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
Introduction
Thank you for purchasing the Yamaha XG Plug-in board PLG100-DX.
The PLG100-DX is a plug-in board that offers a six-operator FM generator equivalent to the one that
made the DX7 series so famous. The PLG100-DX is compatible with the XG plug-in system, and you
can install it into the MU128 or any other tone generator or sequencer that supports XG plug-ins. Once
it’s installed, the unique FM tone generator voices that built the reputation of the DX series will be right
at your fingertips, ready to play. The PLG100-DX has 912 preset DX series voices built right in, and
you can send the DX7 and DX7II voice data through MIDI.
To install your PLG100-DX correctly, and to ensure full enjoyment of its outstanding functions, be sure
to read this manual very carefully. After you finish reading your owner’s manual, be sure to keep it
someplace safe, where you can refer to it whenever you have a question about your PLG100-DX.
Table of Contents
About the PLG100-DX ......................................... 4
Features of the PLG100-DX .....................................
Installing the PLG100-DX .........................................
Included Items ..........................................................
Necessary Items that Are Not Included ..................
Specifications ...........................................................
About the CD-ROM ...................................................
Installing and Starting the Plug-in Software ..........
4
4
5
5
6
7
8
DX Voice Selection ................................................ 19
Choosing the Voices to be Used ........................... 19
Specifying Part/Performance Layers .................... 20
Editing DX Part Parameters ............................ 21
PLG100-DX Part Parameters ................................. 22
PLG100-DX System Parameters .................... 26
System Parameters ................................................ 27
FM Tone Generation ........................................... 10
Operators ................................................................
Combinations of Two Operators ...........................
Carrier and Modulator ............................................
Harmonics ...............................................................
Algorithms ...............................................................
Feedback .................................................................
Essentials for Determining Voices .......................
10
11
12
13
14
14
15
Memory Buffer Configuration ........................ 18
Appendix ................................................................... 28
Chart of Algorithms ................................................ 28
Voice List ................................................................. 30
Performance List .................................................... 38
MIDI Data Format .................................................... 39
MIDI Implementation Chart .................................... 50
Glossary .................................................................. 52
When Your PLG100-DX Seems to Have a Problem .. 59
Conditions for Using the Software ........................ 61
Guide to User Support Services ........................... 62
About the XG Plug-in System
With the Yamaha XG Plug-in System, you can expand your tone generation system by simply
mounting an optional board onto the “mother” tone generator/sound card. For example, you will
be able to use extra voices from a different sound synthesis such as Virtual Acoustic Synthesis,
apply a completely new dimension to your music, and/or add the latest technology to your music.
About DX-XG
The DX Extension for XG (“DX Extension for XG” is abbreviated to DX-XG) included in the
PLG100-DX significantly enhances and expands the musical capabilities of the XG format with
the superior sound and expressive potential of Yamaha FM synthesis. The PLG100-DX supports
the same powerful FM synthesis voices as Yamaha’s legendary DX7. Plug this board into your
tone generator/sound card for 912 unbelievable FM voices with up to 16-note polyphony.
3
About the PLG100-DX
Features of the PLG100-DX
• Features the same FM tone generator that has won acclaim in the DX
series synthesizers.
The PLG100-DX employs an FM tone generator system, with six operators and 32
algorithms, that has been a favorite of musicians in DX series synthesizers like the
DX7 and the DX7II.
• Maximum 16 voice simultaneous polyphony
Ensures maximum 16 voice simultaneous polyphony equal to the DX7 and DX7II.
Furthermore, by installing multiple PLG100-DX boards, the maximum polyphony can
be increased to 128 voices (when eight boards are installed). By installing, for example, three PLG100-DX boards in the MU128 tone generator, maximum polyphony
will be 48 voices.
• 912 preset voices
The PLG100-DX already has 912 preset voices built right in. From electric piano to
bass, and reaching all the way to effect sounds, the preset voices have been selected for
usability centering on the sounds that made the DX series famous.
• Voice data can be exchanged in bulk between the DX7 and the DX7II
Because the PLG100-DX is compatible with the DX series, it can be used for bulk
transfer of voice parameters between the DX7 and the DX7II. The DX7 and DX7II can
be used as editors for the PLG100-DX. By using the edit software for the DX7 and the
DX7II, editing can be done for the PLG100-DX. Voice parameters for the DX1, DX7S,
TF1 (such as the TX816) TX7 and the TX802 are also supported.
• Some voices may sound slightly different than the voices of the devices mentioned above.
• Comes equipped with a low pass filter, a high pass filter and a two-band
equalizer.
A low pass filter, a high pass filter and a two-band equalizer have been installed in the
PLG100-DX. These features can be used together with the voice editing parameters for
the FM tone generator to create new voices. Even if you install the PLG100-DX in a
platform that doesn’t have these functions, the filters and EQ built into the PLG100DX will work.
• Compatible with the XG Plug-In system
Because the PLG100-DX is an XG plug-in board, it can be installed in any XG plug-in
tone generator, like the MU128.
Installing the PLG100-DX
To install your PLG100-DX board, see the manual that came with the “mother” tone generator (such as the MU128 or SW1000XG) or synthesizer.
4
About the PLG100-DX
Included Items
The items below are packaged together with your new PLG100-DX. Before using your
board, be sure to check that everything has been included. In the rare event that some item
is missing, please contact the store where you bought your PLG100-DX as soon as possible.
● PLG100-DX Board
● PLG100-DX Owner’s Manual
● CD-ROM “XGtools”
Necessary Items that Are Not Included
XG tone generator or synthesizer
To use your PLG100-DX, you will need an XG tone generator or synthesizer equipped
with an XG Plug-in platform function that is compatible with the XG Plug-in system,
such as the MU128 or SW1000XG.
The MU128 and SW1000XG are equipped with each of the XG Plug-in platform functions, and can be used for installing the PLG100-DX.
The software programs explained below will put the functions of the PLG100-DX right
at your fingertips, helping you get the most enjoyment out of it.
XGworks(lite)
When you use Yamaha’s XGworks(lite) as your sequence software, you can take 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 PLG100-DX board.
DX Easy Editor
The DX Easy Editor lets you indirectly change the PLG100-DX voices by changing the
part parameters. It’s not for directly editing the voice parameters. Using this software,
you can edit both the XG part parameters (XG parameters) that are shared by all the
parts, and the native part parameters that are specially for the PLG100-DX (DX parameters). The changed parameters can be either inserted into the song as events, or saved
as a DX parameter file.
Because the DX Easy Editor is plug-in software for XGworks(lite), you must have
XGworks(lite) in order to use it.
The DX Easy Editor is included on the CD-ROM that was packaged with your PLG100DX board.
5
About the PLG100-DX
DX Simulator
The DX Simulator is special software for editing the custom voices of the PLG100DX. When you start up the program, an image of the DX7 front panel is displayed on
your computer screen. Using your mouse to operate the buttons and sliders, you can
edit voices just like using a real DX7. You can also display an edit list where you can
edit voices while checking all the parameters in a table on the screen. The edited voice
data can be either saved in memory or to a file, or can be inserted into a track as bulk
data.
Because the DX Simulator is plug-in software for XGworks(lite), you must have
XGworks(lite) in order to use it.
The DX Simulator is included on the CD-ROM that was packaged with your PLG100DX board.
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 PLG100-DX
has no filter functions)
Interface:
XG Plug-in connector
Number of Voices:
912 preset voices, 64 custom voices
Bulk Information that Can Be Received from Other Devices:
DX7 Voice Edit Buffer, Packed 32 Voice
DX7II Voice Edit Buffer, Packed 32 voice, a portion of the Additional Edit Buffer, a portion of the
Packed 32 Additional (Pitch EG range, rs, velocity switch, Unison detune, AMS, Random pitch,
Poly/Mono, Unison Sw, Pitch bend range, step, Portamento mode, step, time)
Parameter Changes that Can Be Received from Other Devices:
DX7 VCED, a portion of ACED (Pitch EG range, rs, velocity switch, Unison detune, AMS, Random
pitch, Poly/Mono, Unison Sw, Pitch bend range, step, Portamento mode, step, time)
Dimensions:
138.5mm (W) x 89.0mm (D) x 8.5mm (H)
Weight 63g
Included Items:
Owner’s Manual, CD-ROM x 1
*Specifications or dimensions may change without notice due to improvements in this product.
6
About the PLG100-DX
About the CD-ROM
In addition to the two plug-in software programs, DX Simulator and DX Easy Editor, the
CD-ROM that was packaged with your board also contains several demonstration songs
that showcase the special features of the PLG100-DX, and also performance data (voice
settings) for use in the platform where you have installed your PLG100-DX. The demonstration songs can be enjoyed by playing them with sequence software like XGworks
V2.0 or XGworks(lite), or with a QY700. (A platform for connecting the PLG100-DX is
also necessary.) Use the same sequence software or device to send the performance data
as bulk data to the platform for the PLG100-DX.
● Demonstration Songs
“Ie Kia Bara Hein” (IeKiaBar.MID) by Noritaka Ubukata (Shofuku)
The title of the song means “What kind of spell is this?” in the Hindi language. It
features the voice that simulates a santur (hammer dulcimer) together with a sitar.
“DX VOICE” (DXVoice.MID) by Noritaka Ubukata (Shofuku)
Starting with the electric piano, this song features a series of the sounds of DX7
Shofuku. Unlike sampling, this music offers the listener subtle variation in the sound
caused by changes in velocity. Another special feature is the FM choir, where a more
realistic sound is created by combining FM synthesis with sampled human voices.
“Vel&EffectWorks1” (V1_EfWk1.MID)
“Vel&EffectWorks2” (V1_EfWk2.MID)
“DX Short Demo” (DxShtDM.MID) by Yasuhiko Fukuda (Shofuku)
These songs showcase a unique feature of FM: the violent changes in sound that are
caused by velocity.
“80’s Pops” (80Pop.MID) by Katsumi Nagae (Idecs Inc.)
Recalls the pop scene of the 80’s with synpads and metallic sounds like dum bells.
“D-Rock” (D-Rock.MID) by Katsumi Nagae (Idecs Inc.)
This song brings back the digital rock sound using the noise and SE system voices
that only DX has.
If you want to use digital noise, there is nothing that works like DX!
“EP Ballade” (EP.MID) by Katsumi Nagae (Idecs Inc.)
If it’s ballads you want—well, there is nothing like DX electric piano.
The voice in the electric piano part will also work with different electric pianos. Try
playing the song with different piano voices.
7
About the PLG100-DX
“House” (HOUSE.MID) by Katsumi Nagae (Idecs Inc.)
