Yamaha QY 300 User Manual

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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 user’s 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 your 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, CA 90620

*The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.

CANADA

THIS DIGITAL APPARATUS DOES NOT EXCEED THE “CLASS B” LIMITS FOR RADIO NOISE EMISSIONS FROM DIGITAL APPARATUS SET OUT IN THE RADIO INTERFERENCE REGULATION OF THE CANADIAN DEPARTMENT OF COMMUNICATIONS.

LE PRESENT APPAREIL NUMERIQUE N’EMET PAS DE BRUITS RADIOELECTRIQUES DEPASSANT LES LIMITES APPLICABLES AUX APPAREILS NUMERIQUES DE LA “CLASSE B” PRESCRITES DANS LE REGLEMENT SUR LE BROUILLAGE RADIOELECTRIQUE EDICTE PAR LE MINISTERE DES COMMUNICATIONS DU CANADA.

*This applies only to products distributed by Yamaha Canada Music LTD.

Bescheinigung des Importeurs

Hiermit wird bescheinigt, daß der/die/das

Music Sequencer Typ: QY300

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

(Gerät, typ, Bezeichnung)

in Übereinstimmung mit den Bestimmungen der

VERFÜGUNG 1046/84

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

(Amtsblattverfügung)

funkentstört ist.

Der Deutschen Bundespost wurde das Inverkehrbringen dieses Gerätes angezeigt und die Berechtigung zur Überprüfung der Serie auf Einhaltung der Bestimmungen eingeräumt.

Yamaha Europa GmbH

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Name des lmporteurs.

* Dies bezieht sich nur auf die von der YAMAHA EUROPA GmbH

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.

Dette apparat overholder det gaeldende EF-direktiv vedrørende radiostøj.

Cet appareil est conforme aux prescriptions de la directive communautaire 87/308/CEE.

Diese Geräte entsprechen der EG-Richtlinie 82/499/EWG und/ oder 87/308/EWG.

This product complies with the radio frequency interference requirements of the Council Directive 82/499/EEC and/or 87/308/ EEC.

Questo apparecchio è conforme al D.M.13 aprile 1989 (Direttiva CEE/87/308) sulla soppressione dei radiodisturbi.

Este producto está de acuerdo con los requisitos sobre interferencias de radio frequencia fijados por el Consejo Directivo 87/308/CEE.

YAMAHA CORPORATION

vertriebenen Produkte.

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 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-re- chargeable 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 old 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

PLEASE KEEP THIS MANUAL

92-BP

Contents

Precautions .................................................	iv
About This Manual ......................................	vi
The QY300: An Overview ..........................	vii
■ Sequencer Functions ................................................	vii
■ Accompaniment Sequencing ...................................	vii
■ Voice & Effects ......................................................	viii
Power & Connections...................................	1
Power Supply ......................................................................	1
Setting Up Your System .....................................................	2
■ The Connectors ...........................................................	2
■ Audio Connections .....................................................	3
■ MIDI Connections ......................................................	3
The Controls.................................................	5
Song Mode —
Part 1: Playback & Control ........................	8
Play the Demo Song ............................................................	8
■ Loop Playback ..........................................................	10
Location .............................................................................	10
■ The Measure/Beat Parameter ....................................	10
■ The Shuttle Dial ........................................................	10
■ The Mark/Jump Function ..........................................	11
Tempo Control ..................................................................	12
Transposition ....................................................................	12
Track Muting, Effect Bypass, &
Keyboard Track Setting...................................................	13
■ Track Muting ............................................................	13
■ Effect Bypass ............................................................	13
■ Keyboard Track ........................................................	14
Voices, Assignment & Effects ..........................................	14
■ Try Out the Voices ....................................................	14
■ The Pan Pots .............................................................	15
■ The Faders .................................................................	15
■ Reverb .......................................................................	15
■ Coarse & Fine Tuning ...............................................	16
■ Pitch Bend Range ......................................................	17

Channel Assignments .......................................................	18
Playback Effects ................................................................	18
■ Quantization ..............................................................	18
■ Swing ........................................................................	20
■ Transpose & Clock Shift ...........................................	21
■ Gate Time & Velocity Modify ..................................	22
■ The “Per Track” Display ...........................................	22
Song Mode —
Part 2: Basic Recording ...........................	23
Realtime Recording ..........................................................	23
■ Punch-in Recording ..................................................	26
■ Multi-channel Recording ..........................................	28
Step Recording ..................................................................	28
■ Drum Assignment & Used Memory Displays ..........	33
The Song Jobs.............................................	34
00: Undo/Redo ..................................................................	34
01: Quantize ......................................................................	35
02: Modify Velocity ..........................................................	37
03: Modify Gate Time ......................................................	38
04: Crescendo ....................................................................	39
05: Transpose ....................................................................	40
06: Shift Note.....................................................................	41
07: Shift Clock ...................................................................	42
08: Chord Sort ..................................................................	43
09: Copy Event ..................................................................	44
10: Erase Event .................................................................	45
11: Extract Event ..............................................................	46
12: Thin Out ......................................................................	47
13: Create Measure ..........................................................	48
14: Delete Measure ...........................................................	48
15: Copy Track .................................................................	49
16: Mix Track ...................................................................	50
17: Clear Track .................................................................	50
18: Expand Backing .........................................................	51
19: Init Play Effect ............................................................	52
20: Normalize Effect .........................................................	52
21: Copy Song ...................................................................	53
22: Clear Song ...................................................................	53
23: Song Name ..................................................................	54

