Yamaha QY700E1 User Manual

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Owner’s Manual

Reference

Introduction

Thank you for purchasing the Yamaha QY700 music sequencer.

The QY700 is a 20 song / 32 track sequencer with 1/480th quarter note resolution featuring a built-in XG- and GM-compatible highquality AWM2 tone generator, all contained in a newly-designed package. The Style Sequencer functions that were so popular on the QY300 etc. have been enhanced and made easier to use. A large LCD display also makes operation easier and more intuitive.

In order to take full advantage of the QY700’s functionality , please make good use of this o wner’ s manual. Once y ou hav e read it, keep it in a safe and convenient place for reference should any questions arise later.

Features of the QY700

Powerful sequencer functionality

The sequencer of the QY700 provides 32 sequence tracks and 16 pattern tracks, and up to 110,000 notes of storage capacity for professional-level sequencing power. Note timing resolution is 1/480th of a quarter note. Memory is backed up, so your data will not disappear when the power is turned off. Play Effect functions and a full complement of editing jobs allow you to edit and modify your data as desired. Play Effects provide a Groo ve Quantize function that lets you instantly produce a variety of different groove feelings. Also provided are jobs such as Chord Sort and Chord Separate, convenient for entering guitar strokes.

Functional music production environment with Songs, Patterns, and Phrases

The QY700’s Auto-Accompaniment functionality provides a highly practical music production environment that lets you use patterns and phrases to create your song.

Easy operation with large display, dials, function buttons, and direct buttons

The large 320 × 240 dot full-graphic display provides you with plenty of information for efficient music-making. For example, playback data can be viewed not only as an event list, but also graphically in a track-view or piano-roll display. The jog dial provides an easy way to modify data, and the shuttle dial lets you rewind/fast-forward intuiti v ely through data just as on a VTR.

Full assortment of preset phrases

The QY700 provides a vast 3,876 types of preset phrases from all musical genres. All preset phrases have been carefully selected for immediate musical usefulness. Simply by combining preset phrases into patterns, you can create backing data with infinite variety.

Undo/redo function

The QY700 provides an Undo/Redo job. Even if recor ding, editing, or job execution has caused your important data to disappear, you will always be able to recover it.

XG tone generator for rich expressiveness

The QY700 features an XG-compatible tone generator with 491 high-quality voices and 3 high-quality effect systems, providing the rich expressiveness that you expect from XG.

Wide range of compatibility

The QY700’s tone generator section is compatible with XG and with the GM system le vel 1 tone generator format. The sequencer section is compatible with ESEQ and SMF (Standard MIDI File) formats 0/1. Playback data that was created on the QS300 music synthesizer can also be played back on the QY700. You can also playback commercially available “XG-compatible song data” for additional enjoyment.

Features of the QY700

GM System Level 1

“GM System Level 1” is a standard specification that defines the arrangement of voices in a tone generator and its MIDI functionality, ensuring that data can be played back with substantially the same sounds on any GM-compatible tone generator, regardless of its manufacturer or model. Tone generators and song data that meet the “GM System Level 1” bear this GM logo.

“XG” is a tone generator format that expands the voice arrangement of the “GM System Level 1” specif ication to meet the ever-increasing demands of today’s computer peripheral environment, providing richer expressive power while maintaining upward compatibility of data. “XG” greatly expands “GM System Level 1” by def ining the ways in which voices are expanded or edited and the structure and type of effects. When commercially available song data bearing the XG logo is played back on a tone generator which bears the XG logo, you will enjoy a full musical experience that includes unlimited expansion voices and effect functions.

How to use the manuals

The documentation for the QY700 consists of the following two manuals. Understand the role of each manual, and refer to them as necessary.

Owner’s Manual: Reference (this manual)

This explains precautions for use, how to make connections, and all parameters and commands. Use this manual like a dictionary whenever you need to.

Chapter 1. BASIC CONCEPTS Chapter 2. SONG MODE Chapter 3. VOICE MODE Chapter 4. EFFECT MODE Chapter 5. PATTERN MODE Chapter 6. UTILITY MODE Chapter 7. DISK MODE

“Song mode” and “Pattern mode” have several functions in common. In this manual, explanations for these common functions is given in greatest detail in chapter 2 “SONG MODE”. Some of the overlapping explanation in chapter 5 “PATTERN MODE” is omitted. In such cases, the appropriate page of chapter 2 “SONG MODE” is indicated so that you can refer to it.

Owner’s Manual: QY700 Reference Listings

This is a booklet that contains various lists such as the Voice list, Preset Phrase list, Effect list, Chord Type list, MIDI data format, and MIDI implementation chart.

Printing conventions in this manual

This manual uses the following icons to indicate buttons and to distinguish different types of information.

s This indicates a panel button. The characters in the box indicate the characters printed on the panel. Buttons for which there are no

characters printed on the panel are indicated by the symbol printed on the panel, such as l. In the case of the function buttons 1 – 6, the function corresponding to each button is also given; for example, 3 (Effect).

[Explanation]

This icon indicates an explanation of the function.

0101 1101

[Setting values]

This icon indicates the range of values that can be set for that function.

Printing conventions in this manual

[Procedure]

This icon indicates the actual procedure for using the function.

[Supplementary comments]

This icon indicates supplementary explanations related to the function, examples of use, and hints.

[Caution]

This icon indicates a caution. To avoid erasing or damaging important data, be sure to read such sections.

+ This icon means that an operation needs to be performed while doing something else. For example, s + y means “hold down

s and press y”.

/ This icon means “or”. For example,n/ymeans that you should press either thenor theykey.

→ This icon indicates the sequence in which buttons must be pressed. For example, numeric keys → e means that you must use the

numeric keys to select a value and then press the e button.

▼ This icon indicates the result of an operation.

→ p.● ● This indicates the page on which a related function or item is explained. Refer to these pages as necessary.

Finding the information that you need

In order to find the information that you need, you can make use of the following pages.

Table of contents (→ p.9)

Locate the desired information within the flow of the entire manual.

Front and rear panels (→ p.12)

Here you can read about the name and location of each button and control, and read about their function.

Function tree (→ p.34)

This lets you locate the desired information within the structure of the command hierarchy.

Glossary (→ p.324)

This section contains unfamiliar terms or phrases in alphabetical order with their explanations.

Index (→ p.328)

This lets you search alphabetically for unfamiliar terms to find pages on which they are discussed and pages on which related topics appear.

Table of contents

Introduction

Features of the QY700........................................................................................................................................................................................4

How to use the manuals......................................................................................................................................................................................6

Printing conventions in this manual ...................................................................................................................................................................6

Finding the information that you need ...............................................................................................................................................................8

SETUP

1. Front and rear panels ................................................................................................................................................................................... 12

2. Connections.................................................................................................................................................................................................18

3. Using the Style and Demonstration disk ..................................................................................................................................................... 22

Table of contents

Top panel................................................................................................................................................................................12

Rear panel ..............................................................................................................................................................................16

Floppy disk drive ...................................................................................................................................................................17

Power supply connections......................................................................................................................................................18

Audio equipment connections ............................................................................................................................................... 19

Connecting a foot switch .......................................................................................................................................................20

Connecting external MIDI devices ........................................................................................................................................20

Connecting an MTR (multi-track recorder)...........................................................................................................................21

Connecting two or more devices............................................................................................................................................21

Contents of the disk ...............................................................................................................................................................22

Listening to the demo playback .............................................................................................................................................22

Restoring the factory settings ................................................................................................................................................ 23

Chapter 1. BASIC CONCEPTS

1. Mode structure ............................................................................................................................................................................................ 26

2. Function tree................................................................................................................................................................................................34

3. How the QY700 is organized ...................................................................................................................................................................... 36

4. Sequencer block ..........................................................................................................................................................................................37

5. The tone generator block.............................................................................................................................................................................43

6. Controller block .......................................................................................................................................................................................... 46

7. Effect block .................................................................................................................................................................................................47

8. Basic operation............................................................................................................................................................................................51

9. Song creation procedure..............................................................................................................................................................................56

Create pattrens .......................................................................................................................................................................57

Editing a pattern.....................................................................................................................................................................59

Pattern track recording........................................................................................................................................................... 60

Chord track recording ............................................................................................................................................................61

Voice settings .........................................................................................................................................................................62

Realtime record of track 2 ..................................................................................................................................................... 62

Step recording of track 1........................................................................................................................................................63

Editing tracks 1 and 2 ............................................................................................................................................................65

Modifying the voice of track 1 .............................................................................................................................................. 66

Save to floppy disk.................................................................................................................................................................67

Chapter 2. SONG MODE

SONG MODE Overview..................................................................................................................................................................................70

1. SONG PLAY ............................................................................................................................................................................................... 72

2. Play Effects..................................................................................................................................................................................................80

Groove Quantizing.................................................................................................................................................................82

Clock Shift, Gate Time, and Velocity ....................................................................................................................................90

Transposition..........................................................................................................................................................................94

Drum T able Edit.....................................................................................................................................................................97

3. Track V iew ................................................................................................................................................................................................100

4. Output Channels........................................................................................................................................................................................103

Table of contents

5. Song Recording ......................................................................................................................................................................................... 106

Recording Standby...............................................................................................................................................................108

Realtime Recording: Sequence Tracks (TR1,...,TR32) .......................................................................................................112

Realtime Recording: PATTERN Track................................................................................................................................113

Realtime Recording: CHORD Track ................................................................................................................................... 115

Realtime Recording: TEMPO Track....................................................................................................................................117

Punch Recording..................................................................................................................................................................118

Step Recording: Sequence Tracks (TR1,...,TR32)...............................................................................................................120

Step Recording: PATTERN track ........................................................................................................................................125

Step Recording: CHORD track............................................................................................................................................127

6. Song Editing..............................................................................................................................................................................................129

1 (Graphic) Graphic screen .......................................................................................................................................135

7. Song Jobs .................................................................................................................................................................................................. 138

Chapter 3. VOICE MODE

About voice mode...........................................................................................................................................................................................168

1. Mixer .........................................................................................................................................................................................................170

2. Tune...........................................................................................................................................................................................................174

3. Voice edit...................................................................................................................................................................................................176

4. Drum Setup Edit........................................................................................................................................................................................182

Chapter 4. EFFECT MODE

About effect mode ..........................................................................................................................................................................................188

1. Connection ................................................................................................................................................................................................190

2. Reverb edit, Chorus edit, Variation edit ....................................................................................................................................................193

Chapter 5. PATTERN MODE

PATTERN MODE Overview..........................................................................................................................................................................198

1. PATCH ...................................................................................................................................................................................................... 200

Phrase Table .........................................................................................................................................................................209

2. Play Effects ...............................................................................................................................................................................................212

Groove Quantizing...............................................................................................................................................................214

Clock Shift, Gate Time, and Velocity ..................................................................................................................................217

Transposition........................................................................................................................................................................219

Drum Table Edit ................................................................................................................................................................... 222

3. Pattern Voice submode ..............................................................................................................................................................................225

Mixer....................................................................................................................................................................................227

Voice Edit.............................................................................................................................................................................232

Drum-Setup Edit ..................................................................................................................................................................235

4. Pattern Effects ...........................................................................................................................................................................................239

Connection ...........................................................................................................................................................................241

Reverb Edit, Chorus Edit, and Variation Edit ......................................................................................................................244

5. Phrase Recording ...................................................................................................................................................................................... 247

Recording Standby...............................................................................................................................................................248

Realtime Recording .............................................................................................................................................................252

Step Recording.....................................................................................................................................................................253

6. Phrase Editing ...........................................................................................................................................................................................254

7. Pattern Jobs ...............................................................................................................................................................................................256

Chapter 6. UTILITY MODE

About Utility mode......................................................................................................................................................................................... 288

1. System .......................................................................................................................................................................................................289

2. MIDI..........................................................................................................................................................................................................291

3. MIDI filter ................................................................................................................................................................................................. 293

4. Sequencer ..................................................................................................................................................................................................295

5. Click ..........................................................................................................................................................................................................297

6. Fingered chord zone .................................................................................................................................................................................. 299

Chapter 7. DISK MODE

About floppy disks..........................................................................................................................................................................................302

About Disk mode............................................................................................................................................................................................304

1. Save ...........................................................................................................................................................................................................307

2. Load...........................................................................................................................................................................................................310

3. Rename......................................................................................................................................................................................................312

4. Delete ........................................................................................................................................................................................................314

5. Format .......................................................................................................................................................................................................316

APPENDIX

1. Specifications ............................................................................................................................................................................................318

2. Troubleshooting ........................................................................................................................................................................................320

3. Error messages ..........................................................................................................................................................................................322

4. Glossary.....................................................................................................................................................................................................324

5. Index..........................................................................................................................................................................................................328

Table of contents

SETUP

1. Front and rear panels

Top panel

2. ASSIGNABLE wheel 8. LCD display

1. PITCH wheel 13. MIDI Data monitors

3. Mode keys

PITCH ASSIGNABLE

SONG

VOICE

MAX

VOLUME

PATTERN

EFFECT

PLAYREC

UTILITY

DISK

CONTRAST

IN A

OUTPUT

SHIFT F1 F2 F3 F4 F5 F6 SHIFT EXIT

FOOT SWRL/MONO

MUSIC SEQUENCER

IN B

MIDI

OUT BOUT A

IN A

OUT BOUT AIN B

MIDI

12. Direct Cursor keys

15. Data dial

14. Shuttle dial

4. VOLUME control

6. REC (recording) indicator

5. CONTRAST control

7. PLAY indicator

11. EXIT key

10. Function keys

9. SHIFT key

1. PITCH wheel

This controller is used to continuously modify the pitch or tone etc. while you play. The controller will return to the center position when you release it. (→ p.290)

2. ASSIGNABLE wheel

This controller is used to continuously modify the tone etc. while you play. You can specify ho w this controller will affect the sound. (→ p.290)

3. Mode keys

Use these buttons to switch between modes.

s key Switch to Song mode. (→ p.70)

p key Switch to Pattern mode. (→ p.198)

u key Switch to Utility mode. (→ p.288)

v key Switch to Voice mode. (→ p.168)

e key Switch to Effect mode. (→ p.188)

d key Switch to Disk mode. (→ p.302)

SETUP

4. VOLUME control

Use this to adjust the volume of the output jacks and the headphone jack.

5. CONTRAST control

Use this to adjust the contrast of the display.

6. REC (recording) indicator

This indicator will light when the e key is pressed, indicating that you are in recording mode.

7. PLAY indicator

During playback, this indicator will blink in time with the tempo.

8. LCD display

Various types of infor mation are displayed in this 320 x 240 pixel backlit liquid crystal display. The time after which the backlight will automatically turn off can be set in Utility mode. (→ p.289)

9. s key

This button works in conjunction with other keys to perform various functions.

10.1–6 function keys

Use these keys to select from the menu that appears in the bottom line of the screen.

11.e key

This key moves from a sub mode or page display to the next higher level in the command hierarchy.

12.d [D1] –d [D5] direct keys

Use these keys to move the cursor to the setting items that are shown in the right side of the display.

13.MIDI Data monitors

The corresponding indicator will blink when MIDI data is transmitted or received at the four MIDI connectors (IN-A, IN-B, OUT-A, OUT-B). This provides a way to confirm MIDI communications. (Note) Since MIDI Clock messages are normally being transmitted, the MIDI OUT-A/B indicators will be blinking lightly.

14.Shuttle dial

Use this to fast-forward or rewind songs or patterns. Depending on the angle to which you rotate the dial, the speed of fast-forward or rewind will change in four steps.

15.Data dial

Use this to select voices or to continuously increase/decrease a numerical value.

SETUP

22. Decrement key, Increment key

19. Locate keys 20. Track keys

17. EDIT key

16. Sequencer keys 18. JOB key

EDIT JOB

LOC 2LOC 1

SHIFT

CAPS

ON BASS

SECTION

OCT

OCT DOWN

ORG

BASS

MLK

FGAB C

B C D E F G H

CBA

? N

(

)

C#D DbE

# b

add9

M7 M7

TRACK DOWN

7 7

(9)

REST

(

TRACK

SOLOMUTE

TIE

(

UTSRQPO

(9)

21. Cursor keys 23. Numeric keypad

-1 +1

(

)

HGF

(13)

(9)

add9

sus4

(9)

mM7

YESNO

DEL

SPACE

(11)

OCT

DOWN

(

11)

ZWV

dim

aug

(b5

)

789

456

123

24. Enter key26. Microkeyboard25. Octave keys 25. Octave keys

16.Sequencer keys

Use these keys to playback or record songs, patterns, and phrases. The layout of the buttons is similar to that of a conventional tape recorder.

t (Top) Return to the first measure of a song or pattern. r (Rewind) Rewind the playback measure. f (Forward) Advance the playback measure. e (Recording) Enter recording standby mode. s (Stop) Stop playback/recording. p (Play) Begin playback/recording.

