The Yamaha XG Editor
By
G.Gregson
XGedit95 User Manual
Page 1
Contents
1.
INTRODUCTION ...................................................................................................................................4
2.
GETTING STARTED.............................................................................................................................6
2.1
2.2
2.3
3.
THE MAIN SCREEN .............................................................................................................................7
3.1
4.
AD Controls ..................................................................................................................................15
AD Message Enables ...................................................................................................................15
General ........................................................................................................................................15
EFFECTS & CONTROLLERS MODULE.............................................................................................16
8.1
8.2
8.3
8.4
9.
Volume Panel Mode .....................................................................................................................14
Pan Panel Mode ...........................................................................................................................14
Amplitude Envelope Generator (AMP EG) Panel Mode ................................................................14
Pitch Envelope Generator (PITCH EG) Panel Mode .....................................................................14
Reverb Panel Mode ......................................................................................................................14
Chorus Panel Mode ......................................................................................................................14
Variation Panel Mode ...................................................................................................................14
A TO D CONVERTERS.......................................................................................................................15
7.1
7.2
7.3
8.
Equalisation Program List-box ......................................................................................................13
Equaliser Controls ........................................................................................................................13
DISPLAY PANEL ................................................................................................................................14
6.1
6.2
6.3
6.4
6.5
6.6
6.7
7.
Midi File Edit Parameter Contents LEDs .......................................................................................10
Midi File Format LEDs ..................................................................................................................10
Number of Parts LED....................................................................................................................11
Thru LED......................................................................................................................................11
Transport Buttons .........................................................................................................................11
PPQ Dial.......................................................................................................................................11
Knob Controls...............................................................................................................................12
EQUALISER MODULE .......................................................................................................................13
5.1
5.2
6.
Controls..........................................................................................................................................7
MASTER MODULE .............................................................................................................................10
4.1
4.2
4.3
4.4
4.5
4.6
4.7
5.
System Requirements ....................................................................................................................6
Installation ......................................................................................................................................6
Configuration ..................................................................................................................................6
Understanding The Effects Unit ....................................................................................................16
Effects Unit ...................................................................................................................................17
Effect Parameters Module ............................................................................................................19
Controllers ....................................................................................................................................24
PART & DRUM MODULE ...................................................................................................................26
9.1
Part Edit Mode..............................................................................................................................26
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9.2
Drum Edit Mode............................................................................................................................28
10. ENABLES MODULE ...........................................................................................................................29
10.1
Message Enables .........................................................................................................................29
11. KEYBOARD........................................................................................................................................30
11.1 Selecting Key Ranges...................................................................................................................30
11.2 Auditioning Sounds.......................................................................................................................30
11.3 Velocity Limit ................................................................................................................................30
12. VOICE BOX ........................................................................................................................................31
12.1 Part Selection ...............................................................................................................................31
12.2 Midi Channel Selection .................................................................................................................31
12.3 Element Reserves ........................................................................................................................31
12.4 Selecting Voices ...........................................................................................................................31
13. MENUS ...............................................................................................................................................34
13.1
13.2
13.3
13.4
File Menu......................................................................................................................................34
Setup Menu ..................................................................................................................................35
Utils Menu ....................................................................................................................................37
Help Menu ....................................................................................................................................37
14. SW MIXER ..........................................................................................................................................38
15. WORKING WITH MIDI FILES .............................................................................................................40
15.1
15.2
15.3
15.4
15.5
15.6
Introduction...................................................................................................................................40
Setting Up Your Midi System ........................................................................................................40
The Authoring Process .................................................................................................................45
Merging Midi Data ........................................................................................................................49
Saving Midi Data ..........................................................................................................................52
Using Native Save Formats ..........................................................................................................53
16. CREATE YOUR OWN SYSTEM EXCLUSIVE MESSAGES ................................................................54
16.1
16.2
16.3
16.4
16.5
Hexadecimal Notation and MIDI ...................................................................................................54
Check This Out First .....................................................................................................................55
XG Sysex .....................................................................................................................................57
Constructing XG Parameter Change Sysex ..................................................................................58
Other Useful Sysex Information ....................................................................................................60
XGedit95 User Manual
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1. Introduction
Legal Stuff - License/Warranty/Disclaimer
XGedit is distributed as Shareware. You may make as many backups of the program as you need, however
you may not run the registered version on more than one PC at a time.
You may not distribute XGedit for profit except by arrangement with the author.
You may not disclose registration keys to non-registered users.
The contents of this user manual are the copyright of Gary Gregson. Copying, reproduction or distribution of
this manual (by electronic means or otherwise) are forbidden without the written consent of the author.
XGEDIT IS PROVIDED ON THE UNDERSTANDING THAT THE USER ACCEPTS ALL RESPONSIBILITY
FOR USE OF THE PROGRAM. THE AUTHOR WILL NOT BE LIABLE FOR ANY DAMAGES OR LOSS OF
DATA INCURRED BY USE OF THE PROGRAM. THE AUTHOR DOES NOT GUARANTEE THE
PROGRAM IS FIT FOR PURPOSE OR PROVIDE ANY OTHER GUARANTEES OF MERCHANTABILITY.
XGedit is officially endorsed by Yamaha UK and supported by Yamaha Japan
With the exception of the above the mention of any Trademarks, product names etc. are for identification
purposes only and do not constitute an endorsement of any kind.
If you find this program useful and wish to continue using it beyond the 21 day evaluation period, you are
obliged to register your copy with the author (See the help file section Registration for details).
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What Is XGedit?
XGedit is a Windows based editor/librarian for the Yamaha XG series of synthesiser modules. The editor
may also be used in GM mode to edit the parameters of other synth modules and sound cards.
The main features of the program are as follows:Access to all XG parameters in real-time using simple mouse actions.
A single dialog window designed to represent a conventional rack based synth front panel.
Parameters separated into logical groups:-
.
Master Module
Part/Drum Module
Effects and Controller Module
Effects Parameters Module
Enables Module
Keyboard
Voice Selection
Analogue To Digital Converters
LCD panels providing overviews across parts for the main system parameters and Mini Mixer
functionality
All edits may be performed as System Exclusive messages, with a limited subset being
provided as controller messages (GM Mode).
Soft midi thru with re-channellisation to current edit part
Support for the SW60XG On board mixer and SW1000XG Audio parts
On Screen control wheel for continuous controllers
Instant auditioning of parts from on-screen keyboard.
Full Save/Load facilities (in registered version) for complete module, individual parts and drum
sets.
Saving of parameters to type 0/1 Midi files for import into sequencer software (with choice of
message content Sysex/Controllers).
Merging of Editor Setup data to imported midi files
Midi file playback for simultaneous editing
XG level 1 Edit mode for maximum file compatibility across XG synths
Full program description and on-line help
(XGedit provides only limited midi file sequencer functionality - this is only provided for auditioning of editor
setups with imported midi files……true sequencer functionality is best left to dedicated software. To this end
XGedit may be used in parallel with your favourite sequencer to perform real time edits).
If you have any modifications you would like to see incorporated (or bugs you would like removed) please
contact the author. However support will only be provided to registered users.
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2. Getting Started
2.1 System Requirements
The program is designed to operate on machines with the following specification
• A 486 PC (or faster) running Microsoft Windows 95 or NT4.0
• 8MBytes RAM
• 1.5Mbytes Disk space
• Multimedia Drivers for use with attached XG Synthesiser
• Mouse
It is recommended that the program be used at a minimum Windows display resolution of 800 x 600 with
256 colours. However to allow use on display resolutions below this, the dialog window boundary is sizeable
and may be scrolled.
2.2 Installation
•
•
•
•
•
Unpack the XGEDIT.ZIP archive to a temporary directory.
From Windows, RUN the install program SETUP.EXE
From the installation dialog, follow prompts until the installation is complete.
You may now delete the temporary directory
Return to Program Manager/Desktop and click on the XGedit icon to start the program.
2.3 Configuration
From the Setup Menu select the Setup Midi option to bring up the Midi Port Setup dialog. Select the
required input/output drivers for your attached XG synth (these will normally be listed as SB16 In/Out for
Daughter boards or SW60 for internal cards. External modules may be attached to any valid midi port with
external connections).
It is strongly recommended that a driver capable of accepting multiple connections for Midi Out is used. This
will enable the editor to be used in parallel with your favourite sequencer (such a driver is the SW60XG
Driver, the Twelve Tone MPU driver, Herman Seibs Multimid driver, the MidiOx Midi Yoke drivers or the
Hubis Loopback drivers).
Contrary to popular belief Multimid is compatible with most Win95 midi drivers (if you are using
SB16 drivers ensure you have version 4.13 or above).
Multi Client drivers may be obtained by following the links from the Utils page of the authors web
site http://www.cybertheque.fr/galerie/GGregson
To test if the XG synth module is in communication with the program, right click on the display keyboard. If
you hear the notes being played then everything is OK. If not :• Confirm the correct drivers are installed by using an alternate program to drive the synth from
Windows.
• Check all midi leads are correctly connected.
Once you can hear notes being played from the keyboard, try moving the volume knob within the Part
module. If the sound level from the synth changes accordingly then everything is OK. If not:• Select the XG Reset button to ensure the attached synth is in XG mode.
• Check the UNIT Number displayed in the Master Module matches that of the Attached synth (if in
doubt Press the GM button and try the Part volume knob again. If the knob now works, then you
have probably changed the default setting (16) for the XG UNIT number. Click on the GM button
again to return to Sysex mode and adjust the UNIT number dial until the volume knob works.
You’re now ready to start editing…I hope you enjoy the program and support future versions by
registering.
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3. The Main Screen
The main screen consists of a single dialog window from which all XG parameters may be accessed.
3.1 Controls
You can use the Standard Windows keys to move around the main screen controls:• TAB - moves between groups of controls
• Cursor Arrow Keys - move between controls within a group.
The currently selected control is always highlighted.
3.1.1 Knobs
Activated by pressing and holding down the left mouse button over the knob face (the dial above the knob
illuminates to provide a digital readout). Moving the mouse with the button down will cause the knob to
rotate
Up / Left
anti-clockwise
Down / Right
Clockwise
Releasing the mouse deactivates the knob. The knob will turn Yellow when the control is in its non-default
position.
Controls can be reset to their default position by clicking with the right mouse button.
Holding down both the left and right mouse buttons allows fine adjustments to be made.
Note that the mouse does NOT have to remain over the knob face. So long as the left mouse
button is down, the mouse may be moved large distance and still operate the control
The PC Keyboard +/- keys will increment/decrement the highlighted knobs value (useful for
adjusting values while simultaneously auditioning the sound from the on screen keyboard)
The Setup Menu "Reverse Dial Action" option may be used to reverse the direction of the knobs
with respect to vertical mouse movement (such that behave more like sliders i.e. Up for increase)
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3.1.2 Dials
are digital readout controls with no associated knob. To adjust the value press and hold the left mouse
button down over the dial. Moving the mouse with the button down will increment the dial.
Up / Left
decrease
Down / Right
Increase
Releasing the mouse deactivates the dial
PC keyboard +/- keys may also be used to adjust dial readouts when highlighted.
The Setup Menu "Reverse Dial Action" option will cause the vertical mouse movement response to be
reversed.
3.1.3 LED’s
LEDs are toggle controls, activated by single clicking with the left mouse button or pressing the space bar
whilst highlighted.
Green
Dark Green
Red
Dark Red
Enabled
Enabled but cannot be modified in current mode
Disabled
Disabled and cannot be modified in current mode
3.1.4 Wheel
The wheel represents a synth controller wheel. Pressing and holding the left mouse button over the wheel
allows the controller value to be altered. The LED below the wheel determines if wheel messages are
automatically sent after controller parameter edits.
The PC keyboard +/- keys may also be used to adjust the wheel value when highlighted.
3.1.5 List/Combo Boxes
Used to select values from a pre-defined list. Operate as standard Windows Combo boxes.
3.1.6 Buttons
Buttons are activated by clicking with the left mouse button or by pressing the space bar when highlighted.
Silence Button
A standard push-button - Resets all notes and controllers. Press to silence hung notes. Caution
- this will also reset the controller wheel positions.
XG Button
A standard push-button - Resets the attached synth module to XG mode. Caution - all current
edits will be lost.
AD Button
A standard push-button – Opens the AD/Audio panel for editing of Analogue To digital
Converter and Aux part parameters.
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GM Button
A two state push button. If the button is up the program will use System Exclusive messages to
communicate with the synth module. If the button is down the program will use only General
Midi controller messages.
Note that only a small subset of the XG parameters may be altered by controller messages
(Controls update to show which are available).
Most GM synths respond to the controls available in GM mode. However, some Non Registered
(NRPN) Midi Control Messages may be mapped to different functions.
If XGedit is to be recorded by a sequencer, the user should be aware of the advantages and
disadvantages associated with each mode:-
Sysex Messages
Controller Messages
Allow individual parts to be edited
even if they share a common midi
channel.
Can cause unpredictable or undesirable
effects if two parts share the same midi
channel
Difficult to selectively filter
Easily selectively filtered
Encompasses all available edit
parameters
May only be used for those parameters
which have equivalent controller, RPN
or NRPN message..
More compact for large dumps and
therefore faster to transmit. Better
for global setups at the start of a
song
More compact for smaller edits and
hence best suited for use within the
body of a song.
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4. Master Module
The Master module controls the global settings for both the XGedit program and the attached XG synth
module.
4.1 Midi File Edit Parameter Contents LEDs
These LEDs determine the content of saved midi files as follows:Compact - The midi file contains a GM/XG reset plus those parameters which have been edited (Sysex
messages are only used where no equivalent controller based message is available).
XF - The midi file is structured in accordance with Yamaha’s XG authoring guidelines. The content is similar
to Compact but also contains important parameters which may be at their default setting.
Sysex - The midi file contains is similar to Compact but all parameters are expressed as System Exclusive
messages.
XGedit guarantees correct midi timing for saved events as stated in the XG specification.
If the editor setup contains multi part layers (i.e. several synth parts assigned to the same midi
channel), then the user must utilise the Sysex midi save format to ensure correct interpretation
within a sequencer. I.e. Sysex messages are midi channel independent.
The status of the Content option will be saved in XGEDIT.INI for use in future sessions
4.2 Midi File Format LEDs
The Type LED determines the format of saved midi files.