Patterns —
Part 1: Accompaniment Basics ................	55
Defining “Patterns”, “Styles”, & “Sections” ..................	55
Loading the Pre-programmed Patterns From Disk ......	55
Selecting & Playing Patterns ...........................................	57
■ Changing Chords ......................................................	59
■ Track Muting & Effect Bypass .................................	62
■ Voices, Assignment & Effects ..................................	62
Patterns —
Part 2: Recording Accompaniments ........	65
Realtime Accompaniment Recording .............................	65
Step Accompaniment Recording .....................................	68
■ “Pat” — Step Record Pattern Changes .....................	69
■ “Chd” — Step Record Chord Changes .....................	71
Phrases: Creating Patterns...........................	74
The Preset Phrases ...........................................................	74
Combining Phrases In the Pattern Mode .......................	75
Recording Original Phrases.............................................	78
■ Realtime Phrase Recording .......................................	78
■ Step Phrase Recording ..............................................	81
The Pattern Jobs .........................................	86
00: Undo/Redo ..................................................................	86
01: Copy Pattern ...............................................................	87
02: Append Pattern ..........................................................	88
03: Split Pattern ................................................................	88
04: Init Play Effect ............................................................	89
05: Clear Pattern ..............................................................	90
06: Style Name ..................................................................	90
The Phrase Jobs ..........................................	92
00: Undo/Redo ..................................................................	92
01: Quantize ......................................................................	93
02: Modify Velocity ..........................................................	95
03: Modify Gate Time ......................................................	95
04: Crescendo ....................................................................	96
05: Transpose ....................................................................	97
06: Shift Note.....................................................................	98
07: Shift Clock ...................................................................	98
08: Copy Phrase ................................................................	99
09: Append Phrase .........................................................	100
10: Split Phrase ...............................................................	100
11: Get Phrase .................................................................	101
12: Put Phrase .................................................................	102
13: Clear Phrase .............................................................	102
14: Phrase Name .............................................................	103

	Contents
Editing Songs & Phrases............................	104
Engaging the Edit Mode & Moving Around ................	104
■ Moving Around .......................................................	105
Change Mode Editing.....................................................	106
■ Deleting Events .......................................................	107
■ Changing Tracks .....................................................	107
■ Assigning a Track Name .........................................	107
Insert Mode Editing .......................................................	107
Editing the Tempo Track (SONG mode) .....................	112
The Chain Mode ......................................	113
■ Deleting Songs From the Chain ..............................	114
■ Inserting New Songs In the Chain ..........................	114
The Utility Mode ......................................	115
System Parameters .........................................................	115
■ Master Tuning .........................................................	115
■ MIDI Synchronization ............................................	115
■ MIDI Control ..........................................................	116
■ Echo Back ...............................................................	116
■ Interval Time ...........................................................	116
Input Filters ....................................................................	116
Fingered Chord Zone Assignment ................................	117
Disk Operations .......................................	119
Direct Save & Load From the Song, Pattern,
Phrase, & Chain Modes .................................................	119
■ Direct Save ..............................................................	120
■ Direct Load .............................................................	121
The Disk Mode ................................................................	121
■ Save & Load ...........................................................	123
■ Delete ......................................................................	124
■ Rename ...................................................................	124
■ Format .....................................................................	125
Appendix .................................................	126
Troubleshooting ..............................................................	126
Error Messages ...............................................................	127
Specifications...................................................................	128
Index ................................................................................	129

iii

Precautions

!! PLEASE READ THIS BEFORE PROCEEDING !!

■ Location

Do not expose the QY300 to the following conditions to avoid deformation, discoloration, or more serious damage.

•Direct sunlight (e.g. near a window).

•High temperatures (e.g. near a heat source, outside, or in a car during the daytime).

•Excessive humidity.

•Excessive dust.

•Strong vibration.

■Power Supply

•Turn the power switch OFF when the instrument is not in use.

•The power supply cord should be unplugged from the AC outlet if the instrument is not to be used for an extended period of time.

•Unplug the instrument during electric storms.

•Avoid plugging the instrument into the same AC outlet as appliances with high power consumption, such as electric heaters or ovens. Also avoid using multi-plug adaptors since these can result in reduced sound quality and possibly damage.

■Turn Power OFF When Making Connections

■MIDI Connections

•When connecting the QY300 to MIDI equipment, be sure to use high-quality cables made especially for MIDI data transmission.

•Avoid MIDI cables longer than about 15 meters. Longer cables can pick up electrical noise that can causes data errors.

■Handling and Transport

•Never apply excessive force to the controls, connectors or other parts of the instrument.

•Always unplug cables by gripping the plug firmly, not by pulling on the cable.

•Disconnect all cables before moving the instrument.

•Physical shocks caused by dropping, bumping, or placing heavy objects on the instrument can result in scratches and more serious damage.

■Cleaning

•Clean the cabinet and panel with a dry soft cloth.

•A slightly damp cloth may be used to remove stubborn grime and dirt.

•Never use cleaners such as alcohol or thinner.

•Avoid placing vinyl objects on top of the instrument (vinyl can stick to and discolor the surface).

•To avoid damage to the instrument and other devices to which it is connected (a sound system, for example), turn the power switches of all related devices OFF prior to connecting or disconnecting audio and MIDI cables.

■Electrical Interference

•This instrument contains digital circuitry and may cause interference if placed too close to radio or television receivers. If this occurs, move the instrument further away from the affected equipment.

■Data Backup

•The QY300 contains a special long-life battery that retains the contents of its internal memory even when the power is turned OFF. The backup battery should last for several years. When the backup battery needs to be replaced “Battery Low” will appear on the display when the power is turned on. When this happens, have the backup battery replaced by qualified Yamaha service personnel. DO NOT ATTEMPT TO REPLACE THE BACKUP BATTERY YOURSELF!

