressly set

forth above, the SOFTWARE is provided “as is,” and no other warranties, either expressed or implied, are made with

respect to this software, including, without limitation the implied warranties of merchantability and ﬁtness for a partic-

ular purpose.

5. LIMITED LIABILITY

Your sole remedies and Yamaha’s entire liability are as set forth above. In no event will Yamaha be liable to you or any

other person for any damages, including without limitation any incidental or consequential damages, expenses, lost

proﬁts, lost savings or other damages arising out of the use or inability to use such SOFTWARE even if Yamaha or an

authorized dealer has been advised of the possibility of such damages, or for any claim by any other party.

6. GENERAL

This license agreement shall be interpreted according to and governed by Japanese laws.

SOFTWARE-LIZENZVEREINBARUNG

Die folgende Vereinbarung ist eine rechtsgültige Vereinbarung zwischen Ihnen, dem Endanwender, und der Yamaha

Corporation („Yamaha”). Yamaha erteilt dem ursprünglichen Käufer für das beiliegende Yamaha-Softwareprogramm

ausschließlich zu den hier ausgeführten Bedingungen eine Lizenz zur Verwendung. Bitte lesen Sie diese Lizenzverein-

barung sorgfältig. Durch das Öffnen dieser Packung bringen Sie zum Ausdruck, daß Sie alle darin enthaltenen Bedin-

gungen akzeptieren. Wenn Sie nicht mit den Bedingungen einverstanden sind, können Sie die Packung ungeöffnet an

Yamaha zurückgeben; der Kaufpreis wird in voller Höhe zurückerstattet.

1. ERETILUNG VON LIZENZ UND COPYRIGHT

Yamaha erteilt Ihnen, dem ursprünglichen Käufer, das Recht, ein Exemplar des beiliegenden Softwareprogramms und

der darin enthaltenen Daten („SOFTWARE”) als Einzelperson auf jeweils einem Computer zu verwenden. Sie dürfen

sie nicht auf mehr als einem Computer bzw. einer Computerstation verwenden. Die SOFTWARE bleibt im Besitz von

Yamaha und ist durch japanische Copyrightgesetze sowie alle anwendbaren internationalen Vertragsbestimmungen

geschützt. Sie haben ein Anspruchsrecht auf das Eigentum an den Medien, denen die SOFTWARE beiliegt. Daher

müssen Sie die SOFTWARE wie alle anderen durch Copyright geschützten Materialien behandeln.

2. EINSCHRÄNKUNGEN

Die SOFTWARE ist durch Copyright geschützt. Sie dürfen Sie weder analysieren noch durch anderweitige Methoden

reproduzieren. Sie dürfen die SOFTWARE weder ganz noch teilweise reproduzieren, modiﬁzieren, verändern, gegen

Entgelt oder unentgeltlich verleihen, verkaufen oder vertreiben, und Sie dürfen auf der Grundlage der SOFTWARE

keine Ableitungen erstellen. Sie dürfen die SOFTWARE nicht an andere Computer senden oder in Netzwerke einspei-

sen. Sie dürfen das Eigentum an der SOFTWARE und den schriftlichen Begleitmaterialien auf unbefristeter Basis

unter den Voraussetzungen übertragen, daß Sie keine Kopien zurückbehalten und sich der Empfänger mit den Bedin-

gungen der Lizenzvereinbarung einverstanden erklärt.

3. BEENDIGUNG

Die Lizenzbedingung des Softwareprogramms wird am Tag, an dem Sie die SOFTWARE erhalten, wirksam. Falls ein

Copyrightgesetz oder eine Bestimmung der Lizenzbedingungen verletzt wird, wird automatisch und ohne Benachrich-

tigung durch Yamaha die Lizenzvereinbarung beendet. In diesem Fall müssen Sie die lizensierte SOFTWARE und ihre

Kopien unverzüglich vernichten.

4. PRODUKTGARANTIE

Yamaha garantiert dem ursprünglichen Käufer, daß, falls die SOFTWARE bei Verwendung unter normalen Bedingun-

gen nicht die in der von Yamaha bereitgestellten Anleitung beschriebenen Funktionen erfüllt, die einzige Abhilfe darin

bestehen wird, daß Yamaha auf Austauschbasis kostenlos jedes Medium ersetzen wird, das Material- oder Verarbei-

tungsfehler aufweist. Abgesehen von dem oben Ausgeführten wird die SOFTWARE „wie die Ware liegt und steht”

geliefert, und es werden keine anderen ausdrücklichen oder stillschweigenden Garantien hinsichtlich dieser Software

übernommen, einschließlich, aber nicht beschränkt auf, die stillschweigenden Garantien für handelsübliche Qualität

und Eignung für einen bestimmten Einsatzzweck.

5. BESCHRÄNKTE HAFTUNG

Ihre einzige Abhilfe und die gesamte Haftung Yamahas bestehen in dem oben Ausgeführten. Keinesfalls haftet Yamaha

Ihnen oder einer anderen Person gegenüber für etwaige Schäden, einschließlich, aber nicht beschränkt auf, zufällige

Schäden oder Folgeschäden, Kosten, Verdienstausfall, verlorene Ersparnisse oder andere Schadenersatzansprüche, die

aus der Verwendung der SOFTWARE oder aus der Tatsach hervorgehen, daß diese SOFTWARE nicht verwendet wer-

den konnte, selbst wenn Yamaha oder ein autorisierter Händler über die Möglichkeit derartiger Schadenersatzansprü-

che informiert wurde, oder für etwaige andere Ansprüche einer anderen Partei.

6. ALLGEMEINES

Diese Lizenzvereinbarung soll gemäß und in Übereinstimmung mit den japanischen Gesetzen ausgelegt werden.

CONTRAT DE LICENCE DE LOGICIEL

Ceci est un contrat entre vous-même, l’utilisateur ﬁnal, et Yamaha Corporation (“Yamaha”). Le logiciel Yamaha ci-

inclus est concédé sous licence par Yamaha à l’acheteur original et ne peut être utilisé que dans les conditions prévues

aux présentes. Veuillez lire attentivement ce contrat de licence. Le fait d’ouvrir ce coffret indique que vous acceptez

l’ensemble des termes du contrat. Si vous n’acceptez pas lesdits termes, renvoyez le coffret non ouvert à Yamaha pour

en obtenir le remboursement intégral.

1. CONCESSION DE LICENCE ET DROITS D’AUTEUR

Yamaha vous concède le droit d’utiliser, en tant qu’acheteur original, un exemplaire du logiciel et des données afféren-

tes à celui-ci (“LOGICIEL”) sur un ordinateur pour utilisateur unique. Vous n’êtes pas autorisé à utiliser ces éléments

sur plus d’un ordinateur ou terminal d’ordinateur. Le LOGICIEL est la propriété de Yamaha. Il est protégé par les dis-

positions relatives au droit d’auteur contenues dans la législation japonaise et les traités internationaux. Vous êtes en

droit de revendiquer l’appartenance du support du LOGICIEL. A ce titre, vous devez traiter le LOGICIEL comme tout

autre élément protégé par le droit d’auteur.

2. RESTRICTIONS

Le LOGICIEL est protégé par le droit d’auteur. Vous n’êtes pas autorisé à reconstituer la logique du LOGICIEL ou à

reproduire ce dernier par quelque autre moyen que ce soit. Vous n’êtes pas en droit de reproduire, modiﬁer, prêter,

louer, revendre ou distribuer le LOGICIEL en tout ou partie, ou d’utiliser le LOGICIEL à des ﬁns de création dérivée.

Vous n’êtes pas autorisé à transmettre le LOGICIEL à d’autres ordinateurs ou à l’utiliser en réseau.

Vous êtes en droit de céder, à titre permanent, le LOGICIEL et la documentation imprimée qui l’accompagne, sous

réserve que vous n’en conserviez aucun exemplaire et que le bénéﬁciaire accepte les termes du présent contrat.

3. RESILIATION

Les conditions énoncées dans le présent contrat de licence prennent effet à compter du jour où le LOGICIEL vous est

remis. Si l’une quelconque des dispositions relatives au droit d’auteur ou des clauses du contrat ne sont pas respectées,

le contrat de licence sera résilié de plein droit par Yamaha, ce sans préavis. Dans ce cas, vous devrez immédiatement

détruire le LOGICIEL concédé sous licence ainsi que les copies réalisées.

4. GARANTIE PRODUIT

Si, dans des conditions normales d’utilisation, le LOGICIEL ne remplit pas les fonctions décrites dans le manuel

fourni, Yamaha s’engage vis-à-vis de l’acheteur original à remplacer gratuitement, sur la base d’un échange, tout sup-

port reconnu défectueux par suite d’un défaut de matière première ou d’un vice de fabrication. Ceci constitue le seul

recours opposable à Yamaha. Hormis dans les cas expressément énoncés plus haut, le LOGICIEL est livré “en l’état” et

toute autre garantie expresse ou implicite le concernant, y compris, de manière non limitative, toute garantie implicite

de qualité marchande et d’adéquation à un usage particulier, est exclue.

5. RESPONSABILITE LIMITEE

Votre unique recours et la seule responsabilité de Yamaha sont tels qu’énoncés précédemment. En aucun cas Yamaha

ne pourra être tenu responsable, par vous-même ou une autre personne, de quelques dommages que ce soit, notamment

et de manière non limitative, de dommages indirects, frais, pertes de bénéﬁces, pertes de fonds ou d’autres dommages

résultant de l’utilisation ou de l’impossibilité d’utiliser le LOGICIEL, même si Yamaha ou un distributeur agréé ont été

prévenus de l’éventualité de tels dommages, ou de quelque autre revendication formulée par une tierce partie.

6. REMARQUE GENERALE

Le présent contrat de licence est régi par le droit japonais, à la lumière duquel il doit être interprété.

For details of products, please contact your nearest Yamaha or

the authorized distributor listed below.

Pour plus de détails sur les produits, veuillez-vous adresser à

Yamaha ou au distributeur le plus proche de vous ﬁgurant dans

la liste suivante.

Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten

Niederlassung und bei Yamaha Vertragshändlern in den jeweili-

gen Bestimmungsländern erhältlich.

Para detalles sobre productos, contacte su tienda Yamaha más

cercana o el distribuidor autorizado que se lista debajo.

NORTH AMERICA

CANADA

Yamaha Canada Music Ltd.

135 Milner Avenue, Scarborough, Ontario,

M1S 3R1, Canada

Tel: 416-298-1311

U.S.A.

Yamaha Corporation of America

6600 Orangethorpe Ave., Buena Park, Calif.

90620, U.S.A.

Tel: 714-522-9011

CENTRAL & SOUTH AMERICA

MEXICO

Yamaha de Mexico S.A. De C.V.,

Departamento de ventas

Javier Rojo Gomez No.1149, Col. Gpe Del

Moral, Deleg. Iztapalapa, 09300 Mexico, D.F.

Tel: 686-00-33

BRAZIL

Yamaha Musical do Brasil LTDA.

Av. Rebouças 2636, São Paulo, Brasil

Tel: 011-853-1377

ARGENTINA

Yamaha Music Argentina S.A.

Viamonte 1145 Piso2-B 1053,

Buenos Aires, Argentina

Tel: 1-371-7021

PANAMA AND OTHER LATIN

AMERICAN COUNTRIES/

CARIBBEAN COUNTRIES

Yamaha de Panama S.A.

Torre Banco General, Piso 7, Urbanización Marbella,

Calle 47 y Aquilino de la Guardia,

Ciudad de Panam*, Panam*

Tel: 507-269-5311

EUROPE

THE UNITED KINGDOM

Yamaha-Kemble Music (U.K.) Ltd.

Sherbourne Drive, Tilbrook, Milton Keynes,

MK7 8BL, England

Tel: 01908-366700

IRELAND

Danfay Ltd.

61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin

Tel: 01-2859177

GERMANY/SWITZERLAND

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen,

F.R. of Germany

Tel: 04101-3030

AUSTRIA

Yamaha Music Austria

Schleiergasse 20, A-1100 Wien Austria

Tel: 01-60203900

THE NETHERLANDS

Yamaha Music Nederland

Kanaalweg 18G, 3526KL, Utrecht, The Netherlands

Tel: 030-2828411

BELGIUM

Yamaha Music Belgium

Keiberg Imperiastraat 8, 1930 Zaventem, Belgium

Tel: 02-7258220

FRANCE

Yamaha Musique France,

Division Professionnelle

BP 70-77312 Marne-la-Vallée Cedex 2, France

Tel: 01-64-61-4000

ASIA

HONG KONG

Tom Lee Music Co., Ltd.

11/F., Silvercord Tower 1, 30 Canton Road,

Tsimshatsui, Kowloon, Hong Kong

Tel: 2737-7688

INDONESIA

PT. Yamaha Music Indonesia (Distributor)

PT. Nusantik

Gedung Yamaha Music Center, Jalan Jend. Gatot

Subroto Kav. 4, Jakarta 12930, Indonesia

Tel: 21-520-2577

KOREA

Cosmos Corporation

1461-9, Seocho Dong, Seocho Gu, Seoul, Korea

Tel: 02-3486-0011

MALAYSIA

Yamaha Music Malaysia, Sdn., Bhd.

Lot 8, Jalan Perbandaran, 47301 Kelana Jaya,

Petaling Jaya, Selangor, Malaysia

Tel: 3-703-0900

PHILIPPINES

Yupangco Music Corporation

339 Gil J. Puyat Avenue, P.O. Box 885 MCPO,

Makati, Metro Manila, Philippines

Tel: 819-7551

SINGAPORE

Yamaha Music Asia Pte., Ltd.

11 Ubi Road #06-00, Meiban Industrial Building,

Singapore

Tel: 65-747-4374

TAIWAN

Yamaha KHS Music Co., Ltd.

10F, 150, Tun-Hwa Northroad,

Taipei, Taiwan, R.O.C.

Tel: 02-2713-8999

THAILAND

Siam Music Yamaha Co., Ltd.

121/60-61 RS Tower 17th Floor,

Ratchadaphisek RD., Dindaeng,

Bangkok 10320, Thailand

Tel: 02-641-2951

THE PEOPLE’S REPUBLIC OF CHINA

AND OTHER ASIAN COUNTRIES

Yamaha Corporation,

International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2317

OCEANIA

AUSTRALIA

Yamaha Music Australia Pty. Ltd.

17-33 Market Street, South Melbourne, Vic.

3205, Australia

Tel: 3-699-2388

NEW ZEALAND

Music Houses of N.Z. Ltd.

146/148 Captain Springs Road, Te Papapa,

Auckland, New Zealand

Tel: 9-634-0099

COUNTRIES AND TRUST

TERRITORIES IN PACIFIC OCEAN

Yamaha Corporation,

International Marketing Group

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2312

ITALY

Yamaha Musica Italia S.P.A.,

Combo Division

Viale Italia 88, 20020 Lainate (Milano), Italy

Tel: 02-935-771

SPAIN/PORTUGAL

Yamaha-Hazen Electronica Musical, S.A.

Jorge Juan 30, 28001, Madrid, Spain

Tel: 91-577-7270

GREECE

Philippe Nakas S.A.

Navarinou Street 13, P.Code 10680, Athens,

Greece

Tel: 01-364-7111

SWEDEN

Yamaha Scandinavia AB

J. A. Wettergrens Gata 1

Box 30053

S-400 43 Göteborg, Sweden

Tel: 031 89 34 00

DENMARK

YS Copenhagen Liaison Ofﬁce

Generatorvej 8B

DK-2730 Herlev, Denmark

Tel: 44 92 49 00

FINLAND

F-Musiikki Oy

Kluuvikatu 6, P.O. Box 260,

SF-00101 Helsinki, Finland

Tel: 09 618511

NORWAY

Norsk ﬁlial av Yamaha Scandinavia AB

Grini Næringspark 1

N-1345 Østerås, Norway

Tel: 67 16 77 70

ICELAND

Skifan HF

Skeifan 17 P.O. Box 8120

IS-128 Reykjavik, Iceland

Tel: 525 5000

OTHER EUROPEAN COUNTRIES

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen, F.R. of

Germany

Tel: 04101-3030

AFRICA

Yamaha Corporation,

International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-

8650

Tel: 053-460-2312

MIDDLE EAST

TURKEY/CYPRUS

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen,

F.R. of Germany

Tel: 04101-3030

OTHER COUNTRIES

Yamaha Music Gulf FZE

LB21-128 Jebel Ali Freezone

P.O.Box 17328, Dubai, U.A.E.

Tel: 971-4-81-5868

HEAD OFFICE Yamaha Corporation, Electronic Musical Instrument Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2445

SY20

M.D.G., EMI Division, Yamaha Corporation

V514050 911POCP5.2-01A0 Printed in Japan

This document is printed on chlorine free (ECF) paper.

Auf Umweltpapier gedruckt.

