Yamaha QY100 Manual de usuario

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Tipo
Manual de usuario
Owner’s Manual
Owner’s Manual
2
This product utilizes batteries or an external power
supply (adapter). DO NOT connect this product to any
power supply or adapter other than one described in
the manual, on the name plate, or specifically recom-
mended by Yamaha.
WARNING:
Do not place this product in a position
where anyone could walk on, trip over ,or roll anything
over power or connecting cords of any kind. The use of
an extension cord is not recommended! IF you must
use an extension cord, the minimum wire size for a 25'
cord (or less ) is 18 AWG. NOTE: The smaller the AWG
number ,the larger the current handling capacity. For
longer extension cords, consult a local electrician.
This product should be used only with the components
supplied or; a cart, rack, or stand that is recommended
by Yamaha. If a cart, etc., is used, please observe all
safety markings and instructions that accompany the
accessory product.
SPECIFICATIONS SUBJECT TO CHANGE:
The information contained in this manual is believed to
be correct at the time of printing. However, Yamaha
reserves the right to change or modify any of the speci-
fications without notice or obligation to update existing
units.
This product, either alone or in combination with an
amplifier and headphones or speaker/s, may be capa-
ble of producing sound levels that could cause perma-
nent hearing loss. DO NOT operate for long periods of
time at a high volume level or at a level that is uncom-
fortable. If you experience any hearing loss or ringing in
the ears, you should consult an audiologist.
IMPORTANT: The louder the sound, the shorter the
time period before damage occurs.
Some Yamaha products may have benches and / or
accessory mounting fixtures that are either supplied
with the product or as optional accessories. Some of
these items are designed to be dealer assembled or
installed. Please make sure that benches are stable
and any optional fixtures (where applicable) are well
secured BEFORE using.
Benches supplied by Yamaha are designed for seating
only. No other uses are recommended.
NOTICE:
Service charges incurred due to a lack of knowledge
relating to how a function or effect works (when the unit
is operating as designed) are not covered by the manu-
facturer’s warranty, and are therefore the owners
responsibility. Please study this manual carefully and
consult your dealer before requesting service.
ENVIRONMENTAL ISSUES:
Yamaha strives to produce products that are both user
safe and environmentally friendly. We sincerely believe
that our products and the production methods used to
produce them, meet these goals. In keeping with both
the letter and the spirit of the law, we want you to be
aware of the following:
Battery Notice:
This product MAY contain a small non-rechargeable
battery which (if applicable) is soldered in place. The
average life span of this type of battery is approxi-
mately five years. When replacement becomes neces-
sary, contact a qualified service representative to
perform the replacement.
This product may also use “household” type batteries.
Some of these may be rechargeable. Make sure that
the battery being charged is a rechargeable type and
that the charger is intended for the battery being
charged.
When installing batteries, do not mix batteries with
new, or with batteries of a different type. Batteries
MUST be installed correctly. Mismatches or incorrect
installation may result in overheating and battery case
rupture.
Warning:
Do not attempt to disassemble, or incinerate any bat-
tery. Keep all batteries away from children. Dispose of
used batteries promptly and as regulated by the laws in
your area. Note: Check with any retailer of household
type batteries in your area for battery disposal informa-
tion.
Disposal Notice:
Should this product become damaged beyond repair,
or for some reason its useful life is considered to be at
an end, please observe all local, state, and federal reg-
ulations that relate to the disposal of products that con-
tain lead, batteries, plastics, etc. If your dealer is
unable to assist you, please contact Yamaha directly.
NAME PLATE LOCATION:
The name plate is located on the bottom of the product.
The model number, serial number, power require-
ments, etc., are located on this plate. You should record
the model number, serial number, and the date of pur-
chase in the spaces provided below and retain this
manual as a permanent record of your purchase.
Model
Serial No.
Purchase Date
SPECIAL MESSAGE SECTION
PLEASE KEEP THIS MANUAL
92-BP
(bottom)
3
PRECAUTIONS
PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep these precautions in a safe place for future reference.
WARNING
Always follow the basic precautions listed below to avoid the possibility of serious injury or
even death from electrical shock, short-circuiting, damages, fire or other hazards. These
precautions include, but are not limited to, the following:
Do not open the instrument or attempt to disassemble
the internal parts or modify them in any way. The instru-
ment contains no user-serviceable parts. If it should
appear to be malfunctioning, discontinue use immedi-
ately and have it inspected by qualified Yamaha service
personnel.
Do not expose the instrument to rain, use it near water
or in damp or wet conditions, or place containers on it
containing liquids which might spill into any openings.
If the AC adaptor cord or plug becomes frayed or dam-
aged, or if there is a sudden loss of sound during use of
the instrument, or if any unusual smells or smoke
should appear to be caused by it, immediately turn off
the power switch, disconnect the adaptor plug from the
outlet, and have the instrument inspected by qualified
Yamaha service personnel.
Use the specified adaptor (PA-3B or an equivalent rec-
ommended by Yamaha) only. Using the wrong adaptor
can result in damage to the instrument or overheating.
Before cleaning the instrument, always remove the
electric plug from the outlet. Never insert or remove an
electric plug with wet hands.
Check the electric plug periodically and remove any dirt
or dust which may have accumulated on it.
CAUTION
Always follow the basic precautions listed below to avoid the possibility of physical injury to
you or others, or damage to the instrument or other property. These precautions include, but
are not limited to, the following:
Do not place the AC adaptor cord near heat sources
such as heaters or radiators, and do not excessively
bend or otherwise damage the cord, place heavy
objects on it, or place it in a position where anyone
could walk on, trip over, or roll anything over it.
When removing the electric plug from the instrument or
an outlet, always hold the plug itself and not the cord.
Do not connect the instrument to an electrical outlet
using a multiple-connector. Doing so can result in
lower sound quality, or possibly cause overheating in
the outlet.
Unplug the AC power adaptor when not using the
instrument, or during electrical storms.
Always make sure all batteries are inserted in confor-
mity with the +/- polarity markings. Failure to do so
might result in overheating, fire, or battery fluid leak-
age.
Always replace all batteries at the same time. Do not
use new batteries together with old ones. Also, do not
mix battery types, such as alkaline batteries with man-
ganese batteries, or batteries from different makers, or
different types of batteries from the same maker, since
this can cause overheating, fire, or battery fluid leakage.
Do not dispose of batteries in fire.
Do not attempt to recharge batteries that are not
intended to be charged.
When the batteries run out, or if the instrument is not to
be used for a long time, remove the batteries from the
instrument to prevent possible leakage of the battery
fluid.
Keep batteries away from children.
(4)-7
4
PRECAUTIONS
PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep these precautions in a safe place for future reference.
CAUTION
Always follow the basic precautions listed below to avoid the possibility of physical injury to
you or others, or damage to the instrument or other property. These precautions include, but
are not limited to, the following:
If the batteries do leak, avoid contact with the leaked
fluid. If the battery fluid should come in contact with
your eyes, mouth, or skin, wash immediately with water
and consult a doctor. Battery fluid is corrosive and may
possibly cause loss of sight or chemical burns.
Before connecting the instrument to other electronic
components, turn off the power for all components.
Before turning the power on or off for all components,
set all volume levels to minimum. Also, be sure to set
the volumes of all components at their minimum levels
and gradually raise the volume controls while playing
the instrument to set the desired listening level.
Do not expose the instrument to excessive dust or
vibrations, or extreme cold or heat (such as in direct
sunlight, near a heater, or in a car during the day) to
prevent the possibility of panel disfiguration or damage
to the internal components.
Do not use the instrument near other electrical products
such as televisions, radios, or speakers, since this
might cause interference which can affect proper opera-
tion of the other products.
Do not place the instrument in an unstable position
where it might accidentally fall over.
Before moving the instrument, remove all connected
adaptor and other cables.
When cleaning the instrument, use a soft, dry cloth. Do
not use paint thinners, solvents, cleaning fluids, or
chemical-impregnated wiping cloths. Also, do not
place vinyl, plastic or rubber objects on the instrument,
since this might discolor the panel or keyboard.
Do not rest your weight on, or place heavy objects on
the instrument, and do not use excessive force on the
buttons, switches or connectors.
Do not operate the instrument for a long period of time
at a high or uncomfortable volume level, since this can
cause permanent hearing loss. If you experience any
hearing loss or ringing in the ears, consult a physician.
REPLACING THE BACKUP BATTERY
This instrument contains a non rechargeable internal
backup battery which permits internal data to remain
stored even when the power is off. When the backup
battery needs replacing, the message "Backup
Batt.Low" will display in the LCD display. When this
happens, immediately back up your data, then have
qualified Yamaha service personnel replace the backup
battery.
Do not attempt to replace the backup battery yourself, in
order to prevent the possible serious hazards. Always
have qualified Yamaha service personnel replace the
backup battery.
Never place the backup battery in a location that a child
can reach, since a child might accidentally swallow the
battery. If this should happen, consult a physician
immediately.
SAVING USER DATA
Always save data to a Memory Card (SmartMedia) fre-
quently, in order to help prevent the loss of important
data due to a malfunction or user operating error.
Always turn the power off when the instrument is not in
use.
Make sure to discard used batteries according to local
regulations.
Yamaha cannot be held responsible for damage
caused by improper use or modifications to the
instrument, or data that is lost or destroyed.
(4)-7
5
Meet the QY100.................................. 7
Power & Connections ........................ 8
Power Supply..........................................8
Using a Power Adaptor ....................8
Using Batteries.................................9
When to Replace the Batteries ......10
Setting Up.............................................11
The Connectors ..............................11
Audio Connections .........................14
MIDI Connections ..........................15
Connecting to a Personal
Computer .......................................16
The Controls...................................... 19
QY100 System Overview:
What It Is and What It Does............. 29
The Sequencer ...............................29
Tone Generator ..............................31
Effects ............................................32
Controller........................................32
Amp Simulator................................32
Guided Tour
Listen To the Demo.......................... 33
For Guitarists: Outstanding Amp
Simulation & Effects ........................ 36
Connection & Gain Adjustment ............36
Try Out the Preset Guitar Setups..........38
Customizing the Setups via the Amp
Simulator Parameters ...........................39
For Singers: Cool Vocal Processing 45
Connection & Gain Adjustment ............45
Try Out the Preset Microphone Setups 47
Customizing the Setups via the
Microphone Effect Parameters.............48
Instant Accompaniment .................. 53
But First … So You’ll Know What
We’re Talking About .............................53
Check Out the Preset Styles.................55
Add Chords & Play Along! ....................59
Record Your Own Chord
Progression & Pattern Changes...... 61
Fingered Chords .............................69
Tempo Changes, too … .................70
If You Make Mistakes …................70
Add Some Details to Complete the
Accompaniment ............................... 71
Voice Assignments ...............................71
Realtime Recording on the Sequencer
Tracks ...................................................73
About the “MULTI” Recording.............80
Step Accompaniment Recording... 81
“Pt” — Step Record Pattern Changes .84
“Cd” — Step Record Chord Changes ..87
Step Sequencer Track Recording ... 91
Creating Original
Accompaniment Patterns................ 98
The Preset Phrases...............................98
Combining Phrases In the Pattern
Mode ..................................................100
Recording Original Phrases.................105
Realtime Phrase Recording ..........105
Step Phrase Recording.................111
Pattern Voice mode ............................112
The Effect Send Display .....................113
Voice Editing .......................................115
Play Effects.........................................116
Reference Section
Playback Control ............................ 118
Play Effects.........................................124
Swing ...........................................126
Drum Table Remapping................128
The Song Voice Mode.................... 131
The Effect Send Display .....................136
Voice Editing .......................................138
Drum Edit .....................................142
The Song Jobs................................ 145
00 : Undo/Redo...................................147
01 : Quantize.......................................148
02 : Modify Velocity ............................151
03 : Modify Gate Time ........................153
Contents
6
04 : Crescendo....................................155
05 : Transpose ....................................157
06 : Shift Clock....................................158
07 : Chord Sort....................................160
08 : Chord Separate ............................161
09 : Copy Event ..................................162
10 : Erase Event..................................164
11 : Extract Event................................165
12 : Create Continuous .......................167
13 : Thin Out .......................................169
14 : Time Stretch ................................170
15 : Create Measure ...........................171
16 : Delete Measure ...........................172
17 : Copy Track ...................................173
18 : Mix Track .....................................174
19 : Clear Track ...................................175
20 : Expand Backing ...........................176
21 : Normalize.....................................177
22 : Copy Song ...................................178
23 : Clear Song ...................................179
24 : Song Name ..................................180
The Pattern Jobs ............................ 181
00 : Undo/Redo...................................183
01 : Quantize.......................................184
02 : Modify Velocity ............................187
03 : Modify Gate Time ........................189
04 : Crescendo....................................191
05 : Transpose ....................................193
06 : Shift Clock....................................194
07 : Chord Sort....................................196
08 : Chord Separate ............................197
09 : Copy Event ..................................198
10 : Erase Event..................................200
11 : Extract Event................................201
12 : Create Continuous .......................203
13 : Thin Out .......................................205
14 : Time Stretch ................................206
15 : Copy Phrase.................................207
16 : Get Phrase ...................................208
17: Put Phrase ....................................209
18 : Copy Track ...................................210
19 : Mix Track .....................................211
20 : Clear Track ...................................212
21 : Copy Pattern ................................213
22 : Clear Pattern ................................214
23 : Style Name ..................................215
Editing Songs & Patterns .............. 216
Engaging the SONG or PATTERN
Edit Mode.....................................216
Moving Around.............................219
Change Mode Editing...................220
Insert Mode Editing......................221
XG View ..............................................232
View Filter...........................................233
Phrase Table (Pattern Edit Only) .........234
Effects & Effect Editing .................. 236
Accessing & Editing the Effect
Parameters .........................................236
Effect Editing ......................................240
Utility Functions ............................. 242
Accessing the Utility Mode ..........242
System Parameters......................244
MIDI Parameters ..........................247
Bulk Dump....................................250
Fingered Zone ..............................252
Memory Card Functions ................ 254
About SmartMedia™ Memory Cards .254
Compatible Memory Cards ..........255
Memory Card Capacity.................255
Inserting and Removing Memory
Cards ............................................255
Format New Memory Cards
Before Use!..................................256
Handling Precautions....................256
Write-Protecting Memory Cards ..257
Back Up Your Data .......................257
Save ....................................................258
Load ....................................................262
Mk Dir (Make Directory) .....................265
Format ................................................268
Appendix ......................................... 270
Specifications......................................270
Troubleshooting ..................................272
Error Messages ..................................274
Glossary ..............................................277
Index ...................................................284
Contents
7
Meet the QY100
16-track sequencer, 525-voice tone module, unmatched auto-
matic accompaniment features and more all rolled into one! The
QY100 is a complete mini-studio for accompaniment and electronic
music production that you can use just about anywhere — at home
or on the road.
Guitarists!
The practice and accompaniment tool you’ve been wait-
ing for is here! Use the QY100 as your private “band” to refine and
display your talents to the max.
Singers!
Think of it as a fully programmable, very versatile accompa-
niment and “karaoke” machine complete with a range of superb
vocal effects.
Keyboard Players, Composers, & All Electronic Musicians!
It’s all
here: the sequencer, the tone module, the advanced accompaniment
features. Everything you need to create even the most complex elec-
tronic music.
The screen displays as illustrated in this owner’s manual are for
instructional purposes, and may appear somewhat different
from the screens which appear on your instrument.
8
Power & Connections
Power & Connections
Although the QY100 will run either from an optional AC adaptor or
batteries, Yamaha recommends use of an AC adaptor whenever possible.
Moreover, an AC adaptor is more environmentally friendly than batteries
and does not deplete resources.
Plug the DC output cable from a Yamaha PA-3B AC Adaptor (available
from your Yamaha dealer) into the DC IN jack on the rear panel, then plug
the adaptor into a convenient wall AC power socket.
CAUTION
Do not attempt to use an AC adaptor other than the specified unit or an appropriate
replacement provided by your Yamaha dealer to power the QY100. The use of an
incompatible adaptor may cause irreparable damage to the QY100, and might pose a
serious shock hazard!
Unplug the AC power adaptor when not using the instrument, or during electrical
storms.
Power Supply
Using a Power Adaptor
PA-3B
AC power
socket.
Power & Connections
9
Six 1.5V AA size (LR6) or equivalent batteries must first be installed
in the battery compartment. Alkaline batteries are recommended for longer
life.
Never mix battery types, such as alkaline batteries with manga-
nese batteries or batteries from different makers.
z
Open Battery Compartment Cover
Open the battery compartment cover — located on the
instrument’s bottom panel — by pressing down on the grooved
section of the cover and sliding in the direction of the arrow, as
shown in the illustration.
x
Insert Batteries
Insert the six batteries, being careful to follow the polarity
markings on the bottom panel.
c
Replace Cover
Replace the compartment cover, making sure that it locks
firmly in place.
Using Batteries
10
Power & Connections
When the batteries run down, the following display will appear:
When the batteries run down more seriously, “Power Batt.End”
message will appear. In this case, memory card functions are no longer
accessible.
When this display appears, replace the batteries with a complete set
of six new batteries. NEVER mix old and new batteries!
CAUTION
To prevent possible damage due to battery leakage, remove the batteries from the
instrument if it is not to be used for an extended period of time.
If keeping the batteries and memory card inserted, a small current flows through the
instrument. When the memory card is not used, remove the memory card from the
CARD slot.
When to Replace the Batteries
Power & Connections
11
What you will connect the QY100 to, and what you will connect to
the QY100, will depend entirely on your individual requirements, and it
would be impossible to cover all possibilities here. A few examples are pro-
vided below to help you get started.
q
DC IN Jack
(
page 8)
This jack is only used when you are powering the QY100
from an optional AC adaptor instead of batteries. The DC output
cable from an optional Yamaha PA-3B AC Power Adaptor is
plugged in here.
NOTE
The batteries are automatically disconnected when a plug is inserted
into the DC IN jack.
Setting Up
The Connectors
wr qyt e
u
Right Side Panel
Rear Panel
12
Power & Connections
w
MIDI IN & OUT Connectors
(
pages 15, 16)
If you plan to use a MIDI keyboard or other instrument to
play and program the QY100, it should be connected to QY100
MIDI IN connector (see “MIDI Connections,” on page 15). The
MIDI OUT connector can be connected to an external tone gener-
ator if you want to drive external voices from the QY100
sequencer, or a MIDI data recorder such as the Yamaha MDF3 if
you want to store your songs and patterns to floppy disk.
e
LINE OUT/PHONES Jack
(
page 14)
This miniature stereo phone jack can be used to connect
the output of the QY100 to a stereo sound system, or a pair of
stereo headphones with a miniature stereo phone plug can be
plugged in here for convenient monitoring (see “Audio Connec-
tions,” on page 14). The output level is adjusted via the VOLUME
control on the left side panel.
r
TO HOST Connector & HOST SELECT Switch
(
pages 15, 16)
This jack and selector switch allow direct connection to a
personal computer without the need for a separate MIDI inter-
face. See “Connecting To a Personal Computer” on page 16 for
details.
t
FOOT SW Jack
(
page 245)
An optional FC-4 or FC-5 foot switch can be connected
here to perform a number of switching functions. The footswitch
function is selected via the UTILITY functions described on page
245.
Song and Pattern Playback:
The footswitch can be used to
start and stop song or pattern playback.
Section Switching:
The footswitch can be used to select the
QY100’s various style “sections” (e.g. INTRO, MAIN A, FILL
AB, etc.) during song or pattern playback.
Power & Connections
13
Amp Simulator Switching:
The footswitch can be used to
switch the specified sections of the QY100 amp simulator in
or out. The foot switch can be used to bypass the preamp sec-
tion only (delay when a microphone setup is selected), the
reverb effect only, the chorus effect only, or all three simulta-
neously (pages 44 and 52).
y
GUITAR/MIC INPUT Jack
(
pages 36, 45)
Connect your guitar or microphone here to use the
QY100’s superlative guitar and vocal effects. The GAIN control
next to the GUITAR/MIC input jack allows matching with a wide
range of guitars and microphones.
u
CARD Slot
(
page 254)
The QY100 CARD slot accepts standard memory cards for
convenient storage of settings and sequences. Card access and
operations are described on page 254.
CAUTION
When connecting a microphone to the QY100 GUITAR/MIC input, be
sure that a microphone amp simulator setup is selected first (page 48).
Loud feedback may occur if one of the guitar setups is selected.
14
Power & Connections
The simplest way to monitor the QY100 sound is via a pair of stereo
headphones (miniature stereo phone plug type) plugged into the LINE OUT/
PHONES jack. If you want to use an external stereo sound system, how-
ever, use the supplied “Y” cable (miniature stereo phone plug to dual RCA
pin plugs) to connect the LINE OUT/PHONES jack to the inputs of a stereo
sound system. The white RCA pin plug goes to the left-channel input of
your stereo sound system and the red plug goes to the right-channel input.
CAUTION
Make sure that both the QY100 and your sound system are turned OFF (STANDBY)
when making connections.
Audio Connections
LR
Stereo Sound System
Power & Connections
15
Although the QY100 can be played and programmed from the built-
in micro-keyboard, an external MIDI keyboard connected to the MIDI IN
connector provides the added advantages of standard keyboard size and
key velocity sensivity (if your keyboard has a velocity-sensitive keyboard).
Connect the MIDI OUT connector of the keyboard to the MIDI IN connec-
tor of the QY100, and make sure that the QY100 HOST SELECT switch is
set to MIDI. The connected MIDI keyboard will play the voice assigned to
the currently selected sequencer track. See page 71 for instructions on
how to assign different voices to the sequencer tracks.
MIDI Connections
MIDI OUT
(HOST SELECT switch
is set to MIDI)
External MIDI Keyboard
16
Power & Connections
Although the QY100 can be connected to a personal computer via
the MIDI IN/OUT connectors and a MIDI interface, the TO HOST connector
and selector switch allow direct connection to Apple Macintosh, or IBM-PC/
AT series personal computers for sequencing and other music applications
without the need for a separate MIDI interface.
IMPORTANT!
If the QY100 is to be connected to a computer via the TO HOST connector and a
MIDI controller via the MIDI IN connector, the “echo back”(or “MIDI Thru” etc) func-
tion of the music software or sequencer you are using must be turned “on” so that
the MIDI note data from the controller is returned to the QY100 and any subsequent
devices connected to the QY100 MIDI OUT connector.
Connecting to a Personal Computer
TO HOST
QY100
MIDI
OUT
MIDI
IN
MIDI IN
MIDI OUT
Tone Generator
Personal Computer
MIDI Controller
(MIDI Keyboard etc)
echo back = ON
Power & Connections
17
Connecting to an Apple Macintosh Series Computer
Connect the TO HOST connector of the QY100 to the
modem or printer port on your Macintosh, depending on which
port your MIDI software is using for MIDI data communication,
using a standard Macintosh 8-pin system peripheral cable. Set the
HOST SELECT switch to the Mac position.
You may also have to make other MIDI interface settings
on the computer side, depending on the type of software you use
(refer to your software owners manual). In any case the clock
speed should be set to 1 MHz.
“Mac” Cable Connections
8-pin system peripheral cable.
Data transfer rate: 31,250 bps.
Connecting to an IBM-PC/AT Series Computer
Connect the TO HOST connector of the QY100 to the RS-
232C port on your IBM computer, using a standard 8-pin MINI
DIN
9-pin D-SUB cross cable. Set the HOST SELECT switch to
the PC-2 position.
Refer to your software owners manual for information on
any settings you might have to make on the computer side.
“PC-2” Cable Connections
8-pin mini DIN
9-pin D-SUB cable.
Data transfer rate: 38,400 bps.
2 (HSK i)1
1 (HSK 0)2
5 (RxD-)3
MINI DIN
8-PIN
4 GND4
3 (TxD-)5
8 (RxD+)6
7 (GP i)7
6 (TxD+)8
MINI DIN
8-PIN
TO HOST
connector
Modem or
printer port
8 (CTS)1
7 (RST)2
2 (RxD)3
4 5 (GND)
8
3 (TxD) 5
MINI DIN
8-PIN
D-SUB
9-PIN
TO HOST
connector
RS-232C
port
18
Power & Connections
Connecting to a USB interface
(such as the Yamaha UX256)
If your computer does not have an RS-232C port or
modem/printer port, the QY100 can be connected via a separate
USB interface such as the Yamaha UX256.
Connect the USB port of your UX256 or other USB inter-
face to the USB port on your computer using a USB cable. Install
the appropriate driver software on your computer (the driver soft-
ware should be supplied with the USB interface. Connect the TO
HOST connector or MIDI IN/OUT connector of the QY100 to your
USB interface. For detailed information, refer to the owners man-
ual that came with your USB interface.
Computer
(sequencer software)
USB cable
UX256
QY100
MODEL
If necessary, attach the included rubber feet to the bottom of the
QY100 as shown in the following illustration.
Rubber feet
The Controls
19
The Controls
The QY100 has fairly simple, consistent control interface that,
once understood, makes operation fast and easy, no matter what
operation you are performing. If you read through this section care-
fully, and try out the procedures in the TRY THIS sections, you
should have no problem accessing and operating the QY100s many
advanced features.
q !4
Left Side Panel
Rear Panel
w !5
20
The Controls
q
POWER Switch
Slide to the ON position to turn the QY100 on, or to the
STANDBY position to turn it off.
w
LCD Display & CONTRAST Control
This large multi-function liquid crystal display panel shows
all parameters and prompts you need to operate the QY100 with
optimum ease and efciency.
Use the CONTRAST control on the rear panel to achieve
the best display visibility (LCD visibility varies greatly with viewing
angle and lighting).
e
[SONG] Button
Use this button to select the QY100 SONG mode from any
other mode, and to switch between the SONG, SONG VOICE,
and SONG EFFECT displays.
w!5 o !6 u
!7
!8
e
r
t
y
!3
!1
!0
i
!2
Front Panel
The Controls
21
TRY THIS:
Turn your QY100 on
(the power switch is on
the left side), then
press the [SONG] but-
ton a few times and
watch how the display
changes. The [SONG]
button calls the SONG,
SONG VOICE, and
SONG EFFECT displays
in sequence. The order
in which the displays is
selected is reversed if
you press the [SONG]
button while holding the
[SHIFT] button.
r [PATTERN] Button
The [PATTERN] button selects the QY100 PATTERN mode
from any other mode, and switches between the PATTERN, PAT-
TERN VOICE, and PATTERN EFFECT displays.
t [SHIFT] Button
The [SHIFT] button modies the function of certain other
buttons in certain situations (e.g. it reverses the order in which
the [SONG] or [PATTERN] displays are selected, as described
above). It also allows direct numeric entry via the black micro-key-
board keys (numbered 1 through 0). Situations in which the
[SHIFT] button can be used will be described where appropriate in
the manual.
SONG display
SONG VOICE display
SONG EFFECT display
22
The Controls
y [EXIT] Button
No matter where you are in the QY100 display hierarchy,
the [EXIT] button will take to the next highest level (effectively
backing up one step unless youre already at the top dis-
play).
u Cursor Buttons
These 4 buttons move the cursor around the display
screen, highlighting the various parameters that are available for
editing (the QY100 cursor appears as a dark block with inverse
characters).
TRY THIS:
Select the SONG mode display (use the [SONG] button, as
described above), then try using the cursor buttons to
move the cursor around the screen.
i [-1/NO] and [+1/YES] Buttons
These buttons are used to edit (change the value of) the
parameter at which the cursor is currently located. The [-1/NO]
button decrements (decreases stepwise) the value of the
selected parameter, while the [+1/YES] button increments
(increases stepwise) the parameter. Press either button briey to
decrement or increment the parameter by one, or hold the button
for continous decrementing of incrememnting in the specied
direction.
The [-1/NO] and [+1/YES] buttons are also used to respond
to Are you sure? prompts when they appear. Press [+1/YES] to
go ahead with the operation, or [-1/NO] to cancel.
TRY THIS:
Select the SONG mode display (use the [SONG] button, as
described above), use the cursor buttons to select the
transpose parameter (TRNS on the display), then try
using the [-1/NO] and [+1/YES] buttons to change its value.
Set it back to +00 before continuing.
NOTE
For even faster decrementing or incrementing, press the opposite incre-
ment/decrement button while holding the button corresponding to the
direction you want to increment/decrement in.
The Controls
23
o [MENU] and Function Buttons
The [MENU] button calls a menu of functions or sub-modes
that can be accessed from the current QY100 mode, and the
function buttons (the four small buttons to the right of the display)
select the corresponding item from the menu that appears on the
display.
The function buttons can also be used, as shown below,
with the [SHIFT] button, instead of calling a menu with the
[MENU] button.
Pressing the top function
button while holding the
[SHIFT] button calls a dis-
play showing drum
instrument assignments
to each micro keyboard
key at the current octave
setting.
Pressing the second
function button while
holding the [SHIFT] but-
ton calls the Used Mem-
ory display.
Pressing the bottom function button while holding the [SHIFT]
button executes the Undo/Redo job for immediately previous
edit. (Refer to Undo/Redo on page 147).
Assignment to black keys
Assignment to white keys
24
The Controls
TRY THIS:
Select the SONG mode display
(use the [SONG] button, as
described above), then press the
[MENU] button. You should see
the menu shown on the right:
Next press the second function
button (the one immediately to
the right of Job on the menu)
to call the SONG mode Job List:
You can now use the cursor but-
tons (up and down only) to select
the various items in the Job List.
Leave the display as it is for now,
and read about the [ENTER] but-
ton, below.
!0 [ENTER] Button
In addition to entering chords in the SONG and PATTERN
modes (which well learn about later), the [ENTER] button is used
to enter a selected menu function.
TRY THIS:
Assuming that youve gone
through the TRY THIS: proce-
dure for the [MENU] and Func-
tion buttons, above, you should
now have the SONG mode Job
List on your QY100 screen. Use
the cursor buttons (up and down
only) to select job number 02
Modify Velocity. Now press the [ENTER] button to actu-
ally engage the Modify Velocity job the display should
look like this:
Since we dont really want to use the Modify Velocity job,
press the [EXIT] button twice (or the [SONG] button once)
to go back to the SONG mode.
The Controls
25
!1 Sequencer Buttons
The sequencer buttons control recording and playback in
the SONG and PATTERN modes, and allow you to locate a spe-
cic measure within a song or pattern. Their layout and functions
are similar to the transport controls on a tape recorder.
[] RECORD READY: Press this button to engage the
record ready mode. You have to press the START
button to actually start recording.
[] STOP: Press to stop recording or playback.
[>] START: Press to start recording or playback.
[p] GO TO TOP: This button takes you directly to the
rst measure (the top) of the current song or pat-
tern.
[r] MOVE BACK: Press briey to move back one mea-
sure, or hold for continuous scrolling.
[f] MOVE FORWARD: Press briey to move forward
one measure, or hold for continuous scrolling.
!2 Micro Keyboard
This tiny 2-octave keyboard makes it possible to program
the QY100 anywhere, anytime, without having to connect an
external MIDI keyboard. Its even polyphonic, so you can directly
enter chords as well as single notes. The only thing it lacks is
velocity sensitivity. The QY100 does, however, accept velocity
information from an external MIDI keyboard.
When programming accompaniment tracks the micro-key-
board is also used to specify the chord roots and types to be
entered.
TRY THIS:
In the SONG mode, use the cur-
sor buttons to place the cursor at
the track 1 position (1 on the
display).
26
The Controls
Now play the micro keyboard. You should hear the voice
that is currently assigned to sequencer track 1.
In the SONG mode, the micro keyboard plays the voice
assigned to the currently selected track (unless youre
recording the chord track, in which case it is used to spec-
ify chords).
!3 Octave Buttons
Since the 2-octave range of the micro-keyboard is not
enough for serious music programming, the [OCT DOWN] and
[OCT UP] buttons allow the pitch of the keyboard to be shifted up
or down in octave steps, over a range of 8 octaves. Each time the
[OCT DOWN] button is pressed the pitch of the keyboard is
shifted down by one octave, until the lower limit is reached. The
[OCT UP] button shifts the pitch of the keyboard up in the same
way. The number of octaves the pitch of the micro-keyboard has
been shifted down or up is shown by the octave indicator in the
upper left corner of the display the number of arrows indicates
the number of octaves shifted in the corresponding direction.
Pressing the [OCT DOWN] and [OCT UP] buttons simulta-
neously shifts the pitch to ±0.
When recording the accompaniment chord tracks in the
step mode, the [OCT DOWN] button is used to specify the bass
note for chords, while the [OCT UP] button is used to enter syn-
copated chords.
While playing a note on the micro-keyboard, the [OCT
DOWN] button will shift the pitch of the note up while held, and
the [OCT UP] button will apply modulation while held.
Octave indicator
The Controls
27
!4 VOLUME Control
The VOLUME control adjusts the volume of the sound
delivered via the LINE OUT/PHONES jack. Slide the control
toward MAX. to increase the volume or toward MIN. to
decrease the volume.
!5 GAIN Control & PEAK Indicator (
pages 36, 45)
Use the GAIN control on the rear panel to adjust the QY100
input gain to match your guitar or microphone. If the PEAK indica-
tor LED next to the [PARAMETER] button light more than just
occasionally as you play or sing, the GAIN setting is too high. The
PEAK indicator should ash only briey on the highest transient
peaks.
!6 [CARD] Button (
page 254)
Accesses the QY100s memory card functions: Save, Load,
Make Directory, and Format. Settings and sequences can be
saved to and loaded from standard memory cards for convenient,
high-volume storage and portability. The CARD functions are only
available when an appropriate memory card is installed in the
CARD slot on the right side panel. See page 254 for details on the
types of memory cards that can be used and the QY100s card
functions.
!7 [AMP SIMULATOR] Button & Indicator (
pages 44, 52)
Turns the specied section(s) of the QY100 amp simulator
stage on or off. The [AMP SIMULATOR] button alternately turns
the amp simulator preamp section (delay effect when a micro-
phone setup is selected), the reverb effect, the chorus effect, or
all three on and off depending on the setting of the On/Off
parameter described on pages 44 and 52. The buttons indicator
CAUTION
Set the VOLUME control to “MIN.” when connecting the QY100 to a
sound system for the first time, then gradually raise the volume level
until the required listening level is reached. This simple precaution can
prevent unexpectedly high volume levels from damaging your speaker
system (and maybe even your ears!).
28
The Controls
goes out when the selected sections are bypassed. The same
function can be assigned to an optional FC-4 or FC-5 footswitch
connected to the rear panel FOOT SW jack (page 12).
!8 [PARAMETER] Button (
pages 38, 47)
Accesses the QY100 amp simulator setups and parameters
for guitar and microphone input. See pages 38 and 47 for details.
QY100 System Overview: What It Is and What It Does
29
QY100 System Overview:
What It Is and What It Does
16 Sequencer Tracks
You can individually assign any of the QY100’s 525 normal voices or
22 drum kits to the sequencer tracks and record anything you like via the
micro-keyboard or a MIDI keyboard or other type of MIDI controller con-
nected to the MIDI IN connector. Think of each sequencer track as a “part”
of your composition: the piano part, the bass part, etc. You can separately
record up to 16 parts which can be played back simultaneously to create
This section offers a broad look at the overall QY100 system
and how the various features work together … but if you’d rather
jump right in start playing, skip ahead. Come back and read this sec-
tion when you’re ready.
Sequencer
QY100
Controller
Tone Generator Effects
• 16 sequencer tracks
• 8 accompaniment
tracks
• built-in micro keyboard
• 525 voices
• 22 drum kits
• reverb, delay,
modulation,
distortion, etc
MIDI messages MIDI messages
Audio
signals
LINE OUT/
PHONES
Audio
signals
MIDI
messages
Effects
• reverb, delay,
modulation,
distortion, etc
Audio signals
LINE OUT/
PHONES
Amp Simulator
• 18 guitar setups
• 5 microphone
setups
GUITAR/MIC
INPUT
The Sequencer
30
QY100 System Overview: What It Is and What It Does
complex musical structures and rich textures. Of course you can also use
just two or three tracks for simpler arrangements. If youre a guitar player,
for example, you might only need to create a drum and bass track to play
along with.
The sequencer tracks can be recorded in real time using the
replace or overdub recording mode. When you use the replace
mode anything you use will replace (overwrite) any material that was previ-
ously on the same section of the track being recorded. The overdub
mode, on the other hand, lets you add new material to a previously-
recorded track without erasing the previous data. This lets you build up a
track bit by bit without having to play the entire part all at once. Another
option is the step record mode in which you can enter notes one at a
time to create extremely fast or complex passages that would be difcult to
record in real time. The step mode is also useful for adding nishing
touches to tracks recorded in real time. Finally, theres a multi record
mode in which all 16 sequencer tracks tracks can be recorded simulta-
neously a great feature for transferring MIDI data to the QY100 from
another sequencer.
8 Accompaniment Tracks
The QY100 accompaniment tracks are what make it a versatile but
surprisingly easy-to-use accompaniment machine. Rather than recording
individual notes or chords as on the sequencer tracks described above,
accompaniments are produced by specifying a sequence of patterns to
be played (we will take a brief look at patterns in the Instant Accompa-
niment section on page 53). In addition to 128 preset accompaniment
styles, each with 6 variation patterns (for details about styles and pat-
terns, see page 53), the QY100 provides memory for up to 64 original
styles that you can record yourself. Chord changes are programmed simply
by entering the name of the chord (you can do this via the micro-keyboard
simply by pressing the appropriate key), and you can specify the bass note
for the chord as well as syncopated chord timing for maximum versatility in
creating accompaniments for any type of music. The entire accompaniment
is automatically re-harmonized to match the chords you specify. What all
this means is that you can put together great-sounding accompaniments in
a fraction of the time it would take using a conventional sequencer, so you
spend less time programming and more time creating and playing.
QY100 System Overview: What It Is and What It Does
31
The QY100 tone generator is a high-performance sound module in its
own right, complete with 525 voices and 22 drum and percussion kits. In
fact, the tone generator block is fully GM and XG compatible (see explana-
tions, below) so you can actually use it as an independent sound module
driven from an external sequencer or computer-based MIDI music system.
The QY100 even provides a range of editing controls for the voices and
drum kits so you can customize the sound to suit your music. A complete
list of the QY100 voices is provided in the separate Data List booklet.
Tone Generator
GM(General MIDI) System Level 1
“GM System Level 1” is a standard specification that defines
the arrangement of voices in a tone generator and its MIDI
functionality, ensuring that data can be played back with sub-
stantially the same sounds on any GM-compatible tone gener-
ator, regardless of its manufacturer or model.
Tone generators and song data that meet the “GM System Level 1” bear this
GM logo.
XG
“XG” is a tone generator format that expands the voice
arrangement of the “GM System Level 1” specification to
meet the ever-increasing demands of today’s computer
peripheral environment, providing richer expressive power
while maintaining upward compatibility of data. “XG” greatly expands “GM
System Level 1” by defining the ways in which voices are expanded or
edited and structure and type of effects.
When commercially available song data bearing the XG logo is played back
on a tone generator which bears the XG logo, you will enjoy a full musical
experience that includes unlimited expansion voices and effect functions.
32
QY100 System Overview: What It Is and What It Does
Yamaha is famous for the quality of its reverb and other effects, and
the QY100 is no exception. The built-in effect system provides top-quality
reverb, chorus, and variation effects (including modulation and distortion)
that you can use to rene and polish your sound. Each sequencer track has
individual send controls for the reverb, chorus, and variation effect stages,
so you can apply effects separately to each track as required. A complete
list of the QY100 effects is provided in the separate Data List booklet.
With the QY100s own micro keyboard you can create sequences
anywhere. But you can connect just about any type of the MIDI controller
keyboard, MIDI wind controller, MIDI guitar, etc. to the QY100 to give
you the type of control that best suits your style and talents.
As the name suggests, the QY100 Amp Simulator simulates the
characteristics of ampliers specically guitar ampliers and microphone
preampliers. Although the requirements for a good microphone preampli-
er are pretty straightforward high gain with at frequency response as
well as low noise and distortion guitar ampliers are a little more com-
plex. Each guitar amp has its own unique sound, and the emphasis is gen-
erally on musicality rather than accuracy. The QY100 Amp Simulator
performs both functions quite well, and it offers a range of top-quality
effects for use with guitar and microphone. The guitar setups feature over-
drive/distortion, modulation and reverb. The microphone setups offer delay,
modulation and reverb. The QY100 has 18 guitar setups and 5 microphone
setups that you can customize to create the perfect sound for your music.
Effects
Controller
Amp Simulator
Guided Tour
Guided Tour
Listen To the Demo
33
Guided Tour
— Your Step-by-Step Guide
to the QY100’s Basic Features and Functions
OK, here we go. Get comfortable with the QY100, the manual, and a
good cup of whatever strikes your fancy and well get right down to making
the QY100 do what it does best make music.
Listen To the Demo
If youd rather make your own music, skip ahead.
z Select the SONG Mode
The demo songs are available in the SONG mode. If the
SONG mode isnt already selected, press the [SONG] button to
select it. SONG should appear in the upper left corner of the
display.
x Select a Demo Song
The demo songs are songs 21, 22, 23 (songs 01 through 20
are available for your own recording). Use the cursor buttons to
move the cursor to the song number on the display (the song
Before you begin actually using the QY100 to create great
music, perhaps youd like to hear a few examples of what it can do.
The QY100 includes 3 pre-programmed demo songs that will give you
a rough idea of the types of sound it can produce as well as some of
the capabilities of its sequencer functions.
34
Listen To the Demo
number should appear in inverse characters i.e. light characters
on a dark background), then use the [-1] and [+1] buttons to select
song number 21, 22, or 23.
The SHIFT-Number Data Entry Method:
You can also use the SHIFT-Number method to enter song
numbers or other data values. Use the numbered black
keys on the micro-keyboard to enter the required number
while holding the [SHIFT] button, then press the [ENTER]
button.
Song number
Ex. To enter the number 16
Guided Tour
Guided Tour
Listen To the Demo
35
c Start Playback
Once youve selected a song, you can start playback simply
by pressing the sequencer [>] button. Use the VOLUME control
on the left side of the QY100 to set the most comfortable listen-
ing level.
When the current song is nished, the next song will start
automatically. But you can stop playback at any time by pressing
the [] button. You cant select a different song while one is
already playing, so to select and play a different demo song youll
have to stop playback, select the next song, and then start play-
back again.
NOTE
For full details on controlling sequence playback, see the “Playback Con-
trol” section on page 118.
36
For Guitarists: Outstanding Amp Simulation & Effects
For Guitarists:
Outstanding Amp Simulation
& Effects
If youre not a guitarist, feel free to skip this section.
Simple! In addition to the basic setup instructions provided on page
8, all you need to do is plug your guitar into the GUITAR/MIC INPUT on the
rear panel and adjust the GAIN control for optimum level matching.
z Plug your guitar into the GUITAR/MIC INPUT on the
rear panel.
Whether you want a better way to practice, top-quality accom-
paniment for live performances, or a convenient means to create full-
blown compositions, the QY100 is an ideal musical tool for the guitar-
ist who wants to get ahead. In addition to its sophisticated pattern and
song sequencer features, the QY100 also offers a complete guitar
amp simulator and effects system so you wont need lots of extra
equipment to integrate your guitar sound with the QY100.
Connection & Gain Adjustment
Guided Tour
Guided Tour
For Guitarists: Outstanding Amp Simulation & Effects
37
x Adjust the input gain.
Use the GAIN control on the rear panel to adjust the QY100
input gain to match your guitar. If the PEAK indicator LED next to
the [PARAMETER] button light more than just occasionally as you
play, the GAIN setting is too high. The PEAK indicator should ash
only briey on the highest transient peaks.
38
For Guitarists: Outstanding Amp Simulation & Effects
The QY100 has 18 amp simulator setups designed specically for
guitar (see the separate Data List booklet). You can select the setups and
adjust individual parameters via the GTR/MIC EDIT display accessed by
pressing the [PARAMETER] button.
z Press the [PARAMETER] Button
The GTR/MIC EDIT display will appear.
x Highlight the Setup Number/Name
Use the cursor buttons to move the cursor to the setup
number/name at the top of the display.
c Select and Try Out the Setups
Use the [-1] and [+1] buttons to select the desired setup
(G01 through G18). Go ahead and try out the setups as they are.
You can make adjustments later. Make sure that the QY100 VOL-
UME control is set to an appropriate level, and adjust the rear-
panel GAIN control as necessary to optimize the overall level and
sound quality.
Try Out the Preset Guitar Setups
Setup nameSetup number
Guided Tour
Guided Tour
For Guitarists: Outstanding Amp Simulation & Effects
39
Although the QY100 guitar amp simulator setups sound good as they
are, youll undoubtedly want to tweak them a bit to create your own
sound. Heres how:
The QY100 guitar amp simulator section is made up of three main
blocks: the Preamp block, the Chorus block, and the Reverb block, as
shown in the diagram.
All of the available parameters for each setup are located below the
setup number and name in the GTR/MIC EDIT display. The preamp parame-
ters are located near the top of the parameter list, and are indicated by an
inverse A before the parameter name. The chorus block parameters are
next, and are indicated by an inverse C before the parameter name. The
reverb block has only one parameter, indicated by you guessed it an
inverse R. The parameter list also includes a Volume parameter and an
On/Off parameter which are described below.
Customizing the Setups via the Amp Simulator Parameters
GUITAR/MIC
INPUT
Preamp
block
Chorus
block
Reverb
block
LINE OUT/
PHONES
GAIN
Parameter page 1
Volume parameter
Preamp block
parameters
Parameter name
Parameter value
Graphic parameter
value indicator
40
For Guitarists: Outstanding Amp Simulation & Effects
To edit a parameter:
z Move the Cursor to the Parameter You Want to Edit
Use the cursor buttons to highlight the desired parameter
value. Since not all of the parameters t on one display page,
youll have to scroll down below the bottom of the rst page to
see the parameters in the second page.
x Adjust the Parameter Value
Use the [-1] and [+1] buttons or the SHIFT-Number entry
method (see page 34. However, this method is not available for
some parameters.) to adjust as necessary. In addition to the
numeric parameter value, each parameter also has a graphic level
control located between the parameter name and value which
provides a convenient visual reference to relative parameter set-
ting.
NOTE
Any changes you make to the parameters will be retained for each setup
even if you select a different preset or turn the QY100 off. You can indi-
vidually restore the initial settings for each setup by using the “INITIAL-
IZE” function: After selecting the setup you want to initialize, press the
[MENU] button and then the function button next to “Initialize” on the
display. Then when the “Initialize” display appears press the [ENTER]
button to initialize all parameters of the selected setup. When initializa-
tion is complete press the [EXIT] button to return to the Amp Simulator
display.
Parameter page 2
On/Off parameter
Chorus block
parameters
Reverb block
parameter
Guided Tour
Guided Tour
For Guitarists: Outstanding Amp Simulation & Effects
41
The Volume Parameter
A Volume parameter which affects the overall volume of
the setup is located at the top of the parameter list. This parame-
ter is most useful for matching the levels of the setups to suit
your musical needs. You might, for example, want all of your gui-
tar setups to have about the same level, or you might want cer-
tain effects youve set up for solos to have a higher level than the
rest. Parameters such as preamp drive and EQ also affect the
subjective level of the guitar sound, and the Volume parameter is
a convenient way to compensate for such variations.
The Preamp Block
Depending on the selected setup, youll see one or three
preamp parameters below the Volume parameter. In some set-
ups only the Drive parameter will be available, while in others
you will have Drive, EQ LowGain and EQ Hi Gain. Heres
what the preamp parameters do:
Drive In guitarist-friendly terms, this parameter is similar to
the gain or pre-gain control on an amplier that
has both gain and master volume controls. Higher
Drive values (range: 000 127) produce more over-
drive (distortion).
Volume parameter
Preamp block
parameters
42
For Guitarists: Outstanding Amp Simulation & Effects
The Chorus Block
The Chorus effect can give your guitar sound added life and
sparkle. The Chorus block is not engaged on all setups. If you
select a setup which does not use the Chorus block the Chorus
parameter values will all appear as dashed lines. When the Cho-
rus block is engaged, the parameters work as follows:
EQ LowGain Boosts or cuts the bass frequencies (range: -12dB
+00dB +12dB). Minus settings lower the bass
response, giving you a thinner sound. Positive set-
tings boost the bass response for a fuller sound.
EQ Hi Gain Boosts or cuts the high frequencies (range: -12dB 0
+12dB). Minus settings lower the treble response,
giving you a rounder, more mellow tone. Positive
settings boost the treble response for a brighter
sound.
Mod Speed Adjusts the modulation speed of the chorus effect (the
speed at which the tone varies). The value range is
from 0.0 Hz through 39.7 Hz. The higher the value, the
faster the modulation.
Mod Depth Modulation depth (range: 000 through 127). The higher
the value the deeper the modulation and, thus, the
stronger the effect.
FB Level Adjusts the amount of feedback applied to the chorus
block (range: -63 +00 +63). Negative values
apply reverse-phase feedback.
Chorus block
parameters
Guided Tour
Guided Tour
For Guitarists: Outstanding Amp Simulation & Effects
43
The Reverb Block
The Reverb block has only one parameter Reverb Lvl
which adjusts the depth of the reverb sound. The Reverb Lvl
range is from 000 to 127, with higher values producing
deeper reverb. If you select a setup which does not use the
Reverb block, the Reverb Lvl parameter value will appear as
dashed line.
Reverb block
parameter
44
For Guitarists: Outstanding Amp Simulation & Effects
The “On/Off” Parameter
At the very bottom of the parameter list is the On/Off
parameter. This parameter allows you to select a specic block to
be turned on and off by the [AMP SIMULATOR] button on the top
panel, or a footswitch connected to the rear-panel FOOT SW jack
(when the footswitch is assigned to amp simulator section
switching via the UTILITY parameter described on page 245).
Theres also an ALL setting which allows all blocks to be turned
on or off. When the selected block(s) are bypassed (off), the indi-
cator to the right of the [AMP SIMULATOR] button will go out).
The settings are:
AMP The footswitch or [AMP SIMULATOR] button turns
only the Preamp block on and off.
CHO The footswitch or [AMP SIMULATOR] button turns
only the Chorus block on and off.
REV The footswitch or [AMP SIMULATOR] button turns
only the Reverb block on and off.
ALL The footswitch or [AMP SIMULATOR] button turns all
three blocks Preamp, Chorus, and Reverb on and
off.
On/Off parameter
Guided Tour
Guided Tour
For Singers: Cool Vocal Processing
45
For Singers:
Cool Vocal Processing
If youre not a vocalist, feel free to skip this section.
Simple! In addition to the basic setup instructions provided on page
8, all you need to do is plug your microphone into the GUITAR/MIC INPUT
on the rear panel and adjust the GAIN control for optimum level matching.
z Plug your microphone into the GUITAR/MIC INPUT on
the rear panel.
CAUTION
When connecting a microphone to the QY100 GUITAR/MIC input, be
sure that a microphone amp simulator setup is selected first (page 48).
Loud feedback may occur if one of the guitar setups is selected.
The QY100 is an outstanding accompaniment tool for singers,
too. It features a GUITAR/MIC input that will directly accept the signal
from your vocal microphone and apply essential vocal effects such as
delay and reverb. Theres even a chorus effect that you can use to cre-
ate extra thick sounds.
Connection & Gain Adjustment
46
For Singers: Cool Vocal Processing
x Adjust the input gain.
Use the GAIN control on the rear panel to adjust the QY100
input gain to match your microphone. If the PEAK indicator LED
next to the [PARAMETER] button light more than just occasionally
as you sing, the GAIN setting is too high. The PEAK indicator
should ash only briey on the highest transient peaks.
Guided Tour
Guided Tour
For Singers: Cool Vocal Processing
47
The QY100 has 5 amp simulator setups designed specically for use
with microphone (see the separate Data List booklet). You can select the
setups and adjust individual parameters via the GTR/MIC EDIT display
accessed by pressing the [PARAMETER] button.
z Press the [PARAMETER] Button
The GTR/MIC EDIT display will appear.
x Highlight the Setup Number/Name
Use the cursor buttons to move the cursor to the setup
number/name at the top of the display.
c Select and Try Out the Setups
Use the [-1] and [+1] buttons to select the desired micro-
phone setup (M01 through M05 you might have to skip past
guitar setups G01 through G18 to reach the microphone setups ).
Go ahead and try out the setups as they are. You can make adjust-
ments later. Make sure that the QY100 VOLUME control is set to
an appropriate level, and adjust the rear-panel GAIN control as
necessary to optimize the overall level and sound quality.
Try Out the Preset Microphone Setups
Setup nameSetup number
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For Singers: Cool Vocal Processing
The QY100 microphone amp simulator section is has three main
effect blocks: the Delay block, the Chorus block, and the Reverb block, as
shown in the diagram.
All of the available parameters for each setup are located below the
setup number and name in the GTR/MIC EDIT display. The delay parame-
ters are located near the top of the parameter list, and are indicated by an
inverse D before the parameter name. The chorus block parameters are
next, and are indicated by an inverse C before the parameter name. The
reverb block has only one parameter, indicated by you guessed it an
inverse R. The parameter list also includes a Volume parameter and an
On/Off parameter which are described below.
Customizing the Setups via the Microphone Effect Parameters
GUITAR/MIC
INPUT
Delay
block
Chorus
block
Reverb
block
LINE OUT/
PHONES
GAIN
Parameter page 1
Volume parameter
Delay block
parameters
Parameter name
Parameter value
Graphic parameter
value indicator
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49
To edit a parameter:
z Move the Cursor to the Parameter You Want to Edit
Use the cursor buttons to highlight the desired parameter
value. Since not all of the parameters t on one display page,
youll have to scroll down below the bottom of the rst page to
see the parameters in the second page.
x Adjust the Parameter Value
Use the [-1] and [+1] buttons or the SHIFT-Number entry
method (see page 34. However, this method is not available for
some parameters.) to adjust as necessary. In addition to the
numeric parameter value, each parameter also has a graphic level
control located between the parameter name and value which
provides a convenient visual reference to relative parameter set-
ting.
NOTE
Any changes you make to the parameters will be retained for each setup
even if you select a different preset or turn the QY100 off. You can indi-
vidually restore the initial settings for each setup by using the “INITIAL-
IZE” function: After selecting the setup you want to initialize, press the
[MENU] button and then the function button next to “Initialize” on the
display. Then when the “Initialize” display appears press the [ENTER]
button to initialize all parameters of the selected setup. When initializa-
tion is complete press the [EXIT] button to return to the Amp Simulator
display.
Parameter page 2
On/Off parameter
Chorus block
parameters
Reverb block
parameter
50
For Singers: Cool Vocal Processing
The Volume Parameter
A Volume parameter which affects the overall volume of
the setup is located at the top of the parameter list. This parame-
ter is most useful for matching the levels of the setups to suit
your musical needs. You might, want all of your setups to have
about the same level, or you might want certain effects to have a
higher level than the rest.
The Delay Block
The stereo delay block has the following ve parameters:
Lch Delay Sets the initial delay time of the left-channel delay
from 0.1 through 715.0 milliseconds.
Rch Delay Sets the initial delay time of the right-channel delay
from 0.1 through 715.0 milliseconds.
FB Delay1 Sets the feedback delay time of the left-channel delay
from 0.1 through 715.0 milliseconds (this sets the
delay time for delays following the main initial delay).
FB Delay2 Sets the feedback delay time of the right-channel
delay from 0.1 through 715.0 milliseconds (this sets
the delay time for delays following the main initial
delay).
FB Dly Lvl Feedback Delay Level determines how the later delays
fade out after the initial delay.
Volume parameter
Delay block
parameters
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51
The Chorus Block
The Chorus effect can give your vocal sound added life and
sparkle. The Chorus block is not engaged on all setups. If you
select a setup which does not use the Chorus block the Chorus
parameter values will all appear as dashed lines. When the Cho-
rus block is engaged, the parameters work as follows:
The Reverb Block
The Reverb block has only one parameter Reverb Lvl
which adjusts the depth of the reverb sound. The Reverb Lvl
range is from 000 to 127, with higher values producing
deeper reverb. If you select a setup which does not use the
Reverb block, the Reverb Lvl parameter value will appear as
dashed line.
Mod Speed Adjusts the modulation speed of the chorus effect (the
speed at which the tone varies). The value range is
from 0.0 Hz through 39.7 Hz. The higher the value, the
faster the modulation.
Mod Depth Modulation depth (range: 000 through 127). The higher
the value the deeper the modulation and, thus, the
stronger the effect.
FB Level Adjusts the amount of feedback applied to the chorus
block (range: -63 +00 +63). Negative values
apply reverse-phase feedback.
Chorus block
parameters
52
For Singers: Cool Vocal Processing
The “On/Off” Parameter
At the very bottom of the parameter list is the On/Off
parameter. This parameter allows you to select a specic block to
be turned on and off by the [AMP SIMULATOR] button on the top
panel, or a footswitch connected to the rear-panel FOOT SW jack
(when the footswitch is assigned to amp simulator section
switching via the UTILITY parameter described on page 245).
Theres also an ALL setting which allows all blocks to be turned
on or off. When the selected block(s) are bypassed (off), the indi-
cator to the right of the [AMP SIMULATOR] button will go out).
The settings are:
DLY The footswitch or [AMP SIMULATOR] button turns
only the Delay block on and off.
CHO The footswitch or [AMP SIMULATOR] button turns
only the Chorus block on and off.
REV The footswitch or [AMP SIMULATOR] button turns
only the Reverb block on and off.
ALL The footswitch or [AMP SIMULATOR] button turns all
three blocks Delay, Chorus, and Reverb on and
off.
Reverb block
parameter
On/Off parameter
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53
Instant Accompaniment
Before we discover how easy it is to create accompaniments with
the QY100, lets straighten out some of this confusing terminology: just
what exactly are patterns, styles, sections, and chord templates?
Styles
A style is, well, a musical style! Like blues or reg-
gae or hip-hop. The QY100s 128 styles are like mini-arrange-
ments in different musical styles, including drums/percussion,
bass, chords, counter-lines, etc., depending on the requirements
of the style. Each style is further sub-divided into sections.
Sections
Each style has a number of sections, as listed below.
INTRO As the name implies, this section will normally func-
tion as the introduction to a song.
MAIN A The MAIN A section is the one youd normally use as
the verse of a song.
MAIN B This is a variation of the MAIN A section which can be
used as the chorus or bridge section of a song.
FILL AB A break or “fill that connects the MAIN A section to
the MAIN B section.
In this section well learn how to use the QY100 to create a vast
range of accompaniments without having to do any programming at
all. By combining the 768 preset patterns provided (128 styles x 6 sec-
tions) with 99 preset chord templates we can create lets see, um
a whole lot of accompaniment variations.
But First … So You’ll Know What We’re Talking About
54
Instant Accompaniment
Patterns
Quite simply, each section of each style is a pattern.
The INTRO section of the FunkRock style is a pattern, as is the
MAIN B section of the BritPop style. Thus, with 128 styles,
each having 6 sections (we dont count the BLANK section, for
obvious reasons), you have a total of 768 individual patterns.
Chord Templates
If you simply select and play a section of a style, the style
will play but without any harmonic motion. Which is simply a
fancy way of saying without chord changes. The style will play
with the currently selected chord until you enter a new chord
manually or program an original chord progression. But well leave
manual chord entry and chord progression programming for a
later chapter, because the QY100 actually provides 99 preset
chord progressions that you can simply select and play! These
chord templates include a wide range of standard progres-
sions some you might recognize from your favorite songs
commonly used in a wide range of musical genres.
FILL BA A ll that connects the MAIN B section to the MAIN A
section.
ENDING An ending pattern which nishes the song. Playback
stops automatically when the ending pattern nishes
playing.
BLANK When you select the BLANK section no sound is
produced by the QY100 until you select another sec-
tion, but the QY100 keeps counting time so that when
you do select another section that section will come in
with the proper timing.
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55
The QY100s preset styles can be selected and played in the SONG
mode.
z Select the SONG mode & an Empty Song
Press the [SONG] button to select the SONG mode then, if
necessary, make sure the cursor is located at the song number at
the top of the display and use the [+1] and [-1] buttons to select
an empty song.
The SHIFT-Number Data Entry Method:
You can also use the SHIFT-Number method to enter song
numbers or other data values. Use the numbered black
keys on the micro-keyboard to enter the required number
while holding the [SHIFT] button, then press the [ENTER]
button.
x Highlight the Style Number
The bottom left-hand area of the QY100 display is the style
and section selection area.
NOTE
If for some reason all 20 songs contain data, use the “Clear Song” job
described on page 179 to clear a song for recording.
Check Out the Preset Styles
Song number
56
Instant Accompaniment
To select a style, rst move the cursor to the style number
on the display.
c Select a Style
Use the [-1] and [+1] buttons or the SHIFT-Number entry
method (page 34) to select the style you want to play (refer to the
Style List of the separate Data List booklet for details about
each individual style).
v Start Playback
Press the sequencer [>] button to begin playback of the
selected style, and the [] button to stop playback, as required.
Style
number
Section name
Start Playback
Measure
number
Stop Playback
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Two Methods To Select Sections
There are two ways to select the section you want to play:
Method 1: Move the cursor to the section name at the bottom
of the display and use the [-1] and [+1] buttons or SHIFT-Num-
ber entry method (page 34) to select a section.
Method 2: Simply press the key on the mini-keyboard corre-
sponding to the section you want to select (note that the 7
left-most white keys on the mini keyboard have the names of
the sections printed below them). The mini-keyboard method
will only work while the cursor is located within the style and
section selection area of the display.
Either method you choose, when a different section is selected
while the style is playing, the newly selected section will begin
playing from the top of the next measure. NEXT will appear
before the newly-selected section name until it actually begins
playing.
When the INTRO, FILL AB or FILL BA section is selected while
the style is playing, it will play through once and then playback will
automatically return to the MAIN A or MAIN B section; INTRO is
NEXT
58
Instant Accompaniment
followed by MAIN A, FILL AB is followed by MAIN B, and FILL BA
is followed by MAIN A. If you selected the ENDING section, play-
back will stop automatically once the ENDING section has played
all the way through.
Any Section (or no section) INTRO MAIN A
Any Section FILL AB MAIN B
Any Section FILL BA MAIN A
Any section ENDING Playback Stops
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59
Now that you have the pattern of your choice grooving along on your
QY100 (if you dont, select and play one now), Lets hear how it sounds
with some of the preset chord templates.
z Highlight the Chord Template Parameter
The bottom right-hand area of the display is the chord and
chord template selection area. Move the cursor to the upper right
corner of this area.
x Select a Preset Chord Template
Use the [-1] and [+1] buttons to select and listen to some of
the preset chord templates (numbered P01 through P99). When
the cursor is located at the chord template number, the name of
the selected chord template appears below the chord template
number. If you move the cursor away from the chord template
number the name of each individual chord is displayed in the
same location as the accompaniment plays back.
NOTE
The fact that the QY100 displays the chord names as it plays can be a
great learning tool! Watching the chord names as the progressions plays
— you can play along, too — allows you to associate the chords with the
overall sound they produce in each progression. With a little time and
effort you should be able to recognize chord progressions by ear.
All chord templates are originally in the key of C. To change the key use
the TRNS (Transpose) parameter to transpose the entire song to the
desired key (page 123).
Add Chords & Play Along!
Chord template
number
Chord name
60
Instant Accompaniment
Some of the chord templates are standard progressions
such as the basic I VI II V7 progression of the POPS-
M01 template (P01). Others may be a little more unusual,
but none the less interesting or useful. See the Chord
Template List of the separate Data List booklet for a com-
plete listing of the 99 available chord templates and their
chord progressions. Spend some time combining various
styles with chord templates and see what you can come up
with! Dont forget to try selecting the various sections of
each style to hear how they sound with the selected chord
template(s).
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61
Record Your Own Chord
Progression & Pattern Changes
As an example that can be programmed quickly and easy lets use
the HipHop2 style (style number 035) with the following arrangement:
INTRO (4 measures) MAIN A (7 measures)
FILL AB (1 measure) MAIN B (7 Measures)
FILL BA (1 measure) MAIN A (8 measures)
ENDING
The chord changes are oh-so-simple. The entire accompaniment
uses only two chords Cm7
(11)
and Fm7
(11)
as follows:
* The INTRO and ENDING sections have their own chord progressions you only need to
specify the starting chord (Cm7
(11)
)
NOTE
The reason that the first two occurrences of MAIN A and MAIN B are 7 measures
long instead of 8 (a more normal “unit”) is that the fills — FILL AB and FILL BA —
function as the last measure of the 8-measure units.
Now that youre familiar with the QY100s styles, patterns, and
preset chord templates, lets try recording a short accompaniment
with pattern changes and an original chord progression.
INTRO
MAIN A FILL AB
Cm7
(11)
*
Cm7
(11)
Cm7
(11)
Fm7
(11)
Fm7
(11)
MAIN B FILL BA
Cm7
(11)
Cm7
(11)
Fm7
(11)
Fm7
(11)
MAIN A
Cm7
(11)
Cm7
(11)
Fm7
(11)
Fm7
(11)
ENDING
Cm7
(11)
*
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Record Your Own Chord Progression & Pattern Changes
z Select the SONG mode & an Empty Song
Press the [SONG] button to select the SONG mode then, if
necessary, make sure the cursor is located at the song number at
the top of the display and use the [+1] and [-1] buttons to select
an empty song.
The SHIFT-Number Data Entry Method:
You can also use the SHIFT-Number method to enter song
numbers or other data values. Use the numbered black
keys on the micro-keyboard to enter the required number
while holding the [SHIFT] button, then press the [ENTER]
button.
x Select the “Pt” Track to Record the Pattern Changes
Move the cursor to the track area of the display, then move
the cursor sideways to select the Pt (Pattern) track. Once the
Pt track has been selected, move the cursor vertically to acess
other areas of the screen (moving it sideways will select a differ-
ent track). The selected track will remain highlighted even after
moving the cursor to other areas of the screen.
NOTE
If for some reason all 20 songs contain data, use the “Clear Song” job
described on page 179 to clear a song for recording.
Pt track
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63
c Engage the Record Ready Mode
Press the [] button to engage the record ready mode. The
red LED above the [] button will light. The record mode selec-
tors will apear in the central area of the display, and the name of
the current record mode will appear at the top of the display.
v Select the Realtime Replace Record Mode
If the realtime replace record mode isnt already selected,
move the cursor to the REPL button in the record mode area of
the display and press the [ENTER] button. An inverse R
appears in the selected record mode button.
Record mode
selector
Selected record
mode button
64
Record Your Own Chord Progression & Pattern Changes
b Select the Starting Pattern, Chord, and Tempo
Move the cursor to the style number, section, chord, and
tempo parameters and set as required (these will be the starting
values for your accompaniment).
n Record the Pattern Changes
Press the [>] button to begin recording the pattern
changes to the QY100s pattern track. The metronome will sound
and youll be given a one-measure count-in before recording actu-
ally begins (the number of count-in measures can be changed via
the Utility mode page 245). The count-in is also indicated by
negative numbers in the measure-number area of the display.
With the default count-in setting of one measure, -01 will
appear during the count-in, then recording will begin from mea-
sure 001.
Entering Pattern Changes
The cursor will automatically move to the style number
when you start recording on the pattern track. You can
record style number changes by using the [+1] and [-1] but-
NOTE
Just for the purpose of recording, you can set the tempo parameter at a
slower value than the actual playback tempo you will use, so you have
plenty of time to enter pattern and chord changes.
Count-in
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65
tons or the SHIFT-Number entry method (page 34) to select
the desired styles. For our example, however, youll only be
selecting sections with the HipHop2 style, so theres no
need to change style numbers. The easiest way to enter
section changes is to simply press the appropriate micro-
keyboard keys at the appropriate times during recording.
Remember that all pattern changes occur at the top of the
next measure after they have been entered. Also keep in
mind the fact that some sections automatically switch to
another section once they have played through: INTRO to
MAIN A; FILL AB to MAIN B; FILL BA to MAIN B. You
should nish your accompaniment track with the ENDING
pattern, otherwise your accompaniment will play back
indenitely.
The pattern changes youll want to record are as follows:
INTRO (measures 1 4): This is the starting pattern (you
should have already selected the INTRO pattern in step 5,
above).
MAIN A (measures 5 11): The MAIN A pattern will
automatically be selected after the INTRO nishes, so you
dont have to manually select the MAIN A pattern.
FILL AB (measure 12): Press the [FILL AB] key on the
micro-keyboard during measure 11, that way the FILL AB
pattern will start playing from the top of measure 12.
MAIN B (measures 13 19): The MAIN B pattern will
automatically be selected after the FILL AB pattern plays
through once, so you dont need to select it manually.
FILL BA (measure 20): Press the [FILL BA] key on the
micro-keyboard during measure 19, that way the FILL BA
pattern will start playing from the top of measure 20.
MAIN A (measures 21 28): The MAIN A pattern will
automatically be selected after the FILL BA pattern plays
through once, so you dont need to select it manually.
66
Record Your Own Chord Progression & Pattern Changes
ENDING (measures 29 32): -
-END-
- will appear in
place of the style name when the ENDING pattern has n-
ished playing.
m Stop Recording
Press the [] button to stop recording and return to the
SONG mode.
