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.
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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
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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
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vertriebenen Produkte.
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
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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.
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 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.
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:
PLEASE KEEP THIS MANUAL
92-BP
Model
Serial No.
Purchase Date
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Contents
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
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Contents
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
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
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
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
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Precautions
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.
iv
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.
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Precautions
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.).
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.
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. Mag-
netic 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
YAMAHA is not responsible for damage caused by improper handling or operation.
v
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About This Manual
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 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.
must read — i.e. important steps or
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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.
Power & Connections
Cable Clip
1
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Power & Connections
1
2
3
4
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 left- and 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.
2
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Audio 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
Make sure that both the QY300 and your sound system are turned OFF
when making connections.
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).
Power & Connections
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 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.
and key velocity
MIDI INMIDI OUT
MIDI Keyboard
QY300
3
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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.
QY300
MIDI OUT
MIDI IN
MIDI THRU
Tone Generator
MIDI IN
Tone Generator
4
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The Controls
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).
3 3 3
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).
5
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The Controls
3
12
6
7
4
3 3 3
89
5
10
11
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.
6
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The Controls
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 event­by-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.
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 record­ready 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 key- board 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!).
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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
Measure number
Tempo & time signature
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).
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Page 17
Loop Playback
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 [
For continuous “loop” playback — i.e. playback of the song will repeat until stopped by pressing the [
©] key. The loop playback symbol ( ) will appear to the right of the song
[
name.
m] key to stop playback at any time.
m] key — hold the [SHIFT] key while pressing the
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Page 18
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
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.
Beat number
The Shuttle Dial
10
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.
Page 19
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.
Song Mode — Part 1: Playback & Control
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”).
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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.
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.
Tenths of a beat per minute
Tempo in beats per minute (25 … 300)
Transposition
Please note that the
transpose parameter
does not affect the re­corded sequence data, only the pitch of playback.
The pitch of song playback can be transposed up or down by as much as an octave in semitone increments.
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).
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Song Mode — Part 1: Playback & Control
Track Muting, Effect Bypass, & Keyboard Track Settings
The “Chd” (chord) and
“Tmp” (tempo) tracks
cannot be muted or ef­fect-bypassed.
Track Muting
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.
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.
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.
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.
Effect Bypass
Simultaneous Track 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.
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.
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Song Mode — Part 1: Playback & Control
Keyboard 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 chan-
Track 1 becomes the keyboard track when
the cursor is located at the “Pat”, “Chd”, or “Tmp” track.
nel 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
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.
• Press the [F6] function key (“Exit”) from any
displays to return to the normal SONG mode display.
• The master (“M”) fader also af-
of the voice-mode
fects the pattern tracks — page 65.
Try Out the Voices
• In any QY300 mode, the micro keyboard plays
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 proto-
• See the “VOICE LISTS AND MIDI
of instruments in each drum kit.
the voice assigned to the
col, only the drum voices can be assigned to track 10.
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
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.
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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.
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!
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.
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 voice parameters in
this display can be used
to change voice assign­ments in the same way as in the Mixer display.
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.
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Song Mode — Part 1: Playback & Control
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 2 An even larger hall than the Hall 1 program, with a correspondingly
Room 1 This setting is ideal when you want a warm reverb effect but not as
Room 2 A slightly tighter reverb than the Room 1 effect, giving the impression of
Plate 1 A short, tight reverb sound similar to effect produced by studio plate
A fast way to select the
effect type parameter
when the cursor is lo­cated at any fader is to move the cursor down past the fader.
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-
hall.
longer reverb time.
“expansive” as the Hall 1 and Hall 2 effects. Simulates the type of reverb you might experience in a medium-size room or club.
a smaller room.
reverb units.
tions portion of a reverb effect than individual repeats.
The faders set the reverb level for the corresponding tracks. Position the cursor
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.
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.
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Page 25
• 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.
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.
In the voice mode press the [F5] function key (“PbRang”) to access the
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Song Mode — Part 1: Playback & Control
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,
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.
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-to­channel assignments.
Playback Effects
Quantization
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.
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 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.
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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.
3
3
3
+
3
+
3
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.
Aligns to the nearest 16th note + 16th note triplet.
Aligns to the nearest 8th note + 8th note triplet.
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.
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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.
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Page 29
Transpose & Clock Shift
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).
Song Mode — Part 1: Playback & Control
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 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.
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Song Mode — Part 1: Playback & Control
Gate Time & Velocity Modify
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 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 “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 veloc-
ity 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.
22
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.
Page 31
Song Mode — Part 2: Basic Recording
Song Mode — Part 2: Basic Recording
The QY300 SONG mode provides two main record modes for the 16 sequencer tracks: realtime and step record. When you use the realtime record mode the QY300 records exactly what you play as you play it. In the step record mode notes can be entered one at a time. There’s also a “multi” real-time record mode in which all 16 sequencer tracks can be recorded simultaneously, and a punch-in real-time record mode in which you can re-record any specified section of an already-recorded track. The step record mode lets you record extremely fast or complex passages that would be difficult or impossible to play in real time. It’s also useful for adding finishing touches to tracks originally recorded in real time.
Realtime Recording
In the realtime record mode you select the track you want to record , and then play the part on the micro-keyboard or an external MIDI keyboard in real time.
If for some reason all 10 songs contain data and
you want to start re­cording with an empty song, use the “Clear Song” job described on page 53 to clear a song for recording. If you want to save the existing song data to floppy disk before clearing, see “Disk Operations” page 119.
1 Select a Song
Place the cursor at the song number and use any data entry method to select the song number you want to record (01 … 10). If the song doesn’t contain any data yet, a row of asterisks will appear to the right of the song number (********).
Song number
Asterisks indicate song contains no data.
2 Make the Required Voice Assignment(s)
Go to the voice mode ([F3] key) and assign the voice(s) you want to use to the track(s) you intend to record, as described on page 14.
Press the [F6] key (“Exit”) to return to the SONG mode when done.
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Song Mode — Part 2: Basic Recording
3 Select the 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 (01 … 16). Move the cursor vertically to move to other areas of the screen — the selected track will remain highlighted.
4 Engage the Record Ready Mode
Press the [v] key to engage the record ready mode. The red LED above the
v] key will light.
[
Track 1 selected.
It’s sometimes easier to
set a slow tempo for
realtime recording, so you have plenty of time to enter the data.
5 Select the Realtime Record Mode
Press the [F4] function key (“REAL”) to select the realtime record mode.
6 Select the Record Tempo and Time Signature
Move the cursor to the tempo and time signature parameters and set as re­quired. The time signature
cannot be changed if the song already contains data.
Tempo: 25.0 … 300.0
Time signature: 1/16 … 16/16, 1/8 … 16/8, 1/4 … 8/4
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QY300 realtime recording
is “replace” recording,
meaning that any previous data in the a track will be erased and replaced when new data is re­corded to that track. This is in con­trast to “overdub” recording in which new data is recorded over the existing data and the existing data remains intact. In the QY300 step recording, described later, allows new material to be added to a track without erasing the previous data. You can also use the “Mix Track” job (page 50) to mix data from two tracks and place the result on a sin­gle track.
Song Mode — Part 2: Basic Recording
7 Record
Press the [©] key to begin recording. The metronome will sound and you’ll be given a two-measure count-in prior to the first measure actually recorded. The count-in is also indicated by negative numbers in the “Meas” parameter. If a 4/4 time signature is selected, for example, the count-in will run from measure “–08” to “–01”, then recording will begin from measure “001”.
Negative numbers for two-measure count-in.
The “Click” parameter determines whether the metronome sounds during recording, playback and recording, or at all times. The metronome can also be turned off. See “Click (Metronome) Settings” on page 26.
Play the required part either on the micro-keyboard or via an external MIDI keyboard.
See the “Editing Songs &
Phrases” section, page
104, for information on how to edit recorded song data.
8 Stop Recording
Press the [m] key to stop recording. The normal SONG play mode is automati­cally re-selected when you stop recording, and you’ll automatically be re­turned to the top (first measure) of the song.
Asterisks have disappeared, indicating that the song now contains data. Use the “Song Name” job (page 54) to give the song an original name.
Solid mute button indicates that track 1 contains data.
9 Record Other Tracks As Required
Repeat steps 2 through 8 to record other sequencer tracks, as required.
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Song Mode — Part 2: Basic Recording
The click mode parameter in the SONG display determines whether the metro­nome sounds only during recording, during both recording and playback, at all times, or not at all. Move the cursor to this parameter and set as required using the data dial or [–1/NO] and [+1/YES] keys.
Click (Metronome) Settings
The “Click” (metronome) parameter
The Click beat parameter
Off Metronome off. Rec Metronome sounds during realtime recording only. Ply Metronome sounds during realtime recording and playback. All Metronome sounds at all times.
The click beat parameter determines on what beat the metronome will sound (the [PLAY] key indicator will also flash on the specified beat). Move the cursor to this parameter and set as required using the data dial or [–1/NO] and [+1/YES] keys.
   
The metronone sounds on every whole note beat.
