Yamaha SY85 Manual de usuario

YAMAHA

SY85 Music Synthesizer

Owner’s Manual 2

- Feature Reference -

GENERAL EDITING PROCEDURE

PATTERN EDIT MODE

SONG EDIT MODE

DRUM VOICE EDIT MODE

VOICE EDIT MODE

PERFORMANCE EDIT MODE

UTILITY MODE

WAVE EDIT MODE

APPENDIX

CONTENTS

GENERAL EDITING PROCEDURE

■ Mode Selection .............................................8

■ Selecting Specific Edit Functions...............8

■ Selecting & Editing Parameters................10

■ Controller Assignment Display..................11

Performance Edit Mode

■ Edit

1: Layer

1: Voice Number .................................14

2: Volume .............................................15

3: Pan ...................................................16

4: Tune .................................................17

5: Note Limit ........................................18

6: Velocity Limit...................................20

7: CS Enable .......................................22

Layer Data Copy.................................23

2: Performance Total Level .....................24

3: Performance Name ..............................25

4: Layer Voice Edit

1: Oscillator..........................................26

2: Amplitude EG..................................26

3: Filter .................................................26

4: Pitch EG ..........................................26

5: LFO ..................................................26

6: Controller .........................................26

7: Voice Total Level ...........................26

8: Voice Name.....................................26

■ Quick Edit

1: Amplitude EG Offset............................27

2: LFO & Filter Offset ..............................29

3: Controller Conditions ...........................31

4: Other Conditions ..................................33

5: Effect Type............................................35

6: Effect Parameter ..................................36

■ Effect Edit

1: Mode, Type ...........................................37

2: Send Select & Level............................38

3: Layer Dry Output Select .....................40

4: Output Level .........................................41

5: Wet : Dry Balance ...............................42

6: Send & Effect 2 Mix Level .................43

7: Effect 1 Parameters.............................44

8: Effect 2 Parameters.............................44

9: Control Parameters ..............................45

10: Control LFO ........................................47

Effect Data Copy.......................................48

Effect Signal Flow Display.......................49

■ Job

1: Layer Controller Sync..........................50

2: Layer Exchange....................................51

3: Performance Edit Recall .....................52

4: Performance Initialize ..........................53

■ Performance Compare...............................54

■ Performance Store .....................................55

Voice Edit Mode

■ Edit

1: Oscillator................................................58

2: Amplitude EG

1: AEG Level & Rate .........................60

2: Level Scaling ..................................62

3: Sensitivity ........................................63

AEG Data Copy...................................64

3: Filter

1: Type, Cutoff Frequency.................65

2: Cutoff Scaling .................................69

3: FEG Level & Rate..........................70

4: Filter Sensitivity ..............................72

Filter Data Copy..................................73

4: Pitch EG

1: Level & Rate...................................74

2: Range, Sensitivity...........................76

Pitch EG Data Copy...........................77

5: LFO

1: LFO ..................................................78

2: LFO Speed Sensitivity...................80

LFO Data Copy ...................................81

6: Controller

1: Pitch Bend Range ..........................82

2: Modulation Wheel Depth ...............83

3: Foot Controller Depth ....................85

4: After Touch Depth..........................87

5: CS3 Parameter Edit.......................89

6: CS4 Parameter Edit.......................91

Controller Data Copy..........................93

7: Voice Total Level ...........................94

8: Voice Name.....................................95

■ Quick Edit

1: Wave......................................................96

2: Amplitude EG........................................98

3: Filter.................................................... 100

4: LFO ..................................................... 102

5: Effect Type......................................... 103

6: Effect Parameter ............................... 104

■ Effect Edit

1: Mode, Type ........................................ 105

2: Send, Mix, Wet : Dry........................ 106

3: Output Level ...................................... 108

4: Effect 1 Parameters.......................... 109

5: Effect 2 Parameters.......................... 109

6: Control Parameters ........................... 110

7: Effect LFO.......................................... 112

Effect Data Copy.................................... 113

Effect Signal Flow Display.................... 114

■ Job

1: Voice Edit Recall............................... 115

2: Voice Initialize ................................... 116

■ Voice Compare ........................................ 117

■ Voice Store............................................... 118

Drum Voice Edit Mode

■ Edit

1: Key Parameters 1 ............................. 120

2: Key Parameters 2 ............................. 122

3: Total Level ......................................... 123

4: Drum Voice Name............................. 124

Drum Key Data Copy ............................ 125

■ Quick Edit

1: Effect Type......................................... 126

2: Effect Send Level.............................. 127

■ Effect Edit

1: Mode, Type ........................................ 128

2: Key Send Select & Level................. 129

3: Key Dry Output Select ..................... 131

4: Output Level ...................................... 132

5: Wet : Dry Balance ............................ 133

6: Send & Effect 2 Mix Level .............. 134

7: Effect 1 Parameter2.......................... 135

8: Effect 2 Parameter2.......................... 135

9: Control Parameters ........................... 136

10: Control LFO ..................................... 138

Effect Data Copy.................................... 139

Effect Signal Flow Display.................... 140

■ Job

1: Key Data Initialize............................. 141

2: Key Data Exchange .......................... 142

3: Drum Voice Edit Recall.................... 143

4: Drum Voice Initialize......................... 144

■ Drum Voice Compare ............................. 145

■ Drum Voice Store.................................... 146

Song Edit Mode

■ Multi Edit

1: Voice Select ....................................... 148

2: Volume................................................ 149

3: Pan...................................................... 150

4: Effect Send Level.............................. 151

5: Note Shift ........................................... 152

6: Tune.................................................... 153

7: Effect Type, Out Balance................. 154

8: Song Name ........................................ 155

9: Song Initialize .................................... 156

■ Track Edit ................................................. 157

■ Effect Edit

1: Mode, Type ........................................ 166

2: Send Select & Level......................... 167

3: Inst Dry Output Select...................... 169

4: Output Level ...................................... 170

5: Wet : Dry Balance ............................ 171

6: Send & Effect 2 Mix Level .............. 172

7: Effect 1 Parameters.......................... 173

8: Effect 2 Parameters.......................... 173

9: Control Parameters ........................... 174

10: Control LFO ..................................... 176

Effect Data Copy.................................... 177

Effect Signal Flow Display.................... 178

■ Job

1: Clear Song ......................................... 179

2: Copy Song ......................................... 180

3: Memory Status/Clear Rhythm Track

.................................................... 181,182

4: Track Mixdown................................... 183

5: Delete Track ...................................... 185

6: Quantize ............................................. 186

7: Copy Measure ................................... 188

8: Delete Measure ................................. 190

9: Insert Measure................................... 191

10: Erase Measure ................................ 192

11: Remove Event ................................. 193

12: Clock Move ...................................... 195

13: Transpose......................................... 196

14: Note Shift ......................................... 197

15: Velocity Modify ................................ 198

16: Gate Time Modify ........................... 199

17: Crescendo ........................................ 200

Pattern Edit Mode

■ Job

1: Copy Pattern...................................... 202

2: Clear Pattern...................................... 203

3: Instrument Change............................ 204

4: Velocity Modify .................................. 205

■ Pattern Name........................................... 207

Utility Mode

■ Synth Setup

1: System................................................ 210

2: MIDI 1 (Channel Parameters) ......... 212

3: MIDI 2 (Other Parameters).............. 213

4: Program Change Table .................... 215

5: Velocity ............................................... 216

■ SEQ Setup

1: Click Condition................................... 217

2: Record Condition............................... 219

3: Accent Velocity.................................. 220

4: Song Chain ........................................ 221

■ Bulk Dump

1: all......................................................... 222

2: synth all.............................................. 222

3: sequencer all ..................................... 222

4: pattern all ........................................... 222

5: 1 performance.................................... 222

6: 1 voice ................................................ 222

7: 1 song................................................. 222

■ Card

1: Card All Load/Save........................... 223

2: Card Format....................................... 224

■ Disk

1: Disk All Load/Save............................ 225

2: Disk All Load/Save Synth ................ 225

3: Disk All Load/Save Seq ................... 225

4: Disk NSEQ Load/Save ..................... 225

5: Disk Other Load/Save ...................... 225

6: MDR .................................................... 228

7: Rename/Delete .................................. 231

8: Backup Disk....................................... 232

9: Disk Status......................................... 234

10: Disk Format ..................................... 235

Wave Edit Mode

■ Wave Number Select .............................. 239

■ Edit

1: Waveform

1: Wave Assign ................................ 240

2: Wave Name ................................. 240

2: Sample

1: Sample Key Map......................... 243

2: Sample Data ................................ 243

■ Wave Initialize.......................................... 247

■ Sample Dump

1: Sample Dump Recieve..................... 248

2: Sample Dump Transmit.................... 249

■ Wave Card Load ..................................... 250

■ Wave Disk Load/Save 1 Sample .......... 251

■ Wave Memory Status Display................ 252

APPENDIX

■ EFFECTS.................................................. 254

Effect Signal Flow Diagrams — Voice

Mode........................................................ 256

Effect Signal Flow Diagrams — Drum Voice,

Performance, and Song Modes..................

264

The Effects & Their Parameters.......... 274

■ WAVE MEMORY EXPANSION.............. 285

Memory Installation................................ 286

■ INITIAL DATA & BLANK CHART

INITIAL PERFORMANCE “InitPerf” ..... 289

INITIAL NORMAL VOICE “InitVce”...... 290

INITIAL DRUM VOICE “DR PTN”........ 292

INITIAL DRUM VOICE “DR Zones”..... 294

INITIAL DRUM VOICE “DR GMIDI” .... 296

INITIAL DRUM VOICE “DR Efect” ...... 298

INITIAL MULTI “InitSong” ..................... 300

SYSTEM SETUP.................................... 301

INTERNAL PERFORMANCE LIST (1)....

302

INTERNAL PERFORMANCE LIST (2)....

304

INTERNAL VOICE LIST (1).................. 306

INTERNAL VOICE LIST (2).................. 307

INTERNAL VOICE LIST (3).................. 308

INTERNAL VOICE LIST (4).................. 309

INTERNAL WAVE LIST......................... 310

BLANK CHART — PERFORMANCE... 311

BLANK CHART — VOICE.................... 312

BLANK CHART — DRUM VOICE ....... 314

BLANK CHART — MULTI .................... 316

BLANK CHART — SYSTEM SETUP .. 317

■ About the Standard MIDI File Format .. 318

■ SPECIFICATIONS ................................... 319

■ ERROR MESSAGES............................... 320

■ TROUBLE SHOOTING............................ 324

■ INDEX ....................................................... 326

GENERAL EDITING

PROCEDURE

■ Mode Selection ........................................... 8

■ Selecting Specific Edit Functions ............... 8

■ Selecting & Editing Parameters ............... 10

■ Controller Assignment Display ................. 11

The SY85 makes editing easy by providing a consistent, logical control

interface via which parameters can be located and edited. Once you’ve learned

the general procedure, you can locate and edit any of the SY85’s many param-

eters quickly and easily.

■ Mode Selection

All SY85 edit modes are selected via the MODE matrix keys. To select the

VOICE EDIT mode, for example, press the VOICE mode key so that its indica-

tor lights, than press the second SUB MODE key in the VOICE column

(EDIT).

■ Selecting Specific Edit Functions

Once you’ve selected an edit mode, one way to select the various edit

screens and functions it contains is to use the PAGE [ ] and [ ] keys. The

[ ] and [ ] keys step backward and forward through the available screens,

respectively. Hold either of these keys for continuous stepping in the specified

direction.

An alternative method is to use the [MENU] key. If you press the [MENU]

key ion the VOICE EDIT mode, for example, you’ll see a display something

like this:

GENERAL EDITING PROCEDURE

The illustrations here are not available.

From this display you can use either the data entry dial or the [-1] and [+1]

keys to directly select any of the 8 available functions, then press the [ENTER/

YES] key to actually select the specified function.

In some cases the PAGE [ ] and [ ] or [MENU] keys will take you to

another entry screen. If you select “3: Filter” after pressing the [MENU] key in

the VOICE EDIT mode, and then press [ENTER/YES], you’ll see the following

display:

“Hit [ENTER]” will be flashing. In this case press [ENTER/YES] again to

access the filter functions. Once in the filter “sub-mode” you can use the PAGE

[ ] and [ ] or [MENU] keys to select the various filter functions, as de-

scribed above. When you have finished with the filter functions, press [EXIT/

NO] to return to the normal VOICE EDIT mode.

GENERAL EDITING PROCEDURE

The illustrations here are not available.

■ Selecting & Editing Parameters

Most SY85 edit screens contain several parameters that can be selected and

edited. In most cases you can simply operate the continuous slider immediately

below the parameter you want to edit on the display. Operating a slider auto-

matically moves the underline cursor to the corresponding parameter. In the

example below, for example (this is the VOICE EDIT mode Oscillator screen),

the [CS5] slider can be used to adjust the “Fine” parameter.

The parameters can also be edited by first moving the cursor to the required

parameter by pressing the corresponding function key ([F7], for example, would

select the “Rndm” parameter in the above display), and then by using either the

data entry dial or the [-1] and [+1] keys to adjust the parameter’s value.

In some special cases you’ll also use the function keys as parameter

“switches,” and the [SHIFT] key is sometimes called into play to access sec-

ondary functions. Such exceptions are described in the appropriate sections of

the manual.

GENERAL EDITING PROCEDURE

The illustrations here are not available.

■ Controller Assignment Display

It is possible to assign a wide range of parameters to be controlled by the

[CS1] through [CS4] sliders when playing in the VOICE or PERFORMANCE

PLAY modes. Since it is easy to forget what parameters have been assigned to

which sliders, the SY85 features a controller assignment display that can be

selected temporarily by pressing the [SHIFT] key in the VOICE or PERFORM-

ANCE PLAY mode.

● PERFORMANCE PLAY mode

● VOICE PLAY mode

● DRUM VOICE PLAY mode

This display shows the names of the parameters assigned to sliders [CS1]

through [CS4] for the current voice or performance combination, so you can

take a quick peek to refresh your memory even while playing.

GENERAL EDITING PROCEDURE

PERFORMANCE EDIT MODE

1: VOICE NUMBER

[PERFORMANCE] → [EDIT] → [MENU] → 1:Layer → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 1:Voice Number → [ENTER/YES]

SY85 performance combinations can have up to four voices assigned to different

“layers” — A, B, C and D. This screen lets you assign voices to the layers.

PERFORMANCE EDIT MODE / 1:Layer

Voice Number A, B, C, D

Range: off, A1 … H7 (internal & card)

Controls: MEMORY, GROUP, PROGRAM, [CS2], [CS4], [CS6], [CS8],

[-1] [+1], Dial

After moving the cursor to the layer you want to edit by pressing the [F2],

[F4], [F6] or [F8] function key, use the [INTERNAL 1], [INTERNAL 2], and

[CARD] keys to select the memory area from which the voice is to be selected,

and then use the GROUP and PROGRAM keys to select the voice. Voices

within the selected memory bank can also be selected directy for each layer by

the [CS2], [CS4], [CS6], and [CS8] keys. Internal and card voices cannot be

mixed.

The voices can individually turned on or off by using the [-] (off) and [+]

(on) keys while holding the [SHIFT] key.

The name of the currently selected voice is shown in the upper right corner

of the display. The characters “ABCD” to the right of the voice name indicate

the status of each voice:

• Capital letter = voice on.

• Lower-case letter = voice muted.

• “-” = voice is off.

For example, “Ab-D” indicates that voices A and D are on, voice B is

muted, and voice C is off.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

15PERFORMANCE EDIT MODE / 1:Layer

2: VOLUME

For optimum balance between the voices in a performance combination, this

screen allows the volume of each voice to be adjusted individually.

The name of the currently selected voice/layer is shown in the upper right

corner of the display. The characters “ABCD” to the right of the voice name

indicate the status of each voice: a capital letter if the voice is on, a lower-case

letter if the voice is muted, and a dash if the voice is off.

Volume

Range: 0 … 127

Controls: [CS2], [CS4], [CS6], [CS8], [-1] [+1], Dial

Use the [CS2], [CS4], [CS6], and [CS8] sliders to adjust the volume levels

of the A, B, C, and D layer voices, respectively. A setting of “0” produces no

sound, while a setting of “127” produces maximum volume. The vertical bar

graphs next to each parameter provide a visual indication of volume levels —

the longer the bar the higher the volume. Voices that are turned off are indi-

cated by “----” on the display.

[PERFORMANCE] → [EDIT] → [MENU] → 1:Layer → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 2:Volume → [ENTER/YES]

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

3: PAN

[PERFORMANCE] → [EDIT] → [MENU] → 1:Layer → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 3:Pan → [ENTER/YES]

In multi-layer performance combinations, interesting stereo effects can be pro-

duced by placing the output from different layers at different locations in the stereo

sound field. The parameters in this screen determine the position in the stereo sound

field in which the sound from each active layer will be heard (left to right).

PERFORMANCE EDIT MODE / 1:Layer

The name of the currently selected voice/layer is shown in the upper right

corner of the display. The characters “ABCD” to the right of the voice name

indicate the status of each voice: a capital letter if the voice is on, a lower-case

letter if the voice is muted, and a dash if the voice is off.