•Internal memory data can be corrupted due to incorrect operation. Be sure to save important data to floppy disk frequently so you have a backup to revert to if something happens to damage the data in memory. Also note that magnetic fields can damage data on the disk, so it is advisable to make a second back-up copy of disks that contain very important data, and keep backup disks in a safe place away from stray magnetic fields (i.e. away from speakers, appliances containing motors, etc.).

■Handle Floppy Disks and the Disk Drive With Care

•Use only 3.5" 2DD type floppy disks.

•Do not bend or apply pressure to the floppy disk. Do not open the shutter and touch the surface of the floppy disk inside.

•Do not expose the disk to high temperatures. (e.g. direct sunlight, a car interior, etc.)

•Do not expose the disk to magnetic fields. Magnetic fields can partially or totally erase data on the disk, rendering the disk unreadable.

•To eject a floppy disk, press the eject button slowly as far as it will go then, when the disk is fully ejected, remove it by hand.

The disk may not be ejected properly if the eject button is pressed too quickly, or it is not pressed in as far as it will go (the eject button may become stuck in a half-pressed position and the disk extends from the drive slot by only a few millimeters). If this happens, do not attempt to pull out the partially ejected disk. Using force in this situation can damage the disk-drive mechanism or the floppy disk. To remove a partially ejected disk, try pressing the eject button once

Precautions

again, or push the disk back into the slot and then repeat the eject procedure carefully.

•Do not insert anything but floppy disks into the disk drive. Other objects may cause damage to the disk drive or the floppy disk.

■Service and Modification

•The QY300 contains no user serviceable parts. Opening it or tampering with it in any way can lead to irreparable damage and possibly electric shock. Refer all servicing to qualified YAMAHA personnel.

■Third-party Software

•Yamaha can not take any responsibility for software produced for this product by third-party manufacturers. Please direct any questions or comments about such software to the manufacturer or their agents.

YAMAHA is not responsible for damage caused by improper handling or operation.

About This Manual

The following simple icons are used throughout this manual to draw attention to important points and information where necessary. The icons also make it easier to differentiate between information that you should read immediately and information that can be skipped until later, hopefully helping you to become familiar with the QY300 in the quickest, most efficient manner possible.

This icon warns of possible hardware damage, software malfunction, or any other serious problem that may occur due to improper operation or set up.

This icon marks information that you must read — i.e. important steps or procedures that are essential for proper, efficient, or easy operation.

The magnifying-glass icon indicates information that may not be essential for general operation, but is a more detailed explanation of a feature, a description of the principle involved, etc. You can skip this information if full details are not required immediately.

Suggestions as to how a feature or function can be applied musically are identified by this icon.

Hints or ideas that are not specifically musical but may make operation easier or more interesting are marked by the light-bulb icon.

Power & Connections

Power Supply

Your QY300 comes supplied with a Yamaha PA-1207 optional AC adaptor. Plug the DC output cable from the AC adaptor into the DC IN jack on the rear panel, then plug the adaptor into a convenient wall AC power socket. It is also a good idea to clip the adaptor’s DC cable into the cable clip on the QY300 rear panel to minimize the possibility of accidentally unplugging the cable during operation.

• Do not attempt to use an AC adaptor other than the sup-

plied unit or an appropriate replacement provided by your Yamaha dealer to power the QY300. The use of an incompatible adaptor may cause irreparable damage to the QY300, and might pose a serious shock hazard!

•Be sure to unplug the AC adaptor from the AC mains socket when the QY300 is not in use.

Cable Clip

Power & Connections

Setting Up Your System

What you will connect the QY300 to, and what you will connect to the QY300, will depend entirely on your individual requirements. A few examples are provided below to help you get started.

■ The Connectors

1 MIDI IN & OUT Connectors

If you plan to use a MIDI keyboard or other instrument to play and program the QY300, it should be connected to QY300 MIDI IN connector (see “MIDI Connections,” below). The MIDI OUT connector can be connected to an external tone generator or synthesizer if you want to drive external voices from the QY300 sequencer.

2 L/MONO & R OUTPUT Jacks

These are the main stereo outputs from the QY300’s internal tone generator system (see “Audio Connections,” below). Both are standard 1/4" mono phone plugs. When a plug is inserted into only the L/MONO output, the leftand right-channels signals are mixed and delivered via that output to allow direct connection to mono sound systems. The output level is adjusted via the VOLUME control (Z page 7).

3 PHONES Jack

Any pair of stereo headphones with a 1/4" stereo phone plug can be plugged in here for convenient monitoring. The PHONES output level is adjusted via the VOLUME control.

4 DC IN Jack

The DC output cable from the Yamaha PA-1207 AC Power Adaptor supplied with the QY300 is plugged in here.

Power & Connections

■ Audio Connections

Make sure that both the QY300 and your sound system are turned OFF

when making connections.

The simplest way to monitor the QY300 sound is via a pair of stereo headphones (1/4" stereo phone plug type) plugged into the PHONES jack. If want to use an external stereo sound system, however, use the L/MONO and R OUTPUT jacks. Since the QY300 output jacks are 1/4" phone types, you might have to use adaptors to connect to a sound system with different input connectors — e.g. RCA type pin jacks. You can connect the QY300 directly to most mixing consoles and instrument amplifiers via standard phone-plug cables (use the L/MONO output when connecting to a mono sound system).