The typical house music sound is simulated in this song, which experiments with
reproducing sampling phrases using the DX Voice system. In addition, the second
half of the song features the metalic sound that is a strong point of the DX.
“Jungle” (DXJungle.MID) by Katsumi Nagae (Idecs Inc.)
This song adds a touch of Chinese feeling to the Jungle. The Oriental image is 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 PLG100-DX Seems to Have a Problem” (→P. 59).
Installing and Starting the Plug-in Software (Windows95 only)
■ Installing the Plug-in Software .......................................................
Double-click on the Setup.exe file in the Plug_ folder on the CD-ROM to start the
installation.
Click on “Next” or “Yes” as these words appear on the screen to complete the installation.
■ Starting the DX Easy Editor ............................................................
1. Start XGworks(lite).
2. Select “DX Easy Editor” from the XGworks(lite) plug-in menu.
The “Select DX Part” dialog will open.
3. Set the part numbers to be assigned to the PLG100-DX, then click on the [OK]
button. If there is DX bulk data in the sequence data, the DX mark will be displayed under the part number.
8
About the PLG100-DX
Open the DX Easy Editor Window
• For details about using the DX Easy Editor, see the help file that comes with the DX Easy Editor.
• If the DX Easy Editor does not appear on the Plug-In menu of XGworks(lite), the program may
not be properly installed in the XGworks(lite) folder. You can install it by running the plug-in
installation program.
■ Starting the DX Simulator ...............................................................
1. Start XGworks(lite).
2. Select “Select DX Simulator” from the XGworks(lite) plug-in menu.
The “Select DX Part” dialog will open.
3. Set the part numbers to be assigned to the PLG100-DX, then click on the [OK]
button. If there is DX bulk data in the sequence data, the DX mark will be displayed under the part number.
Open the DX Simulator Window
• For details about using the DX Simulator, see the help file that comes with it.
• If the DX Simulator does not appear on the Plug-In menu of XGworks(lite), the program may not
be properly installed in the XGworks(lite) folder. You can install it by running the plug-in installation program.
9
FM Tone Generation
Before actually editing the PLG100-DX voices, let’s get an idea of how the FM tone generator is
put together.
Operators
In the PLG100-DX, there are six special devices called “operators” that generate sine
waves. These six operators are combined in various ways to make up the different voices
produced by the PLG100-DX. The operators have the following two functions:
(1) They can freely change the frequency (pitch) of the generated sine wave.
(2) They can freely change the amplitude (volume or output level) of the generated
sine wave.
A sine wave is the fundamental wave of a note, with absolutely no overtones added.
Command
Command
Operator
Operator
The frequency of
the sine wave is
changed.
10
The amplitude
of the sine wave
is changed.
FM Tone Generation
Combinations of Two Operators
Although the six operators can be combined in myriad ways, here the fundamental combinations that involve two operators will be explained.
Two operators can be combined in the following two ways (the two operators will be
called A and B respectively):
(1) Horizontal Combination
When the two operators are combined horizontally, the sound generated by each is mixed
with the sound from the other. The actual sound (sine wave) is produced by A and B acting
together.
A
B
The actual sound is generated by
A and B together
Mixed sound of A and B
(2) Vertical Combination
When the two operators are combined vertically, the upper operator B works to change the
sound of the lower operator A, and a complex waveform with many overtones added to it
will be the output from operator A. In this situation, the B operator serves only to change
the sound of operator A, and does not generate the actual sound. Operator A generates the
actual sound as it undergoes changes caused by B. When the upper operator works to
change the sound of the lower operator in this way, it is called FM modulation (or simply
modulation).
B
B changes the sound of A (it generates no tone).
A
While A undergoes changes caused by B, it generates
the actual sound.
When these are put together, it looks like this:
• Horizontal Combination
• Vertical Combination
The two operators both generate the sound.
One operator is for changing the sound of the other operator.
One operator is for making the sound.
When two operators are combined vertically in this way, they both work completely differently.
11
FM Tone Generation
Carrier and Modulator
To distinguish the two operators when they are combined vertically, they are called the
“Carrier” and the “Modulator.”
• Carrier ................. The operator in the lowest position, that produces the actual sound. (Called A
in the previous section.)
• Modulator ............ An operator positioned above another operator, which changes (modulates)
the sound of the next operator down. (Called B in the previous section.)
When there are three or more operators, each operator is classified as a carrier or modulator in the same way.
C
C
C
(4)
(3)
(2)
(1)
M
M
M
C
M
C
M
C
(5)
M
M
C
C
C
“C” Carrier
“M” Modulator
(1) When all the operators are combined horizontally, there is no modulator and they are
all carriers. Because there is no modulation, all waveforms generated by the carriers
are sine waves.
(2) When three operators are piled vertically, only the lowest operator is a carrier. The
modulator on the top modulates the lower modulator, and the modulated waveform
from the lower modulator in turn modulates the carrier. The modulation of the carrier
becomes deeper and the sound output has more overtones.
(3) Here there are two carriers and one modulator. The modulator modulates the carrier
immediately below it. The modulated carrier generates sound with overtones. The
other carrier produces a pure sine wave. Finally, the sound from the two carriers is
mixed to form the whole sound.
(4) Here there is one carrier and two modulators. The two modulators each independently
modulate the single carrier. Since the carrier is modulated by the two modulators, it
generates a sound that has more overtones.
12
(5) Here there are two sets of two operators that have been combined vertically. In each of
them, the modulator modulates the carrier immediately below it, and the carrier generates a sound that has overtones. Finally, the sound from the two carriers is mixed to
form the whole sound.
FM Tone Generation
Harmonics
Most sounds are made up of multiple tones that are different than the pitch (frequency).
Within these multiple tones, the one that determines the pitch of the entire sound is called
the fundamental tone (fundamental frequency). All the tones besides the fundamental tone
are called partials or overtones.
When all the harmonics that are related to a particular fundamental tone are arranged in
order, it is called a harmonic series. Each tone in the harmonic series is given a name in
order, with the fundamental tone being one, followed by the second harmonic, third 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 massive,
dignified sound.
Harmonics
Level
Waveform
Level
Natural Harmonic Series
(when C1 is the fundamental tone)
Harmonics
Time
Eighth Harmonic
Seventh Harmonic
Sixth Harmonic
Fifth Harmonic
Fourth Harmonic
Third Harmonic
Second Harmonic
Frequency
Fundamental
Second Harmonic
Fourth Harmonic
Third Harmonic
Second Harmonic
Fundamental
Fundamental Wave
Harmonics
Graph of the Harmonics
that Make Up the Tone
Third Harmonic
13
FM Tone Generation
Algorithms
While there may be only two ways to combine two operators, when you start talking about
six operators, the number of possible combinations becomes much larger. These combinations of six operators are called “algorithms,” and in both the DX7 series and the PLG100DX, 32 of these combinations have been selected that can be used for creating voices.
In an FM tone generator, which operators work as carriers and which work as modulators
are changed dynamically by the algorithms. For this reason, the first thing you have to
know when editing a voice is which algorithm is used by that voice.
The algorithms are numbered from 1 to 32. For information about the 32 algorithms, see
“Appendix, Chart of Algorithms” (→P. 28).
The six operators have also been numbered from one to six to help in distinguishing them.
Let’s take algorithm 28 as an example. In this algorithm, the operators work as follows:
Operator 1 .............
Operator 2 .............
Operator 3 .............
Operator 4 .............
Operator 5 .............
Operator 6 .............
Outputs sounds while being modulated by Operator 2 (Carrier).
Modulates Operator 1 (Modulator).
Outputs sounds while being modulated by Operator 4 (Carrier)
Modulates Operator 3 while being modulated by Operator 5 (Modulator)
Modulates Operator 4 while being modulated with its own feedback (Modulator).
Outputs a sine wave (Carrier)
Algorithm 28
5
2
4
1
3
Feedback
(See next section)
6
Feedback
Feedback is a function where a portion of the output of an operator is returned back to the
operator again, where it is used to modulate the operator itself. Using feedback results in a
deeper sound.
Every one of the 32 algorithms has feedback set in one location. Among them there is even
one algorithm, number 4, where the output of three operators as a group is used as feedback. When a portion of the output of operator 4 in this algorithm is returned to operator 6,
an extremely deep sound is obtained.
14
FM Tone Generation
Algorithm 4
3
6
2
5
1
4
Feedback
Essentials for Determining Voices
Voices are determined by the following main elements:
(1) The output level from each operator (OUTPUT LEVEL).
(2) The frequency of the tone put out by each operator
(OUTPUT FREQUENCY).
(3) The feedback level (FEEDBACK LEVEL).
(4) The Envelope Generator (EG).
Each of these will be explained in order.
(1) The output level from each operator
When voices are edited, the most important point is the output level for each operator.
Among these, the output level of the modulator has the largest effect on the voice. For
example, when two operators are vertically combined, and the output level of modulator B
is set to zero, the output waveform of carrier A will be a simple sine wave (a dark tone with
no harmonics included). If the output level of the modulator is gradually increased from
this condition, the amount of modulation will become deeper and the output waveform
from the carrier will change to one with many harmonics in it. As the harmonics increase,
the tone will also become brighter, finally changing to a harsh, grating sound.
From this we can conclude that the degree of modulation, which equals the brightness of
the sound, changes in relation to the output level of the modulator.
Modulator
B
B
Output Level = 0
Carrier
A
Sine wave
B
The output level is
greatly increased.
The output level is
increased slightly.
A
The waveform changes
slightly.
A
The waveform changes a lot.
15
FM Tone Generation
On the other hand, because the carrier actually makes the sound, changing the output level
causes a change in the strength (volume) of the sound. If there is only one carrier, this will
simply cause the overall volume to change. However, if there are multiple carriers in the
algorithm, the timbre may also be changed as the balance in volume between the different
carriers is changed.
To summarize these points:
• The voice changes according to the output level of the modulators.
• The volume changes according to the output level of the carriers. The voice may also be changed
as the balance in volume between multiple carriers changes.
(2) The Frequency of the Tone Output from Each Operator
The type of harmonics added to the carrier output by means of the modulator is determined
by the ratio between the frequencies of the modulator and carrier. For example, when two
operators are combined vertically, and “F COARSE” for both of them is set to 1.00, the
frequency ratio will be 1:1 and the first, second, third and following whole number series
harmonics will be generated in order. This type of harmonic configuration is called a
sawtooth wave, and is used for making voices like brass, strings, or piano.
