Yamaha QY 300 User Manual

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FCC INFORMATION (U.S.A)

1. IMPORTANT NOTICE : DO NOT MODIFY THIS UNIT!

This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product.

2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA.

3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the user’s manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the problem by using one of the following measures:

Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type

cable. If these corrective measures do not produce satisfactory results, please contact the your local retailer authorized to distribute this type of product. If

you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620

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

CANADA

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

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

This applies only to products distributed by Yamaha Canada Music

LTD.

Bescheinigung des Importeurs

Hiermit wird bescheinigt, daß der/die/das

Music Sequencer Typ: QY300

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

(Gerät, typ, Bezeichnung) in Übereinstimmung mit den Bestimmungen der

VERFÜGUNG 1046/84

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

(Amtsblattverfügung) funkentstört ist. Der Deutschen Bundespost wurde das Inverkehrbringen dieses

Gerätes angezeigt und die Berechtigung zur Überprüfung der Serie auf Einhaltung der Bestimmungen eingeräumt.

Yamaha Europa GmbH

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

Name des lmporteurs.

Dies bezieht sich nur auf die von der YAMAHA EUROPA GmbH

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

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

iii

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Precautions

!! PLEASE READ THIS BEFORE PROCEEDING !!

■Location

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

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

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

• Excessive humidity.

• Excessive dust.

• Strong vibration.

■Power Supply

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

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

• Unplug the instrument during electric storms.

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

■Turn Power OFF When Making Connections

■MIDI Connections

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

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

■Handling and Transport

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

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

• Disconnect all cables before moving the instrument.

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

■Cleaning

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

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

• Never use cleaners such as alcohol or thinner.

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

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

■Electrical Interference

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

Page 7

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.

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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

Page 9

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

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Power & Connections

Setting Up Your System

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

■ The Connectors

1 MIDI IN & OUT Connectors

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

2 L/MONO & R OUTPUT Jacks

These are the main stereo outputs from the QY300’s internal tone generator system (see “Audio Connections,” below). Both are standard 1/4" mono phone plugs. When a plug is inserted into only the L/MONO output, the 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.

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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

Page 12

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

Page 13

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).

Page 14

The Controls

3 3 3

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.

Page 15

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

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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■ 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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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

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.

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■ 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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• 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.

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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■ 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.

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.

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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

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

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.

1-1-00

Clock: 96 clocks per 1/4-note

Beat: 1 … 4 if 4/4 time

Measure number

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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 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.

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.

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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.

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.

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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).

Page 45

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.

Page 48

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

• 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

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

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.

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.

Page 73

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.

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.

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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Patterns — Part 2: Recording Accompaniments

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

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 [|ß] key to make sure you return to the top of the song, then press

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

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Patterns — Part 2: Recording Accompaniments

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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Patterns — Part 2: Recording Accompaniments

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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Patterns — Part 2: Recording Accompaniments

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.

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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

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.