Punch-in Recording
Punch-in recording is a special type of realtime recording in which you specify a range of measures you want to record, leaving all other material on the track intact. This is particularly useful for re-recording a short segment of an other­wise perfect track — so you don’t have to re-record the entire track.
The metronone sounds on every sixteenth note. The metronone sounds on every eighth note. The metronone sounds on every quarter note. The metronone sounds on every half-note.
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Song Mode — Part 2: Basic Recording
1 Select the Punch-in Record Mode
For punch-in recording you must first select the punch-in mode after engaging the record ready mode (step 4 of the realtime record process, described above). Press the [F6] function key (“PUNCH”) to select the punch-in record mode.
2 Specify the Punch-in & Punch-out Points
Specify the “punch-in” and “punch-out” points, the punch-in point being the measure and beat at which recording will begin, and the punch-out point being the measure and beat at which recording will end.
Punch-in measure & beat
Move the cursor to the punch-in and punch-out measure and beat parameters and set as required. Then, before actually starting recording, set the measure parameter a few measures before the punch-in point so you’ll be ready to record when the punch-in point is reached.
Punch-out measure & beat
3 Start the Punch-in Record Operation
Start the punch-in operation by pressing the [©] key (there is no count-in when punch-in recording is started). Recording will begin automatically at the specified punch-in point.
4 Stop the Punch-in Record Operation
Recording will stop, but playback will continue, when the punch-out point is reached. Press the [
In the example display above, playback will begin at the first measure, recording will begin on the first beat of the third measure and then stop on the fourth beat of the fifth measure.
m] key to stop playback.
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Song Mode — Part 2: Basic Recording
Multi-channel Recording
The “Multi” recording mode allows simultaneous realtime (or punch-in) re­cording of all 16 sequencer tracks. This can be useful when you want to record complete sequences from another sequencer or music computer which is not data-compatible with the QY300.
Select the multi mode by pressing the [F1] function key (“MULTI”) after selecting either the realtime or punch-in record mode (step 5 of the realtime record process, described above). The record procedure is exactly the same as that described for realtime or punch-in recording, except that all 16 sequencer tracks are recorded simultaneously (assuming, of course, that appropriate MIDI data is received on the corresponding MIDI channels — see “Channel Assignments” on page 18).
Step Recording
The step record mode lets you enter data note-by-note, with precise control over the timing, length, and loudness of each note. You can record complete tracks using the step mode, or use it to brush-up and add data to existing tracks.
1 Select a Song
Place the cursor at the song number and use any data entry method to select the song number you want to record (01 … 10). If the song doesn’t contain any data yet, a row of asterisks will appear to the right of the song number (********).
Asterisks indicate song contains no data.
2 Make the Required Voice Assignment(s)
Go to the voice mode ([F3] key) and assign the voice(s) you want to use to the track(s) you intend to record, as described on page 14.
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Song Mode — Part 2: Basic Recording
Press the [F6] key (“Exit”) to return to the SONG mode when done.
3 Select the 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 … 16. Move the cursor vertically to move to other areas of the screen. The selected track will remain highlighted.
Track 1 selected.
4 Engage the Record Ready Mode
Press the [v] key to engage the record ready mode. The red LED above the
v] key will light.
[
5 Select the Step Record Mode
Press the [F5] function key (“STEP”) to select the step record mode.
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Song Mode — Part 2: Basic Recording
6 Set the Time Signature (new songs only)
Move the cursor to the time signature parameter and set as required. The time signature
7 Record
Press the [©] key to begin recording. The step record display shown below will appear.
cannot be changed if the song already contains data.
Time signature: 1/16 … 16/16, 1/8 … 16/8, 1/4 … 8/4
Current note pointer
Keyboard display
3
3
3
Note-entry display
Graphic symbols for: , , , , , , ff,
Measure/beat/clock display
Time signature
Velocity: 000 … 127, ext.
Gate time: Stac, Norm, Slur
8 Set the Note Parameters as Required
Move the cursor to the note length, velocity, and gate time parameters and set as required.
When the cusor is located at the note length parameter the numeric keypad can be used to enter the note lengths marked on the keys. The dot key (the [0] key) can be used to add one or more dots to the currently selected note length. In-between values can be entered using the [–1/NO] and [+1/YES] keys or the data dial, or by using the numeric keypad while holding a [SHIFT] key.
When the cursor is located at the velocity parameter, the numeric keypad can be used to directly enter the dynamic values marked on the keys (pp, mf, etc.). In-between values can be entered using the [–1/NO] and [+1/YES] keys or the data dial, or by using the numeric keypad while holding a [SHIFT] key.
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Song Mode — Part 2: Basic Recording
9 Enter a Note
Once the note parameters have been specified, the note can be entered simply by playing the appropriate key on the micro-keyboard (or on your external MIDI keyboard). A note symbol appears on the note display an the note pointer advances to the next note position. The note symbol always appears as a 1/4-note, regardless of the actual note entered (chords are also indicated by the 1/4-note symbol). Here’s how the display will look after two 8th notes have been entered.
Chords can be entered simply by moving the note pointer back to a note and entering another note at the same location (this can be repeated as many times as necessary. See “Moving Around In the Note Display”, below.
The Note & Keyboard Displays
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.
Note pointer
1st beat
2nd beat 3rd beat
The keyboard display shows the pitch(es) of the note(s) at the current note pointer position. In the example below the keyboard displays that a chord (C major) consisting of three notes exists at the current note pointer location.
Each dash represents a 32nd note (12 clocks)
4th beat
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Song Mode — Part 2: Basic Recording
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 sym­bol. When you move the note pointer past the end of the note display, the next measure will appear. If you move past the last measure in the phrase, the first measure of the phrase will appear.
Moving Around In the Note Display
Cursor moved to note pointer (the note pointer appears filled).
The Step Mode Function Keys
The six function keys immediately below the display provide access to a number of handy functions in the step record mode.
[F1] – “Rest” Enters a rest of the currently selected note length at the note pointer position. [F2] – “Tie” Lengthens the previously entered note by “tying” another note of the same
[F3] – “Delete” Deletes the note or chord at the note pointer. [F4] – “BkDelt” Moves the note pointer backward by the currently selected note length and
[F5] – “LoKey” Displays the lowest range of the keyboard (scrolls the keyboard display two
[F6] – “HiKey” Displays the highest range of the keyboard (scrolls the keyboard display two
length and pitch to it. An alternative method is simply to change the length of the note as required via the note length keys on the numeric keypad.
deletes the corresponding note or chord.
octaves to the right). Press again to return to the normal “centered” display.
octaves to the left). Press again to return to the normal “centered” display.
The Measure/Beat/Clock Display
The “Meas” area of the step record display shows the current position of the note pointer in measures, 1/4-note beats, and clocks (there are 96 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.
32
1-1-00
Clock: 96 clocks per 1/4-note
Beat: 1 4 if 4/4 time
Measure number
Page 41
Song Mode — Part 2: Basic Recording
; Complete the Track
See the Editing Songs & Phrases section,
page 104, for informa­tion on how to edit recorded song data.
Repeat steps 8 and 9 until the current track is complete, then press [m] to stop recording.
Drum Assignment & Used Memory Displays
The QY300 provides “Drum Assignment” and “Used Memory” displays which can provide valuable information when recording.
Press the left [OCT DOWN] and [OCT UP] keys simultaneously to see the current pitch of the micro-keyboard (as determined by the [OCT DOWN] and [OCT UP] keys) and a list of the drum instruments currently played by the micro-keyboard keys.
Drum instruments played by the corresponding micro-keyboard black keys.
lowest key on the micro-keyboard
The current pitch of the
Micro-keyboard keys
Drum instruments played by the corresponding micro-keyboard white keys.
Press the right [OCT DOWN] and [OCT UP] keys simultaneously to see how much of the available QY300 memory is currently used. When the bar ap­proaches 100% it is advisable to save data you want to keep to floppy disk, and clear song data that you don’t need at the moment to make as much room as possible for the current recording operation.
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The Song Jobs
The Song Jobs
The song mode includes 24 song “jobs” that perform a variety of important functions. To access and use the song jobs, press the [JOB] key while in the SONG play mode. This calls the song job list. You can select any job on the list simply by moving the cursor to the required job (use the cursor keys or the data dial) and pressing [ENTER]. You can also move up or down the list in 1-page steps by using the cursor [ An alternative method is to enter the job’s number via the numeric keypad and press [ENTER].
Returning to the SONG Mode
] and [] keys while holding one of the [SHIFT] keys.
00: Undo/Redo
The [F6] function key (“Exit”) 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 [F6] function key (“Exit”) while holding one of the [SHIFT] keys to directly return to the SONG mode.
This job will “undo” any other 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).
The last operation
performed is “forgotten”
by the UNDO job whenever the SONG or PHRASE step record mode is engaged, even if the step record mode is exited without actually recording any data.
34
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 opersation 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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
Page 43
01: Quantize
The Song Jobs
Aligns notes in the specified track to or close to the nearest specified 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.
First measure Last measure
M001:1~999:4
Last beatFirst beat
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.
3
3
3
+
+
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.
Aligns to the nearest 16th note + 16th note triplet.