■ MIDI Connections

Although the QY300 can be played and programmed from the built-in microkeyboard, an external MIDI keyboard connected to the MIDI IN connector provides the added advantages of standard keyboard size and key velocity sensitivity (if your keyboard has a velocity-sensitive keyboard). Connect the MIDI OUT connector of the keyboard to the MIDI IN connector of the QY300, and make sure that your keyboard is set to transmit on the appropriate MIDI channel. The QY300 MIDI channel-to-track assignments are described on page 18.

MIDI OUT

MIDI IN

MIDI Keyboard

QY300

Power & Connections

Always use high-quality MIDI cables when connecting MIDI devices, and avoid cables longer than about 15 meters — longer cables can pick up electrical noise that can cause data errors.

Although it has a built-in tone generator, the QY300 can drive external tone generators and synthesizers just like any other MIDI sequencer or music computer. You can even combine the internal voices with those produced by external equipment. Connect the QY300 MIDI OUT connector to the MIDI IN connector of a single external device, or the first in a “chain” of devices you want to control. The MIDI THRU connector of the first device in the chain should then be connected to the MIDI IN connector of the second device, and so on. It’s a good idea not to chain more than four or five external devices without the use of a MIDI distributor or “thru box”, to prevent data delays from having an audible effect on the sound.

MIDI OUT	MIDI IN	MIDI THRU
		Tone Generator
QY300		MIDI IN

Tone Generator

The Controls

The QY300 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 QY300Õs many advanced features.

1	2

1 POWER Switch

Press in to turn the QY300 on, and press again to turn it off. When the power is on one of the mode key indicators will light and the SONG mode display will appear on the LCD (Liquid Crystal Display).

2 LCD Display & CONTRAST Control

This large multi-function liquid crystal display panel shows all parameters and prompts you need to operate the QY300 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).

The Controls

7
12
9	8

4
3	3	3
		5

3 Mode Keys

These six keys select the QY300’s main operating modes:

SONG	The main “sequencer” mode in which the QY300’s 16
	sequencer tracks can be recorded, edited, and played
	back. Pattern, chord, and tempo changes are also recorded
	in this mode to create accompaniments.

PATTERN	The PATTERN mode is used to create patterns by com-
	bining or “patching” phrases from the PHRASE mode.

PHRASE	The individual phrases that are used to create accompani-
	ment patterns can be selected, played, and created in this
	mode. There are 2,000 preset patterns, and memory for
	100 user phrases.

CHAIN	The CHAIN mode is used to specify a “chain” of songs
	to be automatically played in sequence.

UTILITY	The QY300’s MIDI, data filter, and ABC utility functions
	are all accessed via the UTILITY mode.

DISK	Although you can directly save and load data to and from
	floppy disk from the SONG, PATTERN, PHRASE, and
	CHAIN modes, the DISK mode provides access to a full
	range of important disk and data management functions.

4 Cursor and [–1/NO] and [+1/YES] Keys

This block of six keys includes four cursor keys — the ones labeled with the triangular arrow-heads — and two data decrement/increment keys.

The cursor keys move the “cursor” around the display screen, highlighting the various parameters that are available for editing (the QY300 cursor appears as a dark block with inverse characters).

The [–1/NO] and [+1/YES] keys are used to edit (change the value of) the parameter at which the cursor is currently located. The [–1/NO] key decrements (decreases stepwise) the value of the selected parameter, while the [+1/YES] key increments (increases stepwise) the parameter. Press either key briefly to decrement or increment the parameter by one, or hold the key for continuous decrementing of incrementing in the specified direction.

The [–1/NO] and [+1/YES] keys are also used to respond to certain prompts when they appear. Press [+1/YES] to go ahead with the operation, or [–1/NO] to

cancel.

5 Numeric Keypad & Enter Key

These keys allow direct entry of numeric values where applicable. Enter the required value via the numeric keys — the entered number will flash on the display — then press the [ENTER] key to actually enter the specified value. The [ENTER] key is also used to enter notes and other events when editing sequence data, and to execute a specified job or disk function. The numeric keys are also used to specify note lengths and dynamics when step recording.

6 Data and Shuttle Dials

These concentric dials have different functions: The inner “data dial” can be used for data entry in the same situations as the [–1/NO] and [+1/YES] keys or numeric keypad. Rotate the dial clockwise to increment the select value or counter-clockwise to decrement. The data dial is handy for quickly covering a large range of values or searching for a specific item or value.

The outer “shuttle dial” is used to move forward or backward in the SONG, PATTERN, or PHRASE mode at varying speed, both during playback and when playback is stopped. The more you rotate the shuttle dial in the clockwise direction the faster you will shuttle forward through the song, pattern, or phrase. The same applies to reverse shuttling in the counter-clockwise direction. If you use the shuttle dial during playback you will be able to monitor the sound while shuttling forward or backward.

7 Function & [SHIFT] Keys

The function keys — [F1] through [F6] — select the corresponding items from the menu that appears on the display immediately above the keys. The available functions are different in each mode.

The [SHIFT] keys are used to access several secondary or “background” functions that you might only need in special situations. For example, the [SHIFT] key can be used when you want to mute all tracks simultaneously instead of muting the tracks one at a time.

8 [EDIT] and [JOB] Keys

The [EDIT] key accesses the QY300 edit mode from the SONG or PHRASE modes, allowing detailed event- by-event editing of the recorded data.

The [JOB] key accesses the various “jobs” available in the SONG, PATTERN, and PHRASE modes. The jobs include functions such as quantization, data copying, track mixing, data modification, name entry, and much more.

The Controls

9 Sequencer Keys

The sequencer keys control recording and playback in the SONG, PATTERN, and PHRASE modes.