If the “F COARSE” for the modulation in this situation is changed to 2.00, the frequency
ratio will be 1:2, and the odd numbered harmonics, the first, third and fifth and following
harmonics will be generated. This harmonic configuration is called a rectangular wave,
and is used for creating voices for woodwinds like the clarinet and oboe.
Furthermore, if “F FINE” is used so that the frequency ratio is not a whole number, many
non-integer overtones will be produced. The sound can be used for creating metallic sounds,
the noise when strings are hit with something, or breath noise.
Modulator
B
B
Frequency
ratio 1:2
Frequency
ratio 1:1
Carrier
A
Sawtooth wave
16
A
Rectangular wave
FM Tone Generation
(3) FEEDBACK LEVEL
By raising the feedback level, the modulation deepens, and the timbre of the sound becomes brighter.
(4) Envelope Generator (EG)
The EG creates the changes over time in the output level from the instant a key on the
keyboard is pressed to the time that the sound disappears.
If you listen to various musical instruments, you soon realize that besides the differences
in the timbre of the sounds they create, there is a large difference in the way that the sound
first comes out, and in the way in which it fades away. For example, the sound from a
piano gets very loud the instant a key is struck, then the volume gradually fades away, even
if you continue pressing down the key. Also, if you look at the change in tone over time,
there is a bright sound with a lot of overtones the moment the key is struck, but the overtones soon fade away, and the tone takes on a darker aspect.
The function that produces the instrument’s change in volume and timbre over time is the
EG.
In an FM tone generator, an EG is built into each operator. The EG for the carrier changes
its volume over time, while the EG for the modulator changes the timbre of the sound over
time.
17
Memory Buffer Configuration
The memory buffer of the PLG100-DX is configured as shown in the diagram below.
Recall
Preset Memory
(912 Voices)
Voice Edit Buffer
Compare
Edit Recall
Store
Custom Voices
(64 Voices)
Edit Recall Buffer
• The only voices that can be edited using an editing program like the DX Simulator are the custom
voices.
When using the custom bank
• The following parameters are not valid when using the custom bank because they are saved as voice
parameters.
XG Native Part Parameters
MONO/POLY MODE
BEND PITCH CONTROL
PORTAMENTO SWITCH
PORTAMENTO TIME
PLG100-DX Native Part Parameters
PitchBend Step
Portamento Step
Portamento Mode
However, MONO/POLY MODE, BEND PITCH CONTROL, PORTAMENTO SWITCH, and
PORTAMENTO TIME are received through CC (Control Change). (When changing to another custom bank voice, that voice will be set to the saved parameters.)
• If an XG System On is received, or part assignment is changed, the custom voices will be initialized, but
the 64 voice VMEM and AMEM areas will not be initialized.
18
DX Voice Selection
The PLG100-DX voices can be selected just like the voices for the XG tone generator itself.
However, to use the PLG100-DX voices, XG mode or performance mode (PERFORM) must be
selected in the Sound Module Mode of the XG tone generator. Also the part/performance layer
assigned to the PLG100-DX must be specified in the sub-mode (PLUGIN) of the utility mode of
the XG tone generator.
• The displays used below for explaining tone generator operations are from the MU100. The screens may be
different for the tone generator you are using.
• For tone generators, like the SW1000XG, that have no display, the settings must be sent as System Exclusive
Messages (→ MIDI Data Format).
• The SW1000XG does not support the Performance Mode.
■ Selecting the Voices to be Used .............................................................................
1. Set the Sound Module Mode of the XG tone generator to XG or PERFORM.
When XG is selected, the tone generator will enter Multi Mode.
When PERFORM is selected, the tone generator will enter Performance Play Mode.
• DX voices can be selected only when the Part Mode is set to Normal.
• In XG Mode, DX voices can be used as one part, and in Performance Mode, as one layer.
2. Press the [SELECT
/
] buttons, and move the cursor to the bank number.
3. Press the [VALUE
/ ] buttons and select the bank of the voice you wish to use.
Depending on the bank you have selected, one of the following will appear in the bank
number location of the display: 000,064 to 082, 096 to 109 (DX-XG/A); 000,064 to
082 (DX-XG/B); 000 (DX-XG/SFX) or 000 (Custom).
Bank number display location
Icon display area
DX-XG/A
DX-XG/B
DX-XG/SFX
Custom
When a DX voice is selected, a DX voice icon will appear in the icon area of the
display.
• Please note that the bank number displayed may be one for the XG tone generator itself. You can make
sure that it is one for the PLG100-DX by checking for a DX voice icon in the icon area of the display.
4. Press the [SELECT
/
] buttons, and move the cursor to the program number.
19
DX Voice Selection
5. Use the [VALUE
/
] buttons to select the voice you wish to use.
Program number display location
• When a program number that does not exist for the PLG100-DX is selected when the chosen bank is
from 000 to 099, the icon for the voice selected in the XG tone generator itself will be displayed in the
icon area.
■ Specifying Parts/Performance Layers ....................................................................
1. Press the [UTIL] button on the panel, and display the utility mode.
2. Press the [SELECT
] button several times to move the cursor to “PLUGIN”, then
press [ENTER].
3. Press the [SELECT
/ ] buttons as needed to move the cursor to “PLG100-DX,”
then press the [ENTER] button. An editing screen for the system parameters expanded
by the PLG100-DX will be displayed.
4. Press the [SELECT
/ ] buttons several times to display “PartAssign,” then press
the [VALUE
/ ] buttons to select the part or layer you want to assign to the
PLG100-DX.
When the Sound Modulation Mode is XG, use 01 to 16, or off.
When the Sound Modulation Mode is PERFORM, use 01 to 04, or off.
• SW1000XG does not support the performance mode.
20
Editing DX Part Parameters
Editing with the parameters below is valid for voices in all banks. However, they cannot be set
separately for each voice. This means that whatever editing changes you have made will be
transferred as is to the new voice whenever you switch voices (editing done for the previous
voice will be also valid for the next voice chosen).
• When voices are switched after the parameters have been changed, or when the algorithm is changed with the
DX Simulator, unexpected sounds may cause injury to your ears. Always exercise caution when making changes.
• Parameters that have been edited cannot be stored in custom voices.
• When using the DX Simulator, voices can be edited, then stored in custom voices.
1. In Multi Play Mode, choose the part assigned to the PLG100-DX, then select the voice
to be edited.
2. Press the [EDIT] button.
The Multipart edit menu screen will be displayed.
3. Press the [SELECT
] button and move the cursor to “PLUGIN”. Press the [EN-
TER] button.
The parameter screen for the selected plug-in board will be displayed.
4. Press the [SELECT
/ ] buttons to move the cursor to the parameter to be edited.
Next, change the value for the parameter using the [VALUE
/ ] buttons.
5. Press the [EXIT] button several times to return to the initial screen.
• On the MU100 panel, normal part parameters that can be edited will be valid for DX voices.
21
Editing DX Part Parameters
■ PLG100-DX Part Parameters ...................................................................................
Carrier1 (Carrier Operator 1 Level) to Carrier6 (Carrier Operator 6 Level)
Settings: -64 to +63
Explanation:
• Sets the output level for operators that are working as carriers.
• Carriers are operators that work to output the actual sound. Changing the carrier output
level changes the loudness of the sound that is produced. If an algorithm is selected that
has multiple carriers, the quality of the sound, or “timbre” can be edited by changing
the volume balance between the carriers.
• Because this setting acts as an offset added to the output level set for the voice in the
PLG100-DX, it indirectly changes the timbre of the voice. When this parameter is set at
zero, the voice will remain as is. Setting it to +1 or more will increase the volume, while
setting it to -1 or less will decrease it.
• The operators that are assigned as modulators will be displayed as “***”, and it will not
be possible to edit them. To clarify matters when editing voices, look up the algorithm
number for the voice being edited on the voice list, then check which operators have
been assigned as carriers on the Chart of Algorithms (→P. 28).
Modulator1 (Modulator Operator 1 Level) to Modulator6 (Modulator Operator 6 Level)
Settings: -64 to +63
Explanation:
• Sets the output level for operators that are working as modulators.
• Modulators are operators that serve to modulate other operators. Changing the modulator output level changes the brightness (amount of overtones) of the sound that is produced.
• Because this setting acts as an offset added to the output level set for the voice in the
PLG100-DX, it indirectly changes the timbre of the voice. When this parameter is set
to zero, the voice will remain as is. Setting it to +1 or more will make the sound brighter
(increase the overtones), while setting it to -1 or less will darken it (decrease the overtones).
• The operators that are assigned as carriers will be displayed as “***”, and it will not be
possible to edit them. To clarify matters when editing voices, look up the algorithm
number for the voice being edited on the voice list, then check which operators have
been assigned as modulators on the Chart of Algorithms (→P. 28).
22
Editing DX Part Parameters
FeedBack
Settings: -7 to +7
Explanation:
• Sets the level of feedback.
• Feedback is a function where a portion of the output of an operator is returned
back to the operator again, where it is used to modulate the operator itself. Feedback can be used to change the brightness (amount of overtones) of the sound.
• Because this setting acts as an offset added to the output level set for the voice in
the PLG100-DX, it indirectly changes the timbre of the voice. When this parameter is set to zero, the voice will remain as is. Setting it to +1 or more will make the
sound brighter (increase the overtones), while setting it to -1 or less will darken it
(decrease the overtones).
PortaMd (Portamento Mode)
Settings: flw/ftm, rtn/fgr
Explanation:
• Portamento is an effect that produces a smooth glide between two notes of different pitch.
• The way in which the Portamento effect is applied is set with the Portamento
Mode. However, there will be a large difference in the effect depending on the
Poly/Mono setting for the selected voice.
When Poly Mode is set:
• When flw/ftm is set, the Portamento effect will also be applied to the sustained
sound from when the sustain pedal is depressed, and to the lingering sound after
the hand is removed from the key. The sound will change to the pitch of the next
note played.
• When rtn/fgr is set, the Portamento effect will not be applied to the sustained
sound from when the sustain pedal is depressed, or to the lingering sound after the
hand is removed from the key.
When Mono Mode is set:
• When flw/ftm is set, normal Portamento effect is applied.
• When rtn/fgr is set, the Portamento effect is only applied when the next key is
pressed while the first key is held down.
• In the DX7, each is called as follows:
flw: Sus-key P Follow
ftm: Full Time Porta
rtn: Sus-key P Retain
fgr: Fingered Porta
PortaStep (Portamento Step)
Settings: 0 to 12
Explanation:
• Sets the way in which the pitch is changed by the Portamento effect.
• The 0 value sets a normal continuous change.
• Setting 1 to 12 changes sound according to the scale. For example, if 1 is set, the
change is by semitones, if 2 is set, it is by whole tones.