3
Aligns to the nearest 8th note + 8th note triplet.
3
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The Song Jobs
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. 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 “Sens.” parameter (sensitivity) determines the range over which notes
will be quantized. This parameter can be set from “–100%” through “0%” to “+100%”. at “0%” no quantization will occur. A setting of either “–100%” or “+100%” will cause all notes to be quantized. Refer to the graph below for an idea of how the quantize range is determined by other settings. The heavy solid lines in the sensitivity graph represent the range over which notes will be quantized. At a setting of “+50%”, for example, only notes that fall within the range that is less than halfway to the quantize range of the adjacent note will be quantized. Notes outside this range and those of adjacent notes will be left un-quantized.
Nearest specified beat
+100%
+50%
Sensitivity 0%
–50%
–100%
Quantize value (note length)
The “Swing Rate” parameter produces a “swing” feel by shifting the timing of “back beats”, as specified by the quantize parameters. 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).
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The “Gate Time” and “Velocity” parameters increase or decrease the gate
times (length) and velocity of all notes affected by the swing parameter. The range of both parameters 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. The “Velocity” 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.
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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
02: Modify Velocity
The Song Jobs
Increases or decreases the velocity values of all notes in the specified 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 first
measure:beat and last measure:beat of the range to be modified.
First measure Last measure
M001:1~999:4
Last beatFirst beat
The “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, and higher values produce a broader dynamic range. The range is from “0%” to “200%”.
The “offset” parameters determines the amount of velocity change. “–”
settings reduce the velocity while “+” settings increase the velocity. The range is from “–99” through “0” to “+99”.
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The Song Jobs
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.
New Velocity = Original Velocity × rate/100 + offset
(If the right side of the equation is less than 0, the New Velocity becomes 1.)
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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
03: Modify Gate Time
Increases or decreases the gate times (length) of all notes in the specified 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 first
measure:beat and last measure:beat of the range to be modified.
First measure Last measure
M001:1~999:4
Last beatFirst beat
The “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, and higher values produce a broader gate time range. The range is from “0%” to “200%”.
The “offset” parameter determines the amount of gate time modification.
“–” settings shorten the gate time while “+” settings increase the gate time. The range is from “–99” through “0” to “+99”.
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The Song Jobs
New Gate Time = Original Gate Time × rate/100 + offset
(If the right side of the equation is less than 0, the New Gate Time becomes 1.)
The Modify Gate Time
job can be used to
produce a more stac-
cato or legato feel, as required. Experiment with the parameters to get a feel for what they do.
04: Crescendo
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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
Produces a gradual crescendo (increase in note velocity) or decrescendo (de­crease in note velocity) in the specified track over the specified range of measures.
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.
First measure Last measure
M001:1~999:4
Last beatFirst beat
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.
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The Song Jobs
05: Transpose
Negative values cause a corresponding decrease in velocity, therby producing a decrescendo rather than a crescendo. The range of this parameter is from “–99” through “0” to “+99”.
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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
Transposes all notes in the specified part up or down by the specified number of semitones.
Of course, you can transpose all parts 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.
The “TR” parameter selects the track to be affected by the Transpose job: “01” … “16” for the sequncer tracks, or “Chd” 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.
First measure Last measure
M001:1~999:4
Last beatFirst beat
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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
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06: Shift Note
The Song Jobs
Changes the pitch of all specified notes within the specified range of measures in the specified track.
The “TR” parameter selects the track to be affected by the Shift Note 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.
First measure Last measure
M001:1~999:4
Last beatFirst beat
The source note parameter determines which notes in the specified measure range will be shifted, and the destination note parameter determines to what note they will be shifted to. The range of both parameters is from “C-2” to “G8”. The notes can be enter via the micro-keyboard, the data dial, or the [–1/NO] and [+1/YES] keys.
Destination noteSource note
After setting the parameters as required press [ENTER] to execute the Shift Note 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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
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The Song Jobs
07: Shift Clock
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 Move 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 (“+” set- tings) to create a more “laid back” feel, or backward (“–” set- tings) to produce a more “driv- ing” feel. Of course, you can also use Clock Move to correct timing that is off in the first place.
Moves all notes and events in the specified track and range of measures for­ward or backward by the specified number of clocks (96 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 “Tmp” 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.
First measure Last measure
M001:1~999:4
Last beatFirst beat
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 “–999” through “0” to “+999”.
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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
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08: Chord Sort
The Song Jobs
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.
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.
First measure Last measure
M001:1~999:4
Last beatFirst beat
The “Type” parameter determines whether the chords in the specified range are arrange from lowest to highest note (“Norm”) or from highest to lowest note (“Rev”).
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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
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The Song Jobs
Destination measure
Copy numberDestination beat
09: Copy Event
Copies all data from a specified range of measures from one track of a speci­fied song to the specified measure in the specified track of the specified song. 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 “Song” parameter selects the source song — i.e. the song from which the data is to be copied: “01” … “10”.
The lower “Song” parameter selects the destination song — i.e. the song
to which the data is to be copied: “01” … “10”.
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, “Pat” for the accompaniment pattern track, “Chd” for the accompaniment chord track, “Tmp” for the tempo track, or “All” for all tracks. When “Pat”, “Chd”, Tmp” or “All” 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, “Pat” for the accompaniment pattern track, “Chd” for the accompaniment chord track, “Tmp” for the tempo track, or “All” for all tracks. When “Pat”, “Chd”, Tmp” or “All” 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.
job will be completely erased and replaced by the copied data.
The time signature is copied
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Previous data in measures overwritten by the Copy Event
by the Copy Event job, but Voice and Play Effect data is not copied.
First measure Last measure
M001:1~999:4
Last beatFirst beat
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.
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The Song Jobs
The Copy Event job makes it easy to use
phrases or even com­plete sections (an entire chorus, for example) in more that 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.
10: Erase Event
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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
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.
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.
The “TR” parameter selects the track to be affected by the Erase Event job: “01” … “16” for the sequencer tracks, “Pat” for the accompaniment pattern track, “Chd” for the accompaniment chord track, or “Tmp” 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 erased.
First measure Last measure
M001:1~999:4
Last beatFirst beat
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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
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The Song Jobs
11: Extract Event
Allows a specified type of event — note, program change, pitch bend, control change, channel aftertouch, polyphonic aftertouch, or 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.
The upper “TR” parameter selects the source track — i.e. the track from which the event data is to be extracted: “01” … “16”.
which the extracted event data is to be moved: “01” … “16”, or “Off” if you simply want to discard the specified event data.
measure:beat and last measure:beat of the range from which the event data is to be extracted.
The lower “TR” parameter selects the destination track — i.e. the track to
The “M” parameters above the graphic bar are used to specify the first
Although you can remove events individually in the
edit mode (page 104), 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.
First measure Last measure
M001:1~999:4
Last beatFirst beat
The event type parameter above the lower graphic bar determines the type of event data to be extracted:
NOTE Note events. When this event type is selected a note parameter
appears at the right end of the bar. The note parameter determines the pitch of the notes to be extracted: “C-2” … “G8” for individual notes, or “All” for all notes.
PRGM Program change events. P.BEND Pitch bend events. CTRL Control change events. When this event type is selected a control
change number parameter appears at the end of the bar. The control change parameter determines the MIDI control change number(s) to be extracted: “000” … “127” for individual control change num­bers, or “All” for all numbers.
CH A.T Channel aftertouch events. POLY A.T Polyphonic aftertouch events. EXCL Exclusive events.
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12: Thin Out
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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
“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.
The “TR” parameter selects the track to be affected by the Thin Out job: “01” … “16” for the sequencer tracks, or “Tmp” 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.
First measure Last measure
M001:1~999:4
Last beatFirst beat
The data type parameter determines the type of data to be thinned.
P.BEND Pitch bend events. CTRL 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(s) to be thinned: “000” … “127”.
CH A.T Channel aftertouch events. POLY A.T 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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
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The Song Jobs
13: 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.
All existing measures after the point at which the new meas-
ures 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, with- out 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.
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 “Meas” 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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
14: Delete Measure
Deletes the specified range of measures from all tracks simultaneously.
The “M” parameters above the graphic bar are used to specify the first meas­ure and last measure of the range to be deleted.
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The Song Jobs
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.
15: Copy Track
First measure Last measure
M001 ~ 999
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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
Copies all data from the specified track of a specified song to any other specified track of a specified song.
The upper “Song” parameter selects the source song — i.e. the song from which the data is to be copied: “01” … “10”.
The lower “Song” parameter selects the destination song — i.e. the song
to which the data is to be copied: “01” … “10”.
The upper “TR” parameter selects the source track — i.e. the track from
which the data is to be copied: “01” … “16”, “Pat”, “Chd” or “Tmp”. When “Pat”, “Chd” or “Tmp” is selected the lower “TR” parameter is 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”, “Pat”, “Chd” or “Tmp”. When “Pat”, “Chd” or “Tmp” is selected the upper “TR” parameter is set to the same track.
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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
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The Song Jobs
16: Mix Track
NOTE If there is no data in the second track, the data from the first track is simply copied to the second track (the time signature is not copied).