Pan

Range: -31 … +31

Controls: [CS2], [CS4], [CS6], [CS8], [-1] [+1], Dial

Use the [CS2], [CS4], [CS6], and [CS8] sliders to adjust the pan positions

of the A, B, C, and D layer voices, respectively. Minus values represent pan-

ning to the left, and positive values represent panning to the right. “0” posi-

tions the sound of the selected layer in the center of the stereo sound field.

Voices that are turned off are indicated by “---” on the display. The upper line

of the display also shows a graphic representation of the stereo sound field

with “L” representing “left” and “R” representing “right.” As you change the

pan value the vertical bar will appear at the corresponding position on the

graphic display.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

17PERFORMANCE EDIT MODE / 1:Layer

4: TUNE

More than just simple tuning, the note shift and fine tune parameters make it

possible to create harmony and voice-thickening detune effects between layers.

[PERFORMANCE] → [EDIT] → [MENU] → 1:Layer → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 4:Tune → [ENTER/YES]

The name of the currently selected voice/layer is shown in the upper right

corner of the display. The characters “ABCD” to the right of the voice name

indicate the status of each voice: a capital letter if the voice is on, a lower-case

letter if the voice is muted, and a dash if the voice is off.

NtShft (Note shift)

Range: -63 … +63

Controls: [CS1], [CS3], [CS5], [CS7], [-1] [+1], Dial

Individually shifts the pitch of each active element up or down in semitone

steps.

Use the [CS1], [CS3], [CS5], and [CS7] sliders to shift the pitch of the A,

B, C, and D layer voices, respectively. A setting of “-12,” for example, shifts

the pitch of the selected layer down by one octave; a setting of “+4” shifts the

pitch up by a major third.

The Note Shift parameter can be used to transpose a voice to its most

useful range, or to create harmony (intervals) between different layers in a

performance combination.

Voices that are turned off are indicated by “---” on the display.

Fine (Fine tuning)

Range: -7 … +7

Controls: [CS2], [CS4], [CS6], [CS8], [-1] [+1], Dial

Allows slight upward or downward pitch adjustment of each active element.

Use the [CS2], [CS4], [CS6], and [CS8] sliders to fine tune the A, B, C,

and D layer voices, respectively.

The maximum minus setting of “-7” produces a downward pitch shift of

approximately 2 cents (a “cent” is 1/100th of a semitone), and the maximum

plus setting of “+7” produces an upward pitch shift of approximately 2 cents. A

setting of “0” produces no pitch change.

The Fine parameter allows different layers in a performance combination to

be slightly detuned in relation to each other, thereby “thickening” the overall

sound.

Voices that are turned off are indicated by “--” on the display.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

5: NOTE LIMIT

[PERFORMANCE] → [EDIT] → [MENU] → 1:Layer → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 5:Note Limit → [ENTER/YES]

The low and high note limit parameters make it possible to create a range of split

keyboard effects using the performance layers. You could have two layers on either

side of a single split point, a four-way split keyboard, or any other possible combina-

tion.

PERFORMANCE EDIT MODE / 1:Layer

The name of the currently selected voice/layer is shown in the upper right

corner of the display. The characters “ABCD” to the right of the voice name

indicate the status of each voice: a capital letter if the voice is on, a lower-case

letter if the voice is muted, and a dash if the voice is off.

Lo (Low note limit)

Range: C-2 … G8

Controls: [CS1], [CS3], [CS5], [CS7], [-1] [+1], Dial,

[SHIFT]+keyboard

Individually sets the low note limit for each active layer (the lowest note

that each layer will produce).

Use the [CS1], [CS3], [CS5], and [CS7] sliders to set the low note limits of

the A, B, C, and D layer voices, respectively. It is also possible to press the

desired note on the keyboard while holding the [SHIFT] key.

The C-2 to G8 range of this parameter covers a full 10-1/2 octaves. “C3”

corresponds to “middle C” on a keyboard.

This parameter, in conjunction with the High Note Limit parameter de-

scribed below, allows the sound from a layer to be limited to a specific region

of the keyboard. If the Low Note Limit is set to C3 and the High Note Limit

for the same layer is set to C4, for example, the sound from that layer will

only be produced between C3 and C4 — the octave immediately above middle

C. This makes it simple to produce split voices.

If the High Note Limit is set to a note that is

lower than the Low Note

Limit for the same layer, the notes between the high and low limits will not

sound.

Voices that are turned off are indicated by “---” on the display.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

≥ ≥ ≥ ≥

19PERFORMANCE EDIT MODE / 1:Layer

Hi (High note limit)

Range: C-2 … G8

Controls: [CS2], [CS4], [CS6], [CS8], [-1] [+1], Dial,

[SHIFT]+keyboard

Individually sets the high note limit for each active layer (the highest note

that each layer will produce).

Use the [CS2], [CS4], [CS6], and [CS8] sliders to set the high note limits

of the A, B, C, and D layer voices, respectively. It is also possible to press the

desired note on the keyboard while holding the [SHIFT] key.

See the “Lo” parameter, above, for more details.

6: VELOCITY LIMIT

[PERFORMANCE] → [EDIT] → [MENU] → 1:Layer → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 6:VelocityLimit → [ENTER/YES]

The high and low velocity limit parameters make it possible to produce a range of

“velocity switching” effects in which different layers of a performance combination

are set up to produce sound only when the keyboard is played at a certain velocity.

You could, for example, produce a flute sound by playing softly, and a horn sound

by playing harder.

PERFORMANCE EDIT MODE / 1:Layer

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

The name of the currently selected voice/layer is shown in the upper right

corner of the display. The characters “ABCD” to the right of the voice name

indicate the status of each voice: a capital letter if the voice is on, a lower-case

letter if the voice is muted, and a dash if the voice is off.

Lo (Low velocity limit)

Range: 1 … 127

Controls: [CS1], [CS3], [CS5], [CS7], [-1] [+1], Dial,

[SHIFT]+keyboard

Sets the lowest velocity value for a range of velocity values over which

each active layer will produce output.

Use the [CS1], [CS3], [CS5], and [CS7] sliders to set the low velocity

limits of the A, B, C, and D layer voices, respectively. It is also possible to

play any note on the keyboard at the desired velocity while holding the

[SHIFT] key.

Every note played on the keyboard (or external MIDI controller) produces a

“velocity” value that tells the tone generator how hard the note has been

played. The range of MIDI velocity values is from 1 to 127 — thus the 1 ...

127 range of this parameter.

The Low Velocity Limit parameter, in conjunction with the High Velocity

Limit parameter described below, makes it possible to specify a range of veloc-

ity values over which the selected layer will produce sound. You could, for

example, set Low Velocity Limit to “60” and High Velocity Limit to “127.”

This would cause that layer to produce output

only when a velocity value

between 60 and 127 was received — i.e. when a fairly loud note is played. A

second layer could then be set to produce output only when velocity values

below 60 are received, so that completely different sounds are produced on soft

and loud notes.

Voices that are turned off are indicated by “---” on the display.

21PERFORMANCE EDIT MODE / 1:Layer

Hi (High velocity limit)

Range: 1 … 127

Controls: [CS2], [CS4], [CS6], [CS8], [-1] [+1], Dial,

[SHIFT]+keyboard

Sets the highest velocity value for a range of velocity values over which

each active layer will produce output.

Use the [CS2], [CS4], [CS6], and [CS8] sliders to set the high velocity

limits of the A, B, C, and D layer voices, respectively. It is also possible to

play any note on the keyboard at the desired velocity while holding the

[SHIFT] key.

See the “Lo” parameter, above, for more details.

7: CS ENABLE

[PERFORMANCE] → [EDIT] → [MENU] → 1:Layer → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 7:CS Enable → [ENTER/YES]

The CS3 and CS4 sliders can be used to control the level of individual layers or

specified groups of layers in the performance play mode. This screen specifies which

slider controls which layers.

PERFORMANCE EDIT MODE / 1:Layer

The name of the currently selected voice/layer is shown in the upper right

corner of the display. The characters “ABCD” to the right of the voice name

indicate the status of each voice: a capital letter if the voice is on, a lower-case

letter if the voice is muted, and a dash if the voice is off.

CS3 Enable

Range: on, off

Controls: [CS1], [CS3], [CS5], [CS7], [-1] [+1], Dial

The [CS1], [CS3], [CS5], and [CS7] sliders turn CS3 control of layers A,

B, C, and D on or off, respectively.

Voices that are turned off and are not available for editing are indicated by

“---” on the display.

CS4 Enable

Range: on, off

Controls: [CS2], [CS4], [CS6], [CS8], [-1] [+1], Dial

The [CS2], [CS4], [CS6], and [CS8] sliders turn CS4 control of layers A,

B, C, and D on or off, respectively.

Voices that are turned off and are not available for editing are indicated by

“---” on the display.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

23PERFORMANCE EDIT MODE / 1:Layer

LAYER DATA COPY

[PERFORMANCE] → [EDIT] → [MENU] → 1:Layer → [ENTER/YES] → [COPY]

This function facilitates performance editing by allowing the layer parameters

from any layer in any other performance (the “source” performance) to be copied to

the current layer. You can copy a layer setup that is close to the type you want, then

edit it to produce the required sound.

From Performance

Range: Any INTERNAL or CARD performance

Controls: MEMORY, GROUP, PROGRAM, [CS5], [-1] [+1], Dial

Layer

Range: A, B, C, D

Controls: [CS8], [-1] [+1], Dial

Use the [INTERNAL 1], [INTERNAL 2], and [CARD] MEMORY keys to

select the memory area from which the source performance is to be selected.

Use the GROUP keys to select the source performance bank, then use the

PROGRAM keys to select the source performance number. The [CS5] slider

and other data entry controls can also be used to select the source performance

number. Use the [CS8] slider to select the source layer.

Once the source performance and layer has been selected, press the [EN-

TER/YES] key. “Are you sure?” will appear on the display.

Press the [ENTER/YES] key again to copy the layer data, or press [EXIT/

NO] to cancel the copy operation. Once the copy operation has finished, “Com-

pleted!” will appear on the display briefly, then the display will return to the

layer edit mode.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

24 PERFORMANCE EDIT MODE / 2:Volume

This parameter sets the overall volume of the current performance combination in

relation to the others, making it possible to match levels for smooth transition when

switching between performance combinations.

PERFORMANCE TOTAL LEVEL

[PERFORMANCE] → [EDIT] → [MENU] → 2:Total Level → [ENTER/YES]

Total Level

Range: 0 … 127

Controls: [CS4], [-1] [+1], Dial

Adjusts the volume of the current performance.

A setting of “0” produces no sound while a setting of “127” produces

maximum volume. A bar graph to the right of the parameter provides a visual

indication of volume level — the longer the bar, the higher the volume.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

25PERFORMANCE EDIT MODE / 3:Name

Your original performance combinations should naturally have original names.

This function can be used to assign a name of up to 8 characters to the current

performance.

PERFORMANCE NAME

[PERFORMANCE] → [EDIT] → [MENU] → 3:Name → [ENTER/YES]

Name

Range: See character list, below

Controls: GROUP, PROGRAM, [F1] … [F4], [F7], [F8],

[CS1] … [CS8], [-1] [+1], Dial

Assigns a name of up to 8 characters to the current performance.

Use the [F7] function key to move the character cursor to the left, and the

[F8] function key to move the cursor to the right. Use the GROUP and PRO-

GRAM keys to input a character at the cursor position. Each GROUP or PRO-

GRAM key selects the three characters printed above it in sequence. It is also

possible to use the [-1] and [+1] keys or dial to scroll through the available

characters (see list below).

The sliders, [CS1] through [CS8], independently select characters for the

corresponding character position: [CS1] selects the first character, [CS2] selects

the second character, and so on.

The first four function keys also perform important functions: [F1] clears

the entire name, [F2] selects upper-case characters for GROUP and PROGRAM

key entry, [F3] selects lower-case characters for GROUP and PROGRAM key

entry, and [F4] inserts a space at the cursor position.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

[A]: A → B → C

[B]: D → E → F

[C]: G → H → I

[D]: J → K → L

[E]: M → N → O

[F]: P → Q → R

[G]: S → T → U

[H]: V → W → X

[1]: Y → Z → 0

[2]: 1 → 2 → 3

[3]: 4 → 5 → 6

[4]: 7 → 8 → 9

[5]: * → & → _

[6]: / → . → ,

[7]: ’ → ! → ?

[8]: # → : → ;

PROGRAM key

GROUP key

The Layer Voice Edit menu allows you to access any of the voice edit parameters

for the voice assigned to the currently selected performance layer, without having to

leave the performance edit mode.

LAYER VOICE EDIT MENU

[PERFORMANCE] → [EDIT] → [MENU] → 4:Layer Voice → [ENTER/YES]

Press [ENTER/YES] from the entry display (above) to access the layer

voice edit menu.

Use the [CS3] slider, the [-1] and [+1] keys, or the data entry dial to select

the desired voice edit screen, then press [ENTER/YES] to jump to selected

screen. Other voice edit screens can then be selected by using the [ ] and [ ]

keys. The available voice edit screens are listed below:

1: Oscillator

2: Amplitude EG

3: Filter

4: Pitch EG

5: LFO

6: Controller

7: VOICE Total Level

8: VOICE Name

While editing the voice parameters in voice edit screens 2 through 7, above,

the PROGRAM keys [1] through [4] (LAYER SELECT A, B, C, and D) can be

used to select a different layer for editing. PROGRAM keys [5] through [8] can

also be used for layer muting.

Press [EXIT/NO] to return to the performance edit mode when you’re

finished with the voice edit parameters. Refer to pages 58 through 95 in the

“Voice Edit Mode” section for details on the voice edit parameters.

PERFORMANCE EDIT MODE / 4:Layer Voice

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

27PERFORMANCE EDIT MODE / QUICK EDIT

These parameters allow the amplitude envelopes of the voices assigned to each

layer to be modified to some degree. The actual amplitude EG of the voices are not

affected, these “offset” values are only effective in the performance mode.

1: AMPLITUDE EG OFFSET

[PERFORMANCE] → [QUICK EDIT] → [MENU] → 1:AEG Offset → [ENTER/YES]

Use PROGRAM keys [1] through [4] (LAYER SELECT A, B, C, and D) to

select the layer to be edited.

Hold the [F1] function key (“ALL”) while editing any of the following

parameters to change its value by the same amount for all layers simultane-

ously.

R1 (Attack rate)

Range: -63 … +63

Controls: [CS3], [-1] [+1], Dial

Modifies the “R1” parameter of the voice amplitude EG — see page 60.

Plus (+) values produce a faster attack rate while minus (-) values produce a

slower attack rate.

No matter how much offset is applied, the minimum and maximum EG

attack rates cannot be exceeded.

R2,3 (Decay 1 rate)

Range: -63 … +63

Controls: [CS4], [-1] [+1], Dial

Modifies the “R2” and “R3” parameters of the voice amplitude EG — see

page 60. Plus (+) values produce a faster decay rate while minus (-) values

produce a slower decay rate.

No matter how much offset is applied, the minimum and maximum EG

decay rates cannot be exceeded.

R4 (Decay 2 rate)

Range: -63 … +63

Controls: [CS5], [-1] [+1], Dial

Modifies the “R4” parameter of the voice amplitude EG — see page 60.

Plus (+) values produce a faster decay rate while minus (-) values produce a

slower decay rate.

No matter how much offset is applied, the minimum and maximum EG

decay rates cannot be exceeded.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

28 PERFORMANCE EDIT MODE / QUICK EDIT

RR (Release rate)

Range: -63 … +63

Controls: [CS6], [-1] [+1], Dial

Modifies the “RR” parameter of the voice amplitude EG — see page 60.

Plus (+) values produce a faster release rate while minus (-) values produce a

slower release rate.

No matter how much offset is applied, the minimum and maximum EG

release rates cannot be exceeded.

Vel (Velocity sensitivity)

Range: -14 ... +14

Controls: [CS7], [-1] [+1], Dial

Modifies the amplitude EG velocity sensitivity setting (see page 63). Plus

“+” settings increase sensitivity while minus “-” settings reduce sensitivity.

No matter how much offset is applied, the minimum and maximum velocity

values cannot be exceeded.

29PERFORMANCE EDIT MODE / QUICK EDIT

These parameters allow the main LFO and filter parameters of the voices assigned

to each layer to be modified to some degree. The actual LFO and filter parameters of

the voices are not affected, these “offset” values are only effective in the performance

mode.

2: LFO & FILTER OFFSET

[PERFORMANCE] → [QUICK EDIT] → [MENU] → 2:LFO,Filter Offset → [ENTER/YES]

Use PROGRAM keys [1] through [4] (LAYER SELECT A, B, C, and D) to

select the layer to be edited.

Hold the [F1] function key (“ALL”) while editing any of the following

parameters to change its value by the same amount for all layers simultane-

ously.

Speed (LFO speed)

Range: -99 … +99

Controls: [CS3], [-1] [+1], Dial

Modifies the speed of the LFO (this corresponds to the “Speed” parameter

of the main voice LFO — see page 78). Plus (+) values increase the LFO

speed while minus (-) values reduce the speed.

No matter how much offset is applied, the minimum and maximum LFO

speeds cannot be exceeded.

Depth (LFO depth)

Range: -99 … +99

Controls: [CS4], [-1] [+1], Dial

Modifies the amplitude, pitch, and frequency modulation depth of the LFO

(this corresponds to the “Pmod”, “Amod”, and “Fmod” parameters of the main

voice LFO — see page 78 and 79). Plus (+) values produce greater modulation

depth while minus (-) values reduce the modulation depth.

