Yamaha TG100 Owner's manual

YAMAHA mig
TALE.
TONE GENERATOR
Г С И
1.
FCC INFORMATION (U.S.A)
IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!
This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by
Yamaha may void your authonty, granted by the FCC, to use the product.
IMPORTANT: When connecting this product to accessories and/or another product use only high quality shiclded cables. Cable/s supplied with this product
MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA.
NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance
with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interfer-
ence with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the
users manual, may causc interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interfer-
ence will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”,
please try 10 eliminate the problem by using onc of the following measures:
Relocate either this product or the device that is being affected by the interference
Lulize power outlets that are on different branch (circuit breaker of fuse) circuits or install AC line filter/s.
In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 3006 ohm ribbon lead, change the lead-in to co-axial type cable.
If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not
locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620
"This applies only to products distributed by YAMAHA CORPORATION OF AMERICA
Dette apparat overholder det gaeldende EF-direktiv vedrgrende
rachostg],
Cet appareil est conforme aux prescriptions de la directive com-
munautaire 87/308/CEE.
Diese Geräte entsprechen der EG-Richtimie 82/499/EWSG und/
oder 87/308/EWG.
This product compties with the radio frequency interference
requirements of the Council Directive 82/499/EEC and/or 87/
308/EEC.
Questo apparecchio € conforme al D.M.13 aprile 1989 (Diretuva
CEE/87/308) sulla soppressione del radiodisturbi.
Este producto está de acuerdo con los requisitos sobre interferen-
clas de radio frequencia fijados por el Consejo Directivo 87/308/
CEE.
YAMAHA CORPORATION
CANADA
THIS DIGITAL APPARATUS DOES NOT EXCEED THE
“CLASS B” LIMITS FOR RADIO NOISE EMISSIONS
FROM DIGITAL APPARATUS SET OUT IN THE RADIO
INTERFERENCE REGULATION OF THE CANADIAN
DEPARTMENT OF COMMUNICATIONS.
LE PRESENT APPAREIL NUMERIQUE N'EEMET PAS DE
BRUITS RADIOELECTRIQUES DEPASSANT LES LIMITES
APPLICABLES AUX APPAREILS NUMERIQUES DE LA
"CLASSE B” PRESCRITES DANS LE REGLEMENT SUR LE
BROUILLAGE RADIOELECTRIQUE EDICTE PAR LE
MINISTERE DES COMMUNICATIONS DU CANADA.
IMPORTANT NOTICE FOR
THE UNITED KINGDOM
Connecting the Plug and Cord
IMPORTANT: The wires in mains lead are coloured in accordance with
the following code:
Blue ‘NEUTRAL
Brown : LIVE
As the colours of the wires in the mains lead of this apparatus may not
correspond with the coloured markings identifying the terminals in your
plug, proceed as follows:
The wire which 1s coloured BLUE must be connected to the terminal
which 1s marked with the letter N or coloured BLACK.
The wire which 1s coloured BROWN must be connected to the terminal
which 1s marked with the letter L or coloured RED.
Making sure that neither core is connected to the carth terminal of the
three pin plug.
+ This applies only to products distributed by YAMAHA KEMBLE MUSIC {UK )
LTD.
This applies only to products distributed by YAMAHA
CANADA MUSIC LTD.
SPECIAL MESSAGE SECTION
ELECTROMAGNETIC INTERFERENCE (RFI): Your
Yamaha Digital Musical Instrument Product has been type
tested and found to comply with all applicable regu-
lations. However, 1f it is installed in the immediate
proximity of other electronic devices, some form of inter-
ference may occur. For additional RFI information see
FCC Information section located in this manual.
IMPORTANT NOTICE: This product has been tested and
approved by independent safety testing laboratories 1n
order that you may be sure that when It is properly
installed and used in its normal and customary manner, all
foreseeable risks have been eliminated. DO NOT modify
this unit or commission others to do so unless specifically
authorized by Yamaha. Product performance and/or safety
standards may be diminished. Claims filed under the
expressed warranty may be denied if the unit is/has been
modified. Implied warranties may also be affected,
SPECIFICATIONS SUBJECT TO CHANGE: The intor-
mation contained in this manual is believed to be correct at
the time of printing. Yamaha reserves the right to change
or modify specifications at any time without notice or
obligation to update existing units.
NOTICE: Service charges incurred due to a lack of knowl-
edge relating to how a function or effect works (when the
unit is operating as designed), are not covered by the manu-
facturer's warranty. Please study this manual carefully
before requesting service.
NAMEPLATE LOCATION: The following graphic indi-
cates the location of the Name Plate on your Yamaha
Digital Musical Instrument. The Model. Serial Number,
Power requirements, etc., are indicated on this plate.
BALD ZUR TEAS
тир” 1H
ME т "TT. edi 1438,” any
A = т A
= O = Wo | El fe - A fe > 7 `
O°Ô © @ 4 °69 & @° A
A Lo I. с. - uy
ЗЕЕ МО)
© O L O
-
Y ou should note the model, serial number and the date of
purchase in the spaces provided ‘below and retain this
manual as a permanent record of your purchase.
Model
Serial No.
Purchase Date
STATIC ELECTRICITY CAUTION: Some Yamaha
Digital Musical Instrument products have modules that
plug into the unit to perform various functions. The con-
tents of a plug-in module can be altered/damaged by static
electricity discharges. Static electricity butld-ups are more
likely to occur during cold winter months (or in areas
with very dry climates) when the natural humidity 1s low.
To avoid possible damage to the plug-in module, touch any
metal object (a metal desk lamp, a door knob, etc.) before
handling the module. If static electricity 15 a problem in
your area, you may want to have your carpet treated with a
substance that reduces static electricity build-up. See your
local carpet retaller for professional advice that relates to
your specific situation.
* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.
1G100 TONE GENERATOR
REFERENCE MANUAL
Table of Contents
TG100 features... ea 2
Conventions used in this manual een 2
Cleaning the TGLOO 22 rene 2
Trademarks... an, een 2
1 What is the TG100...........3
Inside the TGIOO 21200000 ВИ 5
Menu functions... eee ee ee O
Sound module modes... /
Truncation ................. ORT a 7
MDR RR re aa a a a ae a ae ea nn 8
2 Controls & connections. li
Front panel ............... ere ee eee ene ae 11
Rear panel... eee a creer 13
3 Play Mode .. В
The LCD................. aaa ran venia оное: EA
Selecting the sound module mode cesse ee 16
4 Selecting instrument voices. |38
Voice bank table... 19
Selecting dmam kits (Part Ty 23
Standard Koom, Power & Ejectrome drum
kit Layouts een aire eee 25
Standard, Analog, Brush & Orchestra drum
kit layouts sr near ie 26
RX drum kit layout... SA ea ВЕ
Clavinova & С/М drum kit layouts. 28
9 Multi Common Edit Mode .… 20
Selecting the type of reverb 2. AB
Setting the reverb level... 30
6 Multi Part Edit Mode =;
i
Part volume... ee
Part panpot (stereo position)... E
Part EG attack rate oo cod
Part ECT release rate. Y
Part reverb send level ooo 36
Part MIDI receive channel... A
7 Мо1се ейй тодйе. 30
Adjusting the volume of vorce elements... 41
Detuning voice elements... e ee 42
Panning voice elements. A
NAMING VOICES ove e ni ra A
Copying vorces oo oe 48
8 System Mode Functions............ 46
Master tuning ...............eeeeeereiereeeeerD e eee 46
Velociiy meter mode setting сне 47
MIDI Exclusive on/off, device number ......... 49
Using MIDI Dump to save data..................... 50
imbalize All {reset to default settings)........... 51
Playing the Demo sone ВНИИ: 52
9 Connecting to a computer.......53
Mac PA dan aa aa da annee UU 54
PC-1 SOUPS UO reDerrrer erre DS
10 Other Functions...........................56
Adjusting the LCD contrast... e... 56
AUDIO IN connection... res 56
11 Typical System
Configurations ........... 57
MIDI keyboard... N
Computer SCYUCTICET oie 57
Disk Orchestra systent......... eee DT
Sequencer SyStenil.......... e... EEE KR EE ER KERE 58
MIDI connection... .….....…rrererseeenss 58
TO HOST connection vers 59
14 Appendix... ..... ee, 60
internal voice bank table... cer cecneeree 60
ТОС100 Зешр (аЫ сонное 62
Troubleshooting oo. NUT 63
CT OSS es 64
13 TG100 specifications ............... 66
ectitical SPecifcatións e e OR
uk MOUNTINO e ere DO
fost computer connecting cables eee 67
14 Index... ÓN
15 MIDI Data Format nn 70)
MIDI implementation chart... 78
TG100 features
AWM (Advanced Wave Memory) sound sampling technology
* 192 instrument voices
* 10 drum kits
* 16 voices can be produced simuitaneously
* 28-note polyphony (Dynamic allocation)
« DSP (Digital Signal Processor) for digital reverb effects
Simple editing can be performed on the 64 voices in the Internal voice hank
* Host computer connection allows direct connection to a computer, without a
MIDI interface
+ External sound sources can be mixed with the TG100's sounds, using the stereo
AUDIO IN facility, which provides an input level control and signal level peak
indicator.
« Conforms to the General MIDI system Level I standard. alla ravback of
MII songs recorded on other equipment
+ Compatible with Yamaha's “Disk Orchestra Collection” range of music software
* Compatibility with CM-64 software
* Comprehensive MIDI implementation for external contro! via MID! software
* Includes | demo song
Conventions used in thıs manual
To avoid confusion between the minus symbol (-) and a dash > the lower and upper
limits of a parameters adjustable range are separated by three full stops.
For example, ECT Attack rate range -7...47,
When the TG 100s push-button switches are mentioned, the name of the button is
enclosed in square brackets.
For example, [CURSOR] button.
Cleaning the TG100
If the TC 100 should require cleaning use a soft, lightly moistened cloth. Stubborn
marks can be removed using a mild detergent. Do not use abrasive cleaners or solvent
based cleaning fluids, such as alcohol and benzine.
Trademarks
IBM®, PFC-AT"M and PS/2TM are trademarks of International! business Machines
Corporation.
Apple® and Macintosh"M are trademarks of Apple Computer, Incorporated.
ÂAtar1® and STTM are trademarks of Atari Corporation.
PC-98OGIM 15 à trademark of NEC.
All other trademarks acknowledged,
= pe ad a ad
3 What is the TG 100
Lim
1 What is the TG i5Ú
The TG100 18 à 28-note poiyvplènmie AWM ‘Advanced Wave Memory) tone
generator ltcontains !9Zinsiriment voices and 1Q drum kits. Up to 16 voices can be
produced <imatizneousiv.
The T0100 is best sutied to work with a MIDI sequencer, but it can also be used with
a synthesizer, Tor voce layenng., etc.
To play the TGIOG sosie -0xinie, MIDI data must be input from either a MIDI
Keyboard, MIE seguencer or MIDI data recorder. Data can be input using the
TG100'8 Mt:2i connections or via the “TO HOST” connection, which allows direct
connection to a computer that does not have MIDI puts and outputs.
If there are any terms that you are not familiar with in the following text, please refer
io the “Glossary” on page 64,
AWM (Advanced Wave Memory]
Atl the sounds in the PUMA are produced using AWM (Advanced Wave Memory).
AWM 1s a technique developed by Yamaha for digitally sampling and reproducing
naturally occurning sound.
Elements
Sound suiilpies are siored as ciements in tá TC100"s internal ROM (Read Only
Memory).
Voices
Elements are used to form the voices, that is Electric Piano, Acoustic Guitar, etc. The
Tests n Mult-Timbral"” device, which means that it can produce up to 16
different vorces simultaneously, The TG100's 192 instrument voices are arranged
into three voice banks: G - Gereral MIDI, D - Disk Orchestra and C - C/M.
Parts
Voices arc assigned 10 onc of 16 Parts and can be controlled as 16 independent
instruments. Each Part is sei to receive controlling data on a different MIDI channel,
that is. controlling dita sent from your master kevboard or computer sequencer. Any
number Gf Pars can be set to receive MIDI data on the same MIDI channel, This
allows you to create complex sounds using a combination of voices, this technique 18
known as “Layering
The tollowing parameters can be adjusted for each Part; volume, pan position, attack
rate, release rate and the amount of reverb.
Polyphony
The TG10G can pluv 28 elements simubancousiy, which means that 1t 15 28-note
polyphonic.
The 28 avarlable notes are dynamically divided among the 16 Parts. This means that
notes are automatically allocated to Parts as and when required.
What 1s the TG100 4
Drums
The TG 100 contains 10 drum kits, Fart 10 is dedicated to drums and has number one
note priority. You cannot select a different type of voice for Part 10, but you can select
any one of 10 drum kits: Standard, Room, Power, Electronic, Analog, Brush,
Orchestral, Clavinova, RX and CM.
The Clavinova, RX and C/M kits are related to tic TG100's three sound module
modes and basically provide compatibility with songs recorded using Yamaha's
Clavinova, Yamaha's Disk Orchestra Collection and senti-compatibility for drum
patterns recorded on Yamaha's RX range of drum machines and the CM-64. See
“Sound module modes” on page 7 for more information.
Digital Reverb
The TG 100 contains a DSP (Digital Signal Processor) that is used to generate eight
different types of reverb effects: Hall 1 & 2, Room 1 £ 2. Plate i & 2 and Delay |
& 2. Reverb is the most commonly used effect for recording music, and usually
makes the difference between “liteless” sounds and the bright, professional sounds
that you hear on record.
Editing voices
The TG100 has 64 11. +11 emal memory locations, which can be used for editing
voices. When the 117100 15 tirxt switched en. preset voices 1...64 from the General
MIDI voice bank are automatically copied into these internal memory locations.
Simple editing functions can be performed on these 64 voices, such as, volume,
detuning and pan. If a voice consists of two elements, independent editing of each
element 1s possible.
To edit the other voices, they must first be copied into one of the 64 internal memory
locations. Once a voice has been edited, a new name can be assigned to 1t.
The TG108 cannot store edited voices when the power is turned off, so if you want
to keep your edited voices for future use, you must save theri to an MDR (MIDI Data
Recorder). This could be a MITO computer sequencer, a librarian program; a
dedicated MIDI data recorder, such as Yamaho"s MDF”; ora synthesizer with an
MDR function, such as Yamaha's S Y 99 music synthesizer.
User setup tables
On page 60 of this manual there is an “Internal voice bank table” where you can keep
details about the voices you have edited.
On page 62 there is a “TC100 Setup table” whe va: can keep TG100 setup
information. suc us multi common edit parameters, system mode parameters and
muit Part edu parameters.
Feel free to photocopy these tables.
5 What is the FG100
Inside the TG100
Element Level
Element Detune
Element Pan
Voice Name
VOICE EDITING
Voice Copy :
AWM SOUND ELEMENTS
(Stored in ROM)
PARTS 1...16
Voice Select
Reverb Level
Volume
Pan
| Attack
| Release
| MIDE channel
INTERNAL MEMORY
LOCATIONS (1...64)
vl
192 PRESET VOICES
10 DRUM KITS
PART 10
7 ‚ DRUMS
PARTO
Y
DIGITAL
REVERB
po
CEE PECERA EEE TO
CEA ET
-
-
3
R-LINE GU T-L/MONO
EEE re ЧН
O
kenn
28-notes are dynamically
allocated to the 16 parts
(28-note polyphony).
AUDIO IN
`
I
6
~ AR
What is the TG100 6
Menu functions
This diagram shows how the TG100's functions are organized.
|
Ÿ
[= M Em ME
VELOCITY METER
| — SOUND MODULE MODE (G,D.C)
PLAY MODE _—
(DEFAULT
PART SELECT (1...18)
VOICE BANK (©, |0, С)
The SoundModule
mode, voice bank and
voice select settings
are stored when the
power is turned off.
VOICE SELECT (192, 10 drum kits) |
"REVERB TYPE
Ly| MULTICOMMONEDIT À >
REVERB LEVEL (40.6) À
| VOLUME (0...127) X
MULTI PART EDIT | — — — |
| PANPOT (L7 - 0 - R7 - VOICE) |
EOI NE EEE EG ATTACK (-7..+7) - |
EG RELEASE (-7.. +7) |
REVERB SEND (0.8) |
“RECEIVE CHANNEL (1.16 - OFF) § | Not saved when the
TG100 is switched off.
/ Should be saved to an
/ MDR (MIDI Data
! Recorder).
ELEMENT LEVEL (0...127) |
VOICE EDIT > _ | |
ELEMENT DETUNE (-32...+32) |
ETT EEE E EL É M ENT PAN 7 - 0- R7)
VOICE NAME 5 |
COPY VOICE Ë |
MASTER TUNE (-100...+100)
SYSTEM MODE
VELEOCITY METER MODE
Ei AS IO PCR NP
PTA A E TIA
EXCLUSIVE ON/OFF, DEVICE No. DUMP ALL
INITIALIZE ALL
DEMO PLAY
CA A EE rT pes rn
What 1s the TG100
Sound module modes
G - General MIDI Level 1
This 1s the default (factory) mode. General MIDI Level |! is a recent addition to the
MIDI standard. It standardizes the assignment of Program Change numbers to
particular voices. For example, if MIDI Program Change number one 1s sent to atone
generator that complies with the General MIDI standard, the selected voice will
always be an Acoustic Grand Piano.
The General MIDI standard gives MIDI song files greater compatibility when
transferred between different manufacturers equipment. For example, you could
send a MIDI song file, on a floppy disk, to another member of your band, or a friend.
Even if he doesn’t have the same MIDI instrument as you, so long as it complies with
the General MIDI standard, he will quickly and easily be able to play back the song,
without having to reassign voices, Parts and MIDI channels.
D - Disk Orchestra/Clavinova
The Disk Orchestra Collection is a series of music titles made by Yamaha, which are
available on Boppy disk. They cover popular music, classical music and study and «an
each disk contains 7 or 8 pieces of music. Each song is stored as MIDI data in |
Yamaha's own “ESEQ” file format. These disks can be played using Yamaha's
DRC-20, DOM-30 or MDF2.
In this mode, the TG100's Program Change and drum note assignments are set the
same as those used by the Disk Orchestra Collection. allowing quick and easy
playback, without having to reassign voices, Parts and MIDI channels.
C - C/M
This mode 15 similar in principle to the Disk Orchestra mode and provides
semi-compatibility for songs recorded using a CM-64 sound module.
In this mode, the TG100's Program Change and drum note assignments are set the
same as those used by the CM-64, allowing quick and easy playback, without having
to reassign votces, Parts and MIDI channels.
| NOTE: These sound module modes do not guarantee 100% compatibility for
MIDI data files. Different tone generators use different sound
generation processes. They also use different note priority systems and
have different effects. A AN
Truncation
It all 28 notes are being used simultaneously (sounding at the same time), some sort
of priority system must be used 16 allow new notes to sound.
The TG100 does this by first giving note priority to Part 10, which 1s always used for
drums. It does not matter which MIDI channel Part 10 1s set to, Part 10 always has
priority. Each drum sound requires one note. For the remaining 15 Parts, priority 18
given in ascending order of MIDI receive channel.
For example, all 28 notes are currently being used, then some new MIDI note data 1s
received. The TG100 wiil check to see if any notes are being used by the Part
assigned to MIDI channel 16. If yes. the required number of notes from that Part will
stop sounding (be truncated) and the new notes will be heard. If no, the TG100 will
check the Part assigned to MIDI channel 15, then 14 and so on. until all the new notes
are sounding. Remember it doesn’t matter whieh MED! channel Part 10, drums, is
assigned to, it will always have priority.
What 1s the TG100 8
Effectively. priority means the order in which Parts are checked for available notes.