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Precautions ● Do not expose the plug-in board to direct sunlight, excessive 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 inside area of the circuit board or apply excessive pressure 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 generator/sound card, unplug the power connector of your computer. ● Before connecting the computer to other devices, turn off the power switches of all devices. ● Yamaha is not responsible for loss of data through computer 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 plugin board. YAMAHA CANNOT BE HELD RESPONSIBLE FOR DAMAGE CAUSED BY IMPROPER CARE AND USE OF THE PLUG-IN BOARD. * The company names and product names in this Owner’s Manual are the trademarks or registered 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. 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. 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. 2 Congratulations and thank you for purchasing the Yamaha PLG150-DX Advanced DX/TX Plugin Board! The PLG150-DX features the same 6-operator FM tone generation system that powered the famous DX-series synthesizers. The PLG150-DX can be installed to and integrated with instruments of the Modular Synthesis Plug-in System (such as the CS6x, CS6R, S80, etc.) It can also be used seamlessly with the MU128 Tone Generator (as well as other MU-series instruments and the SW1000XG PCI Audio/MIDI Board). Once it’s installed, the PLG150-DX puts the dynamic and flexible sound of FM synthesis right at your fingertips, with a total 912 DXseries voices. The settings and parameters of the PLG150-DX can also be conveniently edited via MIDI with a Windows PC computer by using the DX Easy Editor and DX Simulator software modules (included in the XGworks Music Sequencer software). To install your PLG150-DX correctly and to ensure full enjoyment of its sophisticated functions, be sure to read this manual very carefully. When finished, keep the manual in a secure and convenient place for future reference. Table of Contents Overview of the PLG150-DX ..................................... 4 FM Tone Generation ................................................... 6 Operators.............................................................. 6 Combinations of Two Operators...........................7 Carrier and Modulator........................................... 8 Harmonics ............................................................ 9 Algorithms........................................................... 10 Feedback............................................................ 11 Voice Editing Essentials .....................................12 Memory Buffer Structure ...................................... 14 Specifications............................................................ 15 About the Included CD-ROM and Floppy Disk .......16 Selecting DX Voices (Modular Synthesis Plug-in System)................ 22 Enabling and Selecting DX Voices .................... 22 Editing the DX Native Part Parameters (Modular Synthesis Plug-in System)................ 23 Selecting/Editing the DX System Parameters (Modular Synthesis Plug-in System)................ 24 Selecting DX Voices (XG Plug-in System) ............ 25 Enabling and Selecting DX Voices .................... 25 Editing the DX Native Part Parameters (XG Plug-in System) ............................................. 27 Installing the PLG150-DX ......................................... 18 Selecting/Editing the DX System Parameters (XG Plug-in System) ............................................. 28 Included Items ........................................................... 18 Parameters .............................................................. 29 Required and Recommended Items.......................18 Synthesizer/Tone Generator/ Sound Card Compatible with the Modular Synthesis or XG Plug-in Systems..................18 XGworks or XGworks lite Music Sequencing Software ..........................19 DX Easy Editor ................................................... 19 DX Simulator ...................................................... 19 Installing and Starting the Plug-in Editor Software (Windows 95/98) ...................20 Installing the Software ........................................ 20 Starting the DX Easy Editor................................20 Starting the DX Simulator ...................................21 DX Native Part Parameters................................ 29 DX System Parameters ..................................... 32 Appendix .................................................................... 34 Chart of Algorithms ............................................. 34 Voice List ............................................................... 36 DX Parameter List (XG / Modular Synthesis Plug-in System) .... 46 MIDI Data Format .................................................. 47 When Your PLG150-DX Seems to Have a Problem ............................... 57 MIDI Implementation Chart ................................. 60 3 Overview of the PLG150-DX ■ FM Synthesis The PLG150-DX employs the same FM tone generation system — with 6 operators and 32 algorithms — as made famous by the popular DX-series synthesizers. ■ 912 Preset Voices Built right into the PLG150-DX is a huge total of 912 DX voices. From conventional instrument sounds such as electric piano and bass to wild and unusual sound effects, the PLG150-DX gives you the full range of voices that made the DX-series instruments famous. ■ 16-note Polyphony The PLG150-DX features a maximum polyphony of 16 notes, the same as on the DX7 and DX7II. However, unlike with those instruments, you can install multiple PLG150-DX boards (up to a maximum of eight) for a total polyphony of 128 notes. For example, when three PLG150-DX boards are installed to a MU128 tone generator, the maximum polyphony becomes 48 voices. ■ Voice Data Transfer Since the PLG150-DX is compatible with the DX-series instruments, voice data can be transferred between the plug-in board and the DX7 or DX7II. This allows you to use those instruments (or compatible editing software) to edit and create voices, which can then be transferred to the PLG150-DX. The PLG150-DX is also compatible with voice parameters for the DX1, DX7S, TF1 modules (such as for the TX816), TX7, and the TX802. Some voices on the compatible devices mentioned above may sound slightly different when played on the PLG150-DX. ■ Built-in Filters and Equalizer The PLG150-DX gives you additional sound-shaping power with built-in low pass and high pass filters, plus a two-band equalizer. You can use these together with other FM voice parameters to create your own original voices. 4 Overview of the PLG150-DX About the Modular Synthesis Plug-in System The Yamaha Modular Synthesis Plug-in System offers powerful expansion and upgrade capabilities for Modular Synthesis-Plug-in-compatible synthesizers, tone generators and sound cards. This enables you to easily and effectively take advantage of the latest and most sophisticated synthesizer and effects technology, allowing you to keep pace with the rapid and multi-faceted advances in modern music production. About the XG Plug-in System The Yamaha XG Plug-in System offers powerful expansion and upgrade capabilities for XGPlug-in-compatible tone generators and sound cards. This enables you to easily and effectively take advantage of the latest and most sophisticated synthesizer and effects technology, allowing you to keep pace with the rapid and multi-faceted advances in modern music production. 5 FM Tone Generation Before actually editing the PLG150-DX voices, let’s get an idea of how the FM tone generator works. Operators In the PLG150-DX, there are six special devices called “operators” that generate sine waves. A sine wave is the fundamental wave of a note, with absolutely no overtones or harmonics added. These six operators are combined in various ways to make up the different voices produced by the PLG150-DX. The operators can be used to freely change two different aspects of the sound: (1) The frequency (pitch) of the generated sine wave. (2) The amplitude (volume or output level) of the generated sine wave. Operator 6 Operator The frequency of the sine wave is changed. The amplitude of the sine wave is changed. This results in the pitch becoming higher or lower. This results in the volume becoming higher or lower. FM Tone Generation Combinations of Two Operators Although the six operators can be combined in a wide variety of ways for many different sounds, here we’ll look at the fundamental combinations of just two operators, to help you understand the basics of FM synthesis. Two sine wave operators (labelled “A” and “B” here) can be combined in one of two ways: horizontally or vertically. (1) Horizontal Combination When the two operators are combined horizontally, the sounds of the two are simply mixed together. This combining of two or more different sounds is called additive synthesis. A B Mixed sound of A and B (2) Vertical Combination When the two operators are combined vertically, the sound of the top operator (B) “modulates” that of the lower operator (A). In this situation, operator B produces no sound, but alters the sound of operator A, producing a sound of greater harmonic complexity. This “stacking” of operators is called Frequency Modulation (FM) synthesis. B Operator B changes or modulates the sound of A (but produces no sound itself). A Operator A produces the actual sound, as modulated by B. To sum it up, when two operators are combined horizontally, both operators generate the sound; when combined vertically, one operator changes the sound, the other produces it. 7 FM Tone Generation Carrier and Modulator In FM tone generation, each of the six operators functions as either a carrier or a modulator. The operator doing the modulation is called the modulator; the one being modulated and delivering the actual sound is called the carrier. Referring back to “Vertical Combination” on the previous page, operator A is the carrier and operator B is the modulator. Let’s take a look at some more complex configurations, in which three or more operators are used. Keep in mind that the modulator/carrier function is the same in all examples. fig. 1 C fig. 2 C C fig. 5 fig. 3 M M M C fig. 4 M C M C C M M C C “C” Carrier “M” Modulator ● ● ● ● ● 8 In fig. 1, all operators are combined horizontally and there are no modulators, only carriers. Without modulation, all carriers output simple sine waves. In fig. 2, three operators are stacked vertically, and only the lowest is a carrier. The top operator modulates the middle one, which in turn modulates the carrier at the bottom. This results in a complex waveform, with many harmonics or overtones. (An explanation of harmonics follows on the next page.) In fig. 3, there are two carriers and one modulator. The sole carrier on the right produces a simple sine wave, while the modulator/carrier pair on the left produce a more complex waveform with added harmonics. The actual sound is a mix of the two carriers. In fig. 4, two modulators are used change the sound of a single carrier. Using two modulators produces an even more complex sound than is possible with one, with a greater amount of harmonics. In fig. 5, there are two modulator/carrier pairs, each generating a complex sound with many harmonics. As with the operators in fig. 3, the actual sound is a mix of the two carriers. 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 harmonics 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 harmonic 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 “fat,” warm sound. Harmonics Natural Harmonic Series Waveform Level Fundamental and Harmonics (graph) (when C1 is the fundamental tone) Level Harmonics Time Eighth Harmonic Seventh Harmonic Sixth Harmonic Fifth Harmonic Fourth Harmonic Third Harmonic Second Harmonic Frequency Fundamental Fourth Harmonic Third Harmonic Second Harmonic Fundamental Fundamental Wave Second Harmonic Harmonic Third Harmonic 9 FM Tone Generation Algorithms Although two operators can be combined in only two different ways, six operators can be configured in a wide variety of combinations. These combinations are called “algorithms.” Just as on the original DX7, the PLG150-DX features 32 different algorithms, giving you different levels of harmonic complexity for various applications. Since the function of any given operator depends on the particular algorithm, you should check a voice’s algorithm carefully while editing the voice. For a chart showing all 32 algorithms, see page 34. Each operator in the algorithm is numbered to distinguish it from the others in editing. Let’s take a look at algorithm 28 as an example. The various operators function as follows: Operator 1.............Carrier; is modulated by Operator 2, and outputs the resulting sound. Operator 2.............Modulator; modulates Operator 1. Operator 3.............Carrier; is modulated by Operator 4, and outputs the resulting sound. Operator 4.............Modulator; modulates Operator 3. Operator 5.............Modulator; modulates itself with a feedback loop, and modulates Operator 4. Operator 6.............Carrier; outputs a sine wave. Algorithm 28 5 10 2 4 1 3 Feedback loop (see next section) 6 FM Tone Generation Feedback Each algorithm has a special feedback loop, programmed to a fixed location in the algorithm. With feedback, a modulator’s output is connected to its own input, so that it modulates itself. This can be used to increase the harmonic content of the sound, making it more rich and complex. When set to a high level, feedback can generate noise effects — making it useful for percussive voices, metallic sounds, and distortion effects. Some algorithms feature a feedback loop that takes in two or three operators as a group. One such example is algorithm 4 shown below, in which the output of operator 4 is returned to the input of operator 6, thus modulating the entire stack. This provides even greater possibilities for tonal variation and richness. Algorithm 4 3 6 2 5 1 4 Feedback loop 11 FM Tone Generation Voice Editing Essentials There are four main elements that determine the character of a voice: (1) Each operator’s output level. (2) Each operator’s frequency. (3) The feedback level. (4) Each operator’s envelope generator (EG). (1) Operator Output Level The output levels of the operators are the most important parameters in editing a voice. Among these, the output level of the modulator(s) has the greatest effect on the timbre or tonal quality of the voice. If a modulator’s output level is set to “0” so that it does not modulate the carrier, the resulting output of the carrier will be a simple sine wave (below). Increasing the output of the modulator increases the degree of modulation and, hence, the amount of harmonics in the sound. Generally, the greater the modulator’s output, the brighter the sound will be. Extremely high values result in a harsh, noisy sound. Modulator B B The output level is increased slightly. Output Level = 0 Carrier A Sine wave B A The waveform changes slightly. The output level is greatly increased. A The waveform changes a lot. Since the carrier actually produces the sound, increasing the output level of a carrier increases the volume of the sound. If there are two or more carriers, changing the output level of individual carriers may also affect the timbre of the sound, since the volume balance of the different carriers is changed. (2) Operator Output Frequency 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. 12 FM Tone Generation If the “F COARSE” for the modulation in this situation is changed to 2.00, the frequency ratio becomes 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 woodwind voices for like clarinet and oboe. Furthermore, if “F FINE” is set 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 B B Frequency ratio 1:1 Carrier A Sawtooth wave Frequency ratio 1:2 A Rectangular wave (3) Feedback Level As we saw earlier, feedback is a function in which a modulator’s output is connected to its own input, so that it modulates itself. Increasing the feedback level increases the harmonic content of the sound, making it brighter and complex. Keep in mind that the total effect also depends on the output level of the feedback-applied operator; if that operator’s output level is set to “0,” feedback level will have no affect on the sound. (4) EG (Envelope Generator) The EG (Envelope Generator) parameters allow you to shape the sound of the voice. In other words, these determine how the level of the voice changes over time, from when a key on the keyboard is played until it is released and the sound dies out. The EG parameters let you reproduce the sound of acoustic instruments, and their natural patterns of attack, sustain and decay. For example, the sound of a piano has a very sharp attack and a moderately long sustain: The sound gets loud the instant a key is played, and gradually fades away as the key is held. The tone or timbre of the sound also changes in time, with the sound starting out very bright and gradually growing warmer and softer (as the harmonics start to fade). Since each operator has its own EG, the PLG150-DX gives you comprehensive and dynamic control over both the volume and timbre of the voice, letting you accurately reproduce these natural acoustic effects. The carrier EGs affect the volume of the sound over time, while the modulator EGs affect the timbre. 13 Memory Buffer Structure The diagram below shows the memory buffer configuration of the PLG150-DX. Recall Preset Memory (912 Voices) Voice Edit Buffer Compare Edit Recall Store User Voices (64 Voices) Edit Recall Buffer When editing the voices (using the DX Simulator), only the User voices can be fully edited; Preset voices can be edited only as far as the XG and DX Native Part parameters. When Using the User voices: • When a DX voice is selected from one of the User voices, the DX voice’s settings for the following parameters take precedence over the corresponding settings. XG Native Part Parameters Mono/Poly Mode Pitch Bend Control Portamento Switch Portamento Time PLG150-DX Native Part Parameters Pitch Bend Step Portamento Step Portamento Mode In other words, the settings of these XG Part parameters (on an MU128, etc.) are replaced by those of the selected DX voice. Naturally, once the voice is selected, the Part parameter values can then be changed from the panel of the XG-compatible “mother” device (MU128, etc.). The XG Native Part parameters can also be changed by appropriate parameter change messages. • If an XG System On is received, or part assignment is changed, the User voices will be initialized, but the 64 voice VMEM and AMEM areas will not be initialized. 14 Specifications 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 PLG150-DX has no filter functions) Interface : Plug-in connector Number of Voices : 912 preset voices, 64 user 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 (W x H x D) : 138.5 x 89.0 x 8.5mm Weight : 63g Included Items : Owner’s Manual, CD-ROM × 1 * Specifications subject to change without notice. 15 About the Included CD-ROM and Floppy Disk On the included CD-ROM, you’ll find special editing software for the PLG150-DX. The included floppy disk contains demonstration songs as well as Voice/Performance data for the “mother” device. To use the editing software and transfer the song/Voice/Performance data to your particular “mother” device, you should have a computer (running Windows 95/98) with a MIDI interface, with the MIDI OUT on the interface connected to the MIDI IN of the “mother” device. You should also have XGworks (v3.0 or higher) or XGworks lite installed to your computer; this is necessary to use the editing software (page 19). In order to use the editing software, insert the CD-ROM into the computer and start the installation. For playing back the demonstration songs and transferring the Voice/Performance data, you can use any compatible sequence software (such as XGworks/XGworks lite) or hardware sequencer capable of sending bulk data. The included CD-ROM contains the following software: ■ DX Easy Editor (page 19) ■ DX Simulator (page 19) The included floppy disk contains the following software: ■ Demonstration Songs “Many Colors of the DX7 system” (02Colors.MID) By: Hirohiko Fukuda of Shofuku For: Modular Synthesis Plug-in System devices (CS6x, etc.) One of the strongest points of FM Synthesis is its ability to create complex overtones in real time. In this song, system exclusive messages are used, in addition to velocity, to directly control the output of the modulators. This creates an even greater variety of sound changes — allowing complex sound shaping that just isn’t possible through wave sampling and conventional filter systems. “The Soul Of DX” (12SoulDX.MID) By: Minoru Mukaiya of Casiopea For: XG Plug-in System devices (MU128, etc.) This powerful song uses the crystal-clear sound of the DX7 with techno drums, and combines the XG and DX systems to produce an extraordinarily dynamic sound. “Ie Kia Bara Hein” (12IeKia.MID) By: Noritaka Ubukata of Shofuku For: XG Plug-in System devices (MU128, etc.) 