17.e key

Switch to Song Edit (→ p.129) or Phrase Edit (→ p.254).

18.j key

Access the Song jobs (→ p.138) or Pattern jobs (→ p.256).

19.1 (Locate 1) key 2 (Locate 2) key

In Song mode, these keys are used to move to a pre viously specified measure. Use s + 1/2 to store the current measur e in the corresponding locate key.

SETUP

20.Track keys

Use these keys to change the currently selected track, or to mute or solo specific tracks.

d key These keys switch the currently selected track. u key

m key This mutes the playback of the currently selected track. Press the key once again to un-

mute the track.

s key This mutes the playback of all tracks other than the selected track. Press the key once

again to restore playback of the other tracks. Use this button when you want to hear only the selected track.

21.Cursor keys

Use these keys to move the cursor location within the display.

22.n (Decrement) key y (Increment) key

In various setting displays you can use these buttons to increase (increment) / decrease (decrement) values, or switch settings on/off. These keys are also used to reply YES or NO to an “Are you sure?” prompt.

23.Numeric keypad

Use these to enter numerical values or note values.

24.e (Enter) key

Use this key to finalize a number entered by the numeric keypad, to enter the job selected by the cursor, or to execute a job etc.

25.Octave keys

These keys modify the pitch of the microkeyboard in steps of an octave.

In addition, the left octave button sets On Bass or Original Bass for a chord, and the right octave button sets chord Syncopation.

d[OCT DOWN] (Octave Down) key Lowers the pitch of the keyboard buttons in one-octave steps. u[OCT UP] (Octave Up) key Raises the pitch of the keyboard buttons in one-octave steps.

26.Microkeyboard

These function as a keyboard for entering your performance. They are not sensiti ve to v elocity or aftertouch. The microk eyboard are also used to specify chords and pattern sections, and to input characters.

SETUP

Rear panel

MIDI

1. MIDI connectors

IN-AIN-BOUT-AOUT-B

2. FOOT SW (Foot switch) jack

OUTPUT

INDCPHONESL/MONORSWFOOT

6. Cable clip

POWER

OFF

5. DC IN (Power supply) jack

4. PHONES (Headphones) jack

3. OUTPUT jacks

7. POWER switch

1. MIDI connectors

These connectors are used to connect external MIDI devices via a MIDI cable. There are four MIDI connectors: IN-A, IN-B, OUT-A, and OUT-B. IN-A and IN-B are inputs, and OUT-A and OUT-B are outputs. (→ p.20)

2. FOOT SW (Foot switch) jack

A foot switch (FC4, FC5: option) can be connected to this jack. A connected foot switch can be used during performance as a sustain pedal or as a start/stop switch. (→ p.290)

3. OUTPUT jacks

These jacks are for line connections to powered speakers or a mixer. When playing in stereo, connect both jacks. When playing in mono, connect the L/MONO jack. (→ p.19)

4. PHONES (Headphones) jack

A set of headphones with a stereo phone plug can be connected to this jack. (HPE-170 or other Yamaha recommended headphones: impedance 8 – 150 ohms.) The headphone volume is adjusted by the Volume control. (→ p.19)

5. DC IN (Power supply) jack

Connect the included PA-5B AC adaptor to this jack. (→ p.18)

• Before connecting the AC adaptor, make sure that the power switch of the QY700 is turned off. First connect the AC adaptor

to the power supply jack, and then plug it into an AC outlet.

• Use only the included PA-5B AC adaptor. Using other AC adaptors will cause malfunctions. Also, be sure to unplug the AC

adaptor from the AC outlet if you will not be using the unit for an extended period of time.

6. Cable clip

Wrap the A C adaptor power cable around this clip as shown in the diagram. This will decrease the possibility of the power cable being pulled out accidentally.

Cable clip

7. POWER switch

This switch turns the power on/off. The power is on when the switch is pressed in. (→ p.18)

Floppy disk drive

1. Floppy disk slot

This is where floppy disks are inserted for loading or saving data. 3.5 inch 2HD (MF2HD) or 2DD (MF2DD) floppy disks can be used. (→ p.302)

2. Disk-in-use indicator

This indicator will light while data is being read from or written to the floppy disk. Never attempt to remo ve the disk while this indicator is lit.

3. Eject button

Press this button to remove the floppy disk. Disks must be inserted or remov ed gentl y and f irmly, and only while the access indicator is dark.

SETUP

2. Disk-in-use indicator 3. Eject button

1. Floppy disk slot

• The back of a floppy disk contains a write protect tab as shown in the following illustration. When this tab is in the downward position (with

the window open), it will not be possible to modify , ad d, or delete data. When you wish to protect important data, you should lea v e the tab in this position.

Write permit

Write prohibit

Write protect tab

• Be aware that Yamaha can make no guarantee regarding data damage that results from improper use.

SETUP

2. Connections

In order to use the QY700, the included AC adaptor and an amp system etc. must be connected. If you use external MIDI devices or controllers, these must also be connected. This sections explains how to make these connections.

• Be sure to turn off the power before making any connections. If you make connections while the power is on, you risk damag-

ing external equipment such as the amp or speakers.

Power supply connections

1. Make sure that the power switch of the QY700 is turned off, and connect the included AC adaptor (PA-5B) to the power supply jack.

2. Plug the AC adaptor into an AC outlet, and turn on the QY700 power switch.

• Use only the included PA-5B AC adaptor. Using other AC adaptors will cause malfunctions. Also, be sure to unplug the AC

adaptor from the AC outlet if you will not be using the unit for an extended period of time.

Audio equipment connections

To output the sound of the QY700, connect an amp or mixer to the output jacks.

Connection to powered speakers

Connect two powered speakers (left and right) to the output jacks (L/MONO, R). If you are connecting only one powered speaker, use the L/MONO jack.

SETUP

OUTPUT

INDCPHONESL/MONORSWFOOT

POWER

OFF

Connection to a mixer

Connect the output jacks (L/MONO, R) to two channels of the mixer . T he channel connected to the L/MONO jack should be panned left, and the channel connected to the R jack should be panned right. Make the same type of connections if you are connecting the QY700 to an MTR or cassette deck.

6 0 5 6 0 5 6 0

6016

5 6 0 5

6016

STRST ST

6016

OUTPUT

6016

POWER

INDCPHONESL/MONORSWFOOT

OFF

6 0 5 10 0 5 10

6016

1 2 4 5 6 7 8 9 10 12 13 14 15 16

6016

Using headphones

If you are using headphones, connect them to the rear panel PHONES (headphones) jack. When using headphones, adjust the volume to an appropriate level that will not harm your hearing.

• Do not connect the output jacks of the QY700 to the mic input jacks of an amp or cassette deck etc. If the y are connected to mic inputs, the sound quality may be impaired, and the device may be damaged. Also, when connecting the QY700 to a mixer or similar device, set the mixer channels to the Line Input position.

SETUP

Connecting a foot switch

When using a separately sold FC4 or FC5 foot switch, insert the foot switch plug into the foot switch jack located on the rear panel.

FC4 or FC5

OUTPUT

Connecting external MIDI devices

Connecting a MIDI keyboard

Realtime recording or fingered chord input will be easier if you use a MIDI keyboard. Use a MIDI cable to connect the MIDI OUT of the external MIDI keyboard to the MIDI IN-A or IN-B connector on the rear panel.

MIDI

IN-AIN-BOUT-AOUT-B

POWER

INDCPHONESL/MONORSWFOOT

OFF

ABCD

MIDI OUT

Connecting a tone generator module

QY700 song and pattern playback data can be used to play an external tone generator module. Use a MIDI cable to connect the MIDI OUT -A or OUT-B connector on the rear panel to the MIDI IN connector of the external MIDI device.

MIDI IN

MUTE/ SOLO

ENTER

EXIT

PART

ALL

SELECT

VALUE

XG TG300B C/M PERFORM

PLAY EDIT

UTIL EFFECT

MODE EQ

MIDI

IN-AIN-BOUT-AOUT-B

A/D INPUT

PHONES POWER/VOL

PUSH ON/OFF

PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY

Connecting an MTR (multi-track recorder)

Since the QY700 implements MTC (MIDI Time Code) and MMC (MIDI Machine Control), you can produce music while synchronized to an MTC- or MMC-compatible multi-track recorder. Since the QY700 does not output MTC, you will need a device that is able to output MTC (such as the Yamaha MD4) if you wish to use MTC for synchronization. In this case, use a MIDI cable to connect the MIDI IN-A or IN-B connector of the QY700 to the MIDI OUT connector of the external device. MTC messages will be transmitted from the external device to the QY700, and the QY700 will synchronize to the clock of the external device. If you wish to remotely control operations such as start/stop and fast-forward/rewind on an external MMC-compatible device, use a MIDI cable to connect the MIDI OUT-A or OUT-B connector of the QY700 to the MIDI IN connector of the external device. MMC messages will be transmitted from the QY700 to the external device, and the QY700 will remotely control the external device. In this case, set MIDI Sync to “MTC:MIDI-A” or “MTC:MIDI-B” in the MIDI page of Utility mode. (→ p.291)

Synchronizing the QY700 by MTC from an external device

IN A

OUT BOUT A

IN B

FOOT SWRL/MONO

PITCH ASSIGNABLE

SONG

VOICE

MAX

VOLUME

SHIFT

CAPS

OCT

OCT DOWN

ORG

BASS

SECTION

F G

! MLK

FGABC

B C D E F G H

OUTPUT

PATTERN

UTILITY

EFFECT

DISK

SHIFT F1 F2 F3 F4 F5 F6 SHIFT EXIT

PLAYREC

CONTRAST

EDIT

JOB

LOC 2LOC 1

(

E)D

CBA

C#D

DbE

MIDI

IN A

MUSIC SEQUENCER

TRACK

DOWN

SOLOMUTE

REST

TIE

(

)

HGF

(

9) (13)

(

UTSRQPO#N

(9)

add9

OUT BOUT AIN B

MIDI

-1 +1

789

YESNO

456

123

DEL

SPACE

(11)

sus4

OCT

DOWN

11)

( 7

sus4

ZWV

(9)

dim

mM7

aug

(b5

)

MIDI IN-A or IN-B

SETUP

MIDI OUT

MTR

(MTC,MMC-compatible)

Controlling an external device via MMC from the QY700

FOOT SWRL/MONO

OUTPUT

MUSIC SEQUENCER

PITCH ASSIGNABLE

PATTERN

UTILITY

SONG

EFFECT

VOICE

DISK

MAX

VOLUME

SHIFT F1 F2 F3 F4 F5 F6 SHIFT EXIT

PLAYREC

CONTRAST

TRACK

EDIT

JOB

DOWN

LOC 2LOC 1

REST

SHIFT

CAPS

(

E)D

CBA

(

C#D

OCT UP

ORG BASS

MLK

FGABC

B C D E F G H

(

DbE

(9)

add9

OCT DOWN

ON BASS

SECTION

Connecting two or more devices

Since the QY700 provides two sets of MIDI connectors, you can connect two or more MIDI devices. In the example below , the rear panel MIDI IN-A is connected to a MIDI ke yboard, the MIDI OUT -A to a tone generator module, and MIDI INB and OUT-B are connected to an MTR. If you use MTC or MMC to control an MTR, set the Utility mode MIDI page MIDI Sync setting to “MTC:MIDI-B.” (→ p.291) If you wish to use the MIDI keyboard to record parts which use the tone generator module, set the Utility mode MIDI page Echo Back setting to “RecMonitor.” (→ p.292)

ABCD

MUTE/

PART

PLAY EDIT

ALL

XG TG300B C/M PERFORM

UTIL EFFECT

MODE EQ

SOLO

ENTER

SELECT

EXIT

VALUE

A/D INPUT

PHONES PO WER/VOL

PUSH ON/OFF

PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY

IN A

IN B

MIDI

-1 +1

TRACK

YESNO

SOLOMUTE

TIE

DEL

SPACE

(

)

HGF

(

(11)

sus4

OCT

DOWN

(

11)

(

9) (13)

sus4

ZWV

UTSRQPO#N

(9)

dim

add9

mM7

aug

(b5

)

MIDI OUT

MIDI IN

OUT BOUT A

IN A

OUT BOUT AIN B

MIDI

789

MIDI OUT-A

456

123

or OUT-B

MIDI IN-A

MIDI OUT-A

PITCH ASSIGNABLE

PATTERN

SONG

EFFECT

VOICE

MAX

VOLUME

SHIFT

CAPS

OCT

DOWN

ORG

BASS

! MLK

E FGABC

SECTION

B C D E F G H

FOOT SWRL/MONO

OUTPUT

MUSIC SEQUENCER

UTILITY

DISK

SHIFT F1 F2 F3 F4 F5 F6 SHIFT EXIT

CONTRAST

PLAYREC

TRACK

JOB

EDIT

DOWN

LOC 2LOC 1

REST

(

E)D

CBA

C#D

DbE

(9)

add9

MTR

(MTC,MMC-compatible)

MIDI IN

IN A

OUT BOUT A

IN B

MIDI

-1 +1

TRACK

YESNO

SOLOMUTE

TIE

DEL

SPACE

(

)

HGF

(

(11)

(

5) 7

sus4

OCT

DOWN

11)

(

(13)

(

sus4

ZWV

UTSRQPO#N

(9)

dim

add9

mM7

aug

(b5

)

IN A

789

456

123

OUT BOUT AIN B

MIDI

MIDI IN-B

MIDI OUT-B

MIDI OUT

MIDI IN

MTR

(MTC/MMC-compatible)

SETUP

3. Using the Style and Demonstration disk

Here’s how to use the included “STYLE & DEMONSTRATION” disk.

Contents of the disk

• The included disk contains “STYLE,” “DEMO 1” and “DEMO 2.”

• “DEMO 1” and “DEMO 2” allow you to enjoy demo playback, and to playback songs while adjusting the Play Effects or Multi to experience the possibilities of the QY700.

• “STYLE” allows you to restore the factory settings of the QY700.

Listening to the demo playback

• Here’s how to load a demo song file from disk and enjoy the demo playback.

• When “DEMO 1” or “DEMO 2” is loaded from disk, all internal memory will be rewritten by the demo playback data. If internal memor y contains any impor tant data that you wish to keep , sav e the data bef ore loading the demo.

1. With the label facing upward, insert the disk into the floppy disk slot.

▼ Insert the disk all the way until it clicks into place.

3. Press 2 (Load).

▼ You will enter Load sub-mode, and the top line of the dis-

play will indicate “DISK -- LOAD --”.

4. Press d [D1] (All Data).

▼ The Load All Data page will appear, and the f ilenames will

be displayed.

2. Press d.

▼ You will enter Disk mode.

5. Use the cursor keys / data dial to move the cursor to “DEMO 1” or “DEMO 2” and press e.

▼ A message of “Are You Sure? (Y/N)” will appear, asking

whether it is OK to erase the data in internal memory and load the data from disk.

• If you do not wish to erase the data currently in memory, press n to halt loading. Then save the data in memory to a disk, and perform the loading procedure once again. (→ p.307)

SETUP

6. Press y.

▼ The display will indicate “Executing...” and the data will be

loaded.

7. Press s.

▼ You will return to the Song mode display.

8. Use the cursor keys to move the cursor to the song number, and use the data dial, n/y or the numeric keypad → e to set the song number to 01.

9. Press r to playback the demo song.

▼ Playback will begin, so use the volume control to adjust the

volume to a suitable level.

• Pressing s will stop playback.

Restoring the factory settings

• Here’s how to restore the QY700 to the factory settings.

• When you load “STYLE” from the disk, all internal memory will be rewritten to the factory settings. If internal memory contains any data that you wish to keep, save the data before loading the “STYLE” data.

1. With the label facing upward, insert the disk into the floppy disk slot.

▼ Insert the disk all the way until it clicks into place.

2. Press d.

▼ You will enter Disk mode.

• By changing the song number in step 8 you can playback other songs.

3. Press 2 (Load).

▼ You will enter Load sub-mode, and the top line of the dis-

play will indicate “DISK -- LOAD --”.

SETUP

4. Press d [D1] (All Data).

▼ The Load All Data page will appear, and the f ilenames will

be displayed.

5. Use the cursor keys / data dial to move the cursor to “STYLE” and press e.

▼ A message of “Are You Sure? (Y/N)” will appear, asking

whether it is OK to erase the data in internal memory and load the data from disk.

• If you do not wish to erase the data currently in memory, press n to halt loading. Then save the data in memory to a disk, and perform the loading procedure once again. (→ p.307)

6. Press y.

▼ The display will indicate “Executing...” and the data will be

loaded.

Chapter 1. BASIC CONCEPTS

This chapter explains the basic concepts that you need to kno w before use, such as the mode structure and the internal structure of the QY700.