Type 0 files (LED red) contain a single track incorporating all midi channels. All sequencers should be
capable of reading this format
Type 1 files (LED green) contain multiple tracks and are more commonly used by modern sequencers.
Saved Type 1 midi files contain multiple tracks as follows:• System - A short track providing the GM/XGReset messages for module initialisation plus the global
synth parameters (masters/effects/equalisation)
• One Track per part. - tracks contain midi controller and Sysex messages for the parts parameter edits.
Each track will be named with its corresponding instrument assignment. (e.g. P1 - Harpsichord
…..indicating the track is used by synth part 1 and is set to the Harpsichord voice).
• A To D track -contains Sysex messages for A to D parameter edits.
Tracks assigned to drum parts will also include any associated drum edits
Merging a Midi file will automatically update the Midi Setup dialog with the midi files parameters.
Merged Type 1 files may be converted to Type 0 files by using the Format checkboxes. However
Type 0 files cannot be converted to Type 1 files.
The SW60XG mixer unit parameters are saved within the editor setup files but are never saved to
midi files.
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4.3 Number of Parts LED
This LED determines the number of synth parts saved to the midi file.
Normally the saved file will only include tracks for System data, A to Ds and 16 synth parts. On multi port
synths the user may choose to save all 32 synth parts. However, since there is no way to represent port
number within a midi file, the user will have to perform this assignment later within a sequencer.
The status of the Parts option will be saved in XGEDIT.INI for use in future sessions..
4.4 Thru LED
This LED selects whether midi thru is enabled. If enabled; midi messages (with the exception of system
exclusive) appearing at the input device will automatically be transferred to the output. If the current part is
set to a specific midi channel 1 - 16 then all messages will be re-channellised to this channel. If the current
part is set to ‘NO’ (i.e. the part is disabled), then no re-channellisation occurs.
For multi-port use, re-channellisation occurs together with automatic port selection.
The LED’s state will be saved in XGEDIT.INI for use in future sessions.
4.5 Transport Buttons
These buttons control Midi File Playback
When a midi file is loaded the transport buttons are enabled and allow the file to be auditioned.
The current midi file play capabilities of XGedit are limited i.e. the editor only allows playback from the start
to end of a file. As such, the playback functionality is only designed to allow auditioning of a merged midi file
and for experimenting with edits. In general the program is better used in parallel with a sequencer.
Performing any file operations will automatically stop file playback.
Note that the merge operation also strips non XG data from the setup bars of a midi file. Consequently non
XG data files may not play properly after merging.
4.6 PPQ Dial
This determines the resolution of the saved midi file e.g. a value of 120 implies that there are 120 midi ticks
per quarter note.
The higher the resolution, the greater the accuracy of playback timing. However slower PCs may have
problems playing back files at very high resolution.
In general a value of 384 is recommended for 486 based machines and a values of 480 for Pentiums
The Time base setting will be saved in XGEDIT.INI for use in future sessions..
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4.7 Knob Controls
These controls adjust the synths global parameters:VOL
ATT
TUNE
KSHIFT
UNIT
Master volume level
Master volume attenuation level
Master tuning control
Master Key Shift control
Module Unit Number (see below)
0 - 127
0 - 127
-102.4 - +102.3 cent
-24 - +24 semitones
1 - 16
4.7.1 Unit Number Knob
This knob selects the address of the XG module (in most cases the default value will be correct). If you
have multiple external modules attached to your PC, then you may wish to alter this value to select the
desired module.
modules are factory configured to receive data on all device numbers
The knobs state will be saved in XGEDIT.INI for use in future sessions.
4.7.2 Tempo Knob
This Knob controls the default tempo saved to midi files. The knob may also be used in real-time to adjust
midi file playback tempo.
The XG Authoring guidelines recommend Tempo values between 32 - 250 bpm
The dials state will be saved in XGEDIT.INI for use in future sessions.
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5. Equaliser Module
The Equaliser module provides editing of the built in sound output equalisation unit.
This function is only available on the higher range devices. For other XG synths use the
equalisation parameters built into the Variation effects
5.1 Equalisation Program List-box
The list-box provides convenient access to the built in Equalisation macros. Selecting a macro will
automatically update all equalisation controls to the appropriate values.
5.2 Equaliser Controls
BAND
GAIN
FREQ
Q
SHAPE
Selects the band currently being edited
Adjusts the gain applied to the current band filter
Selects the frequency of the current band filter
Adjusts the current filter Q value
Adjusts the filter shape
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1-5
-12dB - +12dB
32Hz - 16kHz as appropriate to band
0.1 - 12.0
SHELF/PEAK
Page 13
6. Display Panel
The display panel provides a graphical representation of the system parameters. The panel has seven
modes, which are selected by left clicking on the appropriate button above the display. Note that the
standard Windows keyboard navigation keys may be used to select different modes, however the envelope
parameters may only be edited using the mouse.
6.1 Volume Panel Mode
This mode provides a graphical representation of the Volume settings for each part. Each bar corresponds
to a given part as indicated on the X axis. The bar labelled S represents the master setting. Adjusting the
volume of a given part will provide a visual representation of the relative volume level.
The Y axis indicates the range of values. To adjust a parts volume left click on the corresponding bar and
drag up or down like a conventional slider. Right clicking on a bar will reset its value to the default setting.
6.2 Pan Panel Mode
This mode provides a graphical representation of the Pan settings for each part. Operation is identical to
that of the Volume mode. (The Y axis indicates the right/left position).
6.3 Amplitude Envelope Generator (AMP EG) Panel Mode
This mode provides a graphical representation of the ADSR envelope of the current part. The highlight
markers are used to change the envelope shape.
To change a marker left click and hold the mouse button down over the marker. Moving the mouse left and
right will decrease/increase the envelope parameter correspondingly. A digital readout adjacent to the
marker provides the value for the current position (all markers may be set over the range -63 - 0 - +63).
Right clicking on a marker will reset its value to the default setting.
If the Part module is in Drum Edit mode, then the AMP envelope corresponds to the current drum
key amplitude envelope
6.4 Pitch Envelope Generator (PITCH EG) Panel Mode
This mode provides a graphical representation of the Pitch envelope of the current part. The highlight
markers are used to change the envelope shape.
To change a marker left click and hold the mouse button down over the marker. Moving the mouse left and
right will decrease/increase the envelope time parameter correspondingly. Moving the mouse up and down
will increase/decrease the envelope pitch offset parameter correspondingly. A digital readout adjacent to
the marker provides the value for the current position (all markers may be set over the range -63 - 0 - +63).
6.5 Reverb Panel Mode
This mode provides a graphical representation of the Reverb settings for each part. Operation is identical to
that of the Volume mode.
6.6 Chorus Panel Mode
This mode provides a graphical representation of the Chorus settings for each part. Operation is identical to
that of the Volume mode.
6.7 Variation Panel Mode
This mode provides a graphical representation of the Variation settings for each part. Operation is identical
to that of the Volume mode.
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7. A To D Converters
This module provides control over the A to D converters of the MU10/MU80/MU100/SW1000 and SW60
synths.
7.1 AD Controls
Stereo
GAIN
OP
VOLUME
FADER
PAN
REV
CHOR
VAR
DRY
MIDI
CC1/CC2
Select AD converter stereo mode of
operation (Ads are grouped in pairs and
controlled from a single set of parameters)
Selects input gain level for external module
AD inputs
Selects Output routing for SW1000XG Aux
parts
AD volume level
Note :
The MU10s ADs are always linked as a stereo
pair
MIC/LINE (not available on the SW60XG)
AD Pan position
AD send level to Reverb unit
AD send level to Chorus unit
AD send level to Variation effect unit.
AD dry level
AD midi channel number (allows control
using Midi controllers in place of System
Exclusive)
AD Continuous controller assignments
63L - C - 63R
0 - 127
0 - 127
0 - 127
0 - 127
1 - 16
Only Available on the SW1000XG
0 - 127
0 - 95
7.2 AD Message Enables
When the AD channel is assigned to a midi channel using the MIDI dial, the following messages may be
enabled/disabled:PRO
CC
VOL
PAN
EXP
BS
Program change messages
General controller change messages not
include above
Volume controller messages
Pan controller messages
Expression pedal messages
Bank Select
7.3 General
The following general AD properties should be noted:-
XGedit does not provide a specific capability to select the AD programs available in some XG
synths. Incorporation of this feature would greatly increase the complexity of the application and
confusion of the user (as such program changes have global affects on the synths setup i.e.
cause changes to multiple AD parameters and the system wide effects unit). If the user really
must have this function .....then assign the AD to a midi channel and use the program changes
within the voice box for the corresponding channel!
The SW60XG AD operation is affected by the mixer panel settings. In particular the use of the
KARAOKE LOCK feature will disable AD edits (and Variation effect edits). The Mixer STEREO
button also enables AD1 to be used as a stereo AD.
The Master channel of the AD panel provides a convenient repeat display of the global Volume,
Reverb, Chorus and Variation controls
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8. Effects & Controllers Module
The Effects module consists of controls relating to both the global effects settings and the part based
continuous controller settings.
8.1 Understanding The Effects Unit
REVERB
REV
LEVEL
PAN
LEVEL
PAN
ToREV
PART BASED
CHORUS
CHOR
ToREV
ToCHOR
VAR
SYNTH
PART
VARIATION
LEVEL
PAN
+
SYS
DRY
INS
SYSTEM GLOBAL
CON
STEREO
PART
MONO
D/W
MULTI
PART
8.1.1 Three Effects Units
Basically there are three effects modules within the XG synth, namely REVERB, CHORUS and VARIATION
(the MU80/MU100/SW1000 have additional effect units that only operate by Insertion). The three modules
are System Global, i.e. changing the setup of a module affects ALL parts using that module. Consequently
you may only have three different effects active at one time (four on the MU80, five on the MU100/SW1000,
six on the MU100R or SW1000 if the Virtual Harmony plugin card is fitted). Furthermore each effect unit
provides its own output level control LEVEL (Effect Return), and panning control PAN. Consequently you
may independently control the amount and panning position of each effect as applied to the final sound
output.
8.1.2 Individual Part Send Controls
The signals from each synth part are routed to the three effects units in proportion to their effect send
controls (labelled REV,CHOR and VAR within the XGedit Part Module). Hence you may simultaneously
apply full Reverb to part 1 by setting its REV knob to maximum whilst disabling Reverb on part 2 by settings
its REV knob to zero. In this way you can control the amount of effect applied to each part as best suits
your songs mix. It should be noted that the signal routed to the effects modules are monophonic, since the
effects modules provide their own panning controls
8.1.3 Variation Connections
The Variation unit is special in that it has two modes of operation, namely System (SYS) and Insertion
(INS). The desired mode is controlled using the CON knob within the XGedit Effects module (note that this
control is system global and that the EFFECT listbox must first be set to Variation before the CON knob can
be adjusted). If we study the routing schematic above, then we can see how these two modes alter the
behaviour of the effects unit.
In System mode each synth part signal is routed via its Variation send control (VAR), which acts in a similar
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manner to the Reverb and Chorus send controls. Hence, in this mode the Variation module is system
global. It should be noted that in this mode each synth part signal is also routed via a DRY knob. This
controls the amount of dry (pure signal) that bypasses the effects units and is routed directly to the output.
This is useful if you do not wish to fully effect a sound.
e.g. you want a fully dry signal from the left speaker and a fully effected signal from the right speaker. In this
case you would set the part pan to left with the dry knob to maximum and the effect module pan to right with
the effect send level to maximum.
If we look at the Insertion mode routing (CON set to INS) then things become somewhat more complex.. In
this mode each parts signal is fed via the system global PART control. This control is used to select one
part for Variation processing; all others are fed directly to the output as dry signals (hence the Part DRY
knob is disabled, but Reverb and Chorus effects may be applied in the normal manner). The part signal
selected for processing is routed via the Effect Parameters Dry/Wet control (D/W) to determine the amount
of effect applied (i.e. similar to the combination of the part VAR and DRY control in SYS mode). The
proportion selected for processing is then fed via the Variation module and then to the output (note in this
mode the Variation module Level and Pan controls are bypassed as these are controlled by the part
settings).
Interestingly, inspecting the range of the PART control, reveals that up to 64 synth parts (P1 - P64) and 63
analogue parts (AD1 - AD63) are catered for within the XG format. Currently, the SW1000 provide 32 synth
parts and 14 Analogue parts......hence we can only assume that Yamaha have been very generous with the
XG specs future expansion capability!
So what’s the point of Insertion if it still only provides a single simultaneous effect?……….Well the benefit of
this mode is that certain parameters of the effects unit may be controlled by an external midi controller (foot
pedals, wheels, breath etc.). e.g. The Rotary Speaker effect provides for external control of the rotation
speed (please refer to the XG effect tables for which parameters are controllable in this manner). Using
XGedit, the assigned external controller and amount of control can be setup using a combination of the
CTRL knob and CONTROLLER listbox.
8.2 Effects Unit
The synths effects unit is edited using the effects controls and Effect Parameters Module
8.2.1 Effect List Box
The Effect list box selects the effect type; Reverb, Chorus, Variation, Insertion 1 & 2 and Plug Harmony
Insertion is only available on higher range XG devices.
Plug Harmony is only available on the MU100R and SW1000XG when the VH Plugin board is
fitted and VH is enabled via the Setup Plugins menu
8.2.2 Effect Controls
LEVEL
Overall effect return level
PAN
ToREV
ToCHR
CON
Overall effect pan position
Amount of effect sent to Reverb unit
Amount of effect sent to Chorus unit
Connection setting for Variation and Insertion, either Insertion to a single part
or global to System
Selects the Part number when CON is set to INS
PART
CTRL
Effect sensitivity to midi controller messages. Note the sensitivity setting
applies to the currently selected controller in the CONTROLLER listbox.
XGedit95 User Manual
0 - 127
(-∝dB-0-+6dB)
L63 - 0 - R63
0 - 127
0 - 127
INS/SYS
P1 - P63,
AD1 - AD63
OFF
0 - 127
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HCH
Selects Plug Harmony effect – Harmony MIDI control channel
1 – 16,OFF
MCH
Selects Plug Harmony effect – Melody MIDI control channel
1 – 16,OFF
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8.3 Effect Parameters Module
This module provides editing of the currently selected effects parameters.