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” (12Voice.MID) By: Noritaka Ubukata of Shofuku For: XG Plug-in System devices (MU128, etc.) Starting with an electric piano sound, this song features a variety of popular voices used with the original DX7. The changes in velocity produce subtle variations in the sound that cannot be accomplished with sampling. Another special feature is the FM choir (starting around measure 43). You may want to try mix this sound with an actual human voice or choir — for example, by using the data in track 1 to also play a connected sampler — you can get a much more dynamic and realistic choir sound. “Vel&EffectWorks1” (12V_EfW1.MID) “Vel&EffectWorks2” (12V_EfW2.MID) “DX Short Demo” (12ShtDM.MID) 16 By: Yasuhiko Fukuda of Shofuku For: XG Plug-in System devices (MU128, etc.) These songs showcase the unique ability of FM Synthesis to use velocity to produce dramatic changes in the sound. About the Included CD-ROM and Floppy Disk “80’s Pops” (12Pop80.MID) By: Katsumi Nagae of Idecs Inc. For: XG Plug-in System devices (MU128, etc.) This song recalls the pop scene of the 80’s with synth pads and a variety of crisp and bright metallic sounds. “D-Rock” (12DRock.MID) By: Katsumi Nagae of Idecs Inc. For: XG Plug-in System devices (MU128, etc.) This song brings back the digital rock sound and features various digital noise and FM sound effects that are only possible with the DX. “EP Ballade” (12Ep.MID) By: Katsumi Nagae of Idecs Inc. For: XG Plug-in System devices (MU128, etc.) 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. “House” (12House.MID) By: Katsumi Nagae of Idecs Inc. For: XG Plug-in System devices (MU128, etc.) 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” (12Jungle.MID) By: Katsumi Nagae of Idecs Inc. For: XG Plug-in System devices (MU128, etc.) This song adds a touch of Chinese feeling to the Jungle. The Oriental image is underscored by the “CHINA_S&” and “IMAGE9” plug-in SE voices. If no sounds are played, or if you experience other problems with playback, see Appendix “When Your PLG150-DX Seems to Have a Problem.” ■ Plug-in Voice Data for the CS6x/CS6R/S80 (Modular Synthesis Plug-in System) This is Plug-in voice data, featuring a total of 64 voices that were created using the PLG150-DX Preset voices. When the PLG150-DX is installed to PLG1, select the file “01PlgVc1.mid”; when the board is installed to PLG2, select the file “01PlgVc2.mid”. For a complete list of these voices, refer to the Plug-in Voice List in the Owner’s Manual. ■ Performance Data for the MU128/MU100/MU100R (XG Plug-in System) This is Performance data, featuring a total of 64 Performances that were created using the PLG150-DX Preset voices (“11Perf.MID”). For a complete list of these Performances, refer to the Performance List in the Owner’s Manual. 17 Installing the PLG150-DX For detailed instructions on installing the PLG150-DX, refer to the owner’s manual of the Plug-incompatible “mother” device (e.g., CS6x, MU128, etc.). Included Items The following items have been included in the package of your new PLG150-DX. Please make sure that you have them all before starting to setup and use the instrument. If an item is missing, contact the store or dealer from which you purchased the PLG150-DX. • PLG150-DX board • PLG150-DX Owner’s Manual (this book) • CD-ROM • Floppy Disk Required and Recommended Items In addition to the included items listed above, you should also have the following: Synthesizer/Tone Generator/Sound Card Compatible with the Modular Synthesis or XG Plug-in Systems In order to use the PLG150-DX, you’ll need a synthesizer, tone generator or sound card compatile with the Modular Synthesis Plug-in System or the XG Plug-in System. Compatible instruments include the CS6x, MU128, and the SW1000XG. The synthesizer/tone generator/sound card should also have an available slot or space for installing the PLG150-DX. 18 Required and Recommended Items XGworks or XGworks lite Music Sequencing Software When you use Yamaha’s XGworks(lite) as your sequence software, you can take advantage 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 PLG150-DX board. DX Easy Editor The DX Easy Editor is a special plug-in software module for XGworks and XGworks lite. It provides convenient easy-to-use control over the most important PLG150-DX settings and parameters. It also provides exceptionally intuitive editing, with virtual sliders and buttons, as well as special graphs with click-and-drag operation. Using the DX Easy Editor is just like using the Part editing controls on your tone generator — it indirectly and temporarily changes the DX voices without making changes to the original voice. The changed parameters can either be inserted into a song to automate sound changes, or can be saved as a DX Parameter file for future recall. Continuous real-time parameter changes can be recorded to a song as well. The DX Easy Editor software is contained on the included CD-ROM. DX Simulator As with DX Easy Editor above, the DX Simulator is special software for use with XGworks and XGworks lite. It allows you to directly edit all of the DX voice settings and parameters from your computer. It also provides exceptionally intuitive editing, with a virtual “front panel” display that lets you change the settings with buttons and sliders, just as you would on an actual DX7. It also features a special Edit List window, that lets you quickly and easily edit all parameters from one convenient chart. More comprehensive than the DX Easy Editor above, the DX Simulator gives you convenient access to all of the PLG150-DX’s parameters, controls and functions. The changed parameters can either be inserted into a song to automate sound changes, or can be saved as a DX Cartridge file for future recall. Continuous real-time parameter changes can be recorded to a song as well. It also lets you save your edits directly as a User voice for future recall. The DX Simulator software is contained on the included CD-ROM. 19 Installing and Starting the Plug-in Editor Software (Windows 95/98) Installing the Software Double-click the “Setup.exe” file on the CD-ROM to start the installation. Click “Next” or “Yes” and follow the subsequent instructions on the screen to complete the installation. Starting the DX Easy Editor 1 Start XGworks (or XGworks lite). 2 Click the “Plug-in” menu and select “DX Easy Editor.” Alternately, press Alt + P, then D, and ENTER. The “Select DX Part” dialog box appears. 3 Set the desired Part number and click “OK.” The DX Easy Editor window appears. If the PLG150-DX has been properly installed and all computer/MIDI connections have been properly made, operating the DX Easy Editor should directly affect the PLG150-DX. For details on using the DX Easy Editor, refer to the on-line help file that is included with the software. When using a Modular Synthesis Plug-in System “mother” device, the Part assignment depends on which mode is used — Voice or Performance — and also on whether the PLG150-DX board is installed/assigned to PLG1 or PLG2, as described below. When using the Voice mode: Depending on which slot the PLG150-DX board has been installed to, press PLG1 or PLG2, then set the Part to “1” (no matter what the PLG1 or PLG2 assignment is). When using the Performance (Multi) mode: If the PLG150-DX board is assigned to PLG1, set the Part to “16.” If the PLG150-DX board is assigned to PLG2, set the Part to “15.” 20 Installing and Starting the Plug-in Editor Software (Windows 95/98) Starting the DX Simulator 1 Start XGworks (or XGworks lite). 2 Click the “Plug-in” menu and select “DX Simulator.” Alternately, press Alt + P, then D, and ENTER. The “Select DX Part” dialog box appears. 3 Set the desired Part number and click “OK.” The DX Simulator window appears. If the PLG150-DX has been properly installed and all computer/MIDI connections have been properly made, operating the DX Simulator should directly affect the PLG150-DX. For details on using the DX Simulator, refer to the on-line help file that is included with the software. ● ● To use the DX Simulator, your copy of XGworks must be version 1.05 or later. You can download the proper update of XGworks or XGworks lite from the Yamaha website (http://www.yamaha.co.uk). When using a Modular Synthesis Plug-in System “mother” device, the Part assignment depends on which mode is used — Voice or Performance — and also on whether the PLG150-DX board is installed/assigned to PLG1 or PLG2, as described below. When using the Voice mode: Depending on which slot the PLG150-DX board has been installed to, press PLG1 or PLG2, then set the Part to “1” (no matter what the PLG1 or PLG2 assignment is). When using the Performance (Multi) mode: If the PLG150-DX board is assigned to PLG1, set the Part to “16.” If the PLG150-DX board is assigned to PLG2, set the Part to “15.” 21 Selecting DX Voices (Modular Synthesis Plug-in System) When the PLG150-DX is installed to a CS6x Control Synthesizer, the DX voices can be selected in the same way as the internal voices of the synthesizer. The example displays used in the following explanations are all taken from the CS6x. Enabling and Selecting DX Voices 1 Press the VOICE button. 2 Press the appropriate PLG button (PLG1 or PLG2, depending on which slot the PLG150-DX board has been installed to), then press the appropriate BANK button and PROGRAM button to select the desired Plug-in voice. VCE Play) PLG1:001(A01)[--:Plig-InVce] EQLow-G EQMid-G EQHi-G ------- ------To select a different bank, simultaneously hold down the appropriate PLG button and turn knob C (or press the DEC/INC buttons) to select the desired bank. The bank is expressed in two numbers: MSB and LSB. VCE Play) P1-B:001(A01)[--:MM-Pno 1 BANK= 083/065 ] If a selected bank is not available, the bank letter indication in the display (A - H) will not change. For a list of the available banks and their MSB/LSB values, refer to the “DX-XG Voice Map” at the back of this manual. 22 Editing the DX Native Part Parameters (Modular Synthesis Plug-in System) ● ● Keep in mind that the parameter values and settings below represent offsets of the actual voice settings. This means that adjustments made to the parameters may not make much change in the actual sound, depending on the original settings of the voice. For parameter values, a setting of “0” results in no change, while positive and negative values increase and decrease the value respectively. The following explanations show how to edit the DX native part parameters when creating PLG voices, using the CS6x Control Synthesizer as an example. For information on storing the PLG voices with your particular Modular Synthesis Plug-in System compatible instrument, refer to the owner’s manual of that instrument. 1 Select the desired DX voice, as described in “Selecting DX Voices” on page 22. 2 Press the EDIT button. The EDIT menu display appears. GEN Name) Ctgry Common 3 0-? Cursor [--:MM-Pno 1 ] Turn knob A clockwise until “Elem” is shown at the bottom left of the display. OSC Assign) Elem 4 a-Z Bank 083/065 Number 1[MM-Pno 1] Turn the PAGE knob clockwise until “PLG150-DX” is shown at the bottom left of the display. Keep turning the knob to select the different DX Part parameters, indicated just above knob C and knob 2. NTV Param) PLG150-DX 5 Carrier1 +00 Carrier2 *** Use knobs C and 2 to select the desired parameter and change the value. Once one of the parameters is selected (the arrow cursor appears next to the value), you can also adjust the value with the DATA knob or the DEC/INC buttons. ● ● In order to store User voices on a Modular Synthesis Plug-in System compatible instrument that have been edited/created with the computer-based DX Simulator (or with the compatible instrument itself), you’ll need to use an external memory device, such as a memory card. For details on storing voices, refer to the owner’s manual of your Modular Synthesis Plug-in System compatible instrument. The actual parameter names may differ, depending on whether the instrument you are using is XG Plug-in System compatible or Modular Synthesis Plug-in System compatible. For details, refer to the Parameter List (XG / Modular Synthesis Plug-in System). 23 Selecting/Editing the DX System Parameters (Modular Synthesis Plug-in System) The example displays used in the following explanations are all taken from the CS6x. 1 Press the UTILITY button. The Utility Mode display appears. MSTR TG) Sys 2 Vol 127 NoteShift + 0 + Tune 0.0c Turn the PAGE knob clockwise until “PLG150-DX” is shown at the bottom left of the display. Keep turning the knob to select the different DX System parameters, indicated just above knob C and knob 2. PLG1 System) PLG150-DX 3 BulkBlock 01-32 VelCurve Normal Use knobs C and 2 to select the desired DX System parameter and change the value. Once one of the parameters is selected (the arrow cursor appears next to the value), you can also adjust the value with the DATA knob or the DEC/INC buttons. 24 Selecting DX Voices (XG Plug-in System) The PLG150-DX voices can be selected just like the voices of the XG tone generator. Keep in mind, though, that they can only be selected when the Sound Module Mode is set to XG or Performance. Also, the Part Assign parameter in the Utility mode (see below) must be set to the desired Part. The example displays used in the following explanations are all taken from the MU128. Enabling and Selecting DX Voices 1 Set the Sound Module Mode to “XG” or “PFM” (Performance). Press the MODE button and use the SELECT </> buttons. The Performance mode is not available on the SW1000XG. 2 Set the Part Assign parameter to the desired Part number. To do this: 1) Press the UTIL button. 2) Select the “PLUGIN” menu (with the SELECT > button) and press ENTER. 3) Select the “PLG150-DX” menu if necessary (with the SELECT </> buttons), and press ENTER. 4) Select the Part Assign parameter (with the SELECT < button), and use the VALUE -/+ buttons or dial to change the Part number. The Part Assign range for the XG mode is 1 - 16 and “off”; for the Performance mode, it is 1 - 4 and “off.” Press the EXIT button to return to the Play mode. This operation can also be quickly and conveniently done from the DX Easy Editor or DX Simulator (in XGworks). 3 Enable the PLG150-DX board for the desired Part. First, make sure that the appropriate Part is selected (using the PART -/+ buttons), then press the SELECT button. The icon of the selected board appears in the display and the corresponding LED at the bottom of the panel (PLG-1, -2, or -3) flashes briefly. 25 Selecting DX Voices (XG Plug-in System) 4 Select the desired bank number. Move the cursor to the Bank Number parameter with the SELECT </> buttons and use the VALUE -/+ buttons to select the desired bank. Bank Number parameter 5 Select the desired voice number. Move the cursor to the Voice (Program) Number parameter with the SELECT </> buttons and use the VALUE -/+ buttons to select the desired voice. Voices (and Voice banks) can also be selected by using the Voice Category buttons. Alternately, you can select voices from a connected MIDI keyboard, or from sequencing software (such as XGworks) on a connected computer. For a list of available voices and their bank/voice numbers, see page 36. 26 Editing the DX Native Part Parameters (XG Plug-in System) Any of the DX voices can be freely edited from the front panel with the DX Part parameters. These same parameters can also be edited from a computer using the DX Easy Editor software (in XGworks). Keep in mind that changing the Part parameters does not permanently affect the original voice settings. The edits that you make here temporarily change the settings of the currently selected voice. When you select a different voice for the Part, the settings are applied to the newly selected voice. ● ● 1 The Part parameter settings cannot be saved in Multi Play mode. If you wish to save your Part parameter edits, do it from the Performance mode or the DX Easy Editor. If you wish to save your edits to a voice, use the DX Simulator software to edit the parameters of a voice, then save it as a User voice. The example displays used in the following explanations are all taken from the MU128. Select the Part having the DX voice, then select the desired voice. Select the appropriate Part with the PART -/+ buttons, then, with the cursor at the Voice Number parameter, select the desired voice. 2 Press the EDIT button to enter the Edit mode. 3 Select the “PLUGIN” menu. Use the SELECT > button, then press the ENTER button. The PLG150-DX Edit menu appears. 4 Select the desired parameter. Use the [SELECT </>] buttons. 5 Adjust the value or change the setting for the selected parameter. Use the [VALUE +/-] buttons. 6 Return to the main Play display. Press the [EXIT] button several times, or press the [PLAY] button once. 27 Selecting/Editing the DX System Parameters (XG Plug-in System) The parameters that apply to the entire system of the PLG150-DX are included in the Utility mode menu of the XG tone generator. The example displays used in the following explanations are all taken from the MU128. 1 Press the [UTIL] button. The Utility mode menu appears. 2 Select the “PLUGIN” menu. Use the [SELECT >] button to highlight “PLUGIN,” then press the [ENTER] button. 3 Select the PLG150-DX board. If the PLG150-DX board is the only one installed, “PLG150-DX” is already displayed and can be selected by pressing the [ENTER] button. If additional boards have been installed to the tone generator, you may need to select “PLG150-DX.” To do this, first use the [SELECT </>] buttons, then press [ENTER]. The System parameter menu for the PLG150-DX appears. 4 Select the desired parameter. Use the [SELECT </>] buttons. 5 Adjust the value or change the setting for the selected parameter. Use the [VALUE +/-] buttons. 6 Return to the main Play display. Press the [EXIT] button several times, or press the [PLAY] button once. 28 Parameters DX Native Part Parameters Keep in mind that the parameter values and settings represent offsets of the actual voice settings. This means that the actual sound that results from the settings made here depends on the original settings of the voice. Also keep in mind that these are “Part” parameters and as such, are temporary; they simply alter or offset the settings of the currently selected voice. The original voice settings are permanently maintained in memory. For parameter values, a setting of “0” results in no change, while positive and negative values increase and decrease the value respectively. Let’s look at a specific example. If the original Feedback Level parameter of the selected voice is set to +2, and you set the Feedback Level (below) to “-4,” the actual Feedback Level will become “-2.” If you set it to “+1,” the value will become “+3.” Naturally, this also means that the parameter value cannot be increased or decreased beyond its maximum or minimum values. In our example, Feedback values higher than “+5” have no effect on the sound, since the actual range is -7 — +7. ● ● Depending on the selected voice and the particular parameter being edited, the sound or actual parameter value of certain voices may change very little or not at all, even when the parameter value is changed drastically. For Modular Synthesis Plug-in System compatible devices, the voices you edit/create can be stored to the device as PLG voices. For details on storing voices, refer to the owner’s manual of your Modular Synthesis Plug-in System compatible instrument. ■ Carrier1 — Carrier6 (Carrier Operator 1 — 6 Level) Range: -64 — +63 (“***” : not available) • This determines the output level of each of the carrier operators. A carrier operator produces the sound for the voice. Changing the output level here changes the level of the voice. When more than one carrier is used in the algorithm, the timbre of the voice is also affected. • In this parameter, modulators cannot be edited; if a modulator operator is seleceted, “***” appears in the display and the setting cannot be changed. (To change the modulator operator, use the Modulator 1 — 6 parameter below.) Whether a certain operator is a carrier or not depends on the assigned algorithm of the selected voice. (For a chart showing the operator configurations for all 32 algorithms, see page 34.) ■ Modulator1 — Modulator6 (Modulator Operator 1 — 6 Level) Range: -64 — +63 (“***” : not available) • This determines the output level of each of the modulator operators. A modulator operator modulates the operator below it in the algorithm. Changing the output level here changes in the timbre or tonal quality of the voice. Higher levels generally make the sound brighter. • In this parameter, carriers cannot be edited; if a carrier operator is seleceted, “***” appears in the display and the setting cannot be changed. (To change the carrier operator, use the Carrier 1 — 6 parameter above.) Whether a certain operator is a modulator or not depends on the assigned algorithm of the selected voice. (For a chart showing the operator configurations for all 32 algorithms, see page 34.) 