In many situations you
may want to “overdub,
or add new material to a single track without deleting the previous material. This is dangerous, however, since you can ruin one or more layers of good material by making a mis­take during a later overdub. The QY300 eliminates this possibility by allowing only “replace” re- cording (i.e. all material re­corded to a track erases an re­places any previous material on that track). In order to record more than one layer of material to a single track (using the same voice, of course), first record the layers on separate tracks, then after ensuring that there are no mistakes, use the Mix Track job to combine these separate tracks onto a single track.
Combines the data contained in two specified tracks and places the result in the second track.
The upper and center “Song” parameters select the first and second source songs— i.e. the songs containing the tracks which are to be mixed: “01” … “10”. Both of these Song parameters should be set to the same song number if you’re mixing tracks from a single song.
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 “Song” and “TR” parameters are always the same as the center
parameters.
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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
17: Clear Track
50
Completely clears the specifed track from the currently selected song (includ­ing all Play Effect parameters).
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The “TR” parameter selects the track(s) to be cleared: “01” … “16” for the sequencer tracks, “Pat” for the accompaniment pattern track, “Chd” for the accompaniment chord track, “Tmp” for the tempo track, or “All” for all tracks.
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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
18: 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 8, 9, 11, 12, 13, 14, 15, and 16 (see chart below). Any previous data in those tracks will be erased!
The Song Jobs
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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
Pattern Track Sequencer Track
1 8 2 9 311 412 513 614 715 816
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The Song Jobs
19: Init Play Effect
Resets all playback effect settings for the specified track to their default values.
The “TR” parameter selects the track(s) to be affected by the Init Play Effect job: “01” … “16” for the sequencer tracks, or “All” for all tracks.
After setting the parameter as required press [ENTER] to execute the Init Play Effect 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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
20: Normalize Effect
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 Effect job: “01” … “16” for the sequencer tracks, or “All” for all tracks.
After setting the parameter as required press [ENTER] to execute the Normal­ize Effect 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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
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21: Copy Song
The Song Jobs
Copies all data from all tracks of the specified song to any other specified song (includ­ing song name, play effect, voice assignment, and output assignment settings).
The upper “Song” parameter selects the source song — i.e. the song from which the data is to be copied: “01” … “10”.
The lower “Song” parameter selects the destination song — i.e. the song
to which the data is to be copied: “01” … “10”.
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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
22: Clear Song
Completely clears all data from all tracks of the currently selected song. Also initializes the play effect, voice, and output settings.
The “Song” parameter selects the song to be cleared: “01” … “10”.
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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
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The Song Jobs
23: Song Name
Allows an original name of up to 8 characters to be assigned to the current song.
The song number parameter selects the song for which a name is to be as­signed: “1” … “10”.
Lower-case To enter a lower-case character, use the cursor keys to move Characters the cursor to the position at which a character is to be entered,
then press the micro-keyboard key corresponding to the character to be entered.
NOTE If a series of asterisks ap­pears in the song name area, the selected song contains no data and a song name cannot be as­signed.
Upper-case Characters
Symbols Hold the left [OCT UP] key (“SHIFT”) while entering to enter
Space The right [OCT DOWN] key enters a space. Numbers Numbers can be entered via the numeric keypad. Delete The right [OCT UP] key deletes the character at the cursor
Hold the left [OCT DOWN] key (“CAPS”) while pressing the micro-keyboard key corresponding to the character to be entered.
the symbols listed above the characters corresponding to each micro-keyboard key.
position.
When the name has been entered press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode (it is
not necessary to
press the [ENTER] key to enter the specified name).
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Patterns — Part 1: Accompaniment Basics
Patterns — Part 1: Accompaniment Basics
Using the pre-programmed style data provided with the QY300 you can easily create accom­paniments that can be used alone — to play or sing along with, for example — or as the basis for complete compositions. The pre-programmed styles are provided on disk, and must be loaded before they can be used. You can also create patterns by combining individual “phrases”. A phrase is a single “part” of a pattern, such as the drum or bass part. The QY300 provides 2,000 preset phrases in internal ROM memory, or you can record your own. The procedures for creating patterns by using phrases will be discussed in the “Creating Patterns” section (Z page 74).
Defining “Patterns”, “Styles”, & “Sections”
Although you’ll usually be working with individual patterns in the QY300, these are actually part of larger structures known as “styles”. A style consists of a group of genre-related patterns designed to be used together to create a complete song. Each pattern within a style is a “section” of a song: e.g. an introduction, two main themes, fill-ins, and an ending (these will be discussed in more detail in “Selecting & Playing Patterns” on page 57). The number that appears at the top of the main PATTERN mode display is therefore actually the “style number”, since it selects a complete set of related patterns. Several of the PATTERN mode jobs (page 86) also use the term “style” when they operate on a complete set of patterns rather than an individual pattern.
Loading the Pre-programmed Patterns From Disk
So you can load a complete set of styles in one operation, the styles provided
The QY300 is initially
shipped with the styles
already loaded. If for some reason the styles have been erased or modified, you can use the following procedure to re-load them.
NOTE Actual file names on the data disk supplied with the QY300 may be different from those given in the manual.
on the QY300 data disk have been saved as an “All Data” file which must be loaded via the DISK mode. Please note that loading the style data will erase all other song, phrase, and chain data currently in memory. Be sure to save any data you want to keep before loading.
1 Insert the Supplied Disk
Insert the floppy disk supplied with the QY300 into the disk drive slot on the right side of the unit. The label side of the disk should face up and the sliding disk door should face the drive slot. Slide the disk in until it clicks firmly in place.
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Patterns — Part 1: Accompaniment Basics
2 Select the Disk Mode, Select “Load” & “All Data”
The data disk supplied with the QY300 contains a single “All Data” format file which include 1 demo song and 100 styles × 8 sections (800 patterns). Press the [DISK] mode key to select the DISK mode, press the [F2] function key (“Load”), then use the cursor keys, the [–1/NO] and [+1/YES] keys, or the data dial to select “All Data”.
3 Press [ENTER] & Select the “DEMO” File
Press the [ENTER] key top go to the load all data display, then use the cursor keys, the [–1/NO] and [+1/YES] keys, or the data dial to select the “DEMO” file.
56
4 Press [ENTER]
Press the [ENTER] key to execute the load operation. The QY300 will display a confirmation prompt asking you if you’re sure you want to delete all previ­ous data in memory.
5 Press [+1/YES] to Confirm & Load the Data
Press [+1/YES] if you want to go ahead with the load operation, or [–1/NO] if you want to cancel the load operation. If you choose [+1/YES], an “Execut­ing” bar graph will appear while the data is being loaded.
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Selecting & Playing Patterns
Although you’ll normally use the PATTERN mode when creating new styles (page 74), the PATTERN mode is also useful when you want to listen to individual phrases and experiment with chord changes using the QY300’s advanced ABC capability.
1 Select the STYLE Mode
In order to select and play the styles as described in this section you must be in the QY300 PATTERN mode. Press the [PATTERN] mode key to select the PATTERN mode.
2 Select a Style Number
Use the cursor keys to move the cursor to the style number, then use any data entry method to select the style you want to play. The styles are numbers 001 through 100 (the currently selected section is shown in the square brackets to the right of the style name).
Style number
Patterns — Part 1: Accompaniment Basics
Style name
Section
Note that the “Meas” (measure) number on
the display includes two numbers: e.g. “1of4”. The first number is the current measure number and the second is the to­tal number of measures in the pattern (patterns can be up to 8 measures long). “2of4”, there­fore, means that the second measure of a 4-measure pattern is currently playing.
3 Start Playback
Press the [©] key to start playback of the selected style and section. The play indicator will appear in the display and the green LED above the [
©] key will
flash at the current playback tempo.
4 Listen to the Sections
Each style can have 8 sections — INTRO, MAIN A, MAIN B, FILL AA, FILL BB, FILL AB, FILL BA, and ENDING.
INTRO Introduction. When used in a song the introduction will automatically
be followed by the MAIN A section unless another section is specified.
MAIN A The main section, generally used for the “verse” of a song. MAIN B A variation on the main section which can be used as a chorus or bridge. FILL AA Fill-in for the MAIN A section. FILL BB Fill-in for the MAIN B section. FILL AB Fill-in transition from MAIN A to MAIN B. MAIN B will automati-
cally be selected after the fill-in.
FILL BA Fill-in transition from MAIN B to MAIN A. MAIN A will automati-
cally be selected after the fill-in.
ENDING Ending pattern. When used in a song, playback will stop when the
ending section finishes.
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Patterns — Part 1: Accompaniment Basics
The currently selected section is shown between square brackets to the right of the style number and name. You can change styles by playing the cursor at the section name and using the [–1/NO] and [+1/YES] keys or the data dial. The newly selected section will begin playing from the top of the next measure.
You can also change sections directly by pressing the appropriate key on the micro-keyboard while the cursor is located at either the style number or the section name on the display.
If you move the cursor to the tempo parameter
(indicated by a note symbol and a number in the up­per right corner of the display), you can use the any data entry method to set the playback tempo to anywhere from 25.0 to
300.0 beats per minute. The number to the right of the deci­mal point after the tempo value lets you change the tempo in 1/10th of a beat increments.