No matter how much offset is applied, the minimum and maximum LFO

depth values cannot be exceeded.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

30 PERFORMANCE EDIT MODE / QUICK EDIT

Coff (Filter cutoff frequency)

Range: -127 … +127

Controls: [CS6], [-1] [+1], Dial

Modifies the filter cutoff frequency (this corresponds to the voice filter

“CutOff” parameter — see page 65). Plus (+) values increase the cutoff fre-

quency while minus (-) values lower the cutoff frequency. This parameter

cannot be used if the filter is set to “Thru”. In this case “----” appears in place

of the parameter value.

No matter how much offset is applied, the minimum and maximum cutoff

frequency values cannot be exceeded.

Reso (Filter resonance)

Range: -99 … +99

Controls: [CS7], [-1] [+1], Dial

Modifies the height of the filter’s resonant peak (this corresponds to the

filter “Resonance” parameter — see page 68). Plus (+) values increase reso-

nance while minus (-) values reduce resonance. This parameter cannot be used

if the filter is

not set to “LPF”. In this case “---” appears in place of the pa-

rameter value.

No matter how much offset is applied, the minimum and maximum reso-

nance values cannot be exceeded.

Vel (Velocity sensitivity)

Range: -127 ... +127

Controls: [CS8], [-1] [+1], Dial

Modifies the filter velocity sensitivity setting (see page 72). Plus “+” set-

tings increase sensitivity while minus “-” settings reduce sensitivity.

No matter how much offset is applied, the minimum and maximum velocity

values cannot be exceeded.

31PERFORMANCE EDIT MODE / QUICK EDIT

These parameters determine how the performance layers are affected by keyboard

aftertouch response, the modulation wheel, and the foot controller.

3: CONTROLLER CONDITIONS

[PERFORMANCE] → [QUICK EDIT] → [MENU] → 3:Controller Condition → [ENTER/YES]

Use PROGRAM keys [1] through [4] (LAYER SELECT A, B, C, and D) to

select the layer to be edited.

Hold the [F1] function key (“ALL”) while editing any of the following

parameters to change its value by the same amount for all layers simultane-

ously.

AT (Aftertouch)

Range: off, LyrA, LyrB, LyrC, LyrD

Controls: [CS3], [-1] [+1], Dial

The aftertouch control settings from the voice assigned to the selected layer

(LyrA, LyrB, LyrC, or LyrD) are applied to the layer being edited (i.e. the

layer selected via PROGRAM keys [1] through [4]). Select “off” to turn

aftertouch control off for the layer being edited.

MW (Modulation wheel)

Range: off, LyrA, LyrB, LyrC, LyrD

Controls: [CS4], [-1] [+1], Dial

The modulation wheel control settings from the voice assigned to the se-

lected layer (LyrA, LyrB, LyrC, or LyrD) are applied to the layer being edited

(i.e. the layer selected via PROGRAM keys [1] through [4]). Select “off” to

turn modulation wheel control off for the layer being edited.

FC (Foot controller)

Range: off, LyrA, LyrB, LyrC, LyrD

Controls: [CS6], [-1] [+1], Dial

The foot controller control settings from the voice assigned to the selected

layer (LyrA, LyrB, LyrC, or LyrD) are applied to the layer being edited (i.e.

the layer selected via PROGRAM keys [1] through [4]). Select “off” to turn

foot control off for the layer being edited.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

32 PERFORMANCE EDIT MODE / QUICK EDIT

AT>MW (Aftertouch ➔ modulation wheel)

Range: off, on

Controls: [CS7], [-1] [+1], Dial

When this parameter is turned “on,” aftertouch can be used to prouce the

same effect as the modulation wheel, in addition to any parameters assigned to

aftertouch.

MW>AT (Modulation wheel ➔ aftertouch)

Range: off, on

Controls: [CS8], [-1] [+1], Dial

When this parameter is turned “on,” the modulation wheel can be used to

produce the same effect as aftertouch, in addition to any parameters assigned to

the modulation wheel.

33PERFORMANCE EDIT MODE / QUICK EDIT

Other parameters that can be individually set for each performance layer are

provided in this screen: sustain enable, pitch envelope generator enable, oscillator

fixed note mode and note number.

4: OTHER CONDITIONS

[PERFORMANCE] → [QUICK EDIT] → [MENU] → 4:Other Condition → [ENTER/YES]

Use PROGRAM keys [1] through [4] (LAYER SELECT A, B, C, and D) to

select the layer to be edited.

Hold the [F1] function key (“ALL”) while editing any of the following

parameters to change its value by the same amount for all layers simultane-

ously.

Sustain

Range: off, on

Controls: [CS4], [-1] [+1], Dial

Turns sustain off or on for the selected layer. Interesting effects can be

produced by setting some layers to respond to the sustain footswitch in the

normal way, while others do not sustain at all.

PEG (Pitch EG enable)

Range: off, on

Controls: [CS5], [-1] [+1], Dial

Turns pitch envelope generator control of the selected layer off or on.

Fix (Oscillator fix)

Range: off, on

Controls: [CS6], [-1] [+1], Dial

Turns the oscillator fixed-pitch mode on or off (see page 58). The FixNote

parameter described below can be used to set the note produced when the “fix”

mode is turned on.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

34 PERFORMANCE EDIT MODE / QUICK EDIT

FixNote (Oscillator fix note number)

Range: C-2 … G8

Controls: [CS7], [-1] [+1], Dial

Sets the frequency (note) at which the selected layer will be played when

the “fix” mode is turned on (“---” is displayed in place of the note when the

“fix” mode is turned off).

The C-2 to G8 range of this parameter covers a full 10-1/2 octaves. “C3”

corresponds to “middle C” on a keyboard.

35PERFORMANCE EDIT MODE / QUICK EDIT

The SY85 features a complex, high-performance effect system that can be pro-

grammed easily via the parameters presented here and in the following screen.

For a complete list of effect parameters see page 274.

5: EFFECT TYPE

[PERFORMANCE] → [QUICK EDIT] → [MENU] → 5:Effect Type → [ENTER/YES]

Effect Type 1/2

Range: 0 … 90

Controls: [CS1]/[CS4], [-1] [+1], Dial

[CS1] selects any of the SY85’s 90 effect types for the EFFECT 1 proces-

sor, and [CS4] does the same for the EFFECT 2 processor. See page 254 for

more details on the SY85 effect system.

Wet Balance 1/2

Range: 0 … 100

Controls: [CS7]/[CS8], [-1] [+1], Dial

[CS7] controls the balance between the direct no-effect sound and the effect

sound of the EFFECT 1 processor, while [CS8] does the same for the EFFECT

2 processor. The higher the value the deeper the effect. See page 254 for more

details on the SY85 effect system.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

36 PERFORMANCE EDIT MODE / QUICK EDIT

6: EFFECT PARAMETER

[PERFORMANCE] → [QUICK EDIT] → [MENU] → 6:Effect Param → [ENTER/YES]

This screen provides access to the four main parameters each for the current

selected effect 1 and effect 2. The four effect 1 parameters are edited via [CS1]

through [CS4], while the four effect 2 parameters are edited via [CS5] through [CS8].

The parameters are different for each effect (refer to page 274 for details). The

EFFECT mode PARAMETERS screen described on page 44 provides full access to

all 8 effect parameters.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

37PERFORMANCE EDIT MODE / EFFECT EDIT

1: MODE, TYPE

[PERFORMANCE] → [EFFECT EDIT] → [MENU] → 1:Mode, Type → [ENTER/YES]

The SY85 features a dual-processor effect system that includes 90 top-quality

digital effects. Two different effects can be connected in series or parallel, providing

an extensive range of possible configurations.

Mode

Range: 0:off, 1:seri, 2:para

Controls: [CS1], [-1] [+1], Dial

Determines whether the SY85’s two effect processors are connected in

series (“1:seri”) or in parallel (“2:para”), or whether the entire effect system is

turned off (“0:off”).

EF1 Type

Range: 0 … 90

Controls: [CS3], [-1] [+1], Dial

Selects any of the SY85’s 90 effect types for the EFFECT 1 processor. See

page 254 for more details on the SY85 effect system, and page 274 for a

complete list of the available effects.

EF2 Type

Range: 0 … 90

Controls: [CS6], [-1] [+1], Dial

Selects any of the SY85’s 90 effect types for the EFFECT 2 processor. See

page 254 for more details on the SY85 effect system, and page 274 for a

complete list of the available effects.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

38 PERFORMANCE EDIT MODE / EFFECT EDIT

The parameters provided here determine to which of the SY85 effect stages the

output from the voice assigned to each layer is sent, and at what level. It is also

possible to control the effect send level via keyboard dynamics and key scaling.

2: SEND SELECT & LEVEL

[PERFORMANCE] → [EFFECT EDIT] → [MENU] → 2:Send → [ENTER/YES]

Layer

Range: A, B, C, D

Controls: [CS2], PROGRAM [1] … [4], [-1] [+1], Dial

Selects the layer to be edited. The name of the voice assigned to the se-

lected layer is shown between parentheses on the upper line of the display.

Switch 1a, 1b/2a, 2b

Range: See text below.

Controls: [CS4]/[CS5], [-1] [+1], Dial

Determines to which of the EFFECT 1 and EFFECT 2 effect stages the

output from the current layer is sent. The [-1] and [+1] keys can then be used

to turn the stage on (“a” or “b”) or off (“.”). The [CS4] and [CS5] sliders

select the following settings in sequence:

CS4 (EFFECT 1) CS5 (EFFECT 2)

1./. (a and b off) 2./. (a and b off)

1a/. (a on, b off) 2a/. (a on, b off)

1a/b (a and b on) 2a/b (a and b on)

1./b (a off, b on) 2./b (a off, b on)

If a “single” type effect is selected then only stage “a” can be selected. If a

“dual” or “cascade” type effect is selected, then both stages “a” and “b” can be

selected. An effect stage that cannot be selected is represented by “-” on the

display.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

39PERFORMANCE EDIT MODE / EFFECT EDIT

Send (Send level)

Range: 0 … 127

Controls: [CS6], [-1] [+1], Dial

This parameter adjusts the amount of direct voice signal that is sent to the

effect processors, determining the strength of the final effect sound. A setting

of “0” results in no effect, leaving only the “dry” sound of the voice. The

maximum setting of “127” produces the maximum amount of effect.

VelS (Send velocity sensitivity)

Range: -7 … +7

Controls: [CS7], [-1] [+1], Dial

Determines how the send level from the selected layer is affected by veloc-

ity changes (e.g. keyboard dynamics).

Plus “+” settings produce higher send levels in response to higher velocity

values — i.e. the harder a key is played, the higher the send level, and there-

fore the deeper the effect. The maximum setting of “+7” produces the maxi-

mum level variation in response to velocity changes. Minus “-” settings produce

the opposite effect: lower send level in response to higher velocity. A setting of

“+0” results in no send level variation.

Kscl (Send key scaling)

Range: -7 … +7

Controls: [CS8], [-1] [+1], Dial

Allows the send level for the selected layer to be varied across the entire

pitch range (i.e. keyboard range).

Plus (“+”) settings produce a higher send level for the low notes and a

lower send level for the high notes. The maximum “+7” setting produces the

greatest send level variation across the pitch range. Minus (“-”) settings pro-

duce the opposite effect — a lower low-note send level and higher high-note

send level. A setting of “+0” results in no send level variation.

These parameters determine turn the “dry lines” (i.e. the signal paths which by-

passes each effect processor) on or off, determining whether any dry signal output

can occur at OUTPUT 1 and OUTPUT 2.

3: LAYER DRY OUTPUT SELECT

[PERFORMANCE] → [EFFECT EDIT] → [MENU] → 3:Layer Dry Out Select → [ENTER/YES]

Layer

Range: A, B, C, D

Controls: [CS2], PROGRAM [1] … [4], [-1] [+1], Dial

Selects the layer to be edited. The name of the voice assigned to the se-

lected layer is shown between parentheses on the upper line of the display.

Dry1

Range: off, on

Controls: [CS6], [-1] [+1], Dial

Turns the “dry line” bypassing the EFFECT 1 signal processor on or off.

When this parameter is turned “off,” the “WET:DRY BALANCE” parameters

(page 42) have no effect.

Dry2

Range: off, on

Controls: [CS7], [-1] [+1], Dial

Turns the “dry line” bypassing the EFFECT 2 signal processor on or off.

When this parameter is turned “off,” the “WET:DRY BALANCE” parameters

(page 42) have no effect.

PERFORMANCE EDIT MODE / EFFECT EDIT

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

41PERFORMANCE EDIT MODE / EFFECT EDIT

Depending on the selected effects the SY85 effect system can have up to four

separate output levels that are adjusted by the parameters provided in this screen.

4: OUTPUT LEVEL

[PERFORMANCE] → [EFFECT EDIT] → [MENU] → 4:Output Level → [ENTER/YES]

1a, 1b, 2a, and 2b (Effect output levels)

Range: 0 … 100

Controls: [CS3], [CS4], [CS7], [CS8], [-1] [+1], Dial

The [CS3] and [CS4] sliders adjust the output levels of the effect 1 “1a”

and “1b” stages, respectively, while the [CS7] and [CS8] sliders adjust the

output levels of the effect 2 “2a” and “2b” stages. A setting of “0” turns output

from the corresponding effect stage off, while a setting of “100” produces

maximum output level.

If the selected effect is a “single” type, then only the “1a” or “2a” output

level is available. If it is a “cascade” type, then only the “1b” or “2b” output

level is available. Both the “1a” and “1b” or “2a” and “2b” levels are available

only if the selected effect is a “dual” type. The type of the effects currently

selected for the effect 1 and effect 2 processors are shown in parentheses on

the bottom line of the display. See page 254 for details on the effect stages and

the SY85 effect system in general.

If a controller is assigned to any of the output level parameters (page 45),

an inverse “c” will appear to the right of the parameter.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

42 PERFORMANCE EDIT MODE / EFFECT EDIT

5: WET:DRY BALANCE

[PERFORMANCE] → [EFFECT EDIT] → [MENU] → 5:Wet:Dry Balance → [ENTER/YES]

The balance between the direct sound of the voice and the effect sound is a

delicate thing. Even slight changes can make a big difference to the final sound. The

parameters provided in this screen provide precise balance control.

Out1 Wet/Out2 Wet

Range: 0 … 100

Controls: [CS3]/[CS7], [-1] [+1], Dial

These parameters and the corresponding “Out1 Dry” and “Out2 Dry” pa-

rameters, below, work together to balance the effect (“wet”) and direct (“dry”)

signals delivered via the EFFECT 1 and EFFECT2 processors. Higher “Wet”

values produce more effect sound in relation to the direct, dry sound of the

voice.

Although the “Wet” and “Dry” parameters can be set independently, adjust-

ing one will cause the other to change so that their total is always 100(%).

If a controller is assigned to the “Out1 Wet” or “Out2 Wet” parameter

(page 45), an inverse “c” will appear to the right of the parameter.

Out1 Dry/Out2 Dry

Range: 0 … 100

Controls: [CS4]/[CS8], [-1] [+1], Dial

These parameters and the corresponding “Out1 Wet” and “Out2 Wet” pa-

rameters, above, work together to balance the effect (“wet”) and direct (“dry”)

signals delivered via the EFFECT 1 and EFFECT 2 processors, respectively.

Higher “Dry” values produce more direct, dry sound in relation to the effect

sound.

Although the “Wet” and “Dry” parameters can be set independently, adjust-

ing one will cause the other to change so that their total is always 100(%).

If a controller is assigned to the “Out1 Dry” or “Out2 Dry” parameter (page

45), an inverse “c” will appear to the right of the parameter.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

43PERFORMANCE EDIT MODE / EFFECT EDIT

These parameters determine the mix level between each effect send and the output

of the preceding effect stage. Refer to the section beginning on page 254 for details

on the overall SY85 effect system.

6: SEND & EFFECT 2 MIX LEVEL

[PERFORMANCE] → [EFFECT EDIT] → [MENU] → 6:Mix Level → [ENTER/YES]

EF2 Mix (Effect 2 mix level)

Range: 0 … 100

Controls: [CS4], [-1] [+1], Dial

Mixes the output of the EFFECT 2 processor with that of the EFFECT 1

processor. This parameter can only be used with the “serial” effect mode is

selected. If any other mode is selected (“off” or “para”), “---” appears on the

display in place of the value.

If a controller is assigned to the EF2 Mix parameter (page 45), an inverse

“c” will appear to the right of the parameter.

Insert 1b, 2a, 2b (Insert level)

Range: 0 … 100

Controls: [CS6], [CS7], [CS8], [-1] [+1], Dial

These parameters mix the dry signal sent to the corresponding effect stage

with the output of the preceding effect stage. The higher the value the greater

mix level. If the current effect configuration does not allow one of these mix

parameters, “--” will appear in place of the mix level parameter.

If a controller is assigned to the one of these parameters (page 45), an

inverse “c” will appear to the right of the parameter.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

44 PERFORMANCE EDIT MODE / EFFECT EDIT

7: EFFECT 1 PARAMETERS

8: EFFECT 2 PARAMETERS

[PERFORMANCE] → [EFFECT EDIT] → [MENU] → 7:EF1 Parameter → [ENTER/YES]

→ 8:EF2 Parameter → [ENTER/YES]

Each of the SY85’s 90 effects has 8 parameters that can be edited via the param-

eters in this screen to fine-tune the effect.