REC	Activates the record-ready mode in the QY300 SONG and PHRASE
	modes. The red REC key indicator will light, then recording will begin as
	soon as the [PLAY] key is pressed. The [REC] key can be pressed again
	to cancel the record-ready mode before recording is actually started by
	pressing the [PLAY] key.

PLAY	Starts playback from the current point in the song or phrase if the record-
	ready mode is not active, or recording from the same point if the record-
	ready mode is active.

STOP	Stops playback or recording.

TOP	Instantly returns to the first beginning of the current song or phrase (i.e.
	the first beat of the first measure).

10 Micro Keyboard

This tiny 2-octave keyboard makes it possible to program the QY300 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 QY300 does, however, accept velocity information from an external MIDI keyboard.

When programming an accompaniment the microkeyboard is also used to specify the chord roots and types to be entered.

11 Octave Keys

Since the 2-octave range of the micro-keyboard is not enough for serious music programming, the [OCT DOWN] and [OCT UP] keys 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] key is pressed the pitch of the keyboard is shifted down by one octave, until the lower limit is reached. The [OCT UP] key shifts the pitch of the keyboard up in the same way.

When recording the accompaniment chord tracks in the step mode the octave keys perform several secondary functions, such as specifying “on-bass” or syncopated chords.

The keyboard octave is reset to the ÒnormalÓ range (E2 É F4) when the power is turned off.

12 VOLUME Control

The VOLUME control adjusts the volume of the sound delivered via the OUTPUT and PHONES jacks. Rotate the control toward “MAX.” to increase the volume.

Set the VOLUME control to its minimum setting when connecting the QY300 to a sound system for the first time, then gradually increase 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!).

Song Mode — Part 1: Playback & Control

Song Mode — Part 1:

Playback & Control

Playback in the QY300 SONG mode involves much more than simply starting and stopping playback. You have extensive control over a number of important parameters that dramatically affect the final sound. Use the demo song provided on the QY300 data disk to try out the various features and functions described in this section.

Before you begin, be sure to select the SONG mode by pressing the [SONG] mode button.

Play the Demo Song

If for some reason the demo song has been erased or overwritten, it

can be re-loaded from the supplied QY300 data disk. Follow the instructions on page 56 of this manual to load the all-data type file “DEMO”.

NOTE Actual file names on the data disk supplied with the QY300 may be different from those given in the manual.

The QY300 is shipped with a demonstration song and the required data already loaded. Play the demonstration song (Song number 01) to hear an example of what the QY300 can do, and use the demonstration song data to try out the playback features and parameters described in this chapter.

1 Select Song Number 01

Move the cursor to the song number on the LCD and select song number 01 (use the data dial, the numeric keypad, or the [–1/NO] key to do this).

Mode indicators:

[v] = Record Ready [m] = Stop

[©] = Play or Record

Song number

Song name

Note that the name of the selected song appears to the right of

the song number, and tracks which contain data are indicated by solid blocks below the track numbers (these are actually mute buttons, described below).

Tempo & time signature

Measure number

Song Mode — Part 1: Playback & Control

2 Play the Demo Song

Press the [©] key to start playback. The demo will automatically stop when it finishes, or you can press the [m] key to stop playback at any time.

■ Loop Playback

For continuous “loop” playback — i.e. playback of the song will repeat until stopped by pressing the [m] key — hold the [SHIFT] key while pressing the [©] key. The loop playback symbol ( ) will appear to the right of the song name.

Song Mode — Part 1: Playback & Control

Location

The QY300 lets you locate any measure within a song quickly and easily in three ways:

■ The Measure/Beat Parameter

Measure number				Beat number
Measure number				Beat number

The large number to the left of the colon in this parameter is the measure number and the small number to the right of the shows the number of the current quarter-note beat within the current measure during playback and recording. To go directly to any measure within a song, place the cursor at the measure number and use the [–1/NO] and [+1/YES] keys, the data dial, or the numeric keypad to enter the number of the measure you want to go to. Remember to press [ENTER] after entering a measure number via the numeric keypad. The beat number will always be reset to “1” when you locate a measure.

■ The Shuttle Dial

The outer ring of the QY300 data dial is a “shuttle” dial that lets you move forward or backward through the current song at varying speed, both during playback and when playback is stopped. The more you rotate the shuttle dial in the clockwise direction the faster you will shuttle forward through the song. The same applies to reverse shuttling in the counter-clockwise direction. If you use the shuttle dial during playback you will be able to monitor the sound of the song while shuttling forward or backward. No monitor sound is available if the shuttle dial is used when playback is stopped.

Song Mode — Part 1: Playback & Control

■ The Mark/Jump Function

The mark/jump function lets you “mark” (memorize) up to 10 locations within the current song and “jump” to any one of the marked locations in one easy step.

Marking a Location

To mark the current location, press the [F4] function key (“Mark”). This calls the Mark/Jump display.

When the Mark/Jump display appears, make sure the cursor is located at a clear number (“2” in the example display above) and press [ENTER]. This records the current measure/beat location in the specified Mark/Jump number, and returns you to the SONG mode.

Jumping to a Marked Location

To jump to a marked location, press the [F6] key (“Mark”) from any other location, move the cursor to the appropriate Mark/Jump number (or enter the Mark/Jump number via the numeric keypad), and press [ENTER]. You will immediately be returned to the SONG mode at the specified location.

Clearing a Marked Location

To clear a marked location go to the Mark/Jump display, move the cursor to the Mark/Jump number you want to clear,and press the [F1] function key (“Clear”).

Song Mode — Part 1: Playback & Control

Tempo Control

The QY300 allows precise tempo settings from 25 to 300 beats per minute in fine one-tenth of a quarter-note increments.

