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
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
Page 3
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
Page 4
Contents
Contents
Precautions ................................................. iv
About This Manual...................................... vi
The QY300: An Overview.......................... vii
■ Sequencer Functions ................................................ vii
■ Accompaniment Sequencing ................................... vii
■ Voice & Effects ...................................................... viii
Power & Connections................................... 1
Power Supply ......................................................................1
Setting Up Your System .....................................................2
■ The Connectors ...........................................................2
Index ................................................................................129
iii
Page 6
Precautions
Precautions
!! PLEASE READ THIS BEFORE PROCEEDING !!
■Location
Do not expose the QY300 to the following conditions to avoid deformation, discoloration, or
more serious damage.
• Direct sunlight (e.g. near a window).
• High temperatures (e.g. near a heat source, outside, or in a car during the daytime).
• Excessive humidity.
• Excessive dust.
• Strong vibration.
■Power Supply
• Turn the power switch OFF when the instrument
is not in use.
• The power supply cord should be unplugged
from the AC outlet if the instrument is not to be
used for an extended period of time.
• Unplug the instrument during electric storms.
• Avoid plugging the instrument into the same AC
outlet as appliances with high power consumption, such as electric heaters or ovens. Also avoid
using multi-plug adaptors since these can result
in reduced sound quality and possibly damage.
■Turn Power OFF When
Making Connections
■MIDI Connections
• When connecting the QY300 to MIDI equipment, be sure to use high-quality cables made
especially for MIDI data transmission.
• Avoid MIDI cables longer than about 15 meters.
Longer cables can pick up electrical noise that
can causes data errors.
■Handling and Transport
• Never apply excessive force to the controls, connectors or other parts of the instrument.
• Always unplug cables by gripping the plug
firmly, not by pulling on the cable.
• Disconnect all cables before moving the instrument.
• Physical shocks caused by dropping, bumping, or
placing heavy objects on the instrument can result in scratches and more serious damage.
■Cleaning
• Clean the cabinet and panel with a dry soft cloth.
• A slightly damp cloth may be used to remove
stubborn grime and dirt.
• Never use cleaners such as alcohol or thinner.
• Avoid placing vinyl objects on top of the instrument (vinyl can stick to and discolor the surface).
• To avoid damage to the instrument and other devices to which it is connected (a sound system,
for example), turn the power switches of all related devices OFF prior to connecting or disconnecting audio and MIDI cables.
iv
■Electrical Interference
• This instrument contains digital circuitry and
may cause interference if placed too close to radio or television receivers. If this occurs, move
the instrument further away from the affected
equipment.
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.
v
Page 8
About This Manual
About This Manual
The following simple icons are used throughout this manual to draw attention to important
points and information where necessary. The icons also make it easier to differentiate between information that you should read immediately and information that can be skipped
until later, hopefully helping you to become familiar with the QY300 in the quickest, most
efficient manner possible.
This icon warns of possible hardware damage, software malfunction, or
any other serious problem that may occur due to improper operation or
set up.
This icon marks information that you
procedures that are essential for proper, efficient, or easy operation.
The magnifying-glass icon indicates information that may not be essential for
general operation, but is a more detailed explanation of a feature, a description
of the principle involved, etc. You can skip this information if full details are
not required immediately.
Suggestions as to how a feature or function can be applied musically are
identified by this icon.
Hints or ideas that are not specifically musical but may make operation easier
or more interesting are marked by the light-bulb icon.
must read — i.e. important steps or
vi
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
1
Page 10
Power & Connections
1
2
3
4
Setting Up Your System
What you will connect the QY300 to, and what you will connect to the QY300,
will depend entirely on your individual requirements. A few examples are
provided below to help you get started.
■ The Connectors
1 MIDI IN & OUT Connectors
If you plan to use a MIDI keyboard or other instrument to play and program
the QY300, it should be connected to QY300 MIDI IN connector (see “MIDI
Connections,” below). The MIDI OUT connector can be connected to an external tone generator or synthesizer if you want to drive external voices from
the QY300 sequencer.
2 L/MONO & R OUTPUT Jacks
These are the main stereo outputs from the QY300’s internal tone generator
system (see “Audio Connections,” below). Both are standard 1/4" mono phone
plugs. When a plug is inserted into only the L/MONO output, the left- and
right-channels signals are mixed and delivered via that output to allow direct
connection to mono sound systems. The output level is adjusted via the VOLUME control (Z page 7).
3 PHONES Jack
Any pair of stereo headphones with a 1/4" stereo phone plug can be plugged in
here for convenient monitoring. The PHONES output level is adjusted via the
VOLUME control.
4 DC IN Jack
The DC output cable from the Yamaha PA-1207 AC Power Adaptor supplied
with the QY300 is plugged in here.
2
Page 11
■ Audio Connections
The simplest way to monitor the QY300 sound is via a pair of stereo headphones (1/4" stereo phone plug type) plugged into the PHONES jack. If want
to use an external stereo sound system, however, use the L/MONO and R
OUTPUT jacks. Since the QY300 output jacks are 1/4" phone types, you
Make sure that both the
QY300 and your sound
system are turned OFF
when making connections.
might have to use adaptors to connect to a sound system with different input
connectors — e.g. RCA type pin jacks. You can connect the QY300 directly to
most mixing consoles and instrument amplifiers via standard phone-plug cables (use the L/MONO output when connecting to a mono sound system).
Power & Connections
■ MIDI Connections
Although the QY300 can be played and programmed from the built-in microkeyboard, an external MIDI keyboard connected to the MIDI IN connector
provides the added advantages of standard keyboard size
sensitivity (if your keyboard has a velocity-sensitive keyboard). Connect the
MIDI OUT connector of the keyboard to the MIDI IN connector of the QY300,
and make sure that your keyboard is set to transmit on the appropriate MIDI
channel. The QY300 MIDI channel-to-track assignments are described on page
18.
and key velocity
MIDI INMIDI OUT
MIDI Keyboard
QY300
3
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
4
Page 13
The Controls
The Controls
The QY300 has fairly simple, consistent control interface that, once understood, makes
operation fast and easy, no matter what operation you are performing. If you read through
this section carefully, and try out the procedures in the Try this: sections, you should have
no problem accessing and operating the QY300Õs many advanced features.
12
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).
333
2 LCD Display & CONTRAST Control
This large multi-function liquid crystal display panel
shows all parameters and prompts you need to operate
the QY300 with optimum ease and efficiency.
Use the CONTRAST control on the rear panel to
achieve the best display visibility (LCD visibility varies
greatly with viewing angle and lighting).
5
Page 14
The Controls
3
12
6
7
4
333
89
5
10
11
3 Mode Keys
These six keys select the QY300’s main operating
modes:
SONGThe 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.
PATTERNThe PATTERN mode is used to create patterns by com-
bining or “patching” phrases from the PHRASE mode.
PHRASEThe 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.
CHAINThe CHAIN mode is used to specify a “chain” of songs
to be automatically played in sequence.
UTILITYThe QY300’s MIDI, data filter, and ABC utility functions
are all accessed via the UTILITY mode.
DISKAlthough you can directly save and load data to and from
floppy disk from the SONG, PATTERN, PHRASE, and
CHAIN modes, the DISK mode provides access to a full
range of important disk and data management functions.
4 Cursor and [–1/NO] and [+1/YES] Keys
This block of six keys includes four cursor keys — the
ones labeled with the triangular arrow-heads — and
two data decrement/increment keys.