Each parameter is controlled by the corresponding slider (i.e. the slider

immediately below each parameter). The [-1]/[+1] keys and data entry dial can

also be used to edit the parameter at which the cursor is currently located.

Refer to page 274 for a complete listing of the parameters provided for

each effect.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

45PERFORMANCE EDIT MODE / EFFECT EDIT

The SY85 [CS1] and [CS2] sliders can be assigned to control different effect

parameters in real time while playing in the voice or performance modes. The param-

eters provided in this screen determine which effect parameters are to be controlled

by the [CS1] and [CS2] sliders, the minimum and maximum parameter values, and

assign MIDI control numbers to the same parameters for MIDI effect control.

9: CONTROL PARAMETERS

[PERFORMANCE] → [EFFECT EDIT] → [MENU] → 9:Control Parameter → [ENTER/YES]

CS1/CS2 (CS1/CS2 switch)

Range: CS1, CS2

Controls: [CS1], [-1] [+1], Dial

Selects [CS1] or [CS2] for assignment.

Parameter (Effect parameter)

Range: Depends on selected effects.

Controls: [CS2], [-1] [+1], Dial

Selects the effect parameter to be controlled by the currently selected slider.

Since each effect has as many as 8 different parameters, the maximum number

of settings available for this parameter will be 8: “Ef1prm1” through “Ef1prm8”

on the display, for example, stands for “effect 1 parameter 1” through “effect 1

parameter 8”. The parameters available for each effect are different, but the

name of the selected parameter will be shown between the parentheses on the

top line of the display. Parameters that can not be assigned to the sliders are

indicated by dashes (“--------”) instead of a parameter name.

Min (Minimum parameter value)

Range: 0 … 100

Controls: [CS4], [-1] [+1], Dial

Sets the lower limit of the [CS1] or [CS2] control range. A setting of “0”,

for example, means that when the slider is set to its lowest position the as-

signed parameter will also be set to its lowest value. A setting of “50” means

that the lowest slider position will set the assigned parameter to about 50% of

its range (a parameter with a range of 0 to 127, for example, would be set to

about 63).

If a controller is assigned to the “Min” parameter, an inverse “c” will

appear to the right of the parameter.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

46 PERFORMANCE EDIT MODE / EFFECT EDIT

Max (Maximum parameter value)

Range: 0 … 100

Controls: [CS5], [-1] [+1], Dial

Sets the upper limit of the [CS1] or [CS2] control range. A setting of

“100”, for example, means that when the slider is set to its highest position the

assigned parameter will also be set to its highest value. A setting of “80”

means that the highest slider position will set the assigned parameter to about

80% of its range (a parameter with a range of 0 to 127, for example, would be

set to about 102).

If a controller is assigned to the “Max” parameter, an inverse “c” will

appear to the right of the parameter.

Additional (Additional MIDI control)

Range: 000 … 120, AfterTch, Velocity, KeyScale, LFO

Controls: [CS6], [-1] [+1], Dial

This parameter allows MIDI control change numbers to be assigned to the

selected effect parameters, so that they can be controlled from the SY85 con-

trollers (modulation wheel, foot controller, etc) or an external MIDI device that

is capable of transmitting control change messages. Additional settings include

“AfterTch” for keyboard aftertouch control, “Velocity” for keyboard velocity

control, “KeyScale” for key scaling control, and “LFO” for internal LFO con-

trol. This is in addition to control via the [CS1] and [CS2] sliders. MIDI con-

trol change numbers 000 through 120 can be assigned. Some control change

numbers are already defined, while others are not assigned to any specific

controller (see chart below).

MIDI CONTROL CHANGE NUMBER/DEVICE

0: “--------”

1: “Mod.Whl.”

2: “Breath C”

4: “Foot Cnt”

5: “Porta.Tm”

6: “Data Ent”

7: “Main Vol”

8: “Balance ”

10: “Panpot ”

11: “Express.”

64: “Hold 1 ”

65: “Porta.Sw”

66: “Sostenut”

67: “Soft ”

69: “Hold 2 ”

91: “Effect D”

92: “TremoloD”

93: “Chorus D”

94: “CelesteD”

95: “Phaser D”

96: “Inc. ”

97: “Dec. ”

98: “NRPN LSB”

99: “NRPN MSB”

100: “RPN LSB”

101: “RPN MSB”

121: “AfterTch”

122: “Velocity”

123: “KeyScale”

124: “LFO ”

47PERFORMANCE EDIT MODE / EFFECT EDIT

All of the modulation-type effects — chorus, flanging, etc. — require LFO con-

trol. The SY85 has an independent effect LFO that is set up by the following param-

eters.

10: CONTROL LFO

[PERFORMANCE] → [EFFECT EDIT] → [MENU] → 10:Control LFO → [ENTER/YES]

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

∆ ∆

Wave (LFO waveform)

Range: tri, dwn, up, squ, sin, S/H, 1tm

Controls: [CS4], [-1] [+1], Dial

Determines the waveform of the effect LFO.

“tri” = Triangle. “dwn” = Downward sawtooth.

“up” = Upward sawtooth. “squ” = Square.

“sin” = Sine. “S/H” = Sample and hold.

“1tm” = Upward 1-shot.

If a controller is assigned to the “Wave” parameter (page 45), an inverse

“c” will appear to the right of the parameter.

Speed (LFO speed)

Range: 0 … 99

Controls: [CS6], [-1] [+1], Dial

Sets the speed of the effect LFO.

“0” is the slowest speed setting, producing an LFO speed of approximately

0 Hertz. The fastest setting of 99 produces an LFO speed of approximately 25

Hertz.

If a controller is assigned to the “Speed” parameter (page 45), an inverse

“c” will appear to the right of the parameter.

Delay

Range: 0 … 99

Controls: [CS8], [-1] [+1], Dial

Sets the delay time between the beginning of a note and the beginning of

effect LFO operation for the selected element.

The minimum setting “0” results in no delay, while the maximum setting of

“99” produces a delay of approximately 2.66 seconds before the effect LFO

begins operation.

If a controller is assigned to the “Delay” parameter (page 45), an inverse

“c” will appear to the right of the parameter.

48 PERFORMANCE EDIT MODE / EFFECT EDIT

[PERFORMANCE] → [EFFECT EDIT] → [COPY]

This function facilitates performance effect editing by allowing the effect param-

eters from any other song, voice, or performance combination to be copied to the

current performance combination. You can copy an effect setup that is close to the

type you want, then edit it to produce the required sound.

From

Range: Any song, voice or performance combination

Controls: MEMORY, GROUP, PROGRAM, [CS5], [-1] [+1], Dial

Use the [INTERNAL 1], [INTERNAL 2], and [CARD] MEMORY keys to

select the memory area from which the source voice is to be selected. Use the

GROUP keys to select the source voice bank, then use the PROGRAM keys to

select the source voice number. The [CS5] slider and other data entry controls

can also be used to select the source voice number.

Once the source voice has been selected, press the [ENTER/YES] key. “Are

you sure?” will appear on the display.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

EFFECT DATA COPY

Press the [ENTER/YES] key again to copy the effect data, or press [EXIT/

NO] to cancel the copy operation. Once the copy operation has finished, “Com-

pleted!” will appear on the display briefly, then the display will return to the

effect edit mode.

49PERFORMANCE EDIT MODE / EFFECT EDIT

EFFECT SIGNAL FLOW DISPLAY

[PERFORMANCE] → [EFFECT EDIT] → [SHIFT] + [F1] ~ [F3]

This function provides a graphic indication of the current effect system configura-

tion while in the effect edit mode.

● Overall Effect Flow

● Effect 1 Configuration

Press [SHIFT] + [F1] to see the overall effect system signal flow. Press [SHIFT]

+ [F2] to see the effect 1 section configuration, and [SHIFT] + [F3] for the effect 2

section configuration.

Refer the to section beginning on page 254 for details on the effect system.

● Effect 2 Configuration

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

∏ ∏∏∏∏∏∏

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

◊

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

◊

50 PERFORMANCE EDIT MODE / JOB

1: LAYER CONTROLLER SYNC

[PERFORMANCE] → [JOB] → [MENU] → 1:Layer Controller Sync → [ENTER/YES]

This function changes the controller parameters of all voices in the selected

perfomance combination to match those of the voice assigned to the specified

“source” layer.

Use the [CS8] slider to select the source layer (A, B, C, or D) from which

the controller data is to be copied, then press [ENTER/YES] to begin the layer

controller sync procedure. The following confirmation display will appear:

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Press [ENTER/YES] again to confirm that you want to go ahead with the

operation (which will overwrite all controller data for the voices assigned to all

layers other than the source layer), or press [EXIT/NO] to cancel.

When the data has been copied, “Completed!” will appear briefly on the

display, then the display will return to the mode that was engaged prior to

calling the layer controller sync function.

51PERFORMANCE EDIT MODE / JOB

2: LAYER EXCHANGE

[PERFORMANCE] → [JOB] → [MENU] → 2:Layer Exchange → [ENTER/YES]

This function can be used to eliminate the audible effects of slight note delays

that can occur in the performance play mode. The notes played by layers A, B, C,

and D are sounded in sequence in the performance play mode. Normally the delay is

so slight that it is not audible. If a voice with a sharp attack is assigned to one of the

later layers (C or D), however, the delay can “soften” the attack of the voice. The

problem can be overcome by using this function to exchange layers A and D, for

example, so that the voice with the strong attack is assigned to layer A instead of

layer D. Since layer A is sounded first, the sharpness of the attack will be retained.

Use the [CS7] and [CS8] sliders to select the layers to be exchanged (A

through D), then press [ENTER/YES] to begin the layer exchange procedure.

The following confirmation display will appear:

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Press [ENTER/YES] again to confirm that you want to go ahead with the

layer exchange operation, or press [EXIT/NO] to cancel.

When the data has been exchanged, “Completed!” will appear briefly on the

display, then the display will return to the mode that was engaged prior to

calling the layer exchange function.

52 PERFORMANCE EDIT MODE / JOB

3: PERFORMANCE EDIT RECALL

[PERFORMANCE] → [JOB] → [MENU] → 3:Recall → [ENTER/YES]

If you’re dissatisfied with the results of edits you’ve made to a performance

combination, or have accidentally lost track of changes made, use the PERFORM-

ANCE EDIT RECALL function to recall the pre-edit performance data from the

SY85’s backup buffer memory.

Press [ENTER/YES] to begin the recall procedure. The following confirma-

tion display will appear:

Press [ENTER/YES] again to confirm that you want to go ahead with the

recall operation (which will erase all current edited data), or press [EXIT/NO]

to cancel.

When the original voice data has been recalled, “Completed!” will appear

briefly on the display, then the display will return to the mode that was en-

gaged prior to calling the performance edit recall function.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

53PERFORMANCE EDIT MODE / JOB

4: PERFORMANCE INITIALIZE

[PERFORMANCE] → [JOB] → [MENU] → 4:Initialize → [ENTER/YES]

When you want to program a totally new performance combination “from

scratch,” rather than editing an existing combination, use this function to initialize all

performance parameters.

Press [F6] if you want to initialize the entire performance combination

currently in the edit buffer, or [F7] if you only want to initialize one specific

layer. If you choose [F7], use the [CS8] slider to select the layer you want to

initialize.

Press [ENTER/YES] to begin the initialize procedure. The following confir-

mation display will appear:

Press [ENTER/YES] again to confirm that you want to go ahead with the

initialize operation (which will erase all current edited data), or press [EXIT/

NO] to cancel.

When the performance data has been initialized, “Completed!” will appear

briefly on the display, then the display will return to the mode that was en-

gaged prior to calling the performance initialize function.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

54 PERFORMANCE EDIT MODE / COMPARE

PERFORMANCE COMPARE

[SHIFT] + [STORE]

The performance compare function makes it possible to compare the sound of a

performance combination being edited with the same performance combination prior

to editing.

To temporarily recall the original performance data while editing, press the

[STORE] key while holding the [SHIFT] key. The [PERFORMANCE] LED will

flash, indicating that the compare mode is engaged. Although you can select different

edit mode display screens, data cannot be edited in the compare mode. Press [EXIT/

NO] to return to the edit mode and the performance combination being edited.

The illustrations here are not available.

PERFORMANCE STORE

[STORE]

When you’re satsfied with a new performance combination you’ve created in the

performance edit mode, use the store function described below to store the new

performance combination to an internal or card memory location.

When you’ve finished editing, return to the normal performance play mode

(press the [PERFORMANCE] key), and before selecting a different mode or

performance combination press the [STORE] key. You can now use the

MEMORY, GROUP, and NUMBER keys (or the [CS2] slider) to select the

memory location to which your new performance combination is to be stored.

Since any changes you have made via the LAYER VOICE EDIT MENU

(page 26) will be stored as voice data, it is also possible to specify the voice

memory loactions to which the voice data from each layer will be stored. The

[F5], [F6], [F7], and [F8] function keys select the layer A, B, C, and D layer

voices, respectively. The corresponding layer and voice name appears on the

upper display line. With the cursor in the appropriate position you can use the

MEMORY, GROUP, and NUMBER keys (or the corresponding slider) to select

the memory location to which each voice is to be stored. A “u” appearing next

to one of these voice numbers means that the voice is currently used by an-

other performance combination, and therefore any changes to that voice will

affect the performance combination in which it is used. For more information

press the [SHIFT] key for a list of names of other performance combinations

that use the voices assigned to each layer.

Once the store location has been specified, press [ENTER/YES] to begin

the store procedure. The following confirmation display will appear:

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Press [ENTER/YES] again to confirm that you want to go ahead with the

store operation (which will erase all previous data in the specified memory

location), or press [EXIT/NO] to cancel.

When the performance data has been stored, “Completed!” will appear

briefly on the display, then the display will return to the mode that was en-

gaged prior to calling the store function.

PERFORMANCE EDIT MODE / STORE

VOICE EDIT MODE

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

This screen contains 6 parameters that determine the fundamental sound of the

voice being edited — including the number of the waveform on which the voice will

be based.

OSCILLATOR

[VOICE] → [EDIT] → [MENU] → 1:Oscillator → [ENTER/YES]

VOICE EDIT MODE / 1:Oscillator

Wave

Range: P001 … P244, I00 … I63, C00 … C63

Controls: [CS1], [-1] [+1], Dial

Selects the wave (AWM waveform) to be used in the current voice. Use the

[INTERNAL 1], [INTERNAL 2], and [CARD] keys to select the memory area

from which the wave is to be selected. Please note that when SIMM memory is

wave memory installed, wave data can not be loaded into memory from a

waveform card. A complete listing of the internal waves is given in the Appen-

dix, on page 310.

Mode

Range: fix, norm

Controls: [CS4], [-1] [+1], Dial

Determines whether the selected wave is reproduced in the normal (variable

pitch) or fixed-pitch mode.

Normally you want the pitch of the AWM wave (or waves) used in a voice

to be controllable from a keyboard or other type of controller, in which case

the “norm” mode should be selected. In some cases — sound effects in particu-

lar — you might want the same pitch to be produced no matter what note you

play on the keyboard or other controller. In this case, the “fix” mode is appro-

priate. The Note parameter described below can be used to set the note pro-

duced when the “fix” mode is selected.

Fine

Range: -63 … 0 … +63

Controls: [CS5], [-1] [+1], Dial

Allows fine tuning of the selected AWM wave. Each increment corresponds

to approximately 1.17 cents (a “cent” is 1/100th of a semitone) so the lowest

setting (-63) shifts the pitch down by almost three quarters of a semitone, while

the highest setting (+63) shifts the pitch up by the same amount. A setting of

“+0” produces standard concert pitch (A3 = 440 Hertz).

59VOICE EDIT MODE / 1:Oscillator

Please note that this parameter is used to individually tune the current

voice. Overall tuning control is provided by the MASTER TUNE function

available in the UTILITY mode.

Note

Range: C-2 … G8, -64 … +63

Controls: [CS6], [-1] [+1], Dial

When the “fix” mode is selected this parameters sets the frequency (note) at

which the selected wave will be played. The C-2 to G8 range of this parameter

covers a full 10-1/2 octaves. “C3” corresponds to “middle C” on a keyboard.

When the “norm” mode is selected, this parameter is used to shift the

overall pitch of the entire keyboard up or down in semitone increments (i.e. a

“note shift” function). In this case the range of the parameters is from -64

through 0 to +63. A setting of “-12,” for example, shifts the pitch down by one

octave; a setting of “+4” shifts the pitch up by a major third.

Rndm (Random pitch)

Range: 0 … 7

Controls: [CS7], [-1] [+1], Dial

Sets the amount of random pitch variation produced each time a note is

played.

When this parameter is set to a value other than “0,” the pitch changes

randomly each time a note is played. The random pitch change is applied

independently to each note in a chord. A setting of “7” produces the greatest

amount of random pitch change.

This function is ideal for simulating the sound of instruments like the

clavichord, string sections or other ensembles in which the pitch of each note is

rarely in perfect tune with the others.

Rvs (Reverse)

Range: off, on

Controls: [CS8], [-1] [+1], Dial

When this parameter is turned “on,” the selected wave is played in reverse.

When Rvs is “on,” the pitch EG “Loop” parameter described on page 75 is

automatically turned “off.”