For example, Part 10, drums, always has No. | priority, so the TG100 will always
check the other 15 Parr metan basto 16
For most applications, 28 notes will be more than adequate, so you shouldn’t have to
worry about Mil} Chuang peers aad nies being cubtvaled. But, 4 nearly all 16
Parts are boeing used and you are ustig some lige sustaining chords, 111s a good 1dea
to assign the more important Parts to the lower MID! channels and to carefully plan
your composition with regard to which voices sound at the same time.
Typical Part, voice & MID! channel! setup
MIDI
The tabic below shows how tne are ce and MIDI channels might be setup.
The important voices used ta as carticular composition are assigned to Parts | to
10. Part 10, the drum Part, having number orne priority.
The “No. of notes used” column shows the maximum number of simultaneously
played notes for cach voice, the total being 34 Although we only have 28 notes
available, this will not be à problem becanse at no point in Ihe composition do we
have more than 20 notes sonnding simultanconsty Thicas wherv the TGIOO‘s
dynamic note allocation function comes in. allocating notes to Parts as and when
required,
[Pan | voce 7 “| 'mibien | No of notes used
Ty TI. Г „лол “Ac ‘ste с Piano Tm + 1 6
[oy fe m Electric Bass LL 7 y | gr
4 E ec Arc Guitar y (mute). + 3
e Atesax [8 LL À 0
0 Trumpet 5 2
7 Synth Fadi {new age) J ER 4 a
— - “Synth Grim EC a RT =
gts Castamets tr TT
1 | SM Enea FXiorystan | 146 1 0
12 Malle! | 12 1
SEE SE, co a + т _- — |
4 Woodblock” 1 4? 1
15 Agoco das 1
8] Bare 08
| Tomasi |
Control data must be input to the TG HO for it to produce any sound. The format of
this data 1s called MID! (Musica! instrument Digital Interface). MIDI 15 quite a
comprehensive subject. so here we will just look at the basics. A basic understanding
of how MIDI works will help vou to get the most out of vour TG100. If you want to
know more about MIDI there ars many voud books available.
MIDI allows communic: ation between electronic musical instruments. MIDI
connections do not carry eu»: anales they carry a digital, computer type signals,
MIDI signals are processed im real-time, which means that when you press a key on
your MIDI keyboard, MIDI dita such as the note number and velocity (how hard the
key was pressed) is transonticd to whateves MIDI device 18 connected via the
keyboards MiD OUT connection.
What is the TG OG
Connected MIDI instrusne nts wil only respond to the data if they are set to the same
MIDI recerve channel as the MiDf keyboards MIDI send channel. There are 16 MIDI
a a
oie ib: le
MID] data 1s divided into two types: Channel Messages and System Messages.
Channel messages
Channel Messages are sent on the individual MIDI! channels. Only the instruments
that are set to receive MIDI data on that particular MIDI channel will use the data.
Instruments set t6 à diieèrent MIDI receive channel will ignore it. Channel Messages
can be further divided into the following data types.
Voice Messages
These are the simplest type of MIDI messages and basically consist of note-on,
velocity and note-off data. The TG100 recognizes all voice Messages.
Control Change
Control Change Messages consist of modulation, portamento time, volume, pan-pot,
etc, data types. Not all Mii instruments recogmze the same Control Change
Messages. Sec “MIDI implementation chart” on page 78 for details about which 4
Control Change Messages the TG100 recognizes. The TG100’s voice banks are
selected using Hus type of message.
Program Change
Program Change Messages are used to select instrument voices. In the TG HOO, these
messages are used to select the voice used by each Part and the different drum kits
tor Part 18 For example, if the TG 10015 set to Disk Orchestra mode anda MIDI song
tile from: re Disk Orchestra Collection is sent to the TG100 via MIDI, at the
beginning of the song, Program Change messages will be sent to each of the TC 100's
Parts to select the correct voice. For example, a piano voice 1s selected for the Part
thai is receiving piano data, a bass voice for the Part that 1s receiving bass data, etc.
Pitch Bend
Pitch Bend dai: is sent when the pitch bend wheel oro MIDI keyboard 1s used.
Aftertouch
Aftertouch data is sent when you press down harder on a key, or number of keys,
which are curently being held dew, This dats can control volume, vibrato, LEO, |
ete, and ailows greater expression of sustaining notes. There are two types of FA
Aftertouch Messages; Channel and Polyphonic. Channel applies to all notes on the
same MIDI channel and Polyphonic applies to individual notes. The TOGO
recognizes only Channel ty pe Attertouch.
Mode Messages
There are four types of mode messages, These messages determine how a MIDI
instrument responds to MIDI data, With OMNI ON, an instrument will respond to all
the MIDI data on ali 16 channels. With OMNI OFF, an instrument will respond to
data on 1ts currently set MIDI receive channel only. “POLY mcuns polyphonic and
“MONG means monophonic, The TG100 is set to OMNI OFF, POLY (see “Mode
3. OMNI OFF, POIN” on page 10).
Mode 1 - OMNI ON, POLY
The MIDE instrument will respond to all channel type messages regardless of the
MIDI channel setting. Mainly used when two. or three synthesizers or tone
crerators are Gerry eeedar unison, This allows new and interesting sounds to be
0 emp
created hy hosing cach synihesizertone generator set to a different voice, this
What 1s the TG100 10
technique 1s know: ax “layering.
Mode 2 - OMNI ON, MONG
The MID! instrument will respond to all channel rvne messages regardless of the
MIDI channel setting. but only one note can be played at a fume.
Mode 3 - OMNI OF POE
The MIDI instrument witi respond to data on its currently set MIDI receive channel
only. Mainly used with MIDI sequencers and multu-tmbral type tone generators like
the TG100. The TG100 is always set to Mode 3 - OMNI OFF, POLY and cannot be
changed.
Mode 4 - OMNI OFF, MONO
The MIDI instrument will respond 10 dita on its currently ses MID; receive channel
only, but only onc note can be played at a time. Mainly used with MIDI guitars and
MIDI guitar controllers. Each string is assigned to a different MIDI channel and only
one note is sent. per MIDI channel ae a tine
System messages
MIDI
These messages are sent regardless of MIDI channel settings andare used to contro
all the MIDI instruments connected in a MIDI system.
System Messages can be timing and control data sent from a MID! sequencer to a
MIDI drum machine The sequencer tells the drum machine when to start playing,
when to stop and continuously sends time-clock data so that the drum machine plays
in time with the sequencer.
System Exclusive Messages are System Messages that correspond to Individual
manufacturers MIDI equipment. They allow remote editing of synthesizer, or tone
generator voices using voice editing software that is available for most music computers,
Voice settings can be saved to a MIDI sequencer. librarian or MIDI data recorder
using System Exclusive Messages. This is usually known as MIDE Bulk Dump.
The TG100 uses System Exclusive Messages to save (or recall) edited voices to an
MDR (MIDI data recorder) See “Using MIDI Dump to save data” on page 50.
Although not recommended for the beginner. lor the expert MIDI user, ali the
TG100's parameters can he controlled vía System Exclusive Messages. Many
parameters that are not accessible using the TO 100" control panel, such as element
editing are available See “MIDI Dats Format” on page 70.
Song files
Until recently. most MIDI sequencers saved songs in different song file formats. So,
transferring songs between sequencers was virtually impossible. The Mii] standard
Lie format (MIDI SNG FILE; altows MIDI songs te be transferred between different
sequencers. Most of the popular software and hardware based sequencers can now
save and read song files in their own format and the MIDI standard file format. This
makes it very easy to transfer MID! songs between different manufacturers’
SUQUENCETS.
NOTE: The Disk Orchestra Collection sone files use Yamaha's own "ESEQ”
| file format.
11 Controls & connections
2 Controls & connections
Front panel
1 @) DA E ® a
À TS i 7
~
y H —
YAMAHA HCC] TONE GENERATOR PLAY PART. SYS EDIT PLAX MASTER VOLUME mig
РОМЫ O о ий
— A NEU]
1 ma am ma = 14 Leu = mene a mT a m = CURSOR NES
- O O O ANUIES IN PHONES
[nl 1
— ON J OFF { 23456 7 891011121314 1616 a
MD CH BK PCH VOICE NAME ен te 7
h || A
6 (7 (9) 10) (12)
1 POWER switch
Used to turn the power on and off. Press once to switch on, press again to switch off.
2 LCD
One line, 16 character LCD display.
3) [PLAY] button
Selects play mode. If pressed while in any of the edit modes or in system mode, play
mode will be selected.
4) [PART] button
Used to select the 16 Parts. Pressed simultaneously with the [EDIT] button engages
system mode.
5 [EDIT] button
Used to select one of the three edit modes; Multi Common Edit. Multi Part Edit and
voice Edit. The selected edit mode depends on the LCD cursor position before the
[EDIT] button is pressed.
(
Controls & connections 12
(6) [CURSOR] button
This button 1s used to move the LCD cursor. Each time it 1s pressed, the cursor moves
one position to the right. When the cursor is positioned at the rightward side of the
LCD, the next press of the [CURSOR] button will move the cursor to the leftward
side of the LCD.
If the cursor is positioned at the ightward side of the 1.CD and an “>” symbol is
shown, then pressing the [CURSOR] button will move to the next menu function. For
example, in voice Edit mode, pressing the [CURSOR] button wiil change the menu
function from “ELEMENT LEVEL” to “ELEMENT DETUNE”, etc.
If the cursor 1s positioned at the leftward side of the LCD and an “<—” symbol is
shown, then pressing the FCURSOR] button will move to the previous menu
function.
(7) [-1/NO) & [+1/YES] buttons
These buttons are used to adjust parameter values. The curser must be positioned
underneath the parameter value that 18 to be adjusted. Pressing the [-1/NO] button
6 > decreases the value and pressing the [+1/Y ES] button increases the value. If you
press and hold down either button, the data value will change quickly.
These keys are also used when the TC1106 requires a YES or NO answer from you.
For example. “Demo Play Start ?”. Pressing the [+1/YES] button will start the demo
song playing.
'8) PEAK indicator
This indicator will light up when the maximum signal level which the TC 100 can
accept 1s applied to the AUDIO IN pre-amplifier. The INPUT level control shouid be
adjusted so that this indicator does not light.
(9) INPUT level control
This control adjusts the amount of signal gain that ts applied to the AUDIO IN signal.
It allows you to set the sound balance between the AUDIO IN signal and the TG 100s
sounds.
6 10) AUDIO IN connector
This 1s a stereo 3.5mm mim jack. Audio signals connected here are first fed to a
pre-amplifier circuit, the gain of which 15 controlled by the INPUT level control, then
mixed with the output signal of the TG100 and output to the LINE OUT connectors.
1} MASTER VOLUME control
This control adjusts the volume level of the signal appearing at the LINE OUT and
PHONES connections (that 1s, thé overall volume level, the TG100 sounds mixed
with the AUDIO IN signal).
12 PHONES connector
A stereo 3.S5mm mini jack. used for connecting headphones. The headphone volume
1s adjusted by using the MASTER VOLUME control.
13 Controls & connections
Rear panel
| E 6) (7) (8)
A E Ï - -
т | |
A - 4
OUT TO HOST HOST | MIDI |
LINE QUT DC IN TOHOST hos! тн OUT м CONTRAST
O LMONO PCA PCE YU 7 An N DA a N —
| 2 Ио Mac | MDI PY Низ к! ES À д He oo =x
\ a 7 (= A GE an) г LE — NON J NA 7 Nu АЙ О
Na о PO | woe Bd Not ss Nom ie” —
bd — ———] rn ce
!
O о SERNO.
} fe
1
(1; LINE OUT (R, L/VIONO) connectors q
Á paurof 1 mono jack sockets, These should be connected to the inputs of a stereo
audio amples of audio ver H the audio amplifier you are using 18 mtiy mono,
LES EII KE 407 Yi ea. LIA,
cd: DC IN connecter
The power supply adaptor (PA- 1505) is connected here. Before connecting the
adaptor, make sure itis disconnected from the wall-power (mains) outlet. Always
connect the adanras to The TG 100 and then plug the adaptor into the wall-power
aÙ
SUS enel
1: TO HOST connector
An 8-PÍN min: DIN connector that allows direct connection to a computer that is
соалевм нас oleae Tis cnn be used when vous computer does not have MIDI
input and output connections. The TGHOQU 18 connected to one of the computer’s
“Sertal Ports” Ses Conneefimo daa purer on page 53, for full details.
&
РУ
— ANT NTRA ss —] LU
NOTE. Noi ali music software cali use this type of connection, so please consult |
your Yamaha dealer betore makme a purchase. |
4. HOST SELECT switch
This wifeh seWiny ceperds on ihc type al computer being used and how its
connected. Hee © Connecting 10а computer” on page 53 for full detarls.
Er
‘ontrols & connections 14
(5) MIDI THRU
MIDI data appeaniag ai the MIDI IN connection t batiered, then output from the
MIDI THRU connector. That is, all MIDI daté appearing at the MIDI IN connector
1s output to the MIDI THRU connector unaffected by the TG HOG.
This allows a “dairsy chain” 1ype connection of MIDI € camper Each connecter
MIDI device recerves ali te deta that «bein transimtitec, but only responds to data
on its selected MIDI channel.
(6) MIDI OUT
System Exclusive MIDI data is output from this connector. This is normally
connected to the MIDI iN connection of an MOR (MIDI Daiu Recorder), such as a
MIDI computer sequencer; alibraria in program; à dedicated MID! data recorder, such
as Yamaha's MDE2; or a synthesizer with an MPR function. such as Yamaha's SY99
music synthesizer.
7; MID! IN
The TG100 receives MIDI data viuthis connection. This is normally connected to ite
MIT OUT of à MID kosten =ynthesteer MU Crineeneer or à MIDI data
recorder.
Sec Typical System € onficuraticas” on page 37 for more detaris about connecting
equipment to the Tix:
; NOT E: The operation of both the МЕН ТМ ami MID! GFE connections varies
| depending on the position of the HOST Si: - WI See |
| Connectine toa a computer on Lp 1e УЗ Гог Вай ана. |
.5: CONTRAST control
This control adjusts th contas ог В О нам Phis te sc a optimize the
readability of the 1.070102 displas when it is viewed from diferen angles (different
heights).
15
Play Mode
3 Play Mode
When the TG 100 is tumed on for the first time, or after the INITIALIZE ALL
function has been used, the sound module mode is General MIDI. All 16 Paris are
assigned volce No. |, Piano, The assignment of MIDI channels to the 16 Parts is
shown on page 16.
The LCD
G 1G 1 GrandPno
12 3 458678 9 101112131415 16
MD CH BK PC# VOICE NAME
MD - Indicates the current sound module mode,
G - General MIDI
D - Disk Orchestra
C - CM
CH - Indicates the MIDI receive channel of the currently selected Part.
If à Parts MIDI receive channel is set to “OFF”, **” will be shown at the "CH"
position,
When either the Disk Orchestra or CM sound module mode is selected, the
assignment of the MIDI channels to thé 16 Parts will be different, See "Selecting the
sound module mode” on page 16.
BK - Indicates the currently selected voice bank.
In the above example, “CG” indicates that the General MIDI voice bank has been
selected. Other available voice banks are, Internal, Disk Orchestra and CM.
PCF - Indicates the MIDI Program Change number currently assigned to the
selected voice. Remember that the Program Change number currently assigned to a
particular voice will depend on the selected sound module mode.
In the LCD shown above, Grand Piano, which is voice number 1, is currently
assigned to Program Change number “1%, If you look at the “Voice bank table” on
page 19, you will see that this is correct for General MIDI mode.
VOICE NAME - Shows the name and number of the voice that is assigned to
the currently selected Part.
Play Mode 16
Selecting the sound module mode
Summary:
Select a sound module mode. This affects how the MIDI channels are assigned to the
16 Parts and how MIDI Program Change numbers are assigned to the TG100’s
voices.
For a description of each mode, see “Sound module modes” on page 7.
Options:
G - General MIDI
| D - Disk Orchestra
С - с/м
Procedure:
| 1) In play mode, move the cursor, using the [CURSOR] button, to the MD position.
| 2) Press either the [-1/NO] or [+1/YES] button to select one of the three options.
Details:
When a different sound module mode is selected the following are affected.
1) The assignment of MIDI channel numbers to the 16 Parts.
PART No. General MIDI | Disk Orchestra | CM
MIDI RECEIVE CHANNEL
1 1 1 OFF
2 2 2 2
3 3 3 3
4 4 4 4
5 5 5 5
6 6 6 6
7 7 7 7
| 8 8 8 8
| 9 9 9 9
“e 10 (DRUMS) 10 15 10
| 11 11 OFF 11
| 12 12 OFF 12
| 13 13 OFF 13
14 14 OFF 14
| 15 15 10 15
16 16 OFF 16
Once a sound module mode has been selected, the MIDI receive channel assigned to
each Part can be changed, see “Part MIDI receive channel” on page 37.
As well as changing the MIDI receive channel, you can also turn a Part off. As you
can see in the above table, some Parts are turned off when Disk Orchestra mode 1s
selected.
You may want to turn a TG100 Part off when a different MIDI instrument in your
system is being used to play that particular Part.
| You may need to change some of the TG100's MIDI receive channel assignments if
17
Play Mode
you have other MIDI instruments using those MIDI channels.
It should be remembered however, that the reason for having these different sound
module modes, with their preset MIDI channel assignments, etc., is to provide a
degree of compatibility for MIDI songs, that will allow you to transfer songs between
different MIDI systems. Obviously, the more you change these settings, the less
compatible your MIDI songs will be with other MIDI song file users.
2) The voice bank selected for each part.
When a sound module mode is selected the corresponding voice bank is selected for
all 16 parts.
For example, if Disk Orchestra is selected as the sound module mode, all 16 parts
automatically switch to the Disk Orchestra voice bank.
3) The selected voices for Parts 1 to 9, 11 to 16 and the selected drum kit for Part 10.
PAR General MiDI | Disk Orchestra | C/M
T No.
VOICE
1 GrandPno GrndPno? GrandPno
2 GrandPno GrndPno? SlapBas1
3 GrandPno GrndPno2 Ensmble1
4 GrandPno GrndPno2 BrasSect
5 GrandPno GrndPno2 SprnoSax
6 GrandPno GrndPno2 Rain
7 GrandPno GrndPno2 El Grand
8 GrandPno GrndPno2 Bottle
9 GrandPno GrndPno2 Orch Hit
10 (DRUMS) Standard kit Clavinova kit C/M kit
11 GrandPno GrndPno2 Fretless
12 GrandPno GrndPno2 AahChor2
13 GrandPno GrndPno2 GrandPno
14 GrandPno GrndPno2 DrawOrgn
15 GrandPno GrndPno2 Mute Gt2
16 GrandPno GrndPno2 Trumpet
+ It might seem a little strange to have 15 Parts assigned to the same voice.
Remember that this is only the initial setting, when a MIDI song starts playing
MIDI Program Change Messages are sent to each Part and the correct voice is
selected.
4) The TG100’s pitch bend range.
General MID! Disk Orchestra C/M
PITCH BEND + 2 semitones + 3 semitones + 12 semitones
RANGE a - (+ 1 octave)
The above table shows how the TG 100 responds to pitch bend data in each mode. For
example, with your pitch bend wheel turned fully up, in General MIDI mode the pitch
will increase by 2 semitones. In Disk Orchestra mode, with the pitch bend wheel
turned fully up, the pitch will increase by 3 semitones.
For MIDI experts, the pitch bend range can be changed by sending an RPN
(Registered Parameter Change number) MIDI message. See “RPN (Registered
Parameter Number)” on page 72.
Selecting instrument voices 18
4 Selecting instrument voices
Summary:
Select an instrument voice for Parts 1 to 9 and 11 to 16. See also, “Selecting drum
kits (Part 10)” on page 23.
Options:
For Parts 1 to 9 and 11 to 16, voices can be selected from one of four voice banks:
G - General MIDI (128 voices)
lI - Internal (64 voices)
D - Disk Orchestra (72 voices)
C - C/M (128 voices for parts 1 to 9 and 64 voices for parts 11 to 16)
Procedure:
1) Use the [CURSOR] button to position the cursor at the CH position.