23
Editing DX Part Parameters
PitBndStep (Pitch Bend Step)
Setting Values : 0 to 12
Explanation:
• Determines the way in which the pitch is changed by the pitch bend wheel.
• The 0 value sets a continuous change (the normal setting). Setting 1 to 12 changes the
sound according to the scale. For example, if 1 is set, the change is by semitones, if 2 is
set, it is by whole tones.
AC4 CC No. (AC4 Controller Assign)
Settings: OFF, MOD, BC, FC, EXP, CAT, PB
Explanation:
• When the AC4 controller parameter is set to EGbias, this parameter sets the controller
which operates EGbias.
• The settings indicate controllers as follows:
MOD .....
BC .........
FC .........
EXP .......
CAT .......
PB .........
Modulation wheel
Breath controller
Foot controller
Expression pedal
Channel aftertouch
Pitch bend wheel
• When the amplitude modulation sensitivity of the selected voice has been set to carrier,
operating the controller that has been set in this parameter will change the volume in
realtime. When the amplitude modulation sensitivity has been set to modulator, the
timbre will change.
AC4CtrPrm1 (AC4 Controller Parameter 1)
Settings: Off, EGbias
Explanation:
This specifies whether the EGbias will be controlled by the controller that has been set
in the AC4 Control Change Number parameter.
AC4CtrDpt1 (AC4 Controller Parameter Depth)
Setting: -64 to +63
Explanation:
Specifies the depth of operation when EGbias is controlled by the controller that has
been set in the AC4 Control Change Number parameter.
• When AC4CtrPrm1 has been set to EGbias, the sound may change when AC4CtrDept1 is set positive, even
if the output from the controller set in AC4CCNo.is zero.
24
Editing DX Part Parameters
RcvDxSysEx (Receive DX System Exclusive)
Setting: OFF, ON
Explanation:
Specifies whether DX system exclusive messages will be received or not.
• The follow conditions must be met for DX system exclusive messages to be received:
With VCED, ACED (Parameter change, Bulk Dump)
Bulk select: Custom Bank
RcvDxSysEx: ON
With VMEM, AMEM: (bulk dump, 32 voice bulk dump)
RcvDxSysEx: ON
25
PLG100-DX System Parameters
The parameters that apply to the entire system of the PLG100-DX are added to the utilities of the
main XG tone generator.
1. Press the [UTIL] button.
The menu screen for the Utility Mode will be displayed.
2. Pressing the [SELECT
] button and move the cursor to “PLUGIN,” then press the
[ENTER] button. The plug-in board select screen will be displayed.
3. Press the [SELECT
/ ] buttons and move the cursor to the plug-in board to be
edited, then press the [ENTER] button (select PLG100-DX here).
The parameter screen for the selected plug-in board will be displayed.
4. Pressing the [SELECT
/ ] buttons, move the cursor to the parameter which is to
be set. Change the value for the parameter using the [VALUE
/ ] buttons.
5. Press the [EXIT] button several times to return to the initial screen.
26
PLG100-DX System Parameters
■ System Parameters ..................................................................................................
PartAssign
Setting: 1 to 16, OFF
Explanation:
• Sets the part assigned to PLG100-DX.
• When set to OFF, the parts will not be assigned. Settings 1 to 16 specify part numbers
1 to 16.
BulkBlock
Setting: 01-32, 33-64
Explanation:
• Specifies which custom voice memory, 1 to 32 or 33 to 64, will be used for writing 32
voice bulk data sent to the PLG100-DX from an external MIDI device or computer.
VelCurve (Velocity Curve)
Setting: DX7, Normal, Soft1, Soft2, Easy, Wide, Hard
Explanation:
• Sets the velocity curve.
• The velocity curve is the curve that expresses the relationship between the velocity
signal received and the volume when the sound is actually generated.
• DX7 sets the velocity curve for the DX7 and DX7II.
• Normal makes velocity proportional to the strength at which the key is struck. This is
the velocity curve used in ordinary synthesizers.
• Soft1 is a velocity curve that makes all sounds easy to produce. It is designed for people
who have a light touch on the keyboard, or who are beginners at keyboard playing.
• Soft2 is a velocity curve that makes all sounds easy to produce. It is closer to the normal
curve than Soft1.
• Easy is a velocity curve where relatively large velocities are easy to produce. Because
velocity change in the middle area of the curve is gentle, the velocity is stable.
• Wide is a curve where the velocity is controlled in sections where the key touch is light,
and is easy to produce in area where the touch is strong. It gives the feeling of a wide
dynamic range.
• Hard is a curve where the sound is not easy to produce over the entire range. It is aimed
a people who have a strong touch.
27
Appendix
Chart of Algorithms
6
6
5
5
3
6
2
4
2
4
2
5
1
3
1
3
1
4
3
6
2
5
2
4
6
2
4
6
1
4
1
3
5
1
3
5
5
4
2
4
1
3
5
2
4
1
3
7
5
6
2
4
1
13
28
4
1
3
5
9
5
6
2
4
1
4
6
5
3
11
6
3
2
3
10
5
6
8
3
4
6
6
6
5
3
2
1
1
12
5
6
5
6
2
2
4
2
4
1
1
3
1
3
14
2
15
Appendix
6
2
4
6
3
5
2
1
4
6
3
5
5
2
3
4
1
1
17
16
18
3
2
6
1
4
5
3
5
6
3
1
2
4
1
1
6
3
4
5
1
6
2
4
3
2
3
4
1
5
5
1
2
5
3
6
4
1
4
1
3
4
5
6
2
5
26
4
27
5
5
2
3
24
2
25
5
6
23
6
4
21
3
22
1
2
20
19
2
6
6
1
28
4
6
3
5
2
4
1
29
2
3
6
30
6
1
2
3
4
31
5
1
2
3
4
5
6
32
29
Appendix
Voice List
DX-XG/SFX Voices
Bank Select MSB
67
Bank Select LSB
0
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
E
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
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
A B
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
DX-XG/A Voices
Bank Select MSB
83
83
83
83
83
83
83
Bank Select LSB
0
64
65
66
67
68
69
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
E
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
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
A B
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
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
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
A B
18
18
16
30
17
5
5
3
32
32
E
A B
E
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
1 23
1 7
1 5
1 27
DX-Vibe2
DX-Mrmb2
1 23
1 7
DX-Vibe3
DX-Mrmb3
1
1
MM-Bell
1 27
MiniBell
1
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
1
1
1
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
DrwOrg 3
29
DxJazOr1
16
RckOrg 4
29
DXChrch2
12 * StretOrg
4 * DX-Acrd4
17 * FM-Hmnc1
E
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
1
5
7
DX-Vibe4
MtalMrmb
5
DX-Bel 2
JazOrg 1
29
PrcOrg 4
30
11 * RckOrg 5
PipeOrg3
6
16
4 * DX-Acrd5
1 * FM-Hmnc2
1
1
7
6
1 15
1
1
1 3
1 18
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
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
*
*
*
*
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
1 11
DX-Celo3
1 3 * MletHorn
1 2
TightBr1
1 22
DX-SBr 2
1 18
SamplBrs
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
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
3
22
24
12
2
18
22
EadgbeLd
IceHeven
ElecComb
* SyBr Pd2
* Whisper1
* BowPad 3
MtlSweep
1 14
1 9
1 4
1 5
1 6
1 7
1 9
* Phasers
*
*
*
*
*
16
17
17
8
18
16
7
8
17
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
1 5
1 5
1 5
1 5
1 18
1 11
BellVibe
1 23
LFO Vibe
1
2 * Vibetron
1
DX-Bel 4
1
9
DX-Bel 3
Mark III
Andrian
Knock EP
E.Pno 5
Caffeine
DX-Clv 1
5
DX-Bel 5
1 29 * DrwOrg 4
1 31 * PrcOrg 6
1 16
RckOrg 7
1
5 * PipeOrg5
1 31
DrwOrg 5
1 31
PrcOrg 7
1 22 * RckOrg 8
1 5
A B
1 10 *
1 9
1 13
1 5
1 9
1 18
1
6 *
1
4
1 32
1 20 *
1 25
1 14
1 8
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
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
1
DX-SyBa6
3 *
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 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
1 15
DX-Str 5
1 2
1
9 * DX-AnSt1
1 12
HalOrch2
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 *
1
2
WarmBrss
1 2
DX-SBr 6
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
1 2
1 18
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 *
DX-Ba+Ld
MM-Prety
Fl.Cloud
SyBr Pd3
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 *
1 19
SyBr Pd7
1
1 5
1 19
Glassy
1 11
1 16
1
1 23
DX-Atms2
1
Ethereal
Gior Pad
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
6
2
6
1
2 *
LyleLead
Super DX
CaliopL3
BrsLead3
LdSbHarm
DX-SLd 6
DXSyLd 7
1 16
GlssHarp
Ice Glxy
3
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 “*”)
30
E
1 11
1 27
1 4
1 3
1 15 *
1 18 * Tom Herz
70
E
3 *
3 *
DX-ClGt5
HevyGage
14
DX-DsGt3
3
SmohBass
17
NstyBass
7 * Plktrmbs
12
FrtlsBa4
3
ImpctBas
16
Brainacs
24
Cutmandu
17 * DX-Bass3
2
A B
MM-EGnd2
PrprdPno
DX-Road3
Vics EP
Harpsi 3
Clavecn1
1 32
Farf Out
1 29 * PrcOrg 5
1 26 * RckOrg 6
1 6
PipeOrg4
1 8
1 3
1 8
1 13
1 3
1 15 * FM-Grwth
SoftHead
* MM-SDr 2
19
12
12
5
5
18
1 1
DX-AcGt4
1 2
DX-PkGt4
1 8 * DX-JzGt4
1 4
DX-ClGt4
1 17
DX-MtGt4
DX-AcGt3
DX-PkGt3
DX-JzGt3
DX-ClGt3
DX-MtGt3
MtalDlcm
Electric
SynBrite
*
*
* DX-ScFi2
DX-Sitr2
1
1
1
1
1
1
E
1 24
1 11
1 2
1 6
BellPluk
Brassy
DX-Brit2
A B
Lute Gtr
DX-PkGt5
1 15 *
1 3
Oboe 3
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
A B
83
SpceTrip
2
Appendix
Bank Select MSB
83
83
83
83
83
83
83
Bank Select LSB
0
71
72
73
74
75
76
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
E
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
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
A B