1: AEG LEVEL & RATE

[VOICE] → [EDIT] → [MENU] → 2:Amlitude EG → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 1:Level&Rate → [ENTER/YES]

The SY85’s main AEG (Amplitude Envelope generator) has five individually

programmable rates and two levels for exceptional envelope programming flexibility.

Next to the fundamental waveform used, the amplitude envelope is one of the most

important factors determining the overall sound of a voice.

Atk/Hld (Amplitude EG attack/hold mode)

Range: atk, hold

Controls: [CS1], [-1] [+1], Dial

The “Atk” and “Hld” mode settings affect the initial attack of the sound,

determining how the amplitude envelope begins. In the “Atk” mode, the enve-

lope begins from zero level, reaching the maximum AWM level at a rate deter-

mined by the R1 (Rate 1) parameter. In this mode there will always be a slight

delay between the initiation of a note and maximum level.

R1 … RR, L2 … L3 (Rates & levels)

Range: 0 … 63

Controls: [CS2] … [CS8], [-1] [+1], Dial

The following diagrams illustrate how the AEG rate and level parameters

determine the overall shape of the amplitude envelope.

● “Atk” Mode

VOICE EDIT MODE / 2:Amplitude EG

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

π π π π

The illustrations here are not available.

The envelope begins at zero level, reaches maximum level at the rate deter-

mined by the R1 parameter, moves to L2 (Level 2) at R2 (Rate 2), moves on

to L3 (Level 3) at R3 (Rate 3), and finally decays to zero level at R4 (Rate 4)

if the note is held the entire time.

If the note is released before the end of the envelope described above, then

the sound decays to zero level from the point at which the note is released at

the rate determined by the RR (Release Rate) parameter.

● “Hld” Mode

If the “hold” mode is selected, the envelope begins immediately from maxi-

mum AWM level, allowing the fast attack transients of waveforms to pass

unaffected. In this case the R1 parameter is replaced by the HT (Hold Time)

parameter. The HT parameter determines the length of time between the begin-

ning of the envelope and the point at which the envelope begins to move

towards L2 (Level 2) at R2 (Rate 2), as shown below.

For the level parameters, a setting of “0” corresponds to the lowest possible

level (no sound) while a setting of 63 produces the highest output level. A “0”

rate parameter setting produces the slowest rate between levels, while the

maximum setting of “63” produces the fastest (almost instantaneous) change.

VOICE EDIT MOD E / 2:Amplitude EG

The illustrations here are not available.

2: LEVEL SCALING

[VOICE] → [EDIT] → [MENU] → 2:Amlitude EG → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 2:Level Scaling → [ENTER/YES]

Point 1 … 4

Range: C-2 ... G8

Controls: [CS1] … [CS4], [-1] [+1], Dial, [SHIFT] + Keyboard

Allows four separate amplitude envelope generator level-scaling breakpoints

to be set at any notes between C-2 and G8 for the selected element.

To use the keyboard for breakpoint entry, simply select a breakpoint param-

eter by pressing the coresponding function key or moving the corresponding

continuous slider, then press the key at which you want to set the breakpoint

while holding the [SHIFT] key.

No breakpoint can be set to a key lower than the breakpoint to its left.

Offset 1 … 4

Range: -127 ... +127

Controls: [CS5] … [CS8], [-1] [+1], Dial

Sets the amount of level offset for each of the four level-scaling break-

points set by the “Point” parameters described above.

Negative values reduce the level, and positive values increase the level at

the corresponding breakpoint. No matter what value is chosen, the EG level

will never exceed its minimum or maximum levels. When different offset

values are applied to adjacent breakpoints, the level varies smoothly between

the breakpoints.

Level scaling produces natural level variations across the range of the keyboard

by allowing different level “offset” values to be applied to each of four “breakpoints”

set at appropriate keys.

VOICE EDIT MODE / 2:Amplitude EG

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

3: SENSITIVITY

The parameters provided here determine how the amplitude envelope generator

responds to changes in keyboard velocity and range.

[VOICE] → [EDIT] → [MENU] → 2:Amlitude EG → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 3:Sensitivity → [ENTER/YES]

VOICE EDIT MOD E / 2:Amplitude EG

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Vel (Velocity sensitivity)

Range: -7 ... +7

Controls: [CS2], [-1] [+1], Dial

Determines how the output level of the current voice changes in response to

velocity changes (e.g. keyboard dynamics).

Plus “+” settings produce higher output level in response to higher velocity

values — i.e. the harder a key is played, the louder the sound. The maximum

setting of “+7” produces the maximum level variation in response to velocity

changes. Minus “-” settings produce the opposite effect: lower level in response

to higher velocity. A setting of “+0” results in no level variation.

AtkRateVel (Attack rate velocity sensitivity)

Range: -7 … +7

Controls: [CS4], [-1] [+1], Dial

Determines how key velocity (keyboard dynamics) affect the attack time of

the amplitude envelope generator.

Plus (“+”) settings produce an increase in attack time in proportion to key

velocity, while minus (“-”) settings produce a decrease in attack time in propor-

tion to key velocity. The greater the value the greater the change in envelope

length.

RateScaling

Range: -7 ... +7

Controls: [CS7], [-1] [+1], Dial

Allows the overall amplitude envelope generator decay rate for the selected

element to be varied across the entire pitch range.

Plus (“+”) settings produce a longer overall envelope time for the low notes

and a shorter envelope time for the high notes. This is useful for simulating

instruments such as piano, in which the low notes take much longer to decay

than the high notes. The maximum “+7” setting produces the greatest envelope

length variation across the pitch range. Minus (“-”) settings produce the oppo-

site effect — short low notes and long high notes. A setting of “+0” results in

no envelope length variation.

AEG DATA COPY

[VOICE] → [EDIT] → [MENU] → 2:Amplitude EG → [ENTER/YES] → [ENTER/YES] → [COPY]

This function facilitates voice editing by allowing the amplitude EG data from

any other voice (the “source” voice) to be copied to the current voice. You can copy

an envelope that is close to the type you want, then edit it to produce the required

sound.

VOICE EDIT MODE / 2:Amplitude EG

From Voice

Range: Any INTERNAL or CARD voice

Controls: MEMORY, GROUP, PROGRAM, [CS5], [-1] [+1], Dial

Use the [INTERNAL 1], [INTERNAL 2], and [CARD] MEMORY keys to

select the memory area from which the source voice is to be selected. Use the

GROUP keys to select the source voice bank, then use the PROGRAM keys to

select the source voice number. The [CS5] slider and other data entry controls

can also be used to select the source voice bank and number.

Once the source voice has been selected, press the [ENTER/YES] key. “Are

you sure?” will appear on the display.

Press the [ENTER/YES] key again to copy the AEG data, or press [EXIT/

NO] to cancel the copy operation. Once the copy operation has finished, “Com-

pleted!” will appear on the display briefly, then the display will return to the

amplitude EG edit mode.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

1:TYPE, CUTOFF FREQUENCY

[VOICE] → [EDIT] → [MENU] → 3:Filter → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 1:Cutoff Frequency → [ENTER/YES]

The SY85 features a sophisticated digital filter system that can be used to shape

the timbre of the voice being edited in a number of ways. Changes in the response

and cutoff frequency can be used to define the basic timbre of the voice, while EG-

controlled filter sweeps can produce a virtually unlimited range of time-based timbre

variations.

VOICE EDIT MODE / 3:Filter

Cutoff Freq. (Cutoff frequency)

Range: 0 … 127

Controls: [CS4], [-1] [+1], Dial

Sets the cutoff frequency of the selected filter.

Lower cutoff values produce a lower cutoff frequency and higher values

produce a higher cutoff frequency.

With an LPF response (selected by the “Type” parameter, below), a lower

cutoff frequency reduces the range of high frequencies passed, making the

sound “darker” or “rounder.”

With a HPF response, a higher cutoff frequency reduces the range of low

frequencies passed, making the sound “thinner” or “sharper.”

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

The illustrations here are not available.

Type (Filter type)

Range: THRU, LPF, LPF12, HPF, BPF, BEF

Controls: [CS5], [-1] [+1], Dial

Determines the type of filter response used.

The “THRU” (THROUGH) setting turns the filter OFF.

● “LPF” and “LPF12” Types

The “LPF” (Low Pass Filter) and “LPF12” settings produces a filter re-

sponse that allows only frequencies

below the cutoff frequency (See “Cutoff”

above) to pass. The “LPF” filter type has a steep 24-dB/octave cutoff slope,

while the “LPF12” type has a gentler 12-dB/octave slope.

● “HPF” Type

The “HPF” (High Pass Filter) setting produces a filter response that allows

only frequencies

above the cutoff frequency (See “Cutoff” above) to pass.

VOICE EDIT MODE / 3:Filter

The illustrations here are not available.

● “BPF” Type

The “BPF” (Band Pass Filter) setting produces a filter response that allows

only a band of frequencies centered at the cutoff frequency (See “Cutoff”

above) to pass. The “Band” parameter (below) determines the width of the pass

band.

VOICE EDIT MODE / 3:Filter

● “BEF” Type

The “BEF” (Band Elimination Filter) setting produces a filter response that

eliminates a band of frequencies centered at the cutoff frequency (See “Cutoff”

above) to pass. The “Band” parameter (below) determines the width of the

elimination band.

Band (BPF & BEF bandwidth)

Range: 0 … 127

Controls: [CS6], [-1] [+1], Dial

Determeines the width of the frequency pass or elimination band for the

BPF and BEF filter types, respectively. The minimum setting of “0” produces

an extremely narrow pass or elimination band, while the maximum setting of

“127” produces a wide band.

The illustrations here are not available.

Reso (Resonance)

Range: 0 … 99

Controls: [CS7], [-1] [+1], Dial

Determines the degree of filter resonance when the “LPF” filter type is

selected (“--” appears in place of the resonance parameter when any other filter

type is selected).

This parameter has a similar effect to the “resonance” settings on traditional

analog synthesizer filters — i.e. it determines the height of a peak in the filter

response at the cutoff frequency.

VOICE EDIT MODE / 3:Filter

Higher resonance values produce a higher resonant peak and reduce the

overall bandwidth of the filter, passing a narrow band of frequencies at the

filter’s cutoff.

CTRL (Filter control)

Range: EG, LFO

Controls: [CS8], [-1] [+1], Dial

Determines whether the cutoff frequency of the selected filter will be con-

trolled by the LFO or by the filter envelope generator (EG).

Varying the filter cutoff frequency can create “sweep” or “wah-wah” type

effects. If the cutoff is controlled via the LFO a cyclic variation based on the

“shape” of the selected LFO waveform is produced. If EG control is selected,

the filter envelope generator (see “FILTER EG LEVEL & RATE” below) can

be set up to produce a wide range of time-based variations.

Please note that if “LFO” is selected, the filter cutoff envelope generator

parameters have no effect on the sound.

The illustrations here are not available.

2: CUTOFF SCALING

[VOICE] → [EDIT] → [MENU] → 3:Filter → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 2:Cutoff Scaling → [ENTER/YES]

Cutoff scaling produces natural timbre variations across the range of the keyboard

by allowing different filter cutoff frequency “offset” values to be applied to each of

four “breakpoints” set at appropriate keys.

POINT 1 … 4

Range: C-2 ... G8

Controls: [CS1] … [CS4], [-1] [+1], Dial, [SHIFT] + Keyboard

Allows four separate cutoff envelope generator level-scaling breakpoints to

be set at any notes between C-2 and G8 for the selected filter.

To use the keyboard for breakpoint entry, simply select a breakpoint param-

eter by pressing the coresponding function key or moving the corresponding

continuous slider, then press the key at which you want to set the breakpoint

while holding the [SHIFT] key.

No breakpoint can be set to a key lower than the breakpoint to its left.

OFFSET 1 … 4

Range: -127 ... +127

Controls: [CS5] … [CS8], [-1] [+1], Dial

Sets the amount of level offset for each of the four level-scaling break-

points set by the “Point” parameter described above.

Negative values lower the cutoff frequency, and positive values increase the

cutoff frequency at the corresponding breakpoint. No matter what value is

chosen, the cutoff frequency will never exceed its minimum or maximum value.

When different offset values are applied to adjacent breakpoints, the cutoff

frequency varies smoothly between the breakpoints.

VOICE EDIT MODE / 3:Filter

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

3: FEG LEVEL & RATE

[VOICE] → [EDIT] → [MENU] → 3:Filter → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 3:FEG Level&Rate → [ENTER/YES]

The filter envelope generator is entirely separate from the amplitude EG, and is

used specifically to create time-based timbre variations. It can be used to simulate the

natural timbre variations produced by acoustic instruments, or to create more pro-

nounced electronic effects.

LVL/RATE (Level/Rate switch)

Range: LVL, RATE

Controls: [F1]

This “switch” determines whether the level parameters (L0 … L4, RL1, and

RL2) or the rate parameters (RS, R1 … R4, RR1, and RR2), described below,

are selected for editing.

L0 … L4, RL1, RL2 (Levels 0 … 4, Release levels 1 & 2)

Range: -63 ... +63

Controls: [CS2] … [CS8], [-1] [+1], Dial

These parameters are available when the Level/Rate switch parameter is set

to “LVL”.

The level parameters work in conjunction with the rate parameters described

below to determine the “shape” of the cutoff envelope generator for the se-

lected filter. This function is only available if the “CTRL” parameter (page 68)

is set to “EG.”

The cutoff envelope generator level parameters correspond to cutoff fre-

quency. Plus “+” values produce higher cutoff frequencies while minus “-”

VOICE EDIT MODE / 3:Filter

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

π π π π π π

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

π π π π π π

values produce lower cutoff frequencies. “0” level values produce the normal

cutoff frequency as determined by the cutoff parameter (See “Cutoff” on page

65).

RS (Rate scaling)

Range: -7 ... +7

Controls: [CS2], [-1] [+1], Dial

Allows the overall cutoff envelope generator rate for the selected filter to

be varied across the entire pitch range (i.e. keyboard range). This function is

only available if the “CTRL” parameter (page 68) is set to “EG.”

Plus (“+”) settings produce a longer overall envelope time for the low notes

and a shorter envelope time for the high notes. The maximum “+7” setting

produces the greatest envelope length variation across the pitch range. Minus

(“-”) settings produce the opposite effect — a shorter low-note envelope and

longer high-note envelope. A setting of “+0” results in no envelope length

variation.

R1 … R4, RR1, RR2 (Rates 1 … 4, Release rates 1 & 2)

Range: 0 … 63

Controls: [CS3] … [CS8], [-1] [+1], Dial

These parameters work in conjunction with the level parameters described

above to determine the “shape” of the cutoff envelope generator for the se-

lected filter. This function is only available if the “CTRL” parameter (page 68)

is set to “EG.”

The “Rate” parameters work in the same way as the amplitude and pitch

envelope generator rate parameters: a setting of “63” produces the fastest (al-

most instantaneous) rate between levels, while the minimum setting of “0”

produces the slowest change.

The filter envelope begins at L0 (Level 0), moves to L1 (Level 1) at a rate

determined by the setting of R1, then to L2 (Level 2) at R2 (Rate 2), then to

L3 (Level 3) at R3 (Rate 3), and then to L4 (Level 4) at R4 (Rate 4). The

cutoff stays at L4 until the key is released, and then moves to RL1 (Release

Level 1) at the rate determined by RR1 (Release Rate 1), and finally to RL2

(Release Level 2) at RR2 (Release Rate 2).

VOICE EDIT MODE / 3:Filter

4: FILTER SENSITIVITY

These parameters determine how the filter envelope generator is affected by

keyboard dynamics.

Type (Velocity sensitivity type)

Range: EG_attack, EG_shift

Controls: [CS4], [-1] [+1], Dial

Determines whether changes in key velocity (keyboard dynamics) affect the

attack level of the filter EG or its cutoff frequency. When set to “EG_attack”,

velocity affects filter EG attack level, and when set to “EG_shift”, velocity

affects the filter cutoff frequency.

Vel (Velocity sensitivity)

Range: -63 ... +63

Controls: [CS5], [-1] [+1], Dial

Determines how the filter cutoff frequency changes in response to velocity

changes (e.g. keyboard dynamics).

Plus “+” settings produce higher cutoff frequencies in response to higher

velocity values — i.e. the harder a key is played, the higher the cutoff fre-

quency. The maximum setting of “+63” produces the maximum level variation

in response to velocity changes. Minus “-” settings produce the opposite effect:

lower cutoff in response to higher velocity. A setting of “+0” results in no

cutoff variation.

AtkRateVel (Attack rate velocity sensitivity)

Range: -63 ... +63

Controls: [CS8], [-1] [+1], Dial

Determines how key velocity (keyboard dynamics) affect the attack portion

of the filter EG envelope.

Plus (“+”) settings produce an increase in attack time in proportion to key

velocity, while minus (“-”) settings produce a decrease in attack time in propor-

tion to key velocity. The greater the value the greater the change in attack

time.

[VOICE] → [EDIT] → [MENU] → 3:Filter → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 4:Filter Sensitivity → [ENTER/YES]

VOICE EDIT MODE / 3:Filter

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

FILTER DATA COPY

[VOICE] → [EDIT] → [MENU] → 3:Filter → [ENTER/YES]→ [ENTER/YES]→ [COPY]

This function facilitates voice editing by allowing the filter parameters from any

other voice (the “source” voice) to be copied to the current voice. You can copy a

filter setup that is close to the type you want, then edit it to produce the required

sound.