2) Use the [-1/NO] and [+1/YES] buttons to select the required Part.
3) With the required Part selected, move the cursor, using the [ CURSOR] button, to
the BK position.
4) Press either the [-1/NO] or [+1/YES] button, to select the required voice bank.
5) Now move the cursor to the PC# position, using the [CURSOR] button.
6) Press either the [-1/NO] or [+1/YES] button, to select the required voice. The
Program Change number of the selected voice will be shown at the “PC”
position on the LCD.
Details:
The voices available from banks “G”, “D” and “C” can be seen 1n the “Voice bank
table” on page 19.
* The C/M voice bank is different for Parts 1 to 9, (with 128 voices) and Parts 11 to
16 (with 64 voices).
+ The Internal voice bank, “I” which can hold 64 voices, is where your edited voices
are kept. Every time the TG100 is switched on, voices 1...64 from the “G” vgice
bank are copied into the internal voice bank. These can then be edited. See “Voice
edit mode” on page 39 for full details about editing voices.
* The TG100's voices are numbered from 1 to 192, but these numbers do not actually
appear on the LCD. The number that identifies each voice is actually the MIDI
Program Change number shown at the PC# position.
+ The pitch rate scaling (interval between notes) of voices 116...128, excluding
voice 122, is not 100%. In other words, if you play a C Major chord using voice
124, “Bird Tweet”, the intervals between the notes will not be the same as if it
were a Piano voice.
* Voice banks can be selected using MIDI Controllers 0 and 32. See “Control
Change” on page 71. If the sound module mode is set to Disk Orchestra or C/M,
voice bank select messages are 1gnored.
Selecting instrument voices
Voice bank table
Voice name
e.
к.
Chromatic Percussion
Celesta1
Glockenspiel
Music Box
Vibraphone
Marimba
Xylophone
Tubular Bells
Dulcimer
Guitar
Acoustic Nylon Guitar
Acoustic Steel Guitar
Electric Jazz Guitar
Electric Clean Guitar
Electric muted Guitar
Overdriven Guitar
Distortion Guitar
Guitar Harmonics
Strings
Violin
Viola
Cello
Contrabass
Tremolo Strings
Celesta
Glocken
MusicBox
Vibes
Marimba
Xylophon
TubulBel
Dulcimer
NylonGtr
SteelGtr
JazzGtr
CleanGtr
MuteGtr
Ovrdrive
Distortd
Harmnics
Violin
Viola
Cello
Contra
TremStrg
Elements
CAPO: et | mk | eb] hf PRD] A | —
+
- — — — wh — = = ——
+
General MIDI
Voice bank
Program Change number assignments
C/M
Parts 1...9 Parts 11...16
Disk
Orchestra
54
26, 73
27,55,70
71
selecting instrament vidoes 21)
| Voice bank
vola Ho. Yalce náme LCD
Program Change member ssslgrmen(s
Ele а па
CM |
| General MIDI Нек
1
Orchestra Parts 1.8 | Parts 11.16
46 _ 57 EN
21 Selecting instrument Voices
Г | Voice bank
Voice name
Pad 5 (bowed)
Pad 6 (metailic)
Pad 7 (halo)
Pad 8 (sweep)
Ethnic
Sitar
Banjo
Shamisen
Koto
Kalimba
Bag pipe
Fiddle
LCD
Bowed Pd
Metal Pd
Haio Pd
Sweep Pd
Banio
Shamisen
Koto
Kalimba
Bagpipe
Fiddle
Elements boo 7 |
Generali MIDI
A | =f NS] =] =| me A —
93
94
95
96
Disk
Orchestra
Program Change number assignments
Parts 1...9
36
C/M
Parts 11...16
Shanal
PE
LES
PAL
TN
Sound Effects
Guitar Fret Noise
Breath Noise
Seashore
Bird Tweet
Telephone Ring
Helicopter
Applause
Gun Shot
TMalletWind — —
FretNoiz
BrthNoiz
Seashore
Tweet
Telphone
Helicptr
Applause
Gunshot
Sho —.
wi MIN] = RIN ++
— | Malletwin | —
abt te py pra
Selecting instrument voices
|
bt
Voice No.
Yoice name
LCD
Elements ¡—
Voice bank
Program Change number assignments
Disk C/M
General MIDI | 15
141
Breathy
| Breathy |
nN
Orchestra | Parts 1.9 | Parts 11...16 |
# ER ERA uta
Lr .. a
NMEIN A IT
Lh SEER ran
142
DeepSnare — В
DeepSnar|
пр
143
SynTom 24
Syn Tom2 | —_
+ FERRE Sd Aba Ne TO
: БОН НЙ Co REET CATA:
E EEE den fli à
TaikoRim 7
~TTaikoRim | —
a + ; E y E a TE
Cogn TE anlar Tu LOL
Sf ei SLL a
7 145
Cymbal ~~ ~~
a
Sa ä Eid ae 3 a a
—Castaner | —
a Ha. Ea
5 rae Si or ead di © Ha $
> EE o A
LE à ques née rity Sih FEL ВЯ,
TA EE i В
347
“Triangle. -
{Triangle |
Fa
148
| Bird‘
Dee |
Fc:
Erie Cee
ITA E
149
Jam.
— ham TT
я и i lo 3 eet ER EE “e
a a Er. > FE A dE o
A HE 7 oa etes E. nte.
EA o E. A
150
ElciWatr |
as
Effectuungle -.
— TEfetingl |
Nini [ paar | |] ata
did EEE Eee 4 =
Ромео
152
Acoustic Steel guitar 2
SteelGt2
153
Electric muted guitar 2
Mute Gt?
154
Electric muted guitar 3
Mute Gt3
155
Slap Bass 3
SlapBas3
156
Slap Bass 4
SlapBas4
157
Slap Bass 5
SlapBas5
158
Slap Bass 6
SlapBas6
159
Slap Bass 7
StapBas7
160
Slap Bass 8
SiapBas8
161
Stap Bass 9
SlapBas9
162
Electric Bass fingered 2
FngrBas?
163
Electric Bass picked 2
PickBase
164
Choir Aah 2
AahChor2
165
Choir Aah 3
AahChor3
166
Choir Aah 4
AahChor4
33
167
String Ensemble 3
Ensmble3
36, 37
168
Percussive Organ 2
PrcOrgn2
41, 45, 46
169
Brass section 2
Brassec?
54, 61, 62, 63
170
Electric Piano DX
ElPno DX
14
171
Synth Piano
SynPiano
53
172
Celesta 2
Celesta?
16
173
Clavinova tone
Clavinova
69
174
Jazz Organ
JazzOrgn
12, 66, 83
175
Combo Organ
CombOrgn
44
176
Pipe Organ
PipeOrgn
11,65
177
Slap Bass 10
SipBas10
31
178
Brass section 3
BrasSec3
53
479
Pop Brass
PopBrass
74 52, 60
180
Synth Brass 3
SynBras3
21, 67
181
Saxophone 1
Sax
4, 68 #
182
Saxophone 2
Sax 2
78
183
Synth crystal
SynCrstl
23
184
Synth Wood
Syn Wood
45
185
String Ensemble 4
Ensmble4
186
Synth Strings 3
SynStrg3
46
187
Synth choir 2
Synchorg
47
188
Flute 2
Flute 2
80
189
Acoustic Grand piano 2
GrndPno2
13, 49
190
Bright Acoustic piano 2
BritePn2
48
191
Timpani 2
Timpani?
24
192
Electric bass Heavy
Hvy Bass
ll alla о | по | о по | по | по | = | о | = | го | по | по | по | 55 | = {по | то | О | 5 | 9 | | | | Юр |
79
23 Selecting instrument voices
Selecting drum kits (Part 10)
Summary:
Select a drum kit for Part 10.
Options:
PC# No. KIT NAME
1 Standard
9 Room
17 Power
25 Elctrnic (Electronic)
26 Analog
33 Jazz (same as the standard kit)
41 Brush
49 Orchstra (Orchestra)
126 Clavinov (Clavinova)
127 RX
128 CM
Procedure:
1) Use the [CURSOR] button to position the cursor at the CH position.
2) Repeatedly press the [+1/YES] button to select Part 10.
x o.
LE тая
3) Use the [CURSOR] button to position the cursor at the PCH position.
4) Use the [-1/NO] or [+1/YES] buttons, to select one of the drum kits listed above.
Details:
* The PC# number is the MIDI Program Change number.
* The Standard kit 1s the main drum kit and the other kits are basically variations of
it. If you look at the drum/keyboard layouts, on the following pages, you will see
that the other drum kits have some different drum sounds. For example, the
“Orchestra Kit” has some tuned timpani and the “Room Kit” has some
“room-sound” tom-toms.
* The Jazz kit is the same as the Standard kit.
+ If the sound module mode is set to Disk Orchestra or C/M, Part 10 drums ignores
Program Change messages.
Selecting instrument voices 24
Clavinova - kit corresponds to the Disk Orchestra Collection.
C/M - provides semi-compatibility for MIDI song files recorded using a CM-64.
RX - kit provides semi-compatibility for MIDI drum patterns recorded on one of
Yamaha's RX drum machines.
The main difference between these kits is the way that MIDI note numbers are
assigned to each drum sound. Unlike the first 8 drum kits, where the difference is in
the choice of drum sound, in the last three kits the MIDI note assignments are
completely different.
Page 16, “Selecting the sound module mode”, shows which drum kit is selected when
the sound module mode 1s changed.
Using the drum/keyboard layouts
The following drum/keyboard layouts show the drum sounds that are in each drum
kit and which keyboard note each drum sound is assigned to.
The Jazz kit is the same as the Standard kit, so there 1s no Jazz kit layout. When the
Jazz kit is selected, please refer to the Standard kit layout.
The Standard kit layout is shown twice, once before the room, Power and Electronic
kits, and also before the Analog, brush and Orchestra kit. This is because drum
sounds that are not changed between the kits remain the same as the Standard kit
layout.
For example, we have selected the “Power kit”. For note “AO (33)” there 1s no drum
sound listed. If we look at the “Standard kit” we can see that the “Metronome chick”
drum sound is assigned to that note.
If we look at note “C1 (36)”, the drum sound is “MONDO kick”. This has replaced
the “Bass Drum 1” that is used by the Standard kit.
The Clavinova, C/M and RX drum/keyboard layouts show which keyboard note each
drum sound is assigned to for the Clavinova, RX and C/M drum kits.
25 Selecting instrument voices
Standard, Room, Power & Electronic drum kit layouts
—
Scratch Push
Scratch Pull
Stick
Chck Noise
Metronome Bell
Acoustic Bass Drum
Bass Drum 1
Side Stick
Hand Clap
Electric Snare
SE
Standard Kit | Room Kit | Power Kit | Electronic Kit |
PSC No. | ¡PC PCNOS | [PE No. 17 | [PE No. 17 | 17 PC No 25 |
MONDEO kick
Gated SD
Gated SD
Low Floor Tom
Closed Mi-Hat
Pedal Hi-Hat
Low Tom
Open Hi-Hat
Low Mid Tom
Room Low Tom 2
Room Mid Tom 2
Room Mid Tom 1
Elec Low Tom 2
Elec Low Tom 1
Elec Mid Tom 2
ciec Mid Tom 1
Room Low Tom 2
Room Low Tomi
Room Mid Tom 2
Room Mid Tom 1
НМ То"
Crash Cymbal 1
High Tom
Ride Cymbal 1
Chinese Cymbal!
Hoom Hi Tom 2
Room Hi Tom 1
Elec Hi Tom 2
Elec Hi Tom 1
Reverse Cymbal
Room Hi Tom 2
Room Hi Tom 1
Ride Bell
Tambourine
Splash Cymbal
Cowbell
Crash Cymbal 2
Vibraslap
Ride Cymbal 2
MIDDLE C
Hi Bongo
Low Bongo
Mute Hi Conga
Open Hi Conga
Low Conga
High Timbale
Low Timbale
Low Agogo
Maracas
Short Whistle
Long Whistle
Short Guiro |
Claves
Hi Wood Block
Low Wood Block
Mute Cuica
Mute Triangle
Open Triangle
Shaker
Castanets
Talko-Drum High
Taiko-Drum Low
Selecting instrument voices
Standard, Analog, Brush 8 Orchestra drum kit layouts
Standard Kit | Analog Kit |
Brush Kit Orchestra Kit |
rrr —
PCNo. 1 | PC No. 26 |
(28) |
FO (29) Scratch Push
Scratch Pull
Stick
Click Noise
Metronome Bell
Acoustic Bass Drum
(31)
(33)
BO (35)
C1 (36) Bass Drum 1 Analog Bass Drum
Side Stick
Hand Clap
Electric Snare
D1 (38) Analog Srare Drum
Analog Low Tom 2
Analog CHH
Analog Low Tom 1
Analog CHH
Analog Mid Tom 2
Analog OHH
Analog Mid Tom 1
Low Floor Tom
Closed Hi-Hat
Pedal Hi-Hat
Low Tom
Open Hi-Hat
Low-Mid Tam
Al (45)
B1 (47)
Open Hi-Hat
Ride Cymbat
PC No 49 |
РС №. 41 |
Closed Hi- Hat
Pedal Hi-Hat
Concert BD
Concert SD
Castanets
Concert SD
Timpani F
Timpani F4
Timpani G
Timpani G#
Timpant A#
Timpani B
Brush Slap
Brush Rolf
| Anaing H: Tom 2
Aralog Hi Tom 1
C2 (48) Hi- Mid Ton
Crash Cymbal 1
Ride Cymbal 1
Chinese Cymbal
D2 (50)
E? (52)
Timpani C
Timpani C#
Timpani D#
Timpani E
Ride Bell
Tambourine
Splash Cymbal
Cowbell
Crash Cymbal 2
Vibraslap
Ride Cymbal 2
F2 (53)
| G2 (55)
A2 (57)
B2 (59)
Timpani F
C3 (60) MIDDLE ©
Hi Bongo
Low Bongo
Open Hi Conga
Low Conga
D3 (62) Analog Hi Conga
Analog Mig Conga
Analog Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Maracas
Short Whistle
Long Whistle
Short Guiro
Claves
Hi Wood Block
Low Wood Block
Mute Cuica
Open Cuca
Mute Triangle
Open Triangle
Shaker
Analog Claves
Castanets
Taiko Drum High
Taiko-Drum Low
27
Selecting instrument YoIces
RX drum kit layout
FO (28)
FO (29)
GO (31)
AO (33)
BO (35)
C1 (36)
D1 (38)
E1 {40
F1 (41)
G1 (43)
A1 (45)
B1 (47)
C2 (48)
D2 (50)
E2 (52
F2 (53)
G2 (55)
A2 (57)
B2 (59)
C3 (60)
D3 (62)
MIDDLE C
RX Kit |
| PC No. 127 |
Bass Drum 1
Bass Drum 1
Bass Drum 1
Bass Drum 1
Bass Drum t
Bass Drum 1
Acoustic Bass Drum
Bass Drum 1
Bass Drum 1
Acoustic Bass Drum
Bass Drum 1
Low Floor Tom
High Floor Tom
Low Tom
[Hi Mid Tom |
Acoustic Bass Drum
Side Stick
Low rioor Tom
High Floor Tom
Acoustic Snare
Low Tom
Side Stick
Acoustic Snare
Hi Mid Tom
Hand Clap
Cowbell
Closed Hi Hat
Tambourine
Open Hi Hat
Crash Cymbal 1
Chinese Cymbal
Ride Bell
E3 (64)
F3 (65)
G3 (67)
АЗ (69)
B3 (71)
C4 (72)
D4 (74)
Ride Cymbal 1
Low Conga
Open Hi Conga
Mute Hi Conga
Hi Bongo
Low Timbale
High Timbate
Claves :
Low Agogo
High Agogo
Electric Snare
Electric Snare
Electric Snare
Acoustic Snare
Acoustic Snare
Acoustic Snare
Acoustic Snare
Acoustic Snare
Acoustic Snare
Acoustic Snare
Electric Snare
Acoustic Snare
Electric Snare
a
Selecting instrument voices
28
Clavinova & C/M drum kit layouts
В2 (59)
C3 (60)
D3 (62)
E3 (64)
F3 (65)
G3 (67)
A3 169)
B3 (71)
C4 (72)
D4 (74)
E4 (76)
F4 {77}
G4 (79)
A4 (81)
B4 (83)
MIDDLE ©
Clavinova Kit |
PC No, 126
BRUSH ROLL
HH closed-heavy
|
Crash CYM-light
BD light
SU+HIM-heavy
RIDE CYM-cup
BRUSH CYMBAL
SD acho 2
BD normal
RIMSHOT
BRUSH SHOT
Rae UNO
SD echo
HH-closed-normal
HH-open
TOM 2
TOM |
RIDE CYM-normal :
Crash CYM-normal
Crash CYM-normal
E.TOM 1
CONGA iow
CABASA
METRONOME
BONGO-high
TIMBALE-low
CLAVES
TIMBALE high
CASTANETS
COWBELL
CUICA-high
HANDCLAPS
AGOGO-low
0”
AGOGO high
BONGO-low
CUICA low
TAMBOURINE
Crash CYM norma
TRIANGLE-closed
BRUSH ROLL
TRIANGLE-open
Ge (551
A2 157)
B2 (59)
C3 (60) MIDDLE ©
G3 (67)
A3 (B89)
B3 (71)
Ca (72)
D4 (74)
£4 (76)
C/M Kit |
PC No. 128 |
Acoustic B Brum
Acoustic B Drum
Rim Shot
Acoustic 5 Drum
Hand Clap
Electric S Drum
Acoustic L Tom
Closed High Hat
Acoustic L Tom
Open Hi-Hat 2
Acoustic N Tom
Open Hi-Hat 1
Acoustic M Tom
Acoustic H Tom
Crash Cymbal
Acoustic H Tom
Ride Cymbal
Tambourine
Cowbell
High Bongo
Low Bongo
Mute Hi Conga
Open Hi Conga
Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
Maracas
Short Whistle
Long Whistle
Quijada
Claves
29 Multi Common Edit Mode
5 Multi Common Edit Mode
Selecting the type of reverb
Summary:
Select the type of reverb etfect.
Options:
© Hall 1, Hall 2
Room 1, Room 2
Plate 1, Plate 2
Delay 1, Delay 2
Procedure:
1) In play mode, move the cursor, using the [CURSOR] button, to the MD position.
2) Repeatedly press the [EDTT] button until the LCD display shown below appears.
3) Press either the [-1/NO] or [+1/YES] button, to select the required reverb type.
4) Press the [PLAY] button to return to play mode.
Details:
+ If you cannot hear the reverb effect, check the master Reverb Send level setting.
See “Setting the reverb level” on page 30. The amount of reverb effect applied to
each Part can also be adjusted. See “Part reverb send level” on page 36.
* When a different type of reverb 1s selected, the reverb level does not change.
The table below provides details about the different reverb types.
Reverb | Left Right
Effect Description Detail time delay | delay
(sec) (ms) (ms)
Hall 1 Reverb characteristics of a concert halll Medium size hall 2.4 30 -
Hail 2 As above Large size hall 3.2 60 -
Room 1| Reverb characteristics of a room Large room 0.6 8 .
Room 2| As above Slightly smaller than
Room 1, but with solid] 0.9 12 -
walls
Plate 1 | Reverb characteristics of a steel plate | Short 3 16
type reverb unit
Plate 2 | As above Hard 6 20 -
Delay 1 | Delay and reverb used in parallel Stereo delay effect 1.2 150 300
| les, fi Del
Delay 2 | Delay and reverb used in series, first elay reverb effect 2 190 380
delay then reverb
Multi Common Edit Mode 30
Setting the reverb level
Summary:
Set the overall volume level ot the reverb effect.