, Engage Record Ready Again and Select the “Cd Track
Press the [] button to engage the record ready mode
again (the REPL record mode will still be selected), then move
the cursor to the track area of the display and select the Cd
(Chord) track.
NOTE
The ENDING pattern repeats the playback in the realtime record mode.
But it will finish the song automatically when playing back the song in
step 11.
Cd track
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. Record the Chord Changes
When you press the [>] button to begin recording to the
chord track, the metronome will sound and youll be given a
count-in in the same was as described in step 6, above. Once
recording begins (the cursor will automatically move to the chord
name area of the display), you can enter the required chord
changes at the appropriate points in the accompaniment as fol-
lows:
Entering Chord Changes
Chords are entered via the QY100 micro-keyboard. Note
that the lower octave of the keyboard has chord root
names E through D#/Eb marked on the keys, and the
upper octave keys are marked with a variety of chord types.
To enter a chord, press the key corresponding to the
desired chord root, then the key for the desired chord type
(the chord type keys alternately select the upper and lower
chord types marked on them watch the display), and
then press the [ENTER] button (refer to the Chord Type
List of the separate Data List booklet for a list of the avail-
able chord types). If a chord is to be followed by a different
chord of the same type, you dont have to re-enter the
chord type.
CHORD ROOT CHORD TYPE (if necessary) [ENTER]
Example: Enter a G7 Chord
68
Record Your Own Chord Progression & Pattern Changes
The chord is actually entered only when the [ENTER] but-
ton is pressed (until then, the chord root and type will ash
on the display). Note that chord changes actually occur on
quarter-note divisions, so try to press the [ENTER] button to
record each chord change either precisely on the beat or
just slightly before the beat on which you want the change
to occur. Syncopated chord changes can be programmed in
the STEP record mode (page 89).
You can also enter the chord changes by playing the micro
keyboard (page 69).
Record the chord changes as follows:
INTRO (Cm7
(11)
): The preset INTRO patterns have their
own chord progressions. Although you can specify the
chord root (key), chord types such as M or m6 will be
ignored. Since Cm7
(11)
has already been selected as the
starting chord (step 5, above), theres no need to enter any
chords for the INTRO at this point.
MAIN A (Cm7
(11)
/Fm7
(11)
): The progression simply alter-
nates between the Cm7
(11)
and Fm7
(11)
chords every two
measures: Cm7
(11)
for measures 5 and 6, Fm7
(11)
for mea-
sures 7 and 8, and so on.
FILL AB (Fm7
(11)
): Theres no need to enter a chord for the
FILL AB pattern, the Fm7
(11)
chord carries through until the
MAIN B pattern begins.
MAIN B (Cm7
(11)
/Fm7
(11)
): The same 2-measure alternat-
ing Cm7
(11)
and Fm7
(11)
progression continues.
FILL BA (Fm7
(11)
): The Fm7
(11)
chord carries through until
the MAIN A pattern begins.
MAIN A (Cm7
(11)
/Fm7
(11)
): The same 2-measure alternat-
ing Cm7
(11)
and Fm7
(11)
progression continues.
ENDING (Cm7
(11)
): Like the INTRO patterns, the preset
ENDING patterns have their own chord progressions.
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Although you can specify the chord root (key), chord types
will be ignored.
Stop Recording
Press the [] button to stop recording and return to the
SONG mode.
Play Your Accompaniment
Press the [>] to play back your accompaniment.
The QY100 also has a Fingered Chord mode which allows chords
to played as required on the micro-keyboard, rather than by specifying the
chord root and type as described above. To turn this function on move the
cursor to the FNGR parameter in the SONG mode display before record-
ing, and press the [ENTER] button to select ON. When you record using
the Fingered Chord mode, you do not have to press [ENTER] after playing
each chord the chords are entered as they are played.
Fingered Chords
Fingered chord
function
70
Record Your Own Chord Progression & Pattern Changes
Tempo changes can be recorded to the QY100 Tm (Tempo) track
in much the same way that pattern changes are recorded to the pattern
track and chord changes to the chord track.
After recording your pattern and chord tracks select the Tm tempo
track, press the [] button to engage the record ready mode (only realtime
replace recording can be selected for the tempo track), press [>] to start
recording (the cursor will automatically move to the tempo parameter), then
use the [+1] and [-1] buttons or the SHIFT-Number entry method (page 34)
to specify the required tempo changes at the appropriate times during
recording. Press [] to stop recording. Tempo changes can be edited in
detail as described on page 216.
Dont worry. A few mistakes made in the realtime record can usually
be corrected quite easily in the STEP record mode described on page 81
NOTE
If you do record tempo changes to your accompaniment, be sure to
record the starting tempo at the beginning of the sequence as well.
Tempo Changes, too …
Tempo
Tm track
If You Make Mistakes …
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Add Some Details to Complete
the Accompaniment
Be sure to complete the preceding section
before beginning this one.
Before actually beginning to record the sequencer tracks, switch to
the SONG VOICE mode and assign the voices you plan to use to the appro-
priate SONG MODE sequencer tracks. You can make or change voice
assignments later if you like, but its a good idea to record with the voices
you actually intend to use in the song.
z Select the SONG VOICE Mode
From the main SONG mode display, press the [SONG] but-
ton once so that the SONG VOICE mode display appears.
Although you could use the basic accompaniment we created in
the previous section as backing for some inspired improvisation, in
this section well add some simple embellishments that give the track
a little more personality. You can easily take the procedures we cover
in this section and apply them to creating complete songs on the
QY100.
Voice Assignments
72
Add Some Details to Complete the Accompaniment
x Select the Voices
Move the cursor to the voice selector for track 1, and use
the [+1/YES] and [-1/NO] buttons or the SHIFT-Number entry
method (page 34) to select Ld 081 SquareLd (the full voice
name appears at the top of the display).
Next, Move the cursor to the track-2 voice selector, and select
En 056+Bass Hit.
c Return to the Main SONG Mode Display
From the SONG VOICE display press the [SONG] button
twice to bypass the SONG EFFECT display and return to the main
SONG mode display.
Press twice
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Heres the score for the parts well record on tracks 1 and 2. The
upper (treble) staff goes on track 1 and the lower (bass) staff goes on track
2. If you dont read music or simply couldnt be bothered, just record what-
ever sounds good to you. Making music should never be a chore.
Realtime Recording on the Sequencer Tracks
081
056+
081
056+
SquareLD
Bass Hit
081
056+
081
056+
=120
74
Add Some Details to Complete the Accompaniment
081
056+
081
056+
081
056+
081
056+
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z Select a Track to Record
Move the cursor to the track area of the display, and then
move the cursor sideways to select the track you want to record
1 through 16. In this case youll probably want to record the
rst part on track 1. Note that although the display only shows 8
of the available 16 tracks at a time, you can simply use the cursor
buttons to scroll left or right to access the remaining tracks (an
arrow appears to either the left or right of the track numbers to
indicate that that more tracks can be accessed by scrolling in the
corresponding direction). Once youve selected the track to
record on, move the cursor vertically to access other areas of the
display (the selected track will remain highlighted).
NOTE
If you will be recording via the
QY100’s own micro-keyboard, you
can set the keyboard velocity via
the “VELO” parameter. The veloc-
ity can be set in 10 levels — the
more bars the higher the velocity.
There are also four “random
velocity” settings which produce
different degrees of random
velocity for each note played, sim-
ulating the velocity variations pro-
duced by a “human” player. The
“R1” random setting produces
the smallest variation and “R4”
produces the greatest variation.
Track
VELO parameter
76
Add Some Details to Complete the Accompaniment
x Engage the Record Ready Mode
Press the [] button to engage the record ready mode. The
red LED above the [] button will light. The record mode selec-
tors will appear in the central area of the display, and the name of
the current record mode will appear at the top of the display.
c Select the Realtime Replace or Overdub Record Mode
Normally, when recording a new track from scratch youll
want to use the realtime replace record mode. To select it (if it
isnt already selected) move the cursor to the REPL button in
the record mode area of the display and press the [ENTER] but-
ton. An inverse R appears in the selected record mode button.
If youve already recorded some material on a track and
want to record additional notes without erasing the existing mate-
rial, select the realtime overdub record mode (OVER on the dis-
play) instead of the REPL mode.
Record mode
selector
REPL button
Guided Tour
Guided Tour
Add Some Details to Complete the Accompaniment
77
v Set the Tempo and Time Signature
For this example well use the default tempo of 120 beats
per minute and the default 4/4 time signature, so you shouldnt
need to make any changes. But when you do want to record with
a different tempo or time signature, simply move the cursor to
the tempo and time signature parameters and set them as
required via the [+1/YES] and [-1/NO] buttons.
NOTE
There are other record modes other than “REPL” and “OVER”. For
details about “STEP”, see page 91. For details about “MULTI”, see
page 80.
NOTE
As with pattern and chord recording, you can set the tempo parameter
at a slower value than the actual playback tempo you will use, so you
have plenty of time to enter the parts.
Tempo and
time signature
parameters
78
Add Some Details to Complete the Accompaniment
b Record the First Track
Press the [>] button to begin recording. The metronome
and count-in work the same way as they do for pattern and chord
recording: the metronome will sound and youll be given a one-
measure count-in before recording actually begins (the number of
count-in measures can be changed via the Utility mode page
245). The count-in is also indicated by negative numbers in the
measure-number area of the display. With the default count-in
setting of one measure, -01 will appear during the count-in,
then recording will begin from measure 001.
Once recording begins, play the part on the QY100 micro-key-
board or on an external MIDI keyboard or other controller.
NOTE
If you have trouble playing a part in real time (or you’d simply rather
enter the notes with scientific precision), use the step recording mode
described on page 91 to enter the notes one at a time, with complete
control over note timing and duration.
If you make a mistake (or two, or three …) while recording, you can
always go back and record the entire track again. But if only a few minor
adjustments are needed, you might prefer to use the QY100 EDIT mode
(page 216) to edit the track as required.
Count-in
Guided Tour
Guided Tour
Add Some Details to Complete the Accompaniment
79
n Stop Recording
Press the [] button to stop recording and return to the
SONG mode. Note than when you return to the SONG play mode
a bar will appear below each track that contains data. This is the
lowest segment of a velocity meter which will indicate velocity
levels in the track during playback.
m Record the Next Track
Press the [] button to engage the record ready mode
again (the REPL or OVER record mode will still be selected
leave this setting as is or change as necessary), then move the
cursor to the track area of the display and select the next track to
record (in this case, track 2).
Press the [>] button to begin recording, and record the
next track in the same as the rst track described above.
NOTE
To extend this process to record a complete song on the QY100
sequencer tracks, simply assign the voices for your tracks and record as
many as your song needs (up to 16, of course) one after the other.
Use the SONG JOBS (page 145) to make further adjustments to your
recorded tracks, as necessary. If your timing is a little off, for example,
use the “Quantize” job to pull everything into line. Take a look at the
SONG JOB LIST on page 146 for an idea of the types of jobs that are
available.
Recorded
track
80
Add Some Details to Complete the Accompaniment
, Stop Recording
Press the [] button to stop recording and return to the
SONG mode.
. Play Your Accompaniment
Press the [>] to play back your accompaniment complete
with sequencer-track additions.
About the “MULTI” Recording
If you select the MULTI mode in step c on page 76, the
QY100 will simultaneously record data received over MIDI channels 1
to 16 onto the corresponding sequencer tracks (1 to 16). This is useful
when you want to record a multipart recording from a computer or
another sequencer in real time, or when you want to record from a
MIDI insrtrument (such as a MIDI guitar) that outputs over multiple
channels.
Before starting the multipart recording, be sure to set the MIDI
Sync to External (page 247), MIDI Control to In or In/Out (page
247), Rec Count to OFF (page 245). Then engage the record ready
mode (page 76) and select MULTI record mode. When you start
the external computer or sequencer, the QY100 will start multipart
recording automatically.
Step Accompaniment Recording
81
Step Accompaniment Recording
z Select a Song to Record
Select an empty song if you want to record a new song in
the step record mode, or select a song that already contains data
if you want to make changes or additions.
x Engage the Record Ready Mode
Press the [] button to engage the record ready mode. The
red LED above the [] button will light.
c Select the “Pt” or “Cd” Track
Move the cursor to the track area of the display, and then
shift the cursor sideways to select Pt or Cd. Once selected,
move the cursor vertically if you want to move to other areas of
the screen. The selected track will remain highlighted no matter
where you move the cursor.
The STEP record mode can be used with the Pt (Pattern) and
Cd (Chord) tracks, making it easy to individually enter or delete pat-
tern and chord changes at precisely the required locations.
Pt or
Cd track
82
Step Accompaniment Recording
v Select the Step Record Mode
Move the cursor to the record mode selector area of the
display (the area with the REPL, OVER, STEP, and
MULTI buttons), and move it to the STEP button, then press
the [+1/YES] button to select the step record mode. An inverse
R will appear in the selected record mode button.
b Start Recording
Press the [>] button to call the selected step record dis-
play.
STEP button
Pt step record
Cd step record
Step Accompaniment Recording
83
n Enter the Required Pattern and/or Chord Data
Refer to the following sections for details on how to use
each of the step-record mode data-entry displays.
You can switch directly between the pattern and chord
data-entry displays while the step record mode is engaged simply
pressing the [MENU] button to call the menu shown below, and
then the function button corresponding to the display you want to
go to.
m Stop Recording
Press the [] button to exit from the step record mode and
return to the normal SONG play mode.
84
Step Accompaniment Recording
Heres how the STEP record pattern display will look if youve
selected an empty song (the appropriate pattern data will appear if the
selected song contains data).
Moving Around & Entering Data
As usual, the cursor buttons are used to move the cursor to
the location at which you want to enter data, and the [-1] and [+1]
buttons are used to actually enter or change data.
The cursor buttons also move you forward or backward
through the song: moving the cursor past the bottom of the
screen accesses subsequent measures, while moving it above
the top of the screen accesses the preceding measures (if there
are any). In the pattern display moving sideways takes you to the
time signature, style number, and section parameters.
In all of the STEP record displays the sequencer buttons
can also be used to move forward or backward through the song.
[p] Go to rst measure.
[r] Scroll up (see lower measure numbers)
[f] Scroll down (see higher measure numbers)
“Pt” — Step Record Pattern Changes
1st measure
Style number area
Subsequent measures
follow
Measure number
Time signature
Section area
2nd measure
Step Accompaniment Recording
85
Style Number and Section
Any preset style number from 001 through 128, the end
pattern (number 129), or any user style number from U1 through
U64 can be entered for each measure. The style name appears to
the right of the style number. Only one style & pattern (section)
can be entered per measure, and that pattern will begin playing
from the beginning of the measure at which it is entered.
A pattern entered once will continue to play until a different
pattern is entered. If you want to change sections without chang-
ing the style number, only the section need be entered. Playback
will stop automatically when an end pattern (style number 129)
or an ending section is encountered.
In the example display below the intro pattern (section) of
style 001 plays for the rst measure, then the main A pattern
(section) of the same style is selected in measure 2.
Style number/name
Section
86
Step Accompaniment Recording
Time Signature
Although the default time signature for the selected song is
automatically selected, the time signature value for each measure
can be changed as required. The available time signatures are:
1/16 16/16
1/8 16/8
1/4 8/4
If a time signature is selected that results in shorter mea-
sures than the pattern default, the pattern will be truncated (cut
short) accordingly. If the selected time signature results in longer
measures than the pattern default, the pattern will be repeated to
ll the specied measure length.
Erasing Pattern Changes
The function button immediately to the right of ers on
the display can be used to erase style number or section data at
which the cursor is located.
Press to erase
style or section at
cursor location.
Step Accompaniment Recording
87
Heres how the STEP record chord display will look if youve selected
an empty song (the appropriate chord data will appear if the selected song
contains data).
Chords
One chord can be entered per quarter note. Place the cur-
sor at the required quarter-note division on the display and enter
the chord by specifying the root and type via the micro-keyboard
(see page 67). In the example display below, an A major chord is
entered on the rst beat of the rst measure, a B minor seventh
on the third beat of the rst measure, and a D major on the rst
beat of the second measure.
You can also enter a chord by playing the chord as it is on
the micro keyboard or an external keyboard if the Fingered Chord
function(FNGR) is previously set to ON.
“Cd” — Step Record Chord Changes
1st measure
2nd measure
One beat
Place cursor at beat on
which chord is to be
entered
Time signature
Measure number
Subsequent measures
follow
Chord
88
Step Accompaniment Recording
Specifying the Bass Note For a Chord
You can specify the bass note to be used with any chord by
using the [OCT DOWN] button (note the BASS marking above
the button). Enter the chord by specifying the root and type, then
press the key on the micro-keyboard corresponding to the desired
bass note while holding the [OCT DOWN/BASS] button. The bass
note will appear to the right of a slash below the chord name.
Example: Bm7 with E bass
Step Accompaniment Recording
89
If FNGR is set to ON, a bass note can be entered by
pressing a key for a bass note on the left part of the micro key-
board or an external keyboard while holding the chord. (The left
part range for entering a bass note can be specied in the Utility
mode on page 252.)
Syncopated Chords
Chords can be syncopated (i.e. the chord actually begins an
eighth or sixteenth note before the beat on which it is entered) by
using the [OCT UP] button (note the “” marking above the but-
ton). Enter the chord, then press the [OCT UP] button once for
eigth-note syncopation, or twice for sixteenth-note syncopation
(the appropriate syncopation symbol will appear below the chord
name).
Example: D chord syncopated (8th note)
NOTE
You can add bass notes to existing chords without having to re-enter the
entire chord by simply moving the cursor to the chord and using the
[OCT DOWN/BASS] button to specify the bass note. A bass note can be
removed from a chord by placing the cursor at the chord and re-entering
the chord.
90
Step Accompaniment Recording
Erasing Chords
The function button immediately to the right of ers on
the display can be used to erase the chord at which the cursor is
located.
Sound On/Off
You can hear the sound of entered chord in step recording.
If you dont want to hear the sound, press the [MENU] button and
then the function button next to Sound to call the Sound on/off
display.
Press [-1/NO] button to turn the sound off, [+1/YES] button
to turn on.
NOTE
You can add syncopation to existing chords without having to re-enter
the entire chord by simply moving the cursor to the chord and pressing
the [OCT UP] button. Syncopation can be removed from a chord by plac-
ing the cursor at the chord and pressing the [OCT UP] once or twice so
that the syncopation symbol disappears.
Press to erase
chord at cursor
location.
Step Sequencer Track Recording
91
Step Sequencer Track Recording
z Select the SONG Mode & the Song To Be Recorded
Use the [SONG] button to select the main SONG mode dis-
play and, with the cursor located over the song number at the top
of the display, use the [-1] and [+1] buttons or the SHIFT-Number
entry method (page 34) to select the song you intend to record.
x Select a Track to Record
Move the cursor to the track area of the display, and then
shift the cursor sideways to select the track you want to record: 1
through 16. The SONG display shows 8 of the 16 available tracks
at a time. Use the cursor buttons to scroll left or right to the
remaining tracks (an arrow appears at either the left or right of the
track numbers to indicate that more tracks can be accessed by
scrolling in the corresponding direction). Move the cursor verti-
The step record mode lets you enter each track note-by-note,
with precise control over the timing, length, and loudness of each
note. You can record entire tracks using the step mode, or use it to
brush-up and add data to an existing track.
Song number
92
Step Sequencer Track Recording
cally to move to other areas of the screen. The selected track will
remain highlighted.
c Engage the Record Ready Mode
Press the [] button to engage the record ready mode. The
red LED above the [] button will light.
v Select the Step Record Mode
Move the cursor to the record mode selector area of the
display (the area with the REPL, OVER, STEP, and
MULTI buttons), and move it to the STEP button, then press
the [+1/YES] button to select the step record mode (if it isnt
already selected). An inverse R will appear in the selected
record mode button.
Track
Record mode
selector
Step Sequencer Track Recording
93
b Engage the Record Mode
Press the [>] button to engage the step record mode. The
step record display shown below will appear.
n Set the Note Parameters as Required
Move the cursor to the note, velocity, and gate time param-
eters and set as required using the [-1] and [+1] buttons for the
rst (or next) note to be entered.
STEP button
Current record track
Measure/beat/clock display
Time signature
Note parameters
Note display
94
Step Sequencer Track Recording
STEP (Note length)
32nd, 16th, 16th triplet, 8th, 8th
triplet, quarter, quarter triplet, half, whole.
VELO (Velocity)
More bars = higher velocity, adjustable in 10
steps (ppp, pp, p, mp, normal, mf, f, ff, fff, ffff).
~ produces random velocity.
GATE (Gate time)
= staccato (50%).
= normal (90%).
= slur (99%).
m Enter a Note
Once the note parameter have been specied, the note can
be entered simply by playing the appropriate key on the micro-
keyboard (or on your external MIDI keyboard). A dot appears on
the note display and the note pointer advances to the next note
position. Chords are also indicated by a dot. Heres how the dis-
play will look after two 8th notes have been entered.
NOTE
If you use an external MIDI keyboard for step recording, the QY100
always accepts velocity from the external keyboard regardless of the
“VELO” setting.
Step Sequencer Track Recording
95
The Note Display
The note display shows up to four 1/4-notes worth of data
at once (thats one measure in 4/4 time). If the selected
time signature results in more than four 1/4 notes per mea-
sure, then the display will scroll to show the extra notes.
Moving Around In the Note Display
You can move the cursor down to the note display (the note
pointer will appear lled) and move the note pointer to any
position at which you want to enter a note, or to any note
that you want to delete. You will actually hear the appropri-
ate note or chord when the note pointer is moved to an
existing note. When you move the note pointer past the
end of the note display, the next measure will appear.
1st beat 2nd beat
4th beat3rd beat
Each dash represents a
32nd note (60 clocks).
Note
pointer
Cursor moved to note pointer (pointer lled).
Note that the pointer points up to notes in the
upper row and down to notes in the lower row.
96
Step Sequencer Track Recording
The Step Mode Function buttons
The four function buttons immediately to the right of the
display provide acces to a number of handy functions in the
step record mode. The del (delete) button deletes the
note or chord at the note pointer. The Bdl (back delete)
button moves the note pointer backward by the currently
selected note length and deletes the note at that position.
The rst (rest) button enters a rest of the currently
selected note length at the note pointer position. And the
tie button lengthens the previously entered note by
tying another note of the same length (specied by the
STEP parameter) and pitch to it. The tie button only
works immediately after entering a note.
The Measure/Beat/Clock Display
The Meas area of the step record display shows the cur-
rent position of the note pointer in measures, beats, and
clocks (there are 480 clocks per 1/4 note). If youre not sure
what measure youre seeing on the note display while
recording, check the measure/beat/clock display.
You can move the note pointer to any measure by moving
the cursor to the measure number and entering the value
with the [-1] and [+1] buttons or the SHIFT-Number entry
method (page 34).
Step Sequencer Track Recording
97
, Complete the Song
Repeat steps n and m until the current track is complete,
then press [] to stop recording and select the next track for
recording, as necessary.
NOTE
See the “Editing Songs & Patterns” section , page 216, for information
on how to edit recorded song data.
Measure number
(001 ... 999)
Clock
(480 clocks per 1/4 note).
Beat
(01, 02, 03, 04 if 4/4 time).
98
Creating Original Accompaniment Patterns
Creating Original
Accompaniment Patterns
The QY100 has a total of 4,285 preset phrases that can be combined
to create a virtually endless variety of accompaniment patterns. The preset
phrase numbers have three sections, as shown below. The cursor can be
placed at any of these three sections to select as required.
QY100 accompaniment patterns are created by combining
phrases either preset or original in the PATTERN mode. A
phrase is simply an individual part of a pattern e.g. a drum
phrase, a bass phrase, a keyboard phrase, etc. using a single voice.
The QY100 has 4,285 preset phrases, and 384 memory locations for
original patterns (i.e., 64 user styles, each with independent INTRO,
MAIN A, MAIN B, FILL AB, FILL BA, and ENDING sections).
You can also see phrase components of the preset patterns in
the PATTERN mode.
The Preset Phrases
Category
Beat
Number
Creating Original Accompaniment Patterns
99
NOTE
For details on the phrase category, beat and number, refer to the Preset
Phrase List of the separate Data List booklet.
Category
Da Drum-a (Pop&Rock)
Db Drum-b (Specic)
Fa Drum Fill-a (Pop&Rock)
Fb Drum Fill-b (Specic)
PC Percussion
Ba Bass-a (Pop&Rock)
Bb Bass-b (Specic)
Ga Guitar Chord-a (Pop&Rock)
Gb Guitar Chord-b (Specic)
GR Guitar Riff
KC Keyboard Chord
KR Keyboard Riff
PD Pad
BR Brass
SE Sound Effects
Beat
Number
16 Beat
8 Beat
3/4 Beat
Differs depending on the category
100
Creating Original Accompaniment Patterns
The phrases are combined to create patterns which can be used in
accompaniments in the PATTERN mode.
z Select the PATTERN Mode, a User Style, & a Section
Press the [PATTERN] button to select the PATTERN mode
then, with the cursor located at the style number, select a user
style: U00 through U64. Also move the cursor to the section
name and select the section you want to create.
x Set the Pattern Length, Time Signature & Tempo as
Required
If youre starting with an empty pattern, move the cursor to
the pattern length parameter and set the desired pattern length
from 1 to 8 measures. If necessary, also move the cursor to the
time signature parameter and set as required (1/16 16/16, 1/8
16/8, 1/4 8/4). The default tempo is 120, but you can move
the cursor to the tempo parameter and set any other tempo that
is suitable for your pattern.
Combining Phrases In the Pattern Mode
Style number
Section
Tempo
Time signature
Pattern length
Creating Original Accompaniment Patterns
101
c Select a Pattern Track
Phrases can be assigned to any of 8 tracks in the PAT-
TERN mode. The pattern tracks are basically designed to be used
with the phrase types listed below (thus the D1, PC, BA,
C1, etc., track identiers). In reality, any type of phrase can be
assigned to any of the available tracks.
Move the cursor to the phrase-entry area of the track you
want to assign a phrase to.
v Enter the Required Phrase Number
Use the cursor buttons to move to the category, beat, or
number parameter, then use the [-1] and [+1] buttons or the
NOTE
The default pattern length for the INTRO, MAIN A, MAIN B, and END-
ING sections is 2 measures, while the default length for the FILL AB and
FILLBA sections is 1 measure.
Track Part
D1 Drum 1 Drums Phrase
D2 Drum 2 Drums Phrase
PC Percussion Percussion Phrase
BA Bass Bass Phrase
C1 Chord 1
Chord backing phrase (Guitar, Keyboard, etc.)
C2 Chord 2
Chord backing phrase (Guitar, Keyboard, etc.)
C3 Chord 3
Chord backing phrase (Guitar, Keyboard, etc.)
C4 Chord 4
Chord backing phrase (Guitar, Keyboard, etc.)
NOTE
For details on the available phrases, refer to the Preset Phrase List of
the separate Data List booklet.
Cursor at D1 track
102
Creating Original Accompaniment Patterns
SHIFT-Number entry method (page 34) to select the desired
phrase for that track.
Monitoring the Pattern
If you press the [>] button while entering phrases you can
hear how the pattern sounds as the various phrases are
added. Press [] to stop playback.
Muting & Soloing the Pattern Tracks
One or more PATTERN mode tracks can be muted or
soloed by placing the cursor immediately to the left of the
track (in the velocity-meter position) and using the [-1] or
[+1] to mute or solo the track as required. Use the [-1] but-
ton to alternately mute or un-mute the selected track, or
the [+1] button to alternately solo or un-solo the track. Any
number of tracks can be muted and/or soloed at a time. To
solo more than one track at a time hold the [SHIFT] button
while soloing additional tracks after the rst solo track has
been specied. Also hold the [SHIFT] button while un-solo-
ing a single track when multiple tracks are soloed (un-solo-
ing a single track without holding the [SHIFT] button will un-
solo all soloed tracks).
If the assigned
phrase is longer
than the pattern
length, this symbol
( ) appears. In this
case, the exceeded
part of the phrase
will not be played.
Category
Beat
Number
Phrase Name
Creating Original Accompaniment Patterns
103
The letter M appears next to tracks that are muted, and
the letter S appears when a track is soloed.
Clearing Phrases
Phrases can be cleared by placing the cursor at the appro-
priate phrase number, catgory, or beat and pressing the
function button next to cler on the display.
Changing the Pattern Playback Chord
The chord used for pattern playback can be changed by
placing the cursor at the chord location and entering the
chord via the micro-keyboard and [ENTER] button as
described on page 67. The bass note for on-bass chords
can be entered via the lower octave of the micro-keyboard
while holding the [OCT DOWN/BASS] button (the bass
note will appear to the right of a slash next to the chord
name).
Mute
Solo
104
Creating Original Accompaniment Patterns
You can also enter the chord by pressing the chord as it is
on the micro keyboard or an external keyboard if
FNGR(Fingered Chord function) is set to ON. In this
case, a bass note can be entered by pressing a key for a
bass note on the left part of the micro keyboard or an exter-
nal keyboard while holding the chord. (The left part range
for entering a bass note can be specied in the Utility mode
on page 252.)
b Repeat for as Many Tracks as Necessary
Repeat steps c and v to enter phrases for as many tracks
as required (you dont have to program all 8 pattern tracks).
n Repeat for the Other Sections
Repeat the above procedure to complete the remaining
sections of the style, as required.
NOTE
See “The Pattern Jobs” on page 181 for details on the QY100's pattern
jobs which allow considerable versatility in creating and modifying pat-
terns.
You can also re-combine phrases on the preset pattern. To store the re-
combination, execute the “Copy Pattern” (page 213) or “Copy Track”
(page 210) job before changing the style number of the pattern.
Creating Original Accompaniment Patterns
105
The QY100 makes it easy to create original accompaniment phrases.
The PATTERN mode provides two ways to create original phrases: realtime
and step recording.
In the realtime record mode you select the track you want to record,
the voice you want to record with, and then play the part on the micro-key-
board or an external MIDI keyboard in real time.
z Select a User Style and Section
As described in the preceding section, begin by selecting a
user style (U01 through U64) and a section (INTRO,
MAIN A, etc.) in the PATTERN mode.
x Select a Source Chord
Move the cursor to the chord parameter and use the chord
entry procedure described above to enter the source chord for
the phrase you are recording (i.e. the chord on which the phrase
is based). Note that you can not enter an on-bass chord for the
source chord.
Recording Original Phrases
Realtime Phrase Recording
User style
Section
106
Creating Original Accompaniment Patterns
c Select a Pattern Track and its “User” Phrase
Move the cursor to the track you want to create an original
phrase for. To create a bass phrase, for example, select the BA
(Bass) track. Then use the [+1] button to select the user phrase
for that track (Us- -001 for Intro sections D1 track through Us-
-048 for Ending sections C4 track, depending on the selected
section and track.) If the track you intend to record is empty, you
need not select the user phrase for that track.
NOTE
Before engaging the record mode you can also set the micro-keyboard
“velocity” via the “VEL” parameter in the upper right corner of the dis-
play. The velocity can be set in ten levels — the more bars the higher the
velocity. There are also four “randon velocity” settings which produce
different degrees of random velocity variation. “R1 produces the small-
est variation and “R4” produces the greatest variation.
You can also set the micro-keyboard’s octave before engaging the record
mode by pressing [OCT UP] or [OCT DOWN] button.
Source chord
User phrase
Creating Original Accompaniment Patterns
107
v Engage the Phrase Record Ready Mode
Press the [] button to engage the phrase record ready
mode. The red LED will light, and the display will appear some-
thing like this:
b Select the Realtime Overdub Record Mode
Move the cursor to the record mode selector area of the
display (the area with the OVER and STEP buttons), and
move it to the OVER (realtime overdub) button, then press the
[+1/YES] button to select the realtime overdub record mode (if it
isnt already selected). An inverse R will appear in the selected
record mode button.
n Set the Phrase Type and Voice
Note that a default TYPE and voice are shown for the
selected track. These can be changed as required before record-
ing the phrase. The default types and voices for each pattern track
are shown below. The TYPE parameter is actually the Note
Transition Table Type and it determines how the corresponding
track will be re-harmonized when used in an accompaniment with
chord changes. The various phrase types are described below.
Record mode
selector
108
Creating Original Accompaniment Patterns
The Phrase Types
Track Default Type Default Voice
D1 (Drum 1) Bypass Dr 001: Standard Kit
D2 (Drum 2) Bypass Dr 001: Standard Kit
PC (Percussion) Bypass Dr 001: Standard Kit
BA (Bass) Bass Ba 033: Acoustic Bass
C1 (Chord 1) Chord 1
Pf 001: Grand Piano
C2 (Chord 2) Chord 1
Pf 001: Grand Piano
C3 (Chord 3) Chord 1
Pf 001: Grand Piano
C4 (Chord 4) Chord 1
Pf 001: Grand Piano.
Bypass The phrase is not re-harmonized i.e. it is not affected
by chord changes when this type is selected. This type
should be used for drum and percussion phrases, other-
wise the drum instruments will be re-harmonized and
change whenever a chord change is encountered.
Bass When the Bass type is selected the phrase is re-harmo-
nized in the same way as for the Chord 1 phrase type,
below, except that the root is always used as the rst
note immediately following a chord change. In the case of
an on-bass chord, the bass phrase always plays the
on-bass note.
Chord 1 The source note data is reharmonized based on the root
of the specied chord.
Chord 2 The source note data is re-harmonized with the closest
possible voice leading from the preceding chord. This
results in the smoothest possible chord changes.
Parallel When this type is selected the source note data is simply
transposed to the root of the new chord without re-har-
monization.
Voice
Type
Creating Original Accompaniment Patterns
109
m Set the Pattern Length, Time Signature & Tempo as
Required
If youre creating a phrase for an empty pattern, move the
cursor to the pattern length parameter and set the desired pattern
length from 1 to 8 measures. If necessary, also move the cursor
to the time signature parameter and set as required (1/16 16/
16, 1/8 16/8, 1/4 8/4). The default tempo is 120, but you can
move the cursor to the tempo parameter and set any other tempo
that is suitable for your recording.
, Record
Press the [>] button to begin recording. The metronome
will sound and youll be given a one-measure count-in prior to the
rst measure actually recorded.
Play the required part either on the micro-keyboard or via an
external MIDI keyboard. The phrase will continuously repeat from
the rst to last measure, so you can continue to add notes until
the current part is complete.
NOTE
Since your original phrase will be automatically re-harmonized as
required by the QY100 ABC system, there are a few rules you should
follow to ensure the best results:
1: Stick to the harmonic environment of your source chord.
2: Use primarily the root, 3rd, 5th, and major 7th.
3: Keep it rhythmic … avoid melodic lines.
Tempo
Time signature
Pattern length
110
Creating Original Accompaniment Patterns
. Delete Mistakes as Required
To delete mistakes, simply play the note to be deleted on
either the micro-keyboard or an external MIDI keyboard while
holding the [SHIFT] button. All corresponding notes that occur
while the button is held will be deleted.
⁄0 Stop Recording
Press the [] button to stop recording. The normal PAT-
TERN play mode is automatically re-selected when you stop
recording.
⁄1 Repeat for as Many Tracks and Sections as Necessary
Repeat the appropriate steps of the above procedure to
record phrases for as many tracks and sections as required.
NOTE
See “The Pattern Jobs” on page 181 for details on the QY100’s pattern
jobs which allow considerable versatility in creating and modifying pat-
terns.
Creating Original Accompaniment Patterns
111
The step phrase record mode lets you enter phrases note-by-note,
with precise control over the timing, length, and loudness of each note. You
can record complete phrases using the step mode, or use it to brush-up
and add data to an existing phrase.
Steps z through m are the same as for phrase realtime recording,
above, except for step b in which youll need to select the STEP record
mode rather than OVER (page 107). The actual recording process is then
the same as step-recording the SONG tracks except that the measure/beat/
clock display shows the total number of measures in the pattern as well as
the current measure number. Refer to pages 91 through 97 for details on
step recording.
NOTE
The recorded user phrase can be cleared by pressing the function button next to
“cler”, as shown on page 103. In this case, you can recall the cleared phrase by
selecting a user phrase for that track again with [+1]/[-1] button. To delete the
recorded phrase completely, execute the “Clear Track” job on page 212.
Step Phrase Recording
STEP button
112
Creating Original Accompaniment Patterns
Each pattern phrase has its own voice whether it is a preset phrase
or a user phrase. (The user phrase voice is specified in the phrase record
ready mode described on page 106).
However, you can also assign any of the QY100’s 525 voices and 22
drum kits to the 8 pattern phrase tracks(D1, D2, PC, BA, C1...C4) via the
PATTERN VOICE mode.
The VOICE mode features a graphic on-screen “mixer” that has
mute/solo controls, pan pots, and faders for each track. The PATTERN voice
mode also provides access to effect send controls and a versatile range of
voice editing parameters.
Press the [PATTERN] button to select the voice mode mixer display.
The mixer display shows 8 pattern phrase tracks at a time.
The VOICE mode mixer display looks almost the same as that of the
SONG VOICE mode except:
For details on each parameter of the VOICE mixer display, see “The
Song Voice Mode” on page 131. Remember that each track’s voice assign,
pan and volume settings for a preset pattern in the VOICE mode will not be
stored in memory.
Pattern Voice mode
Voice parameter for each
track shows “- -” as the
default setting, which
means that the phrase
has its own voice
assigned to each track.
The track numbers are D1, D2,
PC, BA and C1...C4.
Master volume and Pattern vol-
ume faders are omitted.
Creating Original Accompaniment Patterns
113
The QY100 features a high-performance internal digital signal pro-
cessing system which provides a range of effects including reverb, delay,
modulation, distortion, and more. Three independent effect blocks are pro-
vided Reverb, Chorus, and Variation. The individual effects are selected
and modied via the EFFECT mode, described in detail on page 236. The
VOICE mode mixer display provides access to independent effect send
controls for each of the three effect blocks via the MENU sub-display. Press
the [MENU] button, and then the function button next to Effect Send on
the display.
The Effect Send Display
114
Creating Original Accompaniment Patterns
The Effect Send display looks almost the same as that of the SONG
VOICE modes Effect Send display except for track numbers and the
assigned voice (- - means the phrase has its own voice).
For details on each parameter of the Effect Send display, see The
Effect Send Display of the Song Voice mode on page 136.
Creating Original Accompaniment Patterns
115
The QY100s VOICE EDIT mode allows you to modify the sound of
the voices assigned to each track to best suit your particular musical
requirements. The VOICE EDIT mode can be accessed from the PATTERN
VOICE mode by pressing the [MENU] button, and then the function button
next to Voice Edit on the display. If a Drum Set is selected (i.e., if a drum
track, to which Ds3 drum set voice is assigned, is selected) the Drum
Voice Edit mode will also be available via the menu.
The VOICE EDIT display looks almost the same as that of the SONG
VOICE modes VOICE EDIT display except for track numbers and the
assigned voice (- - means the phrase voice has its own voice).
For details on each parameter of the VOICE EDIT display, see Voice
Editing of the Song Voice mode on page 138.
NOTE
“Ds1” and “Ds2” drum sets can be selected in the SONG VOICE mode only. In the
PATTERN VOICE mode, “Ds3” drum set can be selected to edit drum instruments.
Voice Editing
116
Creating Original Accompaniment Patterns
The QY100s Play Effects can also affect pattern playback in real
time as well as song playback, and are not actually recorded with the
phrase data. The Play Effects include Swing and Drum Table Remapping.
To access the Play Effects press the [MENU] button while in the PAT-
TERN play mode and press the function button next to Play Fx on the dis-
play. The Swing and Drum Table displays can then be selected by
pressing the [MENU] button and then the function button next to Swing
or Drum Table on the display, as required.
NOTE
The Play Effects settings can be stored for each user style. These settings will also
be effective when the user style is assigned and played in the SONG mode’s pattern
(Pt) track.
Play Effects
Creating Original Accompaniment Patterns
117
Swing and Drum Table displays are exactly the same as those in
the SONG mode except track numbers (D1, D2, PC, BA, C1...C4). See
Play Effects of the SONG mode on page 124 for details.
Swing display
Drum Table display
118
Playback Control
Playback Control
The normal SONG mode display includes all the parameters and
controls you need for song playback. Press the [SONG] button to go to
the SONG play mode (depending on the current mode, you may need
to press the [SONG] button more than once).
Song number
Song name
Measure number
Jump mode
(Off/Stop/Top)
and location
Sequencer
tracks (1 16)
Velocity meters
& Mute/Solo
buttons
Chord template number
Chord display
Style section name
Style number &
name
Accompaniment
tracks (Pattern,
Chord, Tempo)
Time signature
Tempo
Micro-keyboard
octave indicator
Micro-keyboard velocity
Transpose
Fingered Chord on/off
Reference Section
Reference Section
Reference Section
Playback Control
119
Selecting a Song
The QY100 can retain up to 20 different songs in memory
at the same time: song numbers 01 through 20 (three demo
songs are recorded as song numbers 21 through 23). To select a
song for playback use the cursor buttons to move the cursor to
the song number location (the song number will be highlighted),
and then use the [-1] and [+1] buttons or the SHIFT-Number entry
method desribed below to select the desired song number. If the
song has been given a name (this is done via the Song Name job
described on page 180), the song name will appear to the right of
the song number.
The SHIFT-Number Entry Method
Numeric values can be directly entered by using the black
micro-keyboard keys (numbered 1 through 0) while holding
the [SHIFT] button. To enter the number 16, for example,
press the 1 and then the 6 keys (F#/Gb and 7(#9)/
7(b9) on the micro-keyboard) while holding the [SHIFT]
button. The entered number 16 will ash on the
display. Press the [ENTER] button to actually enter the
number.
Negative values can be entered where applicable by rst
pressing the E (-) key on the micro-keyboard while
holding the [SHIFT] button, and then entering the value as
described above.
Playing the Selected Song
Playback of the selected song is started by pressing the [>]
(PLAY) sequencer button. The green LED will ash at the play-
back tempo. The song will play through to the end and then stop
automatically. Song playback can also be stopped at any time by
pressing the [] sequencer button.
NOTE
When a song is selected, its voice and effect settings will be recalled.
Therefore, you should wait for about 1 second until pressing the [
>
] but-
ton after selecting a song.
120
Playback Control
Repeat Playback
Press the [>] button while holding the [SHIFT] button to
start repeat playback of the selected song. The repeat playback
symbol ( ) will appear in the upper right corner of the display
during repeat playback. In this mode the selected song will repeat
indenitely untill stopped by pressing the [] button.
Measure Number
The measure number parameter on the display shows the
current measure number during song playback (and recording).
You can also place the cursor here and use the [-1] and [+1] but-
tons or the SHIFT-Number entry method (page 34) to enter any
measure number from which you want to start playback or
recording. The sequencer [r] and [f] buttons can be used to
step or scroll forward or backward through the songs measures
no matter where the cursor is located.
Jump Functions
For convenient navigation the QY100 has two jump
modes that let you jump to a specied measure number.
Jump Mode Symbol Function
Stop Jump When this mode is selected the QY100
will automatically jump to the specied
measure number whenever the
sequencer [] (Stop) button is pressed.
Top Jump In this mode the QY100 will automati-
cally jump to the specied measure num-
ber when the sequencer [p] (Top) button
is pressed and the current measure num-
ber is greater than the specied jump
location. If the current measure number
is lower than the specied jump location
the QY100 will jump to the top of the
song (measure 001).
Jump Off [- -] The jump function is OFF.
Playback Control
121
The jump modes can be selected by moving the cursor to
the jump mode symbol and selecting via the [-1] and [+1] buttons,
or by using the following button combinations:
To specify the measure number you want to jump to move
the cursor to the jump location parameter and use the [-1] and
[+1] buttons or the SHIFT-Number entry method (page 34) to set
as required.
Playback Tempo
The playback tempo can set from 25 to 300 quarter-note
beats per minute by moving the cursor to the tempo parameter
and using the [-1] and [+1] buttons or the SHIFT-Number entry
method (page 34) to set as required.
Track Selection
Although track selection is more of a recording than a play-
back function, it is necessary to select tracks in the playback
mode for muting and solo monitoring control (below). The SONG
display shows the pattern (Pt), chord (Cd), and tempo (Tm)
accompaniment tracks as well as 8 of the 16 available sequencer
tracks at a time. Move the cursor to the track area and scroll left
or right to the remaining tracks (an arrow appears at either the left
or right of the track numbers to indicate that more tracks can be
accessed by scrolling in the corresponding direction). The number
of the selected track remains highlighted when the cursor is
moved to other areas of the display.
Mode Button Combination
Stop Jump [SHIFT] + []
Top Jump [SHIFT] + [p]
Jump Off [SHIFT] + [r] or [f]
122
Playback Control
The Velocity Meters
The area below each sequencer track number is a 5-seg-
ment velocity meter that shows approximate MIDI velocity in
the corresponding track during playback. When playback is
stopped, the lowest segment of the velocity meter appears only
below tracks which contain data.
Mute/Solo
The velocity meter area below each track number in the
SONG mode also functions as a mute/solo button which can be
used to mute (turn off) or solo (only that track will be monitored)
the corresponding track. Move the cursor to the track, then use
the [-1] button to alternately mute or un-mute that track, or use
the [+1] button to alternately solo or un-solo the track. Any num-
ber of tracks can be muted and/or soloed at a time. To solo more
than one track at a time hold the [SHIFT] button while soloing
additional tracks after the rst solo track has been specied. Also
hold the [SHIFT] button while un-soloing a single track when mul-
tiple tracks are soloed (un-soloing a single track without holding
the [SHIFT] button will un-solo all soloed tracks).
The letter M appears below the number of tracks that
are muted, and the letter S appears when a track is soloed.
NOTE
The mute function is a handy way to simply turn tracks that you don’t
want to hear off. When recording, they also make it easy to mute a
“busy” track or several tracks that might make it difficult to hear an
important track.
Solo monitoring is a great way to isolate a track or two when you want
to concentrate on the sound while, for example, making delicate adjust-
ments to effects or other parameters that might get “swamped” by the
sound from other tracks. It’s also handy for listening for small mistakes
that you might otherwise overlook.
Playback Control
123
Velocity
This parameter sets the velocity (i.e. loudness) of the
micro-keyboard. The velocity can be set in ten levels the more
bars the higher the velocity. There are also four random velocity
settings which produce different degrees of random velocity vari-
ation. R1 produces the smallest variation and R4 produces the
greatest variation.
Transposition
The transpose (TRNS) parameter can be used to trans-
pose the pitch of song playback up or down by a maximum of 2
octaves in semitone increments. A transpose setting of +00
produces normal pitch. To transpose song playback move the cur-
sor to the TRNS parameter and use the [-1] and [+1] buttons or
the SHIFT-Number entry method (page 34) to set as required.
Minus settings transpose down, and plus settings transpose up
by the specied amount. Each increment corresponds to one
semitone. The maximum range is from -24 through +00 to
+24.
Fingered Chord
This parameter can either be turned OFF or ON. When
ON chords played in the specied “fingered zone of the
micro-keyboard or an external MIDI keyboard are recognized by
the QY100 and the chord accompaniment track is reharmonized
accordingly. See page 252 for details.
124
Playback Control
The QY100 Play Effects affect sequence playback in real time, and
are not actually recorded with the sequence data. The Play Effects include
Swing and Drum Table Remapping.
To access the Play Effects press the [MENU] button while in the
SONG mode and press the function button next to Play Fx on the display.
The Swing and Drum Table displays can then be selected by pressing
the [MENU] button and then the function button next to Swing or Drum
Table on the display, as required.
NOTE
The Play Effects settings can be stored for each song.
See the “Normalize” job on page 177 to apply the Play Effects to the actual
sequence data.
Play Effects
Playback Control
125
Swing display
Drum Table display
126
Playback Control
By shifting the timing of certain notes according to a pre-dened pat-
tern, this function makes it easy to add a swing feel to data which has
already been recorded.
If the Swing display shown below does not appear when Play Fx is
selected, press the [MENU] button again and press the function button
next to Swing on the display.
The Swing display shows 8 of the 16 available tracks at a time. Use
the cursor buttons to scroll left or right to the remaining tracks (an arrow
appears at either the left or right of the track numbers to indicate that more
tracks can be accessed by scrolling in the corresponding direction).
Swing
Mute/Solo buttons
FX THRU switches
Swing
Timing
Sequencer tracks
(1 16)
Playback Control
127
M/S (Mute/Solo)
The Mute/Solo (M/S) parameters below each track num-
ber in the Swing display can be used to mute (turn off) or solo
(only that track will be monitored) the corresponding track. Move
the cursor to the appropriate M/S parameter, then use the [-1] but-
ton to alternately mute or un-mute that track, or use the [+1] but-
ton to alternately solo or un-solo the track. Any number of tracks
can be muted and/or soloed at a time. To solo more than one
track at a time hold the [SHIFT] button while soloing additional
tracks after the rst solo track has been specied. Also hold the
[SHIFT] button while un-soloing a single track when multiple
tracks are soloed (un-soloing a single track without holding the
[SHIFT] button will un-solo all soloed tracks).
The letter M appears below the number of tracks that
are muted, and the letter S appears when a track is soloed.
FX THRU
These switches enable or bypass the effect for the cor-
responding tracks. When an FX THRU switch appears as an
empty square, the effect is enabled for that track. To bypass the
effect for a track, move the cursor to the appropriate FX THRU
switch, and press the [+1] button so that a T (THRU) in the
square. Bypassed tracks can be enabled by pressing the [-1] but-
ton.
SWING
Use the Swing Type parameter to select the swing type for
currently selected track. No swing is applied when off (“—“) is
selected. The available swing types are: -- (OFF), (32 swing),
(16 swing), (08 swing), and (04 swing).
NOTE
The M/S parameters duplicate those in the SONG play mode and SONG
VOICE displays, and have exactly the same effect.
128
Playback Control
TIMING
Determines the degree to which the original notes are
shifted toward the timing specied by the Swing Type parameter.
The range is from 0% to 200%. At 100% the notes are shifted to
the note timing specied by the Swing Type parameter (see illus-
tration, below), while at 200% the amount of shift is doubled.
If the Drum Table display shown below does not appear when Play
Fx is selected, press the [MENU] button again and press the function but-
ton next to Drum Table on the display.
Drum Table remapping allows the drum instruments to be
remapped so that, for example, you can replace a medium snare drum
with a high snare or rimshot without affecting the data in the drum track.
0% 100% 200%
Original note
timing.
Note timing speci-
ed by the Swing
Type parameter.
Time
Drum Table Remapping
Sequencer tracks
(1 16)
Mute/Solo buttons
FX THRU switches
Drum table
Playback Control
129
M/S (Mute/Solo)
The Mute/Solo (M/S) parameters below each track num-
ber in the Drum Table display can be used to mute (turn off) or
solo (only that track will be monitored) the corresponding track.
Move the cursor to the appropriate M/S parameter, then use the [-
1] button to alternately mute or un-mute that track, or use the [+1]
button to alternately solo or un-solo the track. Any number of
tracks can be muted and/or soloed at a time. To solo more than
one track at a time hold the [SHIFT] button while soloing addi-
tional tracks after the rst solo track has been specied. Also hold
the [SHIFT] button while un-soloing a single track when multiple
tracks are soloed (un-soloing a single track without holding the
[SHIFT] button will un-solo all soloed tracks).
The letter M appears below the number of tracks that
are muted, and the letter S appears when a track is soloed.
FX THRU
These switches enable or bypass the effect for the cor-
responding tracks. When an FX THRU switch appears as an
empty square, the effect is enabled for that track. To bypass the
effect for a track, move the cursor to the appropriate FX THRU
switch, and press the [+1] button so that a T (THRU) in the
square. Bypassed tracks can be enabled by pressing the [-1] but-
ton.
NOTE
The M/S parameters duplicate those in the SONG play mode and SONG
VOICE displays, and have exactly the same effect.
130
Playback Control
DRUM TABLE
This parameter species the drum instrument to be
remapped for the selected track. 24 choices are available (in addi-
tion to - - or OFF), spanning 6 remapping categories, as
shown in the chart below. A selected instrument will replace any
other instrument in the same category. For example, if a drum
track uses the Snare M instrument and you select DRUM TABLE
number 7 for that track, every occurence of the Snare M instru-
ment will be replaced by the Open Rimshot instrument.
No. Category Instrument
1
Bass Drum
Bass Drum L
2 Bass Drum M
3 Bass Drum H
4
Snare
Snare L
5 Snare M
6 Snare H
7 Open Rimshot
8 Brush Slap
9 Side Stick
10 Hand Clap
11 Mid Tom
12
Hi Hat
Ride Cymbal
13 Cabasa
14 Maracas
15 Triangle
16 Shaker
17 Tambourine
18 Bongo-Conga Bongo-Conga
19
Solo
Solo BassDr
20 Solo SnareDr
21 Solo Hi-Hat
22
Mute
Mute BassDr
23 Mute SnareDr
24 Mute Hi-Hat
The Song Voice Mode
131
The Song Voice Mode
The QY100 has 525 voices and 22 drum kits that can be
selected, played, and assigned to the 16 SONG mode sequencer
tracks via the SONG VOICE mode. The VOICE mode features a
graphic on-screen “mixer” that has mute/solo controls, pan pots, and
faders for each track. The SONG voice mode also provides access to
effect send controls and a versatile range of voice editing parameters
(page 138).
Press the [SONG] button to select the voice mode mixer dis-
play. The mixer display shows 8 of the 16 available tracks at a time.
Use the cursor buttons to scroll left or right to the remaining tracks (an
arrow appears at either the left or right of the track numbers to indi-
cate that more tracks can be accessed by scrolling in the correspond-
ing direction).
Track numbers
Mute/Solo parameters
Voice selectors
Pan pots
Volume faders
Pattern fader
Master fader
132
The Song Voice Mode
Mute/Solo
The Mute/Solo (M/S) parameters below each track num-
ber in the VOICE mode mixer display can be used to mute (turn
off) or solo (only that track will be monitored) the corresponding
track. Move the cursor to the appropriate M/S parameter, then
use the [-1] button to alternately mute or un-mute that track, or
use the [+1] button to alternately solo or un-solo the track. Any
number of tracks can be muted and/or soloed at a time. To solo
more than one track at a time hold the [SHIFT] button while solo-
ing additional tracks after the rst solo track has been specied.
Also hold the [SHIFT] button while un-soloing a single track when
multiple tracks are soloed (un-soloing a single track without hold-
ing the [SHIFT] button will un-solo all soloed tracks).
The letter M appears below the number of tracks that
are muted, and the letter S appears when a track is soloed.
NOTE
The mute function is a handy way to simply turn tracks that you don’t
want to hear off. When recording, they also make it easy to mute a
“busy” track or several tracks that might make it difficult to hear an
important track.
Solo monitoring is a great way to isolate a track or two when you want
to concentrate on the sound while, for example, making delicate adjust-
ments to effects or other parameters that might get “swamped” by the
sound from other tracks. It’s also handy for listening for small mistakes
that you might otherwise overlook.
These same parameters also appear in the main SONG display. A track
that is muted or soloed in the main SONG display will also appear muted
or soloed in the voice mode mixer display, and vice-versa.
Solo (use the [+1]
button)
Mute (use the [-1]
button)
The Song Voice Mode
133
The Voices
Due to the large number of voices provided in the QY100,
they are organized into 21 categories, as follows:
See the Data List for a complete list of the voices with their
corresponding category, program number, and bank number.
To select a voice for a specic track, move the cursor to the
appropriate VOICE parameter and select using the [-1] and [+1]
buttons or the SHIFT-Number entry method (page 34). You can
also skip to the rst voice in each category by using the [-1/NO]
and [+1/YES] buttons while holding the [SHIFT] button.
Note that the currently selected voice category, number,
and name appear at the top of the display. Also note that some of
the voices have variations, indicated by a plus sign (+) between
the program number and voice name. Play the micro keyboard
and youll hear that voice.
Prex Category
Pf Piano
Cp Chromatic Percussion
Or Organ
Gt Guitar
Ba Bass
St Strings
En Ensemble
Br Brass
Rd Reed
Pi Pipe
Ld Lead Synth
Pd Pad
Fx Synth Effects
Et Ethnic instruments
Pc Percussive
Se Sound effects
Sfx More sound effects
Sfk Sound effect kits (i.e. a different effect on each key).
Dr Drum kits
Ds1
Drum set 1
(Drum kit including editable drum instruments)
Ds2
Drum set 2
(Drum kit including editable drum instruments)
134
The Song Voice Mode
The Pan Pots
Like the pan pots on a mixing console, the VOICE mode
pan pots can be used to position the sound of the corresponding
track anywhere from left to right in the stereo sound eld. Posi-
tion the cursor at the pan pot, then use the [-1/NO] and [+1/YES]
buttons to set the pan position. The graphic pan pot will rotate to
the corresponding position. The pan positions also have numeric
values (1 through 63) that appear at the top of the display: Cen-
ter is center, Left 63 is full left, and Right 63 is full right.
Theres also a Random setting in which the pan position is set
randomly.
The Volume Faders
Each track has a graphic volume fader that can be set to
produce the best mix (balance) between the various voices.
Position the cursor at a fader, then use the [-1/NO] and [+1/YES]
buttons or the SHIFT-Number entry method (page 34) to set the
fader level. The graphic fader will move to the corresponding posi-
tion (higher for higher volume, and lower for lower volume). The
fader positions also have numeric values (000 through 127) that
appear in the upper right corner of the display: 000 is minimum
volume (no sound) and 127 is maximum volume. The default
setting is 100 for all tracks. The leftmost mst fader is a
master fader which can be used to adjust the overall volume
level, while the pat fader independently controls the level of
the pattern track.
NOTE
In any QY100 mode, the micro keyboard or an external MIDI keyboard
plays the voice assigned to the currently selected track. A MIDI key-
board will also play the voice assigned to a track with the same number
as the external keyboard’s MIDI transmit channel unless the “ECHO
BACK” parameter (page 248) is set to “Rec Monitor”.
If you’re playing the micro keyboard, use the octave keys to access the
full range of instruments in each drum or effects kit.
See the Data List for a complete list of note assignments (i.e. which
drum instruments and SFX sounds are assigned to which notes) for all
drum and SFX kits.
The Song Voice Mode
135
NOTE
You can switch back and forth between the SONG and VOICE modes
even while a song is playing, so you can adjust all VOICE mode parame-
ters (change voices, mute tracks, pan, and change volume settings)
while listening to the results in real time!
136
The Song Voice Mode
The QY100 features a high-performance internal digital signal pro-
cessing system which provides a range of effects including reverb, delay,
modulation, distortion, and more. Three independent effect blocks are pro-
vided Reverb, Chorus, and Variation. The individual effects are selected
and modied via the EFFECT mode, described in detail on page 236. The
VOICE mode mixer display provides acces to independent effect send con-
trols for each of the three effect blocks via the MENU sub-display: press
the [MENU] button, and then the function button next to Effect Send on
the display.
The Effect Send Display
VOICE mode mixer display
The Song Voice Mode
137
The VARI. (variation effect) control appears either as a standard rotary
control or a switch, depending on how the variation effect block is connected
to the system in the EFFECT mode (System or Insertion see page 239).
The effect controls REVERB, CHORUS, and VARI. set
the level of the corresponding effect for the corresponding parts. Position
the cursor at a control, then use [-1/NO] and [+1/YES] buttons or the SHIFT-
Number entry method (page 34) to set the corresponding effect level. The
graphic control will rotate to the corresponding position (clockwise for
higher level, and counter-clockwise for lower level). The control positions
also have numeric values (000 through 127) that appear at the top of the
display: 000 is no effect and 127 is maximum effect level. When the
VARIATION control appears as a switch, it simply turns the current variation
effect on or off (E appears in the switch when the variation effect is on).
The Mute/Solo and Voice selectors in the Effect Send display duplicate
those in the VOICE mode mixer display, and have exactly the same functions.
You can return to the SONG VOICE mixer display by pressing the
[EXIT] button.
.
NOTE
The effect settings apply only to the QY100’s internal voices — i.e. they will not
affect the sound of an external tone generator or synthesizer being driven by the
QY100.
When the “VARI.” control appears as a standard rotary control (i.e., the variation
effect block is connected as a “System” effect), the “DRY” rotary control also
appears to control “Dry/Wet” mixing of effects for each track.
When the “VARI.” control appears as a switch (i.e., the variation effect block is con-
nected as an “Insertion” effect), the “DRY” rotary control disappears. In this case,
“Dry/Wet” mixing can be controlled in the “Vari.Edit” of the Effect Editing display.
(page 240)
Effect send display
VARI. = System effect VARI. = Insertion effect
138
The Song Voice Mode
The QY100 VOICE EDIT mode makes it possible to modify the sound
of the voices assigned to each track to best suit your particular musical
requirements. The VOICE EDIT mode can be accessed from the SONG
VOICE mode by pressing the [MENU] button, and then the function button
next to Voice Edit on the display. If a Drum Set is selected (Ds1 or
Ds2) the Drum Voice Edit mode will also be available via the menu.
Voice Editing
VOICE mode mixer display
The Song Voice Mode
139
To edit a voice parameter, move the cursor to the parameter and edit
using either the [-1] and [+1] buttons or the SHIFT-Number entry method
(page 34).
PB (Pitch Bend Range)
This control sets the maximum pitch bend control range. The
range is from -24 through 0 to +24. Each increment
corresponds to one semitone (100 cents), thus the maximum
pitch bend control range is plus or minus two octaves. The
value set here also applies to the pitch bend range controlled
by the [OCT DOWN] button while playing on the micro key-
board.
NOTE
The Mute/Solo and Voice selectors in the VOICE EDIT display duplicate those in the
VOICE mode mixer display, and have exactly the same functions.
You can return to the SONG VOICE mixer display by pressing the [EXIT] button.
VOICE EDIT display
CUT
PB
RES A
DR
140
The Song Voice Mode
Filter Controls
The lter controls affect the basic timbre of the sound.
CUT (Cutoff Frequency)
Sets the cutoff frequency of the low-pass lter from -64
through 0 to +63. Negative values lower the cutoff fre-
quency, producing a darker sound. Positive values raise the
cutoff frequency, producing a brighter sound. The graphic lter
response curve will shift to indicate the current setting (the
heavy default setting curve will also remain on the display).
RES (Resonance)
Adjusts the height of the lters resonance peak from -64
through 0 to +63. Negative values lower the resonant
peak producing a “flatter sound. Positive values increase the
resonant peak, emphasizing components at the lter cutoff
frequency. The peak on the graphic lter response curve will
grow or shrink to indicate the current setting (the heavy
default setting curve will also remain on the display).
Resonance
Cutoff Frequency
The Song Voice Mode
141
EG (Envelope Generator) Controls
The envelope generator controls affect the level enve-
lope of the sound i.e. its attack, decay, and release times.
Plotted against time, the level envelope looks something like this.
A (Attack Time)
Adjusts the attack portion of the envelope generator curve
from -64 through 0 to +63. Negative values produce a
faster attack while positive values produce a slower attack.
The graphic envelope generator curve will shift to indicate the
current setting (the heavy default setting curve will also remain
on the display).
D (Decay Time)
Adjusts the decay portion of the envelope generator curve
from -64 through 0 to +63. Negative values produce a
faster decay while positive values produce a slower decay.
The graphic envelope generator curve will shift to indicate the
current setting (the heavy default setting curve will also remain
on the display).
R (Release Time)
Adjusts the release portion of the envelope generator curve
from -64 through 0 to +63. Negative values produce a
faster release while positive values produce a slower release.
The graphic envelope generator curve will shift to indicate the
current setting (the heavy default setting curve will also remain
on the display).
Decay
Release
Attack
142
The Song Voice Mode
When a Drum Set is selected (Ds1 or Ds2) the Drum Voice
Edit mode can be selected via the SONG VOICE menu.
Drum Edit
Ds1 or Ds2
Selected drum kit
Current selected
drum instrument
LVL
PAN
VAR
REV
PITCH
Editable drum
instrument
DECAYRESCUT
The Song Voice Mode
143
Select the specic drum set to be edited by placing the cursor on the
drum set number and selecting via the [-1] and [+1] buttons or by using the
SHIFT-Number entry method. Only certain drum instruments can be edited,
and these are indicated by dots on the appropriate keys in the graphic key-
board display at the top of the display panel. Use the [OCT DOWN] and
[OCT UP] buttons to access the full range of drum instruments, and press
the corresponding micro-keyboard key to select an instrument for editing.
When a drum instrument which cannot be edited is selected, the controls
on the display appear grayed and cannot be accessed.
PICH (Pitch Coarse)
Adjusts the pitch of the selected drum instrument from -64
through 0 to +63. Negative values lower the pitch of the
instrument, while positive values raise the pitch of the instru-
ment.
REV (Reverb Send)
Independently adjusts the reverb send level of the selected
drum instrument from 0 (no reverb) to 127 (maximum
reverb).
VAR (Variation Send)
Independently adjusts the variation effect send level of the
selected drum instrument from 0 (no effect) to 127 (max-
imum effect) when the variation effect block is connected as a
system effect, or turns the variation effect On (in case set to
other than 0) or Off (in case set to 0) when the variation
effect block is connected as an insertion effect (see page 239
for details on the effect connections).
PAN (Pan Position)
Sets the pan position of the selected drum instrument. Cen-
ter is center, Left 63 is full left, and Right 63 is full right.
Theres also a Random setting in which the pan position is
set randomly.
LVL (Level)
Sets the level (volume) of the selected drum instrument from
0 (no sound) to 127 (maximum volume).
144
The Song Voice Mode
CUT (Cutoff Frequency)
Sets the cutoff frequency of the low-pass lter from -64
through 0 to +63. Negative values lower the cutoff fre-
quency, producing a darker sound. Positive values raise the
cutoff frequency, producing a brighter sound. The graphic lter
response curve will shift to indicate the current setting (the
heavy default setting curve will also remain on the display).
RES (Resonance)
Adjusts the height of the lters resonance peak from -64
through 0 to +63. Negative values lower the resonant
peak producing a “flatter sound. Positive values increase the
resonant peak, emphasizing components at the lter cutoff
frequency. The peak on the graphic lter response curve will
grow or shrink to indicate the current setting (the heavy
default setting curve will also remain on the display).
DECAY (Decay Rate)
Adjusts the decay rate from -64 through 0 to +63. Neg-
ative values produce a slower decay while positive values pro-
duce a faster decay (Unlike the Decay Time in normal Voice
Editing (page 141), this parameter sets the rate for how much
the level of the instrument decays. Therefore, positive values
produce a faster decay.). The graphic envelope generator
curve will shift to indicate the current setting (the heavy
default setting curve will also remain on the display).
The Song Jobs
145
The Song Jobs
The SONG mode includes 25 song jobs that perform a vari-
ety of important functions. To access and use the song jobs, press
the [MENU] button while in the main SONG play mode, then press
the Job function button. This calls the song job list. You can select
any job on the list simply by moving the cursor to the required job and
pressing [ENTER]. The function buttons can be used to move the cur-
sor directly to the rst job in the corresponding category: Event, Mea-
sure, Track, or Song (press the [MENU] button, then the appropriate
function button).
146
The Song Jobs
Returning to the SONG Mode
The [EXIT] button can be used to exit from any song job, and then from the job list
thereby returning you to the normal song play mode. You can also press the [SONG]
button to directly return to the SONG mode.
00: Undo/Redo
Event category
01: Quantize
02: Modify Velocity
03: Modify Gate Time
04: Crescendo
05: Transpose
06: Shift Clock
07: Chord Sort
08: Chord Separate
09: Copy Event
10: Erase Event
11: Extract Event
12: Create Continuous
13: Thin Out
14: Time Stretch
Measure category
15: Create Measure
16: Delete Measure
Track category
17: Copy Track
18: Mix Track
19: Clear Track
20: Expand Backing
21: Normalize
Song category
22: Copy Song
23: Clear Song
24: Song Name
The Song Jobs
147
This job will undo any other song/pattern job, edit, or record func-
tion if it is executed before any other operation is performed. In all cases
the affected data is restored to the state it was in before performing the
job, edit, or record operation. This job will also undo the last undo operation
(redo).
The name of the last operation performed will appear on the display
(i.e. the operation which will be undone). In the example display, above, a
quantize operation will be undone.
Press [ENTER] to execute the Undo/Redo job. The metronome icon
will appear on the display while the data is being processed, then Com-
pleted ! will appear briey when the job is done. Press the [EXIT] button to
return to the job list, or a mode button to go directly to the selected mode.
DETAIL
The UNDO/REDO job will not undo the Clear Song (“All”), the Clear Pattern (“All”
styles), the Song Name or Style Name jobs.
00 : Undo/Redo
Name of the last
operation performed
148
The Song Jobs
Aligns notes in the specied track to or close to the nearest specied
beat.
The TR parameter selects the track to be affected by the Quantize
job: 01 16 for individual tracks, or All to quantize all 16 tracks
simultaneously.
The M parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range to be quantized.