VOICE EDIT MODE / 3:Filter

From Voice

Range: Any INTERNAL or CARD voice

Controls: MEMORY, GROUP, PROGRAM, [CS5], [-1] [+1], Dial

Use the [INTERNAL 1], [INTERNAL 2], and [CARD] MEMORY keys to

select the memory area from which the source voice is to be selected. Use the

GROUP keys to select the source voice bank, then use the PROGRAM keys to

select the source voice number. The [CS5] slider and other data entry controls

can also be used to select the source voice number.

Once the source voice has been selected, press the [ENTER/YES] key. “Are

you sure?” will appear on the display.

Press the [ENTER/YES] key again to copy the filter data, or press [EXIT/

NO] to cancel the copy operation. Once the copy operation has finished, “Com-

pleted!” will appear on the display briefly, then the display will return to the

filter edit mode.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

1: LEVEL & RATE

[VOICE] → [EDIT] → [MENU] → 4:Pitch EG → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 1:Level&Rate → [ENTER/YES]

In addition to the amplitude and filter envelope generators, the SY85 has an

independent pitch EG that can be used to produce subtle or pronounced time-based

pitch variations. The pitch EG has 5 programmable levels and 4 rates for extended

flexibility.

VOICE EDIT MODE / 4:Pitch EG

Level/Rate

Range: LEVEL, RATE

Controls: [F1]

This “switch” determines whether the level parameters (L0 … L3, RL1) or

the rate parameters (Loop, R1 … R3, RR, and RS), described below, are

selected for editing.

L0 … L3, RL1 (Levels 0 … 3, release level 1)

Range: -63 ... +63

Controls: [CS3] … [CS7], [-1] [+1], Dial

These parameters work in conjunction with the rate parameters described

below to determine the “shape” of the pitch envelope generator for the selected

element.

Unlike the amplitude envelope generator, the “Level” parameters of which

actually correspond to volume levels, the pitch envelope generator level param-

eters correspond to pitch. Plus “+” values produce higher pitch while minus “-”

values produce lower pitch. “0” level values produce normal pitch.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

π π π π

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

π π π π

Loop

Range: off, on

Controls: [CS3], [-1] [+1], Dial

When the Loop parameter is set to “on” the pitch EG cycle repeats from

the beginning (L0) to the L3 level until the keys being played are released.

When set to “off,” the L3 level is maintained until the keys being played are

released.

R1 … R3, RR (Rates 1 … 3, release rate)

Range: 0 ... +63

Controls: [CS4] … [CS7], [-1] [+1], Dial

These parameters work in conjunction with the level parameters described

above to determine the “shape” of the pitch envelope generator for the selected

element.

The “Rate” parameters work in the same way as the amplitude envelope

generator rate parameters: a setting of “63” produces the fastest (almost instan-

taneous) rate between levels, while the minimum setting of “0” produces the

slowest change.

The pitch envelope begins at L0 (Level 0), moves to L1 (Level 1) at a rate

determined by the setting of R1, then to L2 (Level 2) at R2 (Rate 2), and then

to L3 (Level 3) at R3 (Rate 3). The pitch stays at L3 until the key is released,

and then moves to RL1 (Release Level 1) at the rate determined by RR (Re-

lease Rate).

VOICE EDIT MODE / 4:Pitch EG

RS (Pitch EG rate scaling)

Range: -7 … +7

Controls: [CS8], [-1] [+1], Dial

Allows the overall pitch envelope generator rate for the selected element to

be varied across the entire pitch range.

Plus (“+”) settings produce a longer overall envelope time for the low notes

and a shorter envelope time for the high notes. The maximum “+7” setting

produces the greatest envelope length variation across the pitch range. Minus

(“-”) settings produce the opposite effect — a shorter low-note envelope and

longer high-note envelope. A setting of “+0” results in no envelope length

variation.

The illustrations here are not available.

2: RANGE, SENSITIVITY

These parameters determined the overall range of the pitch EG, and how it is

affected by variations in keyboard velocity.

Range

Range: 1/8oct, 1/2oct, 1oct, 2oct

Controls: [CS3], [-1] [+1], Dial

Sets the maximum range of pitch envelope generator pitch variation.

This parameter determines the

total maximum range of the pitch envelope

generator, so a setting of “2oct” means that the maximum range is ±1 octave.

That is, if a level parameter is set to +63, for example, the pitch at that point

will be one octave above normal pitch.

Vel (Pitch EG velocity sensitivity)

Range: -7 … +7

Controls: [CS5], [-1] [+1], Dial

Determines how the overall envelope depth of the pitch envelope generator

is controlled by velocity information.

Plus (“+”) values produce a deeper pitch envelope in response to higher

velocity, while minus (“-”) values produce a shallower pitch envelope in re-

sponse to higher velocity values. The greater the value the greater the change

in pitch envelope depth.

RateVel (Pitch EG rate velocity sensitivity)

Range: -7 … +7

Controls: [CS6], [-1] [+1], Dial

Determines how the overall envelope length of the pitch envelope generator

is controlled by velocity information.

Plus (“+”) values produce a longer pitch envelope in response to higher

velocity, while minus (“-”) values produce a shorter pitch envelope in response

to higher velocity values. The greater the value the greater the change in pitch

envelope length.

[VOICE] → [EDIT] → [MENU] → 4:Pitch EG → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 2:Sensitivity → [ENTER/YES]

VOICE EDIT MODE / 4:Pitch EG

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

This function facilitates voice editing by allowing the pitch EG parameters from

any other voice (the “source” voice) to be copied to the current voice. You can copy

a pitch EG setup that is close to the type you want, then edit it to produce the re-

quired sound.

PITCH EG DATA COPY

[VOICE] → [EDIT] → [MENU] → 4:Pitch EG → [ENTER/YES] → [ENTER/YES] → [COPY]

VOICE EDIT MODE / 4:Pitch EG

From Voice

Range: Any INTERNAL or CARD voice

Controls: MEMORY, GROUP, PROGRAM, [CS5], [-1] [+1], Dial

Use the [INTERNAL 1], [INTERNAL 2], and [CARD] MEMORY keys to

select the memory area from which the source voice is to be selected. Use the

GROUP keys to select the source voice bank, then use the PROGRAM keys to

select the source voice number. The [CS5] slider and other data entry controls

can also be used to select the source voice number.

Once the source voice has been selected, press the [ENTER/YES] key. “Are

you sure?” will appear on the display.

Press the [ENTER/YES] key again to copy the pitch EG data, or press

[EXIT/NO] to cancel the copy operation. Once the copy operation has finished,

“Completed!” will appear on the display briefly, then the display will return to

the pitch EG edit mode.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

1: LFO

These parameters define the operation of the SY85’s main LFO (Low Frequency

Oscillator). The main LFO controls amplitude, pitch, frequency, and filter cutoff

modulation applied via the modulation wheel, the foot controller, and keyboard

aftertouch response.

[VOICE] → [EDIT] → [MENU] → 5:LFO → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 1:LFO → [ENTER/YES]

VOICE EDIT MODE / 5:LFO

Wave (LFO waveform)

Range: tri, dwn, up, squ, sin, S/H

Controls: [CS2], [-1] [+1], Dial

Determines the waveform of the LFO.

“tri” = Triangle. “dwn” = Downward sawtooth.

“up” = Upward sawtooth. “squ” = Square.

“sin” = Sine. “S/H” = Sample and hold.

Sped (LFO speed)

Range: 0 … 99

Controls: [CS3], [-1] [+1], Dial

Sets the speed of the LFO.

“0” is the slowest Speed setting, producing an LFO speed of approximately

0 Hertz. The fastest setting of 99 produces an LFO speed of approximately 25

Hertz.

Pmod (Pitch modulation depth)

Range: 0 … 127

Controls: [CS4], [-1] [+1], Dial

Sets the maximum amount of pitch modulation that can be applied to the

current voice.

A “0” setting produces no modulation while a setting of “127” produces

maximum modulation. Pitch modulation produces a periodic pitch variation,

thereby creating a vibrato effect.

Please note that the pitch modulation depth parameter for the controller

which is to be used to apply pitch modulation (see page 83, 85, and 87) must

also be set to an appropriate value before pitch modulation can be applied.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

∆ ∆ ±

Amod (Amplitude modulation depth)

Range: 0 … 127

Controls: [CS5], [-1] [+1], Dial

Sets the maximum amount of amplitude modulation that can be applied to

the current voice.

A “0” setting produces no modulation while a setting of “127” produces

maximum modulation. Amplitude modulation produces a periodic variation in

the volume of the sound, thus creating a tremolo effect.

Please note that the amplitude modulation depth parameter for the controller

which is to be used to apply amplitude modulation (see page 83, 85, and 87)

must also be set to an appropriate value before amplitude modulation can be

applied.

Fmod (Filter cutoff frequency modulation depth)

Range: 0 … 127

Controls: [CS6], [-1] [+1], Dial

Sets the maximum amount of filter cuttoff modulation that can be applied

to the current voice.

A “0” setting produces no modulation while a setting of “127” produces

maximum modulation. Filter cutoff modulation produces wah-wah type effects.

Please note that the filter cutoff modulation depth parameter for the control-

ler which is to be used to apply cutoff modulation (see page 84, 86, and 88)

must also be set to an appropriate value before cutoff frequency modulation can

be applied.

Dely (Delay)

Range: 0 … 99

Controls: [CS7], [-1] [+1], Dial

Sets the delay time between the beginning of a note and the beginning of

LFO operation for the selected element.

The minimum setting “0” results in no delay, while the maximum setting of

“99” produces a delay of approximately 2.66 seconds before the LFO begins

operation (5.3 seconds before it reaches maximum depth).

Phase

Range: 0 … 180

Controls: [CS8], [-1] [+1], Dial

Determines at which point in the LFO waveform the LFO will begin opera-

tion for the selected element. The values 0 through 180 correspond to phase

angles in degrees. The illustration below shows how the various phase angles

correspond to points on the LFO waveform (a sine wave is used for clarity).

VOICE EDIT MODE / 5:LFO

2: LFO SPEED SENSITIVITY

The speed of the SY85 LFO can be varied randomly, and according to variations

in keyboard velocity and range. Such variations can produce more natural, musical

effects.

[VOICE] → [EDIT] → [MENU] → 5:LFO → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 2:LFO Speed Sensitivity → [ENTER/YES]

VOICE EDIT MODE / 5:LFO

Random

Range: 0 … 7

Controls: [CS4], [-1] [+1], Dial

Sets the amount of random LFO speed variation produced each time a note

is played.

When this parameter is set to a value other than “0,” the LFO speed

changes randomly each time a note is played. A setting of “7” produces the

greatest amount of random speed change.

Velocity

Range: -7 … +7

Controls: [CS6], [-1] [+1], Dial

Determines how the LFO speed changes in response to velocity changes

(e.g. keyboard dynamics).

Plus “+” settings produce higher LFO speed in response to higher velocity

values — i.e. the harder a key is played, the higher the LFO speed. The maxi-

mum setting of “+7” produces the maximum speed variation in response to

velocity changes. Minus “-” settings produce the opposite effect: lower speed in

response to higher velocity. A setting of “+0” results in no speed variation.

KeyScale

Range: -7 … +7

Controls: [CS8], [-1] [+1], Dial

Determines how the LFO speed changes in response to the key played.

Plus “+” settings produce higher LFO speed when higher notes on the

keyboard are played. The maximum setting of “+7” produces the maximum

speed variation. Minus “-” settings produce the opposite effect: lower speed

when higher notes are played. A setting of “+0” results in no speed variation.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

This function facilitates voice editing by allowing the LFO parameters from any

other voice (the “source” voice) to be copied to the current voice. You can copy an

LFO setup that is close to the type you want, then edit it to produce the required

sound.

LFO DATA COPY

[VOICE] → [EDIT] → [MENU] → 5:LFO → [ENTER/YES] → [ENTER/YES] → [COPY]

VOICE EDIT MODE / 5:LFO

From Voice

Range: Any INTERNAL or CARD voice

Controls: MEMORY, GROUP, PROGRAM, [CS5], [-1] [+1], Dial

Use the [INTERNAL 1], [INTERNAL 2], and [CARD] MEMORY keys to

select the memory area from which the source voice is to be selected. Use the

GROUP keys to select the source voice bank, then use the PROGRAM keys to

select the source voice number. The [CS5] slider and other data entry controls

can also be used to select the source voice number.

Once the source voice has been selected, press the [ENTER/YES] key. “Are

you sure?” will appear on the display.

Press the [ENTER/YES] key again to copy the LFO data, or press [EXIT/

NO] to cancel the copy operation. Once the copy operation has finished, “Com-

pleted!” will appear on the display briefly, then the display will return to the

LFO edit mode.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

1: PITCH BEND RANGE

[VOICE] → [EDIT] → [MENU] → 6:Controller → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 1:Pitch Bend Range → [ENTER/YES]

This screen includes parameters that set the SY85’s pitch bend range, the mini-

mum volume attainable with the foot volume controller, and the sustain switch en-

able/disable mode.

VOICE EDIT MODE / 6:Controller

PB Range (Pitch bend range)

Range: 0 … 12

Controls: [CS3], [-1] [+1], Dial

Sets the maximum pitch bend range.

Each increment from “0” to “12” represents a semitone. A setting of “0”

produces no pitch bend. A setting of “12” allows a maximum pitch bend of

plus or minus one octave, while a setting of “4” allows a maximum pitch bend

of plus or minus a major third.

VolLoLimit (Minimum foot volume level)

Range: 0 … 127

Controls: [CS5], [-1] [+1], Dial

Determines the minimum volume level that can be set by the foot volume

control. If this parameter is set to “0,” the minimum foot volume control posi-

tion will produce no sound. A setting of “63” will result in about half volume

when the control is set to its minimum position.

SustainSw (Sustain switch enable)

Range: enable, disable

Controls: [CS7], [-1] [+1], Dial

Enables or disables sustain footswitch operation. The sustain footswitch

operates normally when this parameter is set to “enable,” but has no effect

when set to “disable.”

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

2: MODULATION WHEEL DEPTH

[VOICE] → [EDIT] → [MENU] → 6:Controller → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 2:MW Depth → [ENTER/YES]

The modulation wheel can be used to control a wide range of modulation effects.

The parameters provided in this screen set the depth of each effect type.

Amod (Amplitude modulation depth)

Range: 0 … 127

Controls: [CS4], [-1] [+1], Dial

Sets the maximum depth of amplitude modulation (tremolo effects) applied

via the modulation wheel.

A setting of “0” allows no amplitude modulation, while a setting of 127

results in maximum amplitude modulation depth.

When setting up the low-frequency oscillator to apply amplitude modula-

tion, this parameter must be set to a value

other than “0” if amplitude modula-

tion is to be applied via the modulation wheel.

Pmod (Pitch modulation depth)

Range: 0 … 127

Controls: [CS5], [-1] [+1], Dial

Sets the maximum depth of pitch modulation (vibrato effects) applied via

the modulation wheel.

A setting of “0” allows no pitch modulation, while a setting of 127 results

in maximum amplitude modulation.

When setting up the low-frequency oscillator to apply pitch modulation, this

parameter must be set to a value

other than “0” if pitch modulation is to be

applied via the modulation wheel.

VOICE EDIT MODE / 6:Controller

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Fmod (Frequency modulation depth)

Range: 0 … 127

Controls: [CS6], [-1] [+1], Dial

Sets the maximum depth of filter cutoff frequency modulation (wah-wah

type effects) applied via the modulation wheel.

A setting of “0” allows no frequency modulation, while a setting of 127

results in maximum frequency modulation.

When setting up the LFO (low-frequency oscillator) to apply cutoff modula-

tion, this parameter must be set to a value

other than “0” if cutoff modulation

is to be applied via the modulation wheel. Also, the filter “CTRL” parameter

(page 68) must be set to “LFO” in order to vary the cutoff frequency continu-

ously.

EGBs (EG bias depth)

Range: -127 … +127

Controls: [CS7], [-1] [+1], Dial

Sets the depth and “direction” of EG bias produced by the modulation

wheel. EG bias increases or decreases the amplitude envelope generator levels,

simulating the dynamic variations that can be produced on an acoustic instru-

ment more accurately than simple volume control.

A setting of “0” produces no change in EG levels. Plus (“+”) settings

produce an increase in level when the modulation wheel is rolled upward, and

minus (“-”) settings produce a decrease in level when when the modultion

wheel is rolled upward. The greater the value, the greater the change in level.

Coff (Cutoff frequency depth)

Range: -127 … +127

Controls: [CS8], [-1] [+1], Dial

Sets the maximum depth of filter cutoff frequency variation applied via the

modulation wheel.

Plus “+” settings produce higher cutoff frequencies in response to modula-

tion wheel operation — i.e. the higher the modulation wheel position, the

higher the cutoff frequency. The maximum setting of “+127” produces the

maximum cutoff variation. Minus “-” settings produce the opposite effect: lower

cutoff in response to higher modulation wheel positions. A setting of “+0”

results in no cutoff variation. The filter “CTRL” parameter (page 68) must be

set to “LFO” in order to vary the cutoff frequency continuously.