Settings:
-40...+6dB
Procedure:
1) In play mode, move the cursor, using the [CURSOR] button, to the MD position.
2) Repeatedly press the [EDIT] button until the LCD display shown below appears.
3) Use the [-1/NO] or [+1/Y ES] button, to adjust the level.
4) Press the [PILLAY] button to return to play mode.
Details:
* When set to “+0dB”, the dry signal level and the reverb signal level will be the
same.
* This setting affects the overall volume of the reverb effect. The reverb volume for
each Part can be set independently. See "Part reverb send level” on page 36.
* To select the reverb type, see “Selecting the type of reverb” on page 29.
* The diagram below shows the position of this function in relation to the 16 Parts
and the master volume control. The direct connection from the 16 Parts to the
master volume control, is the unadfected “dry” signal path. At the master volume
control, the unaffected “dry” signal and the reverb signal are mixed together.
| REVERB SEND
LEVEL 0.8
1".
bo
COC a ны №:
/ „”
и ~~
/ 7
16-PARTS 7
STEREO
к
REVERB
LEVEL
-40...+5dB
DIGITAL
REVERE
MASTER
VOLUME
LINE OUT
UNAFFECTED "DRY" SIGNAL
31 Multi Part Edit Mode
6 Multi Part Edit Mode
switched off. If you want to keep the settings they must be saved to an
MDR (MIDI Data Recorder). See “Using MIDI Dump to save data” on
page 50.
Part volume
Summary:
Adjust the volume level of each Part.
Settings:
0....127
Procedure:
1) In play mode, move the cursor, using the [CURSOR] button, to the CH position.
2) Repeatedly press the [EDIT] button until the 1.CD display shown below appears.
3) The number at the leftward side of the display shows the currently selected Part.
Repeatedly press the [PART] key to select the Part whose volume you want to
adjust.
4) Use the [-1/NO] and {+/YES] buttons, to adjust the volume level.
5) Press the [PLAY] button to return to play mode.
Details:
* Using this function, you can balance the volume level of the 16 Parts just like a
mixing console.
* When a Part’s volume 1s set to “0”, no sound will be produced by that Part.
* The maximum volume level of each Part 1s affected by the volume level of the
elements used by the voice, which 15 assigned to the Part. See “Adjusting the
volume of voice elements” on page 41.
* MIDI Control change expression data also affects the maximum volume level of
a Part. So 1f the maximum volume level 1s not being produced, 1t could be that
MIDI Control change expression data is being input to the TG 100 from your
MIDI master keyboard, synthesizer or MIDI controller.
* Remember, an instrument's volume level is also controlled by MIDI note velocity
data.
Multi Part Edit Mode 32
Part panpot (stereo position)
Summary:
Set the pan position of each Part.
Settings:
L7 - L6 - L5 - L4 - L3-L2-L1-0-R1-R2-R3-R4-R5-R6-R7 - VOICE
Procedure:
1) In play mode, move the cursor, using the [CURSOR] button, to the CH position.
2) Repeatedly press the [EDIT] button until the LCD display shown below appears.
3) The number at the leftward side of the display shows the currently selected Part.
Repeatedly press the [PART] key to select the Part whose volume you want to
adjust.
4) Use the [-1/NO] button to select a leftward setting and the {+1/YES] button to
select a nghtward setting.
5) Press the [PLAY] button to return to play mode.
Details:
This function allows you to position sounds any where between your left and right
speakers, and stereo headphones. It works like the balance control found on most
hi-fi systems. Effectively, the TG100 has 15 balance controls, one for each Part
(Part 10, drums, cannot be panned).
* À pan setting of “0” will position the sound centrally between the speakers. A
setting of “L7” will position the sound to the left, a setting of “R7”, to the right.
« For a more subtle panning effect, sounds can be positioned at any one of the 15
positions between the left L7 and right R7 positions.
* The pan function does not affect Part 10, drums. When Part 10 is selected, the
LCD will show “***,
< Many of the drum sounds are already set at various pan positions, try playing the
tom-toms from high to low and see how they sweep from right to left.
NOTE: The pan positions set by this function and those set by the voice edit ,
mode’s element pan function, are ignored if only the “L/ MONO” output
connection 1s used.
The following diagram shows the pan positions relative to the left and right speakers.
33
Multi Part Edit Mode
LEFT SPEAKER RIGHT SPEAKER
CENTER ©
8
L7-L6-L5-L4-L3-L2-1 1-0-R1-R2-R3-R4-R5-R6-R7
LISTENING POSITION
The “voice” setting
* There is one more setting at the far right, just after setting “R7”. This 1s called
“voice”. If “voice” is selected, using the [+1/YES] button, the LCD display shown
below appears.
This allows you to use the pan position set by the voice edit mode's element pan
function, on page 43.
Why use panning
Panning is a very useful function and all stereo recordings use panning to position
sounds between the left and right speakers.
If your composition contains a lot of instruments, or if you have some instruments
playing notes that are close in range, for example, two guitar parts playing similar
riffs. Things might start to sound a bit crowded and some instruments might be heard
only when other instruments have stopped playing.
Using this pan function, you can position instruments between the speakers giving
each instrument its own space.
Studio engineers often compare the process of positioning sounds to that of painting
a picture. With the left speaker being at the left side of the canvas and the right
speaker being at the right side of the canvas. Sounds can then be positioned at the
edges of the canvas or anywhere in-between, effectively building a sound picture.
Multi Part Edit Mode 34
pu En 1) |. нео оееетсетсосо
Part EG attack rate
Summary:
Set the attack rate for each Part.
Settings:
-7...+7
Procedure:
1) In play mode, move the cursor, using the [CURSOR] button, to the CH position.
2) Repeatedly press the [EDIT] button until the LCD display shown below appears.
3) The number at the leftward side of the display shows the currently selected Part.
Repeatedly press the [PART] key to select the Part whose attack rate you want to
adjust.
4) Press the [-1/NO] button to select minus values and the [+]/YES] button to select
plus values.
5) Press the [PLAY] button to return to play mode.
Details:
* This function allows you to set the speed at which the volume of a Part rises when
a key 1s pressed.
-7 produces a slow attack.
+7 produces a fast attack.
+0 is the default setting.
* Although the attack rate for the TG100's preset voices has already been set, you
may want to adjust those settings to suit your own taste.
* Some of the preset voice’s attack rates are already set to the fastest or slowest
setting. In this case further adjustment is not possible. You can change the value,
but no change will be heard.
This attack rate function does not affect Part 10, drums. When Part 10 1s selected,
the LCD will show “***",
* Theletters “EG” on the LCD display stand for “Envelope Generator”. Attack rate
is one of the TG100’s internal envelope generator parameters. Release rate 1s also
a parameter of the envelope generator. See “Part EG release rate” on page 35.
35
Multi Part Edit Mode
Part EG release rate
Summary:
Set the release rate for each Part.
Settings:
7.47
Procedure:
1) In play mode, move the cursor, using the [CURSOR] button, to the CH position.
2) Repeatedly press the [EDIT] button until the LCD display shown below appears.
3) The number at the leftward side of the display shows the currently selected Part.
Repeatedly press the [PART] button to select the Part whose release rate you want
to adjust.
4) Press the [-1/NO] button to select minus values and the [+1/YES] button to select
plus values.
5) Press the [PLAY] button to return to play mode.
Details:
This function allows you to set the speed at which the volume of a Part falls when
a key 1s released.
-7 produces a slow release.
+7 produces a fast release,
+0 1s the default settings.
Although the release rate for the TG100’s preset voices has already been set, you
may want to adjust those settings to suit your own taste.
Some of the preset voice’s release rates are already set to the fastest or slowest
setting. In this case further adjustment 1s not possible. You can change the value,
but no change will be heard.
This release rate function does not affect Part 10, drums. When Part 10 is selected,
the LCD will show “***",
The letters “EG”, on the LCD display stand for “Envelope generator”. Release
rate is one of the TG100’s internal envelope generator parameters. Attack rate 1s
also a parameter of the envelope generator. See “Part EG attack rate” on page 34.
Am
Multi Part Edit Mode 36
Part reverb send level
Summary:
Set the reverb send level for each Part.
Settings:
0.8
Procedure:
1) In play mode, move the cursor, using the [CURSOR] button, to the CH position.
2) Repeatedly press the [EDIT] button until the LCD display shown below appears.
3) The number at the leftward side of the display shows the currently selected Part.
Repeatedly press the [PART] key to select the Part whose reverb send level you
want to adjust.
4) Use the [-1/NO] and [+/YES] buttons. to adjust the level.
5) Press the [PLAY] button to return to play mode.
Details:
+ This function allows you to set the amount of reverb effect applied to each Part.
* When set to “0”, no reverb is applied to a Part.
* The overall volume level of the reverb effect is set independently, so if you set a
Part’s reverb level to 8, but can’t hear any reverb, see “Setting the reverb level” on
page 30.
Using reverb
Reverb is an exciting effect and can really bring sounds to life. However, a common
mistake is to apply it to all instruments in a composition. This leads to a “washy”
sound with little definition between instruments.
Reverb can be used just for effect, to make sounds appear bigger, or to simulate
naturally occurring reverb.
Reverb can also be used to create depth in what is effectively a “one dimensional”
system, that is two speakers on the same axis. As we mentioned earlier, “Part panpot
(stereo position)” on page 32, the area between the left and right speakers can be”
thought of as a sound picture. Using reverb we can position sounds in front of and
behind that picture, creating a more realistic “two dimensional” sound.
Basically, a sound with little, or no reverb will appear closer to the listener than a
sound with reverb.
37 Multi Part Edit Mode
Part MIDI receive channel
Summary:
Set the MIDI receive channel for each Part.
Settings:
1...16 - OFF
Procedure:
1) In play mode, move the cursor, using the [CURSOR] button, to the CH position.
2) Repeatedly press the [EDIT] button until the LCD display shown below appears.
3) The number at the leftward side of the display shows the currently selected Part.
Repeatedly press the [PART] key to select the Part whose MIDI receive channel
you want to change.
4) Use the [-1/NO] and [+1/YES] buttons, to select MIDI receive channel, or off.
5) Press the [PLAY] button to return to play mode.
Details:
* When a Part is set to off, it does not respond to any MIDI channel Messages. See
“Channel messages” on page 9.
* OnPage 16, “Selecting the sound module mode”, the assignment of MIDI receive
channels to Parts for each of the sound module modes is shown.
* The MIDI receive channel affects the way note-priority is given to each Part.
Basically, priority is given in ascending order of MIDI receive channel. See also,
“Truncation” on page 7.
* The following two tables, show the relationship between MIDI receive channels
and note allocation priority.
Multi Part Edit Mode 38
+ In the following table, General MIDI sound module mode has been selected. As
you can see, priority is given to Parts by ascending order of MIDI receive channel,
except for Part 10, Drums, which always takes number one priority.
PART No. MIDI RECEIVE PRIORITY
CHANNEL
1
©O| 0 —4 | 5 | Сл WE
1
2
3
4
5
6
7
8
oo Cl AO N
—
<
9
10 (DRUMS)
11
12
13
14
15
16
-— 1 —k | —k | —# | „ыы | |
a| sl OGIN| —| ©
E E E | =
сл | > | 62 | № | — | —*
=
<
—
<
+ In the following table, all the MIDI receive channel to Part assignments have been
changed. As you can see, priority is still given to Parts by ascending order of
MIDI receive channel, except for Part 10, drums. Although it is set to MIDI
receive channel “15”, it still has number one priority.
PART No. MIDI RECEIVE PRIORITY
CHANNEL
16 16
7 8
8 9
9 10
10 11
11 12
12 13
13 14
3 14 15
10 (DRUMS) 15
11
12
13
14
15
16
69 | —4 | 2 | Сл 1 43 | © | О | —
39 Voice edit mode
7 Voice edit mode
Summary:
Edit the one of the 64 voices in the Internal voice bank.
Settings:
+ Element level (see “Adjusting the volume of voice elements” on page 41).
. Element detune (see “Detuning voice elements” on page 42).
* Element pan (see “Panning voice elements” on page 43).
« Voice name (see “Naming voices” on page 44).
Procedure:
1) In play mode, move the cursor, using the [CURSOR] button, to either the BK or
PCH position.
2) Press the [EDIT] button.
If the currently selected Part is assigned a voice from the Internal voice bank,
voice edit mode will engaged.
If the currently selected Part’s voice is not from the Internal voice bank, the Voice
Copy function will appear. This allows you to copy the voice into the Internal
voice bank, where it can then be edited. See “Copying voices” on page 45.
3) Once voice edit mode is entered, repeated pressing of the [EDIT] button allows
you to select the editing functions listed above, under “Settings”.
4) Once editing is completed, press the [PLAY] button to return to play mode.
Details:
+ While in voice edit. the number of the internal voice being edited is shown at the
leftward side of the LCD display, as shown below.
* If you edit an internal voice, but then decide you preferred the original, use the
Voice Copy function to copy the original voice bank into the internal voice bank.
« While in voice edit mode, the [PART] button cannot be used to select different
Parts. To edit another Part's voice, return to play mode, select the Part, using the
[PART] button. then re-enter voice edit mode.
« Tf you return to voice edit mode from play mode, the edit function that was used
before you retumed to play mode will be shown.
Voice edit mode 40
Elements
Some voices consist of two elements, some of one. If a voice consists of two
elements, individual level, detune and pan editing is possible for each element.
When a voice with only one element is selected for editing, the LCD display will
show *****”. at the position used by element number two. Also, the [CURSOR] button
Will not function.
The “Voice bank table” on page 19 shows which voices consist of two elements.
When the TG100 is switched on
Every time the TG100 is switched on, voices 1...64 from the General MIDI VOICE
bank are copied into the Internal voice bank. If you want to edit the other voices, use
the “COPY VOICE” function to copy the voice into the Internal voice bank. See
“Copying voices” on page 45.
Storing voices
The TG 100 does not contain any internal memory for storing edited voices, so when
the power is turned oft your edits will be lost. If you wish to save edited voices, they
must be transferred to an MDR (MIDI Data Recorder). This could be a MIDI
computer sequencer; a librarian program; a dedicated MIDI data recorder, such as
Yamaha's MDF2; or a synthesizer with an MDR function, such as Yamaha's SY99
music synthesizer.
Drums
The drum voices cannot be edited. When Part 10 drums is selected, the [EDIT] button
does not work.
User setup tables
On page 60 of this manual there is an “Internal voice bank table” where you can keep
details about the voices you have edited.
On page 62 there is a “TG100 Setup table” where you can keep TG100 setup
information. Such as, multi common edit parameters, System mode parameters and
multi Part edit parameters.
Feel free to photocopy these tables.
41 Voice edit mode
Adjusting the volume of voice elements
Summary:
Adjust the volume of voice element(s).
Settings:
0...127
Procedure:
1) Enter voice edit mode, as described on page 39.
2) Repeatedly press the [EDIT] button until the LCD display shown below appears.
3) Use the [CURSOR] button to select the element whose volume level you want to
adjust, “1” or “2”.
4) Use the [-1/NO] button to decrease the volume and the [+1/YES] button to
increase the volume.
5) Press the [PLAY] button to return to play mode, or the [EDIT] button to select
another voice edit function.
Details:
* This function allows you to balance the volume between the two elements. As the
volume level of one element is reduced, the tonal characteristics of the voice will
change.
« If a voice uses only one element, this function will effectively work as a volume
control.
+ When an element’s volume level is set to “0”, no sound is produced by that
element.
e The maximum volume level is also affected by the Part volume level setting. So
if both elements are set to 127, but the maximum volume level is not being
produced, check the Part's volume level setting. See “Part volume” on page 31.
MIDI Control change expression data also affects the maximum volume level of
a Part. So if the maximum volume level is not being produced, it could be that
MIDI Control change expression data is being input to the TG 100 from your
MIDI master keyboard, synthesizer or MIDI controller.
Voice edit mode 42
Detuning voice elements
Summary:
Detune voice element(s).
Settings:
-32...432 cents
Procedure:
1) Enter voice edit mode, as described on page 39.
3) Use the [CURSOR] button to select the element you want to detune, “1” or “27.
4) Use the [-1/NO] button to decrease the value and the [+1/YES] button to increase
the value.
5) Press the [PLAY] button to return to play mode, or the [EDIT] button to select
another voice edit function.
Details:
* By detuning one of the elements, a chorus type effect can be produced.
« If a voice uses only one element, you could still detune it a little. The voice will
then be slightly out of tune relative to the rest of the voices. Maybe you want to
simulate that guitarist who is never quite in tune with the rest of the band.
+ To produce a chorus type effect with voices that use only one element, you could
select the same voice for two Parts. Set the Parts to the same MIDI receive
channel, then detune one of the voice elements of one Part.
43 Voice edit mode
Panning voice elements
Summary:
Set the pan position of an element.
Settings:
L7-L6-L5-L4-L3-L2-L1-0-R1-R2-R3-R4-RS-R6-R7
Procedure:
1) Enter voice edit mode, as described on page 39.
2) Repeatedly press the [EDIT] button until the LCD display shown below appears.
3) Use the [CURSOR] button to select the element you want to detune, “1” or “2”.
4) Use the [-1/NO] button to select a leftward setting and the [+1/YES] button to
select a rightward settings.
5) Press the [PLAY] button to return to play mode, or the [EDIT] button to select
another voice edit function.
Details:
e For more details about panning, see “Part panpot (stereo position)” on page 32.
* This function is affected by the setting of a Part’s pan position.
When a Part's pan position is set to one of the 15 positions, from L7-0-R7, the
elements pan position settings are ignored.
When a Part’s pan position is set to “voice”, the Part’s pan position setting 1s
ignored and the element's pan position is used.
NOTE: The pan positions set by this function and those set by the Mult: Part
edit mode's pan function, see “Part panpot (stereo position)” on page
32, are ignored if only the “L/MONO” output connection 1s used
Voice edit mode 44
Naming voices
Summary:
Give a name to a voice that you have edited.
Settings:
spac
0
Procedure:
1) Enter voice edit mode, as described on page 39.
2) Repeatedly press the [EDIT] button until the name of the voice that you are
currently editing appears on the LCD display. Example below.
3) Use the [CURSOR] button to select the character that you want to change.
4) Use the [-1/NO] and [+1/YES] button to change the character.
5) Press the [PLAY] button to return to play mode, or the [EDIT] button to select
another voice edit function.
Details:
* Voice names can be up to eight characters long.
* When you have edited a voice, it's a good idea to give it a new name, That way
you won't get it confused with the preset voices.
45 Voice edit mode
Copying voices
Summary:
Copy a voice from any voice bank into the Internal voice bank.
Settings:
Voices can be copied into any one of the Internal voice bank’s 64 memories.
Procedure:
1) Enter voice edit mode, as described on page 39.
This function appears automatically if the currently selected Part's voices 1s not
from the Internal voice bank.
2) The LCD display shown below will appear.
3) Use the [-1/NO] and [+1/YES] buttons to select the destination where you want
to copy the voice to (1...64).
4) Press the [CURSOR] button. The following LCD display will appear.
5) Press the [+1/YES] button to copy the voice, or the [-1/NO] button to cancel the
operation.
Any Parts that were using the voice at the copy destination, will now use the new
voice.
The previous LCD display will be shown.
6) Press the [PLAY] button to return to play mode, or the [EDIT] button to select
another voice function.
Details:
* As well as copying preset voices into the Internal voice bank, you can also copy
voices already in the Internal voice bank to different locations (1...64).
System Mode Functions 46
8 System Mode Functions
Master tuning
Summary:
Set the overall tuning for the TG 100.
Settings:
-100...+100 cents (+1 semitone)
Procedure:
1) Simultaneously press the [PART] and [EDIT] buttons.
2) Repeatedly press the [EDIT] button until the LCD display shown below appears.
3) Use the [-1/NO] button to decrease the value and the [+1/YES] button to increase
the value.
4) Press the [PLAY] button to return to play mode, or the [EDIT] button to select
another system function.