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
3 *
ModEPno1
5
E.Pno 7
5
E
A B
1
1
5 *
5
FulTine2
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
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
1
* DX-SyBa7
1 17
DX-SyBa8
1
5
DX-Str 6
1
2
DX-Str 7
1
2
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
BritClv1
E
A B
1
5
1 18
83
77
E
A B
E.Pno 8
1
6
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
E
A B
1
5
1
3
1 25
1 16
*
*
*
Firenze
3
*
*
* SpaceVox
*
*
*
Horn Ens
* MM-Brss1
Ensemble
*
*
*
*
*
1 26
1 20 * Fanfare
1 18
MM-Brss2
1 9 * Kingdom
DX-Str 8
1 22
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 “*”)
31
Appendix
Bank Select MSB
83
83
83
83
83
83
83
Bank Select LSB
0
78
79
80
96
97
98
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
E
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
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
A B
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
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
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
DX-ASax1
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
Pno+Flt
83
99
E
A B
1
3
A B
Hard EP1
Prds Pno
* Harpsi 7
DX-Clv 6
Hallowen
* Glocken6
MusicBx3
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
Hard EP3
1 11
Det.EP4
2 *
Harpsi 9
1 3
1
4 * MuteClav
1 29
1
5 * WrapRund
1 24 * MusicBx5
1 8
1 22
* 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
*
DX-Mrmb6
DX-Xylo5
DX-Bel 9
DX-Dlcm2
DrwOrg15
PrcOrg17
RckOrg15
PipeOrg8
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
Grinder
1 11
BritOrgn
1 25
*
DetClGt2
2
BassLgnd
HardFngr
CompedEB
1 18
1 18
1 18
DX-Hmnc4
1
5 *
2
*
1
3 *
1 11
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
DX-Harp2
1
3
1
3
Apollon
1
3
* Violtron
Det.Str3
* DX-Vce 2
1
2
1
2
General
*
Det.Str4
1 *
1
2
2
*
OchChime
Det.Str5
1
2
5
*
1 9
1 22 *
1
2 * AnalogBr
1 18
EP+Brs 1
1
1
9
5
1
1
2 * SyPdBrss
2 *
2
*
1 18
DX-ASax2
1 17
Whistle2
1
1
6
5
*
14
9
18
*
9
17
3
16
2
18 *
4
DX-Harp3
1 14
*
*
*
DX-Clar3
1
*
Song Flt
1 12 *
DX-FatBr
EP+Brs 2
6 *
DX-PnFl2
2
Sukiyaki
1 16
Csmwhist
1
DX-SLd 7
ReedLead
1 22 * DX-SLd 8
1 17
ArrowxMs
1 22
1 3
DX-SLd 9
Att.Lead
1 18 *
DXSyLd9
1 8
2
*
DX-BrLd1
1
1 16
DX-SwLd2
1 18
DX-SwLd3
2
*
*
MpndgDom
1 31 * EP Pad
2
*
*
*
Cho Elms
Dstrcted
Mystrian
1 5
DX-ChPd2
1 12 *
1 20
DX-MtPd2
1 16 * AngelEvo
1 27
DX-ChPd3
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
Zimbalon
1
Xango
1
India
1
9
Pilgrim
1
2
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
DX-Perc1
1 16
Nou
1 14
DX-Bongo
1
7
*
*
*
*
2
DX-SwLd1
6 * Whistle3
*
2
*
*
*
*
*
*
*
*
*
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 “*”)
32
E
Appendix
Bank Select MSB
83
83
83
83
83
83
83
83
Bank Select LSB
0
100
101
102
103
104
105
106
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
E
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
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
A B
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
Hard EP4
Det.EP5
AD1900s1
ChrsClav
1
2
1
1
5
*
5
4
CosaRosa
Det.EP6
1
2
5
*
EP 1985
Det.EP 7
1 15
2 *
BasoClav
1 17
Det.Clav
2
*
HamerGlk
MusicBx6
1 5
PppThing
1 24 * MusicBx7
1 5
1 16
Syn.Glok
MusicBx8
1
1
EchoMlt1
DigiXylo
DX-Bel11
1 5
EchoMlt2
1 24 *
1 22
DX-Bel12
1
5
EchoMlt3
1
5
TmplBel4
2
DrwOrg17
2
*
* DrwOrg16
*
*
TamePipe
*
*
*
*
1 25
BassMgic
1 17
DetPkBa1
2
*
EzAction
1 19
DetDXBa1
2
*
HarpStrm
1
3
CmbaHarp
1 19 *
Ep + Str
2
*
Det.Str1
2
*
2
*
LyerBrs2
2
*
SoftLd1
2
*
* DX-ChPd4
*
*
2
*
1
5
Chi-S&H1
1
3
1
3
Kinzoku2
1
5
1
4
E
A B
E
E
A B
Det.EP 2
Det.EP 9
2
2
*
*
A B
E
A B
Det.EP 3
Det.EP10
2
2
*
*
Det.EP1
Det.EP8
2
2
*
*
5
5
PercGlok
1
5 *
1
5
MelwMrmb
1
8
Gtrimba
1 12
SynDecay
2
*
1
5
TmplBel5
1
7
BlowBell
1
SoftBell
1
1
DrwOrg18
2
*
DetPkBa2
2
*
Str&Brs
2
*
DX-Echo1
2
*
5
E
DumBells
1
A B
5
*
*
*
*
*
*
*
* LyerBrs1
*
*
*
*
*
*
*
*
*
*
*
*
*
*
* New Elms
*
Kinzoku1
*
*
LigtYear
*
NOTE : Empty areas of the columns produce no sound.
E : Element number A : Algorithm number B : EG Bias (voices with this effect are marked “*”)
33
Appendix
Bank Select MSB
83
83
83
83
Bank Select LSB
0
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
E
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
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
A B
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
Crystal
1
A B
5
E
MeloBell
A B
1 32
E
Det.Bell
2
A B
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
NOTE : Empty areas of the columns produce no sound.
E : Element number A : Algorithm number B : EG Bias (voices with this effect are marked “*”)
34
Appendix
DX-XG/B Voices
Bank Select MSB
99
99
99
99
99
99
99
Bank Select LSB
0
64
65
66
67
68
69
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
E
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
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
A B
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
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
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
A B
18
18
16
30
17
5
5
3
32
32
E
A B
E
A B
E
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
1 23
1 7
1 5
1 27
DX-Vibe2
DX-Mrmb2
1 23
1 7
DX-Vibe3
DX-Mrmb3
1
1
MM-Bell
1 27
MiniBell
1
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
*
*
*
*
*
*
*
*
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
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
3
22
24
12
2
18
22
EadgbeLd
IceHeven
ElecComb
* SyBr Pd2
* Whisper1
* BowPad 3
MtlSweep
1 14
1 9
1 4
1 5
1 6
1 7
1 9
* Phasers
*
*
*
*
*
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
1
5
7
DX-Vibe4
MtalMrmb
5
DX-Bel 2
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
7
6
A B
E
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
1 5
1 5
1 5
1 5
1 18
1 11
BellVibe
1 23
LFO Vibe
1
2 * Vibetron
1
DX-Bel 4
1
9
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
1 15
DX-Bel 3
1 32
Farf Out
1 29 * PrcOrg 5
1 26 * RckOrg 6
1 6
PipeOrg4
1
1
5
DX-Bel 5
1
6 *
1
4
1 29 * DrwOrg4
1 31 * PrcOrg 6
1 16
RckOrg 7
1
5 * PipeOrg5
1 31
DrwOrg 5
1 31
PrcOrg 7
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 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
3
1
2
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
1 15
DX-Str 5
1 2
1
9 * DX-AnSt1
1 12
HalOrch2
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 *
1
2
WarmBrss
1 2
DX-SBr 6
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
1 2
1 18
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 *
DX-Ba+Ld
MM-Prety
Fl.Cloud
SyBr Pd3
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 *
1 19
SyBr Pd7
1
Ethereal
Gior Pad
1 5
1 19
Glassy
1 11
1 16
1
1 23
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
6
2
6
1
2 *
LyleLead
Super DX
CaliopL3
BrsLead3
LdSbHarm
1 27
1 4
1 3
1 15 *
1 18 * Tom Herz
1
1
70
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 15 * FM-Grwth
SoftHead
* MM-SDr 2
19
12
12
5
5
18
A B
1 11
1
MtalDlcm
Electric
SynBrite
*
*
* DX-ScFi2
DX-Sitr2
1
1
1
1
1
1
E
1 24
1 11
1 2
1 6
BellPluk
Brassy
DX-Brit2
A B
99
DX-SLd 6
DXSyLd 7
1 16
GlssHarp
Ice Glxy
3
SpceTrip
2
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 “*”)
35
Appendix
Bank Select MSB
99
99
99
99
99
99
99
Bank Select LSB
0
71
72
73
74
75
76
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
E
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
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
A B
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
3 *
ModEPno1
5
E.Pno 7
5
1
1
5 *
5
FulTine2
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
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
1
* DX-SyBa7
1 17
DX-SyBa8
1
5
DX-Str 6
1
2
DX-Str 7
1
2
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
BritClv1
E
A B
1
5
1 18
99
77
E
A B
E.Pno 8
1
6
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
*
*
*
Firenze
3
*
*
* SpaceVox
*
*
*
Horn Ens
* MM-Brss1
Ensemble
*
*
*
*
*
1 26
1 20 * Fanfare
1 18
MM-Brss2
1 9 * Kingdom
DX-Str 8
1 22
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 15
BackSuir
1
1
2
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 “*”)
36
E
Appendix
Custom Voices
Bank Select MSB
99
99
99
99
Bank Select LSB
0
78
79
80
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
E
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
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
A B
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
Bank Select MSB
Bank Select LSB
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
35
0
E
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
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
A B
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 “*”)
37
Appendix
Performance List
No.
1
38
Name
EP Layer
2
3
Doctor DX
Golden Wires
4
SuperConga
5
Tubular
6
7
New Koto
Cello Edge
8
Plasticlav
9
TX Bass
10
Bachsichord
11
That’s FM
12
3D Rodes
13
Mr. Clav
14
Snooper Bass
15
Digicomp
16
Glasswirl
17
RealAcoustic
18
SparkleStabs
19
20
Zed Bass
CE20 Bass
21
Harpist
22
23
24
Steel Cans
Zambeezi
Perkethnic
25
Cembalom
26
27
28
29
Smackabass
ClockStrikz1
DoubleGlock
Stage 73
30
31
32
33
HandBells
Xylophone
Marimboid
Vivaldi
34
Industrial
35
2 FD
36
Cmprsd Strat
37
Uprighteous
38
Chackawacka
39
Woodknocker
40
Temple Gongs
41
Kundoon
42
GS1-ness
Type
1 FM + 1 AWM
Notes
FM electronic piano layer sound similar to DX1
layer.