8.3.1 Effect Name List-box
Effect types may be quickly selected using the Effect Name Listbox. Each name corresponds to one of the
built in effect macros
Reverb
NO EFFECT
HALL1
HALL2
ROOM1
ROOM2
ROOM3
STAGE1
STAGE2
PLATE
WHITE ROOM
TUNNEL
BASEMENT
CANYON
Effect turned off.
Reverb simulating the resonance of a hall.
Reverb simulating the resonance of a hall.
Reverb simulating the resonance of a room.
Reverb simulating the resonance of a room.
Reverb simulating the resonance of a room.
Reverb appropriate for a solo instrument.
Reverb appropriate for a solo instrument.
Reverb simulating a metal plate reverb unit.
A unique short reverb with a bit of initial delay.
Simulation of a tunnel space expanding to left and right.
A bit of initial delay followed by reverb with a unique resonance
Long cavernous reverb (MU80/MU100/SW1000 Only)
Chorus
NO EFFECT
CHORUS1
CHORUS2
CHORUS3
CHORUS4
CELESTE1
CELESTE2
CELESTE3
CELESTE4
FLANGER1
FLANGER2
FLANGER3
SYMPHONIC
ENSEMBLE
DETUNE
PHASER
Effect turned off.
Conventional chorus program that adds natural spaciousness
Conventional chorus program that adds natural spaciousness
Conventional chorus program that adds natural spaciousness
Chorus with stereo input. The pan setting specified for the Part will also apply to the
effect sound. (Not available on MU80)
A 3-phase LFO adds modulation and spaciousness to the sound
A 3-phase LFO adds modulation and spaciousness to the sound
A 3-phase LFO adds modulation and spaciousness to the sound
Celeste with stereo input. The pan setting specified for the Part will also apply to the
effect sound. (Not available on MU80)
Adds a jet-aeroplane effect to the sound.
Adds a jet-aeroplane effect to the sound.
Adds a jet-aeroplane effect to the sound. (Not available on MU80)
Exceptionally rich & deep chorusing
Chorus effect without modulation, created by adding a slightly pitch shifted sound
(MU100/SW1000 Only)
Pronounce metallic modulation with periodic phase change (MU80 Only)
Variation
NO EFFECT
HALL1
HALL2
ROOM1
XGedit95 User Manual
Effect turned off.
Reverb simulating the resonance of a hall.
Reverb simulating the resonance of a hall.
Reverb simulating the resonance of a room.
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ROOM2
ROOM3
STAGE1
STAGE2
PLATE
WHITE ROOM
TUNNEL
BASEMENT
CANYON
DELAY L,C,R
DELAY L,R
ECHO
CROSS DELAY
EARLY REF1
EARLY REF2
GATE REVERB
REVERSE GATE
KARAOKE 1
KARAOKE 2
KARAOKE 3
CHORUS1
CHORUS2
CHORUS3
CHORUS4
CELESTE1
CELESTE2
CELESTE3
CELESTE4
FLANGER1
FLANGER2
FLANGER3
SYMPHONIC
ENSEMBLE
DETUNE
AMBIENCE
ROTARY
SPEAKER
2 WAY ROTARY
SPEAKER
TREMOLO
AUTO PAN
PHASER1
PHASER2
DISTORTION
COMP+
XGedit95 User Manual
Reverb simulating the resonance of a room.
Reverb simulating the resonance of a room.
Reverb appropriate for a solo instrument.
Reverb appropriate for a solo instrument.
Reverb simulating a metal plate reverb unit.
A unique short reverb with a bit of initial delay. (MU100/SW1000 Only)
Simulation of a tunnel space expanding to left and right. (MU100/ SW1000 Only)
A bit of initial delay followed by reverb with a unique resonance (MU100/ SW1000
Only)
Long cavernous reverb (MU100/ SW1000 Only)
A program that creates three delay sounds; L, R, and C (centre).
A program that creates two delay sounds; L and R. Two feedback delays are provided
Two delays (L and R) and independent feedback delays for L and R.
A program that crosses the feedback of two delays.
An effect that produces only the early reflection component of reverb
An effect that produces only the early reflection component of reverb.
A simulation of gated reverb.
A program that simulates gated reverb played backwards.
A delay with feedback of the same types as used for Karaoke reverb.
A delay with feedback of the same types as used for Karaoke reverb.
A delay with feedback of the same types as used for Karaoke reverb.
Conventional chorus program that adds natural spaciousness.
Conventional chorus program that adds natural spaciousness
Conventional chorus program that adds natural spaciousness
Chorus with stereo input. (Not available on MU80)
A 3-phase LFO adds modulation and spaciousness to the sound
A 3-phase LFO adds modulation and spaciousness to the sound
A 3-phase LFO adds modulation and spaciousness to the sound
Celeste with stereo input. (Not available on MU80)
Adds a jet-aeroplane effect to the sound.
Adds a jet-aeroplane effect to the sound.
Adds a jet-aeroplane effect to the sound. (Not available on MU80)
A multi-phase version of CELESTE.
Chorus effect without modulation, created by adding a slightly pitch shifted sound
(MU100/ SW1000 Only)
An effect which adds spatial depth by blurring the sound (MU100/ SW1000 Only)
A simulation of a rotary speaker. You can use AC1 (assignable controller) etc. to
control the speed of rotation
A simulation of a rotary speaker. You can use AC1 (assignable controller) etc. to
control the speed of rotation (MU100/ SW1000 Only)
An effect that cyclically modulates the volume.
A program that cyclically moves that sound image to left and right, front and back
Cyclically changes the phase to add modulation to the sound
Phaser with stereo input. (Not available on MU80)
Adds a sharp-edged distortion to the sound.
Since a compressor is included in the input stage, distortion can be provided evenly,
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DISTORTION
OVERDRIVE
AMP
SIMULATOR
3BAND
EQ(MONO)
2BAND
EQ(STEREO)
AUTO
WAH(LFO)
AUTO
WAH+DIST
AUTO
WAH+ODRV
TOUCH WAH 1
TOUCH WAH 2
TOUCH
WAH+DIST
TOUCH
WAH+ODRV
PITCH CHANGE
1
PITCH CHANGE
2
AURAL EXCITER
COMPRESSOR
NOISE GATE
VOICE CANCEL
TALKING
MODULATOR
LO-FI
DIST + DELAY
ODRIVE+DELAY
COMP+DIST+
DELAY
COMP+ODRIVE
+
DELAY
WAH+DIST+
DELAY
WAH+ODRIVE+
DELAY
THRU
INSERTION1
&2
XGedit95 User Manual
regardless of the input level (MU100/ SW1000 Only)
Adds mild distortion to the sound.
A simulation of a guitar amp.
A mono EQ with adjustable LOW, MID, and HIGH equalising.
A stereo EQ with adjustable LOW and HIGH. Ideal for drum Parts
Cyclically modulates the centre frequency of a wah filter. With an AC1 etc. this can
function as a pedal wah.
Applies distortion to the output of Auto Wah. With an AC1 etc. this can function as a
pedal wah. (MU100/ SW1000 Only)
Applies overdive to the output of Auto Wah. With an AC1 etc. this can function as a
pedal wah. (MU100/ SW1000 Only)
Wah effect that varies filter sweep according to input level; also serves as pedal wah
with AC1 (MU80/MU100/ SW1000 only)
Wah effect that varies filter sweep according to input level; also serves as pedal wah
with AC1 (MU100/ SW1000 only)
Applies distortion to the output of Touch Wah; also serves as pedal wah with AC1
(MU100/ SW1000 only)
Applies distortion to the output of Touch Wah; also serves as pedal wah with AC1
(MU100/ SW1000 only)
Increases or decreases the pitch of incoming signals (MU80/MU100/ SW1000 &
SW60 only)
Increases or decreases the pitch of incoming signals (MU80/MU100/ SW1000 &
SW60 only)
Enhances the sound by giving greater definition, presence and clarity (MU80/MU100/
SW1000 only)
Affects the dynamics of the sound by smoothing out high volume peaks and low
volume dips (MU80/MU100/ SW1000 only)
Eliminates Noise or Hum in the signal (MU80/MU100/ SW1000 only)
Attenuates the vocal part from sources such as CDs (MU100/ SW1000 & SW60 only)
Adds a vowel sound to the input (MU100/ SW1000 Only)
Degrades the quality of the input (MU100/ SW1000 Only)
Distortion and delay connected in series (MU100/ SW1000 Only)
Overdrive and delay connected in series (MU100/ SW1000 Only)
Compression, distortion and delay connected in series(MU100/ SW1000 Only)
Compression, overdrive and delay connected in series (MU100/ SW1000 Only)
Wah, distortion and delay connected in series (MU100/ SW1000 Only)
Wah, overdrive and delay connected in series (MU100/ SW1000 Only)
Bypass without applying an effect.
(Insertion1 effect only available on MU80, Insertion 1 and 2 only available on MU100/
SW1000)
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THRU
HALL1
HALL2
ROOM1
ROOM2
ROOM3
STAGE1
STAGE2
PLATE
DELAY L,C,R
DELAY L,R
ECHO
CROSS DELAY
KARAOKE 1
KARAOKE 2
KARAOKE 3
CHORUS1
CHORUS2
CHORUS3
CHORUS4
CELESTE1
CELESTE2
CELESTE3
CELESTE4
FLANGER1
FLANGER2
FLANGER3
SYMPHONIC
ENSEMBLE
DETUNE
ROTARY
SPEAKER
TREMOLO
AUTO PAN
PHASER1
DISTORTION
OVERDRIVE
XGedit95 User Manual
Bypass without applying an effect.
Reverb simulating the resonance of a hall. (MU100/SW1000 Only)
Reverb simulating the resonance of a hall. (MU100/SW1000 Only)
Reverb simulating the resonance of a room. (MU100/SW1000 Only)
Reverb simulating the resonance of a room. (MU100/SW1000 Only)
Reverb simulating the resonance of a room. (MU100/SW1000 Only)
Reverb appropriate for a solo instrument. (MU100/SW1000 Only)
Reverb appropriate for a solo instrument. (MU100/SW1000 Only)
Reverb simulating a metal plate reverb unit. (MU100/SW1000 Only)
A program that creates three delay sounds; L, R, and C (centre). (MU100/SW1000
Only)
A program that creates two delay sounds; L and R. Two feedback delays are
provided(MU100/SW1000 Only)
Two delays (L and R) and independent feedback delays for L and R. (MU100/SW1000
Only)
A program that crosses the feedback of two delays. (MU100/SW1000 Only)
A delay with feedback of the same types as used for Karaoke reverb.
(MU100/SW1000 Only)
A delay with feedback of the same types as used for Karaoke reverb.
(MU100/SW1000 Only)
A delay with feedback of the same types as used for Karaoke reverb.
(MU100/SW1000 Only)
Conventional chorus program that adds natural spaciousness. (MU100/SW1000 Only)
Conventional chorus program that adds natural spaciousness (MU100/SW1000 Only)
Conventional chorus program that adds natural spaciousness (MU100/SW1000 Only)
Chorus with stereo input. (MU100/SW1000 Only)
A 3-phase LFO adds modulation and spaciousness to the sound (MU100/SW1000
Only)
A 3-phase LFO adds modulation and spaciousness to the sound (MU100/SW1000
Only)
A 3-phase LFO adds modulation and spaciousness to the sound (MU100/SW1000
Only)
Celeste with stereo input. (MU100/SW1000 Only)
Adds a jet-aeroplane effect to the sound. (MU100/SW1000 Only)
Adds a jet-aeroplane effect to the sound. (MU100/SW1000 Only)
Adds a jet-aeroplane effect to the sound. (MU100/SW1000 Only)
A multi-phase version of CELESTE. (MU100/SW1000 Only)
Chorus effect without modulation, created by adding a slightly pitch shifted sound
(MU100/SW1000 Only)
A simulation of a rotary speaker. You can use AC1 (assignable controller) etc. to
control the speed of rotation (MU100/SW1000 only)
An effect that cyclically modulates the volume. (MU100/SW1000 only)
A program that cyclically moves that sound image to left and right, front and back
(MU100/SW1000 only)
Cyclically changes the phase to add modulation to the sound (MU100/SW1000 only)
Adds a sharp-edged distortion to the sound. (MU100/SW1000 only)
Adds mild distortion to the sound.
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AMP
SIMULATOR
3BAND
EQ(MONO)
2BAND
EQ(STEREO)
AUTO
WAH(LFO)
TOUCH WAH 1
TOUCH WAH 2
AURAL EXCITER
COMPRESSOR
NOISE GATE
Harmony
A simulation of a guitar amp.
A mono EQ with adjustable LOW, MID, and HIGH equalising.
A stereo EQ with adjustable LOW and HIGH. Ideal for drum Parts (MU100/SW1000
only)
Cyclically modulates the centre frequency of a wah filter. With an AC1 etc. this can
function as a pedal wah. (MU100/SW1000 only)
Wah effect that varies filter sweep according to input level; also serves as pedal wah
with AC1 (MU100/SW1000 only)
Wah effect that varies filter sweep according to input level; also serves as pedal wah
with AC1 (MU100/SW1000 only)
Enhances the sound by giving greater definition, presence and clarity
(MU100/SW1000 only)
Affects the dynamics of the sound by smoothing out high volume peaks and low
volume dips (MU100/SW1000 only)
Eliminates Noise or Hum in the signal (MU100/SW1000 only)
(MU100/SW1000 only through Harmony Plugin effect)
VOCODER
CHORDAL
DETUNE
CHROMATIC
8.3.2 Effect Parameter Controls
Each effect may be fine tuned using the effect parameter knobs.
For each macro, the controls will be updated to show their current assignment and value. Unused controls
will be disabled (grey with no name)
Please refer to the XG midi data book for a complete list of effect parameters and ranges.
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Page 23
8.4 Controllers
The parts response to continuous controller messages is edited using the controller section of the Effects
Module
8.4.1 Controller Selection
Controller selection is achieved using the controller list-box
For standard controllers, select the required item from the list-box (Modulation, Pitchbend, Channel
Aftertouch or Polyphonic Aftertouch).
For non standard controllers, first set Controller1 or Controller2 to the required controller value, then select
Controller1 or Controller2 from the controller list-box.