Details:
* This function sets the overall tuning of the TG100, that 1s all voices.
* When individual voice elements are detuned, that detuning is relative to this
master tuning setting.
« This function may be used when you are playing with another instrument that 1s
not tuned to A3 (440Hz).
47 System Mode Functions
Velocity meter mode setting
Summary:
Select the LCD MID] note velocity meter mode.
Settings:
off - auto - on
Procedure:
1) Simultaneously press the [PART] and [EDIT] buttons.
2) Repeatedly press the [EDIT] button until the LCD display shown below appears.
3) Use the [-1/NO] and [+1/YES] buttons to select the mode.
4) Press the [PLAY] button to retum to play mode, or the [EDIT] button to select
another system function.
off mode
The velocity meter does not function.
auto mode
* In play mode, if a MIDI note-on message is received, the velocity meter appears.
e If no MIDI note-on messages are received for more than 10 seconds the play
mode display appears.
+ If one of the TG100’s front panel buttons is pressed while the velocity meter is
displayed, the play mode display will appear. If after two seconds, a MIDI note-on
message is received, the velocity meter display will appear.
e If a Part receives a Program Change message, while the velocity meter 1s being
shown, the play mode display will appear. Indicating the Part, voice bank,
Program Change number and the voice name. If after two seconds, a MIDI
note-on message is received, the velocity meter display will appear.
on mode
* In play mode, the velocity meter is shown.
« If one of the TG100’s front panel buttons is pressed while the velocity meter 1s
displayed, the play mode display will appear. If after two seconds, a MIDI note-on
message is received, the velocity meter display will appear.
« If a Part receives a Program Change message, while the velocity meter is being
shown, the play mode display will appear. Indicating the Part, voice bank,
Program Change number and the voice name. If after two seconds, a MIDI
note-on message is received, the velocity meter display will appear.
System Mode Functions ~~ 438
Details:
+ The velocity meter does not show the audio volume level of each Part, it shows
the MIDI note velocity currently being received on each MIDI channel.
+ If a MIDI receive channel is set to “OFF”, velocity information will not be shown
for that MIDI channel.
« The velocity meter can also be used for troubleshooting. For example, if a Part is
not producing any sound, but the velocity meter indicates that MIDI note data is
being received, maybe the Parts volume level is turned down.
Typical velocity meter display.
12345678 9101112131415 16
MD CH BK PCE VOICE NAME
The following diagram shows how MIDI note velocity values between 0 and 127 are
represented on the LCD.
0, no input meas 64. 84 mus
1.21 mama
22...42 85...105 amas
43...63 una
106...127 — muna
49 System Mode Functions
MIDI Exclusive on/off, device number
Summary:
Turn the MIDI Exclusive function on or off and set the device number.
Settings:
Exclusive-on/off. Device No. 1....16, or all.
Procedure:
1) Simultaneously press the [PART] and [EDIT] buttons.
2) Repeatedly press the [EDIT] button until the LCD display shown below appears.
3) Use the [CURSOR] button to select either “Exc” or “Dev”. ®
4) Use the [-1/NO] and [+1/YES] buttons to change the settings.
5) Press the [PLAY] button to return to play mode, or the [EDIT] button to select
another system function.
Exclusive on/off
on:
+ MIDI System Exclusive Messages can be received and sent.
off:
+ MIDI System Exclusive Messages cannot be received or sent.
Device number
+ The device number 1s actually the MIDI channel that will be used for recerving
and sending System Exclusive Messages (MIDI dump).
* For correct operation, both the sending and the receiving devices must be set to
the same device number. Q
+ If “all” is selected, the TG100 can receive System Exclusive Messages sent on any
MIDI channel (1...16). The TG 100 will send System Exclusive Messages on
MIDI channel |.
Details:
1
* [fthe Exclusive is set to “off”, the next function, “Using MIDI Dump to save data
on page 50, cannot be used.
+ The Exclusive 1s automatically turned “on” when the Sound Module mode 1s
changed.
eN
System Mode Functions 50
Using MIDI Dump to save data
Summary:
Save the following data to a computer or MDR (MIDI Data Recorder).
* System mode settings
* Multi Common Edit settings
* Multi Part edit mode settings
Drum setup
* Internal voice bank data (1...64)
Settings:
Dump All: Yes or No.
Procedure:
1) Simultaneously press the [PART] and [EDIT] buttons.
2) Repeatedly press the [EDIT] button until the LCD display shown below appears.
3) Press the [+1/YES] button to send all the data listed above as a System Exclusive
(Bulk dump) Message to an awaiting MIDI device.
Or, press the [-1/NO] button to cancel this function and return to play mode.
5) When data sending is complete, the TG 100 returns to play mode.
Details:
« Ifthe Exclusive function is set to off, see “MIDI Exclusive on/off, device number”
on page 49, the “Dump All” function will not appear on the LCD.
« Before using this function, see “MIDI Exclusive on/off, device number” on page
49.
e Ifthe “HOST SELECT” switch is set to “MIDI”, the System Exclusive Messages
will be sent via the “MIDI OUT” connector.
в If the “HOST SELECT” switch is set to either “Mac”, “PC-1”,or “PC-2", the
System Exclusive Messages will be sent via the “TO HOST” connector.
* See “Editing & Saving Voices” on page !1 of the Getting Started Manual tor
more details.
51 System Mode Functions
Initialize All (reset to default settings)
Summary:
Reset all internal parameters to the default (factory) settings.
Settings:
Initialize All: Yes or No.
Procedure:
1) Simultaneously press the [PART] and [EDIT] buttons.
2) Repeatedly press the [EDIT] button until the LCD display shown below appears.
3) Press the [+1/Y ES] button to reset all internal parameters to the default (factory) o
settings. -
Or, press the [-1/NO] button to cancel this function and return to play mode.
4) While the TG100 1s resetting its parameters, the LCD display shows the following
message.
5) When initialization 1s complete, the TG100 returns to play mode.
Details:
* This function is useful when you want to create a new setup starting with the
default parameter settings.
System Mode Functions 32
Playing the Demo song
Summary:
Play the TG100’s internal demonstration song.
Settings:
Start - Stop
Procedure:
1) Simultaneously press the [PART] and [EDIT] buttons.
2) Repeatedly press the [EDIT] button until the LCD display shown below appears.
3) Press the [+1/YES] button to start the demo song playing.
Or, press the [-1/NO] button to cancel this function and return to play mode.
4) While the demo song is playing, the LCD display shows the following message.
5) Press the [-1/NO] button to stop the demo song.
6) Press the [+1/YES] button to start the demo song playing again, or the [PLAY]
button on return to play mode.
Details:
* The demo song is stored inside the TG100's internal ROM circuit.
* The demo song lets hear the TG100's voices in action.
« While the demo song is playing, the MIDI and HOST connections do not
function.
* The demo song will stop playing if the HOST SELECT select switch 1s adjusted.
NOTE: When the demo song is played, some of the TG100's Part and voice
assignments are changed. This means that your original settings will be
lost, unless you have saved them using the MIDI Bulk Dump function.
33 Connecting to a computer
9 Connecting to a computer
MIDI
The TG100 can be connected to all computers that are used with MIDI music
software.
As well as the standard MIDI IN, OUT and THRU connections, the TG100 also has
a “TO HOST” connection. This allows direct connection to computers that do not
have a built-in MIDI interface and to computers that are not fitted with an optional
MIDI interface card.
The TG100 has four interface modes: MIDI, Mac, PC-1 and PC-2. These are
explained below.
Select the mode that is most appropriate for your computer and music software. If
you are not sure, please consult your Yamaha dealer.
This mode is for use with a computer that has a MIDI interface. That is, a computer
with a built-in MIDI interface, such as the Atari ST™ range of computers, an Apple
Macintosh™ computer with an external MIDI interface unit, or a PC-9800 or PC-AT Y
compatible type computer fitted with an MPU-401, or compatible MIDI interface. ©
Most MIDI music software can be used with this type of connection.
The “HOST SELECT” switch should be set to MIDI.
The connecting MIDI cable should be of the type described in the “Host computer
connecting cables” on page 67. To use the TG100's bulk dump function, the TG100's
MIDI OUT should be connected to the computers MIDI IN.
OTHER MIDI
DEVICES
MIDI IN
MIDA
0. E
— MIDI OUT
MIDI IN
MIDI IN
MIDI OUT
The table below explains how the MIDI data signals are handled in MIDI mode.
Connector Function
TO HOST: IN | No function.
:OUT No function.
MIDI IN MIDI data is input and processed.
MIDI QUT System Exclusive data is output.
MIDI THRU Data appearing at the MIDI IN port is fed directly to the MIDI THRU port.
Connecting to a computer 54
Mac
This mode is for use with an Apple Macintosh™ computer, which 1s not connected
to an external MIDI interface unit. The TG 100 can be connected directly to one of
the Apple Mac's serial (RS-422) ports.
1) Connect the TG100's “TO HOST” connector to one of the Apple Mac's senal
ports using the “Mac” connecting cable shown on page 67.
2) Switch on your Apple Mac.
3) Switch on the TG100.
4) Set the TG100's “HOST SELECT” switch to Mac.
5) Start your Apple Mac music software.
Your music software will probably require you to specify the type of MIDI interface
you are using. You should specify “Standard MIDI interface”, or if it has a “MIDI
Time Piece option”, turn it off. If your software also requires you to specify the data
rate, select | MHz.
If your Apple Mac is not switched on, or your music software is not running, the
message “HOST is Offline !” will appear on the TG100’s LCD.
MIDI IN
OTHER
MIDI
DEVICES
SERIAL PORT_
PR MIDI IN
MIDI OUT
The table below explains how the MIDI data signals are handled in “Mac” mode.
MIDI data is carried to and from the computer using the “TO HOST” connection.
Connector Function Details
TO HOST: IN | MIDI data is input, processed, then fed to Synchronized. Data format: 8 bit, 1 stop
the MIDI OUT port. bit, no parity. 1MHz clock from TG100 jo
seria! ports’ HSKi data pin.
-OUT MIDI data received at the MIDI IN port is | When System Exclusive Message is sent,
output. data from the MIDI IN port is not output.
MIDI IN MIDI data received is output to the TO The TG 100 does not respond to the MIDI
HOST port. data appearing at the MIDI IN port, but to
the MIDI data FROM HOST.
MIDI QUT MID] data received at the HOST IN port is
output.
MIDI THRU MIDI data appearing at the MIDI IN portis
fed directly to the MIDI THRU.
55
Connecting to a computer
PC-1
PC-2
This mode is for use with a PC-9800 type computer. The PC-9800 is a very popular
computer in Japan. The specifications are the same as those for “PC-2”, mode except
for the baud rate. See “Technical specifications” on page 66,
This mode 1s for use with an IBM-PC, PC-AT compatible and PS/2 type computer,
which does not have a MIDI interface card installed. The TG 100 can be connected
directly to the computers serial (RS-232C) port.
The music software used must be able support the TG100’s “TO HOST” connection.
Please consult your Yamaha dealer for more details. If your software does not support
the “TO HOST” connection, the TG 100 can still be connected to this type of computer
by installing a MIDI interface card (MPU-401, or compatible) in the computer.
1) Connect the TG100’s “TO HOST” connector to one of the PC's serial ports using
the “PC-2” connecting cable shown on page 67.
2) Switch on your PC.
3) Switch on the TG100. 9
4) Set the TG100's “HOST SELECT” switch to PC-2.
5) Start your PC music software.
If your PC 1s not switched on, or your music software is not running, the message
“HOST is Offline !” will appear on the TG100's LCD.
MIDI IN
OTHER
MIDI. Y
DEVICES E
— MIDI
SERIAL PORT
MIDI OUT
The table below explains how the MIDI data signals are handled in PC-2 mode. MIDI
data is carried to and from the computer using the “TO HOST” connection.
Connector Function Details
TO HOST: IN | MIDI data is input, processed, then fed to | Synchronized. Data format: 8 bit, 1 stop
the MIDI OUT port. bit, no parity.
OUT] MIDI data received at the MIDI iN port is | When System Exclusive Message is sent,
output. data from the MIDI IN port is not output.
MIDI IN MIDI data received is output to the TO The TG100 does not respond to the MIDI
HOST port. data appearing at the MIDI IN port, but to
the MIDI data FROM HOST.
MIDI OUT MIDI data received at the HOST IN port is
output.
MIDI THRU MIDI data appearing at the MIDI IN port is
—— an new —O Ys»
Other Functions 56
10 Other Functions
Adjusting the LCD contrast
* The contrast control, on the TG100's rear panel, should be adjusted so that the
LCD display is easy to read.
* When the LCD display is viewed from a different height or angle, the contrast
may need to be adjusted.
AUDIO IN connection
Summary:
This function allows you to mix sounds from another instrument or audio device with
the TG100's sounds.
Procedure:
1) Connect the line output of the other instrument, or audio device to the “AUDIO
IN” connector on the TG100's front panel.
The TG 100's AUDIO IN connection is stereo. It uses a 3.5 mm mini jack, so you
might need to buy a connecting cable, or some connector adaptors.
2) Use the “INPUT” level control to set the sound balance between the AUDIO IN
sound and the TC:100's sounds. When the control is set to minimum, a small
amount of AUDIO IN sound can still be heard, this is normal.
3) If the “PEAK” indicator lights up, turn down the INPUT” level control,
otherwise the input signal will be distorted.
Details:
« This function is useful if you don't have an audio mixer. Any of the audio devices
listed in the diagram below can be connected.
©
TG100 LINE OUT
a k
TG100 |
AUDIO DEVICE CIRCUITS ; | \
|
SYNTHESIZER, MID!
INSTRUMENT, TAPE — бак | e STEREO AMPLIFIER
PEA e Km (Hi-Fi amplifier)
RECORDER, со INDICATOR VOLUME
PLAYER, DAT о
RECORDER, APPLE Mac
STEREQ AUDIO QUT,
etc. INPUT ee
LINE QUTPUT |
PHONES
57 Typical System Configurations
11 Typical System Configurations
MIDI keyboard
MIDI keyboard, this could be a MIDI master keyboard, a synthesizer or any
electronic keyboard instrument that can transmit MIDI data. See “Using the TG100
with a MIDI keyboard” on page 4 of the Gerting Started Manual.
Computer sequencer
See “Using the TG100 with a computer that has a MIDI interface” on page 7 and
“Using the TG100 with a computer that has a MIDI interface” on page 7 of the
Getting Started Manual. |
Disk Orchestra system
Yamaha's Disk Orchestra Collection can be played using one of the following
Yamaha products:
DRC-20 Disk player 19
DOM-30 Disk Orchestra Module E
MDF2 MIDI data recorder.
The TG100 should be set to “Disk Orchestra mode”. This will automatically select
the Clavinova drum kit and the correct voice to Program Change number
assignments.
As well as playing the Disk Orchestra Collection's disks, the DOM-30 works as a
multi-timbral tone generator too. So, you could use some voices from the TG 100 and
some from the DOM-30. In this case, the unused Part's MIDI receive channel should
be set to OFF,
The audio output of the DOM-30 could be connected to the TG 100's AUDIO IN
facility, allowing you to mix the sound output of both tone generators.
The diagram below shows how a Disk Orchestra system can be setup.
MIDI OUT MIDI IN | LINE OUT
Yamaha's
DRC-20,
DOM-30 or MDF2
DISK ORCHESTRA
FLOPPY DISK
Typical System Configurations 58
Sequencer system
The following system is quite an advanced MIDI music production system. It 1s
intended to show how your MIDI system can be expanded and the benefits of having
a TG100 tone generator at the heart of your system.
Connecting the TG100 to a computer with a MIDI interface and connecting to a Mac,
PC-1 or PC-2 type computer without a MIDI interface, using the TG 100 as the MIDI
interface, is a little different. So, for the sake of clarity the system is shown twice;
first, with a MIDI host connection, second, with the TO HOST connection.
MIDI connection
MULTITRACK BR.
RECORDER E
STEREO AMPLIFIER
(Hi-Fi amplifier)
MIDI MULTI-EFFECTOR
f+
PR 7, o - В ETT
DAA NI ne a ee a ee а:
DAT or TAPE :
RECORDER :
MIDI TONE GENERATOR É
Pa te
MIDI SOUND SAMPLER
TT TA
THRU INY |MIDI OUT
y MIDIIN 2
MIDI 2
SWITCH BOX E
MIDI IN re
MIDI OUT
u
— — — > MIDI CABLE MIDI SWITCH BOX
Switch to MIDI IN 2
—» AUDIO CABLE when using bulk dump
59 Typical System Configurations
TO HOST connection
MULTITRACK
RECORDER
STEREO AMPLIFIER E
(Hi-Fi amplifier) ;
MIDI MULTI-EFFECTOR i
y DAT or TAPE à
RECORDER ;
MIDI TONE GENERATOR E
MIDI DRUM MODULE ;
MIDI SOUND SAMPLER |
OUT
посту y MIDI IN
a : SERIAL
PORT
3b
MIDI QUT
ZA bil
epi ee a Ene TE a eR le nl ns ee en Te en To Ee te mi ln el
———
EEE р»
MIDI CABLE
AUDIO CABLE
HOST CABLE
As you can see from the above diagram, not only does the TG100 work as a MIDI
interface for the other MIDI devices, it also eliminates the need for a MIDI switcher
box when the bulk dump function is used.
Appendix 60
12 Appendix
Internal voice bank table
Voice No. Voice name PC No. Element 1 Element 2
LEVEL | DETUNE PAN LEVEL | DETUNE PAN
1 1
5 5 tf
р зреет
4 De ВИ
не Do O A ; us ee Ви м
_ 0 a SE
1 E Дне re neo
een 0 cn Len
вре es Gg
ны 0 o ee нее e
gp ee ff
ен HO" =
Pr ame ff
a a pres
ee e e | Ви
Je naaa aferro
кач -нинеЙ сн н-тачивктяаиньны att t e
61
Appendix
Voice No.
Voice name
Element 1
Element 2
PC No.
LEVEL
DETUNE
34
33
35
DETUNE
PAN
36
os
37
39
40
bo errata ates TE
Tocar rar 6
EPP PE rre
bs rear iar arr irre
bor ee
E
'.
Appendix
62
TG100 Setup table
Song Title
Setup Title
Date
Multi common Edit parameters
Sound module mode
Reverb type
Reverb send level
System Mode parameters
Master Tune
Velocity Meter Mode
Exclusive on/off
Multi Part Edit parameters
MIDI . Program
P
art Channel voice Change Voice name Volume Panpot
No. No Bank No
1
2
3
4
Attack
Release
Reverb
Send
63 Appendix
Troubleshooting
Symptom What to do
Check all your equipment is switched on.
Check the audio connections, including cables.
Make sure the TG 100's master volume control | 1s turned up.
No sound Check the settings on your amplifier, or mixer; input select, volume,
speakers, headphones, etc.
Start the demo song, see page 52. If you still have no sound, the
problem must be somewhere between the TG100's outputs and your
speakers.
Check the MIDI connections.
Make sure your MIDI keyboard's MIDI transmit channel matches
The demo song plays OK, but the| that of the TG100 Part you want to play, see page 37.
TG100 does not respond to your | a Se
MIDI keyboard. Set the Veloci ity meter mode to ON, see page 47, This will tell you 9
w hether « or not the TG 100 Part 15 receiving MIDI data.
Make sure that the “HOST SEL ЕСТ” switch is set correctly.
Make sure the TG100 s master volume control | is turned up.
Check the Part's volume setting, see page 31.
Velocity meter is registering
MIDI data, but no sound is heard...
Check the Part's voice element volume, see page 41.
Check the audio connections, including cables.
Sound is produced from only one Check t the Part’ s pan setting, page 32.
speaker. | ‘
Р If the Part pan is set to voice”, check the v VOICE e element pan setting,
page 43.
The voice elements pan position | Make sure that the Part's pan setting is “voice”, see page 32.
has been edited, but the effect
cannot be heard.