5 Select Different Styles & Sections
With the cursor positioned over the style number you can use any data entry method to select different styles, and use the micro-keyboard section keys to select different sections during playback. In all cases the newly selected style or section will begin playing from the top of the next measure.
6 Stop Playback When Done
Stop playback at any time by pressing the [m] key.
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Changing Chords
Chord roots Chord types
The QY300 features a sophisticated ABC (Auto Bass Chord) system that automatically re-harmonizes the pattern tracks to match chords you specify. This makes creating complete accompaniment tracks fast and easy … just select a pattern, then specify the required chord changes (details in the next section). Here’s how you use the micro-keyboard to specify chord changes.
1 Play a Pattern
Select and play a pattern, as described in the preceding section.
2 Move the Cursor to the Chord Symbol
The micro-keyboard can be used to enter chords only when the cursor is located over the chord symbol on the display. Use the cursor keys to move the cursor to the chord symbol at the bottom of the display.
Patterns — Part 1: Accompaniment Basics
3 Enter a Chord
Note that the lower octave of the micro-keyboard has chord root names “E” through “D” 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 corresponding to the desired chord type (the chord type keys alter­nately select the lower and upper chord types marked … watch the display), and finally the [ENTER] key.
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Patterns — Part 1: Accompaniment Basics
Actually, you can press
the chord type key and
then the root key, the order doesn’t matter.
Chord roots Chord types
Press [ENTER] key
The chord is actually entered only when the [ENTER] key is pressed. Until the [ENTER] key is pressed, the newly specified chord root and type will flash on the display.
The “- - -” chord type
marking is a special
“THRU” or “non-ABC” type that can be used to create accompaniment patterns without the harmonic limitations of the ABC system.
The Chord Types
add9 major added ninth. M major. M7(9) major seventh ninth. M7 major seventh. aug augmented. 6(9) sixth ninth. 6 sixth 7(9) ninth. 7 seventh. add9 minor added ninth. m minor m7(9) minor seventh ninth. m7 minor seventh. mM7 minor major seventh.
m6 minor sixth. dim diminished. 7(5) seventh sharp five. 7(5) seventh flat five. 7(9) seventh sharp nine. 7(9) seventh flat nine. 7(13) seventh flat thirteen. 7(13) seventh thirteen. 7sus4 seventh suspended four. sus4 suspended four. m7(11) minor seven eleven. 7(11) seventh sharp eleven.
- - -
THRU (see “DETAIL” below).
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Patterns — Part 1: Accompaniment Basics
Specifying the Bass Note For a Chord
You can specify the bass note to be used with any chord by using the left [OCT DOWN] key (note the “ON BASS” marking below the key). Enter the chord in the normal way, then while holding the [OCT DOWN/ON BASS] key press the key on the micro-keyboard corresponding to the desired bass note (the bass note will appear to the right of the chord). In the example display, below, the Dm7 chord will be played on a “C” bass note (in this case the 7th degree of the chord).
Specifying the Bass Phrase Chord Type (Harmonization)
If you enter only the chord root the major
chord type will auto­matically be selected. If you en­ter only the chord type the root will be set to “C” automatically.
While the “ON BASS” function described above allows you to specify the actual root of the bass phrase to be used with a chord, the “ORG BASS” function also lets you specify a chord type on which the bass pattern will be based. To do this use the left [OCT UP] key (note the “ORG BASS” marking below the key). Enter the chord in the normal way, then while holding the [OCT UP/ORG BASS] key press the key on the micro-keyboard correspond­ing to the desired root note and then the key corresponding to the desired chord type (the root note and chord type will appear below the chord root). In the example display, below, the Dm7 chord will be played with a bass phrase based on a CM7 chord.
4 Try Out the Various Chords With Different Styles
During playback you can move the cursor up to the style number, select a different style, then move the cursor back to the chord symbol and try different chords with the new style.
5 Stop Playback When Done
Stop playback by pressing the [m] key.
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Patterns — Part 1: Accompaniment Basics
Track Muting & Effect Bypass
The track mute “buttons” in the PATTERN mode function in exactly the same way as they do in the SONG mode. See page 14 for details.
Voices, Assignment & Effects
The PATTERN mode has basically the same Voice mode Mixer and Reverb displays, the same Effect (Quantize, Swing, Shift, Gate/Velocity, Per Track) displays, and the same Output displays and functions as the SONG mode. The main difference is that while the SONG mode has 16 tracks the PATTERN mode has only 8. Refer to the page numbers listed with the displays below for details:
Voice: Mixer display for voice assignment, panning and level control (Z
page 14). The “Voice” parameter in this display additionally lets you switch between the pattern and phrase voice assignments.
Place cursor here to switch between pattern (“Pat”) and phrase (“Phr”) voice assignments.
Voice: Reverb display for voice assignment, effect selection, and effect
depth control (Z page 15). As in the Mixer display, above, the “Voice” parameter lets you switch between the pattern and phrase voice assignments.
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Patterns — Part 1: Accompaniment Basics
Effect: Quantization display for playback quantization (Z page 18).
Effect: Swing display to automatically create a “swing” feel (Z page 20).
Effect: Transpose & Clock Shift display to transpose tracks and shift note
timing forward or backward (Z page 21).
Effect: Gate Time/Velocity display to modify gate time and velocity
values (Z page 22).
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Patterns — Part 1: Accompaniment Basics
Effect: Per Track display shows all playback effect parameters for one track at a time, and allows monitoring of only the selected track (Z page
22).
Output display for pattern track to MIDI channel assignments for all styles.
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Patterns — Part 2: Recording Accompaniments
Patterns — Part 2: Recording Accompaniments
The QY300 provides two ways to record an accompaniment by specifying patterns and chords: “realtime” and “step” recording. The realtime method is the fastest and easiest, letting you record pattern and chord changes “on the fly.” The step method gives you more detailed control, and is an excellent way to add the finishing touches to an accompaniment recorded in real time.
Realtime Accompaniment Recording
Once you know how to select styles, sections, and enter chords in the PAT­TERN mode (see the preceding sections), recording a basic accompaniment in real time is easy. Tempo changes can be added later using the EDIT mode (Z page 112).
1 Select the SONG Mode & an Empty Song
Press the [SONG] mode key to select the SONG mode and, with the cursor located over the song number at the top of the display, use any data entry method to select an empty song number if necessary. Empty songs are indi­cated by a row of asterisks (“********”) following the song number.
If for some reason all 10 songs contain data, use
the “Clear Song” job de­scribed on page 53 to clear a song for recording.
Asterisks indicate that the song does not contain any data.
2 Select the “Pat” Track to Record Style &
Section Changes
Move the cursor to the track area of the display, and then shift the cursor sideways to select “Pat”. Once selected, move the cursor vertically to move to other areas of the screen. The selected track will remain highlighted no matter where you move the cursor.
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Patterns — Part 2: Recording Accompaniments
3 Select the Starting Style, Section, Chord, & Tempo
Move the cursor to the style number, section, chord, and tempo parameters, and set as required.
I
t’s sometimes easier to
set a slow tempo for
have plenty of time to enter pattern and chord changes.
realtime recording, so you
4 Engage the Record Ready Mode
Press the [v] key to engage the record ready mode. The red LED above the
v] key will light.
[
5 Select the Realtime Record Mode
Press the [F4] function key (“REAL”) to select the realtime record mode.
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6 Record
Press the [©] key to begin recording pattern changes. The metronome will sound and you’ll be given a two-measure count-in prior to the first measure actually recorded. The count-in is also indicated by negative numbers in the “Meas” parameter. If a 4/4 pattern is selected, for example, the count-in will run from measure “–08” to “–01”, then recording will begin from measure “001”.
Since you selected “Pat” recording, the cursor will automatically move to the style number when you start recording. All you have to do to record style and section changes is to select the required style numbers by using any data entry method, and section changes via the appropriate micro-keyboard keys. Remember that all style and section changes occur from the top of the measure after the change is entered. Also keep in mind that the INTRO will automatically switch to the MAIN A pattern, FILL AB will automatically switch to the MAIN B pattern, and FILL BA will automatically switch to the MAIN A pattern.
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7 Stop Recording
Stop recording either by pressing the [m] key or by selecting the ENDING section. The normal SONG play mode is automatically re-selected when you stop recording.
8 Engage Record Ready Again and Select “Chd”
Press the [v] key to engage the record ready mode again (the red [REC] key indicator should light and the “REAL” mode will still be selected), then move the cursor to the track section of the display and select “Chd” in order to record chord changes.
Asterisks have disappeared because the song now contains data. Use the “Song Name” job (page 54) to enter an original name.
Chord changes normally occur on quarter-note divisions, so try to press
the [ENTER] key to enter each chord either exactly on the beat or a frac­tion of a section before the beat on which you want the chord change to occur. Syncopated chord changes can be recorded by entering the chord an eighth or sixteenth note before the beat (syncopated changes can also be programmed in the STEP record mode, Z page 73).
Don’t worry if you’ve made a few mistakes.