1. Mode structure ........................................... 26

2. Function tree .............................................. 34

3. How the QY700 is organized...................... 36

4. Sequencer block ........................................ 37

5. The tone generator block ........................... 43

6. Controller block .......................................... 46

7. Effect block................................................. 47

8. Basic operation .......................................... 51

9. Song creating procedure............................ 56

BASIC CONCEPTS

Mode name Sub-mode name

Page name

Sub-page name

Special page name

1. Mode structure

About modes

• The many functions of the QY700 are grouped by type into modes, sub-modes, and pages (see the diagram below). When operating the QY700, you will arrive at the desired function by first selecting the mode, then the sub-mode, and finally the page.

• Modes are the largest division of functions. Use the Mode buttons to switch between modes.

• Sub-modes are broad divisions of the functions within each mode. If the bottom line of the display shows a menu shaped like buttons, you can press the corresponding function button to select the desired sub-mode. In some cases, you will enter a sub-mode by pressing the s, e, or j keys.

• Pages contain groups of related parameters within a submode. If the bottom line of the sub-mode display shows a tab-shaped menu, you can press the corresponding function button to switch pages. In some sub-modes, you can select sub-pages within a page, or move to a special page to make settings.

Modes and sub-modes

The QY700 has the following modes and sub-modes.

■ Song mode

Here you can record or playback songs. (→ p.70) The Auto-accompaniment functions allo w you to create music efficiently. Press s to enter this mode.

Mode

Sub-mode Sub-mode

Page Page Page

Mode

Sub-mode Sub-mode

Sub-page Sub-page

Special page

• The following example shows the Song (mode) Play Ef fect (sub-mode) Groove Quantize (page) display.

Song Play

Here you can select and playback songs. (→ p.72) This is the first sub-mode you will enter when you press s.

Chapter 1

BASIC CONCEPTS

Play Effect

Here you can make temporary adjustments to the note timing and dynamics for song playback. (→ p.80) In Song Play, press 1 (PlayFx) to enter this sub-mode.

T rack View

This display shows the measures in which data has been input in each track. (→ p.100) In Song Play, press 2 (TrView) to enter this sub-mode.

Song Recording

Here you can record song data onto the tracks of a song. (→ p.106) In Song Play, press e to enter this sub-mode.

Song Edit

Here you can modify the song data of a song, or insert new data. (→ p.129) In Song Play, press e to enter this sub-mode.

Out Channel

Here you can set the output channel for each of the tracks and patterns which make up the song, determining how they will be transmitted to the tone generator block and to the MIDI OUT connectors. (→ p.103) In Song Play, press 3 (OutCh.) to enter this sub-mode.

Song Job

Here you select and execute song jobs to edit or modify a song. (→ p.138) In Song Play, press j to enter this sub-mode.

Chapter 1

BASIC CONCEPTS

■ Voice mode

Here you can make tone generator settings such as voice and volume for each part, determining how each part will sound when the song is played back. (→ p.168) Press v to enter this mode.

Mixer

Here you can make tone generator settings such as voice, pan and volume for each part. (→ p.170) In Voice mode, press 1 (Mixer) to enter this sub-mode.

Tune

Here you can transpose or tune each part. (→ p.174) In Voice mode, press 2 (Tune) to enter this sub-mode.

Drum Setup Edit

Here you can edit Drum Setup 1 and 2 to indirectly modify drum voices. (→ p.182) After selecting Drum Setup 1 or 2 as the voice category in Voice mode, press 4 or 5 to enter this sub-mode.

■ Effect mode

Here you can make settings for the effects used in a song. (→ p.188) Press e to enter this mode.

Effect Connection

Here you can select the way in which the Variation effect is connected. (→ p.190) In Effect mode, press 1 (Connect) to enter this sub-mode.

Voice Edit

Here you can modify parameter values for each part to modify the voice. (→ p.176) In Voice mode, press 3 (V oicEdit) to enter this sub-mode .

Chapter 1

BASIC CONCEPTS

Effect Reverb Edit

Here you can make settings for the Reverb effect. (→ p.193) In Effect mode, press 2 (Reverb) to enter this sub-mode.

Effect Chorus Edit

Here you can make settings for the Chorus effect. (→ p.193) In Effect mode, press 3 (Chorus) to enter this sub-mode.

■ Pattern mode

Here you can create and playback patterns or phrases. (→ p.200) Press p to enter this mode.

Patch

Here you can select and playback patterns. Patterns are created by assigning phrases to each track of the pattern. (→ p.200) This is the sub-mode that you will enter when you first press p .

Play Effect

Here you can make temporary changes in the timing and dynamics of pattern playback. (→ p.212) In Patch, press 1 (PlayFx) to enter this sub-mode.

Effect V ariation Edit

Here you can make settings for the Variation effect. (→ p.193) In Effect mode, press 4 (Vari.) to enter this sub-mode.

Chapter 1

BASIC CONCEPTS

Pattern V oice

Here you can make tone generator settings such as voice or volume for each pattern track. (→ p.225) In Patch, press 2 (Voice) to enter this sub-mode.

Pattern Effect

Here you can make settings for the effects used in the pattern. (→ p.239) In Patch, press 3 (Effect) to enter this sub-mode.

Phrase Edit

Here you can modify or insert data in a Preset Phrase or User Phrase. (It is possible to enter Edit mode even with a preset phrase, but the data cannot be edited.) (→ p.254) In Patch, move the cursor to User Phrase, and press e to enter this sub-mode.

Pattern Job

Here you can select and execute jobs to edit or modify a pattern. (→ p.256) In Patch, press j to enter this sub-mode.

Phrase Recording

Here you can record musical data into the selected User Phrase. (→ p.247) In Patch, move the cursor to User Phrase and press e to enter this sub-mode.

Chapter 1

BASIC CONCEPTS

■ Utility mode

Here you can make basic settings for the QY700 and MIDIrelated settings. (→ p.288) Press u to enter this mode.

System

Here you can make basic settings for the QY700 such as master tuning and controller settings. (→ p.289) In Utility mode, press 1 (System) to enter this sub-mode.

MIDI

Here you can make MIDI-related settings. (→ p.291) In Utility mode, press 2 (MIDI) to enter this sub-mode.

MIDI Filter

Here you can specify whether or not various categories of MIDI message will be transmitted or received via the MIDI connectors. (→ p.293) In Utility mode, press 3 (MIDI Fltr) to enter this submode.

Sequencer

Here you can make basic settings related to the sequencer block. (→ p.295) In Utility mode, press 4 (Seqencr) to enter this sub-mode.

Click

Here you can make basic settings for the click sound. (→ p.297) In Utility mode, press 5 (Click) to enter this sub-mode.

Chapter 1

BASIC CONCEPTS

Fingered Chord Zone

Here you can specify the range of the keyboard in which Fingered Chord will function. (→ p.299) In Utility mode, press 6 (FngZone) to enter this sub-mode.

■ Disk mode

In this mode you can transfer data to and from the floppy disk. (→ p.302) Press d to enter this mode.

Save

Here you can save internal memory data to floppy disk. (→ p.307) In Disk mode, press 1 (Save) to enter this sub-mode.

Rename

Here you can change the filename of a file on floppy disk. (→ p.312) In Disk mode, press 4 (Rename) to enter this sub-mode.

Delete

Here you can delete a file from the floppy disk. (→ p.314) In Disk mode, press 5 (Delete) to enter this sub-mode.

Load

Here you can load data from floppy disk into internal memory . (→ p.310) In Disk mode, press 2 (Load) to enter this sub-mode.

Chapter 1

Format

Here you can format a floppy disk. (→ p.316) In Disk mode, press 6 (Format) to enter this sub-mode.

BASIC CONCEPTS

Chapter 1

BASIC CONCEPTS

2. Function tree

Song mode

sSong Play............................................................................. p.72

1Play Effect ............................................................... p.80

1Groove ......................................................... p.82

4Groov e V ie w .................................... p.82

5Copy Template ................................. p.89

2Clock Shift / Gate Time / Velocity............... p.90

3Transpose ..................................................... p.94

4Drum Table Edit .............................. p.97

2T rack V iew............................................................. p.100

3Out Channel........................................................... p.103

5Save Song .............................................................. p.307

6Load Song.............................................................. p.310

s+5 Save Song SMF....................................... p.307

s+6 Load Song ............................................... p.310

e Song Recording ..................................................... p.106

1Multi .......................................................... p.110

3Replace ...................................................... p.112

4Overdub ..................................................... p.112

5Punch ......................................................... p.118

6Step............................................................ p.120

eSong Edit ............................................................... p.129

1Graphic, Event List.................................... p.135

2XG V iew .................................................... p.132

3Track Name ............................................... p.132

4View Filter ................................................. p.133

5Delete......................................................... p.133

6Insert .......................................................... p.133

jSong Job ................................................................ p.138

00 Undo/Redo........................................................ p.141

01 Quantize............................................................ p.142

02 Modify Velocity ................................................ p.145

03 Modify Gate Time ............................................ p.147

04 Crescendo ......................................................... p.148

05 Transpose.......................................................... p.149

06 Shift Note.......................................................... p.150

07 Shift Clock........................................................ p.150

08 Chord Sort ........................................................ p.151

09 Chord Separate ................................................. p.152

10 Shift Event ........................................................ p.153

11 Copy Event ....................................................... p.154

12 Erase Event ....................................................... p.155

13 Extract Event .................................................... p.155

14 Thin Out............................................................ p.157

15 Time Stretch...................................................... p.158

16 Create Measure ................................................. p.158

17 Delete Measure ................................................. p.159

18 Copy Track ....................................................... p.160

19 Mix Track ......................................................... p.161

20 Clear Track ....................................................... p.162

21 Expand Backing................................................ p.162

22 Normalize Play Effect ...................................... p.163

23 Copy Song ........................................................ p.164

24 Clear Song ........................................................ p.164

25 Song Name ....................................................... p.165

Voice mode

v ........................................................................................... p.168

1Mixer ..................................................................... p.170

2Tune ....................................................................... p.174

3Voice Edit .............................................................. p.176

4Drum Setup 1 Edit................................................. p.182

5Drum Setup 2 Edit................................................. p.182

Effect mode

e ....................................................................................... p.188

1Effect Connection.................................................. p.190

2Effect Reverb Edit ................................................. p.193

3Effect Chorus Edit ................................................. p.193

4Effect Variation Edit .............................................. p.193

Pattern mode

p Patch.............................................................................. p.200

1Play Effect ............................................................. p.212

1Groove ....................................................... p.214

4Groov e V ie w .................................. p.214

2Clock Shift / Gate Time / Velocity............. p.217

3Transpose ................................................... p.219

4Drum Table Edit ............................ p.222

5Pattern Voice .............................................. p.225

6Pattern Effect ............................................. p.239

2Pattern Voice .......................................................... p.225

1Mixer ......................................................... p.227

2Voice Edit .................................................. p.232

3Drum Setup 3 Edit..................................... p.235

5Play Effect ................................................. p.212

6Pattern Effect ............................................. p.239

3Pattern Effect ......................................................... p.239

1Connection................................................. p.241

2Reverb........................................................ p.244

3Chorus........................................................ p.244

4Variation .................................................... p.244

5Play Effect ................................................. p.212

6Pattern Voice .............................................. p.225

Chapter 1

BASIC CONCEPTS

4Phrase Solo ............................................................ p.208

6Phrase Table ............................................... p.209

5Rest ................................................................... p.208

6Clear ................................................................... p.208

e Phrase Recording................................................... p.247

4Replace ...................................................... p.252

5Overdub ..................................................... p.252

6Step............................................................ p.253

ePhrase Edit Change................................................ p.254

1Graphic / Event List................................... p.254

2XG V iew .................................................... p.254

4View Filter ................................................. p.254

5Delete......................................................... p.254

6Insert.......................................................... p.254

jPattern Job ............................................................. p.256

00 Undo/Redo........................................................ p.259

01 Quantize............................................................ p.260

02 Modify Velocity ................................................ p.261

03 Modify Gate Time ............................................ p.262

04 Crescendo ......................................................... p.263

05 Transpose.......................................................... p.263

06 Shift Note.......................................................... p.264

07 Shift Clock........................................................ p.265

08 Chord Sort ........................................................ p.265

09 Chord Separate ................................................. p.266

10 Shift Event ........................................................ p.267

11 Copy Event ....................................................... p.268

12 Erase Event ....................................................... p.269

13 Extract Event .................................................... p.269

14 Thin Out............................................................ p.271

15 Time Stretch...................................................... p.272

16 Copy Phrase...................................................... p.272

17 Mix Phrase........................................................ p.274

18 Append Phrase .................................................. p.275

19 Split Phrase ....................................................... p.276

20 Get Phrase......................................................... p.277

21 Put Phrase ......................................................... p.278

22 Clear Phrase...................................................... p.279

23 Phrase Name ..................................................... p.279

24 Clear Track ....................................................... p.280

25 Copy Pattern ..................................................... p.281

26 Append Pattern ................................................. p.282

27 Split Pattern ...................................................... p.283

28 Clear Pattern ..................................................... p.284

29 Pattern Name .................................................... p.284

30 Style Icon.......................................................... p.285

Utility mode

u ....................................................................................... p.288

1System ................................................................... p.289

2MIDI...................................................................... p.291

3MIDI Filter ............................................................ p.293

4Sequencer .............................................................. p.295

5Click ...................................................................... p.297

6Fingered Chord Zone............................................. p.299

Disk mode

d ........................................................................................... p.302

1Save........................................................................ p.307

2Load ....................................................................... p.310

4Rename.................................................................. p.312

5Delete..................................................................... p.314

6Format.................................................................... p.316

Chapter 1

BASIC CONCEPTS

3. How the QY700 is organized

Four blocks

• The QY700 consists of four blocks: the sequencer block, the tone generator block, the controller block, and the effect block.

Sequencer block (→ p.37)

• This block lets you create songs by recording/editing musical performances recorded from an external MIDI device or from the controller block, and then plays back this data, transmitting it to the tone generator block or to an external MIDI tone generator as MIDI messages.

• The sequencer block can be operated in two modes: Song mode (→ p.70) and Pattern mode (→ p.198).

• Using the Auto-Accompaniment function (→ p.37) allows you to create music efficiently.

• By recording one track at a time to create a multi-track recording, you can create songs which use up to 32 tracks (up to 48 tracks if you use the Auto-Accompaniment function).

• When songs or patterns are played back, the musical data is output to the tone generator block and to the MIDI OUT connectors. The output destination of the musical data can be specified for each track by setting the Out Channel (→ p.103).

Tone generator block (→ p.43)

• This block produces sound in response to the MIDI messages that it receives from the sequencer block, controller block, and from the MIDI IN connectors.

• Settings for this block can be made in Voice mode (→ p.168).

• This is a 32 part 32 note polyphonic multi-timbral XG-compatible tone generator.

MIDI IN

MIDI OUT

Effect block (→ p.47)

• This block processes the audio signal that is output from the tone generator block, adding reverberation or ambiance etc.

• This block provides three XG-compatible effects: reverb effect, chorus effect, and variation effect.

• Settings for this block can be made in Effect mode (→ p.188).

How the blocks are connected

• The four blocks are connected as follows.

external MIDI device,

MIDI tone generator

external MIDI device,

MIDI keyboard

Sequencer block

MIDI messages

Tone Generator

MIDI messages

Controller block

block

audio signals

Effect block

audio

signals

Controller block (→ p.46)

• This block contains the microkeyboard, pitch wheel, assignable wheel, and foot switch that you use to perform, and from which MIDI messages are transmitted to the sequencer block and to the tone generator block.

• The functions of the pitch wheel, assignable wheel, and foot switch can be set in Utility mode (→ p.288).

• The output destination of the musical data transmitted from the controller block is specified by the Keyboard T rack setting (→ p.74) of the sequencer block. The musical data is output as specified by the Out Channel setting of the keyboard track, either to one of the parts of the tone generator or to the MIDI OUT connectors.

Chapter 1

4. Sequencer block

BASIC CONCEPTS

1. About the sequencer block

• This block lets you create songs by recording/editing the musical performance that is recorded from an external MIDI device or from the controller block, and then plays back the data, transmitting it to the tone generator block or to an external MIDI tone generator as MIDI messages.

• The sequencer block can be operated in two modes: Song mode and Pattern mode.

• Using the Auto-Accompaniment function allo ws you to create song efficiently by joining together patterns and phrases. Patterns and phrases will be explained below.

• By recording one track at a time to create a multi-track recording, you can create songs which use up to 32 tracks (up to 48 tracks if you use the Auto-Accompaniment function).