The cursor keys move the “cursor” around the display screen, highlighting the various parameters that
are available for editing (the QY300 cursor appears as a
dark block with inverse characters).
The [–1/NO] and [+1/YES] keys are used to edit
(change the value of) the parameter at which the cursor
is currently located. The [–1/NO] key decrements (decreases stepwise) the value of the selected parameter,
while the [+1/YES] key increments (increases stepwise)
the parameter. Press either key briefly to decrement or
increment the parameter by one, or hold the key for
continuous decrementing of incrementing in the specified direction.
The [–1/NO] and [+1/YES] keys are also used to
respond to certain prompts when they appear. Press
[+1/YES] to go ahead with the operation, or [–1/NO] to
cancel.
6
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.
RECActivates 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.
PLAYStarts 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.
STOPStops playback or recording.
TOPInstantly 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 [OCTDOWN] 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!).
7
Page 16
Song Mode — Part 1: Playback & Control
Song Mode — Part 1:
Playback & Control
Playback in the QY300 SONG mode involves much more than simply starting and stopping
playback. You have extensive control over a number of important parameters that dramatically affect the final sound. Use the demo song provided on the QY300 data disk to try out
the various features and functions described in this section.
Before you begin, be sure to select the SONG mode by pressing the [SONG] mode
button.
Play the Demo Song
If for some reason the
demo song has been
erased or overwritten, it
can be re-loaded from the supplied QY300 data disk. Follow
the instructions on page 56 of
this manual to load the all-data
type file “DEMO”.
NOTE Actual file names on the
data disk supplied with the
QY300 may be different from
those given in the manual.
The QY300 is shipped with a demonstration song and the required data already
loaded. Play the demonstration song (Song number 01) to hear an example of
what the QY300 can do, and use the demonstration song data to try out the
playback features and parameters described in this chapter.
1 Select Song Number 01
Move the cursor to the song number on the LCD and select song number 01
(use the data dial, the numeric keypad, or the [–1/NO] key to do this).
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).
The QY300 lets you locate any measure within a song quickly and easily in
three ways:
■ The Measure/Beat Parameter
Measure number
The large number to the left of the colon in this parameter is the measure
number and the small number to the right of the shows the number of the
current quarter-note beat within the current measure during playback and recording. To go directly to any measure within a song, place the cursor at the
measure number and use the [–1/NO] and [+1/YES] keys, the data dial, or the
numeric keypad to enter the number of the measure you want to go to. Remember to press [ENTER] after entering a measure number via the numeric
keypad. The beat number will always be reset to “1” when you locate a
measure.
Beat number
■ The Shuttle Dial
10
The outer ring of the QY300 data dial is a “shuttle” dial that lets you move
forward or backward through the current song at varying speed, both during
playback and when playback is stopped. The more you rotate the shuttle dial in
the clockwise direction the faster you will shuttle forward through the song.
The same applies to reverse shuttling in the counter-clockwise direction. If you
use the shuttle dial during playback you will be able to monitor the sound of
the song while shuttling forward or backward. No monitor sound is available if
the shuttle dial is used when playback is stopped.
Page 19
■ The Mark/Jump Function
The mark/jump function lets you “mark” (memorize) up to 10 locations within
the current song and “jump” to any one of the marked locations in one easy
step.
Marking a Location
To mark the current location, press the [F4] function key (“Mark”). This calls
the Mark/Jump display.
Song Mode — Part 1: Playback & Control
When the Mark/Jump display appears, make sure the cursor is located at a
clear number (“2” in the example display above) and press [ENTER]. This
records the current measure/beat location in the specified Mark/Jump number,
and returns you to the SONG mode.
Jumping to a Marked Location
To jump to a marked location, press the [F6] key (“Mark”) from any other
location, move the cursor to the appropriate Mark/Jump number (or enter the
Mark/Jump number via the numeric keypad), and press [ENTER]. You will
immediately be returned to the SONG mode at the specified location.
Clearing a Marked Location
To clear a marked location go to the Mark/Jump display, move the cursor to
the Mark/Jump number you want to clear,and press the [F1] function key
(“Clear”).
11
Page 20
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).
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.
13
Page 22
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.
14
Page 23
■ 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.
15
Page 24
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 1This effect simulates the natural reverberation of a fairly large concert
Hall 2An even larger hall than the Hall 1 program, with a correspondingly
Room 1This setting is ideal when you want a warm reverb effect but not as
Room 2A slightly tighter reverb than the Room 1 effect, giving the impression of
Plate 1A 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 2Another plate delay simulation, with a well-defined initial delay “slap”.
Delay 1A stereo multi-delay effect with well-defined repeats.
Delay 2In 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.
16
Page 25
• The voice parameters
in these displays can
be used to change
voice assignments in the same
way as in the Mixer display.
• Since track 10 is only used for
drums and drums are not
pitched voices, no tuning
fader is provided for the drum
track in either the coarse or
fine tuning displays.
The tuning settings apply
only to the QY300’s
internal voices — i.e.
they will not affect the sound of
an external tone generator or synthesizer being driven by the
QY300.
Song Mode — Part 1: Playback & Control
The faders in the coarse tuning display individually tune the corresponding
tracks over 4-octave range (±2 octaves) in semitone increments, while those in
the fine tuning display tune the corresponding tracks over approximately a
whole tone (±1 semitone) in one-cent increments (100 cents = 1 semitone)
Position the cursor at a fader, then use any data entry method to set the coarse
or fine tuning as required. The graphic fader will move to the corresponding
position (above center when tuning up and below center when tuning down).
The fader positions also have numeric values that appear in the upper right
corner of the display: in the coarse tuning display the range is from “–24”
(down two octaves) through “00” (standard pitch) to “+24” (up two octaves).
In the fine tuning display the range is from “–100” (down a semitone through
“00” (standard pitch) to “+99” (up a semitone). Hold the [SHIFT] key while
setting a fader to change the settings of all faders by the same amount.
■ Pitch Bend Range
The pitch bend range display makes it possible to individually set the pitch
bend range of the sequencer tracks — a valuable feature when programming
the QY300 from an external keyboard or other controller which has a pitch
bend wheel.
pitch bend range controls.
• The voice parameters
in this display can be
used to change voice
assignments in the same way as
in the Mixer display.
• Since track 10 is only used for
drums and drums are not
pitched voices, no pitch bend
range fader is provided for the
drum track.
In the voice mode press the [F5] function key (“PbRang”) to access the
17
Page 26
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.
18
Page 27
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.
ValueEffect
OffNo quantization. Swing settings also ignored.Aligns to the nearest 32nd note.
3
3
3
+
3
+
3
Aligns to the nearest 16th note triplet.
Aligns to the nearest 16th note.
Aligns to the nearest 8th note triplet.
Aligns to the nearest 8th note.
Aligns to the nearest quarter note triplet.
Aligns to the nearest quarter note.
Aligns to the nearest 16th note + 16th note triplet.
Aligns to the nearest 8th note + 8th note triplet.
The “Str” (strength) parameter determines how “strongly” the notes are attracted to the specified quantize value. The strength range is from 0% to 100%.
At a setting of “0%” no quantization will occur, while a setting of “100%” will
cause all notes to be aligned precisely to the nearest specified beat value. Inbetween settings produce a corresponding shift in the position of all off-beat
notes to the nearest specified beat value. With a value setting of “d” and a
strength setting of 50%, for example, a note that does not fall precisely on an
8th-note beat will be shifted about halfway to nearest 8th-note beat.