1 FM + 1 AWM FM Electronic piano with a bright, sharp edge.
1 FM + 1 AWM Features the metallic ring of electronic piano
oscillators. For use in performance.
1 FM
The percussion sound of a conga, rich in expressiveness.
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.
1 FM
Koto sound with an echo effect applied.
1 FM + 1 AWM Cello rich in expressiveness. The edge of the
bow sound is expressed with FM, the natural
cello sound with AWM.
1 FM + 1 AWM A plastic clicking sound is added to a typical
clavier.
1 FM
A heavy bass sound with good velocity response, like the TX81Z sound.
1 FM + 1 AWM Harpsichord nuanced with FM’s crisp keyboard
expression and AWM’s realistic sound.
1 FM + 1 AWM A bright, FM-like clavier string sound with lots
of metallic overtones
1 FM + 1 AWM A hard electronic piano with a lively click sound
and phaser effect added.
1 FM + 1 AWM Clavier featuring FM’s crispness and attack and
AWM’s realistic sound.
1 FM
Bass with a distinct sound that’s good for
hiphop, rap, or dance music.
1 FM
Crisp FM percussive sound with a discordance
that appears with as velocity increases. Good
for performance.
1 FM
Analog-like FM pad sound rich in expressive
power.
1 FM + 1 AWM Steel string acoustic guitar. The crisply played
feeling comes from FM, while the natural tone
generation comes from AWM.
1 FM
Sparkling percussive pad sound with a slightly
metallic feel. Good for music with a new age
or pop feeling.
1 FM
TX81Z type bass featuring metallic string sound
1 FM
FM bass sound like Yamaha’s CE20. Good for
solo or ensemble use.
1 FM
Bright harp with a transparent feeling. More effective if played with glissando.
1 FM + 1 AWM Realistic steel drum sound.
1 FM + 1 AWM Ethnic sound, like a log drum.
1 FM + 1 AWM Ethnic drum. Noise is added in relation to velocity.
1 FM + 1 AWM Bright, sparkling FM cembalon (dulcimer)with
DK type EG.
1 FM
Heavy FM smack bass with distortion.
1 FM + 1 AWM “Big Ben” type bell sound, like TX802 sound.
1 FM + 1 AWM Dual voice glockenspiel using FM and AWM.
1 FM + 1 AWM Electric piano with a compressor applied. Undulates as velocity gets stronger.
1 FM + 1 AWM FM handbells with realistic AWM effects added.
1 FM + 1 AWM Very natural xylophone.
1 FM + 1 AWM A realistic marimba
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.
1 FM + 1 AWM Industrial bass with a good crisp string sound
in the attack.
1 FM + 1 AWM FM sound that layers bell and electronic piano,
like a DX7II FD.
1 FM + 1 AWM Lively electric guitar sound combining the crispness of FM with the realism of AWM.
1 FM + 1 AWM Amplified upright bass with FM supplying the
feeling of strings being hit.
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.
1 FM + 1 AWM FM sound with overtones that give a woody
feeling, like a cross between a wood drum and
bass strings.
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.
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.
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
44
45
Bronze Lead
Monster Pad
1 FM + 1 AWM
1 FM + 1 AWM
46
Aluminum
1 FM + 1 AWM
47
Bite-a-Synth
1 FM + 1 AWM
48
Tinezzz
1 FM + 2 AWM
49
Tam-Tam
1 FM + 1 AWM
50
Clickorgan
1 FM + 1 AWM
51
52
53
54
FreshSection
Ascension
Better Days
Touch me!!
1 FM + 3 AWM
1 FM + 2 AWM
1 FM + 2 AWM
1 FM + 1 AWM
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
Blue Mirror
FlameSwaying
Spring Bass
Vintage Game
From a Home
Danger Caves
Afternoon Jam
HappyEnd
Fantasy Songs
Relax Square
Coriander
Drive Bass
LoFi Clavi
ColdWater-DX
HiSpeedBrass
Ambient Park
Picked CP
1 FM + 3 AWM
1 FM + 3 AWM
1 FM + 3 AWM
1 FM + 3 AWM
1 FM + 3 AWM
1 FM + 3 AWM
1 FM + 3 AWM
1 FM + 2 AWM
1 FM + 3 AWM
1 FM + 3 AWM
1 FM + 3 AWM
1 FM + 3 AWM
1 FM + 2 AWM
1 FM + 3 AWM
1 FM + 3 AWM
1 FM + 3 AWM
1 FM + 2 AWM
72
Sand Pad
1 FM + 2 AWM
73
DX-Brass1
1 FM + 2 AWM
74
75
76
77
78
79
80
81
DX-Brass2
Plucked Wow
Plucked EP
Brass Pad
Octave Decay
Slap Bass
Ethnic Groove
Thai Noodles
1 FM + 1 AWM
1 FM
1 FM + 2 AWM
1 FM + 1 AWM
1 FM
1 FM + 1 AWM
1 FM + 1 AWM
1 FM + 1 AWM
82
83
84
ElectrcNylon
1 FM + 1 AWM
DX Martenot
1 FM
CP80M+DX Ep 1 FM + 1 AWM
85
86
87
88
89
90
91
92
93
94
95
Viscous Bass
Woody Plucked
Arco Strings
Matrix
PanFlute
DigiMute
DigiSlap
SuperDX
Friction
Comped EP
Clean Guitar
1 FM + 1 AWM
1 FM + 1 AWM
1 FM + 1 AWM
1 FM + 1 AWM
1 FM + 2 AWM
1 FM + 1 AWM
1 FM + 1 AWM
1 FM + 1 AWM
1 FM + 2 AWM
1 FM + 2 AWM
1 FM + 1 AWM
96
Mandolin
1 FM + 1 AWM
97
98
Reed-Lead
BigBang
1 FM + 1 AWM
1 FM + 2 AWM
99
DX-Bang!
1 FM + 2 AWM
100 OrinocoDecay
1 FM + 2 AWM
You can hear the breath sounds in this flute
that has something of a VL feeling to it.
Monotone metallic lead/solo sound.
With a dramatic sound just like a movie
soundtrack, this pad really catches the flavor
of FM.
Strong pad with chiff (organ pipe noise) added
with metallic overtones.
Really crisp, metallic FM oscillator sound. Good
for performance or pad use.
DX piano layered with a nicely ringing pad and
with chorus applied.
Untuned gong sound. By striking multiple keys
with a lot of spirit, you can get really good effects.
An organ sound with heavy plastic click in the
attack.
Fresh sax section. Play it crisply.
Sounds like a magic spell being cast.
Makes an eerie noise. Play one note at a time.
That stereo feeling just shines (old electronic
mandolin sound).
Quivering bell sound.
Swaying sound of the harp.
Synth bass with a hard attack.
The so-called electronic sound.
The old family organ has gone hi-fi.
Play it from below-as dark as can be.
Guitar and vibraphone played in unison.
An old organ. Play it dramatically.
A perfect voice for playing Disney songs.
Synth chorus voice.
Well-matched voice for ethnic songs.
Synth bass with a special attack.
Voice like a 70’s distorted clavier.
A voice with refreshing DX clarity.
Live brass section with a stereo feeling.
Soft Pad.
Electric piano that sounds like an electric grand
played with a pick.
Warm synth pad with layered DX strings and
chorus.
Brass that emphasizes the hard attack of the
trumpet.
Brass with the unique tension of the DX7.
DX clavinet with auto-wow applied.
Electric piano that sounds like a harp.
Analog synth style brass pad.
Hard decay sound.
Slap bass as only the DX7 can do it.
Ethnic synth drum.
A lead voice that makes you want to eat Thai
noodles.
A nylon guitar played though a pick-up.
Martenot style voice that’s classic for suspense.
Voice with layered CP80M and DX electric piano.
Gluey synth bass sound.
Plucked sound with a woody feel.
String section played with bows.
Thick synth brass pad.
Pan flute
DX-like mute.
Hard synth bass.
Hard slap bass style lead.
Brass pad with a hard friction feel.
Percussive electric piano.
Electric guitar played with a guitar amp that has
chorus.
Mandolin that brings back memories of good
old movies.
Digital sax-style lead
SE-type pad that has an attack with a lot of
violent modulation.
SE-type pad that has an attack with a lot of
violent modulation.
Sound for arpeggio with an attack like a marimba, and like a guitar used with orinoco flow.
Appendix
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
0
Bank Select MSB
32
Bank Select LSB
Data Range
0...127
0...127
The Bank Select data will be processed only after a Program Change is received,
and then voice bank will change at that time. If you wish to change the voice
bank as well as the voice, you must transmit Bank Select and Program Change
messages as a set, in the following order: Bank Select MSB, LSB, and Program
Change.
1.2.2 Modulation
This message is used primarily to control the depth of vibrato, but the depth of
the following 5 types of effect can be controlled. The effect of this message can
be changed by the following parameters.
* Multi Part Parameter
l. MW PITCH CONTROL
2. MW FILTER CONTROL
3. MW AMPLITUDE CONTROL
4. MW LFO PMOD DEPTH
5. MW LFO AMOD DEPTH
By default, an LFO Pitch Modulation (PMOD) effect will apply.
Control#
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#
1l
Parameter
Expression
Data Range
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
note-off.
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
Data Range
96
RPN Increment
—
97
RPN Decrement
—
The data byte is ignored.
39
Appendix
1.2.16 NRPN (Non-registered parameter number)
This is a message for setting the sound for things like vibrato, filter or EG. Use
NRPN MSB and NRPN LSB to specify the parameter that you wish to modify,
and then use Data Entry (see 1.2.4) to set the value for the specified parameter.
Control#
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
Data Entry*1
MSB LSB
01H 08H
mm
— *2
01H 09H
mm
—
01H 0AH
mm
— *3
01H 20H
mm
—
01H 21H
mm
—
01H 24H
mm
—
01H 30H
mm
—
01H 31H
mm
—
01H 34H
mm
—
01H 35H
mm
—
01H 63H
mm
—
01H 64H
mm
—
01H 66H
mm
—
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)
Low pass filter resonance
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.
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#
100
101
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 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#
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
Data Range
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#
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
The following RPN messages can be received.
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.
*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
1. AC1,
2. AC1,
3. AC1,
4. AC1,
5. AC1,
40
Part Parameter
AC2 PITCH CONTROL
AC2 FILTER CONTROL
AC2 AMPLITUDE CONTROL
AC2 LFO PMOD DEPTH
AC2 LFO AMOD DEPTH
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.
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.