Tenths of a beat per minute

Tempo in beats per minute (25 … 300)

The number to the left of the period in the tempo parameter is the number of quarter-note beats per minute, an the number to the right of the period represents tenths of a quarter note. The cursor can be independently placed at the ones or tenths section of the tempo parameter to set as required.

Transposition

The pitch of song playback can be transposed up or down by as much as an octave in semitone increments.

Please note that the transpose parameter does not affect the re-

corded sequence data, only the pitch of playback.

To transpose playback pitch place the cursor at the transpose parameter (“Trs” on the LCD) and set as required. Each increment corresponds to one semitone, and the maximum range is from –12 (down one octave) to +12 (up one octave).

Song Mode — Part 1: Playback & Control

Track Muting, Effect Bypass, & Keyboard Track Settings

The “Chd” (chord) and “Tmp” (tempo) tracks cannot be muted or ef-

fect-bypassed.

The mute “buttons” below each track number on the SONG mode display can be used to mute (turn off) the corresponding track, or bypass the internal effects for that track.

■ Track Muting

Move cursor to the appropriate mute button, then press [+1/YES] to mute that track (you may have to press [+1/YES] twice if the track is effect-bypassed — see below), or press [–1/NO] to turn a muted track back on. The letter “M” appears in the mute buttons of tracks that are muted. Tracks that do not contain data cannot be muted, and their mute buttons appear as white blocks with a dotted outline rather than solid dark blocks. In the display below, for example, tracks 1 through 4 are muted, tracks 5 through 10 and the tempo track (“Tmp” on the display) contain data and are on, while the rest contain no data. The cursor is currently located at the track 4 mute button.

The mute buttons are 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.

This function can be very handy when you want to “solo” monitor

a track: first mute all tracks, then turn on only the track you want to hear.

SimultaneousrackT Mute/Un-mute

You can mute or un-mute all tracks simultaneously by placing the cursor at any mute button and pressing the [+1/YES] or [–1/NO] key while holding the [SHIFT] key — [+1/YES] to mute, or [–1/NO] to un-mute.

■ Effect Bypass

To bypass the internal effects for a track (see next section), move the cursor to the mute button for that track and, from the un-muted state, press the [–1/NO] button. A “–” (minus) symbol appears in the mute buttons aill appear in the mute button. All tracks can be set to effect-bypass or normal simultaneously in the same as described above: hold one of the [SHIFT] keys while pressing the [–1/NO] button to bypasss all tracks, or the [+1/YES] key to return all tracks to the normal non-bypassed state.

Song Mode — Part 1: Playback & Control

■ Keyboard Track

Track 1 becomes the keyboard track when the cursor is located at

the “Pat”, “Chd”, or “Tmp” track.

When the cursor is located at a specific track number/mute button (the track number is inverted), that track becomes the QY300 “keyboard track” — i.e. the track played by the micro-keyboard. The keyboard track setting is maintained even if the cursor is moved to other parameters on the display. The current keyboard track setting determines which internal tone generator channel will be played by the micro-keyboard, and via which MIDI channel the note data corrresponding to what is played on the micro-keyboard will be output — according to the channel assignments made in the Output Select display (Z page 18).

Voices, Assignment & Effects

• Press the [F6] function key (“Exit”) from any of the voice-mode

displays to return to the normal SONG mode display.

•The master (“M”) fader also affects the pattern tracks — page 65.

The QY300 has 128 voices and 8 drum kits that can be selected, played, and assigned to the 16 SONG mode sequencer tracks via the voice display. The voice mode also features a graphic on-screen “mixer” that has pan pots and faders for each tone-generator channel as well as reverb, tuning, and pitch bend range controls (tone generator channel to sequencer track assignments are described in the “Channel Assignments” section, Z page 18).

Press the [F3] function key (“Voice”) to select the voice mode and then, if necessary, press [F1] (“Mixer”) to select the mixer display.

■ Try Out the Voices

• In any QY300 mode, the micro keyboard plays the voice assigned to the

currently selected track. A MIDI keyboard connected to the MIDI IN connector, however, will only play the voice assigned to the track that is set to receive on the MIDI channel that the external keyboard is transmitting on. MIDI track assignments are discussed on page 18.

•To conform to General MIDI protocol, only the drum voices can be assigned to track 10.

•See the “VOICE LISTS AND MIDI DATA” booklet (Z page 3) for a complete list of note assignments (i.e. which drum instruments are assigned to which notes) for all 8 drum kits.

If you’re playing the micro keyboard, use the octave keys to access the full range

of instruments in each drum kit.

Move the cursor to the channel-1 voice parameter immediately below “1” on the display (as in the display shown above). Note that the name of the voice currently assigned to channel 1 appears in the upper right corner of the display, while an abbreviation indication the voice category appears at the voice parameter location (the voices and their category abbreviations are listed on page 2 of the separate “VOICE LISTS AND MIDI DATA” booklet). Play the micro keyboard and you’ll hear that voice. Use any of the QY300’s data entry methods to select and try out the various voices.

■ The Pan Pots

The pan pots actually cover a ± 7 range relative to their default positions,

so they may not always go from full left to full right.

Song Mode — Part 1: Playback & Control

Like the pan pots on a mixing console, the voice display 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 any data entry method to set the pan position. The graphic pan pot will rotate to the corresponding position. The pan positions also have numeric values (1 through 7) that appear in the upper right corner of the display: “Left 7” is full left and “Right 7” is full right (see “DETAIL”, below). Hold the [SHIFT] key while setting a pan pot to change the settings of all pan pots by the same amount.