The faders set the strength value for the corresponding tracks. Position the
cursor at a fader, then use any data entry method to set the strength as required.
The graphic fader will move to the corresponding position. The specified
strength setting will appear in the upper right corner of the display. Hold the
[SHIFT] key while setting a fader to change the settings of all faders by the
same amount.
19
Page 28
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.
20
Page 29
■ Transpose & Clock Shift
The “Trans” controls in this display transpose all notes in the corresponding
tracks up or down in semitone increments. The “Shift” faders move all notes
and events in the corresponding tracks forward or backward by the specified
number of clocks (96 clocks per 1/4 note).
Song Mode — Part 1: Playback & Control
Since the Clock Shift
parameters shift the
timing of all notes and
other events in the specified track
forward or backward, they can significantly alter the “feel” of the
song. You could move the notes
forward (“+” settings) to create a
more “laid back” feel, or backward (“–” settings) to produce a
more “driving” feel. Of course,
you can also use Clock Shift to
correct timing that is off in the first
place.
The rotary “Trans” controls set the amount of transposition for the corresponding tracks. The transpose range is from “–99” (full left) through “+00” (center
position) to “+99” (full right), with each increment corresponding to a semitone. The current numeric transpose setting for the selected track appears in
the upper right-hand corner of the display.
The faders set the amount of clock shift for the corresponding tracks. Position the cursor at a fader, then use any data entry method to set the clock shift as
required. The graphic fader will move to the corresponding position — above
center for positive clock shift and below center for negative clock shift. The
current clock shift setting will appear in the upper right corner of the display —
the numeric range is from “–999” through “0” to “+999”. Hold the [SHIFT] key
while setting a fader to change the settings of all faders by the same amount.
21
Page 30
Song Mode — Part 1: Playback & Control
■ Gate Time & Velocity Modify
The parameters in this screen make it easy to increases or decreases the gate
times (length) and velocity of all notes in the specified track.
• The gate time can be
modified to give the
entire track a more
staccato or legato feel, as required.
• Modifying the velocity is a
great way to “soften” the
sound of a track that has too
great a variation between the
softest and loudest notes, or,
conversely, to add extra
punch to a dull-sounding
track. Experiment with the parameters to get a feel for what
they do.
The “G.Rat” (gate rate) parameter sets the ratio between the shorter and
longer gate time values. A setting of “100%” maintains the original relationship between the notes, lower values produce a narrower gate time range
(minimum 1%), and higher values produce a broader gate time range (maximum 200%).
The “V.Rat” (velocity rate) parameter sets the ratio between the lower and
higher velocity values. A setting of “100%” maintains the original relationship
between the notes, lower values produce a narrower dynamic range (minimum
1%), and higher values produce a broader dynamic range (maximum 200%).
The “V.Ofs” (velocity offset) parameters determines the amount of veloc-
ity change. “–” settings reduce the velocity while “+” settings increase the
velocity. The range is from “–99” through “00” to “+99”.
■ The “Per Track” Display
In addition to the playback effect displays described above the QY300 provides a “per track” display which shows all parameters for all effects for one
track at a time. Only the sound of the selected track will be monitored when
this display is selected. Press the [F1] function key (“perTR”) to select the per
track display.
22
The individual effects and parameters are exactly the same as those described
above. To select a track, move the cursor to the track number bar at the top of
the display, then move the cursor sideways to select the track you want to
program.
Page 31
Song Mode — Part 2: Basic Recording
Song Mode — Part 2:
Basic Recording
The QY300 SONG mode provides two main record modes for the 16 sequencer tracks:
realtime and step record. When you use the realtime record mode the QY300 records exactly
what you play as you play it. In the step record mode notes can be entered one at a time.
There’s also a “multi” real-time record mode in which all 16 sequencer tracks can be
recorded simultaneously, and a punch-in real-time record mode in which you can re-record
any specified section of an already-recorded track. The step record mode lets you record
extremely fast or complex passages that would be difficult or impossible to play in real time.
It’s also useful for adding finishing touches to tracks originally recorded in real time.
Realtime Recording
In the realtime record mode you select the track you want to record , and then
play the part on the micro-keyboard or an external MIDI keyboard in real time.
If for some reason all 10
songs contain data and
you want to start recording with an empty song, use
the “Clear Song” job described
on page 53 to clear a song for
recording. If you want to save
the existing song data to floppy
disk before clearing, see “Disk
Operations” page 119.
1 Select a Song
Place the cursor at the song number and use any data entry method to select
the song number you want to record (01 … 10). If the song doesn’t contain any
data yet, a row of asterisks will appear to the right of the song number
(********).
Song number
Asterisks indicate song contains no data.
2 Make the Required Voice Assignment(s)
Go to the voice mode ([F3] key) and assign the voice(s) you want to use to the
track(s) you intend to record, as described on page 14.
Press the [F6] key (“Exit”) to return to the SONG mode when done.
23
Page 32
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.
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.
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.
25
Page 34
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
OffMetronome off.
RecMetronome sounds during realtime recording only.
PlyMetronome sounds during realtime recording and playback.
AllMetronome 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.
26
Page 35
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.
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.
27
Page 36
Song Mode — Part 2: Basic Recording
■ Multi-channel Recording
The “Multi” recording mode allows simultaneous realtime (or punch-in) recording of all 16 sequencer tracks. This can be useful when you want to record
complete sequences from another sequencer or music computer which is not
data-compatible with the QY300.
Select the multi mode by pressing the [F1] function key (“MULTI”) after selecting
either the realtime or punch-in record mode (step 5 of the realtime record process,
described above). The record procedure is exactly the same as that described for
realtime or punch-in recording, except that all 16 sequencer tracks are recorded
simultaneously (assuming, of course, that appropriate MIDI data is received on the
corresponding MIDI channels — see “Channel Assignments” on page 18).
Step Recording
The step record mode lets you enter data note-by-note, with precise control
over the timing, length, and loudness of each note. You can record complete
tracks using the step mode, or use it to brush-up and add data to existing tracks.
1 Select a Song
Place the cursor at the song number and use any data entry method to select
the song number you want to record (01 … 10). If the song doesn’t contain any
data yet, a row of asterisks will appear to the right of the song number
(********).
Asterisks indicate song contains no data.
2 Make the Required Voice Assignment(s)
Go to the voice mode ([F3] key) and assign the voice(s) you want to use to the
track(s) you intend to record, as described on page 14.
28
Page 37
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.
29
Page 38
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
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.
30
Page 39
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 beat3rd 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
31
Page 40
Song Mode — Part 2: Basic Recording
You can move the cursor down to the note display (the note pointer will appear
filled) and move the note pointer to any position at which you want to enter a
note, or to any note that you want to delete. You will actually hear the appropriate note or chord when the note pointer is moved to an existing note symbol. When you move the note pointer past the end of the note display, the next
measure will appear. If you move past the last measure in the phrase, the first
measure of the phrase will appear.
Moving Around In the Note Display
Cursor moved to note pointer
(the note pointer appears filled).
The Step Mode Function Keys
The six function keys immediately below the display provide access to a
number of handy functions in the step record mode.
[F1] – “Rest”Enters a rest of the currently selected note length at the note pointer position.
[F2] – “Tie”Lengthens the previously entered note by “tying” another note of the same
[F3] – “Delete”Deletes the note or chord at the note pointer.