The Quantize parameter determines to what beats the note data
in the specied track will be aligned. If you select “”, for example, all
notes in the track will be aligned to the nearest 16th-note beat, to a degree
determined by the Strength parameter.
Quantize Values
Value Effect
Aligns to the nearest 32nd note.
Aligns to the nearest 16th note triplet.
Aligns to the nearest 16th note.
Aligns to the nearest 8th note triplet.
Aligns to the nearest 8th note.
Aligns to the nearest quarter note triplet.
Aligns to the nearest quarter note.
01 : Quantize
First measure
Last measure
First beat
Last beat
The Song Jobs
149
The Strength parameter determines how strongly the notes
are attracted to the specied quantize value. The strength range is from 0%
to 100%. At a setting of 0% no quantization will occur, while a setting of
100% will cause all notes to be aligned precisely to the nearest specied
beat value. In-between settings produce a corresponding shift in the posi-
tion of all off-beat notes to the nearest specied beat value. With a value
setting of “” and a strength setting of 50%, for example, a note that does
not fall precisely on a quarter beat will be shifted about halfway to nearest
quarter beat.
The Swing Rate parameter produces a swing feel by shifting
the timing of back beats, as specied by the quantize value. For example,
if the specied quantization value is 8th notes, then the swing effect will
shift the 2nd, 4th, 6th, and 8th beats of each measure forward to create a
swing feel. If the quantize value is set to a triplet note length, the last note
in each triplet group will be shifted. If the quantize value is set to a com-
pound note length (e.g. 8th note + 8th note triplet) the even-numbered
back beats will be shifted. The Swing Rate parameter determines how
much the timing of the affected notes will be shifted. The range is from
50% (no swing) to 75% (maximum swing) for even note lengths, from 66%
to 83% for triplet note lengths, and from 50% to 66% for even-plus-triplet
note lengths (e.g. 8th note + 8th note triplet).
Aligns to the nearest 16th note + 16th note triplet.
Aligns to the nearest 8th note + 8th note triplet.
Value Effect
Original data (assuming 4/4 meter)
Quantizing strength = 100% (quantize value = )
Quantizing strength = 50% (quantize value = )
150
The Song Jobs
The
Gate Time
parameter increases or decreases the gate times
(length) of all notes affected by the swing parameter. The range is from 0%
to 200%. The Gate Time parameter sets the ratio between the shorter
and longer gate time values. A setting of 100% maintains the original
relationship between the notes, lower values produce a narrower gate time
range, and higher values produce a broader gate time range.
After setting the parameters as required press [ENTER] to execute
the Quantize job. The metronome icon will appear on the display while the
data is being processed, then Completed ! will appear briey when the
job is done. Press the [EXIT] button to return to the job list, or a mode but-
ton to go directly to the selected mode.
Quarter-note length
Quantizing value = , Swing rate 50% (no delay)
Quantizing value = , Swing rate 60% (delay applied)
Original timing
The Song Jobs
151
Increases or decreases the velocity values of all notes in the speci-
ed track and range of measures.
The
TR
parameter selects the track to be affected by the Modify
Velocity job: 01 16.
The
M
parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range to be modied.
The
SetAll
parameter makes it possible to set all notes in the
specied range to a single velocity value from 1 to 127. Set All can
also be turned Off when the Rate and Offset parameters, below,
are to be used for velocity modication.
The
Rate
parameter allows you to
change the Velocity
value of each note with-
out affecting the velocity
ratios between notes
(proportional change). A
setting of 100% main-
tains the absolute veloc-
ity differences between
notes, while lower
(higher) values will
decrease (increase) the velocity values to the corresponding percentage,
resulting in a narrower (wider) dynamic range. The range is from 0% to
200%.
02 : Modify Velocity
First measure
Last measure
First beat
Last beat
96 64 32 127 96
48 32 16 63 48
127 96 48 127 127
Original
velocities
Rate = 50%
Rate = 150%
152
The Song Jobs
The
Offset
parameter allows you to change all velocity values by
an absolute amount. - settings will decrease the velocity of each note by
the corresponding amount, + settings will increase the velocity accord-
ingly. The range is from -99 through 0 to +99.
New Velocity = Original Velocity x rate/100 + offset
(If the right side of the equation is 0 or less, the New Velocity
becomes 1. If the right side of the equation is 128 or more, the
New Velocity becomes 127.)
After setting the parameters as required press [ENTER] to execute
the Modify Velocity job. The metronome icon will appear on the display
while the data is being processed, then Completed ! will appear briey
when the job is done. Press the [EXIT] button to return to the job list, or a
mode button to go directly to the selected mode.
NOTE
The Modify Velocity job is a great way to “soften” the sound of material that has too
great variation between the softest and loudest notes, or, conversely, to add extra
punch to dull-sounding material. Experiment with the parameters to get a feel for
what they do.
96 64 32 127 96
76 44 12 107 76
116 84 52 127 116
Original
velocities
Offset = -20
Offset = +20
The Song Jobs
153
Increases or decreases the gate times (length) of all notes in the
specied track and range of measures.
The
TR
parameter selects the track to be affected by the Modify
Gate Time job: 01 16.
The
M
parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range to be modied.
The
SetAll
parameter makes it possible to set all notes in the
specied range to a single gate time value from 1 to 9999. Set All
can also be turned Off when the Rate and Offset parameters,
below, are to be used for gate time modication.
The
Rate
parameter allows you to change the Gate Time value of
each note without affecting the gate time ratios between notes (propor-
tional change). A setting of 100% maintains the absolute gate time dif-
ferences between notes, while lower (higher) values will decrease
(increase) the gate time values to the corresponding percentage. The range
is from 0% to 200%.
03 : Modify Gate Time
First measure
Last measure
First beat
Last beat
32 32 32 48 48
16 16 16 24 24
48 48 48 72 72
Original
gate time
Rate = 50%
Rate = 150%
154
The Song Jobs
The
Offset
parameter allows you to change all gate time values by
an absolute amount. - settings will decrease the gate time of each note
by the corresponding amount, + settings will increase the gate time
accordingly. The range is from -9999 through 0 to +9999.
New Gate Time = Original Gate Time x rate/100 + offset
(If the right side of the equation is 0 or less, the New Gate Time
becomes 1)
After setting the parameters as required press [ENTER] to execute
the Modify Gate Time job. The metronome icon will appear on the display
while the data is being processed, then Completed ! will appear briey
when the job is done. Press the [EXIT] button to return to the job list, or a
mode button to go directly to the selected mode.
NOTE
The Modify Gate Time job can be used to produce a more staccato or legato feel, as
required. Experiment with the parameters to get a feel for what they do.
32 32 32 48 48
12 12 12 28 28
52 52 52 68 68
Original
gate time
Offset = -20
Offset = +20
The Song Jobs
155
Produces a gradual crescendo (increase in note velocity) or decre-
scendo (decrease in note velocity) in the specied track over the specied
range of measures.
The
TR
parameter selects the track to be affected by the Cre-
scendo job: 01 16.
The
M
parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range to be modied.
The
Range
parameter determines the range of velocity values
over which the crescendo will occur. A setting of +24, for example, will
cause the MIDI velocity values to increase by 24 over the specied mea-
sure range (The MIDI velocity value range is from 1 to 127).
Negative values cause a corresponding decrease in velocity, thereby
producing a decrescendo rather than a crescendo. The range of this param-
eter is from -99 through 0 to +99.
04 : Crescendo
First measure
Last measure
First beat
Last beat
Original
velocity.
Crescendo.
Range +24.
Specied measure (M) range.
156
The Song Jobs
After setting the parameters as required press [ENTER] to execute
the Crescendo job. The metronome icon will appear on the display while
the data is being processed, then Completed ! will appear briey when
the job is done. Press the [EXIT] button to return to the job list, or a mode
button to go directly to the selected mode.
The Song Jobs
157
Transposes all notes in the specied part up or down by the specied
number of semitones.
The
TR
parameter selects the track to be affected by the Trans-
pose job: 01 16 for the sequncer tracks, or Cd for the accompani-
ment chord track.
The
M
parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range to be modied.
The
Note
parameters specify the range of notes to be affected.
The maximum range is from C-2 to G8.
The
Transpose
parameter determines the amount of transposition
in semitone increments. Minus (-) values transpose down while plus (+) val-
ues transpose up. the range is from -99 through 0 to +99.
After setting the parameters as required press [ENTER] to execute
the Transpose job. The metronome icon will appear on the display while the
data is being processed, then Completed ! will appear briey when the
job is done. Press the [EXIT] button to return to the job list, or a mode but-
ton to go directly to the selected mode.
NOTE
Of course, you can transpose all tracks as required to shift the entire song to a differ-
ent key, but the Transpose job is actually more suited to changing the pitch of a sec-
tion of a single track. This can be done to produce temporary “modulations” to
another key, or to create harmony with another track.
05 : Transpose
First measure
Last measure
First beat
Last beat
158
The Song Jobs
Moves all notes and events in the specied track and range of mea-
sures forward or backward by the specied number of clocks (480 clocks
per 1/4 note).
The
TR
parameter selects the track to be affected by the Shift
Clock job: 01 16 for the sequencer tracks, or Tm for the tempo
track.
The
M
parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range to be modied.
The
Clock
parameter determines the direction and number of
clocks by which the notes in the specied measure range will be shifted.
+ settings shift the notes forward (toward the end of the song) and -
settings shift the notes backward (toward the beginning of the song). The
range is from -9999 through 0000 to +9999.
After setting the parameters as required press [ENTER] to execute
the Shift Clock job. The metronome icon will appear on the display while
the data is being processed, then Completed ! will appear briey when
the job is done. Press the [EXIT] button to return to the job list, or a mode
button to go directly to the selected mode.
06 : Shift Clock
First measure
Last measure
First beat
Last beat
The Song Jobs
159
NOTE
The Shift Clock job will not shift data beyond the specified measure range. Events
near the beginning and end of the specified range may therefore sound “bunched”
together in some cases.
Since the Shift Clock job actually shifts the timing of all notes and other events in the
specified measures forward or backward, it can significantly alter the “feel” of the
song. You could move the notes forward (“+” settings) to create a more “laid back”
feel, or backward (“-” settings) to produce a more “driving” feel. Of course, you can
also use Shift Clock to correct timing that is off in the first place.
160
The Song Jobs
Sorts all notes in the specied measure range which fall on the same
beat (i.e. chords) so that the notes are arranged in order from lowest to
highest or from highest to lowest.
The
TR
parameter selects the track to be affected by the Chord
Sort job: 01 16.
The
M
parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range to be modied.
The
Type
parameter determines whether the chords in the speci-
ed range are arranged from lowest to highest note (Normal) or from
highest to lowest note (Reverse).
After setting the parameters as required press [ENTER] to execute
the Chord Sort job. The metronome icon will appear on the display while
the data is being processed, then Completed ! will appear briey when
the job is done. Press the [EXIT] button to return to the job list, or a mode
button to go directly to the selected mode.
07 : Chord Sort
First measure
Last measure
First beat
Last beat
The Song Jobs
161
Shifts each note in the specied measure range which falls on the
same beat (i.e. chords) forward in order from lowest to highest or vice
versa according to the Chord Sort settings, by the specied number of
clocks, thus separating the chord notes by the specied number of
clocks.
The
TR
parameter selects the track to be affected by the Chord
Separate job: 01 16.
The
M
parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range to be modied.
The
Clock
parameter determines the number of clocks by which
the notes of the chord will be separated: 000 through 999.
After setting the parameters as required press [ENTER] to execute
the Chord Separate job. The metronome icon will appear on the display
while the data is being processed, then Completed ! will appear briey
when the job is done. Press the [EXIT] button to return to the job list, or a
mode button to go directly to the selected mode.
08 : Chord Separate
First measure
Last measure
First beat
Last beat
162
The Song Jobs
Copies all data from a specied range of measures from one track to
the specied measure in the specied destination track. The copied data
can also be transposed as required. This operation overwrites the data from
the beginning of the specied destination measure with the data from the
source measures. Previous data in the overwritten measures is therefore
lost.
The upper
TR
parameter selects the source track i.e. the track
from which the data is to be copied: 01 16 for the sequencer tracks,
the accompaniment Pt track, the accompaniment Cd track, the Tm
track, or Al (All) tracks. When Pt, Cd, Tm or Al is selected, the
lower
TR
parameter is automatically set to the same track.
The lower
TR
parameter selects the destination track i.e. the
track to which the data is to be copied: 01 16 for the sequencer
tracks, the accompaniment Pt track, the accompaniment Cd track, the
Tm track, or Al (All) tracks. When Pt, Cd, Tm or Al is selected,
the upper
TR
parameter is automatically set to the same track.
The
M
parameters above the upper graphic bar are used to specify
the rst measure:beat and last measure:beat of the range to be copied.
09 : Copy Event
Chord template
parameter
First measure
Last measure
First beat
Last beat
The Song Jobs
163
The “M” parameters below the lower graphic bar specifiy the desti-
nation measure:beat to which the data will be copied, as well as the num-
ber of times the data is to be copied.
The “Transpose” parameter sets a transpose value for the copied
data in semitone increments from “-24” through “+00” to “+24”.
The Chord template parameter, above the upper graphic bar, appears
only when the “Cd” track is selected at the “TR” parameter. This parame-
ter specifies which chord progression, either the user chord progression
programmed in the source “Cd” track or preset chord template, will be
copied to the User chord progression.
After setting the parameters as required press [ENTER] to execute
the Copy Event job. The metronome icon will appear on the display while
the data is being processed, then “Completed !” will appear briefly when
the job is done. Press the [EXIT] button to return to the job list, or a mode
button to go directly to the selected mode.
NOTE
Previous data in measures overwritten by the Copy Event job will be completely
erased and replaced by the copied data.
The time signature is copied by the Copy Event job, but Voice and Play Effect data is
not copied.
The Copy Event job makes it easy to use phrases or even complete sections (an
entire chorus, for example) in more than one place in a song. You can copy a phrase
played by one voice, and have it repeated by a different voice later in the song. You
can always edit the copied sections to create variations.
Since the default copy source range is M001 ... 999 (measures), an "Illegal Input"
error will occur if you attempt to copy to measure 002 or later without first changing
the source range. Be sure to set an appropriate source range even when the chord
track ("Cd") is selected as source track.
Destination measure
Number of times to be copied
Destination beat
QY100_10R3.fm 163 ページ 2003年11月6日 木曜日 午後4時17分
164
The Song Jobs
Erases all note and event data from the specied measure or range
of measures in the specied track. An erase operation leaves the specied
measures intact but blank.
The
TR
parameter selects the track to be affected by the Erase
Event job: 01 16 for the sequencer tracks, the accompaniment Pt
track, the accompaniment Cd track, or the Tm track.
The
M
parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range to be erased.
After setting the parameters as required press [ENTER] to execute
the Erase Event job. The metronome icon will appear on the display while
the data is being processed, then Completed ! will appear briey when
the job is done. Press the [EXIT] button to return to the job list, or a mode
button to go directly to the selected mode.
NOTE
Unlike the Delete Measure job, the Erase Event job erases the data from the speci-
fied measures only in the specified track. Also, the data is erased but the measures
remain intact (i.e. the subsequent measures are not moved back). After an erase
operation you can record new material in the resulting blank measures as required.
10 : Erase Event
First measure
Last measure
First beat
Last beat
The Song Jobs
165
Allows a specied type of event note, program change, pitch
bend, control change, channel aftertouch, polyphonic aftertouch, or system
exclusive to be extracted (removed) from a specied range of measures
in a specied track. The extracted data can be moved to the same range of
measures in any other specied track.
The upper
TR
parameter selects the source track i.e. the track
from which the event data is to be extracted: 01 16.
The lower
TR
parameter selects the destination track i.e. the
track to which the extracted event data is to be moved: 01 17, or
Off if you simply want to discard the specied event data.
The
M
parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range from which the
event data is to be extracted.
The event type parameter near the upper graphic bar determines the
type of event data to be extracted:
NOTE
Note events.
PC
Program change events.
PB
Pitch bend events.
CC
Control change events. When this event type is selected a con-
trol change number parameter appears to the right of the even
type. The control change parameter determines the MIDI control
change number(s) to be extracted: 000 127 or All.
CAT
Channel aftertouch events.
PAT Polyphonic aftertouch events.
EXC Exclusive events.
11 : Extract Event
First measure
Last measure
First beat
Last beat
Event type
parameter
166
The Song Jobs
After setting the parameters as required press [ENTER] to execute
the Extract Event job. The metronome icon will appear on the display while
the data is being processed, then Completed ! will appear briey when
the job is done. Press the [EXIT] button to return to the job list, or a mode
button to go directly to the selected mode.
NOTE
Although you can remove events individually in the edit mode (page 216), the
Extract Event job makes it simple to remove all occurences of the specified event
within the specified measure range in one operation. This is particularly convenient
when removing slow pitch bends or volume changes that may employ many individ-
ual events to create a single effect.
If the destination track already contains data, the extracted event data will be
merged.
The Song Jobs
167
This job makes it possible to create continuous data of the specied
type in order to produce smooth pitch bends, tempo changes, etc.
The TR parameter selects the track to be affected by the Create
Continuous job: 01 16 for the sequencer tracks, or Tm for the
tempo track.
The M parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range to be modied.
The data type parameter determines the type of data to be created
The Data parameters set the range of data values to be created:
the left number sets the starting value and the right number sets the end-
ing value. The range of values available will depend on the type of event
selected.
The Clock parameter sets the spacing between the created
events in clocks: 000 999.
PB Pitch bend events.
CC Control change events. When this event type is selected a con-
trol change number parameter appears to the right of the type
parameter. The control change parameter determines the MIDI
control change number to be created: 000 127.
CAT Channel aftertouch events.
EXC Master volume.
TMP Tempo events (can only be selected for the Tm (Tempo) track).
12 : Create Continuous
First measure
Last measure
First beat
Last beat
Data type
parameter
168
The Song Jobs
The Curve parameter sets the degree of positive or negative cur-
vature that will be applied to the continuous data: -16 00
+16.
After setting the parameters as required press [ENTER] to execute
the Create Continuous job. The metronome icon will appear on the display
while the data is being processed, then Completed ! will appear briey
when the job is done. Press the [EXIT] button to return to the job list, or a
mode button to go directly to the selected mode.
Start point
Curve = +16
Curve = 0 (linear)
End point
Curve = -16
Clock
parameter
The Song Jobs
169
Thins out specied types of data by removing every other event of
the specied type. This is particularly useful for reducing the volume of data
required for pitch bends, aftertouch and other control change operations,
thus making more efcient use of the available memory.
The TR parameter selects the track to be affected by the Thin Out
job: 01 16 for the sequencer tracks, or Tm for the tempo track.
The M parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range to be modied.
The data type parameter determines the type of data to be thinned.
After setting the parameters as required press [ENTER] to execute
the Thin Out job. The metronome icon will appear on the display while the
data is being processed, then Completed ! will appear briey when the
job is done. Press the [EXIT] button to return to the job list, or a mode but-
ton to go directly to the selected mode.
PB Pitch bend events.
CC Control change events. When this event type is selected a con-
trol change number parameter appears to the right of the type
parameter. The control change parameter determines the MIDI
control change number to be thinned: 000 127.
CAT Channel aftertouch events.
PAT Polyphonic aftertouch events.
TMP Tempo events (can only be selected for the Tm (Tempo) track).
13 : Thin Out
First measure
Last measure
First beat
Last beat
Data type
parameter
170
The Song Jobs
Lenghtens or shortens the specied track by a specied percentage
without affecting tempo or pitch.
The TR parameter selects the track to be affected by the Time
Stretch job: 01 16 for the sequencer tracks, or Al for all
sequencer tracks.
The M parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range to be modied.
The Time parameter species the percentage by which the time is
to be lengthened or shortened: 50% 200%. Gate time of notes in
the specied track and measures will also be changed in proportion to this
setting.
After setting the parameters as required press [ENTER] to execute
the Time Stretch job. The metronome icon will appear on the display while
the data is being processed, then Completed ! will appear briey when
the job is done. Press the [EXIT] button to return to the job list, or a mode
button to go directly to the selected mode.
14 : Time Stretch
First measure
Last measure
First beat
Last beat
The Song Jobs
171
Creates a specied number of blank measures having the specied
time signature for all tracks. The created measures are inserted at a speci-
ed measure number, and all subsequent measures are moved forward to
make room.
The M parameter above the graphic bar species the measure at
which the newly created measures will be inserted.
The time signature parameter below the graphic bar determines the
time signature of the measures to be created: 1/16 16/16, 1/8 16/8, 1/
4 8/4.
The Measure parameter below the bar species the number of
measures to be created.
After setting the parameters as required press [ENTER] to execute
the Create Measure job. The metronome icon will appear on the display
while the data is being processed, then Completed ! will appear briey
when the job is done. Press the [EXIT] button to return to the job list, or a
mode button to go directly to the selected mode.
NOTE
All existing measures after the point at which the new measures are created will be
moved forward to make room for the new measures.
If you use the Create Measure job with an empty song, the specified new measures
will be placed in track 1 only.
Use Create Measure when you want to add new material somewhere in the middle
of data you’ve already recorded, without erasing the existing data. First create the
required measures, then either copy the data from existing measures using the
Copy Event function, or record new data as required.
15 : Create Measure
First measure
Last measure
First beat
Last beat
172
The Song Jobs
Deletes the specied range of measures from all tracks simulta-
neously.
The M parameters above the graphic bar are used to specify the
rst measure and last measure of the range to be deleted.
After setting the parameters as required press [ENTER] to execute
the Delete Measure job. The metronome icon will appear on the display
while the data is being processed, then Completed ! will appear briey
when the job is done. Press the [EXIT] button to return to the job list, or a
mode button to go directly to the selected mode.
NOTE
Delete Measure is a great way to completely cut out unwanted data from the song.
It’s important to remember, however, that a delete operation affects all tracks simul-
taneously, and that measures following the deleted range are moved back to take
the place of the deleted measures.
16 : Delete Measure
First measure
Last measure
The Song Jobs
173
Copies all data from the specied track to any other specied track.
The upper TR parameter selects the source track i.e. the track
from which the data is to be copied: 01 16.
The lower TR parameter selects the destination track i.e. the
track to which the data is to be copied: 01 16.
The Event, Play Effect, and Voice check boxes make it pos-
sible to specify whether or not the corresponding types of data will be cop-
ied or not (the data is copied when the checkbox is checked).
After setting the parameters as required press [ENTER] to execute
the Copy Track job. The metronome icon will appear on the display while
the data is being processed, then Completed ! will appear briey when
the job is done. Press the [EXIT] button to return to the job list, or a mode
button to go directly to the selected mode.
NOTE
If the destination track already contains data, the copied track data will erase and
replace the previous data.
17 : Copy Track
174
The Song Jobs
Combines the data contained in two specied tracks and places the
result in a third track (which can be the same as the second track).
The upper and center TR parameters select the rst and second
source tracks i.e. the tracks which are to be mixed: 01 16.
The lower TR (01 16) parameter species the destination
track to which the mixed data is to be copied.
After setting the parameters as required press [ENTER] to execute
the Mix Track job. The metronome icon will appear on the display while the
data is being processed, then Completed ! will appear briey when the
job is done. Press the [EXIT] button to return to the job list, or a mode but-
ton to go directly to the selected mode.
NOTE
If there is no data in the second source track, the data from the first source track is
simply copied to the destination track.
18 : Mix Track
The Song Jobs
175
Completely clears the specifed track from the currently selected
song (including all Play Effect parameters).
The TR parameter selects the track(s) to be cleared: 01 16
for the sequencer tracks, the accompaniment Pt track, the accompani-
ment Cd track, the Tm track, or Al (All) tracks.
The Event, Play Effect, and Voice check boxes make it pos-
sible to specify whether or not the corresponding types of data will be
cleared or not (the data is cleared when the checkbox is checked).
After setting the parameters as required press [ENTER] to execute
the Clear Track job. The metronome icon will appear on the display while
the data is being processed, then Completed ! will appear briey when
the job is done. Press the [EXIT] button to return to the job list, or a mode
button to go directly to the selected mode.
19 : Clear Track
176
The Song Jobs
Expands the accompaniment track data i.e. the pattern and
chord data and places the results in the normal sequencer tracks after
converting the data to standard MIDI format. The expanded data is placed
in sequencer tracks 9 through 16 (see chart below). Any previous data in
those tracks will be erased!
Press [ENTER] to execute the Expand Backing job. The metronome
icon will appear on the display while the data is being processed, then
Completed ! will appear briey when the job is done. Press the [EXIT]
button to return to the job list, or a mode button to go directly to the
selected mode.
Pattern Track Sequencer Track
D1 9
D2 10
PC 11
BA 12
C1 13
C2 14
C3 15
C4 16
NOTE
If the “Ds3” (Drum set 3) is assigned to the D1, D2 or PC track of the expanded pat-
tern, the drum voice settings will be copied to “Ds2” (Drum set 2). The previous set-
tings in Ds2 will be overwritten (erased).
20 : Expand Backing
The Song Jobs
177
Actually applies the Play Effect settings to the sequence data, modi-
fying the sequence data accordingly. The Play Effect settings are initialized
after execution.
The TR parameter selects the track(s) to be affected by the Nor-
malize job: 01 16 for the sequencer tracks, or Al (All) for all
sequencer tracks.
After setting the parameter as required press [ENTER] to execute the
Normalize job. The metronome icon will appear on the display while the
data is being processed, then Completed ! will appear briey when the
job is done. Press the [EXIT] button to return to the job list, or a mode but-
ton to go directly to the selected mode.
21 : Normalize
178
The Song Jobs
Copies all data from all tracks of the specied song to any other
specied song (including song name, play effect and voice assignment set-
tings).
The upper Song parameter selects the source song i.e. the
song from which the data is to be copied: 01 20.
The lower Song parameter selects the destination song i.e. the
song to which the data is to be copied: 01 20
After setting the parameters as required press [ENTER] to execute
the Copy Song job. The metronome icon will appear on the display while
the data is being processed, then Completed ! will appear briey when
the job is done. Press the [EXIT] button to return to the job list, or a mode
button to go directly to the selected mode.
NOTE
If the destination song already contains data, the copied song will erase and replace
the previous song.
22 : Copy Song
The Song Jobs
179
Completely clears all data from all tracks of the currently selected
song. Also initializes the play effect and voice settings.
The Song parameter selects the song to be cleared: 01 20
or Al(All)
After setting the parameter as required press [ENTER] to execute the
Clear Song job. The metronome icon will appear on the display while the
data is being processed, then Completed ! will appear briey when the
job is done. Press the [EXIT] button to return to the job list, or a mode but-
ton to go directly to the selected mode.
NOTE
Clearing “All” songs can not be undone with the “Undo/Redo” job.
23 : Clear Song
180
The Song Jobs
Allows an original name of up to 8 characters to be assigned to the
current song.
To enter a character, use the cursor buttons to move the cursor to
the character to be entered, then press the [ENTER] button. The character
will appear at the character cursor location and the character cursor will
advance to the next character position.
The character cursor can be moved by pressing the function button
to the right of “”
To delete a character, press the function button to the right of del.
The character to the left of the cursor will be deleted and the cursor will
move to the deleted characters position.
When the name has been entered press the [EXIT] button to return
to the job list, or a mode button to go directly to the selected mode (it is not
necessary to press the [ENTER] button to enter the specied name).
NOTE
Entering a song name can not be undone with the “Undo/Redo” job.
24 : Song Name
The Pattern Jobs
181
The Pattern Jobs
The PATTERN mode includes 24 pattern jobs that perform a
variety of important functions. To access and use the pattern jobs,
press the [MENU] button while in the main PATTERN mode, then
press the Job function button. This calls the pattern job list. You can
select any job on the list simply by moving the cursor to the required
job and pressing [ENTER]. The function buttons can be used to move
the cursor directly to the rst job in the corresponding category: Event,
Phrase, Track, or Pattern (press the [MENU] button, then the appropri-
ate function button).
The Pattern Jobs
182
Returning to the PATTERN Mode
The [EXIT] button can be used to exit from any pattern job, and then from the job list
thereby returning you to the normal PATTERN mode. You can also press the [PATTERN]
button to directly return to the PATTERN mode.
00: Undo/Redo
Event category
01: Quantize
02: Modify Velocity
03: Modify Gate Time
04: Crescendo
05: Transpose
06: Shift Clock
07: Chord Sort
08: Chord Separate
09: Copy Event
10: Erase Event
11: Extract Event
12: Create Continuous
13: Thin Out
14: Time Stretch
Phrase category
15: Copy Phrase
16: Get Phrase
17: Put Phrase
Track category
18: Copy Track
19: Mix Track
20: Clear Track
Pattern category
21: Copy Pattern
22: Clear Pattern
23: Style Name
The Pattern Jobs
183
This job will undo any other pattern/song job, edit, or record func-
tion if it is executed before any other operation is performed. In all cases
the affected data is restored to the state it was in before performing the
job, edit, or record operation. This job will also undo the last undo operation
(redo).
The name of the last operation performed will appear on the display
(i.e. the operation which will be undone). In the example display, above, a
quantize operation will be undone.
Press [ENTER] to execute the Undo/Redo job. The metronome icon
will appear on the display while the data is being processed, then Com-
pleted ! will appear briey when the job is done. Press the [EXIT] button to
return to the job list, or a mode button to go directly to the selected mode.
DETAIL!
The UNDO/REDO job will not undo the Clear Song (“All”), the Clear Pattern (“All”
styles), the Song Name, or Style Name jobs.
00 : Undo/Redo
Name of the last
operation performed
The Pattern Jobs
184
Aligns notes in the specied track to or close to the nearest specied
beat.
The TR parameter selects the track to be affected by the Quantize
job: D1, D2, PC, BA, C1, C2, C3, C4.
The M parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range to be quantized.
The Quantize parameter determines to what beats the note data
in the specied track will be aligned. If you select “”, for example, all
notes in the track will be aligned to the nearest 16th-note beat, to a degree
determined by the Strength parameter.
Quantize Values
Value Effect
Aligns to the nearest 32nd note.
Aligns to the nearest 16th note triplet.
Aligns to the nearest 16th note.
Aligns to the nearest 8th note triplet.
Aligns to the nearest 8th note.
Aligns to the nearest quarter note triplet.
Aligns to the nearest quarter note.
01 : Quantize
First measure Last measure
First beat Last beat
The Pattern Jobs
185
The Strength parameter determines how strongly the notes
are attracted to the specied quantize value. The strength range is from 0%
to 100%. At a setting of 0% no quantization will occur, while a setting of
100% will cause all notes to be aligned precisely to the nearest specied
beat value. In-between settings produce a corresponding shift in the posi-
tion of all off-beat notes to the nearest specied beat value. With a value
setting of “” and a strength setting of 50%, for example, a note that
does not fall precisely on a quarter note beat will be shifted about halfway
to nearest quarter note beat.
The Swing Rate parameter produces a swing feel by shifting
the timing of back beats, as specied by the quantize value. For example,
if the specied quantization value is 8th notes, then the swing effect will
shift the 2nd, 4th, 6th, and 8th beats of each measure forward to create a
swing feel. If the quantize value is set to a triplet note length, the last note
in each triplet group will be shifted. If the quantize value is set to a com-
pound note length (e.g. 8th note + 8th note triplet) the even-numbered
back beats will be shifted. The Swing Rate parameter determines how
much the timing of the affected notes will be shifted. The range is from
50% (no swing) to 75% (maximum swing) for even note lengths, from 66%
to 83% for triplet note lengths, and from 50% to 66% for even-plus-triplet
note lengths (e.g. 8th note + 8th note triplet).
Aligns to the nearest 16th note + 16th note triplet.
Aligns to the nearest 8th note + 8th note triplet.
Value Effect
Original data (assuming 4/4 meter)
Quantizing strength = 50% (quantize value = )
Quantizing strength = 100% (quantize value = )
The Pattern Jobs
186
The Gate Time parameter increases or decreases the gate times
(length) of all notes affected by the swing parameter. The range is from 0%
to 200%. The Gate Time parameter sets the ratio between the shorter
and longer gate time values. A setting of 100% maintains the original
relationship between the notes, lower values produce a narrower gate time
range, and higher values produce a broader gate time range.
After setting the parameters as required press [ENTER] to execute
the Quantize job. The metronome icon will appear on the display while the
data is being processed, then Completed ! will appear briey when the
job is done. Press the [EXIT] button to return to the job list, or a mode but-
ton to go directly to the selected mode.
Quarter-note length
Original timing
Quantizing value = , Swing rate 50% (no delay)
Quantizing value = , Swing rate 60% (delay applied)
The Pattern Jobs
187
Increases or decreases the velocity values of all notes in the speci-
ed track and range of measures.
The TR parameter selects the track to be affected by the Modify
Velocity job: D1, D2, PC, BA, C1, C2, C3, C4.
The M parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range to be modied.
The SetAll parameter makes it possible to set all notes in the
specied range to a single velocity value from 1 to 127. Set All can
also be turned Off when the Rate and Offset parameters, below,
are to be used for velocity modication.
The Rate parameter allows you to change the Velocity value of
each note without affecting the velocity ratios between notes (proportional
change). A setting of
100% maintains the
absolute velocity differ-
ences between notes,
while lower (higher) val-
ues will decrease
(increase) the velocity val-
ues to the corresponding
percentage, resulting in a
narrower (wider) dynamic
range. The range is from
0% to 200%.
02 : Modify Velocity
First measure Last measure
First beat Last beat
96 64 32 127 96
48 32 16 63 48
127 96 48 127 127
Original
velocities
Rate = 50%
Rate = 150%
The Pattern Jobs
188
The Offset parameter allows you to change all velocity values by
an absolute amount. - settings will decrease the velocity of each note by
the corresponding amount, + settings will increase the velocity accord-
ingly. The range is from -99 through 0 to +99.
New Velocity = Original Velocity x rate/100 + offset
(If the right side of the equation is 0 or less, the New Velocity
becomes 1. If the right side of the equation is 128 or more, the New
Velocity becomes 127.)
After setting the parameters as required press [ENTER] to execute
the Modify Velocity job. The metronome icon will appear on the display
while the data is being processed, then Completed ! will appear briey
when the job is done. Press the [EXIT] button to return to the job list, or a
mode button to go directly to the selected mode.
NOTE
The Modify Velocity job is a great way to “soften” the sound of material that has too
great a variation between the softest and loudest notes, or, conversely, to add extra
punch to dull-sounding material. Experiment with the parameters to get a feel for
what they do..
96 64 32 127 96
76 44 12 107 76
116 84 52 127 116
Original
velocities
Offset = -20
Offset = +20
The Pattern Jobs
189
Increases or decreases the gate times (length) of all notes in the
specied track and range of measures.
The TR parameter selects the track to be affected by the Modify
Gate Time job: D1, D2, PC, BA, C1, C2, C3, C4.
The M parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range to be modied.
The SetAll parameter makes it possible to set all notes in the
specied range to a single gate time value from 1 to 9999. Set All
can also be turned Off when the Rate and Offset parameters,
below, are to be used for gate time modication.
The Rate parameter allows you to change the Gate Time value of
each note without affecting the gate time ratios between notes (propor-
tional change). A setting of 100% maintains the absolute gate time dif-
ferences between notes, while lower (higher) values will decrease
(increase) the gate time values to the corresponding percentage. The range
is from 0% to 200%.
03 : Modify Gate Time
First measure Last measure
First beat Last beat
32 32 32 48 48
16 16 16 24 24
48 48 48 72 72
Original
gate time
Rate = 50%
Rate = 150%
The Pattern Jobs
190
The Offset parameter allows you to change all gate time values by
an absolute amount. - settings will decrease the gate time of each note
by the corresponding amount, + settings will increase the gate time
accordingly. The range is from -9999 through 0 to +9999.
New Gate Time = Original Gate Time x rate/100 + offset
(If the right side of the equation is 0 or less, the New Gate Time
becomes 1)
After setting the parameters as required press [ENTER] to execute
the Modify Gate Time job. The metronome icon will appear on the display
while the data is being processed, then Completed ! will appear briey
when the job is done. Press the [EXIT] button to return to the job list, or a
mode button to go directly to the selected mode.
NOTE
The Modify Gate Time job can be used to produce a more staccato or legato feel, as
required. Experiment with the parameters to get a feel for what they do..
32 32 32 48 48
12 12 12 28 28
52 52 52 68 68
Offset = +20
Offset = -20
Original
gate time
The Pattern Jobs
191
Produces a gradual crescendo (increase in note velocity) or decre-
scendo (decrease in note velocity) in the specied track over the specied
range of measures.
The TR parameter selects the track to be affected by the Cre-
scendo job: D1, D2, PC, BA, C1, C2, C3, C4.
The M parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range to be modied.
The Range parameter determines the range of velocity values
over which the crescendo will occur. A setting of +24, for example, will
cause the MIDI velocity values to increase by 24 over the specied mea-
sure range (The MIDI velocity value range is from 1 to 127).
Negative values cause a corresponding decrease in velocity, thereby
producing a decrescendo rather than a crescendo. The range of this param-
eter is from -99 through 0 to +99.
04 : Crescendo
First measure Last measure
First beat Last beat
Original
velocity
Crescendo.
Range +24.
Specied measure (M) range.
The Pattern Jobs
192
After setting the parameters as required press [ENTER] to execute
the Crescendo job. The metronome icon will appear on the display while
the data is being processed, then Completed ! will appear briey when
the job is done. Press the [EXIT] button to return to the job list, or a mode
button to go directly to the selected mode.
The Pattern Jobs
193
Transposes all notes in the specied part up or down by the specied
number of semitones.
The TR parameter selects the track to be affected by the Trans-
pose job: D1, D2, PC, BA, C1, C2, C3, C4.
The M parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range to be modied.
The Note parameters specify the range of notes to be affected.
The maximum range is from C-2 to G8.
The Transpose parameter determines the amount of transposition
in semitone increments. Minus (-) values transpose down while plus (+) val-
ues transpose up. the range is from -99 through 0 to +99.
After setting the parameters as required press [ENTER] to execute
the Transpose job. The metronome icon will appear on the display while the
data is being processed, then Completed ! will appear briey when the
job is done. Press the [EXIT] button to return to the job list, or a mode but-
ton to go directly to the selected mode.
05 : Transpose
First measure Last measure
First beat Last beat
The Pattern Jobs
194
Moves all notes and events in the specied track and range of mea-
sures forward or backward by the specied number of clocks (480 clocks
per 1/4 note).
The TR parameter selects the track to be affected by the Shift
Clock job: D1, D2, PC, BA, C1, C2, C3, C4.
The M parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range to be modied.
The Clock parameter determines the direction and number of
clocks by which the notes in the specied measure range will be shifted.
+ settings shift the notes forward (toward the end of the pattern) and -
settings shift the notes backward (toward the beginning of the pattern).
The range is from -9999 through 0000 to +9999.
After setting the parameters as required press [ENTER] to execute
the Shift Clock job. The metronome icon will appear on the display while
the data is being processed, then Completed ! will appear briey when
the job is done. Press the [EXIT] button to return to the job list, or a mode
button to go directly to the selected mode.
06 : Shift Clock
First measure Last measure
First beat Last beat
The Pattern Jobs
195
NOTE
The Shift Clock job will not shift data beyond the specified measure range. There-
fore, events near the beginning of the specified range may sound “bunched”
together and events near the end of the specified range may be “cut off” in some
cases.
Since the Shift Clock job actually shifts the timing of all notes and other events in the
specified measures forward or backward, it can significantly alter the “feel” of the
pattern. You could move the notes forward (“+” settings) to create a more “laid
back” feel, or backward (“-” settings) to produce a more “driving” feel. Of course,
you can also use Shift Clock to correct timing that is off in the first place.
The Pattern Jobs
196
Sorts all notes in the specied measure range which fall on the same
beat (i.e. chords) so that the notes are arranged in order from lowest to
highest or from highest to lowest.
The TR parameter selects the track to be affected by the Chord
Sort job: D1, D2, PC, BA, C1, C2, C3, C4.
The M parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range to be modied.
The Type parameter determines whether the chords in the speci-
ed range are arranged from lowest to highest note (Normal) or from
highest to lowest note (Reverse).
After setting the parameters as required press [ENTER] to execute
the Chord Sort job. The metronome icon will appear on the display while
the data is being processed, then Completed ! will appear briey when
the job is done. Press the [EXIT] button to return to the job list, or a mode
button to go directly to the selected mode.
07 : Chord Sort
First measure Last measure
First beat Last beat
The Pattern Jobs
197
Shifts each note in the specied measure range which falls on the
same beat (i.e. chords) forward in order from lowest to highest or vice
versa according to the Chord Sort settings, by the specied number of
clocks, thus separating the chord notes by the specied number of
clocks.
The TR parameter selects the track to be affected by the Chord
Separate job: D1, D2, PC, BA, C1, C2, C3, C4.
The M parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range to be modied.
The Clock parameter determines the number of clocks by which
the notes of the chord will be separated: 000 through 999.
After setting the parameters as required press [ENTER] to execute
the Chord Separate job. The metronome icon will appear on the display
while the data is being processed, then Completed ! will appear briey
when the job is done. Press the [EXIT] button to return to the job list, or a
mode button to go directly to the selected mode.
08 : Chord Separate
First measure Last measure
First beat Last beat
The Pattern Jobs
198
Copies all data from a specied range of measures to the selected
place in the same track. The copied data can also be transposed as
required. This operation overwrites the data from the beginning of the
specied destination measure with the data from the source measures.
Previous data in the overwritten measures is therefore lost.
The upper TR parameter selects the source track i.e. the track
from which the data is to be copied: D1, D2, PC, BA, C1, C2, C3, C4.
The M parameters above the upper graphic bar are used to specify
the rst measure:beat and last measure:beat of the range to be copied.
09 : Copy Event
First measure Last measure
First beat Last beat
The Pattern Jobs
199
The M parameters below the lower graphic bar speciy the desti-
nation measure:beat to which the data will be copied, as well as the num-
ber of times the data is to be copied.
The Transpose parameter sets a transpose value for the copied
data in semitone increments from -24 through +00 to +24.
After setting the parameters as required press [ENTER] to execute
the Copy Event job. The metronome icon will appear on the display while
the data is being processed, then Completed ! will appear briey when
the job is done. Press the [EXIT] button to return to the job list, or a mode
button to go directly to the selected mode.
NOTE
Previous data in measures overwritten by the Copy Event job will be completely
erased and replaced by the copied data.
Destination measure Number of times to be copied
Destination beat
The Pattern Jobs
200
Erases all note and event data from the specied measure or range
of measures in the specied track. An erase operation leaves the specied
measures intact but blank.
The TR parameter selects the track to be affected by the Erase
Event job: D1, D2, PC, BA, C1, C2, C3, C4.
The M parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range to be erased.
After setting the parameters as required press [ENTER] to execute
the Erase Event job. The metronome icon will appear on the display while
the data is being processed, then Completed ! will appear briey when
the job is done. Press the [EXIT] button to return to the job list, or a mode
button to go directly to the selected mode.
NOTE
The Erase Event job erases the data from the specified measures only in the speci-
fied track. Also, the data is erased but the measures remain intact (i.e. the subse-
quent measures are not moved back). After an erase operation you can record new
material in the resulting blank measures as required.
10 : Erase Event
First measure Last measure
First beat Last beat
The Pattern Jobs
201
Allows a specied type of event note, program change, pitch
bend, control change, channel aftertouch, polyphonic aftertouch, or system
exclusive to be extracted (removed) from a specied range of measures
in a specied track. The extracted data can be moved to the same range of
measures in any other specied track.
The upper TR parameter selects the source track i.e. the track
from which the event data is to be extracted: D1, D2, PC, BA, C1, C2, C3,
C4.
The lower TR parameter selects the destination track i.e. the
track to which the extracted event data is to be moved: D1, D2, PC, BA, C1,
C2, C3, C4, or Off if you simply want to discard the specied event data.
The M parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range from which the
event data is to be extracted.
The event type parameter near the upper graphic bar determines the
type of event data to be extracted:
11 : Extract Event
First measure Last measure
First beat Last beat
Event type
parameter
The Pattern Jobs
202
After setting the parameters as required press [ENTER] to execute
the Extract Event job. The metronome icon will appear on the display while
the data is being processed, then Completed ! will appear briey when
the job is done. Press the [EXIT] button to return to the job list, or a mode
button to go directly to the selected mode.
NOTE Note events.
PC Program change events.
PB Pitch bend events.
CC Control change events. When this event type is selected a control
change number parameter appears to the right of the even type. The
control change parameter determines the MIDI control change num-
ber(s) to be extracted: 000 127 or All.
CAT Channel aftertouch events.
PAT Polyphonic aftertouch events.
EXC Exclusive events.
NOTE
Although you can remove events individually in the edit mode (page 216), the Extract
Event job makes it simple to remove all occurences of the specified event within the
specified measure range in one operation. This is particularly convenient when
removing slow pitch bends or volume changes that may employ many individual
events to create a single effect.
If the destination track already contains data, the extracted event data will be
merged.
The Pattern Jobs
203
This job makes it possible to create continuous data of the specied
type in order to produce smooth pitch bends, aftertouch, etc.
The TR parameter selects the track to be affected by the Create
Continuous job: D1, D2, PC, BA, C1, C2, C3, C4.
The M parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range to be modied.
The data type parameter determines the type of data to be created.
The Data parameters set the range of data values to be created:
the left number sets the starting value and the right number sets the end-
ing value. The range of values available will depend on the type of event
selected.
The Clock parameter sets the spacing between the created
events in clocks: 000 999.
PB Pitch bend events.
CC Control change events. When this event type is selected a control
change number parameter appears to the right of the type parame-
ter. The control change parameter determines the MIDI control
change number to be created: 000 127.
CAT Channel aftertouch events.
EXC Master volume.
12 : Create Continuous
Data type
parameter
First measure Last measure
First beat Last beat
The Pattern Jobs
204
The Curve parameter sets the degree of positive or negative cur-
vature that will be applied to the continuous data: -16 00
+16.
After setting the parameters as required press [ENTER] to execute
the Create Continuous job. The metronome icon will appear on the display
while the data is being processed, then Completed ! will appear briey
when the job is done. Press the [EXIT] button to return to the job list, or a
mode button to go directly to the selected mode.
Start point
Curve = +16
Curve = 0 (linear)
End point
Curve = -16
Clock parameter
The Pattern Jobs
205
Thins out specied types of data by removing every other event of
the specied type. This is particularly useful for reducing the volume of data
required for pitch bends, aftertouch and other control change operations,
thus making more efcient use of the available memory.
The TR parameter selects the track to be affected by the Thin Out
job: D1, D2, PC, BA, C1, C2, C3, C4.
The M parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range to be modied.
The data type parameter determines the type of data to be thinned.
After setting the parameters as required press [ENTER] to execute
the Thin Out job. The metronome icon will appear on the display while the
data is being processed, then Completed ! will appear briey when the
job is done. Press the [EXIT] button to return to the job list, or a mode but-
ton to go directly to the selected mode.
PB Pitch bend events.
CC Control change events. When this event type is selected a control
change number parameter appears to the right of the type parame-
ter. The control change parameter determines the MIDI control
change number to be thinned: 000 127.
CAT Channel aftertouch events.
PAT Polyphonic aftertouch events.
13 : Thin Out
First measure Last measure
First beat Last beat
Data type
parameter
The Pattern Jobs
206
Lenghtens or shortens the specied track by a specied percentage
without affecting tempo or pitch.
The TR parameter selects the track to be affected by the Time
Stretch job: D1, D2, PC, BA, C1, C2, C3, C4.
The M parameters above the graphic bar are used to specify the
rst measure:beat and last measure:beat of the range to be modied.
The Time parameter species the percentage by which the time is
to be lengthened or shortened: 50% 200%. The gate time of notes
in the specied track and measures will also be changed in proportion to
this setting.
After setting the parameters as required press [ENTER] to execute
the Time Stretch job. The metronome icon will appear on the display while
the data is being processed, then Completed ! will appear briey when
the job is done. Press the [EXIT] button to return to the job list, or a mode
button to go directly to the selected mode.
NOTE
If the specified track is shortened, the phrase of the track will play repeatedly to fill
the pattern length.
If the specified track is lengthened, the exceeding part of the phrase will be cut off.
14 : Time Stretch
First measure Last measure
First beat Last beat
The Pattern Jobs
207
Copies the specied preset phrase to a specied PATTERN mode
track as a user phrase.
The Phrase parameter selects the source phrase i.e. the preset
phrase to be copied (preset phrase numbers have three sections which can
be specied: category, beat, and number page 98).
The TR parameter selects the destination track: D1, D2, PC, BA,
C1, C2, C3, C4.
After setting the parameters as required press [ENTER] to execute
the Copy Phrase job. The metronome icon will appear on the display while
the data is being processed, then Completed ! will appear briey when
the job is done. Press the [EXIT] button to return to the job list, or a mode
button to go directly to the selected mode.
NOTE
If the specified preset phrase is shorter than the pattern length, the phrase will be
copied repeatedly to fill the pattern length.
If the specified preset phrase is longer than the pattern length, the exceeding part of
the copied phrase will be cut off.
If the destination track already contains data, the copied phrase will erase and
replace the previous phrase data.
15 : Copy Phrase
The Pattern Jobs
208
Copies the data from the specied range of measures in the speci-
ed track of a specied song to the specied phrase.
The Song parameter selects the source song i.e. the song from
which the data is to be copied: 01 20.
The TR parameter selects the song source track i.e. the track
from which the data is to be copied: 01 16.
The M parameters above the upper graphic bar are used to specify
the rst measure and last measure of the range to be copied.
The lower TR parameter specied the track to which the data is to
be copied: D1, D2, PC, BA, C1, C2, C3, C4.
After setting the parameters as required press [ENTER] to execute
the Get Phrase job. The metronome icon will appear on the display while
the data is being processed, then Completed ! will appear briey when
the job is done. Press the [EXIT] button to return to the job list, or a mode
button to go directly to the selected mode.
NOTE
The Get Phrase job is a convenient way to create new phrases by copying a few
appropriate measures from songs.
If the destination track already contains data, the copied data will erase and replace
the previous phrase data.
16 : Get Phrase
First measure
Last measure
The Pattern Jobs
209
Copies the phrase data from a specied pattern track to the specied
measures in the specied track of a specied song.
The Pattern TR parameter specied the source pattern track: D1,
D2, PC, BA, C1, C2, C3, C4.
The Song parameter selects the destination song i.e. the song
to which the phrase data is to be copied: 01 20.
The TR parameter selects the destination song track i.e. the
track to which the phrase data is to be copied: 01 16.
The M parameter species the measure of the destination track to
which the phrase data is to be copied.
After setting the parameters as required press [ENTER] to execute
the Put Phrase job. The metronome icon will appear on the display while
the data is being processed, then Completed ! will appear briey when
the job is done. Press the [EXIT] button to return to the job list, or a mode
button to go directly to the selected mode.
NOTE
The time signature of the phrase will not affect the time signature of the song.
If the destination song track contains data, the copied phrase data will erase and
replace the previous song track data.
The source pattern data is re-harmonized to the current chord specified in the PAT-
TERN play mode before being copied to the destination song track.
17: Put Phrase
The Pattern Jobs
210
Copies all data from the specied track in the specied section of the
specied style to any other specied track in the specied section of the
specied style.
The upper Style parameter species the source style: 001
128, U01 U64.
The upper Section parameter species the source section:
Intro, MainA, MainB, FillAB, FillBA, Ending.
The upper TR parameter selects the source track i.e. the track
from which the data is to be copied: D1, D2, PC, BA, C1, C2, C3, C4.
The lower Style parameter species the destination style: U01
U64.
The lower Section parameter species the destination section:
Intro, MainA, MainB, FillAB, FillBA, Ending.
The lower TR parameter selects the destination track i.e. the
track to which the data is to be copied: D1, D2, PC, BA, C1, C2, C3, C4.
After setting the parameters as required press [ENTER] to execute
the Copy Track job. The metronome icon will appear on the display while
the data is being processed, then Completed ! will appear briey when
the job is done. Press the [EXIT] button to return to the job list, or a mode
button to go directly to the selected mode.
NOTE
If the destination track already contains data, the copied data will erase and replace
the previous data.
18 : Copy Track
The Pattern Jobs
211
Combines the data contained in two specied tracks and places the
result in a third track (which can be the same as the second track).
The upper and center TR parameters select the rst and second
source tracks i.e. the tracks which are to be mixed: D1, D2, PC, BA, C1,
C2, C3, C4.
The lower TR parameter species the destination track to which
the mixed data is to be copied: D1, D2, PC, BA, C1, C2, C3, C4.
After setting the parameters as required press [ENTER] to execute
the Mix Track job. The metronome icon will appear on the display while the
data is being processed, then Completed ! will appear briey when the
job is done. Press the [EXIT] button to return to the job list, or a mode but-
ton to go directly to the selected mode.
NOTE
If there is no data in the second source track, the data from the first source track is
simply copied to the destination track.
Even if a preset phrase is previously assigned to the destination track, it will be
mixed with the first source track and become a user phrase.
19 : Mix Track
The Pattern Jobs
212
Completely clears the specifed track in the specied section.
The Section parameter species the section to be cleared:
Intro, MainA, MainB, FillAB, FillBA, Ending.
The TR parameter selects the track to be cleared: D1, D2, PC, BA,
C1, C2, C3, C4.
The Event, Play Effect, and Voice check boxes make it pos-
sible to specify whether or not the corresponding types of data will be
cleared or not (the data is cleared when the checkbox is checked).
After setting the parameters as required press [ENTER] to execute
the Clear Track job. The metronome icon will appear on the display while
the data is being processed, then Completed ! will appear briey when
the job is done. Press the [EXIT] button to return to the job list, or a mode
button to go directly to the selected mode.
20 : Clear Track
The Pattern Jobs
213
Copies all data from the specied section of the specied style to
any other specied section of the specied style.
The upper Style parameter species the source style: 001
128, U01 U64.
The upper Section parameter species the source section:
Intro, MainA, MainB, FillAB, FillBA, Ending and All.
The lower Style parameter species the destination style: U01
U64.
The lower Section parameter species the destination section:
Intro, MainA, MainB, FillAB, FillBA, Ending and All.
After setting the parameters as required press [ENTER] to execute
the Copy Pattern job. The metronome icon will appear on the display while
the data is being processed, then Completed ! will appear briey when
the job is done. Press the [EXIT] button to return to the job list, or a mode
button to go directly to the selected mode.
NOTE
If the destination pattern contains data, the copied data will erase and replace the
previous pattern data.
21 : Copy Pattern
The Pattern Jobs
214
Completely clears all data from the specied section of the specied
style.
The Style parameter species the style: U01 U64 and
All.
The Section parameter species the section of the style to be
cleared: Intro, MainA, MainB, FillAB, FillBA, Ending and
All.
After setting the parameter as required press [ENTER] to execute the
Clear Pattern job. The metronome icon will appear on the display while the
data is being processed, then Completed ! will appear briey when the
job is done. Press the [EXIT] button to return to the job list, or a mode but-
ton to go directly to the selected mode.
NOTE
Clearing “All” styles can not be undone with the “Undo/Redo” job.
22 : Clear Pattern
The Pattern Jobs
215
Allows an original name of up to 8 characters to be assigned to the
current style.
To enter a character, use the cursor buttons to move the cursor to
the character to be entered, then press the [ENTER] button. The character
will appear at the character cursor location and the character cursor will
advance to the next character position.
The character cursor can be moved by pressing the function button
to the right of “”.
To delete a character, press the function button to the right of del.
The character to the left of the cursor will be deleted and the cursor will
move to the deleted characters position.
When the name has been entered press the [EXIT] button to return
to the job list, or a mode button to go directly to the selected mode (it is not
necessary to press the [ENTER] button to enter the specied name).
NOTE
You can enter “name” not only for the user style but also for the preset style. If you
want to store a newly entered “name” for the preset style, execute the “Copy Pat-
tern” Job before changing the style number.
Entering a style name can not be undone with the “Undo/Redo” job.
23 : Style Name
216
Editing Songs & Patterns
Editing Songs & Patterns
To engage the edit mode, place the cursor at the track you want to
edit in the normal SONG or PATTERN mode, press the [MENU] button, and
then the function button next to [Edit] on the display.
The QY100s editing capability makes it easy to correct mis-
takes made when recording song or pattern phrase data, and to gener-
ally rene your sound.
The song and pattern edit change mode lets you individually
modify the timing, pitch, gate time (length) and velocity (loudness) of
each note or other events in the song or pattern. Theres also an edit
insert that allows insertion of note, program change, sustain on/off,
pitch bend, modulation, pan, volume, expression, and other events at
any point in the song or pattern.
Engaging the SONG or PATTERN Edit Mode
Editing Songs & Patterns
217
The edit display will look something like this (of course, the note data
will be different).
Song Edit Display
One note per line
Top of song
Velocity
Location (beat-clock)
Note (pitch)
Gate time (beat-clock)
Current measure number
Track being edited
218
Editing Songs & Patterns
The pattern edit display is almost exactly the same. The only differ-
ences are the name of the track being edited and the current measure dis-
play.
If you place the cursor at the Pt(pattern) or Cd(chord) track in the
SONG mode and engage the edit mode, the edit display will be exactly the
same as the step recording display described on page 84.
Pattern Edit Display
One note per line
Top of pattern
Velocity
Location (beat-clock)
Note (pitch)
Gate time (beat-clock)
Current measure number
Track being edited
Current measure number
and the pattern length
Editing Songs & Patterns
219
The location, pitch, gate time, and velocity values for each note are
shown on a single line of the display. The notes are arranged in order from
top to bottom. You can move around within the song or pattern by simply
moving the cursor. Move below the bottom of the display and the note data
will scroll down, moving towards the end of the song or pattern. The oppo-
site occurs when you move up above the top of the display.
In addition to the lines of note data, there are markers for the top of
the song/pattern and the end of the song/pattern. Measure lines are indi-
cated by solid lines between lines of note data (non-measure boundaries
between lines of data appear as dotted lines).
Moving Around
Cursor currently
in measure 8
Measure line
End of song
220
Editing Songs & Patterns
The Change edit mode is initially selected when the edit mode is
engaged. To edit any note or other event in the song or pattern, simply
move the cursor to the appropriate line, and then to the required parameter
within that line. The [-1] and [+1] buttons can then be used to select a new
value for the selected parameter. The edited line will ash when any param-
eter within it is changed. This indicates that a change has been made but
has not yet been entered. Press the [ENTER] button to actually enter the
changes, or move the cursor to another line to cancel the changes.
The available parameters depend on the selected event type. The
note event parameters are listed below. See Insert Mode Editing (page
221) for other event types.
Beat-clock
The rst column contains the note location data. The left number is
the beat within the current measure (1 through 4 in a 4/4 measure,
for example.), and the right number is the clock within that beat (000
through 479 in case of 1/4-note beat). The beat and clock values can
be selected and edited independently.
Pitch
This is the actual pitch of the note. The range is from C-2 to G8.
Gate Time
Gate time is the length of the note in beats and clocks. The number
to the left of the colon is 1/4-beats and the number to the right is
clocks within a 1/4-beat. A normal 1/4 note, for example, is 432
clocks long. This is about 90% of the actual length of a 1/4-note divi-
sion, which is 480 clocks. The normal length of the note is slightly
shortened to prevent notes from running into each other and sound-
ing slurred ( a slur is produced by setting the full note length). The
beat-clock range is from 00:001 to 99:479.
Change Mode Editing
Beat-clock Pitch VelocityGate time
Editing Songs & Patterns
221
Velocity
This parameter controls the velocity (loudness) of the note. The
range is from 001 to 127.
Deleting Events
Notes and other events (sustain on/off, pitch bend, etc.) can be
deleted by placing the cursor at the line corresponding to the event
to be deleted, and then pressing the function button next to del on
the display.
The edit insert mode is used to insert new notes and other events at
a specied location in the song or pattern.
z Place the cursor at the insert location.
Move the cursor to the edit line correponding to (or near to)
the location at which you want to insert the new data.
x Engage the insert edit mode.
Press the [MENU] button and then the function button next
to Insert on the display to switch to the insert edit mode.
Insert Mode Editing
Place cursor at
insert location
222
Editing Songs & Patterns
c Select an Event Type to Insert, and Set the Event Param-
eters
If the display corresponding to the type of event you want
to insert does not appear immediately, use the [-1] and [+1] but-
tons to select the desired event type.
All events have at least two parameters usually the loca-
tion of the event (Measure-Beat-Clock) and the event value. Move
the cursor to the event parameters and set as required by using
the [-1] and [+1] buttons or the SHIFT-Number entry method
(page 34) where appropriate.
Note
New notes can be inserted at any specied location. The
note range is from C-2 to G8. Gate time and velocity
can also be specied.
Editing Songs & Patterns
223
PB (Pitch Bend)
Pitch bend events can be used to produce pitch bend
effects. The pitch bend values correspond to pitch bend
wheel positions from -8192 (lowest position) through
+0000 (center) to +8191 (highest position). To produce
smooth pitch bends youll need to insert several small pitch
bend events at appropriate intervals. Remember to use
more pitch bend events to return the pitch to normal after a
bend.
PC (Program Change)
Program change events can be used to switch voices at
any point in the track.
The Bank Select (MSB and LSB) parameters are used for
bank selection when selecting XG voices. Refer to the XG
Normal/Drum voice list in the Data List for details.
Location
Pitch
Gate time
Velocity
Location Value
224
Editing Songs & Patterns
Note that the program number in the XG Normal/Drum
voice list (refer to the Data List) and the MIDI program
change number is different: i.e., the program number for
Grand Piano is 1 while its MIDI program change num-
ber is0. (Program numbers, which are dened in General
MIDI, range 1 - 128, while MIDI program change numbers
range 0 - 127.)
CC (Control Change)
Any MIDI control change number from 000 through 127
can be entered with an appropriate control value where
applicable. Control change numbers are used for modula-
tion, volume, panning, expression and other control func-
tions. Some control change numbers are assigned to
specic functions and some are not. Refer to the MIDI
Data Format section of the Data List for details.
Location
Voice name
Program change number
Bank Select MSB
Bank Select LSB
Location
Control change number
Control change value
Editing Songs & Patterns
225
CAT (Channel Aftertouch)
Inserts a channel aftertouch message with the specied
aftertouch value.
PAT (Polyphonic Aftertouch)
Inserts a polyphonic aftertouch message for the specied
note with the specied aftertouch value.
PAT aftertouch events affect a single specied note, as
opposed to CAT aftertouch events which affect all notes on
the same channel (track) simultaneously.
Location Aftertouch value
Location
Aftertouch value
Note
226
Editing Songs & Patterns
RPN
Inserts RPN data. RPN is an abbreviation for Registered
Parameter Number, which is a MIDI message used to
control part settings such as pitch bend sensitivity, tuning,
etc. Refer to the MIDI Data Format section of the Data
List for details.
NRPN
Inserts NRPN data. NRPN is an abbreviation for Non Reg-
istered Parameter Number, which is a MIDI message
used to control voice settings such as vibrato, lter, enve-
lope generator, drum setup, etc. Refer to the MIDI Data
Format section of the Data List for details.
Location
RPN LSB
RPN MSB
Data entry LSB
Data entry MSB
Location
NRPN LSB
NRPN MSB Data entry MSB
Editing Songs & Patterns
227
Exc (Exclusive)
Inserts a System Exclusive message in hexadecimal for-
mat. Refer to the MIDI Data Format section of the Data
List for details.
Hexadecimal Number Entry
Use the [SHIFT] and the micro-keyboard to enter hexadecimal val-
ues.
Press a black key while holding the [SHIFT] button to enter the
corresponding number.
Press a white key in the left-hand section of the micro-keyboard
(E - D except G) while holding the [SHIFT] button to enter the
corresponding character, “A” through “F”.
After entering a hexadecimal value in one space, move the cur-
sor to the next space and enter the next value.
Remember to enter “F7” at the end of every exclusive mes-
sage.
Location
Data (in hexadecimal,
begins with F0 and ends
with F7)
228
Editing Songs & Patterns
XG RPN
Inserts RPN (Registered Parameter Number) data using an
XG parameter name (RPN, above, needs to be entered
using numbers). Refer to the MIDI Data Format section
of the Data List for details.
XG NRPN
Inserts NRPN (Non Registered Parameter Number) data
using an XG parameter name (NRPN, above, needs to be
entered using numbers). Refer to the MIDI Data Format
section of the Data List for details.
* Note appears if a drum setup parameter is selected to
specify a drum instrument.
Location
RPN parameter name
Data
Location
NRPN parameter name
Data
Editing Songs & Patterns
229
XG Exc System
Inserts a System Exclusive (XG System) message using an
XG parameter name (Exc, above, needs to be entered
using hexadecimal values). Refer to the MIDI Data For-
mat section of the Data List for details.
XG Exc Effect
Inserts a System Exclusive (XG Effect) message using an
XG parameter name (Exc, above, needs to be entered
using hexadecimal values). Refer to the MIDI Data For-
mat section of the Data List for details.
Location
XG System parameter name
Data
Location
XG Effect parameter name
Data/Type
230
Editing Songs & Patterns
XG Exc Multi
Inserts a System Exclusive (XG Multi part) message using
an XG parameter name (Exc, above, needs to be entered
using hexadecimal values). Refer to the MIDI Data For-
mat section of the Data List for details.
XG Exc Drum
Inserts a System Exclusive (XG Drum setup) message
using an XG parameter name (Exc, above, needs to be
entered using hexadecimal values). Refer to the MIDI
Data Format section of the Data List for details.
Tempo Change (Tempo track (Tm) only)
Inserts tempo change data with the specied tempo value
(25.0 - 300.0).
Location
XG Multi part parameter name
Data
Part
Location XG Drum setup parameter name
Drum set
Note
Data
Location
Tempo
Editing Songs & Patterns
231
v Enter the Specified Event
Press the [ENTER] button to enter the event as specied.
b Return to the Change Edit Mode
Press the [EXIT] button to return to the change edit display,
and continue editing as required.
n Exit From the Edit Mode
Press the [SONG] or [PATTERN] button to exit from the
EDIT mode and return to the normal SONG or PATTERN play
mode. The [EXIT] button will also return you to the SONG or PAT-
TERN mode from the EDIT mode.
NOTE
If you insert Control Change data other than Modulation (#1), Expression
(#11), Harmonic Content (#71) and Brightness (#74) in the user pattern,
these data will not be reset even if the pattern is changed, and will take
effect on the newly selected pattern.
To avoid this, remember to enter the value to reset at the end of the
phrase when you insert these control change data.
Pitch bend event
inserted. once
inserted, you can edit
the events location
and value in the
change edit mode.
232
Editing Songs & Patterns
The XG View function displays XG-related events (RPN, NRPN, Sys-
tem Exclusive, etc.) using the name dened by the XG format. To engage
the XG View function press the [MENU] button while in the EDIT mode,
then press the function button next to XG View on the display.
When the box to the left of XG View is checked, XG-related events
will be displayed using the corresponding XG format name.
If the box is not checked, XG-related events will be displayed as MSB/LSB
values, or as hexadecimal numbers.
Press [+1] button to check the XG View box, or the [-1] button to
uncheck the box.
XG View
Editing Songs & Patterns
233
The View Filter lets you “filter out specied types of events so that
they dont appear in the EDIT mode display. To access the View Filter press
the [MENU] button while in the EDIT mode, then press the function button
next to View Filter on the display
When the check box beside an event type is checked, that events
will be displayed in the EDIT display. Event types that are not checked will
not appear in the EDIT display.
To lter out a certain type of event, simply move the cursor to the
corresponding check box and press the [-1] button to uncheck the box (or
the [+1] button to check the box, as necessary).
The Set All function button checks all boxes at once, while the
Clear All function button clears all check boxes.
The View Filter Event Types
Abbreviation
Event Type
Note Note
PB Pitch Bend
PC Program Change
CC Control Change
CAT Channel Aftertouch
PAT Polyphonic Aftertouch
RPN Registered Parameter Number
NRPN Non Registered Parameter Number
Exc System Exclusive
View Filter
The sunglasses
appear if any events
are unchecked.
234
Editing Songs & Patterns
Phrase Table lets you edit phrase settings for the pattern track cur-
rently being edited.
To access the Phrase Table function press the [MENU] button while
in the EDIT mode, then press the function button next to Phrase Table on
the display.
To edit a Phrase Table parameter, move the cursor to the parameter
and edit using the [-1] and [+1] buttons, the SHIFT-Number entry method,
or the micro keyboard as necessary. Only the CURRENT CHORD and
FNGR parameters can be edited for preset phrases.
TYPE
Selects the phrase (note transition) type: Chord 1, Chord 2, Bass,
Bypass or Parallel. Refer to The Phrase Types on page 108 for
information on the various phrase types.
PHRASE VOICE
Selects the voice to be used in the phrase. Refer to the XG Normal/
Drum voice list in the Data List.
Phrase Table (Pattern Edit Only)
Type
Source chord
Current chord
Fingered chord
High key
Phrase voice
High limit
Low limit
Editing Songs & Patterns
235
SOURCE CHORD
Sets the source chord for the phrase (i.e. the chord on which the
phrase is based). Note that you can not enter an on-bass chord for
the source chord.