Two or more voices are playing | Check the Parts' MIDI channel assignment, see page 37.
the same thing.
The bulk dump function does not! Turn the MIDI Exclusive function ÓN, see page 49.
appear on the LCD.
Check the MIDI connections.
Bulk dump messages cannot Бе | |. oe пеетиоенеНемеето
sent or received. Make sure that the TG 100's device number matches the transmitting
or receiving unit's device number, see page 49.
The reverb effect cannot be Check that the overall reverb volume level setting, see page 30.
heard. “Check the Part reverb send level, see page 36.
MIDI program change numbers | Check the sound module mode, see page 16.
don't select the correct voices.
Check the master tuning, see page 46.
The pitch sounds wrong.
“Check the voice element's ; detuning, see e page 42.
Appendix 64
Glossary
Attack rate: The sped at which a sound reaches its maximum initial volume.
AWM: Advanced Wave Memory, a technique developed by Yamaha for di gitally
sampling and reproducing naturally occurring sound.
Bulk dump: The transfer of a MIDI instrument's setup data (6 2 music computer or
MDR (MIDI Data Recorder).
Channel messages: MIDI messages that are received and sent on the individual
MIDI channels. Only MIDI instruments set to the same receive channel number as
the transmitting device's transmit channel number will respond to the data. Channel
messages consist of voice, Control Change, Program Change, pitch bend, Aftertouch
and mode data.
C/M: One of the TG100's sound module modes, which provides semi-compatibility
with the Roland CM-64 and associated equipment.
Default: Sometimes know as the “factory” setting. It's the value of a parameter that
Is set when the unit is manufactured.
Detune: The detuning of one voice element to produce a chorus type effect.
Disk Orchestra Collection: a series of music titles, made by Yamaha, which are
available on floppy disk. Each song is stored as MIDI data in Yamaha's own “ESEQ”
file format. Disks can be played using Yamaha's DRC-20, DOM-30 or MDF2.
DSP: Digital Signal Processor, an 1C (Integrated Circuit) designed specifically for
digital audio data processing. The TG100 uses a DSP to create its reverb effects.
Dynamic allocation: The automatic allocation of notes to Parts as and when
required.
Element: A TG100 sound sample. Some voices consist of one element, some of
two.
General MIDI: An addition to the MIDI 1.0 standard that provides greater
compatibility for MIDI song files when they are transferred between different
manufacturers’ MIDI equipment.
Host connection: For connecting the TG100 directly to a computer, running music
software, that does not have a MIDI interface. Connection is made directly to the
computers’ serial port (RS-422, or RS-232).
Internal voice bank: The TG100 voice bank where voices can be edited. It
contains 64 voices,
MDR: MIDI Data Recorder, a device that can record MIDI data. This could be a
MIDI computer sequencer; a librarian program; a dedicated MIDI data recorder, such
as Yamaha's MDF2; or a synthesizer with an MDR function, such as Yamaha's SY99
music synthesizer.
MIDI: Musical Instrument Digital Interface. MIDI allows electronic musical
Instruments to communicate with each other.
MIDI Song File: A computer type file, which contains MIDI song data. A lot of
MIDI equipment can use this type of file. MIDI songs saved in this format can easily
be transferred to equipment from other manufacturers.
Multi-timbral: The name generally applied to a MIDI instrument that can produce
many different voices (sounds) at the same time.
Music computer: A computer that can use MIDI music software.
65 Appendix
Panning: The positioning of instruments between the left and right speakers to
produce a stereo effect.
Part: The TG100 has 16 Parts. Each Part is assigned a voice and receives MIDI data
on its own channel. The volume, pan position, attack rate, release rate, reverb level
and MIDI receive channel can be independently set for each Part.
Polyphony: The maximum number of notes that can be played simultaneously. The
TG100 is 28-note polyphonic. Sometimes other manufacturers refer to this as the
number of voices that can sound simultaneously (28-voice polyphonic).
Program Change message: A MIDI channel message used to select a different
voice for a Part.
RAM: Random Access Memory, a type of memory IC that contains data which can
be edited, but requires a continuous electrical supply to be able to store the data. The
TG100's internal voice bank is stored in RAM. If you want to keep the internal voice
bank data, it must be saved to a music computer or MDR (MIDI Data Recorder) :
before the TG100 is switched oft. |
ROM: Read Only Memory, a type of memory IC whose data cannot be edited, but »
does not need a continuous electrical supply to store data. The TG100's voice 4 N
elements are stored in ROM.
RX: The prefix given to Yamaha's drum machines: RX8, RX7, etc. The TG 100 has
an RX drum kit that provides semi-compatibilty for drum patterns and drum
sequences recorded on an RX drum machine.
Release rate: The speed at which a sound decreases to zero volume.
Serial Port: A computer connection that can receive and transmit digital data
serially (RS-232C or RS-422).
Sound module mode: The TG 100 has three sound module modes: General MIDI,
Disk Orchestra Collection and C/M. Each mode uses the same voices, but the
Program Change number assignments are different.
System Exclusive messages: A type of MIDI message sent exclusively to an
individual MIDI device. These messages contain information such as manufacturer
and product type. Bulk dump messages are a type of System Exclusive message.
System messages: MIDI messages that are received from and sent to MIDI devices
regardless of MIDI channel assignments. System messages consist of time A .
information, for synchronizing MIDI devices; start, stop commands, for drum N
machines and sequencers and System Exclusive messages.
Split point: A position on a keyboard where notes either side of the split point can
play a different voice and transmit MIDI data on different channels. Some MIDI
keyboards allow 2, 3 or 4 split points.
Techno-fear: A human phobia brought on when confronted by a complex,
technical piece of equipment. Not associated with Yamaha equipment.
Timbre: The characteristics of a voice that differentiates it from other voices.
Truncation: When notes are cut off to allow new notes to sound. Used if all the
TG100's 28 notes are sounding simultaneously.
Voice: The TG100 contains 192 instrument voices. Some manufacturers refer to
these as sounds.
Voice bank: The TG100's 192 instrument voices are arranged into three voice
banks: General MIDI, Disk Orchestra and C/M. Sixty four editable voices are held
in the internal voice bank.
| E
TG100 specifications 66
13 TG100 specifications
Technical specifications
internal ROM voices 192 instrument voices and 10 drum kits |
Internal RAM voices 64 Internal voice | |
Polyphony 28- note (Dynamically allocated) |
Multi-timbral 16 voices simultaneous (voices assigned to 16 Parts)
Sound sampling AWM (Advanced Wave Memory)
Reverb effect Yamaha custom DSP (Digital Signal Processor) a
DI o orar MIDI LEvELA В
Sound module mode | Disk Orchestra ( (Yamaha) Ш
C/M (CM-64 semi-compatible)
Demo song 1 (not editable, stored in ROM)
Controls MASTER VOLUME, INPUT, CONTRAST
Buttons PLAY, PART, EDIT, CURSOR, -1/NO, +1/YES |
Indicators PEAK o |
LCD e dispiay a 1-line 16-character | Ш
Audio connections a ——]——]]— I
LINE OUT Ta whom mono jack socket x2 |
AUDIO IN 3.5mm m siereo mira Tack x1 a
PHONES 3.5mm stereo mini jack x1
MIDI connections IN, OUT THRU (5-PIN DIN socket) |
TO HOST 8-PIN mini DIN socket }
| MIDI - 31 250 bps (f (bits per second)
Host computer selection | Mac - 31.250 bps ]
and data transfer rate PC- 1 - 31 250 bps
| PC-2 - 38,400 bps :
Power supply voltage — | 15V, 500mA
DC IN connection 2.1mm mini power type (for use with PA-1505 adaptor}
Dimensions 220 x 196.5 x 40.6 mm (8.6" x 7.7” x 1.6") Wx D x H
Weight oka |
Supplied accessories PA-1505 power supply adaptor ~~
Optional accessories Ш AR 101 19” rack mounting adaptor el
bar A = de. e me ces wa TTR Sm
Rack mounting
The TG 100 can be rack-mounted using one of the “halt-ruck-size” adaptors that are
available (i.e. Yamaha RK 101). The TG100 1s supplied with two screws for fixing it
to an adaptor. Use either these screws. or the screws supplied with the adaptor.
Screws must be M3 x 8mm.
67
TG100 specifications
Host computer connecting cables
MIDI
Standard MIDI cable. Maximum length 15 metres.
I
DIN 5-PIN 40 © 4 DIN 5-PIN
20 O2 (GND
50 OS
Mac
MINI DIN
MINI DIN 2 O O 1 (HSK o) 8-PiN
8-PIN 30 О 5 (Вх) -)
4 © О 4 (GND)
5 © {3 (TxD -)
60 O8 RxD+)
7 © 7 (GP)
80 36 (TxD +)
PC-1
8-PIN MINI DIN to D-SUB 25-PIN cable. If your PC-1 type computer has a 9-PIN
serial port, use the PC-2 type cable.
a ee rh
MIN? DIN E
8-PIN 10 (
20 O4 (RTS) D-SUB
30 — 3 (RxD) 25-PIN
40 O 7 (GND)
во
50 O2 (TxD)
PC-2
8-PIN MINI DIN to D-SUB 9-PIN cable.
MINIDIN сто 08 (CTS)
8-PIN 20 O 7 (RTS)
30 O2 (RxD)
40 O5 (GND)
50——
5 O Q 3 (TxD)
D-SUB
9-PIN
¡za Pa mt pat Amo a appeal a Ta ED =
4
|
|
Les бе a WAM A a atm 3 fee Le 1 a mee Mt hues mea med as
E ima meee Ta ee a AE
68
14 Index
A
Appendix 60)
Apple Mac computer, connecting 54
Audio in
connector 12
input level, setting 56
peak indicator 56
using 56
AWM, what 1511 3
BK. on the LCD 15
С
C - C/M voice bank
explained 18
Parts 1...9 19
Parts 11...16 19
voice table 19
C/M mode
a summary 7
C/M drum kit 24
default voice/Part assignment 17
how it works 16
MIDI channel/Part assignment 16
pitch bend range 17
selecting 16
Cables, computer connection 67
CH, on the LCD 15
Channel messages, MIDI 71
Clavinova
drum kit 24
See "Disk Orchestra mode"
Cleaning the TG100 2
CM-64 7
Computer connecting cables 67
Computer sequencer, connecting to 57
Computer, connecting 53
Apple Mac 54
MIDI computer 53
PC-9800 55
PC-AT compatible 55
PS/2 55
Connecting to a computer 53
Connecting to:
computer with a MIDI interface
(Getting Started Manual) 7
computer without a MIDI interface
(Getting Started Manual) 7
MIDI keyboard (Getting Started
Manual) 4
synthesizer (Getting Started Manual} 4
Contrast control 14
Controls & connections
{Getting Started Manual) 3
this manual 11
Copying voices. how to 45
Cursor button 12
D
D - Disk Orchestra voice bank
explained 18
voice table 19
DC IN connection 13
Demo song. playing 52
Detuning voice elements 42
Device number setung 49
Digital Reverb
a summary 4
See also "Reverb”
Disk Orchestra mode
a summary 7
default voice/Part assignment 17
how it works 16
MIDI channel/Part assignment 16
pitch bend range 17
selecting 16
Disk Orchestra sysiem 57
Drums
a summary 4
Añalug, Brush £ Orchestra kit layouts
26
C/M kit layout 28
clavinova kit layout 28
Program Change numbers 23
RX kit layout 27
selecting 23
Standard, Room, Power & Electronic
kit layouts 25
DSP, what 1s 1t 4
Dump all. saving data 50
Dynamic note allocation 3
E
Edit button 11
Editing voices
See "Voice Edit Mode"
a summary 4
a tutorial (Gerting Started Manual) 11
how to 39
naming 44
saving data 50
Effects
See “Reverb”
EG attack rate. Part setting 34
EG release rate, Part setting 35
Elements
detuning 42
editing 40
pan position, setting 43
volume, setting 41
what are they 3
Exclusive on/off, setting 49
F
Features of the TG100 2
Front panel, an explanation 11
G
G - General MIDI voice bank
explained 18
voice table 19
General MIDI mode
a summary 7
default voice/Part assignment 17
how it works 16
MIDI channel/Part assignment 16
pitch bend range 17
selecting 16
Glossary 64
H
Headphone connection 12
Host computer connecting cables 67
Host computer, connecting 53
Host select switch 13
1 - Internal voice bank
explained 18
voice table 60
IN connection 14
Initializing default settings 51
Input level control 12
Inside the TG100 5
Installation (Getting Started Manual) 2
Instrument voices
See "Voices"
L
LCD display 11
contrast, adjusting 56
MIDI messages 74
voice name table 19
what does it display 15
Line out connection 13
Mac computer, connecting 34
Manuals
conventions 2
explained (Getting Started Manual) 2
Master tuning 46
Master volume control 12
MD, on the LCD 15
MDF2. saving data (Gerring Started Manual)
12
MDR
saving data 50
saving data (Getting Started Manual)
12
69 Index
Menu function dagrare ©
MIDI
an caplanation 8
channel messages 71
channel, Part setting 37
computer connection 53
connectors 14
data format 70
data saving 50
device number, setting 49
exclusive on/off, setting 49
implementation chart 78
IN, OUT & THRU 14
LCD messages 74
Program Change number to voice
assignment table 19
song files H)
System Exclusive data 72
MIDI keyboard system 57
(Getting Started Manual) 4
Multi Common Edit Mode 29
selecting reverb type 29
setting reverb level 30
Multi Part Edit Mode 31
EG attack rate. setting 34
EG release rae, setting 35
MIDI receive channel, setung 37
panpot position, setting 32
reverb level, setting 36
volume setting 31
Muiti-timbral, what ss at 3
N
Naming edited voices 44
O
OUT connection 14
Р
Pan
element, setting 43
Part, setting 32
Parameter buttons
+1/YES button 12
-1/NO button 12
Part 10)
Sec “Drums”
Part button 1 |
Parts
EG attack rate, setting 34
EG reilvase rule, setting 35
MIDI receive channel, setting 37
panpol position, setting 32
reverb level, setting 36
selecting 18
volume, setting 31
what are they 3
PC#, on the LCD 15
PC-1. computer type 55
РО-2 computer, connecting 55
PC-98(X) computer, connecting 55
PE AT computer, connecting 55
Peak indicator 12
using 56
Phones connector 12
Pitch bend
range 17
range change via MIDI 17
Pitch rate scaling 18
Play button 11
Play Mode 15
Polyphony, what is it 3
Power supply connection 13
Power switch El
Prionty, note allocation 37
Program Change number to voice
assignments 19
PS/2 computer, connecting 55
Q
OX 3, saving data (Getting Started Manual)
12
R
Rack mounting 66
Rear panel, an explanation 13
Reverb
characteristics 29
level, setting 30
options 29
Part level, setting 36
selecting the type 29
using 36
RX drum kit 24
S
Safely (Getting Started Manual) |
Saving data 50
See also (Getting Staried Manual) 12
Sequencer systems 58
MIDI connection 58
To host connection 59
Setup tables 62
Sound module mode
selecting 16
Specitications 66
Storing data 50
S Y 99, saving data (Getting Started Manual)
|2
Synthesizer, connecting to (Getting Started
Manual; 4
System Contigurations 57
System Exclusive messages 72
System mode functrons
46
demo song, playing 52
device number, setung 49
imitialize all, using 51
master tuning 46
MIDI exclusive on/off 49
saving data 50
velocity meter, setting 47
T
TG100
internal block diagram 5
menu functions 6
what 18 1t 3
THRU connection 14
To host connector 13
Troubleshooting 63
‘Truncation
how 1t works 7
MIDI channel priority 37
Tuning 46
U
Unpacking (Getting Started Manual) 2
User setup tables 62
\
Velocity meter, setting 47
Voice bank
selecting via MIDI 18
table 19
Voice Edit Mode 39
clement detuning 42
clement level, setting 41
pan position, setting 43
selecting a voice to edit 39
voice naming 44
VOICE NAME, on the LCD 15
Voices
copying 45
internal voice bank table 60
naming edited voices 44
Program Change numbers 19
saving data 50
See "Voice Edit Mode”
See also (Getting Started Manual) 11
selecting 18
voice bank table 19
what are they 3
Volume
audio in, setting 56
clement, setting 41
master volume 12
Part, setting 31
WwW
Warnings (Getting Started Manual) 1
Welcome (Getting Started Manual} 2
pP
ST ed nn =a
| "= Ka
15 MIDI Data Format
1. GENERAL
1.1 Application
The following MIDI data and specifications apply to the TG100.
1.2 Applied standards
MIDI 1.0 standard.
2. MIDI receive & send diagrams
MIDI receive conditions (1 of 2)
MID!
O $FE ACTIVE SENSING
<Axch> / off
san NOTE OFF
fm NOTE ON
$Bn, $00 BANK SELECT MSB
$Bn, $20 BANK SELECT LSB
$Bn, $01 MODULATION
$Bn, $05 PORTAMENT TIME
$Bn, $06 DATA ENTAY MSB
$Bri, $26 CATA ENTRY LSB
«Cos fof — — $BN, $07 MAIN VOLUME
$Вп, $0А РАМРОТ
cen {off == | $Вп, $0B EXPRESSION
$Bn, $40 HOLD 1
$En, $41 PORTAMENT
$Вп, $58 REVERB DEPTH
$Bn, $64, $00 , $65.00 , $06. $mm PITCH BEND SENSITIVITY
$0n, $64, $01, $65.00 , $06, $mm, $26, $11 FINE TUNING
$Вп, $64, $02, $65,00 , $06 , $mm COARSE TUNING
$8n, $64, §7F. $65, 7F APN RESET
$Bn, $78. $00 ALL SOUND CFF
$Bn, $79. $00 AESET ALL CONTROLLERS
$Bn, $78, $00 ALL NOTE OFF
$Bn, $7C, $00 OMNI OFF
$Bn, $70. $00 OMNI ON
$Bn, 87E. 5mm MONO
$Bn, $7F, $00 POLY
«ро» / off — $0 PROGRAM CHANGE
£Dn CHANNEL PRESSURE
$En PITCH BENDEH
n= MID! channel
Exch = Re. channel
ec = CONTROL CHANGE volume, expression
MIDI Data Format 70
MIDI receive conditions (2 of 2)
MIDI
©
«EXC> / off
И
|
|
|
$FO. $43, $1х, $1B, $7F, $cc, $F7
$FO, $7E, $7F (or$xv). $09. $01, SF7
$FO, $7F, $7F, (ortxv). $04. $01
SFO, $43. $73, $01, $14. $F7
$FO, $43, $1v, $27, $30, $00. $00
SFO. $43, $tv, $27, $30. “о. son
$F0, $43, $1v, $27, $30. $00. sio
$FO, $43. $1v. $27. $30, 509, $10
$FO, $43, $1v, $27, $30, 2 510
$F0, $43, $1v, $27, $30 $35, $06
$РО, $43. $2v. 57A, {LM 0068RQ} E
ps $30, $00, $00
sao, 00,500
| ово воз во
— 550.533.810
$30. $05, $02
amas $24. $00, $00
bu $24, $08. $00
en $24 $08, $10
$25, $18, $0F
Exc = Exclusive on/off
MD = Sound Module Mode
x «= don't care
v = device number ($0 - $F)
cc = CONTROL CHANGE volume. expression
TG100 Switch Remote
GENERAL MID! MODE ON
MIDI MASTER VOLUME
DISK MUSIC ON
Parameter change
(System)
Parameter change
(MULTI common)
Parameter change
(MULTI Part)
Parameter change
(internal Voice Memory)
Parameter change
{Drums setup)
All Parameters Reset
Dump request
(System)
Dump request
{MULTI common}
Dump request
(MULTI Part)
Dump request
(Internal Voice Memory)
Dump request
{Drums setup)
Dump request
{Program Change Table)
Dump request
{System information)
Dump request
(Preset Voce Memory)
71 MIDI Data Format
MIDI send conditions (1 of 2)
A A a NU Ee oy
HOST IN == sab / MIDA e MIND
<Enezs ti
$0 543 $14 $27, £30, $00 $00 Parametar chars sin
(System)
$FO, $43, $1v, $27, $30, $00, $0A Parameter change —a
{MUL 71 common)
SEO, $49. Stv. 127. $30, $00, $10 Caramater change —
(MUL TI Part)
$FO, $43, $1v, $27, $30, $01, $10 Parameter change —
(Iromal Volos Wermory)
$F0, 543, $1v, $27, $30. $34, $10 Parameter change ———
{Drums setup)
$30, $35 $02
SFO, $43, $1v, $27, $24, $00, $00 Farametler change —_—
(Program Change Table)
$FD, $43, S1v. 527, 524, 508, $00 Fanurwter changes =
(Syalem nformation;
$FO, $453, $1v. $27. $24. $08 $109 Parametar charco —
{Prasat vale memory;
575, $18, $OF
sel - Hosl Salect
| Exc = Exclusive oval
3. Channel Messages
3.1 Send
Channel Messages not sent.