[F4] – “BkDelt”Moves the note pointer backward by the currently selected note length and
[F5] – “LoKey”Displays the lowest range of the keyboard (scrolls the keyboard display two
[F6] – “HiKey”Displays the highest range of the keyboard (scrolls the keyboard display two
length and pitch to it. An alternative method is simply to change the length
of the note as required via the note length keys on the numeric keypad.
deletes the corresponding note or chord.
octaves to the right). Press again to return to the normal “centered” display.
octaves to the left). Press again to return to the normal “centered” display.
The Measure/Beat/Clock Display
The “Meas” area of the step record display shows the current position of the
note pointer in measures, 1/4-note beats, and clocks (there are 96 clocks per
1/4 note). If you’re not sure what measure you’re seeing on the note display
while recording, check the measure/beat/clock display.
32
1-1-00
Clock: 96 clocks per 1/4-note
Beat: 1 … 4 if 4/4 time
Measure number
Page 41
Song Mode — Part 2: Basic Recording
; Complete the Track
See the “Editing Songs
& Phrases” section,
page 104, for information on how to edit recorded
song data.
Repeat steps 8 and 9 until the current track is complete, then press [m] to stop
recording.
■ Drum Assignment & Used Memory Displays
The QY300 provides “Drum Assignment” and “Used Memory” displays which
can provide valuable information when recording.
Press the left [OCT DOWN] and [OCT UP] keys simultaneously to see
the current pitch of the micro-keyboard (as determined by the [OCT DOWN]
and [OCT UP] keys) and a list of the drum instruments currently played by the
micro-keyboard keys.
Drum instruments played by the corresponding
micro-keyboard black keys.
lowest key on the micro-keyboard
The current pitch of the
Micro-keyboard keys
Drum instruments played by the corresponding
micro-keyboard white keys.
Press the right [OCT DOWN] and [OCT UP] keys simultaneously to see how
much of the available QY300 memory is currently used. When the bar approaches 100% it is advisable to save data you want to keep to floppy disk, and
clear song data that you don’t need at the moment to make as much room as
possible for the current recording operation.
33
Page 42
The Song Jobs
The Song Jobs
The song mode includes 24 song “jobs” that perform a variety of important functions. To access
and use the song jobs, press the [JOB] key while in the SONG play mode. This calls the song
job list. You can select any job on the list simply by moving the cursor to the required job (use
the cursor keys or the data dial) and pressing [ENTER]. You can also move up or down the list
in 1-page steps by using the cursor [
An alternative method is to enter the job’s number via the numeric keypad and press [ENTER].
Returning to the SONG Mode
] and [▼] keys while holding one of the [SHIFT] keys.
00: Undo/Redo
The [F6] function key (“Exit”) can be used to exit from any song job, and then
from the job list thereby returning you to the normal song play mode. You can
also press the [F6] function key (“Exit”) while holding one of the [SHIFT]
keys to directly return to the SONG mode.
This job will “undo” any other song job, edit, or record function if it is
executed before any other operation is performed. In all cases the affected data
is restored to the state it was in before performing the job, edit, or record
operation. This job will also undo the last undo operation (redo).
The last operation
performed is “forgotten”
by the UNDO job
whenever the SONG or PHRASE
step record mode is engaged,
even if the step record mode is
exited without actually recording
any data.
34
The name of the last operation performed will appear on the display (i.e. the
operation which will be “undone”). In the example display, above, a quantize
opersation will be undone.
Press [ENTER] to execute the Undo/Redo job. The metronome icon will
appear on the display while the data is being processed, then “Completed” will
appear briefly when the job is done. Press the [F6] key (“Exit”) to return to the
job list, or a mode key to go directly to the selected mode.
Page 43
01: Quantize
The Song Jobs
Aligns notes in the specified track to or close to the nearest specified beat.
The “TR” parameter selects the track to be affected by the Quantize job: “01”
… “16” for individual tracks, or “All” to quantize all 16 tracks simultaneously.
The “M” parameters above the graphic bar are used to specify the first
measure:beat and last measure:beat of the range to be quantized.
First measureLast 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
ValueEffect
Aligns to the nearest 32nd note.
3
3
3
+
+
Aligns to the nearest 16th note triplet.
Aligns to the nearest 16th note.
Aligns to the nearest 8th note triplet.
Aligns to the nearest 8th note.
Aligns to the nearest quarter note triplet.
Aligns to the nearest quarter note.
Aligns to the nearest 16th note + 16th note triplet.
3
Aligns to the nearest 8th note + 8th note triplet.
3
35
Page 44
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).
36
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 measureLast 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”.
37
Page 46
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 measureLast 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”.
38
Page 47
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 measureLast 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.
39
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 measureLast 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.
40
Page 49
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 measureLast 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.
41
Page 50
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 measureLast 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.
42
Page 51
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 measureLast 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.
43
Page 52
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
44
• Previous data in
measures overwritten
by the Copy Event
by the Copy Event job, but
Voice and Play Effect data is
not copied.
First measureLast 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.
Page 53
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 measureLast 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.
45
Page 54
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 measureLast 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:
NOTENote 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.
PRGMProgram change events.
P.BENDPitch bend events.
CTRLControl 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.
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 measureLast measure
M001:1~999:4
Last beatFirst beat
The data type parameter determines the type of data to be thinned.
P.BENDPitch bend events.
CTRLControl 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”.
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.
47
Page 56
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.
48
Page 57
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 measureLast 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.
49
Page 58
The Song Jobs
16: Mix Track
NOTE If there is no data in the
second track, the data from the
first track is simply copied to the
second track (the time signature
is not copied).
In many situations you
may want to “overdub,”
or add new material to
a single track without deleting
the previous material. This is
dangerous, however, since you
can ruin one or more layers of
good material by making a mistake during a later overdub. The
QY300 eliminates this possibility
by allowing only “replace” re-
cording (i.e. all material recorded to a track erases an replaces any previous material on
that track). In order to record
more than one layer of material
to a single track (using the same
voice, of course), first record the
layers on separate tracks, then
after ensuring that there are no
mistakes, use the Mix Track job
to combine these separate tracks
onto a single track.
Combines the data contained in two specified tracks and places the result in
the second track.
The upper and center “Song” parameters select the first and second source
songs— i.e. the songs containing the tracks which are to be mixed: “01” …
“10”. Both of these Song parameters should be set to the same song number if
you’re mixing tracks from a single song.
The upper and center “TR” parameters select the first and second source
tracks — i.e. the tracks which are to be mixed: “01” … “16”.
The lower “Song” and “TR” parameters are always the same as the center
parameters.
After setting the parameters as required press [ENTER] to execute the Mix
Track job. The metronome icon will appear on the display while the data is
being processed, then “Completed” will appear briefly when the job is done.
Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly
to the selected mode.
17: Clear Track
50
Completely clears the specifed track from the currently selected song (including all Play Effect parameters).
Page 59
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 TrackSequencer Track
1 8
2 9
311
412
513
614
715
816
51
Page 60
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.
52
Page 61
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.
53
Page 62
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-caseTo enter a lower-case character, use the cursor keys to move
Charactersthe 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
SymbolsHold the left [OCT UP] key (“SHIFT”) while entering to enter
SpaceThe right [OCT DOWN] key enters a space.
NumbersNumbers can be entered via the numeric keypad.
DeleteThe 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).
54
Page 63
Patterns — Part 1: Accompaniment Basics
Patterns — Part 1:
Accompaniment Basics
Using the pre-programmed style data provided with the QY300 you can easily create accompaniments that can be used alone — to play or sing along with, for example — or as the
basis for complete compositions. The pre-programmed styles are provided on disk, and must
be loaded before they can be used. You can also create patterns by combining individual
“phrases”. A phrase is a single “part” of a pattern, such as the drum or bass part. The QY300
provides 2,000 preset phrases in internal ROM memory, or you can record your own. The
procedures for creating patterns by using phrases will be discussed in the “Creating Patterns”
section (Z page 74).