VOICE EDIT MODE / 6:Controller

3: FOOT CONTROLLER DEPTH

The SY85 allows modulation control via a foot controller connected to th rear-

panel FOOT CONTROLLER jack as well as the modulation wheel. This allows

modulation effects to be applied while playing with both hands. The parameters in

this screen set the depth of the foot controller modulation effects.

Amod (Amplitude modulation depth)

Range: 0 … 127

Controls: [CS4], [-1] [+1], Dial

Sets the maximum depth of amplitude modulation (tremolo effects) applied

via the foot controller.

A setting of “0” allows no amplitude modulation, while a setting of 127

results in maximum amplitude modulation depth.

When setting up the low-frequency oscillator to apply amplitude modula-

tion, this parameter must be set to a value

other than “0” if amplitude modula-

tion is to be applied via the foot controller.

Pmod (Pitch modulation depth)

Range: 0 … 127

Controls: [CS5], [-1] [+1], Dial

Sets the maximum depth of pitch modulation (vibrato effects) applied via

the foot controller.

A setting of “0” allows no pitch modulation, while a setting of 127 results

in maximum amplitude modulation.

When setting up the low-frequency oscillator to apply pitch modulation, this

parameter must be set to a value

other than “0” if pitch modulation is to be

applied via the foot controller.

[VOICE] → [EDIT] → [MENU] → 6:Controller → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 3:FC Depth → [ENTER/YES]

VOICE EDIT MODE / 6:Controller

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Fmod (Frequency modulation depth)

Range: 0 … 127

Controls: [CS6], [-1] [+1], Dial

Sets the maximum depth of filter cutoff frequency modulation (wah-wah

type effects) applied via the foot controller.

A setting of “0” allows no frequency modulation, while a setting of 127

results in maximum frequency modulation.

When setting up the LFO (low-frequency oscillator) to apply cutoff modula-

tion, this parameter must be set to a value

other than “0” if cutoff modulation

is to be applied via the foot controller. Also, the filter “CTRL” parameter (page

68) must be set to “LFO” in order to vary the cutoff frequency continuously.

EGBs (EG bias depth)

Range: -127 … +127

Controls: [CS7], [-1] [+1], Dial

Sets the depth and “direction” of EG bias produced by the foot controller.

EG bias increases or decreases the amplitude envelope generator levels, simu-

lating the dynamic variations that can be produced on an acoustic instrument

more accurately than simple volume control.

A setting of “0” produces no change in EG levels. Plus (“+”) settings

produce an increase in level when the foot controller is applied, and minus (“-

”) settings produce a decrease in level when the foot controller is applied. The

greater the value, the greater the change in level.

Coff (Cutoff frequency depth)

Range: -127 … +127

Controls: [CS8], [-1] [+1], Dial

Sets the maximum depth of filter cutoff frequency variation applied via the

foot controller.

Plus “+” settings produce higher cutoff frequencies in response to foot

controller operation — i.e. the more the foot controller is depressed, the higher

the cutoff frequency. The maximum setting of “+127” produces the maximum

cutoff variation. Minus “-” settings produce the opposite effect: lower cutoff in

response to higher foot controller positions. A setting of “+0” results in no

cutoff variation. The filter “CTRL” parameter (page 68) must be set to “LFO”

in order to vary the cutoff frequency continuously.

VOICE EDIT MODE / 6:Controller

4: AFTER TOUCH DEPTH

[VOICE] → [EDIT] → [MENU] → 6:Controller → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 4:AT Depth → [ENTER/YES]

For truly “intimate” modulation control, the SY85 allows a number of modulation

effects to be controlled via keyboard aftertouch response. The parameters in this

screen set the depth of the aftertouch modulation effects.

Amod (Amplitude modulation depth)

Range: 0 … 127

Controls: [CS3], [-1] [+1], Dial

Sets the maximum depth of amplitude modulation (tremolo effects) applied

via keyboard aftertouch.

A setting of “0” allows no amplitude modulation, while a setting of 127

results in maximum amplitude modulation depth.

When setting up the low-frequency oscillator to apply amplitude modula-

tion, this parameter must be set to a value

other than “0” if amplitude modula-

tion is to be applied via keyboard after touch.

Pmod (Pitch modulation depth)

Range: 0 … 127

Controls: [CS4], [-1] [+1], Dial

Sets the maximum depth of pitch modulation (vibrato effects) applied via

keyboard aftertouch.

A setting of “0” allows no pitch modulation, while a setting of 127 results

in maximum amplitude modulation.

When setting up the low-frequency oscillator to apply pitch modulation, this

parameter must be set to a value

other than “0” if pitch modulation is to be

applied via keyboard aftertouch.

VOICE EDIT MODE / 6:Controller

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Fmod (Frequency modulation depth)

Range: 0 … 127

Controls: [CS5], [-1] [+1], Dial

Sets the maximum depth of filter cutoff frequency modulation (wah-wah

type effects) applied via keyboard aftertouch.

A setting of “0” allows no frequency modulation, while a setting of 127

results in maximum frequency modulation.

When setting up the LFO (low-frequency oscillator) to apply cutoff modula-

tion, this parameter must be set to a value

other than “0” if cutoff modulation

is to be applied via keyboard aftertouch. Also, the filter “CTRL” parameter

(page 68) must be set to “LFO” in order to vary the cutoff frequency continu-

ously.

EGBs (EG bias depth)

Range: -127 … +127

Controls: [CS6], [-1] [+1], Dial

Sets the depth and “direction” of EG bias produced by aftertouch response.

EG bias increases or decreases the amplitude envelope generator levels, simu-

lating the dynamic variations that can be produced on an acoustic instrument

more accurately than simple volume control.

A setting of “0” produces no change in EG levels. Plus (“+”) settings

produce an increase in level when aftertouch is applied, and minus (“-”) set-

tings produce a decrease in level when aftertouch is applied. The greater the

value, the greater the change in level.

Coff (Cutoff frequency depth)

Range: -127 … +127

Controls: [CS7], [-1] [+1], Dial

Sets the maximum depth of filter cutoff frequency variation applied via

keyboard aftertouch.

Plus “+” settings produce higher cutoff frequencies in response to aftertouch

— i.e. the greater the aftertouch pressure, the higher the cutoff frequency. The

maximum setting of “+127” produces the maximum cutoff variation. Minus “-”

settings produce the opposite effect: lower cutoff in response to greater

aftertouch pressure. A setting of “+0” results in no cutoff variation. The filter

“CTRL” parameter (page 68) must be set to “LFO” in order to vary the cutoff

frequency continuously.

PtBs (Pitch bias depth)

Range: -12 … +12

Controls: [CS8], [-1] [+1], Dial

Sets the maximum pitch variation range achievable via after-touch control.

Each increment represents a semitone. A setting of “0” produces no pitch

variation. A setting of “+12” allows a maximum pitch variation of one octave

up, while a setting of “-12” allows a maximum pitch variation of one octave

down corresponding to aftertouch key pressure.

VOICE EDIT MODE / 6:Controller

5: CS3 PARAMETER EDIT

The [CS3] and [CS4] sliders can be assigned to control a wide range of voice

parameters in real time while playing the SY85. These parameters assign a voice

parameter to the [CS3] slider, and set the maximum and minimum limits of the

control range.

[VOICE] → [EDIT] → [MENU] → 6:Controller → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 5:CS3 Parameter → [ENTER/YES]

VOICE EDIT MODE / 6:Controller

CS3 Param (CS3 parameter)

Range: 0 … 75

Controls: [CS1], [-1] [+1], Dial

Assigns any of 75 different voice parameters to be controlled via the [CS3]

slider.

The numbers and abbreviations associated with each voice parameter are

listed below:

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

CS3 PARAMETER LIST (0 … 39)

0: “No_Assign ”

1: “CT_MW_Pmod”

2: “CT_MW_Amod”

3: “CT_MW_Fmod”

4: “CT_MW_Coff”

5: “CT_MW_EGBs”

6: “CT_FC_Pmod”

7: “CT_FC_Amod”

8: “CT_FC_Fmod”

9: “CT_FC_Coff”

10: “CT_FC_EGBs”

11: “CT_AT_Pmod”

12: “CT_AT_Amod”

13: “CT_AT_Fmod”

14: “CT_AT_Coff”

15: “CT_AT_EGBs”

16: “CT_AT_PtBs”

17: “CT_PBRange”

18: “CT_VLLoLim”

19: “TotalLevel”

20: “EF_SendLvl”

21: “OS_FrqFine”

22: “OS_Random ”

23: “PEG_Rate1 ”

24: “PEG_Rate2 ”

25: “PEG_Rate3 ”

26: “PEG_RlsRt ”

27: “PEG_Level0”

28: “PEG_Level1”

29: “PEG_Level2”

30: “PEG_Level3”

31: “PEG_RlsLvl”

32: “PEG_Range ”

33: “PEG_LvlVel”

34: “PEG_RtVel ”

35: “LFO_Speed ”

36: “LFO_Delay ”

37: “LFO_Pmod ”

38: “LFO_Amod ”

39: “LFO_Fmod ”

90 VOICE EDIT MODE / 6:Controller

CS3 PARAMETER LIST (40 … 75)

40: “LFO_Wave ”

41: “LFO_Phase”

42: “LFO_SpdVel”

43: “LFO_SpdRnd”

44: “AEG_Rate1 ”

45: “AEG_Rate2 ”

46: “AEG_Rate3 ”

47: “AEG_Rate4 ”

48: “AEG_RlsRt ”

49: “AEG_Level2”

50: “AEG_Level3”

51: “AEG_LvlVel”

52: “AEG_RtVel ”

53: “FLT_Reso ”

54: “FLT_CofVel”

55: “FLT_ARVel ”

56: “FLT_Band ”

57: “FLT_CofFrq”

58: “FLT_Rate1 ”

59: “FLT_Rate2 ”

60: “FLT_Rate3 ”

61: “FLT_Rate4 ”

62: “FLT_RlsRt1”

63: “FLT_RlsRt2”

64: “FLT_Level0”

65: “FLT_Level1”

66: “FLT_Level2”

67: “FLT_Level3”

68: “FLT_Level4”

69: “FLT_RlsLv1”

70: “FLT_RlsLv2”

71: “OS_NoteSft”

72: “FLT_BPLvl1”

73: “FLT_BPLvl2”

74: “FLT_BPLvl3”

75: “FLT_BPLvl4”

The parameter assigned to [CS3] can also be controlled from an external

MIDI controller via MIDI control number 18. Operation of the [CS3] slider in

the VOICE or PERFORMANCE mode also transmits corresponding MIDI

control change data using control number 18.

Min.

Range: 0 … 100

Controls: [CS6], [-1] [+1], Dial

Sets the lower limit of the [CS3] control range. A setting of “0”, for exam-

ple, means that when the [CS3] slider is set to its lowest position the assigned

parameter will also be set to its lowest value. A setting of “50” means that the

lowest [CS3] position will set the assigned parameter to about 50% of its range

(a parameter with a range of 0 to 127, for example, would be set to about 63).

Max.

Range: 0 … 100

Controls: [CS8], [-1] [+1], Dial

Sets the upper limit of the [CS3] control range. A setting of “100”, for

example, means that when the [CS3] slider is set to its highest position the

assigned parameter will also be set to its highest value. A setting of “80”

means that the highest [CS3] position will set the assigned parameter to about

80% of its range (a parameter with a range of 0 to 127, for example, would be

set to about 102).

6: CS4 PARAMETER EDIT

The [CS3] and [CS4] sliders can be assigned to control a wide range of voice

parameters in real time while playing the SY85. These parameters assign a voice

parameter to the [CS4] slider, and set the maximum and minimum limits of the

control range.

[VOICE] → [EDIT] → [MENU] → 6:Controller → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 6:CS4 Parameter → [ENTER/YES]

VOICE EDIT MODE / 6:Controller

CS4 Param (CS4 parameter)

Range: 0 … 75

Controls: [CS1], [-1] [+1], Dial

Assigns any of 75 different voice parameters to be controlled via the [CS4]

slider.

The numbers and abbreviations associated with each voice parameter are

listed below:

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

CS4 PARAMETER LIST (0 … 39)

0: “No_Assign ”

1: “CT_MW_Pmod”

2: “CT_MW_Amod”

3: “CT_MW_Fmod”

4: “CT_MW_Coff”

5: “CT_MW_EGBs”

6: “CT_FC_Pmod”

7: “CT_FC_Amod”

8: “CT_FC_Fmod”

9: “CT_FC_Coff”

10: “CT_FC_EGBs”

11: “CT_AT_Pmod”

12: “CT_AT_Amod”

13: “CT_AT_Fmod”

14: “CT_AT_Coff”

15: “CT_AT_EGBs”

16: “CT_AT_PtBs”

17: “CT_PBRange”

18: “CT_VLLoLim”

19: “TotalLevel”

20: “EF_SendLvl”

21: “OS_FrqFine”

22: “OS_Random ”

23: “PEG_Rate1 ”

24: “PEG_Rate2 ”

25: “PEG_Rate3 ”

26: “PEG_RlsRt ”

27: “PEG_Level0”

28: “PEG_Level1”

29: “PEG_Level2”

30: “PEG_Level3”

31: “PEG_RlsLvl”

32: “PEG_Range ”

33: “PEG_LvlVel”

34: “PEG_RtVel ”

35: “LFO_Speed ”

36: “LFO_Delay ”

37: “LFO_Pmod ”

38: “LFO_Amod ”

39: “LFO_Fmod ”

92 VOICE EDIT MODE / 6:Controller

CS4 PARAMETER LIST (40 … 75)

40: “LFO_Wave ”

41: “LFO_Phase”

42: “LFO_SpdVel”

43: “LFO_SpdRnd”

44: “AEG_Rate1 ”

45: “AEG_Rate2 ”

46: “AEG_Rate3 ”

47: “AEG_Rate4 ”

48: “AEG_RlsRt ”

49: “AEG_Level2”

50: “AEG_Level3”

51: “AEG_LvlVel”

52: “AEG_RtVel ”

53: “FLT_Reso ”

54: “FLT_CofVel”

55: “FLT_ARVel ”

56: “FLT_Band ”

57: “FLT_CofFrq”

58: “FLT_Rate1 ”

59: “FLT_Rate2 ”

60: “FLT_Rate3 ”

61: “FLT_Rate4 ”

62: “FLT_RlsRt1”

63: “FLT_RlsRt2”

64: “FLT_Level0”

65: “FLT_Level1”

66: “FLT_Level2”

67: “FLT_Level3”

68: “FLT_Level4”

69: “FLT_RlsLv1”

70: “FLT_RlsLv2”

71: “OS_NoteSft”

72: “FLT_BPLvl1”

73: “FLT_BPLvl2”

74: “FLT_BPLvl3”

75: “FLT_BPLvl4”

The parameter assigned to [CS4] can also be controlled from an external

MIDI controller via MIDI control number 19. Operation of the [CS4] slider in

the VOICE or PERFORMANCE mode also transmits corresponding MIDI

control change data using control number 19.

Min (Minimum parameter value)

Range: 0 … 100

Controls: [CS6], [-1] [+1], Dial

Sets the lower limit of the [CS4] control range. A setting of “0”, for exam-

ple, means that when the [CS4] slider is set to its lowest position the assigned

parameter will also be set to its lowest value. A setting of “50” means that the

lowest [CS4] position will set the assigned parameter to about 50% of its range

(a parameter with a range of 0 to 127, for example, would be set to about 63).

Max (Maximum parameter value)

Range: 0 … 100

Controls: [CS8], [-1] [+1], Dial

Sets the upper limit of the [CS4] control range. A setting of “100”, for

example, means that when the [CS4] slider is set to its highest position the

assigned parameter will also be set to its highest value. A setting of “80”

means that the highest [CS4] position will set the assigned parameter to about

80% of its range (a parameter with a range of 0 to 127, for example, would be

set to about 102).

This function allows the controller parameters from any other voice (the “source”

voice) to be copied to the current voice. You can copy a controller setup that is close

to the type you want, then edit it to produce the required sound.

CONTROLLER DATA COPY

[VOICE] → [EDIT] → [MENU] → 6:Controller → [ENTER/YES] → [ENTER/YES] → [COPY]

VOICE EDIT MODE / 6:Controller

From Voice

Range: Any INTERNAL or CARD voice

Controls: MEMORY, GROUP, PROGRAM, [CS5], [-1] [+1], Dial

Use the [INTERNAL 1], [INTERNAL 2], and [CARD] MEMORY keys to

select the memory area from which the source voice is to be selected. Use the

GROUP keys to select the source voice bank, then use the PROGRAM keys to

select the source voice number. The [CS5] slider and other data entry controls

can also be used to select the source voice number.

Once the source voice has been selected, press the [ENTER/YES] key. “Are

you sure?” will appear on the display.

Press the [ENTER/YES] key again to copy the controller data, or press

[EXIT/NO] to cancel the copy operation. Once the copy operation has finished,

“Completed!” will appear on the display briefly, then the display will return to

the controller edit mode.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

The ability to independently adjust the volume of each voice makes it possible to

match levels for smooth transition when switching between voices.

Total Level

Range: 0 … 127

Controls: [CS4], [-1] [+1], Dial

Adjusts the volume of the current voice.

A setting of “0” produces no sound while a setting of “127” produces

maximum volume. A bar graph to the right of the parameter provides a visual

indication of volume level — the longer the bar, the higher the volume.