29 Parameters ■ Feedback Range: -7 — +7 • This determines the level of the feedback loop in the algorithm. Each algorithm provides a feedback operator, in which the output signal of the operator is looped back to its input. As its name implies, Feedback produces harsh noise-like harmonics in the voice. The degree of harshness or amount of noise depends not only on this setting, but also on the level of the feedback operator and its position in the algorithm. (For a chart showing the Feedback configurations for all 32 algorithms, see page 34.) ■ PortaMd (Portamento Mode) Settings: flw/ftm (Sus-Key P Follow/Full Time Porta) rtn/fgr (Sus-Key P Retain/Fingered Porta) • Portamento is an effect that produces a smooth, continuous glide in pitch between two notes (or chords) of different pitches. This parameter determines the way in which portamento is applied, and the settings differ depending on the selected keyboard mode, Mono or Poly. • When the keyboard is in Mono mode, the available settings are “Fingered Porta” and “Full Time Porta.” Fingered Portamento is glide that occurs only when you play legato — in other words, playing successive notes smoothly, not releasing a previously played note until after the next note is played. Full Time Portamento produces glide from one note to the next even when you play staccato (releasing one note before playing the next). • When the keyboard is in Poly mode, the available settings are “Sus-Key P Follow” and “Sus-Key P Retain.” In the “Follow” mode, if you play a note or chord and then play another note or chord, the sustain from the original note/chord glides to the pitch of the most recently played note/chord. In the “Retain” mode, the pitch of the new note or chord glides from the original pitch(es) without interrupting the sustain of the original note or chord. ■ PortaStep (Portamento Step) Range: 0 — 12 (semitones) • This determines whether the Portamento effect is continuous (setting of “0”), or is a glissando effect, in which the glide in pitch occurs in discrete semitone steps (settings of 1 — 12). This effect is best heard with a slower rate and when two widely separated notes are played one after the other. The value determines the amount of semitones by which the pitch changes. For example, a setting of “1” changes the pitch in semitone steps; for a setting of “12,” the pitch changes in octave jumps. ■ PitBndStep (Pitch Bend Step) Range: 0 — 12 (semitones) • This determines the size of the increments by which the Pitch Bend wheel (on a connected MIDI keyboard) changes the pitch. A setting of “0” results in perfectly smooth pitch bending. Values other than “0” represent the number of semitones by which the pitch will “jump” as you move the wheel. For example, the maximum setting of “12” will cause the wheel to change the pitch in a single, oneoctave jump. 30 Parameters ■ AC4 CC No. (AC4 Controller Assign) Settings: OFF MOD (Modulation wheel) BC (Breath controller) FC (Foot controller) EXP (Expression pedal) CAT (Channel aftertouch) PB (Pitch bend wheel) • This determines which MIDI controller is to be used for controlling EG Bias (when “AC4CtrPrm1” below is set to “EGbias”). • When the Amplitude Modulation Sensitivity parameter of a carrier is set to a value other than “0,” this lets you use the selected controller to change the volume in real time. When the Amplitude Modulation Sensitivity parameter of a modulator is set to a value other than “0,” this lets you use the selected controller to change the timbre of the sound in real time. Amplitude Modulation Sensitivity can be edited by using the DX Simulator editing software; see page 19.) ■ AC4CtrPrm1 (AC4 Controller Parameter 1) Settings: Off, EGbias • This determines whether the AC4 controller (as set in “AC4 CC No.” above) is used to control EG Bias or not. ■ AC4CtrDpt1 (AC4 Controller Parameter Depth) Range: -64 — +63 • This determines the depth over which the AC4 controller affects the EG Bias (when “AC4CtrPrm1” above is set to “EGbias”). Negative values produce a reverse action in the controller; for example, for a modulation wheel, moving the wheel down (instead of up) would change the EG Bias. ■ RcvDxSysEx (Receive DX System Exclusive) Settings: OFF, ON • The determines 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: User Bank RcvDxSysEx: ON With VMEM, AMEM: (bulk dump, 32 voice bulk dump) RcvDxSysEx: ON 31 Parameters DX System Parameters ■ Part Assign Settings: 01 — 16, off • This determines the Part to which the PLG150-DX voice is assigned. If a Part is not properly assigned here, none of the PLG150-DX voices can be selected for the Part. (This applies to XG Plug-in System compatible “mother” devices.) The PLG150-DX voices can only be assigned to a single Part. ■ BulkBlock Settings: 01 — 32, 33 — 64 • This determines which User voice memory block (1 — 32, or 33 — 64) will be used when transferring 32-voice bulk data to the PLG150-DX from an external MIDI device or computer. ■ Vel Curve (Velocity Curve) Settings: DX7, Normal, Soft1, Soft2, Easy, Wide, Hard • This determines how key velocity (the strength at which the keys are played) affects the volume of the voices. Six different preset velocity “curves” let you quickly tailor the response to your playing preferences. ● DX7 This sets the velocity curve for the DX7 and DX7II. ● Normal The volume of the sound changes in direct proportion to the strength at which you play the keyboard. Volume Playing strength ● Soft1 Compared to “Normal,” this curve produces greater volume in the soft velocity range, making it suitable for players having a light touch. Volume Playing strength 32 Parameters ● Soft2 This curve also produces greater volume in the soft velocity range, but is less pronounced than “Soft1” above. Volume Playing strength ● Easy This curve also produces greater volume in the soft velocity range, but results in a more consistent, stable response throughout the entire velocity range than the other “Soft” curves . Volume Playing strength ● Wide This curve decreases the volume for softer velocities and increases it for stronger velocities, resulting in a wider dynamic range overall. Volume Playing strength ● Hard Compared to “Normal,” this curve produces greater volume in the hard (strong) velocity range, making it suitable for players having a heavy touch. Volume Playing strength 33 Appendix 34 Chart of Algorithms Chart of Algorithms 35 Voice List ■ DX-XG Voice Map DX-XG/SFX Bank DX-XG/A Bank Bank Select MSB 67 Bank Select MSB 83 83 83 83 83 83 83 83 Bank Select LSB 0 Bank Select LSB 0 64 65 66 67 68 69 70 Instrument Group SFX Pgm # (1-128) 1 17 18 19 20 21 33 34 49 50 51 52 53 54 55 56 65 66 67 68 69 70 71 72 73 74 81 82 83 84 85 86 87 88 89 90 91 92 97 98 99 100 101 102 103 104 105 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 Turn Tbl DX-Clave SideStck Snapie Deep Snr SumohDrm DX-Wave Image 3 DX-Piyo1 DX-Inct1 DX-Grwl1 DX-Grwl2 Help me! DX-Wolf JnglBell DX-Inct2 DX-Ring1 DX-TlCal DX-TlBsy DX-TlTne DX-Ring2 DX-BigBn IronEch1 IronEch2 DX-RvCy1 DX-RvCy2 DX-Hlcpt DX-Train Take Off Mobile 1 MotrCycl DX-Ship Closing Scrchers MM-Fall DX-Flght MobyDick OutLimit Paranoir CaGhstLn MM-Shk 2 Image 1 Image 2 Tenjiku Metal Flxatone Spoon WhikShot PercShot Crasher Laser 1 Laser 2 Laser 3 Stopper Wallop 1 Wallop 2 StreetSD ManEater SmbaWhsl Refs Wsl Triangl1 Triangl2 SlighBel E A B 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 18 6 17 2 2 3 17 17 0 16 2 18 17 6 5 3 23 5 23 12 3 6 5 5 5 17 5 5 10 18 18 18 5 17 18 18 12 5 17 0 1 0 1 0 1 0 1 18 17 18 16 16 1 16 16 16 4 2 18 18 23 23 18 Instrument Group Piano Chromatic Percussion * * * * * Organ * * * Guitar * Bass * * * * * Strings Ensemble * * Brass * * * Reed Pipe Synth Lead Synth Pad Synth Effects Ethnic Percussive Pgm # (1-128) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 33 34 35 36 37 38 39 40 41 42 43 46 47 48 49 50 51 52 53 55 57 58 59 61 62 63 64 65 66 67 69 70 71 72 73 74 75 76 77 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 119 FrtePno1 BritPno1 DXCP-70 DX-Rgtim DX-Road1 E.Pno 1 Harpsi 1 MM-Clav1 Celesta1 Glocken1 MusicBx1 DX-Vibe1 DX-Mrmb1 DX-Xylo1 Carillon DX-Dlcm1 FullOrgn PrcOrg 1 RckOrg 1 DXChrch1 PufOrgn1 DX-Acrd1 DX-Hmnc1 DX-TngAc DX-AcGt1 DX-PkGt1 DX-JzGt1 DX-ClGt1 DX-MtGt1 DX-ODGt Fuzz Gtr DX-WdBa1 DX-FgBa1 DX-PkBa1 FrtlsBa1 RundWund DigiBas1 DX-SyBa1 DX-Bass1 DX-Vln 1 DX-Vla 1 DX-Celo1 DX-Pizz1 LuteHarp DX-Tmpni Mid Str1 WarmStr1 DX-SySt1 DX-SySt6 DX-Cho 1 DX-Cho 6 DX-Trpt1 DX-Trb 1 DX-Tuba1 DX-Horn DX-BrSc1 CS80-Br1 ChorsBrs SprnoSax Alto Sax TenorSax Oboe 1 Eng.Horn Bassoon VbrtClar Piccolo1 DX-Flt 1 Recordr1 DX-PnFl1 Fuhppps! Whistle1 DX-Ocrn1 DX-Squar DXSyLd 1 CaliopL1 BrsLead1 Au Campo DX-VceLd Fifths 1 LeadLine HyperSqr Film Pad BritePad DX-ChPd1 BowPad 1 DX-MtPd1 GrngePad SweepPd1 FluvPush MtalGlkn PrdsGlok DX-Brit1 Fmilters WaterLog DX-ScFi1 DX-Sitr1 DX-Banjo Shamisn1 DX-Koto DX-Klmb1 DX-BgPip DX-Fidle ScchTone HandBel1 DX-Aggo1 StlDrum1 Block Janpany MM-SDr 1 E A B 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 9 7 4 15 28 5 5 4 31 23 5 27 7 9 9 10 32 29 3 6 12 3 3 3 14 14 18 9 9 14 1 17 16 16 17 18 16 16 17 2 15 2 2 14 16 15 15 15 2 5 11 18 18 18 9 22 23 2 10 18 27 3 4 2 5 5 16 5 5 11 16 14 2 18 16 2 2 18 3 18 5 16 15 15 5 6 15 9 1 5 5 5 11 16 6 8 8 16 2 30 20 2 17 5 8 5 18 16 18 E A B FrtePno2 BritPno2 El.Gnd 1 ToyPno 1 BigWurlt ClrE.Pno Cembalim MM-Clav2 Celesta2 Glocken2 1 1 1 1 1 1 1 1 1 1 18 18 16 30 17 5 5 3 32 32 MM-Vibe1 BritMrmb DX-Xylo2 DX-Bel 1 * DrwOrg 1 * PrcOrg 2 * RckOrg 2 PipeOrg1 * SoftRdOr * DX-Acrd2 * DX-Hmnc2 DX-AcGt2 DX-PkGt2 DX-JzGt2 DX-ClGt2 DX-MtGt2 DX-DsGt1 DX-WdBa2 DX-FgBa2 PickPluk FrtlsBa2 SlapStrg SuprBas1 * DX-SyBa2 Remark * DX-Vln 2 DX-Vla 2 Rosin Pizz Str Syn Harp * * * * * * Mid Str2 Low Str1 Anna Str DX-SySt7 DX-Cho 2 DX-Cho 7 DX-Trpt2 DX-Trb 2 DX-Tuba2 MelwHrn1 DX-BrSc2 CS80-Br2 SyntiBrs * * * DX-Tsax * Oboe 2 * * SlowClar Piccolo2 * DX-Flt 2 Recordr2 Forest99 * DX-Botle * * DX-Ocrn2 DX-SLd 1 DXSyLd 2 CaliopL2 DX-WahLd * LeadPhon Giovanni Fifths 2 BassLead * Cho+Mrmb DX-SawPd SyBr Pd1 * Anna Pad * BowPad 2 * InitEnsm StacHevn * Evlution E A B E A B MM-Pno 1 BritPno3 El.Gnd 2 ToyPno 2 WurliEP1 E.Pno 2 AD1600s1 SkltnClv Celesta3 Glocken3 1 19 Digi Pno 1 3 5th Pno1 1 4 El.Gnd 3 1 9 ToyPno 3 1 3 * EP 1980 1 5 Urban 1 3 * AD1600s2 1 18 ClavStf1 1 5 1 7 Glocken4 1 1 1 1 1 1 1 1 16 5 MM-EGnd1 11 ToyPno 4 3 17 * DX-Road2 E.Pno 3 7 Harpsi 2 3 Revinett 18 1 1 1 1 1 1 19 12 12 5 5 18 1 23 1 7 1 5 1 27 DX-Vibe2 DX-Mrmb2 1 23 1 7 DX-Vibe3 DX-Mrmb3 1 1 5 7 DX-Vibe4 MtalMrmb 1 1 7 6 MM-Bell 1 27 MiniBell 1 5 DX-Bel 2 1 15 1 32 * 1 18 1 5 1 3 1 28 1 3 1 1 * DrwOrg 2 PrcOrg 3 RckOrg 3 PipeOrg2 PufOrgn2 DX-Acrd3 BuzzHarp 1 1 1 1 1 1 1 1 1 1 1 1 8 14 17 14 12 DX-AcGt3 DX-PkGt3 DX-JzGt3 DX-ClGt3 DX-MtGt3 1 1 DX-AcGt4 1 2 DX-PkGt4 1 8 * DX-JzGt4 1 4 DX-ClGt4 1 17 DX-MtGt4 1 8 1 3 1 8 1 13 1 3 Lute Gtr DX-PkGt5 1 14 1 8 DX-ClGt5 HevyGage 1 3 1 18 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16 DX-DsGt2 17 DX-WdBa3 17 HarmBass 18 ChifBass 18 FrtlsBa3 4 * LiteSlap 17 DrhtBass 3 DX-SyBa3 17 DX-Bass2 2 DX-Vln 3 17 * 18 * DX-Celo2 5 3 OrchHarp 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 DX-DsGt4 After 88 FustBass Owl Bass FrtlsBa5 Afresh DigiBas2 DX-SyBa4 Hop Bass 1 1 1 1 1 1 1 1 1 1 3 * Harp+Flt 1 1 1 1 1 1 1 1 1 1 1 1 1 15 15 9 4 6 7 18 22 18 2 22 22 2 1 1 1 1 1 1 1 1 15 DX-Str 1 2 DX-Str10 15 * Michelle 15 MM-Str 1 24 DX-Cho 4 29 * MM-Vce 1 18 * DX-Trpt4 7 * * * * * * * * E Brit Str Low Str2 SmalSect DX-AnSt3 DX-Cho 3 DX-Cho 8 DX-Trpt3 Mute Trb * * MelwHrn2 5th Brss * DX-SBr 1 DX-SBr 7 A B 29 DrwOrg 3 29 DxJazOr1 16 RckOrg 4 29 DXChrch2 12 * StretOrg 4 * DX-Acrd4 17 * FM-Hmnc1 14 DX-DsGt3 3 SmohBass 17 NstyBass 7 * Plktrmbs 12 FrtlsBa4 3 ImpctBas 16 Brainacs 24 Cutmandu 17 * DX-Bass3 2 1 11 DX-Celo3 1 3 * MletHorn 1 2 TightBr1 1 22 DX-SBr 2 1 18 SamplBrs 1 15 * 1 3 Oboe 3 1 27 1 4 DX-Clar1 1 5 * 1 7 DX-Flt 3 1 6 * Recordr3 1 2 Harvest 1 15 Quena 1 16 * DX-Flt 4 1 6 * 1 1 * 1 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 4 5 9 16 7 19 6 1 22 14 15 12 2 5 6 9 1 1 2 * DX-Clar2 1 1 1 1 1 1 1 JazOrg 1 29 PrcOrg 4 30 11 * RckOrg 5 PipeOrg3 6 16 4 * DX-Acrd5 1 * FM-Hmnc2 16 17 17 8 18 16 7 8 17 Mark III Andrian Knock EP E.Pno 5 Caffeine DX-Clv 1 BellVibe 1 23 LFO Vibe 1 2 * Vibetron 1 6 * DX-Bel 3 1 DX-Bel 4 1 9 DX-Bel 5 1 4 1 29 * DrwOrg 4 1 31 * PrcOrg 6 1 16 RckOrg 7 1 5 * PipeOrg5 DrwOrg 5 1 31 PrcOrg 7 1 31 1 22 * RckOrg 8 1 5 DX-AcGt5 DX-PkGt6 1 16 1 14 Mrmb Gtr DX-PkGt7 1 12 1 3 Tite Gtr 1 15 DX-ClGt6 1 17 DX-ClGt7 1 DX-ClGt8 1 3 1 1 1 22 1 10 1 4 DX-WdBa5 DX-FgBa3 WireBass 1 17 1 17 * Inorganc 1 10 1 3 1 3 1 2 1 32 Farf Out 1 29 * PrcOrg 5 1 26 * RckOrg 6 1 6 PipeOrg4 1 1 5 1 32 1 20 * 1 25 3 * 3 * 16 DX-DsGt5 17 * DX-WdBa4 18 ClavBass 4 MtalBass 3 3 16 9 BassNovo 16 Excite 3 1 7 * DX-SyBa5 1 17 DX-Bass4 1 3 1 18 DX-SyBa6 3 * 1 2 DX-Str 3 1 2 DX-Str12 1 25 DX-SySt3 1 15 * WarmStr4 1 6 1 6 * MM-Vce 3 1 18 1 1 1 1 15 DX-Str 4 15 * DX-Str13 25 DX-SySt4 15 * HalOrch1 DX-Str 5 1 15 1 2 1 9 * DX-AnSt1 HalOrch2 1 12 1 2 1 12 1 6 * Dbvoxfem 1 26 * Lady Vox 1 26 BlnchHrn 1 18 TightBr2 1 2 1 22 * DX-SBr 3 SinglBrs 1 2 1 2 1 22 1 5 1 22 1 15 * VibraHrn 1 9 * BrssSect 1 2 * DX-SBr 5 1 2 XyloBrss 1 17 * WarmBrss 1 2 DX-SBr 6 1 2 1 29 * OrchBrss 1 9 * 1 22 1 2 1 16 * DX-Flt 6 1 16 * DX-Flt 7 1 16 * MtalFlut 1 1 1 DX-SLd 4 DXSyLd 5 1 18 DX-SLd 5 1 5 * DXSyLd 6 1 1 AlpsHorn BlowBrss DX-SBr 4 ThickBrs 1 15 * 1 5 * DX-Flt 5 EadgbeLd IceHeven ElecComb * SyBr Pd2 * Whisper1 * BowPad 3 MtlSweep 1 14 DX-Ba+Ld 1 9 MM-Prety 1 4 * Fl.Cloud 1 5 * SyBr Pd3 1 6 * 1 7 * Ethereal 1 9 * Gior Pad 1 2 1 3 1 5 1 15 FrtlsLd TngVoice Floating SyBr Pd4 1 4 1 17 Str Tine 1 19 * BrsyWarm 1 2 SyBr Pd5 1 12 1 15 * WhstlPad 1 4 SyBr Pd6 1 25 * SyBr Pd7 1 19 1 5 1 19 Glassy 1 11 1 16 1 DX-Atms2 1 DX-SLd 3 1 3 DXSyLd 4 1 4 1 16 * DXAtkLd 1 15 1 26 * 1 15 * FM-Grwth 1 17 MetalBox DX-Atms1 1 11 1 15 1 16 1 3 Baroque JuceHarp 1 15 1 18 DX-ScFi3 Xanu 1 15 * DX-Stars EthrFour 1 4 Shamisn2 Koto+Flt * DX-Klmb2 * 1 22 1 2 1 18 Shamisn3 1 15 DX-Klmb3 1 16 HandBel2 DX-Aggo2 StlDrum2 1 5 1 15 1 13 TrcrBell 1 Jamaica 1 16 SteelCan 1 1 15 * 1 18 * Tom Herz 1 10 * 1 9 1 13 1 5 1 9 1 18 1 5 1 5 1 5 1 5 1 18 1 11 1 1 1 1 1 1 1 LyleLead Super DX CaliopL3 BrsLead3 LdSbHarm A B 1 19 DigiPoly 1 9 * Bell Pno 1 12 Old Jazz 1 11 * E.Pno 4 1 3 Harpsi 4 1 2 E.P/Clav 6 2 6 1 DX-SLd 6 DXSyLd 7 2 * 1 2 1 18 1 16 GlssHarp Ice Glxy 8 1 23 1 5 4 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 “*”) 36 E DX-Str 2 1 2 DX-Str11 1 5 DX-SySt2 1 15 WarmStr3 1 17 DX-Cho 5 1 4 1 7 * MM-Vce 2 1 18 * SlvTrmpt 1 27 1 4 1 3 SoftHead * MM-SDr 2 A B 1 11 1 MtalDlcm Electric SynBrite * * * DX-ScFi2 DX-Sitr2 E 1 24 1 11 1 2 1 6 BellPluk Brassy DX-Brit2 MM-EGnd2 PrprdPno DX-Road3 Vics EP Harpsi 3 Clavecn1 A B DX-Ocrn3 DX-SLd 2 DXSyLd 3 * PuffPipe BrsLead2 SweepLd SnglLine * Phasers 3 22 24 12 2 18 22 E 3 SpceTrip 1 2 1 23 Voice List Bank Select MSB 83 83 83 83 83 83 83 83 Bank Select LSB 0 71 72 73 74 75 76 77 Instrument Group Piano Chromatic Percussion Organ Guitar Bass Strings Ensemble Brass Reed Pipe Synth Lead Synth Pad Synth Effects Ethnic Percussive Pgm # (1-128) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 33 34 35 36 37 38 39 40 41 42 43 46 47 48 49 50 51 52 53 55 57 58 59 61 62 63 64 65 66 67 69 70 71 72 73 74 75 76 77 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 119 FrtePno1 BritPno1 DXCP-70 DX-Rgtim DX-Road1 E.Pno 1 Harpsi 1 MM-Clav1 Celesta1 Glocken1 MusicBx1 DX-Vibe1 DX-Mrmb1 DX-Xylo1 Carillon DX-Dlcm1 FullOrgn PrcOrg 1 RckOrg 1 DXChrch1 PufOrgn1 DX-Acrd1 DX-Hmnc1 DX-TngAc DX-AcGt1 DX-PkGt1 DX-JzGt1 DX-ClGt1 DX-MtGt1 DX-ODGt Fuzz Gtr DX-WdBa1 DX-FgBa1 DX-PkBa1 FrtlsBa1 RundWund DigiBas1 DX-SyBa1 DX-Bass1 DX-Vln 1 DX-Vla 1 DX-Celo1 DX-Pizz1 LuteHarp DX-Tmpni Mid Str1 WarmStr1 DX-SySt1 DX-SySt6 DX-Cho 1 DX-Cho 6 DX-Trpt1 DX-Trb 1 DX-Tuba1 DX-Horn DX-BrSc1 CS80-Br1 ChorsBrs SprnoSax Alto Sax TenorSax Oboe 1 Eng.Horn Bassoon VbrtClar Piccolo1 DX-Flt 1 Recordr1 DX-PnFl1 Fuhppps! Whistle1 DX-Ocrn1 DX-Squar DXSyLd 1 CaliopL1 BrsLead1 Au Campo DX-VceLd Fifths 1 LeadLine HyperSqr Film Pad BritePad DX-ChPd1 BowPad 1 DX-MtPd1 GrngePad SweepPd1 FluvPush MtalGlkn PrdsGlok DX-Brit1 Fmilters WaterLog DX-ScFi1 DX-Sitr1 DX-Banjo Shamisn1 DX-Koto DX-Klmb1 DX-BgPip DX-Fidle ScchTone HandBel1 DX-Aggo1 StlDrum1 Block Janpany MM-SDr 1 E A B 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 9 7 4 15 28 5 5 4 31 23 5 27 7 9 9 10 32 29 3 6 12 3 3 3 14 14 18 9 9 14 1 17 16 16 17 18 16 16 17 2 15 2 2 14 16 15 15 15 2 5 11 18 18 18 9 22 23 2 10 18 27 3 4 2 5 5 16 5 5 11 16 14 2 18 16 2 2 18 3 18 5 16 15 15 5 6 15 9 1 5 5 5 11 16 6 8 8 16 2 30 20 2 17 5 8 5 18 16 18 E A B E A B E A B E A B RatioDob SftEPno1 EP 1970 FulTine1 HarpsiWr ClavComp 1 5 1 5 SftEPno2 1 11 * DX-Road4 1 5 Duke EP 1 2 Harpsi 5 1 15 DX-Clv 2 1 5 1 12 1 5 1 5 1 3 * GlockPno PrcEPno1 E.Pno 6 1 1 1 DX-Clv 3 1 18 ClavExcl 1 17 DX-Bel 6 1 TmplBel2 1 11 TmplBel3 1 11 3 * ModEPno1 5 E.Pno 7 5 5 TmplBel1 1 1 29 1 31 1 22 DrwOrg 7 PrcOrg 9 RckOrg10 1 29 DrwOrg 8 1 32 PrcOrg10 1 32 * RckOrg11 DrwOrg 9 1 32 1 31 * PrcOrg11 RckOrg12 1 29 Gtr Box 1 15 LongNail 1 16 Firenze 1 * DX-SyBa7 1 17 DX-SyBa8 1 DX-Str 6 1 2 DX-Str 7 1 2 DX-Str 8 1 22 DX-AnSt2 Maxi Str 1 1 2 2 AgtateMs SilkHall 1 1 2 * SolinePf 5 Aftrnoon Syn Vox 1 25 * * DrwOrg 6 * PrcOrg 8 * RckOrg 9 5 1 1 E 5 * 5 FulTine2 BritClv1 1 A B E A B 5 E.Pno 8 1 6 BritClv2 1 4 * DX-Clv 4 1 24 * DrwOrg11 1 22 PrcOrg13 1 22 Folknik 1 18 RytmPluk 1 17 Soft Bow ST.Machn 1 1 2 3 GntlMind MoterDrv 1 1 Funkrhyt 1 3 * PowerDrv MnstrPad 1 15 78 E 1 18 1 29 DrwOrg10 1 31 * PrcOrg12 1 29 * SynOrg 2 83 E.Pno 9 1 32 * DrwOrg12 1 22 * PrcOrg14 A B E A B 1 5 E.Pno10 1 1 3 DX-Clv 5 1 16 5 1 25 1 16 SynOrg 1 1 28 Ana Poly 1 22 * * * 3 5 * * * SpaceVox * * * Horn Ens * MM-Brss1 Ensemble * * * * * 1 26 1 20 * Fanfare 1 18 MM-Brss2 1 9 * Kingdom 1 1 2 2 1 18 1 18 MM-Brss3 1 15 * 1 17 9 2 Gypsy 1 18 * 1 23 RahlBrss 1 23 * UltraDrv 1 2 1 15 BackSuir 1 1 8 * * AirBlowr 1 16 * * * * Vibratrn 1 4 DXSyLd 8 1 22 Winwood 1 ClaviPad 1 8 Dspo Pad 1 FnerThng 1 11 2 * * 4 WhaserPd 2 PsrSweep * * * * * * * * * * NOTE : Empty areas of the columns produce no sound. E : Element number A : Algorithm number B : EG Bias (voices with this effect are marked “*”) 37 Voice List Bank Select MSB 83 83 83 83 83 83 83 83 83 Bank Select LSB 0 79 80 96 97 98 99 100 101 Instrument Group Piano Chromatic Percussion Organ Guitar Bass Strings Ensemble Brass Reed Pipe Synth Lead Synth Pad Synth Effects Ethnic Percussive Pgm # (1-128) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 33 34 35 36 37 38 39 40 41 42 43 46 47 48 49 50 51 52 53 55 57 58 59 61 62 63 64 65 66 67 69 70 71 72 73 74 75 76 77 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 119 FrtePno1 BritPno1 DXCP-70 DX-Rgtim DX-Road1 E.Pno 1 Harpsi 1 MM-Clav1 Celesta1 Glocken1 MusicBx1 DX-Vibe1 DX-Mrmb1 DX-Xylo1 Carillon DX-Dlcm1 FullOrgn PrcOrg 1 RckOrg 1 DXChrch1 PufOrgn1 DX-Acrd1 DX-Hmnc1 DX-TngAc DX-AcGt1 DX-PkGt1 DX-JzGt1 DX-ClGt1 DX-MtGt1 DX-ODGt Fuzz Gtr DX-WdBa1 DX-FgBa1 DX-PkBa1 FrtlsBa1 RundWund DigiBas1 DX-SyBa1 DX-Bass1 DX-Vln 1 DX-Vla 1 DX-Celo1 DX-Pizz1 LuteHarp DX-Tmpni Mid Str1 WarmStr1 DX-SySt1 DX-SySt6 DX-Cho 1 DX-Cho 6 DX-Trpt1 DX-Trb 1 DX-Tuba1 DX-Horn DX-BrSc1 CS80-Br1 ChorsBrs SprnoSax Alto Sax TenorSax Oboe 1 Eng.Horn Bassoon VbrtClar Piccolo1 DX-Flt 1 Recordr1 DX-PnFl1 Fuhppps! Whistle1 DX-Ocrn1 DX-Squar DXSyLd 1 CaliopL1 BrsLead1 Au Campo DX-VceLd Fifths 1 LeadLine HyperSqr Film Pad BritePad DX-ChPd1 BowPad 1 DX-MtPd1 GrngePad SweepPd1 FluvPush MtalGlkn PrdsGlok DX-Brit1 Fmilters WaterLog DX-ScFi1 DX-Sitr1 DX-Banjo Shamisn1 DX-Koto DX-Klmb1 DX-BgPip DX-Fidle ScchTone HandBel1 DX-Aggo1 StlDrum1 Block Janpany MM-SDr 1 E A B 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 9 7 4 15 28 5 5 4 31 23 5 27 7 9 9 10 32 29 3 6 12 3 3 3 14 14 18 9 9 14 1 17 16 16 17 18 16 16 17 2 15 2 2 14 16 15 15 15 2 5 11 18 18 18 9 22 23 2 10 18 27 3 4 2 5 5 16 5 5 11 16 14 2 18 16 2 2 18 3 18 5 16 15 15 5 6 15 9 1 5 5 5 11 16 6 8 8 16 2 30 20 2 17 5 8 5 18 16 18 E E A B A B * * * * * * * * * * * * * * Court * * * * * 1 22 Juice 1 20 E A B E MM-Pno 2 PowerPno El.Gnd 4 1 19 1 3 1 17 Soft EP1 DynoRoad Harpsi 6 MM-Clav3 Celesta4 Glocken5 MusicBx2 MM-Vibe2 DX-Mrmb4 DX-Xylo3 DX-Bel 7 SilkRoad DrwOrg13 PrcOrg15 RckOrg13 PipeOrg6 LateDown DX-Acrd6 DX-Hmnc3 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 DX-PkGt8 DX-JzGt5 DX-ClGt9 1 8 Stlypika 1 8 * 1 18 * DXClGt10 DetDsGt1 DX-WdBa6 SkwkBass DX-PkBa2 DetFlBa1 WireStrg SuprBas2 DX-SyBa9 DX-Bass5 DX-Vln 4 DX-Vla 3 DX-Celo4 2 1 1 1 2 1 1 1 1 1 1 1 5 5 5 3 23 5 5 23 7 7 5 10 5 31 29 19 16 3 1 Dark Pno 5th Pno2 A B 1 19 1 5 E Pno+Flt 1 A B E E A B E A B 1 2 5 * BasoClav 1 17 1 1 1 1 1 1 1 28 Hard EP2 13 Brit EP 9 Harpsi 8 4 DX-Clv 7 14 * MM-Clsta 5 * Bali 19 MusicBx4 1 11 Hard EP3 2 * Det.EP4 1 3 Harpsi 9 1 4 * MuteClav 1 29 1 5 * WrapRund 1 24 * MusicBx5 1 5 * Hard EP4 2 * Det.EP5 1 3 * AD1900s1 1 11 ChrsClav 1 2 1 1 1 8 1 22 HamerGlk MusicBx6 PppThing 1 5 1 24 * MusicBx7 1 5 1 16 * DX-Mrmb5 DX-Xylo4 DX-Bel 8 Frzntime * DrwOrg14 * PrcOrg16 RckOrg14 PipeOrg7 X-ReedOg 1 1 1 1 1 1 1 1 2 5 7 16 16 12 5 29 25 * 1 1 1 1 1 1 1 1 7 6 17 2 31 6 29 29 DX-Mrmb7 DX-Xylo6 DX-Bel10 1 7 1 5 1 30 EchoMlt1 DigiXylo DX-Bel11 EchoMlt2 1 5 1 24 * DX-Bel12 1 22 1 5 1 5 Grinder 1 11 DrwOrg16 2 DrwOrg17 2 * BritOrgn 1 25 TamePipe 1 25 * DetClGt2 2 BassLgnd HardFngr CompedEB 1 18 1 18 1 18 BassMgic 1 17 DetPkBa1 2 * * DX-Hmnc4 DX-Mrmb6 DX-Xylo5 DX-Bel 9 DX-Dlcm2 DrwOrg15 PrcOrg17 RckOrg15 PipeOrg8 5 * 5 4 CosaRosa Det.EP6 Hard EP1 Prds Pno * Harpsi 7 DX-Clv 6 Hallowen * Glocken6 MusicBx3 * 1 28 1 17 DetClGt1 2 1 17 DXClGt11 1 12 DetDsGt2 DX-WdBa7 DX-FgBa4 DX-PkBa3 2 * 1 14 1 16 1 18 BogiBass FngaPcka DX-PkBa4 1 16 1 17 1 17 BassRsWp DX-Bass6 Det.Vln1 1 6 DetSyBa1 1 16 * DiscBass 2 * 2 * 1 14 * PercBass 1 14 EzAction 1 19 DetDXBa1 2 DX-Harp2 1 3 1 3 Apollon 1 3 HarpStrm 1 3 CmbaHarp 1 19 * * Violtron Det.Str3 * DX-Vce 2 1 2 1 2 General * Det.Str4 1 * 1 2 2 * OchChime Det.Str5 1 2 5 * Ep + Str 2 * Det.Str1 2 * 9 5 1 1 2 * SyPdBrss 2 * 2 * LyerBrs1 2 * LyerBrs2 2 * 1 6 1 5 * 14 9 18 * 9 17 3 16 2 18 * 4 DX-Harp1 1 3 DX-Str 9 WarmStr2 DX-SySt5 Det.Str2 DX-Vce 1 MM-Vce 4 Solo Tp DX-Trb 3 1 1 1 2 1 1 1 1 15 15 3 * 32 6 18 18 SimplHrn HardBrss AnaFatBr SynHorns 1 9 1 22 * 1 2 * AnalogBr 1 18 EP+Brs 1 1 1 DX-ASax1 1 18 