Defining “Patterns”, “Styles”, & “Sections”
Although you’ll usually be working with individual patterns in the QY300,
these are actually part of larger structures known as “styles”. A style consists
of a group of genre-related patterns designed to be used together to create a
complete song. Each pattern within a style is a “section” of a song: e.g. an
introduction, two main themes, fill-ins, and an ending (these will be discussed
in more detail in “Selecting & Playing Patterns” on page 57). The number that
appears at the top of the main PATTERN mode display is therefore actually
the “style number”, since it selects a complete set of related patterns. Several
of the PATTERN mode jobs (page 86) also use the term “style” when they
operate on a complete set of patterns rather than an individual pattern.
Loading the Pre-programmed Patterns From Disk
So you can load a complete set of styles in one operation, the styles provided
The QY300 is initially
shipped with the styles
already loaded. If for
some reason the styles have
been erased or modified, you
can use the following procedure
to re-load them.
NOTE Actual file names on the
data disk supplied with the
QY300 may be different from
those given in the manual.
on the QY300 data disk have been saved as an “All Data” file which must be
loaded via the DISK mode. Please note that loading the style data will erase all
other song, phrase, and chain data currently in memory. Be sure to save any
data you want to keep before loading.
1 Insert the Supplied Disk
Insert the floppy disk supplied with the QY300 into the disk drive slot on the
right side of the unit. The label side of the disk should face up and the sliding
disk door should face the drive slot. Slide the disk in until it clicks firmly in
place.
55
Page 64
Patterns — Part 1: Accompaniment Basics
2 Select the Disk Mode, Select “Load” & “All Data”
The data disk supplied with the QY300 contains a single “All Data” format file
which include 1 demo song and 100 styles × 8 sections (800 patterns). Press
the [DISK] mode key to select the DISK mode, press the [F2] function key
(“Load”), then use the cursor keys, the [–1/NO] and [+1/YES] keys, or the
data dial to select “All Data”.
3 Press [ENTER] & Select the “DEMO” File
Press the [ENTER] key top go to the load all data display, then use the cursor
keys, the [–1/NO] and [+1/YES] keys, or the data dial to select the “DEMO”
file.
56
4 Press [ENTER]
Press the [ENTER] key to execute the load operation. The QY300 will display
a confirmation prompt asking you if you’re sure you want to delete all previous data in memory.
5 Press [+1/YES] to Confirm & Load the Data
Press [+1/YES] if you want to go ahead with the load operation, or [–1/NO] if
you want to cancel the load operation. If you choose [+1/YES], an “Executing” bar graph will appear while the data is being loaded.
Page 65
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.
Each style can have 8 sections — INTRO, MAIN A, MAIN B, FILL AA,
FILL BB, FILL AB, FILL BA, and ENDING.
INTROIntroduction. When used in a song the introduction will automatically
be followed by the MAIN A section unless another section is specified.
MAIN AThe main section, generally used for the “verse” of a song.
MAIN BA variation on the main section which can be used as a chorus or bridge.
FILL AAFill-in for the MAIN A section.
FILL BBFill-in for the MAIN B section.
FILL ABFill-in transition from MAIN A to MAIN B. MAIN B will automati-
cally be selected after the fill-in.
FILL BAFill-in transition from MAIN B to MAIN A. MAIN A will automati-
cally be selected after the fill-in.
ENDINGEnding pattern. When used in a song, playback will stop when the
ending section finishes.
57
Page 66
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.
58
Page 67
■ Changing Chords
Chord rootsChord 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.
59
Page 68
Patterns — Part 1: Accompaniment Basics
Actually, you can press
the chord type key and
then the root key, the
order doesn’t matter.
Chord rootsChord 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.
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.
61
Page 70
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.
62
Page 71
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).
63
Page 72
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.
64
Page 73
Patterns — Part 2: Recording Accompaniments
Patterns — Part 2:
Recording Accompaniments
The QY300 provides two ways to record an accompaniment by specifying patterns and chords:
“realtime” and “step” recording. The realtime method is the fastest and easiest, letting you record
pattern and chord changes “on the fly.” The step method gives you more detailed control, and is
an excellent way to add the finishing touches to an accompaniment recorded in real time.
Realtime Accompaniment Recording
Once you know how to select styles, sections, and enter chords in the PATTERN mode (see the preceding sections), recording a basic accompaniment in
real time is easy. Tempo changes can be added later using the EDIT mode (Z
page 112).
1 Select the SONG Mode & an Empty Song
Press the [SONG] mode key to select the SONG mode and, with the cursor
located over the song number at the top of the display, use any data entry
method to select an empty song number if necessary. Empty songs are indicated by a row of asterisks (“********”) following the song number.
If for some reason all 10
songs contain data, use
the “Clear Song” job described on page 53 to clear a song
for recording.
Asterisks indicate that the song does not contain any data.
2 Select the “Pat” Track to Record Style &
Section Changes
Move the cursor to the track area of the display, and then shift the cursor
sideways to select “Pat”. Once selected, move the cursor vertically to move to
other areas of the screen. The selected track will remain highlighted no matter
where you move the cursor.
65
Page 74
Patterns — Part 2: Recording Accompaniments
3 Select the Starting Style, Section, Chord, & Tempo
Move the cursor to the style number, section, chord, and tempo parameters,
and set as required.
I
t’s sometimes easier to
set a slow tempo for
have plenty of time to enter pattern
and chord changes.
realtime recording, so you
4 Engage the Record Ready Mode
Press the [v] key to engage the record ready mode. The red LED above the
v] key will light.
[
5 Select the Realtime Record Mode
Press the [F4] function key (“REAL”) to select the realtime record mode.
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.
next
Page 75
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.
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 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.
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
69
Page 78
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.
70
Page 79
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.
71
Page 80
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 [OCTDOWN/ON BASS] key to specify
the bass note.
Specifying the Bass Phrase Chord Type (Harmonization)
You can add bass
phrase harmonization to
existing chords without
having to re-enter the entire
chord by simply moving the cursor to the chord and using the
[OCT UP/ORG BASS] key to
specify the bass chord.
While the “ON BASS” function described above allows you to specify the
actual root of the bass phrase to be used with a chord, the “ORG BASS”
function also lets you specify a chord type on which the bass pattern will be
based. To do this use the left [OCT UP] key (note the “ORG BASS” marking
below the key). Enter the chord in the normal way, then while holding the
[OCT UP/ORG BASS] key press the key on the micro-keyboard corresponding to the desired root note and then the key corresponding to the desired chord
type (the root note and chord type will appear below the chord root). In the
example display, below, the Dm7 chord will be played with a bass phrase
based on a CM7 chord.
72
Page 81
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 [OCTUP] 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 [OCTDOWN] 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.
73
Page 82
Phrases: Creating Patterns
Phrases:
Creating Patterns
QY300 patterns are created by combining “phrases” — either preset or original — from the
PHRASE mode. A phrase is simply an individual “part” of a pattern — e.g. a drum phrase, a
bass phrase, a keyboard phrase, etc. — using a single voice. The QY300 has 2,000 preset
phrases, and 100 memory locations for original creations. The PHRASE mode lets you both
listen to the preset phrases and record original phrases. The phrases are actually combined to
create complete patterns in the PATTERN mode.
