Yamaha mep4 manual

The beeper sounds and the current settings are displayed on the LED. The power supply output is stopped with a voltage signal input, even in commercial operation. However, it does not restart if the automatic restart setting setting … Using the UPS monitoring software and contact signal 6. Note 2: The UPS stops automatically only when the battery is depleted. Battery Mode continues until the battery is depleted. Note 3: Only the battery capacity can be monitored.

Note 4: This function can be used with Windows only. Setup is complete. When a power failure occurs, Windows shutdown starts once the set time is exceeded or the low battery level signal is detected.

If the power is restored before the set time is exceeded, Windows shutdown does not start and the normal monitoring state is restored. Maintenance and inspection Pull on the white label attached to the battery, and then hold the battery with your hands to remove it.

Be careful not to drop the battery. Insert the new battery. Fit the metal cover into the grooves and slide it to the left to secure it. The battery is secured inside the case. Connect the red and black … Operation Interpreting beeps and displays Status indicator No. Displa … Using the UPS monitoring software and contact signal [Explanation of software functions] 1 Auto shutdown The computer can be shut down automatically when a problem occurs with the power supply.

Are not the same as shown above. Check the status of lamps and beep and turn off the Power Switch. Maintenance and inspection Replacing the battery The battery can be replaced either while the unit is stopped power supply output stopped or while it is in operation outputting power supply.

Click on "Custom" in the "Select model M " window. Click the button on the right of the "Port P " window, and select from the list the port that the UPS is connected to. Click t … That should be followed during instruction of the UPS and batteries. This symbol indicates turning on UPS. This symbol indicates turning off UPS.

Each UPS used 2pcs batteries. And the total battery voltage is 12Vdc. For BY75SW model, the internal batt … 3. You can choose either of the operation methods for your convenience. We recom- mend turning off the power switch when you do not use connected devices for a long time. Shut do … When there is a power failure, files can automatically be saved and the computer can be shut down. Connect the UPS to a computer. The last option is where Yamaha's new MEP4 comes in.

But that's about as far as those similarities go, because apart from the obvious difference that one processes audio data while the other manipulates MIDI data, the MEP4 is conceptually a far harder nut to crack than a unit like the SPX.

And the 30 factory preset effects that Yamaha have thoughtfully included on the MEP4 in a voice RAM may cause confusion to many, simply because the unit's effects demand that your MIDI instrument setup is configured appropriately, and that all your instruments are capable of transmitting and receiving the controller codes that some of these presets make use of.

When you disentangle the MEP4 from its packaging, you discover an example book with program charts and system setups for all 30 presets, which is invaluable - though it doesn't suddenly make the MEP4 a breeze to use. Fortunately, you don't have to plunge in at the deep end with the MEP4. At its most basic level, the machine acts as nothing more sophisticated than a simple five-way MIDI Thru box. So the MEP4 can start working for you as soon as you get it out of its box, which is no more than you should expect, after all.

Figure 1 shows the basic layout of the MEP4. Four independent processors receive data from the single MIDI In, and can send the results of their own operations to any one of four MIDI Outs; the Thru fulfils its normal role of passing on incoming data unchanged, which means you could, for instance, chain two MEP4s together. As well as directing the output of each processor to a separate Out, you can route up to four processors to one Out, allowing the creation of composite effects.

What you can't do is send the output of a particular processor to more than one MIDI Out, so if you want to layer an effect, you have to double the effect on two processors or daisy-chain your synths. But what are these enigmatic processors? Figure 2 illustrates the components that go to make up each processor: remember there are four of these running in parallel, each with its own settings of the same parameters. Each processor can be switched on and off from dedicated front-panel buttons, which is a useful way of removing a particular instrument from the action, or of isolating part of a composite effect.

Starting at the left-hand end of the diagram, the Channel Filter allows you to assign a processor to any number of MIDI channels, from one up to the full It's worth bearing in mind that the MEP transmits its processed MIDI data on a maximum of four MIDI channels; should you require further channel capacity which you may well do if you're using multi-timbral synths or samplers , you'll need a second MEP4 connected via the Thru.