DX-ASax2 1 17 Whistle2 1 DX-Harp3 * * * DX-FatBr EP+Brs 2 * DX-Clar3 1 * Song Flt 1 12 * DX-PnFl2 2 Sukiyaki 1 16 DX-SLd 7 ReedLead 1 22 * DX-SLd 8 1 17 ArrowxMs 1 22 1 3 DX-SLd 9 Att.Lead 1 18 * 1 8 DXSyLd9 2 * DX-BrLd1 1 1 16 DX-SwLd2 1 18 DX-SwLd3 2 * SoftLd1 2 * * MpndgDom 1 31 * EP Pad 2 * * * Cho Elms Dstrcted Mystrian 1 5 DX-ChPd2 1 12 * 1 20 DX-MtPd2 1 27 DX-ChPd3 2 * DX-ChPd4 2 * 2 BirdView ChiLight DX-HpSt1 BellStr1 DX-BL+Ch Fntasynt 1 1 * Sanctus 1 6 * 1 22 * IceRvEco 1 9 * BellStr2 2 * 1 26 * RprtRise 1 2 1 15 * Aura 1 2 * MM-Shk 1 1 5 New Elms 1 5 Chi-S&H1 1 3 Zimbalon 1 Xango 1 India 1 9 Pilgrim 1 2 Kinzoku1 1 3 Kinzoku2 1 5 DX-Klmb4 1 18 Twincle Cowbell DX-StDr1 Log Drum CongaDrm DX-MtSnr 1 3 1 6 1 15 1 14 1 1 1 2 DX-StDr2 1 15 DX-StCn1 1 1 Glaeser 1 5 LigtYear 1 4 DX-Perc1 1 16 Nou 1 14 DX-Bongo 1 7 * * * 6 * * 2 DX-SwLd1 6 * Whistle3 Csmwhist * * 1 16 * AngelEvo * * * * * * * * 8 1 23 Glastine 8 * DX-HpSt2 * 4 1 5 * 2 * NOTE : Empty areas of the columns produce no sound. E : Element number A : Algorithm number B : EG Bias (voices with this effect are marked “*”) 38 A B 3 Voice List Bank Select MSB 83 83 83 83 83 83 83 83 83 Bank Select LSB 0 102 103 104 105 106 107 108 109 Instrument Group Piano Chromatic Percussion Organ Guitar Bass Strings Ensemble Brass Reed Pipe Synth Lead Synth Pad Synth Effects Ethnic Percussive Pgm # (1-128) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 33 34 35 36 37 38 39 40 41 42 43 46 47 48 49 50 51 52 53 55 57 58 59 61 62 63 64 65 66 67 69 70 71 72 73 74 75 76 77 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 119 FrtePno1 BritPno1 DXCP-70 DX-Rgtim DX-Road1 E.Pno 1 Harpsi 1 MM-Clav1 Celesta1 Glocken1 MusicBx1 DX-Vibe1 DX-Mrmb1 DX-Xylo1 Carillon DX-Dlcm1 FullOrgn PrcOrg 1 RckOrg 1 DXChrch1 PufOrgn1 DX-Acrd1 DX-Hmnc1 DX-TngAc DX-AcGt1 DX-PkGt1 DX-JzGt1 DX-ClGt1 DX-MtGt1 DX-ODGt Fuzz Gtr DX-WdBa1 DX-FgBa1 DX-PkBa1 FrtlsBa1 RundWund DigiBas1 DX-SyBa1 DX-Bass1 DX-Vln 1 DX-Vla 1 DX-Celo1 DX-Pizz1 LuteHarp DX-Tmpni Mid Str1 WarmStr1 DX-SySt1 DX-SySt6 DX-Cho 1 DX-Cho 6 DX-Trpt1 DX-Trb 1 DX-Tuba1 DX-Horn DX-BrSc1 CS80-Br1 ChorsBrs SprnoSax Alto Sax TenorSax Oboe 1 Eng.Horn Bassoon VbrtClar Piccolo1 DX-Flt 1 Recordr1 DX-PnFl1 Fuhppps! Whistle1 DX-Ocrn1 DX-Squar DXSyLd 1 CaliopL1 BrsLead1 Au Campo DX-VceLd Fifths 1 LeadLine HyperSqr Film Pad BritePad DX-ChPd1 BowPad 1 DX-MtPd1 GrngePad SweepPd1 FluvPush MtalGlkn PrdsGlok DX-Brit1 Fmilters WaterLog DX-ScFi1 DX-Sitr1 DX-Banjo Shamisn1 DX-Koto DX-Klmb1 DX-BgPip DX-Fidle ScchTone HandBel1 DX-Aggo1 StlDrum1 Block Janpany MM-SDr 1 E A B 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 9 7 4 15 28 5 5 4 31 23 5 27 7 9 9 10 32 29 3 6 12 3 3 3 14 14 18 9 9 14 1 17 16 16 17 18 16 16 17 2 15 2 2 14 16 15 15 15 2 5 11 18 18 18 9 22 23 2 10 18 27 3 4 2 5 5 16 5 5 11 16 14 2 18 16 2 2 18 3 18 5 16 15 15 5 6 15 9 1 5 5 5 11 16 6 8 8 16 2 30 20 2 17 5 8 5 18 16 18 E E A B Det.EP1 Det.EP8 2 2 * * 5 5 PercGlok 1 5 * 1 5 MelwMrmb 1 8 1 5 TmplBel5 1 7 2 * DetPkBa2 2 * Str&Brs 2 * * * DX-Echo1 * 2 * EP 1985 Det.EP 7 1 15 2 * Det.Clav 2 * Syn.Glok MusicBx8 1 1 EchoMlt3 TmplBel4 * DrwOrg18 * * E A B Det.EP 2 Det.EP 9 2 2 A B E * * Det.EP 3 Det.EP10 Gtrimba 1 12 SynDecay 2 * BlowBell 1 SoftBell 1 1 5 2 2 A B E A B E A B E A B E A B * * DumBells 1 5 Crystal 1 5 MeloBell 1 32 Det.Bell 2 * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * NOTE : Empty areas of the columns produce no sound. E : Element number A : Algorithm number B : EG Bias (voices with this effect are marked “*”) 39 Voice List DX-XG/B Bank Bank Select MSB 99 99 99 99 99 99 99 99 Bank Select LSB 0 64 65 66 67 68 69 70 Instrument Group Piano Chromatic Percussion Organ Guitar Bass Strings Ensemble Brass Reed Pipe Synth Lead Synth Pad Synth Effects Ethnic Percussive Pgm # (1-128) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 33 34 35 36 37 38 39 40 41 42 43 46 47 48 49 50 51 52 53 55 57 58 59 61 62 63 64 65 66 67 69 70 71 72 73 74 75 76 77 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 119 FrtePno1 BritPno1 DXCP-70 DX-Rgtim DX-Road1 E.Pno 1 Harpsi 1 MM-Clav1 Celesta1 Glocken1 MusicBx1 DX-Vibe1 DX-Mrmb1 DX-Xylo1 Carillon DX-Dlcm1 FullOrgn PrcOrg 1 RckOrg 1 DXChrch1 PufOrgn1 DX-Acrd1 DX-Hmnc1 DX-TngAc DX-AcGt1 DX-PkGt1 DX-JzGt1 DX-ClGt1 DX-MtGt1 DX-ODGt Fuzz Gtr DX-WdBa1 DX-FgBa1 DX-PkBa1 FrtlsBa1 RundWund DigiBas1 DX-SyBa1 DX-Bass1 DX-Vln 1 DX-Vla 1 DX-Celo1 DX-Pizz1 LuteHarp DX-Tmpni Mid Str1 WarmStr1 DX-SySt1 DX-SySt6 DX-Cho 1 DX-Cho 6 DX-Trpt1 DX-Trb 1 DX-Tuba1 DX-Horn DX-BrSc1 CS80-Br1 ChorsBrs SprnoSax Alto Sax TenorSax Oboe 1 Eng.Horn Bassoon VbrtClar Piccolo1 DX-Flt 1 Recordr1 DX-PnFl1 Fuhppps! Whistle1 DX-Ocrn1 DX-Squar DXSyLd 1 CaliopL1 BrsLead1 Au Campo DX-VceLd Fifths 1 LeadLine HyperSqr Film Pad BritePad DX-ChPd1 BowPad 1 DX-MtPd1 GrngePad SweepPd1 FluvPush MtalGlkn PrdsGlok DX-Brit1 Fmilters WaterLog DX-ScFi1 DX-Sitr1 DX-Banjo Shamisn1 DX-Koto DX-Klmb1 DX-BgPip DX-Fidle ScchTone HandBel1 DX-Aggo1 StlDrum1 Block Janpany MM-SDr 1 E A B 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 9 7 4 15 28 5 5 4 31 23 5 27 7 9 9 10 32 29 3 6 12 3 3 3 14 14 18 9 9 14 1 17 16 16 17 18 16 16 17 2 15 2 2 14 16 15 15 15 2 5 11 18 18 18 9 22 23 2 10 18 27 3 4 2 5 5 16 5 5 11 16 14 2 18 16 2 2 18 3 18 5 16 15 15 5 6 15 9 1 5 5 5 11 16 6 8 8 16 2 30 20 2 17 5 8 5 18 16 18 E A B FrtePno2 BritPno2 El.Gnd 1 ToyPno 1 BigWurlt ClrE.Pno Cembalim MM-Clav2 Celesta2 Glocken2 1 1 1 1 1 1 1 1 1 1 18 18 16 30 17 5 5 3 32 32 MM-Vibe1 BritMrmb DX-Xylo2 DX-Bel 1 * DrwOrg 1 * PrcOrg 2 * RckOrg 2 PipeOrg1 * SoftRdOr * DX-Acrd2 * DX-Hmnc2 DX-AcGt2 DX-PkGt2 DX-JzGt2 DX-ClGt2 DX-MtGt2 DX-DsGt1 DX-WdBa2 DX-FgBa2 PickPluk FrtlsBa2 SlapStrg SuprBas1 * DX-SyBa2 Remark * DX-Vln 2 DX-Vla 2 Rosin Pizz Str Syn Harp * * * * * * Mid Str2 Low Str1 Anna Str DX-SySt7 DX-Cho 2 DX-Cho 7 DX-Trpt2 DX-Trb 2 DX-Tuba2 MelwHrn1 DX-BrSc2 CS80-Br2 SyntiBrs * * * DX-Tsax * Oboe 2 * * SlowClar Piccolo2 * DX-Flt 2 Recordr2 Forest99 * DX-Botle * * DX-Ocrn2 DX-SLd 1 DXSyLd 2 CaliopL2 DX-WahLd * LeadPhon Giovanni Fifths 2 BassLead * Cho+Mrmb DX-SawPd SyBr Pd1 * Anna Pad * BowPad 2 * InitEnsm StacHevn * Evlution E A B E A B MM-Pno 1 BritPno3 El.Gnd 2 ToyPno 2 WurliEP1 E.Pno 2 AD1600s1 SkltnClv Celesta3 Glocken3 1 19 Digi Pno 1 3 5th Pno1 1 4 El.Gnd 3 1 9 ToyPno 3 1 3 * EP 1980 1 5 Urban 1 3 * AD1600s2 1 18 ClavStf1 1 5 1 7 Glocken4 1 1 1 1 1 1 1 1 16 5 MM-EGnd1 11 ToyPno 4 3 17 * DX-Road2 E.Pno 3 7 Harpsi 2 3 Revinett 18 1 1 1 1 1 1 19 12 12 5 5 18 1 23 1 7 1 5 1 27 DX-Vibe2 DX-Mrmb2 1 23 1 7 DX-Vibe3 DX-Mrmb3 1 1 5 7 DX-Vibe4 MtalMrmb 1 1 7 6 MM-Bell 1 27 MiniBell 1 5 DX-Bel 2 1 15 1 32 * 1 18 1 5 1 3 1 28 1 3 1 1 * DrwOrg 2 PrcOrg 3 RckOrg 3 PipeOrg2 PufOrgn2 DX-Acrd3 BuzzHarp 1 1 1 1 1 1 1 1 1 1 1 1 8 14 17 14 12 DX-AcGt3 DX-PkGt3 DX-JzGt3 DX-ClGt3 DX-MtGt3 1 1 DX-AcGt4 1 2 DX-PkGt4 1 8 * DX-JzGt4 1 4 DX-ClGt4 1 17 DX-MtGt4 1 8 1 3 1 8 1 13 1 3 Lute Gtr DX-PkGt5 1 14 1 8 DX-ClGt5 HevyGage 1 3 1 18 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16 DX-DsGt2 17 DX-WdBa3 17 HarmBass 18 ChifBass 18 FrtlsBa3 4 * LiteSlap 17 DrhtBass 3 DX-SyBa3 17 DX-Bass2 2 DX-Vln 3 17 * 18 * DX-Celo2 5 3 OrchHarp 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 DX-DsGt4 After 88 FustBass Owl Bass FrtlsBa5 Afresh DigiBas2 DX-SyBa4 Hop Bass 1 1 1 1 1 1 1 1 1 1 3 * Harp+Flt 1 1 1 1 1 1 1 1 1 1 1 1 1 15 15 9 4 6 7 18 22 18 2 22 22 2 1 1 1 1 1 1 1 1 15 DX-Str 1 2 DX-Str10 15 * Michelle 15 MM-Str 1 24 DX-Cho 4 29 * MM-Vce 1 18 * DX-Trpt4 7 * * * * * * * * E Brit Str Low Str2 SmalSect DX-AnSt3 DX-Cho 3 DX-Cho 8 DX-Trpt3 Mute Trb * * MelwHrn2 5th Brss * DX-SBr 1 DX-SBr 7 A B 29 DrwOrg 3 29 DxJazOr1 16 RckOrg 4 29 DXChrch2 12 * StretOrg 4 * DX-Acrd4 17 * FM-Hmnc1 14 DX-DsGt3 3 SmohBass 17 NstyBass 7 * Plktrmbs 12 FrtlsBa4 3 ImpctBas 16 Brainacs 24 Cutmandu 17 * DX-Bass3 2 1 11 DX-Celo3 1 3 * MletHorn 1 2 TightBr1 1 22 DX-SBr 2 1 18 SamplBrs 1 15 * 1 3 Oboe 3 1 27 1 4 DX-Clar1 1 5 * 1 7 DX-Flt 3 1 6 * Recordr3 1 2 Harvest 1 15 Quena 1 16 * DX-Flt 4 1 6 * 1 1 * 1 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 4 5 9 16 7 19 6 1 22 14 15 12 2 5 6 9 1 1 2 * DX-Clar2 DX-Ocrn3 DX-SLd 2 DXSyLd 3 * PuffPipe BrsLead2 SweepLd SnglLine 1 1 1 1 1 1 1 EadgbeLd IceHeven ElecComb * SyBr Pd2 * Whisper1 * BowPad 3 MtlSweep 1 14 DX-Ba+Ld 1 9 MM-Prety 1 4 * Fl.Cloud 1 5 * SyBr Pd3 1 6 * 1 7 * Ethereal 1 9 * Gior Pad * Phasers 3 22 24 12 2 18 22 LyleLead Super DX CaliopL3 BrsLead3 LdSbHarm 1 1 1 1 1 1 1 JazOrg 1 29 PrcOrg 4 30 11 * RckOrg 5 PipeOrg3 6 16 4 * DX-Acrd5 1 * FM-Hmnc2 16 17 17 8 18 16 7 8 17 1 5 1 5 1 5 1 5 1 18 1 11 Mark III Andrian Knock EP E.Pno 5 Caffeine DX-Clv 1 A B 1 10 * 1 9 1 13 1 5 1 9 1 18 MM-EGnd2 PrprdPno DX-Road3 Vics EP Harpsi 3 Clavecn1 1 19 DigiPoly 1 9 * Bell Pno 1 12 Old Jazz 1 11 * E.Pno 4 1 3 Harpsi 4 1 2 E.P/Clav BellVibe 1 23 LFO Vibe 1 2 * Vibetron 1 6 * DX-Bel 3 1 DX-Bel 4 1 9 DX-Bel 5 1 4 1 29 * DrwOrg4 1 31 * PrcOrg 6 1 16 RckOrg 7 1 5 * PipeOrg5 DrwOrg 5 1 31 PrcOrg 7 1 31 1 22 * RckOrg 8 1 5 DX-AcGt5 DX-PkGt6 1 16 1 14 Mrmb Gtr DX-PkGt7 1 12 1 3 Tite Gtr 1 15 DX-ClGt6 1 17 DX-ClGt7 1 DX-ClGt8 1 3 1 1 1 22 1 10 1 4 DX-WdBa5 DX-FgBa3 WireBass 1 17 1 17 * Inorganc 1 10 1 3 1 3 1 2 1 32 Farf Out 1 29 * PrcOrg 5 1 26 * RckOrg 6 1 6 PipeOrg4 1 1 5 1 32 1 20 * 1 25 3 * 3 * 16 DX-DsGt5 17 * DX-WdBa4 18 ClavBass 4 MtalBass 3 3 16 9 BassNovo 16 Excite 3 1 7 * DX-SyBa5 1 17 DX-Bass4 1 3 1 18 DX-SyBa6 1 2 DX-Str 3 1 2 DX-Str12 1 25 DX-SySt3 1 15 * WarmStr4 1 6 1 6 * MM-Vce 3 1 18 1 1 1 1 15 DX-Str 4 15 * DX-Str13 25 DX-SySt4 15 * HalOrch1 DX-Str 5 1 15 1 2 1 9 * DX-AnSt1 HalOrch2 1 12 1 2 1 12 1 6 * Dbvoxfem 1 26 * Lady Vox 1 26 BlnchHrn 1 18 TightBr2 1 2 1 22 * DX-SBr 3 SinglBrs 1 2 1 2 1 22 1 5 1 22 1 15 * VibraHrn 1 9 * BrssSect 1 2 * DX-SBr 5 1 2 XyloBrss 1 17 * WarmBrss 1 2 DX-SBr 6 1 2 1 29 * OrchBrss 1 9 * 1 22 1 2 1 16 * DX-Flt 6 1 16 * DX-Flt 7 1 16 * MtalFlut 1 1 1 DX-SLd 4 DXSyLd 5 1 18 DX-SLd 5 1 5 * DXSyLd 6 1 1 AlpsHorn BlowBrss DX-SBr 4 ThickBrs 1 15 * 1 5 * DX-Flt 5 DX-SLd 3 1 3 DXSyLd 4 1 4 1 16 * DXAtkLd 1 15 1 26 * 6 2 6 1 DX-SLd 6 DXSyLd 7 1 2 1 3 1 5 1 15 FrtlsLd TngVoice Floating SyBr Pd4 1 4 1 17 Str Tine 1 19 * BrsyWarm 1 2 SyBr Pd5 1 12 1 15 * WhstlPad 1 4 SyBr Pd6 1 25 * SyBr Pd7 1 19 1 5 1 19 Glassy 1 11 1 16 1 DX-Atms2 1 1 17 MetalBox DX-Atms1 1 11 1 15 1 16 1 3 Baroque JuceHarp 1 15 1 18 DX-ScFi3 Xanu 1 15 * DX-Stars EthrFour 1 4 Shamisn2 Koto+Flt * DX-Klmb2 * 1 22 1 2 1 18 Shamisn3 1 15 DX-Klmb3 1 16 HandBel2 DX-Aggo2 StlDrum2 1 5 1 15 1 13 TrcrBell 1 Jamaica 1 16 SteelCan 1 2 * 1 2 1 18 1 16 GlssHarp Ice Glxy 3 8 1 23 1 5 4 1 1 18 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 “*”) 40 E 3 * 1 15 * FM-Grwth 1 15 * 1 18 * Tom Herz A B DX-Str 2 1 2 DX-Str11 1 5 DX-SySt2 1 15 WarmStr3 1 17 DX-Cho 5 1 4 1 7 * MM-Vce 2 1 18 * SlvTrmpt 1 27 1 4 1 3 SoftHead * MM-SDr 2 E 1 11 1 MtalDlcm Electric SynBrite * * * DX-ScFi2 DX-Sitr2 A B 1 24 1 11 1 2 1 6 BellPluk Brassy DX-Brit2 E SpceTrip 1 2 1 23 Voice List Bank Select MSB 99 99 99 99 99 99 99 99 Bank Select LSB 0 71 72 73 74 75 76 77 Instrument Group Piano Chromatic Percussion Organ Guitar Bass Strings Ensemble Brass Reed Pipe Synth Lead Synth Pad Synth Effects Ethnic Percussive Pgm # (1-128) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 33 34 35 36 37 38 39 40 41 42 43 46 47 48 49 50 51 52 53 55 57 58 59 61 62 63 64 65 66 67 69 70 71 72 73 74 75 76 77 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 119 FrtePno1 BritPno1 DXCP-70 DX-Rgtim DX-Road1 E.Pno 1 Harpsi 1 MM-Clav1 Celesta1 Glocken1 MusicBx1 DX-Vibe1 DX-Mrmb1 DX-Xylo1 Carillon DX-Dlcm1 FullOrgn PrcOrg 1 RckOrg 1 DXChrch1 PufOrgn1 DX-Acrd1 DX-Hmnc1 DX-TngAc DX-AcGt1 DX-PkGt1 DX-JzGt1 DX-ClGt1 DX-MtGt1 DX-ODGt Fuzz Gtr DX-WdBa1 DX-FgBa1 DX-PkBa1 FrtlsBa1 RundWund DigiBas1 DX-SyBa1 DX-Bass1 DX-Vln 1 DX-Vla 1 DX-Celo1 DX-Pizz1 LuteHarp DX-Tmpni Mid Str1 WarmStr1 DX-SySt1 DX-SySt6 DX-Cho 1 DX-Cho 6 DX-Trpt1 DX-Trb 1 DX-Tuba1 DX-Horn DX-BrSc1 CS80-Br1 ChorsBrs SprnoSax Alto Sax TenorSax Oboe 1 Eng.Horn Bassoon VbrtClar Piccolo1 DX-Flt 1 Recordr1 DX-PnFl1 Fuhppps! Whistle1 DX-Ocrn1 DX-Squar DXSyLd 1 CaliopL1 BrsLead1 Au Campo DX-VceLd Fifths 1 LeadLine HyperSqr Film Pad BritePad DX-ChPd1 BowPad 1 DX-MtPd1 GrngePad SweepPd1 FluvPush MtalGlkn PrdsGlok DX-Brit1 Fmilters WaterLog DX-ScFi1 DX-Sitr1 DX-Banjo Shamisn1 DX-Koto DX-Klmb1 DX-BgPip DX-Fidle ScchTone HandBel1 DX-Aggo1 StlDrum1 Block Janpany MM-SDr 1 E A B 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 9 7 4 15 28 5 5 4 31 23 5 27 7 9 9 10 32 29 3 6 12 3 3 3 14 14 18 9 9 14 1 17 16 16 17 18 16 16 17 2 15 2 2 14 16 15 15 15 2 5 11 18 18 18 9 22 23 2 10 18 27 3 4 2 5 5 16 5 5 11 16 14 2 18 16 2 2 18 3 18 5 16 15 15 5 6 15 9 1 5 5 5 11 16 6 8 8 16 2 30 20 2 17 5 8 5 18 16 18 E A B E A B E A B E A B RatioDob SftEPno1 EP 1970 FulTine1 HarpsiWr ClavComp 1 5 1 5 SftEPno2 1 11 * DX-Road4 1 5 Duke EP 1 2 Harpsi 5 1 15 DX-Clv 2 1 5 1 12 1 5 1 5 1 3 * GlockPno PrcEPno1 E.Pno 6 1 1 1 DX-Clv 3 1 18 ClavExcl 1 17 DX-Bel 6 1 TmplBel2 1 11 TmplBel3 1 11 3 * ModEPno1 5 E.Pno 7 5 5 TmplBel1 1 1 29 1 31 1 22 DrwOrg 7 PrcOrg 9 RckOrg10 1 29 DrwOrg 8 1 32 PrcOrg10 1 32 * RckOrg11 DrwOrg 9 1 32 1 31 * PrcOrg11 RckOrg12 1 29 Gtr Box 1 15 LongNail 1 16 Firenze 1 * DX-SyBa7 1 17 DX-SyBa8 1 DX-Str 6 1 2 DX-Str 7 1 2 DX-Str 8 1 22 DX-AnSt2 Maxi Str 1 1 2 2 AgtateMs SilkHall 1 1 2 * SolinePf 5 Aftrnoon Syn Vox 1 25 * * DrwOrg 6 * PrcOrg 8 * RckOrg 9 5 1 1 E 5 * 5 FulTine2 BritClv1 1 A B E A B E 5 E.Pno 8 1 6 1 18 BritClv2 1 4 * DX-Clv 4 1 29 DrwOrg10 1 31 * PrcOrg12 1 29 * SynOrg 2 1 24 * DrwOrg11 1 22 PrcOrg13 1 22 Folknik 1 18 RytmPluk 1 17 Soft Bow ST.Machn 1 1 2 3 GntlMind MoterDrv 1 1 Funkrhyt 1 3 * PowerDrv MnstrPad 1 15 E.Pno 9 1 32 * DrwOrg12 1 22 * PrcOrg14 A B 1 5 1 3 1 25 1 16 * * * 3 5 * * * SpaceVox * * * Horn Ens * MM-Brss1 Ensemble * * * * * 1 26 1 20 * Fanfare 1 18 MM-Brss2 1 9 * Kingdom 1 1 2 2 1 18 1 18 MM-Brss3 1 15 * 1 17 9 2 Gypsy 1 18 * 1 23 RahlBrss 1 23 * UltraDrv 1 2 1 15 BackSuir 1 1 8 * * AirBlowr 1 16 * * * * Vibratrn 1 4 DXSyLd 8 1 22 Winwood 1 ClaviPad 1 8 Dspo Pad 1 FnerThng 1 11 2 * * 4 WhaserPd 2 PsrSweep * * * * * * * * * * 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 “*”) 41 Voice List User Bank Bank Select MSB 99 99 99 99 Bank Select MSB 35 Bank Select LSB 0 78 79 80 Bank Select LSB 0 Instrument Group Piano Chromatic Percussion Organ Guitar Bass Strings Ensemble Brass Reed Pipe Synth Lead Synth Pad Synth Effects Ethnic Percussive Pgm # (1-128) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 33 34 35 36 37 38 39 40 41 42 43 46 47 48 49 50 51 52 53 55 57 58 59 61 62 63 64 65 66 67 69 70 71 72 73 74 75 76 77 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 119 FrtePno1 BritPno1 DXCP-70 DX-Rgtim DX-Road1 E.Pno 1 Harpsi 1 MM-Clav1 Celesta1 Glocken1 MusicBx1 DX-Vibe1 DX-Mrmb1 DX-Xylo1 Carillon DX-Dlcm1 FullOrgn PrcOrg 1 RckOrg 1 DXChrch1 PufOrgn1 DX-Acrd1 DX-Hmnc1 DX-TngAc DX-AcGt1 DX-PkGt1 DX-JzGt1 DX-ClGt1 DX-MtGt1 DX-ODGt Fuzz Gtr DX-WdBa1 DX-FgBa1 DX-PkBa1 FrtlsBa1 RundWund DigiBas1 DX-SyBa1 DX-Bass1 DX-Vln 1 DX-Vla 1 DX-Celo1 DX-Pizz1 LuteHarp DX-Tmpni Mid Str1 WarmStr1 DX-SySt1 DX-SySt6 DX-Cho 1 DX-Cho 6 DX-Trpt1 DX-Trb 1 DX-Tuba1 DX-Horn DX-BrSc1 CS80-Br1 ChorsBrs SprnoSax Alto Sax TenorSax Oboe 1 Eng.Horn Bassoon VbrtClar Piccolo1 DX-Flt 1 Recordr1 DX-PnFl1 Fuhppps! Whistle1 DX-Ocrn1 DX-Squar DXSyLd 1 CaliopL1 BrsLead1 Au Campo DX-VceLd Fifths 1 LeadLine HyperSqr Film Pad BritePad DX-ChPd1 BowPad 1 DX-MtPd1 GrngePad SweepPd1 FluvPush MtalGlkn PrdsGlok DX-Brit1 Fmilters WaterLog DX-ScFi1 DX-Sitr1 DX-Banjo Shamisn1 DX-Koto DX-Klmb1 DX-BgPip DX-Fidle ScchTone HandBel1 DX-Aggo1 StlDrum1 Block Janpany MM-SDr 1 E A B 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 9 7 4 15 28 5 5 4 31 23 5 27 7 9 9 10 32 29 3 6 12 3 3 3 14 14 18 9 9 14 1 17 16 16 17 18 16 16 17 2 15 2 2 14 16 15 15 15 2 5 11 18 18 18 9 22 23 2 10 18 27 3 4 2 5 5 16 5 5 11 16 14 2 18 16 2 2 18 3 18 5 16 15 15 5 6 15 9 1 5 5 5 11 16 6 8 8 16 2 30 20 2 17 5 8 5 18 16 18 E A B E.Pno10 1 DX-Clv 5 1 16 * * SynOrg 1 * E E A B A B 5 1 28 * * * * * * * * * * * Ana Poly * * * * * 1 22 Court 1 22 Juice 1 20 Instrument Group Custom Pgm # (1-128) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 BRASS 1 BRASS 2 BRASS 3 STRINGS1 STRINGS2 STRINGS3 ORCHESTR PIANO 1 PIANO 2 PIANO 3 E.PIANO1 GUITAR 1 GUITAR 2 SYN-LEA1 BASS 1 BASS 2 E.ORGAN1 PIPES 1 HARPSIC1 CLAV 1 VIBE 1 MARIMBA KOTO FLUTE 1 ORCH-CHI TUB BELL STEEL DR TIMPANI REFS WHI VOICE 1 TRAIN TAKE OFF PIANO 4 PIANO 5 E.PIANO2 E.PIANO3 E.PIANO4 PIANO 5T CELESTE TOY PIAN HARPSIC2 HARPSIC3 CLAV 2 CLAV 3 E.ORGAN2 E.ORGAN3 E.ORGAN4 E.ORGAN5 PIPES 2 PIPES 3 PIPES 4 CALIOPE ACCORDIO SITAR GUITAR 3 GUITAR 4 GUITAR 5 GUITAR 6 LUTE BANJO HARP 1 HARP 2 BASS 3 BASS 4 E A B 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 22 22 18 2 2 15 2 19 18 3 5 8 16 18 16 17 32 19 5 3 23 7 2 16 5 5 15 16 18 7 5 10 18 3 12 5 5 5 31 30 3 3 4 4 29 29 5 29 3 25 6 16 3 8 14 14 14 3 14 8 3 3 17 17 * * * * * * * * * * * * * * * * * * * * * * * * * 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 “*”) 42 Voice List Preset 1 Bank Bank Select MSB Bank Select LSB Instrument Pgm# Group (1-128) Piano 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 Chromatic 23 Percussion 24 25 26 27 28 29 Bass 30 31 32 33 34 35 36 37 38 39 40 Guitar 41 42 43 44 45 Organ 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 Preset 2 Bank 35 1 E.PIANO1 E.Pno1 ClrE.Pno E.Pno 2 E.Pno 3 FulTine1 DukeEP BritEP RatioDob PrprdPno DX-Road1 WurliEP1 DX-Road2 CosaRosa BritPno1 PowerPno DXCP-70 HARPSIC1 Harpsi 1 MM-Clav1 SkltnClv ClavStf1 MARIMBA DX-Vibe1 DX-Vibe2 Carillon TUB BELL MiniBell SoftBell SmohBass BogiBass SuprBas1 DrhtBass DX-SyBa2 DX-SyBa3 Cutmandu DX-SyBa5 DX-SyBa6 DX-Bass4 DiscBass Tite Gtr DX-JzGt5 DX-ClGt1 DX-ClGt5 DetDsGt1 FullOrgn DrwOrg11 DrwOrg14 DrwOrg15 PrcOrg 3 DxJazOr1 PrcOrg 4 PrcOrg 5 PrcOrg 8 PrcOrg13 PrcOrg15 RckOrg13 RckOrg15 DXChrch2 PipeOrg6 DX-Acrd2 DX-Acrd4 DX-Hmnc1 DX-Hmnc3 E A 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 5 5 5 5 5 5 5 15 5 9 28 3 12 5 7 3 4 5 5 4 18 18 7 27 23 9 5 5 1 17 16 17 16 3 24 8 3 3 18 14 15 8 9 3 – 32 32 12 31 29 30 29 31 31 22 31 29 29 6 19 3 4 3 1 B * * * * * * * * * * * * Bank Select MSB Bank Select LSB Instrument Pgm# Group (1-128) Brass 65 66 67 68 69 70 71 72 73 74 75 Ensemble 76 77 78 79 80 81 82 83 84 85 86 87 88 89 Synth Pad 90 91 92 93 94 Strings Pipe 95 96 97 Synth Lead 98 99 100 101 102 103 104 105 106 107 Synth Effects 108 109 110 111 112 113 Ethnic 114 115 116 Percussive 117 118 119 120 SFX 121 122 123 124 125 126 127 128 35 1 BRASS 3 DX-BrSc2 CS80-Br1 DX-SBr 1 DX-SBr 2 MM-Brss1 MM-Brss2 Funkrhyt SyntiBrs Kingdom SynHorns DX-Str 8 Low Str2 DX-Str12 DX-Str13 Anna Str SmalSect DX-Syst2 DX-SySt4 SolinePf General Str&Brs DX-SySt7 ST.Machn Det.Str2 HyperSqr DX-ChPd1 Ice Glxy DX-MtPd1 Mystrian DX-Harp1 DX-Flt 1 Harvest DX-Squar DX-SLd 1 DX-SLd 7 DXSyLd 1 Winwood ArrowxMS SoftLd 1 Giovanni SnglLine FrtlsLd Fmilters WaterLog RprtRise Aura Chi-S&H1 Baroque Xanu Xango DX-Banjo TrcrBell StlDrum1 Janpany MM-SDr 1 REFS WHI TRAIN DX-Inct1 Scrchers Flxatone Laser 2 Wallop 1 ManEater E A 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 2 1 1 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 18 22 23 22 22 18 18 3 2 15 18 22 2 15 2 9 15 25 9 2 2 – 4 3 – 5 15 3 6 20 3 16 1 2 5 22 18 2 3 – 6 22 4 11 16 15 2 3 15 4 4 8 4 5 16 18 18 5 16 17 7 16 16 2 B * * * * * * * * * * * * * * * * * * * * * * Bank Select MSB Bank Select LSB Instrument Pgm# Group (1-128) Custom 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 35 2 BRASS 1 BRASS 2 BRASS 3 STRINGS1 STRINGS2 STRINGS3 ORCHESTR PIANO 1 PIANO 2 PIANO 3 E.PIANO1 GUITAR 1 GUITAR 2 SYN-LEA1 BASS 1 BASS 2 E.ORGAN1 PIPES 1 HARPSIC1 CLAV 1 VIBE 1 MARIMBA KOTO FLUTE 1 ORCH-CHI TUB BELL STEEL DR TIMPANI REFS WHI VOICE 1 TRAIN TAKE OFF PIANO 4 PIANO 5 E.PIANO2 E.PIANO3 E.PIANO4 PIANO 5T CELESTE TOY PIAN HARPSIC2 HARPSIC3 CLAV 2 CLAV 3 E.ORGAN2 E.ORGAN3 E.ORGAN4 E.ORGAN5 PIPES 2 PIPES 3 PIPES 4 CALIOPE ACCORDIO SITAR GUITAR 3 GUITAR 4 GUITAR 5 GUITAR 6 LUTE BANJO HARP 1 HARP 2 BASS 3 BASS 4 E A 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 22 22 18 2 2 15 2 19 18 3 5 8 16 18 16 17 32 19 5 3 23 7 2 16 5 5 15 16 18 7 5 10 18 3 12 5 5 5 31 30 3 3 4 4 29 29 5 29 3 25 6 16 3 8 14 14 14 3 14 8 3 3 17 17 B * * * * * * * * E : Element number A : Algorithm number B : EG Bias (voices with this effect are marked “*”) 43 Voice List ■ Plug-in Voice List (for CS6x/CS6R/S80) 44 Pgm# (1-64) Plug-in Voice Name KNOB1 KNOB2 MW 1 DX E.Piano Reverb Send Chorus Send AMOD 2 FullTine Reverb Send Chorus Send AMOD 3 Duke EP Reverb Send Chorus Send AMOD Pgm# (1-64) Plug-in Voice Name KNOB1 KNOB2 MW 36 Ice Galaxy Reverb Send Phaser D/W PMOD, Filter 37 DX Flute Reverb Send Chorus Send AMOD 38 Harvest Reverb Send Chorus Send AMOD, EG Bias 4 RatioDub Reverb Send Chorus Send AMOD 5 DX-Road AutoPan L/RDpth AutoPan Speed AMOD 39 DX Solo Ld AmpSimulator D/W Chorus Send PMOD, AMOD 6 Wurli EP Reverb Send AmpSimulator Drive AMOD 40 Wood Lead Exciter Drive Chorus Send PMOD, AMOD 7 PowerPiano Reverb Send Chorus Send AMOD 41 Sing Line Filter DX CP-70 Reverb Send Chorus Send AMOD Distortion D/W Chorus Send 8 9 Skltn Clav Reverb Send AutoWah D/W AMOD 42 FretlessLd Distortion D/W Chorus Send PMOD 10 Clav Stf Reverb Send TouchWah D/W AMOD 43 Xanu Reverb Send Chorus Send PMOD, AMOD 11 DX Vibe Reverb Send Chorus Send AMOD 44 Xango Reverb Send Chorus Send PMOD 12 Mini Bell Reverb Send Chorus Send AMOD 45 Rangoon Celeste FBLevel Celeste D/W EG Bias 13 Bogi Bass Comp Threshold Chorus Send PMOD 46 Steel Drum Reverb Send Chorus Send AMOD 14 Super Bass AmpSimulator D/W Chorus Send PMOD 47 Stranger Celeste D/W Celeste FBLevel Filter, EG Bias 15 DX Syn Bas Reverb Send Chorus Send PMOD 48 Water Log Reverb Send Chorus Send Filter 16 Dirty MW Overdrive LoGain Overdrive MidGain Filter, EG Bias 49 Moon Choir Chorus Speed Chorus Send Filter, EG Bias 17 JazzGuitar Reverb Send Chorus Send PMOD 50 Indigo Overdrive D/W Overdrive Midwidth EG Bias 18 TiteGuitar Reverb Send Chorus Send PMOD, AMOD 51 Katmandu Overdrive D/W Overdrive Drive Filter 19 Drw Organ Reverb Send Filter Celeste D/W 52 Seahorse Celeste D/W Celeste FBLevel EG Bias 20 DX Jazz Or Reverb Send Filter Celeste D/W 53 Rampage Comp Threshold Chorus Send EG Bias 21 Perc Organ Reverb Send Filter Celeste D/W 54 Lipstick Chorus D/W Chorus FBLevel Filter 22 DX Acrdion Reverb Send Chorus Send EG Bias 55 Mascara Flanger D/W DX Harmnca Reverb Send Chorus Send AMOD Flanger FBLevel EG Bias 23 24 DX BrsSctn Reverb Send Chorus Send PMOD 56 Safe Comp Attack CS80-Brass Reverb Send Flanger D/W EG Bias Comp Threshold Filter 25 26 MM Brass Reverb Send Chorus Send PMOD, Filter 57 Ice Cream Comp Threshold Comp Ratio AMOD 27 SyntiBrass Reverb Send Chorus Send Filter 58 Panner AutoPan LoGain AutoPan Speed EG Bias 28 Syn Horns Reverb Send Chorus Send Filter, EG Bias 59 Plasma Chorus Speed Chorus D/W Filter 29 DX Strings Reverb Send Chorus Send PMOD, Filter 60 Energy AutoWah Speed AutoWah D/W 30 Anna Strgs Reverb Send Chorus Send AMOD EG Bias, AutoWah Speed 31 Small Sect Reverb Send Chorus Send Filter, EG Bias 61 SpaceWheel AutoPan F/RDpth AutoPan Speed EG Bias 32 Soline Pf Reverb Send Chorus Send PMOD, AMOD 62 PunchChord AutoPan F/RDpth AutoPan Speed Filter, EG Bias 33 Mystrian Reverb Send Exciter Drive Filter 63 Fast king Amethyst AutoPan L/RDpth AutoPan Speed EG Bias Chorus Speed Chorus D/W 34 Filter, EG Bias 64 Pointer Solinex Reverb Send Chorus Send Filter Flanger Speed Flanger D/W 35 Filter, EG Bias Voice List ■ Performance List (for MU128/100/100R) Type Notes Type Notes 1 EP Layer 1 FM + 1 AWM FM electronic piano layer sound similar to DX1 layer. 