The Preset Phrases
You can listen to the preset phrases in the PHRASE mode by simply selecting
a phrase and pressing the [
The category, beat, and type of the selected phrase are listed in full on the
display.
Category
The difference between the “General” and “Specific” types is that while the
General phrases are, as their name implies, for general use, the Specific phrases
are actually parts of specific patterns. In other words, if you combine specific
phrases of the same beat and number from different categories, you will end up
with a specific pattern.
Beat
Combining Phrases In the Pattern Mode
Type
The phrases are combined to create patterns which can be used in accompaniments in the PATTERN mode.
1 Select the PATTERN Mode, a Style, & a Section
Press the [PATTERN] mode key to select the PATTERN mode then, with the
cursor located at the style number, select a style. As in the SONG mode, empty
patterns are indicated by a row of asterisks (********) to the right of the style
number. Also move the cursor to the section name and select the section you
want to create.
Style number
Section
75
Page 84
Phrases: Creating Patterns
Although the pattern
length parameter can be
set from 1 to 8 measures
for the Intro, Main A, Main B,
and Ending sections, the Fill sections can only have a length of 1
measure.
2 Set the Pattern Length & Time Signature
If you’re starting with an empty pattern, move the cursor top the pattern length
and time signature parameters and set as required.
Press the [F4] function key (“Patch”) to engage the patch mode — i.e. the
mode in which phrases are “patched” together to create patterns. The patch
display for an empty pattern will appear as follows:
Cursor here to enter a phrase for track 1, measure 1.
Track numbers. Scroll down to see tracks 5 through 8.
4 Enter the Required Phrase Numbers
With the cursor in the appropriate locations, use any data entry method to enter
the required phrase numbers. You can enter different phrases at different measures of the same track. If no other data is entered, a phrase entered on the first
measure of a track will repeat for the entire track. Phrases which are longer than
one measure are indicated by a wavy line extending for the length of the phrase.
Press the [F4] key (“Rest”) to enter a rest in the measure at which the cursor is
currently located. The rest will stop phrase playback until the end of the
pattern or until the next phrase number is encountered in that track.
Rest symbol
Clearing Phrases & Rests
Phrase numbers and rests can be cleared by placing the cursor at the appropriate phrase number or rest and pressing the [F5] key (“Clear”).
5 Exit From the Patch Mode When Done
Press the [F6] key (“Exit”) when the current section of the style is complete.
The mute buttons for tracks which now contain phrases will appear as solid
blocks, and the asterisks will disappear from the pattern name location (use the
“Style Name” job (page 90) to enter an original style name.
See “The Pattern Jobs”
on page 86 for details
on the QY300’s pattern
jobs which allow considerable
versatility in creating and modifying patterns.
6 Repeat for the Other Sections
Repeat the above procedure to complete the remaining sections of the style, as
required.
77
Page 86
Phrases: Creating Patterns
Recording Original Phrases
The QY300 makes it easy to create original accompaniment phrases. In addition to the preset phrases , the QY300 has 100 phrase memory locations (US--001 through US---100) which can be used to store your own creations. The
PHRASE mode provides two ways to create original phrases: realtime and step
recording.
■ Realtime Phrase Recording
In the realtime record mode you select the voice you want to record with, and
then play the part on the micro-keyboard or an external MIDI keyboard in real
time.
1 Select the PHRASE Mode & an Empty User Phrase
Press the [PHRASE] mode key to select the PHRASE mode, place the cursor
at the “category” section of the phrase number and select “US” (user), then
move the cursor to the phrase number and select an empty “user” phrase (the
programmable user phrases are numbered US---001 through US---100). Empty
phrases are indicated by a row of asterisks (“********”) following the phrase
number.
If for some reason all 100
user phrases contain data,
use the “Clear Phrase”
function described on page 102 to
clear a phrase for recording.
2 Engage the Record Ready Mode
Press the [v] key to engage the record ready mode. The red LED above the
v] key will light.
[
3 Select the Realtime Record Mode
Press the [F4] function key (“REAL”) to select the realtime record mode.
78
Page 87
Phrases: Creating Patterns
4 Select the Record Tempo, Time Signature, and Phrase
Length
Move the cursor to the tempo, time signature, and phrase length parameters
and set as required (the time signature and phrase length can only be set if the
phrase does not already contain data).
It’s sometimes easier to
set a slow tempo for
realtime recording, so
you have plenty of time to enter
the data.
You can change the
voice assignment later
in the same way.
The “---” (thru) chord
type can not be
specified as the source
chord.
Phrase length: 1 … 8 measures
Tempo: 25.0 … 300.0
Time Signature: 1/16 … 16/16
Time Signature: 1/8 … 16/8
Time Signature: 1/4 … 8/4
5 Select a Voice
Move the cursor to the voice parameter and select the voice you want to record
with.
6 Select the Source Chord
Move the cursor to the chord parameter and use the standard chord entry
procedure to enter the “source chord” for the phrase you are recording (i.e. the
chord on which the phrase is based). You can also enter “ON BASS” and
“ORG BASS” specifications, as described on page 72. The source chord specification allows the QY300 to correctly re-harmonize the phrase when different
chords are specified for the pattern in which the phrase is eventually used.
79
Page 88
Phrases: Creating Patterns
Since your original ABC
phrase will be automati-
cally re-harmonized as
required by the QY300 ABC system, there are a few rules you
should follow to ensure the best
results:
1: Stick to the harmonic environ-
ment of your source chord.
2: Use primarily the root, 3rd,
5th, and major 7th.
3: Keep it rhythmic … avoid me-
lodic lines.
During phrase recording
the active MIDI transmit
channel is the same as
that assigned to track 1 in the
PATTERN mode.
Play the required part either on the micro-keyboard or via an external MIDI
keyboard. The phrase will continuously repeat from the first to last measure, so
you can continue to add notes until the current part is complete.
8 Delete Mistakes as Required
To delete mistakes, simply play the note to be deleted on the micro-keyboard
while holding one of the [SHIFT] keys. All corresponding notes that occur
while the micro-keyboard key is held will be deleted.
9 Stop Recording
Press the [m] key to stop recording. The normal PHRASE play mode is automatically re-selected when you stop recording.
The Retrigger & Type Parameters
These two parameters determine how the phrase will respond to chord changes.
When the Retrigger (“Rtg”) parameter is turned “Off”, any notes playing
when a chord change occurs will be immediately muted. When the Retrigger
parameter is “On”, notes playing when a chord change occurs will continue
playing for their specified length, re-harmonized to match the new chord.
The Type parameter (“Typ”) determines how the phrase will be harmonized to the spcified chords: “Mel” produces harmonization appropriate for
melody or single-line phrases, “Chd” produces harmonization ideally suited to
chords, “Bas” produces bass-line type harmonization, and “Dr” produces no
harmonization so the instruments in a drum track don’t change unexpectedly
when a chord change occurs.
Retrigger On or Off
Type: Mel, Chd, Bas, Dr
80
Page 89
■ Step Phrase Recording
The step phrase record mode lets you enter phrases note-by-note, with precise
control over the timing, length, and loudness of each note. You can record
complete phrases using the step mode, or use it to brush-up and add data to an
existing phrase.
1 Select the PHRASE Mode & an Empty User Phrase
Press the [PHRASE] mode key to select the PHRASE mode, place the cursor
at the “category” section of the phrase number and select “US” (user), then
move the cursor to the phrase number and select an empty “user” phrase (the
programmable user phrases are numbered US---001 through US---100). Empty
phrases are indicated by a row of asterisks (“********”) following the phrase
number.