The XG module will respond to all continuous controller messages from 0 to 95. However, only those
controllers listed in the implementation chart have a ‘built in’ effect. All other controllers may only be used in
combination with the Controller 1/2 module settings.
If a voice is allocated to VL use on the MU100R/SW1000XG, then the controller section will also display the
VL controllers available for editing in accordance with the XG specification.
8.4.2 Controller Wheel
When altering the controller parameters, the module does not use the new value until it receives a message
from the appropriate controller. This can be annoying, as the relevant controller must continually be
adjusted in order to hear the affect of the edit. To overcome this, a controller wheel has been provided
within the Control module.
The Control Wheel may be adjusted with the mouse to set the required controller position (note the wheel
sends controller midi messages as per a standard synth based control wheel). If the LED below the wheel is
ON, then any edits performed within the control module, will automatically re-transmit the current wheel
position via a continuous controller midi message. In this way, all edits appear to be immediate and will
affect the module sound in real time.
The wheel position may be different for each type of controller within the control list-box and for each part.
However the wheel position is not saved to disk.
When selecting pitch bend the wheel behaves as a normal spring loaded self centring pitch wheel.
The wheel may be used for recording purposes, to send controllers not available on your keyboard.
8.4.3 General Controller Parameters
PITCH
adjusts how the controller affects the pitch of the current part
AMP
TVF
adjusts how the controller affects the amplitude of the current part
Adjusts how the controller affects the Time Varying Filter of the
current part
-24 - 0 - +24
except Pitchbend
0 - 24 semitones
-100 - 0 - +100%
-9600 - 0 +9600 cents
8.4.4 Low Frequency Oscillator Parameters
The LFO settings work in combination with the current parts VIBRATO settings.
PMOD
AMOD
Adjusts the depth of the pitch modulation induced by the LFO
Adjusts the depth of the Time Varying Amplitude modulation
induced by the LFO
0 - 127
0 - 127
FMOD
Adjusts the depth of the Time Varying Filter modulation induced by
the LFO
0 - 127
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Page 24
8.4.5 VL Specific Parameters (MU100R/SW1000XG Only)
VL
Assigns a controller to the VL function
ASSIGN
0 - 95, Aftertouch,
Velocity and Pitch Bend
DEPTH
-64 - 0 - + 64
Adjusts the depth of effect produced by the controller
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Page 25
9. Part & Drum Module
This module allows editing of the current part parameters or current drum edit buffer parameters. (Note the
current part and drum edit buffer are selected using the VoiceBox )
9.1 Part Edit Mode
9.1.1 General
The following general part parameters may be adjusted:VOLUME
DETUNE
KSHIFT
PAN
SCALE
TUNE
Sets the volume of the current part in proportion to the units
master volume
Allows tuning of the current part relative to the master tuning
setting
Key shifts the current part relative to the master KSHIFT setting
Allows panning of the current part. Moving the knob fully anticlockwise enables random (RND) panning each time a note is
played
Allows microtuning of the part with respect to the chosen scale
ASSIGN
Changes the same note play assignment for the part
PORTA
Portamento time adjustment. Note this is only active when the
adjacent LED is green
0 - 127
-12.8 - 0 - +12.7Hz
-24 - 0 - +24
RND,-63L - 0 - 64R
C,C#,D,D#,E,F,F#,G,
G#,A,A#,B
-64 - 0 - +63 cents
0 = single
1 = multi
2 = (Inst)Full multi
0 - 127
9.1.2 Keyboard Velocity
The part response to key velocity is controlled as follows:SENS
Velocity sensitivity, scales received value
OFFSET
Velocity Offset, offsets the received value
Note: a value of 64 is equivalent to normal response.
0 - 64 - 127
0 - 64 -127
9.1.3 Vibrato
The part vibrato parameters may be adjusted as follows:RATE
DEPTH
DELAY
Adjust vibrato (LFO) rate
Adjusts vibrato (LFO) depth
Adjust time delay before vibrato (LFO)
-63 - 0 - +63
-63 - 0 - +63
-63 - 0 - +63
9.1.4 Time Varying Filter
Adjusts the time varying filter characteristics applied to the part.
RES
CUTOFF
HPF
Amount of resonance induced by filter
Cut off frequency of filter
High Pass Filter Cut-off (MU100 Only)
-63 - 0 - +63
-63 - 0 - +63
-63 - 0 - +63
9.1.5 Effect Controls
REV
CHORUS
VAR
DRY
Adjusts the part Reverb send level
Adjust the part chorus send level
Adjust the part variation send level
Adjust the part dry send level
XGedit95 User Manual
0 - 127
0 - 127
0 - 127
0 - 127
Page 26
9.1.6 Part EQ (MU100/SW1000 Only)
Adjusts the EQ characteristics applied to the part.
LGAIN
LFREQ
HGAIN
HFREQ
Bass frequency gain
Bass centre frequency
Treble frequency gain
Treble centre frequency
-12dB - + 12 dB
32Hz - 2.0Khz
-12dB - + 12 dB
500Hz - 16.0KHz
9.1.7 Output (MU100/SW1000XG Only)
OPUT
Selects the output jack routing of the part
Stereo, Indiv 1 + 2,
Indiv 1, Indiv 2
9.1.8 VL Specific Controls (MU100R/SW1000XG with VL board fitted Only)
If a part is allocated to VL use then the following additional controls are available.
BPL
FEGDP
Bend Pitch Low Control
Filter EG Depth
XGedit95 User Manual
-24 - + 24 semitones
-63 - 0 - + 64
Page 27
9.2 Drum Edit Mode
In this mode the Part Module allows editing of individual drum tone parameters
Drum editing is only available for parts set up for editable Rhythm use. Normally only part 10, is used for
rhythm, although any part or number of parts may be used. However it is important to realise that, no matter
how many parts are selected for rhythm use, there can only be two (four on MU80/MU100/SW1000)
editable drum kits active (DRUMS1...DRUMS3). Care should be taken when selecting a new editable drum
kit using the Voice Box. Selecting a drum kit other than those already in use, will cause all parts using the
corresponding drum buffer to change. Furthermore all editing will be lost for that drum buffer.
Rhythm parts set to STD DRUM are non editable.
9.2.1 Enabling Drum Editing
To enable drum editing :1. Using the Voice Box, switch to a part configured for rhythm use. If no parts are currently configured for
rhythm, use the VoiceBox to change a part to voice bank DRUMS1...DRUMS3. The Drum Key name
should then become enabled
2. Single click with the left mouse button on the Drum Key Name (the control that reads NO DRUM KEY)
3. The Part edit controls will now change to Drum edit controls and the Keyboard will change to highlight a
single key. Additionally, the LCD Panel display AMP EG mode will now show the appropriate drum tone
amplitude envelope
4. If a drum tone is mapped to the current key, its name will be highlighted in the Drum Key Name control.
Otherwise the control will show NO DRUM KEY
5. To change drum tones press and hold the left mouse button down on the Keyboard . Moving the mouse
left/right will highlight the key under the mouse. The drum edit controls will automatically update to show
the corresponding key parameters. Alternatively you may use an attached midi instrument to select the
drum key for editing by playing the appropriate note.
Drum tones can be auditioned from the on screen Keyboard using the right mouse button as per
normal voice play.
9.2.2 Drum Parameters
The part module provides similar editing of drum parameters to those in part edit mode The following
additional parameters are also available:Selects the exclusive group to which the tone belongs.
Playing a note within an exclusive group automatically turns
off sounds from any other members of the group. Normally
used for cymbal effects.
Enables drum key response to note on messages. Disabling
this effectively removes the drum tone from the kit.
Enables drum key response to note off messages. Disabling
this allows the drum to sound and decay naturally after the
key is released
0 = no group, 1 - 127
VPTCH
Controls Pitch response to Velocity (MU100/SW100 Only)
-16 – 0 - +16
VLPF
Control Filter Low Pass
(MU100/SW1000 Only)
-16 – 0 - +16
ALTGRP
K.ON
K.OFF
XGedit95 User Manual
Filter
response
to
velocity
Enable/Disable (0 -1)
Enable/Disable (0 - 1)
Page 28
10. Enables Module
This module provides a group of LED’s to select the midi messages received by the current part.
To enable or disable a message left click on the appropriate LED or press the space bar whilst the LED is
highlighted.
Green
Dark Green
Red
Dark Red
Enabled
Enabled but cannot be modified in current mode
Disabled
Disabled and cannot be modified in current mode
10.1 Message Enables
The messages affected are:PB
CHP
PRO
CC
PP
NO
RPN
NRPN
MOD
VOL
PAN
EXP
SUS
PORT
SOS
SOFT
BS
M/P
Pitch Bend controller messages
Channel pressure controller messages (CAf)
Program change messages
General controller change messages not include above
Polyphonic pressure controller messages (PAf)
Note On/Off messages
Registered Parameter Number messages. Note if disabled SYSEX mode must be selected for
editing the part.
XG Non Registered Parameter Number messages. Note if disabled SYSEX mode must be
selected for editing the part.
Modulation controller messages.
Volume controller messages
Pan controller messages
Expression pedal messages
Sustain pedal
Portamento controller messages
Sostenuto pedal messages
Soft pedal messages
Bank Select
Monophonic/Polyphonic mode selection messages (enabled = Poly)
The NO(te) enable may be used to mute a part.
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Page 29
11. Keyboard
The Keyboard is primarily used to define the input key range for a part. This is useful if you wish to produce
a performance setting incorporating multiple layers. The keyboard is also used for auditioning sounds and
selecting drum tones in Drum Edit mode (see Part Module )
Performance - a setup used when playing live. Avoid having to play multiple keyboards by splitting one
keyboard between several sounds. e.g. bottom octave of keyboard configured for bass on midi channel 1,
mid range configured for Piano on channel 1 and top range configured for strings on channel 1.
11.1 Selecting Key Ranges
The keyboard indicates graphically the full range over which the synth can respond. Middle C is marked by
a green dot. To select the playable range for the current part, left click on the keyboard. Whilst holding the
left button down move the mouse to highlight the key range you require.
If you click near the left hand side, the lower boundary will be updated, Clicking near the right will
change the upper boundary.
11.2 Auditioning Sounds
If a midi out device is enabled the keyboard may be used to play notes on the current part. To play a note
right click on the keyboard. Holding the right button down and dragging across the keyboard will play a
glissando of notes.
If a layered performance setup has been created the keyboard provides an excellent way of
auditioning the splits.
11.3 Velocity Limit
These two dials set the high and low cut-off values for the current parts key velocity response.
The value set for the velocity high cut-off is used for the note velocity of all sounds played from
the on screen keyboard.
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Page 30
12. Voice Box
The Voice box is used to select the current active part and provide an overview of the Synth setup.
12.1 Part Selection
Part selection is achieved using the radio button array on the left of the Voice Box or clicking on the parts
assigned voice in the list box.
To select a part for editing left click on the associated button. The selected parts LED will be illuminated
(Green) and the parts assigned voice will be highlighted.
The spacebar may be used to select the currently highlighted part button.
12.2 Midi Channel Selection
The first column of dials to the right of the part buttons allow the parts assigned midi channel to be altered.
To change a parts midi channel, left click and hold the left mouse button down on the appropriate CH dial.
Moving the mouse will increment/decrement the channel.
Channels 1 through 16 may be selected. A value of NO indicates that no channel is assigned to that part
(effectively disabling the part). If operating in multi port mode (MU80/MU100/SW1000), a ‘+’ in front of the
channel number indicates the part is assigned to port B.
You may change the midi channel, and element reserve assignment of any part (not just the
currently selected part)
Changing a parts midi channel will cause all thru data to be re-channellised to that channel. (a
value of NO, indicates that no re-channellisation will be performed)
Multiple parts may be assigned to the same channel. However, if GM mode is used, the changes
will affect all parts on the same channel.
12.3 Element Reserves
The number of elements reserved for a part is shown in the dial to the right of the midi channel.
The number of elements indicates the number of tone generators reserved for the part. During a complex
multi part piece the synth may run out of available tone generators. However assigning an element reserve
to a part, guarantees that the part will always receive that number of tone generators. If the part does not
require the number of generators assigned, they are released back to the pool for use by other parts.
Be aware that the number of elements is not equivalent to the number of notes that can be simultaneously
played, as some sounds require more than one tone generator per note (Refer to the XG Voice List for the
number of elements required by a voice).
The total number of elements remaining to be assigned is indicated at the bottom of the element dial
column. (a value of 0 indicates that all generators have been assigned).
To change the number of elements assigned to a part operate the dial as described for the midi channel dial
above.
The dials will never allow you to assign more than 32 (64 MU80/MU100/SW1000) elements in
total.
12.4 Selecting Voices
The voice selection assigned to each part is shown in the list box. In addition, the bank allocation for the
current edit part is shown at the bottom of the list.
To change the voice allocated to a part left click on the corresponding parts voice within the list. The voice
selection dialog box will appear allowing you to select the desired voice.
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Voices
The Voice List provides a three level grouping of patches to allow for easy selection of the required sounds.
The first column groups voices according to their type:MELODY
Normal melodic voices
SFX
Sound Effect voices
MU100 Exclusive
Special voices only available on the MU100/SW1000
SFX Kit
Sound Effect drum kits (i.e. where each key plays a different sound)
Drum Kit
Drum Kits where each key play a different drum sound
VL1
VL sounds with no fallbacks (only available where the Plug VL card is fitted)
VL2
VL sounds with fallback to capital tones (only available where the Plug VL card is
fitted)
DX1
DX sounds with no fallbacks (only available where the Plug DX card is fitted)
DX2
DX sounds with fallback to capital tones (only available where the Plug DX card is
fitted)
DX3
DX SFX Effect sounds
The second column groups voices according to their instrument family (Pianos, Organs, Guitars etc)
The third column lists the actual voices.
Clicking on a voice selection will automatically update the Main Voice box list and transmit the program to
the synth for auditioning. (note that the voice selection dialog may be left open whilst other edits are
performed).
Drum Kits
Drum kits are selected in a similar manner to normal voices. However the user may choose to allocate a kit
to one of the synths editable drum buffers DRUMS1…DRUMS2 (DRUMS1…DRUMS4 on the
MU80/MU100/SW1000). This will allow each drum sound to be independently edited using XGedits’ Drum
Edit mode.