Simple slip-ups made in the realtime record mode can usu­ally be corrected in the step record mode … described next.
9 Record
Press the [©] key to begin recording chord changes. The metronome will sound and you’ll be given a two-measure count-in.
Since you selected “Chd” recording, the cursor will automatically move to the chord when you start recording. All you have to do to record chord changes is to enter the required chords as described in the “Changing Chords” section (Z page 59).
; Stop Recording
Press the [m] key to stop recording when all the required chord changes have been entered. The normal SONG play mode is automatically re-selected when you stop recording.
a Listen to the Results
Press the [] key to make sure you return to the top of the song, then press
©] key to play back and check out the accompaniment you’ve just re-
the [ corded.
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Patterns — Part 2: Recording Accompaniments
Step Accompaniment Recording
The STEP record mode provides two different accompaniment-track data­entry displays: “Pat” (pattern changes) and “Chd” (chord changes). In each of these you can individually enter or delete pattern and chord changes at pre­cisely the required locations.
1 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.
2 Engage the Record Ready Mode.
Press the [v] key to engage the record ready mode. The red LED above the
v] key will light.
[
“Tmp” track data is entered in the Edit mode (Z page 112).
3 Select the Step record Mode
Press the [F5] function key (“STEP”) to select the step record mode.
4 Select the “Pat” or “Chd” Track
Move the cursor to the track area of the display, and then shift the cursor sideways to select “Pat” or “Chd”. 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.
5 Start Recording
Press the [©] key to call the selected step record display.
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6 Enter the Required Pattern or Chord Data
Refer to the following sections for details on how to use the pattern and chord step-record displays.
7 Stop Recording
Press the [m] key to exit from the step record mode and return to the normal SONG play mode.
“Pat” — 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).
End-of-song marker
Measure number
Style number
Time signature
Section
Moving Around & Entering Data
As usual, the cursor keys are used to move the cursor to the location at which you want to enter data, and the [–1/NO] and [+1/YES] keys, data dial, or numeric keypad are used to actually enter or change data.
The cursor keys 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 th pattern display moving sideways takes you to the time signature, pattern number, and section parameters.
In all of the STEP record displays the [ first measure.
ß] key takes you directly to the
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Patterns — Part 2: Recording Accompaniments
Style Number and Section
Any style number from 001 through 100 can be entered for each measure. The style name appears to the right of the style number. Only one pattern (style & section) can 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 pattern need be entered.
In the example display below the intro section of first measure, the MAIN A section of the same
style
001 plays for the
style
is selected in measure 2.
• If there is no data in the pattern track
(sequencer-track data only) and no Ending section or end-of-song marker is encoun­tered, playback will stop auto­matically when the end of the sequencer-track data is reached.
• If the pattern track contains
data and no Ending section or end-of-song marker is encoun­tered, playback will continue until stopped by pressing the [m] key.
Time Signature
Although the original time signature for the selected pattern is automatically selected, the time signature value for each measure can be changes as required. The available time signatures are:
1/16 … 16/16 1/86 … 16/8 1/46 … 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.
End-of-Song Marker
By moving the cursor to the “End” block and pressing the [+1/YES] key you can enter an end-of-song marker which will cause playback to stop at the end of the corresponding measure (in the example display, below, playback will stop at the end of the 24th measure). This allows you to stop playback at any point without having to use an Ending section.
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Erasing Pattern Changes
The [F6] function key (“Clear”) can be used to clear the style number, section, or end-of-song marker at which the cursor is located. If you clear a time signature change, the default time signature value for the current pattern will be automatically re-selected.
“Chd” — 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).
Place cursor at beat at which you want the chord change to occur.
One beat
Time signature
Measure number
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 via the micro-key­board in the normal way (Z page 59). In the example display below, a C major chord is entered on the first beat of the first measure, a D minor seventh on the first beat of the second measure, and a G seventh on the third beat of the second measure.
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Specifying the Bass Note For a Chord
You can specify the bass note to be used with any chord by using the left [OCT DOWN] key (note the “ON BASS” marking below the key). Enter the chord in the normal way, then while holding the [OCT DOWN/ON BASS] key press the key on the micro-keyboard corresponding to the desired bass note (the bass note will appear below the chord root). In the example display, below, the Dm7 chord will be played on a “C” bass note (in this case the 7th degree of the chord).
You can add bass notes to
existing chords without
having to re-enter the en-
tire chord by simply moving the cur­sor to the chord and using the [OCT DOWN/ON BASS] key to specify the bass note.
Specifying the Bass Phrase Chord Type (Harmonization)
You can add bass
phrase harmonization to
existing chords without
having to re-enter the entire chord by simply moving the cur­sor to the chord and using the [OCT UP/ORG BASS] key to specify the bass chord.
While the “ON BASS” function described above allows you to specify the actual root of the bass phrase to be used with a chord, the “ORG BASS” function also lets you specify a chord type on which the bass pattern will be based. To do this use the left [OCT UP] key (note the “ORG BASS” marking below the key). Enter the chord in the normal way, then while holding the [OCT UP/ORG BASS] key press the key on the micro-keyboard correspond­ing to the desired root note and then the key corresponding to the desired chord type (the root note and chord type will appear below the chord root). In the example display, below, the Dm7 chord will be played with a bass phrase based on a CM7 chord.
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You can add syncopation
to existing chords without
having to re-enter the en-
tire chord by simply moving the cur­sor to the chord and pressing the right [OCT DOWN] or [OCT UP] key. Syncopation can be removed from a chord by placing the cursor at the chord and pressing the corre­sponding [OCT DOWN] or [OCT UP] key.
Patterns — Part 2: Recording Accompaniments
Syncopated Chords
Chords can be syncopated (i.e. the chord actually begins a sixteenth-note or eighth-note before the beat on which it is entered) by using the right [OCT DOWN] and [OCT UP] keys (note the “ keys). Enter the chord in the normal way, then press the right [OCT DOWN] key to syncopate to one sixteenth-note before the beat, or the right [OCT UP] key to syncopate an eighth-note before the beat (the appropriate syncopation symbol will appear before the chord root, crossing the beat line). In the exam­ple display, below, the G7 chord is syncopated and will begin sounding an eighth-note before the third beat of the second measure.
” and “ ” markings below the
Clearing Chords
The [F6] function key (“Clear”) can be used to clear the chord at which the cursor is located.
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Phrases: Creating Patterns
Phrases: Creating Patterns
QY300 patterns are created by combining “phrases” — either preset or original — from the PHRASE 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 QY300 has 2,000 preset phrases, and 100 memory locations for original creations. The PHRASE mode lets you both listen to the preset phrases and record original phrases. The phrases are actually combined to create complete patterns in the PATTERN mode.
The Preset Phrases
You can listen to the preset phrases in the PHRASE mode by simply selecting a phrase and pressing the [
©] key.
The preset phrase numbers have four sections, as shown below. The cursor can be placed at any of these four sections to select as required.
Category
DR Drums PC Percussion BA Bass GC Guitar Chord GR Guitar Riff KC Keyboard Chord KR Keyboard Riff
Category
Beat
Beat
08 8 Beat 16 16 Beat 34 3/4 Beat
Number
Type
Type
M Main
O Fill Loop X Fill Cross
I Intro
E Ending
S Specific
G General
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The category, beat, and type of the selected phrase are listed in full on the display.
Category
The difference between the “General” and “Specific” types is that while the General phrases are, as their name implies, for general use, the Specific phrases are actually parts of specific patterns. In other words, if you combine specific phrases of the same beat and number from different categories, you will end up with a specific pattern.
Beat
Combining Phrases In the Pattern Mode
Type
The phrases are combined to create patterns which can be used in accompani­ments in the PATTERN mode.
1 Select the PATTERN Mode, a Style, & a Section
Press the [PATTERN] mode key to select the PATTERN mode then, with the cursor located at the style number, select a style. As in the SONG mode, empty patterns are indicated by a row of asterisks (********) to the right of the style number. Also move the cursor to the section name and select the section you want to create.
Style number
Section
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Phrases: Creating Patterns
Although the pattern length parameter can be
set from 1 to 8 measures for the Intro, Main A, Main B, and Ending sections, the Fill sec­tions can only have a length of 1 measure.
2 Set the Pattern Length & Time Signature
If you’re starting with an empty pattern, move the cursor top the pattern length and time signature parameters and set as required.
Pattern Length: 1 … 8
Time signature: 1/16 … 16/16, 1/8 … 16/8, 1/4 … 8/4
3 Engage the Patch Mode
Press the [F4] function key (“Patch”) to engage the patch mode — i.e. the mode in which phrases are “patched” together to create patterns. The patch display for an empty pattern will appear as follows:
Measure numbers. If the pattern has more than 5 measures scroll to the right (©) to see measures 5 through 8.
Cursor here to enter a phrase for track 1, measure 1.
Track numbers. Scroll down to see tracks 5 through 8.
4 Enter the Required Phrase Numbers
With the cursor in the appropriate locations, use any data entry method to enter the required phrase numbers. You can enter different phrases at different meas­ures of the same track. If no other data is entered, a phrase entered on the first measure of a track will repeat for the entire track. Phrases which are longer than one measure are indicated by a wavy line extending for the length of the phrase.