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. 2 Doctor DX 1 FM + 1 AWM FM Electronic piano with a bright, sharp edge. 44 Bronze Lead 1 FM + 1 AWM Monotone metallic lead/solo sound. 3 Golden Wires 1 FM + 1 AWM Features the metallic ring of electronic piano oscillators. For use in performance. 45 Monster Pad 1 FM + 1 AWM 4 SuperConga 1 FM The percussion sound of a conga, rich in expressiveness. With a dramatic sound just like a movie soundtrack, this pad really catches the flavor of FM. 46 Aluminum 1 FM + 1 AWM 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. 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. 6 New Koto 1 FM Koto sound with an echo effect applied. 48 Tinezzz 1 FM + 2 AWM 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. DX piano layered with a nicely ringing pad and with chorus applied. 49 Tam-Tam 1 FM + 1 AWM 8 Plasticlav 1 FM + 1 AWM A plastic clicking sound is added to a typical clavier. Untuned gong sound. By striking multiple keys with a lot of spirit, you can get really good effects. 50 Clickorgan 1 FM + 1 AWM 9 TX Bass 1 FM A heavy bass sound with good velocity response, like the TX81Z sound. 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. 1 FM + 1 AWM That stereo feeling just shines (old electronic mandolin sound). No. Name 10 Bachsichord 1 FM + 1 AWM Harpsichord nuanced with FM’s crisp keyboard expression and AWM’s realistic sound. No. Name 11 That’s FM 1 FM + 1 AWM A bright, FM-like clavier string sound with lots of metallic overtones 54 Touch me!! 12 3D Rodes 1 FM + 1 AWM A hard electronic piano with a lively click sound and phaser effect added. 55 Blue Mirror 1 FM + 3 AWM Quivering bell sound. 13 Mr. Clav 1 FM + 1 AWM Clavier featuring FM’s crispness and attack and AWM’s realistic sound. 56 FlameSwaying 1 FM + 3 AWM Swaying sound of the harp. 57 Spring Bass 1 FM + 3 AWM Synth bass with a hard attack. 14 Snooper Bass 1 FM Bass with a distinct sound that’s good for hiphop, rap, or dance music. 58 Vintage Game 1 FM + 3 AWM The so-called electronic sound. Crisp FM percussive sound with a discordance that appears with as velocity increases. Good for performance. 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. 61 Afternoon Jam 1 FM + 3 AWM Guitar and vibraphone played in unison. 15 Digicomp 1 FM 16 Glasswirl 1 FM Analog-like FM pad sound rich in expressive power. 62 HappyEnd 1 FM + 2 AWM An old organ. Play it dramatically. 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. 63 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. Sparkling percussive pad sound with a slightly metallic feel. Good for music with a new age or pop feeling. 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. 18 SparkleStabs 1 FM 19 Zed Bass 1 FM TX81Z type bass featuring metallic string sound 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. 20 CE20 Bass 1 FM FM bass sound like Yamaha’s CE20. Good for solo or ensemble use. 70 Ambient Park 1 FM + 3 AWM Soft Pad. 21 Harpist 1 FM Bright harp with a transparent feeling. More effective if played with glissando. 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. 22 Steel Cans 1 FM + 1 AWM Realistic steel drum sound. 23 Zambeezi 1 FM + 1 AWM Ethnic sound, like a log drum. 73 DX-Brass1 1 FM + 2 AWM 24 Perkethnic 1 FM + 1 AWM Ethnic drum. Noise is added in relation to velocity. 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. 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. Undulates as velocity gets stronger. 80 Ethnic Groove 1 FM + 1 AWM Ethnic synth drum. 30 HandBells 1 FM + 1 AWM FM handbells with realistic AWM effects added. 81 Thai Noodles 1 FM + 1 AWM A lead voice that makes you want to eat Thai noodles. 31 Xylophone 1 FM + 1 AWM Very natural xylophone. 82 ElectrcNylon 1 FM + 1 AWM A nylon guitar played though a pick-up. 32 Marimboid 1 FM + 1 AWM A realistic marimba 83 DX Martenot 1 FM 33 Vivaldi 1 FM + 2 AWM Violin created with FM and AWM that can be used for solo or ensemble. Highlights the crispness of FM and the realism of AWM. 84 CP80M+DX Ep 1 FM + 1 AWM Voice with layered CP80M and DX electric piano. 34 Industrial 1 FM + 1 AWM Industrial bass with a good crisp string sound in the attack. 85 Viscous Bass 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. 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 crispness 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. 1 FM + 1 AWM Martenot style voice that’s classic for suspense. 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. 1 FM + 2 AWM Sound for arpeggio with an attack like a marimba, and like a guitar used with orinoco flow. 100 OrinocoDecay 45 DX Parameter List (XG / Modular Synthesis Plug-in System) Modular Synthesis Plug-in System XG Plug-in System (LCD of CS6x/CS6R/S80/etc.) Parameter Name Volume Pan Reverb Send Chorus Send LPF Cutoff Frequency LPF Resonance Attack Time Decay Time Release Time Pitch Bend Range Portamento Switch Portamento Time Mono/Poly Mode Same Note Number Key On Assign Parameter Name VOLUME PAN REVERB SEND CHORUS SEND LOW PASS FILTER CUTOFF FREQUENCY LOW PASS FILTER RESONANCE EG ATTACK TIME EG DECAY TIME EG RELEASE TIME BEND PITCH CONTROL PORTAMENTO SWITCH PORTAMENTO TIME MONO/POLY MODE SAME NOTE NUMBER KEY ON ASSIGN Parameter Name Plug-in Board Voice Bank MSB Plug-in Board Voice Bank LSB Plug-in Board Voice Program Number Note Shift Velocity Sense Depth Velocity Sense Offset Pitch EG Initial Level Pitch EG Attack Time Pitch EG Release Level Pitch EG Release Time LFO Rate LFO Pitch Modulation Depth LFO Delay HPF Cutoff Frequency EQ Low Gain EQ High Gain EQ Low Frequency EQ High Frequency Parameter Name BANK SELECT MSB BANK SELECT LSB PROGRAM NUMBER NOTE SHIFT VELOCITY SENSE DEPTH VELOCITY SENSE OFFSET PITCH EG INITIAL LEVEL PITCH EG ATTACK TIME PITCH EG RELEASE LEVEL PITCH EG RELEASE TIME VIBRATO RATE VIBRATO DEPTH VIBRATO DELAY HIGH PASS FILTER CUTOFF FREQUENCY EQ BASS GAIN EQ TREBLE GAIN EQ BASS FREQUENCY EQ TREBLE FREQUENCY Group PLG*Assign PLG*Assign PLG*Assign PLG*Velocity PLG*Velocity PLG*Velocity PCH*PEG PCH*PEG PCH*PEG PCH*PEG LFO Param LFO Param LFO Param QED*Filter EQ*Param EQ*Param EQ*Param EQ*Param Parameter Bank Bank Number NoteSft Depth Offset InitLvl Attack ---Level Release Speed PMod Delay HPF LoGain HiGain LoFreq HiFreq MW Filter Control MW LFO Pitch Modulation Depth MW LFO Filter Modulation Depth MW LFO Amplitude Modulation Depth CAT Pitch Control CAT Filter Control CAT LFO Pitch Modulation Depth CAT LFO Filter Modulation Depth CAT LFO Amplitude Modulation Depth AC1 Controller Number AC1 Filter Control AC1 LFO Pitch Modulation Depth AC1 LFO Filter Modulation Depth AC1 LFO Amplitude Modulation Depth MW LOW PASS FILTER CONTROL MW LFO PMOD DEPTH MW LFO FMOD DEPTH MW LFO AMOD DEPTH CAT PITCH CONTROL CAT LOW PASS FILTER CONTROL CAT LFO PMOD DEPTH CAT LFO FMOD DEPTH CAT LFO AMOD DEPTH AC1 CONTROLLER NUMBER AC1 LOW PASS FILTER CONTROL AC1 LFO PMOD DEPTH AC1 LFO FMOD DEPTH AC1 LFO AMOD DEPTH CTL*MW Control CTL*MW Modulation CTL*MW Modulation CTL*MW Modulation CTL*AT Control CTL*AT Control CTL*AT Modulation CTL*AT Modulation CTL*AT Modulation CTL*AC Control CTL*AC Control CTL*AC Modulation CTL*AC Modulation CTL*AC Modulation Filter PMod FMod AMod Pitch Filter PMod FMod AMod Source Filter PMod FMod AMod (Common Parameter) Group QED*Level QED*Level QED*Level QED*Level QED*Filter QED*Filter QED*EG QED*EG QED*EG CTL*Pitch CTL*Pitch CTL*Pitch GEN*Other GEN*Other Parameter Vol Pan RevSend ChoSend Cutoff Reso Attack Decay Release Pitch Bend Portamento Time Mode Assign (Element Parameter) 46 MIDI Data Format 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 6 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# 1 Parameter Modulation Data Range 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# 5 Parameter Portamento Time Data Range 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# 6 38 Parameter Data Entry MSB Data Entry LSB Data Range 0...127 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# 7 Parameter Main Volume Data Range 0...127 When the Multi Part parameter Rcv VOLUME = OFF, that part will not receive 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# 10 Parameter Pan Data Range 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# 64 Parameter Hold1 Data Range 0...63, 64...127 (OFF, ON) When this is ON, currently-sounding notes will continue to sound even if noteoff 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# 65 Parameter Portamento Data Range 0...63, 64...127 (OFF, ON) When ON, Portamento produces a smooth glide connecting two notes of different 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# 66 Parameter Sostenuto Data Range 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# 71 Parameter Harmonic Content Data Range 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# 72 Parameter Release Time Data Range 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 noteoff. 1.2.13 Attack Time This message adjusts the EG attack time that was specified by the sound data. Control# 73 Parameter Attack Time Data Range 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 decreasing 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# 74 Parameter Brightness Data Range 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 96 RPN Increment 97 RPN Decrement The data byte is ignored. Data Range — — 47 MIDI Data Format 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# 98 99 Parameter NRPN LSB NPRN MSB Data Range 0...127 0...127 If the Multi Part parameter Rcv NRPN = OFF, that part will not receive NRPN. The following NRPN messages can be received. NRPN MSB LSB 01H 08H 01H 09H 01H 0AH 01H 20H 01H 24H 01H 30H 01H 31H 01H 34H 01H 35H 01H 63H 01H 64H 01H 66H Data Entry*1 MSB LSB mm -- *2 mm -- mm -- *3 mm -- mm -- mm -- mm -- mm -- mm -- mm -- mm -- mm -- 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. Parameter RPN LSB RPN MSB Data Range 0 ... 127 0 ... 127 If the Multi Part parameter Rcv RPN = OFF, that part will not receive this message. The following RPN messages can be received. RPN MSB LSB 00 00H 00 01H Data Entry *1 MSB LSB mm -- *2 mm ll 00H 02H mm -- 7FH 7FH -- -- Parameter Name and Value Range Pitch bend sensitivity mm: 00-18H (0...+24 semitones) Specify up to 2 octaves in semitone steps 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. Coarse tuning mm: 28H - 40H - 58H (-24...0...+24 semitones) RPN Null This empties settings from RPN and NRPN numbers. Internal data is not affected. *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 effects 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: 48 1.3 Channel mode messages These messages specify the basic operation of a part. Parameter Name and Data Range Vibrato rate mm: 00H - 40H - 7FH (-64 ...0...+63) Vibrato depth mm: 00H - 40H - 7FH (-64 ...0...+63) Vibrato delay mm: 00H - 40H - 7FH (-64 ...0...+63) Low pass filter cutoff frequency mm: 00H - 40H - 7FH (-64 ...0...+63) High pass filter cutoff frequency mm: 00H - 40H - 7FH (-64 ...0...+63) EQ bass gain mm: 00H - 40H - 7FH (-64 ...0...+63) EQ treble gain mm: 00H - 40H - 7FH (-64 ...0...+63) EQ bass frequency mm: 04H - 28H (32 ... 2.0K [Hz]) EQ treble frequency mm: 1CH - 3AH (500 ... 16.0K [Hz]) EG Attack Time mm: 00H - 40H - 7FH (-64 ...0...+63) EG Decay Time mm: 00H - 40H - 7FH (-64 ...0...+63) EG Release Time mm: 00H - 40H - 7FH (-64 ...0...+63) *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. Control# 100 101 * 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 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. 1.3.1 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# 120 Parameter All Sound Off Data Range 0 1.3.2 Reset All Controllers This message changes the settings of the following controllers. Controller Pitch bend change Channel pressure Polyphonic key pressure Modulation Expression Hold Portamento Sostenuto RPN NRPN Value ±0 (Center) 0 (OFF) 0 (OFF) 0 (OFF) 127 (Max.) 0 (OFF) 0 (OFF) 0 (OFF) Number unset, internal data is not affected. Number unset, internal data is not affected. The following data is not changed Parameter values specified for program change, bank select MSB/LSB, volume, pan, effect send levels 1, 3, 4, RPN and NRPN. Control# 121 Parameter Reset All Controllers Data Range 0 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# 123 Parameter All Note Off Data Range 0 1.3.4 Omni Off Works the same as when All Note Off is received. Control# 124 Parameter Omni Off Data Range 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# 126 Parameter Mono Data Range 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# 127 Parameter Poly Data Range 0 * Mode3 is when channel messages will be received only on the specified channel, 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. MIDI Data Format 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. * Multi Part Parameter 1. BEND PITCH CONTROL 2. BEND FILTER CONTROL 3. BEND AMPLITUDE CONTROL 4. BEND LFO PMOD DEPTH 5. BEND LFO AMOD DEPTH When received, the Volume MSB is reflected in the System Parameter MASTER VOLUME. * The binary expression 0sssssss is expressed in hexadecimal as SSH. The same applies elsewhere. 2.1.2 Universal non-realtime messages 2.1.2.1 General MIDI System On By default, the Pitch Control effect is applied. If the Multi Part parameter Rcv PITCH BEND CHANGE = OFF, that part will not receive pitch bend messages. 1.6 Channel aftertouch This message conveys the pressure after the key is played on the keyboard (for an entire MIDI channel). The pressure can be controlled for each part. This message will affect the notes currently playing. The effect of this message can be modified by the following parameters. * Multi Part Parameter 1. CAT PITCH CONTROL 2. CAT FILTER CONTROL 3. CAT AMPLITUDE CONTROL 4. CAT LFO PMOD DEPTH 5. CAT LFO AMOD DEPTH By default, there will be no effect. If the Multi Part parameter Rcv CHANNEL AFTER TOUCH = OFF, that part will not receive Channel Aftertouch. 1.7 Polyphonic aftertouch This message conveys the pressure after the key is played on the keyboard (for individual note numbers). The pressure can be controlled for each part. This message will affect the notes currently playing. The effect of this message is determined by the following Multi Part parameters. l. PAT PITCH CONTROL 2. PAT AMPLITUDE CONTROL 3. PAT LFO PMOD DEPTH 4. PAT LFO AMOD DEPTH By default, there will be no effect. If the Multi Part parameter Rcv POLY AFTER TOUCH = OFF, that part will not receive Polyphonic Aftertouch. 11110000 01111110 01111111 00001001 00000001 11110111 or 11110000 01111110 0xxxnnnn 00001001 00000001 11110111 F0H 7EH 7FH 09H 01H F7H = Exclusive status = Universal Non-Real Time = ID of target device = Sub-ID #1=General MIDI Message = Sub-ID #2=General MIDI On = End of Exclusive F0H 7EH XNH 09H 01H F7H = Exclusive status = Universal Non-Real Time = N:Device Number, X:don’t care = Sub-ID #1=General MIDI Message = Sub-ID #2=General MIDI On = End of Exclusive When this message is received, the SOUND MODULE MODE is set to XG, and all data except for MIDI Master Tuning will be restored to the default value. However this message will not be received when SOUND MODULE MODE = C/M. Since approximately 50ms is required to process this message, be sure to allow an appropriate interval before sending the next message. 2.1.3 XG Parameter Change This message sets XG-related parameters. Each message can set a single parameter. The message format is as follows. 11110000 01000011 0001nnnn 01001100 0ggggggg 0mmmmmmm 0lllllll 0vvvvvvv : 11110111 F0H 43H 1NH 4CH GGH MMH LLH VVH : F7H Exclusive status YAMAHA ID N:device Number Model ID Address High Address Mid Address Low Data : End of Exclusive For parameters whose Data Size is 2 or 4, the appropriate amount of data will be transmitted as indicated by Size. 2.1.3.1 XG System On 2. System exclusive messages 2.1 Parameter changes This device uses the following parameter changes. [ UNIVERSAL REALTIME MESSAGE ] 1) Master Volume [ UNIVERSAL NON REALTIME MESSAGE ] 1) General MIDI System On [ XG PARAMETER CHANGE] 1) XG System on 2) XG System parameter change 3) Multi Part parameter change 11110000 01000011 0001nnnn 01001100 00000000 00000000 01111110 00000000 11110111 F0H 43H 1NH 4CH 00H 00H 7EH 00H F7H Exclusive status YAMAHA ID N:device Number Model ID Address High Address Mid Address Low Data End of Exclusive When ON is received, the SOUND MODULE MODE changes to XG. Since approximately 50ms is required to process this message, be sure to allow an appropriate interval before sending the next message. [ PLG150-DX NATIVE PARAMETER CHANGE ] 1) PLG150-DX System parameter change 2) PLG150-DX Multi Part parameter change 2.1.3.2 XG System parameter change [ DX PARAMETER CHANGE ] 1) VCED parameter change 2) ACED parameter change 2.1.3.3 Multi Part parameter change This message sets the Multi Part block (see Tables <1-1> and <1-3>). 2.1.1 Universal realtime messages 2.1.4 PLG150-DX Native parameter change 2.1.1.1 Master Volume 11110000 01111111 01111111 00000100 00000001 * 0sssssss 0ttttttt 11110111 11110000 01111111 0xxxnnnn 00000100 00000001 0sssssss 0ttttttt 11110111 F0H 7FH 7FH 04H 01H SSH TTH F7H F0H 7FH XNH 04H 01H SSH TTH F7H This message sets the XG SYSTEM block (see Tables <1-1> and <1-2>). = Exclusive status = Universal Real Time = ID of target device = Sub-ID #1=Device Control Message = Sub-ID #2=Master Volume = Volume LSB = Volume MSB = End of Exclusive = Exclusive status = Universal Real Time = Device Number, xxx = don’t care = Sub-ID #1=Device Control Message = Sub-ID #2=Master Volume = Volume LSB = Volume MSB = End of Exclusive This message sets parameters unique to the PLG150-DX. Each message can set a single parameter. The message format is as follows. 11110000 01000011 0001nnnn 01100010 0ggggggg 0mmmmmmm 0lllllll 0vvvvvvv : 11110111 F0H 43H 1NH 62H GGH MMH LLH VVH : F7H Exclusive status YAMAHA ID N:Device Number Model ID Address High Address Mid Address Low Data : End of Exclusive For parameters whose Data Size is 2 or 4, the appropriate amount of data will be transmitted as indicated by Size. 49 MIDI Data Format 2.1.4.1 PLG150-DX Native System parameter change This message sets the PLG150-DX SYSTEM block (see Tables <2-1> and <2-2>). 2.1.4.2 PLG150-DX Native Part parameter change This message sets the PLG150-DX MULTI PART block (see Tables <2-1> and <2-3>). 2.1.5 DX Parameter Change 11110000 01000011 0001nnnn 0ggggghh 0ppppppp 0vvvvvvv 11110111 F0H 43H 1NH GGH PPH VVH F7H Exclusive status YAMAHA ID N:Device Number Parameter Group No. Parameter No. Data End of Exclusive 11110000 01000011 0000nnnn 01100010 0sssssss 0ttttttt 0ggggggg 0mmmmmmm 0lllllll 0vvvvvvv : 0kkkkkkk 11110111 F0H 43H 0NH 62H SSH TTH GGH MMH LLH VVH : KKH F7H Exclusive status YAMAHA ID N:Device Number Model ID ByteCountMSB ByteCountLSB Address High Address Mid Address Low Data : Check-sum End of Exclusive The detail are the same as for 2.2.1 XG Bulk Dump. However, see Tables <2n> for the Address, Byte, Count, and block. 2.2.2.1 PLG150-DX Naitve System bulk dump This message sets the PLG150-DX SYSTEM block (see Tables <2-1> and <2-2>). 2.1.5.1 VCED parameter change This message sets the VCED block (see Tables <3-1> and <3-2>). 2.2.2.2 PLG150-DX Multi Part bulk dump 2.1.5.2 ACED parameter change This message sets the ACED block (see Tables <3-1> and <3-3>). This message sets the PLG150-DX Multi Part block (see Tables <2-1> and <2-3>). 