To allocate a kit to an edit buffer:•
First select the Drum Kits or SFX kits from the first Voice List column.
•
Then select the required buffer (note that the second column will update to show the current contents of
the edit buffer).
•
Finally select the required kit. (note all parts using the selected buffer will be affected by the new
program change)
NOTE: In general if you do not need to edit a kit then you should not allocate it to an buffer.
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Voice Selection Tips
Only those banks and voices currently defined in the XG data book are available for selection.
Some midi files may contain voice selections where a bank does not provide a voice for a given
program number. In this case the corresponding capital (or fallback) tone is shown. Such voices
may be used, but the user should be aware that future XG modules may assign variation tones to
these programs.
The voice list indicates the level of the XG specification each voice was added by means of a
small colour coded box preceding the voice name. Selecting a voice from a higher level of the
specification than your synth will normally result in the corresponding Capital tone being used.
XGedit does not support the QS300 user voices of the MU10/SW60/DB50. Such voices will be
stripped from merged Midi files unless they occur after the first note on event of the file.
Selecting a VL/DX voice will automatically update the synth VL/DX part allocation parameter. Any
other part currently allocated to VL/DX will fallback to using the XG capital tone (for VL/DX2) or
will switch to silence (VL/DX1).
NOTE: The author has chosen not to filter the Main Window voice list dependent on synth type.
The reason being that an increasing number of XG files are using the higher level voices and it is
informative for the user to be able to identify which voices are being correctly produced on their
machines. However these voices are not displayed in the Voice selection list unless the correct
synth type is used.
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13. Menus
The following Menu commands are available:-
13.1 File Menu
13.1.1 New
This menu item allows the contents of the editor to be reset to its default state (note all edits and merged
midi song data will be lost)
13.1.2 Save Setup (XGE)
Registered Version Only
This menu item allows quick saving of an XGEdit setup (.XGE) to disk. The menu item is disabled unless
the setup has been previously loaded from disk or has already been saved under an appropriate filename.
13.1.3 Save Setup As..
Registered Version Only
This item brings up the standard save file dialog to allow saving of files to disk.
The information saved depends on the file type selected from the standard File Type listbox of the File Save
dialog:*.XGE
*.XGP
*.XGD
*.XGF
*.MID
*.SYX
All edit parameters (default)
Current Part parameters only
Current Part and Drum Edit Buffer parameters. Note if the current part is not assigned to an
editable drum buffer (DRUMS1 - DRUMS3) then the save operation will be aborted
Current Effect Unit Parameters
All edits and any merged Midi song data are saved to a standard Midi File. The contents of
the file depend on the settings of the Master Module
The current setup is saved as a MIDIEX file. These files may be loaded as Sysex banks
directly into popular sequencers such as Cakewalk.
13.1.4 Open File
Retrieves a previously saved editor file or midi file from disk and transmits the edit information to the
attached XG module (information is only transmitted if the Setup menu "Refresh on Load" item is checked).
*. XGE
*. XGP
*. XGD
*.XGF
*.MID
All edit parameters retrieved
A single parts parameters are retrieved to the current Part
A single rhythm part and associated Drum Edit Buffer parameters are retrieved to the current
part
Effect unit parameters are retrieved
A midi file is loaded for auditioning. Any setup bar parameters will be interpreted and
displayed (note if you wish to merge a midi file into a current setup you should use the
MERGE menu option)
13.1.5 Merge Midi
Allows a standard midi file to be merged into the XGedit setup, for playback auditioning and saving with the
current setup. See the Section 15.4 - Merging Midi Data.
13.1.6 Clear Midi
Clears any merged midi song data from the editor.
13.1.7 Exit
Quits the program - if there are any un-saved edits you will be prompted to save, discard or cancel the exit.
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13.2 Setup Menu
13.2.1 Setup Midi
Opens the Midi Port Setup dialog allowing the user to select the midi drivers used to communicate with the
attached XG synth module.
Device Driver Lists
The three list boxes select the device drivers used for midi in/out messages.
The top list box shows the midi input device and the bottom two list boxes show the midi output devices.
Each list box displays the devices available on your system (refer to Windows help for installing Multimedia
devices drivers). Note if using multiple midi output devices (with an MU80/MU100/SW1000), the Midi Out A
port should be connected to the A port of the synth (SW1000 #1 Synthesiser on the SW1000XG).
The settings will be stored in XGEDIT.INI for use in future sessions..
13.2.2 Reverse Dial Action
If checked, the response of knobs and dials to vertical mouse movement will be reversed. This option is
provided for users who prefer displayed values to increase with vertical movement.
The state will be saved in XGEDIT.INI for use in future sessions.
13.2.3 Refresh On Load
If checked, the editor will automatically re-transmit its state to the synth on any midi file load operation. This
ensures that the attached synth is always in the same state as the editor. Users may prefer to disable this
option if they merely wish to view the contents of saved files.
The state will be saved in XGEDIT.INI for use in future sessions.
13.2.4 Change LCD Colour
Produces a standard Windows Colour selection dialog box, allowing the colour of the background colour of
controls to be altered.
The chosen custom colours will be saved in XGEDIT.INI for use in future sessions.
The first custom colour always reverts to the original XGedit colour, allowing the user to return to
XGedit defaults if desired..
13.2.5 Select Synth
Allows the editor to be swapped between the SW1000, MU100,MU80, MU10, MU50, DB50XG, SW60XG
and XGLevel 1modes of operation.
This action will also perform an XG reset of the attached synth.
The state will be saved in XGEDIT.INI for use in future sessions.
13.2.6 Plugins
Allows you to configure XGedit for your installed Plugin boards on the MU100R and SW1000XG.
Placing a check mark next to the installed plugin board will enable the features of that board within XGedits
voice, effects and controller lists
The state of each Plugin will be saved in XGEDIT.INI for use in future sessions.
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13.2.7 Register
If you like this program and continue to use it you are obliged to register it (See the Registration section of
the Help file for details)
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13.3 Utils Menu
13.3.1 SW Mixer
Provides access to the SW Mixer panel when XGedit is operating in SW60XG mode.
13.3.2 Clear Midi Song Data
Clears any merged midi song data from the editors memory. Useful if you wish to extract a setup header
from an existing midi file and save back as just the setup data.
13.3.3 Refresh Synth
This option will re-transmit the current parameters contained within the editor. This may be useful if a
sequenced midi file has changed the contents of the Synth.
13.3.4 Reset All
This option will perform a global reset of the attached synth module. Note all edits will be lost. Note that this
message should be sent with caution and should NEVER be embedded in an XG Midi file. The message
behaves much the same as a normal XG reset, however it will also reset the SW60XG Mixer and all user
Performance memories of the XG synth (i.e. user Performance mode voices in the MU80 etc)
13.4 Help Menu
13.4.1 XGedit Help
Provides access to the XGedit help file
13.4.2 About
Provides access to the About dialog containing Version details and Registration status.
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14. SW Mixer
This mixer screen provides control over the SW card built in mixer.
There is no way to read back the current status of the mixer. Hence to ensure, the panel correctly
reflects the current setup you may wish to use the Refresh Synth menu option
The mixer setup is saved into XGedit .XGE save files. However to avoid corrupting other users
setups, the status of the mixer is NEVER saved to midi files.
(7)
(3)
(6)
(10)
(8) (9)
(13)
(11)
(2)
(5)
(12)
(1)
(4)
(1) XG Synth Input
Indicates the mixer routing for the left/right channels of the on-board XG synth.
(2) Microphone Input
Indicates the mixer routing for the left/right channel contributions from the microphone socket.
(3) Line/CD Input
Indicates the mixer routing for the left/right channels of the Line/CD input.
(4) XG Synth Input Level
Controls the stereo input level from the on-board XG synth
(5) Mic Input Level
Controls left/right input level from the microphone
Note that although the microphone socket is monaural, the two knobs allow the overall volume and balance
between left and right mixer channels to be adjusted.
Note the small LED adjacent to the knobs determines whether the left/right controls are locked
together or may be adjusted independently.
(6) Line/CD Input Level
Controls left/right input level from the Line In/CD
The two knobs allow the overall volume and balance between left and right mixer channels to be adjusted
for the Line/CD input.
Note the small LED adjacent to the knobs determines whether the left/right controls are locked
together or may be adjusted independently.
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(7) Left To Right/Right To Left Controls
Allows the left audio signal to be overlaid on the right audio channel and vice versa.
These controls are useful when balancing the right and left channels for voice cancellation, or for switching
left and right inputs of an attached audio device.
Note the small LED adjacent to the knobs determines whether the left/right controls are locked
together or may be adjusted independently.
(8) Voice Cancellation
Enables/disables the voice cancellation DSP function
This function may be used to remove a voice from a CD recording.
Normally the vocal track is centre panned (i.e. has an equal level within the left and right channels). The
voice cancellation function basically subtracts the two channels and thus removes the vocal.
If the voice you wish to remove is not centre panned, then adjusting the Line/CD left right input
levels and left to right/right to left levels may produce better results.
(9) Left/Right Enables
Enable/disable routing of the LINE IN/CD audio channels to the A to Ds and audio outputs.
These controls are useful if you wish to disable either audio channel e.g. to allow microphone
input exclusive control over one channel
(10) Bypass
Enables/disables audio bypass of the mixer for the Line/CD input
(11) Output Level
Controls the left/right output level to the A to Ds and analogue outputs
The two knobs allow the overall volume and balance between left and right mixer channels to be adjusted.
Note the small LED adjacent to the knobs determines whether the left/right controls are locked
together or may be adjusted independently.
(12) A To D Enables
These controls enable/disable certain A to D related functions
Lock - enables/disables the Karaoke Lock function.
When enabled all A to D and Variation effect edits are disabled. This prevents midi files from inadvertently
changing the mixer effect settings during Karaoke sessions.
Note the main editor screen will update to show the affected controls.
Stereo - enables/disables AD1 stereo operation.
When enabled the AD1 behaves as a stereo A to D converter, with the pan control acting as overall
balance. In this mode any effect applied to AD1 is applied to both the left and right channels simultaneously.
When disabled the two A to Ds may be adjusted and effected independently (similar to an external MU80
module)
(13) A To D
Enables/disables the Analogue to Digital converters.
When enabled the digitised audio signals may be routed via the XG effects unit to provide special effects
processing.
Note that effects processing requires two elements of polyphony from the XG synth.
Consequently, in AD enable mode the XG synth will decrease in polyphony to 30 elements.
Furthermore this requires that the XG synth be reinitialised. To overcome losing all edits whilst
this operation is performed, the editor prompts whether you want to optionally resend edits after
the AD ON/OFF action.
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15. Working With Midi Files
15.1 Introduction
Your XG synth is a superb instrument, designed to offer a large variety of high quality tonal sounds,
supplemented by multiple drum kits, special effects banks and a versatile effects unit. However the real
benefit of the XG format is the expressive control that can be applied to these elements……offering the sort
of performance that was until now only available on machines far beyond the budget of most musicians.
Unfortunately in order to access this wealth of functionality and expression requires the use of complicated
controller and system exclusive commands.
XGedit is designed to hide this complex midi notation from the user and in place provide an intuitive
analogue control interface which it is hoped the musician will find significantly more friendly and thus
productive.
Furthermore, the most important factor considered when producing the editor, was to deliver this
functionality in real-time i.e. when you perform edits, they are applied in real-time (much the same as they
would be from a control wheel or knob on a real synth front panel). Unfortunately standard Windows
controls don't work this way......they only send a value when the control is released. Hence if you move a
slider on a conventional editor it only sends the final position value (and not the values in between). What
this means, is that if you use a conventional editor then you won't get smooth transitional effects and may
have to make do with non optimal settings.
XGedit has been written to overcome these problems, allowing you to hear the transitional changes as the
controls are moved, and thus allowing you to get exactly the effect you're after. Furthermore, if the control
edits are recorded in real-time they can be used as dynamic effects throughout the body of a song
(whooshing filters, wha..wha, LFO ramps)
However all of this functionality is of little use if the user cannot utilise the results in their midi projects.
To this end the following sections describes how best to utilise the editor during the authoring process
15.2 Setting Up Your Midi System
Most Windows Midi port drivers are single client. i.e. only one program on the system can use the port at
any given time. This causes problems when you need an to work in parallel with your sequencer, such that
you can audition edits while the track is playing.
However there are multi client drivers available which allow multiple programs to output to the driver (but
only one program to input) Such a driver is the Twelve Tone MPU401 driver (shipped with Cakewalk, but
requiring separate installation from the Windows Control Panel/Drivers applet).
More useful though, is Herman Seibs MULTIMID driver, Hubi LoopBack and Hubi Midi Cable drivers or the
MidiOX - MidiYoke drivers. These can transform any single client drivers into a multi client drivers for BOTH
input and output. Additionally they provide software routing of data from a drivers output to another drivers
input! This allows you to record XGedit output directly into a sequencer while your midi file plays in real-time
(without the need for an external midi cabling)
You can obtain Multimid, LoopBack and MidiOX from the links on my Web Page.
http://www.cybertheque.fr/galerie/GGregson
The following sections describe some recommended midi setups.
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15.2.1 Stand Alone Mode
This is the normal mode of operation if you are using XGedit on its own and you want XGedit to provide
software thru from an external keyboard
The table below shows the correct driver settings (note you should substitute your drivers name
for the word Driver e.g. if you are using the SB16 MIDI port driver, Xgedit in should read SB16
MIDI IN)
The SW60XG driver has no Input port. Hence for midi IN you should use the input driver of an
alternate midi interface such as your sound card
Program
IN
OUT
THRU
Multimid
XGedit
Sequencer
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Comment
Multimid not required
Driver IN
Driver Out
ON
XGedit provides soft thru
Sequencer not loaded
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15.2.2 Dual Mode
This is the normal mode of operation if you are using XGedit in parallel with your sequencer and thus need
both programs to access the midi out port.
The table below shows the correct driver settings (note you should substitute your drivers name
for the word Driver e.g. if you are using the SB16 MIDI port driver, Sequencer in should read
SB16 MIDI IN)
The SW60XG driver has no Input port. Hence for midi IN you should use the input driver of an
alternate midi interface such as your sound card
If you are using a Multi Port synth (such as the MU100R) then you may wish to overlay multiple
midi port drivers using Multimid.