■ The Faders

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!

Each track has a graphic “fader” that can be set to produce the best “mix” (balance) between the various voices. Position the cursor at a fader, then use any data entry method 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. Hold the [SHIFT] key while setting a fader to change the settings of all faders by the same amount. The leftmost fader is a “master” fader which can be used to adjust the overall volume level (including the pattern track).

■ Reverb

The QY300 features an internal digital signal processor which can be used to apply high-quality reverb and similar effects to the sequencer-track voices. In the voice mode press the [F2] function key (“Reverb”) to see the reverb controls.

The voice parameters in this display can be used to change voice assign-

ments in the same way as in the Mixer display.

Song Mode — Part 1: Playback & Control

A fast way to select the effect type parameter when the cursor is lo-

cated at any fader is to move the cursor down past the fader.

The reverb settings apply only to the QY300’s internal voices — i.e.

they will not affect the sound of an external tone generator or synthesizer being driven by the QY300.

The effect type parameter on the left side of the display selects the type of effect to be applied to the QY300 sound. 8 effect types are available, as listed in the chart below.

Hall 1	This effect simulates the natural reverberation of a fairly large concert
	hall.

Hall 2	An even larger hall than the Hall 1 program, with a correspondingly
	longer reverb time.

Room 1	This setting is ideal when you want a warm reverb effect but not as
	“expansive” as the Hall 1 and Hall 2 effects. Simulates the type of reverb
	you might experience in a medium-size room or club.

Room 2	A slightly tighter reverb than the Room 1 effect, giving the impression of
	a smaller room.

Plate 1	A short, tight reverb sound similar to effect produced by studio plate
	reverb units.

Plate 2	Another plate delay simulation, with a well-defined initial delay “slap”.

Delay 1	A stereo multi-delay effect with well-defined repeats.

Delay 2	In this effect a very dense series of delays is more like the early-reflec-
	tions portion of a reverb effect than individual repeats.

The faders set the reverb level for the corresponding tracks. Position the cursor at a fader, then use any data entry method to set the reverb level. The graphic fader will move to the corresponding position (higher for higher reverb level, and lower for lower reverb level). The fader positions also have numeric values (00 through 08) that appear in the upper right corner of the display: “00” is no reverb and “08” is maximum reverb level. Hold the [SHIFT] key while setting a fader to change the settings of all faders by the same amount.

■ Coarse & Fine Tuning

The voice mode includes two displays that allow individual tuning of the sequencer tracks. Press the [F3] function key (“CosTun”) to access the coarse tuning controls or the [F4] function key (“FinTun”) to access the fine tuning controls.

• The voice parameters in these displays can be used to change

voice assignments in the same way as in the Mixer display.

•Since track 10 is only used for drums and drums are not pitched voices, no tuning fader is provided for the drum track in either the coarse or fine tuning displays.

The tuning settings apply only to the QY300’s internal voices — i.e.

they will not affect the sound of an external tone generator or synthesizer being driven by the QY300.

Song Mode — Part 1: Playback & Control

The faders in the coarse tuning display individually tune the corresponding tracks over 4-octave range (± 2 octaves) in semitone increments, while those in the fine tuning display tune the corresponding tracks over approximately a whole tone (± 1 semitone) in one-cent increments (100 cents = 1 semitone) Position the cursor at a fader, then use any data entry method to set the coarse or fine tuning as required. The graphic fader will move to the corresponding position (above center when tuning up and below center when tuning down). The fader positions also have numeric values that appear in the upper right corner of the display: in the coarse tuning display the range is from “–24” (down two octaves) through “00” (standard pitch) to “+24” (up two octaves). In the fine tuning display the range is from “–100” (down a semitone through “00” (standard pitch) to “+99” (up a semitone). Hold the [SHIFT] key while setting a fader to change the settings of all faders by the same amount.

■ Pitch Bend Range

The pitch bend range display makes it possible to individually set the pitch bend range of the sequencer tracks — a valuable feature when programming the QY300 from an external keyboard or other controller which has a pitch bend wheel.

In the voice mode press the [F5] function key (“PbRang”) to access the pitch bend range controls.

• The voice parameters in this display can be used to change voice

assignments in the same way as in the Mixer display.

•Since track 10 is only used for drums and drums are not pitched voices, no pitch bend range fader is provided for the drum track.

Song Mode — Part 1: Playback & Control

The pitch bend range settings apply only to the QY300’s internal

voices — i.e. they will not affect the sound of an external tone generator or synthesizer being driven by the QY300.

The faders set the maximum pitch bend range for the corresponding tracks over a 2-octave range in semitone increments. Position the cursor at a fader, then use any data entry method to set the pitch bend range. The graphic fader will move to the corresponding position (higher for greater pitch bend range). The fader positions also have numeric values (00 through 24) that appear in the upper right corner of the display: “00” allows no pitch bend while “24” allows the maximum pitch bend range of 2 octaves. Hold the [SHIFT] key while setting a fader to change the settings of all faders by the same amount.

Channel Assignments

The Output Select display, accessed by pressing the [F2] function key (“Output”) from the main SONG mode display, determines the QY300’s track-to- channel assignments.

The “MIDI CH” settings determine which MIDI channels are assigned to the corresponding tracks for both reception and transmission.

The “TG CH” settings determine which internal tone generator channel (this is unrelated to the MIDI channel) will be controlled by the corresponding sequencer track. This type of setting is provided because in some cases it may be necessary to control a single channel of the internal tone generator from two or more sequencer tracks.

Playback Effects

The QY300 provides a number of “playback effects” which allow the playback data to be modified in a number of ways. The data is actually modified “on the fly” during playback — the data in memory is not affected.