• “Tracks” are memory areas in which musical performances are recorded. Musical data can be recorded, edited, and played back independently for each track.

external MIDI device,

MIDI tone generator

external MIDI device,

MIDI keyboard

2. Auto-Accompaniment

• Auto-Accompaniment is a function that lets you specify chords for the phrases or patterns created in Pattern mode, creating an accompaniment that is played back automatically.

• The accompaniment created using the Auto-Accompaniment function consists of three types of elements: phrases, patterns, and songs.

• “Phrases” are musical accompaniment phrases for a single instrument, such as a rhythm pattern for the rhythm part, a bass line for the bass part, or a chord backing for the guitar part. Phrases are the smallest unit that makes up the accompaniment of a song.

• “Patterns” are created by joining two or more Phrases horizontally, or by joining up to 16 parts vertically to create an accompaniment with drums, bass, and chord backing. While phrases contain musical data for a single instrument, patterns combine two or more phrases to create a single backing pattern. Patterns are the basic unit with which the accompaniment of a song is created.

• In order to create the accompaniment for an entire song, you will need to create different patterns for the various parts of the song, such as the intro, theme, fill-ins, breaks, and ending.

• Song mode provides a Pattern track in which patterns can be arranged, and a Chord track in which chords can be arranged. When you place patterns and chords in these tracks as appropriate for the changes in your song, the accompaniment patterns will automatically be converted for playback with the chords you specify.

MIDI IN

MIDI OUT

Sequencer block

Song

Pattern

Phrase

MIDI messages

Tone Generator

MIDI messages

Controller block

block

audio

signals

Effect block

audio

signals

Song

001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018

Track 1

Sequence

tracks

Pattern track

Chord track

Tempo track

•

Track 32

Pattern number

Em7 Em7

Tempo=90 Tempo=96

Pattern

Phrase

Em7 • • • Am7 Bm7

Phrase number

• • •

Chapter 1

BASIC CONCEPTS

16 16 beat : 16-beat phrases 08 8 beat : 8-beat phrases 34 3/4 beat : 3/4 time or 6/8 time phrases

Display Type

3. Phrases

Instrument category Beat Number Phrase name

• The QY700 provides 3,876 Preset Phrases, and 99 User Phrases for each Style.

• Preset phrases and user phrases are categorized by three parameters: “instrument category,” “beat” and “number.” This lets you efficiently find desired phrases without having to be familiar with each individual phrase.

Instrument category

• Instrument category refers to the type of instrument or playing technique. There are the following 15 instrument categories. “US” indicates a “User Phrase,” and all others are preset phrases.

Display Category Da Drum-a Drum phrases Db Drum-b(General) Drum phrases Fa Drum Fill-a(Pop & Rock) Drum fill-in phrases Fb Drum Fill-b(Specific) Drum fill-in phrases Fc Drum Fill-c(General) Drum fill-in phrases DP Durm Parts Drum phrases separated by instrument PC Percussion Percussion phrases PF Percussion Fill Percussion fill-in phrases Ba Bass-a Bass phrases Bb Bass-b(General) Bass phrases GC Guitar Chord Guitar chord backing phrases GA Guitar Arpeggio Guitar arpeggio phrases GR Guitar Riff Guitar riff phrases KC Keyboard Chord Keyboard chord backing phrases KA Kbd Arpeggio Keyboard arpeggio phrases KR Keyboard Riff Keyboard riff phrases PD Pad Pad-type phrases BR Brass Brass phrases SE Sound Effect Sound effect phrases US User User phrases

Beat

• Beat categorizes phrases by their basic rhythm, into the following three types.

Number

• Number specifies phrases within Instrument Category and Beat by a number 001 – 256. (User phrases are numbered 001 – 099.)

4. How chord conversion works

Chord conversion table

• The QY700’s “chord conversion table” allows phrases to be developed and played according to the Chord Root and Chord Type that you specify.

• The chord conversion table pro vides pitch data corresponding to 12 chord roots and 28 chord types. The data played back by a phrase passes through the chord conversion table and is converted to the pitches that correspond to the chord root and chord type. In this way, the phrase is developed

Chord root

Chord type

into the specified chord.

• The Source Chord indicates the chord with which the phrase was originally recorded. The source chord plays an important role in the chord conversion of phrases. This is because the original chords must be known in order for the chords of a phrase to be converted into the specified chords.

• In other words, chord conversion is performed by reading relative pitch differences between the source chord and the specified chord from the chord conversion table.

• Y ou can specify the Phrase T ype of each phrase so that chord conversion will be performed in a manner appropriate for the instrument. There are seven phrase types: melody 1 and 2, chord 1 and 2, bass, bypass, and parallel. The chord conversion table is switched according to the phrase type.

• The Phrase T ype and Source Chord can be set for each phrase in the phrase table (→ p.209).

Chapter 1

Phrase type

Original phrase

Chord root Chord type

Chord

conversion

table

Source chord

Converted phrase

On Bass and Original Bass

• In addition to Chord Root and Chord Type, chord settings also allow you to specify On Bass and Original Bass.

• On Bass and Original Bass are effective only for phrases whose Phrase Type is set to Bass.

• On Bass lets you specify a root note for the bass that is separate from the chord, so that when the pattern or phrase is played back, phrases with a phrase type of Bass will be fixed at the root note. For example if On Bass G is specif ied for a CM7 chord, the display will be “CM7onG”, and phrases whose phrase type is set to Bass will all be played as “G”.

• Original Bass lets you specify a chord for the bass that is separate from the chord, so that when the pattern or phrase is played back, phrases with a phrase type of Bass will be played with a separate bass chord. For example if a CM7 chord is set to an Original Bass of G7, the display will be “CM7/G7” and phrases whose phrase type is Bass will be played back just as though the chord had been set to G7.

• For details on inputting chords, refer to “7. Chord input methods” (→ p.42).

On Bass Original Bass

5. Patterns

• “Patterns” are created by joining two or more Phrases hori-

• Patterns are created in the Patch display of Pattern mode.

• The QY700 manages patterns by Style and by Block.

• “Styles” are groups of patterns for each song. The QY700

• “Blocks” are groups of patterns within a song that provide

• The QY700 provides 64 × 8 = 512 patterns.

• When you specify a chord for a pattern, each of the various

User Styles x 64

BASIC CONCEPTS

zontally, or by joining up to 16 parts vertically to create an accompaniment with drums, bass, and chord backing. While phrases contain musical data for a single instrument, patterns combine two or more phrases to create a single backing pattern. Patterns are the basic unit with which the accompaniment of a song is created.

(→ p.200)

provides 64 styles.

changing accompaniment such as for intros, themes, fillins, breaks, and endings. For each style, the QY700 provides eight blocks A – H.

phrases that make up that pattern will be processed by chord conversion, meaning that in ef fect, chord con version is performed for the entire pattern.

EFG

8 sections

Chapter 1

BASIC CONCEPTS

Track structure within each pattern

• Patterns are organized as a matrix of tracks and measures, as shown in the diagram below.

• A phrase or a rest can be specified for each measure in each track of the pattern.

M1 M2 M3 • • •

TR 1

Phrase number Phrase number

TR 2

Phrase number Phrase number

TR 3

Phrase number

TR 16

• • •

Playback channel of each track

• When a pattern is played back, the musical data of each track in the pattern is transmitted to the tone generator block and the MIDI OUT connectors according to the Out Channel settings of Song mode. (→ p.103)

• The data is transmitted to the tone generator block as specified by the “TO TG” setting, and to the MIDI OUT connectors as specified by the “MIDI OUT-A” / “MIDI OUT-B” settings.

Sequencer block (Pattern)

M001 M002 • • •

TR 1

Phrase

TR 2

Phrase

TR 3

Phrase

TR 16

TO TG

Phrase

MIDI

OUT-A

MIDI

OUT-B

6. Songs

• “Songs” are songs that have been created by recording musical data to tracks in the QY700’s Song mode.

• The QY700’s song memory can hold 20 songs.

• Each song consists of a total of 35 tracks: 32 sequence tracks, the pattern track, the chord track, and the tempo track.

• In addition to creating songs in the same way as on a conventional sequencer by recording only sequence tracks, you can also create a song by using the auto-accompaniment function to create the backing portion of a song, and then adding melody and other parts to complete the song.

Track structure of a song

• Each song consists of 32 sequence tracks (TR1 – TR32), a pattern track (PATTERN), a chord track (CHORD), and a tempo track (TEMPO).

• The sequence tracks are used to record musical data. Data can be recorded from the controller block etc. using realtime recording or step recording etc. The QY700 has 32 sequence tracks, and each track can record musical data for one Part.

• To use the auto-accompaniment function, you will arrange patterns in the pattern track. This track also allows you to input the time signature for each measure. Pattern track input is performed in Song Recording.

• The chord track contains the chords that are used to playback the pattern track. In addition to chords, this track also allows you to input the On Bass, Original Bass, and Syncopation etc. Chord track input is performed in Song Recording.

• The tempo track contains tempo changes that are applied when the song is played back. This lets you create changes in song tempo, such as accelerando and ritardando. Tempo track input is performed in Song Recording.

Part 1

Part 16 Part 17

Part 32

Tone generator

block

MIDI OUT-A MIDI OUT-B

Chapter 1

BASIC CONCEPTS

TR 1 musical data TR 2 musical data TR 3 musical data

Sequence tracks

Pattern track PATTERN Patterns, time signatures Chord track CHORD Chord Root, Chord Name, On Bass,

Tempo track TEMPO Tempo changes

• • •

TR 31 musical data TR 32 musical data

Sequence track

Pattern track

• • •

Original Bass, Syncopation

Tempo track

Chord track

Sequence track playback channels

• When a song is played back, the musical data of each sequence track and the musical data of each pattern specified by the pattern track is transmitted to the tone generator block and the MIDI OUT connectors according to the Out Channel settings of Song mode. (→ p.103)

• The data is transmitted to the tone generator block as specified by the Out Channel “TO TG” setting, and to the MIDI OUT connectors on the channels specified by the “MIDI OUT-A” / “MIDI OUT-B” settings.

• Since the tone generator block has only 32 parts, it is not able to simultaneously produce the sounds for the sequence tracks of the sequencer block (32 tracks) as well as all of the pattern tracks (16 tracks). However if you use an e xter nal tone generator, you can make Out Channel settings so that any 16 of the tracks are played back by the external MIDI tone generator so that all tracks will playback simultaneously.

Sequencer block Sequence tracks

Sequence tracks TR 1 musical data TR 2 musical data

TR 16 musical data TR 17 musical data

TR 32 musical data

Pattern

M001 M002 • • • TR 1 Phrase TR 2 Phrase TR 3 Phrase

TR 16 Phrase

TO TG

Part 1

Part 16 Part 17

Part 32

Tone generator

block

Out Channel (Sequencer tracks)

Out Channel (Pattern track)

MIDI

OUT-A

MIDI OUT-A MIDI OUT-B

MIDI

OUT-B

Chapter 1

BASIC CONCEPTS

7. Chord input methods

• This block explains how to input the chords in Song mode or Pattern mode so that you can use the auto-accompaniment function.

Using Chord Root and Chord Type to input chords

• You can use the symbols printed on the microkeyboard to enter the Chord Root and Chord Type.

• For the Chord Root, use the E2 – D#3 keys to specify the root of the chord.

• For the Chord Type, use the E3 – F4 keyboard buttons to select from the 28 chord types printed on the buttons.

• By combining the Chord Root and Chord Type you can specify 336 different chords. You can also specify On Bass chords or Original Bass chords, for even more variation.

(

CBA

E)D

C#D DbE

SECTION

F G

! MLK

FGABC

B C D E F G H

Turning the Fingered Chord Zone on/off

• In order to use the fingered chord function to input chords, you must first make Fingered Chord Zone settings in Utility mode to specify the range of the keyboard in which this function will operate. (→ p.299)

• A Fingered Chord function on/off setting is provided in the Patch displays of Song Play and Pattern modes, and in the Utility mode Fingered Chord Zone setting display . The settings in these three displays are linked.

• When Fingered Chord is on (FINGRD), the keys below the Zone High key of the fingered chord zone will no longer be usable as conventional keys for performance or recording.

• When Fingered Chord is off (OFF), the fingered chord function will not operate, and you can input the Chord Root and Chord T ype using the symbols printed on the keyboar d buttons.

# b

add9

(

UTSRQPO#N

(9)

M7 M7

(

)

HGF

(13)

(9)

add9

(11)

sus4

11)

(

sus4

(9)

ZWV

dim

mM7

aug

(b5

)

Using the Fingered Chord function to input chords

• Fingered Chord is one of the functions included in autoaccompaniment, that automatically detects the chord from the combination of notes that you press on the keyboard, so that the pattern or phrase is converted into that chord at the time of playback.

• When the QY700’s f ingered chord function is used, chords that you play in the Fingered Chord Zone will be automatically analyzed as a chord, and specified.

• It is also possible to use the microkeyboard below the Fingered Chord Zone to specify the On Bass or the Original Bass at the same time that you play the chord. A single note that you play below the Fingered Chord Zone will be detected and set as the On Bass, and a chord will be detected as the Original Bass.

• The fingered chord function can be used not only from the QY700’s microkeyboard, but also from a MIDI keyboard connected to the MIDI IN connector.

Chapter 1

5. The tone generator block

E FGABC

add9

mM7 m6

C#D

(

sus4 sus4

SECTION

DbE

(

(b5

)

(9)

dim

ZWV

HGF

UTSRQPO#N

CBA

MLK

E)D

(

aug

(

)

(13)

(

11)

(11)

B C D E F G H

E FGABC

add9

mM7

C#D

(

sus4 sus4

SECTION

DbE

(

(b5

)

(9)

dim

ZWV

HGF

UTSRQPO#N

CBA

MLK

E)D

(

aug

(

)

(13)

(

11)

(11)

B C D E F G H

performance performance

all elements sound

Normal Voice

specific element sounds

Drum Voice

Element

keyboard keyboard

About the tone generator block

• The tone generator block is what actually produces sound in response to the MIDI messages received from the sequencer block, the controller block, and from the MIDI IN connectors.

• The tone generator block always functions as a 32 part multitimbral tone generator.

• The tone generator block of the QY700 is GM and XG compatible. It is able to playback any song data bearing the GM logo or XG logo, including extension voices and effect settings.

external MIDI device,

MIDI tone generator

external MIDI device,

MIDI keyboard

BASIC CONCEPTS

Voice Category, Program Number, and Bank Number

• The QY700 contains 480 normal voices and 11 drum voices. This is more voices than can be selected by a program number of 1 – 128. Thus, voices are selected on the QY700 using a combination of the Voice Category, Program Number, and Bank Number.

MIDI IN

MIDI OUT

V oices

Sequencer block

Tone Generator

MIDI messages

block

audio

signals

Effect block

audio

signals

MIDI messages

Controller block

• “Voices” are the individual sound programs that you can edit, which are used by the tone generator to produce sound.

• There are two types of voices: normal voices which change their pitch as you play different notes on the keyboard, and drum voices which produce a different rhythm instrument sound for each note of the keyboard.

• Normal voices consist of 1 or 2 “elements.” By using two elements you can produce a richer sound, or create a voice that produces different sounds depending on the pitch or velocity.

• Drum voices are special voices in which different sounds are assigned to each note. You can make detailed modifications to the sound of each note.

• Elements are the building blocks that each voice is made of, and are made from sampled waveforms. You can make detailed modifications to the pitch, tone and volume.

Voice Category

• The Voice Category is a broad classification of the type of voice. The QY700 uses four voice cate gories: normal voices

, SFX voices , SFX kits and drum voices . In addition to these four voice categories, you can select drum setup 1 drum setup 3 are used to select drum setups, and are used in a different way than the first four categories.

• Normal voice mal voices.

• SFX voice fects. The sound effects in this category ha v e the same element structure as normal voices, and their pitch will change as different notes of the keyboard are played.

• SFX kit The sound effects in this category have the same element structure as drum voices, and will produce different types of sound effect as different notes of the k eyboard are played.

and drum setup 2 in Voice mode, and

in Pattern mode. These three categories

is the voice category that specifies nor-

is a voice category that specifies sound ef-

is a voice category that specifies sound ef fect.

Chapter 1

BASIC CONCEPTS

• Drum voice is the voice category that specifies drum voices. In this category , drum voices can be freely assigned, and you can select a different drum voice for each part. However it will not be possible to edit the drum voice.

• If you wish to edit a drum voice, you can use the three voice categories drum setup 1

– drum setup 3 . These categories “overlay” a drum voice with a drum setup that can be edited. This means that by editing the drum setup for a part that is set to this category, you can indirectly edit a drum voice. However if you specify the same drum setup for two or more parts, editing one of the parts will automatically edit the drum voice for the other part.

Program number

• The program number specifies the voice number to select the voice. The voices selected by the program number will depend on the voice category setting.

• If the voice category is set to a Normal

voice, program numbers 1 – 128 will allow you to select the 128 voices of the XG basic bank (= GM System Level 1).

