Yamaha MU128 Sound List & Midi Data Download

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MU128 EFFECT

* The Harmonic Enhancer produces the same effect as its MU series predecessor.

No.

0
1
2
3
4
5
6
7
8
9

10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71

MSB
00H
01H
01H
02H
02H
02H
03H
03H
04H
10H
11H
12H
13H
05H
06H
07H
08H
09H
09H
0AH
0BH
14H
14H
14H
41H
41H
41H
41H
42H
42H
42H
42H
43H
43H
43H
44H
57H
58H
45H
56H
46H
47H
48H
48H
49H
49H
4AH
4BH
4CH
4DH
4EH
4EH
4EH
52H
52H
52H
52H
50H
50H
51H
53H
54H
55H
5DH
5EH
5FH
5FH
60H
60H
61H
61H
40H

LSB
00H
00H
01H
00H
01H
02H
00H
01H
00H
00H
00H
00H
00H
00H
00H
00H
00H
00H
01H
00H
00H
00H
01H
02H
00H
01H
02H
08H
00H
01H
02H
08H
00H
01H
08H
00H
00H
00H
00H
00H
00H
00H
00H
08H
00H
01H
00H
00H
00H
00H
00H
01H
02H
00H
01H
02H
08H
00H
01H
00H
00H
00H
00H
00H
00H
00H
01H
00H
01H
00H
01H
00H

Effect Type
NO EFFECT
HALL 1
HALL 2
ROOM 1
ROOM 2
ROOM 3
STAGE 1
STAGE 2
PLATE
WHITE ROOM
TUNNEL
CANYON
BASEMENT
DELAY L,C,R
DELAY L,R
ECHO
CROSS DELAY
ER 1
ER 2
GATE REVERB
REVERSE GATE
KARAOKE 1
KARAOKE 2
KARAOKE 3
CHORUS 1
CHORUS 2
CHORUS 3
CHORUS 4
CELESTE 1
CELESTE 2
CELESTE 3
CELESTE 4
FLANGER 1
FLANGER 2
FLANGER 3
SYMPHONIC
ENSEMBLE DETUNE
AMBIENCE
ROTARY SPEAKER
2WAY ROTARY SPEAKER
TREMOLO
AUTO PAN
PHASER 1
PHASER 2
DISTORTION
COMP+DISTORTION
OVER DRIVE
AMP SIMULATOR
3BAND EQ(MONO)
2BAND EQ(STEREO)
AUTO WAH(LFO)
AUTO WAH+DIST
AUTO WAH+ODRV
TOUCH WAH 1
TOUCH WAH 2
TOUCH WAH+DIST
TOUCH WAH+ODRV
PITCH CHANGE 1
PITCH CHANGE 2
HARMONIC ENHANCER*
COMPRESSOR
NOISE GATE
VOICE CANCEL
TALKING MODULATOR
LO-FI
DIST+DELAY
OVDELAY
COMP+DIST+DELAY
COMP+OVDELAY
WAH+DIST+DELAY
WAH+OVDELAY
THRU

Remarks
Turns off the effect.
Reverb simulating the acoustics of a hall.

Reverb simulating the acoustics of a room.

˝
˝

Reverb appropriate for a solo instrument.

Reverb simulating a metal plate reverb device.
Distinctive short reverb with a slight initial delay.
Simulation of a cylindrical space extending to left and right.
A hypothetical acoustic space which extends without limit.
Reverb with distinctive resonance following a slight initial delay.
Three delay sounds L, R and C (center).
Two delay sounds L and R, with two feedback delays.
Two delays L and R, with independent feedback delay for L and R.
This effect crosses the feedback of two delays.
This effect isolates only the early reflection components of the reverb.

Simulation of gated reverb.
Simulation of gated reverb played back in reverse.
Echo for karaoke.

˝
˝

Conventional chorus effect which gives natural spaciousness to the sound.

˝
˝
˝

A three-phase LFO is used to give modulation and spaciousness to the sound.

˝
˝
˝

An effect reminiscent of a jet airplane taking off and landing.

˝
˝

A multi-stage version of CELESTE modulation.
Chorus effect without modulation, created by adding a slightly pitch-shifted sound.
An effect which adds spatial breadth by blurring the location of the sound.
Simulation of a rotary speaker. AC1 (assignable controller 1) etc. can be used to control the rotation speed.
Simulation of a rotary speaker. AC1 (assignable controller 1) etc. can be used to control the rotation speed.
An effect which cyclically modulates the volume.
An effect which cyclically moves the sound between left/right and front/back.
Cyclically changes the phase to modulate the sound.

Adds distortion with an edge to the sound. Since a noise gate is included, this is suitable for use with A/D input as well.
Since a compressor is included in the first stage, distortion can be applied evenly, regardless of the input level.
Adds mild distortion to the sound. Since a noise gate is included, this is suitable for A/D input as well.
Simulation of a guitar amp. Since a noise gate is included, this is suitable for use with A/D input as well.
Mono EQ with equalization of LOW, MID and HIGH.
Stereo EQ with equalization of LOW and HIGH. Ideal for Drum Parts.
Cyclically changes the center frequency of a wah filter. Can also be used with AC1 etc. as a pedal wah.
Applies DISTORTION to the output of AUTO WAH to distort the sound. Can also be used with AC1 etc. as a pedal wah.
Applies OVERDRIVE to the output of AUTO WAH to distort the sound. Can also be used with AC1 etc. as a pedal wah.
Changes the center frequency of a wah filter according to the input level. Can also be used with AC1 etc. as a pedal way.
Applies DISTORTION to the output of TOUCH WAH to distort the sound. Can also be used with AC1 etc. as a pedal wah.
Applies OVERDRIVE to the output of TOUCH WAH to distort the sound. Can also be used with AC1 etc. as a pedal wah.
Changes the center frequency of a wah filter according to the input level. Can also be used with AC1 etc. as a pedal wah.
This effect changes the pitch of the input signal.

This effect adds new overtones to the input signal to make the sound stand out.
Holds down the output when the input exceeds a specified level. Can also be used to add a sense of attack to the sound.
Gates the input when the input signal falls below a specified level. Useful for cutting noise from the A/D input, etc.
Attenuates the vocal part from sources such as CDs.
Adds a vowel sound to the input signal.
Degrades the audio quality of the input signal.
DISTORTION and DELAY are connected in series.
OVERDRIVE and DELAY are connected in series.
COMPRESSOR, DISTORTION and DELAY are connected in series.
COMPRESSOR, OVERDRIVE and DELAY are connected in series.
TOUCH WAH, DISTORTION and DELAY are connected in series.
TOUCH WAH, OVERDRIVE and DELAY are connected in series.
Bypass without applying an effect.

Effect Type List

VARIATION