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Monitoring the Pattern While Patching
If you press the [©] button while patching you can hear how the pattern sounds as the various phrases are added. Press the [F1] key (“Solo”) to hear only the phrase at which the cursor is currently located. Press [F1] a second time to disengage the solo function. Press [
m] to stop playback.
Entering Rests
Press the [F4] key (“Rest”) to enter a rest in the measure at which the cursor is currently located. The rest will stop phrase playback until the end of the pattern or until the next phrase number is encountered in that track.
Rest symbol
Clearing Phrases & Rests
Phrase numbers and rests can be cleared by placing the cursor at the appropri­ate phrase number or rest and pressing the [F5] key (“Clear”).
5 Exit From the Patch Mode When Done
Press the [F6] key (“Exit”) when the current section of the style is complete. The mute buttons for tracks which now contain phrases will appear as solid blocks, and the asterisks will disappear from the pattern name location (use the “Style Name” job (page 90) to enter an original style name.
See “The Pattern Jobs” on page 86 for details
on the QY300’s pattern jobs which allow considerable versatility in creating and modi­fying patterns.
6 Repeat for the Other Sections
Repeat the above procedure to complete the remaining sections of the style, as required.
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Phrases: Creating Patterns
Recording Original Phrases
The QY300 makes it easy to create original accompaniment phrases. In addi­tion to the preset phrases , the QY300 has 100 phrase memory locations (US--­001 through US---100) which can be used to store your own creations. The PHRASE mode provides two ways to create original phrases: realtime and step recording.
Realtime Phrase Recording
In the realtime record mode you select the voice you want to record with, and then play the part on the micro-keyboard or an external MIDI keyboard in real time.
1 Select the PHRASE Mode & an Empty User Phrase
Press the [PHRASE] mode key to select the PHRASE mode, place the cursor at the “category” section of the phrase number and select “US” (user), then move the cursor to the phrase number and select an empty “user” phrase (the programmable user phrases are numbered US---001 through US---100). Empty phrases are indicated by a row of asterisks (“********”) following the phrase number.
If for some reason all 100
user phrases contain data,
use the “Clear Phrase” function described on page 102 to clear a phrase for recording.
2 Engage the Record Ready Mode
Press the [v] key to engage the record ready mode. The red LED above the
v] key will light.
[
3 Select the Realtime Record Mode
Press the [F4] function key (“REAL”) to select the realtime record mode.
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4 Select the Record Tempo, Time Signature, and Phrase
Length
Move the cursor to the tempo, time signature, and phrase length parameters and set as required (the time signature and phrase length can only be set if the phrase does not already contain data).
It’s sometimes easier to
set a slow tempo for
realtime recording, so you have plenty of time to enter the data.
You can change the
voice assignment later
in the same way.
The “---” (thru) chord
type can not be
specified as the source chord.
Phrase length: 1 … 8 measures
Tempo: 25.0 … 300.0
Time Signature: 1/16 … 16/16
Time Signature: 1/8 … 16/8 Time Signature: 1/4 … 8/4
5 Select a Voice
Move the cursor to the voice parameter and select the voice you want to record with.
6 Select the Source Chord
Move the cursor to the chord parameter and use the standard chord entry procedure to enter the “source chord” for the phrase you are recording (i.e. the chord on which the phrase is based). You can also enter “ON BASS” and “ORG BASS” specifications, as described on page 72. The source chord speci­fication allows the QY300 to correctly re-harmonize the phrase when different chords are specified for the pattern in which the phrase is eventually used.
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Since your original ABC phrase will be automati-
cally re-harmonized as required by the QY300 ABC sys­tem, there are a few rules you should follow to ensure the best results:
1: Stick to the harmonic environ-
ment of your source chord.
2: Use primarily the root, 3rd,
5th, and major 7th.
3: Keep it rhythmic … avoid me-
lodic lines.
During phrase recording
the active MIDI transmit
channel is the same as that assigned to track 1 in the PATTERN mode.
7 Record
Press the [©] key to begin recording. The metronome will sound and you’ll be given a two-measure count-in prior to the first measure actually recorded. The count-in is also indicated by negative numbers in the “Meas” parameter. If a 4/4 time signature is selected, for example, the count-in will run from measure “–08” to “–01”, then recording will begin from measure “001”.
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.
8 Delete Mistakes as Required
To delete mistakes, simply play the note to be deleted on the micro-keyboard while holding one of the [SHIFT] keys. All corresponding notes that occur while the micro-keyboard key is held will be deleted.
9 Stop Recording
Press the [m] key to stop recording. The normal PHRASE play mode is auto­matically re-selected when you stop recording.
The Retrigger & Type Parameters
These two parameters determine how the phrase will respond to chord changes.
When the Retrigger (“Rtg”) parameter is turned “Off”, any notes playing when a chord change occurs will be immediately muted. When the Retrigger parameter is “On”, notes playing when a chord change occurs will continue playing for their specified length, re-harmonized to match the new chord.
The Type parameter (“Typ”) determines how the phrase will be harmo­nized to the spcified chords: “Mel” produces harmonization appropriate for melody or single-line phrases, “Chd” produces harmonization ideally suited to chords, “Bas” produces bass-line type harmonization, and “Dr” produces no harmonization so the instruments in a drum track don’t change unexpectedly when a chord change occurs.
Retrigger On or Off
Type: Mel, Chd, Bas, Dr
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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.
1 Select the PHRASE Mode & an Empty User Phrase
Press the [PHRASE] mode key to select the PHRASE mode, place the cursor at the “category” section of the phrase number and select “US” (user), then move the cursor to the phrase number and select an empty “user” phrase (the programmable user phrases are numbered US---001 through US---100). Empty phrases are indicated by a row of asterisks (“********”) following the phrase number.
If for some reason all 100 user phrases contain
data, use the “Clear Phrase” job described on page 102 to clear a phrase for recording.
Patterns
Phrases: Creating Patterns
2 Engage the Record Ready Mode
Press the [v] key to engage the record ready mode. The red LED above the
v] key will light.
[
3 Select the Step Record Mode
Press the [F5] function key (“STEP”) to select the step record mode.
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Phrases: Creating Patterns
The time signature and phrase length parameters
can not be changed if the selected phrase already contains data.
4 Set Time Signature and Phrase Length (new phrases only)
If you are recording a new phrase, move the cursor to the time signature and phrase length parameters and set as required.
Phrase length: 1 … 8 measures
Time Signature: 1/16 … 16/16
Time Signature: 1/8 … 16/8 Time Signature: 1/4 … 8/4
You can change the
voice assignment later
in the same way.
The “—” chord type can
not be specified as the
source chord.
5 Select a Voice
Move the cursor to the voice parameter and select the voice you want to record with.
6 Select the Source Chord
Move the cursor to the chord parameter and use the standard chord entry procedure to enter the “source chord” for the phrase you are recording (i.e. the chord on which the phrase is based). You can also enter “ON BASS” and “ORG BASS” specifications, as described on page 72. The source chord speci­fication allows the QY300 to correctly re-harmonize the phrase when different chords are specified for the pattern in which the phrase is eventually used.
7 Record
Press the [©] key to begin recording. The step record display shown below will appear.
Measure/beat/clock display
Note-entry display
Time signature
82
Keyboard display
3
3
3
Graphic symbols for: , , , , , , ff,
Velocity: 000 … 127, ext.
Gate time: Stac, Norm, Slur
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Phrases: Creating Patterns
8 Set the Note Parameters as Required
Move the cursor to the note length, velocity, and gate time parameters and set as required.
When the cusor is located at the note length parameter the numeric keypad
can be used to enter the note lengths marked on the keys. The dot key (the [0] key) can be used to add one or more dots to the currently selected note length. In-beween values can be entered using the [–1/NO] and [+1/YES] keys or the data dial.
When the cursor is located at the velocity parameter, the numeric keypad
can be used to directly enter the dynamic values marked on the keys (pp, mf, etc.). In-between values can be entered using the [–1/NO] and [+1/YES] keys or the data dial.
9 Enter a Note
Once the note parameters have been specified, the note can be entered simply by playing the appropriate key on the micro-keyboard (or on your external MIDI keyboard). A note symbol appears on the note display an the note pointer advances to the next note position. The note symbol always appears as a 1/4-note, regardless of the actual note entered (chords are also indicated by the 1/4-note symbol). Here’s how the display will look after two 8th notes have been entered.
Chords can be entered simply by moving the note pointer back to a note and entering another note at the same location (this can be repeated as many times as necessary. See “Moving Around In the Note Display”, below.
The Note & Keyboard Displays
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.
Note pointer
1st beat
2nd beat 3rd beat
Each dash represents a 32nd note (12 clocks)
4th beat
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The keyboard display shows the pitch(es) of the note(s) at the current note pointer position. In the example below the keyboard displays that a chord (C major) consisting of three notes exists at the current note pointer location.
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 sym­bol. When you move the note pointer past the end of the note display, the next measure will appear. If you move past the last measure in the phrase, the first measure of the phrase will appear.