LO LIMIT
HI LIMIT
Sets the note range over which the re-harmonized phrase will be
played (C-2 through G8). If any re-harmonized phrase notes exceed
the range set here, the notes will be automatically shifted up or
down in octave steps so that they fall within the specied range.
CURRENT CHORD
Shows the currently selected chord for the PATTERN play mode. The
current chord can be changed here.
FNGR (Fingered Chord)
Shows the current Fingered Chord setting, ON or OFF. The ON/OFF
setting can be changed here.
HI KEY
Selects the highest root (C through B) in case the phrase (note transi-
tion) type is either Chord 1 or Bass.
236
Effects & Effect Editing
Effects & Effect Editing
The EFFECT connection display and the effect edit displays can be
accessed from the SONG or PATTERN mode as follows:
z Select the Effect Connection Display
Press the [SONG] or [PATTERN] button as many times as
necessary until the SONG or PATTERN effect connection display
appears.
The QY100 features a versatile internal effects system which
consists of three independent effect stages: REVERB, CHORUS, and
VARIATION. Of these the REVERB and CHORUS stages function as
system effects, and the VARIATION stage can be used either as a
system or insertion effect. See the signal-ow digrams on page 238
for the difference between system and insertion effects.
Accessing & Editing the Effect Parameters
Song Mode Effect Connection Display
Reverb effect
Chorus effect
Variation effect
Variation effect INSERTION/SYSTEM selector
Chorus-to-Reverb
send control
Variation-to-Chorus
send control
Variation-to-Reverb
send control
(Variation effect: SYSTEM)
Effects & Effect Editing
237
Note that in the PATTERN mode effect connection display
only the variation stage has accessible controls. The reverb type
for the PATTERN mode effect is always HALL 1 and the chorus
type is always CHORUS 1.
(Variation effect: INSERTION)
Pattern Mode Effect Connection Display
Reverb effect
Chorus effect
Variation effect
Variation effect INSERTION/
SYSTEM selector
Chorus-to-Reverb
send control
Variation-to-Chorus
send control
Variation-to-Reverb
send control
Variation effect
238
Effects & Effect Editing
x Set the Effect Parameters As Required
Move the cursor to the desired parameter and use the [-1]
and [+1] buttons to set the selected parameter as required. The
REVERB, CHORUS, and VARIATION effect parameters let you
select any of the available effect types for each stage.
The VARIATION stage INSERTION/SYSTEM selector deter-
mines whether the VARIATION stage functions as an insertion
effect or system effect. Refer to the Effect Signal Flow dia-
grams and text, below. (In the PATTERN mode effect connection
display, the VARIATION stage is always used as a system effect
that applies to all 8 tracks for the pattern)
Effect Signal Flow
The following diagrams should help you to understand how
the QY100 effect stages relate to overall signal ow.
The signal from each part (track) of the tone generator is
sent to the reverb, chorus and variation stages. The reverb
and chorus effects are always connected as System
effects, which means that they affect all parts (tracks). The
effect depth for each track can be varied via the REVERB
and CHORUS send controls in the EFFECT SEND display
(page 136). The chorus stage TO REV parameter can be
used to send some or all of the output from the chorus
stage to the reverb stage.
The variation effect can be applied either to one specic
part (track) when it is connected as an Insertion effect, or
all parts (tracks) when it is connected as a System effect.
Effects & Effect Editing
239
When the Variation Stage is an Insertion Effect
In this case the variation effect is applied to one specic
part (track) with Dry/Wet mixing capability available in
Vari. Edit (See Effect Editing on page 240). The track to
which the variation effect is to be applied can be selected
via the EFFECT SEND display (page 136).
When the Variation Stage is a System Effect
In this case the variation effect is applied to all parts
(tracks). The variation stage TO REV and TO CHO
parameters can be used to send some or all of the output
from the variation stage to the reverb and chorus stages.
Variation send level and Dry/Wet mixing for each track
can be varied via the controls in the EFFECT SEND display
(page 136).
VARIATION
REVERB
LINE OUT/
PHONES
CHORUS
TO REV
Track 1
Track 2
Track 3
Track 16
REVERB
LINE OUT/
PHONES
TO REV
TO CHO TO REV
CHORUS
VARIATION
Track 1
Track 2
Track 3
Track 16
240
Effects & Effect Editing
The Reverb Edit, Chorus Edit, and Variation Edit displays can be
accessed from the Effect Connection display by pressing the [MENU] but-
ton and then the function button next to Reverb Edit, Chorus Edit, or
Vari. Edit on the display. Note that only Vari. Edit is available from the
PATTERN mode Effect Connection display.
Use the Type parameter near the top of the display to select the
effect type for the current effect stage (REVERB, CHORUS, or VARIATION).
Each effect will have different parameters which will appear in the lower
section of the display. Move the cursor to the various parameters and set
as required via the [-1] and [+1] buttons. Refer to the Effect Type List and
the Effect Parameter List (refer to the Data List) for a complete list of the
parameters available for each effect and their ranges.
Effect Editing
Song Mode Effect
Connection Display
Pattern Mode Effect
Connection Display
Effects & Effect Editing
241
NOTE
These effect displays can be used to edit not all the parameters but the main
parameters given for each effect type. (Refer to the “Effect Parameter List” in the
Data List.) To edit the effect in detail, send the appropriate system exclusive mes-
sage to the QY100’s tone generator section.
How the Variation Effect works in the SONG mode
Please, remember that the variation effect settings in the
SONG effect connection and edit display become ineffective if a song
containing Pt(pattern track) data is played. In this case, the varia-
tion effect settings for the pattern used in the song (which is set in
the PATTERN effect connection and edit display) will be used.
To use the variation effect settings in the SONG effect connec-
tion and edit display, play a song consisting of only sequencer track
(1...16) data. Its sometimes useful to execute Expand Backing job on
page 176 to expand pattern track data to the sequencer tracks.
Reverb Edit Display Chorus Edit Display Variation Edit Display
242
Utility Functions
Utility Functions
The utility mode can be accessed from the SONG or PATTERN
mode. Simply press the [MENU] button and then the function button next
to Utility on the display.
The QY100 utility mode includes a number of functions that are
important for general operation e.g. MIDI data handling, interfacing
with external equipment, saving song and pattern data to an external
storage device, ABC system operation, etc.
Accessing the Utility Mode
Utility Functions
243
Once the utility mode has been selected, any of the four utility dis-
plays can be called by pressing the [MENU] button and then the appropriate
function button, as shown below.
NOTE
When the utility mode is first engaged from the SONG or PATTERN mode, the last
utility display selected will initially appear.
244
Utility Functions
The System display includes 6 parameters that affect the basic
operation of the QY100. Move the cursor to the parameter to be adjusted
and set as required by using the [-1] and [+1] buttons.
CLICK MODE
Settings: Off, Record, Rec/Play, Always
Determines when the QY100 metronome will sound. Normally the
QY100 metronome sounds only during realtime recording the
Record setting. With this parameter, however, you can turn the
metronome Off so that it never sounds, set it to Rec/Play so
that it sounds during recording and playback, or set it to Always so
that the metronome sounds at all times.
CLICK BEAT
Settings: 16, 8, 4, 2, 1
Determines on what beats the QY100 metronome will sound. The
normal setting is 4, causing the metronome to sound on every
quarter-note beat. The metronome can also be set to sound on every
16th, 8th, 1/2, or whole-note beat.
System Parameters
Utility Functions
245
REC COUNT
Settings: OFF, 1 Meas 8 Meas
This parameter sets the number of count-in measure provided before
realtime recording begins in the SONG and PATTERN modes. The
default setting is 1.
MASTER TUNE
Settings: -102.4 +000.0 +102.3
Tunes the overall pitch of the QY100 sound. The Master Tune range
is from -102.4 through +000 to +102.3. Each increment cor-
responds to aproximately 1 cent (a cent is 1/100th of a semitone). A
setting of +000 produces normal pitch: A4 = 440 Hz.
EXCLUSIVE INTERVAL
Settings: 0*100 9*100
This parameter sets the delay time between exclusive data blocks
between 0 and 900 milliseconds in 100-millisecond increments. This
type of delay is sometimes necessary to allow smooth playback of
song data which includes large system exclusive messages.
FOOT SWITCH
Settings: Start, Section, AmpSim
Species the function of an optional footswitch (Yamaha FC-4 or FC-
5) connected to the rear-panel FOOT SW jack.
Start When Start is selected the footswitch starts and stops song
or pattern playback.
During SONG playback, the footswitch stops (pauses) playback
at the point at which it is pressed. The when it is pressed again
playback resumes from the point at which it was stopped.
During PATTERN playback, pressing the footswitch stops play-
back and locates to the top of the pattern. The next time the
footswitch is pressed playback will begin from the top of the
pattern.
246
Utility Functions
Section The footswitch switches sections during song or pattern play-
back.
When the footswitch is pressed during SONG playback, play-
back will jump to the next programmed section change after
playback of the current measure has nished. If the footswitch
is pressed while the ENDING section is playing, playback will
jump back to and continue from the INTRO section. And if the
footswitch is pressed while a BLANK section is playing, play-
back will jump to the section immediately following the INTRO
section.
If the footswitch is pressed during PATTERN playback, play-
back will jump the next section according to the sequence
listed below when playback of the current measure has n-
ished.
INTRO MAIN A FILL AB MAIN B FILL BA
ENDING INTRO
If the footswitch is pressed while a BLANK section is playing,
the MAIN A section will be selected next.
AmpSim The footswitch alternately turns all Amp Simulator blocks, or
the single block specied by the Amp Simulator On/Off
parameter (pages 44 and 52) , on and off.
Utility Functions
247
The parameters in the MIDI display all relate to MIDI control.
MIDI SYNC
Settings: Internal, External
When this parameter is set to Internal the QY100 is controlled by
its own internal clock. When set to External the QY100 is con-
trolled by a MIDI clock signal received from an external device such
as a sequencer or music computer (i.e., playback of the QY100 is
synchronized to that of an external sequencer or other device).
Please note that the QY100 will not run on its own when this param-
eter is set to External. The QY100 can also control playback of an
external MIDI sequencer when this parameter is set to Internal.
MIDI CONTROL
Settings: Off, In, Out, In/Out
This parameter simply turns MIDI control of the QY100 (i.e., synchro-
nized playback) on or off. When set to Off the QY100 will not
respond to external MIDI control. The In setting (MIDI input only)
allows control of the QY100 from an external MIDI device, the Out
setting (MIDI output only) allows the QY100 to control an external
MIDI device, and the In/Out setting (MIDI input and output) allows
the QY100 to both be controlled by and control an external MIDI
device.
MIDI Parameters
248
Utility Functions
ECHO BACK
Settings: Off, Thru, RecMontr
Determines whether MIDI data received via the MIDI IN connector is
simultaneously re-transmited (echoed back) via the MIDI OUT con-
nector. When this parameter is set to Off no echo back occurs.
When set to Thru the received MIDI data is re-transmitted without
modication. When RecMontr (Record Monitor) is selected, the
received data is re-transmitted on the MIDI channel corresponding to
the currently selected record track, and the data is affected by the
MIDI FILTER settings described below.
LOCAL ON/OFF
Settings: Off, On
Determines whether or not the QY100s internal tone generator will
be controlled by its own micro-keyboard. When LOCAL ON/OFF is
On, the micro-keyboard controls the internal tone generator. When
Off the micro-keyboard does not control the internal tone genera-
tor and will produce no sound.
MIDI FILTER
Settings: Off, PB, CC, AT, Exc
The MIDI FILTER species a type of event which will not be received
via MIDI during sequence recording. The settings are as follows:
Off All events are received.
PB Pitch bend events will not be received.
CC Control Change events will not be received.
AT
Channel and polyphonic aftertouch events will not be
received.
Exc System exclusive data will not be received.
Utility Functions
249
PATT OUT CH
Settings: Off, 1~8, 9~16
This parameter species the MIDI channels on which QY100 pattern
playback data will be transmitted. When Off pattern playback data
is not transmitted. When set to 1~8 pattern playback data is trans-
mitted on MIDI channels 1 through 8, and when set to 9~16 pat-
tern playback data is transmitted on MIDI channels 9 through 16.
XG PARM OUT
Settings: Off, On
Determines whether the XG voice and effect parameters will be
transmitted whenever the corresponding parameter values are
changed or a new song or pattern is selected. When Off no XG
parameters are transmitted. The appropriate XG parameters are
transmitted to a connected XG tone generator when this parameter
is turned On.
D1 ch 1 or 9
D2 ch 2 or 10
PC ch 3 or 11
BA ch 4 or 12
C1 ch 5 or 13
C2 ch 6 or 14
C3 ch 7 or 15
C4 ch 8 or 16
250
Utility Functions
Although the QY100 has memory for 20 songs, 64 user styles and 23
amp simulator setups you might want to save your song and pattern data to
an external MIDI data recorder, computer, or similar device to allow greater
storage capacity or simply to protect your data from accidental erasure or
corruption.
Be sure to properly connect the QY100 to a MIDI data recorder(such
as the Yamaha MDF3 MIDI Data Filer) or a computer and set the HOST
SELECT switch to the appropriate position before executing the Bulk Dump
transmission/reception.
Also refer to the owners manual of the connected device to see how
to receive/transmit bulk data from/to the QY100.
NOTE
Depending on the type of equipment or sequence software used, bulk data trans-
mitted to the QY100 may not be properly recognized. To ensure reliable data trans-
fer we recommend that you use the supplied “QY100 Data Filer” application for
bulk data transmission and reception.
Bulk Dump
Connection via the TO HOST
connector to a computer
(Host Select=PC1/2 or Mac
according to the type of
computer. See page 17)
Connection via the MIDI IN/
OUT connector to the MDF3
(Host Select=MIDI)
Utility Functions
251
To transmit (dump) song and/or pattern data to an external device,
rst select the UTILITY Bulk Dump mode.
Move the cursor to the upper parameter and use the [-1] and [+1]
buttons to select Song if you want to save the data for one song or all
songs, Style if you want to save the data for one style or all styles, or
All if you want to save all songs, styles, and system setup data including
all amp simulator setups.
If you select Song, move the cursor to the song number parame-
ter and select a song number (01 20), or All to save all songs.
If you select Style, move the cursor to the style number parameter
and select a style number (U01 U64), or All to save all styles. Remem-
ber all 6 variation patterns(Intro, Main A/B, Fill AB/BA and Ending) included
in one style will be saved at one time.
When the parameters have been set as required, press [ENTER].
Are You Sure? will appear on the display. Press [+1/YES] to go ahead
with the bulk dump operation, or [-1/NO] to cancel. Completed ! will
appear when the transmission is nished.
Bulk Reception of Song & Pattern Data
If no other operation is currently in progress (recording, for example)
the QY100 will automatically receive bulk song and pattern data transmitted
from a compatible external device. If you are using the QY100s MIDI con-
nectors rather than the TO HOST connector, make sure that the MIDI OUT
of the external device is connected to the MIDI IN of the QY100.
Select the QY100 SONG play mode when receiving one or all song
bulk data, and select the PATTERN play mode when receiving one or all
style bulk data. All data, including all songs, styles and system setup
252
Utility Functions
data, can be received in either the SONG or PATTERN play mode. Remem-
ber that one or all song/style data currently in the QY100s memory will be
overwritten when one or all song/style bulk data is received. All data in the
QY100s memory will be overwritten when All data is received.
The QY100s advanced ABC system can be controlled from the
QY100 micro-keyboard or an external keyboard. The Fingered Zone utility
function sets the range of notes in which chords played will be recognized
by the QY100 ABC system.
Use the FINGERED parameter to turn the QY100s Fingered Chord
function for the ABC system On or Off as required. When it is turned
to ON, the ABC system can be controlled by playing a chord as it is on an
external keyboard or the micro keyboard. When turned to OFF, the ABC
system is controlled by specifying the chord root and type from the micro
keyboard rather than playing the chord as it is. The MIDI CHANNEL and the
LOW/HIGH parameters explained below will be ineffective when
turned to OFF.
NOTE
See the QY100 Data Filer’s installation guide if you use the QY100 Data Filer for
bulk dump reception/transmission.
Fingered Zone
Utility Functions
253
The MIDI CHANNEL parameter species the MIDI channel via which
the chord data will be received from an external MIDI keyboard: set to All
for all channels, or specify a single MIDI channel from 01 to 16.
The LOW and HIGH parameters above the graphic keyboard
display set the Fingered Chord function range. The maximum range is from
C-2 to G8 (the HIGH parameter cannot be set lower than the LOW
parameter). The specied range is indicated by the highlighted (inverse)
section on the graphic keyboard display. When the FINGERED parameter
in this display and the FNGR parameter in the SONG or PATTERN mode
display are turned On, chords played within the specied Fingered Chord
function range will be recognized by the ABC system and the
accompaniment chord will change accordingly during song, pattern play-
back or chord-track recording. Chords played within the specied range of
either the QY100 micro-keyboard or an external MIDI keyboard are recog-
nized. A chart of the chords recognized by the QY100 is provided on the
Data List.
If you play a note lower than the specied LOW note while holding
a chord, it will be recognized as a bass note for the on-bass chord.
NOTE
When the Fingered Chord function is “on”, notes played lower than the specified
“HIGH” note will not sound.
254
Memory Card Functions
Memory Card Functions
Memory cards must be handled with care to prevent possible dam-
age and/or data corruption. Please read the important information and pre-
cautions below.
* SmartMedia is a trademark of Toshiba Corporation.
The QY100 CARD slot and CARD mode allow you to use stan-
dard SmartMedia memory cards available at many electronics
and computer stores to conveniently save and load data as
required.
About SmartMedia™
*
Memory Cards
Insert this way
Memory Card Functions
255
The QY100 uses 3.3V (3V) SmartMedia memory cards. 5V memory
cards cannot be used.
SmartMedia memory cards with any of the following capacities can
be used: 2MB, 4MB, 8MB, 16MB and 32MB. Memory cards with higher
capacities can be used as long as they conform to SSFDC* Forum speci-
cations.
* SSFDC stands for Solid State Floppy Disk Card, the alternate name for SmartMedia cards.
The SSFDC Forum is an organization which develops and denes the standards for these
memory cards.
To Insert a Memory Card
Carefully insert the card as far as it will go into the CARD slot (with-
out using excessive force) with the gold connectors on the card facing
upward (i.e. toward the top panel of the QY100). The connector end of the
card goes into the slot.
Do not attempt to insert the card the wrong way around (upside-
down or back-to-front), and make sure that dirt other objects dont get into
the CARD slot.
To Remove a Memory Card
The memory card can be removed from the unit simply by gripping
the protruding edge and pulling rmly outward. However, DO NOT remove
a memory card while any card access operation is in progress: save, for-
mat, delete, or load!! Also note that the QY100 will automatically access
the memory card whenever a card is inserted while the power is turned on
in order to determine the cards type.
NOTE
It is recommended to insert and remove memory cards in some displays other than
CARD mode.
Compatible Memory Cards
Memory Card Capacity
Inserting and Removing Memory Cards
256
Memory Card Functions
Before a new memory card (or a memory card that has been used
with a different device) can be used with the QY100, it must be formatted
by the QY100 (see the Format function, page 268). Formatting a memory
card erases all data on the card, so be sure that the card you are going to
format does not contain any important data that you want to keep.
Memory cards can be damaged and the data they contain corrupted by
static electricity. Particularly in dry weather when static electricity
buildup can be a problem, it is advisable to touch a metal object such as
a doorknob or aluminum window frame in order to discharge your body
before handling a memory card.
If you wont be using a memory card for a long period of time, remove it
from the CARD slot and store it in its protective pouch in a clean, dry
place.
Keep memory cards out of direct sunlight, away from high temperatures
(e.g. car interiors or heating appliances) as well as excessively low tem-
peratures, and avoid high humidity, excessive dust, and contact with liq-
uids.
Do not place heavy objects on a memory card, apply excessive pres-
sure, or bend the card in any way.
CAUTION
Never remove the memory card or turn the QY100 power off while a card-access
operation is in progress! Doing so can damage the card itself and/or corrupt the data
on the card as well as the data in the unit itself.
NOTE
Memory cards formatted by the QY100 may be unusable with other instruments or
devices.
Format New Memory Cards Before Use!
Handling Precautions
Memory Card Functions
257
Avoid directly touching the cards electrical contacts (the gold section in
the cards upper surface), and do not allow metal objects to come into
contact with the cards contacts.
Keep memory cards away from strong magnetic elds such as those
produced by loudspeakers and television receivers.
Do not attach anything but the approved labels to memory cards, and
make sure that labels are attached in the proper spaces provided.
To prevent accidental erasure of important data, memory cards can
be write-protected by attaching the supplied write-protect seal to the circu-
lar area just below the cards contacts (see illustration below).
To save data to a memory card that has been write protected, you
will have to remove the write-protect seal (the seal cannot be re-used once
it has been removed use a fresh seal if you want to write-protect the
card again).
For maximum data security it is a good idea to keep two copies of
important data on separate memory cards. Keep one card in a safe place as
a backup in case the other is lost or damaged.
(page 34)
Write-Protecting Memory Cards
Attach a write-protect
seal here
Back Up Your Data
258
Memory Card Functions
The Save function allows you to save all QY100 data or specied indi-
vidual data les to a memory card.
z Make Sure a Memory Card Is In the CARD Slot
Make sure that a compatible memory card which has not
been write-protected is properly inserted in the QY100 CARD slot
(page 13).
x Select the Appropriate Mode
To save song data the SONG mode must be selected. To
save user style data the PATTERN mode must be selected.
c Select the CARD Mode
Press the [CARD] button to select the QY100 CARD mode,
while song and style data is not running.
v Select the Type of Data to be Saved
Move the cursor to the FILE= parameter at the top of the
initial CARD mode display, and use the [+1/YES] and [-1/NO] but-
tons to select the type of data you want to save:
NOTE
If you insert a memory card that has not been formatted by the QY100,
the “Format? Yes/No” message will appear on the display. Press the
[+1/YES] button to format the card for use with the QY100, or the [-1/
NO] button to cancel the format operation.
Save
Data type
Used memory
Free memory
Memory Card Functions
259
b Select the “Save” Function
Move the cursor to Save on the display and press the
[ENTER] button.
n Select a Song or Style Number (If Necessary)
If you selected any save option other than ALL, use the
[+1/YES] and [-1/NO] buttons to select the number of the song or
user style you want to save.
If you select <Current>, the song or user style is saved in
the current directory. If you select an existing le, the le can be
overwritten.
ALL All user styles, all songs, all amp simulators settings,
and all system data.
SONG Saves the data for a single selected song. (only SONG
mode)
STYLE Saves the data for a single selected user style. (only
PATTERN mode)
SMF Saves the data for a single selected song in SMF
(Standard MIDI File) format. (only SONG mode)
SMF+XG Adds the required XG data to the header of a single
selected song and saves the song in SMF (Standard
MIDI File) format. (only SONG mode)
Song/Style
number
260
Memory Card Functions
m Enter a Song or Style Name and Save the File
The name-entry display will automatically be selected when
you press the [ENTER] button after selecting a song or style num-
ber to save (or after simply pressing the [ENTER] button if you
chose the ALL option). Enter a le name for the song or style to
be saved. The function button next to moves the cursor for-
ward one character, and the function button next to del deletes
the current character. When the le name has been entered as
required, press the function button next to ok to begin actual
execution of the save operation.
NOTE
Preset styles cannot be saved.
If the selected Song or Style number already contains data, an asterisk
(*) will appear before the number.
You can always go back to the previous display by pressing the [EXIT]
button.
NOTE
If you do not enter a file name before pressing the function (ok) button,
the “No Name” message will appear and the data will not be saved. Be
sure to enter a valid file name before pressing the function (ok) button.
Memory Card Functions
261
, Done
When the save operation has nished the memory card le
list will appear.
RENAME
To rename a le on the list, select (move the cursor to) the le
and press the function button next to RENAME to go to the
name-entry display.
DELETE
To delete a le from the list rst select (move the cursor to)
the le and press the function button next to DELETE.
When the Are You Sure? conrmation display appears,
press [+1/YES] button to actually delete the selected le, or
the [-1/NO] button to cancel the delete operation.
262
Memory Card Functions
Data les previously saved to a memory card can be reloaded into
the QY100 by using the Load function.
z Make Sure a Memory Card Is In the CARD Slot
Make sure that a compatible memory card containing the
data you want to load is properly inserted in the QY100 CARD slot
(page 13).
x Select the Appropriate Mode
To load song data the SONG mode must be selected. To
load user style data the PATTERN mode must be selected.
c Select the CARD Mode
Press the [CARD] button to select the QY100 CARD mode,
while song and style data is not running.
v Select the Type of Data to be Loaded
Move the cursor to the FILE= parameter at the top of the
initial CARD mode display, and use the [+1/YES] and [-1/NO] but-
tons to select the type of data you want to load:
ALL Loads a le saved using the save ALL data option:
all user styles, all songs, all amp simulators settings,
and all system data.
Load
Data type
Memory Card Functions
263
b Select the “Load” Function
Move the cursor to Load on the display and press the
[ENTER] button.
n Select a Song or Style Number (If Necessary)
If you selected any load option other than ALL, use the
[+1/YES] and [-1/NO] buttons to select the number of the song or
user style to which you want to load the data.
SONG Loads the data for a single song. (only SONG mode)
STYLE Loads the data for a single user style. (only PATTERN
mode)
SMF, SMF+XG
(same function)
Loads a le saved using the SMF or SMF+XG data
options: a single song in SMF (Standard MIDI File) for-
mat, or a single song in SMF format with XG header
information. (only SONG mode)
NOTE
If the selected SONG or STYLE number already contains data, an aster-
isk (*) will appear before the number.
If you select a preset style, the “Select UserStyle” error message will
appear. User style data can only be loaded to user styles.
Song/Style
number
Available le
list
264
Memory Card Functions
m Select a Song or Style Name and Load the File
From the memory card le list which appears (the list will
only show les of the type selected in step 4, above), select
(move the cursor to) the le you want to load and press the
[ENTER] button.
If you selected a song or user style which already contains
data as the load destination in step 6, above, the Are You Sure?
conrmation display will appear. Press the [+1/YES] button to load
the selected le to the specied song or user style, or press the [-
1/NO] button to cancel the load operation.
, Done
When the load operation has nished the memory card le
list will appear.
RENAME
To rename a le on the list, select (move the cursor to) the le
and press the function button next to RENAME to go to the
name-entry display.
DELETE
To delete a le from the list rst select (move the cursor to)
the le and press the function button next to DELETE.
When the Are You Sure? conrmation display appears,
press [+1/YES] button to actually delete the selected le, or
the [-1/NO] button to cancel the delete operation.
Memory Card Functions
265
This function allows you to create and name separate directories
in which to organize your les.
z Make Sure a Memory Card Is In the CARD Slot
Make sure that a compatible memory card which is not
write-protected is properly inserted in the QY100 CARD slot (page
13).
x Select the CARD Mode
Press the [CARD] button to select the QY100 CARD mode,
while song and style data is not running.
c Select the “Mk Dir” Function
Move the cursor to Mk Dir on the display and press the
[ENTER] button.
v Select a Level for the New Directory
A le list will appear with the name of the topmost direc-
tory at the top of the list, the names of other directories and les
if available. Select the level at which you want to create a new
directory (below). Press the [ENTER] button after moving the cur-
sor to <Current>.
Mk Dir (Make Directory)
266
Memory Card Functions
To Move to a Lower Directory
Move the cursor to a directory name and press the [ENTER]
button to enter that directory. In the new le list which
appears, the current directory name (path) will appear at the
top of the list.
To Move to A Higher Directory
To move up to the next highest directory press the function
button next to .
To Rename a Directory
To rename a directory on the list, select (move the cursor to)
the directory and press the function button next to
RENAME to go to the name-entry display.
To Delete a Directory
To delete a directory from the list rst select (move the cursor
to) the directory and press the function button next to
DELETE. When the Are You Sure? conrmation display
appears, press [+1/YES] button to actually delete the selected
Current
directory
File(s)
Directory(s)
Current directory
name
Memory Card Functions
267
le, or the [-1/NO] button to cancel the delete operation.
Please note that a directory must be empty (i.e. it must con-
tain no les) before it can be deleted.
b Enter a Directory Name and Create the Directory
The name-entry display will automatically be selected when
you press the [ENTER] button after selecting a level for the new
directory. Enter a directory name. The function button next to
moves the cursor forward one character, and the function
button next to del deletes the current character. When the le
name has been entered as required, press the function button
next to ok to begin actual execution of the Make Directory
operation.
n Done
When the Make Directory operation has nished the le list
for the topmost directory will appear.
NOTE
If you do not enter a file name before pressing the function (ok) button,
the “No Name” message will appear and the directory will not be cre-
ated. Be sure to enter a valid name before pressing the function (ok) but-
ton.
268
Memory Card Functions
Formats a memory card for use with the QY100.
z Make Sure a Memory Card Is In the CARD Slot
Make sure that a compatible memory card which is not
write-protected is properly inserted in the QY100 CARD slot (page
13).
x Select the CARD Mode
Press the [CARD] button to select the QY100 CARD mode,
while song and style data is not running.
c Select the “Format” Function
Move the cursor to Format on the display and press the
[ENTER] button.
CAUTION
Formatting a memory card erases all data on the card, so be sure that the card you
are going to format does not contain any important data that you want to keep.
Format
Memory Card Functions
269
v Format the Memory Card
From the format-standby display, press the [ENTER] but-
ton. When the Are You Sure? conrmation prompt appears,
press the [+1/YES] button to execute the format operation, or the
[-1/NO] button to cancel the format operation.
b Done
When the format operation has nished the memory card
le list display will appear.
270
Appendix
Appendix
Sequencer block
Data capacity approximately 32,000 notes
Note resolution 480 clocks per quarter note
Polyphony 64 notes
Tempo 25-300
Modes SONG mode (SONG, SONG VOICE, SONG EFFECT)
PATTERN mode
(PATTERN, PATTERN VOICE, PATTERN EFFECT)
Record modes Realtime replace, Realtime overdub, Step, Multi
Tracks Song: 16 sequencer tracks, pattern track(Pt),
chord track(Cd), tempo track(Tm)
Pattern: 8 pattern phrase tracks
Songs 20 songs + 3 demo songs
Patterns 768 preset patterns (128 preset styles x 6 sections)
384 user patterns (64 user styles x 6 sections)
Sections: Intro, Main A, Main B, Fill AB, Fill BA, Ending
Phrases 4,285 preset phrases
48 user phrases per user style
Chord types 26 types (including “non-ABC” type)
Chord templates 99 preset chord templates
1 user chord progression per song
Play effect Swing, Drum table remapping
Foot switch functions Start/Stop, Section change
Tone generator block
Type AWM2 tone generator
Maximum Polyphony 32 notes
Multi-timbral capability 24 timbres (last note priority with element reserve, DVA)
Preset voices 525 normal voices, 22 drum voices
Effects 3 blocks (Reverb, Chorus, Variation)
Reverb: 11 types
Chorus: 11 types
Variation 43: types
Amp Simulator
Setups 23 setups (18 Guitar Setups and 5 Microphone Setups)
Blocks Preamp Block (for Guitar) or Delay Block (for microphone)
Chorus Block
Reverb Block
Foot switch functions Block On/Off
Specifications
Appendix
271
Memory Card
Save ALL/SONG/STYLE/SMF(Format 0)/SMF+XG(Format 0)
Load ALL/SONG/STYLE/SMF(Format 0)/SMF+XG(Format 0)
Controllers & display
Micro keyboard 25 keys (2 octaves)
Octave buttons [OCT DOWN], [OCT UP]
Cursor buttons up, down, left, right
Sequencer buttons [>], [], [], [p], [r], [f]
[AMP SIMULATOR], [PARAMETER], [SONG], [PATTERN], [SHIFT], [EXIT], [CARD],
[MENU], [-1(NO)], [+1(YES)], [ENTER], Function buttons
Volume control
Contrast control
Gain control
HOST SELECT switch
Display 128 x 64 dots graphic LCD
Connectors
LINE OUT/PHONES stereo mini jack x 1
GUITAR/MIC INPUT standard monaural jack x1
MIDI IN x1, OUT x1
TO HOST
FOOT SW standard jack x 1
CARD slot 3.3 V SmartMedia memory cards
DC IN for PA-3B
Power supply
Optional PA-3B AC adapter
Six 1.5v AA size (LR6) or equivalent alkaline batteries
Dimensions
(W x D x H) 238 x 118 x 48 mm (9-3/8" x 4-5/8" x 1-7/8")
Weight
750g (1 lbs., 10 oz) without batteries
Included items
QY100 Data Filer for Win95/98/NT/2000/Me, Mac (Mac OS 7.5 or later)
CD-ROM x 1
Audio cable miniature stereo phone plug to dual RCA pin plugs
Owners manual set QY100 owners manual, Data List, QY100 Data Filer
Installation Guide
Rubber feet
* Specications and descriptions in this owners manual are for information purposes only.
Yamaha Corp. reserves the right to change or modify products or specications at any time
without prior notice. Since specications, equipment or options may not be the same in
every locale, please check with your Yamaha dealer.
272
Appendix
If you experience problems such as no sound, incorrect sound, or sequencer does
not operate, please check the following points before deciding that the unit is malfunctioning.
In many cases, checking these points will help you solve the problem.
If this does not solve the problem, contact your nearest Yamaha dealer or the authorized
distributor for your country.
Problem Possible causes Refer to page
No sound Is the volume sufciently raised on the QY100
and/or external sound equipment?
Are the headphones or speakers properly con-
nected?
p.14
Is the Master Volume and/or each track vol-
umes raised sufciently?
p.134
If the REVERB, CHORUS, VARI, and DRY set-
tings are all set to 0, the sound for that track
will not be produced.
p.137
Is the Fingered Chord function turned ON? If
you play a note within the Fingered Zone, no
sound will be produced.
p.69, 252
Is the MUTE setting turned ON? p.102, 122,
132
Is the MIDI IN jack or TO HOST jack properly
connected?
p.15, 16
Is the HOST SELECT switch properly set? p.17
Is MIDI local set to OFF? p.248
The sound is distorted. Have unneeded effects been set? p.236
The guitar/microphone
sound is distorted.
Is the GAIN control set properly? p.27
Is an appropriate amp simulator setup
selected?
p.38, 47
Amp simulator effects
arent applied to the guitar
or microphone sound.
Is the [AMP SIMULATOR] button indicator
out?
If it is, the Amp Simulator is bypassed and
youll need to press the [AMP SIMULATOR]
button so that its indicator lights.
p.27
Notes are intermittently
broken (notes sputter or
stutter).
Does the number of currently sounding notes
exceed the QY100s maximum polyphony of
32?
p.270
Troubleshooting
Appendix
273
Playback does not start
when you press [>].
Does the selected song/pattern contain data? p.79, 98
Is the MIDI Sync set to external? p.247
Is Style Number 129 (End Pattern) selected in
the Song Modes display?
p.55
Cant change the length of a
pattern (number of mea-
sures).
The length of a pattern (number of measures)
cannot be changed, if it includes recorded user
phrases.
p.109
When a song is played
back, it stops in the middle.
Is Style Number 129 (End Pattern) set in the
middle of the Pattern Track?
p.84
Rhythm or note timing are
played back differently than
when recorded.
Are Play Effect settings being used? p.124
The same amount of force
is used to play notes on the
keyboard but it results in
notes of different loudness.
Is the keyboard velocity set between R1 and
R4 (Random)?
p.106, 117
Cannot use the Fingered
Chord function.
Is the Fingered Chord turned off? p.69
Are you pressing keys within the Fingered
Zone?
p.252
Cant hear the click sound. Is the click set to something other than off
in the Utility mode?
p.244
When the song starts, the
voice or effect settings that
you have made disappear.
Does the beginning of the song contain data
which resets the tone generator?
p.216
If there is data in the Pattern track, the Varia-
tion effect settings for the pattern will be
effective.
p.241
The Memory Full mes-
sage appears yet there are
still unused songs.
Press the [SHIFT] button and the second function
button from the top simultaneously to check the
current memory capacity. The QY100s memory
capacity (approximately 32,000 notes) is for the
total data of all songs and phrases. This means that
if there are songs or phrases that contain large
amounts of data, the memory may be full even
though there are still unused songs or patterns.
p.23
The QY100 (tone generator)
is slaved to an external
sequencer but, there is no
sound when the perfor-
mance is played back from
the external sequencer.
Is the Utility modes MIDI Echo Back set to
RecMontr? Change the Echo Back setting to
Off or Thru.
p.248
Nothing is shown on the
LCD.
Is the Contrast control properly set? p.20
Problem Possible causes Refer to page
274
Appendix
Monitor
No Data When a job is executed, this will appear if the selected track or area
contains no data, making the job invalid. Re-select the area.
Illegal Input This will appear in response to inappropriate operation or input. Check
your input method.
Preset Phrase
This will appear when you attempt to edit a Preset Phrase. To edit a preset
phrase, copy the phrase to a User Phrase and edit the User Phrase.
Preset Pattern This will appear when you attempt to record to a Preset Pattern. You
cannot record to Preset Patterns.
Preset Chord This will appear when you attempt to change a Preset Chord Template
with a Job (transpose, etc.) operation.
Now Bulk Mode This will appear when you attempt to operate the QY100 while it is
receiving bulk data.
System
Memory Full A song le or style le could not be loaded because the QY100s inter-
nal memory is full.
Delete unwanted song and/or style les to increase the amount of
available memory. When a song or style le is loaded and previous
data in the destination song or style le will be erased.
NotEnough Memory
A song le or style le could not be loaded because the QY100's inter-
nal memory is not enough.
Delete unwanted song and/or style les to increase the amount of
available memory. When a song or style le is loaded, previous data in
the destination song or sytle le will not be erased.
Backup Batt.Low This will appear when the internal backup battery of the QY100 has run
down. Contact the nearest Yamaha dealer or the authorized distributor
for your country to have the battery replaced.
Power Batt.Low This will appear when the batteries (Size AA x6) powering the QY100
has run down. When the batteries run down more seriously, "Power
Batt.End" message will appear.
Power Batt.End This will appear when the batteries (Size AA x6) powering the QY100
has run down seriously. In this case, memory card functions are no
longer accessible. Replace the entire set of old batteries with a new
set of batteries as soon as possible.
Factory Set
After the power is switched ON, a system diagnosis is run on the QY100s
system. If the diagnosis nds the RAM to be defective, this message will
appear and the memory will be reset to its original factory settings. Data
for Song, User Patterns, and User Phrases will all be eliminated.
MIDI
MIDI Data Error This will appear when the received QY bulk data contains an error.
Now Running This will appear when the QY100 is receiving bulk data. Other MIDI
signals cannot be received at this time.
Error Messages
Appendix
275
MIDI Buffer Full This will appear when the MIDI reception buffer of the QY100 has
lled up, and processing was not possible. Try decreasing the amount
of data or increasing the interval time and transmit the data once again.
XG Data Error This appears when the received XG parameter change contains a data
size error
XG Adrs Error This appears when the received XG data contains an address error.
XG Size Error This appears when the received XG bulk data contains a data size error.
Checksum Error This appears when the received XG data contains a Checksum error.
Host is OffLine If the QY100 is connected to a computer, this appears when the com-
puters power is switched OFF. Switch the computers power ON.
Memory Card
No Name You have attempted to execute a save or load operation without speci-
fying a le or directory name.
No Card This message will appear if you press the [CARD] button when no
memory card is in the QY100 CARD slot (or a card has not been prop-
erly inserted).
Make sure a memory card is properly inserted in the CARD slot before
pressing the [CARD] button.
Card Mount Err An error occurred while accessing the memory card.
Re-insert the card and try again.
Too Many Files This message will appear if you attempt to store 100 or more les and/
or directories in a single directory.
The QY100 can display a maximum of 99 les and directories per direc-
tory.
Too Long Path The directory path (the string of characters that species the location
of a directory) is longer than 100 characters.
QY100 directory paths can be up to 99 characters in length.
Not Empty You have attempted to delete a directory that contains one or more
les or other directories.
All les and directories contained in a directory must be deleted before
that directory can be deleted.
Card Write Err An error occurred while writing data to the memory card.
Re-insert the memory card and try again.
Card Protected You have attempted to execute a store or other write operation to a
write-protected memory card.
Remove the write-protect seal from the card and try again.
Same Name Exists
When using the Rename or Make Directory function you have entered
a le or directory name that already exists.
Use a different le or directory name.
Read Only File This message will appear if you attempt to write to or delete a read-
only le.
Card Full There is not enough memory available on the card to store the speci-
ed le.
Delete unwanted les from the memory card to make more memory
available, and then try again.
276
Appendix
Bad File This message will appear if you attempt to access a broken le.
Illegal Format The card you are attempting to access has not been properly format-
ted for use with the QY100.
Cannot Open The specied le cannot be loaded.
Wrong ID You have attempted to load a le that was not saved using the QY100
format.
SMF Error[00] You have attempted to load an SMF le but the le to be loaded does
not have the proper SMF format.
Improperly formatted les cannot be loaded.
SMF Error[03] You have attempted to load an SMF le in which the header chunk divi-
sion data is not compatible with the QY100.
Incompatible les cannot be loaded.
SMF Error[06] The actual length of the SMF les you attempted to load was different
from the length specied by the les length data.
The le may be corrupted. If possible, use an external device to re-
save the data to the memory card and try again.
SMF Error[07] You have attempted to load an SMF le which contains an incorrect
status byte.
Incompatible les cannot be loaded.
SMF Error[08] You have attempted to load an SMF le which contains an incorrect
data byte.
Incompatible les cannot be loaded.
Not Format0 This message will appear if you attempt to load an SMF le that was
saved in format other than SMF Format 0.
Incompatible les cannot be loaded.
SMF Error[**] An SMF error other than those listed above has occurred.
Incompatible les cannot be loaded.
Card Error[**] A memory card error other than those listed above has occurred.
Try re-inserting the memory card and pressing the [CARD] button. If
the error continues to occur, the memory card may be damaged.
Messages other than error messages
Cant Undo OK? (Yes/No)
If executing a job would ll up the internal memory so that Undo will
not be available, this message will appear. If you are sure that you will
not need to Undo this job, press YES. To cancel without executing
the job, press NO.
Are You Sure? (Yes/No)
Before an operation is executed, this message will ask you for conr-
mation. To execute the operation press YES. To cancel the operation
press NO.
Completed This will appear when the current process has been completed.
Executing... This message will appear while the job is being executed. Please wait.
Transmitting... When transmitting MIDI bulk data, this message will appear.
Receiving... When receiving MIDI bulk data, this message will appear.
Appendix
277
A
Aftertouch:
MIDI messages which are transmitted when
additional pressure is applied to the keyboard
after notes are played.
Amp Simulator:
Simulates the characteristics of a guitar or
microphone preamplier including effects
such as overdrive, chorus, delay, and reverb.
Attack time:
The time over which the volume rises from 0
when a note is played, until the maximum vol-
ume is reached.
Auto Bass Chord (ABC):
A function which will automatically re-harmo-
nize the accompaniment patterns by specify-
ing chord progressions.
AWM 2 tone generator:
A method of generating sound developed by
Yamaha which is based on digitally recorded
waveforms. Since it generates the complex
waveform of actual acoustic instruments, it
provides extremely realistic sounds. Digital l-
tering is also built-in, allowing precise control
over the tone. AWM2 is an acronym for
Advanced Wave Memory 2.
B
Beat:
When playing back or recording a song, one
beat (a rhythmic subdivision of a measure).
Bulk data:
A type of System Exclusive message which
contains a collection of data for the internal
settings of a device.
Bulk dump:
The process of transmitting bulk data in MIDI
System Messages to external MIDI devices.
C
Chord root:
An alphabetical letter which indicates the root
of a chord. The QY100 lets you indicate 12
different chord roots.
Chord template:
A collection of preset models for chord pro-
gressions. The collection includes generic
chord progressions for Popular styles as well
as Blues and Tension styles.
Chord track (Cd):
A track that lets you record and play back
Chord Roots and Chord Types for the Auto
Bass Chord (ABC) function.
Chord type:
A symbolic or numerical indication of how a
chord is composed (Major, minor, 7th, etc.).
The QY100 allows you to select from 26
(including non-ABC) chord types.
Chorus:
A type of effect that adds richness and depth
to the sound, similar to what happens when
multiple sound sources are heard simulta-
neously.
Click:
A metronome that is sounded when playing
back or recording on a sequencer.
Clock:
A unit of timing resolution. On the QY100,
one clock is a length of 1/480th of a quarter
note.
Control change:
A group of MIDI messages that can be used
to select voice banks and control the volume,
pan, etc. They are also output when a control-
ler (modulation wheel, foot controller, etc.) is
operated. Each controller has its own control
number.
Glossary
278
Appendix
Cutoff frequency:
Filters work by allowing the portion of the sig-
nal lower than a given frequency to pass, and
cutting the portion of the signal above that
frequency. This frequency is referred to as
the cutoff frequency. See the entry for Low
Pass Filter.
D
Decay time:
The time from when the maximum volume of
a note is reached until it falls to the sustain
level.
Delay:
An effect that delays an audio signal. The
QY100s Variation effect allows a delay to be
applied.
Depth:
The amount or degree of a setting or effect.
Drum table remapping:
One of the play effect functions. This function
allows you to change specied rhythm instru-
ments in the drum play data to other rhythm
instruments when a song or pattern is played
back.
Dry sound:
The audio signal that is not processed by an
effect. Normally when using an effect, not all
of the audio signal is passed through the
effect. Rather, the degree of the effect is
adjusted by mixing the sound that passes
through the effect (the wet sound) with the
sound that bypasses the effect (the dry
sound). See also the entry for Wet sound.
E
Echo back:
The action or process in which data received
via the MIDI IN connector is re-transmitted
from the MIDI OUT connector.
Edit:
The action of modifying or editing data.
Effect:
A block that processes the sound to add vari-
ous effects. The QY100 provides two system
effects (reverb and chorus), and one effect
(variation) which can either be used as a sys-
tem effect or as an insertion effect.
Element:
A block within the AWM2 tone generator that
generates a sound. The voices of the QY100
consist of 1 or 2 elements. Voices that use 2
elements generally have a thicker sound that
cannot be achieved when using 1 element.
With 2 elements different voices such as
piano and strings sounds can be mixed into a
single voice.
Envelope generator (EG):
A block that modies the level of the tone
generator from the moment that a note is
played until the sound decays to silence.
Event:
A single piece (such as Note On/Off or Pro-
gram Change messages) of the data which
makes up a sequence.
Exclusive:
See the entry for System Exclusive Message.
Expression:
A MIDI control change message used to con-
trol the volume of a part (track).
F
Filter:
A block which modies the tone by cutting
the output of a specic frequency portion of
the sound. The QY100 has low pass lters
allowing the tone to be made more mellow
by cutting the overtones above a specied
frequency, or brighter by allowing them to
pass. See also the entry for Low pass lter.
Fingered chord:
A function that automatically detects chords
based on the combination of notes that are
played on the keyboard, and converts the
playback of patterns to the chords that are
detected.
Appendix
279
G
Gate Time:
The length of time that a note actually
sounds. Longer gate times produce slurred
notes, shorter gate times produce staccato.
GM:
An acronym for General MIDI. A specication
that denes the arrangement of voices in a
tone generator and its MIDI functionality,
ensuring that data can be played back with
substantially the same sounds on any GM-
compatible tone generator.
H
Hexadecimal number:
A system of numbering based on 16, in which
the digits increment in units of n-th powers of
16. The alphabetical characters A-F are used
to express the numbers 10-15. This system
of numbering is used for MIDI data.
I
IBM-PC/AT Series:
A type of personal computer manufactured
and sold by the International Business
Machine Corporation. Compatible computers
are manufactured and sold by many compa-
nies
Insertion (effect):
An effect which can be applied to one spe-
cic part (track). With this effect, you can
apply effects more aggressively to your
song. (e.g. rotary speaker effects to organ
sounds, or wah effects to guitar sounds.)
Interval time:
A delay time that is inserted at regular inter-
vals of one kilobyte when transmitting sys-
tem exclusive data that was recorded in a
sequence track to tone generators (or exter-
nal MIDI tone generators).
L
LFO:
An acronym for Low Frequency Oscillator, a
block that produces a signal at a low fre-
quency which synthesizers use for the cre-
ation of sound. The signal from the LFO can
be used to modulate pitch, volume or tone to
produce effects such as vibrato, tremolo and
wah.
Location:
The place within a song or pattern at which
notes will be input or playback will be started,
indicated as measure, beat, and clock.
Low Pass Filter:
A type of lter which cuts high frequencies
above a specied point. The sound can be
brightened by raising the cutoff frequency of
the lter, or darkened by lowering it.
LSB:
An acronym for Least Signicant Byte, refer-
ring to the lower byte of data when MIDI con-
trol change data is divided into two bytes for
transmission.
M
Maximum Polyphony:
The maximum number of notes that can be
played at once. The QY100 can produce 32
simultaneous notes (counted in 1-element
units). If MIDI messages are received
requesting more notes than the maximum
polyphony allows, currently sounding notes
will be turned off, and the later-received notes
will be played.
Measure:
A unit of musical duration consisting of sev-
eral beats.
Memory Card:
Wafer-thin, high-volume memory cards pro-
vide a convenient way to store and retrieve
QY100 song and style data. Memory cards
that can be used with the QY100 are available
at many electronics and computer stores.
Also see SmartMedia.
280
Appendix
MIDI:
An acronym for Musical Instruments Digital
Interface, a standard for transferring data
between musical instruments. Most elec-
tronic musical instruments today implement
the MIDI specication and provide MIDI con-
nectors. Such instruments can be easily con-
nected together to create remote
performance or automatic performance sys-
tems.
MIDI Data Filer:
A MIDI device that receives bulk data for the
internal settings of a MIDI device in the form
of System Exclusive messages, and stores
them to disk. An example is the Yamaha
MDF3 MIDI data ler.
Mixer:
On the QY100, the display page in which you
can make settings such as, pan, volume, etc.
for the voice of each song or pattern track,
when playing back.
Modulation:
A function that can be used to change the vol-
ume, tone, or pitch cyclically while you per-
form. On the QY100, you can apply
modulation by holding the [OCT UP] button
while playing a note on the micro keyboard.
MSB:
An acronym for Most Signicant Byte, refer-
ring to the upper byte of data when MIDI con-
trol change data is divided into two bytes for
transmission.
Multi-timbral tone generator:
A tone generator that can simultaneously pro-
duce more than one voice.
Mute:
A function that temporarily silences the speci-
ed track or reduces its volume.
N
NRPN:
An acronym for Non Registered Parameter
Number. These are a type of MIDI control
change message, and are used to edit sounds
via MIDI, allowing you to edit lter or EG set-
tings, or adjust the pitch or level for each
instrument of a drum voice.
O
On-bass:
A function that lets you specify a root note for
the bass independently of the chord, so that
the playback of a bass phrase whose Phrase
Type is Bass will be xed on that root note.
Overdub:
A method of real-time recording in which new
material is recorded without erasing previ-
ously recorded tracks.
P
Pan:
The parameter that sets the stereo location of
a sound when it is played back in stereo.
(Pan or panpot are abbreviations of pan-
oramic potentiometer.)
Parameter:
A setting or data item which you can modify
in the various mode and sub-mode displays.
Patch:
An assignment of phrases for each track to
create patterns.
Pattern:
An auto accompaniment pattern consisting of
drums, bass and chord backing.
Pattern track (Pt):
The track which records and plays back pat-
tern data.
Phrase:
The smallest unit from which the accompani-
ment pattern is created. A phrase, such as
drum phrase, bass phrase, etc., can be
assigned to one of the 8 tracks of the pattern.
Phrase category:
A classication of phrases that are catego-
rized by instruments and performance styles.
Appendix
281
Pitch bend:
A type of MIDI message that smoothly
changes the pitch.
Pitch bend wheel:
A controller that smoothly changes the pitch.
On the QY100, pitch bend can be applied by
holding the [OCT DOWN] button while play-
ing a note on the micro keyboard.
Portamento:
An effect that smoothly changes the pitch
from one note to another note. Higher set-
tings of Portamento Time will produce a
slower change, and there will be no effect
with a setting of 0.
Preset:
A type of memory that is built into a device.
The QY100 has preset memories for voices,
phrases, and patterns, etc.
Program change:
An event or MIDI message that selects a
voice.
Program number:
On the QY100, a number specifying one of
the GM-dened voices.
Q
Quantize:
A function which Tightens up the inexact
timing of notes or other events that were
entered in real-time.
QY100 Data Filer:
A computer software application that allows
for the exchange of QY100 data between the
computer and the QY100. Data from the
QY100 can be saved in the computer and QY
data stored in the computer can be transmit-
ted to the QY100. Commercially available
SMF song data or XG song data can also be
transmitted from the computer to the QY100.
R
Realtime recording:
A method of recording in which your perfor-
mance is recorded just as you play, similar to
a conventional multi-track recorder. Since the
performance is recorded as you play, the
musical expression and nuances of your per-
formance will be accurately recorded.
Redo:
Carries out the operation that was previously
canceled with Undo.
Release time:
The time over which the volume falls from
the sustain level (beginning at the moment a
note is released) until it reaches silence.
Replace:
A method of real-time recording in which pre-
viously recorded data is erased (replaced) as
new material is recorded.
Resonance:
A parameter that boosts the level of the sig-
nal in the area of the cutoff frequency. By
emphasizing the overtones in this area, this
can produce a distinctive peaky tone, mak-
ing the sound brighter and harder.
Return level:
See the entry for Send level.
Reverb:
An effect that simulates the acoustical rever-
berance of a room or space. The sound that
reaches our ear usually includes not only the
direct sound, but also that was reected off
the walls or ceiling. Reverb creates these indi-
rect reections articially.
RPN:
An acronym for Registered Parameter Num-
ber. These are a type of MIDI control change
message that are used to set Part settings
such as Pitch Bend Sensitivity or Tuning, etc.
282
Appendix
S
Section:
A term referring to each of the six types of
patterns that comprise a style. Patterns are
selected by specifying the style and the sec-
tion.
Send level:
The amount of signal that is sent to a speci-
ed bus line for processing by an effect. The
amount of signal that is returned from the
effect is the return level.
Sequencer:
A block (or device) that records, edits, modi-
es, and plays back a musical performance in
the form of MIDI messages.
Sequencer tracks:
Tracks which record and playback normal
MIDI sequence data. The QY100 has 16
sequencer tracks.
SmartMedia:
SmartMedia (a trademark of Toshiba Corpora-
tion) refers to memory cards conforming to
SSFDC Forum specications (SSFDC stands
for Solid State Floppy Disk Card). The
SSFDC Forum is an organization that devel-
ops and denes the standards for these
memory cards.
SMF:
See the entry for Standard MIDI File.
Solo:
This function mutes the playback of all tracks
except that of the selected track as long as
the track is soloed.
Song:
A musical composition created by recording
performance data on each track.
Standard MIDI File (SMF):
SMF is an acronym for Standard MIDI File; a
standard format that was created to allow
easy exchange of song data between differ-
ent sequencers. Most of todays software
and hardware manufacturers provide
sequencers that can create and play back
Standard MIDI les.
Step recording:
The method of recording in which music is
input by entering notes one by one, specify-
ing the note length, velocity, and pitch etc. of
each note.
Style:
A collective name for pattern catagories (hip
hop, hard rock, etc. musical genres). Styles
are divided into six sections (intro, ll-in, end-
ing, etc.).
Sustain level:
The volume level of the note from the time
after the maximum level of the note is
reached, until the note played on the key-
board is released.
Swing:
Refers to a type of rhythm or groove
which, at the extreme, can apply a triplet feel
to 8th or 16th note patterns as in swing
jazz. Subtler applications of swing can be
used to give rhythmic patterns a more
bouncy feel.
Synchronization:
The function or process of matching the play-
back or recording tempo of a device with a
separated, external device such as another
sequencer or a rhythm machine.
Sync:
See Synchronization
System (effect):
An effect which can be applied to all parts
(tracks) by adjusting the Send Levels and
Return Level. System effects allow reverb or
chorus to be conveniently applied to the over-
all music. The QY100 provides Reverb and
Chorus as system effects. The Variation
effect can also be used as a system effect.
System Exclusive Message:
A type of MIDI message used to exchange
data unique to a specic model or type of
device.
Appendix
283
T
Tempo track (Tm):
The track in which data that determines the
playback tempo of the song is recorded.
Track:
A location where musical performance data is
recorded in the sequencer. You can record
piano on track 1, bass on track 2, etc.
Transpose:
Shifts the pitch of recorded data in semitone
steps.
Tremolo:
An effect produced by cyclically modulating
the volume.
Tuning:
The process of matching the pitch of two or
more instruments when playing in an ensem-
ble. Normally, A3 is tuned to 440Hz.
U
Undo:
This command cancels the previously per-
formed operation and returns the data to the
condition of that before the operation was
executed. On the QY100, this command can
be performed against JOB, EDIT, and
RECORDING operations. See the entry for
Redo.
Utility:
On the QY100, the display in which MIDI set-
tings and system settings can be made.
V
Variation effect:
One of the QY100s effects which can func-
tion either as an insertion effect or as a sys-
tem effect, and provides a wide variety of
effect programs such as delay, rotary speaker,
auto pan, amp simulation and auto wah in
addition to reverb and chorus.
Velocity:
A numerical value indicating the speed (force)
with which a note was pressed.
Vibrato:
A performance effect produced by cyclically
changing the pitch.
Voice:
A sound that is built into the tone generator
that can be selected and played.
W
Wet sound:
The audio signal that is processed by an
effect. Normally when using an effect, not all
of the signal is passed through the effect.
Rather, the degree of the effect is adjusted by
mixing the sound that passes through the
effect (the wet sound) with the sound that
bypasses the effect (the dry sound). See also
the entry for Dry sound.
X
XG:
A tone generator format developed by
Yamaha which expands the GM specication
to provide the richer expressiveness and
upward data compatibility that is demanded
by todays more sophisticated computer
peripheral environment.
284
Appendix
A
AC Adaptor..................................3, 8, 11, 271
Aftertouch .........................................225, 277
Alkaline Batteries...............................3, 9, 271
Amp Simulator.........................32, 36, 45, 277
Amp Simulator Setup ......................38, 47,
Attack Time .......................................141, 277
Auto Bass Chord (ABC) .....................252, 277
B
Back Delete.................................................96
Backup Battery......................................4, 274
Bdl ...............................................................96
Beat.....................................................96, 277
Bulk Dump ........................................250, 277
C
CAT............................................................225
CC (Control Change)..........................224, 277
Cd....................................................66, 81, 87
Channel After Touch..................................225
Chord...........................................................67
Chord Separate .......................161, 197
Chord Sort...............................160, 196
Current Chord .................................235
Root ..........................................67, 277
Source Chord ..........................105, 235
Template ...........................54, 270, 277
Template List.....................................
Track....................................70, 81, 277
Type.............................67, 270, 277,
Chorus.................................32, 236, 270, 277
CHORUS (Chorus Send)............................237
Chorus Block .........................................42, 51
Clear Pattern..............................................214
Clear Song.................................................179
Clear Track.........................................175, 212
Click Beat ..................................................244
Click Mode ................................................244
Clock ...................................................96, 277
Connection Display ...................................236
Connections ........................14, 15, 16, 36, 45
Contrast.......................................................20
Control Change .................................224, 277
Copy Event........................................162, 198
Copy Pattern .............................................213
Copy Phrase ..............................................207
Copy Song.................................................178
Copy Track.........................................173, 210
Create Continuous ............................167, 203
Create Measure ........................................171
Crescendo .........................................155, 191
Current Chord............................................235
Cursor..........................................................22
CUT ...................................................140, 144
D
DC In .......................................................8, 11
Decay ........................................141, 144, 278
del .......................................................96, 260
Delay Block .................................................50
Delete..................................................96, 260
Delete Measure ........................................172
Demo Song .................................................33
Display (LCD)...............................................20
Drum Table ................................................130
Drum Table Number ............................130,
Drum Table Remapping.....................128, 278
Drum Voice..........................................142,
Drum Voice Edit ........................................142
DRY/WET ..................................................239
E
Echo Back ...................................16, 248, 278
Edit ....................................................216, 278
Effect...................................................32, 236
Chorus.............................................236
Data Assign Table .............................
Effect Send .............................113, 136
Insertion Effect ...............................239
Parameter List...................................
Reverb.............................................236
System Effect .................................239
Type List............................................
Variation Effect..........32, 236, 241, 283
EG .....................................................141, 278
Index
: Data List
285
Appendix
Erase Event .......................................164, 200
Error Message...........................................274
ers ...............................................................90
Exc ............................................................227
Exclusive ...........................................227, 278
Exclusive Interval.......................................245
Expand Backing.........................................176
Expression.........................................224, 278
Extract Event.....................................165, 201
F
Filter Cutoff Frequency..............140, 144, 278
Filter Resonance .......................140, 144, 281
FINGERED...................................69, 123, 252
Fingered Chord..............69, 123, 235, 278,
Fingered Zone ...........................................252
FNGR...................................................69, 235
Foot Switch .........................................12, 245
Format.......................................................268
Function Buttons.........................................23
FX THRU ...........................................127, 129
G
GAIN................................................27, 37, 46
GATE ...........................................................94
Gate Time ....................94, 150, 153, 186, 189
Get Phrase.................................................208
GUITAR/MIC INPUT ........................13, 36, 45
H
Headphones ..........................................12, 14
HI KEY .......................................................235
HI LIMIT ....................................................235
HOST SELECT.................................12, 15, 17
I
Insert .........................................................221
INSERTION................................................239
Insertion Effect..........................................239
J
JUMP ........................................................120
K
Keyboard Velocity........................................75
L
LINE OUT/PHONES ......................12, 14, 271
LO LIMIT ...................................................235
Load ..........................................................262
LOCAL ON/OFF ........................................248
LVL ............................................................143
M
M/S............................................127, 129, 132
Master Tune ..............................................245
Maximum Polyphony ........................270, 279
Measure ............................................120, 279
Create Measure ..............................171
Delete Measure ..............................172
Memory Card ....................................254, 279
Micro Keyboard ...........................................25
MIDI ..................................................247, 280
MIDI Channel ..................................252
MIDI Control ...................................247
MIDI Data Format .............................
MIDI Filter .......................................248
MIDI Implementation........................
MIDI IN/OUT .........................12, 15, 16
MIDI Sync .......................................247
Mix Track ...........................................174, 211
Mixer Display ............................................131
Mk Dir .......................................................265
Modify Gate Time..............................153, 189
Modify Velocity..................................151, 187
Modulation ..........................................32, 280
mst ............................................................134
Multi ............................................................80
Mute..................102, 122, 127, 129, 132, 280
N
Normal Voice .........................................29,
Normalize ..................................................177
Note ..........................................................222
Note Display................................................95
Note Pointer ................................................95
NRPN ................................................226, 280
O
OCT .............................................................26
Octave.........................................................26
On/Off ...................................................44, 52
286
Appendix
On-Bass.............................................103, 280
OVER...................................................76, 107
Overdub ......................................76, 107, 280
P
Pan ............................................134, 143, 280
PAT ............................................................225
Pat .............................................................134
PATT OUT CH............................................249
Pattern...........................................30, 54, 280
Clear Pattern ...................................214
Copy Pattern ...................................213
Effect Mode ....................................236
Job ..................................................181
Mode...........................................21, 98
Phrase Track....................................112
Play Effect.......................................116
Track (Pt) .....................................62, 81
Track fader.......................................131
Voice Mode .....................................112
PB......................................................139, 223
PC (Program Change)................................223
PEAK ...............................................27, 37, 46
Phrase .................................................98, 280
Beat...................................................98
Category....................................98, 280
Copy................................................207
Edit..................................................216
Edit Insert........................................221
Get ..................................................208
Name ..............................................102
Number .............................................98
Put...................................................209
Recording................................105, 111
Table................................................234
Track................................................112
Type.................................101, 108, 234
User Phrase ....................................106
Voice ...............................................234
Pitch ..........................................................143
Pitch Bend.................................139, 223, 281
Pitch Coarse ..............................................143
Play Effect .........................................116, 124
Play Effect Thru.................................127, 129
Play Fx.......................................................116
Polyphonic Aftertouch...............................225
Power......................................................8, 20
Preamp Block ..............................................41
Preset Pattern .............................................53
Preset Phrase........................................ 98,
Preset Style...........................................55,
Program Change ...............................223, 281
Program Number...............................133, 281
Pt...........................................................62, 84
Put Phrase.................................................209
Q
Quantize ....................................148, 184, 281
Gate Time................................150, 186
Quantize Value ........................148, 184
Strength ..................................149, 185
Swing Rate..............................149, 185
QY100 Data Filer ...............................250, 271
R
Realtime Recording.............................73, 281
Chord Track .......................................66
Overdub ............................76, 107, 280
Pattern Track .....................................62
Phrase .............................................105
Replace ...............................63, 76, 281
Sequencer Track ...............................73
Tempo Track......................................70
Rec Count .................................................245
Record Mode ....................63, 76, 82, 92, 107
Record Ready..............25, 63, 76, 81, 92, 107
Redo..........................................147, 183, 281
Release Time.....................................141, 281
Repeat Playback........................................120
REPL ...............................................63, 66, 76
Replace ...................................63, 66, 76, 281
RES ...................................................140, 144
Rest.............................................................96
REV ...............................................44, 52, 143
Reverb.....................................32, 39, 48, 143
REVERB (Reverb Send).............................143
Reverb Block .........................................43, 51
RPN ...................................................226, 281
rst ................................................................96
S
Save ..........................................................258
287
Appendix
Section ................................................53, 282
Sequencer Button .......................................25
Sequencer Track............................71, 91, 282
Shift Clock .........................................158, 194
Slur ..............................................................94
SmartMedia.......................................254, 282
Solo ...................102, 122, 127, 129, 132, 282
Song ..................................................118, 282
Clear Song.......................................179
Copy Song.......................................178
Edit..................................................216
Edit Insert........................................221
Effect Mode ....................................236
Job ..................................................145
Mode...............................................118
Name ..............................................180
Number ...............................33, 55, 118
Play Effect.......................................124
Playback ..........................................118
Recording....................................61, 71
Voice Mode .....................................131
Sound on/off................................................90
SOURCE CHORD..............................105, 235
Specications ............................................270
Staccato.......................................................94
STEP......................................................82, 92
Step Recording..................81, 84, 87, 91, 111
Chord Track .......................................87
Pattern Track .....................................84
Phrase .............................................111
Sequencer Track................................91
Style ....................................................53, 282
Name ........................................85, 215
Number .......................................55, 85
Swing ........................................................126
Swing Rate........................................149, 185
Syncopation.................................................89
SYSTEM ....................................................236
System Effect............................236, 239, 282
System Parameters...................................244
T
Tempo ...................................64, 70, 100, 109
Tempo Change ....................................70, 230
Tempo Track ........................................70, 283
Thin Out ............................................169, 205
Tie................................................................96
Time Stretch ......................................170, 206
TIMING......................................................128
Tm ...............................................................70
TO CHO.....................................................239
TO HOST.....................................................12
TO REV......................................................239
Tone Generator....................................31, 270
Track ............................................29, 121, 283
Chord Track .........................66, 81, 277
Clear Track ..............................175, 212
Copy Track ..............................173, 210
Mix Track.................................174, 211
Pattern Phrase Track .......................112
Pattern Track (Pt).......62, 101, 106, 280
Sequencer Track ...........29, 71, 91, 282
Tempo Track..............................70, 283
Transpose ..........................123, 157, 193, 283
TRNS .........................................................123
TYPE..................................................107, 234
U
Undo..........................................147, 183, 283
Used Memory .....................................23, 258
User Pattern ..............................................100
User Phrase...............................................106
Utility .................................................242, 283
V
VAR ...........................................................143
VARI. (Variation Send)................................137
Variation Effect ..................137, 236, 241, 283
VELO .....................................................75, 94
Velocity..........................75, 94, 123, 221, 283
Velocity Meter ...........................................122
View Filter .................................................233
Voice....................................................31, 283
Category..........................................133
Drum Voice ...............................142,
Edit..........................................115, 138
Name ................................................
Normal Voice.....................................
Variation (Voice).........................133,
Volume ........................................................27
288
Appendix
X
XG Exc Drum.............................................230
XG Exc Effect ............................................229
XG Exc Multi..............................................230
XG Exc System..........................................229
XG NRPN...................................................228
XG PARM OUT ..........................................249
XG RPN .....................................................228
XG View.....................................................232
Z
ZONE.........................................................252
Buttons & Display Symbols
[p] ...............................................................25
[r] .............................................................25
[f]..............................................................25
[] ...............................................................25
[]................................................................25
[>] ...............................................................25
[-1(NO)]/[+1(YES)] ........................................22
[AMP SIMULATOR].....................................27
[CARD] ........................................................27
[ENTER].......................................................24
[EXIT]...........................................................22
[MENU]........................................................23
[OCT DOWN]/[OCT UP] ..............................26
[PARAMETR] ...............................................28
[PATTERN] ...................................................21
[SHIFT] ........................................................21
[SONG] ........................................................20
Cursor buttons ............................................22
Micro Keyboard ...........................................25
...........................................................120
................................................................102
..........................................................233
1. IMPORTANT NOTICE: DO NOT
MODIFY THIS UNIT!