Program
IN
Multimid
XGedit
Sequencer
XGedit95 User Manual
OUT
THRU
Overlay Driver OUT
Comment
Multi Client Output
NONE
MULTI Driver OUT
OFF
XGedit input is unused
Driver IN
MULTI Driver OUT
ON
Sequencer provides soft thru
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15.2.3 Dual Mode With Record
This is the normal mode of operation if you are using XGedit in parallel with your sequencer and wish to
record XGedits output in real-time
The table below shows the correct driver settings (note you should substitute your drivers name
for the word Driver e.g. if you are using the SB16 MIDI port driver, Sequencer in should read
MULTI SB16 MIDI IN)
The SW60XG driver has no Input port. Hence for midi IN you should use the input driver of an
alternate midi interface such as your sound card
If you are using a Multi Port synth (such as the MU100R) then you may wish to overlay multiple
midi port drivers using Multimid.
Program
IN
OUT
Multimid
Overlay Driver IN
Overlay Driver OUT
NONE
PIPE Driver IN
OFF
XGedit Outputs to sequencer
MULTI Driver IN
MULTI Driver OUT
ON
Sequencer provides soft thru
XGedit
Sequencer
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THRU
Comment
Multi Client Input and Output
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15.2.4 Trouble Shooting
The following provides a list of possible problems and solutions related to midi setups:I get the message ‘Device Already In Use’ when I try to run both XGedit and my Sequencer.
You are using a Single Client Midi Driver. Please install Multimid or an alternate Multi Client Driver.
I have installed Multimid but I still get the same message or it doesn’t appear to work.
Please check you have setup the driver routings as described in Setting Up Your Midi System . If
everything looks to be correctly configured, then it may be that Multimid cannot overlay your Midi
Port driver (possibly because you are using Win95 with an older 32bit driver). You should try Hubi’s
LoopBack driver in place of Multimid or install the latest midi port driver for your interface (if you
are using Win95 SB16 drivers please ensure you are using version 4.13 or above)
I can get the dual program mode to work but cannot get the record mode to work.
Check that your Sequencer can record real-time System Exclusive (Many budget Sequencers
cannot) and that you have not disabled Sysex recording in your sequencers record filter. If your
sequencer cannot record real-time Sysex then press the General Midi button down on XGedit. This
will force the editor to output Midi controller messages in place of Sysex. If you find that recording
now works, I’m afraid you will be limited to recording only those parameters that can be edited in
GM mode.
I’ve tried GM mode but I still cannot get the sequencer to record XGedit output
Check that your sequencer is not configured to directly access the midi input port. If this is the case
the Multimid/LoopBack driver will be overridden and cease to function. Configure your sequencer
to only access the midi port via the MULTI driver input (this is particularly important with Cubase,
which attempts to access all Midi ports….use the Cubase SetupMME program to select only the
MULTI ports)
I seem to be losing notes/polyphony from the synth in Dual program mode.
Check that only one program is providing soft thru. If both programs have their inputs set to MULTI
Driver IN and both are providing soft thru, then every note transmitted from the external keyboard
will be played twice on the synth.
I seem to be losing notes and/or getting noticeable delays.
This may be due to Windows:Ensure you always have plenty of PHYSICAL memory available. This prevents Windows from
paging VIRTUAL memory to disc and thus tying up the CPU with disc transactions (which are dealt
with at high priority!)
Avoid running any un-needed applications (screen savers, clocks etc...). They may appear to be
dormant.....but are in fact consuming background timers (CPU) and memory.
Always use a true MPU401 Midi port. The MPU supports processing of midi events in hardware,
whereas the others (including MPU emulators) often use software.
If all else fails……Upgrade your machine to use a faster CPU!!!
My SW60XG card will not allow me to edit Variation or AD parameters
This is due to the SWMixer Karaoke Lock function (which Effect Gear II and other programs have
a nasty habit of setting). To clear the Lock either use the SWMixer panel or send a Reset ALL from
the Utils menu.
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15.3 The Authoring Process
XGedit is designed to be used throughout the authoring of a Midi project. However it must be realised that it
is a specialised editing tool; it does not provides capabilities for note entry, recording, arranging etc and
therefore is not designed to replace your existing sequencing software.
Consequently the midi author should be prepared to operate both XGedit and their sequencer in parallel. To
this end it is recommended that a large PC monitor is used and that Windows is configured to run at a
screen resolution of 800 x 600 (or above) utilising at least 256 colours.
The midi author should also be familiar with how Windows operates; particularly with respect to running
multiple programs and switching rapidly between them. (this is best achieved using the ALT - TAB keyboard
shortcut combination or the Win95 task bar).
For information on setting up your system for multiple midi applications see Dual Mode
Suggest Authoring Steps are outlined in the following sections:15.3.1 Compose Your Midi File
XGedit does not provide facilities for note editing or arranging. Hence midi file composition will require the
use of a separate sequencer program such as Cubase or Cakewalk. However for optimum flexibility the
user should configure their system to allow both XGedit and a sequencer to run simultaneously. (see Dual
Mode for information on configuring your system for dual program mode)
The above configuration allows a first pass at instrument voicing to be performed during the song
composition. This has the advantage that all voice editing information is held separately in XGedit where it
may be quickly modified, rather than embedded within the musical data of your sequencer.
(Of course you may wish to rely solely on your sequencers capabilities at this stage. If so please ensure
that any patch/controller information inserted by your sequencer can be correctly exported to a standard
midi file for later interpretation by XGedit)
Before starting your composition, take some time to think carefully about its structure and your target
audience. The following points may prove helpful when planning your songs layout:XG compatibility - XG is designed as an extensible format, consequently you will find that not all
XG synths provide all XG features. However there is a defined level 1 format of XG features that
are guaranteed to be present in all XG synths. If you intend your composition to be performed
correctly on all XG instruments then you should restrict yourself to this subset of features. This is
best achieved by configuring XGedit for XG Level 1 use (see the Select Synth menu item).
Polyphony - basic XG synths provide 32 note polyphony shared across 16 midi channels. The
polyphony refers to the number of simultaneous tone generators (or elements) available. The
user should be aware that this does not imply an equivalent number of simultaneous notes, as
some sounds require more than one element (refer to the XG manual for the number of elements
required by each sounds). The user should bear this in mind when creating a complex song; if too
many simultaneous notes are used the listener may perceive “dropped” or “clipped” notes.
However, the XG format provides an element assign prioritisation scheme (see Voice Box ). To
make the most of this feature, the user should structure their song such that the most important
notes are given the highest priority i.e. by assigning the most important tracks to the lower synths
parts (if the default midi channel assignment of each synth part is left unaltered then synth parts
correspond to midi channels). The suggested allocations are given below. Additionally, the user
may wish to adjust the element reserves of particular parts to guarantee that they always receive
the required number of elements.
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Resolution - the author should be aware that the order of some events is important (particularly
controller changes such as Bank select, Program Change, Continuous Controllers and
RPN/NRPN). If such events are placed at the same ‘midi tick’ within a song, their ordering may
not be guaranteed when replayed on different sequencers. To ensure that this does not cause
problems the author should make sure that such events are correctly ordered and separated by
at least an interval of 1/480 (i.e. one high resolution midi tick). Continuous controller data should
also be thinned to intervals of 5/480 to avoid tempo instabilities.
Tempo - tempo should be kept within the range 32 - 250 bpm
Setup Bars - You should leave a couple of bars before the first note event of a song, to allow for
the insertion of setup data (See Setup Bar ). If you intend to process the file via XGedit, these
bars are not necessary as XGedit will insert them for you. However it is always good practice to
start with as you may wish to enter some initialisation data within your sequencer.
Voice changes - In the final song the setup bar will contain all the parameters necessary to
configure the synth (including any specially edited voices). If you wish to change the voice
assignment of a musical track during the body of a song (e.g. switch the melody line from a guitar
to flute) it is best to do this by assigning the new voice to a separate synth part. In this way the
new voice may be configured in the initialisation setup bar, rather than sending a mass of data
during the body of song (which could cause timing problems and/or lost notes).
Track
MIDI Channel
Comment
Rhythm
10
Dedicated Rhythm part
Melody
1
Main melody line
Sub Melody/ solo/ accomp
2
solo part or important backing
Bass
3
Bass part
Pad
4
backing part with mostly sustained notes
Riff
5
rhythmic backing
Once you have planned your song you may wish to switch to XGedit and assign the initial voices to each
track. To do this make a note of the track to midi channel allocations within the sequencer. Then within
XGedit assign the required voices to the synth parts on the corresponding midi channels. At this stage only
worry about getting the basic sounds correct (further refinement of the voice character and overall mix can
be performed later when you have some music to work with).
Having completed the voice assignment you may now start recording midi data using the features of your
sequencer.
After recording each track you may wish to set the song playing in a loop and switch back to XGedit to
perform some voice refinement.
REMEMBER TO SAVE YOUR WORK REGULARLY FROM BOTH XGEDIT AND YOUR SEQUENCER.
15.3.2 Edit The Sounds
Once you have recorded one or more tracks of your song you will want to perform some more thorough
voice editing. The best way to do this is using the dual program configuration (see Dual Mode ) with the
song playing from the sequencer in an endless loop.
Alternatively you may wish to use the built in midi file play capability of XGedit (although this is likely to be
much less flexible than your sequencers capabilities)
With the song playing you should adjust the XGedit controls such that you hear all edits in real time. This
provides greater feedback of how the edits affect the sounds within an overall mix context and is much
better than attempting to edit an individual voice played solo.
If you do wish to mute certain voices, then use the NOte enable LED within the Enables module. Always
remember to re-enable any voices muted in this manner before returning to your sequencer.
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The following is my preferred procedure for editing an overall voice mix:Start by assigning basic (GM) voices to each track/part
Where the basic voice is unsatisfactory, try voices from the corresponding patch number in the
higher XG banks.
Where a voice is still unsatisfactory perform some editing:Using the Part Filter parameters RES and CUTOFF have the greatest impact on voice
character
Using Part AMP EG parameters together with V.SEN and V.OFF have the greatest effect
on voice dynamics.
Only use other Part parameters where special voice effects are required e.g. vibrato or
detuning.
Adjust part volume levels to balance the overall mix (this is best achieved using the overview bars
of the central display panel)
Adjust the Part pan positions to give the song a feeling of space (again this is best performed
from the central display panel).
Adjust the Reverb and Chorus effect unit settings in combination with the Part REV and CHOR
controls to give the song a feeling of ambience. Note you should first determine the basic effect
required and then perform fine tuning using the effect parameters)
Use Variation effect settings to further alter ambience or add special effects to particular parts
(note you should use Variation is SYStem mode unless you later wish to perform real time
changes to the effect character using controller messages - see Understanding The Effect Unit
Note you can always return a parameter highlighted in yellow to its default setting by right clicking
on the control
REMEMBER TO SAVE YOUR WORK REGULARLY FROM XGEDIT AS A .XGE FILE
15.3.3 Add Dynamics
Once you have recorded your song tracks and edited the sounds to your liking, you may consider adding
some real-time dynamic edits. e.g. filter sweeps, crescendos, drum tunings etc.
There are several possible ways to add such effects:Sequencer
Use the facilities of your sequencer to add the relevant controller/Sysex messages. This can be tedious and
depends greatly on the capabilities of your sequencer. Hence this will not be discussed further here.
External Controllers
Use XGedit to set up external midi controllers such that you can record dynamics using your external
equipment (e.g. Mod/Pitch Wheels, Breath Controller, Foot Pedals). See Controllers
Record XGedit output directly to your Sequencer
Record the Output of XGedit in real-time to your sequencer. This can be achieved by setting up your midi
system as described in Dual Mode With Record
Using Dual Mode with Record can be very powerful, but care should be taken to follow the guidelines
described below:-
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Where possible use XGedit in Controller Output mode (General Midi button down).
XGedit normally transmits edits as a series of System Exclusive Parameter Change messages.
These are capable of editing every parameter within the XG synth, but their format is relatively
bulky and not all Sequencers can handle them in real-time. Consequently wherever possible midi
controller messages should be used. These are much shorter to transmit and are guaranteed to
work with almost all sequencers.
Avoid excessive amounts of data
Whether you choose to use XGedit in Sysex or Controller mode, you should avoid recording
excessive amounts of edit data to the body of your song. If too much data is present the
sequence may suffer from timing instabilities during playback (particularly on slower machines).
Consequently after recording it is always good practice to utilise your sequencers editing
capabilities to remove duplicates and thin out the number of messages. (Note the XG
specification recommends a spacing of at least 5/480 between each controller event)
Check for multiple events on the same midi channel and midi tick
When using dynamic controller events you should always check that each midi event occurs on a
separate midi tick (this is particularly true where RPN/NRPN controllers are used). The ordering
of events on the same midi tick value cannot be guaranteed across all sequencers. Hence to
ensure correct ordering you should separate each event onto a different tick (the XG specification
recommends a minimum separation of 1/480)
Avoid using Macro parameters
Macro parameters are those edits which effect multiple parameters within the synth as follows:Effect Program changes
Voice/Bank program changes
Equalisation program changes
These parameters alter several settings within the synth and consequently take a significant
amount of time to process. If normal note events arrive at the same time, the synth may not
process them, resulting in lost notes, or unpredictable behaviour.
If you must use these parameters, either position them within the setup bar (where no note
events are present) or utilise then during gaps in the music i.e. think ahead.
Record Dynamics to a separate track within your sequencer
In order to assist later editing (and thinning of controller data) you should record all dynamics to a
separate track within your sequencer. However please ensure that the tracks midi channel is
assigned to the same value as the Part you are editing. Although this is not important for Sysex
commands, it is important for controller messages as they may be re-channellised by your
sequencer. .
15.3.4 Save The Setup Bar To The Midi File
Up until now you have been working with the majority of voice edits being held within XGedit and the
dynamic song data being held within your sequencer. Before you can distribute your midi file you must first
combine the two.
There are two ways to perform this operation; either merge the data within your sequencer or merge the
data within XGedit. However before you decide on which operation to perform, you should first decide on
what format the XGedit setup data should be stored (see Saving Midi Data )
Merging Within a Sequencer
This method involves saving the XGedit setup data in a format that can be imported by your sequencer and
then manually splicing this into the song data. This method can be a little tricky but provides the user with
the greatest control over where the data is placed. Please refer to your sequencer user guide for performing
midi merge/cut/paste operations.