■ Quantization

Quantization aligns notes in the specified track to the nearest specified beat — usually to tighten up sloppy timing. Use it judiciously, however, because timing that is too perfect can sound cold and mechanical — unless, of course, you’re specifically aiming for a cold, mechanical feel.

After selecting the playback effect mode from the main SONG display by pressing the [F1] function key (“Effect”), press the [F2] function key (“Quant”) to select the quantization display.

Song Mode — Part 1: Playback & Control

The “Val” (value) parameters for each track (the rotary controls) determine to what beats the note data in the corresponding track will be aligned. If you select “d”, for example, all notes in the track will be aligned to the nearest 16th-note beat, to a degree determined by the “strength” parameter. Hold the [SHIFT] key while setting a value parameter to change all value parameters by the same amount.

Value	Effect
Off	No quantization. Swing settings also ignored.

	Aligns to the nearest 32nd note.

Aligns to the nearest 16th note triplet.

		3
		3
				Aligns to the nearest 16th note.

				Aligns to the nearest 8th note triplet.
		3		Aligns to the nearest 8th note triplet.
		3
				Aligns to the nearest 8th note.

	3			Aligns to the nearest quarter note triplet.
	3
				Aligns to the nearest quarter note.

+				Aligns to the nearest 16th note + 16th note triplet.
			3
+				Aligns to the nearest 8th note + 8th note triplet.
			3

The “Str” (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. Inbetween settings produce a corresponding shift in the position of all off-beat notes to the nearest specified beat value. With a value setting of “d” and a strength setting of 50%, for example, a note that does not fall precisely on an 8th-note beat will be shifted about halfway to nearest 8th-note beat.

The faders set the strength value for the corresponding tracks. Position the cursor at a fader, then use any data entry method to set the strength as required. The graphic fader will move to the corresponding position. The specified strength setting will appear in the upper right corner of the display. Hold the [SHIFT] key while setting a fader to change the settings of all faders by the same amount.

Song Mode — Part 1: Playback & Control

■ Swing

The Swing effect can only be used when playback quantization (above) is active. This effect produces a “swing” feel by shifting the timing of “back beats”, as specified by the quantize effect. 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), then the even-numbered back beats will be shifted.

The “Rat” (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). The faders set the amount of swing for the corresponding tracks. Position the cursor at a fader, then use any data entry method to set the swing rate as required. The graphic fader will move to the corresponding position. The current swing setting will appear in the upper right corner of the display. Hold the [SHIFT] key while setting a fader to change the settings of all faders by the same amount.

The “Vlc” (velocity) and “Gat” (gate time) parameters increases or decreases the velocity and gate times (length) of all notes affected by the swing effect. The range of both parameters is from 1% to 200%. The “Vlc” parameter sets the ratio between the lower and higher velocity values. A setting of “100%” maintains the original relationship between the notes, lower values produce a narrower dynamic range, and higher values produce a broader dynamic range. The “Gat” 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.

Song Mode — Part 1: Playback & Control

■ Transpose & Clock Shift

Since the Clock Shift parameters shift the timing of all notes and

other events in the specified track forward or backward, they 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 Clock Shift to correct timing that is off in the first place.

The “Trans” controls in this display transpose all notes in the corresponding tracks up or down in semitone increments. The “Shift” faders move all notes and events in the corresponding tracks forward or backward by the specified number of clocks (96 clocks per 1/4 note).

The rotary “Trans” controls set the amount of transposition for the corresponding tracks. The transpose range is from “–99” (full left) through “+00” (center position) to “+99” (full right), with each increment corresponding to a semitone. The current numeric transpose setting for the selected track appears in the upper right-hand corner of the display.

The faders set the amount of clock shift for the corresponding tracks. Position the cursor at a fader, then use any data entry method to set the clock shift as required. The graphic fader will move to the corresponding position — above center for positive clock shift and below center for negative clock shift. The current clock shift setting will appear in the upper right corner of the display — the numeric range is from “–999” through “0” to “+999”. Hold the [SHIFT] key while setting a fader to change the settings of all faders by the same amount.

Song Mode — Part 1: Playback & Control

■ Gate Time & Velocity Modify

•The gate time can be modified to give the

entire track a more staccato or legato feel, as required.

•Modifying the velocity is a great way to “soften” the sound of a track that has too great a variation between the softest and loudest notes, or, conversely, to add extra punch to a dull-sounding track. Experiment with the parameters to get a feel for what they do.

The parameters in this screen make it easy to increases or decreases the gate times (length) and velocity of all notes in the specified track.

The “G.Rat” (gate rate) 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 (minimum 1%), and higher values produce a broader gate time range (maximum 200%).

The “V.Rat” (velocity rate) parameter sets the ratio between the lower and higher velocity values. A setting of “100%” maintains the original relationship between the notes, lower values produce a narrower dynamic range (minimum 1%), and higher values produce a broader dynamic range (maximum 200%).

The “V.Ofs” (velocity offset) parameters determines the amount of velocity change. “–” settings reduce the velocity while “+” settings increase the velocity. The range is from “–99” through “00” to “+99”.

■ The “Per Track” Display

In addition to the playback effect displays described above the QY300 provides a “per track” display which shows all parameters for all effects for one track at a time. Only the sound of the selected track will be monitored when this display is selected. Press the [F1] function key (“perTR”) to select the per track display.

The individual effects and parameters are exactly the same as those described above. To select a track, move the cursor to the track number bar at the top of the display, then move the cursor sideways to select the track you want to program.

+ 111 hidden pages