This product, when installed as indicated in
the instructions contained in this manual,
meets FCC requirements. Modications not
expressly approved by Yamaha may void
your authority, granted by the FCC, to use
the product.
2. IMPORTANT: When connecting this
product to accessories and/or another
product use only high quality shielded
cables. Cable/s supplied with this product
MUST be used. Follow all installation
instructions. Failure to follow instructions
could void your FCC authorization to use
this product in the USA.
3. NOTE: This product has been tested and
found to comply with the requirements
listed in FCC Regulations, Part 15 for Class
B digital devices. Compliance with these
requirements provides a reasonable level
of assurance that your use of this product
in a residential environment will not result
in harmful interference with other electronic
devices. This equipment generates/uses
radio frequencies and, if not installed and
used according to the instructions found in
the users manual, may cause interference
harmful to the operation of other electronic
devices. Compliance with FCC regulations
does not guarantee that interference will
not occur in all installations. If this product
is found to be the source of interference,
which can be determined by turning the
unit OFF and ON, please try to eliminate
the problem by using one of the following
measures:
Relocate either this product or the device
that is being affected by the interference.
Utilize power outlets that are on different
branch (circuit breaker or fuse) circuits or
install AC line lter/s.
In the case of radio or TV interference, relo-
cate/reorient the antenna. If the antenna
lead-in is 300 ohm ribbon lead, change the
lead-in to co-axial type cable.
If these corrective measures do not pro-
duce satisfactory results, please contact
the local retailer authorized to distribute this
type of product. If you can not locate the
appropriate retailer, please contact Yamaha
Corporation of America, Electronic Service
Division, 6600 Orangethorpe Ave, Buena
Park, CA90620
The above statements apply ONLY to those
products distributed by Yamaha Corpora-
tion of America or its subsidiaries.
FCC INFORMATION (U.S.A.)
* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.
(class B)
ADVARSEL!
LithiumbatteriEksplosionsfare ved fejlagtig håndtering. Udskiftning
må kun ske med batteri af samme fabrikat og type. Levér det brugte
batteri tilbage til leverandoren.
VARNING
Explosionsfara vid felaktigt batteribyte. Använd samma batterityp
eller en ekvivalent typ som rekommenderas av apparattillverkaren.
Kassera använt batteri enligt fabrikantens instruktion.
VAROITUS
Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda paristo
ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty
paristo valmistajan ohjeiden mukaisesti.
NEDERLAND / THE NETHERLANDS
Dit apparaat bevat een lithium batterij voor geheugen back-up.
This apparatus contains a lithium battery for memory back-up.
Raadpleeg uw leverancier over de verwijdering van de batterij op
het moment dat u het apparaat ann het einde van de levensduur
afdankt of de volgende Yamaha Service Afdeiing:
Yamaha Music Nederland Service Afdeiing
Kanaalweg 18-G, 3526 KL UTRECHT
Tel. 030-2828425
For the removal of the battery at the moment of the disposal at the
end of the service life please consult your retailer or Yamaha Ser-
vice Center as follows:
Yamaha Music Nederland Service Center
Address : Kanaalweg 18-G, 3526 KL UTRECHT
Tel : 030-2828425
Gooi de batterij niet weg, maar lever hem in als KCA.
Do not throw away the battery. Instead, hand it in as small chemical
waste.
(lithium disposal)
(lithium caution)
For details of products, please contact your nearest Yamaha
representative or the authorized distributor listed below.
Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou
au distributeur le plus proche de vous figurant dans la liste suivante.
Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten
Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen
Bestimmungsländern erhältlich.
Para detalles sobre productos, contacte su tienda Yamaha más cercana
o el distribuidor autorizado que se lista debajo.
CANADA
Yamaha Canada Music Ltd.
135 Milner Avenue, Scarborough, Ontario,
M1S 3R1, Canada
Tel: 416-298-1311
U.S.A.
Yamaha Corporation of America
6600 Orangethorpe Ave., Buena Park, Calif. 90620,
U.S.A.
Tel: 714-522-9011
MEXICO
Yamaha de Mexico S.A. De C.V.,
Departamento de ventas
Javier Rojo Gomez No.1149, Col. Gpe Del
Moral, Deleg. Iztapalapa, 09300 Mexico, D.F.
Tel: 55-5804-0600
BRAZIL
Yamaha Musical do Brasil LTDA.
Av. Rebouças 2636, São Paulo, Brasil
Tel: 011-3085-1377
ARGENTINA
Yamaha Music Latin America, S.A.
Sucursal de Argentina
Viamonte 1145 Piso2-B 1053,
Buenos Aires, Argentina
Tel: 1-4371-7021
PANAMA AND OTHER LATIN
AMERICAN COUNTRIES/
CARIBBEAN COUNTRIES
Yamaha Music Latin America, S.A.
Torre Banco General, Piso 7, Urbanización Marbella,
Calle 47 y Aquilino de la Guardia,
Ciudad de Panamá, Panamá
Tel: +507-269-5311
THE UNITED KINGDOM
Yamaha-Kemble Music (U.K.) Ltd.
Sherbourne Drive, Tilbrook, Milton Keynes,
MK7 8BL, England
Tel: 01908-366700
IRELAND
Danfay Ltd.
61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin
Tel: 01-2859177
GERMANY
Yamaha Music Central Europe GmbH
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: 04101-3030
SWITZERLAND/LIECHTENSTEIN
Yamaha Music Central Europe GmbH,
Branch Switzerland
Seefeldstrasse 94, 8008 Zürich, Switzerland
Tel: 01-383 3990
AUSTRIA
Yamaha Music Central Europe GmbH,
Branch Austria
Schleiergasse 20, A-1100 Wien, Austria
Tel: 01-60203900
THE NETHERLANDS
Yamaha Music Central Europe,
Branch Nederland
Clarissenhof 5-b, 4133 AB Vianen, The Netherlands
Tel: 0347-358 040
BELGIUM/LUXEMBOURG
Yamaha Music Central Europe GmbH,
Branch Belgium
Rue de Geneve (Genevastraat) 10, 1140 - Brussels,
Belgium
Tel: 02-726 6032
FRANCE
Yamaha Musique France
BP 70-77312 Marne-la-Vallée Cedex 2, France
Tel: 01-64-61-4000
ITALY
Yamaha Musica Italia S.P.A.
Combo Division
Viale Italia 88, 20020 Lainate (Milano), Italy
Tel: 02-935-771
SPAIN/PORTUGAL
Yamaha-Hazen Música, S.A.
Ctra. de la Coruna km. 17, 200, 28230
Las Rozas (Madrid), Spain
Tel: 91-639-8888
GREECE
Philippos Nakas S.A. The Music House
147 Skiathou Street, 112-55 Athens, Greece
Tel: 01-228 2160
SWEDEN
Yamaha Scandinavia AB
J. A. Wettergrens Gata 1
Box 30053
S-400 43 Göteborg, Sweden
Tel: 031 89 34 00
DENMARK
YS Copenhagen Liaison Office
Generatorvej 8B
DK-2730 Herlev, Denmark
Tel: 44 92 49 00
FINLAND
F-Musiikki Oy
Kluuvikatu 6, P.O. Box 260,
SF-00101 Helsinki, Finland
Tel: 09 618511
NORWAY
Norsk filial av Yamaha Scandinavia AB
Grini Næringspark 1
N-1345 Østerås, Norway
Tel: 67 16 77 70
ICELAND
Skifan HF
Skeifan 17 P.O. Box 8120
IS-128 Reykjavik, Iceland
Tel: 525 5000
OTHER EUROPEAN COUNTRIES
Yamaha Music Central Europe GmbH
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: +49-4101-3030
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: +81-53-460-2312
TURKEY/CYPRUS
Yamaha Music Central Europe GmbH
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: 04101-3030
OTHER COUNTRIES
Yamaha Music Gulf FZE
LB21-128 Jebel Ali Freezone
P.O.Box 17328, Dubai, U.A.E.
Tel: +971-4-881-5868
THE PEOPLE’S REPUBLIC OF CHINA
Yamaha Music & Electronics (China) Co.,Ltd.
25/F., United Plaza, 1468 Nanjing Road (West),
Jingan, Shanghai, China
Tel: 021-6247-2211
HONG KONG
Tom Lee Music Co., Ltd.
11/F., Silvercord Tower 1, 30 Canton Road,
Tsimshatsui, Kowloon, Hong Kong
Tel: 2737-7688
INDONESIA
PT. Yamaha Music Indonesia (Distributor)
PT. Nusantik
Gedung Yamaha Music Center, Jalan Jend. Gatot
Subroto Kav. 4, Jakarta 12930, Indonesia
Tel: 21-520-2577
KOREA
Yamaha Music Korea Ltd.
Tong-Yang Securities Bldg. 16F 23-8 Yoido-dong,
Youngdungpo-ku, Seoul, Korea
Tel: 02-3770-0660
MALAYSIA
Yamaha Music Malaysia, Sdn., Bhd.
Lot 8, Jalan Perbandaran, 47301 Kelana Jaya,
Petaling Jaya, Selangor, Malaysia
Tel: 3-78030900
PHILIPPINES
Yupangco Music Corporation
339 Gil J. Puyat Avenue, P.O. Box 885 MCPO,
Makati, Metro Manila, Philippines
Tel: 819-7551
SINGAPORE
Yamaha Music Asia Pte., Ltd.
No.11 Ubi Road 1, No.06-02,
Meiban Industrial Building, Singapore
Tel: 747-4374
TAIWAN
Yamaha KHS Music Co., Ltd.
3F, #6, Sec.2, Nan Jing E. Rd. Taipei.
Taiwan 104, R.O.C.
Tel: 02-2511-8688
THAILAND
Siam Music Yamaha Co., Ltd.
121/60-61 RS Tower 17th Floor,
Ratchadaphisek RD., Dindaeng,
Bangkok 10320, Thailand
Tel: 02-641-2951
OTHER ASIAN COUNTRIES
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: +81-53-460-2317
AUSTRALIA
Yamaha Music Australia Pty. Ltd.
Level 1, 99 Queensbridge Street, Southbank,
Victoria 3006, Australia
Tel: 3-9693-5111
NEW ZEALAND
Music Houses of N.Z. Ltd.
146/148 Captain Springs Road, Te Papapa,
Auckland, New Zealand
Tel: 9-634-0099
COUNTRIES AND TRUST
TERRITORIES IN PACIFIC OCEAN
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: +81-53-460-2312
NORTH AMERICA
CENTRAL & SOUTH AMERICA
EUROPE
AFRICA
MIDDLE EAST
ASIA
OCEANIA
HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: +81-53-460-2445
SY32
Owner’s Manual
This document is printed on chlorine free (ECF) paper with soy ink.
Yamaha Web Site (English only)
http://www.yamahasynth.com
Yamaha Manual Library
http://www2.yamaha.co.jp/manual/english/
U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation
© 2000 Yamaha Corporation
V675760 311POCP1.3-03C0 Printed in Japan

Transcripción de documentos

Owner’s Manual Owner’s Manual SPECIAL MESSAGE SECTION This product utilizes batteries or an external power supply (adapter). DO NOT connect this product to any power supply or adapter other than one described in the manual, on the name plate, or specifically recommended by Yamaha. WARNING: Do not place this product in a position where anyone could walk on, trip over ,or roll anything over power or connecting cords of any kind. The use of an extension cord is not recommended! IF you must use an extension cord, the minimum wire size for a 25' cord (or less ) is 18 AWG. NOTE: The smaller the AWG number ,the larger the current handling capacity. For longer extension cords, consult a local electrician. This product should be used only with the components supplied or; a cart, rack, or stand that is recommended by Yamaha. If a cart, etc., is used, please observe all safety markings and instructions that accompany the accessory product. SPECIFICATIONS SUBJECT TO CHANGE: The information contained in this manual is believed to be correct at the time of printing. However, Yamaha reserves the right to change or modify any of the specifications without notice or obligation to update existing units. This product, either alone or in combination with an amplifier and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. DO NOT operate for long periods of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. IMPORTANT: The louder the sound, the shorter the time period before damage occurs. Some Yamaha products may have benches and / or accessory mounting fixtures that are either supplied with the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional fixtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other uses are recommended. NOTICE: Service charges incurred due to a lack of knowledge relating to how a function or effect works (when the unit is operating as designed) are not covered by the manufacturer’s warranty, and are therefore the owners responsibility. Please study this manual carefully and consult your dealer before requesting service. ENVIRONMENTAL ISSUES: Yamaha strives to produce products that are both user safe and environmentally friendly. We sincerely believe that our products and the production methods used to produce them, meet these goals. In keeping with both the letter and the spirit of the law, we want you to be aware of the following: Battery Notice: This product MAY contain a small non-rechargeable battery which (if applicable) is soldered in place. The average life span of this type of battery is approximately five years. When replacement becomes necessary, contact a qualified service representative to perform the replacement. This product may also use “household” type batteries. Some of these may be rechargeable. Make sure that the battery being charged is a rechargeable type and that the charger is intended for the battery being charged. When installing batteries, do not mix batteries with new, or with batteries of a different type. Batteries MUST be installed correctly. Mismatches or incorrect installation may result in overheating and battery case rupture. Warning: Do not attempt to disassemble, or incinerate any battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by the laws in your area. Note: Check with any retailer of household type batteries in your area for battery disposal information. Disposal Notice: Should this product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of products that contain lead, batteries, plastics, etc. If your dealer is unable to assist you, please contact Yamaha directly. NAME PLATE LOCATION: The name plate is located on the bottom of the product. The model number, serial number, power requirements, etc., are located on this plate. You should record the model number, serial number, and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase. Model Serial No. Purchase Date 92-BP (bottom) 2 PLEASE KEEP THIS MANUAL PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING * Please keep these precautions in a safe place for future reference. WARNING Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following: • Do not open the instrument or attempt to disassemble the internal parts or modify them in any way. The instrument contains no user-serviceable parts. If it should appear to be malfunctioning, discontinue use immediately and have it inspected by qualified Yamaha service personnel. • Do not expose the instrument to rain, use it near water or in damp or wet conditions, or place containers on it containing liquids which might spill into any openings. • If the AC adaptor cord or plug becomes frayed or damaged, or if there is a sudden loss of sound during use of the instrument, or if any unusual smells or smoke should appear to be caused by it, immediately turn off the power switch, disconnect the adaptor plug from the outlet, and have the instrument inspected by qualified Yamaha service personnel. • Use the specified adaptor (PA-3B or an equivalent recommended by Yamaha) only. Using the wrong adaptor can result in damage to the instrument or overheating. • Before cleaning the instrument, always remove the electric plug from the outlet. Never insert or remove an electric plug with wet hands. • Check the electric plug periodically and remove any dirt or dust which may have accumulated on it. CAUTION Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the instrument or other property. These precautions include, but are not limited to, the following: • Do not place the AC adaptor cord near heat sources such as heaters or radiators, and do not excessively bend or otherwise damage the cord, place heavy objects on it, or place it in a position where anyone could walk on, trip over, or roll anything over it. • When removing the electric plug from the instrument or an outlet, always hold the plug itself and not the cord. • Do not connect the instrument to an electrical outlet using a multiple-connector. Doing so can result in lower sound quality, or possibly cause overheating in the outlet. • Unplug the AC power adaptor when not using the instrument, or during electrical storms. • Always make sure all batteries are inserted in conformity with the +/- polarity markings. Failure to do so might result in overheating, fire, or battery fluid leakage. (4)-7 • Always replace all batteries at the same time. Do not use new batteries together with old ones. Also, do not mix battery types, such as alkaline batteries with manganese batteries, or batteries from different makers, or different types of batteries from the same maker, since this can cause overheating, fire, or battery fluid leakage. • Do not dispose of batteries in fire. • Do not attempt to recharge batteries that are not intended to be charged. • When the batteries run out, or if the instrument is not to be used for a long time, remove the batteries from the instrument to prevent possible leakage of the battery fluid. • Keep batteries away from children. 3 PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING * Please keep these precautions in a safe place for future reference. CAUTION Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the instrument or other property. These precautions include, but are not limited to, the following: • If the batteries do leak, avoid contact with the leaked fluid. If the battery fluid should come in contact with your eyes, mouth, or skin, wash immediately with water and consult a doctor. Battery fluid is corrosive and may possibly cause loss of sight or chemical burns. • Before connecting the instrument to other electronic components, turn off the power for all components. Before turning the power on or off for all components, set all volume levels to minimum. Also, be sure to set the volumes of all components at their minimum levels and gradually raise the volume controls while playing the instrument to set the desired listening level. • Do not expose the instrument to excessive dust or vibrations, or extreme cold or heat (such as in direct sunlight, near a heater, or in a car during the day) to prevent the possibility of panel disfiguration or damage to the internal components. • Do not use the instrument near other electrical products such as televisions, radios, or speakers, since this might cause interference which can affect proper operation of the other products. • Do not place the instrument in an unstable position where it might accidentally fall over. • Before moving the instrument, remove all connected adaptor and other cables. • When cleaning the instrument, use a soft, dry cloth. Do not use paint thinners, solvents, cleaning fluids, or chemical-impregnated wiping cloths. Also, do not place vinyl, plastic or rubber objects on the instrument, since this might discolor the panel or keyboard. • Do not rest your weight on, or place heavy objects on the instrument, and do not use excessive force on the buttons, switches or connectors. • Do not operate the instrument for a long period of time at a high or uncomfortable volume level, since this can 4 (4)-7 cause permanent hearing loss. If you experience any hearing loss or ringing in the ears, consult a physician. ■REPLACING THE BACKUP BATTERY • This instrument contains a non rechargeable internal backup battery which permits internal data to remain stored even when the power is off. When the backup battery needs replacing, the message "Backup Batt.Low" will display in the LCD display. When this happens, immediately back up your data, then have qualified Yamaha service personnel replace the backup battery. • Do not attempt to replace the backup battery yourself, in order to prevent the possible serious hazards. Always have qualified Yamaha service personnel replace the backup battery. • Never place the backup battery in a location that a child can reach, since a child might accidentally swallow the battery. If this should happen, consult a physician immediately. ■SAVING USER DATA • Always save data to a Memory Card (SmartMedia) frequently, in order to help prevent the loss of important data due to a malfunction or user operating error. Yamaha cannot be held responsible for damage caused by improper use or modifications to the instrument, or data that is lost or destroyed. Always turn the power off when the instrument is not in use. Make sure to discard used batteries according to local regulations. Contents Meet the QY100 .................................. 7 Power & Connections ........................ 8 Power Supply..........................................8 Using a Power Adaptor ....................8 Using Batteries .................................9 When to Replace the Batteries ......10 Setting Up .............................................11 The Connectors ..............................11 Audio Connections .........................14 MIDI Connections ..........................15 Connecting to a Personal Computer .......................................16 The Controls...................................... 19 QY100 System Overview: What It Is and What It Does............. 29 The Sequencer ...............................29 Tone Generator ..............................31 Effects ............................................32 Controller ........................................32 Amp Simulator................................32 Guided Tour Listen To the Demo .......................... 33 For Guitarists: Outstanding Amp Simulation & Effects ........................ 36 Connection & Gain Adjustment ............36 Try Out the Preset Guitar Setups..........38 Customizing the Setups via the Amp Simulator Parameters ...........................39 For Singers: Cool Vocal Processing 45 Connection & Gain Adjustment ............45 Try Out the Preset Microphone Setups 47 Customizing the Setups via the Microphone Effect Parameters.............48 Instant Accompaniment .................. 53 But First … So You’ll Know What We’re Talking About .............................53 Check Out the Preset Styles.................55 Add Chords & Play Along! ....................59 Record Your Own Chord Progression & Pattern Changes ...... 61 Fingered Chords .............................69 Tempo Changes, too … .................70 If You Make Mistakes …................70 Add Some Details to Complete the Accompaniment ............................... 71 Voice Assignments ...............................71 Realtime Recording on the Sequencer Tracks ...................................................73 About the “MULTI” Recording.............80 Step Accompaniment Recording... 81 “Pt” — Step Record Pattern Changes .84 “Cd” — Step Record Chord Changes ..87 Step Sequencer Track Recording ... 91 Creating Original Accompaniment Patterns................ 98 The Preset Phrases...............................98 Combining Phrases In the Pattern Mode ..................................................100 Recording Original Phrases.................105 Realtime Phrase Recording ..........105 Step Phrase Recording.................111 Pattern Voice mode ............................112 The Effect Send Display .....................113 Voice Editing .......................................115 Play Effects.........................................116 Reference Section Playback Control ............................ 118 Play Effects.........................................124 Swing ...........................................126 Drum Table Remapping................128 The Song Voice Mode.................... 131 The Effect Send Display .....................136 Voice Editing .......................................138 Drum Edit .....................................142 The Song Jobs................................ 145 00 : Undo/Redo...................................147 01 : Quantize.......................................148 02 : Modify Velocity ............................151 03 : Modify Gate Time ........................153 5 Contents 04 : Crescendo....................................155 05 : Transpose ....................................157 06 : Shift Clock....................................158 07 : Chord Sort....................................160 08 : Chord Separate ............................161 09 : Copy Event ..................................162 10 : Erase Event..................................164 11 : Extract Event................................165 12 : Create Continuous .......................167 13 : Thin Out .......................................169 14 : Time Stretch ................................170 15 : Create Measure ...........................171 16 : Delete Measure ...........................172 17 : Copy Track ...................................173 18 : Mix Track .....................................174 19 : Clear Track ...................................175 20 : Expand Backing ...........................176 21 : Normalize .....................................177 22 : Copy Song ...................................178 23 : Clear Song ...................................179 24 : Song Name ..................................180 The Pattern Jobs ............................ 181 00 : Undo/Redo ...................................183 01 : Quantize.......................................184 02 : Modify Velocity ............................187 03 : Modify Gate Time ........................189 04 : Crescendo....................................191 05 : Transpose ....................................193 06 : Shift Clock....................................194 07 : Chord Sort....................................196 08 : Chord Separate ............................197 09 : Copy Event ..................................198 10 : Erase Event..................................200 11 : Extract Event................................201 12 : Create Continuous .......................203 13 : Thin Out .......................................205 14 : Time Stretch ................................206 15 : Copy Phrase.................................207 16 : Get Phrase ...................................208 17: Put Phrase ....................................209 18 : Copy Track ...................................210 19 : Mix Track .....................................211 20 : Clear Track ...................................212 21 : Copy Pattern ................................213 6 22 : Clear Pattern ................................214 23 : Style Name ..................................215 Editing Songs & Patterns .............. 216 Engaging the SONG or PATTERN Edit Mode.....................................216 Moving Around.............................219 Change Mode Editing...................220 Insert Mode Editing......................221 XG View ..............................................232 View Filter...........................................233 Phrase Table (Pattern Edit Only) .........234 Effects & Effect Editing .................. 236 Accessing & Editing the Effect Parameters .........................................236 Effect Editing ......................................240 Utility Functions ............................. 242 Accessing the Utility Mode ..........242 System Parameters......................244 MIDI Parameters ..........................247 Bulk Dump....................................250 Fingered Zone ..............................252 Memory Card Functions ................ 254 About SmartMedia™ Memory Cards .254 Compatible Memory Cards ..........255 Memory Card Capacity.................255 Inserting and Removing Memory Cards ............................................255 Format New Memory Cards Before Use!..................................256 Handling Precautions....................256 Write-Protecting Memory Cards ..257 Back Up Your Data .......................257 Save ....................................................258 Load ....................................................262 Mk Dir (Make Directory) .....................265 Format ................................................268 Appendix ......................................... 270 Specifications......................................270 Troubleshooting ..................................272 Error Messages ..................................274 Glossary ..............................................277 Index ...................................................284 Meet the QY100 16-track sequencer, 525-voice tone module, unmatched automatic accompaniment features and more all rolled into one! The QY100 is a complete mini-studio for accompaniment and electronic music production that you can use just about anywhere — at home or on the road. Guitarists! The practice and accompaniment tool you’ve been waiting for is here! Use the QY100 as your private “band” to refine and display your talents to the max. Singers! Think of it as a fully programmable, very versatile accompaniment and “karaoke” machine complete with a range of superb vocal effects. Keyboard Players, Composers, & All Electronic Musicians! It’s all here: the sequencer, the tone module, the advanced accompaniment features. Everything you need to create even the most complex electronic music. The screen displays as illustrated in this owner’s manual are for instructional purposes, and may appear somewhat different from the screens which appear on your instrument. 7 Power & Connections Power & Connections Power Supply Although the QY100 will run either from an optional AC adaptor or batteries, Yamaha recommends use of an AC adaptor whenever possible. Moreover, an AC adaptor is more environmentally friendly than batteries and does not deplete resources. Using a Power Adaptor Plug the DC output cable from a Yamaha PA-3B AC Adaptor (available from your Yamaha dealer) into the DC IN jack on the rear panel, then plug the adaptor into a convenient wall AC power socket. PA-3B • • 8 AC power socket. CAUTION Do not attempt to use an AC adaptor other than the specified unit or an appropriate replacement provided by your Yamaha dealer to power the QY100. The use of an incompatible adaptor may cause irreparable damage to the QY100, and might pose a serious shock hazard! Unplug the AC power adaptor when not using the instrument, or during electrical storms. Power & Connections Using Batteries Six 1.5V AA size (LR6) or equivalent batteries must first be installed in the battery compartment. Alkaline batteries are recommended for longer life. Never mix battery types, such as alkaline batteries with manganese batteries or batteries from different makers. z Open Battery Compartment Cover Open the battery compartment cover — located on the instrument’s bottom panel — by pressing down on the grooved section of the cover and sliding in the direction of the arrow, as shown in the illustration. x Insert Batteries Insert the six batteries, being careful to follow the polarity markings on the bottom panel. c Replace Cover Replace the compartment cover, making sure that it locks firmly in place. 9 Power & Connections When to Replace the Batteries When the batteries run down, the following display will appear: When the batteries run down more seriously, “Power Batt.End” message will appear. In this case, memory card functions are no longer accessible. When this display appears, replace the batteries with a complete set of six new batteries. NEVER mix old and new batteries! • • 10 CAUTION To prevent possible damage due to battery leakage, remove the batteries from the instrument if it is not to be used for an extended period of time. If keeping the batteries and memory card inserted, a small current flows through the instrument. When the memory card is not used, remove the memory card from the CARD slot. Power & Connections Setting Up What you will connect the QY100 to, and what you will connect to the QY100, will depend entirely on your individual requirements, and it would be impossible to cover all possibilities here. A few examples are provided below to help you get started. The Connectors Rear Panel r w t y q e Right Side Panel u q DC IN Jack (→ page 8) This jack is only used when you are powering the QY100 from an optional AC adaptor instead of batteries. The DC output cable from an optional Yamaha PA-3B AC Power Adaptor is plugged in here. ■ NOTE • The batteries are automatically disconnected when a plug is inserted into the DC IN jack. 11 Power & Connections w MIDI IN & OUT Connectors (→ pages 15, 16) If you plan to use a MIDI keyboard or other instrument to play and program the QY100, it should be connected to QY100 MIDI IN connector (see “MIDI Connections,” on page 15). The MIDI OUT connector can be connected to an external tone generator if you want to drive external voices from the QY100 sequencer, or a MIDI data recorder such as the Yamaha MDF3 if you want to store your songs and patterns to floppy disk. e LINE OUT/PHONES Jack (→ page 14) This miniature stereo phone jack can be used to connect the output of the QY100 to a stereo sound system, or a pair of stereo headphones with a miniature stereo phone plug can be plugged in here for convenient monitoring (see “Audio Connections,” on page 14). The output level is adjusted via the VOLUME control on the left side panel. r TO HOST Connector & HOST SELECT Switch (→ pages 15, 16) This jack and selector switch allow direct connection to a personal computer without the need for a separate MIDI interface. See “Connecting To a Personal Computer” on page 16 for details. t FOOT SW Jack (→ page 245) An optional FC-4 or FC-5 foot switch can be connected here to perform a number of switching functions. The footswitch function is selected via the UTILITY functions described on page 245. Song and Pattern Playback: The footswitch can be used to start and stop song or pattern playback. Section Switching: The footswitch can be used to select the QY100’s various style “sections” (e.g. INTRO, MAIN A, FILL AB, etc.) during song or pattern playback. 12 Power & Connections Amp Simulator Switching: The footswitch can be used to switch the specified sections of the QY100 amp simulator in or out. The foot switch can be used to bypass the preamp section only (delay when a microphone setup is selected), the reverb effect only, the chorus effect only, or all three simultaneously (pages 44 and 52). y GUITAR/MIC INPUT Jack (→ pages 36, 45) Connect your guitar or microphone here to use the QY100’s superlative guitar and vocal effects. The GAIN control next to the GUITAR/MIC input jack allows matching with a wide range of guitars and microphones. • CAUTION When connecting a microphone to the QY100 GUITAR/MIC input, be sure that a microphone amp simulator setup is selected first (page 48). Loud feedback may occur if one of the guitar setups is selected. u CARD Slot (→ page 254) The QY100 CARD slot accepts standard memory cards for convenient storage of settings and sequences. Card access and operations are described on page 254. 13 Power & Connections Audio Connections The simplest way to monitor the QY100 sound is via a pair of stereo headphones (miniature stereo phone plug type) plugged into the LINE OUT/ PHONES jack. If you want to use an external stereo sound system, however, use the supplied “Y” cable (miniature stereo phone plug to dual RCA pin plugs) to connect the LINE OUT/PHONES jack to the inputs of a stereo sound system. The white RCA pin plug goes to the left-channel input of your stereo sound system and the red plug goes to the right-channel input. L R Stereo Sound System • 14 CAUTION Make sure that both the QY100 and your sound system are turned OFF (STANDBY) when making connections. Power & Connections MIDI Connections Although the QY100 can be played and programmed from the builtin micro-keyboard, an external MIDI keyboard connected to the MIDI IN connector provides the added advantages of standard keyboard size and key velocity sensivity (if your keyboard has a velocity-sensitive keyboard). Connect the MIDI OUT connector of the keyboard to the MIDI IN connector of the QY100, and make sure that the QY100 HOST SELECT switch is set to MIDI. The connected MIDI keyboard will play the voice assigned to the currently selected sequencer track. See page 71 for instructions on how to assign different voices to the sequencer tracks. (HOST SELECT switch is set to MIDI) MIDI OUT External MIDI Keyboard 15 Power & Connections Connecting to a Personal Computer Although the QY100 can be connected to a personal computer via the MIDI IN/OUT connectors and a MIDI interface, the TO HOST connector and selector switch allow direct connection to Apple Macintosh, or IBM-PC/ AT series personal computers for sequencing and other music applications without the need for a separate MIDI interface. ■ IMPORTANT! • If the QY100 is to be connected to a computer via the TO HOST connector and a MIDI controller via the MIDI IN connector, the “echo back”(or “MIDI Thru” etc) function of the music software or sequencer you are using must be turned “on” so that the MIDI note data from the controller is returned to the QY100 and any subsequent devices connected to the QY100 MIDI OUT connector. Personal Computer Tone Generator MIDI IN echo back = ON MIDI OUT MIDI Controller (MIDI Keyboard etc) MIDI IN MIDI OUT QY100 16 TO HOST Power & Connections ● Connecting to an Apple Macintosh Series Computer Connect the TO HOST connector of the QY100 to the modem or printer port on your Macintosh, depending on which port your MIDI software is using for MIDI data communication, using a standard Macintosh 8-pin system peripheral cable. Set the HOST SELECT switch to the “Mac” position. You may also have to make other MIDI interface settings on the computer side, depending on the type of software you use (refer to your software owner’s manual). In any case the clock speed should be set to 1 MHz. “Mac” Cable Connections TO HOST connector Modem or printer port MINI DIN 8-PIN • • 1 2 3 4 5 6 7 8 2 (HSK i) 1 (HSK 0) 5 (RxD-) 4 GND 3 (TxD-) 8 (RxD+) 7 (GP i) 6 (TxD+) MINI DIN 8-PIN 8-pin system peripheral cable. Data transfer rate: 31,250 bps. ● Connecting to an IBM-PC/AT Series Computer Connect the TO HOST connector of the QY100 to the RS232C port on your IBM computer, using a standard 8-pin MINI DIN → 9-pin D-SUB cross cable. Set the HOST SELECT switch to the “PC-2” position. Refer to your software owner’s manual for information on any settings you might have to make on the computer side. “PC-2” Cable Connections TO HOST connector RS-232C port MINI DIN 8-PIN • • 1 2 3 4 8 5 8 (CTS) 7 (RST) 2 (RxD) 5 (GND) D-SUB 9-PIN 3 (TxD) 8-pin mini DIN → 9-pin D-SUB cable. Data transfer rate: 38,400 bps. 17 Power & Connections ● Connecting to a USB interface (such as the Yamaha UX256) If your computer does not have an RS-232C port or modem/printer port, the QY100 can be connected via a separate USB interface such as the Yamaha UX256. Connect the USB port of your UX256 or other USB interface to the USB port on your computer using a USB cable. Install the appropriate driver software on your computer (the driver software should be supplied with the USB interface. Connect the TO HOST connector or MIDI IN/OUT connector of the QY100 to your USB interface. For detailed information, refer to the owner’s manual that came with your USB interface. Computer (sequencer software) UX256 USB cable QY100 If necessary, attach the included rubber feet to the bottom of the QY100 as shown in the following illustration. MODEL Rubber feet 18 The Controls The Controls The QY100 has fairly simple, consistent control interface that, once understood, makes operation fast and easy, no matter what operation you are performing. If you read through this section carefully, and try out the procedures in the ”TRY THIS” sections, you should have no problem accessing and operating the QY100’s many advanced features. Left Side Panel q !4 Rear Panel w !5 19 The Controls Front Panel !5 w o !6 u !7 !8 e r t y i !0 !1 !3 !2 q POWER Switch Slide to the “ON” position to turn the QY100 on, or to the “STANDBY” position to turn it off. w LCD Display & CONTRAST Control This large multi-function liquid crystal display panel shows all parameters and prompts you need to operate the QY100 with optimum ease and efficiency. Use the CONTRAST control on the rear panel to achieve the best display visibility (LCD visibility varies greatly with viewing angle and lighting). e [SONG] Button Use this button to select the QY100 SONG mode from any other mode, and to switch between the SONG, SONG VOICE, and SONG EFFECT displays. 20 The Controls TRY THIS: Turn your QY100 on (the power switch is on the left side), then press the [SONG] button a few times and watch how the display changes. The [SONG] button calls the SONG, SONG VOICE, and SONG EFFECT displays in sequence. The order in which the displays is selected is reversed if you press the [SONG] button while holding the [SHIFT] button. SONG display SONG VOICE display SONG EFFECT display r [PATTERN] Button The [PATTERN] button selects the QY100 PATTERN mode from any other mode, and switches between the PATTERN, PATTERN VOICE, and PATTERN EFFECT displays. t [SHIFT] Button The [SHIFT] button modifies the function of certain other buttons in certain situations (e.g. it reverses the order in which the [SONG] or [PATTERN] displays are selected, as described above). It also allows direct numeric entry via the black micro-keyboard keys (numbered 1 through 0). Situations in which the [SHIFT] button can be used will be described where appropriate in the manual. 21 The Controls y [EXIT] Button No matter where you are in the QY100 display hierarchy, the [EXIT] button will take to the next highest level (effectively “backing up” one step — unless you’re already at the top display). u Cursor Buttons These 4 buttons move the “cursor” around the display screen, highlighting the various parameters that are available for editing (the QY100 cursor appears as a dark block with inverse characters). TRY THIS: Select the SONG mode display (use the [SONG] button, as described above), then try using the cursor buttons to move the cursor around the screen. i [-1/NO] and [+1/YES] Buttons These buttons are used to edit (change the value of) the parameter at which the cursor is currently located. The [-1/NO] button decrements (decreases stepwise) the value of the selected parameter, while the [+1/YES] button increments (increases stepwise) the parameter. Press either button briefly to decrement or increment the parameter by one, or hold the button for continous decrementing of incrememnting in the specified direction. The [-1/NO] and [+1/YES] buttons are also used to respond to “Are you sure?” prompts when they appear. Press [+1/YES] to go ahead with the operation, or [-1/NO] to cancel. ■ NOTE • For even faster decrementing or incrementing, press the opposite increment/decrement button while holding the button corresponding to the direction you want to increment/decrement in. 22 TRY THIS: Select the SONG mode display (use the [SONG] button, as described above), use the cursor buttons to select the transpose parameter (“TRNS” on the display), then try using the [-1/NO] and [+1/YES] buttons to change its value. Set it back to “+00” before continuing. The Controls o [MENU] and Function Buttons The [MENU] button calls a menu of functions or sub-modes that can be accessed from the current QY100 mode, and the function buttons (the four small buttons to the right of the display) select the corresponding item from the menu that appears on the display. The function buttons can also be used, as shown below, with the [SHIFT] button, instead of calling a menu with the [MENU] button. • Pressing the top function button while holding the [SHIFT] button calls a display showing drum instrument assignments to each micro keyboard key at the current octave setting. Assignment to black keys Assignment to white keys • Pressing the second function button while holding the [SHIFT] button calls the Used Memory display. • Pressing the bottom function button while holding the [SHIFT] button executes the Undo/Redo job for immediately previous edit. (Refer to “Undo/Redo” on page 147). 23 The Controls TRY THIS: Select the SONG mode display (use the [SONG] button, as described above), then press the [MENU] button. You should see the menu shown on the right: Next press the second function button (the one immediately to the right of “Job” on the menu) to call the SONG mode Job List: You can now use the cursor buttons (up and down only) to select the various items in the Job List. Leave the display as it is for now, and read about the [ENTER] button, below. !0 [ENTER] Button In addition to “entering” chords in the SONG and PATTERN modes (which we’ll learn about later), the [ENTER] button is used to “enter” a selected menu function. TRY THIS: Assuming that you’ve gone through the “TRY THIS:” procedure for the [MENU] and Function buttons, above, you should now have the SONG mode Job List on your QY100 screen. Use the cursor buttons (up and down only) to select job number 02 “Modify Velocity”. Now press the [ENTER] button to actually engage the Modify Velocity job — the display should look like this: Since we don’t really want to use the Modify Velocity job, press the [EXIT] button twice (or the [SONG] button once) to go back to the SONG mode. 24 The Controls !1 Sequencer Buttons The sequencer buttons control recording and playback in the SONG and PATTERN modes, and allow you to locate a specific measure within a song or pattern. Their layout and functions are similar to the transport controls on a tape recorder. [●] RECORD READY: Press this button to engage the record ready mode. You have to press the START button to actually start recording. [■] STOP: Press to stop recording or playback. [>] START: Press to start recording or playback. [p] GO TO TOP: This button takes you directly to the first measure (the “top”) of the current song or pattern. [r] MOVE BACK: Press briefly to move back one measure, or hold for continuous scrolling. [f] MOVE FORWARD: Press briefly to move forward one measure, or hold for continuous scrolling. !2 Micro Keyboard This tiny 2-octave keyboard makes it possible to program the QY100 anywhere, anytime, without having to connect an external MIDI keyboard. It’s even polyphonic, so you can directly enter chords as well as single notes. The only thing it lacks is velocity sensitivity. The QY100 does, however, accept velocity information from an external MIDI keyboard. When programming accompaniment tracks the micro-keyboard is also used to specify the chord roots and types to be entered. TRY THIS: In the SONG mode, use the cursor buttons to place the cursor at the track 1 position (“1” on the display). 25 The Controls Now play the micro keyboard. You should hear the voice that is currently assigned to sequencer track 1. In the SONG mode, the micro keyboard plays the voice assigned to the currently selected track (unless you’re recording the chord track, in which case it is used to specify chords). !3 Octave Buttons Since the 2-octave range of the micro-keyboard is not enough for serious music programming, the [OCT DOWN] and [OCT UP] buttons allow the pitch of the keyboard to be shifted up or down in octave steps, over a range of 8 octaves. Each time the [OCT DOWN] button is pressed the pitch of the keyboard is shifted down by one octave, until the lower limit is reached. The [OCT UP] button shifts the pitch of the keyboard up in the same way. The number of octaves the pitch of the micro-keyboard has been shifted down or up is shown by the octave indicator in the upper left corner of the display — the number of arrows indicates the number of octaves shifted in the corresponding direction. Pressing the [OCT DOWN] and [OCT UP] buttons simultaneously shifts the pitch to ±0. Octave indicator When recording the accompaniment chord tracks in the step mode, the [OCT DOWN] button is used to specify the bass note for chords, while the [OCT UP] button is used to enter syncopated chords. While playing a note on the micro-keyboard, the [OCT DOWN] button will shift the pitch of the note up while held, and the [OCT UP] button will apply modulation while held. 26 The Controls !4 VOLUME Control The VOLUME control adjusts the volume of the sound delivered via the LINE OUT/PHONES jack. Slide the control toward “MAX.” to increase the volume or toward “MIN.” to decrease the volume. • CAUTION Set the VOLUME control to “MIN.” when connecting the QY100 to a sound system for the first time, then gradually raise the volume level until the required listening level is reached. This simple precaution can prevent unexpectedly high volume levels from damaging your speaker system (and maybe even your ears!). !5 GAIN Control & PEAK Indicator (→ pages 36, 45) Use the GAIN control on the rear panel to adjust the QY100 input gain to match your guitar or microphone. If the PEAK indicator LED next to the [PARAMETER] button light more than just occasionally as you play or sing, the GAIN setting is too high. The PEAK indicator should flash only briefly on the highest transient peaks. !6 [CARD] Button (→ page 254) Accesses the QY100’s memory card functions: Save, Load, Make Directory, and Format. Settings and sequences can be saved to and loaded from standard memory cards for convenient, high-volume storage and portability. The CARD functions are only available when an appropriate memory card is installed in the CARD slot on the right side panel. See page 254 for details on the types of memory cards that can be used and the QY100’s card functions. !7 [AMP SIMULATOR] Button & Indicator (→ pages 44, 52) Turns the specified section(s) of the QY100 amp simulator stage on or off. The [AMP SIMULATOR] button alternately turns the amp simulator preamp section (delay effect when a microphone setup is selected), the reverb effect, the chorus effect, or all three on and off depending on the setting of the “On/Off” parameter described on pages 44 and 52. The button’s indicator 27 The Controls goes out when the selected sections are bypassed. The same function can be assigned to an optional FC-4 or FC-5 footswitch connected to the rear panel FOOT SW jack (page 12). !8 [PARAMETER] Button (→ pages 38, 47) Accesses the QY100 amp simulator setups and parameters for guitar and microphone input. See pages 38 and 47 for details. 28 QY100 System Overview: What It Is and What It Does QY100 System Overview: What It Is and What It Does This section offers a broad look at the overall QY100 system and how the various features work together … but if you’d rather jump right in start playing, skip ahead. Come back and read this section when you’re ready. QY100 MIDI messages Sequencer • 16 sequencer tracks • 8 accompaniment tracks Audio Tone Generator signals • 525 voices • 22 drum kits Effects Audio signals LINE OUT/ PHONES • reverb, delay, modulation, distortion, etc Audio signals MIDI messages MIDI messages Controller • built-in micro keyboard Amp Simulator GUITAR/MIC INPUT • 18 guitar setups • 5 microphone setups The Sequencer 16 Sequencer Tracks You can individually assign any of the QY100’s 525 normal voices or 22 drum kits to the sequencer tracks and record anything you like via the micro-keyboard or a MIDI keyboard or other type of MIDI controller connected to the MIDI IN connector. Think of each sequencer track as a “part” of your composition: the piano part, the bass part, etc. You can separately record up to 16 parts which can be played back simultaneously to create 29 QY100 System Overview: What It Is and What It Does complex musical structures and rich textures. Of course you can also use just two or three tracks for simpler arrangements. If you’re a guitar player, for example, you might only need to create a drum and bass track to play along with. The sequencer tracks can be recorded in real time using the “replace” or “overdub” recording mode. When you use the “replace” mode anything you use will replace (overwrite) any material that was previously on the same section of the track being recorded. The “overdub” mode, on the other hand, lets you add new material to a previouslyrecorded track without erasing the previous data. This lets you build up a track bit by bit without having to play the entire part all at once. Another option is the “step” record mode in which you can enter notes one at a time to create extremely fast or complex passages that would be difficult to record in real time. The “step” mode is also useful for adding finishing touches to tracks recorded in real time. Finally, there’s a “multi” record mode in which all 16 sequencer tracks tracks can be recorded simultaneously — a great feature for transferring MIDI data to the QY100 from another sequencer. 8 Accompaniment Tracks The QY100 accompaniment tracks are what make it a versatile but surprisingly easy-to-use accompaniment machine. Rather than recording individual notes or chords as on the “sequencer” tracks described above, accompaniments are produced by specifying a sequence of “patterns” to be played (we will take a brief look at patterns — in the “Instant Accompaniment” section on page 53). In addition to 128 preset accompaniment “styles”, each with 6 variation “patterns” (for details about styles and patterns, see page 53), the QY100 provides memory for up to 64 original styles that you can record yourself. Chord changes are programmed simply by entering the name of the chord (you can do this via the micro-keyboard simply by pressing the appropriate key), and you can specify the bass note for the chord as well as syncopated chord timing for maximum versatility in creating accompaniments for any type of music. The entire accompaniment is automatically re-harmonized to match the chords you specify. What all this means is that you can put together great-sounding accompaniments in a fraction of the time it would take using a conventional sequencer, so you spend less time programming and more time creating and playing. 30 QY100 System Overview: What It Is and What It Does Tone Generator The QY100 tone generator is a high-performance sound module in its own right, complete with 525 voices and 22 drum and percussion kits. In fact, the tone generator block is fully GM and XG compatible (see explanations, below) so you can actually use it as an independent sound module driven from an external sequencer or computer-based MIDI music system. The QY100 even provides a range of editing controls for the voices and drum kits so you can customize the sound to suit your music. A complete list of the QY100 voices is provided in the separate Data List booklet. GM(General MIDI) System Level 1 “GM System Level 1” is a standard specification that defines the arrangement of voices in a tone generator and its MIDI functionality, ensuring that data can be played back with substantially the same sounds on any GM-compatible tone generator, regardless of its manufacturer or model. Tone generators and song data that meet the “GM System Level 1” bear this GM logo. XG “XG” is a tone generator format that expands the voice arrangement of the “GM System Level 1” specification to meet the ever-increasing demands of today’s computer peripheral environment, providing richer expressive power while maintaining upward compatibility of data. “XG” greatly expands “GM System Level 1” by defining the ways in which voices are expanded or edited and structure and type of effects. When commercially available song data bearing the XG logo is played back on a tone generator which bears the XG logo, you will enjoy a full musical experience that includes unlimited expansion voices and effect functions. 31 QY100 System Overview: What It Is and What It Does Effects Yamaha is famous for the quality of its reverb and other effects, and the QY100 is no exception. The built-in effect system provides top-quality reverb, chorus, and variation effects (including modulation and distortion) that you can use to refine and polish your sound. Each sequencer track has individual send controls for the reverb, chorus, and variation effect stages, so you can apply effects separately to each track as required. A complete list of the QY100 effects is provided in the separate Data List booklet. Controller With the QY100’s own micro keyboard you can create sequences anywhere. But you can connect just about any type of the MIDI controller — keyboard, MIDI wind controller, MIDI guitar, etc. — to the QY100 to give you the type of control that best suits your style and talents. Amp Simulator As the name suggests, the QY100 “Amp Simulator” simulates the characteristics of amplifiers — specifically guitar amplifiers and microphone preamplifiers. Although the requirements for a good microphone preamplifier are pretty straightforward — high gain with flat frequency response as well as low noise and distortion — guitar amplifiers are a little more complex. Each guitar amp has its own unique sound, and the emphasis is generally on musicality rather than accuracy. The QY100 Amp Simulator performs both functions quite well, and it offers a range of top-quality effects for use with guitar and microphone. The guitar setups feature overdrive/distortion, modulation and reverb. The microphone setups offer delay, modulation and reverb. The QY100 has 18 guitar setups and 5 microphone setups that you can customize to create the perfect sound for your music. 32 Listen To the Demo Guided Tour — Your Step-by-Step Guide to the QY100’s Basic Features and Functions Listen To the Demo “If you’d rather make your own music, skip ahead.” Before you begin actually using the QY100 to create great music, perhaps you’d like to hear a few examples of what it can do. The QY100 includes 3 pre-programmed demo songs that will give you a rough idea of the types of sound it can produce as well as some of the capabilities of its sequencer functions. Guided Tour OK, here we go. Get comfortable with the QY100, the manual, and a good cup of whatever strikes your fancy and we’ll get right down to making the QY100 do what it does best — make music. z Select the SONG Mode The demo songs are available in the SONG mode. If the SONG mode isn’t already selected, press the [SONG] button to select it. “SONG” should appear in the upper left corner of the display. x Select a Demo Song The demo songs are songs 21, 22, 23 (songs 01 through 20 are available for your own recording). Use the cursor buttons to move the cursor to the song number on the display (the song 33 Listen To the Demo number should appear in inverse characters — i.e. light characters on a dark background), then use the [-1] and [+1] buttons to select song number 21, 22, or 23. Song number The SHIFT-Number Data Entry Method: You can also use the SHIFT-Number method to enter song numbers or other data values. Use the numbered black keys on the micro-keyboard to enter the required number while holding the [SHIFT] button, then press the [ENTER] button. Ex. To enter the number “16” 34 Listen To the Demo c Start Playback When the current song is finished, the next song will start automatically. But you can stop playback at any time by pressing the [■] button. You can’t select a different song while one is already playing, so to select and play a different demo song you’ll have to stop playback, select the next song, and then start playback again. ■ NOTE • For full details on controlling sequence playback, see the “Playback Control” section on page 118. Guided Tour Once you’ve selected a song, you can start playback simply by pressing the sequencer [>] button. Use the VOLUME control on the left side of the QY100 to set the most comfortable listening level. 35 For Guitarists: Outstanding Amp Simulation & Effects For Guitarists: Outstanding Amp Simulation & Effects “If you’re not a guitarist, feel free to skip this section.” Whether you want a better way to practice, top-quality accompaniment for live performances, or a convenient means to create fullblown compositions, the QY100 is an ideal musical tool for the guitarist who wants to get ahead. In addition to its sophisticated pattern and song sequencer features, the QY100 also offers a complete guitar amp simulator and effects system so you won’t need lots of extra equipment to integrate your guitar sound with the QY100. Connection & Gain Adjustment Simple! In addition to the basic setup instructions provided on page 8, all you need to do is plug your guitar into the GUITAR/MIC INPUT on the rear panel and adjust the GAIN control for optimum level matching. z Plug your guitar into the GUITAR/MIC INPUT on the rear panel. 36 For Guitarists: Outstanding Amp Simulation & Effects x Adjust the input gain. Guided Tour Use the GAIN control on the rear panel to adjust the QY100 input gain to match your guitar. If the PEAK indicator LED next to the [PARAMETER] button light more than just occasionally as you play, the GAIN setting is too high. The PEAK indicator should flash only briefly on the highest transient peaks. 37 For Guitarists: Outstanding Amp Simulation & Effects Try Out the Preset Guitar Setups The QY100 has 18 amp simulator setups designed specifically for guitar (see the separate Data List booklet). You can select the setups and adjust individual parameters via the “GTR/MIC EDIT” display accessed by pressing the [PARAMETER] button. z Press the [PARAMETER] Button The “GTR/MIC EDIT” display will appear. Setup number Setup name x Highlight the Setup Number/Name Use the cursor buttons to move the cursor to the setup number/name at the top of the display. c Select and Try Out the Setups Use the [-1] and [+1] buttons to select the desired setup (G01 through G18). Go ahead and try out the setups as they are. You can make adjustments later. Make sure that the QY100 VOLUME control is set to an appropriate level, and adjust the rearpanel GAIN control as necessary to optimize the overall level and sound quality. 38 For Guitarists: Outstanding Amp Simulation & Effects Customizing the Setups via the Amp Simulator Parameters Although the QY100 guitar amp simulator setups sound good as they are, you’ll undoubtedly want to “tweak” them a bit to create your own sound. Here’s how: The QY100 guitar amp simulator section is made up of three main blocks: the Preamp block, the Chorus block, and the Reverb block, as shown in the diagram. LINE OUT/ PHONES Preamp block Chorus block Reverb block All of the available parameters for each setup are located below the setup number and name in the GTR/MIC EDIT display. The preamp parameters are located near the top of the parameter list, and are indicated by an inverse “A” before the parameter name. The chorus block parameters are next, and are indicated by an inverse “C” before the parameter name. The reverb block has only one parameter, indicated by — you guessed it — an inverse “R”. The parameter list also includes a “Volume” parameter and an “On/Off” parameter which are described below. Guided Tour GUITAR/MIC INPUT GAIN Parameter page 1 Volume parameter Preamp block parameters Parameter value Parameter name Graphic parameter value indicator 39 For Guitarists: Outstanding Amp Simulation & Effects Parameter page 2 Chorus block parameters Reverb block parameter On/Off parameter To edit a parameter: z Move the Cursor to the Parameter You Want to Edit Use the cursor buttons to highlight the desired parameter value. Since not all of the parameters fit on one display page, you’ll have to scroll down below the bottom of the first page to see the parameters in the second page. x Adjust the Parameter Value Use the [-1] and [+1] buttons or the SHIFT-Number entry method (see page 34. However, this method is not available for some parameters.) to adjust as necessary. In addition to the numeric parameter value, each parameter also has a graphic level control located between the parameter name and value which provides a convenient visual reference to relative parameter setting. ■ NOTE • Any changes you make to the parameters will be retained for each setup even if you select a different preset or turn the QY100 off. You can individually restore the initial settings for each setup by using the “INITIALIZE” function: After selecting the setup you want to initialize, press the [MENU] button and then the function button next to “Initialize” on the display. Then when the “Initialize” display appears press the [ENTER] button to initialize all parameters of the selected setup. When initialization is complete press the [EXIT] button to return to the Amp Simulator display. 40 For Guitarists: Outstanding Amp Simulation & Effects ● The Volume Parameter A “Volume” parameter which affects the overall volume of the setup is located at the top of the parameter list. This parameter is most useful for matching the levels of the setups to suit your musical needs. You might, for example, want all of your guitar setups to have about the same level, or you might want certain effects you’ve set up for solos to have a higher level than the rest. Parameters such as preamp drive and EQ also affect the subjective level of the guitar sound, and the Volume parameter is a convenient way to compensate for such variations. ● The Preamp Block Depending on the selected setup, you’ll see one or three preamp parameters below the “Volume” parameter. In some setups only the “Drive” parameter will be available, while in others you will have “Drive”, “EQ LowGain” and “EQ Hi Gain”. Here’s what the preamp parameters do: Guided Tour Volume parameter Preamp block parameters Drive In guitarist-friendly terms, this parameter is similar to the “gain” or “pre-gain” control on an amplifier that has both gain and master volume controls. Higher “Drive” values (range: 000 … 127) produce more overdrive (distortion). 41 For Guitarists: Outstanding Amp Simulation & Effects EQ LowGain EQ Hi Gain Boosts or cuts the bass frequencies (range: -12dB … +00dB … +12dB). Minus settings lower the bass response, giving you a “thinner” sound. Positive settings boost the bass response for a “fuller” sound. Boosts or cuts the high frequencies (range: -12dB … 0 … +12dB). Minus settings lower the treble response, giving you a “rounder”, more mellow tone. Positive settings boost the treble response for a brighter sound. ● The Chorus Block The Chorus effect can give your guitar sound added life and sparkle. The Chorus block is not engaged on all setups. If you select a setup which does not use the Chorus block the Chorus parameter values will all appear as dashed lines. When the Chorus block is engaged, the parameters work as follows: Chorus block parameters Mod Speed Mod Depth FB Level 42 Adjusts the modulation speed of the chorus effect (the speed at which the tone varies). The value range is from 0.0 Hz through 39.7 Hz. The higher the value, the faster the modulation. Modulation depth (range: 000 through 127). The higher the value the deeper the modulation and, thus, the “stronger” the effect. Adjusts the amount of feedback applied to the chorus block (range: -63 … +00 … +63). Negative values apply reverse-phase feedback. For Guitarists: Outstanding Amp Simulation & Effects ● The Reverb Block Reverb block parameter Guided Tour The Reverb block has only one parameter — “Reverb Lvl” — which adjusts the depth of the reverb sound. The Reverb Lvl range is from “000” to “127”, with higher values producing deeper reverb. If you select a setup which does not use the Reverb block, the “Reverb Lvl” parameter value will appear as dashed line. 43 For Guitarists: Outstanding Amp Simulation & Effects ● The “On/Off” Parameter At the very bottom of the parameter list is the “On/Off” parameter. This parameter allows you to select a specific block to be turned on and off by the [AMP SIMULATOR] button on the top panel, or a footswitch connected to the rear-panel FOOT SW jack (when the footswitch is assigned to amp simulator section switching via the UTILITY parameter described on page 245). There’s also an “ALL” setting which allows all blocks to be turned on or off. When the selected block(s) are bypassed (off), the indicator to the right of the [AMP SIMULATOR] button will go out). On/Off parameter The settings are: AMP CHO REV ALL 44 The footswitch or [AMP SIMULATOR] button turns only the Preamp block on and off. The footswitch or [AMP SIMULATOR] button turns only the Chorus block on and off. The footswitch or [AMP SIMULATOR] button turns only the Reverb block on and off. The footswitch or [AMP SIMULATOR] button turns all three blocks —Preamp, Chorus, and Reverb — on and off. For Singers: Cool Vocal Processing For Singers: Cool Vocal Processing The QY100 is an outstanding accompaniment tool for singers, too. It features a GUITAR/MIC input that will directly accept the signal from your vocal microphone and apply essential vocal effects such as delay and reverb. There’s even a chorus effect that you can use to create extra thick sounds. Connection & Gain Adjustment Simple! In addition to the basic setup instructions provided on page 8, all you need to do is plug your microphone into the GUITAR/MIC INPUT on the rear panel and adjust the GAIN control for optimum level matching. Guided Tour “If you’re not a vocalist, feel free to skip this section.” z Plug your microphone into the GUITAR/MIC INPUT on the rear panel. • CAUTION When connecting a microphone to the QY100 GUITAR/MIC input, be sure that a microphone amp simulator setup is selected first (page 48). Loud feedback may occur if one of the guitar setups is selected. 45 For Singers: Cool Vocal Processing x Adjust the input gain. Use the GAIN control on the rear panel to adjust the QY100 input gain to match your microphone. If the PEAK indicator LED next to the [PARAMETER] button light more than just occasionally as you sing, the GAIN setting is too high. The PEAK indicator should flash only briefly on the highest transient peaks. 46 For Singers: Cool Vocal Processing Try Out the Preset Microphone Setups The QY100 has 5 amp simulator setups designed specifically for use with microphone (see the separate Data List booklet). You can select the setups and adjust individual parameters via the “GTR/MIC EDIT” display accessed by pressing the [PARAMETER] button. z Press the [PARAMETER] Button Setup number Setup name Guided Tour The “GTR/MIC EDIT” display will appear. x Highlight the Setup Number/Name Use the cursor buttons to move the cursor to the setup number/name at the top of the display. c Select and Try Out the Setups Use the [-1] and [+1] buttons to select the desired microphone setup (M01 through M05 — you might have to skip past guitar setups G01 through G18 to reach the microphone setups ). Go ahead and try out the setups as they are. You can make adjustments later. Make sure that the QY100 VOLUME control is set to an appropriate level, and adjust the rear-panel GAIN control as necessary to optimize the overall level and sound quality. 47 For Singers: Cool Vocal Processing Customizing the Setups via the Microphone Effect Parameters The QY100 microphone amp simulator section is has three main effect blocks: the Delay block, the Chorus block, and the Reverb block, as shown in the diagram. GUITAR/MIC INPUT GAIN LINE OUT/ PHONES Delay block Chorus block Reverb block All of the available parameters for each setup are located below the setup number and name in the GTR/MIC EDIT display. The delay parameters are located near the top of the parameter list, and are indicated by an inverse “D” before the parameter name. The chorus block parameters are next, and are indicated by an inverse “C” before the parameter name. The reverb block has only one parameter, indicated by — you guessed it — an inverse “R”. The parameter list also includes a “Volume” parameter and an “On/Off” parameter which are described below. Parameter page 1 Volume parameter Delay block parameters Parameter value Parameter name 48 Graphic parameter value indicator For Singers: Cool Vocal Processing Parameter page 2 Chorus block parameters Reverb block parameter On/Off parameter z Move the Cursor to the Parameter You Want to Edit Use the cursor buttons to highlight the desired parameter value. Since not all of the parameters fit on one display page, you’ll have to scroll down below the bottom of the first page to see the parameters in the second page. x Adjust the Parameter Value Use the [-1] and [+1] buttons or the SHIFT-Number entry method (see page 34. However, this method is not available for some parameters.) to adjust as necessary. In addition to the numeric parameter value, each parameter also has a graphic level control located between the parameter name and value which provides a convenient visual reference to relative parameter setting. Guided Tour To edit a parameter: ■ NOTE • Any changes you make to the parameters will be retained for each setup even if you select a different preset or turn the QY100 off. You can individually restore the initial settings for each setup by using the “INITIALIZE” function: After selecting the setup you want to initialize, press the [MENU] button and then the function button next to “Initialize” on the display. Then when the “Initialize” display appears press the [ENTER] button to initialize all parameters of the selected setup. When initialization is complete press the [EXIT] button to return to the Amp Simulator display. 49 For Singers: Cool Vocal Processing ● The Volume Parameter A “Volume” parameter which affects the overall volume of the setup is located at the top of the parameter list. This parameter is most useful for matching the levels of the setups to suit your musical needs. You might, want all of your setups to have about the same level, or you might want certain effects to have a higher level than the rest. Volume parameter ● The Delay Block The stereo delay block has the following five parameters: Delay block parameters Lch Delay Rch Delay FB Delay1 FB Delay2 FB Dly Lvl 50 Sets the initial delay time of the left-channel delay from 0.1 through 715.0 milliseconds. Sets the initial delay time of the right-channel delay from 0.1 through 715.0 milliseconds. Sets the feedback delay time of the left-channel delay from 0.1 through 715.0 milliseconds (this sets the delay time for delays following the main initial delay). Sets the feedback delay time of the right-channel delay from 0.1 through 715.0 milliseconds (this sets the delay time for delays following the main initial delay). Feedback Delay Level determines how the later delays fade out after the initial delay. For Singers: Cool Vocal Processing ● The Chorus Block The Chorus effect can give your vocal sound added life and sparkle. The Chorus block is not engaged on all setups. If you select a setup which does not use the Chorus block the Chorus parameter values will all appear as dashed lines. When the Chorus block is engaged, the parameters work as follows: Mod Speed Mod Depth FB Level Adjusts the modulation speed of the chorus effect (the speed at which the tone varies). The value range is from 0.0 Hz through 39.7 Hz. The higher the value, the faster the modulation. Modulation depth (range: 000 through 127). The higher the value the deeper the modulation and, thus, the “stronger” the effect. Adjusts the amount of feedback applied to the chorus block (range: -63 … +00 … +63). Negative values apply reverse-phase feedback. Guided Tour Chorus block parameters ● The Reverb Block The Reverb block has only one parameter — “Reverb Lvl” — which adjusts the depth of the reverb sound. The Reverb Lvl range is from “000” to “127”, with higher values producing deeper reverb. If you select a setup which does not use the Reverb block, the “Reverb Lvl” parameter value will appear as dashed line. 51 For Singers: Cool Vocal Processing Reverb block parameter ● The “On/Off” Parameter At the very bottom of the parameter list is the “On/Off” parameter. This parameter allows you to select a specific block to be turned on and off by the [AMP SIMULATOR] button on the top panel, or a footswitch connected to the rear-panel FOOT SW jack (when the footswitch is assigned to amp simulator section switching via the UTILITY parameter described on page 245). There’s also an “ALL” setting which allows all blocks to be turned on or off. When the selected block(s) are bypassed (off), the indicator to the right of the [AMP SIMULATOR] button will go out). On/Off parameter The settings are: DLY CHO REV ALL 52 The footswitch or [AMP SIMULATOR] button turns only the Delay block on and off. The footswitch or [AMP SIMULATOR] button turns only the Chorus block on and off. The footswitch or [AMP SIMULATOR] button turns only the Reverb block on and off. The footswitch or [AMP SIMULATOR] button turns all three blocks — Delay, Chorus, and Reverb — on and off. Instant Accompaniment Instant Accompaniment But First … So You’ll Know What We’re Talking About Before we discover how easy it is to create accompaniments with the QY100, let’s straighten out some of this confusing terminology: just what exactly are “patterns”, “styles”, “sections”, and “chord templates”? ● Styles A “style” is, well, a musical style! Like “blues” or “reggae” or “hip-hop”. The QY100’s 128 styles are like mini-arrangements in different musical styles, including drums/percussion, bass, chords, counter-lines, etc., depending on the requirements of the style. Each style is further sub-divided into “sections”. Guided Tour In this section we’ll learn how to use the QY100 to create a vast range of accompaniments without having to do any programming at all. By combining the 768 preset patterns provided (128 styles x 6 sections) with 99 preset chord templates we can create … let’s see, um … a whole lot of accompaniment variations. ● Sections Each style has a number of “sections”, as listed below. INTRO MAIN A MAIN B FILL AB As the name implies, this section will normally function as the introduction to a song. The MAIN A section is the one you’d normally use as the verse of a song. This is a variation of the MAIN A section which can be used as the chorus or “bridge” section of a song. A break or “fill” that connects the MAIN A section to the MAIN B section. 53 Instant Accompaniment FILL BA ENDING BLANK A fill that connects the MAIN B section to the MAIN A section. An ending pattern which finishes the song. Playback stops automatically when the ending pattern finishes playing. When you select the “BLANK” section no sound is produced by the QY100 until you select another section, but the QY100 keeps counting time so that when you do select another section that section will come in with the proper timing. ● Patterns Quite simply, each “section” of each “style” is a pattern. The INTRO section of the “FunkRock” style is a pattern, as is the MAIN B section of the “BritPop” style. Thus, with 128 styles, each having 6 sections (we don’t count the BLANK section, for obvious reasons), you have a total of 768 individual patterns. ● Chord Templates If you simply select and play a section of a style, the style will play but without any “harmonic motion”. Which is simply a fancy way of saying “without chord changes”. The style will play with the currently selected chord until you enter a new chord manually or program an original chord progression. But we’ll leave manual chord entry and chord progression programming for a later chapter, because the QY100 actually provides 99 preset chord progressions that you can simply select and play! These “chord templates” include a wide range of “standard” progressions — some you might recognize from your favorite songs — commonly used in a wide range of musical genres. 54 Instant Accompaniment Check Out the Preset Styles The QY100’s preset styles can be selected and played in the SONG mode. z Select the SONG mode & an Empty Song Press the [SONG] button to select the SONG mode then, if necessary, make sure the cursor is located at the song number at the top of the display and use the [+1] and [-1] buttons to select an “empty” song. The SHIFT-Number Data Entry Method: You can also use the SHIFT-Number method to enter song numbers or other data values. Use the numbered black keys on the micro-keyboard to enter the required number while holding the [SHIFT] button, then press the [ENTER] button. Guided Tour Song number ■ NOTE • If for some reason all 20 songs contain data, use the “Clear Song” job described on page 179 to clear a song for recording. x Highlight the Style Number The bottom left-hand area of the QY100 display is the style and section selection area. 55 Instant Accompaniment Style number Section name To select a style, first move the cursor to the style number on the display. c Select a Style Use the [-1] and [+1] buttons or the SHIFT-Number entry method (page 34) to select the style you want to play (refer to the “Style List” of the separate Data List booklet for details about each individual style). v Start Playback Press the sequencer [>] button to begin playback of the selected style, and the [■] button to stop playback, as required. Start Playback Measure number Stop Playback 56 Instant Accompaniment ● Two Methods To Select Sections There are two ways to select the section you want to play: Method 1: Move the cursor to the section name at the bottom of the display and use the [-1] and [+1] buttons or SHIFT-Number entry method (page 34) to select a section. Either method you choose, when a different section is selected while the style is playing, the newly selected section will begin playing from the top of the next measure. “NEXT” will appear before the newly-selected section name until it actually begins playing. Guided Tour Method 2: Simply press the key on the mini-keyboard corresponding to the section you want to select (note that the 7 left-most white keys on the mini keyboard have the names of the sections printed below them). The mini-keyboard method will only work while the cursor is located within the style and section selection area of the display. “NEXT” When the INTRO, FILL AB or FILL BA section is selected while the style is playing, it will play through once and then playback will automatically return to the MAIN A or MAIN B section; INTRO is 57 Instant Accompaniment followed by MAIN A, FILL AB is followed by MAIN B, and FILL BA is followed by MAIN A. If you selected the ENDING section, playback will stop automatically once the ENDING section has played all the way through. • Any Section (or no section) → INTRO → MAIN A • Any Section → FILL AB → MAIN B • Any Section → FILL BA → MAIN A • Any section → ENDING → Playback Stops 58 Instant Accompaniment Add Chords & Play Along! Now that you have the pattern of your choice grooving along on your QY100 (if you don’t, select and play one now), Let’s hear how it sounds with some of the preset chord templates. z Highlight the Chord Template Parameter Chord template number Chord name x Select a Preset Chord Template Use the [-1] and [+1] buttons to select and listen to some of the preset chord templates (numbered P01 through P99). When the cursor is located at the chord template number, the name of the selected chord template appears below the chord template number. If you move the cursor away from the chord template number the name of each individual chord is displayed in the same location as the accompaniment plays back. Guided Tour The bottom right-hand area of the display is the chord and chord template selection area. Move the cursor to the upper right corner of this area. ■ NOTE • The fact that the QY100 displays the chord names as it plays can be a great learning tool! Watching the chord names as the progressions plays — you can play along, too — allows you to associate the chords with the overall sound they produce in each progression. With a little time and effort you should be able to recognize chord progressions by ear. • All chord templates are originally in the key of C. To change the key use the TRNS (Transpose) parameter to transpose the entire song to the desired key (page 123). 59 Instant Accompaniment Some of the chord templates are standard progressions — such as the basic I – VI – II – V7 progression of the POPSM01 template (P01). Others may be a little more unusual, but none the less interesting or useful. See the “Chord Template List” of the separate Data List booklet for a complete listing of the 99 available chord templates and their chord progressions. Spend some time combining various styles with chord templates and see what you can come up with! Don’t forget to try selecting the various sections of each style to hear how they sound with the selected chord template(s). 