84
Cursor moved to note pointer (the note pointer appears filled).
The Step Mode Function Keys
The six function keys immediately below the display provide access to a number of handy functions in the step record mode.
[F1] – “Rest” Enters a rest of the currently selected note length at the note pointer
position.
[F2] – “Tie” Lengthens the previously entered note by “tying” another note of the
same length and pitch to it (the “tie” key only works immediately after entering a note).
[F3] – “Delete” Deletes the note or chord at the note pointer. [F4] – “BkDelt” Moves the note pointer backward by the currently selected note length
[F5] – “LoKey”
[F6] – “HiKey”
and deletes the corresponding note or chord. Displays the lowest range of the keyboard (scrolls the keyboard display two
octaves to the right). Press again to return to the normal “centered” display. Displays the highest range of the keyboard (scrolls the keyboard display two
octaves to the left). Press again to return to the normal “centered” display.
Page 93
See the “Editing Songs & Phrases” section,
tion on how to edit recorded phrase data.
• See “The Phrase Jobs” on page
page 104, for informa-
92 for details on the QY300’s phrase jobs which allow con­siderable versatility in creating and modifying phrases.
Phrases: Creating Patterns
The Measure/Beat/Clock Display
The “Meas” area of the step record display shows the current position of the note pointer in measures, 1/4-note beats, and clocks (there are 96 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.
1-1-00
Clock: 96 clocks per 1/4-note
Beat: 1 … 4 if 4/4 time
Measure number
;
Complete the Phrase
Repeat steps 8 and 9 until the current phrase is complete, then press [m] to stop recording.
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The Pattern Jobs
The Pattern Jobs
The pattern mode includes 7 pattern “jobs” that perform a variety of important functions. To access and use the pattern jobs, press the [JOB] key while in the PATTERN mode. This calls the pattern job list. You can select any job on the list simply by moving the cursor to the required job (use the cursor keys or the data dial) and pressing [ENTER]. You can also move up or down the list in 1-page steps by using the cursor [ of the [SHIFT] keys. An alternative method is to enter the job’s number via the numeric keypad and press [ENTER].
] and [ƒ] keys while holding one
00: Undo/Redo
Returning to the PATTERN Mode
The [F6] function key (“Exit”) can be used to exit from any pattern job, and then from the job list thereby returning you to the PATTERN mode. You can also press the [F6] function key (“Exit”) while holding one of the [SHIFT] keys to directly return to the PATTERN mode.
This job will “undo” any other 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).
86
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.
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The Pattern Jobs
The last operation
performed is “forgotten”
by the UNDO job whenerver the SONG or PHRASE step reocrd mode is engaged, even if the step record mode is exited without acutally recording any data.
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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
01: Copy Pattern
Copies all data from a specified track from one section of a specified style to the specified track of the specified section of any other specified style. This operation overwrites the data in the specified destination track with the data from the source track. Previous data in the overwritten track is therefore lost.
The upper “Style” parameter selects the source style — i.e. the style from which the data is to be copied: “001” … “100”.
The upper “Section” parameter selects the source section — i.e. the section of
the source style from which the data is to be copied: “Intro”, “MainA”, “MainB”, “FillAA”, “FillBB”, “FillAB”, “FillBA”, “Ending”, or “All” for all sections (the destination section is automatically set to “All” if “All” is selected here).
The upper “Track” parameter selects the source track — i.e. the track of
the source section of the source style from which the data is to be copied: “1” … “8” for individual tracks, or “All” for all tracks (the destination track is automatically set to “All” if “All” is selected here).
The lower “Style” parameter selects the destination style — i.e. the style
to which the data is to be copied: “001” … “100”.
The lower “Section” parameter selects the destination section — i.e. the
section of the destination style to which the data is to be copied: “Intro”, “MainA”, “MainB”, “FillAA”, “FillBB”, “FillAB”, “FillBA”, “Ending”, or “All” for all sections. If “All” is selected, the same setting is automatically selected for the source section.
The lower “Track” parameter selects the destination track — i.e. the track
of the destination section of the destination style to which the data is to be copied: “1” … “8” for individual tracks, or “All” for all tracks. If “All” is selected, the same setting is automatically selected for the source track.
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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
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The Pattern Jobs
02: Append Pattern
Appends the specified section of one style to the end of the specified section of a second style.
The upper “Style” parameter selects the source style — i.e. the style from which the data is to be copied: “001” … “100”.
The upper “Section” parameter selects the source section — i.e. the sec-
tion of the source style from which the data is to be copied: “Intro”, “MainA”, “MainB”, “FillAA”, “FillBB”, “FillAB”, “FillBA”, “Ending”.
The lower “Style” parameter selects the destination style — i.e. the style
to which the data is to be appended: “001” … “100”.
The lower “Section” parameter selects the destination style — i.e. the
• If the length of the destination plus appended pattern ex-
ceeds 8 measures (the maximum pattern length), the “Illegal In­put” error message will appear and the append operation will be aborted.
• This job does not copy voice or play effect data from the source style.
section of the destination style to which the data is to be appended: “Intro”, “MainA”, “MainB”, “Ending”. Fills cannot be selected as the destination sec­tion since they can be only one measure in length.
After setting the parameters as required press [ENTER] to execute the Append Style 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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
03: Split Pattern
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Splits a specified section of a specified style into two parts at the specified measure, and moves the latter half to the specified section of a specified style.
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If more than 1 measure is split and a “Fill” is
tion section, an “Illegal Input” error will occur since fills can only be one measure long.
• This job does not copy voice
specified as the destina-
or play effect data from the source style.
The Pattern Jobs
The upper “Style” parameter selects the source style — i.e. the style which is to be split: “001” … “100”.
The upper “Section” parameter selects the source section — i.e. the sec-
tion of the source style which is to be split: “Intro”, “MainA”, “MainB”, “FillAA”, “FillBB”, “FillAB”, “FillBA”, “Ending”.
The “M” parameter specifies the measure at which the source section of
the source style is to be split: “1” … “8”, depending on the length of the source style (if “1” is selected the entire section is moved to the specified destination).
The lower “Style” parameter selects the destination style — i.e. the style
to which the latter half of the split source section is to be moved: “001” … “100”.
The lower “Section” parameter selects the destination section — i.e. the
section of the destination style to which the latter half of the split source section is to be moved: “Intro”, “MainA”, “MainB”, “FillAA”, “FillBB”, “FillAB”, “FillBA”, “Ending”.
After setting the parameters as required press [ENTER] to execute the Split 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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
04: Init Play Effect
Resets all playback effect settings for the specified track to their default values.
The “TR” parameter selects the track(s) to be affected by the Init Play Effect job: “1” … “8” for individual tracks, or “All” for all tracks.
After setting the parameter as required press [ENTER] to execute the Init Play Effect 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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
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The Pattern Jobs
05: Clear Pattern
Clears all data from the specified section of the specified style.
The “Style” parameter selects the style in which the specified section is to be cleared: “001” … “100”.
“MainA”, “MainB”, “FillAA”, “FillBB”, “FillAB”, “FillBA”, “Ending”, or “All” for all sections.
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 [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode.
The “Section” parameter selects the section to be cleared: “Intro”,
06: Style Name
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Allows an original name of up to 8 characters to be assigned to the specified style.
The style number parameter selects the style for which a name is to be as­signed: “001” … “100”.
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The Pattern Jobs
Lower-case To enter a lower-case character, use the cursor keys to move the Characters cursor to the position at which a character is to be entered, then
press the micro-keyboard key corresponding to the character to be entered.
NOTE If a series of asterisks ap­pears in the style name area, the selected style contains no data and a pattern name cannot be assigned.
Upper-case Characters
Hold the left [OCT DOWN] key (“CAPS”) while pressing the micro-keyboard key corresponding to the character to be entered.
Symbols Hold the left [OCT UP] key (“SHIFT”) while entering to enter
the symbols listed above the characters corresponding to each micro-keyboard key.
Space The right [OCT DOWN] key enters a space. Numbers Numbers can be entered via the numeric keypad. Delete The right [OCT UP] key deletes the character at the cursor
position.
When the name has been entered press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly to the selected mode (it is
not necessary to
press the [ENTER] key to enter the specified name).
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The Phrase Jobs
The Phrase Jobs
The phrase mode includes 15 phrase “jobs” that perform a variety of important functions. To access and use the phrase jobs, press the [JOB] key while in the PHRASE mode. This calls the phrase job list. You can select any job on the list simply by moving the cursor to the required job (use the cursor keys or the data dial) and pressing [ENTER]. You can also move up or down the list in 1-page steps by using the cursor [ [SHIFT] keys. An alternative method is to enter the job’s number via the numeric keypad and press [ENTER].
] and [ƒ] keys while holding one of the
00: Undo/Redo
Returning to the PHRASE Mode
The [F6] function key (“Exit”) can be used to exit from any phrase job, and then from the job list thereby returning you to the phrase mode. You can also press the [F6] function key (“Exit”) while holding one of the [SHIFT] keys to directly return to the PHRASE mode.
This job will “undo” any other phrase 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).
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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 realtime record operation will be undone.
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