• If the voice category is other than Normal

voice, it will not necessarily be the case that each program number selects a different voice. Also, if SFX v oice

is selected as

the category , some program numbers will produce no sound.

• For lists of voices, refer to the List Book.

Bank number

• Bank number is effective only for parts whose voice category is set to Normal voice

• The Bank number specifies the XG expansion banks to select variation voices relative to the 128 voices of the XG basic bank (= GM System Level 1).

• For example with program number 17 “DrawOrgn”, variation voices can be selected by changing the bank number to 64 to select “Organ Ba”, 65 to select “70sDrOr2”, 66 to select “CheezOrg,” or 67 to select “DrawOrg3.”

Selecting voices via MIDI

• Voice Category, Program Number, and Bank Number respectively correspond to the MIDI messages Bank Select MSB, Program Change, and Bank Select LSB. When using MIDI to select a voice, transmit these three MIDI messages in the order of Bank Select MSB, Bank Select LSB, and Program Change.

• The voice categories Drum Setup 1

are selected using MIDI System Exclusive messages.

• Each voice is placed in a three-dimensional space with the three axes being the Bank Select MSB, LSB, and Program Change (see diagram below).

• The Bank Select MSB and LSB are used to manage 105 voice banks.

MSB=000 : LSB=000 (Normal voices: XG basic bank

= GM System Level 1) MSB=000 : LSB-001 – 101 (Normal voices: XG extension banks) MSB=064 : LSB=000 (SFX voices) MSB=126 : LSB=000 (SFX kits) MSB=127 : LSB=000 (Drum voices)

• The voices within the bank specified by the Bank Select messages are selected by Program Change messages.

Program Change=000 – 127

– Drum Setup 3

Voice Category MSB=000–127

Chapter 1

Program Change=000–127

LSB=000–127 Bank Number

BASIC CONCEPTS

TR 1 musical data TR 2 musical data

TR 16 musical data TR 17 musical data

TR 32 musical data

Sequence tracks

Sequencer block Sequence tracks

TR 1 Phrase TR 2 Phrase TR 3 Phrase

TR 16 Phrase

M001 M002 • • •

Part 1

Part 16 Part 17

Part 32

MIDI

OUT-A

MIDI

OUT-B

MIDI OUT-A MIDI OUT-B

TO TG

Pattern

Tone generator

block

Maximum polyphony

• The tone generator block has a maximum polyphony of 32 notes, in element units. I.e., 32 notes can be played simultaneously if you are using normal voices that consist of one element or drum voices, and 16 notes can be played simultaneously with normal voices that consist of two elements.

• The number of elements used by each voice is given in the voice lists of the separate “QY700 Reference Listings”.

• If MIDI messages are received which request more than the available maximum polyphony, currently-sounding notes will be turned off, and the later arriv als will be played. This type of note assignment is called “last-note priority.”

• The note priority of each part of the tone generator is fixed as follows, and when the maximum polyphony is exceeded, notes will be turned off starting with the lower-priority par ts. You should use high-priority parts for musically important parts such as the melody or bass, so that these important lines will not be interrupted even if the maximum polyphony is exceeded.

Note priority order

Part number 10 1 9 11 16 26 17 25 27 32

1 2 10 11 16 17 18 26 27 32

• When setting the Song mode Out Channel “TO TG” parameter, you must fir st check the MIDI channel of the tone generator block.

• Unless you have something special in mind such as layering multiple parts, it is best to use the System Exclusive XG System On message to restore the MIDI channel of each tone generator part to the default value before making “TO TG” settings.

• It is possible to use MIDI System Exclusive messages to specify Element Reserve settings for each part. If you specify an Element Reserve setting, the specified number of notes will be reserved for that part, so that no further notes will be “stolen” from that part when the maximum polyphony is exceeded. It is a good idea to make Element Reserve settings for musically important parts such as the melody or

Connections between the sequencer block and the tone generator block

bass, whose notes must not be interrupted.

• The sequencer block is internally connected to the tone generator block via MIDI.

• The connections between each track of the sequencer block and each part of the tone generator block can be specified by the Song mode Out Channel ( → p.103) setting “TO TG.”

• The MIDI channels of the 32 parts of the tone generator block can be set to any desired setting via MIDI System

Tone generator number

MIDI channel 1(A01) 2(A02) 16(A16) 17(B01) 18(B02) 32(B16)

Exclusive messages. W ith the def ault settings, these are set to the same MIDI channel number as the part number, as shown in the following table.

1 2 16 17 18 32

Chapter 1

BASIC CONCEPTS

6. Controller block

About the controller block

• The controller block lets you use the microkeyboard, pitch wheel, assignable wheel, foot switch etc. to play music and control the tone generator block via the sequencer block, or to directly control the tone generator block or effect block.

Sequencer block

Track

Keyboard track /

Recording track

Tone generator

block

Part

Effect block

external MIDI device,

MIDI tone generator

external MIDI device,

MIDI keyboard

MIDI IN

MIDI OUT

Sequencer block

MIDI messages

• In addition to transmitting note data to the tone generator

Tone Generator

MIDI messages

Controller block

block

audio signals

Effect block

block and to the sequencer block, the microkeyboard are also used to specify chord roots or chord types, and to input fingered chords.

• Utility mode System settings allow you to specify the control numbers that the pitch wheel and the assignable wheel will output.

audio signals

Controller block

• When Fingered Chord is ON (FINGRD), musical data will not be output from the keyboard range below the specif ied Fingered Zone (→ p.299) area.

• The “keyboard track” is the track which is highlighted in the Song Play and Pattern Play pages.

• The “recording track” is the track selected by the cursor in the Recording Standby page. If the cursor is in a location other than the track display, the track number will be highlighted.

Relationship to other blocks

• In Song mode and Pattern mode, the controller block is connected to the various parts of the tone generator and to the MIDI OUT connectors via the keyboard track (recording track) of the sequencer block.

• Data from the controller block passes from the keyboard track to the parts of the tone generator block and to external MIDI devices in accordance with the Out Channel settings “TO TG,” “MIDI OUT-A” and “MIDI OUT-B.”

• From the controller block, you can record sequence tracks or user phrases, or play the tone generator block or external MIDI devices.

Chapter 1

7. Effect block

BASIC CONCEPTS

About the effect block

• This block processes the audio signals from the tone generator block, adding reverberation or ambiance etc.

• The QY700 has three types of effect: the reverb effect, the chorus effect, and the variation effect.

• Effect settings for Song mode can be made in Effect mode and in Voice mode. In Effect mode, you can store the effect type and other detailed settings of the three effects for each song, allowing you to create the ideal acoustical ambiance for the song. In Voice mode, you can store the effect send level settings of the three effects for each part of the song.

• Effect settings for Pattern mode can be made in Pattern Effect and Pattern Voice. In Pattern Effect, you can store the effect type and other detailed settings of the three effects for each pattern, allowing you to create the ideal acoustical ambiance for the pattern. In Pattern Voice, you can store the effect send lev el settings of the three effects for each part of the pattern.

external MIDI device,

MIDI tone generator

• When Pattern Setup = OFF, the Effect mode settings will be used, and the Pattern Effect settings will be ignored. T his means that the pattern playback may sound different than when in Pattern mode. However, you can make Voice mode settings so that the effects specified in Effect mode are applied to a pattern.

• When Pattern Setup = ON, the Pattern Effect settings will be used, and the Effect mode settings will be ignored. Also, the effect settings will change each time the pattern is switched. In this case, the Pattern Effect settings will be transmitted as MIDI data to the effect block and to the MIDI OUT connectors each time the pattern is switched. When using effects on a sequence track, you will need to check the Pattern Effect settings of the pattern that you are using, and set the Effect Send levels of Voice mode.

Voice mode settings Pattern Voice settings

Part 1

Part 16 Part 17

Part 32

Settings are changed

Always changed each time the pattern is switched

Part 1

Part 16 Part 17

Part 32

external MIDI device,

MIDI keyboard

MIDI IN

MIDI OUT

Sequencer block

Pattern setup

• When a song that uses patterns is played back in Song mode, you must choose in Pattern Setup the group of settings which will be used: Effect mode or Pattern Effect.

• Pattern Setup settings are made in the Song Play page (→ p.73).

MIDI messages

Tone generator

block

Controller block

audio

signals

Effect block

Reverb Chorus

Variation

audio

signals

Effect mode settings Pattern Effect settings

Settings are changed

Changed only if Pattern Setup = ON

Reverb effect

• The reverb effect is dedicated to reverb. It adds reverberation to the sound.

• In Effect mode, you can select one of 11 Effect Types, and modify parameter values to adjust the character of the reverb . Effect mode settings are remembered independently for each song.

• In Pattern mode, you can use Pattern Effect settings to select one of 11 Effect Types for each pattern, and modify parameter values to adjust the character of the reverb.

Chapter 1

BASIC CONCEPTS

Chorus effect

• The chorus effect is dedicated to chorus. It adds spaciousness and depth to the sound.

• In Effect mode, you can select one of 11 Effect Types, and modify parameter values to adjust the character of the chorus. Effect mode settings are remembered independently for each song.

• In Pattern mode, you can use Pattern Effect settings to select one of 11 Effect Types for each pattern, and modify parameter values to adjust the character of the chorus.

Variation effect

• The variation effect provides 43 types of effect including reverb and chorus, and also distortion and overdrive etc.

• In Effect mode, you can select one of 43 Effect Types, and modify parameter values to adjust the character of the effect. Effect mode settings are remembered independently for each song.

• In Pattern mode, you can use Pattern Effect settings to select one of 43 Effect Types for each pattern, and modify parameter values to adjust the character of the effect.

System Effects and Insertion Effects

• The effects of the effect block are di vided into two types of effect which function in completely different ways: system effects and insertion effects.

• On the QY700, the reverb effect and the chorus effect are system effects, and the variation effect can be set either as a system effect or an insertion effect.

• In the case of a system effect, effect processing is performed by using the mixer Send and Return controls to send signals from each tone generator Part to the effect and then return the processed signal to the mixer.

• In the case of an insertion effect, the effect is connected in series between the instrument and the mixer, and adjusted using the Dry/Wet Balance. On the QY700, an insertion effect can be used on any one specified Part.

• System effects and insertion effects are defined within “XG. ” This means that if you use a tone generator bearing the XG logo, you can use effects not only in a “minimal” way by simply applying chorus and reverb, but also in a more aggressive way to create the fundamental character of the sounds.

How the effects work

Variation mode = Insertion

• When Variation mode is set to Insertion, the three effects will be connected as shown in the diagram below.

• Of the 32 parts of the tone generator block, the signals of the part specified by the Voice mode Variation Switch 1 will be input to the variation effect, and the variation ef fect will be applied here.

• The signals of all tone generator parts including the abovementioned part will be sent to the reverb effect and the c horus effect according to the Voice mode settings Reverb Send Level 2 and Chorus Send Level 3. Here you can adjust the depth of the effect for each part.

• To adjust the overall depth of each effect, use the Effect mode settings Reverb Return Level 4 and Chorus Return Level 5. Here you can adjust the amount of the signal returned from each effect, determining the overall depth of each effect.

• The stereo location of the effect output is determined by the Effect mode settings Reverb Pan 6 and Chorus Pan 7.

• A bus line called Send Chorus To Reverb 8 connects the chorus effect to the reverb ef fect. By using this bus line you can connect the chorus effect and reverb effect in series.

Insertion effect

System effects

Chapter 1

BASIC CONCEPTS

Effect blocks diagram in Song mode (Variation mode= INS)

Variation effect

Voice mode (mixer)

Reverb effect

Chorus effect

2 3 1

Variation mode = System

• When Variation mode is set to System, the three effects will be connected as shown in the diagram below.

• The signals from all tone generator parts will be sent to the reverb effect, chorus effect, and variation effect according to the Voice mode settings Reverb Send Level 1, Chorus Send Level 2, and Variation Send Level 3. Here you can adjust the effect depth for each part.

• The overall depth of each effect can be adjusted by the Effect mode settings Reverb Return Lev el 4, Chorus Retur n Level 5, and Variation Return Level 6. Here you can set the amount of the signal that is returned from each effect, to adjust the overall depth of the effect.

• The stereo location of the effect output is determined by the Effect mode settings Reverb Pan 7, Chorus Pan 8, and Variation Pan 9.

• If Variation Mode = System, three bus lines will be connected. Send Chorus To Reverb 0 is a bus line that connects the Chorus Effect to the Reverb Effect. Send V ariation T o Chorus A is a b us line that connects the Variation Effect to the Chorus Effect. Send V ariation T o Reverb B is a bus line that connects the Variation Effect to the Reverb Effect.

Effect mode (Effect Connection)

By using these three bus lines, you can use the effects in a variety of ways, such as connecting the three effects in series, or dividing them.

Effect blocks diagram in Song mode (Variation mode = SYS)

Reverb effect

Chorus effect

Variation effect

1 2



679

Chapter 1

BASIC CONCEPTS

2 3

Voice mode (Mixer)



Effect mode (Effect Connection)

Chapter 1

8. Basic operation

BASIC CONCEPTS

1. Moving the cursor

• You will notice a black, highlighted location in the display. This is referred to as the cursor, and the location of the cursor will be the currently-selected command or data.

• Use the cursor keys to move the cursor.

• The direction(s) in which the cursor will move is fixed for each screen, and the cursor will not move to locations other than this.

• If the cursor does not move as you expect, try moving it in a different direction.

• The cursor will not move to commands or data which cannot be set.

2. Moving to modes, submodes, and pages

Selecting modes

• This refers to switching between Song mode, Pattern mode, Utility mode, Voice mode, Effect mode, and Disk mode.

• To switch modes, use the following 6 keys.

• When you press a mode key , the mode indica tor abov e that key will light.

• It is not possible to switch modes during recording.

Selecting sub-modes

• This refers to moving within a mode to a sub-mode.

• To select sub-modes, use the following keys.

1 –6

• These keys will select the sub-modes which are displayed in the key line of each mode. For details refer to the Function Tree (→ p.34).

• In Song mode this key selects Song Edit. In Pattern mode this key selects Phrase Edit.

• In Song mode this key selects Song Jobs. In Pattern mode this key selects Pattern Jobs.

• In Song mode this key selects Song Recording. In Pattern mode this key selects Phrase Recording.

Selecting pages

• This refers to changing pages within the sub-mode.

• To select pages, use the function keys that correspond to the tab menu.

s Move to Song mode. p Move to Pattern mode. u Move to Utility mode. v Move to Voice mode. e Move to Effect mode. d Move to Disk mode.



PATTERN

EFFECT

UTILITY

DISK

SONG

VOICE

F1 F2 F3 F4 F5 F6

Chapter 1

BASIC CONCEPTS

• This example is of selecting pages within Song (mode) Play Effect (sub-mode).

• In this display, 1 – 3 are assigned to pages, 4 is assigned to a sub-page, and 6 is assigned to a special page. The sub-pages and special pages will differ depending on the page.

• The page will change when you press the function key that corresponds to the desired page.

1 Move to the Groove page. 2 Move to the Clock Shift / Gate Time / Veloc-

ity page.

3 Move to the Transpose page. 4 Move to the Groove View sub-page. 6 Switch the displayed tracks to tracks 17 – 32.

Selecting parameters

• To select parameters, move the cursor in the page.

• The parameter name and setting value of the selected parameter will be shown in the top line of the display.

3. Menu selections

• In the Song Job and Pattern Job screens, a menu of the available jobs will appear.

• This example is of selecting a job from the Song Job list.

• Jobs can be selected in the following four ways.

u/d → e

• Use the cursor keys to move the cursor up or down to select the desired job, and press e.

Data dial → e

• Rotate the data dial to move the cursor to the desired job, and press e.

• Rotating the data dial clockwise will move the cursor in the order of 00 → 01 → 02 etc. Rotating it counterclockwise will move in the opposite order.

n/y → e

• Use n/y to mov e the cursor to the desired job, and press e .

• Pressing y will move the cursor in the order of 00 → 01 → 02 etc. Pressing n will move in the opposite order.

Numeric keypad → e

• Use the numeric keypad to directly enter the number of the desired job, and press e.

• When you use the numeric keypad to enter a number, the number will be shown in the upper right of the display.

• This method is convenient when you already kno w the desired job number.

• For example in order to enter the “01 Quantize” page, press numeric key [1] and then e.

• Pressing e will return to the Job menu, and pressing e once again will return to the previous mode.

Chapter 1

BASIC CONCEPTS

4. Inputting numbers

• Here’s how to enter a n umber for an item you wish to specify.

• A number can be specified in the following three ways.

Data dial

• You can input a number by rotating the data dial.

• Rotating the data dial clockwise will increase the number, and rotating it counterclockwise will decrease the number.

n/y

• You can input a number by pressing n/y.