2.2.3 DX bulk dump 2.2 Bulk dump This device uses only the following bulk dump messages. [ XG BULK DUMP ] 1) XG System bulk dump 2) Multi Part bulk dump [ PLG150-DX NATIVE BULK DUMP ] 1) Native System bulk dump 2) Multi Part bulk dump 2.2.1 XG bulk dump This message sets XG-related parameters. Unlike parameter change messages, a single message can modify multiple parameters. This message format is as follows. F0H 43H 0NH 4CH SSH TTH GGH MMH LLH VVH : KKH F7H Exclusive status YAMAHA ID N:Device Number Model ID ByteCountMSB ByteCountLSB Address High Address Mid Address Low Data : Check-sum End of Exclusive Address and Byte Count are given in tables <1-n>. Byte Count is indicated by the total size of the Data in tables <1-n>. Bulk dump is received when the beginning of the block is specified in "Address." "Block" indicates the unit of the data string that is indicated in tables <1-n> as "Total Size." Check sum is the value that produces a lower 7 bits of 0 when ths Start Address, Byte Count, Data, and the Check sum itself are added. 2.2.1.1 XG System bulk dump This message sets the XG SYSTEM block (see Tables <1-1> and <1-2>). 2.2.1.2 Multi Part bulk dump This message sets the MULTI PART block (see Tables <1-1> and <1-3>). 2.2.2 PLG150-DX Native Bulk Dump This message sets the special parameters for PLG150-DX. Unlike Parameter change, one message can modify multiple parameters. 50 F0H 43H 0NH TTH SSH TTH VVH : KKH F7H Exclusive status YAMAHA ID N:Device Number Format No. ByteCountMSB ByteCountLSB Data : Check-sum End of Exclusive Address and Byte Count are given in tables <3-n>. Byte Count is indicated by the total size of the Data in tables <4-n>. Bulk dump is received when the beginning of the block is specified in "Address". Block" indicates the unit of the data string that is indicated in tables 3-n as "Total size". Check sum is the value that produces a lower 7 bits of 0 when the DATA, and the Check-sum itself are added. [DX BULK DUMP ] 1) VCED 2) ACED 3) VMEM 4) AMEM 11110000 01000011 0000nnnn 01001100 0sssssss 0ttttttt 0ggggggg 0mmmmmmm 0lllllll 0vvvvvvv : 0kkkkkkk 11110111 11110000 01000011 0000nnnn 0ttttttt 0sssssss 0ttttttt 0vvvvvvv : 0kkkkkkk 11110111 2.2.3.1 VCED Bulk Dump This message sets the VCED block (see Tables <4-1> and <3-2>. 2.2.3.2 ACED Bulk Dump This message sets the ACED block (see Tables <4-1> and <3-3>. 2.2.3.3 VMEM Bulk Dump This message sets the VMEM block (see Tables <4-1> and <4-2>. 2.2.3.4 AMEM Bulk Dump This message sets the AMEM block (see Tables <4-1> and <4-3>. 3. Realtime Messages 3.1 Active Sensing a) Send This is not transmitted. b) Receive After FE is received one time, if the MIDI signal does not come within 400 msec, PLG150-DX will act the same as when ALL SOUND OFF, ALL NOTE OFF, and RESET ALL CONTROLLERS are received, and return to the condition where has not been received once. MIDI Data Format <1-1> Parameter Base Address MODEL ID = 4C Parameter Address (H) 00 00 00 08 : 08 XG SYSTEM MULTI PART Description (M) 00 00 00 00 : 0F (L) 00 7E 7F 00 : 00 MULTI PART (additional) 0A : 0A 00 : 0F 00 : 00 PART ASSIGN 70 02 00 System XG System On All Parameter Reset Multi Part 1 : Multi Part 16 Multi Part 1 : Multi Part 16 PLG150-DX Part Assign <1-2> MIDI Parameter Change table ( XG SYSTEM ) Address Size Data Parameter (H) (H) (H) 0 0 0 4 00 - 0F MASTER TUNE 1 00 - 0F 2 00 - 0F 3 00 - 0F 4 1 00 - 7F MASTER VOLUME** 5 1 00 - 7F MASTER ATTENUATOR** 6 1 28 - 58 TRANSPOSE 7D 1 NOT USED 7E 1 0 XG SYSTEM ON 7F 1 0 ALL PARAMETER RESET TOTAL SIZE 7 ** Processed on the XG platform side (MU128, etc.) <1-3> MIDI Parameter Change table ( MULTI PART ) Address Size Data Parameter (H) (H) (H) 8 nn 0 1 NOT USED nn 1 1 00 - 7F BANK SELECT MSB nn 2 1 00 - 7F BANK SELECT LSB nn 3 1 00 - 7F PROGRAM NUMBER nn 4 1 00-1F,7F Rcv CHANNEL nn 5 1 00 - 01 MONO/POLY MODE nn 6 1 00 - 02 SAME NOTE NUMBER nn nn nn nn 7 8 9 0A nn 0B nn 0C nn 0D nn 0E nn 0F nn 10 nn 11 nn 12 nn 13 nn 14 nn 15 nn 16 nn 17 nn 18 nn 19 nn 1A nn 1B nn 1C nn 1D nn 1E nn 1F nn 20 nn 21 nn 22 nn 23 nn 24 nn 25 nn 26 nn 27 nn 28 TOTAL SIZE 1 1 2 00 - 05 28 - 58 00 - 0F 00 - 0F 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 29 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 28 - 58 00 - 7F 00 - 7F 00 - 7F 00 - 7F 28 - 58 00 - 7F 00 - 7F 00 - 7F 00 - 7F PART MODE NOTE SHIFT DETUNE Description Default Value (H) 00 04 00 00 -102.4...0...+102.3[cent] 1st bit3-0mbit15-12 2nd bit3-0mbit11-8 3rd bit3-0mbit7-4 4th bit3-0mbit3-0 0...127 0...127 -24...0...+24[semitones] 7F 0 40 00=XG system ON (receive only) 00=ON (receive only) — — Description Default Value (H) 0...127 0...127 1...128 A1...A16, OFF MONO, POLY SINGLE, MULTI,... 0 0 0 Part No. 1 1 KEY ON ASSIGN 0 40 08 00 NORMAL,... -24...0...+24[semitones] -12.8...0...+12.7[Hz] 1st bit3-0mbit7-4 2nd bit3-0mbit3-0 VOLUME** 0...127 VELOCITY SENSE DEPTH 0...127 VELOCITY SENSE OFFSET 0...127 PAN** C, L63...C...R63 NOTE LIMIT LOW C-2...G8 NOTE LIMIT HIGH C-2...G8 DRY LEVEL** 0...127 CHORUS SEND** 0...127 REVERB SEND** 0...127 VARIATION SEND** 0...127 VIBRATO RATE -64...0...+63 VIBRATO DEPTH -64...0...+63 VIBRATO DELAY -64...0...+63 LOW PASS FILTER CUTOFF FREQUENCY -64...0...+63 LOW PASS FILTER RESONANCE -64...0...+63 EG ATTACK TIME -64...0...+63 EG DECAY TIME -64...0...+63 EG RELEASE TIME -64...0...+63 MW PITCH CONTROL -24...0...+24[semitones] MW LOW PASS FILTER CONTROL -9600...0...+9450[cent] MW AMPLITUDE CONTROL** -100...0...+100[%] MW LFO PMOD DEPTH 0...127 NOT USED MW LFO AMOD DEPTH 0...127 BEND PITCH CONTROL -24...0...+24[semitones] BEND LOW PASS FILTER CONTROL -9600...0...+9450[cent] BEND AMPLITUDE CONTROL** -100...0...+100[%] BEND LFO PMOD DEPTH 0...127 NOT USED BEND LFO AMOD DEPTH 0...127 64 40 40 40 0 7F 7F 0 28 0 40 40 40 40 40 40 40 40 40 40 40 0A — 0 42 40 40 0 — 0 51 MIDI Data Format nn 30 nn 31 nn 32 nn 33 nn 34 nn 35 nn 36 nn 37 nn 38 nn 39 nn 3A nn 3B nn 3C nn 3D nn 3E nn 3F nn 40 nn 41 nn 42 nn 43 nn 44 nn 45 nn 46 nn 47 nn 48 nn 49 nn 4A nn 4B nn 4C nn 4D nn 4E nn 4F nn 50 nn 51 nn 52 nn 53 nn 54 nn 55 nn 56 nn 57 nn 58 nn 59 nn 5A nn 5B nn 5C nn 5D nn 5E nn 5F nn 60 nn 61 nn 62 nn 63 nn 64 nn 65 nn 66 nn 67 nn 68 nn 69 nn 6A nn 6B nn 6C nn 6D nn 6E TOTAL SIZE 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 3F nn 70 nn 71 nn 72 nn 73 TOTAL SIZE 1 1 1 1 4 nn 74 nn 75 nn 76 nn 77 nn 78 nn 79 nn 7A nn 7B nn 7C nn 7D nn 7E nn 7F TOTAL SIZE 1 1 1 1 1 1 1 1 1 1 1 1 0C 0A nn 20 1 nn 21 1 TOTAL SIZE 2 00 - 01 00 - 01 00 - 01 00 - 01 00 - 01 00 - 01 00 - 01 00 - 01 00 - 01 00 - 01 00 - 01 00 - 01 00 - 01 00 - 01 00 - 01 00 - 7F 00 - 01 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 01 - 7F 01 - 7F Rcv PITCH BEND Rcv CH AFTER TOUCH(CAT) Rcv PROGRAM CHANGE Rcv CONTROL CHANGE Rcv POLY AFTER TOUCH(PAT) Rcv NOTE MESSAGE Rcv RPN Rcv NRPN Rcv MODULATION Rcv VOLUME Rcv PAN Rcv EXPRESSION Rcv HOLD1 Rcv PORTAMENTO Rcv SOSTENUTO NOT USED Rcv BANK SELECT SCALE TUNING C SCALE TUNING C# SCALE TUNING D SCALE TUNING D# SCALE TUNING E SCALE TUNING F SCALE TUNING F# SCALE TUNING G SCALE TUNING G# SCALE TUNING A SCALE TUNING A# SCALE TUNING B CAT PITCH CONTROL CAT LOW PASS FILTER CONTROL CAT AMPLITUDE CONTROL** CAT LFO PMOD DEPTH NOT USED CAT LFO AMOD DEPTH PAT PITCH CONTROL NOT USED PAT AMPLITUDE CONTROL** PAT LFO PMOD DEPTH NOT USED PAT LFO AMOD DEPTH AC1 CONTROLLER NUMBER AC1 PITCH CONTROL AC1 LOW PASS FILTER CONTROL AC1 AMPLITUDE CONTROL** AC1 LFO PMOD DEPTH NOT USED AC1 LFO AMOD DEPTH AC2 CONTROLLER NUMBER AC2 PITCH CONTROL AC2 LOW PASS FILTER CONTROL AC2 AMPLITUDE CONTROL** AC2 LFO PMOD DEPTH NOT USED AC2 LFO AMOD DEPTH PORTAMENTO SWITCH PORTAMENTO TIME PITCH EG INITIAL LEVEL PITCH EG ATTACK TIME PITCH EG RELEASE LEVEL PITCH EG RELEASE TIME VELOCITY LIMIT LOW VELOCITY LIMIT HIGH 00 - 7F 00 - 7F NOT USED NOT USED EQ BASS GAIN EQ TREBLE GAIN 00 - 01 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 7F 28 - 58 00 - 7F 00 - 7F 00 - 7F 00 - 7F 28 - 58 00 - 7F 00 - 7F 00 - 7F 00 - 5F 28 - 58 00 - 7F 00 - 7F 00 - 7F 00 - 7F 00 - 5F 28 - 58 00 - 7F 00 - 7F 00 - 7F 04 - 28 1C - 3A 00 - 7F NOT USED NOT USED EQ BASS FREQUENCY EQ TREBLE FREQUENCY NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED 0...127 OFF, ON 0...127 -64...0...+63 -64...0...+63 -64...0...+63 -64...0...+63 1...127 1...127 1 1 1 1 1 1 1 XGmode=01, GMmode=00 1 1 1 1 1 1 1 — XGmode=01, GMmode=00 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 0 — 0 40 — 40 0 — 0 10 40 40 40 0 — 0 11 40 40 40 0 — 0 0 0 40 40 40 40 1 7F -12 - +12[dB] -12 - +12[dB] — — 40 40 OFF, ON -64...0...+63[cent] -64...0...+63[cent] -64...0...+63[cent] -64...0...+63[cent] -64...0...+63[cent] -64...0...+63[cent] -64...0...+63[cent] -64...0...+63[cent] -64...0...+63[cent] -64...0...+63[cent] -64...0...+63[cent] -64...0...+63[cent] -24...0...+24[semitones] -9600...0...+9450[cent] -100...0...+100[%] 0...127 0...127 -24...0...+24[semitones] -100...0...+100[%] 0...127 0...127 0...95 -24...0...+24[semitones] -9600...0...+9450[cent] -100...0...+100[%] 0...127 0...127 0...95 -24...0...+24[semitones] -9600...0...+9450[cent] -100...0...+100[%] 0...127 32...2.0k[Hz] 500...16.0k[Hz] HIGH PASS FILTER CUTOFF FREQUENCY-64...0...+63 NOT USED nn = PART NUMBER ** Processed on the XG platform side (MU128/100, etc.) 52 OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON — — 0C 36 — — — — — — — — 40 — MIDI Data Format <1-4> MIDI Parameter Change table ( PART ASSIGN ) Address Size Data Parameter (H) (H) (H) 70 2 nn 1 00 - 0F,7F Part Assign TOTAL SIZE 1 Description A1...A16, OFF Default Value (H) 0 nn = PLG150-DX Serial Number <2-1> Parameter Bass Address MODEL ID = 62 Parameter PLG150-DX SYSTEM PLG150-DX MULTI PART (H) 00 60 : 60 Address (M) 00 (L) 00 Description System 00 : 0F 00 : 00 Multi Part 1 : Multi Part 16 <2-2> MIDI Parameter Change table ( PLG150-DX Native SYSTEM ) Address Size Data Parameter (H) (H) (H) 0 0 7 1 NOT USED 8 1 00 - 06 VELOCITY CURVE 9 1 NOT USED 0A 1 NOT USED 0B 1 NOT USED 0C 1 NOT USED 0D 1 NOT USED 0E 1 00 - 01 32 BULK RECEIVE BLOCK 0F 1 NOT USED TOTAL SIZE 9 <2-3> MIDI Parameter Change table ( PLG150-DX Native MULTI PART ) Address Size Data Parameter (H) (H) (H) 60 nn 0 1 00 - 06 AC4 Controller nn 1 1 00 - 01 AC4 Parameter Select nn 2 1 NOT USED nn 3 1 NOT USED nn 4 1 NOT USED nn 5 1 00 - 7F AC4 Parameter Depth nn 6 1 NOT USED nn 7 1 NOT USED nn 8 1 NOT USED nn 9 1 NOT USED nn 0A 1 NOT USED nn 0B 1 00 - 7F Carrier Level1 nn 0C 1 00 - 7F Carrier Level2 nn 0D 1 00 - 7F Carrier Level3 nn 0E 1 00 - 7F Carrier Level4 nn 0F 1 00 - 7F Carrier Level5 nn 10 1 00 - 7F Carrier Level6 nn 11 1 NOT USED nn 12 1 NOT USED nn 13 1 00 - 7F Modulator Level1 nn 14 1 00 - 7F Modulator Level2 nn 15 1 00 - 7F Modulator Level3 nn 16 1 00 - 7F Modulator Level4 nn 17 1 00 - 7F Modulator Level5 nn 18 1 00 - 7F Modulator Level6 nn 19 1 NOT USED nn 1A 1 NOT USED nn 1B 1 39 - 47 FeedBack Level TOTAL SIZE 1C 60 nn 1C 1 00 - 01 Portamento Mode nn 1D nn 1E nn 1F TOTAL SIZE 1 1 1 4 00 - 0C 00 - 0C Portamento Step PitchBend Step NOT USED nn 20 1 00 - 01 nn = PART NUMBER RcvDxSysEx Description DX,normal,Soft1,Soft2,Easy,Wide,Hard 1-32, 33-64 Description Off, MOD, BC, FC, EXP, CAT, PB Noassign, EGbias -64...0...+63 -64...0...+63 -64...0...+63 -64...0...+63 -64...0...+63 -64...0...+63 -64...0...+63 -64...0...+63 -64...0...+63 -64...0...+63 -64...0...+63 -64...0...+63 -64...0...+63 -7...0...+7 0:retain(poly),fingered(mono), 1:follow(mono),fulltime(poly) 0...12 0...12 0:OFF 1:ON Default Value (H) — 1 — — — — — 0 — Default Value (H) 0 0 0 0 0 40 40 40 40 0 0 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 1 0 0 0 1 53 MIDI Data Format <3-1> Parameter Group Number Group No. g h 00 00 00 01 06 00 Parameter Description parameter# VCED (Voice Edit Buffer) VCED (Voice Edit Buffer) ACED (Additional Edit Buffer) 0...127 0...28 0...73 <3-2> MIDI Parameter Change table ( DX Voice Parameter - VCED format ) Parameter Group# Parameter# Size Data Parameter g h OP6 OP5 OP4 OP3 OP2 OP1 (H) (H) (H) (H) (H) (H) (H) (H) (H) (H) 00 00 00 15 2A 3F 54 69 1 00 - 63 EG RATE1 00 01 16 2B 40 55 6A 1 00 - 63 EG RATE2 00 02 17 2C 41 56 6B 1 00 - 63 EG RATE3 00 03 18 2D 42 57 6C 1 00 - 63 EG RATE4 00 04 19 2E 43 58 6D 1 00 - 63 EG LEVEL1 00 05 1A 2F 44 59 6E 1 00 - 63 EG LEVEL2 00 06 1B 30 45 5A 6F 1 00 - 63 EG LEVEL3 00 07 1C 31 46 5B 70 1 00 - 63 EG LEVEL4 00 08 1D 32 47 5C 71 1 00 - 63 BREAK POINT 00 09 1E 33 48 5D 72 1 00 - 63 LEFT DEPTH 00 0A 1F 34 49 5E 73 1 00 - 63 RIGHT DEPTH 00 0B 20 35 4A 5F 74 1 00 - 03 LEFT CURVE 00 0C 21 36 4B 60 75 1 00 - 03 RIGHT CURVE 00 0D 22 37 4C 61 76 1 00 - 07 RATE SCALING 00 0E 23 38 4D 62 77 1 00 - 03 AMPLITUDE MODULATION SENSITIVITY 00 0F 24 39 4E 63 78 1 00 - 07 TOUCH SENSITIVITY 00 10 25 3A 4F 64 79 1 00 - 63 TOTAL LEVEL 00 11 26 3B 50 65 7A 1 00 - 01 FREQUENCY MODE 00 12 27 3C 51 66 7B 1 00 - 1F FREQUENCY COURSE 00 13 28 3D 52 67 7C 1 00 - 63 FREQUENCY FINE 00 14 29 3E 53 68 7D 1 00 - 0E DETUNE 00 00 01 01 01 01 01 01 01 01 01 01 01 01 01 01 01 7E 7F 00 01 02 03 04 05 06 07 08 09 0A 0B 0C 0D 0E 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 00 - 63 00 - 63 00 - 63 00 - 63 00 - 63 00 - 63 00 - 63 00 - 63 00 - !F 00 - 07 00 - 01 00 - 63 00 - 63 00 - 63 00 - 63 00 - 01 00 - 05 PEG RATE1 PEG RATE2 PEG RATE3 PEG RATE4 PEG LEVEL1 PEG LEVEL2 PEG LEVEL3 PEG LEVEL4 ALGORITHM SELECTOR FEEDBACK LEVEL OSC PHASE INIT LFO SPEED LFO DELAY TIME PITCH MODULATION DEPTH AMPLITUDE MODULATION DEPTH LFO KEY SYNC LFO WAVE 01 01 01 01 01 01 01 01 01 01 01 01 0F 10 11 12 13 14 15 16 17 18 19 1A 1 1 1 1 1 1 1 1 1 1 1 1 9B 00 - 07 00 - 2F 25 - 58 25 - 58 25 - 58 25 - 58 25 - 58 25 - 58 25 - 58 25 - 58 25 - 58 25 - 58 LFO PITCH MODULATION SENSITIVITY TRANSPOSE VOICE NAME VOICE NAME VOICE NAME VOICE NAME VOICE NAME VOICE NAME VOICE NAME VOICE NAME VOICE NAME VOICE NAME 1B 1 00 - 3F OPERATOR ENABLE TOTAL SIZE 01 <3-3> IDI Parameter Change table ( DX Voice Additional Parameter - ACED format ) Parameter Group# Parameter# Size Data Parameter g h (H) (H) (H) (H) (H) 06 00 00 1 NOT USED 01 1 NOT USED 02 1 NOT USED 03 1 NOT USED 04 1 NOT USED 05 1 NOT USED 06 1 00 - 07 OP6 AMPLITUDE MODULATION SENSITIVITY 54 Description Default Value 0...99 0...99 0...99 0...99 0...99 0...99 0...99 0...99 A-1...C8 0...99 0...99 -lin,-exp,+exp,+lin -lin,-exp,+exp,+lin 0...7 0...3 0...7 0...99 ratio,fixed 0...31 0...99 -7...0...+7 (H) 63 63 63 63 63 63 63 00 27 00 00 00 00 00 00 00 OP1=99,otherOP=0 00 01 00 07 0...99 0...99 0...99 0...99 0...99 0...99 0...99 0...99 1...32 0...7 off,on 0...99 0...99 0...99 0...99 off,on triangle,sawdown, sawup,square, sine,s/hold 0...7 C1...C5 32...127 (ASCII CHARACTER) 32...127 (ASCII CHARACTER) 32...127 (ASCII CHARACTER) 32...127 (ASCII CHARACTER) 32...127 (ASCII CHARACTER) 32...127 (ASCII CHARACTER) 32...127 (ASCII CHARACTER) 32...127 (ASCII CHARACTER) 32...127 (ASCII CHARACTER) 32...127 (ASCII CHARACTER) 63 63 63 63 32 32 32 32 00 00 01 23 00 00 00 01 00 03 18 ‘I’ ‘N’ ‘I’ ‘T’ ‘V’ ‘O’ ‘I’ ‘C’ ‘E’ Bit5:OP1,Bit4:OP2,Bit3:OP3, 3F Bit2:OP4,Bit1:OP5,Bit0:OP6 off,on Description Default Value 0...7 (H) — — — — — — 00 MIDI Data Format 07 08 09 0A 0B 0C 0D 0E 0F 10 11 12 13 14 15 16 17 18 19 1A 1B 1C 1D 1E 1F 20 21 22 23 24 25 26 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 40 41 42 43 44 45 46 47 48 49 TOTAL SIZE 1 1 1 1 1 1 1 1 1 1 31 00 - 07 00 - 07 00 - 07 00 - 07 00 - 07 00 - 03 00 - 01 00 - 01 00 - 03 00 - 0C 00 - 0C OP5 AMPLITUDE MODULATION SENSITIVITY OP4 AMPLITUDE MODULATION SENSITIVITY OP3 AMPLITUDE MODULATION SENSITIVITY OP2 AMPLITUDE MODULATION SENSITIVITY OP1 AMPLITUDE MODULATION SENSITIVITY PITCH EG RANGE LFO KEY TRIGGER PITCH EG BY VELOCITY SWITCH POLY/MONO,UNISON SWITCH PITCH BEND RANGE PITCH BEND STEP NOT USED RANDOM PITCH FLUCTUATION PORTAMENTO MODE PORTAMENTO STEP PORTAMENTO TIME NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED PITCH EG RATE SCALING DEPTH 00 - 07 00 - 01 00 - 0C 00 - 63 00 - 07 NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED UNISON DETUNE DEPTH NOT USED 00 - 07 0...7 0...7 0...7 0...7 0...7 8va,2va,1va,1/2va single,multi off,on bit0:poly/mono,bit1:unison off/on 0...12 0...12 0...7 rtn/flw, fingrd/flltm 0...12 0...99 0...7 00 00 00 00 00 00 00 00 00 02 00 — 00 00 00 00 — — — — — — — — — — — — — — — — — — — — — — — — 00 — 0...7 <4-1> Parameter Group Number Format No. 00 05 06 09 Description VCED (Voice Edit Buffer) ACED (Additional Edit Buffer) AMEM (packed 32 supplement) VMEM (packed 32 voice) <4-2> DX Packed Voice Parameter - VMEM format Parameter# Size OP6 OP5 OP4 OP3 OP2 OP1 (H) (H) (H) (H) (H) (H) (H) 00 11 22 33 44 55 1 01 12 23 34 45 56 1 02 13 24 35 46 57 1 03 14 25 36 47 58 1 04 15 26 37 48 59 1 05 16 27 38 49 5A 1 06 17 28 39 4A 5B 1 07 18 29 3A 4B 5C 1 08 19 2A 3B 4C 5D 1 09 1A 2B 3C 4D 5E 1 0A 1B 2C 3D 4E 5F 1 0B 1C 2D 3E 4F 60 1 0C 1D 2E 3F 50 61 1 0D 1E 2F 40 51 62 1 0E 1F 30 41 52 63 1 0F 20 31 42 53 64 1 10 21 32 43 54 65 1 66 67 68 69 6A 6B 6C 6D 1 1 1 1 1 1 1 1 Total Size 155 49 1120 4096 Parameter EG RATE1 EG RATE2 EG RATE3 EG RATE4 EG LEVEL1 EG LEVEL2 EG LEVEL3 EG LEVEL4 BREAK POINT LEFT DEPTH RIGHT DEPTH RIGHT CURVE/LEFT CURVE DETUNE/RATE SCALING TOUCH SENSITIVITY/AMPLITUDE MODULATION SENSITIVITY TOTAL LEVEL FREQUENCY COURSE/FREQUENCY MODE FREQUENCY FINE PEG RATE1 PEG RATE2 PEG RATE3 PEG RATE4 PEG LEVEL1 PEG LEVEL2 PEG LEVEL3 PEG LEVEL4 Description BIT6 BIT5 BIT4 BIT3 BIT2 BIT1 BIT0 R1 R2 R3 R4 L1 L2 L3 L4 BP LD RD --- RC PD ----- TS TL PC PF LC RS AMS PM PR1 PR2 PR3 PR4 PL1 PL2 PL3 PL4 55 MIDI Data Format 6E 6F 70 71 72 73 74 75 76 77 78 79 7A 7B 7C 7D 7E 7F TOTAL SIZE1000 (80h X 20h = 1000h) 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 ALGORITHM SELECTOR OSC PHASE INIT / FEEDBACK LEVEL LFO SPEED LFO DELAY TIME PITCH MODULATION DEPTH AMPLITUDE MODULATION DEPTH LFO PITCH MODULATION SENSITIVITY / LFO WAVE / LFO KEY SYNC TRANSPOSE VOICE NAME VOICE NAME VOICE NAME VOICE NAME VOICE NAME VOICE NAME VOICE NAME VOICE NAME VOICE NAME VOICE NAME <4-3> DX Packed Voice Additional Parameter - AMEM format Parameter# Size Parameter (H) (H) 00 1 NOT USED 01 1 AMPLITUDE MODULATION SENSITIVITY 02 1 AMPLITUDE MODULATION SENSITIVITY 03 1 AMPLITUDE MODULATION SENSITIVITY 04 1 RANDOM PITCH / PEG VELOCITY SW / LFO KEY TRIGGER / PEG RANGE 05 1 PITCH BEND RANGE / POLY/MONO,UNISON SWITCH 06 1 PITCH BEND STEP 07 1 PORTAMENTO STEP / PORTAMENTO MODE 08 1 PORTAMENTO TIME 09 1 NOT USED 0A 1 NOT USED 0B 1 NOT USED 0C 1 NOT USED 0D 1 NOT USED 0E 1 NOT USED 0F 1 NOT USED 10 1 NOT USED 11 1 NOT USED 12 1 NOT USED 13 1 NOT USED 14 1 NOT USED 15 1 NOT USED 16 1 NOT USED 17 1 NOT USED 18 1 PITCH EG RATE SCALING DEPTH 19 1 NOT USED 1A 1 NOT USED 1B 1 NOT USED 1C 1 NOT USED 1D 1 NOT USED 1E 1 NOT USED 1F 1 NOT USED 20 1 NOT USED 21 1 NOT USED 22 1 UNISON DETUNE DEPTH TOTAL SIZE460 (23h X 20h = 460h) 56 ----- LPMS ALS OPI LFS LFD LPMD LAMD LFW TRNP VNAM1 VNAM2 VNAM3 VNAM4 VNAM5 VNAM6 VNAM7 VNAM8 VNAM9 FBL LFKS Description BIT6 BIT5 BIT4 BIT3 BIT2 BIT1 BIT0 ----OP5 OP6 --OP3 OP4 --OP1 OP2 RNDP VPSW LTRG PEGR --PBR PMOD --PBS PORM --PQNT POS --------------------------------PGRS --------------------UDTN When Your PLG150-DX Seems to Have a Problem Please check the items below when your PLG150-DX isn’t generating sounds or when it isn’t functioning normally. Also, when the current status of the settings for your PLG150-DX isn’t clear, it’s a good idea to turn the power off, then on again (returning the settings to their defaults), and try entering your settings again. The PLG150-DX doesn’t produce sounds • Are the MU128 and the playback equipment (such as speakers or headphones) correctly connected? • Is the PLG150-DX board properly mounted in the XG plug-in connector? Take a look at the pages in your XG tone generator manual that explain how to install the board. • Are the volume and expression for the part selected for the PLG150-DX voice raised to the proper level? the carrier output level set at -64? (page 29) • This may happen when voices are placed in the user bank and edited with the DX Simulator. Check the settings. In Multipart Edit, the “PLUGIN” menu doesn’t appear. • Is the PLG150-DX correctly installed? The pitch is not right • Has note shift or transpose information been set? • This may happen when voices are placed in the user bank and edited with the DX simulator. Check the settings. Notes won’t stop playing • Because EG Release Level (L4) is set for the voices below, they won’t stop playing, even when a Note Off is received (The same applies to the User voice). MSB 83 83 83 83 LSB 0 0 0 0 Program Ch. 52 82 91 123 Voice Name DX Grw12 DX-Train MobyDick ManEater If you switch voices, the sound will stop. The vibrato is different for each voice • This happens because an appropriate LFO Mode is set for each voice. When a chord is played with some voices, vibrato is applied individually to match the dynamics for the way each key was played. For other voices, the same vibrato that was applied for the dynamics of the first key played will be applied to all notes. Notes sound different for each Note ON • Because an appropriate oscillator sync is set for each voice, phase shift occurs between the operators. Depending on the voice, the sound may be slightly different each time a key is played. 