Appendix
* Multi
1. BEND
2. BEND
3. BEND
4. BEND
5. BEND
Part Parameter
PITCH CONTROL
FILTER CONTROL
AMPLITUDE CONTROL
LFO PMOD DEPTH
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
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.
2. System exclusive messages
2.1 Parameter changes
This devices 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
[PLG100-DX NATIVE PARAMETER CHANGE]
1) PLG100-DX System parameter change
2) PLG100-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 MASTER VOLUME.
* The binary expression Osssssss 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
or
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
01000011
0001nnnn
01001100
0ggggggg
0mmmmmmm
0lllllll
0sssssss
:
11110111
F0H
43H
1NH
4CH
GGH
MMH
LLH
SSH
:
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
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 PLG100-DX native parameter change (1)
This message sets parameters unique to the PLG100-DX. Each message sets a
single parameter. The message format is as shown below.
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.
2.1.4.1 PLG100-DX System Parameter Change
This message sets the PLG100-DX SYSTEM block (see Tables <2-1> and <22>).
41
Appendix
2.1.4.2 PLG100-DX Part Parameter Change
This message sets the PLG100-DX MULTI PART block (see Tables <2-1> and
<2-3>).
2.1.5 DX Parameter Change
11110000
F0H
01000011
43H
0001nnnn
1NH
0ggggghh
GGH
0ppppppp
PPH
0vvvvvvv
VVH
11110111
F7H
Exclusive status
YAMAHA ID
N:Device Number
Parameter Group No.
Parameter No.
Data
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
[PLG100-DX NATIVE BULK DUMP]
1) System bulk dump
2) 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 messages,
a single message can modify multiple parameters. The 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 the 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>, <1-2>).
2.2.1.2 Multi Part bulk dump
This message sets the MULTIPART block (see Tables <1-1>, <1-3>).
2.2.2 PLG100-DX Native Bulk Dump
This message sets the special parameters for PLG100-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 details are the same as for 2.2.1 XG Bulk Dump. However, see Tables <2n> for the Address, Byte Count, and block.
42
2.2.2.1 PLG100-DX System Bulk Dump
This message sets the PLG100-DX SYSTEM block (see Tables <2-1>, <2-2>).
2.2.2.2 PLG100-DX Multi Part bulk dump
This message sets the PLG100-DX MULTI PART block (see Tables <2-1>, <23>).
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
Do not send.
b) Receive
After FE is received one time, if the MIDI signal does not come within 400
msec, PLG100-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 FE has not been received once.
<1-1>
Parameter Base Address
MODEL ID = 4C
Address
(M)
00
00
00
00
(L)
00
7E
7F
00
08
MULTI PART
0A
(additional)
0F
00
00
00
0A
70
0F
02
00
00
Parameter
XG SYSTEM
MULTI PART
PART ASSIGN
(H)
00
00
00
08
Description
System
XG System On
All Parameter Reset
Multi Part 1
:
Multi Part 16
Multi Part 1
:
:
Multi Part 16
PLG100-DX Part Assign
Appendix
<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
5
6
7D
7E
7F
TOTAL SIZE
1
1
1
1
1
1
00 - 7F
00 - 7F
28 - 58
0
0
MASTER VOLUME**
MASTER ATTENUATOR**
TRANSPOSE
NOT USED
XG SYSTEM ON
ALL PARAMETER RESET
Description
-102.4...0...+102.3[cent]
1st bit3-0→bit15-12
2nd bit3-0→bit11-8
3rd bit3-0→bit7-4
4th bit3-0→bit3-0
0...127
0...127
-24...0...+24[semitones]
Default Value
(H)
00 04 00
00
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
NORMAL,...
-24...0...+24[semitones]
-12.8...0...+12.7[Hz]
1st bit3-0→bit7-4
2nd bit3-0→bit3-0
0...127
0...127
0...127
C, L63...C...R63
C-2...G8
C-2...G8
0...127
0...127
0...127
0...127
-64...0...+63
-64...0...+63
-64...0...+63
-64...0...+63
-64...0...+63
-64...0...+63
-64...0...+63
-64...0...+63
-24...0...+24[semitones]
-9600...0...+9450[cent]
-100...0...+100[%]
0...127
0
40
08
7
** Processed on the XG platform side (MU128, etc.)
<1-3>
MIDI Parameter
Address
(H)
8 nn 0
nn 1
nn 2
nn 3
nn 4
nn 5
nn 6
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
TOTAL
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
Change table ( MULTI PART )
Size
Data
Parameter
(H)
(H)
1
NOT USED
1
00 - 7F
BANK SELECT MSB
1
00 - 7F
BANK SELECT LSB
1
00 - 7F
PROGRAM NUMBER
1
00-1F,7F
Rcv CHANNEL
1
00 - 01
MONO/POLY MODE
1
00 - 02
SAME NOTE NUMBER
7
8
9
0A
1
1
2
00
28
00
00
-
05
58
0F
0F
PART MODE
NOTE SHIFT
DETUNE
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
27
28
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
29
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
28
00
00
00
-
7F
7F
7F
7F
7F
7F
7F
7F
7F
7F
7F
7F
7F
7F
7F
7F
7F
7F
58
7F
7F
7F
00
28
00
00
00
-
7F
58
7F
7F
7F
VOLUME**
VELOCITY SENSE DEPTH
VELOCITY SENSE OFFSET
PAN**
NOTE LIMIT LOW
NOTE LIMIT HIGH
DRY LEVEL**
CHORUS SEND**
REVERB SEND**
VARIATION SEND**
VIBRATO RATE
VIBRATO DEPTH
VIBRATO DELAY
LOW PASS FILTER CUTOFF FREQUENCY
LOW PASS FILTER RESONANCE
EG ATTACK TIME
EG DECAY TIME
EG RELEASE TIME
MW PITCH CONTROL
MW LOW PASS FILTER CONTROL
MW AMPLITUDE CONTROL**
MW LFO PMOD DEPTH
NOT USED
MW LFO AMOD DEPTH
BEND PITCH CONTROL
BEND LOW PASS FILTER CONTROL
BEND AMPLITUDE CONTROL**
BEND LFO PMOD DEPTH
NOT USED
BEND LFO AMOD DEPTH
30
31
32
33
34
35
36
37
38
39
3A
3B
3C
3D
3E
3F
40
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00 - 7F
0...127
-24...0...+24[semitones]
-9600...0...+9450[cent]
-100...0...+100[%]
0...127
00
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...127
0
-
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
00 - 01
Rcv
Rcv
Rcv
Rcv
Rcv
Rcv
Rcv
Rcv
Rcv
Rcv
Rcv
Rcv
Rcv
Rcv
Rcv
NOT
Rcv
PITCH BEND
CH AFTER TOUCH(CAT)
PROGRAM CHANGE
CONTROL CHANGE
POLY AFTER TOUCH(PAT)
NOTE MESSAGE
RPN
NRPN
MODULATION
VOLUME
PAN
EXPRESSION
HOLD1
PORTAMENTO
SOSTENUTO
USED
BANK SELECT
OFF,
OFF,
OFF,
OFF,
OFF,
OFF,
OFF,
OFF,
OFF,
OFF,
OFF,
OFF,
OFF,
OFF,
OFF,
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
OFF, ON
1
1
1
1
1
1
1
XGmode=01, GMmode=00
1
1
1
1
1
1
1
—
XGmode=01, GMmode=00
43
Appendix
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
TOTAL
41
42
43
44
45
46
47
48
49
4A
4B
4C
4D
4E
4F
50
51
52
53
54
55
56
57
58
59
5A
5B
5C
5D
5E
5F
60
61
62
63
64
65
66
67
68
69
6A
6B
6C
6D
6E
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
3F
nn
nn
nn
nn
TOTAL
70
71
72
73
SIZE
1
1
1
1
4
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
nn
TOTAL
74
75
76
77
78
79
7A
7B
7C
7D
7E
7F
SIZE
1
1
1
1
1
1
1
1
1
1
1
1
0C
0A nn 20
nn 21
TOTAL SIZE
1
1
2
00
00
00
00
00
00
00
00
00
00
00
00
28
00
00
00
-
7F
7F
7F
7F
7F
7F
7F
7F
7F
7F
7F
7F
58
7F
7F
7F
00 - 7F
28 - 58
00 - 7F
00 - 7F
00
00
28
00
00
00
-
7F
5F
58
7F
7F
7F
00
00
28
00
00
00
-
7F
5F
58
7F
7F
7F
00
00
00
00
00
00
00
01
01
-
7F
01
7F
7F
7F
7F
7F
7F
7F
00 - 7F
00 - 7F
04 - 28
1C - 3A
00 - 7F
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
NOT USED
NOT USED
EQ BASS GAIN
EQ TREBLE GAIN
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
HIGH PASS FILTER CUTOFF FREQUENCY
NOT USED
-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
OFF, ON
0...127
-64...0...+63
-64...0...+63
-64...0...+63
-64...0...+63
1...127
1...127
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
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]
—
—
0C
36
—
—
—
—
—
—
—
—
-64...0...+63
40
—
Description
Default Value
(H)
0
nn = PART NUMBER
** Processed on the XG platform side (MU128, etc.)
<1-4>
MIDI Parameter
Address
(H)
70 2 nn
Change table ( PART ASSIGN )
Size
Data
Parameter
(H)
(H)
1
00 - 0F,7F Part Assign
TOTAL SIZE
1
nn = PLG100-DX Serial Number
44
A1...A16, OFF
Appendix
<2-1>
Parameter Base Address
MODEL ID = 62
Parameter
PLG100-DX SYSTEM
PLG100-DX
MULTI PART
(H)
00
60
Address
(M)
00
00
(L)
00
00
60
0F
00
Description
System
Multi Part 1
:
:
Multi Part 16
<2-2>
MIDI Parameter
Address
(H)
0 0 7
8
9
0A
0B
0C
0D
0E
0F
TOTAL SIZE
Change table ( PLG100-DX Native SYSTEM )
Size
Data
Parameter
(H)
(H)
1
NOT USED
1
00 - 06
VELOCITY CURVE
1
NOT USED
1
NOT USED
1
NOT USED
1
NOT USED
1
NOT USED
1
00 - 01
32 BULK RECEIVE BLOCK
1
NOT USED
9
<2-3>
MIDI Parameter
Address
(H)
60 nn 0
nn 1
nn 2
nn 3
nn 4
nn 5
nn 6
nn 7
nn 8
nn 9
nn 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
TOTAL SIZE
Change table ( PLG100-DX Native MULTI PART )
Size
Data
Parameter
(H)
(H)
1
00 - 06
AC4 Controller
1
00 - 01
AC4 Parameter Select
1
NOT USED
1
NOT USED
1
NOT USED
1
00 - 7F
AC4 Parameter Depth
1
NOT USED
1
NOT USED
1
NOT USED
1
NOT USED
1
NOT USED
1
00 - 7F
Carrier Level1
1
00 - 7F
Carrier Level2
1
00 - 7F
Carrier Level3
1
00 - 7F
Carrier Level4
1
00 - 7F
Carrier Level5
1
00 - 7F
Carrier Level6
1
NOT USED
1
NOT USED
1
00 - 7F
Modulator Level1
1
00 - 7F
Modulator Level2
1
00 - 7F
Modulator Level3
1
00 - 7F
Modulator Level4
1
00 - 7F
Modulator Level5
1
00 - 7F
Modulator Level6
1
NOT USED
1
NOT USED
1
39 - 47
FeedBack Level
1C
60 nn 1C
1
00 - 01
Portamento Mode
nn
nn
nn
TOTAL
1
1
1
4
00 - 0C
00 - 0C
Portamento Step
PitchBend Step
NOT USED
1D
1E
1F
SIZE
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
<3-1>
Parameter Group Number
Parameter
Group No.
