The XG Format Offers the ability to create music data with greater music expression. A vastly expanded voice set. A consistent format that bridges the gap between computers and musical instruments. The ability to create data that will not become "out of date". The ability to create "karaoke" data including echo settings and much more 1. Compatibility XG data will play accurately on any XG tone generator. Scalability Although the XG format defines an extensive range of parameters and allows exceptionally fine musical control, not all XG devices need to conform to the full XG specification.
The XG format allows features and capabilities to be "scaled" according to price and target applications. When music data is played on a scaled-down XG device, playback is adapted to the capabilities of the device used. For the SysEx messages, 'mm' is a hexadecimal byte designating the multitimbral part to which the message applies, while 'xx' sets the value of the parameter.
Where there are two 'xx' bytes for the Detune parameter, the least significant precedes the most significant. Figure 2. As you can see in Figure 2, there is often more than one message that will access a particular parameter. Out of preference you'll want to use the topmost message, as it will keep the MIDI stream as uncluttered as possible, but I've included all the options in case you want to use a different one.
Also, remember that you don't necessarily need to use the whole of an NRPN message every time you change a value. In the rare case that you decide to use more than one NRPN parameter, however, use the complete message every time to avoid problems. Although the SysEx messages are much more greedy of MIDI data bandwidth each one has bytes , they are useful because they let you access every available XG parameter.
Furthermore, you can direct parameter changes at all the available multitimbral parts within the XG module, regardless of the MIDI channel which these parts have been set to receive. The keys to many of your XG module's creative possibilities are its polyphony and multitimbrality.
Because few XG-equipped home studios are using their XG module for the bulk of the work, this means that you can usually afford to be as wasteful as you like with the synth's available horsepower. Once you take this idea on board, a whole selection of extra sound-design options become available to you. The first important way you can use this potential is by experimenting with MIDI delay effects. Let me explain what I mean.
If you now create a copy of that MIDI sequence, delay it, and send it to the same multitimbral part, you'll get a simple single-repeat delay effect. You could set up as many other copies of the original MIDI sequence as you wanted, for any desired pattern of delays, but things are still fairly limited, as each delay will play back at the same level and with the same sound.
However, you can make things much more interesting if you assign each delay repeat to a different multitimbral part, instead of to the same one. In Example 4a, I've used a kind of marimba-like sound to play a simple percussive rhythm chord part, which has been delayed and sent to six other multitimbral parts playing the same sound. I've adjusted the volume balance of the delays to make the repeats decay appropriately. By adjusting the filter settings for the later delay repeats, and also increasing the reverb levels, Example 4b shows how the delays can be made to recede into the distance in a pleasing way.
Although this kind of delay effect is not particularly new, this way of implementing it offers a lot of advantages. Firstly, if you use a MIDI delay effect, you can save your Variation effects block for other treatments, which is great if you want to use, say, distortion in your multitimbral setup.
The second advantage is that you can make any pattern of delays that you like, with interesting and irregular rhythms that still track the tempo of the track. But the best reason for using normal MIDI delays, in my opinion, is that you can stop long strings of delay repeats clashing with harmonies that change from bar to bar. You can either edit the offending notes to match the new chord, or you can simply delete them.
Compare Example 4b to Example 4c, where I've removed some of the rough edges in this way, as well as tweaking the envelope settings of the repeats slightly to make them less percussive.
So much for traditional delay effects; let's take things in a more interesting direction now. First off, in Example 4d I've set different pan positions for each delay, selected a slightly different sound for delays four and five, and tweaked the main envelope generator settings to give a kind of reverse envelope on the final two repeats.
Example 4e uses the effects sends to differentiate the delays from each other further, with distortion being dialled in for the slow-attack repeats.
I've also turned the Dry Level parameter for delays four and five down to zero, so that you only hear them through the effects. Finally, to really get things sounding weird, I've turned on the portamento for the last pair of delays, so that they're just atmospheric distorted whoopings in Example 4f. Finally, Example 4g combines this with Example 2 and Example 3.
If you're interested in finding out more about the capabilities of the XG format, then this site should be your first stop. There are also links in the Download area for various sequencer-specific and stand-alone XG parameter editors. If you're not an owner of one of the 45 million XG synths that are apparently out there, then here's an opportunity to try out what XG has to offer.
It's only part multitimbral, but it can handle up to voices of polyphony if your computer has enough muscle. An immensely useful resource for any Yamaha product, but particularly for XG synths. If you have no manual for whatever reason , then it's worth downloading the relevant PDF files from here. Sorry, I can't answer that. But you can get the CLP manual on the Yamaha web site. It should contain detailed information.
Yamaha has all current and nearly all old manuals online. Their Japan web site is best It's at Yamaha Online Manuals Go here for the CLP Manual Page of the manual says: XG is a major enhancement of the GM System Level 1 format, and was developed by Yamaha specifically to provide more voices and variations, as well as greater expressive control over voices and effects, and to ensure compatibility of data well into the future.
Now, how do you make that work??? I surely don't know. Maybe the manual has more to say about that. Have a look. I did I'm hopeless with electronic lingo. I'm going to be at a Yamaha dealer next week and I'll ask them to clarify this for me.
Joined: Nov Tokyo, Japan. GM provides a set of standard sounds pianos, flutes, strings, etc. XG adds even more voices, but only files specifically for a Yamaha instrument can use them. Apparently, the has all the different sounds needed to play back XG files, but they aren't user selectable. So, if you get an XG MIDI file, it will play back correctly with the additional sounds , but for your own playing, you're limited to a smaller sound set of or so sounds.
This is not so unusual. I work for the Yamaha piano dealer. Please keep in mind the CLP is discontinued. The replacement model is CLP Moderated by Piano World. Print Thread Show Likes. Piano Concerts, Recitals, Competitions The Polling Booth Legal Issues. What's Hot!! Download Sheet Music. Most Online 15, Mar 21st, Please Support Our Advertisers. Powered by UBB.
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