When the Host Select switch is set to anything other than “MIDI, MIDI data
is echoed hack as follows.
HOST IN > MIDI OUT
MIDI IN - HOST OUT
3.2 Receive
3.2.1 Note on/off
Note range = (0-2... (GR
velocity range 1.127 conly applies to note-onj
3.2.2 Control Change
The following parameters can be controlled using MIDI Control Change
messages,
Cntr! No. Para meter a | “Data range ) a
0 Bank Select MSB 0.427 a
32 Bank Select LSB Cotes 3
1 Modulation 0.127
5 Portamento Time 0.127 В
b Data Entry MSB 0.127 1
38 Data Entry LSB 0.127 ‘4
7 Mann Volume 0.127
10 Panpot | 0127 “4
I Sen TO
6. dy A
65 Portamento НЫ | 0.127 ‘?
5 ow opt | се
*1 Esedto seca paraineter value specified by, “3.2. 7RPN (Registered
Parameter Nuinber Y on page 72,
*2 Portamento work as follows:
* When à key of a Higher pitch (han the currently heïd key is played the
pitch sweeps up irom a value 100 cents below the key's pitch.
* When a key of a lower pitch than the currently held key is played the
priekooweeps down from a value 100 cents above the key's pitch.
*3 Used wo seled she unit's voice hanks shown below.
—_ MSB_ LSB Bank Name
| ов 0 General MIDI
Ba. | o INTERNAL
112.176 o DISK ORCHESTRA
ро CM (CM-64)
la Progran Change Message is received immediately after a Bank Select
Message has been received, the Program Change number will correspond to
the selected voice bank,
"4 When París PANPOT setting is VOICE, the pan position is adjusted
Retabrst rs Нк pa position of the elements used by the voice.
When a Parts PANPOT position is not set to VOICE, the elements pan
protien By ignored and complete adjustment of pan position is possible.
3.2.3 Program Change
You can seleet one of two Program Change receive modes,
1} off: Tgnore Program Changes.
2) on respond {0 Program Changers.
in ask Orchestra mode, if a Program Change number that is not assigned to
a VELOC IN FOCUI VO, IE 16 3emored.
In Disk Orchestra, and C/M modes, Program Change numbers are ignored by
the drum Part 10)
3.2.4 Pitch Bend
esponds to 14-bit pitch bend data -8192.. +819 1).
3.2.5 Channel Pressure
3.2.6 Channel Mode Message
The following Channel Mode messages can be received.
2nd byte 3rd byte
120 0 All Sound Off
12 J 0 Reset All Controller
23 0 All Note Off
aa 0 Omni Ot
125 0 Omni On
| 106 LS 0.16 Mono
TU 5 Poly
3.2.6.1 All Sound Off
Any sound being produced is stopped. However, parts that are receiving
Channel Messages such as Note-on, Hold-on ele., wilt continue.
e
MIDI Data Format 72
3.2.6.2 Reset All Controllers 4. System Exclusive Message
Controllers are sct to the following values. 4.1 Parameter Change
Controlier Reset Value The unit works with the following parameter changes.
Pitch Bend +0 tral
| (peut) 1) System Data Parameter Change
Channel Presaure 0 (off)
: 2) Multi Common Data parameter change
Modulation 0 (off)
Expression 127 (maximum) 3) Multi Part Data parameter change
Hold 1 о (от) 4) Internal Voice Memory parameter change
Portamento © (off 5 Drums Setup Data parameter change
RPN Not set, Internal data does not change. 6) Preset Voice Memory parameter change
7) Program Change Table parameter change
3.2.6.3 All Note Off 8) System Information
All Notes currently on will be turned off. However, if Hold 1 is on, sound 9) All Parameter Reset
generation will not stop until Hold 1 stops. 10) TG100 Switch remote
3.2.6.4 Omni Off 11) General MIDI Mode On
12) MIDI Master Volume
13) Disk Music On
Parameter change transmission is switched off only when Exclusive is set to
Processing is the same as that for “All Note Off”.
3.2.6.5 Omni On
Processing is the sane as that tor “All Note Off”. off.
3.2.6.6 Mono The parameter change format is as follows
Processing is the same as that for “Ali Note Off”, If the 3rd byte (Mono value) 11110000 FO = Exclusive status
is between 0... 16, the relevant Part is sel to Mode 4 (m=1). 01000011 43 = YAMAHA ID
3.2.6.7 Poly g001nnnn nn = Device Number
001060111 27 = Model ID
Processing is the same as that for “All Note Off". The relevant Part will be set Oaaaaaaa aaaaaaa = Start Address b?0 - blá4
to Mode 3. 0aaaaaaa ааааааа = Start Address bl3 - b7
3.2.7 RPN (Registered Parameter Number) Оааааааа ааааааа = Start Address bt - 60
Odddaddd ddddddd = Data
Select the control parameter, giving RPN MSB and RPM LSB, then put the
parameter value in the Data Entry. | |
The unit responds to the following RPN. Üceeecec cececece = Check-sum
11110111 F7 = End of exclusive
RPN Data Entry
MSB LSB MSB LSB
$00 $00 $mm--- Pitch bend sensitivity mm: $00...$18 Data is correctly processed if the Dump request reccive address corresponds
(0.24 semitones). with the Start Address and the Dump Request 's byte count is correct,
---:dont care.
For the Start Address and byte count, sec the tables on page 75 to page 77.
A range of 2 octaves can be selected.
The sending device must add the header to each parameter. For example, when
At switch on range 13 set to 2 semitones. , . . .
sending System and Multi parameters with only one header, the receiver can
00 $01 i i . Ce . |
$00 $ $mm$11 Master fine tuning only identify System parameters. Therefore, the sending device must not skip
(-8192 x 100/8192...0...+8191 x 100/8 192 cents) |
+ System
$00 $02 $mm--- Master course tuning .
* Multi
mm: $28...$40.. $58 * Internal voice
{-24...0...+24 semitones} Drums Part
~~: don't care « All parameters reset
S7FS7F | ee RPN reset Do nat send more than 256 bytes in one transmission.
---; don't care - - RA] ;
If you have a Dump request of more than 256 bytes, split if into sections, then
RPN Not set. Internal data does not change transmit them at 20ms intervals.
The check sum's lowest 7-bit valuc is zero after adding the Start Address, Data
and check sum.
While sending the data, the "HOST in echo back does not function
4.1.1 System Data Parameter Change
Refer to “Parameter base address” on page 75 and “MIDI Parameter Change
table (System) on page 75.
4.1.2 Multi Common Data parameter change
Refer wo “Parameter base address” on page 75 and “MIDE Parameter Change
table (MUI TI common)” on page 75.
73 MIDI Data Format
4.1.3 Multi Part Data parameter change
The actual address value = the start address + the offset address.
Refer to “Parameter base address’ on page 75 and “MIDI Parameter Change
table (MULTI Part)” on page 75.
4.1.4 Drums Setup Data parameter change
The actual address value = the address at the top of cach block + the offset
address.
If a different Drum kit is selected, the Drum Setup parameters are initialized.
Refer to “Parameter base address” on page 75 and “MIDI Parameter Change
table (Drums Setup)” on page 76.
4.1.5 Internal Voice Memory parameter change
The actual address value = the address at the top of each block + the offset
address.
Refer to “Parameter base address” on page 75 and “MIDI Parameter Change
table (VOICE Memory)” on page 76.
4.1.6 Preset Voice Memory parameter change
This data can be sent, but it is ignored if received.
The actual address value = the address at the top of each block + the offset
address.
Refer to “Parameter base address” on page 75 and “MIDI Parameter Change
table (VOICE Memory)" on page 76.
4.1.7 Program Change Table parameter change
This data can be sent, but it is ignored if received.
Refer to “Parameter base address” on page 75 and “MIDI Parameter Change
table (Program change table)" on page 77.
4.1.8 System Information parameter change
This data can be sent, but it is ignored if received.
Refer to “Parameter base address” on page 75 and "MIDI Parameter Change
table (System information)” on page 77.
4.1.9 All Parameters Reset
11110000 FO = Exclusive status
01000011 43 = YAMAHA ID
000innnn nnnn = Device Number
00100111 27 = Model ID
00110000 30 = Start Address b20 - bl4
00111001 35 = Start Address bl3 - b7
00000100 06 = Start Address b6 - DO
00000000 GO = Data
00010011 15 = Check -sum
11110111 F7 = End of exclusive
Reset the system. All internal parameters are reset to the default (factory)
settings.
4.1.10 TG100 Switch remote
11110000 FO = Exclusive status
01000011 43 = YAMAHA 1D
0001 xxxx X XXX = don't care
00011011 18 = Switch remote ID
01111111 7F = Switch remote sub ID
Oddddddd ddddddd = Data
11110111 F7 = End of exclusive
The LCD screen will show the same as when the power is turned on.
The following data is received even if the Exclusive is turned off.
Data Switch
о PLAY
PART
EDIT
CURSOR
—1/NO
+1/YES
4.1.11 General MIDI Mode On
11110000 FO = Exclusive status
01111110 7E = Universal Non-Real time
01111111 7F = [0 of target device
00001001 09 = Sub-1D No.l=General MIDI
Message |
00000001 01 = Sub-ID No.2=General MIDI Оп
End of exclusive
H
11110111 F7
OR;
11119000 FO Exclusive status
01111110 7E Universal Non-Real time
OXXXnnnn nnnn = Device Number, XXX=don't care
I
1
00001001 09 = Sub-1D No.1=General MIOI
Message
00000001 01 = Sub-ID No.7=General MIDI On
11110111 F7 = End of exclusive
The Sound Module mode changes to General MIDI mode when the ON data
is received,
The above data is received even if the Exclusive is set to off.
4.1.12 MIDI Master Volume
11110000 FO
01111111 ИЕ
01111111 АЕ
Exclusive status
Universal Real time
ID of target device
H
00000100 04 = Sub-ID No.i=Device control
Message
00000001 01 = Sub-ID No.2=Master Volume
01111111 11 = Volume LSB
Ommmmmmm mm = Volume MSB
11110111 F7 = End of exclusive
OR;
11110000 FO = Exclusive status
01111111 /F = Universa? Real time
OXXXnnnn nnnn = Device Number, XXX=don't care
00000100 04 = Sub-10 No.l=Device Control
Message
00000001 01 = Sub-ID No.2-Master Volume
01111111 11 = Volume LSB
Ommmmmmm mm = Yolume MSB
11110111 F7 End of exclusive
When the “Volume MSB" is received, the Master Volume is set.
The above data is received even if the Exclusive is set to off.
4.1.13 Disk Music On
11110000 FO = Exclusive status
01000011 43 = YAMAHA ID
01110011 73 = Instrument Classified
(CLAVINOVA)
00000001 01
00010100 14 Disk Music On
1111011] F7 End of exclusive
The Sound Module mode changes to Disk Orchestra when the ON data is
received.
i
The above data is received even if the Exclusive is sel to off
MIDI Data Format 74
4.2 Dump request
The following Dump requests can be carried out.
1) System Data
2) Multi Common Data
3) Intemal Voice Memory
4) Preset Voice Memory
5) Program Change Table
Dump request can only be switched off by setting Exclusive to off.
This unit cannot make Dump requests.
Dump requests to this unit should be as follows.
11110900 FO = Exclusive status
01000011 43 = YAMAHA 10
0010nnnn nnnn = Device Number
01111010 ТА = Format number
01001100 24€ = “1”
01001100 40 = “M”
00100000 20 = бое
0019000 20 = бе
00110000 30 = “Q”
00110000 30 = “0
00110110 36 = “6”
00110110 38 = “В”
01010010 52 = “В”
01010001 51 = “0
Dadadada addaddd = Start Address bZU bla
Oaadaada adadddd = Start Address DI3 - b/
Озаааааа adaddda = Start Address ba - DO
05555555 5655555 = Byte Count b20 - bl4
05555555 5555555 = Byte Count b13 - bY
05555555 5555555 = Byte Count be - bo
00000000 00
00000000 00
00000090 00
00000000 00
90000000 GO
00000000 00
00000000 00
00000000 00
00000000 00
Occeceece cecccec = Check: sum
11110111 F7 = End of exclusive
Data is correctly processed if the Dump request receive address corresponds
В o the Start Address and the Dump Requests’ byte cound 1s correct.
For the Start Address and byte count, see the tables on page 75 to page 77.
The check suin's lowest 7-bit value is zero after adding the Start Address. Data
and check sum.
Dump request, the sending device must add the header to each parameter,
For example, when a request for System and Multi parameters 18 sent with
only one header, the unit will send back only the System parameters.
* System
« Multi common
+ Multi Part
+ Internal voice
* Drums Part
* All parameters reset
4.2.1 System Data parameter change
Refer to “Parameter base address” on page 75 and “MIDI Parameter Change
table (System) on page 75.
4.2.2 Multi Common Data parameter change
Refer to “Parameter base address™ on page 75 and "MIDI Parameter Change
table (MULTI common)” on page 75.
4.2.3 Multi Part Data parameter change
Refer to “Parameter basc address” on page 75 and “MIDI Parameter Change
table (MULTI Part)” on page 75
4.2.4 Drums Setup Data parameter change
Refer to “Parameter base address” on page 75 and “MIDI Parameter Change
table (Drums Setup)” on page 76.
4.2.5 Internal Voice Memory parameter change
Refer to “Parameter base address” on page 75 and “MIDI Parameter Change
table (VOICE Memory)” on page 76.
4.2.6 Preset Voice Memory parameter change
Refer to “Parameter base address” on page 75 and “MIDI Parameter Change
table (Program change table)” on page 77.
4.2.7 Program Change table parameter change
Refer to “Parameter base address” on page 75,
4.2.8 System Information parameter change
Refer (0 “Parameter hase address” on page 75 and “MIDI Parameter Change
table (System information)” on page 77.
5. Status FE (active sensing)
A) Sending
Not sent.
13) receiving
After receiving onc FE message, if no MIDI data is received for more than
300msec, the unit will activate ALL SOUND OFF, ALL NOTE OFF and
RESET ALL CONTROLLERS, as if no FI: message had been received.
6. MIDI LCD messages
While exclusive data is being received, there are no messages on the LCD
display.
If an error occurs, such as a check sum error, the following message appears,
transmission stops, then the previous ECD display appears.
Disconnect the ine, and the previously displayed message will appear.
If the device numbers don't match, or the Exclusive is set to off, data is ignored
and no message is displayed.
While exclusive data is being transmitted, the tollowing LCD display is
shown.
If many MIDI messages are received in too short a time, the following
message appears for a few seconds, receiving is stopped, then the previously
displayed message appears.
When Program Change messages are received in play mode, the Part, BANK,
PC VALUE and VOICE NAME: are shown on the LCD display.
75 MIDI Data Format
1.71 Parameter base address
Parameter change
Start Address (H) Description
00 00 System
В A _ co al minis RR KR оное
AN UE QUE La ree ees ene
28 Mult Part 1
8888
9 83
Multi Part 15
Mult Part 16
5
©
Cha
|
©
6
=
pr]
—
<
Internal voice 0
an 03 70 intemal voice 1
Internal voice 62
30 32 50
30 33 10
Drums Part key No.27
Drums Part key No.28
30 35 00
30 35
30 35
Drums Part key No.107
Drums Part key No, 108
8.8
Ali parameters reset
- “Program change table. enemies Dri anemia
General MIDI LE YEL 1
DISK ORCHESTRA
C/M TYPE 1
CM TYPE 2
System Information eer
Prosat voice 0
24 00
24 02
24 06
24 08
24 08 70
DO
00
24 04 00
00
00
Preset voica 1
25 16 AO
25 17 30
Presat voice 190
Preset voice 181
| Address | Size! Data Default
(H) (HI) (H) value (H)
30 00 07 01 09-7F SOUND MODULE 0: General MIDI 00
MODE 1: Disk Orchestra
2: C/M
a ee m
(=FO 7F 7F 04 01 xx vv 7F
F7)
Parameter Description
30 00 08 01 00-7F MASTER VOLUME
30 00 09 01 00-72 VELOCITY off
METER t auto
=. un 01
REMARKS:
The address marked with “4. cannot be used as rhe “Start address”.
1.3 MIDI Parameter Change table (MULTI common}
© Address | Size] Data! Parameter
(H) | Pa
Default
value (H)
Description
O Has 1 DS
+: Най 2
30 00 OA Ol 00-07 НЕМЕНВ ТУРЕ
2. Вой 1
3 Hoom ?
4 Fiate 1
I. Plate 2
£ Delay 1
7: Delay 2
3 00 OC 01 18-46 REVERB +06
_____OUTPUT LEVEL
40. +6dB 3E
TOTAL | os | |
SIZE |
Voice Memory
Parameter change
Offset Address (H)
Description
1.4 MIDI Parameter Change table (MULTI Part)
Defauit
velue (H)
Offset Size! Data
Address | (H) | (Hi
(H) |
Parameter Description
DO On
M EEE EE EEE EEE
00 18
Common parameter
Element 1 parameter
00 ac Element 2 parameter
The actual address value = the address al the top of each block + the offset
address.
1.2 MIDI Parameter Change table (System)
Default
value (H)
Address | Size| Data Parameter
(H) (H) | (H)
Description
00 00 02 1C-E4 MASTER TUNE
&
-100...+100(cent)
1stb3-0 — b7-4
2nd b3-0 -+ b3-0
08 00 (30)
8
8
o
+
02 01 28-58 TRANSPOSE 24. +24 somitonas 40
0... 15, 16: all 10
04 01 00-01 EXCLUSIVE 0: off. 1: on a
e 888
00
00 03 01 00-10 DEVICE NUMBER —
09
00
CHANGE
CONTROL
CHANGE
VOLUME, 01
EXPRESSION
01 00-01 0: off, 1: on
6
3
а
VOICE BANK 0.63 Genatai MIDI 38
64.111: INTERNAL
112...126: DISK
ORCHESTRA
127: C/M
(=Вх 00 уу 20 00)
00 DO 02 D0-7F
Go Ot# DO -7F PC VALUE (=CX vv) 00
A AE неа ат вжофеалеежен соссннсоо воно скон сине LAS E NELESMNLEN dto ErdioMocrrra borda rana PEMeEea RR queno recae Rat ArErEIRELRIREEA
02 01 00-10 RXCHANNEL 0.15 n
16. off
3
MONOPOLY 0 Mono (Bx 7£ 01) 01
MODE 1: Poly («Bx 7F 40)
DETUNE
-100.. +100(cent) 08 00 (80)
1sib3 0 § b7-4
“nd b3-0 $ b3-0
(=Вх 64 01 65 00 06 vv 26
vw)
00 06 01 28-58 NOTE SHIFT -24_+24 semitones (=Bx 40
00 07 01 00-7F VOLUME 0.127 (=Bx07w) — 64 |
Dr an rm ti nn am ne
09 01 00-OF PANPOT &w
8
08 OM
8
В
8: voice 08
5
q: left
15: laft center
0 canter
— 11 12 ‚=. кто Camm e Rm a A
,
MIDI Data Format 76
Offset | Size! Data Parameter Description Detault REMARKS:
Address | (H) | (H) value (H) The actual address value = the address at the top of cach block + the offset
(H) achidress.