g
h
00
00
00
01
06
00
Description
VCED(Voice Edit Buffer)
VCED(Voice Edit Buffer)
ACED(Additional Edit Buffer)
parameter#
0...127
0...28
0...73
45
Appendix
<3-2>
MIDI Parameter Change table ( DX Voice Parameter - VCED format )
Parameter Group#
Parameter#
Size
Data
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
00
01 16 2B
40
55
6A
1
00 - 63
00
02 17 2C
41
56
6B
1
00 - 63
00
03 18 2D
42
57
6C
1
00 - 63
00
04 19 2E
43
58
6D
1
00 - 63
00
05 1A 2F
44
59
6E
1
00 - 63
00
06 1B 30
45
5A
6F
1
00 - 63
00
07 1C 31
46
5B
70
1
00 - 63
00
08 1D 32
47
5C
71
1
00 - 63
00
09 1E 33
48
5D
72
1
00 - 63
00
0A 1F 34
49
5E
73
1
00 - 63
00
0B 20 35
4A
5F
74
1
00 - 03
00
0C 21 36
4B
60
75
1
00 - 03
00
0D 22 37
4C
61
76
1
00 - 07
00
0E 23 38
4D
62
77
1
00 - 03
00
0F 24 39
4E
63
78
1
00 - 07
00
10 25 3A
4F
64
79
1
00 - 63
00
11 26 3B
50
65
7A
1
00 - 01
00
12 27 3C
51
66
7B
1
00 - 1F
00
13 28 3D
52
67
7C
1
00 - 63
00
14 29 3E
53
68
7D
1
00 - 0E
Parameter
Description
Default Value
EG RATE1
EG RATE2
EG RATE3
EG RATE4
EG LEVEL1
EG LEVEL2
EG LEVEL3
EG LEVEL4
BREAK POINT
LEFT DEPTH
RIGHT DEPTH
LEFT CURVE
RIGHT CURVE
RATE SCALING
AMPLITUDE MODULATION SENSITIVITY
TOUCH SENSITIVITY
TOTAL LEVEL
FREQUENCY MODE
FREQUENCY COURSE
FREQUENCY FINE
DETUNE
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)
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
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
-
63
63
63
63
63
63
63
63
!F
07
01
63
63
63
63
01
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
00
00
25
25
25
25
25
25
25
25
25
25
-
07
2F
58
58
58
58
58
58
58
58
58
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
TOTAL SIZE
01
03
18
‘I’
‘N’
‘I’
‘T’
‘V’
‘O’
‘I’
‘C’
‘E’
9B
OPERATOR ENABLE
<3-3>
MIDI 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
07
1
00 - 07
OP5 AMPLITUDE
08
1
00 - 07
OP4 AMPLITUDE
09
1
00 - 07
OP3 AMPLITUDE
0A
1
00 - 07
OP2 AMPLITUDE
0B
1
00 - 07
OP1 AMPLITUDE
46
63
63
63
63
32
32
32
32
00
00
01
23
00
00
00
01
00
MODULATION
MODULATION
MODULATION
MODULATION
MODULATION
MODULATION
Bit5:OP1,Bit4:OP2,Bit3:OP3, 3F
Bit2:OP4,Bit1:OP5,Bit0:OP6 off,on
SENSITIVITY
SENSITIVITY
SENSITIVITY
SENSITIVITY
SENSITIVITY
SENSITIVITY
Description
Default Value
0...7
0...7
0...7
0...7
0...7
0...7
(H)
—
—
—
—
—
—
00
00
00
00
00
00
Appendix
TOTAL SIZE
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
40
41
42
43
44
45
46
47
48
49
1
1
1
1
1
1
1
1
1
1
00
00
00
00
00
00
-
03
01
01
03
0C
0C
00
00
00
00
-
07
01
0C
63
00 - 07
00 - 07
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
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
UNISON DETUNE DEPTH
NOT USED
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
02
00
—
00
00
00
00
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
00
—
0...7
31
<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#
OP6 OP5 OP4 OP3
OP2
OP1
(H)
(H)
(H)
(H)
(H)
(H)
00
11
22
33
44
55
01
12
23
34
45
56
02
13
24
35
46
57
03
14
25
36
47
58
04
15
26
37
48
59
05
16
27
38
49
5A
06
17
28
39
4A
5B
07
18
29
3A
4B
5C
08
19
2A
3B
4C
5D
09
1A
2B
3C
4D
5E
0A
1B
2C
3D
4E
5F
0B
1C
2D
3E
4F
60
0C
1D
2E
3F
50
61
0D
1E
2F
40
51
62
0E
1F
30
41
52
63
0F
20
31
42
53
64
10
21
32
43
54
65
66
67
68
69
6A
6B
6C
6D
Total Size
155
49
1120
4096
Size Parameter
Description
BIT6 BIT5 BIT4
(H)
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
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
1
1
1
1
1
1
1
1
PEG
PEG
PEG
PEG
PEG
PEG
PEG
PEG
RATE1
RATE2
RATE3
RATE4
LEVEL1
LEVEL2
LEVEL3
LEVEL4
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
47
Appendix
6E
6F
70
71
72
73
74
75
76
77
78
79
7A
7B
7C
7D
7E
7F
TOTAL SIZE
1000
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
48
460
—
—
LPMS
ALS
OPI
LFS
LFD
LPMD
LAMD
LFW
TRNP
VNAM1
VNAM2
VNAM3
VNAM4
VNAM5
VNAM6
VNAM7
VNAM8
VNAM9
VNAM10
FBL
LFKS
(80h X 20h = 1000h)
<4-3>
DX Packed Voice Additional Parameter - AMEM format
Parameter#
Size
(H)
(H)
00
1
01
1
02
1
03
1
04
1
05
1
06
1
07
1
08
1
09
1
0A
1
0B
1
0C
1
0D
1
0E
1
0F
1
10
1
11
1
12
1
13
1
14
1
15
1
16
1
17
1
18
1
19
1
1A
1
1B
1
1C
1
1D
1
1E
1
1F
1
20
1
21
1
22
1
TOTAL SIZE
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
(23h X 20h = 460h)
Parameter
Description
BIT6 BIT5 BIT4 BIT3 BIT2 BIT1 BIT0
NOT USED
—
AMPLITUDE MODULATION SENSITIVITY
—
OP5
OP6
AMPLITUDE MODULATION SENSITIVITY
—
OP3
OP4
AMPLITUDE MODULATION SENSITIVITY
—
OP1
OP2
RANDOM PITCH / PEG VELOCITY SW / LFO KEY TRIGGER / PEG RANGE
RNDP
VPSW LTRG
PEGR
PITCH BEND RANGE / POLY/MONO,UNISON SWITCH
—
PBR
PMOD
PITCH BEND STEP
—
PBS
PORTAMENTO STEP / PORTAMENTO MODE
—
PQNT
PORM
PORTAMENTO TIME
POS
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
—
PGRS
PITCH EG RATE SCALING DEPTH
—
NOT USED
—
NOT USED
—
NOT USED
—
NOT USED
—
NOT USED
—
NOT USED
—
NOT USED
—
NOT USED
—
NOT USED
—
UDTN
UNISON DETUNE DEPTH
When Your PLG100-DX Seems to Have a Problem
Please check the items below when your PLG100-DX isn’t generating sounds or when it isn’t
functioning normally. Also, when the current status of the settings for your PLG100-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 PLG100-DX doesn’t produce sounds
• Are the MU128 and the playback equipment (such as speakers or headphones) correctly
connected?
• Is the PLG100-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 PLG100-DX voice raised to
the proper level?
• Is the carrier output level set at -64? (→P. 22)
• This may happen when voices are placed in the custom bank and edited with the DX
Simulator. Check the settings.
In Multipart Edit, the “PLUGIN” menu doesn’t appear.
• Is the PLG100-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 custom 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 custom bank).
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.
49
50
*2
x
x
x
x
x
x
x
x
x
Pitch Bender
0,32
1,5,7,10,11
6,38
64-66
71-74
Control
96-97
98-99
Change
100-101
o
o
o
o
o
o
o
o
o
o
o
x
x
Key's
Ch's
After
Touch
*1
*1
*1
*1
*1
*1
*1
*1
0-24 semi *1
*1
*1
9nH,v=1-127
o
x
x
x
Velocity Note ON
Note OFF
3
3, 4 (m=1)
x
0 - 127
0 - 127
x
x
**************
Default
Messages
Altered
Mode
1 - 16
1 - 16
Note
x
Number : True voice **************
x
x
Default
Changed
Sound Controller
RPN Inc,Dec
NRPN LSB,MSB
RPN LSB,MSB
Data Entry
Bank Select
Memorized
Remarks
Recognized
Transmitted
Function ...
Date:20MAR-1998
Version : 1.0
[ Advanced DX/TX Plug-in Board ]
Model PLG100-DX MIDI Implementation Chart
Basic
Channel
YAMAHA
MIDI Implementation Chart
x
x
x
x
x
x
x
x
System
:Clock
x
Real Time :Commands x
0 - 127
*3
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
o : Yes
x : No
o(120,126,127)
Aux :All Sound Off x
:Reset All Cntrls x
o(121)
Mes- :Local ON/OFF
x
x
sages:All Notes OFF x
o(123-125)
x
o
:Active Sense
: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.
o
: Song Pos
Common : Song Sel
: Tune
*3
o
System Exclusive
o
x
**************
Prog
Change : True #
MIDI Implementation Chart
51