60 Record Your Own Chord Progression & Pattern Changes Record Your Own Chord Progression & Pattern Changes As an example that can be programmed quickly and easy let’s use the HipHop2 style (style number 035) with the following arrangement: INTRO (4 measures) → MAIN A (7 measures) → FILL AB (1 measure) → MAIN B (7 Measures) → FILL BA (1 measure) → MAIN A (8 measures) → ENDING ■ NOTE • The reason that the first two occurrences of MAIN A and MAIN B are 7 measures long instead of 8 (a more normal “unit”) is that the fills — FILL AB and FILL BA — function as the last measure of the 8-measure units. Guided Tour Now that you’re familiar with the QY100’s styles, patterns, and preset chord templates, let’s try recording a short accompaniment with pattern changes and an original chord progression. The chord changes are oh-so-simple. The entire accompaniment uses only two chords — Cm7 (11) and Fm7(11) — as follows: INTRO Cm7(11)* MAIN A Cm7(11) FILL AB Fm7(11) Cm7(11) Fm7(11) Fm7(11) Cm7(11) Fm7(11) Fm7(11) Cm7(11) Fm7(11) MAIN B Cm7(11) FILL BA MAIN A Cm7(11) ENDING Cm7(11)* * The INTRO and ENDING sections have their own chord progressions — you only need to specify the starting chord (Cm7(11)) 61 Record Your Own Chord Progression & Pattern Changes z Select the SONG mode & an Empty Song Press the [SONG] button to select the SONG mode then, if necessary, make sure the cursor is located at the song number at the top of the display and use the [+1] and [-1] buttons to select an “empty” song. The SHIFT-Number Data Entry Method: You can also use the SHIFT-Number method to enter song numbers or other data values. Use the numbered black keys on the micro-keyboard to enter the required number while holding the [SHIFT] button, then press the [ENTER] button. ■ NOTE • If for some reason all 20 songs contain data, use the “Clear Song” job described on page 179 to clear a song for recording. x Select the “Pt” Track to Record the Pattern Changes Move the cursor to the track area of the display, then move the cursor sideways to select the “Pt” (Pattern) track. Once the “Pt” track has been selected, move the cursor vertically to acess other areas of the screen (moving it sideways will select a different track). The selected track will remain highlighted even after moving the cursor to other areas of the screen. “Pt” track 62 Record Your Own Chord Progression & Pattern Changes c Engage the Record Ready Mode Record mode selector v Select the Realtime Replace Record Mode If the realtime replace record mode isn’t already selected, move the cursor to the “REPL” button in the record mode area of the display and press the [ENTER] button. An inverse “R” appears in the selected record mode button. Guided Tour Press the [●] button to engage the record ready mode. The red LED above the [●] button will light. The record mode selectors will apear in the central area of the display, and the name of the current record mode will appear at the top of the display. Selected record mode button 63 Record Your Own Chord Progression & Pattern Changes b Select the Starting Pattern, Chord, and Tempo Move the cursor to the style number, section, chord, and tempo parameters and set as required (these will be the starting values for your accompaniment). ■ NOTE • Just for the purpose of recording, you can set the tempo parameter at a slower value than the actual playback tempo you will use, so you have plenty of time to enter pattern and chord changes. n Record the Pattern Changes Press the [>] button to begin recording the pattern changes to the QY100’s pattern track. The metronome will sound and you’ll be given a one-measure count-in before recording actually begins (the number of count-in measures can be changed via the Utility mode — page 245). The count-in is also indicated by negative numbers in the measure-number area of the display. With the default count-in setting of one measure, “-01” will appear during the count-in, then recording will begin from measure “001”. Count-in Entering Pattern Changes The cursor will automatically move to the style number when you start recording on the pattern track. You can record style number changes by using the [+1] and [-1] but64 tons or the SHIFT-Number entry method (page 34) to select the desired styles. For our example, however, you’ll only be selecting sections with the HipHop2 style, so there’s no need to change style numbers. The easiest way to enter section changes is to simply press the appropriate microkeyboard keys at the appropriate times during recording. Remember that all pattern changes occur at the top of the next measure after they have been entered. Also keep in mind the fact that some sections automatically switch to another section once they have played through: INTRO to MAIN A; FILL AB to MAIN B; FILL BA to MAIN B. You should finish your accompaniment track with the ENDING pattern, otherwise your accompaniment will play back indefinitely. The pattern changes you’ll want to record are as follows: INTRO (measures 1 … 4): This is the starting pattern (you should have already selected the INTRO pattern in step 5, above). MAIN A (measures 5 … 11): The MAIN A pattern will automatically be selected after the INTRO finishes, so you don’t have to manually select the MAIN A pattern. Guided Tour Record Your Own Chord Progression & Pattern Changes FILL AB (measure 12): Press the [FILL AB] key on the micro-keyboard during measure 11, that way the FILL AB pattern will start playing from the top of measure 12. MAIN B (measures 13 … 19): The MAIN B pattern will automatically be selected after the FILL AB pattern plays through once, so you don’t need to select it manually. FILL BA (measure 20): Press the [FILL BA] key on the micro-keyboard during measure 19, that way the FILL BA pattern will start playing from the top of measure 20. MAIN A (measures 21 … 28): The MAIN A pattern will automatically be selected after the FILL BA pattern plays through once, so you don’t need to select it manually. 65 Record Your Own Chord Progression & Pattern Changes ENDING (measures 29 … 32): “- -END- -“ will appear in place of the style name when the ENDING pattern has finished playing. ■ NOTE • The ENDING pattern repeats the playback in the realtime record mode. But it will finish the song automatically when playing back the song in step 11. m Stop Recording Press the [■] button to stop recording and return to the SONG mode. , Engage Record Ready Again and Select the “Cd Track Press the [●] button to engage the record ready mode again (the “REPL” record mode will still be selected), then move the cursor to the track area of the display and select the “Cd” (Chord) track. “Cd” track 66 Record Your Own Chord Progression & Pattern Changes . Record the Chord Changes Entering Chord Changes Chords are entered via the QY100 micro-keyboard. Note that the lower octave of the keyboard has chord root names “E” through “D#/Eb” marked on the keys, and the upper octave keys are marked with a variety of chord types. To enter a chord, press the key corresponding to the desired chord root, then the key for the desired chord type (the chord type keys alternately select the upper and lower chord types marked on them … watch the display), and then press the [ENTER] button (refer to the “Chord Type List” of the separate Data List booklet for a list of the available chord types). If a chord is to be followed by a different chord of the same type, you don’t have to re-enter the chord type. Guided Tour When you press the [>] button to begin recording to the chord track, the metronome will sound and you’ll be given a count-in in the same was as described in step 6, above. Once recording begins (the cursor will automatically move to the chord name area of the display), you can enter the required chord changes at the appropriate points in the accompaniment as follows: CHORD ROOT → CHORD TYPE (if necessary) → [ENTER] ● Example: Enter a G7 Chord 67 Record Your Own Chord Progression & Pattern Changes The chord is actually entered only when the [ENTER] button is pressed (until then, the chord root and type will flash on the display). Note that chord changes actually occur on quarter-note divisions, so try to press the [ENTER] button to record each chord change either precisely on the beat or just slightly before the beat on which you want the change to occur. Syncopated chord changes can be programmed in the STEP record mode (page 89). You can also enter the chord changes by playing the micro keyboard (page 69). Record the chord changes as follows: INTRO (Cm7(11)): The preset INTRO patterns have their own chord progressions. Although you can specify the chord root (key), chord types such as “M” or “m6” will be ignored. Since “Cm7(11)” has already been selected as the starting chord (step 5, above), there’s no need to enter any chords for the INTRO at this point. MAIN A (Cm7(11)/Fm7(11)): The progression simply alternates between the Cm7 (11) and Fm7(11) chords every two measures: Cm7(11) for measures 5 and 6, Fm7 (11) for measures 7 and 8, and so on. FILL AB (Fm7(11)): There’s no need to enter a chord for the FILL AB pattern, the Fm7 (11) chord carries through until the MAIN B pattern begins. MAIN B (Cm7(11)/Fm7(11)): The same 2-measure alternating Cm7(11) and Fm7(11) progression continues. FILL BA (Fm7(11)): The Fm7(11) chord carries through until the MAIN A pattern begins. MAIN A (Cm7(11)/Fm7(11)): The same 2-measure alternating Cm7(11) and Fm7(11) progression continues. ENDING (Cm7(11)): Like the INTRO patterns, the preset ENDING patterns have their own chord progressions. 68 Record Your Own Chord Progression & Pattern Changes Although you can specify the chord root (key), chord types will be ignored. Stop Recording Press the [■] button to stop recording and return to the SONG mode. Play Your Accompaniment Fingered Chords The QY100 also has a “Fingered Chord” mode which allows chords to played as required on the micro-keyboard, rather than by specifying the chord root and type as described above. To turn this function on move the cursor to the “FNGR” parameter in the SONG mode display before recording, and press the [ENTER] button to select “ON”. When you record using the Fingered Chord mode, you do not have to press [ENTER] after playing each chord … the chords are entered as they are played. Guided Tour Press the [>] to play back your accompaniment. Fingered chord function 69 Record Your Own Chord Progression & Pattern Changes Tempo Changes, too … Tempo changes can be recorded to the QY100 “Tm” (Tempo) track in much the same way that pattern changes are recorded to the pattern track and chord changes to the chord track. After recording your pattern and chord tracks select the “Tm” tempo track, press the [●] button to engage the record ready mode (only realtime replace recording can be selected for the tempo track), press [>] to start recording (the cursor will automatically move to the tempo parameter), then use the [+1] and [-1] buttons or the SHIFT-Number entry method (page 34) to specify the required tempo changes at the appropriate times during recording. Press [■] to stop recording. Tempo changes can be edited in detail as described on page 216. Tempo “Tm” track ■ NOTE • If you do record tempo changes to your accompaniment, be sure to record the starting tempo at the beginning of the sequence as well. If You Make Mistakes … Don’t worry. A few mistakes made in the realtime record can usually be corrected quite easily in the STEP record mode described on page 81 70 Add Some Details to Complete the Accompaniment Add Some Details to Complete the Accompaniment Although you could use the basic accompaniment we created in the previous section as backing for some inspired improvisation, in this section we’ll add some simple embellishments that give the track a little more personality. You can easily take the procedures we cover in this section and apply them to creating complete songs on the QY100. Voice Assignments Before actually beginning to record the sequencer tracks, switch to the SONG VOICE mode and assign the voices you plan to use to the appropriate SONG MODE sequencer tracks. You can make or change voice assignments later if you like, but it’s a good idea to record with the voices you actually intend to use in the song. Guided Tour “Be sure to complete the preceding section before beginning this one.” z Select the SONG VOICE Mode From the main SONG mode display, press the [SONG] button once so that the SONG VOICE mode display appears. 71 Add Some Details to Complete the Accompaniment x Select the Voices Move the cursor to the voice selector for track 1, and use the [+1/YES] and [-1/NO] buttons or the SHIFT-Number entry method (page 34) to select “Ld 081 SquareLd” (the full voice name appears at the top of the display). Next, Move the cursor to the track-2 voice selector, and select “En 056+Bass Hit”. c Return to the Main SONG Mode Display From the SONG VOICE display press the [SONG] button twice to bypass the SONG EFFECT display and return to the main SONG mode display. Press twice 72 Add Some Details to Complete the Accompaniment Realtime Recording on the Sequencer Tracks Here’s the score for the parts we’ll record on tracks 1 and 2. The upper (treble) staff goes on track 1 and the lower (bass) staff goes on track 2. If you don’t read music or simply couldn’t be bothered, just record whatever sounds good to you. Making music should never be a chore. =120 056+ Bass Hit 081 056+ Guided Tour 081 SquareLD 081 056+ 081 056+ 73 Add Some Details to Complete the Accompaniment 081 056+ 081 056+ 081 056+ 081 056+ 74 Add Some Details to Complete the Accompaniment z Select a Track to Record Guided Tour Move the cursor to the track area of the display, and then move the cursor sideways to select the track you want to record — 1 through 16. In this case you’ll probably want to record the first part on track 1. Note that although the display only shows 8 of the available 16 tracks at a time, you can simply use the cursor buttons to scroll left or right to access the remaining tracks (an arrow appears to either the left or right of the track numbers to indicate that that more tracks can be accessed by scrolling in the corresponding direction). Once you’ve selected the track to record on, move the cursor vertically to access other areas of the display (the selected track will remain highlighted). Track ■ NOTE • If you will be recording via the QY100’s own micro-keyboard, you can set the keyboard velocity via the “VELO” parameter. The velocity can be set in 10 levels — the more bars the higher the velocity. There are also four “random velocity” settings which produce different degrees of random velocity for each note played, simulating the velocity variations produced by a “human” player. The “R1” random setting produces the smallest variation and “R4” produces the greatest variation. “VELO” parameter 75 Add Some Details to Complete the Accompaniment x Engage the Record Ready Mode Press the [●] button to engage the record ready mode. The red LED above the [●] button will light. The record mode selectors will appear in the central area of the display, and the name of the current record mode will appear at the top of the display. Record mode selector c Select the Realtime Replace or Overdub Record Mode Normally, when recording a new track from scratch you’ll want to use the realtime replace record mode. To select it (if it isn’t already selected) move the cursor to the “REPL” button in the record mode area of the display and press the [ENTER] button. An inverse “R” appears in the selected record mode button. If you’ve already recorded some material on a track and want to record additional notes without erasing the existing material, select the realtime overdub record mode (“OVER” on the display) instead of the “REPL” mode. “REPL” button 76 Add Some Details to Complete the Accompaniment ■ NOTE • There are other record modes other than “REPL” and “OVER”. For details about “STEP”, see page 91. For details about “MULTI”, see page 80. v Set the Tempo and Time Signature Tempo and time signature parameters Guided Tour For this example we’ll use the default tempo of 120 beats per minute and the default 4/4 time signature, so you shouldn’t need to make any changes. But when you do want to record with a different tempo or time signature, simply move the cursor to the tempo and time signature parameters and set them as required via the [+1/YES] and [-1/NO] buttons. ■ NOTE • As with pattern and chord recording, you can set the tempo parameter at a slower value than the actual playback tempo you will use, so you have plenty of time to enter the parts. 77 Add Some Details to Complete the Accompaniment b Record the First Track Press the [>] button to begin recording. The metronome and count-in work the same way as they do for pattern and chord recording: the metronome will sound and you’ll be given a onemeasure count-in before recording actually begins (the number of count-in measures can be changed via the Utility mode — page 245). The count-in is also indicated by negative numbers in the measure-number area of the display. With the default count-in setting of one measure, “-01” will appear during the count-in, then recording will begin from measure “001”. Once recording begins, play the part on the QY100 micro-keyboard or on an external MIDI keyboard or other controller. Count-in ■ NOTE • If you have trouble playing a part in real time (or you’d simply rather enter the notes with scientific precision), use the step recording mode described on page 91 to enter the notes one at a time, with complete control over note timing and duration. • If you make a mistake (or two, or three …) while recording, you can always go back and record the entire track again. But if only a few minor adjustments are needed, you might prefer to use the QY100 EDIT mode (page 216) to edit the track as required. 78 Add Some Details to Complete the Accompaniment n Stop Recording Recorded track m Record the Next Track Press the [●] button to engage the record ready mode again (the “REPL” or “OVER” record mode will still be selected — leave this setting as is or change as necessary), then move the cursor to the track area of the display and select the next track to record (in this case, track 2). Press the [>] button to begin recording, and record the next track in the same as the first track described above. Guided Tour Press the [■] button to stop recording and return to the SONG mode. Note than when you return to the SONG play mode a bar will appear below each track that contains data. This is the lowest segment of a “velocity meter” which will indicate velocity levels in the track during playback. ■ NOTE • To extend this process to record a complete song on the QY100 sequencer tracks, simply assign the voices for your tracks and record as many as your song needs (up to 16, of course) one after the other. • Use the SONG JOBS (page 145) to make further adjustments to your recorded tracks, as necessary. If your timing is a little off, for example, use the “Quantize” job to pull everything into line. Take a look at the SONG JOB LIST on page 146 for an idea of the types of jobs that are available. 79 Add Some Details to Complete the Accompaniment , Stop Recording Press the [■] button to stop recording and return to the SONG mode. . Play Your Accompaniment Press the [>] to play back your accompaniment complete with sequencer-track additions. About the “MULTI” Recording If you select the “MULTI” mode in step c on page 76, the QY100 will simultaneously record data received over MIDI channels 1 to 16 onto the corresponding sequencer tracks (1 to 16). This is useful when you want to record a multipart recording from a computer or another sequencer in real time, or when you want to record from a MIDI insrtrument (such as a MIDI guitar) that outputs over multiple channels. Before starting the multipart recording, be sure to set the MIDI Sync to “External” (page 247), MIDI Control to “In” or “In/Out” (page 247), Rec Count to “OFF” (page 245). Then engage the record ready mode (page 76) and select “MULTI” record mode. When you start the external computer or sequencer, the QY100 will start multipart recording automatically. 80 Step Accompaniment Recording Step Accompaniment Recording The STEP record mode can be used with the “Pt” (Pattern) and “Cd” (Chord) tracks, making it easy to individually enter or delete pattern and chord changes at precisely the required locations. z Select a Song to Record Select an empty song if you want to record a new song in the step record mode, or select a song that already contains data if you want to make changes or additions. x Engage the Record Ready Mode Press the [●] button to engage the record ready mode. The red LED above the [●] button will light. c Select the “Pt” or “Cd” Track Move the cursor to the track area of the display, and then shift the cursor sideways to select “Pt” or “Cd”. Once selected, move the cursor vertically if you want to move to other areas of the screen. The selected track will remain highlighted no matter where you move the cursor. “Pt” or “Cd” track 81 Step Accompaniment Recording v Select the Step Record Mode Move the cursor to the record mode selector area of the display (the area with the “REPL”, “OVER”, “STEP”, and “MULTI” buttons), and move it to the “STEP” button, then press the [+1/YES] button to select the step record mode. An inverse “R” will appear in the selected record mode button. “STEP” button b Start Recording Press the [>] button to call the selected step record display. “Pt” step record 82 “Cd” step record Step Accompaniment Recording n Enter the Required Pattern and/or Chord Data Refer to the following sections for details on how to use each of the step-record mode data-entry displays. You can switch directly between the pattern and chord data-entry displays while the step record mode is engaged simply pressing the [MENU] button to call the menu shown below, and then the function button corresponding to the display you want to go to. m Stop Recording Press the [■] button to exit from the step record mode and return to the normal SONG play mode. 83 Step Accompaniment Recording “Pt” — Step Record Pattern Changes Here’s how the STEP record pattern display will look if you’ve selected an empty song (the appropriate pattern data will appear if the selected song contains data). Measure number 1st measure Time signature 2nd measure Subsequent measures follow Style number area Section area ● Moving Around & Entering Data As usual, the cursor buttons are used to move the cursor to the location at which you want to enter data, and the [-1] and [+1] buttons are used to actually enter or change data. The cursor buttons also move you forward or backward through the song: moving the cursor past the bottom of the screen accesses subsequent measures, while moving it above the top of the screen accesses the preceding measures (if there are any). In the pattern display moving sideways takes you to the time signature, style number, and section parameters. In all of the STEP record displays the sequencer buttons can also be used to move forward or backward through the song. [p] Go to first measure. [r] Scroll up (see lower measure numbers) [f] Scroll down (see higher measure numbers) 84 Step Accompaniment Recording ● Style Number and Section Any preset style number from 001 through 128, the “end pattern” (number 129), or any user style number from U1 through U64 can be entered for each measure. The style name appears to the right of the style number. Only one style & pattern (section) can be entered per measure, and that pattern will begin playing from the beginning of the measure at which it is entered. A pattern entered once will continue to play until a different pattern is entered. If you want to change sections without changing the style number, only the section need be entered. Playback will stop automatically when an “end pattern” (style number 129) or an ending section is encountered. In the example display below the intro pattern (section) of style 001 plays for the first measure, then the main A pattern (section) of the same style is selected in measure 2. Style number/name Section 85 Step Accompaniment Recording ● Time Signature Although the default time signature for the selected song is automatically selected, the time signature value for each measure can be changed as required. The available time signatures are: 1/16 … 16/16 1/8 … 16/8 1/4 … 8/4 If a time signature is selected that results in shorter measures than the pattern default, the pattern will be truncated (cut short) accordingly. If the selected time signature results in longer measures than the pattern default, the pattern will be repeated to fill the specified measure length. ● Erasing Pattern Changes The function button immediately to the right of “ers” on the display can be used to erase style number or section data at which the cursor is located. Press to erase style or section at cursor location. 86 Step Accompaniment Recording “Cd” — Step Record Chord Changes Here’s how the STEP record chord display will look if you’ve selected an empty song (the appropriate chord data will appear if the selected song contains data). Measure number 1st measure Time signature 2nd measure Place cursor at beat on which chord is to be entered Subsequent measures follow One beat ● Chords One chord can be entered per quarter note. Place the cursor at the required quarter-note division on the display and enter the chord by specifying the root and type via the micro-keyboard (see page 67). In the example display below, an A major chord is entered on the first beat of the first measure, a B minor seventh on the third beat of the first measure, and a D major on the first beat of the second measure. Chord You can also enter a chord by playing the chord as it is on the micro keyboard or an external keyboard if the Fingered Chord function(FNGR) is previously set to “ON”. 87 Step Accompaniment Recording ● Specifying the Bass Note For a Chord You can specify the bass note to be used with any chord by using the [OCT DOWN] button (note the “BASS” marking above the button). Enter the chord by specifying the root and type, then press the key on the micro-keyboard corresponding to the desired bass note while holding the [OCT DOWN/BASS] button. The bass note will appear to the right of a slash below the chord name. Example: Bm7 with E bass 88 Step Accompaniment Recording ■ NOTE • You can add bass notes to existing chords without having to re-enter the entire chord by simply moving the cursor to the chord and using the [OCT DOWN/BASS] button to specify the bass note. A bass note can be removed from a chord by placing the cursor at the chord and re-entering the chord. If FNGR is set to “ON”, a bass note can be entered by pressing a key for a bass note on the left part of the micro keyboard or an external keyboard while holding the chord. (The “left part” range for entering a bass note can be specified in the Utility mode on page 252.) ● Syncopated Chords Chords can be syncopated (i.e. the chord actually begins an eighth or sixteenth note before the beat on which it is entered) by using the [OCT UP] button (note the “ ” marking above the button). Enter the chord, then press the [OCT UP] button once for eigth-note syncopation, or twice for sixteenth-note syncopation (the appropriate syncopation symbol will appear below the chord name). Example: D chord syncopated (8th note) 89 Step Accompaniment Recording ■ NOTE • You can add syncopation to existing chords without having to re-enter the entire chord by simply moving the cursor to the chord and pressing the [OCT UP] button. Syncopation can be removed from a chord by placing the cursor at the chord and pressing the [OCT UP] once or twice so that the syncopation symbol disappears. ● Erasing Chords The function button immediately to the right of “ers” on the display can be used to erase the chord at which the cursor is located. Press to erase chord at cursor location. ● Sound On/Off You can hear the sound of entered chord in step recording. If you don’t want to hear the sound, press the [MENU] button and then the function button next to “Sound” to call the Sound on/off display. Press [-1/NO] button to turn the sound off, [+1/YES] button to turn on. 90 Step Sequencer Track Recording Step Sequencer Track Recording The step record mode lets you enter each track note-by-note, with precise control over the timing, length, and loudness of each note. You can record entire tracks using the step mode, or use it to brush-up and add data to an existing track. z Select the SONG Mode & the Song To Be Recorded Use the [SONG] button to select the main SONG mode display and, with the cursor located over the song number at the top of the display, use the [-1] and [+1] buttons or the SHIFT-Number entry method (page 34) to select the song you intend to record. Song number x Select a Track to Record Move the cursor to the track area of the display, and then shift the cursor sideways to select the track you want to record: 1 through 16. The SONG display shows 8 of the 16 available tracks at a time. Use the cursor buttons to scroll left or right to the remaining tracks (an arrow appears at either the left or right of the track numbers to indicate that more tracks can be accessed by scrolling in the corresponding direction). Move the cursor verti- 91 Step Sequencer Track Recording cally to move to other areas of the screen. The selected track will remain highlighted. Track c Engage the Record Ready Mode Press the [●] button to engage the record ready mode. The red LED above the [●] button will light. Record mode selector v Select the Step Record Mode Move the cursor to the record mode selector area of the display (the area with the “REPL”, “OVER”, “STEP”, and “MULTI” buttons), and move it to the “STEP” button, then press the [+1/YES] button to select the step record mode (if it isn’t already selected). An inverse “R” will appear in the selected record mode button. 92 Step Sequencer Track Recording “STEP” button b Engage the Record Mode Press the [>] button to engage the step record mode. The step record display shown below will appear. Current record track Measure/beat/clock display Time signature Note parameters Note display n Set the Note Parameters as Required Move the cursor to the note, velocity, and gate time parameters and set as required using the [-1] and [+1] buttons for the first (or next) note to be entered. 93 Step Sequencer Track Recording STEP VELO GATE (Note length) 32nd, 16th, 16th triplet, 8th, 8th triplet, quarter, quarter triplet, half, whole. (Velocity) More bars = higher velocity, adjustable in 10 steps (ppp, pp, p, mp, normal, mf, f, ff, fff, ffff). ~ produces random velocity. (Gate time) = staccato (50%). = normal (90%). = slur (99%). m Enter a Note Once the note parameter have been specified, the note can be entered simply by playing the appropriate key on the microkeyboard (or on your external MIDI keyboard). A dot appears on the note display and the note pointer advances to the next note position. Chords are also indicated by a dot. Here’s how the display will look after two 8th notes have been entered. ■ NOTE • If you use an external MIDI keyboard for step recording, the QY100 always accepts velocity from the external keyboard regardless of the “VELO” setting. 94 Step Sequencer Track Recording The Note Display The note display shows up to four 1/4-notes worth of data at once (that’s one measure in 4/4 time). If the selected time signature results in more than four 1/4 notes per measure, then the display will scroll to show the extra notes. 1st beat 2nd beat Note pointer Each dash represents a 32nd note (60 clocks). 3rd beat 4th beat Moving Around In the Note Display You can move the cursor down to the note display (the note pointer will appear filled) and move the note pointer to any position at which you want to enter a note, or to any note that you want to delete. You will actually hear the appropriate note or chord when the note pointer is moved to an existing note. When you move the note pointer past the end of the note display, the next measure will appear. Cursor moved to note pointer (pointer filled). Note that the pointer points up to notes in the upper row and down to notes in the lower row. 95 Step Sequencer Track Recording The Step Mode Function buttons The four function buttons immediately to the right of the display provide acces to a number of handy functions in the step record mode. The “del” (delete) button deletes the note or chord at the note pointer. The “Bdl” (back delete) button moves the note pointer backward by the currently selected note length and deletes the note at that position. The “rst” (rest) button enters a rest of the currently selected note length at the note pointer position. And the “tie” button lengthens the previously entered note by “tying” another note of the same length (specified by the STEP parameter) and pitch to it. The “tie” button only works immediately after entering a note. The Measure/Beat/Clock Display The “Meas” area of the step record display shows the current position of the note pointer in measures, beats, and clocks (there are 480 clocks per 1/4 note). If you’re not sure what measure you’re seeing on the note display while recording, check the measure/beat/clock display. You can move the note pointer to any measure by moving the cursor to the measure number and entering the value with the [-1] and [+1] buttons or the SHIFT-Number entry method (page 34). 96 Step Sequencer Track Recording Measure number (001 ... 999) Clock (480 clocks per 1/4 note). Beat (01, 02, 03, 04 if 4/4 time). , Complete the Song Repeat steps n and m until the current track is complete, then press [■] to stop recording and select the next track for recording, as necessary. ■ NOTE • See the “Editing Songs & Patterns” section , page 216, for information on how to edit recorded song data. 97 Creating Original Accompaniment Patterns Creating Original Accompaniment Patterns QY100 accompaniment patterns are created by combining “phrases” — either preset or original — in the PATTERN mode. A phrase is simply an individual “part” of a pattern — e.g. a drum phrase, a bass phrase, a keyboard phrase, etc. — using a single voice. The QY100 has 4,285 preset phrases, and 384 memory locations for original patterns (i.e., 64 user styles, each with independent INTRO, MAIN A, MAIN B, FILL AB, FILL BA, and ENDING sections). You can also see phrase components of the preset patterns in the PATTERN mode. The Preset Phrases The QY100 has a total of 4,285 preset phrases that can be combined to create a virtually endless variety of accompaniment patterns. The preset phrase numbers have three sections, as shown below. The cursor can be placed at any of these three sections to select as required. Number Beat Category 98 Creating Original Accompaniment Patterns Category Da Db Fa Fb PC Ba Bb Ga Gb GR KC KR PD BR SE Drum-a (Pop&Rock) Drum-b (Specific) Drum Fill-a (Pop&Rock) Drum Fill-b (Specific) Percussion Bass-a (Pop&Rock) Bass-b (Specific) Guitar Chord-a (Pop&Rock) Guitar Chord-b (Specific) Guitar Riff Keyboard Chord Keyboard Riff Pad Brass Sound Effects Beat 16 Beat 8 Beat 3/4 Beat Number Differs depending on the category ■ NOTE • For details on the phrase category, beat and number, refer to the Preset Phrase List of the separate Data List booklet. 99 Creating Original Accompaniment Patterns Combining Phrases In the Pattern Mode The phrases are combined to create patterns which can be used in accompaniments in the PATTERN mode. z Select the PATTERN Mode, a User Style, & a Section Press the [PATTERN] button to select the PATTERN mode then, with the cursor located at the style number, select a “user” style: “U00” through “U64”. Also move the cursor to the section name and select the section you want to create. Style number Section x Set the Pattern Length, Time Signature & Tempo as Required If you’re starting with an empty pattern, move the cursor to the pattern length parameter and set the desired pattern length from 1 to 8 measures. If necessary, also move the cursor to the time signature parameter and set as required (1/16 … 16/16, 1/8 … 16/8, 1/4 … 8/4). The default tempo is 120, but you can move the cursor to the tempo parameter and set any other tempo that is suitable for your pattern. Pattern length Tempo Time signature 100 Creating Original Accompaniment Patterns ■ NOTE • The default pattern length for the INTRO, MAIN A, MAIN B, and ENDING sections is 2 measures, while the default length for the FILL AB and FILLBA sections is 1 measure. c Select a Pattern Track Phrases can be assigned to any of 8 “tracks” in the PATTERN mode. The pattern tracks are basically designed to be used with the phrase types listed below (thus the “D1”, “PC”, “BA”, “C1”, etc., track identifiers). In reality, any type of phrase can be assigned to any of the available tracks. Track D1 D2 PC BA C1 C2 C3 C4 Part Drum 1 Drum 2 Percussion Bass Chord 1 Chord 2 Chord 3 Chord 4 Drums Phrase Drums Phrase Percussion Phrase Bass Phrase Chord backing phrase (Guitar, Keyboard, etc.) Chord backing phrase (Guitar, Keyboard, etc.) Chord backing phrase (Guitar, Keyboard, etc.) Chord backing phrase (Guitar, Keyboard, etc.) ■ NOTE • For details on the available phrases, refer to the Preset Phrase List of the separate Data List booklet. Move the cursor to the phrase-entry area of the track you want to assign a phrase to. Cursor at D1 track v Enter the Required Phrase Number Use the cursor buttons to move to the category, beat, or number parameter, then use the [-1] and [+1] buttons or the 101 Creating Original Accompaniment Patterns SHIFT-Number entry method (page 34) to select the desired phrase for that track. Phrase Name Number If the assigned phrase is longer than the pattern length, this symbol ( ) appears. In this case, the exceeded part of the phrase will not be played. Beat Category Monitoring the Pattern If you press the [>] button while entering phrases you can hear how the pattern sounds as the various phrases are added. Press [■] to stop playback. 102 Muting & Soloing the Pattern Tracks One or more PATTERN mode tracks can be muted or soloed by placing the cursor immediately to the left of the track (in the velocity-meter position) and using the [-1] or [+1] to mute or solo the track as required. Use the [-1] button to alternately mute or un-mute the selected track, or the [+1] button to alternately solo or un-solo the track. Any number of tracks can be muted and/or soloed at a time. To solo more than one track at a time hold the [SHIFT] button while soloing additional tracks after the first solo track has been specified. Also hold the [SHIFT] button while un-soloing a single track when multiple tracks are soloed (un-soloing a single track without holding the [SHIFT] button will unsolo all soloed tracks). Creating Original Accompaniment Patterns The letter “M” appears next to tracks that are muted, and the letter “S” appears when a track is soloed. Mute Solo Clearing Phrases Phrases can be cleared by placing the cursor at the appropriate phrase number, catgory, or beat and pressing the function button next to “cler” on the display. Changing the Pattern Playback Chord The chord used for pattern playback can be changed by placing the cursor at the chord location and entering the chord via the micro-keyboard and [ENTER] button as described on page 67. The bass note for “on-bass” chords can be entered via the lower octave of the micro-keyboard while holding the [OCT DOWN/BASS] button (the bass note will appear to the right of a slash next to the chord name). 103 Creating Original Accompaniment Patterns You can also enter the chord by pressing the chord as it is on the micro keyboard or an external keyboard if “FNGR”(Fingered Chord function) is set to “ON”. In this case, a bass note can be entered by pressing a key for a bass note on the left part of the micro keyboard or an external keyboard while holding the chord. (The “left part” range for entering a bass note can be specified in the Utility mode on page 252.) b Repeat for as Many Tracks as Necessary Repeat steps c and v to enter phrases for as many tracks as required (you don’t have to program all 8 pattern tracks). n Repeat for the Other Sections Repeat the above procedure to complete the remaining sections of the style, as required. ■ NOTE • See “The Pattern Jobs” on page 181 for details on the QY100's pattern jobs which allow considerable versatility in creating and modifying patterns. • 104 You can also re-combine phrases on the preset pattern. To store the recombination, execute the “Copy Pattern” (page 213) or “Copy Track” (page 210) job before changing the style number of the pattern. Creating Original Accompaniment Patterns Recording Original Phrases The QY100 makes it easy to create original accompaniment phrases. The PATTERN mode provides two ways to create original phrases: realtime and step recording. Realtime Phrase Recording In the realtime record mode you select the track you want to record, the voice you want to record with, and then play the part on the micro-keyboard or an external MIDI keyboard in real time. z Select a User Style and Section As described in the preceding section, begin by selecting a user style (“U01” through “U64”) and a section (“INTRO”, “MAIN A”, etc.) in the PATTERN mode. User style Section x Select a Source Chord Move the cursor to the chord parameter and use the chord entry procedure described above to enter the “source chord” for the phrase you are recording (i.e. the chord on which the phrase is based). Note that you can not enter an “on-bass” chord for the “source chord”. 105 Creating Original Accompaniment Patterns Source chord c Select a Pattern Track and its “User” Phrase Move the cursor to the track you want to create an original phrase for. To create a bass phrase, for example, select the “BA” (Bass) track. Then use the [+1] button to select the user phrase for that track (“Us- -001” for Intro section’s D1 track through “Us-048” for Ending section’s C4 track, depending on the selected section and track.) If the track you intend to record is empty, you need not select the user phrase for that track. “User” phrase ■ NOTE • Before engaging the record mode you can also set the micro-keyboard “velocity” via the “VEL” parameter in the upper right corner of the display. The velocity can be set in ten levels — the more bars the higher the velocity. There are also four “randon velocity” settings which produce different degrees of random velocity variation. “R1 produces the smallest variation and “R4” produces the greatest variation. • 106 You can also set the micro-keyboard’s octave before engaging the record mode by pressing [OCT UP] or [OCT DOWN] button. Creating Original Accompaniment Patterns v Engage the Phrase Record Ready Mode Press the [●] button to engage the phrase record ready mode. The red LED will light, and the display will appear something like this: Record mode selector b Select the Realtime Overdub Record Mode Move the cursor to the record mode selector area of the display (the area with the “OVER” and “STEP” buttons), and move it to the “OVER” (realtime overdub) button, then press the [+1/YES] button to select the realtime overdub record mode (if it isn’t already selected). An inverse “R” will appear in the selected record mode button. n Set the Phrase Type and Voice Note that a default “TYPE” and voice are shown for the selected track. These can be changed as required before recording the phrase. The default types and voices for each pattern track are shown below. The “TYPE” parameter is actually the “Note Transition Table Type” and it determines how the corresponding track will be re-harmonized when used in an accompaniment with chord changes. The various phrase types are described below. 107 Creating Original Accompaniment Patterns Type Voice Track D1 (Drum 1) D2 (Drum 2) PC (Percussion) BA (Bass) C1 (Chord 1) C2 (Chord 2) C3 (Chord 3) C4 (Chord 4) Default Type Bypass Bypass Bypass Bass Chord 1 Chord 1 Chord 1 Chord 1 Default Voice Dr 001: Standard Kit Dr 001: Standard Kit Dr 001: Standard Kit Ba 033: Acoustic Bass Pf 001: Grand Piano Pf 001: Grand Piano Pf 001: Grand Piano Pf 001: Grand Piano. The Phrase Types Bypass Bass Chord 1 Chord 2 Parallel 108 The phrase is not re-harmonized — i.e. it is not affected by chord changes — when this type is selected. This type should be used for drum and percussion phrases, otherwise the drum instruments will be “re-harmonized” and change whenever a chord change is encountered. When the “Bass” type is selected the phrase is re-harmonized in the same way as for the Chord 1 phrase type, below, except that the root is always used as the first note immediately following a chord change. In the case of an “on-bass” chord, the bass phrase always plays the “on-bass” note. The source note data is reharmonized based on the root of the specified chord. The source note data is re-harmonized with the closest possible “voice leading” from the preceding chord. This results in the smoothest possible chord changes. When this type is selected the source note data is simply transposed to the root of the new chord without re-harmonization. Creating Original Accompaniment Patterns m Set the Pattern Length, Time Signature & Tempo as Required If you’re creating a phrase for an empty pattern, move the cursor to the pattern length parameter and set the desired pattern length from 1 to 8 measures. If necessary, also move the cursor to the time signature parameter and set as required (1/16 … 16/ 16, 1/8 … 16/8, 1/4 … 8/4). The default tempo is 120, but you can move the cursor to the tempo parameter and set any other tempo that is suitable for your recording. Pattern length Tempo Time signature , Record Press the [>] button to begin recording. The metronome will sound and you’ll be given a one-measure count-in prior to the first measure actually recorded. Play the required part either on the micro-keyboard or via an external MIDI keyboard. The phrase will continuously repeat from the first to last measure, so you can continue to add notes until the current part is complete. ■ NOTE • Since your original phrase will be automatically re-harmonized as required by the QY100 ABC system, there are a few rules you should follow to ensure the best results: 1: Stick to the harmonic environment of your source chord. 2: Use primarily the root, 3rd, 5th, and major 7th. 3: Keep it rhythmic … avoid melodic lines. 109 Creating Original Accompaniment Patterns . Delete Mistakes as Required To delete mistakes, simply play the note to be deleted on either the micro-keyboard or an external MIDI keyboard while holding the [SHIFT] button. All corresponding notes that occur while the button is held will be deleted. ⁄0 Stop Recording Press the [■] button to stop recording. The normal PATTERN play mode is automatically re-selected when you stop recording. ⁄1 Repeat for as Many Tracks and Sections as Necessary Repeat the appropriate steps of the above procedure to record phrases for as many tracks and sections as required. ■ NOTE • See “The Pattern Jobs” on page 181 for details on the QY100’s pattern jobs which allow considerable versatility in creating and modifying patterns. 110 Creating Original Accompaniment Patterns Step Phrase Recording The step phrase record mode lets you enter phrases note-by-note, with precise control over the timing, length, and loudness of each note. You can record complete phrases using the step mode, or use it to brush-up and add data to an existing phrase. Steps z through m are the same as for phrase realtime recording, above, except for step b in which you’ll need to select the “STEP” record mode rather than “OVER” (page 107). The actual recording process is then the same as step-recording the SONG tracks except that the measure/beat/ clock display shows the total number of measures in the pattern as well as the current measure number. Refer to pages 91 through 97 for details on step recording. “STEP” button ■ NOTE • The recorded user phrase can be cleared by pressing the function button next to “cler”, as shown on page 103. In this case, you can recall the cleared phrase by selecting a user phrase for that track again with [+1]/[-1] button. To delete the recorded phrase completely, execute the “Clear Track” job on page 212. 111 Creating Original Accompaniment Patterns Pattern Voice mode Each pattern phrase has its own voice whether it is a preset phrase or a user phrase. (The user phrase voice is specified in the phrase record ready mode described on page 106). However, you can also assign any of the QY100’s 525 voices and 22 drum kits to the 8 pattern phrase tracks(D1, D2, PC, BA, C1...C4) via the PATTERN VOICE mode. The VOICE mode features a graphic on-screen “mixer” that has mute/solo controls, pan pots, and faders for each track. The PATTERN voice mode also provides access to effect send controls and a versatile range of voice editing parameters. Press the [PATTERN] button to select the voice mode mixer display. The mixer display shows 8 pattern phrase tracks at a time. The VOICE mode mixer display looks almost the same as that of the SONG VOICE mode except: The track numbers are D1, D2, PC, BA and C1...C4. Voice parameter for each track shows “- -” as the default setting, which means that the phrase has its own voice assigned to each track. Master volume and Pattern volume faders are omitted. For details on each parameter of the VOICE mixer display, see “The Song Voice Mode” on page 131. Remember that each track’s voice assign, pan and volume settings for a preset pattern in the VOICE mode will not be stored in memory. 112 Creating Original Accompaniment Patterns The Effect Send Display The QY100 features a high-performance internal digital signal processing system which provides a range of effects including reverb, delay, modulation, distortion, and more. Three independent effect blocks are provided — Reverb, Chorus, and Variation. The individual effects are selected and modified via the EFFECT mode, described in detail on page 236. The VOICE mode mixer display provides access to independent effect send controls for each of the three effect blocks via the MENU sub-display. Press the [MENU] button, and then the function button next to “Effect Send” on the display. 113 Creating Original Accompaniment Patterns The Effect Send display looks almost the same as that of the SONG VOICE mode’s Effect Send display except for track numbers and the assigned voice (“- -” means the phrase has its own voice). For details on each parameter of the Effect Send display, see “The Effect Send Display” of the Song Voice mode on page 136. 114 Creating Original Accompaniment Patterns Voice Editing The QY100’s VOICE EDIT mode allows you to modify the sound of the voices assigned to each track to best suit your particular musical requirements. The VOICE EDIT mode can be accessed from the PATTERN VOICE mode by pressing the [MENU] button, and then the function button next to “Voice Edit” on the display. If a Drum Set is selected (i.e., if a drum track, to which “Ds3” drum set voice is assigned, is selected) the “Drum Voice Edit” mode will also be available via the menu. ■ NOTE • “Ds1” and “Ds2” drum sets can be selected in the SONG VOICE mode only. In the PATTERN VOICE mode, “Ds3” drum set can be selected to edit drum instruments. The VOICE EDIT display looks almost the same as that of the SONG VOICE mode’s VOICE EDIT display except for track numbers and the assigned voice (“- -” means the phrase voice has its own voice). For details on each parameter of the VOICE EDIT display, see “Voice Editing” of the Song Voice mode on page 138. 115 Creating Original Accompaniment Patterns Play Effects The QY100’s “Play Effects” can also affect pattern playback in real time as well as song playback, and are not actually recorded with the phrase data. The Play Effects include Swing and Drum Table Remapping. To access the Play Effects press the [MENU] button while in the PATTERN play mode and press the function button next to “Play Fx” on the display. The “Swing” and “Drum Table” displays can then be selected by pressing the [MENU] button and then the function button next to “Swing” or “Drum Table” on the display, as required. ■ NOTE • The Play Effects settings can be stored for each user style. These settings will also be effective when the user style is assigned and played in the SONG mode’s pattern (Pt) track. 116 Creating Original Accompaniment Patterns Swing display Drum Table display “Swing” and “Drum Table” displays are exactly the same as those in the SONG mode except track numbers (D1, D2, PC, BA, C1...C4). See “Play Effects” of the SONG mode on page 124 for details. 117 Playback Control Reference Section Playback Control The normal SONG mode display includes all the parameters and controls you need for song playback. Press the [SONG] button to go to the SONG play mode (depending on the current mode, you may need to press the [SONG] button more than once). Song number Song name Measure number Micro-keyboard octave indicator Jump mode (Off/Stop/Top) and location Tempo Time signature Sequencer tracks (1 … 16) Accompaniment tracks (Pattern, Chord, Tempo) Velocity meters & Mute/Solo buttons Style number & name Chord template number Chord display Style section name Fingered Chord on/off Transpose Micro-keyboard velocity 118 Playback Control The QY100 can retain up to 20 different songs in memory at the same time: song numbers 01 through 20 (three demo songs are recorded as song numbers 21 through 23). To select a song for playback use the cursor buttons to move the cursor to the song number location (the song number will be highlighted), and then use the [-1] and [+1] buttons or the SHIFT-Number entry method desribed below to select the desired song number. If the song has been given a name (this is done via the Song Name job described on page 180), the song name will appear to the right of the song number. The SHIFT-Number Entry Method Numeric values can be directly entered by using the black micro-keyboard keys (numbered 1 through 0) while holding the [SHIFT] button. To enter the number “16”, for example, press the “1” and then the “6” keys (“F#/Gb” and “7(#9)/ 7(b9)” on the micro-keyboard) while holding the [SHIFT] button. The entered number — “16” — will flash on the display. Press the [ENTER] button to actually enter the number. Negative values can be entered where applicable by first pressing the “E” (“-”) key on the micro-keyboard while holding the [SHIFT] button, and then entering the value as described above. Reference Section ● Selecting a Song ● Playing the Selected Song Playback of the selected song is started by pressing the [>] (“PLAY”) sequencer button. The green LED will flash at the playback tempo. The song will play through to the end and then stop automatically. Song playback can also be stopped at any time by pressing the [■] sequencer button. ■ NOTE • When a song is selected, its voice and effect settings will be recalled. Therefore, you should wait for about 1 second until pressing the [>] button after selecting a song. 119 Playback Control ● Repeat Playback Press the [>] button while holding the [SHIFT] button to start repeat playback of the selected song. The repeat playback symbol ( ) will appear in the upper right corner of the display during repeat playback. In this mode the selected song will repeat indefinitely untill stopped by pressing the [■] button. ● Measure Number The measure number parameter on the display shows the current measure number during song playback (and recording). You can also place the cursor here and use the [-1] and [+1] buttons or the SHIFT-Number entry method (page 34) to enter any measure number from which you want to start playback or recording. The sequencer [r] and [f] buttons can be used to step or scroll forward or backward through the song’s measures no matter where the cursor is located. ● Jump Functions For convenient navigation the QY100 has two “jump” modes that let you jump to a specified measure number. Jump Mode Stop Jump Symbol Top Jump Jump Off 120 [- -] Function When this mode is selected the QY100 will automatically jump to the specified measure number whenever the sequencer [■] (Stop) button is pressed. In this mode the QY100 will automatically jump to the specified measure number when the sequencer [p] (Top) button is pressed and the current measure number is greater than the specified jump location. If the current measure number is lower than the specified jump location the QY100 will jump to the top of the song (measure 001). The jump function is OFF. Playback Control ;; ;; The jump modes can be selected by moving the cursor to the jump mode symbol and selecting via the [-1] and [+1] buttons, or by using the following button combinations: Mode Stop Jump Top Jump Jump Off Button Combination [SHIFT] + [■] [SHIFT] + [p] [SHIFT] + [r] or [f] To specify the measure number you want to jump to move the cursor to the jump location parameter and use the [-1] and [+1] buttons or the SHIFT-Number entry method (page 34) to set as required. ● Playback Tempo The playback tempo can set from 25 to 300 quarter-note beats per minute by moving the cursor to the tempo parameter and using the [-1] and [+1] buttons or the SHIFT-Number entry method (page 34) to set as required. ● Track Selection Although track selection is more of a recording than a playback function, it is necessary to select tracks in the playback mode for muting and solo monitoring control (below). The SONG display shows the pattern (“Pt”), chord (“Cd”), and tempo (“Tm”) accompaniment tracks as well as 8 of the 16 available sequencer tracks at a time. Move the cursor to the track area and scroll left or right to the remaining tracks (an arrow appears at either the left or right of the track numbers to indicate that more tracks can be accessed by scrolling in the corresponding direction). The number of the selected track remains highlighted when the cursor is moved to other areas of the display. 121 Playback Control ● The Velocity Meters The area below each sequencer track number is a 5-segment “velocity” meter that shows approximate MIDI velocity in the corresponding track during playback. When playback is stopped, the lowest segment of the velocity meter appears only below tracks which contain data. ● Mute/Solo The velocity meter area below each track number in the SONG mode also functions as a mute/solo button which can be used to mute (turn off) or solo (only that track will be monitored) the corresponding track. Move the cursor to the track, then use the [-1] button to alternately mute or un-mute that track, or use the [+1] button to alternately solo or un-solo the track. Any number of tracks can be muted and/or soloed at a time. To solo more than one track at a time hold the [SHIFT] button while soloing additional tracks after the first solo track has been specified. Also hold the [SHIFT] button while un-soloing a single track when multiple tracks are soloed (un-soloing a single track without holding the [SHIFT] button will un-solo all soloed tracks). The letter “M” appears below the number of tracks that are muted, and the letter “S” appears when a track is soloed. ■ NOTE • The mute function is a handy way to simply turn tracks that you don’t want to hear off. When recording, they also make it easy to mute a “busy” track or several tracks that might make it difficult to hear an important track. • 122 Solo monitoring is a great way to isolate a track or two when you want to concentrate on the sound while, for example, making delicate adjustments to effects or other parameters that might get “swamped” by the sound from other tracks. It’s also handy for listening for small mistakes that you might otherwise overlook. Playback Control ● Velocity ;; ;; This parameter sets the “velocity” (i.e. loudness) of the micro-keyboard. The velocity can be set in ten levels — the more bars the higher the velocity. There are also four “random velocity” settings which produce different degrees of random velocity variation. “R1 produces the smallest variation and “R4” produces the greatest variation. ● Transposition The transpose (“TRNS”) parameter can be used to transpose the pitch of song playback up or down by a maximum of 2 octaves in semitone increments. A transpose setting of “+00” produces normal pitch. To transpose song playback move the cursor to the “TRNS” parameter and use the [-1] and [+1] buttons or the SHIFT-Number entry method (page 34) to set as required. Minus settings transpose down, and plus settings transpose up by the specified amount. Each increment corresponds to one semitone. The maximum range is from “-24” through “+00” to “+24”. ● Fingered Chord This parameter can either be turned “OFF” or “ON”. When “ON” chords played in the specified “fingered zone” of the micro-keyboard or an external MIDI keyboard are recognized by the QY100 and the chord accompaniment track is reharmonized accordingly. See page 252 for details. 123 Playback Control Play Effects The QY100 “Play Effects” affect sequence playback in real time, and are not actually recorded with the sequence data. The Play Effects include Swing and Drum Table Remapping. To access the Play Effects press the [MENU] button while in the SONG mode and press the function button next to “Play Fx” on the display. The “Swing” and “Drum Table” displays can then be selected by pressing the [MENU] button and then the function button next to “Swing” or “Drum Table” on the display, as required. ■ NOTE • The Play Effects settings can be stored for each song. • 124 See the “Normalize” job on page 177 to apply the Play Effects to the actual sequence data. Playback Control Swing display ;; ;; Drum Table display 125 Playback Control Swing By shifting the timing of certain notes according to a pre-defined pattern, this function makes it easy to add a “swing” feel to data which has already been recorded. If the Swing display shown below does not appear when “Play Fx” is selected, press the [MENU] button again and press the function button next to “Swing” on the display. Mute/Solo buttons Sequencer tracks (1 … 16) FX THRU switches Swing Timing The Swing display shows 8 of the 16 available tracks at a time. Use the cursor buttons to scroll left or right to the remaining tracks (an arrow appears at either the left or right of the track numbers to indicate that more tracks can be accessed by scrolling in the corresponding direction). 126 Playback Control ● M/S (Mute/Solo) ;; ;; The Mute/Solo (“M/S”) parameters below each track number in the Swing display can be used to mute (turn off) or solo (only that track will be monitored) the corresponding track. Move the cursor to the appropriate M/S parameter, then use the [-1] button to alternately mute or un-mute that track, or use the [+1] button to alternately solo or un-solo the track. Any number of tracks can be muted and/or soloed at a time. To solo more than one track at a time hold the [SHIFT] button while soloing additional tracks after the first solo track has been specified. Also hold the [SHIFT] button while un-soloing a single track when multiple tracks are soloed (un-soloing a single track without holding the [SHIFT] button will un-solo all soloed tracks). The letter “M” appears below the number of tracks that are muted, and the letter “S” appears when a track is soloed. ■ NOTE • The M/S parameters duplicate those in the SONG play mode and SONG VOICE displays, and have exactly the same effect. ● FX THRU These “switches” enable or bypass the effect for the corresponding tracks. When an FX THRU switch appears as an empty square, the effect is enabled for that track. To bypass the effect for a track, move the cursor to the appropriate FX THRU switch, and press the [+1] button so that a “T” (THRU) in the square. Bypassed tracks can be enabled by pressing the [-1] button. ● SWING Use the Swing Type parameter to select the swing type for currently selected track. No swing is applied when off (“—“) is selected. The available swing types are: -- (OFF), (32 swing), (16 swing), (08 swing), and (04 swing). 127 Playback Control ● TIMING Determines the degree to which the original notes are shifted toward the timing specified by the Swing Type parameter. The range is from 0% to 200%. At 100% the notes are shifted to the note timing specified by the Swing Type parameter (see illustration, below), while at 200% the amount of shift is doubled. 0% 100% 200% Time Original note timing. Note timing specified by the Swing Type parameter. Drum Table Remapping If the Drum Table display shown below does not appear when “Play Fx” is selected, press the [MENU] button again and press the function button next to “Drum Table” on the display. Drum Table remapping allows the drum instruments to be “remapped” so that, for example, you can replace a medium snare drum with a high snare or rimshot without affecting the data in the drum track. Mute/Solo buttons FX THRU switches Drum table 128 Sequencer tracks (1 … 16) Playback Control ● M/S (Mute/Solo) ;; ;; The Mute/Solo (“M/S”) parameters below each track number in the Drum Table display can be used to mute (turn off) or solo (only that track will be monitored) the corresponding track. Move the cursor to the appropriate M/S parameter, then use the [1] button to alternately mute or un-mute that track, or use the [+1] button to alternately solo or un-solo the track. Any number of tracks can be muted and/or soloed at a time. To solo more than one track at a time hold the [SHIFT] button while soloing additional tracks after the first solo track has been specified. Also hold the [SHIFT] button while un-soloing a single track when multiple tracks are soloed (un-soloing a single track without holding the [SHIFT] button will un-solo all soloed tracks). The letter “M” appears below the number of tracks that are muted, and the letter “S” appears when a track is soloed. ■ NOTE • The M/S parameters duplicate those in the SONG play mode and SONG VOICE displays, and have exactly the same effect. ● FX THRU These “switches” enable or bypass the effect for the corresponding tracks. When an FX THRU switch appears as an empty square, the effect is enabled for that track. To bypass the effect for a track, move the cursor to the appropriate FX THRU switch, and press the [+1] button so that a “T” (THRU) in the square. Bypassed tracks can be enabled by pressing the [-1] button. 129 Playback Control ● DRUM TABLE This parameter specifies the drum instrument to be remapped for the selected track. 24 choices are available (in addition to “- -” or “OFF”), spanning 6 remapping categories, as shown in the chart below. A selected instrument will replace any other instrument in the same category. For example, if a drum track uses the Snare M instrument and you select DRUM TABLE number 7 for that track, every occurence of the Snare M instrument will be replaced by the Open Rimshot instrument. No. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 130 Category Bass Drum Snare Hi Hat Bongo-Conga Solo Mute Instrument Bass Drum L Bass Drum M Bass Drum H Snare L Snare M Snare H Open Rimshot Brush Slap Side Stick Hand Clap Mid Tom Ride Cymbal Cabasa Maracas Triangle Shaker Tambourine Bongo-Conga Solo BassDr Solo SnareDr Solo Hi-Hat Mute BassDr Mute SnareDr Mute Hi-Hat The Song Voice Mode The Song Voice Mode ;; ;; The QY100 has 525 voices and 22 drum kits that can be selected, played, and assigned to the 16 SONG mode sequencer tracks via the SONG VOICE mode. The VOICE mode features a graphic on-screen “mixer” that has mute/solo controls, pan pots, and faders for each track. The SONG voice mode also provides access to effect send controls and a versatile range of voice editing parameters (page 138). Press the [SONG] button to select the voice mode mixer display. The mixer display shows 8 of the 16 available tracks at a time. Use the cursor buttons to scroll left or right to the remaining tracks (an arrow appears at either the left or right of the track numbers to indicate that more tracks can be accessed by scrolling in the corresponding direction). Track numbers Mute/Solo parameters Voice selectors Pan pots Volume faders Master fader Pattern fader 131 The Song Voice Mode ● Mute/Solo The Mute/Solo (“M/S”) parameters below each track number in the VOICE mode mixer display can be used to mute (turn off) or solo (only that track will be monitored) the corresponding track. Move the cursor to the appropriate M/S parameter, then use the [-1] button to alternately mute or un-mute that track, or use the [+1] button to alternately solo or un-solo the track. Any number of tracks can be muted and/or soloed at a time. To solo more than one track at a time hold the [SHIFT] button while soloing additional tracks after the first solo track has been specified. Also hold the [SHIFT] button while un-soloing a single track when multiple tracks are soloed (un-soloing a single track without holding the [SHIFT] button will un-solo all soloed tracks). The letter “M” appears below the number of tracks that are muted, and the letter “S” appears when a track is soloed. Mute (use the [-1] button) Solo (use the [+1] button) ■ NOTE • The mute function is a handy way to simply turn tracks that you don’t want to hear off. When recording, they also make it easy to mute a “busy” track or several tracks that might make it difficult to hear an important track. 132 • Solo monitoring is a great way to isolate a track or two when you want to concentrate on the sound while, for example, making delicate adjustments to effects or other parameters that might get “swamped” by the sound from other tracks. It’s also handy for listening for small mistakes that you might otherwise overlook. • These same parameters also appear in the main SONG display. A track that is muted or soloed in the main SONG display will also appear muted or soloed in the voice mode mixer display, and vice-versa. The Song Voice Mode ● The Voices ;; ;; Due to the large number of voices provided in the QY100, they are organized into 21 categories, as follows: Prefix Pf Cp Or Gt Ba St En Br Rd Pi Ld Pd Fx Et Pc Se Sfx Sfk Dr Ds1 Ds2 Category Piano Chromatic Percussion Organ Guitar Bass Strings Ensemble Brass Reed Pipe Lead Synth Pad Synth Effects Ethnic instruments Percussive Sound effects More sound effects Sound effect kits (i.e. a different effect on each key). Drum kits Drum set 1 (Drum kit including “editable” drum instruments) Drum set 2 (Drum kit including “editable” drum instruments) See the Data List for a complete list of the voices with their corresponding category, program number, and bank number. To select a voice for a specific track, move the cursor to the appropriate VOICE parameter and select using the [-1] and [+1] buttons or the SHIFT-Number entry method (page 34). You can also skip to the first voice in each category by using the [-1/NO] and [+1/YES] buttons while holding the [SHIFT] button. Note that the currently selected voice category, number, and name appear at the top of the display. Also note that some of the voices have variations, indicated by a plus sign (“+”) between the program number and voice name. Play the micro keyboard and you’ll hear that voice. 133 The Song Voice Mode ■ NOTE • In any QY100 mode, the micro keyboard or an external MIDI keyboard plays the voice assigned to the currently selected track. A MIDI keyboard will also play the voice assigned to a track with the same number as the external keyboard’s MIDI transmit channel unless the “ECHO BACK” parameter (page 248) is set to “Rec Monitor”. • If you’re playing the micro keyboard, use the octave keys to access the full range of instruments in each drum or effects kit. • See the Data List for a complete list of note assignments (i.e. which drum instruments and SFX sounds are assigned to which notes) for all drum and SFX kits. ● The Pan Pots Like the pan pots on a mixing console, the VOICE mode pan pots can be used to position the sound of the corresponding track anywhere from left to right in the stereo sound field. Position the cursor at the pan pot, then use the [-1/NO] and [+1/YES] buttons to set the pan position. The graphic pan pot will rotate to the corresponding position. The pan positions also have numeric values (1 through 63) that appear at the top of the display: “Center” is center, “Left 63” is full left, and “Right 63” is full right. There’s also a “Random” setting in which the pan position is set randomly. ● The Volume Faders Each track has a graphic volume “fader” that can be set to produce the best “mix” (balance) between the various voices. Position the cursor at a fader, then use the [-1/NO] and [+1/YES] buttons or the SHIFT-Number entry method (page 34) to set the fader level. The graphic fader will move to the corresponding position (higher for higher volume, and lower for lower volume). The fader positions also have numeric values (000 through 127) that appear in the upper right corner of the display: “000” is minimum volume (no sound) and “127” is maximum volume. The default setting is “100” for all tracks. The leftmost “mst” fader is a “master” fader which can be used to adjust the overall volume level, while the “pat” fader independently controls the level of the pattern track. 134 The Song Voice Mode ;; ;; ■ NOTE • You can switch back and forth between the SONG and VOICE modes even while a song is playing, so you can adjust all VOICE mode parameters (change voices, mute tracks, pan, and change volume settings) while listening to the results in real time! 135 The Song Voice Mode The Effect Send Display The QY100 features a high-performance internal digital signal processing system which provides a range of effects including reverb, delay, modulation, distortion, and more. Three independent effect blocks are provided — Reverb, Chorus, and Variation. The individual effects are selected and modified via the EFFECT mode, described in detail on page 236. The VOICE mode mixer display provides acces to independent effect send controls for each of the three effect blocks via the MENU sub-display: press the [MENU] button, and then the function button next to “Effect Send” on the display. VOICE mode mixer display 136 The Song Voice Mode Effect send display VARI. = System effect ;; ;; VARI. = Insertion effect The VARI. (variation effect) control appears either as a standard rotary control or a switch, depending on how the variation effect block is “connected” to the system in the EFFECT mode (“System” or “Insertion” — see page 239). The effect controls — “REVERB”, “CHORUS”, and “VARI.” — set the level of the corresponding effect for the corresponding parts. Position the cursor at a control, then use [-1/NO] and [+1/YES] buttons or the SHIFTNumber entry method (page 34) to set the corresponding effect level. The graphic control will rotate to the corresponding position (clockwise for higher level, and counter-clockwise for lower level). The control positions also have numeric values (000 through 127) that appear at the top of the display: “000” is no effect and “127” is maximum effect level. When the VARIATION control appears as a switch, it simply turns the current variation effect on or off (“E” appears in the switch when the variation effect is on). The Mute/Solo and Voice selectors in the Effect Send display duplicate those in the VOICE mode mixer display, and have exactly the same functions. You can return to the SONG VOICE mixer display by pressing the [EXIT] button. . ■ NOTE • The effect settings apply only to the QY100’s internal voices — i.e. they will not affect the sound of an external tone generator or synthesizer being driven by the QY100. • When the “VARI.” control appears as a standard rotary control (i.e., the variation effect block is connected as a “System” effect), the “DRY” rotary control also appears to control “Dry/Wet” mixing of effects for each track. When the “VARI.” control appears as a switch (i.e., the variation effect block is connected as an “Insertion” effect), the “DRY” rotary control disappears. In this case, “Dry/Wet” mixing can be controlled in the “Vari.Edit” of the Effect Editing display. (page 240) 137 The Song Voice Mode Voice Editing The QY100 VOICE EDIT mode makes it possible to modify the sound of the voices assigned to each track to best suit your particular musical requirements. The VOICE EDIT mode can be accessed from the SONG VOICE mode by pressing the [MENU] button, and then the function button next to “Voice Edit” on the display. If a Drum Set is selected (“Ds1” or “Ds2”) the “Drum Voice Edit” mode will also be available via the menu. VOICE mode mixer display 138 ;; ;; The Song Voice Mode VOICE EDIT display PB CUT RES A D R To edit a voice parameter, move the cursor to the parameter and edit using either the [-1] and [+1] buttons or the SHIFT-Number entry method (page 34). ■ NOTE • The Mute/Solo and Voice selectors in the VOICE EDIT display duplicate those in the VOICE mode mixer display, and have exactly the same functions. • You can return to the SONG VOICE mixer display by pressing the [EXIT] button. PB (Pitch Bend Range) This control sets the maximum pitch bend control range. The range is from “-24” through “0” to “+24”. Each increment corresponds to one semitone (100 cents), thus the maximum pitch bend control range is plus or minus two octaves. The value set here also applies to the pitch bend range controlled by the [OCT DOWN] button while playing on the micro keyboard. 139 The Song Voice Mode ● Filter Controls The filter controls affect the basic “timbre” of the sound. Resonance Cutoff Frequency CUT (Cutoff Frequency) Sets the cutoff frequency of the low-pass filter from “-64” through “0” to “+63”. Negative values lower the cutoff frequency, producing a “darker” sound. Positive values raise the cutoff frequency, producing a brighter sound. The graphic filter response curve will shift to indicate the current setting (the heavy default setting curve will also remain on the display). RES (Resonance) Adjusts the height of the filter’s resonance peak from “-64” through “0” to “+63”. Negative values lower the resonant peak producing a “flatter” sound. Positive values increase the resonant peak, emphasizing components at the filter cutoff frequency. The peak on the graphic filter response curve will grow or shrink to indicate the current setting (the heavy default setting curve will also remain on the display). 140 ;; ;; The Song Voice Mode ● EG (Envelope Generator) Controls The envelope generator controls affect the level “envelope” of the sound — i.e. its attack, decay, and release times. Plotted against time, the level envelope looks something like this. Decay Attack Release A (Attack Time) Adjusts the attack portion of the envelope generator curve from “-64” through “0” to “+63”. Negative values produce a faster attack while positive values produce a slower attack. The graphic envelope generator curve will shift to indicate the current setting (the heavy default setting curve will also remain on the display). D (Decay Time) Adjusts the decay portion of the envelope generator curve from “-64” through “0” to “+63”. Negative values produce a faster decay while positive values produce a slower decay. The graphic envelope generator curve will shift to indicate the current setting (the heavy default setting curve will also remain on the display). R (Release Time) Adjusts the release portion of the envelope generator curve from “-64” through “0” to “+63”. Negative values produce a faster release while positive values produce a slower release. The graphic envelope generator curve will shift to indicate the current setting (the heavy default setting curve will also remain on the display). 141 The Song Voice Mode Drum Edit When a Drum Set is selected (“Ds1” or “Ds2”) the “Drum Voice Edit” mode can be selected via the SONG VOICE menu. “Ds1” or “Ds2” Editable drum instrument Selected drum kit PITCH REV VAR PAN Current selected drum instrument LVL CUT 142 RES DECAY The Song Voice Mode ;; ;; Select the specific drum set to be edited by placing the cursor on the drum set number and selecting via the [-1] and [+1] buttons or by using the SHIFT-Number entry method. Only certain drum instruments can be edited, and these are indicated by dots on the appropriate keys in the graphic keyboard display at the top of the display panel. Use the [OCT DOWN] and [OCT UP] buttons to access the full range of drum instruments, and press the corresponding micro-keyboard key to select an instrument for editing. When a drum instrument which cannot be edited is selected, the controls on the display appear “grayed” and cannot be accessed. PICH (Pitch Coarse) Adjusts the pitch of the selected drum instrument from “-64” through “0” to “+63”. Negative values lower the pitch of the instrument, while positive values raise the pitch of the instrument. REV (Reverb Send) Independently adjusts the reverb send level of the selected drum instrument from “0” (no reverb) to “127” (maximum reverb). VAR (Variation Send) Independently adjusts the variation effect send level of the selected drum instrument from “0” (no effect) to “127” (maximum effect) when the variation effect block is connected as a system effect, or turns the variation effect “On (in case set to other than 0)” or “Off (in case set to 0)” when the variation effect block is connected as an insertion effect (see page 239 for details on the effect connections). PAN (Pan Position) Sets the pan position of the selected drum instrument. “Center” is center, “Left 63” is full left, and “Right 63” is full right. There’s also a “Random” setting in which the pan position is set randomly. LVL (Level) Sets the level (volume) of the selected drum instrument from “0” (no sound) to “127” (maximum volume). 143 The Song Voice Mode CUT (Cutoff Frequency) Sets the cutoff frequency of the low-pass filter from “-64” through “0” to “+63”. Negative values lower the cutoff frequency, producing a “darker” sound. Positive values raise the cutoff frequency, producing a brighter sound. The graphic filter response curve will shift to indicate the current setting (the heavy default setting curve will also remain on the display). RES (Resonance) Adjusts the height of the filter’s resonance peak from “-64” through “0” to “+63”. Negative values lower the resonant peak producing a “flatter” sound. Positive values increase the resonant peak, emphasizing components at the filter cutoff frequency. The peak on the graphic filter response curve will grow or shrink to indicate the current setting (the heavy default setting curve will also remain on the display). DECAY (Decay Rate) Adjusts the decay rate from “-64” through “0” to “+63”. Negative values produce a slower decay while positive values produce a faster decay (Unlike the Decay Time in normal Voice Editing (page 141), this parameter sets the rate for how much the level of the instrument decays. Therefore, positive values produce a faster decay.). The graphic envelope generator curve will shift to indicate the current setting (the heavy default setting curve will also remain on the display). 144 The Song Jobs The Song Jobs ;; ;; The SONG mode includes 25 song “jobs” that perform a variety of important functions. To access and use the song jobs, press the [MENU] button while in the main SONG play mode, then press the “Job” function button. This calls the song job list. You can select any job on the list simply by moving the cursor to the required job and pressing [ENTER]. The function buttons can be used to move the cursor directly to the first job in the corresponding category: Event, Measure, Track, or Song (press the [MENU] button, then the appropriate function button). 145 The Song Jobs 00: Undo/Redo “Event” category 01: Quantize 02: Modify Velocity 03: Modify Gate Time 04: Crescendo 05: Transpose 06: Shift Clock 07: Chord Sort 08: Chord Separate 09: Copy Event 10: Erase Event 11: Extract Event 12: Create Continuous 13: Thin Out 14: Time Stretch “Measure” category 15: Create Measure 16: Delete Measure “Track” category 17: Copy Track 18: Mix Track 19: Clear Track 20: Expand Backing 21: Normalize “Song” category 22: Copy Song 23: Clear Song 24: Song Name ■ Returning to the SONG Mode The [EXIT] button can be used to exit from any song job, and then from the job list thereby returning you to the normal song play mode. You can also press the [SONG] button to directly return to the SONG mode. 146 The Song Jobs 00 : Undo/Redo ;; ;; This job will “undo” any other song/pattern job, edit, or record function if it is executed before any other operation is performed. In all cases the affected data is restored to the state it was in before performing the job, edit, or record operation. This job will also undo the last undo operation (redo). Name of the last operation performed The name of the last operation performed will appear on the display (i.e. the operation which will be “undone”). In the example display, above, a quantize operation will be undone. Press [ENTER] to execute the Undo/Redo job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ DETAIL • The UNDO/REDO job will not undo the Clear Song (“All”), the Clear Pattern (“All” styles), the Song Name or Style Name jobs. 147 The Song Jobs 01 : Quantize Aligns notes in the specified track to or close to the nearest specified beat. First measure Last measure First beat Last beat The “TR” parameter selects the track to be affected by the Quantize job: “01” … “16” for individual tracks, or “All” to quantize all 16 tracks simultaneously. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be quantized. The “Quantize” parameter determines to what beats the note data in the specified track will be aligned. If you select “ ”, for example, all notes in the track will be aligned to the nearest 16th-note beat, to a degree determined by the “Strength” parameter. Quantize Values Value Effect Aligns to the nearest 32nd note. Aligns to the nearest 16th note triplet. Aligns to the nearest 16th note. Aligns to the nearest 8th note triplet. Aligns to the nearest 8th note. Aligns to the nearest quarter note triplet. Aligns to the nearest quarter note. 148 The Song Jobs Value Effect Aligns to the nearest 16th note + 16th note triplet. Aligns to the nearest 8th note + 8th note triplet. ;; ;; The “Strength” parameter determines how “strongly” the notes are attracted to the specified quantize value. The strength range is from 0% to 100%. At a setting of “0%” no quantization will occur, while a setting of “100%” will cause all notes to be aligned precisely to the nearest specified beat value. In-between settings produce a corresponding shift in the position of all off-beat notes to the nearest specified beat value. With a value setting of “ ” and a strength setting of 50%, for example, a note that does not fall precisely on a quarter beat will be shifted about halfway to nearest quarter beat. Original data (assuming 4/4 meter) Quantizing strength = 100% (quantize value = ) Quantizing strength = 50% (quantize value = ) The “Swing Rate” parameter produces a “swing” feel by shifting the timing of “back beats”, as specified by the quantize value. For example, if the specified quantization value is 8th notes, then the swing effect will shift the 2nd, 4th, 6th, and 8th beats of each measure forward to create a swing feel. If the quantize value is set to a triplet note length, the last note in each triplet group will be shifted. If the quantize value is set to a compound note length (e.g. 8th note + 8th note triplet) the even-numbered back beats will be shifted. The “Swing Rate” parameter determines how much the timing of the affected notes will be shifted. The range is from 50% (no swing) to 75% (maximum swing) for even note lengths, from 66% to 83% for triplet note lengths, and from 50% to 66% for even-plus-triplet note lengths (e.g. 8th note + 8th note triplet). 149 The Song Jobs Quarter-note length Original timing Quantizing value = , Swing rate 50% (no delay) Quantizing value = , Swing rate 60% (delay applied) The “Gate Time” parameter increases or decreases the gate times (length) of all notes affected by the swing parameter. The range is from 0% to 200%. The “Gate Time” parameter sets the ratio between the shorter and longer gate time values. A setting of “100%” maintains the original relationship between the notes, lower values produce a narrower gate time range, and higher values produce a broader gate time range. After setting the parameters as required press [ENTER] to execute the Quantize job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. 150 The Song Jobs 02 : Modify Velocity ;; ;; Increases or decreases the velocity values of all notes in the specified track and range of measures. First measure Last measure First beat Last beat The “TR” parameter selects the track to be affected by the Modify Velocity job: “01” … “16”. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be modified. The “SetAll” parameter makes it possible to set all notes in the specified range to a single velocity value from “1” to “127”. “Set All” can also be turned “Off” when the “Rate” and “Offset” parameters, below, are to be used for velocity modification. The “Rate” parameter allows you to Original change the Velocity velocities value of each note with96 64 32 127 96 out affecting the velocity ratios between notes Rate = 50% (proportional change). A 48 32 16 63 48 setting of “100%” maintains the absolute velocity differences between Rate = 150% notes, while lower 127 96 48 127 127 (higher) values will decrease (increase) the velocity values to the corresponding percentage, resulting in a narrower (wider) dynamic range. The range is from “0%” to “200%”. 151 The Song Jobs The “Offset” parameter allows you to change all velocity values by an absolute amount. “-” settings will decrease the velocity of each note by the corresponding amount, “+” settings will increase the velocity accordingly. The range is from “-99” through “0” to “+99”. Original velocities 96 64 32 127 96 76 44 12 107 76 116 84 52 127 116 Offset = -20 Offset = +20 New Velocity = Original Velocity x rate/100 + offset (If the right side of the equation is 0 or less, the New Velocity becomes 1. If the right side of the equation is 128 or more, the New Velocity becomes 127.) After setting the parameters as required press [ENTER] to execute the Modify Velocity job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ NOTE • The Modify Velocity job is a great way to “soften” the sound of material that has too great variation between the softest and loudest notes, or, conversely, to add extra punch to dull-sounding material. Experiment with the parameters to get a feel for what they do. 152 ;; ;; The Song Jobs 03 : Modify Gate Time Increases or decreases the gate times (length) of all notes in the specified track and range of measures. First measure Last measure First beat Last beat The “TR” parameter selects the track to be affected by the Modify Gate Time job: “01” … “16”. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be modified. The “SetAll” parameter makes it possible to set all notes in the specified range to a single gate time value from “1” to “9999”. “Set All” can also be turned “Off” when the “Rate” and “Offset” parameters, below, are to be used for gate time modification. The “Rate” parameter allows you to change the Gate Time value of each note without affecting the gate time ratios between notes (proportional change). A setting of “100%” maintains the absolute gate time differences between notes, while lower (higher) values will decrease (increase) the gate time values to the corresponding percentage. The range is from “0%” to “200%”. Original gate time 32 32 32 48 48 16 16 16 24 24 48 48 48 72 72 Rate = 50% Rate = 150% 153 The Song Jobs The “Offset” parameter allows you to change all gate time values by an absolute amount. “-” settings will decrease the gate time of each note by the corresponding amount, “+” settings will increase the gate time accordingly. The range is from “-9999” through “0” to “+9999”. Original gate time 32 32 32 48 48 12 12 12 28 28 52 52 52 68 68 Offset = -20 Offset = +20 New Gate Time = Original Gate Time x rate/100 + offset (If the right side of the equation is 0 or less, the New Gate Time becomes 1) After setting the parameters as required press [ENTER] to execute the Modify Gate Time job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ NOTE • The Modify Gate Time job can be used to produce a more staccato or legato feel, as required. Experiment with the parameters to get a feel for what they do. 154 The Song Jobs 04 : Crescendo ;; ;; Produces a gradual crescendo (increase in note velocity) or decrescendo (decrease in note velocity) in the specified track over the specified range of measures. First measure Last measure First beat Last beat The “TR” parameter selects the track to be affected by the Crescendo job: “01” … “16”. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be modified. The “Range” parameter determines the range of velocity values over which the crescendo will occur. A setting of “+24”, for example, will cause the MIDI velocity values to increase by 24 over the specified measure range (The MIDI velocity value range is from 1 to 127). Crescendo. Range +24. Original velocity. Specified measure (“M”) range. Negative values cause a corresponding decrease in velocity, thereby producing a decrescendo rather than a crescendo. The range of this parameter is from “-99” through “0” to “+99”. 155 The Song Jobs After setting the parameters as required press [ENTER] to execute the Crescendo job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. 156 The Song Jobs 05 : Transpose ;; ;; Transposes all notes in the specified part up or down by the specified number of semitones. First measure Last measure First beat Last beat The “TR” parameter selects the track to be affected by the Transpose job: “01” … “16” for the sequncer tracks, or “Cd” for the accompaniment chord track. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be modified. The “Note” parameters specify the range of notes to be affected. The maximum range is from “C-2” to “G8”. The “Transpose” parameter determines the amount of transposition in semitone increments. Minus (-) values transpose down while plus (+) values transpose up. the range is from “-99” through “0” to “+99”. After setting the parameters as required press [ENTER] to execute the Transpose job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ NOTE • Of course, you can transpose all tracks as required to shift the entire song to a different key, but the Transpose job is actually more suited to changing the pitch of a section of a single track. This can be done to produce temporary “modulations” to another key, or to create harmony with another track. 157 The Song Jobs 06 : Shift Clock Moves all notes and events in the specified track and range of measures forward or backward by the specified number of clocks (480 clocks per 1/4 note). First measure Last measure First beat Last beat The “TR” parameter selects the track to be affected by the Shift Clock job: “01” … “16” for the sequencer tracks, or “Tm” for the tempo track. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be modified. The “Clock” parameter determines the direction and number of clocks by which the notes in the specified measure range will be shifted. “+” settings shift the notes forward (toward the end of the song) and “-” settings shift the notes backward (toward the beginning of the song). The range is from “-9999” through “0000” to “+9999”. After setting the parameters as required press [ENTER] to execute the Shift Clock job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. 158 The Song Jobs ;; ;; ■ NOTE • The Shift Clock job will not shift data beyond the specified measure range. Events near the beginning and end of the specified range may therefore sound “bunched” together in some cases. • Since the Shift Clock job actually shifts the timing of all notes and other events in the specified measures forward or backward, it can significantly alter the “feel” of the song. You could move the notes forward (“+” settings) to create a more “laid back” feel, or backward (“-” settings) to produce a more “driving” feel. Of course, you can also use Shift Clock to correct timing that is off in the first place. 159 The Song Jobs 07 : Chord Sort Sorts all notes in the specified measure range which fall on the same beat (i.e. chords) so that the notes are arranged in order from lowest to highest or from highest to lowest. First measure Last measure First beat Last beat The “TR” parameter selects the track to be affected by the Chord Sort job: “01” … “16”. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be modified. The “Type” parameter determines whether the chords in the specified range are arranged from lowest to highest note (“Normal”) or from highest to lowest note (“Reverse”). After setting the parameters as required press [ENTER] to execute the Chord Sort job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. 160 The Song Jobs 08 : Chord Separate ;; ;; Shifts each note in the specified measure range which falls on the same beat (i.e. chords) forward in order from lowest to highest or vice versa according to the Chord Sort settings, by the specified number of clocks, thus “separating” the chord notes by the specified number of clocks. First measure Last measure First beat Last beat The “TR” parameter selects the track to be affected by the Chord Separate job: “01” … “16”. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be modified. The “Clock” parameter determines the number of clocks by which the notes of the chord will be separated: “000” through “999”. After setting the parameters as required press [ENTER] to execute the Chord Separate job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. 161 The Song Jobs 09 : Copy Event Copies all data from a specified range of measures from one track to the specified measure in the specified destination track. The copied data can also be transposed as required. This operation overwrites the data from the beginning of the specified destination measure with the data from the source measures. Previous data in the overwritten measures is therefore lost. Chord template parameter The upper “TR” parameter selects the source track — i.e. the track from which the data is to be copied: “01” … “16” for the sequencer tracks, the accompaniment “Pt” track, the accompaniment “Cd” track, the “Tm” track, or “Al” (All) tracks. When “Pt”, “Cd”, Tm” or “Al” is selected, the lower “TR” parameter is automatically set to the same track. The lower “TR” parameter selects the destination track — i.e. the track to which the data is to be copied: “01” … “16” for the sequencer tracks, the accompaniment “Pt” track, the accompaniment “Cd” track, the “Tm” track, or “Al” (All) tracks. When “Pt”, “Cd”, Tm” or “Al” is selected, the upper “TR” parameter is automatically set to the same track. The “M” parameters above the upper graphic bar are used to specify the first measure:beat and last measure:beat of the range to be copied. First measure Last measure First beat 162 Last beat QY100_10R3.fm 163 ページ 2003年11月6日 木曜日 午後4時17分 The Song Jobs ;; ;; The “M” parameters below the lower graphic bar specifiy the destination measure:beat to which the data will be copied, as well as the number of times the data is to be copied. Destination measure Number of times to be copied Destination beat The “Transpose” parameter sets a transpose value for the copied data in semitone increments from “-24” through “+00” to “+24”. The Chord template parameter, above the upper graphic bar, appears only when the “Cd” track is selected at the “TR” parameter. This parameter specifies which chord progression, either the user chord progression programmed in the source “Cd” track or preset chord template, will be copied to the User chord progression. After setting the parameters as required press [ENTER] to execute the Copy Event job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ NOTE • Previous data in measures overwritten by the Copy Event job will be completely erased and replaced by the copied data. • The time signature is copied by the Copy Event job, but Voice and Play Effect data is not copied. • The Copy Event job makes it easy to use phrases or even complete sections (an entire chorus, for example) in more than one place in a song. You can copy a phrase played by one voice, and have it repeated by a different voice later in the song. You can always edit the copied sections to create variations. • Since the default copy source range is M001 ... 999 (measures), an "Illegal Input" error will occur if you attempt to copy to measure 002 or later without first changing the source range. Be sure to set an appropriate source range even when the chord track ("Cd") is selected as source track. 163 The Song Jobs 10 : Erase Event Erases all note and event data from the specified measure or range of measures in the specified track. An erase operation leaves the specified measures intact but blank. First measure Last measure First beat Last beat The “TR” parameter selects the track to be affected by the Erase Event job: “01” … “16” for the sequencer tracks, the accompaniment “Pt” track, the accompaniment “Cd” track, or the “Tm” track. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be erased. After setting the parameters as required press [ENTER] to execute the Erase Event job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ NOTE • Unlike the Delete Measure job, the Erase Event job erases the data from the specified measures only in the specified track. Also, the data is erased but the measures remain intact (i.e. the subsequent measures are not moved back). After an erase operation you can record new material in the resulting blank measures as required. 164 The Song Jobs 11 : Extract Event ;; ;; Allows a specified type of event — note, program change, pitch bend, control change, channel aftertouch, polyphonic aftertouch, or system exclusive — to be extracted (removed) from a specified range of measures in a specified track. The extracted data can be moved to the same range of measures in any other specified track. First measure Last measure Event type parameter First beat Last beat The upper “TR” parameter selects the source track — i.e. the track from which the event data is to be extracted: “01” … “16”. The lower “TR” parameter selects the destination track — i.e. the track to which the extracted event data is to be moved: “01” … “17”, or “Off” if you simply want to discard the specified event data. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range from which the event data is to be extracted. The event type parameter near the upper graphic bar determines the type of event data to be extracted: NOTE PC PB CC CAT PAT EXC Note events. Program change events. Pitch bend events. Control change events. When this event type is selected a control change number parameter appears to the right of the even type. The control change parameter determines the MIDI control change number(s) to be extracted: “000” … “127” or “All”. Channel aftertouch events. Polyphonic aftertouch events. Exclusive events. 165 The Song Jobs After setting the parameters as required press [ENTER] to execute the Extract Event job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ NOTE • Although you can remove events individually in the edit mode (page 216), the Extract Event job makes it simple to remove all occurences of the specified event within the specified measure range in one operation. This is particularly convenient when removing slow pitch bends or volume changes that may employ many individual events to create a single effect. • 166 If the destination track already contains data, the extracted event data will be merged. The Song Jobs 12 : Create Continuous ;; ;; This job makes it possible to create continuous data of the specified type in order to produce smooth pitch bends, tempo changes, etc. First measure Last measure Data type parameter First beat Last beat The “TR” parameter selects the track to be affected by the Create Continuous job: “01” … “16” for the sequencer tracks, or “Tm” for the tempo track. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be modified. The data type parameter determines the type of data to be created PB CC CAT EXC TMP Pitch bend events. Control change events. When this event type is selected a control change number parameter appears to the right of the type parameter. The control change parameter determines the MIDI control change number to be created: “000” … “127”. Channel aftertouch events. Master volume. Tempo events (can only be selected for the Tm (Tempo) track). The “Data” parameters set the range of data values to be created: the left number sets the starting value and the right number sets the ending value. The range of values available will depend on the type of event selected. The “Clock” parameter sets the spacing between the created events in clocks: “000” … “999”. 167 The Song Jobs The “Curve” parameter sets the degree of positive or negative “curvature” that will be applied to the continuous data: “-16” … “00” … “+16”. Curve = +16 Curve = 0 (linear) End point Curve = -16 Start point Clock parameter After setting the parameters as required press [ENTER] to execute the Create Continuous job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. 168 The Song Jobs 13 : Thin Out ;; ;; “Thins out” specified types of data by removing every other event of the specified type. This is particularly useful for reducing the volume of data required for pitch bends, aftertouch and other control change operations, thus making more efficient use of the available memory. First measure Last measure Data type parameter First beat Last beat The “TR” parameter selects the track to be affected by the Thin Out job: “01” … “16” for the sequencer tracks, or “Tm” for the tempo track. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be modified. The data type parameter determines the type of data to be thinned. PB CC CAT PAT TMP Pitch bend events. Control change events. When this event type is selected a control change number parameter appears to the right of the type parameter. The control change parameter determines the MIDI control change number to be thinned: “000” … “127”. Channel aftertouch events. Polyphonic aftertouch events. Tempo events (can only be selected for the Tm (Tempo) track). After setting the parameters as required press [ENTER] to execute the Thin Out job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. 169 The Song Jobs 14 : Time Stretch Lenghtens or shortens the specified track by a specified percentage without affecting tempo or pitch. First measure Last measure First beat Last beat The “TR” parameter selects the track to be affected by the Time Stretch job: “01” … “16” for the sequencer tracks, or “Al” for all sequencer tracks. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be modified. The “Time” parameter specifies the percentage by which the time is to be lengthened or shortened: “50%” … “200%”. Gate time of notes in the specified track and measures will also be changed in proportion to this setting. After setting the parameters as required press [ENTER] to execute the Time Stretch job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. 170 The Song Jobs 15 : Create Measure ;; ;; Creates a specified number of blank measures having the specified time signature for all tracks. The created measures are inserted at a specified measure number, and all subsequent measures are moved forward to make room. First measure Last measure First beat Last beat The “M” parameter above the graphic bar specifies the measure at which the newly created measures will be inserted. The time signature parameter below the graphic bar determines the time signature of the measures to be created: 1/16 … 16/16, 1/8 … 16/8, 1/ 4 … 8/4. The “Measure” parameter below the bar specifies the number of measures to be created. After setting the parameters as required press [ENTER] to execute the Create Measure job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ NOTE • All existing measures after the point at which the new measures are created will be moved forward to make room for the new measures. • If you use the Create Measure job with an empty song, the specified new measures will be placed in track 1 only. • Use Create Measure when you want to add new material somewhere in the middle of data you’ve already recorded, without erasing the existing data. First create the required measures, then either copy the data from existing measures using the Copy Event function, or record new data as required. 171 The Song Jobs 16 : Delete Measure Deletes the specified range of measures from all tracks simultaneously. First measure Last measure The “M” parameters above the graphic bar are used to specify the first measure and last measure of the range to be deleted. After setting the parameters as required press [ENTER] to execute the Delete Measure job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ NOTE • Delete Measure is a great way to completely cut out unwanted data from the song. It’s important to remember, however, that a delete operation affects all tracks simultaneously, and that measures following the deleted range are moved back to take the place of the deleted measures. 172 The Song Jobs 17 : Copy Track ;; ;; Copies all data from the specified track to any other specified track. The upper “TR” parameter selects the source track — i.e. the track from which the data is to be copied: “01” … “16”. The lower “TR” parameter selects the destination track — i.e. the track to which the data is to be copied: “01” … “16”. The “Event”, “Play Effect”, and “Voice” check boxes make it possible to specify whether or not the corresponding types of data will be copied or not (the data is copied when the checkbox is checked). After setting the parameters as required press [ENTER] to execute the Copy Track job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ NOTE • If the destination track already contains data, the copied track data will erase and replace the previous data. 173 The Song Jobs 18 : Mix Track Combines the data contained in two specified tracks and places the result in a third track (which can be the same as the second track). The upper and center “TR” parameters select the first and second source tracks — i.e. the tracks which are to be mixed: “01” … “16”. The lower “TR” (“01” … “16”) parameter specifies the destination track to which the mixed data is to be copied. After setting the parameters as required press [ENTER] to execute the Mix Track job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ NOTE • If there is no data in the second source track, the data from the first source track is simply copied to the destination track. 174 The Song Jobs 19 : Clear Track ;; ;; Completely clears the specifed track from the currently selected song (including all Play Effect parameters). The “TR” parameter selects the track(s) to be cleared: “01” … “16” for the sequencer tracks, the accompaniment “Pt” track, the accompaniment “Cd” track, the “Tm” track, or “Al” (All) tracks. The “Event”, “Play Effect”, and “Voice” check boxes make it possible to specify whether or not the corresponding types of data will be cleared or not (the data is cleared when the checkbox is checked). After setting the parameters as required press [ENTER] to execute the Clear Track job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. 175 The Song Jobs 20 : Expand Backing “Expands” the accompaniment track data — i.e. the pattern and chord data — and places the results in the normal sequencer tracks after converting the data to standard MIDI format. The expanded data is placed in sequencer tracks 9 through 16 (see chart below). Any previous data in those tracks will be erased! Press [ENTER] to execute the Expand Backing job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. Pattern Track D1 D2 PC BA C1 C2 C3 C4 Sequencer Track 9 10 11 12 13 14 15 16 ■ NOTE • If the “Ds3” (Drum set 3) is assigned to the D1, D2 or PC track of the expanded pattern, the drum voice settings will be copied to “Ds2” (Drum set 2). The previous settings in Ds2 will be overwritten (erased). 176 The Song Jobs 21 : Normalize ;; ;; Actually applies the Play Effect settings to the sequence data, modifying the sequence data accordingly. The Play Effect settings are initialized after execution. The “TR” parameter selects the track(s) to be affected by the Normalize job: “01” … “16” for the sequencer tracks, or “Al” (All) for all sequencer tracks. After setting the parameter as required press [ENTER] to execute the Normalize job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. 177 The Song Jobs 22 : Copy Song Copies all data from all tracks of the specified song to any other specified song (including song name, play effect and voice assignment settings). The upper “Song” parameter selects the source song — i.e. the song from which the data is to be copied: “01” … “20”. The lower “Song” parameter selects the destination song — i.e. the song to which the data is to be copied: “01” … “20” After setting the parameters as required press [ENTER] to execute the Copy Song job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ NOTE • If the destination song already contains data, the copied song will erase and replace the previous song. 178 The Song Jobs 23 : Clear Song ;; ;; Completely clears all data from all tracks of the currently selected song. Also initializes the play effect and voice settings. The “Song” parameter selects the song to be cleared: “01” … “20” or “Al”(All) After setting the parameter as required press [ENTER] to execute the Clear Song job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ NOTE • Clearing “All” songs can not be undone with the “Undo/Redo” job. 179 The Song Jobs 24 : Song Name Allows an original name of up to 8 characters to be assigned to the current song. To enter a character, use the cursor buttons to move the cursor to the character to be entered, then press the [ENTER] button. The character will appear at the character cursor location and the character cursor will advance to the next character position. The character cursor can be moved by pressing the function button to the right of “ ” To delete a character, press the function button to the right of “del”. The character to the left of the cursor will be deleted and the cursor will move to the deleted character’s position. When the name has been entered press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode (it is not necessary to press the [ENTER] button to enter the specified name). ■ NOTE • Entering a song name can not be undone with the “Undo/Redo” job. 180 The Pattern Jobs The Pattern Jobs ;; ;; The PATTERN mode includes 24 pattern “jobs” that perform a variety of important functions. To access and use the pattern jobs, press the [MENU] button while in the main PATTERN mode, then press the “Job” function button. This calls the pattern job list. You can select any job on the list simply by moving the cursor to the required job and pressing [ENTER]. The function buttons can be used to move the cursor directly to the first job in the corresponding category: Event, Phrase, Track, or Pattern (press the [MENU] button, then the appropriate function button). 181 The Pattern Jobs 00: Undo/Redo “Event” category 01: Quantize 02: Modify Velocity 03: Modify Gate Time 04: Crescendo 05: Transpose 06: Shift Clock 07: Chord Sort 08: Chord Separate 09: Copy Event 10: Erase Event 11: Extract Event 12: Create Continuous 13: Thin Out 14: Time Stretch “Phrase” category 15: Copy Phrase 16: Get Phrase 17: Put Phrase “Track” category 18: Copy Track 19: Mix Track 20: Clear Track “Pattern” category 21: Copy Pattern 22: Clear Pattern 23: Style Name ■ Returning to the PATTERN Mode The [EXIT] button can be used to exit from any pattern job, and then from the job list thereby returning you to the normal PATTERN mode. You can also press the [PATTERN] button to directly return to the PATTERN mode. 182 The Pattern Jobs 00 : Undo/Redo ;; ;; This job will “undo” any other pattern/song job, edit, or record function if it is executed before any other operation is performed. In all cases the affected data is restored to the state it was in before performing the job, edit, or record operation. This job will also undo the last undo operation (redo). Name of the last operation performed The name of the last operation performed will appear on the display (i.e. the operation which will be “undone”). In the example display, above, a quantize operation will be undone. Press [ENTER] to execute the Undo/Redo job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ DETAIL! • The UNDO/REDO job will not undo the Clear Song (“All”), the Clear Pattern (“All” styles), the Song Name, or Style Name jobs. 183 The Pattern Jobs 01 : Quantize Aligns notes in the specified track to or close to the nearest specified beat. First measure First beat Last measure Last beat The “TR” parameter selects the track to be affected by the Quantize job: D1, D2, PC, BA, C1, C2, C3, C4. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be quantized. The “Quantize” parameter determines to what beats the note data in the specified track will be aligned. If you select “ ”, for example, all notes in the track will be aligned to the nearest 16th-note beat, to a degree determined by the “Strength” parameter. Quantize Values Value Effect Aligns to the nearest 32nd note. Aligns to the nearest 16th note triplet. Aligns to the nearest 16th note. Aligns to the nearest 8th note triplet. Aligns to the nearest 8th note. Aligns to the nearest quarter note triplet. Aligns to the nearest quarter note. 184 The Pattern Jobs Value Effect Aligns to the nearest 16th note + 16th note triplet. Aligns to the nearest 8th note + 8th note triplet. ;; ;; The “Strength” parameter determines how “strongly” the notes are attracted to the specified quantize value. The strength range is from 0% to 100%. At a setting of “0%” no quantization will occur, while a setting of “100%” will cause all notes to be aligned precisely to the nearest specified beat value. In-between settings produce a corresponding shift in the position of all off-beat notes to the nearest specified beat value. With a value setting of “ ” and a strength setting of 50%, for example, a note that does not fall precisely on a quarter note beat will be shifted about halfway to nearest quarter note beat. Original data (assuming 4/4 meter) Quantizing strength = 100% (quantize value = ) Quantizing strength = 50% (quantize value = ) The “Swing Rate” parameter produces a “swing” feel by shifting the timing of “back beats”, as specified by the quantize value. For example, if the specified quantization value is 8th notes, then the swing effect will shift the 2nd, 4th, 6th, and 8th beats of each measure forward to create a swing feel. If the quantize value is set to a triplet note length, the last note in each triplet group will be shifted. If the quantize value is set to a compound note length (e.g. 8th note + 8th note triplet) the even-numbered back beats will be shifted. The “Swing Rate” parameter determines how much the timing of the affected notes will be shifted. The range is from 50% (no swing) to 75% (maximum swing) for even note lengths, from 66% to 83% for triplet note lengths, and from 50% to 66% for even-plus-triplet note lengths (e.g. 8th note + 8th note triplet). 185 The Pattern Jobs Quarter-note length Original timing Quantizing value = , Swing rate 50% (no delay) Quantizing value = , Swing rate 60% (delay applied) The “Gate Time” parameter increases or decreases the gate times (length) of all notes affected by the swing parameter. The range is from 0% to 200%. The “Gate Time” parameter sets the ratio between the shorter and longer gate time values. A setting of “100%” maintains the original relationship between the notes, lower values produce a narrower gate time range, and higher values produce a broader gate time range. After setting the parameters as required press [ENTER] to execute the Quantize job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. 186 The Pattern Jobs 02 : Modify Velocity ;; ;; Increases or decreases the velocity values of all notes in the specified track and range of measures. First measure First beat Last measure Last beat The “TR” parameter selects the track to be affected by the Modify Velocity job: D1, D2, PC, BA, C1, C2, C3, C4. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be modified. The “SetAll” parameter makes it possible to set all notes in the specified range to a single velocity value from “1” to “127”. “Set All” can also be turned “Off” when the “Rate” and “Offset” parameters, below, are to be used for velocity modification. The “Rate” parameter allows you to change the Velocity value of each note without affecting the velocity ratios between notes (proportional change). A setting of “100%” maintains the Original absolute velocity differvelocities ences between notes, 96 64 32 127 96 while lower (higher) values will decrease (increase) the velocity val- Rate = 50% ues to the corresponding 48 32 16 63 48 percentage, resulting in a narrower (wider) dynamic Rate = 150% range. The range is from 127 96 48 127 127 “0%” to “200%”. 187 The Pattern Jobs The “Offset” parameter allows you to change all velocity values by an absolute amount. “-” settings will decrease the velocity of each note by the corresponding amount, “+” settings will increase the velocity accordingly. The range is from “-99” through “0” to “+99”. Original velocities 96 64 32 127 96 76 44 12 107 76 116 84 52 127 116 Offset = -20 Offset = +20 New Velocity = Original Velocity x rate/100 + offset (If the right side of the equation is 0 or less, the New Velocity becomes 1. If the right side of the equation is 128 or more, the New Velocity becomes 127.) After setting the parameters as required press [ENTER] to execute the Modify Velocity job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ NOTE • The Modify Velocity job is a great way to “soften” the sound of material that has too great a variation between the softest and loudest notes, or, conversely, to add extra punch to dull-sounding material. Experiment with the parameters to get a feel for what they do.. 188 The Pattern Jobs 03 : Modify Gate Time ;; ;; Increases or decreases the gate times (length) of all notes in the specified track and range of measures. First measure First beat Last measure Last beat The “TR” parameter selects the track to be affected by the Modify Gate Time job: D1, D2, PC, BA, C1, C2, C3, C4. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be modified. The “SetAll” parameter makes it possible to set all notes in the specified range to a single gate time value from “1” to “9999”. “Set All” can also be turned “Off” when the “Rate” and “Offset” parameters, below, are to be used for gate time modification. The “Rate” parameter allows you to change the Gate Time value of each note without affecting the gate time ratios between notes (proportional change). A setting of “100%” maintains the absolute gate time differences between notes, while lower (higher) values will decrease (increase) the gate time values to the corresponding percentage. The range is from “0%” to “200%”. Original gate time 32 32 32 48 48 16 16 16 24 24 48 48 48 72 72 Rate = 50% Rate = 150% 189 The Pattern Jobs The “Offset” parameter allows you to change all gate time values by an absolute amount. “-” settings will decrease the gate time of each note by the corresponding amount, “+” settings will increase the gate time accordingly. The range is from “-9999” through “0” to “+9999”. Original gate time 32 32 32 48 48 12 12 12 28 28 52 52 52 68 68 Offset = -20 Offset = +20 New Gate Time = Original Gate Time x rate/100 + offset (If the right side of the equation is 0 or less, the New Gate Time becomes 1) After setting the parameters as required press [ENTER] to execute the Modify Gate Time job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ NOTE • The Modify Gate Time job can be used to produce a more staccato or legato feel, as required. Experiment with the parameters to get a feel for what they do.. 190 The Pattern Jobs 04 : Crescendo ;; ;; Produces a gradual crescendo (increase in note velocity) or decrescendo (decrease in note velocity) in the specified track over the specified range of measures. First measure First beat Last measure Last beat The “TR” parameter selects the track to be affected by the Crescendo job: D1, D2, PC, BA, C1, C2, C3, C4. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be modified. The “Range” parameter determines the range of velocity values over which the crescendo will occur. A setting of “+24”, for example, will cause the MIDI velocity values to increase by 24 over the specified measure range (The MIDI velocity value range is from 1 to 127). Crescendo. Range +24. Original velocity Specified measure (“M”) range. Negative values cause a corresponding decrease in velocity, thereby producing a decrescendo rather than a crescendo. The range of this parameter is from “-99” through “0” to “+99”. 191 The Pattern Jobs After setting the parameters as required press [ENTER] to execute the Crescendo job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. 192 The Pattern Jobs 05 : Transpose ;; ;; Transposes all notes in the specified part up or down by the specified number of semitones. First measure First beat Last measure Last beat The “TR” parameter selects the track to be affected by the Transpose job: D1, D2, PC, BA, C1, C2, C3, C4. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be modified. The “Note” parameters specify the range of notes to be affected. The maximum range is from “C-2” to “G8”. The “Transpose” parameter determines the amount of transposition in semitone increments. Minus (-) values transpose down while plus (+) values transpose up. the range is from “-99” through “0” to “+99”. After setting the parameters as required press [ENTER] to execute the Transpose job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. 193 The Pattern Jobs 06 : Shift Clock Moves all notes and events in the specified track and range of measures forward or backward by the specified number of clocks (480 clocks per 1/4 note). First measure First beat Last measure Last beat The “TR” parameter selects the track to be affected by the Shift Clock job: D1, D2, PC, BA, C1, C2, C3, C4. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be modified. The “Clock” parameter determines the direction and number of clocks by which the notes in the specified measure range will be shifted. “+” settings shift the notes forward (toward the end of the pattern) and “-” settings shift the notes backward (toward the beginning of the pattern). The range is from “-9999” through “0000” to “+9999”. After setting the parameters as required press [ENTER] to execute the Shift Clock job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. 194 The Pattern Jobs ;; ;; ■ NOTE • The Shift Clock job will not shift data beyond the specified measure range. Therefore, events near the beginning of the specified range may sound “bunched” together and events near the end of the specified range may be “cut off” in some cases. • Since the Shift Clock job actually shifts the timing of all notes and other events in the specified measures forward or backward, it can significantly alter the “feel” of the pattern. You could move the notes forward (“+” settings) to create a more “laid back” feel, or backward (“-” settings) to produce a more “driving” feel. Of course, you can also use Shift Clock to correct timing that is off in the first place. 195 The Pattern Jobs 07 : Chord Sort Sorts all notes in the specified measure range which fall on the same beat (i.e. chords) so that the notes are arranged in order from lowest to highest or from highest to lowest. First measure First beat Last measure Last beat The “TR” parameter selects the track to be affected by the Chord Sort job: D1, D2, PC, BA, C1, C2, C3, C4. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be modified. The “Type” parameter determines whether the chords in the specified range are arranged from lowest to highest note (“Normal”) or from highest to lowest note (“Reverse”). After setting the parameters as required press [ENTER] to execute the Chord Sort job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. 196 The Pattern Jobs 08 : Chord Separate ;; ;; Shifts each note in the specified measure range which falls on the same beat (i.e. chords) forward in order from lowest to highest or vice versa according to the Chord Sort settings, by the specified number of clocks, thus “separating” the chord notes by the specified number of clocks. First measure First beat Last measure Last beat The “TR” parameter selects the track to be affected by the Chord Separate job: D1, D2, PC, BA, C1, C2, C3, C4. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be modified. The “Clock” parameter determines the number of clocks by which the notes of the chord will be separated: “000” through “999”. After setting the parameters as required press [ENTER] to execute the Chord Separate job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. 197 The Pattern Jobs 09 : Copy Event Copies all data from a specified range of measures to the selected place in the same track. The copied data can also be transposed as required. This operation overwrites the data from the beginning of the specified destination measure with the data from the source measures. Previous data in the overwritten measures is therefore lost. The upper “TR” parameter selects the source track — i.e. the track from which the data is to be copied: D1, D2, PC, BA, C1, C2, C3, C4. The “M” parameters above the upper graphic bar are used to specify the first measure:beat and last measure:beat of the range to be copied. First measure First beat 198 Last measure Last beat The Pattern Jobs ;; ;; The “M” parameters below the lower graphic bar specifiy the destination measure:beat to which the data will be copied, as well as the number of times the data is to be copied. Destination measure Number of times to be copied Destination beat The “Transpose” parameter sets a transpose value for the copied data in semitone increments from “-24” through “+00” to “+24”. After setting the parameters as required press [ENTER] to execute the Copy Event job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ NOTE • Previous data in measures overwritten by the Copy Event job will be completely erased and replaced by the copied data. 199 The Pattern Jobs 10 : Erase Event Erases all note and event data from the specified measure or range of measures in the specified track. An erase operation leaves the specified measures intact but blank. First measure First beat Last measure Last beat The “TR” parameter selects the track to be affected by the Erase Event job: D1, D2, PC, BA, C1, C2, C3, C4. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be erased. After setting the parameters as required press [ENTER] to execute the Erase Event job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ NOTE • The Erase Event job erases the data from the specified measures only in the specified track. Also, the data is erased but the measures remain intact (i.e. the subsequent measures are not moved back). After an erase operation you can record new material in the resulting blank measures as required. 200 The Pattern Jobs 11 : Extract Event ;; ;; Allows a specified type of event — note, program change, pitch bend, control change, channel aftertouch, polyphonic aftertouch, or system exclusive — to be extracted (removed) from a specified range of measures in a specified track. The extracted data can be moved to the same range of measures in any other specified track. First measure Event type parameter First beat Last measure Last beat The upper “TR” parameter selects the source track — i.e. the track from which the event data is to be extracted: D1, D2, PC, BA, C1, C2, C3, C4. The lower “TR” parameter selects the destination track — i.e. the track to which the extracted event data is to be moved: D1, D2, PC, BA, C1, C2, C3, C4, or “Off” if you simply want to discard the specified event data. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range from which the event data is to be extracted. The event type parameter near the upper graphic bar determines the type of event data to be extracted: 201 The Pattern Jobs NOTE PC PB CC CAT PAT EXC Note events. Program change events. Pitch bend events. Control change events. When this event type is selected a control change number parameter appears to the right of the even type. The control change parameter determines the MIDI control change number(s) to be extracted: “000” … “127” or “All”. Channel aftertouch events. Polyphonic aftertouch events. Exclusive events. After setting the parameters as required press [ENTER] to execute the Extract Event job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ NOTE • Although you can remove events individually in the edit mode (page 216), the Extract Event job makes it simple to remove all occurences of the specified event within the specified measure range in one operation. This is particularly convenient when removing slow pitch bends or volume changes that may employ many individual events to create a single effect. • 202 If the destination track already contains data, the extracted event data will be merged. The Pattern Jobs 12 : Create Continuous ;; ;; This job makes it possible to create continuous data of the specified type in order to produce smooth pitch bends, aftertouch, etc. First measure Data type parameter First beat Last measure Last beat The “TR” parameter selects the track to be affected by the Create Continuous job: D1, D2, PC, BA, C1, C2, C3, C4. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be modified. The data type parameter determines the type of data to be created. PB CC CAT EXC Pitch bend events. Control change events. When this event type is selected a control change number parameter appears to the right of the type parameter. The control change parameter determines the MIDI control change number to be created: “000” … “127”. Channel aftertouch events. Master volume. The “Data” parameters set the range of data values to be created: the left number sets the starting value and the right number sets the ending value. The range of values available will depend on the type of event selected. The “Clock” parameter sets the spacing between the created events in clocks: “000” … “999”. 203 The Pattern Jobs The “Curve” parameter sets the degree of positive or negative “curvature” that will be applied to the continuous data: “-16” … “00” … “+16”. Curve = +16 Curve = 0 (linear) End point Curve = -16 Start point Clock parameter After setting the parameters as required press [ENTER] to execute the Create Continuous job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. 204 The Pattern Jobs 13 : Thin Out ;; ;; “Thins out” specified types of data by removing every other event of the specified type. This is particularly useful for reducing the volume of data required for pitch bends, aftertouch and other control change operations, thus making more efficient use of the available memory. First measure Data type parameter First beat Last measure Last beat The “TR” parameter selects the track to be affected by the Thin Out job: D1, D2, PC, BA, C1, C2, C3, C4. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be modified. The data type parameter determines the type of data to be thinned. PB CC CAT PAT Pitch bend events. Control change events. When this event type is selected a control change number parameter appears to the right of the type parameter. The control change parameter determines the MIDI control change number to be thinned: “000” … “127”. Channel aftertouch events. Polyphonic aftertouch events. After setting the parameters as required press [ENTER] to execute the Thin Out job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. 205 The Pattern Jobs 14 : Time Stretch Lenghtens or shortens the specified track by a specified percentage without affecting tempo or pitch. First measure First beat Last measure Last beat The “TR” parameter selects the track to be affected by the Time Stretch job: D1, D2, PC, BA, C1, C2, C3, C4. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be modified. The “Time” parameter specifies the percentage by which the time is to be lengthened or shortened: “50%” … “200%”. The gate time of notes in the specified track and measures will also be changed in proportion to this setting. After setting the parameters as required press [ENTER] to execute the Time Stretch job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ NOTE • If the specified track is shortened, the phrase of the track will play repeatedly to fill the pattern length. • 206 If the specified track is lengthened, the exceeding part of the phrase will be cut off. The Pattern Jobs 15 : Copy Phrase ;; ;; Copies the specified preset phrase to a specified PATTERN mode track as a user phrase. The “Phrase” parameter selects the source phrase — i.e. the preset phrase to be copied (preset phrase numbers have three sections which can be specified: category, beat, and number — page 98). The “TR” parameter selects the destination track: D1, D2, PC, BA, C1, C2, C3, C4. After setting the parameters as required press [ENTER] to execute the Copy Phrase job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ NOTE • If the specified preset phrase is shorter than the pattern length, the phrase will be copied repeatedly to fill the pattern length. • If the specified preset phrase is longer than the pattern length, the exceeding part of the copied phrase will be cut off. • If the destination track already contains data, the copied phrase will erase and replace the previous phrase data. 207 The Pattern Jobs 16 : Get Phrase Copies the data from the specified range of measures in the specified track of a specified song to the specified phrase. First measure Last measure The “Song” parameter selects the source song — i.e. the song from which the data is to be copied: “01” … “20”. The “TR” parameter selects the song source track — i.e. the track from which the data is to be copied: “01” … “16”. The “M” parameters above the upper graphic bar are used to specify the first measure and last measure of the range to be copied. The lower “TR” parameter specified the track to which the data is to be copied: D1, D2, PC, BA, C1, C2, C3, C4. After setting the parameters as required press [ENTER] to execute the Get Phrase job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ NOTE • The Get Phrase job is a convenient way to create new phrases by copying a few appropriate measures from songs. • 208 If the destination track already contains data, the copied data will erase and replace the previous phrase data. The Pattern Jobs 17: Put Phrase ;; ;; Copies the phrase data from a specified pattern track to the specified measures in the specified track of a specified song. The “Pattern TR” parameter specified the source pattern track: D1, D2, PC, BA, C1, C2, C3, C4. The “Song” parameter selects the destination song — i.e. the song to which the phrase data is to be copied: “01” … “20”. The “TR” parameter selects the destination song track — i.e. the track to which the phrase data is to be copied: “01” … “16”. The “M” parameter specifies the measure of the destination track to which the phrase data is to be copied. After setting the parameters as required press [ENTER] to execute the Put Phrase job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ NOTE • The time signature of the phrase will not affect the time signature of the song. • If the destination song track contains data, the copied phrase data will erase and replace the previous song track data. • The source pattern data is re-harmonized to the current chord specified in the PATTERN play mode before being copied to the destination song track. 209 The Pattern Jobs 18 : Copy Track Copies all data from the specified track in the specified section of the specified style to any other specified track in the specified section of the specified style. The upper “Style” parameter specifies the source style: “001” … “128”, “U01” … “U64”. The upper “Section” parameter specifies the source section: “Intro”, “MainA”, “MainB”, “FillAB”, “FillBA”, “Ending”. The upper “TR” parameter selects the source track — i.e. the track from which the data is to be copied: D1, D2, PC, BA, C1, C2, C3, C4. The lower “Style” parameter specifies the destination style: “U01” … “U64”. The lower “Section” parameter specifies the destination section: “Intro”, “MainA”, “MainB”, “FillAB”, “FillBA”, “Ending”. The lower “TR” parameter selects the destination track — i.e. the track to which the data is to be copied: D1, D2, PC, BA, C1, C2, C3, C4. After setting the parameters as required press [ENTER] to execute the Copy Track job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ NOTE • If the destination track already contains data, the copied data will erase and replace the previous data. 210 The Pattern Jobs 19 : Mix Track ;; ;; Combines the data contained in two specified tracks and places the result in a third track (which can be the same as the second track). The upper and center “TR” parameters select the first and second source tracks — i.e. the tracks which are to be mixed: D1, D2, PC, BA, C1, C2, C3, C4. The lower “TR” parameter specifies the destination track to which the mixed data is to be copied: D1, D2, PC, BA, C1, C2, C3, C4. After setting the parameters as required press [ENTER] to execute the Mix Track job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ NOTE • If there is no data in the second source track, the data from the first source track is simply copied to the destination track. • Even if a preset phrase is previously assigned to the destination track, it will be mixed with the first source track and become a user phrase. 211 The Pattern Jobs 20 : Clear Track Completely clears the specifed track in the specified section. The “Section” parameter specifies the section to be cleared: “Intro”, “MainA”, “MainB”, “FillAB”, “FillBA”, “Ending”. The “TR” parameter selects the track to be cleared: D1, D2, PC, BA, C1, C2, C3, C4. The “Event”, “Play Effect”, and “Voice” check boxes make it possible to specify whether or not the corresponding types of data will be cleared or not (the data is cleared when the checkbox is checked). After setting the parameters as required press [ENTER] to execute the Clear Track job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. 212 The Pattern Jobs 21 : Copy Pattern ;; ;; Copies all data from the specified section of the specified style to any other specified section of the specified style. The upper “Style” parameter specifies the source style: “001” … “128”, “U01” … “U64”. The upper “Section” parameter specifies the source section: “Intro”, “MainA”, “MainB”, “FillAB”, “FillBA”, “Ending” and “All”. The lower “Style” parameter specifies the destination style: “U01” … “U64”. The lower “Section” parameter specifies the destination section: “Intro”, “MainA”, “MainB”, “FillAB”, “FillBA”, “Ending” and “All”. After setting the parameters as required press [ENTER] to execute the Copy Pattern job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ NOTE • If the destination pattern contains data, the copied data will erase and replace the previous pattern data. 213 The Pattern Jobs 22 : Clear Pattern Completely clears all data from the specified section of the specified style. The “Style” parameter specifies the style: “U01” … “U64” and “All”. The “Section” parameter specifies the section of the style to be cleared: “Intro”, “MainA”, “MainB”, “FillAB”, “FillBA”, “Ending” and “All”. After setting the parameter as required press [ENTER] to execute the Clear Pattern job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear briefly when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode. ■ NOTE • Clearing “All” styles can not be undone with the “Undo/Redo” job. 214 The Pattern Jobs 23 : Style Name ;; ;; Allows an original name of up to 8 characters to be assigned to the current style. To enter a character, use the cursor buttons to move the cursor to the character to be entered, then press the [ENTER] button. The character will appear at the character cursor location and the character cursor will advance to the next character position. The character cursor can be moved by pressing the function button to the right of “ ”. To delete a character, press the function button to the right of “del”. The character to the left of the cursor will be deleted and the cursor will move to the deleted character’s position. When the name has been entered press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode (it is not necessary to press the [ENTER] button to enter the specified name). ■ NOTE • You can enter “name” not only for the user style but also for the preset style. If you want to store a newly entered “name” for the preset style, execute the “Copy Pattern” Job before changing the style number. • Entering a style name can not be undone with the “Undo/Redo” job. 215 Editing Songs & Patterns Editing Songs & Patterns The QY100’s editing capability makes it easy to correct mistakes made when recording song or pattern phrase data, and to generally refine your sound. The song and pattern edit “change” mode lets you individually modify the timing, pitch, gate time (length) and velocity (loudness) of each note or other events in the song or pattern. There’s also an edit “insert” that allows insertion of note, program change, sustain on/off, pitch bend, modulation, pan, volume, expression, and other events at any point in the song or pattern. Engaging the SONG or PATTERN Edit Mode To engage the edit mode, place the cursor at the track you want to edit in the normal SONG or PATTERN mode, press the [MENU] button, and then the function button next to [Edit] on the display. 216 Editing Songs & Patterns ;; ;; The edit display will look something like this (of course, the note data will be different). Song Edit Display Track being edited Current measure number Top of song One note per line Velocity Gate time (beat-clock) Note (pitch) Location (beat-clock) 217 Editing Songs & Patterns The pattern edit display is almost exactly the same. The only differences are the name of the track being edited and the current measure display. Pattern Edit Display Track being edited Current measure number and the pattern length Current measure number Top of pattern One note per line Velocity Gate time (beat-clock) Note (pitch) Location (beat-clock) If you place the cursor at the “Pt”(pattern) or “Cd”(chord) track in the SONG mode and engage the edit mode, the edit display will be exactly the same as the step recording display described on page 84. 218 Editing Songs & Patterns Moving Around ;; ;; The location, pitch, gate time, and velocity values for each note are shown on a single line of the display. The notes are arranged in order from top to bottom. You can move around within the song or pattern by simply moving the cursor. Move below the bottom of the display and the note data will scroll down, moving towards the end of the song or pattern. The opposite occurs when you move up above the top of the display. In addition to the lines of note data, there are markers for the top of the song/pattern and the end of the song/pattern. Measure lines are indicated by solid lines between lines of note data (non-measure boundaries between lines of data appear as dotted lines). Cursor currently in measure 8 Measure line End of song 219 Editing Songs & Patterns Change Mode Editing The “Change” edit mode is initially selected when the edit mode is engaged. To edit any note or other event in the song or pattern, simply move the cursor to the appropriate line, and then to the required parameter within that line. The [-1] and [+1] buttons can then be used to select a new value for the selected parameter. The edited line will flash when any parameter within it is changed. This indicates that a change has been made but has not yet been entered. Press the [ENTER] button to actually enter the changes, or move the cursor to another line to cancel the changes. The available parameters depend on the selected event type. The note event parameters are listed below. See “Insert Mode Editing” (page 221) for other event types. Beat-clock Pitch Gate time Velocity Beat-clock The first column contains the note location data. The left number is the beat within the current measure (1 through 4 in a 4/4 measure, for example.), and the right number is the clock within that beat (000 through 479 in case of 1/4-note beat). The beat and clock values can be selected and edited independently. Pitch This is the actual pitch of the note. The range is from C-2 to G8. Gate Time Gate time is the length of the note in beats and clocks. The number to the left of the colon is 1/4-beats and the number to the right is clocks within a 1/4-beat. A normal 1/4 note, for example, is 432 clocks long. This is about 90% of the actual length of a 1/4-note division, which is 480 clocks. The “normal” length of the note is slightly shortened to prevent notes from running into each other and sounding slurred ( a slur is produced by setting the full note length). The beat-clock range is from 00:001 to 99:479. 220 Editing Songs & Patterns Velocity This parameter controls the velocity (loudness) of the note. The range is from 001 to 127. ;; ;; Deleting Events Notes and other events (sustain on/off, pitch bend, etc.) can be deleted by placing the cursor at the line corresponding to the event to be deleted, and then pressing the function button next to “del” on the display. Insert Mode Editing The edit insert mode is used to insert new notes and other events at a specified location in the song or pattern. z Place the cursor at the insert location. Move the cursor to the edit line correponding to (or near to) the location at which you want to insert the new data. Place cursor at insert location x Engage the insert edit mode. Press the [MENU] button and then the function button next to “Insert” on the display to switch to the insert edit mode. 221 Editing Songs & Patterns c Select an Event Type to Insert, and Set the Event Parameters If the display corresponding to the type of event you want to insert does not appear immediately, use the [-1] and [+1] buttons to select the desired event type. All events have at least two parameters — usually the location of the event (Measure-Beat-Clock) and the event value. Move the cursor to the event parameters and set as required by using the [-1] and [+1] buttons or the SHIFT-Number entry method (page 34) where appropriate. Note New notes can be inserted at any specified location. The note range is from “C-2” to “G8”. Gate time and velocity can also be specified. 222 Editing Songs & Patterns Velocity Gate time Pitch Location ;; ;; PB (Pitch Bend) Pitch bend events can be used to produce pitch bend effects. The pitch bend values correspond to pitch bend wheel positions from “-8192” (lowest position) through “+0000” (center) to “+8191” (highest position). To produce smooth pitch bends you’ll need to insert several small pitch bend events at appropriate intervals. Remember to use more pitch bend events to return the pitch to normal after a bend. Location Value PC (Program Change) Program change events can be used to switch voices at any point in the track. The Bank Select (MSB and LSB) parameters are used for bank selection when selecting XG voices. Refer to the XG Normal/Drum voice list in the Data List for details. 223 Editing Songs & Patterns Bank Select LSB Program change number Bank Select MSB Voice name Location Note that the program number in the XG Normal/Drum voice list (refer to the Data List) and the MIDI program change number is different: i.e., the program number for “Grand Piano” is “1” while its MIDI program change number is”0”. (Program numbers, which are defined in General MIDI, range 1 - 128, while MIDI program change numbers range 0 - 127.) CC (Control Change) Any MIDI control change number from 000 through 127 can be entered with an appropriate control value where applicable. Control change numbers are used for modulation, volume, panning, expression and other control functions. Some control change numbers are assigned to specific functions and some are not. Refer to the “MIDI Data Format” section of the Data List for details. Control change value Control change number Location 224 Editing Songs & Patterns CAT (Channel Aftertouch) Inserts a channel aftertouch message with the specified aftertouch value. Location Aftertouch value ;; ;; PAT (Polyphonic Aftertouch) Inserts a polyphonic aftertouch message for the specified note with the specified aftertouch value. PAT aftertouch events affect a single specified note, as opposed to CAT aftertouch events which affect all notes on the same channel (track) simultaneously. Aftertouch value Location Note 225 Editing Songs & Patterns RPN Inserts RPN data. RPN is an abbreviation for “Registered Parameter Number”, which is a MIDI message used to control part settings such as pitch bend sensitivity, tuning, etc. Refer to the “MIDI Data Format” section of the Data List for details. RPN LSB Location RPN MSB Data entry LSB Data entry MSB NRPN Inserts NRPN data. NRPN is an abbreviation for “Non Registered Parameter Number”, which is a MIDI message used to control voice settings such as vibrato, filter, envelope generator, drum setup, etc. Refer to the “MIDI Data Format” section of the Data List for details. NRPN LSB Location 226 NRPN MSB Data entry MSB Editing Songs & Patterns Exc (Exclusive) Inserts a System Exclusive message in hexadecimal format. Refer to the “MIDI Data Format” section of the Data List for details. Location ;; ;; Data (in hexadecimal, begins with “F0” and ends with “F7”) ■ Hexadecimal Number Entry Use the [SHIFT] and the micro-keyboard to enter hexadecimal values. • Press a black key while holding the [SHIFT] button to enter the corresponding number. • Press a white key in the left-hand section of the micro-keyboard (E - D except G) while holding the [SHIFT] button to enter the corresponding character, “A” through “F”. • After entering a hexadecimal value in one space, move the cursor to the next space and enter the next value. • Remember to enter “F7” at the end of every exclusive message. 227 Editing Songs & Patterns XG RPN Inserts RPN (Registered Parameter Number) data using an XG parameter name (“RPN”, above, needs to be entered using numbers). Refer to the “MIDI Data Format” section of the Data List for details. Data RPN parameter name Location XG NRPN Inserts NRPN (Non Registered Parameter Number) data using an XG parameter name (“NRPN”, above, needs to be entered using numbers). Refer to the “MIDI Data Format” section of the Data List for details. Data NRPN parameter name Location * “Note” appears if a drum setup parameter is selected to specify a drum instrument. 228 Editing Songs & Patterns XG Exc System Inserts a System Exclusive (XG System) message using an XG parameter name (“Exc”, above, needs to be entered using hexadecimal values). Refer to the “MIDI Data Format” section of the Data List for details. Data XG System parameter name Location ;; ;; XG Exc Effect Inserts a System Exclusive (XG Effect) message using an XG parameter name (“Exc”, above, needs to be entered using hexadecimal values). Refer to the “MIDI Data Format” section of the Data List for details. Data/Type XG Effect parameter name Location 229 Editing Songs & Patterns XG Exc Multi Inserts a System Exclusive (XG Multi part) message using an XG parameter name (“Exc”, above, needs to be entered using hexadecimal values). Refer to the “MIDI Data Format” section of the Data List for details. Data Location Part XG Multi part parameter name XG Exc Drum Inserts a System Exclusive (XG Drum setup) message using an XG parameter name (“Exc”, above, needs to be entered using hexadecimal values). Refer to the “MIDI Data Format” section of the Data List for details. Location Data Note Drum set XG Drum setup parameter name Tempo Change (Tempo track (Tm) only) Inserts tempo change data with the specified tempo value (25.0 - 300.0). Tempo Location 230 Editing Songs & Patterns v Enter the Specified Event Press the [ENTER] button to enter the event as specified. b Return to the Change Edit Mode ;; ;; Press the [EXIT] button to return to the change edit display, and continue editing as required. Pitch bend event inserted. once inserted, you can edit the event’s location and value in the change edit mode. n Exit From the Edit Mode Press the [SONG] or [PATTERN] button to exit from the EDIT mode and return to the normal SONG or PATTERN play mode. The [EXIT] button will also return you to the SONG or PATTERN mode from the EDIT mode. ■ NOTE • If you insert Control Change data other than Modulation (#1), Expression (#11), Harmonic Content (#71) and Brightness (#74) in the user pattern, these data will not be reset even if the pattern is changed, and will take effect on the newly selected pattern. To avoid this, remember to enter the value to reset at the end of the phrase when you insert these control change data. 231 Editing Songs & Patterns XG View The XG View function displays XG-related events (RPN, NRPN, System Exclusive, etc.) using the name defined by the XG format. To engage the XG View function press the [MENU] button while in the EDIT mode, then press the function button next to “XG View” on the display. When the box to the left of “XG View” is checked, XG-related events will be displayed using the corresponding XG format name. If the box is not checked, XG-related events will be displayed as MSB/LSB values, or as hexadecimal numbers. Press [+1] button to check the XG View box, or the [-1] button to uncheck the box. 232 Editing Songs & Patterns View Filter ;; ;; The View Filter lets you “filter out” specified types of events so that they don’t appear in the EDIT mode display. To access the View Filter press the [MENU] button while in the EDIT mode, then press the function button next to “View Filter” on the display The “sunglasses” appear if any events are “unchecked”. When the check box beside an event type is checked, that events will be displayed in the EDIT display. Event types that are not checked will not appear in the EDIT display. To filter out a certain type of event, simply move the cursor to the corresponding check box and press the [-1] button to “uncheck” the box (or the [+1] button to check the box, as necessary). The “Set All” function button checks all boxes at once, while the “Clear All” function button clears all check boxes. The View Filter Event Types Abbreviation Note PB PC CC CAT PAT RPN NRPN Exc Event Type Note Pitch Bend Program Change Control Change Channel Aftertouch Polyphonic Aftertouch Registered Parameter Number Non Registered Parameter Number System Exclusive 233 Editing Songs & Patterns Phrase Table (Pattern Edit Only) Phrase Table lets you edit phrase settings for the pattern track currently being edited. To access the Phrase Table function press the [MENU] button while in the EDIT mode, then press the function button next to “Phrase Table” on the display. Type Phrase voice Source chord High limit Low limit High key Fingered chord Current chord To edit a Phrase Table parameter, move the cursor to the parameter and edit using the [-1] and [+1] buttons, the SHIFT-Number entry method, or the micro keyboard as necessary. Only the “CURRENT CHORD” and “FNGR” parameters can be edited for preset phrases. TYPE Selects the phrase (note transition) type: Chord 1, Chord 2, Bass, Bypass or Parallel. Refer to “The Phrase Types” on page 108 for information on the various phrase types. PHRASE VOICE Selects the voice to be used in the phrase. Refer to the XG Normal/ Drum voice list in the Data List. 234 Editing Songs & Patterns SOURCE CHORD Sets the source chord for the phrase (i.e. the chord on which the phrase is based). Note that you can not enter an “on-bass” chord for the source chord. ;; ;; LO LIMIT HI LIMIT Sets the note range over which the re-harmonized phrase will be played (C-2 through G8). If any re-harmonized phrase notes exceed the range set here, the notes will be automatically shifted up or down in octave steps so that they fall within the specified range. CURRENT CHORD Shows the currently selected chord for the PATTERN play mode. The current chord can be changed here. FNGR (Fingered Chord) Shows the current Fingered Chord setting, ON or OFF. The ON/OFF setting can be changed here. HI KEY Selects the highest root (C through B) in case the phrase (note transition) type is either Chord 1 or Bass. 235 Effects & Effect Editing Effects & Effect Editing The QY100 features a versatile internal effects system which consists of three independent effect stages: REVERB, CHORUS, and VARIATION. Of these the REVERB and CHORUS stages function as “system effects”, and the VARIATION stage can be used either as a system or “insertion” effect. See the signal-flow digrams on page 238 for the difference between “system” and “insertion” effects. Accessing & Editing the Effect Parameters The EFFECT connection display and the effect edit displays can be accessed from the SONG or PATTERN mode as follows: z Select the Effect Connection Display Press the [SONG] or [PATTERN] button as many times as necessary until the SONG or PATTERN effect connection display appears. Song Mode Effect Connection Display (Variation effect: SYSTEM) Reverb effect Chorus effect Chorus-to-Reverb send control Variation effect Variation-to-Chorus send control Variation-to-Reverb send control Variation effect INSERTION/SYSTEM selector 236 Effects & Effect Editing (Variation effect: INSERTION) Reverb effect ;; ;; Chorus-to-Reverb send control Chorus effect Variation effect Variation effect INSERTION/ SYSTEM selector Pattern Mode Effect Connection Display Variation-to-Chorus send control Variation-to-Reverb send control Variation effect Note that in the PATTERN mode effect connection display only the variation stage has accessible controls. The reverb type for the PATTERN mode effect is always “HALL 1” and the chorus type is always “CHORUS 1”. 237 Effects & Effect Editing x Set the Effect Parameters As Required Move the cursor to the desired parameter and use the [-1] and [+1] buttons to set the selected parameter as required. The REVERB, CHORUS, and VARIATION effect parameters let you select any of the available effect types for each stage. The VARIATION stage INSERTION/SYSTEM selector determines whether the VARIATION stage functions as an insertion effect or system effect. Refer to the “Effect Signal Flow” diagrams and text, below. (In the PATTERN mode effect connection display, the VARIATION stage is always used as a system effect that applies to all 8 tracks for the pattern) Effect Signal Flow The following diagrams should help you to understand how the QY100 effect stages relate to overall signal flow. The signal from each part (track) of the tone generator is sent to the reverb, chorus and variation stages. The reverb and chorus effects are always connected as “System” effects, which means that they affect all parts (tracks). The effect depth for each track can be varied via the “REVERB” and “CHORUS” send controls in the EFFECT SEND display (page 136). The chorus stage “TO REV” parameter can be used to send some or all of the output from the chorus stage to the reverb stage. The variation effect can be applied either to one specific part (track) when it is connected as an “Insertion” effect, or all parts (tracks) when it is connected as a “System” effect. 238 Effects & Effect Editing ● When the Variation Stage is an Insertion Effect Track 1 Track 2 VARIATION REVERB Track 3 TO REV CHORUS Track 16 ;; ;; LINE OUT/ PHONES In this case the variation effect is applied to one specific part (track) with “Dry/Wet” mixing capability available in “Vari. Edit” (See “Effect Editing” on page 240). The track to which the variation effect is to be applied can be selected via the EFFECT SEND display (page 136). ● When the Variation Stage is a System Effect Track 1 Track 2 Track 3 REVERB TO REV TO CHO Track 16 LINE OUT/ PHONES CHORUS TO REV VARIATION In this case the variation effect is applied to all parts (tracks). The variation stage “TO REV” and “TO CHO” parameters can be used to send some or all of the output from the variation stage to the reverb and chorus stages. Variation send level and “Dry/Wet” mixing for each track can be varied via the controls in the EFFECT SEND display (page 136). 239 Effects & Effect Editing Effect Editing The Reverb Edit, Chorus Edit, and Variation Edit displays can be accessed from the Effect Connection display by pressing the [MENU] button and then the function button next to “Reverb Edit”, “Chorus Edit”, or “Vari. Edit” on the display. Note that only “Vari. Edit” is available from the PATTERN mode Effect Connection display. Use the “Type” parameter near the top of the display to select the effect type for the current effect stage (REVERB, CHORUS, or VARIATION). Each effect will have different parameters which will appear in the lower section of the display. Move the cursor to the various parameters and set as required via the [-1] and [+1] buttons. Refer to the “Effect Type List” and the “Effect Parameter List” (refer to the Data List) for a complete list of the parameters available for each effect and their ranges. Song Mode Effect Connection Display 240 Pattern Mode Effect Connection Display Effects & Effect Editing Reverb Edit Display Chorus Edit Display Variation Edit Display ;; ;; ■ NOTE • These effect displays can be used to edit not all the parameters but the main parameters given for each effect type. (Refer to the “Effect Parameter List” in the Data List.) To edit the effect in detail, send the appropriate system exclusive message to the QY100’s tone generator section. How the Variation Effect works in the SONG mode Please, remember that the variation effect settings in the SONG effect connection and edit display become ineffective if a song containing “Pt”(pattern track) data is played. In this case, the variation effect settings for the pattern used in the song (which is set in the PATTERN effect connection and edit display) will be used. To use the variation effect settings in the SONG effect connection and edit display, play a song consisting of only sequencer track (1...16) data. It’s sometimes useful to execute Expand Backing job on page 176 to “expand” pattern track data to the sequencer tracks. 241 Utility Functions Utility Functions The QY100 utility mode includes a number of functions that are important for general operation — e.g. MIDI data handling, interfacing with external equipment, saving song and pattern data to an external storage device, ABC system operation, etc. Accessing the Utility Mode The utility mode can be accessed from the SONG or PATTERN mode. Simply press the [MENU] button and then the function button next to “Utility” on the display. 242 Utility Functions ;; ;; Once the utility mode has been selected, any of the four utility displays can be called by pressing the [MENU] button and then the appropriate function button, as shown below. ■ NOTE • When the utility mode is first engaged from the SONG or PATTERN mode, the last utility display selected will initially appear. 243 Utility Functions System Parameters The “System” display includes 6 parameters that affect the basic operation of the QY100. Move the cursor to the parameter to be adjusted and set as required by using the [-1] and [+1] buttons. CLICK MODE Settings: Off, Record, Rec/Play, Always Determines when the QY100 metronome will sound. Normally the QY100 metronome sounds only during realtime recording — the “Record” setting. With this parameter, however, you can turn the metronome “Off” so that it never sounds, set it to “Rec/Play” so that it sounds during recording and playback, or set it to “Always” so that the metronome sounds at all times. CLICK BEAT Settings: 16, 8, 4, 2, 1 Determines on what beats the QY100 metronome will sound. The normal setting is “4”, causing the metronome to sound on every quarter-note beat. The metronome can also be set to sound on every 16th, 8th, 1/2, or whole-note beat. 244 Utility Functions REC COUNT Settings: OFF, 1 Meas … 8 Meas This parameter sets the number of count-in measure provided before realtime recording begins in the SONG and PATTERN modes. The default setting is “1”. ;; ;; MASTER TUNE Settings: -102.4 … +000.0 … +102.3 Tunes the overall pitch of the QY100 sound. The Master Tune range is from “-102.4” through “+000” to “+102.3”. Each increment corresponds to aproximately 1 cent (a cent is 1/100th of a semitone). A setting of “+000” produces normal pitch: A4 = 440 Hz. EXCLUSIVE INTERVAL Settings: 0*100 … 9*100 This parameter sets the delay time between exclusive data blocks between 0 and 900 milliseconds in 100-millisecond increments. This type of delay is sometimes necessary to allow smooth playback of song data which includes large system exclusive messages. FOOT SWITCH Settings: Start, Section, AmpSim Specifies the function of an optional footswitch (Yamaha FC-4 or FC5) connected to the rear-panel FOOT SW jack. Start When “Start” is selected the footswitch starts and stops song or pattern playback. During SONG playback, the footswitch stops (pauses) playback at the point at which it is pressed. The when it is pressed again playback resumes from the point at which it was stopped. During PATTERN playback, pressing the footswitch stops playback and locates to the top of the pattern. The next time the footswitch is pressed playback will begin from the top of the pattern. 