1.6 MIDI Parameter Change table (VOICE Memory)
7 right
(=Bx OÀ VV except voice)
De OA 01 00 -7F NOTE LIMIT LOW свв | 06 Offset | Size| Data Parameter “Description Default
00 0B ol 00 7F NOTE LIMIT HIGH co GB 7F Address | (H)| (H) value (H)
00 OC O1 00-08 REVERB SEND Comin | 04 (H)
DEPTH | 00 00 01 00-01 VOICE MODE 0: 1 element 00
1) Common parameter
=
8 max 1: 2 element
(«Вх 5В vv) 00 01 01 00-7F ELEMENT! 0.127 7F
00 0D 01 39-47 LFOSPEED 7.47 40 ÉL eens
00 OF 61 31-4F LEODEPTH 38. 415 40 00 02 01 00-7F ELEMENT2 0.127 7F
LEVEL
00 03 Ol 20-55 ELEMENTI -32...+31 40
DETUNE
01 20-56 ELEMENT? -32 +31 40
06 OF 01 06-7F LFO DELAY 64.6. 40
00 10 O1 39-47 EG ATTACK RATF 7.07 40
99 11 (1 39. 47 EG RELEASE AF an dm 04
RATE ные DETUNE
8 PITCH BEND 0. 24 semitones ог 00 05 о! 00 ; PORTAMENTO o 127 ot
RANGE {=Bx 64 00 65 00 06 vv) TIME
= с
00 12 gt 60 -
DEPTH
00 14 О! 00-7F юрт! саге 0 127 DO
aaa m . - RE .. - . .. os ее . a na RAR - DEPTE
00 16 G1 ZH - KA CAF PITCH -24 pd 40 . .
CLAN TE [Sa] tor à ВЕ o E
00 de M OÙ DE CAE PEO DLE HE 05 e 00 08 01 00-9F CAF LFO
PET! PITCH
00 17 01 06-75 dents oO Ted A DEPTH
09 13 01 00-95 MODLEO PITCH 0...15 OF | 00 06 01 00-OF MOD LFO 0.15 oF
8
07 01 0C-7F don't care о. 00
0.15
TOTAL la 1 TT TT al UT 5 со 09 01 7 отт селе | 097 = >
| SIZE | | : | Lo
| 00 DA 01 00.04 ELEMENTA O 100% 00
REMARKS: | PITCH HATE 1: 50%
| SCALING 2: 20%
3: 10%
4:5%
in: blowk number (6) - E) Part: n=1
Part 9 п = 5
l'art 11 п = А 00 OB 01 GO-7F ELEMENT 1 0.127 (C-2... G8) 3C
PITCH RATE
| | о SCALING
Par th п = | CENTER NOTE
00 OC Of 28-58 ELEMENT 1 —-24...+24 semitones 40
x: MIDI channel number 0-17) NOTE SHIFT
When n = 0 £Prums), the following parameters are ignored, 00 0D 01 28-58 ELEMENT? 24..+24 samitones 40
- NOTE SHIFT
. PC VALUE ‘0 OE 91 00-04 ELEMENT 2 9: 100% 00
a . VOLUME PITCH RATE 1: 50%
© PARPOT SCALING 2: 20%
+ REVERB SEND DEPTH 4 100
vw" After conversion, 10 will be written.
4: 5%
The address marked with "E cannot be used as the Start address”. 5- 0%
The actual address value = the address at the top of cach block + the offset 00 OF 01 00-75 ELEMENT? 0..127 (C-2..G8) 3C
address, PITCH RATE
SCALING
1.5 MIDI Parameter Change table (Drums Setup) e CENTERNOTE 0 nana
a ee — 00 10 al 20-7F VC NAME 1 ASCH character
Offset Size! Data Parameter Description 0 11 01 20.7F VC МАМЕ? ASCI! character
Address (H)| (H) | (H)
— ae NT NELLA 00 12 OT 20-7F VCNAME3 ASCII character
00 OO 01 00 - 7F LEVEL 0.127
| : : : - 00 13 01 20-7F VC NAMES ASCII character
00 Ol 01 O0 - OF РАМРОТ Y left
00 14 01 20-7F VE NAMES ASCII character
00 15 01 20 7F VC NAMEE ASCII! character
DO 16 01 20-7F VC NAME7 ASCII character
050 17 С! 20 -7F VC NAMES ASCII! character
TOTAL 18
7 noht
o e ght SIZE
oo 07 O1 бк) OR REYENB DEPTH Con т
15 aft cantar
0 cantar
| Remarks:
| The actual address value = the address at the top ot cach block + the offset
тота | 9) | р a
A TU
77
MIDI Data Format
2) Element parameter
Offset ¡Size! Data! Parameter Description Detault
Address | (H)| (H) value (H)
(H)
4: curve-5
5: curve-6
6: curve-7
7: curve-8
TOTAL 24
SIZE
REMARKS:
The address marked with “#7, cannot be used as the “Start address’.
In Disk Orchestra mode, the voice velocity curve setting is ignored, It is
always set to “curve-B”.
The actual address value = the address at the top of cach block + the offset
address.
1.7 MIDI Parameter Change table (Program change
table)
01 7E 02 O0-FF SERIAL VOICE# TO
Ot 7F# PC#128
Offset Size| Data Parameter Description
Address (H)| (H) | (H)
00 00 0 00-FF SERIAL VOICE&R TO 0...191, 255:0ff voice
00 O1# PC#1
0...19
t, 255:0ff voice
TOTAL SIZE] 100 | |
Offset | Size! Data Parameter Description Default
Address | (H)| (H) value (H)
(H)
00 00 02 00-8B WAVEFORM 0: 139 00 00 (DO)
00 014 1st b3-0 —> b7-4
2nd b3-0 —> b3-0
Co en a СВАО TE E”
e a NA ar earn e Te
00 04 01 00-7F LEVEL SCALING C2.G8 “4e —
BREAK POINT
В 00 05 01 00-7F BREAKPOINT2 C-2.608 40 7
00 0 UN YE BREMKPONTS ES 4
“0 07 01 00-7F BREAKPOINTA — C-2.68 0
00 08 02 00-FF LEVEL SCALING -128.+127 0800 (80)
00 094 OFFSET 1st b3-0 — b7-4
o 2nd b3-0 —> b3-0
00 0A 02 00-FF OFFSET2 128.4127 0800(80)
00 OB 1stb3-0 > b7 4
| 2nd b3-0 —› 53-0
00 00 02 00-FF OFFSETs —-128.+127 0800 (80)
00 OD# 19! 53-0 — b7-4
2nd b3-0 —> b3-0
00 OE 02 00-FF OFFSET4 128.4127 0800/80)
GO OF# 1st b3-0 — b7 4
2nd b30 —> b3-0
SR O o 0. CE PANPOY TT” Cr o
15. left center
O: canter
7. nght
NN o ESSPEEDT 7 а
00 12 01 00-7F LFO DELAY 0.127 0 оо
|. NN NE Ty E
a 00 14 01 00-0F LFOPITCH 0.15 00
MOD DEPTH
00 15 Ot 00-07 LFO AMP 0-7 00
MOD DEPTH
00 18 01 00-0% PITCH LFO WAVE 0: tnangle GO
1: sample á hold
ei, SI 0 0 REG RANGE BUY
1.1 ect
2:2 oct
00 18 01 00-91 PEGVELOCITY — "on of
SWITCH 1: off
TN $5 O bEGAME SY $
SCALING
00 1A 01 00-3F FPEGHI 0.63 IF
00 18 01 00-35 PEGR2 0.69 Fo
| еее e a e AE BERR ” E i
00 1D 01 00-3F — PEGAR 0.63 Fo
0 1E 0 00-7F PEGLO 0 64.463 40
“00 1F 01 00-7F PEGLI 64.463 40
“0 20 01 00-7F PEGL2 64.463 0
| 00 2: 01 00-7F PEGLS 64.463 40
Ш 00 22 01 00-7F P-EGRL | 64. +63 2 |
ee NY
CURVE
1: curve-2
2: curve-3
3: curve-d
REMARKS:
The address marked with “#”, cannot be used as the “Start address”.
The actual address value = the address at the top of each block + the offset
address.
1.8 MIDI Parameter Change table (System
information)
Address (H)| size| Data Parameter Description
(H) | (H)
24 08 00 10 23 STRING ASCH у
24 08 O1# 30 STRING ASCI O
24 08 024 30 STRING ASCII 0’
24 08 Où 36 STRING ASC! 6
24 08 044 38 STRING ASCI '8
24 08 054 20 STRING ASCII"
24 08 064 20 STRING ASCH
24 08 074 56 STRING ASCH'V
24 08 084 45 STRING ASCII 'E’
24 08 09% 52 STRING ASCH 'R
24 08 OAM aD STRING ASCII ‘=
24 08 OB4 31 STRING ASCIE 1
24 08 OC+4 2E STRING ASCH
24 O8 OD# 30 STRING ASCil'O'
24 08 OE# 30 STRING ASCII O
24 08 OF# 20 STRING ASCIL"
TOTAL SIZE| 10 | |
REMARKS:
The top address must be the same as the “Start address”,
YAMAHA [ Tone Generator | Date:14-DEC-1991
Model TG100 MIDI Implementation Chart Version : 1.00
ke AAA ATT +
Transmitted : Recognized Remarks
Function
ota tom mmm mmm += == fmm mmm mmm mmm
:Basic Default : ox ; 1 - 16 : memorized
Channel Changed 2х « 1 - 16 :
ao == + неее — неее ==
: Default ‘ X 3
: Mode Messages © X : 3,4(m = 1) * 2
. Altered . de x * K x x XX X x À % K X : x
Td $ AAA, TA!
Note X : 0 - 127
Number True voice: *X*X*X*XXXXXXXXXX : D — 127
‚тн неее неее a
Velocity Note ON : x > 0 9nH,v=1-127
Note CFF : X Ox
a a da A|
After Key's X : X
Touch Ch's X : O
AE fm Ta
Pitch Bender x : o 0-24 semi :12bit resolution:
в те еще ен — — == неее ное — eo ен нет неее от фене неон;
0,32: x : O MSB only :Bank Select :
1 X O -Modulation wheel:
5 X e | :Portamento Time
6,38: Xx O :Data Entry
Control 7 x О *1 Volume
10 X о :Panpot
Change 11 : x О *1 :Expresslon
64 X O :Hold 1
65 X O :Portamento
91 X o (Reverb) «Effect Depth 1
100,107 X DO +RPN LSE, MSE
120 X : © :All Sound Off
121 X DD ‚Reset All Cntrls:
"ое — 25 0 En In —— — = — + em me See = не фо == = == = = = == SES TT
Prog X : Oo 0-127 *
Change True # KXXXXKXXKXK XX XXkKX :
fr == oo mm AA AREA!
System Exclusive О *3 : O *3
ао он ео оне ен ное еек нее == = = = — == 4 — — — == = — = —
System song Pos x 2х
Song Sel X ох
Common Tune X 1X
DAA ST $e E +o e mm — fm mmm mm —
: System : Clock : x : x
:Real Time :Commands: x : x
Modo Je m = == = — +-----------T — = — == — — — — — — — — == == — —
:Aux Local ON/OFF X : x
: :All Notes OFF: x : © (123-127)
:Mes—- :Active Sense X : O
sages Reset X : X
NeT ETT = — — — — — — — — == — — — — — — НН = = = — = — — — — — = — — — — —
Notes: *1 ; receive if switch is on.
*2 >: mis always treated as "1" regardless of its value.
x3 7 transmit/receive if exclusive switch is on.
Mode 1 : OMNI ON, POLY Mode 2 : OMNI ON, MONO Oo : Yes
Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO x : NO
SERVICE
This product is supported by YAMAHA's worldwide network
of factory trained and qualified dealer service personnel. In
the event of a problem, contact your nearest YAMAHA dealer.
For details of software, please contact your nearest Yamaha/or the
authorized distributor listed below.
Die Einzelheiten zu Software sind bei unseren unten aufgeführten
Niederlassungen und Vertragshändlern in den jeweiligen Bestim-
mungsländern erhältlich.
Pour plus de détails sur les logiciels, veuillez-vous adresser au
concessionnaire/distributeur pris dans la liste suivante le plus
proche de chez vous.
Para detalles sobre el software, péngase en contacto con nuestra
subsidiaria o distribuidor autorizado enumerados a continuación.
| NORTH AMERICA
CANADA
Yamaha Canada Music Ltd.
135 Milner Avenue, Scarborough, Ontario,
M15 3R}, Canada
Tel: 416-298-1311
U.S.A.
Yamaha Corporation of America,
Synthesizer, Guitar, and Drum Division
6600 Orangethorpe Ave., Buena Park, Calif. 90620,
U.S.A.
Tel: 1-800-443-2232
| MIDDLE & SOUTH AMERICA |
MEXICO
Yamaha De Mexico S.A. De C.Y.,
Departamento de ventas
Javier Rojo Gomez No.1149, Col. Gpe Del
Moral, Deleg, Iztapalapa, 09300 Mexico, D.F.
Tel: 686-00-33
BRASIL
e Yamaha Musica! Do Brasil LTDA.
Ave. Keboucas 2636, Sao Paulo, Brasil
Tel: 55-11 853-1377
PANAMA
Yamaha De Panama S.A.
Edificio Interseco, Calle Elvira Mendez no. 10,
Piso 3, Oficina #105, Ciudad de Panama, Panama
Tel: 507-69-5311
OTHER LATIN AMERICAN COUNTRIES
AND CARIBBEAN COUNTRIES
Yamaha Music Latin America Corp.
6101 Blue Lagoon Drive, Miami, Florida 33126,
U.S.A.
Tel: 305-261-4111
EUROPE
THE UNITED KINGDOM/IRELAND
Yamaha-Kemble Music(U.K.) Ltd.
Mount Ave., Bletchley, Milton Keynes MK1 1JE,
England
Tel: 0908-371771
GERMANY/SWITZERLAND
Yamaha Europa GmbH.
Siemensstra3e 22-34, D-2084 Rellingen, F.R. of
e Germany
© Tel: 04101-3030
AUSTRIA/HUNGAR Y
Yamaha Music Austria GmbH.
Schleiergasse 20, A-1100 Wien Austria
Tel: 0222-60203900
THE NETHERLAND
Yamaha Music Benelux B.Y.,
Yerkoop Administratie
Postbus 1441, 3500 BK, Utrecht, The Netherland
Tel: 030-308711
BELGIUM/LUXEMBOURG
Yamaha Music Benelux B,Y.,
Administration des Y entes
Rue de Bosnie 22, 1060 Brusseles, Belgium
Tel: 02-5374480
FRANCE
Yamaha Musique France, Division Produits
Professionels
BP 70-77312 Marne-la-Valée Cedex 2, France
Tel: 01-64-61-4000
ITALY
Yamaha Musica Italia S.P.A., Combo Division
Viale Italia 88, 20020 Lainate(Mitano), Italy
Tel: 02-937-4081
SPAIN
Yamaha-Hazen Electronica Musical, S.A.
Jorge Juan 30, 28001, Madrid, Spain
Tel: 91-577-7270
PORTUGAL
Valentim de Carvalho CI SA
Estrada de Porto Salvo, Pago de Arcos 2780 Oeiras,
Portugal
Tel: 01-443-3398/4030/1823
GREECE
Philippe Nakas S.A.
Navarinou Street 13, P.Code 10680, Athens, Greece
Tel: 01-364-7111
SWEDEN
Yamaha Scandinavia AB
J. A. Wettergrens gata 1, Box 30053, 400 43
Goteborg, Sweden
Tel: 031-496090
DENMARK
Yamaha Scandinavia Filial Danmark
Finsensvej 86, DK-2000 Frederiksberg, Denmark
Tel: 31-87 30 88
FINLAND
Fazer Music Inc.
Länsituulentie 1A, SF-02100 Espoo, Finland
Tel: 90-435 011
NORWAY
Narud Yamaha AS
Osterndalen 29, 1345 @steräs
Tel: 02-24 47 90
ICELAND
Páll H. Pálsson
P.O. Box 85, Reykjavik, Iceland
Tel: 01-19440
EAST EUROPEAN COUNTRIES
(Except HUNGARY)
Yamaha Europa GmbH.
SiemensstraBe 22-34, D-2084 Rellingen, F.R. of
Germany
Tel: 04101-3030
AFRICA |
MOROCCO
Yamaha-Hazen Electronica Musical, S.A.
Jorge Juan 30, 28001, Madrid, Spain
Tel: 911-577-7270
OTHER COUNTRIES
Yamaha Musique France, Division Export
BP 70-77312 Marne-la-Valée Cedex 2, France
Tel: 01-64-61-4000
[ MIDDLE EAST ASIA
ISRAEL
R.B.X. International Co., Ltd.
P.O. Box 11136, Tel-Aviv 61111, Israel
Tel: 3-298-251
OTHER COUNTRIES
Yamaha Musique France, Division Export
BP 70-77312 Marne-la-Valée Cedex 2, France
Tel: 01-64-61-4000
| ASIA
HONG KONG
Tom Lee Music Co., Ltd.
15/F., World Shipping Centre, Habour City,
7 Canton Road, Kowloon, Hong Kong
Tel: 3-722-1098
INDONESIA
PT. Yamaha Music Indonesia (Distributor)
Gedung Yamaha Music Center, Jalan Jend, Gatot
Subroto Kav. 4, Jakarta 12930, Indonesia
Tel: 21-520-2577
KOREA
Cosmos Corporation
131-31 Neung-dong, Sungdong-ku, Seoul, Korea
Tel: 2-466-0021-5
MALAYSIA
Yamaha Music Malaysia Sdn., Bhd.
16-28, Jalan SS 2/72, Petaling Jaya, Selangor,
Malaysia
Tel: 3-717-8977
PHILIPPINES
Yupangco Music Corporation
339 Gil J. Puyat Avenue, Makati, Metro Manila
1200, Philippines
Tel: 2-85-7070
SINGAPORE
Yamaha Music Asia Pte., Ltd,
80 Tannery Lane, Singapore 1334, Singapore
Tel: 747-4374
TAIWAN
Kung Hsue She Trading Co., Ltd.
KHS Fu Hsing Building, 322, Section 1, Fu-Hsing
3. Road, Taipei 10640, Taiwan. R.O.C.
Tel: 2-709-1266
THAILAND
Siam Music Yamaha Co., Ltd.
933/1-7 Rama I Road, Patumwan, Bangkok,
Thailand
Tel: 2-215-0030
THE PEOPLE’S REPUBLIC OF CHINA
AND OTHER ASIAN COUNTRIES
Yamaha Corporation, Asia Oceania Group
Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 81{Country Code)-53-460-2311
| OCEANIA
AUSTRALIA
Yamaha Music Australia Pty. Ltd.
17-33 Market Street, South Melbome, Vic. 3205,
Australia
Tel: 3-699-2388
NEW ZEALAND
Music Houses of N.Z. Ltd.
146/148 Captain Springs Road, Te Papapa,
Auckland New Zealand
Tel: 9-640-099
COUNTRIES AND TRUST
TERRITORIES IN PACIFIC OCEAN
Yamaha Corporation, Asia Oceania Group
Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 81(County Code)-53-460-2311
HEAD OFFICE
Yamaha Corporation, Electronic Musical) Instrument Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 81 (Country Code)-53-460-2445
YAMAHA
YAMAHA CORPORATION
| VM82330 JCADROCR35.21TP x Printed in Japan