57 Wenn Probleme mit der PLG150-DX auftreten Überprüfen Sie bitte folgendes, wenn die PLG150-DX keinen Sound erzeugt oder nicht ordnungsgemäß funktioniert. Auch wenn der aktuelle Status der Einstellungen für die PLG150-DX nicht eindeutig ist, sollten Sie das Gerät ausschalten, wieder einschalten (so kehren Sie zu den Standardeinstellungen zurück), und jetzt erneut versuchen, Ihre Einstellungen vorzunehmen. Die PLG150-DX erzeugt keinen Sound • Ist das MU128 und die Wiedergabegeräte (wie z. B. Lautsprecher oder Kopfhörer) korrekt angeschlossen? • Ist die PLG150-DX-Karte korrekt in den XG-Plug-in-Anschluß eingesetzt? Lesen Sie bitte im Handbuch des XGKlangerzeugers nach, wie die Karte installiert wird. • Sind die Lautstärke und der Ausdruck für den Part, der für die PLG150-DX-Stimme gewählt wurde, auf den entsprechenden Pegel eingestellt? Ist der Trägerausgabepegel auf -64 eingestellt? (Seite 29) • Das kann der Fall sein, wenn Voices (Stimmen) in benutzerdefinierte Banken plaziert und mit dem DX-Simulator bearbeitet werden. Überprüfen Sie die Einstellungen. In Multipart Edit (Multipartbearbeitung) wir das Menü “PLUGIN” nicht angezeigt. • Ist die PLG150-DX korrekt installiert? Die Tonhöhe stimmt nicht • Wurden Informationen für Notenwechsel oder dem Andern der Tonhöhe eingestellt? • Das kann der Fall sein, wenn Voices (Stimmen) in benutzerdefinierte Banken plaziert und mit dem DX-Simulator bearbeitet werden. Überprüfen Sie die Einstellungen. Noten werden endlos gespielt • Da der EG-Release-Pegel (L4) für die darunterliegenden Voices (Stimmen) eingestellt ist, wird die Wiedergabe nicht beendet, selbst wenn der Befehl Note-Off empfangen wird (Das gleiche gilt für die Benutzerstimme). MSB 83 83 83 83 LSB 0 0 0 0 Programmkanal 52 82 91 123 Voice Name (Stimmenname) DX Grw12 DX-Train MobyDick ManEater Wenn Sie die Voice (Stimme) wechseln, stoppt der Sound. Das Vibrato ist für jede Voice (Stimme) anders • Das ist der Fall, weil für jede Stimme ein entsprechender LFO-Modus festgelegt wurde. Wenn ein Akkord mit verschiedenen Voices (Stimmen) gespielt wird, wird das Vibrato individuell angewendet, so daß es mit der Dynamik übereinstimmt, mit der jede Taste gespielt wurde. Bei anderen Voices (Stimmen) wird das gleiche Vibrato, das auf die Dynamik der ersten gespielten Taste angewendet wurde auf alle Noten angewendet. Noten klingen bei jedem Note-ON anders • Da für jede Voice (Stimme) eine Oszillatorsynchronisation festgelegt wurde, wird zwischen den Operatoren eine Phasenverschiebung ausgeführt. Abhängig von der Voice (Stimme), kann der Sound bei jedem Spielen der Taste ein wenig anders klingen. 58 Lorsque votre PLG150-DX semble avoir un problème Vérifiez les éléments ci-dessous lorsque votre PLG150-DX ne génère aucun son ou ne fonctionne pas normalement. De plus, si vous n'êtes pas sûr de l'état actuel des réglages de votre PLG150-DX, nous vous recommandons d'éteindre puis de rallumer (ce qui rétablit les valeurs par défaut), et d'essayer de rentrer à nouveau vos réglages. La carte PLG150-DX ne produit aucun son. • L'appareil MU128 et le matériel de reproduction (par exemple, les écouteurs ou haut-parleurs) sont-ils correctement connectés ? • La carte PLG150-DX est-elle montée correctement dans le connecteur plug-in XG ? Reportez-vous aux pages de votre mode d'emploi du générateur de son XG qui expliquent comment installer la carte. • Le volume et l'expression pour la partie sélectionnée pour le son PLG150-DX sont-ils réglés au bon niveau ? le niveau de sortie est-il réglé à -64 ? (voir page 29). • Cela peut arriver lorsque les sons sont placés dans la banque personnalisée et édités avec DX Simulator. Vérifiez les réglages. Dans Multipart Edit (Édition multi-parties), le menu “PLUGIN” n'apparaît pas. • La carte PLG150-DX est-elle correctement installée ? La hauteur n'est pas bonne. • Des informations de transposition ou de décalage de notes ont-elles été définies ? • Cela peut arriver lorsque les sons sont placés dans la banque personnalisée et édités avec DX Simulator. Vérifiez les réglages. Les notes ne cessent d'être reproduites • Puisque EG Release Level (Niveau de relâchement de GE) (L4) est défini pour les sons ci-dessous, ils ne cesseront pas d'être joués même si Note Off (Désactivation de note) est reçue (cela s'applique aussi au son Utilisateur). MSB 83 83 83 83 LSB 0 0 0 0 Canal progr. 52 82 91 123 Nom de son DX Grw12 DX-Train MobyDick ManEater Si vous changez les sons, ils ne seront plus joués. Le vibrato varie selon les sons • Cela se produit lorsqu'un Mode LFO (Mode OBF) approprié est défini pour chaque son. Lorsqu'un accord est joué avec certains sons, le vibrato appliqué à chaque note est différent selon la dynamique avec laquelle la note a été jouée. Pour les autres sons, le vibrato appliqué pour la dynamique de la première note jouée sera appliqué également à toutes les autres notes. Les notes ont un son différent pour chaque Note ON (Activation de note) • Comme une synchronisation d'oscillateur appropriée est définie pour chaque son, un changement de phase se produit entre les opérateurs. En fonction du son, le résultat peut être légèrement différent chaque fois qu'une note est jouée. 59 60 x x ************** Default Messages Altered Mode Key's Ch's After Touch Control Change 0,32 1,5,7,10,11 6,38 64-66 71-74 96-97 98-99 100-101 Pitch Bend Note ON Note OFF Velocity x x x x x x x x x x x x x x : True voice ************** x x Default Changed Basic Channel Note Number *2 o o o o o o o o o 0-24 semi o o o 9nH,v=1-127 x 0 - 127 0 - 127 3 3, 4 (m=1) x 1 1 - 16 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 Sound Controller RPN Inc,Dec NRPN LSB,MSB RPN LSB,MSB Data Entry Bank Select Remarks Transmitted Recognized Date:07-OCT-1999 Version : 1.0 [ Advanced DX/TX Plug-in Board ] Model PLG150-DX MIDI Implementation Chart Function... YAMAHA MIDI Implementation Chart : True # x x x x x x *3 *3 o(120,126,127) o(121) x o(123-125) o x x x x x x o o 0 - 127 Mode 2 : OMNI ON ,MONO Mode 4 : OMNI OFF,MONO *1 receive if switch is on. *2 m is always treated as "1" regardless of its value. *3 transmit/receive if exclusive switch is on. Mode 1 : OMNI ON , POLY Mode 3 : OMNI OFF, POLY Notes: :All Sound Off :Reset All Cntrls :Local ON/OFF :All Notes OFF Mes- :Active Sense sages:Reset Aux x x x x x : Song Pos. : Song Sel. : Tune o x ************** System : Clock Real Time: Commands Common System Exclusive Prog Change o : Yes x : No MIDI Implementation Chart 61 SOFTWARE LICENSING AGREEMENT The following is a legal agreement between you, the end user, and Yamaha Corporation (“Yamaha”). The enclosed Yamaha software program is licensed by Yamaha to the original purchaser for use only on the terms set forth herein. Please read this licensing agreement with care. Opening this package indicates that you accept all terms outlined herein. If you do not agree to the terms, return this package unopened to Yamaha for a full refund. 1. GRANT OF LICENSE AND COPYRIGHT Yamaha grants you, the original purchaser, the right to use one copy of the enclosed software program and data (“SOFTWARE”) on a single-user computer system. You may not use it on more than one computer or computer terminal. The SOFTWARE is owned by Yamaha and is protected by Japanese copyright laws and all applicable international treaty provisions. You are entitled to claim ownership of the media in which the SOFTWARE is included. Therefore, you must treat the SOFTWARE like any other copyrighted materials. 2. RESTRICTIONS The SOFTWARE program is copyrighted. You may not engage in reverse engineering or reproduction of the SOFTWARE by other conceivable methods. You may not reproduce, modify, change, rent, lease, resell, or distribute the SOFTWARE in whole or in part, or create derivative works from the SOFTWARE. You may not transmit or network the SOFTWARE with other computers. You may transfer ownership of the SOFTWARE and the accompanying written materials on a permanent basis provided that you retain no copies and the recipient agrees to the terms of the licensing agreement. 3. TERMINATION The licensing condition of the software program becomes effective on the day that you receive the SOFTWARE. If any one of the copyright laws or clauses of the licensing conditions is violated, the licensing agreement shall be terminated automatically without notice from Yamaha. In this case, you must destroy the licensed SOFTWARE and its copies immediately. 4. PRODUCT WARRANTY Yamaha warrants to the original purchaser that if the SOFTWARE, when used in normal conditions, will not perform the functions described in the manual provided by Yamaha, the sole remedy will be that Yamaha will replace any media which proves defective in materials or workmanship on an exchange basis without charge. Except as expressly set forth above, the SOFTWARE is provided “as is,” and no other warranties, either expressed or implied, are made with respect to this software, including, without limitation the implied warranties of merchantability and fitness for a particular purpose. 5. LIMITED LIABILITY Your sole remedies and Yamaha’s entire liability are as set forth above. In no event will Yamaha be liable to you or any other person for any damages, including without limitation any incidental or consequential damages, expenses, lost profits, lost savings or other damages arising out of the use or inability to use such SOFTWARE even if Yamaha or an authorized dealer has been advised of the possibility of such damages, or for any claim by any other party. 6. GENERAL This license agreement shall be interpreted according to and governed by Japanese laws. 62 SOFTWARE-LIZENZVEREINBARUNG Die folgende Vereinbarung ist eine rechtsgültige Vereinbarung zwischen Ihnen, dem Endanwender, und der Yamaha Corporation („Yamaha”). Yamaha erteilt dem ursprünglichen Käufer für das beiliegende Yamaha-Softwareprogramm ausschließlich zu den hier ausgeführten Bedingungen eine Lizenz zur Verwendung. Bitte lesen Sie diese Lizenzvereinbarung sorgfältig. Durch das Öffnen dieser Packung bringen Sie zum Ausdruck, daß Sie alle darin enthaltenen Bedingungen akzeptieren. Wenn Sie nicht mit den Bedingungen einverstanden sind, können Sie die Packung ungeöffnet an Yamaha zurückgeben; der Kaufpreis wird in voller Höhe zurückerstattet. 1. ERETILUNG VON LIZENZ UND COPYRIGHT Yamaha erteilt Ihnen, dem ursprünglichen Käufer, das Recht, ein Exemplar des beiliegenden Softwareprogramms und der darin enthaltenen Daten („SOFTWARE”) als Einzelperson auf jeweils einem Computer zu verwenden. Sie dürfen sie nicht auf mehr als einem Computer bzw. einer Computerstation verwenden. Die SOFTWARE bleibt im Besitz von Yamaha und ist durch japanische Copyrightgesetze sowie alle anwendbaren internationalen Vertragsbestimmungen geschützt. Sie haben ein Anspruchsrecht auf das Eigentum an den Medien, denen die SOFTWARE beiliegt. Daher müssen Sie die SOFTWARE wie alle anderen durch Copyright geschützten Materialien behandeln. 2. EINSCHRÄNKUNGEN Die SOFTWARE ist durch Copyright geschützt. Sie dürfen Sie weder analysieren noch durch anderweitige Methoden reproduzieren. Sie dürfen die SOFTWARE weder ganz noch teilweise reproduzieren, modifizieren, verändern, gegen Entgelt oder unentgeltlich verleihen, verkaufen oder vertreiben, und Sie dürfen auf der Grundlage der SOFTWARE keine Ableitungen erstellen. Sie dürfen die SOFTWARE nicht an andere Computer senden oder in Netzwerke einspeisen. Sie dürfen das Eigentum an der SOFTWARE und den schriftlichen Begleitmaterialien auf unbefristeter Basis unter den Voraussetzungen übertragen, daß Sie keine Kopien zurückbehalten und sich der Empfänger mit den Bedingungen der Lizenzvereinbarung einverstanden erklärt. 3. BEENDIGUNG Die Lizenzbedingung des Softwareprogramms wird am Tag, an dem Sie die SOFTWARE erhalten, wirksam. Falls ein Copyrightgesetz oder eine Bestimmung der Lizenzbedingungen verletzt wird, wird automatisch und ohne Benachrichtigung durch Yamaha die Lizenzvereinbarung beendet. In diesem Fall müssen Sie die lizensierte SOFTWARE und ihre Kopien unverzüglich vernichten. 4. PRODUKTGARANTIE Yamaha garantiert dem ursprünglichen Käufer, daß, falls die SOFTWARE bei Verwendung unter normalen Bedingungen nicht die in der von Yamaha bereitgestellten Anleitung beschriebenen Funktionen erfüllt, die einzige Abhilfe darin bestehen wird, daß Yamaha auf Austauschbasis kostenlos jedes Medium ersetzen wird, das Material- oder Verarbeitungsfehler aufweist. Abgesehen von dem oben Ausgeführten wird die SOFTWARE „wie die Ware liegt und steht” geliefert, und es werden keine anderen ausdrücklichen oder stillschweigenden Garantien hinsichtlich dieser Software übernommen, einschließlich, aber nicht beschränkt auf, die stillschweigenden Garantien für handelsübliche Qualität und Eignung für einen bestimmten Einsatzzweck. 5. BESCHRÄNKTE HAFTUNG Ihre einzige Abhilfe und die gesamte Haftung Yamahas bestehen in dem oben Ausgeführten. Keinesfalls haftet Yamaha Ihnen oder einer anderen Person gegenüber für etwaige Schäden, einschließlich, aber nicht beschränkt auf, zufällige Schäden oder Folgeschäden, Kosten, Verdienstausfall, verlorene Ersparnisse oder andere Schadenersatzansprüche, die aus der Verwendung der SOFTWARE oder aus der Tatsach hervorgehen, daß diese SOFTWARE nicht verwendet werden konnte, selbst wenn Yamaha oder ein autorisierter Händler über die Möglichkeit derartiger Schadenersatzansprüche informiert wurde, oder für etwaige andere Ansprüche einer anderen Partei. 6. ALLGEMEINES Diese Lizenzvereinbarung soll gemäß und in Übereinstimmung mit den japanischen Gesetzen ausgelegt werden. 63 CONTRAT DE LICENCE DE LOGICIEL Ceci est un contrat entre vous-même, l’utilisateur final, et Yamaha Corporation (“Yamaha”). Le logiciel Yamaha ciinclus est concédé sous licence par Yamaha à l’acheteur original et ne peut être utilisé que dans les conditions prévues aux présentes. Veuillez lire attentivement ce contrat de licence. Le fait d’ouvrir ce coffret indique que vous acceptez l’ensemble des termes du contrat. Si vous n’acceptez pas lesdits termes, renvoyez le coffret non ouvert à Yamaha pour en obtenir le remboursement intégral. 1. CONCESSION DE LICENCE ET DROITS D’AUTEUR Yamaha vous concède le droit d’utiliser, en tant qu’acheteur original, un exemplaire du logiciel et des données afférentes à celui-ci (“LOGICIEL”) sur un ordinateur pour utilisateur unique. Vous n’êtes pas autorisé à utiliser ces éléments sur plus d’un ordinateur ou terminal d’ordinateur. Le LOGICIEL est la propriété de Yamaha. Il est protégé par les dispositions relatives au droit d’auteur contenues dans la législation japonaise et les traités internationaux. Vous êtes en droit de revendiquer l’appartenance du support du LOGICIEL. A ce titre, vous devez traiter le LOGICIEL comme tout autre élément protégé par le droit d’auteur. 2. RESTRICTIONS Le LOGICIEL est protégé par le droit d’auteur. Vous n’êtes pas autorisé à reconstituer la logique du LOGICIEL ou à reproduire ce dernier par quelque autre moyen que ce soit. Vous n’êtes pas en droit de reproduire, modifier, prêter, louer, revendre ou distribuer le LOGICIEL en tout ou partie, ou d’utiliser le LOGICIEL à des fins de création dérivée. Vous n’êtes pas autorisé à transmettre le LOGICIEL à d’autres ordinateurs ou à l’utiliser en réseau. Vous êtes en droit de céder, à titre permanent, le LOGICIEL et la documentation imprimée qui l’accompagne, sous réserve que vous n’en conserviez aucun exemplaire et que le bénéficiaire accepte les termes du présent contrat. 3. RESILIATION Les conditions énoncées dans le présent contrat de licence prennent effet à compter du jour où le LOGICIEL vous est remis. Si l’une quelconque des dispositions relatives au droit d’auteur ou des clauses du contrat ne sont pas respectées, le contrat de licence sera résilié de plein droit par Yamaha, ce sans préavis. Dans ce cas, vous devrez immédiatement détruire le LOGICIEL concédé sous licence ainsi que les copies réalisées. 4. GARANTIE PRODUIT Si, dans des conditions normales d’utilisation, le LOGICIEL ne remplit pas les fonctions décrites dans le manuel fourni, Yamaha s’engage vis-à-vis de l’acheteur original à remplacer gratuitement, sur la base d’un échange, tout support reconnu défectueux par suite d’un défaut de matière première ou d’un vice de fabrication. Ceci constitue le seul recours opposable à Yamaha. Hormis dans les cas expressément énoncés plus haut, le LOGICIEL est livré “en l’état” et toute autre garantie expresse ou implicite le concernant, y compris, de manière non limitative, toute garantie implicite de qualité marchande et d’adéquation à un usage particulier, est exclue. 5. RESPONSABILITE LIMITEE Votre unique recours et la seule responsabilité de Yamaha sont tels qu’énoncés précédemment. En aucun cas Yamaha ne pourra être tenu responsable, par vous-même ou une autre personne, de quelques dommages que ce soit, notamment et de manière non limitative, de dommages indirects, frais, pertes de bénéfices, pertes de fonds ou d’autres dommages résultant de l’utilisation ou de l’impossibilité d’utiliser le LOGICIEL, même si Yamaha ou un distributeur agréé ont été prévenus de l’éventualité de tels dommages, ou de quelque autre revendication formulée par une tierce partie. 6. REMARQUE GENERALE Le présent contrat de licence est régi par le droit japonais, à la lumière duquel il doit être interprété. 64 For details of products, please contact your nearest Yamaha or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311 U.S.A. Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A. Tel: 714-522-9011 CENTRAL & SOUTH AMERICA MEXICO Yamaha de Mexico S.A. De C.V., Departamento de ventas Javier Rojo Gomez No.1149, Col. Gpe Del Moral, Deleg. Iztapalapa, 09300 Mexico, D.F. Tel: 686-00-33 BRAZIL Yamaha Musical do Brasil LTDA. Av. Rebouças 2636, São Paulo, Brasil Tel: 011-853-1377 ARGENTINA Yamaha Music Argentina S.A. Viamonte 1145 Piso2-B 1053, Buenos Aires, Argentina Tel: 1-371-7021 PANAMA AND OTHER LATIN AMERICAN COUNTRIES/ CARIBBEAN COUNTRIES Yamaha de Panama S.A. Torre Banco General, Piso 7, Urbanización Marbella, Calle 47 y Aquilino de la Guardia, Ciudad de Panam*, Panam* Tel: 507-269-5311 EUROPE THE UNITED KINGDOM Yamaha-Kemble Music (U.K.) Ltd. Sherbourne Drive, Tilbrook, Milton Keynes, MK7 8BL, England Tel: 01908-366700 IRELAND Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen Bestimmungsländern erhältlich. Para detalles sobre productos, contacte su tienda Yamaha más cercana o el distribuidor autorizado que se lista debajo. ITALY Yamaha Musica Italia S.P.A., Combo Division Viale Italia 88, 20020 Lainate (Milano), Italy Tel: 02-935-771 SPAIN/PORTUGAL Yamaha-Hazen Electronica Musical, S.A. Jorge Juan 30, 28001, Madrid, Spain Tel: 91-577-7270 GREECE Philippe Nakas S.A. Navarinou Street 13, P.Code 10680, Athens, Greece Tel: 01-364-7111 Yamaha Europa GmbH. Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030 AUSTRIA Yamaha Music Austria Schleiergasse 20, A-1100 Wien Austria Tel: 01-60203900 THE NETHERLANDS Yamaha Music Nederland Kanaalweg 18G, 3526KL, Utrecht, The Netherlands Tel: 030-2828411 BELGIUM Yamaha Music Belgium Keiberg Imperiastraat 8, 1930 Zaventem, Belgium Tel: 02-7258220 Yamaha Scandinavia AB J. A. Wettergrens Gata 1 Box 30053 S-400 43 Göteborg, Sweden Tel: 031 89 34 00 YS Copenhagen Liaison Office Generatorvej 8B DK-2730 Herlev, Denmark Tel: 44 92 49 00 FINLAND F-Musiikki Oy Kluuvikatu 6, P.O. Box 260, SF-00101 Helsinki, Finland Tel: 09 618511 FRANCE Yamaha Musique France, Division Professionnelle BP 70-77312 Marne-la-Vallée Cedex 2, France Tel: 01-64-61-4000 SY20 PT. Yamaha Music Indonesia (Distributor) PT. Nusantik Gedung Yamaha Music Center, Jalan Jend. Gatot Subroto Kav. 4, Jakarta 12930, Indonesia Tel: 21-520-2577 KOREA Yamaha Music Malaysia, Sdn., Bhd. Lot 8, Jalan Perbandaran, 47301 Kelana Jaya, Petaling Jaya, Selangor, Malaysia Tel: 3-703-0900 PHILIPPINES Yupangco Music Corporation 339 Gil J. Puyat Avenue, P.O. Box 885 MCPO, Makati, Metro Manila, Philippines Tel: 819-7551 SINGAPORE NORWAY Norsk filial av Yamaha Scandinavia AB Grini Næringspark 1 N-1345 Østerås, Norway Tel: 67 16 77 70 ICELAND Skifan HF Skeifan 17 P.O. Box 8120 IS-128 Reykjavik, Iceland Tel: 525 5000 Yamaha Music Asia Pte., Ltd. 11 Ubi Road #06-00, Meiban Industrial Building, Singapore Tel: 65-747-4374 TAIWAN Yamaha KHS Music Co., Ltd. 10F, 150, Tun-Hwa Northroad, Taipei, Taiwan, R.O.C. Tel: 02-2713-8999 THAILAND OTHER EUROPEAN COUNTRIES Yamaha Europa GmbH. Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030 Siam Music Yamaha Co., Ltd. 121/60-61 RS Tower 17th Floor, Ratchadaphisek RD., Dindaeng, Bangkok 10320, Thailand Tel: 02-641-2951 THE PEOPLE’S REPUBLIC OF CHINA AND OTHER ASIAN COUNTRIES Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2317 AFRICA Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 4308650 Tel: 053-460-2312 MIDDLE EAST TURKEY/CYPRUS Yamaha Europa GmbH. Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030 Yamaha Music Gulf FZE LB21-128 Jebel Ali Freezone P.O.Box 17328, Dubai, U.A.E. Tel: 971-4-81-5868 INDONESIA MALAYSIA DENMARK OTHER COUNTRIES Tom Lee Music Co., Ltd. 11/F., Silvercord Tower 1, 30 Canton Road, Tsimshatsui, Kowloon, Hong Kong Tel: 2737-7688 Cosmos Corporation 1461-9, Seocho Dong, Seocho Gu, Seoul, Korea Tel: 02-3486-0011 SWEDEN Danfay Ltd. 61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin Tel: 01-2859177 GERMANY/SWITZERLAND ASIA HONG KONG OCEANIA AUSTRALIA Yamaha Music Australia Pty. Ltd. 17-33 Market Street, South Melbourne, Vic. 3205, Australia Tel: 3-699-2388 NEW ZEALAND Music Houses of N.Z. Ltd. 146/148 Captain Springs Road, Te Papapa, Auckland, New Zealand Tel: 9-634-0099 COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN Yamaha Corporation, International Marketing Group Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2312 HEAD OFFICE Yamaha Corporation, Electronic Musical Instrument Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2445 This document is printed on chlorine free (ECF) paper. Auf Umweltpapier gedruckt. Ce document a été imprimé sur du papier non blanchi au chlore. M.D.G., EMI Division, Yamaha Corporation © 1999 Yamaha Corporation V514050 911POCP5.2-01A0 Printed in Japan