Note XGedit saves setup bar data with the correct timing intervals between events. Wherever possible this
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timing should not be altered by the merge process. In addition the XG specification states that a period of
200ms should be left between the setup data and the first note on event of a song.
Merging Within XGedit
This is a simple operation and should provide the best results. The operation is described in Merging Midi
Data . The user should pay particular attention to which midi events will be stripped from the file in case
they need to be replaced later. In addition the user should always make a back up of the file prior to
merging or save the final merged output to a different filename
(XGedit is not infallible and the Author cannot be held responsible for the loss of your masterpiece should
XGedit decide to eat it).
Note it is always advisable to keep separate copies of the midi song data in your sequencers native file
format and the XGedit setup data in .XGE format. This way, should you wish to perform some further
refinements at a later date, the two programs can be reloaded and the editing session continued from
where you left off.
15.4 Merging Midi Data
The XGedit Midi Merge feature is NOT a simple midi file load operation, but a true merge operation. It is
designed primarily for splicing together edit data held within XGedit and song data from your sequencer.
During file load, all midi events contained within the files Setup Bar are interpreted and/or discarded from
the file. This allows XGedit to merge and display the file based edits together with those already resident in
the editor. The combined Setup Bar of the file and editor based events is then formatted with respect to the
midi song data and used for later Midi File save operations.
Setup Bar
In order for a synthesiser to correctly play back a midi song, the file must contain both synth setup data
(Reset commands, voice selections, parameter edits) and midi note/controller data. In general the synth
setup data requires larger midi packets than normal note events and thus takes longer to transmit and
process. Consequently it is customary to store such events at the start of a song prior to any note events
such that any timing instabilities or mode changes associated with the data do not present audible problems
within the song. This collection of initialisation data at the start of the song is known as the Setup Bar
For the purposes of processing within XGedit the Setup Bar is defined as containing all events from the start
of the file up to but excluding the first note on/off event.
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The File | Merge Midi menu item performs the following:Provides Midi Input File Selection
A standard file select dialog box is opened allowing the user to select the Midi input file. The file
must have the .MID extension and must contain either a type 0 or type 1 header with associated
midi track data.
Data Loading and Setup Bar interpretation
On closing the file select dialog, the midi file data is loaded into XGedit for processing. The
processing consists of interpreting all setup bar data contained within the file. For the purposes of
this processing, Setup Bar data is considered to consist of all midi events prior to the first note on
event of the song.
XGedit interprets the data listed below. Where relevant an events midi channel is used to
determine which synth part(s) to update. Since there is no way of determining midi port from a
standard midi file, XGedit cannot update parts 17 to 32 of multi port modules unless they are also
assigned to the first midi port.
•
Header information (used to determine output midi save format)
•
Tempo/Time base (used to determine playback/event storage timing and saved to output
files)
•
Time Signature/Key Signature/SMTE offset (saved to output file and used to realign midi
data after appending setup bar)
•
Copyright notice (preserved and saved to output file)
•
System Exclusive Bulk Dumps (interpreted and used to update display)
•
System Exclusive Parameter Change (interpreted and used to update display)
•
Patch Change/Bank Select (interpreted and used to update display)
•
Relevant Continuous Controller messages including RPN/NRPN (interpreted and used to
update display)
•
Note On/off (first event used to signify end of setup bar)
Setup Bar stripping
The data interpreted above is stripped from the midi file and stored for use when saving out files.
Any other data that lies within the setup bar and is not interpreted is discarded; this includes text
events, markers, pitch bend, modulation and aftertouch controller data, any unrecognised Sysex
(including SW60XG mixer) and all channel mode messages)
Any tracks left empty after setup data stripping are discarded
All data after and including the first note on/off event is preserved and used for saving out midi
files.
XGedit will not recognise sysex for the QS300 user voices available on the MU10/SW60/DB50
and will therefore strip them from an imported midi file. To prevent this ensure any such voice
sysex is placed after the first note on event (a dummy note on event with a velocity of zero may
be used if desired)
Display Update and Synth Refresh
The interpreted data is used to update the status of the editor and refresh the attached synth
(such that the editor and synth remain consistent). Any parameters contained within the merged
midi file override existing parameters in the editor; all other editor parameters remain intact
Midi File save/play preparation
The loaded midi song data is prepared for playing using XGedits midi play feature and processed
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ready for output to midi file
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Problem Files
It should be noted that under certain circumstances XGedit will not show all setup data contained within a
loaded file and/or may not correctly play a midi file. This is usually an indication that the file deviates from
the XG Midi File Authoring Guidelines. Some common errors are described below:1)
2)
3)
4)
The file is badly structured
If the file contains setup data interspersed with note events XGedit will stop reading data after the
first note event. Hence the majority of edits may not be visible.
The file is not XG
Many midi files will have been written for the GS format and contain a GS reset command. In this
case the XG synth would normally switch to TG300B mode before playing the file. XGedit does not
interpret GS commands and will therefore discard GS related events from the file, thus preventing
the synth from switching to TG300B mode. Any remaining GM/XG events will be interpreted but this
will not provide optimal playback of the file (in particular GS bank selections are different to XG and
therefore correct voicing is unlikely)
The XG file was written for a different XG synth
Some XG synths provide additional features, voices and effects. If XGedit is in a synth mode which
does not support these features, then their associated edits may not be correctly displayed (XGedit
will attempt to mimic the fallback features of the selected synth).
It should also be noted that the default setup of all XG synths is NOT the same. (In particular the
MU80 defaults for Element Reserves, Effect Parameters and Drum kits are slightly different to those
of the MU50/MU10/DB50/SW60. Consequently if you load a midi file containing an MU80 bulk dump
into XGedit in MU50 mode, you will notice a larger number of edits than shown for XGedit in MU80
mode).
Ambiguous Controller Events
If the file contains multiple Controller events positioned on the same midi tick, their ordering cannot
be guaranteed across all sequencers. Additionally XGedit may misinterpret their assignments
(particularly with respect to RPN/NRPN controllers and Data Entry). All controller events should be
spaced at 1/480.
If the author utilises controller events which assume prior initialisation, then XGedit may not interpret
the events correctly (e.g. Omitting Bank Select MSB/LSB prior to a Program change message). All
such controller events should therefor be expressed implicitly and in the correct time order.
15.5 Saving Midi Data
The registered version of XGedit allows edited data to be saved to MIDIEX files (.SYX) or standard Midi
files (.MID) in association with normal editor Native saves
MIDIEX files contain raw system exclusive bulks dumps and may be imported into popular sequencers such
as Cakewalk. To save .SYX files the user should select the .SYX format from the standard File Save Dialog.
(note that SYX format saves the complete state of the synth. Hence they should only be used where there
are a large number of edits or layered parts which require sysex. For all other purposes Midi files should be
used)
Standard Midi files are more useful and can be read by almost all sequencers. To save .MID files the user
should select the .MID format from the standard File Save Dialog.
The contents of the saved midi file are determined by the controls in the Master Module (Refer to the
Master Module section for a description of each control)
15.5.1 Saving Merged Midi Data
If the user has merged a midi file into XGedit, then the saved midi file will also contain the merged song
data. The setup data will be saved to the first few bars and assigned to the appropriate song tracks (based
on midi channel number). The song data will be repositioned with respect to the setup data such that a gap
of at least 200ms is left between end of setup and the first note on event (as recommended in the XG
authoring guidelines).
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The user should refer to Merging Midi Data for which events will have been stripped from the merged midi
file.
If the user does not wish to include the merged midi file data, then the Utils | Clear Midi Song Data menu
item should be clicked prior to saving. This will erase any merged midi song data from the editor but will not
affect any extracted setup data.
15.6 Using Native Save Formats
15.6.1 Save Formats and Extensions
XGedit provides four native save formats as follows:
XGE
Saves the entire contents of the editor
XGP
Saves the parameters associated with the current edit part
XGD
Saves the parameters associated with the current edit drum part
XGF
Saves the parameters associated with the global effects unit
Versions of XGedit prior to V2.0 utilised the extensions .ALL, .PRT and .DRM. However, to avoid
confusion with files generated by Cubase, these file types have now been renamed to those
shown above: XGedit V2.0 is fully backward compatible with older file save formats and will load
files with the old extensions correctly
File saving is achieved using the File | Save Setup As.. menu item. This brings up a standard file select
dialog box where the user may enter the desired file name. It should be noted that the type of save
operation is determined from the user provided extension as defined above. (That is the user must ensure
that the filename provided has the correct extension for the desired save/load operation)
15.6.2 Useful Operations
Since so much of a voices character is governed by the global effect unit settings, there is little point in
constructing a library of individual part (.XGP) settings. Consequently, the user is encouraged to always
use the global XGE format when saving the editor setup.
However there are circumstances where the alternative formats can prove useful.
Part Copy
The XGP format is useful if the users wishes to copy one parts setup to another. To do this the user selects
the desired source part (using the VoiceBox part buttons) and performs an XGP save. The user then
selects the desired destination part and performs an XGP load. Note that the XGP file contains the source
parts midi channel. Hence the user may wish to adjust the midi channel of the copied part after loading.
Drum Kits
Performing drum kit edits can be very time consuming hence it is always worth saving edited kits using the
.DRM format. Note that DRM saves also store the associated .PRT data and therefore may be used for
copying kits as described for parts above.
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16. Create Your Own System Exclusive Messages
There are times when you may want to enter just a single System Exclusive message into your midi file
(e.g. to change an effect mid way through the song). Where possible such activity should be avoided as it is
generally better to plan your midi file so that all setups are performed at the start of the song. However in
some cases it may be unavoidable.
To insert the required sysex message you may use XGedit in dual mode with record and attempt to
synchronise moving a control at just the right point during record/playback from your sequencer. However
this may prove difficult.
Hence a better alternative may be to utilise the features of your sequencer (particularly List Edit if available)
for inserting individual Sysex messages.
This section describes how to construct an XG sysex message and highlights some of the special cases
and problems you may encounter.
16.1 Hexadecimal Notation and MIDI
All midi messages are transmitted in hexadecimal notation (i.e. As single bytes encoded in base 16 format).
Your sequencer may or may not perform the conversion from normal decimal numbers for you. If it does
not, use the Windows calculator or the following table to look up the appropriate value:D
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
H
00
01
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
D
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
H
10
11
12
13
14
15
16
17
18
19
1A
1B
1C
1D
1E
1F
D
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
H
20
21
22
23
24
25
26
27
28
29
2A
2B
2C
2D
2E
2F
D
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
H
30
31
32
33
34
35
36
37
38
39
3A
3B
3C
3D
3E
3F
D
64
65
66
67
68
69
70
71
71
73
74
75
76
77
78
79
H
40
41
42
43
44
45
46
47
48
49
4A
4B
4C
4D
4E
4F
D
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
H
50
51
52
53
54
55
56
57
58
59
5A
5B
5C
5D
5E
5F
D
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
H
60
61
62
63
64
65
66
67
68
69
6A
6B
6C
6D
6E
6F
D
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
H
70
71
72
73
74
75
76
77
78
79
7A
7B
7C
7D
7E
7F
Figure 1 Decimal To Hexadecimal
Note that all data values within midi messages, must be less than 128 (decimal). Any bytes with values of
128 (decimal) or more are treated as Midi commands.
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16.2 Check This Out First
Before you attempt to create the sysex message, please take the time to check the XG manual section
concerning Controllers and NRPN. It may be that the message you require can be input as a simple
controller message (which is both faster to transmit and easier to construct).
16.2.1 Standard Controllers
In particular the following parameters can be sent as standard midi controllers:Parameter
Controller
Comment
Program Change
Cn,xx
Should be preceded by Bank Select MSB/LSB
Bank Select MSB
Bn,00,xx
0:Normal,64:SFX,126/7 Drum
Bank Select LSB
Bn,20,xx
Bank select does not take affect until Program Change is received
Modulation
Bn,01,xx
Portamento Time
Bn,05,xx
Volume
Bn,07,xx
Pan
Bn,0A,xx
Expression
Bn,0B,xx
Sustain
Bn,40,xx
Portamento
Bn,41,xx
Sostenuto
Bn,42,xx
Soft
Bn,43,xx
Filter Resonance
Bn,47,xx
AmpEG Release
Bn,48,xx
AmpEG Attack
Bn,49,xx
Filter Cutoff
Bn,4A,xx
Portamento Control
Bn,54,xx
Part Reverb
Bn,5B,xx
Effect Depth 1
Part Chorus
Bn,5D,xx
Effect Depth 2
Part Variation
Bn,5E,xx
Effect Depth 3
Should be used in place of Volume for crescendos etc
Harmonic Content
Brightness
Note:
n=Midi channel number in Hex 0 - F (1 - 16)
xx = Data value in Hex
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16.2.2 RPN/NRPN Controllers
If the parameter you want does not have an equivalent standard controller message, then it may have a
register or non registered parameter controller number (RPN/NRPN):Parameter
Controller Messages
Vibrato Rate
Bn,63,01,Bn,62,08,Bn,06,xx
Vibrato Depth
Bn,63,01,Bn,62,09,Bn,06,xx
Vibrato Delay
Bn,63,01,Bn,62,0A,Bn,06,xx
Filter EG Depth (MU100/SW1000 VL Only)
Bn,63,01,Bn,62,22,Bn,06,xx
High Pass Filter Cutoff (MU100/SW1000 Only)
Bn,63,01,Bn,62,24,Bn,06,xx
EQ Bass Gain (MU100/SW1000 Only)
Bn,63,01,Bn,62,30,Bn,06,xx
EQ Treble Gain (MU100/SW1000 Only)
Bn,63,01,Bn,62,31,Bn,06,xx
EQ Bass Frequency (MU100/SW1000 Only)
Bn,63,01,Bn,62,34,Bn,06,xx
EQ Bass Frequency(MU100/SW1000 Only)
Bn,63,01,Bn,62,35,Bn,06,xx
AmpEG Decay
Bn,63,01,Bn,62,64,Bn,06,xx
Drum Filter Cutoff
Bn,63,14,Bn,62,rr,Bn,06,xx
Drum Filter Resonance
Bn,63,15,Bn,62,rr,Bn,06,xx
Drum EG Attack
Bn,63,16,Bn,62,rr,Bn,06,xx
Drum EG Decay
Bn,63,17,Bn,62,rr,Bn,06,xx
Drum Pitch Coarse
Bn,63,18,Bn,62,rr,Bn,06,xx
Drum Pitch Fine
Bn,63,19,Bn,62,rr,Bn,06,xx
Drum Volume
Bn,63,1A,Bn,62,rr,Bn,06,xx
Drum Pan
Bn,63,1C,Bn,62,rr,Bn,06,xx
Drum Reverb
Bn,63,1D,Bn,62,rr,Bn,06,xx
Drum Chorus
Bn,63,1E,Bn,62,rr,Bn,06,xx
Drum Variation
Bn,63,1F,Bn,62,rr,Bn,06,xx
Drum High Pass Filter (MU100/SW1000)
Bn,63,24,Bn,62,rr,Bn,06,xx
Drum EQ Bass Gain (MU100/SW1000)
Bn,63,30,Bn,62,rr,Bn,06,xx
Drum EQ Treble Gain (MU100/SW1000)
Bn,63,31,Bn,62,rr,Bn,06,xx
Drum EQ Bass Frequency (MU100/SW1000)
Bn,63,34,Bn,62,rr,Bn,06,xx
Drum EQ Treble Frequency(MU100/SW1000)
Bn,63,35,Bn,62,rr,Bn,06,xx
Note
n= Midi channel number in Hex 0 - F (1 - 16)
rr= drum key number
xx = Data value in Hex
If you still cannot find the parameter you are looking for, then Sysex may be the only way to change its
value.