• Pressing y will increase the number in steps of 1, and pressing n will decrease the number in steps of 1.

Numeric keypad → e

• You can input a number by using the n umeric keypad and then pressing e.

• Use the numeric keypad to input a number, and while the number you input is blinking, press e to finalize the number.

5. On/off selections

• Some items have an on/off setting.

• On/off settings can be made in the following two ways.

Data dial

• You can make an on/off setting by rotating the data dial.

• Rotating the data dial clockwise will turn the setting on, and rotating it counterclockwise will turn the setting off.

• When you press a microkeyboard, the character printed at the left side of the microkeyboard will be input as a lowercase character.

• If you hold down the left d [OCT DOWN] (CAPS) k ey as you press the microkeyboard, the character will be input as an uppercase character.

• If you hold down the left u [OCT UP] (SHIFT) key as you press the microkeyboard, the symbol printed at the left of the microkeyboard will be input.

• You can use the numeric keypad to enter numerals.

• The right d [OCT DOWN] (SP A CE) ke y will enter a blank space.

• The right u [OCT UP] (DEL) key will delete the character at the cursor location, and the characters to the right of the deleted character will be shifted to the left to close up the gap.

• Use the cursor keys to move the cursor.

• The number of characters in the character input area will depend on the situation.

• When entering a filename in Disk mode Save, there are restrictions on the types of characters which can be entered. Also, entering all spaces in the character input area will cause an error. You must use characters other than spaces.

7. Used Memory display

• Here’s ho w to check the amount of currently used memory, so that you can see about how much more recording can be done.

n/y

• You can make an on/off setting by usingn/y.

• Press y to turn the setting on, or press n to turn it off.

6. Inputting characters

• Some items such as song name, voice name, track name, style name, pattern name, and file name require you to enter characters.

• Characters are always entered using the same procedure.

SHIFT

SECTION

CAPS

OCT DOWN

ON BASS

CBA

OCT UP

ORG

BASS

! MLK

FGABC

B C D E F G H

(

E)D

C#D

DbE

• Simultaneously press the right d [OCT DOWN] and u [OCT UP].

• The Used Memory display will appear as long as you continue holding these keys.

OCT DOWN

DEL

OCT

SPACE

DEL

# b

add9

M7 M7

HGF

(

_ UTSRQPO#N

(9)

)

(

7 7

(13)

(9)

add9

SPACE

(11)

sus4

OCT

DOWN

11)

(

sus4

ZWV

dim

mM7

aug

(b5

)

Chapter 1

BASIC CONCEPTS

8. Drum Map display

• Here’s ho w to view the drum instruments that are assigned to the microkeyboard.

• The keyboard will be displayed vertically, and the instrument names will be shown to the right and left of the notes. The bottom of the display is the lowest note, and the top of the display is the highest note.

• The note names will be shown inside the C notes. This lets you see the octave relationships.

• By using the d [OCT DOWN] and u [OCT UP] keys to change the octave of the microkeyboard, you can shift the range of the keyboard that is displayed.

• Simultaneously press the left d [OCT DOWN] and u [OCT UP] keys.

• The drum map will be displayed as long as you continue pressing the keys.

OCT DOWN

OCT UP

SHIFT

BASS

ORG

CAPS

ON BASS

9. Undo/Redo

• Undo is a function that cancels the last-executed recording, edit, or job operation, and restores the data to its previous condition.

• Redo is a function that cancels the Undo operation, and reexecutes the operation.

• These jobs are very convenient when important data has been damaged because of recording, editing, or a job.

• These jobs can be used for recording, editing, and job (except Name) operations in Song and Pattern mode, and for Patch operations in Pattern mode.

• This procedure does the same thing as the Undo/Redo job

in Song Job (→ p.141) and Pattern Job (→ p.259).

10. Initialization

• If you wish to reset the QY700’s settings to the factory condition, you can perform the Initialization operation.

• While holding down the left d [OCT DOWN] and u [OCT UP] keys and the [F#/Gb] key located at their right, turn on the power switch.

SHIFT

CAPS

ON BASS

SECTION

OCT

OCT DOWN

• When initialization has been performed and “QY700” ap-

• When the QY700 was shipped, the contents of the included

• When initialization is performed, all the data you cre-

ORG

BASS

MLK

FGAB

B C D E

pears in the display, release the k eys. If you continue holding the three buttons, the drum map display accessed by d [OCT DOWN] + u [OCT UP] will appear.

demonstration disk were loaded into memory, b ut these contents will disappear when initialization is performed. If you want the contents of the demonstration disk to be in memory , re-load it from the disk.

ated will be erased. If you wish to keep any of your data, you must save it to flopp y disk bef ore initializing.

POWER

ON OFF

CBA

• Hold down s and press j.

• After a recording, editing, or job operation has been performed, it will always be possible to execute Undo. Likewise, it will always be possible to execute Redo after Undo has been executed, and Undo and Redo will alternate.

Chapter 1

11. Other key operations

Here are some convenient ke y operations that you should know .

BASIC CONCEPTS

Auto Repeat function

• The cursor keys, n/y, and r/f will Auto Repeat.

• If you continue holding them, the value or item being controlled by the key will change continuously.

r/f

• In Song mode or Pattern mode, these keys will rewind/f astforward measures regardless of the cursor location.

• s + data dial or s + n/y will increase/decrease common parameters in the display by the same value.

• s + numeric keypad → e will specify the same value for common parameters in the display.

Chapter 1

BASIC CONCEPTS

9. Song creation procedure

• This section will take you through the steps of actually creating a song, providing a practical demonstration of the relation between phrases, patterns and songs, the procedure for using Auto-Accompaniment to create a song, and recording procedure in Song mode.

• Before you create the song, use the procedure given in “8. Basic operation” (→ p.51) to initialize the data.

• In this example, we will use the following procedure to create a song. Create patterns → Edit patterns → Input the pattern track → Input the chord track → Specify voices → Realtime recording of track 2 → Step recording of track 1 → Edit tracks 1 and 2 → Edit voices → Save to disk

=106

Track 1 Melody

Track 2 Organ

D3 E3 F3D3 E3 F3

D3 E3

F3 D3 A3 D3E3 F3 D3

G3 C4 A3 G3 A3

D3 A3D3 E3 F3 E3D3 F3 D3 E3 G3 C4 A3 G3

A3 G3 B3 G3 G3

G3 G3 F3 A3 A3

G3 F3 A3 F3 G3

Î Î

G3 G3 F3 A3

F3 D3A3A3

G3F3

Î Î Î

F3 D3 A3 G3 C3 A3 G3 D3 E3 F3 D3 E3 F3

A3 G3 F3 A3 F3 F3 G3 G3

ÎÎ

A3 A3

A3 A3 G3 G3 G3B3B3 A3

Î Î Î

D3 E3 F3 D3 A3

E3D3 F3 D3 E3 F3 D3 E3 F3 D3 A3

G3 A3 G3C4 A3 G3 A3

Chapter 1

Create patterns

Patterns to be created

BASIC CONCEPTS

Style 01, Section A "intro"

Style 01, Section D

Pattern creation procedure

• The procedure for creating a pattern will be explained as we create the Style 01 Section A “intro” pattern.

Section connection

Style number Section

Style 01, Section B "normal1"

Style 01, Section E

Measure number

[D1]

Style 01, Section C "normal2"

Style 01, Section F

(2)Use the data dial, n/y or the numeric keypad → e to

select Style 01 and Section A.

3. Specify the number of measures in the pattern.

(1)Press d [D1] twice to move the cursor to the number

of measures.

(2)Use the data dial, n/y, or numeric keypad → e to set

the number of measures to 02.

SHIFT F1 F2 F3 F4 F5 F6 SHIFT EXIT

1. Enter Pattern mode.

• Press p to enter Pattern mode.

2. Select a pattern.

(1)Move the cursor to the Style number or Section (→ p.202).

Chapter 1

4. Set the Section Connection (→ p.202).

(1)Move the cursor to Section Connection. (2)Use the jog dial or n/y to set the Section Connection to

5. Move the cursor to the location where the phrase or rest will be entered.

• Refer to the diagram for the pattern you are creating, to check the location where the phrase will be placed.

• First, move the cursor to M002 of track 1.

BASIC CONCEPTS

6. Enter the phrase.

(1)Use the data dial or n/y to display the phrase. (2)Move the cursor to the phrase Instrument Category, Beat,

and Number (→ p.38), and use the data dial, n/y, or numeric keypad → e to select the phrase.

(3) For track 1 M002, specify Instrument Category Fa, Beat

16, and Number 004.

Instrument category Beat Number

7. Enter a rest.

(1)Move the cursor to track 1 M001. (2)Press 5 (Rest) and a rest will be entered.

■ Refer to “Patterns to be created” (→ p.57), and enter all phrases and rests for Style 01 Sections A – F.

8. Specify the style name and pattern names

(1)Press j to enter the Pattern Jobs. (2)Use the data dial, n/y or the numeric keypad to move

the cursor to “29 Pattern Name.”

(3)Press e to access the Pattern Name display.

• To erase a phrase or rest that you have input by mistake, use the following procedure.

(1)Move the cursor to the phrase or rest that you wish to de-

lete.

(2)Press 6 (Clear) to erase the phrase or rest.

• If you wish to modify the phrase, there is no need to erase it.

Now let’s playback.

• Press the sequencer key r to playback the pattern.

• To create an original pattern, you can layer phrases while playing back.

Style name Pattern nameSection

(4)Move the cursor to the Style Name, and enter “FunkDeGo”.

• Use the microkeyboard to enter characters. For details refer

to “8. Basic operation” (→ p.53).

(5) Move the cursor between the Section and Pattern Name,

and enter the pattern names for each section A – F. Refer to “Patterns to be created,” and input the appropriate pattern names “intro” – ”ending.”

(6)Press e twice to return to the Patch display.

Chapter 1

Editing a pattern

BASIC CONCEPTS

Pattern voice mixer settings

• The pattern voice mixer lets you adjust effect send levels, pan, and volume etc. for each track.

TRACK 12345678

•

REVERB *0*0****

•

•••

•

PAN * *88*5078*50

VOLUME 115 * * * 90 90 * 115

Values marked with an “*” must be left unmodified from the default values.

1. Select the pattern voice mixer.

(1)In Pattern mode Patch, press 2 (Voice) to enter Pat-

(2)In Pattern Voice, press 1 (Mixer) to access the mixer

•

tern V oice.

display.

•

Data display

Play Effect Groove Quantize settings

• Groove Quantize is a function that allows you to apply cer tain rules to the timing, velocity, and gate time of the note data, producing subtle feelings of rhythmic nuance or “groove” in the playback data.

•

1. Access the Play Effect Groove Quantize display.

(1) In Pattern mode Patch, press 1 (PlayFx) to access Play

Effect.

(2)In Play Effect, press 1 (Groove) to access the Groove

Quantize display.

Data display

Template Strength

2. Move the cursor.

• Move the cursor to the parameter that you wish to set.

• As an example, let’ s move the cursor to the track 1 template setting.

2. Move the cursor.

• Move the cursor to the parameter that you wish to set.

• As an example, let’s move the cursor to the track 1 volume setting.

3. Use the numeric keypad to enter the value, and press

e .

• For track 1 volume, enter 115 from the numeric keypad, and press e.

• The value that you input will appear in the data display field.

■ Enter all the parameters from the above table.

4. After you have finished entering all the values, press e to return to the Patch display.

3. Use the numeric keypad to enter the value, and press

e .

• Here we will set Template = 4 and Strength = 65 for all tracks.

• T o specify the same value for all tracks, hold do wn s, and use the numeric keypad to enter the value and then press e .

4. After you have finished entering the values, press e to return to the Patch display.

Now let’s playback.

• Press sequencer key p and the pattern will playback.

• To create an original pattern, you can modify the Pattern Voice or Play Effect settings while playing back.

Chapter 1

BASIC CONCEPTS

Pattern track recording

Recording the Song mode Pattern track

• You will record styles and sections on the Pattern track of Song mode.

• If Styles and Sections have been entered into the Pattern track, patterns will change automatically when the song is played back.

• Here we will use Step Recording to record Styles and Sections on the Pattern track.

1. Enter Song mode.

• Press s to enter Song mode.

Song number

Pattern track

Style Section

001 01 FuncDeGo [A] intro

:: :

010 [E] fill2

:: :

022 [D] fill1

:: :

031 [F] ending

5. Press 6 (STEP) to select Step Recording as the recording mode.

6. Press r to start step recording on the Pattern track.

7. Move the cursor.

• Move the cursor to the locations for entering Style and Section.

• First move the cursor to the Section for measure 001.

8. Enter the styles and sections.

• Use the data dial or n/y to enter the styles and sections.

• Styles can also be enter using numeric keypad → e.

• Sections can also be enter using the E2 – E3 microkeyboard.

• For locations which are blank, the pattern that was specified for the previous measure will be repeated.

• For the measure 001 Section, specify [A]intro.

■ Repeat steps 7 – 8 to input all the items from the above table.

9. When all record has been completed, press s to stop recording.

2. Select the song number.

• Move the cursor to the song number, and use the data dial,

n/y or numeric keypad → e to enter 01.

3. Press d/u to move the cursor to the Pattern track.

4. Press e to enter Recording Standby condition.

Chapter 1

Chord track recording

BASIC CONCEPTS

Recording the Song mode Chord track

1. Press d/u to move the cursor to the Chord track.

2. Press e to enter Recording Standby condition.

3. Press 6 (STEP) to select Step Recording as the recording mode.

4. Press p to start step recording on the Chord track.

Measure 001

First beat

5. Move the cursor.

• Move the cursor to the location where you wish to enter the chord.

• In this example, move the cursor to the first bea t of measure

001.

6. Enter the chord.

• Use the microkeyboard E2 – D#3 to enter the Chord Root.

• Use the microkeyboard E3 – F4 to enter the Chord Type.

SECTION

(

MLK

FGABC

B C D E F G H

CBA

E)D

C#D DbE

# b

add9

enter Chord Root enter Chord Type

• As an example, select a Chord Root of D and a Chord Type of m7(9) to specify a Dm7(9) chord. Select the m7(9) Chord Type by pressing the C4 microkeyboard twice in succession.

(

(9)

M7 M7

(

)

HGF

(

(13)

UTSRQPO#N

(9)

add9

• For beats which are left blank, the previously-specified pattern will be repeated.

■ Repeat steps 5 – 6 to enter all of the items in the following table of chords.

7. When all enter has been completed, press s to stop recording.

001 Dm7(9) 002 003 Em7(9) A7(b13) 004 Dm7(9) G7(13) 005 Em7(9) A7(b13) 006 Dm7(9) G7(13) 007 Em7(9) A7(b13) 008 Dm7(9) G7(13) 009 Em7(9) A7(b13) 010 Dm7(9) G7(13) 011 Dm7(9) 012 G7(13) 013 Dm7(9) 014 G7(13) 015 Em7(9) 016 A7(b13) 017 Em7(9) 018 A7(b13) 019 Dm7(9) 020 G7(13) 021 Dm7(9) 022 A7(#15)

(11)

sus4

(

11)

sus4

(9)

ZWV

dim

mM7

aug

(b5

)

023 Em7(9) A7(b13) 024 Dm7(9) G7(13) 025 Em7(9) A7(b13) 026 Dm7(9) G7(13) 027 Em7(9) A7(b13) 028 Dm7(9) G7(13) 029 Em7(9) A7(b13) 030 Dm7(9) G7(13) 031 A7(#15) 032 Dm7(9)

Now let’s playback.

• Press the sequencer key r and the song will playback.

• After you have finished entering the Pattern track and Chord track, return to Song Play and playback.

Chapter 1

BASIC CONCEPTS

Voice settings

• In Voice mode you will specify the voices that tracks 1 and 2 will use.

1. Press v to enter Voice mode.

2. Press 1 (Mixer) to select the mixer.

Program number Bank number

Realtime record of track 2

• Here we will record the track 2 organ part in realtime from the musical score on page 56.

• Before you begin record , press s to return to Song Play.

1. Press s to enter Song mode.

2. Press d/u to move the cursor to track 2.

3. Press e to enter Recording Standby condition.

Tempo

Click mode Click beat

Tempo count

3. Move the cursor.

• Move the cursor to the program number and bank number of parts 1 and 2.

4. Select voices.

• Uses the data dial, n/y or the numeric keypad → e to specify the program number and bank number.

• For part 1, specify Program number = 81 Bank number = 18 “Hollow”

• For part 2, specify Program number = 18 Bank number = 33 “LiteOrg”

4. Press 3 (REPLACE) or 4 (OVERDUB) to select either Replace or Overdub realtime recording.

• For the difference between Replace and Overdub recording, refer to “Chapter 2. SONG MODE” (→ p.109).