If for some reason all 100
user phrases contain
data, use the “Clear
Phrase” job described on page
102 to clear a phrase for
recording.
Patterns
Phrases: Creating Patterns
2 Engage the Record Ready Mode
Press the [v] key to engage the record ready mode. The red LED above the
v] key will light.
[
3 Select the Step Record Mode
Press the [F5] function key (“STEP”) to select the step record mode.
81
Page 90
Phrases: Creating Patterns
The time signature and
phrase length parameters
can not be changed if the
selected phrase already contains
data.
4 Set Time Signature and Phrase Length (new phrases only)
If you are recording a new phrase, move the cursor to the time signature and
phrase length parameters and set as required.
Phrase length: 1 … 8 measures
Time Signature: 1/16 … 16/16
Time Signature: 1/8 … 16/8
Time Signature: 1/4 … 8/4
You can change the
voice assignment later
in the same way.
The “—” chord type can
not be specified as the
source chord.
5 Select a Voice
Move the cursor to the voice parameter and select the voice you want to record
with.
6 Select the Source Chord
Move the cursor to the chord parameter and use the standard chord entry
procedure to enter the “source chord” for the phrase you are recording (i.e. the
chord on which the phrase is based). You can also enter “ON BASS” and
“ORG BASS” specifications, as described on page 72. The source chord specification allows the QY300 to correctly re-harmonize the phrase when different
chords are specified for the pattern in which the phrase is eventually used.
Move the cursor to the note length, velocity, and gate time parameters and set
as required.
When the cusor is located at the note length parameter the numeric keypad
can be used to enter the note lengths marked on the keys. The dot key (the [0]
key) can be used to add one or more dots to the currently selected note length.
In-beween values can be entered using the [–1/NO] and [+1/YES] keys or the
data dial.
When the cursor is located at the velocity parameter, the numeric keypad
can be used to directly enter the dynamic values marked on the keys (pp, mf,
etc.). In-between values can be entered using the [–1/NO] and [+1/YES] keys
or the data dial.
9 Enter a Note
Once the note parameters have been specified, the note can be entered simply
by playing the appropriate key on the micro-keyboard (or on your external
MIDI keyboard). A note symbol appears on the note display an the note
pointer advances to the next note position. The note symbol always appears as
a 1/4-note, regardless of the actual note entered (chords are also indicated by
the 1/4-note symbol). Here’s how the display will look after two 8th notes
have been entered.
Chords can be entered simply by moving the note pointer back to a note and
entering another note at the same location (this can be repeated as many times
as necessary. See “Moving Around In the Note Display”, below.
The Note & Keyboard Displays
The note display shows up to four 1/4-notes worth of data at once (that’s one
measure in 4/4 time). If the selected time signature results in more than four
1/4 notes per measure, then the display will scroll to show the extra notes.
Note pointer
1st beat
2nd beat3rd beat
Each dash represents a 32nd note (12 clocks)
4th beat
83
Page 92
Phrases: Creating Patterns
The keyboard display shows the pitch(es) of the note(s) at the current note
pointer position. In the example below the keyboard displays that a chord (C
major) consisting of three notes exists at the current note pointer location.
Moving Around In the Note Display
You can move the cursor down to the note display (the note pointer will appear
filled) and move the note pointer to any position at which you want to enter a
note, or to any note that you want to delete. You will actually hear the appropriate note or chord when the note pointer is moved to an existing note symbol. When you move the note pointer past the end of the note display, the next
measure will appear. If you move past the last measure in the phrase, the first
measure of the phrase will appear.
84
Cursor moved to note pointer
(the note pointer appears filled).
The Step Mode Function Keys
The six function keys immediately below the display provide access to a
number of handy functions in the step record mode.
[F1] – “Rest”Enters a rest of the currently selected note length at the note pointer
position.
[F2] – “Tie”Lengthens the previously entered note by “tying” another note of the
same length and pitch to it (the “tie” key only works immediately after
entering a note).
[F3] – “Delete”Deletes the note or chord at the note pointer.
[F4] – “BkDelt”Moves the note pointer backward by the currently selected note length
[F5] – “LoKey”
[F6] – “HiKey”
and deletes the corresponding note or chord.
Displays the lowest range of the keyboard (scrolls the keyboard display two
octaves to the right). Press again to return to the normal “centered” display.
Displays the highest range of the keyboard (scrolls the keyboard display two
octaves to the left). Press again to return to the normal “centered” display.
Page 93
•
See the “Editing Songs
& Phrases” section,
tion on how to edit recorded phrase
data.
• See “The Phrase Jobs” on page
page 104, for informa-
92 for details on the QY300’s
phrase jobs which allow considerable versatility in creating
and modifying phrases.
Phrases: Creating Patterns
The Measure/Beat/Clock Display
The “Meas” area of the step record display shows the current position of the
note pointer in measures, 1/4-note beats, and clocks (there are 96 clocks per
1/4 note). If you’re not sure what measure you’re seeing on the note display
while recording, check the measure/beat/clock display.
1-1-00
Clock: 96 clocks per 1/4-note
Beat: 1 … 4 if 4/4 time
Measure number
;
Complete the Phrase
Repeat steps 8 and 9 until the current phrase is complete, then press [m] to
stop recording.
85
Page 94
The Pattern Jobs
The Pattern Jobs
The pattern mode includes 7 pattern “jobs” that perform a variety of important functions. To
access and use the pattern jobs, press the [JOB] key while in the PATTERN mode. This calls
the pattern job list. You can select any job on the list simply by moving the cursor to the
required job (use the cursor keys or the data dial) and pressing [ENTER]. You can also move
up or down the list in 1-page steps by using the cursor [
of the [SHIFT] keys. An alternative method is to enter the job’s number via the numeric
keypad and press [ENTER].
] and [ƒ] keys while holding one
00: Undo/Redo
Returning to the PATTERN Mode
The [F6] function key (“Exit”) can be used to exit from any pattern job, and
then from the job list thereby returning you to the PATTERN mode. You can
also press the [F6] function key (“Exit”) while holding one of the [SHIFT]
keys to directly return to the PATTERN mode.
This job will “undo” any other pattern job, edit, or record function if it is
executed before any other operation is performed. In all cases the affected data
is restored to the state it was in before performing the job, edit, or record
operation. This job will also undo the last undo operation (redo).
86
The name of the last operation performed will appear on the display (i.e. the
operation which will be “undone”). In the example display, above, a quantize
operation will be undone.
Page 95
The Pattern Jobs
The last operation
performed is “forgotten”
by the UNDO job
whenerver the SONG or PHRASE
step reocrd mode is engaged, even
if the step record mode is exited
without acutally recording any data.
Press [ENTER] to execute the Undo/Redo job. The metronome icon will
appear on the display while the data is being processed, then “Completed” will
appear briefly when the job is done. Press the [F6] key (“Exit”) to return to the
job list, or a mode key to go directly to the selected mode.
01: Copy Pattern
Copies all data from a specified track from one section of a specified style to
the specified track of the specified section of any other specified style. This
operation overwrites the data in the specified destination track with the data
from the source track. Previous data in the overwritten track is therefore lost.
The upper “Style” parameter selects the source style — i.e. the style from
which the data is to be copied: “001” … “100”.