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16.3 XG Sysex
All XG parameters can be altered using XG Sysex messages. Note that Sysex is specific to each
manufacturer and is independent of midi channel (i.e. you can send sysex on any channel and it will always
affect the correct part. This is because Sysex addresses the internal memory of the synth)
There are two types of Sysex messages:Bulk Dump - These messages can send or retrieve large numbers of parameters in a single messages.
However they are normally very long and slow to transmit. In addition they contain a checksum (which is
used to check the integrity of the transmitted information).
Parameter Change - these messages can send or retrieve individual parameters and are relatively short to
transmit. As they are short, they contain no mechanism for checking the integrity of their contents.
Bulk dump messages are relatively difficult to construct (due to their length and checksum). However they
are only really required where large sections of the synth status needs to be updated or recorded (such as
from a synth editor/librarian). Hence we will not deal with these messages any further (although the same
general principals described below apply).
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16.4 Constructing XG Parameter Change Sysex
The general format for an XG Parameter Change message is shown below.
F0 43 1n 4C ah am al xx F7
F0
43
n
4C
ah
am
al
xx
F7
The Midi command byte for a system exclusive message
The Yamaha manufacturer ID
Device number (normally an XG synth will receive on all device numbers unless you have
deliberately altered the Device number). Hence in general a value of 10 should be used.
Model ID for an XG synth
Parameter High address (look up from sysex parameter data tables)
Parameter Mid address (look up from sysex parameter data tables)
Parameter Low address (look up from sysex parameter data tables)
Data Value you wish to set
The Midi command byte to terminate a sysex message
Note if you wish to send a Parameter Requests then change 1n to 3n and omit the data byte.
Parameter Request ask the synth to send you the current value of the parameter. Normally only external
modules will respond to this message
16.4.1 Example Parameter Change Sysex:
Assume we want to change the Variation effect so that it inserts the effect into Part 5.
First we need to set the VARIATION CONNECTION to Insertion mode. To construct the message:1) Look up the VARIATION CONNECTION parameter address; this is shown as 02 01 5A. So in our sysex
message ah = 02, am=01 and al=5A.
2) Now look up the data value; this shows that INSERTION mode is 0. So the data value we need to send
for our message is xx=00
3) Hence the final message is F0 43 10 4C 02 01 5A 00 F7
Now we need to set the VARIATION PART parameter to Part 5. To construct the message:4) Look up the VARIATION PART parameter address; this is shown as 02 01 5B. So in our sysex
message ah = 02, am=01 and al=5B.
5) Now determine the data value; Part values are actually transmitted with a value one less than their part
number. So the data value we need to send for Part 5 in our message is xx=04
6) Hence the final message is F0 43 10 4C 02 01 5B 04 F7
16.4.2 Example Multi Byte Parameter Change Sysex:
Assume we now want to change the VARIATION TYPE to DELAY LR. If we look in the XG Sysex tables we
find that VARIATION TYPE consists of two parameters (an MSB and an LSB). How do we send both
parameters in one message?
The answer is that Parameter Change messages can actually contain multiple data bytes. In fact if you look
at the XG sysex tables you will notice that there is a column labelled 'Size' (for VARIATION TYPE this
shows '2' indicating that two data bytes are required) Hence to construct the VARIATION TYPE message:1) Look up the VARIATION TYPE parameter address; this is shown as 02 01 40. So in our sysex message
ah = 02, am=01 and al=40.
2) Now look up the DELAY LR program number; this is shown as MSB=06, LSB=00. You will also notice
that the XG Sysex tables lists the VARIATION TYPE MSB before the LSB. So the data value we need
to send for our message is 06 00.
3) Hence the final message is F0 43 10 4C 02 01 40 06 00 F7
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If we were really ambitious we could extend this multi byte Parameter Change message to change all
Variation parameters in a single message!
However certain restrictions apply as follows:a) You must send messages with number of data values defined in the Sysex tables.
b) If you send more than one parameter in a given message then you must always send the complete
parameter block. You will notice that the tables are split into blocks and that each block has a total size.
Hence if we wanted to change VARIATION RETURN and VARIATION PAN, then we must either send each
parameter as a separate message or we must send the whole block (i.e. from address 02 01 40 with 21 hex
(33 decimal) data bytes!
Consequently unless you really want to change every parameter in a block you are best sticking to
individual Parameter Change messages per parameter.
16.4.3 Numbers That Are Too Big For Single Bytes
Lets assume we now want to set the Lch Delay of the DELAY LR effect to its maximum value. If we inspect
the Effect Parameter List tables we find that a setting of 715.0ms corresponds to a value of 7150 decimal.
Also we find that VARIATION PARAMETER 1 requires two data bytes.
The first approach might be to convert 7150 to a hexadecimal number i.e. 1BEE and to send this as the two
data bytes i.e. xx= 1B EE.
Unfortunately this will not work. The reason being that the second byte is greater than 127 decimal (7Fhex)
and will therefore be treated as a Midi command byte (in this case it corresponds to the command for Pitch
Bend on midi channel 15).
The answer to this problem is to send the data as 7bit bytes (i.e. bytes whose values have a maximum
value of 127dec)
In this format the upper bit of the LSB becomes the lower bit of the MSB. So for example 130 decimal (82
hex) is send as 01 02.
A simple way of calculating data in this way using the Windows calculator is as follows:1) Convert the number to hex.
2) Divide by 80 hex to yield the MSB value (i.e. this is the original value modulus 128 decimal)
3) Multiply the MSB value by 80 hex and subtract from the original hex value (i.e. this is the remainder of
the original number modulus 128 decimal).
So in our example we have a value of 7150 to transmit.
7150 decimal = 1BEE hex
MSB = 1BEE / 80 = 37 hex
LSB = 1BEE - (37 x 80) = 1BEE - 1B80 = 6E
So our data value xx = 37 6E
Therefore to construct our message we take the VARIATION PARAMETER 1 address of 02 01 42 and the
data value of 37 6E to produce a sysex message of F0 43 10 4C 02 01 42 37 6E F7
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16.5 Other Useful Sysex Information
This section highlights some other useful sysex strings and sysex related facts you should be aware of.
16.5.1 Reset Messages
All XG synths will respond to the following three sysex messages:GM Reset - F0 7E 7F 09 01 F7
This sysex string forces the synth to resets all parameters to their General Midi defaults. Since XG is a
superset of GM, the string should be included at the head of all XG song files to ensure non XG synths can
at least make a reasonable attempt at playing the file.
XG Reset - F0 43 10 4C 00 00 7E,00 F7
This string forces the synth to switch to XG mode and reset all parameters to their XG defaults. The string
should be included in all XG files after the GM reset.
XG Reset All- F0 43 10 4C 00 00 7F 00 F7
This string forces the synth to switch to XG mode and reset all parameters to their XG defaults. In addition it
forces any synth system parameters to be reset to their factory defaults (this includes the SW60XG miser
and any User Performance memories). Since this string performs such a catastrophic reset it should only be
used where absolutely necessary and NEVER EMBEDDED IN A MIDI FILE.
GS Reset - F0 41 10 42 12 40 00 7F 00 41 F7
This string forces the synth to switch to TG300B mode and reset all parameters to their GS defaults (XG
synths TG300B mode is an emulation of the Roland GS format). The string should be included in all GS
files after the GM reset.
16.5.2 Sysex Timing
Sysex messages generally require more processing by the synth than standard midi controller and note
event messages. Consequently, inter message timing constraints must be applied to allow the synth time to
respond.
For simple single Parameter Change messages a period of one midi clock should be allowed between each
message.
For GM reset a period of 200ms should be allowed before subsequent messages are sent.
For XG and GS resets a period 50ms should be allowed before subsequent messages are sent.
If you do not allow these intervals between messages then you may find the synths midi buffer overruns
and/or the synth does not behave as expected.
If you use midi files saved from XGedit, the programme guarantees that all required Reset messages are
inserted to the head of the file and that all inter message timing is correct.
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Index
A
About, 36
ALTGRP, 27
AMOD, 23
AMP, 14, 23, 27, 46
Amplitude Envelope Generator, 14, 27, 46
Analogue To Digital Converters, 15, 38, 43
Assign, 25
Attenuation, 12
Auditioning Sounds, 29
Envelope, 14
Equaliser, 13
Exit, 33
Expression, 15, 28
F
File, 10, 11, 33, 44, 47, 48, 49, 50, 51
Filter Cutoff, 25, 46
Frequency, 13
Frequency Modulation, 23
G
B
Band, 13
Bank, 25, 30
Bank Select, 15, 28
Bass Centre Frequency, 26
Bass Frequency Gain, 26
Bypass, 38
C
CD, 37, 38
Change LCD Colour, 34
Channel Pressure, 28
Channels, 30
Chorus, 15, 16, 46
Clear Midi, 33, 36, 51
Configuration, 6
Continuous Controllers, 15, 28
Controller, 5, 9, 23, 46, 47, 49, 50, 53, 54
CTRL, 17
D
Delay, 25, 56, 57
Depth, 25
DETUNE, 25
Dials, 8
Display Panel, 14
Distortion, 17
Drum Edit Mode, 27
Drum Filter Velocity Response, 27
Drum Parameters, 27
Drum Pitch Velocity Response, 27
Dry, 15, 17, 25
E
Edits Only, 10
Effect List Box, 17
Effect Name, 18
Effect Parameters, 17, 18, 50
Elements Reserves, 30, 50
Enables, 5, 15, 27, 28, 38, 45
XGedit95 User Manual
Gain, 13
GAIN, 15
General Midi, 5, 6, 9, 10, 30, 43, 46, 50, 58
GS, 50, 58
H
Help, 35, 36
High Pass Filter, 25
I
Insertion, 16, 17, 56
Installation, 6
Introduction, 4, 39
K
Karaoke Lock, 38, 43
Key Off, 27
Key On, 27
Key Range, 29
Keyboard, 5, 7, 25, 27, 29
Knobs, 7, 17
KSHIFT, 12, 25
L
LED, 8, 10, 11, 23, 25, 28, 30, 37, 38, 45
LEVEL, 16, 17
Line, 37, 38
Load, 5, 33, 34
Low Frequency Oscillator, 23, 25, 39
M
Master Module, 5, 6, 10, 33, 50
Merge, 33, 48, 49
Mic, 37
MIDI, 15, 40, 41, 42, 45, 52, 58
Midi Thru, 11
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MOD, 28
Mode, 5, 14, 25, 27, 40, 41, 42, 44, 45, 46
Mono/Poly, 28
Multimid, 6, 39, 40, 41, 42, 43
N
New, 33
NRPN, 9, 28, 44, 47, 49, 50, 53, 54
O
OFFSET, 25
OP, 15
Output Select, 26
S
Save, 5, 33, 47, 50, 51
SCALE, 25
Select Synth, 34, 44
Setup, 5, 6, 7, 8, 10, 33, 34, 45, 47, 48, 49, 51
SHAPE, 13
Silence, 8
SOFT, 28
SOS, 28
Stereo, 15, 38
SUS, 28
SWMixer, 43
System Exclusive, 5, 6, 9, 10, 33, 43, 46, 47, 49, 52, 54, 55,
56, 57, 58
T
P
Time Varying Filter, 23
Tone, 39
Transport, 11
Treble Frequency, 26
Treble Frequency Gain, 26
TUNE, 12, 25
PAN, 15, 16, 17, 25, 28, 57
PART, 17, 56
Part Copy, 51
Part Edit, 25
Part Module, 16, 27, 29
Part Volume, 25
Performance, 29, 36, 58
PITCH, 14, 23
Pitch Bend, 28
Pitch Envelope Generator, 14
Pitch Modulation, 23
Plugins, 34
Port Setup, 6, 34
Portamento, 28
Portamento Time, 25
PPQ, 11
PRO, 15, 28
U
Unit Number, 6, 12
V
Q
Q, 13
R
RATE, 25
Refresh, 33, 34, 36, 37, 49
Register, 35
Registered Parameter Number, 9, 28, 44, 47, 49, 50, 54
Reset, 6, 36, 43, 48, 58
Reset All, 36, 58
Resonance, 25, 46
Reverb, 15, 16, 25, 46
Reverse Dial Action, 7, 8, 34
XGedit95 User Manual
Variation, 15, 16, 17, 25
Variation Connection, 16, 17
Velocity, 25, 29
Velocity Limit, 29
Velocity Offset, 46
Velocity Sensitivity, 25, 46
VL Assign, 24
VL Bend Pitch Low, 26
VL Depth, 24
VL Filter EG Depth, 26
Voice Box, 27, 30, 44
Volume, 12, 15, 28
W
Wheel, 8, 23
X
XF, 10
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