245 Utility Functions Section The footswitch switches sections during song or pattern playback. When the footswitch is pressed during SONG playback, playback will jump to the next programmed section change after playback of the current measure has finished. If the footswitch is pressed while the ENDING section is playing, playback will jump back to and continue from the INTRO section. And if the footswitch is pressed while a BLANK section is playing, playback will jump to the section immediately following the INTRO section. If the footswitch is pressed during PATTERN playback, playback will jump the next section according to the sequence listed below when playback of the current measure has finished. INTRO → MAIN A → FILL AB → MAIN B → FILL BA → ENDING → INTRO … AmpSim 246 If the footswitch is pressed while a BLANK section is playing, the MAIN A section will be selected next. The footswitch alternately turns all Amp Simulator blocks, or the single block specified by the Amp Simulator “On/Off” parameter (pages 44 and 52) , on and off. Utility Functions MIDI Parameters The parameters in the “MIDI” display all relate to MIDI control. ;; ;; MIDI SYNC Settings: Internal, External When this parameter is set to “Internal” the QY100 is controlled by its own internal clock. When set to “External” the QY100 is controlled by a MIDI clock signal received from an external device such as a sequencer or music computer (i.e., playback of the QY100 is synchronized to that of an external sequencer or other device). Please note that the QY100 will not run on its own when this parameter is set to “External”. The QY100 can also control playback of an external MIDI sequencer when this parameter is set to “Internal”. MIDI CONTROL Settings: Off, In, Out, In/Out This parameter simply turns MIDI control of the QY100 (i.e., synchronized playback) on or off. When set to “Off” the QY100 will not respond to external MIDI control. The “In” setting (MIDI input only) allows control of the QY100 from an external MIDI device, the “Out” setting (MIDI output only) allows the QY100 to control an external MIDI device, and the “In/Out” setting (MIDI input and output) allows the QY100 to both be controlled by and control an external MIDI device. 247 Utility Functions ECHO BACK Settings: Off, Thru, RecMontr Determines whether MIDI data received via the MIDI IN connector is simultaneously re-transmited (“echoed back”) via the MIDI OUT connector. When this parameter is set to “Off” no echo back occurs. When set to “Thru” the received MIDI data is re-transmitted without modification. When “RecMontr” (Record Monitor) is selected, the received data is re-transmitted on the MIDI channel corresponding to the currently selected record track, and the data is affected by the MIDI FILTER settings described below. LOCAL ON/OFF Settings: Off, On Determines whether or not the QY100’s internal tone generator will be controlled by its own micro-keyboard. When LOCAL ON/OFF is “On”, the micro-keyboard controls the internal tone generator. When “Off” the micro-keyboard does not control the internal tone generator and will produce no sound. MIDI FILTER Settings: Off, PB, CC, AT, Exc The MIDI FILTER specifies a type of event which will not be received via MIDI during sequence recording. The settings are as follows: Off PB CC AT Exc 248 All events are received. Pitch bend events will not be received. Control Change events will not be received. Channel and polyphonic aftertouch events will not be received. System exclusive data will not be received. Utility Functions PATT OUT CH Settings: Off, 1~8, 9~16 This parameter specifies the MIDI channels on which QY100 pattern playback data will be transmitted. When “Off” pattern playback data is not transmitted. When set to “1~8” pattern playback data is transmitted on MIDI channels 1 through 8, and when set to “9~16” pattern playback data is transmitted on MIDI channels 9 through 16. D1 D2 PC BA C1 C2 C3 C4 ch 1 or 9 ch 2 or 10 ch 3 or 11 ch 4 or 12 ch 5 or 13 ch 6 or 14 ch 7 or 15 ch 8 or 16 ;; ;; XG PARM OUT Settings: Off, On Determines whether the XG voice and effect parameters will be transmitted whenever the corresponding parameter values are changed or a new song or pattern is selected. When “Off” no XG parameters are transmitted. The appropriate XG parameters are transmitted to a connected XG tone generator when this parameter is turned “On”. 249 Utility Functions Bulk Dump Although the QY100 has memory for 20 songs, 64 user styles and 23 amp simulator setups you might want to save your song and pattern data to an external MIDI data recorder, computer, or similar device to allow greater storage capacity or simply to protect your data from accidental erasure or corruption. Be sure to properly connect the QY100 to a MIDI data recorder(such as the Yamaha MDF3 MIDI Data Filer) or a computer and set the HOST SELECT switch to the appropriate position before executing the Bulk Dump transmission/reception. Also refer to the owner’s manual of the connected device to see how to receive/transmit bulk data from/to the QY100. Connection via the TO HOST connector to a computer (Host Select=PC1/2 or Mac according to the type of computer. See page 17) Connection via the MIDI IN/ OUT connector to the MDF3 (Host Select=MIDI) ■ NOTE • Depending on the type of equipment or sequence software used, bulk data transmitted to the QY100 may not be properly recognized. To ensure reliable data transfer we recommend that you use the supplied “QY100 Data Filer” application for bulk data transmission and reception. 250 Utility Functions To transmit (dump) song and/or pattern data to an external device, first select the UTILITY Bulk Dump mode. ;; ;; Move the cursor to the upper parameter and use the [-1] and [+1] buttons to select “Song” if you want to save the data for one song or all songs, “Style” if you want to save the data for one style or all styles, or “All” if you want to save all songs, styles, and system setup data including all amp simulator setups. If you select “Song”, move the cursor to the song number parameter and select a song number (01 … 20), or “All” to save all songs. If you select “Style”, move the cursor to the style number parameter and select a style number (U01 … U64), or “All” to save all styles. Remember all 6 variation patterns(Intro, Main A/B, Fill AB/BA and Ending) included in one style will be saved at one time. When the parameters have been set as required, press [ENTER]. “Are You Sure?” will appear on the display. Press [+1/YES] to go ahead with the bulk dump operation, or [-1/NO] to cancel. “Completed !” will appear when the transmission is finished. ● Bulk Reception of Song & Pattern Data If no other operation is currently in progress (recording, for example) the QY100 will automatically receive bulk song and pattern data transmitted from a compatible external device. If you are using the QY100’s MIDI connectors rather than the TO HOST connector, make sure that the MIDI OUT of the external device is connected to the MIDI IN of the QY100. Select the QY100 SONG play mode when receiving one or all song bulk data, and select the PATTERN play mode when receiving one or all style bulk data. “All” data, including all songs, styles and system setup 251 Utility Functions data, can be received in either the SONG or PATTERN play mode. Remember that one or all song/style data currently in the QY100’s memory will be overwritten when one or all song/style bulk data is received. All data in the QY100’s memory will be overwritten when “All” data is received. ■ NOTE • See the QY100 Data Filer’s installation guide if you use the QY100 Data Filer for bulk dump reception/transmission. Fingered Zone The QY100’s advanced ABC system can be controlled from the QY100 micro-keyboard or an external keyboard. The Fingered Zone utility function sets the range of notes in which chords played will be recognized by the QY100 ABC system. Use the “FINGERED” parameter to turn the QY100’s Fingered Chord function for the ABC system “On” or “Off” as required. When it is turned to “ON”, the ABC system can be controlled by playing a chord as it is on an external keyboard or the micro keyboard. When turned to “OFF”, the ABC system is controlled by specifying the chord root and type from the micro keyboard rather than playing the chord as it is. The MIDI CHANNEL and the “LOW”/“HIGH” parameters explained below will be ineffective when turned to “OFF”. 252 Utility Functions The MIDI CHANNEL parameter specifies the MIDI channel via which the chord data will be received from an external MIDI keyboard: set to “All” for all channels, or specify a single MIDI channel from “01” to “16”. The “LOW” and “HIGH” parameters above the graphic keyboard display set the Fingered Chord function range. The maximum range is from C-2 to G8 (the “HIGH” parameter cannot be set lower than the “LOW” parameter). The specified range is indicated by the highlighted (inverse) section on the graphic keyboard display. When the “FINGERED” parameter in this display and the “FNGR” parameter in the SONG or PATTERN mode display are turned “On”, chords played within the specified Fingered Chord function range will be recognized by the ABC system and the accompaniment chord will change accordingly during song, pattern playback or chord-track recording. Chords played within the specified range of either the QY100 micro-keyboard or an external MIDI keyboard are recognized. A chart of the chords recognized by the QY100 is provided on the Data List. If you play a note lower than the specified “LOW” note while holding a chord, it will be recognized as a bass note for the on-bass chord. ;; ;; ■ NOTE • When the Fingered Chord function is “on”, notes played lower than the specified “HIGH” note will not sound. 253 Memory Card Functions Memory Card Functions The QY100 CARD slot and CARD mode allow you to use standard SmartMedia™ memory cards — available at many electronics and computer stores — to conveniently save and load data as required. About SmartMedia™* Memory Cards Memory cards must be handled with care to prevent possible damage and/or data corruption. Please read the important information and precautions below. * SmartMedia is a trademark of Toshiba Corporation. Insert this way 254 Memory Card Functions Compatible Memory Cards The QY100 uses 3.3V (3V) SmartMedia memory cards. 5V memory cards cannot be used. Memory Card Capacity SmartMedia memory cards with any of the following capacities can be used: 2MB, 4MB, 8MB, 16MB and 32MB. Memory cards with higher capacities can be used as long as they conform to SSFDC* Forum specifications. ;; ;; * SSFDC stands for “Solid State Floppy Disk Card”, the alternate name for SmartMedia cards. The SSFDC Forum is an organization which develops and defines the standards for these memory cards. Inserting and Removing Memory Cards ■ NOTE • It is recommended to insert and remove memory cards in some displays other than CARD mode. ● To Insert a Memory Card Carefully insert the card as far as it will go into the CARD slot (without using excessive force) with the gold connectors on the card facing upward (i.e. toward the top panel of the QY100). The connector end of the card goes into the slot. Do not attempt to insert the card the wrong way around (upsidedown or back-to-front), and make sure that dirt other objects don’t get into the CARD slot. ● To Remove a Memory Card The memory card can be removed from the unit simply by gripping the protruding edge and pulling firmly outward. However, DO NOT remove a memory card while any card access operation is in progress: save, format, delete, or load!! Also note that the QY100 will automatically access the memory card whenever a card is inserted while the power is turned on in order to determine the card’s type. 255 Memory Card Functions • CAUTION Never remove the memory card or turn the QY100 power off while a card-access operation is in progress! Doing so can damage the card itself and/or corrupt the data on the card as well as the data in the unit itself. Format New Memory Cards Before Use! Before a new memory card (or a memory card that has been used with a different device) can be used with the QY100, it must be formatted by the QY100 (see the “Format” function, page 268). Formatting a memory card erases all data on the card, so be sure that the card you are going to format does not contain any important data that you want to keep. ■ NOTE • Memory cards formatted by the QY100 may be unusable with other instruments or devices. Handling Precautions • Memory cards can be damaged and the data they contain corrupted by static electricity. Particularly in dry weather when static electricity buildup can be a problem, it is advisable to touch a metal object such as a doorknob or aluminum window frame in order to discharge your body before handling a memory card. • If you won’t be using a memory card for a long period of time, remove it from the CARD slot and store it in it’s protective pouch in a clean, dry place. • Keep memory cards out of direct sunlight, away from high temperatures (e.g. car interiors or heating appliances) as well as excessively low temperatures, and avoid high humidity, excessive dust, and contact with liquids. • Do not place heavy objects on a memory card, apply excessive pressure, or bend the card in any way. 256 Memory Card Functions • Avoid directly touching the card’s electrical contacts (the gold section in the card’s upper surface), and do not allow metal objects to come into contact with the card’s contacts. • Keep memory cards away from strong magnetic fields such as those produced by loudspeakers and television receivers. • Do not attach anything but the approved labels to memory cards, and make sure that labels are attached in the proper spaces provided. Write-Protecting Memory Cards ;; ;; To prevent accidental erasure of important data, memory cards can be write-protected by attaching the supplied write-protect seal to the circular area just below the card’s contacts (see illustration below). To save data to a memory card that has been write protected, you will have to remove the write-protect seal (the seal cannot be re-used once it has been removed — use a fresh seal if you want to write-protect the card again). Attach a write-protect seal here Back Up Your Data For maximum data security it is a good idea to keep two copies of important data on separate memory cards. Keep one card in a safe place as a backup in case the other is lost or damaged. (page 34) 257 Memory Card Functions Save The Save function allows you to save all QY100 data or specified individual data files to a memory card. z Make Sure a Memory Card Is In the CARD Slot Make sure that a compatible memory card which has not been write-protected is properly inserted in the QY100 CARD slot (page 13). x Select the Appropriate Mode To save song data the SONG mode must be selected. To save user style data the PATTERN mode must be selected. c Select the CARD Mode Press the [CARD] button to select the QY100 CARD mode, while song and style data is not running. ■ NOTE • If you insert a memory card that has not been formatted by the QY100, the “Format? Yes/No” message will appear on the display. Press the [+1/YES] button to format the card for use with the QY100, or the [-1/ NO] button to cancel the format operation. v Select the Type of Data to be Saved Move the cursor to the “FILE=” parameter at the top of the initial CARD mode display, and use the [+1/YES] and [-1/NO] buttons to select the type of data you want to save: Data type Used memory Free memory 258 Memory Card Functions ALL SONG STYLE SMF SMF+XG All user styles, all songs, all amp simulators settings, and all system data. Saves the data for a single selected song. (only SONG mode) Saves the data for a single selected user style. (only PATTERN mode) Saves the data for a single selected song in SMF (Standard MIDI File) format. (only SONG mode) Adds the required XG data to the header of a single selected song and saves the song in SMF (Standard MIDI File) format. (only SONG mode) b Select the “Save” Function ;; ;; Move the cursor to “Save” on the display and press the [ENTER] button. n Select a Song or Style Number (If Necessary) If you selected any save option other than “ALL”, use the [+1/YES] and [-1/NO] buttons to select the number of the song or user style you want to save. If you select <Current>, the song or user style is saved in the current directory. If you select an existing file, the file can be overwritten. Song/Style number 259 Memory Card Functions ■ NOTE • Preset styles cannot be saved. • If the selected Song or Style number already contains data, an asterisk (*) will appear before the number. • You can always go back to the previous display by pressing the [EXIT] button. m Enter a Song or Style Name and Save the File The name-entry display will automatically be selected when you press the [ENTER] button after selecting a song or style number to save (or after simply pressing the [ENTER] button if you chose the “ALL” option). Enter a file name for the song or style to be saved. The function button next to moves the cursor forward one character, and the function button next to “del” deletes the current character. When the file name has been entered as required, press the function button next to “ok” to begin actual execution of the save operation. ■ NOTE • If you do not enter a file name before pressing the function (ok) button, the “No Name” message will appear and the data will not be saved. Be sure to enter a valid file name before pressing the function (ok) button. 260 Memory Card Functions , Done When the save operation has finished the memory card file list will appear. ;; ;; RENAME To rename a file on the list, select (move the cursor to) the file and press the function button next to “RENAME” to go to the name-entry display. DELETE To delete a file from the list first select (move the cursor to) the file and press the function button next to “DELETE”. When the “Are You Sure?” confirmation display appears, press [+1/YES] button to actually delete the selected file, or the [-1/NO] button to cancel the delete operation. 261 Memory Card Functions Load Data files previously saved to a memory card can be reloaded into the QY100 by using the Load function. z Make Sure a Memory Card Is In the CARD Slot Make sure that a compatible memory card containing the data you want to load is properly inserted in the QY100 CARD slot (page 13). x Select the Appropriate Mode To load song data the SONG mode must be selected. To load user style data the PATTERN mode must be selected. c Select the CARD Mode Press the [CARD] button to select the QY100 CARD mode, while song and style data is not running. v Select the Type of Data to be Loaded Move the cursor to the “FILE=” parameter at the top of the initial CARD mode display, and use the [+1/YES] and [-1/NO] buttons to select the type of data you want to load: Data type ALL 262 Loads a file saved using the save “ALL” data option: all user styles, all songs, all amp simulators settings, and all system data. Memory Card Functions SONG STYLE SMF, SMF+XG (same function) Loads the data for a single song. (only SONG mode) Loads the data for a single user style. (only PATTERN mode) Loads a file saved using the SMF or SMF+XG data options: a single song in SMF (Standard MIDI File) format, or a single song in SMF format with XG header information. (only SONG mode) b Select the “Load” Function ;; ;; Move the cursor to “Load” on the display and press the [ENTER] button. n Select a Song or Style Number (If Necessary) If you selected any load option other than “ALL”, use the [+1/YES] and [-1/NO] buttons to select the number of the song or user style to which you want to load the data. Song/Style number Available file list ■ NOTE • If the selected SONG or STYLE number already contains data, an asterisk (*) will appear before the number. • If you select a preset style, the “Select UserStyle” error message will appear. User style data can only be loaded to user styles. 263 Memory Card Functions m Select a Song or Style Name and Load the File From the memory card file list which appears (the list will only show files of the type selected in step 4, above), select (move the cursor to) the file you want to load and press the [ENTER] button. If you selected a song or user style which already contains data as the load destination in step 6, above, the “Are You Sure?” confirmation display will appear. Press the [+1/YES] button to load the selected file to the specified song or user style, or press the [1/NO] button to cancel the load operation. , Done When the load operation has finished the memory card file list will appear. RENAME To rename a file on the list, select (move the cursor to) the file and press the function button next to “RENAME” to go to the name-entry display. DELETE To delete a file from the list first select (move the cursor to) the file and press the function button next to “DELETE”. When the “Are You Sure?” confirmation display appears, press [+1/YES] button to actually delete the selected file, or the [-1/NO] button to cancel the delete operation. 264 Memory Card Functions Mk Dir (Make Directory) This function allows you to create and name separate “directories” in which to organize your files. z Make Sure a Memory Card Is In the CARD Slot Make sure that a compatible memory card which is not write-protected is properly inserted in the QY100 CARD slot (page 13). x Select the CARD Mode ;; ;; Press the [CARD] button to select the QY100 CARD mode, while song and style data is not running. c Select the “Mk Dir” Function Move the cursor to “Mk Dir” on the display and press the [ENTER] button. v Select a Level for the New Directory A file list will appear with the name of the topmost directory at the top of the list, the names of other directories and files if available. Select the level at which you want to create a new directory (below). Press the [ENTER] button after moving the cursor to <Current>. 265 Memory Card Functions Current directory Directory(s) File(s) To Move to a Lower Directory Move the cursor to a directory name and press the [ENTER] button to enter that directory. In the new file list which appears, the current directory name (path) will appear at the top of the list. Current directory name To Move to A Higher Directory To move up to the next highest directory press the function button next to . To Rename a Directory To rename a directory on the list, select (move the cursor to) the directory and press the function button next to “RENAME” to go to the name-entry display. To Delete a Directory To delete a directory from the list first select (move the cursor to) the directory and press the function button next to “DELETE”. When the “Are You Sure?” confirmation display appears, press [+1/YES] button to actually delete the selected 266 Memory Card Functions file, or the [-1/NO] button to cancel the delete operation. Please note that a directory must be empty (i.e. it must contain no files) before it can be deleted. b Enter a Directory Name and Create the Directory The name-entry display will automatically be selected when you press the [ENTER] button after selecting a level for the new directory. Enter a directory name. The function button next to moves the cursor forward one character, and the function button next to “del” deletes the current character. When the file name has been entered as required, press the function button next to “ok” to begin actual execution of the Make Directory operation. ;; ;; ■ NOTE • If you do not enter a file name before pressing the function (ok) button, the “No Name” message will appear and the directory will not be created. Be sure to enter a valid name before pressing the function (ok) button. n Done When the Make Directory operation has finished the file list for the topmost directory will appear. 267 Memory Card Functions Format Formats a memory card for use with the QY100. • CAUTION Formatting a memory card erases all data on the card, so be sure that the card you are going to format does not contain any important data that you want to keep. z Make Sure a Memory Card Is In the CARD Slot Make sure that a compatible memory card which is not write-protected is properly inserted in the QY100 CARD slot (page 13). x Select the CARD Mode Press the [CARD] button to select the QY100 CARD mode, while song and style data is not running. c Select the “Format” Function Move the cursor to “Format” on the display and press the [ENTER] button. 268 Memory Card Functions v Format the Memory Card From the format-standby display, press the [ENTER] button. When the “Are You Sure?” confirmation prompt appears, press the [+1/YES] button to execute the format operation, or the [-1/NO] button to cancel the format operation. b Done ;; ;; When the format operation has finished the memory card file list display will appear. 269 Appendix Appendix Specifications Sequencer block Data capacity Note resolution Polyphony Tempo Modes Record modes Tracks Songs Patterns Phrases Chord types Chord templates Play effect Foot switch functions approximately 32,000 notes 480 clocks per quarter note 64 notes 25-300 SONG mode (SONG, SONG VOICE, SONG EFFECT) PATTERN mode (PATTERN, PATTERN VOICE, PATTERN EFFECT) Realtime replace, Realtime overdub, Step, Multi Song: 16 sequencer tracks, pattern track(Pt), chord track(Cd), tempo track(Tm) Pattern: 8 pattern phrase tracks 20 songs + 3 demo songs 768 preset patterns (128 preset styles x 6 sections) 384 user patterns (64 user styles x 6 sections) Sections: Intro, Main A, Main B, Fill AB, Fill BA, Ending 4,285 preset phrases 48 user phrases per user style 26 types (including “non-ABC” type) 99 preset chord templates 1 user chord progression per song Swing, Drum table remapping Start/Stop, Section change Tone generator block Type Maximum Polyphony Multi-timbral capability Preset voices Effects AWM2 tone generator 32 notes 24 timbres (last note priority with element reserve, DVA) 525 normal voices, 22 drum voices 3 blocks (Reverb, Chorus, Variation) Reverb: 11 types Chorus: 11 types Variation 43: types Amp Simulator Setups Blocks 270 Foot switch functions 23 setups (18 Guitar Setups and 5 Microphone Setups) Preamp Block (for Guitar) or Delay Block (for microphone) Chorus Block Reverb Block Block On/Off Appendix Memory Card Save Load ALL/SONG/STYLE/SMF(Format 0)/SMF+XG(Format 0) ALL/SONG/STYLE/SMF(Format 0)/SMF+XG(Format 0) Controllers & display Micro keyboard Octave buttons Cursor buttons Sequencer buttons 25 keys (2 octaves) [OCT DOWN], [OCT UP] up, down, left, right [>], [■], [●], [p], [r], [f] [AMP SIMULATOR], [PARAMETER], [SONG], [PATTERN], [SHIFT], [EXIT], [CARD], [MENU], [-1(NO)], [+1(YES)], [ENTER], Function buttons Volume control Contrast control Gain control HOST SELECT switch Display 128 x 64 dots graphic LCD Connectors LINE OUT/PHONES GUITAR/MIC INPUT MIDI TO HOST FOOT SW CARD slot DC IN stereo mini jack x 1 standard monaural jack x1 IN x1, OUT x1 standard jack x 1 3.3 V SmartMedia memory cards for PA-3B Power supply ;; ;; Optional PA-3B AC adapter Six 1.5v AA size (LR6) or equivalent alkaline batteries Dimensions (W x D x H) 238 x 118 x 48 mm (9-3/8" x 4-5/8" x 1-7/8") Weight 750g (1 lbs., 10 oz) without batteries Included items QY100 Data Filer for Win95/98/NT/2000/Me, Mac (Mac OS 7.5 or later) CD-ROM x 1 Audio cable miniature stereo phone plug to dual RCA pin plugs Owner’s manual set QY100 owner’s manual, Data List, QY100 Data Filer Installation Guide Rubber feet * Specifications and descriptions in this owner’s manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or specifications at any time without prior notice. Since specifications, equipment or options may not be the same in every locale, please check with your Yamaha dealer. 271 Appendix Troubleshooting If you experience problems such as “no sound,” “incorrect sound,” or “sequencer does not operate,” please check the following points before deciding that the unit is malfunctioning. In many cases, checking these points will help you solve the problem. If this does not solve the problem, contact your nearest Yamaha dealer or the authorized distributor for your country. Problem No sound Possible causes Is the volume sufficiently raised on the QY100 and/or external sound equipment? Are the headphones or speakers properly connected? p.14 Is the Master Volume and/or each track volumes raised sufficiently? p.134 If the REVERB, CHORUS, VARI, and DRY settings are all set to 0, the sound for that track will not be produced. p.137 Is the Fingered Chord function turned ON? If you play a note within the Fingered Zone, no sound will be produced. p.69, 252 Is the MUTE setting turned ON? Is the MIDI IN jack or TO HOST jack properly connected? Is the HOST SELECT switch properly set? 272 Refer to page p.102, 122, 132 p.15, 16 p.17 Is MIDI local set to OFF? p.248 The sound is distorted. Have unneeded effects been set? p.236 The guitar/microphone sound is distorted. Is the GAIN control set properly? p.27 Amp simulator effects aren’t applied to the guitar or microphone sound. Is the [AMP SIMULATOR] button indicator out? If it is, the Amp Simulator is bypassed and you’ll need to press the [AMP SIMULATOR] button so that its indicator lights. p.27 Notes are intermittently broken (notes sputter or stutter). Does the number of currently sounding notes exceed the QY100’s maximum polyphony of 32? p.270 Is an appropriate amp simulator setup selected? p.38, 47 Appendix Problem Playback does not start when you press [>]. Possible causes Refer to page Does the selected song/pattern contain data? p.79, 98 Is the MIDI Sync set to external? p.247 Is Style Number 129 (End Pattern) selected in the Song Mode’s display? p.55 Can’t change the length of a The length of a pattern (number of measures) pattern (number of meacannot be changed, if it includes recorded user sures). phrases. p.109 When a song is played Is Style Number 129 (End Pattern) set in the back, it stops in the middle. middle of the Pattern Track? p.84 Rhythm or note timing are Are Play Effect settings being used? played back differently than when recorded. The same amount of force Is the keyboard velocity set between R1 and is used to play notes on the R4 (Random)? keyboard but it results in notes of different loudness. Cannot use the Fingered Chord function. Is the Fingered Chord turned off? Can’t hear the click sound. Is the click set to something other than “off” in the Utility mode? Are you pressing keys within the Fingered Zone? When the song starts, the Does the beginning of the song contain data voice or effect settings that which resets the tone generator? you have made disappear. If there is data in the Pattern track, the Variation effect settings for the pattern will be effective. The “Memory Full” message appears yet there are still unused songs. Press the [SHIFT] button and the second function button from the top simultaneously to check the current memory capacity. The QY100’s memory capacity (approximately 32,000 notes) is for the total data of all songs and phrases. This means that if there are songs or phrases that contain large amounts of data, the memory may be full even though there are still unused songs or patterns. The QY100 (tone generator) Is the Utility mode’s MIDI Echo Back set to is slaved to an external RecMontr? Change the Echo Back setting to sequencer but, there is no Off or Thru. sound when the performance is played back from the external sequencer. Nothing is shown on the LCD. Is the Contrast control properly set? ;; ;; p.124 p.106, 117 p.69 p.252 p.244 p.216 p.241 p.23 p.248 p.20 273 Appendix Error Messages ● Monitor No Data When a job is executed, this will appear if the selected track or area contains no data, making the job invalid. Re-select the area. Illegal Input This will appear in response to inappropriate operation or input. Check your input method. Preset Phrase This will appear when you attempt to edit a Preset Phrase. To edit a preset phrase, copy the phrase to a User Phrase and edit the User Phrase. Preset Pattern This will appear when you attempt to record to a Preset Pattern. You cannot record to Preset Patterns. Preset Chord This will appear when you attempt to change a Preset Chord Template with a Job (transpose, etc.) operation. Now Bulk Mode This will appear when you attempt to operate the QY100 while it is receiving bulk data. ● System Memory Full A song file or style file could not be loaded because the QY100’s internal memory is full. Delete unwanted song and/or style files to increase the amount of available memory. When a song or style file is loaded and previous data in the destination song or style file will be erased. NotEnough Memory A song file or style file could not be loaded because the QY100's internal memory is not enough. Delete unwanted song and/or style files to increase the amount of available memory. When a song or style file is loaded, previous data in the destination song or sytle file will not be erased. Backup Batt.Low This will appear when the internal backup battery of the QY100 has run down. Contact the nearest Yamaha dealer or the authorized distributor for your country to have the battery replaced. Power Batt.Low This will appear when the batteries (Size AA x6) powering the QY100 has run down. When the batteries run down more seriously, "Power Batt.End" message will appear. Power Batt.End This will appear when the batteries (Size AA x6) powering the QY100 has run down seriously. In this case, memory card functions are no longer accessible. Replace the entire set of old batteries with a new set of batteries as soon as possible. Factory Set After the power is switched ON, a system diagnosis is run on the QY100’s system. If the diagnosis finds the RAM to be defective, this message will appear and the memory will be reset to its original factory settings. Data for Song, User Patterns, and User Phrases will all be eliminated. ● MIDI 274 MIDI Data Error This will appear when the received QY bulk data contains an error. Now Running This will appear when the QY100 is receiving bulk data. Other MIDI signals cannot be received at this time. Appendix MIDI Buffer Full This will appear when the MIDI reception buffer of the QY100 has filled up, and processing was not possible. Try decreasing the amount of data or increasing the interval time and transmit the data once again. XG Data Error This appears when the received XG parameter change contains a data size error XG Adrs Error This appears when the received XG data contains an address error. XG Size Error This appears when the received XG bulk data contains a data size error. Checksum Error This appears when the received XG data contains a Checksum error. Host is OffLine If the QY100 is connected to a computer, this appears when the computer’s power is switched OFF. Switch the computer’s power ON. ● Memory Card ;; ;; No Name You have attempted to execute a save or load operation without specifying a file or directory name. No Card This message will appear if you press the [CARD] button when no memory card is in the QY100 CARD slot (or a card has not been properly inserted). Make sure a memory card is properly inserted in the CARD slot before pressing the [CARD] button. Card Mount Err An error occurred while accessing the memory card. Re-insert the card and try again. Too Many Files This message will appear if you attempt to store 100 or more files and/ or directories in a single directory. The QY100 can display a maximum of 99 files and directories per directory. Too Long Path The directory path (the string of characters that specifies the location of a directory) is longer than 100 characters. QY100 directory paths can be up to 99 characters in length. Not Empty You have attempted to delete a directory that contains one or more files or other directories. All files and directories contained in a directory must be deleted before that directory can be deleted. Card Write Err An error occurred while writing data to the memory card. Re-insert the memory card and try again. Card Protected You have attempted to execute a store or other write operation to a write-protected memory card. Remove the write-protect seal from the card and try again. Same Name Exists When using the Rename or Make Directory function you have entered a file or directory name that already exists. Use a different file or directory name. Read Only File This message will appear if you attempt to write to or delete a readonly file. Card Full There is not enough memory available on the card to store the specified file. Delete unwanted files from the memory card to make more memory available, and then try again. 275 Appendix Bad File This message will appear if you attempt to access a broken file. Illegal Format The card you are attempting to access has not been properly formatted for use with the QY100. Cannot Open The specified file cannot be loaded. Wrong ID You have attempted to load a file that was not saved using the QY100 format. SMF Error[00] You have attempted to load an SMF file but the file to be loaded does not have the proper SMF format. Improperly formatted files cannot be loaded. SMF Error[03] You have attempted to load an SMF file in which the header chunk division data is not compatible with the QY100. Incompatible files cannot be loaded. SMF Error[06] The actual length of the SMF files you attempted to load was different from the length specified by the file’s length data. The file may be corrupted. If possible, use an external device to resave the data to the memory card and try again. SMF Error[07] You have attempted to load an SMF file which contains an incorrect status byte. Incompatible files cannot be loaded. SMF Error[08] You have attempted to load an SMF file which contains an incorrect data byte. Incompatible files cannot be loaded. Not Format0 This message will appear if you attempt to load an SMF file that was saved in format other than SMF Format 0. Incompatible files cannot be loaded. SMF Error[**] An SMF error other than those listed above has occurred. Incompatible files cannot be loaded. Card Error[**] A memory card error other than those listed above has occurred. Try re-inserting the memory card and pressing the [CARD] button. If the error continues to occur, the memory card may be damaged. ● Messages other than error messages Can’t Undo OK? (Yes/No) If executing a job would fill up the internal memory so that Undo will not be available, this message will appear. If you are sure that you will not need to Undo this job, press “YES”. To cancel without executing the job, press “NO”. Are You Sure? (Yes/No) Before an operation is executed, this message will ask you for confirmation. To execute the operation press “YES”. To cancel the operation press “NO”. 276 Completed This will appear when the current process has been completed. Executing... This message will appear while the job is being executed. Please wait. Transmitting... When transmitting MIDI bulk data, this message will appear. Receiving... When receiving MIDI bulk data, this message will appear. Appendix Glossary A C Aftertouch: MIDI messages which are transmitted when additional pressure is applied to the keyboard after notes are played. Chord root: An alphabetical letter which indicates the root of a chord. The QY100 lets you indicate 12 different chord roots. Amp Simulator: Simulates the characteristics of a guitar or microphone preamplifier — including effects such as overdrive, chorus, delay, and reverb. Chord template: A collection of preset models for chord progressions. The collection includes generic chord progressions for Popular styles as well as Blues and Tension styles. Attack time: The time over which the volume rises from 0 when a note is played, until the maximum volume is reached. Auto Bass Chord (ABC): A function which will automatically re-harmonize the accompaniment patterns by specifying chord progressions. AWM 2 tone generator: A method of generating sound developed by Yamaha which is based on digitally recorded waveforms. Since it generates the complex waveform of actual acoustic instruments, it provides extremely realistic sounds. Digital filtering is also built-in, allowing precise control over the tone. AWM2 is an acronym for Advanced Wave Memory 2. B Beat: When playing back or recording a song, one “beat” (a rhythmic subdivision of a measure). Bulk data: A type of System Exclusive message which contains a collection of data for the internal settings of a device. Bulk dump: The process of transmitting bulk data in MIDI System Messages to external MIDI devices. ;; ;; Chord track (Cd): A track that lets you record and play back Chord Roots and Chord Types for the Auto Bass Chord (ABC) function. Chord type: A symbolic or numerical indication of how a chord is composed (Major, minor, 7th, etc.). The QY100 allows you to select from 26 (including “non-ABC”) chord types. Chorus: A type of effect that adds richness and depth to the sound, similar to what happens when multiple sound sources are heard simultaneously. Click: A metronome that is sounded when playing back or recording on a sequencer. Clock: A unit of timing resolution. On the QY100, one clock is a length of 1/480th of a quarter note. Control change: A group of MIDI messages that can be used to select voice banks and control the volume, pan, etc. They are also output when a controller (modulation wheel, foot controller, etc.) is operated. Each controller has its own control number. 277 Appendix Cutoff frequency: Filters work by allowing the portion of the signal lower than a given frequency to pass, and cutting the portion of the signal above that frequency. This frequency is referred to as the cutoff frequency. See the entry for Low Pass Filter. D Decay time: The time from when the maximum volume of a note is reached until it falls to the sustain level. Delay: An effect that delays an audio signal. The QY100’s Variation effect allows a delay to be applied. Depth: The amount or degree of a setting or effect. Drum table remapping: One of the play effect functions. This function allows you to change specified rhythm instruments in the drum play data to other rhythm instruments when a song or pattern is played back. Dry sound: The audio signal that is not processed by an effect. Normally when using an effect, not all of the audio signal is passed through the effect. Rather, the degree of the effect is adjusted by mixing the sound that passes through the effect (the wet sound) with the sound that bypasses the effect (the dry sound). See also the entry for Wet sound. E Echo back: The action or process in which data received via the MIDI IN connector is re-transmitted from the MIDI OUT connector. Edit: The action of modifying or editing data. 278 Effect: A block that processes the sound to add various effects. The QY100 provides two system effects (reverb and chorus), and one effect (variation) which can either be used as a system effect or as an insertion effect. Element: A block within the AWM2 tone generator that generates a sound. The voices of the QY100 consist of 1 or 2 elements. Voices that use 2 elements generally have a thicker sound that cannot be achieved when using 1 element. With 2 elements different voices such as piano and strings sounds can be mixed into a single voice. Envelope generator (EG): A block that modifies the level of the tone generator from the moment that a note is played until the sound decays to silence. Event: A single piece (such as Note On/Off or Program Change messages) of the data which makes up a sequence. Exclusive: See the entry for System Exclusive Message. Expression: A MIDI control change message used to control the volume of a part (track). F Filter: A block which modifies the tone by cutting the output of a specific frequency portion of the sound. The QY100 has low pass filters allowing the tone to be made more mellow by cutting the overtones above a specified frequency, or brighter by allowing them to pass. See also the entry for Low pass filter. Fingered chord: A function that automatically detects chords based on the combination of notes that are played on the keyboard, and converts the playback of patterns to the chords that are detected. Appendix G Gate Time: The length of time that a note actually sounds. Longer gate times produce slurred notes, shorter gate times produce staccato. GM: An acronym for General MIDI. A specification that defines the arrangement of voices in a tone generator and its MIDI functionality, ensuring that data can be played back with substantially the same sounds on any GMcompatible tone generator. H Hexadecimal number: A system of numbering based on 16, in which the digits increment in units of n-th powers of 16. The alphabetical characters A-F are used to express the numbers 10-15. This system of numbering is used for MIDI data. I IBM-PC/AT Series: A type of personal computer manufactured and sold by the International Business Machine Corporation. Compatible computers are manufactured and sold by many companies Insertion (effect): An effect which can be applied to one specific part (track). With this effect, you can apply effects more “aggressively” to your song. (e.g. rotary speaker effects to organ sounds, or “wah” effects to guitar sounds.) Interval time: A delay time that is inserted at regular intervals of one kilobyte when transmitting system exclusive data that was recorded in a sequence track to tone generators (or external MIDI tone generators). L LFO: An acronym for Low Frequency Oscillator, a block that produces a signal at a low frequency which synthesizers use for the creation of sound. The signal from the LFO can be used to modulate pitch, volume or tone to produce effects such as vibrato, tremolo and wah. Location: The place within a song or pattern at which notes will be input or playback will be started, indicated as measure, beat, and clock. ;; ;; Low Pass Filter: A type of filter which cuts high frequencies above a specified point. The sound can be brightened by raising the cutoff frequency of the filter, or darkened by lowering it. LSB: An acronym for Least Significant Byte, referring to the lower byte of data when MIDI control change data is divided into two bytes for transmission. M Maximum Polyphony: The maximum number of notes that can be played at once. The QY100 can produce 32 simultaneous notes (counted in 1-element units). If MIDI messages are received requesting more notes than the maximum polyphony allows, currently sounding notes will be turned off, and the later-received notes will be played. Measure: A unit of musical duration consisting of several beats. Memory Card: Wafer-thin, high-volume memory cards provide a convenient way to store and retrieve QY100 song and style data. Memory cards that can be used with the QY100 are available at many electronics and computer stores. Also see “SmartMedia”. 279 Appendix MIDI: An acronym for Musical Instruments Digital Interface, a standard for transferring data between musical instruments. Most electronic musical instruments today implement the MIDI specification and provide MIDI connectors. Such instruments can be easily connected together to create remote performance or automatic performance systems. MIDI Data Filer: A MIDI device that receives bulk data for the internal settings of a MIDI device in the form of System Exclusive messages, and stores them to disk. An example is the Yamaha MDF3 MIDI data filer. Mixer: On the QY100, the display page in which you can make settings such as, pan, volume, etc. for the voice of each song or pattern track, when playing back. Modulation: A function that can be used to change the volume, tone, or pitch cyclically while you perform. On the QY100, you can apply modulation by holding the [OCT UP] button while playing a note on the micro keyboard. MSB: An acronym for Most Significant Byte, referring to the upper byte of data when MIDI control change data is divided into two bytes for transmission. Multi-timbral tone generator: A tone generator that can simultaneously produce more than one voice. Mute: A function that temporarily silences the specified track or reduces its volume. N NRPN: An acronym for Non Registered Parameter Number. These are a type of MIDI control change message, and are used to edit sounds 280 via MIDI, allowing you to edit filter or EG settings, or adjust the pitch or level for each instrument of a drum voice. O On-bass: A function that lets you specify a root note for the bass independently of the chord, so that the playback of a bass phrase whose Phrase Type is Bass will be fixed on that root note. Overdub: A method of real-time recording in which new material is recorded without erasing previously recorded tracks. P Pan: The parameter that sets the stereo location of a sound when it is played back in stereo. (“Pan” or “panpot” are abbreviations of “panoramic potentiometer”.) Parameter: A setting or data item which you can modify in the various mode and sub-mode displays. Patch: An assignment of phrases for each track to create patterns. Pattern: An auto accompaniment pattern consisting of drums, bass and chord backing. Pattern track (Pt): The track which records and plays back pattern data. Phrase: The smallest unit from which the accompaniment pattern is created. A phrase, such as drum phrase, bass phrase, etc., can be assigned to one of the 8 tracks of the pattern. Phrase category: A classification of phrases that are categorized by instruments and performance styles. Appendix Pitch bend: A type of MIDI message that smoothly changes the pitch. Pitch bend wheel: A controller that smoothly changes the pitch. On the QY100, pitch bend can be applied by holding the [OCT DOWN] button while playing a note on the micro keyboard. Portamento: An effect that smoothly changes the pitch from one note to another note. Higher settings of Portamento Time will produce a slower change, and there will be no effect with a setting of 0. Preset: A type of memory that is built into a device. The QY100 has preset memories for voices, phrases, and patterns, etc. Program change: An event or MIDI message that selects a voice. Program number: On the QY100, a number specifying one of the GM-defined voices. Q Quantize: A function which “Tightens up” the inexact timing of notes or other events that were entered in real-time. QY100 Data Filer: A computer software application that allows for the exchange of QY100 data between the computer and the QY100. Data from the QY100 can be saved in the computer and QY data stored in the computer can be transmitted to the QY100. Commercially available SMF song data or XG song data can also be transmitted from the computer to the QY100. R Realtime recording: A method of recording in which your performance is recorded just as you play, similar to a conventional multi-track recorder. Since the performance is recorded as you play, the musical expression and nuances of your performance will be accurately recorded. Redo: Carries out the operation that was previously canceled with Undo. ;; ;; Release time: The time over which the volume falls from the sustain level (beginning at the moment a note is released) until it reaches silence. Replace: A method of real-time recording in which previously recorded data is erased (replaced) as new material is recorded. Resonance: A parameter that boosts the level of the signal in the area of the cutoff frequency. By emphasizing the overtones in this area, this can produce a distinctive “peaky” tone, making the sound brighter and harder. Return level: See the entry for Send level. Reverb: An effect that simulates the acoustical reverberance of a room or space. The sound that reaches our ear usually includes not only the direct sound, but also that was reflected off the walls or ceiling. Reverb creates these indirect reflections artificially. RPN: An acronym for Registered Parameter Number. These are a type of MIDI control change message that are used to set Part settings such as Pitch Bend Sensitivity or Tuning, etc. 281 Appendix S Section: A term referring to each of the six types of patterns that comprise a style. Patterns are selected by specifying the style and the section. Send level: The amount of signal that is sent to a specified bus line for processing by an effect. The amount of signal that is returned from the effect is the “return level”. Sequencer: A block (or device) that records, edits, modifies, and plays back a musical performance in the form of MIDI messages. Sequencer tracks: Tracks which record and playback normal MIDI sequence data. The QY100 has 16 sequencer tracks. SmartMedia: SmartMedia (a trademark of Toshiba Corporation) refers to memory cards conforming to SSFDC Forum specifications (SSFDC stands for “Solid State Floppy Disk Card”). The SSFDC Forum is an organization that develops and defines the standards for these memory cards. SMF: See the entry for Standard MIDI File. Solo: This function mutes the playback of all tracks except that of the selected track as long as the track is soloed. Song: A musical composition created by recording performance data on each track. Standard MIDI File (SMF): SMF is an acronym for Standard MIDI File; a standard format that was created to allow easy exchange of song data between different sequencers. Most of today’s software and hardware manufacturers provide 282 sequencers that can create and play back Standard MIDI files. Step recording: The method of recording in which music is input by entering notes one by one, specifying the note length, velocity, and pitch etc. of each note. Style: A collective name for pattern catagories (hip hop, hard rock, etc. musical genres). Styles are divided into six sections (intro, fill-in, ending, etc.). Sustain level: The volume level of the note from the time after the maximum level of the note is reached, until the note played on the keyboard is released. Swing: Refers to a type of rhythm or “groove” which, at the extreme, can apply a triplet feel to 8th or 16th note patterns — as in “swing jazz”. Subtler applications of swing can be used to give rhythmic patterns a more “bouncy” feel. Synchronization: The function or process of matching the playback or recording tempo of a device with a separated, external device such as another sequencer or a rhythm machine. Sync: See Synchronization System (effect): An effect which can be applied to all parts (tracks) by adjusting the Send Levels and Return Level. System effects allow reverb or chorus to be conveniently applied to the overall music. The QY100 provides Reverb and Chorus as system effects. The Variation effect can also be used as a system effect. System Exclusive Message: A type of MIDI message used to exchange data unique to a specific model or type of device. Appendix T Tempo track (Tm): The track in which data that determines the playback tempo of the song is recorded. Track: A location where musical performance data is recorded in the sequencer. You can record piano on track 1, bass on track 2, etc. Transpose: Shifts the pitch of recorded data in semitone steps. Velocity: A numerical value indicating the speed (force) with which a note was pressed. Vibrato: A performance effect produced by cyclically changing the pitch. Voice: A sound that is built into the tone generator that can be selected and played. W ;; ;; Tuning: The process of matching the pitch of two or more instruments when playing in an ensemble. Normally, A3 is tuned to 440Hz. Wet sound: The audio signal that is processed by an effect. Normally when using an effect, not all of the signal is passed through the effect. Rather, the degree of the effect is adjusted by mixing the sound that passes through the effect (the wet sound) with the sound that bypasses the effect (the dry sound). See also the entry for Dry sound. U X Undo: This command cancels the previously performed operation and returns the data to the condition of that before the operation was executed. On the QY100, this command can be performed against JOB, EDIT, and RECORDING operations. See the entry for Redo. XG: A tone generator format developed by Yamaha which expands the GM specification to provide the richer expressiveness and upward data compatibility that is demanded by today’s more sophisticated computer peripheral environment. Tremolo: An effect produced by cyclically modulating the volume. Utility: On the QY100, the display in which MIDI settings and system settings can be made. V Variation effect: One of the QY100’s effects which can function either as an insertion effect or as a system effect, and provides a wide variety of effect programs such as delay, rotary speaker, auto pan, amp simulation and auto wah in addition to reverb and chorus. 283 Appendix Index A AC Adaptor ..................................3, 8, 11, 271 Aftertouch .........................................225, 277 Alkaline Batteries...............................3, 9, 271 Amp Simulator.........................32, 36, 45, 277 Amp Simulator Setup ......................38, 47, Attack Time .......................................141, 277 Auto Bass Chord (ABC) .....................252, 277 B Back Delete .................................................96 Backup Battery ......................................4, 274 Bdl ...............................................................96 Beat .....................................................96, 277 Bulk Dump ........................................250, 277 C CAT............................................................225 CC (Control Change)..........................224, 277 Cd ....................................................66, 81, 87 Channel After Touch..................................225 Chord...........................................................67 Chord Separate .......................161, 197 Chord Sort...............................160, 196 Current Chord .................................235 Root ..........................................67, 277 Source Chord ..........................105, 235 Template ...........................54, 270, 277 Template List..................................... Track....................................70, 81, 277 Type.............................67, 270, 277, Chorus .................................32, 236, 270, 277 CHORUS (Chorus Send)............................237 Chorus Block .........................................42, 51 Clear Pattern..............................................214 Clear Song .................................................179 Clear Track.........................................175, 212 Click Beat ..................................................244 Click Mode ................................................244 Clock ...................................................96, 277 Connection Display ...................................236 Connections ........................14, 15, 16, 36, 45 Contrast.......................................................20 284 : Data List Control Change .................................224, 277 Copy Event........................................162, 198 Copy Pattern .............................................213 Copy Phrase ..............................................207 Copy Song.................................................178 Copy Track.........................................173, 210 Create Continuous ............................167, 203 Create Measure ........................................171 Crescendo .........................................155, 191 Current Chord............................................235 Cursor..........................................................22 CUT ...................................................140, 144 D DC In .......................................................8, 11 Decay ........................................141, 144, 278 del .......................................................96, 260 Delay Block .................................................50 Delete..................................................96, 260 Delete Measure ........................................172 Demo Song .................................................33 Display (LCD)...............................................20 Drum Table ................................................130 Drum Table Number ............................130, Drum Table Remapping.....................128, 278 Drum Voice..........................................142, Drum Voice Edit ........................................142 DRY/WET ..................................................239 E Echo Back ...................................16, 248, 278 Edit ....................................................216, 278 Effect...................................................32, 236 Chorus.............................................236 Data Assign Table ............................. Effect Send .............................113, 136 Insertion Effect ...............................239 Parameter List................................... Reverb.............................................236 System Effect .................................239 Type List............................................ Variation Effect..........32, 236, 241, 283 EG .....................................................141, 278 Appendix Erase Event .......................................164, 200 Error Message...........................................274 ers ...............................................................90 Exc ............................................................227 Exclusive ...........................................227, 278 Exclusive Interval.......................................245 Expand Backing .........................................176 Expression.........................................224, 278 Extract Event .....................................165, 201 F Filter Cutoff Frequency..............140, 144, 278 Filter Resonance .......................140, 144, 281 FINGERED...................................69, 123, 252 Fingered Chord..............69, 123, 235, 278, Fingered Zone ...........................................252 FNGR...................................................69, 235 Foot Switch .........................................12, 245 Format .......................................................268 Function Buttons .........................................23 FX THRU ...........................................127, 129 G GAIN................................................27, 37, 46 GATE ...........................................................94 Gate Time ....................94, 150, 153, 186, 189 Get Phrase.................................................208 GUITAR/MIC INPUT ........................13, 36, 45 H Headphones ..........................................12, 14 HI KEY .......................................................235 HI LIMIT ....................................................235 HOST SELECT.................................12, 15, 17 L LINE OUT/PHONES ......................12, 14, 271 LO LIMIT ...................................................235 Load ..........................................................262 LOCAL ON/OFF ........................................248 LVL ............................................................143 M M/S............................................127, 129, 132 Master Tune ..............................................245 Maximum Polyphony ........................270, 279 Measure ............................................120, 279 Create Measure ..............................171 Delete Measure ..............................172 Memory Card ....................................254, 279 Micro Keyboard ...........................................25 MIDI ..................................................247, 280 MIDI Channel ..................................252 MIDI Control ...................................247 MIDI Data Format ............................. MIDI Filter .......................................248 MIDI Implementation........................ MIDI IN/OUT .........................12, 15, 16 MIDI Sync .......................................247 Mix Track ...........................................174, 211 Mixer Display ............................................131 Mk Dir .......................................................265 Modify Gate Time..............................153, 189 Modify Velocity..................................151, 187 Modulation ..........................................32, 280 mst ............................................................134 Multi ............................................................80 Mute..................102, 122, 127, 129, 132, 280 ;; ;; N I Insert .........................................................221 INSERTION................................................239 Insertion Effect..........................................239 J Normal Voice .........................................29, Normalize ..................................................177 Note ..........................................................222 Note Display................................................95 Note Pointer ................................................95 NRPN ................................................226, 280 JUMP ........................................................120 O K Keyboard Velocity ........................................75 OCT .............................................................26 Octave.........................................................26 On/Off ...................................................44, 52 285 Appendix On-Bass.............................................103, 280 OVER...................................................76, 107 Overdub ......................................76, 107, 280 P Pan ............................................134, 143, 280 PAT ............................................................225 Pat .............................................................134 PATT OUT CH............................................249 Pattern...........................................30, 54, 280 Clear Pattern ...................................214 Copy Pattern ...................................213 Effect Mode ....................................236 Job ..................................................181 Mode...........................................21, 98 Phrase Track....................................112 Play Effect .......................................116 Track (Pt) .....................................62, 81 Track fader.......................................131 Voice Mode .....................................112 PB......................................................139, 223 PC (Program Change) ................................223 PEAK ...............................................27, 37, 46 Phrase .................................................98, 280 Beat...................................................98 Category....................................98, 280 Copy................................................207 Edit..................................................216 Edit Insert........................................221 Get ..................................................208 Name ..............................................102 Number .............................................98 Put...................................................209 Recording................................105, 111 Table................................................234 Track................................................112 Type.................................101, 108, 234 User Phrase ....................................106 Voice ...............................................234 Pitch ..........................................................143 Pitch Bend .................................139, 223, 281 Pitch Coarse ..............................................143 Play Effect .........................................116, 124 Play Effect Thru .................................127, 129 Play Fx .......................................................116 Polyphonic Aftertouch ...............................225 286 Power......................................................8, 20 Preamp Block ..............................................41 Preset Pattern .............................................53 Preset Phrase........................................98, Preset Style...........................................55, Program Change ...............................223, 281 Program Number...............................133, 281 Pt...........................................................62, 84 Put Phrase.................................................209 Q Quantize ....................................148, 184, 281 Gate Time................................150, 186 Quantize Value ........................148, 184 Strength ..................................149, 185 Swing Rate..............................149, 185 QY100 Data Filer ...............................250, 271 R Realtime Recording.............................73, 281 Chord Track .......................................66 Overdub ............................76, 107, 280 Pattern Track .....................................62 Phrase .............................................105 Replace ...............................63, 76, 281 Sequencer Track ...............................73 Tempo Track......................................70 Rec Count .................................................245 Record Mode ....................63, 76, 82, 92, 107 Record Ready..............25, 63, 76, 81, 92, 107 Redo..........................................147, 183, 281 Release Time.....................................141, 281 Repeat Playback........................................120 REPL ...............................................63, 66, 76 Replace ...................................63, 66, 76, 281 RES ...................................................140, 144 Rest.............................................................96 REV ...............................................44, 52, 143 Reverb.....................................32, 39, 48, 143 REVERB (Reverb Send).............................143 Reverb Block .........................................43, 51 RPN ...................................................226, 281 rst ................................................................96 S Save ..........................................................258 Appendix Section ................................................53, 282 Sequencer Button .......................................25 Sequencer Track............................71, 91, 282 Shift Clock .........................................158, 194 Slur ..............................................................94 SmartMedia.......................................254, 282 Solo ...................102, 122, 127, 129, 132, 282 Song ..................................................118, 282 Clear Song.......................................179 Copy Song.......................................178 Edit..................................................216 Edit Insert........................................221 Effect Mode ....................................236 Job ..................................................145 Mode...............................................118 Name ..............................................180 Number ...............................33, 55, 118 Play Effect .......................................124 Playback ..........................................118 Recording....................................61, 71 Voice Mode .....................................131 Sound on/off................................................90 SOURCE CHORD ..............................105, 235 Specifications ............................................270 Staccato.......................................................94 STEP......................................................82, 92 Step Recording..................81, 84, 87, 91, 111 Chord Track .......................................87 Pattern Track .....................................84 Phrase .............................................111 Sequencer Track................................91 Style ....................................................53, 282 Name ........................................85, 215 Number .......................................55, 85 Swing ........................................................126 Swing Rate ........................................149, 185 Syncopation.................................................89 SYSTEM ....................................................236 System Effect............................236, 239, 282 System Parameters...................................244 T Tempo ...................................64, 70, 100, 109 Tempo Change ....................................70, 230 Tempo Track ........................................70, 283 Thin Out ............................................169, 205 Tie................................................................96 Time Stretch ......................................170, 206 TIMING......................................................128 Tm ...............................................................70 TO CHO.....................................................239 TO HOST.....................................................12 TO REV......................................................239 Tone Generator....................................31, 270 Track ............................................29, 121, 283 Chord Track .........................66, 81, 277 Clear Track ..............................175, 212 Copy Track ..............................173, 210 Mix Track.................................174, 211 Pattern Phrase Track .......................112 Pattern Track (Pt).......62, 101, 106, 280 Sequencer Track ...........29, 71, 91, 282 Tempo Track..............................70, 283 Transpose ..........................123, 157, 193, 283 TRNS .........................................................123 TYPE..................................................107, 234 U ;; ;; Undo..........................................147, 183, 283 Used Memory .....................................23, 258 User Pattern ..............................................100 User Phrase...............................................106 Utility .................................................242, 283 V VAR ...........................................................143 VARI. (Variation Send)................................137 Variation Effect ..................137, 236, 241, 283 VELO .....................................................75, 94 Velocity..........................75, 94, 123, 221, 283 Velocity Meter ...........................................122 View Filter .................................................233 Voice....................................................31, 283 Category..........................................133 Drum Voice ...............................142, Edit..........................................115, 138 Name ................................................ Normal Voice..................................... Variation (Voice).........................133, Volume ........................................................27 287 Appendix X XG Exc Drum.............................................230 XG Exc Effect ............................................229 XG Exc Multi..............................................230 XG Exc System..........................................229 XG NRPN...................................................228 XG PARM OUT ..........................................249 XG RPN .....................................................228 XG View.....................................................232 Z ZONE.........................................................252 Buttons & Display Symbols [p] ...............................................................25 [r] .............................................................25 [f]..............................................................25 [●] ...............................................................25 [■]................................................................25 [>] ...............................................................25 [-1(NO)]/[+1(YES)] ........................................22 [AMP SIMULATOR].....................................27 [CARD] ........................................................27 [ENTER] .......................................................24 [EXIT] ...........................................................22 [MENU]........................................................23 [OCT DOWN]/[OCT UP] ..............................26 [PARAMETR] ...............................................28 [PATTERN] ...................................................21 [SHIFT] ........................................................21 [SONG] ........................................................20 Cursor buttons ............................................22 Micro Keyboard ...........................................25 ...........................................................120 ................................................................102 ..........................................................233 288 FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA. 3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA90620 The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries. * This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. (class B) ADVARSEL! Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering. Udskiftning må kun ske med batteri af samme fabrikat og type. Levér det brugte batteri tilbage til leverandoren. VARNING Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera använt batteri enligt fabrikantens instruktion. VAROITUS Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty paristo valmistajan ohjeiden mukaisesti. (lithium caution) NEDERLAND / THE NETHERLANDS • Dit apparaat bevat een lithium batterij voor geheugen back-up. • This apparatus contains a lithium battery for memory back-up. • Raadpleeg uw leverancier over de verwijdering van de batterij op het moment dat u het apparaat ann het einde van de levensduur afdankt of de volgende Yamaha Service Afdeiing: Yamaha Music Nederland Service Afdeiing Kanaalweg 18-G, 3526 KL UTRECHT Tel. 030-2828425 • For the removal of the battery at the moment of the disposal at the end of the service life please consult your retailer or Yamaha Service Center as follows: Yamaha Music Nederland Service Center Address : Kanaalweg 18-G, 3526 KL UTRECHT Tel : 030-2828425 • Gooi de batterij niet weg, maar lever hem in als KCA. • Do not throw away the battery. Instead, hand it in as small chemical waste. (lithium disposal) For details of products, please contact your nearest Yamaha representative or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311 Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen Bestimmungsländern erhältlich. Para detalles sobre productos, contacte su tienda Yamaha más cercana o el distribuidor autorizado que se lista debajo. Yamaha Music Central Europe GmbH, Branch Belgium Rue de Geneve (Genevastraat) 10, 1140 - Brussels, Belgium Tel: 02-726 6032 FRANCE U.S.A. Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A. Tel: 714-522-9011 CENTRAL & SOUTH AMERICA MEXICO Yamaha de Mexico S.A. De C.V., Departamento de ventas Javier Rojo Gomez No.1149, Col. Gpe Del Moral, Deleg. Iztapalapa, 09300 Mexico, D.F. Tel: 55-5804-0600 BRAZIL Yamaha Musical do Brasil LTDA. Av. Rebouças 2636, São Paulo, Brasil Tel: 011-3085-1377 ARGENTINA Yamaha Music Latin America, S.A. Sucursal de Argentina Viamonte 1145 Piso2-B 1053, Buenos Aires, Argentina Tel: 1-4371-7021 PANAMA AND OTHER LATIN AMERICAN COUNTRIES/ CARIBBEAN COUNTRIES Yamaha Music Latin America, S.A. Torre Banco General, Piso 7, Urbanización Marbella, Calle 47 y Aquilino de la Guardia, Ciudad de Panamá, Panamá Tel: +507-269-5311 EUROPE THE UNITED KINGDOM Yamaha-Kemble Music (U.K.) Ltd. Sherbourne Drive, Tilbrook, Milton Keynes, MK7 8BL, England Tel: 01908-366700 IRELAND Danfay Ltd. 61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin Tel: 01-2859177 GERMANY Yamaha Music Central Europe GmbH Siemensstraße 22-34, 25462 Rellingen, Germany Tel: 04101-3030 SWITZERLAND/LIECHTENSTEIN Yamaha Music Central Europe GmbH, Branch Switzerland Seefeldstrasse 94, 8008 Zürich, Switzerland Tel: 01-383 3990 AUSTRIA Yamaha Music Central Europe GmbH, Branch Austria Schleiergasse 20, A-1100 Wien, Austria Tel: 01-60203900 THE NETHERLANDS Yamaha Music Central Europe, Branch Nederland Clarissenhof 5-b, 4133 AB Vianen, The Netherlands Tel: 0347-358 040 ASIA BELGIUM/LUXEMBOURG Yamaha Musique France BP 70-77312 Marne-la-Vallée Cedex 2, France Tel: 01-64-61-4000 ITALY Yamaha Musica Italia S.P.A. Combo Division Viale Italia 88, 20020 Lainate (Milano), Italy Tel: 02-935-771 SPAIN/PORTUGAL Yamaha-Hazen Música, S.A. Ctra. de la Coruna km. 17, 200, 28230 Las Rozas (Madrid), Spain Tel: 91-639-8888 GREECE Philippos Nakas S.A. The Music House 147 Skiathou Street, 112-55 Athens, Greece Tel: 01-228 2160 SWEDEN Yamaha Scandinavia AB J. A. Wettergrens Gata 1 Box 30053 S-400 43 Göteborg, Sweden Tel: 031 89 34 00 THE PEOPLE’S REPUBLIC OF CHINA Yamaha Music & Electronics (China) Co.,Ltd. 25/F., United Plaza, 1468 Nanjing Road (West), Jingan, Shanghai, China Tel: 021-6247-2211 HONG KONG Tom Lee Music Co., Ltd. 11/F., Silvercord Tower 1, 30 Canton Road, Tsimshatsui, Kowloon, Hong Kong Tel: 2737-7688 INDONESIA PT. Yamaha Music Indonesia (Distributor) PT. Nusantik Gedung Yamaha Music Center, Jalan Jend. Gatot Subroto Kav. 4, Jakarta 12930, Indonesia Tel: 21-520-2577 KOREA Yamaha Music Korea Ltd. Tong-Yang Securities Bldg. 16F 23-8 Yoido-dong, Youngdungpo-ku, Seoul, Korea Tel: 02-3770-0660 MALAYSIA Yamaha Music Malaysia, Sdn., Bhd. Lot 8, Jalan Perbandaran, 47301 Kelana Jaya, Petaling Jaya, Selangor, Malaysia Tel: 3-78030900 PHILIPPINES DENMARK YS Copenhagen Liaison Office Generatorvej 8B DK-2730 Herlev, Denmark Tel: 44 92 49 00 FINLAND F-Musiikki Oy Kluuvikatu 6, P.O. Box 260, SF-00101 Helsinki, Finland Tel: 09 618511 Yupangco Music Corporation 339 Gil J. Puyat Avenue, P.O. Box 885 MCPO, Makati, Metro Manila, Philippines Tel: 819-7551 SINGAPORE Yamaha Music Asia Pte., Ltd. No.11 Ubi Road 1, No.06-02, Meiban Industrial Building, Singapore Tel: 747-4374 TAIWAN NORWAY Norsk filial av Yamaha Scandinavia AB Grini Næringspark 1 N-1345 Østerås, Norway Tel: 67 16 77 70 ICELAND Skifan HF Skeifan 17 P.O. Box 8120 IS-128 Reykjavik, Iceland Tel: 525 5000 Yamaha KHS Music Co., Ltd. 3F, #6, Sec.2, Nan Jing E. Rd. Taipei. Taiwan 104, R.O.C. Tel: 02-2511-8688 THAILAND Siam Music Yamaha Co., Ltd. 121/60-61 RS Tower 17th Floor, Ratchadaphisek RD., Dindaeng, Bangkok 10320, Thailand Tel: 02-641-2951 OTHER ASIAN COUNTRIES OTHER EUROPEAN COUNTRIES Yamaha Music Central Europe GmbH Siemensstraße 22-34, 25462 Rellingen, Germany Tel: +49-4101-3030 Yamaha Corporation, Asia-Pacific Music Marketing Group Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2317 OCEANIA AFRICA Yamaha Corporation, Asia-Pacific Music Marketing Group Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2312 AUSTRALIA Yamaha Music Australia Pty. Ltd. Level 1, 99 Queensbridge Street, Southbank, Victoria 3006, Australia Tel: 3-9693-5111 NEW ZEALAND MIDDLE EAST TURKEY/CYPRUS Yamaha Music Central Europe GmbH Siemensstraße 22-34, 25462 Rellingen, Germany Tel: 04101-3030 OTHER COUNTRIES Yamaha Music Gulf FZE LB21-128 Jebel Ali Freezone P.O.Box 17328, Dubai, U.A.E. Tel: +971-4-881-5868 Music Houses of N.Z. Ltd. 146/148 Captain Springs Road, Te Papapa, Auckland, New Zealand Tel: 9-634-0099 COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN Yamaha Corporation, Asia-Pacific Music Marketing Group Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2312 HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2445 SY32 Yamaha Web Site (English only) http://www.yamahasynth.com Yamaha Manual Library http://www2.yamaha.co.jp/manual/english/ U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation © 2000 Yamaha Corporation V675760 311POCP1.3-03C0 Printed in Japan Owner’s Manual This document is printed on chlorine free (ECF) paper with soy ink.
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Yamaha QY100 Manual de usuario

Categoría
Secuenciador
Tipo
Manual de usuario