The upper “Section” parameter selects the source section — i.e. the section of
the source style from which the data is to be copied: “Intro”, “MainA”, “MainB”,
“FillAA”, “FillBB”, “FillAB”, “FillBA”, “Ending”, or “All” for all sections (the
destination section is automatically set to “All” if “All” is selected here).
The upper “Track” parameter selects the source track — i.e. the track of
the source section of the source style from which the data is to be copied: “1”
… “8” for individual tracks, or “All” for all tracks (the destination track is
automatically set to “All” if “All” is selected here).
The lower “Style” parameter selects the destination style — i.e. the style
to which the data is to be copied: “001” … “100”.
The lower “Section” parameter selects the destination section — i.e. the
section of the destination style to which the data is to be copied: “Intro”,
“MainA”, “MainB”, “FillAA”, “FillBB”, “FillAB”, “FillBA”, “Ending”, or
“All” for all sections. If “All” is selected, the same setting is automatically
selected for the source section.
The lower “Track” parameter selects the destination track — i.e. the track
of the destination section of the destination style to which the data is to be
copied: “1” … “8” for individual tracks, or “All” for all tracks. If “All” is
selected, the same setting is automatically selected for the source track.
After setting the parameters as required press [ENTER] to execute the Copy
Pattern job. The metronome icon will appear on the display while the data is
being processed, then “Completed” will appear briefly when the job is done.
Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly
to the selected mode.
87
Page 96
The Pattern Jobs
02: Append Pattern
Appends the specified section of one style to the end of the specified section of
a second style.
The upper “Style” parameter selects the source style — i.e. the style from
which the data is to be copied: “001” … “100”.
The upper “Section” parameter selects the source section — i.e. the sec-
tion of the source style from which the data is to be copied: “Intro”, “MainA”,
“MainB”, “FillAA”, “FillBB”, “FillAB”, “FillBA”, “Ending”.
The lower “Style” parameter selects the destination style — i.e. the style
to which the data is to be appended: “001” … “100”.
The lower “Section” parameter selects the destination style — i.e. the
• If the length of the
destination plus
appended pattern ex-
ceeds 8 measures (the maximum
pattern length), the “Illegal Input” error message will appear
and the append operation will
be aborted.
• This job does not copy voice
or play effect data from the
source style.
section of the destination style to which the data is to be appended: “Intro”,
“MainA”, “MainB”, “Ending”. Fills cannot be selected as the destination section since they can be only one measure in length.
After setting the parameters as required press [ENTER] to execute the Append
Style job. The metronome icon will appear on the display while the data is
being processed, then “Completed” will appear briefly when the job is done.
Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly
to the selected mode.
03: Split Pattern
88
Splits a specified section of a specified style into two parts at the specified
measure, and moves the latter half to the specified section of a specified style.
Page 97
•
If more than 1 measure
is split and a “Fill” is
tion section, an “Illegal Input” error
will occur since fills can only be one
measure long.
• This job does not copy voice
specified as the destina-
or play effect data from the
source style.
The Pattern Jobs
The upper “Style” parameter selects the source style — i.e. the style which is
to be split: “001” … “100”.
The upper “Section” parameter selects the source section — i.e. the sec-
tion of the source style which is to be split: “Intro”, “MainA”, “MainB”,
“FillAA”, “FillBB”, “FillAB”, “FillBA”, “Ending”.
The “M” parameter specifies the measure at which the source section of
the source style is to be split: “1” … “8”, depending on the length of the source
style (if “1” is selected the entire section is moved to the specified destination).
The lower “Style” parameter selects the destination style — i.e. the style
to which the latter half of the split source section is to be moved: “001” …
“100”.
The lower “Section” parameter selects the destination section — i.e. the
section of the destination style to which the latter half of the split source
section is to be moved: “Intro”, “MainA”, “MainB”, “FillAA”, “FillBB”,
“FillAB”, “FillBA”, “Ending”.
After setting the parameters as required press [ENTER] to execute the Split
Pattern job. The metronome icon will appear on the display while the data is
being processed, then “Completed” will appear briefly when the job is done.
Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly
to the selected mode.
04: Init Play Effect
Resets all playback effect settings for the specified track to their default values.
The “TR” parameter selects the track(s) to be affected by the Init Play Effect
job: “1” … “8” for individual tracks, or “All” for all tracks.
After setting the parameter as required press [ENTER] to execute the Init Play
Effect job. The metronome icon will appear on the display while the data is
being processed, then “Completed” will appear briefly when the job is done.
Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly
to the selected mode.
89
Page 98
The Pattern Jobs
05: Clear Pattern
Clears all data from the specified section of the specified style.
The “Style” parameter selects the style in which the specified section is to be
cleared: “001” … “100”.
“MainA”, “MainB”, “FillAA”, “FillBB”, “FillAB”, “FillBA”, “Ending”, or
“All” for all sections.
After setting the parameter as required press [ENTER] to execute the Clear
Pattern job. The metronome icon will appear on the display while the data is
being processed, then “Completed” will appear briefly when the job is done.
Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly
to the selected mode.
The “Section” parameter selects the section to be cleared: “Intro”,
06: Style Name
90
Allows an original name of up to 8 characters to be assigned to the specified
style.
The style number parameter selects the style for which a name is to be assigned: “001” … “100”.
Page 99
The Pattern Jobs
Lower-caseTo enter a lower-case character, use the cursor keys to move the
Characterscursor to the position at which a character is to be entered, then
press the micro-keyboard key corresponding to the character to
be entered.
NOTE If a series of asterisks appears in the style name area, the
selected style contains no data
and a pattern name cannot be
assigned.
Upper-case
Characters
Hold the left [OCT DOWN] key (“CAPS”) while pressing the
micro-keyboard key corresponding to the character to be entered.
SymbolsHold the left [OCT UP] key (“SHIFT”) while entering to enter
the symbols listed above the characters corresponding to each
micro-keyboard key.
SpaceThe right [OCT DOWN] key enters a space.
NumbersNumbers can be entered via the numeric keypad.
DeleteThe right [OCT UP] key deletes the character at the cursor
position.
When the name has been entered press the [F6] key (“Exit”) to return to the
job list, or a mode key to go directly to the selected mode (it is
not necessary to
press the [ENTER] key to enter the specified name).
91
Page 100
The Phrase Jobs
The Phrase Jobs
The phrase mode includes 15 phrase “jobs” that perform a variety of important functions. To
access and use the phrase jobs, press the [JOB] key while in the PHRASE mode. This calls the
phrase job list. You can select any job on the list simply by moving the cursor to the required
job (use the cursor keys or the data dial) and pressing [ENTER]. You can also move up or
down the list in 1-page steps by using the cursor [
[SHIFT] keys. An alternative method is to enter the job’s number via the numeric keypad and
press [ENTER].
] and [ƒ] keys while holding one of the
00: Undo/Redo
Returning to the PHRASE Mode
The [F6] function key (“Exit”) can be used to exit from any phrase job, and
then from the job list thereby returning you to the phrase mode. You can also
press the [F6] function key (“Exit”) while holding one of the [SHIFT] keys to
directly return to the PHRASE mode.
This job will “undo” any other phrase job, edit, or record function if it is
executed before any other operation is performed. In all cases the affected data
is restored to the state it was in before performing the job, edit, or record
operation. This job will also undo the last undo operation (redo).
92
The name of the last operation performed will appear on the display (i.e. the
operation which will be “undone”). In the example display, above, a realtime
record operation will be undone.
Loading...
+ hidden pages
You need points to download manuals.
1 point = 1 manual.
You can buy points or you can get point for every manual you upload.