VOICE TOTAL LEVEL

[VOICE] → [EDIT] → [MENU] → 7:Total Level → [ENTER/YES]

VOICE EDIT MODE / 7:Total Level

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Your original voices should naturally have original names. This function can be

used to assign a name of up to 8 characters to the current voice.

VOICE NAME

[VOICE] → [EDIT] → [MENU] → 8:Name → [ENTER/YES]

VOICE EDIT MODE / 8:Name

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Name

Range: See character list, below

Controls: [F1] … [F4], [F7], [F8], [CS1] … [CS8], [-1] [+1], Dial,

GROUP, PROGRAM

Assigns a name of up to 8 characters to the current voice.

Use the [F7] function key to move the character cursor to the left, and the

[F8] function key to move the cursor to the right. Use the GROUP and PRO-

GRAM keys to input a character at the cursor position. Each GROUP and

PROGRAM key selects the three characters printed above it in sequence. It is

also possible to use the [-1] and [+1] keys or dial to scroll through the avail-

able characters (see list below).

The sliders, [CS1] through [CS8], independently select characters for the

corresponding character position: [CS1] selects the first character, [CS2] selects

the second character, and so on.

The first four function keys also perform important functions: [F1] clears

the entire name, [F2] selects upper-case characters, [F3] selects lower-case

characters, and [F4] inserts a space at the cursor position.

[A]: A → B → C

[B]: D → E → F

[C]: G → H → I

[D]: J → K → L

[E]: M → N → O

[F]: P → Q → R

[G]: S → T → U

[H]: V → W → X

[1]: Y → Z → 0

[2]: 1 → 2 → 3

[3]: 4 → 5 → 6

[4]: 7 → 8 → 9

[5]: * → & → _

[6]: / → . → ,

[7]: ’ → ! → ?

[8]: # → : → ;

PROGRAM key

GROUP key

These parameters provide a fast, easy way to select a new wave for the current

voice, and instantly set the main amplitude envelope generator parameters to values

that produce good results with the selected wave.

For full oscillator parameters see page 58.

1: WAVE

[VOICE] → [QUICK EDIT] → [MENU] → 1:Wave → [ENTER/YES]

Group

Range: 1 … 16

Controls: [CS2], [-1] [+1], Dial

For fast, easy selection of the preset SY85 waves this parameter selects 16

different wave categories or “groups”, each containing a number of waves that

can be individually selected by using the “Number” parameter, below.

Quick Edit Wave Groups

1:Piano Acoustic pianos

2:Key Other keyboards

3:Brass Brass instruments

4:Wind Wind instruments

5:Strings Strings

6:A.Guitar Acoustic guitars

7:E.Guitar Electric guitars

8:Bass Acoustic & electric bass

9:Folk Folk & ethnic instruments

10:Synth Synthesizer sounds

11:Choir Choir & human voice

12:TPerc Tuned percussion

13:Drum Drums

14:Perc Percussion instruments

15:SE Sound effects

16:Osc Basic oscillator waveforms

VOICE EDIT MODE / QUICK EDIT

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Number

Range: P001 … P244, I00 … I63, C00 … C63

Controls: MEMORY, [CS5], [-1] [+1], Dial

Selects the wave (AWM waveform) to be used in the current voice. Use the

“Group” parameter, above, to select the group containing the wave that is to be

selected. The [INTERNAL 1], [INTERNAL 2], and [CARD] keys can also be

used to select the memory area from which the wave is to be selected. A

complete listing of the internal waves is given in the Appendix, on page 310.

VOICE EDIT MODE / QUICK EDIT

Rather than having to set numerous level and rate values via the full-edit ampli-

tude EG parameters, these parameters let you select from a range of preset envelope

types, and then modify the overall attack, sustain, and release characteristics as re-

quired.

For full amplitude EG parameters see page 60.

2: AMPLITUDE EG

[VOICE] → [QUICK EDIT] → [MENU] → 2:AEG → [ENTER/YES]

VOICE EDIT MODE / QUICK EDIT

Type (Envelope type)

Range: 00 … 21

Controls: [CS1], [-1] [+1], Dial

Selects either the envelope defined by the current amplitude envelope pa-

rameter settings (page 60), or one of 21 preset amplitude envelope types for the

current voice. The envelope types are:

Quick Edit Envelope Types

00:-------- Full-edit envelope

01:Piano Acoustic piano

02:Brass Brass

03:SfzBrass Sforzando brass

04:SynBrass Synthesizer brass

05:StFast Fast-attack strings

06:StSlw/Pd Slow-attack strings (pad)

07:E.Bass Electric bass

08:SynBass1 Synthesizer bass 1

09:SynBass2 Synthesizer bass 2

10:Organ Organ

11:Guitar Guitar

12:Pluck1 Plucked instrument 1

13:Pluck2 Pluched instrument 2

14:SynPad Synthesizer pad

15:SynComp Synthesizer comping (backing)

16:Percusiv Percussive

17:S.Ideal1 Sound envelope 1

18:S.Ideal2 Sound envelope 2

19:S.Ideal3 Sound envelope 3

20:S.Ideal4 Sound envelope 4

21:Init Initialized envelope

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Atk (Attack rate)

Range: 0 … 63

Controls: [CS5], [-1] [+1], Dial

Sets the attack rate for the selected envelope. “63” produces the fastest

attack, while “0” produces the slowest attack.

Sus (Sustain level)

Range: 0 … 63

Controls: [CS6], [-1] [+1], Dial

Sets the sustain level for the selected envelope.

Rel (Release rate)

Range: 0 … 63

Controls: [CS7], [-1] [+1], Dial

Sets the release rate for the selected envelope.

Velo (Velocity sensitivity)

Range: -7 … +7

Controls: [CS8], [-1] [+1], Dial

Determines how the output level of the current voice changes in response to

velocity changes (e.g. keyboard dynamics).

Plus “+” settings produce higher output level in response to higher velocity

values — i.e. the harder a key is played, the louder the sound. The maximum

setting of “+7” produces the maximum level variation in response to velocity

changes. Minus “-” settings produce the opposite effect: lower level in response

to higher velocity. A setting of “+0” results in no level variation.

VOICE EDIT MODE / QUICK EDIT

100

The simplified filter parameters provided here have been specifically created for

fast, efficient filter programming.

For full filter parameters see page 65.

[VOICE] → [QUICK EDIT] → [MENU] → 3:Filter → [ENTER/YES]

Type (Filter type)

Range: 0 … 15

Controls: [CS3], [-1] [+1], Dial

Selects either the filter defined by the current filter parameter settings (page

65), or one of 15 preset filter types for the current voice. The filter types are:

Quick Edit Filter Types

0:-------- Full-edit filter

1:VeloSoft Velocity sensitive, soft response

2:VeloWide Velocity sensitive, wide response

3:VeloHard Velocity sensitive, hard response

4:VeloReso Velocity sensitive, resonant

5:SynBass1 Synthesizer bass 1

6:SynBass2 Synthesizer bass 2

7:SynBras1 Synthesizer brass 1

8:SynBras2 Synthesizer brass 2

9:Sweep Sweep-frequency filter

10:SlowAtak Slow-attack filter

11:LPF_Init Initialized LPF

12:HPF_Init Initialized HPF

13:BPF_Init Initialized BP

14:BEF_Init Initialized BEF

15:Thru No filter

Coff (Cutoff frequency)

Range: 0 … 127

Controls: [CS6], [-1] [+1], Dial

Sets the cutoff frequency of the selected filter.

Lower cutoff values produce a lower cutoff frequency and higher values

produce a higher cutoff frequency. If the “Thru” filter type is selected, no

cutoff frequency can be set and “---” appears on the display in place of the

parameter.

VOICE EDIT MODE / QUICK EDIT

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

3: FILTER

101

Reso (Resonance)

Range: 0 … 99

Controls: [CS7], [-1] [+1], Dial

Determines the degree of filter resonance.

This parameter has a similar effect to the “resonance” settings on traditional

analog synthesizer filters — i.e. it determines the height of a peak in the filter

response at the cutoff frequency. If a filter type other than “LPF” is selected,

no resonance can be produced and “---” appears on the display in place of the

parameter.

VOICE EDIT MODE / QUICK EDIT

Higher resonance values produce a higher resonant peak and reduce the

overall bandwidth of the filter, passing a narrow band of frequencies at the

filter’s cutoff.

Vel (Velocity sensitivity)

Range: -63 … +63

Controls: [CS8], [-1] [+1], Dial

Determines how the filter cutoff frequency changes in response to velocity

changes (e.g. keyboard dynamics).

Plus “+” settings produce higher cutoff frequencies in response to higher

velocity values — i.e. the harder a key is played, the higher the cutoff fre-

quency. The maximum setting of “+63” produces the maximum level variation

in response to velocity changes. Minus “-” settings produce the opposite effect:

lower cutoff in response to higher velocity. A setting of “+0” results in no

cutoff variation.

The illustrations here are not available.

102

Here, the main LFO parameters are simplified and concentrated in a single screen

for quick, easy programming.

For full LFO parameters see page 78.

Type (LFO modulation type)

Range: --------, vibrato, tremolo, wahwah

Controls: [CS3], [-1] [+1], Dial

Determines whether the LFO will produce vibrato (pitch modulation),

tremolo (amplitude modulation), or wahwah (filter cutoff modulation) effects.

The current LFO parameter settings (page 78) are selected when this parameter

is set to “--------”.

Speed

Range: 0 … 99

Controls: [CS5], [-1] [+1], Dial

Sets the speed of the LFO.

“0” is the slowest speed setting, producing an LFO speed of approximately

0 Hertz. The fastest setting of 99 produces an LFO speed of approximately 25

Hertz.

Depth

Range: 0 … 127

Controls: [CS6], [-1] [+1], Dial

Sets the maximum amount of amplitude (tremolo), pitch (vibrato), or filter

cutoff (wahwah) modulation that can be applied to the current voice.

A “0” setting produces no modulation while a setting of “127” produces

maximum modulation.

4: LFO

[VOICE] → [QUICK EDIT] → [MENU] → 4:LFO → [ENTER/YES]

VOICE EDIT MODE / QUICK EDIT

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

103

The SY85 features a complex, high-performance effect system that can be pro-

grammed easily via the parameters presented here and in the following screen.

For a complete list of effect parameters see page 274.

Effect Type 1/2

Range: 0 … 90

Controls: [CS1]/[CS4], [-1] [+1], Dial

[CS1] selects any of the SY85’s 90 effect types for the EFFECT 1 proces-

sor, and [CS4] does the same for the EFFECT 2 processor. See page 254 for

more details on the SY85 effect system.

Wet Balance

Range: 0 … 100

Controls: [CS8], [-1] [+1], Dial

[CS8] controls the balance between the direct no-effect sound and the effect

sound delivered via the OUTPUT 1 jacks. The maximum setting of “100”

produces maximum effect depth.

5: EFFECT TYPE

[VOICE] → [QUICK EDIT] → [MENU] → 5:Effect Type → [ENTER/YES]

VOICE EDIT MODE / QUICK EDIT

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

104

6: EFFECT PARAMETER

[VOICE] → [QUICK EDIT] → [MENU] → 6:Effect Param → [ENTER/YES]

This screen provides access to the four main parameters each for the current

selected effect 1 and effect 2. The four effect 1 parameters are edited via [CS1]

through [CS4], while the four effect 2 parameters are edited via [CS5] through [CS8].

The parameters are different for each effect (refer to page 274 for details). The

EFFECT mode PARAMETERS screen described on page 109 provides full access to

all 8 effect parameters.

VOICE EDIT MODE / QUICK EDIT

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

105

The SY85 features a dual-processor effect system that includes 90 top-quality

digital effects. Two different effects can be connected in series or parallel, providing

an extensive range of possible configurations.

1: MODE, TYPE

[VOICE] → [EFFECT EDIT] → [MENU] → 1:Mode, Type → [ENTER/YES]

Mode

Range: 0:off, 1:seri, 2:para

Controls: [CS1], [-1] [+1], Dial

Determines whether the SY85’s two effect processors are connected in

series (“1:seri”) or in parallel (“2:para”), or whether the entire effect system is

turned off (“0:off”).

EF1 Type

Range: 0 … 90

Controls: [CS3], [-1] [+1], Dial

Selects any of the SY85’s 90 effect types for the EFFECT 1 processor. See

page 254 for more details on the SY85 effect system, and page 274 for a

complete list of the available effects.

EF2 Type

Range: 0 … 90

Controls: [CS6], [-1] [+1], Dial

Selects any of the SY85’s 90 effect types for the EFFECT 2 processor. See

page 254 for more details on the SY85 effect system, and page 274 for a

complete list of the available effects.

VOICE EDIT MODE / EFFECT EDIT

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

106

The balance between the direct sound of the voice and the effect sound is a

delicate thing. Even slight changes can make a big different to the final sound. The

parameters provided in this screen provide precise balance control.

2: SEND, MIX, WET:DRY

[VOICE] → [EFFECT EDIT] → [MENU] → 2:Send, Mix, Wet:Dry → [ENTER/YES]

Send (Send level)

Range: 0 … 127

Controls: [CS3], [-1] [+1], Dial

This parameter adjusts the amount of direct voice signal that is sent to the

effect processors, determining the strength of the final effect sound. A setting

of “0” results in no effect, leaving only the “dry” sound of the voice. The

maximum setting of “127” produces the maximum amount of effect.

EF2 Mix (Effect 2 mix level)

Range: 0 … 100

Controls: [CS5], [-1] [+1], Dial

This parameter can only be used with the “serial” effect mode is selected.

If any other mode is selected (“off” or “para”), “---” appears on the display in

place of the value.

If a controller is assigned to the EF2 Mix parameter (page 110), an inverse

“c” will appear to the right of the parameter.

Out1 Wet

Range: 0 … 100

Controls: [CS7], [-1] [+1], Dial

This parameter and the “Out1 Dry” parameter, below, work together to

balance the effect (“wet”) and direct (“dry”) signals delivered via the OUTPUT

1 jacks. Higher “Out1 Wet” values produce more effect sound in relation to the

direct, dry sound of the voice.

Although the “Wet” and “Dry” parameters can be set independently, adjust-

ing one will cause the other to change so that their total is always 100(%).

If a controller is assigned to the “out1 Wet” parameter (page 110), an

inverse “c” will appear to the right of the parameter.

VOICE EDIT MODE / EFFECT EDIT

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

107

Out1 Dry

Range: 0 … 100

Controls: [CS8], [-1] [+1], Dial

This parameter and the “Out1 Wet” parameter, above, work together to

balance the effect (“wet”) and direct (“dry”) signals delivered via the OUTPUT

1 jacks. Higher “Out1 Dry” values produce more direct, dry sound in relation

to the effect sound.

Although the “Wet” and “Dry” parameters can be set independently, adjust-

ing one will cause the other to change so that their total is always 100(%).

VOICE EDIT MODE / EFFECT EDIT

108

Depending on the selected effects the SY85 effect system can have up to four

separate output levels that are adjusted by the parameters provided in this screen.

3: OUTPUT LEVEL

[VOICE] → [EFFECT EDIT] → [MENU] → 3:Output Level → [ENTER/YES]

1a, 1b, 2a, and 2b (Effect output levels)

Range: 0 … 100

Controls: [CS3], [CS4], [CS7], [CS8], [-1] [+1], Dial

The [CS3] and [CS4] sliders adjust the output levels of the effect 1 “1a”

and “1b” stages, respectively, while the [CS7] and [CS8] sliders adjust the

output levels of the effect 2 “2a” and “2b” stages. A setting of “0” turns output

from the corresponding effect stage off, while a setting of “100” produces

maximum output level.

If the selected effect is a “single” type, then only the “1a” or “2a” output

level is available. If it is a “cascade” type, then only the “1b” or “2b” output

level is available. Both the “1a” and “1b” or “2a” and “2b” levels are available

only if the selected effect is a “dual” type. The type of the effects currently

selected for the effect 1 and effect 2 processors are shown in parentheses on

the bottom line of the display. See page 254 for details on the effect stages and

the SY85 effect system in general.

If a controller is assigned to any of the output level parameters (page 110),

an inverse “c” will appear to the right of the parameter.

VOICE EDIT MODE / EFFECT EDIT

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

109VOICE EDIT MODE / EFFECT EDIT

4: EFFECT 1 PARAMETERS

5: EFFECT 2 PARAMETERS

[VOICE] → [EFFECT EDIT] → [MENU] → 4:EF1 Parameter → [ENTER/YES]

→ 5:EF2 Parameter → [ENTER/YES]

Each of the SY85’s 90 effects has 8 parameters that can be edited via the param-

eters in this screen to fine-tune the effect.

Each parameter is controlled by the corresponding slider (i.e. the slider immedi-

ately below each parameter). The [-1]/[+1] keys and data entry dial can also be used

to edit the parameter at which the cursor is currently located.

Refer to page 274 for a complete listing of the parameters provided for each

effect.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

110

The SY85 [CS1] and [CS2] sliders can be assigned to control different effect

parameters in real time while playing in the voice or performance modes. The param-

eters provided in this screen determine which effect parameters are to be controlled

by the [CS1] and [CS2] sliders, the minimum and maximum parameter values, and

assign MIDI control numbers to the same parameters for MIDI effect control.

6: CONTROL PARAMETERS

[VOICE] → [EFFECT EDIT] → [MENU] → 6:Control Parameter → [ENTER/YES]