• In this example, press 3 (REPLACE) to select Re- place recording, so that you will be able to re-do the recording repeatedly as desired.

5. Press p to start realtime recording of track 2.

• The play indicator will blink in time to the tempo, and after a count of several measures, recording will begin. With the default settings, there will be one measure of quarter-note clicks.

• While listening to the previously-record patterns, record your performance.

• Before you start recording, press t to set the measure to 001:1.

6. Press s to end recording.

• Press p to playback.

Chapter 1

BASIC CONCEPTS

Changing the tempo

• Here’s how to change the tempo so that it will be comfortable for you to play.

(1)Press d [D3] to move the cursor to Tempo. (2)Use the data dial, n/y or numeric keypad → e to set

the desired tempo.

Changing the Click Beat, Click Mode, and Count

• Here’s how to change the click or count.

Step recording of track 1

• Here we will use step recording to record the melody part for track 1 from the musical score printed on page 56.

1. Press d/u to move the cursor to track 1.

2. Press e to enter Recording Standby.

3. Press 6 (STEP) to select Step Recording.

(1)Press d [D4] sev eral times to move the cursor to Click

Beat, Click Mode, or Count.

(2)Use the data dial, n/y or numeric keypad → e to set

the desired values.

Now let’s playback.

• Press the sequencer key p to playback the song.

• Listen to the performance of track 2.

6. Select the note length.

(1)Press d [D2] to move the cursor to the note value. (2)Use the numeric keypad to select the type of note that you

wish to enter.

• Since the first note in track 2 is a dotted 8th note, press numeric keypad [4] and then [0].

789

4. Press p to start step recording on track 1.

Song position pointer

Location of the lowest "C" of the microkeyboard

5. Move the song position pointer to the location where you wish to enter a note.

• Use the data dial or n/y to move the song position pointer.

• If the cursor is located elsewhere than the song position pointer ▼, you must first press l to move the cursor to the song position pointer.

• You can move in steps of 1 measure by pressing r/f.

• Since the first note of track 2 is in the first beat of measure 3, press f twice.

Measure: Beat :Clock

Note value (Step Time) Playing strength (Velocity)

Note length (Gate Time)

quarter note

triplet (64 clocks)

456

8th note

(48 clocks)

123

whole note

(384 clocks)

dot

8th note triplet

(32 clocks)

16th note

(24 clocks)

half note

(192 clocks)

16th note triplet

(16 clocks)

32nd note (12 clocks)

quarter note

(96 clocks)

7. Check the octave setting of the microk eyboard.

• Use d [OCT DOWN]/u [OCT UP] to change the octa ve .

• The middle “C” of the keyboard graphic shown in the left edge of the display is the lowest “C” of the microkeyboard.

• In this case since the first-entered note is D3, use d [OCT DOWN]/u [OCT UP] to set middle “C” to C3.

Chapter 1

BASIC CONCEPTS

the same "C" note

8. Enter notes.

• Press microkeyboard to enter notes.

• A line of a length corresponding to the length of the specified note will appear, and the song position pointer will mo ve to the right.

• In this example, press the middle “D” microkeyboard (D3).

Song position pointer

Deleting a mistakenly-entered note

• To delete the note that w as entered immediately before, press 5 (BkDelete). The note that was entered will disappear, and the song position pointer will move back, allowing you to re-enter the note.

• To delete any undesired note, move the cursor to the note that you wish to delete, and press 6 (Delete). All notes located at the same timing will be deleted.

Using Jobs

• In track 1, measures 3 – 10 are identical to measures 23 –

30. In such cases, you can use the Song job Copy Event for more efficient data entry.

(1)Press s to stop Step Recording. (2)Press j to access the Job menu. (3)Use the data dial, n/y, the cursor keys, or the numeric

keypad to select “11 Copy Event” and press e to access the Copy Event job.

(4) Set the upper line to Song 01, TR=01, M003:1 – 010:4, the

lower line to Song 01, TR=01, M 023 × 1, and press e.

Note that was entered

9. Enter a tie.

• The note to be entered next is connected to the following note by a tie.

(1)Set the note value to a 16th note, and enter an “E” (E3). (2)Set the note value to an 8th note, and press s (TIE).

The note length will be extended by an 8th note, and the song position pointer will move.

■ Repeat steps 6 through 9, and enter all the notes of track 1.

10. Press s to stop recording.

• Press p to playback.

Now let’s playback.

• Press the sequencer key p to playback the song.

• Make sure that the performance of track 1 is correct.

Chapter 1

Editing tracks 1 and 2

Quantize

• Quantize is a job that corrects the timing of notes. Let’s quantize to track 2, which was recorded using realtime recording.

1. Press j to access the Job menu.

2. Select the Quantize job.

(1)Use the data dial, n/y, or the cursor keys to move the

cursor to “01 Quantize.”

(2)Press e to access the Quantize job.

3. Specify the track which will be Quantized, and the note value that will be the basis for quantization.

Note value that will be the basis for quantization

BASIC CONCEPTS

2. Move the cursor.

• Move the cursor to set.

• For this example, set Template and Strength.

3. Use the numeric keypad to enter the values, and press

e .

• Set both tracks 1 and 2 to a Template of 4.

• Set Strength to 50 for track 1, and 18 for track 2.

4. When you finish entering the values, press e to return to Song Play.

Track to be quantized

(1)Move the cursor. (2)Use the data dial, n/y, or the numeric keypad to set the

values. If you wish to set other values, mo ve the cursor without pressing e. If you press e the job will be executed.

(3)When you have made all settings, press e to execute the

job.

• For track 2, set TR=02 and Quantize=

Play Effect Groove Quantize settings

• The same type of Groove Quantization that you used on the pattern can also be applied to song tracks 1 and 2.

1. Access the Play Effect Groove Quantize display.

(1)From Song Play, press 1 (PlayFx) to access Play Ef-

fect.

(2)In Play Effect, press 1 (Groove) to access the Groove

Quantize display.

Now let’s playback.

• Press the sequencer key p to playback the song.

• Listen to the changes in the performance that are produced by Quantization and Play Effect.

Chapter 1

BASIC CONCEPTS

Modifying the voice of track 1

• Let’s modify the voice that is being used by the track 1 melody.

1. Press v to enter Voice mode.

2. Press 3 (VoicEdit) to enter Voice Edit.

Portamento

Mono/Poly

Cutoff

EG attackResonance

3. Press d to set Part to 1.

Data display

4. Move the cursor.

• Move the cursor to the parameter that you wish to modify.

5. Modify the value.

• Use the data dial, n/y, or the numeric keypad → e to modify the value.

• Use the following table as a guideline for modifying the values.

PORTAMENT FILTER EG

MONO/POLY SW TIME CUTOFF RESNANCE ATTACK

MONO ON 07 +16 +43 -64

Now let’s playback.

• Press the sequencer key p to playback the song.

• Playback the song while you modify the voice, and notice how the voice changes.

Chapter 1

Save to floppy disk

BASIC CONCEPTS

• Let’s sav e the patterns and song that you created to a floppy disk.

1. Prepare a new disk.

• The QY700 can use 3.5 inch floppy disks of either 2HD or 2DD types.

• For details on types of disk, refer to “Chapter 7. DISK MODE” (→ p.302).

2. Insert the floppy disk into the floppy disk drive.

• For details on inserting floppy disks, refer to “Chapter 7. DISK MODE” (→ p.302).

3. Format the floppy disk.

• Press d to enter Disk mode.

• For the formatting procedure, refer to “Chapter 7. DISK MODE” (→ p.306).

4. Save the data.

(1) Press 1 (Save), and then press d [D1] (All Data)

to access the Save All Data page.

Filename

• The song data will remain in memory even if the power is turned off, but even if it is erased when you create a different song etc., you will always be able to recall it by loading the file “ALL-DATA” from the floppy disk.

(2)Use the microkeyboard to input the filename.

• Pressing 6 will enter “ALL-DATA” as the filename. (3) Press e. ▼ The display will indicate “Executing...” and the data will be

saved.

• With this procedure, all data of the song that you created has been saved to floppy disk.

Chapter 1

BASIC CONCEPTS

Memo

Chapter 1

Chapter 2. SONG MODE

You use SONG mode to play , edit, and record y our songs. This chapter explains all SONG-mode operations.

SONG MODE Overview ................................. 70

1. SONG PLAY............................................... 72

2. Play Effects ................................................ 80

3. Track View ................................................ 100

4. Output Channels ...................................... 103

5. Song Recording ....................................... 106

6. Song Editing............................................. 129

7. Song Jobs ................................................ 138

SONG MODE Overview

sSONG PLAY

1ÊPlay Effects 2Track View 3Output Channels 5Save 6Load

eSong Recording

eSong Edit

jSong Jobs

• You use SONG mode to record, edit, and play songs.

•A song is a set of playable performance data that you create by recording onto the QY700 tracks under SONG mode.

• The QY700’s song memory has room for 20 songs.

• Each song can comprise as many as 32 sequence tracks, together with a PATTERN track, a CHORD track, and a TEMPO track.

• If you wish to record songs in the same way as on a conventional sequencer, you can do so by working with the sequence tracks only. But in man y cases you will want to use the auto-accompaniment feature to set up a backing. You can then play the backing while creating the melody and other parts.

Track Configuration

• As mentioned above, each song comprises up to 32 sequence tracks, together with a PATTERN track, a CHORD track, and a TEMPO track.

• The sequence tracks store your performance data, with each track storing a single part. Each part consists of a full set of performance data (note data, controller data, and so on). You can create each part using either realtime or step recording.

• The PATTERN track stores the pattern list for the auto-accompaniment feature. The track can also include meter (time signature) settings. You set up the patterns by entering appropriate styles and sections, again using either realtime or step recording.

• The CHORD track stores the chords used for replaying the patterns. When entering a chord, you can also set an “onbass” or original bass setting, and a syncopation.

• The TEMPO track sets the tempo (and tempo changes) for the song. You set these values using realtime or step recording. The TEMPO track controls accelerando, ritardando, and other such tempo changes.

TR 1 Performance data TR 2 Performance data TR 3 Performance data

Sequence tracks

TR 31 Performance data TR 32 Performance data

PATTERN track PATTERN Patterns, meters

CHORD track CHORD TEMPO track TEMPO Tempo changes

Chord roots, types, on-bass, original bass, syncopation

70 Chapter 2. SONG MODE

SONG MODE Overview

Sequence tracks

PATTERN track

TEMPO track

CHORD track

Track Output Channels

• During song replay, the QY700 transmits sequence data (from the sequence tracks) and pattern data (from the 16 pattern tracks) to both the tone generator block and the MIDI OUT connectors. You can set up the track/channel correspondence using the SONG mode’s Output Channel function (→ p.103).

• The tone generator block supports a maximum of 32 parts, and cannot reproduce data from all 32 sequence and 16 pattern tracks at the same time. But you can reproduce all 48 tracks at once by assigning any 16 of the tracks to an external MIDI tone generator.

Sequencer block

(Sequence tracks)

Sequence tracks

TR 1

Performance data

TR 2

Performance data

TR 16

Performance data Performance data

TR 17

TR 32

Performance data

Sequencer block (patterns)

M001 M002 • • • TR 1 Phrase TR 2 Phrase TR 3 Phrase

TR 16 Phrase

Tone generator block

Part 1

TO TG

MIDI

OUT-A

MIDI

OUT-B

Part 16 Part 17

Part 32

MIDI OUT-A

MIDI OUT-B

71Chapter 2. SONG MODE

1. SONG PLAY

3. Track numbers; keyboard-track setting (highlighted)

4. Track status

1.Song number and name

SHIFT F1 F2 F3 F4 F5 F6 SHIFT EXIT

2. Pattern setup Track name

9. Measure and beat

10. Loop switch; locations 1, 2

11. Tempo and meter

12. Click mode, click beat, and count

13. Transposition

sSONG PLAY

1Play Effects 2Track View 3Output Channels 5Save 6Load

eSong Recording

eSong Edit

jSong Jobs

6. Chord root and type

5. Style number, style name, section, pattern name

Parameter Values Function See page

1 Song no.

Song name 2 Pattern setup 3 Track numbers

Keyboard-track setting 4 Track status (data, MUTE, SOLO)

5 Style no.

Style name

Section

Pattern name 6 Chord root

Chord type

7 Fingered-chord switch 8 Keyboard image

9 Measure

Beat 10Loop switch

Locations 1, 2

11Tempo

Meter 12Click mode

Click beat

Count 13Transposition

8. Keyboard image

01,..., 20 View only OFF, ON View only [Seq] 1,...,32, [Pat] 1,...,16 [ ] : no data [ _ ] : data exists

: MUTE : SOLO 00 (=off),...,65 View only A,...,H View only C, C#, D, Eb, E, F, F#, G, Ab, A, Bb, B M, M7, 6, 7, m, m7, m6, mM7, m7(b5), dim, aug, sus4, add9, M7(9), 6(9), 7(9), madd9, m7(9), m7(11), 7(b5), 7(#5), 7(b9), 7(#9), 7(13), 7(b13), 7sus4, 7(#11)

--- (=THRU) OFF, FINGRD View only

001,...,999 1,...,16 OFF, LOOP 001,...,999

25.0,...,300.0 View only Off, Rec, Ply, All x, e, q, h, ú Off, 1,...,8Ms

-24,...,+00,...,+24

7. Fingered-chord switch

Selects song for recording or replay. Name of selected song. Selects whether the pattern’s effect is used during song replay. Shows track numbers. The keyboard track is indicated in reverse video. Indicates whether track contains data. Also indicates/selects SOLO or MUTE operation. Sets initial style for backing. Name of selected style. Selects one of the style’s 8 sections. Name of selected section. Sets the chord root for pattern play. Sets the chord type.

Selects use or nonuse of fingered-chord input. Wheel/keyboard image monitors the data played from the keyboard track. Sets location (measure) for start of song playback, and monitors current playback location. Selects use or nonuse of looped play. a) Sets jump points within song, by measure number. (To jump, press 1 or 2.) b) For looped play: sets start and end points for loop. Sets tempo for song play. Shows meter of selected song. Selects use of acoustic click. Selects the click interval. Sets number of lead-in measures to recording start. Sets transposition for song playback, in semitones.

P.73

P.73 P.74

P.74

P.75

P.76 P.77

P.77

P.78

72 Chapter 2. SONG MODE

1. SONG PLAY

• You use SONG PLAY mode to select songs for replay, to start and stop the replay, and to set the various replay parameters.

• Y ou can switch into V OICE mode and make adjustments in track voices and track balances while playback is in progress.

• By selecting playback of an empty song (a song without data), you can use the auto-accompaniment feature as background for normal keyboard play. (→ p.106)

• SONG PLA Y includes eight submodes. You can switch from SONG PLAY into any of these submodes by pressing the appropriate key, as follows.

1(PlayFx) Move to Play Effects submode. (→ p.80) 2(TrView) Move to Track View submode. (→ p.100) 3(OutCh.) Move to Output Channel submode.

(→ p.103)

5(Save) Move to Save Song submode. (→ p.307) s+5(Save) Move to Save Song submode

(SMF save). (→ p.307)

6(Load ) Move to Load Song submode. (→ p.310) s+6(Load) Mo ve to Load Song submode.

(→ p.310)

e Move to Record submode. (→ p.109)

e Move to Song Edit submode. (→ p.129) j Move to Song Job submode. (→ p.138)

1. Press s.

▼ The indicator above the key comes on, and the QY700 en-

ters SONG mode (SONG PLAY).

1. Song number and name

• You use the song number to select a song for playback or recording.

• The screen displays the song name (if any) directly to the right of the song number.

• T o set or change the song name, you use the SONG N AME job (→ p.165).

0101

Song no.: 01,...,20

1101

1. Move the cursor onto the song number on the screen.

2. Select a song number using the data dial, n/y, or the numeric keypad.

2. Pattern setup

2. Move the cursor onto the song number on the screen, and select the song using the data dial, n/y, or the numeric keypad.

3. Press p to start playback.

▼ The PLAY indicator comes on, and playback begins.

4. To stop the playback, press s.

• If you start song replay from a point other than the beginning, you may find that some of the song’s PATTERNtrack and CHORD-track data drops out. You can solve the problem by moving the start point to a measure at which a full pattern change occurs.

• This parameter determines whether the QY700 uses the pattern effects (the effects set up within each pattern) during song replay.

• If you set this to OFF, the QY700 will not use the pattern effects. Instead, it uses the effects that you have selected under the EFFECT mode.

• If you set this to ON, the QY700 uses the effects set up within the current pattern. In this case, the pattern’s effect settings overwrite the EFFECT -mode settings. The EFFECTmode settings therefore changes each time the pattern changes.