The Data Presetter allows you to select a patch number, pitch-bend value and two controller-code values, which are all sent on the selected MIDI channel whenever a new MEP4 program is called up. Thus, you can trigger up to four different patch numbers, on any channels, for every incoming patch number. This is the same facility offered by Dynacord's MCC1, but with the added advantage that MEP4 memories don't have to be aligned with specific patches - more on this later.

The pitch-wheel setting is perhaps most useful for zeroing the effect of the wheel, while Yamaha's examples commonly use the two controller codes for zeroing the modulation wheel and setting the volume pedal to maximum. Resetting controllers is a useful task, and it's a pity Yamaha haven't allowed for a few more of these codes to be transmitted. However, what is useful is that the MEP4 transmits sustain pedal-off messages together with note-off messages for all notes currently active, in a healthy variety of circumstances including whenever a new program is selected or a processor is turned on or off.

All of which should ensure you don't get droning notes at any time when using the MEP4 - a reassuring thought. These are: note-off, note-on, polyphonic aftertouch, control changes, program changes, channel aftertouch, pitch-bend, channel mode messages and system messages. Aside from choosing which data goes to which slave instruments during performance, you can also use this section as a means of removing unwanted data say, pitch-bend data from a sequencer track.

The Delay Processor allows you to delay transmission of all MIDI data passing through it for up to three seconds, selectable in millisecond increments. But unlike the Akai, the MEP4 allows you to group all four processors together for a single four-note delay - still within the three-second limit. I've left till last what is probably the most flexible and currently unique aspect of the MEP4: the Data Modifier.

Unfortunately, this is also the section in which you come most intimately into contact with actual MIDI data, so you really need to know about MIDI if you're not to get lost. With the Data Modifier, you can alter any MIDI messages one per processor apart from channel mode and system messages, in up to four ways.

And you can convert messages which have specific data values, so that one particular note, for instance, can be used to trigger any result the MEP4 is capable of creating.

There are six ways in which you can modify a message and remember you can combine them in up to four steps : Expand, Step, Offset, Reverse, Limit and Convert. The first five of these modify data bytes only; Convert is the one that allows you to change a message completely.

This could be a useful way of, say, altering the velocity range of notes on a particular channel. Step allows you to filter particular messages whose data byte isn't a multiple of a specified value, which could come in handy for cutting down on data generated by continuous controllers.

The most obvious use for this is to create parallel octave, fifth or fourth effects - though any interval is possible. Reverse allows you to reverse MIDI data for any specified message around a selected fixed middle-point.

Limit is where you get to set up four-way splits. For each processor you can define an upper and a lower limit, which gives you the sort of flexibility otherwise only found on Oberheim machinery.

It's worth bearing in mind that such a composite effect doesn't allow you to create any other effects, as each processor's Data Modifier can only process one MIDI message at a time.

Convert, as mentioned earlier, allows you to change one message into another. It's a pity, though, that you can't convert to System messages such as start, stop and continue or song-select, for remote control of sequences from any MIDI code.

Being able to specify up to four operations a Convert function must always come last allows for even more sophisticated possibilities, while you can always send the same data to two processors, treat it differently, and send the results out of just a single MIDI Out. I'll repeat the warning, though: you really do need to know your MIDI codes in hexadecimal, too if you're not to get hopelessly lost in this area of the MEP4.

Even then, it can require some effort to think through exactly what's happening, or what you might be able to do. But what's so sensible about the MEP4 is that you can use it in a modular fashion, utilising all its other capabilities and only approaching the Data Modifier section when you feel ready for it.

Maybe Yamaha should have included a quick way of switching each section in and out for the currently-selected processor. That would have allowed you to isolate particular sections while trying to find out why that reverse keyboard effect with multiple delays is causing your keyboards to give a convincing interpretation of Mount Vesuvius erupting.

As the user manual honestly points out, it's feasible that you could overload the MIDI bus by sending multiple continuous controller data over a single MIDI Out - in which case the MEP4 will dutifully cry on your shoulder and inform you of its problems.