73Chapter 2. SONG MODE

1. SONG PLAY

0101

OFF, ON

1101

1. Move the cursor to the PATT SETUP area on the screen.

2. Select the setting using either the data dial or n/y.

3. Track numbers; keyboard-track setting

• Each sequence track and pattern track is identified by a track number.

• The highlighted track number identifies the current keyboard track. Note that the highlight is not related to cursor action.

• The keyboard track (unlike all other tracks) is connected internally to the keyboard. This means that you can add keyboard play to the track while song replay is in progress. Your keyboard play will be transmitted (along with the track’s other data) to the tone generator block and MIDI OUT destinations selected by the track’s Output Channel settings. (→ p.105)

4. Track status (data, MUTE, SOLO)

Track contains data.

Track is muted.

• This area shows you the current status of each track. An underscore indicates that the track contains data.

• The You can use the m key to mute one or more tracks.

• The for solo play. When you select a track for solo play (by pressing the s key), all other tracks are switched off. The underscore under other tracks changes appearance (to a dashed line) to indicate that these tracks are switched off.

• SOLO and MUTE options can be used with all tracks: the 32 sequence tracks and the 16 pattern tracks.

• You can select and store SOLO and MUTE settings separately for each song.

1. First select a track using the u or d key, so that the track number is high-

lighted. (Note that this also becomes the keyboard track.)

Track is empty.

Track is set to SOLO.

symbol appears to indicate that a track is muted.

symbol appears to indicate that the track is selected

0101

1,...,32 [sequence tracks], 1,...,16 [pattern tracks]

1101

Press u or d as necessary to select the keyboard track.

▼ The keyboard track is indicated by highlight.

To mute the track

the

appears.

To release a mute

T o select a trac k for SOLO pla y

3. the

appears.

To deselect

: Press the m k ey once, so that

: Press m once again.

: Press s, so that

: Press s once again.

• You can easily use this f eature to listen to your tracks one by one. Begin by playing one of the tracks solo, then press u or d to select the next track, then press s again. Note that each time you press s, any previous SOLO selection is automatically canceled.

74 Chapter 2. SONG MODE

1. SONG PLAY

4. You can also use the solo feature to select multiple “solo” trac ks, so that only the selected tracks are produced (with all other tracks silent). Begin by setting one of the tracks to SOLO as described above. Then use u / d to select another tr ack, and then press s +s.

• To cancel all of these solo selections at once : Use u or d to move to any one of the solo tracks, and then press s. To switch off only one of the solo selections : Move to the corresponding track, and then press s +s.

5. Style number, style name, section, and pattern name

• This area sets the style and section for the initial (default) backing pattern.

• If your song’s PA TTERN track includes data (style and section settings), these settings will automatically become effective as playback proceeds. The content of this display area will change to indicate the effective settings.

• For general information about styles and sections, refer to Chapter 1. (→ p.39)

6. Chord root and type

• This area sets the chord root and type for the initial backing.

• If your song’s CHORD track includes its own chord settings, these will automatically become effective as playbac k proceeds. The content of this display area will change to indicate the effective settings.

• For each chord, you can select from among 12 roots and 28 types.

• For each chord, you can also select a separate on-bass or original bass setting. (→ p.115) On-bass: Sets fixed tone for bass phrases. Bass

phrases will produce the on-bass tone only.

Original bass: Sets alternative chord (root and type) for

bass phrases. Bass phrases will reproduce this alternative chord only.

0101

Style no.: 00,...,65 (where 00=off; 65=end)

1101

Section: A,...,H

1. Move the cursor onto the style number on the screen. Select the desired style using the data dial, n/y, or the numeric keypad.

2. Move the cursor onto the section indicator. Select a new section using the data dial, n/y, or a microkeyboard key between E2 and E3.

• If you are working with sequence tracks only (TR1 to TR32), you should set the style number to 00 (off).

• For a full chord listing, refer to the QY700 Reference List- ings.

0101

Chord root:

1101

C, C#, D, Eb, E, F, F#, G, Ab, A, Bb, B

Chord type:

M, M7, 6, 7, m, m7, m6, mM7, m7 (b5), dim, aug, sus4, add9, m7 (9), 6 (9), 7 (9), madd9, m7 (9), m7 (11), 7 (b5), 7 (#5), 7 (b9), 7 (#9), 7 (13), 7 (b13), 7sus4, 7 (#11), --(=THRU)

75Chapter 2. SONG MODE

1. SONG PLAY

■

If you do not want to use fingered chording:

1. Set the fingered-chord switch to OFF. (See Section 7., below.)

2. Move the cursor to the chord root/type area on the screen.

3. Select the root by pressing a microkeyboard ke y from E2 to D#3.

4. Select the type by pressing a key from E3 to F4.

To set an on-bass

5. DOWN] key and press a key from E2 to D#3.

: Hold down the left-side d [OCT

• For information about how to enter chords, refer to Chapter

1. (→ p.42)

To set an original bass

: Hold down the left-side

u[OCT UP] key and press a key from E3 to F4.

6. Press e to register your entry.

! MLK

FGAB C

SECTION

B C D E F G H

(

CBA

E)D

C#D

DbE

add9

(

_ UTSRQPO#N

(9)

Enter the chord root here. Enter the chord type here.

■

If you want to use fingered chording:

)

(

HGF

sus4

(13)

sus4

(9)

mM7

add9

1. Go to UTILITY mode and set up the fingered-chord zone. (→ p.299)

2. Return to the SONG PLAY screen. Mo ve the cursor to the fingered-chord switch area, and set the value to FINGRD (see Section 7 below).

Leave the cursor in this area as you proceed.

3. Press down the keys for the appropriate chord, using either the QY700 microkeyboard or a remote MIDI ke yboard. Be sure that all the keys you press are within the fingered-chord zone. The QY700 will automatically detect and register the root and type values.

• To select the on-bass or original bass value: Continue to hold down the chord notes within the fingered-chord zone, while pressing one note (for the on-bass setting) or multiple notes (for the original-bass setting) in the keyboard area to the left of the zone.

7. Fingered-chord switch

(11)

11)

(

ZWV

dim

aug

(b5

)

• This setting enables or disables the fingered-chord feature.

• If you enable this feature (by setting the value to FINGRD), you will be able to enter chord values directly by playing the appropriate chord either at the microkeyboard or at a remote MIDI keyboard. Specifically , you can enter the r oot and type by playing the keys within the keyboard’ s fingeredchord zone (→ p.299), and you can enter the on-bass or original-bass value by playing the appropriate key(s) in the area to the left of the zone. See the procedure given in Section 6., directly above.

• For general information about the fingered chord feature, refer to Chapter 1. (→ p.42)

0101

OFF, FINGRD

1101

1. Move the cursor to the fingered-chord switch area.

2. Use the data dial or n/y to select the setting.

• You can use the fingered-chord feature to set up an autoaccompaniment for live-action keyboard play. First set the fingered-chord switch to FINGRD, and then select an empty song. You can then play the chord notes (for the accompaniment) in the fingered-zone area (→ p.299), while using the area to the right of the zone for normal play. The QY700 will produce your performance in the keyboard track’ s cur rent voice. (But note that the area to the left of the zone is not available.)

76 Chapter 2. SONG MODE

1. SONG PLAY

8. Keyboard image

• This area presents an animated display of the playback of the keyboard track’s recorded data.

• Black markings appear on the keyboard graphic to indicate notes as they are replayed.

• Note that the entire keyboard image does not fit on the screen. But you can shift the displayed area of the image up or down an octave by pressing u [OCT UP] or d [OCT DOWN].

• The pitch wheel image moves in accordance with the track’ s pitch events.

• The control-wheel image moves in accordance with control change events recorded on the track.

9. Measure and beat

• The measure value sets the start point for song playback.

• The measure and beat values increment during playback, indicating the current song location.

0101

Measure: 001,...,999

1101

Beat: View only

1. Press d [D1] to move the cursor to the measure setting area.

2. Set the measure value using the data dial, n/y, or the numeric keypad.

• The u [OCT UP] and d [OCT DOWN] keys apply both to the keyboard image and to the QY700’ s microkeyboard. This means that you can use the image as a reference to check the microkeyboard’s current octave range, the third C on the keyboard image (counting from the left) corresponds to the first C key on the microkeyboard.

Same pitch

SHIFT

SECTION

CAPS

OCT DOWN

ON BASS

OCT UP

ORG

BASS

! MLK

FGAB C

B C D E F G H

(

CBA

E)D

C#D

DbE

add9

(

UTSRQPO#N

(9)

6 6

(

)

HGF

(13)

(9)

add9

• You can change the measure value while song playback is in progress. Playback will immediately jump to the new location.

• There are three ways to change the measure during playback, as follows.

• Press d[D1] to move the cursor to the measure

display area, and then change the value as described above.

• Rotate the shuttle dial, or press r or f.

• Press t to return to the top of the song (measure 1,

beat 1).

• When you select a new song, the measure value automati-

DEL

SPACE

(11)

sus4

OCT

11)

(

sus4

dim

mM7

DOWN

ZWV

aug

(b5

)

cally switches to 001.

77Chapter 2. SONG MODE

1. SONG PLAY

10. Loop switch; locations 1 and 2

• Set the loop feature ON when you want to repeatedly play a specific area of the selected song.

• When loop play is in effect, locations 1 and 2 set the start and end points of the loop (by measure number). Even when loop play is not in effect, you can jump to location 1 or 2 at any time by pressing 1 or 2, respectively.

0101

Loop on LOOP

1101

Loop off OFF Locations 1/2 001,...,999

0101

T empo 25.0,...,300.0 (=q )

1101

Meter View only

1. Press d [D3] to move the cursor to the tempo area.

2. Set the appropriate value using the data dial, n/y, or the numeric keypad.

• The meter values are set in Song Recording. (→ p.111)

12. Click mode, click beat, and count

1. Press d [D2] as necessary to move the cursor to the loop-switch area or either of the location values.

2. Switch the value using the data dial or n/y .

• T o set location 1 or 2 equal to the value of the current measure, hold down s and press 1 or 2.

11. Tempo and meter

• The tempo value sets the tempo for recording or playback of the song.

• Each song stores its own tempo value.

• The meter setting area shows the meter for the current measure.

• These parameters set up the sequencer’s click sound.

• The beat value sets the click interval.

• The mode setting determines when the click feature is used.

• The count value sets the number of preliminary measures used at start of realtime recording.

0101

Click mode:

1101

Off Disables the click feature. Rec Use click for realtime and punch recording only. Ply Use click for realtime recording, punch recording,

and playback.

All Always use click. Click beat: x, e, q, h, w Count: Off, 1,...,8Ms

1. Press d [D4] as necessary to move the cursor to

the appropriate click parameter.

2. Set the value using the data dial or n/y.

78 Chapter 2. SONG MODE

• If the QY700 fails to produce a click sound even when the mode setting is All, you may need to change the click setting within UTILITY mode. See page 297 for details.

13. Transposition

• You use this feature to tr anspose the song being played. The transposition is set in semitone increments.

• The setting operates on pattern tracks as well as sequence tracks.

• Transposition has no effect on drum voices and SFX kits.

• Transposition does not operate on bypassed pattern phrases (that is, on phrases whose type is set to Bypas).

1. SONG PLAY

0101

– 24,...,+00,...,+24

1101

1. Press d [D5] to mov e the cursor to the transposition area.

2. Set the value using the data dial, n/y, or the numeric keypad.

79Chapter 2. SONG MODE

2. Play Effects

sSONG PLAY

1ÊPlay Effects

1ÊGroove Quantize

4ÊGroove View

2ÊClock Shift, Gate Time,

and Velocity

3ÊTranspose

4ÊDrum Table Edit

80 Chapter 2. SONG MODE

2. Play Effects

• The Play Effects submode allows you to adjust various songplay parameters, including quantizing, gate timing, and velocity. This makes it possible to control and adjust timing and articulation while playback is in progress. Note that these adjustments do not cause changes in your recorded data.

• Song playback remains available while you are in the Play Effects submode. In particular, the p, s, t, r, and f keys continue to function normally.

• If you want to modify the actual recorded data to reflect your Play Effects adjustments, you can do so using the Normalize Play Effects song job. (→ p.163.)

• Each song stores its own Play Effect settings. When you change to a different song, the new song’s settings automatically become effective.

• The Play Effects submode comprises three main pages together with two supplementary pages. You access the main pages by pressing the appropriate function keys (1, 2, 3). You can access the supplementary page (where available) by pressing 4.

• 1(Groove) displays the “Groove Quantize” page. Y ou use this page to set up the rhythm quantizing for each track.

• 2(Shf|GT|Vel) selects the “Clock Shift, Gate Time, and Velocity” page. You use this page to set the corresponding values. Again, values are set separately for each track.

• 3(Transpose) selects the “Transpose” page. You use this page to set transposition values for each track. You also use it to access the “Drum Table Edit” page; see below.

• 6{(TR1~16) or (TR17~32)} switches the tracks displayed on the current page.

• 4(GrovView), accessible only from the “Groove Quantize” page, switches the display to the “Groove V ie w” page. You use the “Groove View” page to view the groove templates, and to view or adjust your user templates.

• 4(DrTabEdit), accessible only from the “Transpose” page, switches you to the “Drum T able Edit” page. Y ou can then use this page to adjust drum table settings.

• Editing Shortcut 1: You can simultaneously adjust values for all 32 tracks by an equal amount by holding down the

s key while rotating the data dial or pressing n or y .

• Editing Shortcut 2: You can set all values for all 32 tracks to the same value by holding downs, then entering the value at the numeric keypad.

1. At the SONG PLAY screen, press 1 (PlayFx).

▼ The QY700 enters the Play Effects submode.

2. If necessary, change the page by pressing the appropriate function key: 1 (Groove), 2 (Shf|GT|Vel), or 3 (Transpose).

• Note that the screen only has room to display 16 tracks (tracks 1 to 16, or tracks 17 to 32). You can toggle between these two groupings by pressing 6.

3. After making the necessary settings, presse to return to the main SONG PLAY screen.

81Chapter 2. SONG MODE

2. Play Effects

Groove Quantizing

Data display

SHIFT F1 F2 F3 F4 F5 F6 SHIFT EXIT

3.Voice program

11.Grid 12.Clock shift

2.Measure and beat

1. Track numbers Track name Keyboard-track setting

4.Play-effects THRU setting

5.Groove template

6.Quantizing value

7.Strength

8.Groove timing

9.Groove gate time

10.Groove velocity

13.Gate-time multiplier

SONG PLAY

1Ê

Play Effects

1Ê

Groove Quantize

4Ê

Groove View

14.Velocity offset

SHIFT F1 F2 F3 F4 F5 F6 SHIFT EXIT

82 Chapter 2. SONG MODE

Parameter Values Function See page

1 Track number

Track name Keyboard track

2 Measure

3 Voice program 4 THRU setting 5 Groove template 6 Quantizing value

View only View only 1,...,32 001,...,999

View only , T

-- (=off),1,...,100,US , , , , , , ,

-- (=off),

2. Play Effects

Shows track number. Shows name of selected track. Selects track for editing. Sets location (measure) for beginning of song playback, and indicates current playback location. Identifies the voice program, as selected under VOICE mode. Sets the play effects ON or OFF for each track. Sets the groove template, for each track. Timing interval used as basis for quantization. (Selectable in Groove View screen only if template type = US.)

P.84

P.85

P.85 P.85 P.86 P.86

7 Quantize strength

8 Groove timing

9 Groove gate time

10Groove velocity

11Grid

12Clock shift

13Gate-time multiplier 14Velocity offset

• You use the groove quantize (rhythm quantization) feature to impart a swing, or “groove, ” to the song data as it is played back. The feature operates by making specified adjustments in note-event timing, velocities, and gate times. Effective use of this feature makes it possible to convert mechanicalsounding song data into driving, meaningful music.

• The QY700 comes equipped with 100 preset groove templates, each corresponding to a different musical genre: swing, beat rock, acid jazz, and so on. The QY700 also allows you to create your own, customized templates (called user templates).

000%,...,100%

000%,...,200%

View only

Setting range varies according to quantization value. 000%,...,200%

-99,...,+00,...,+99

Sets degree by which notes are pulled toward nearest quantizing line. Sets degree by which performance data’s original timing is affected by the groove template. Sets degree by which performance data’ s gate timing is affected by the groove template. Sets degree by which performance data’s v elocity v alues are affected by the groove template. Sets the dimensional unit for the groove template’ s parameter settings. The grid changes to match the selected quantization value. Sets/shows final time shift applied after quantizing by template is completed. (Value is in clock cycles.) Sets gate-time adjustment at each interval, by percent. Sets velocity offset at each interval.

• Each template contains data for quantizing one measure of recorded data. Quantizing is executed by reapplying the template values to each measure of the recorded track.

• Because you can select a different template for each track, you can combine a wide variety of different rhythms within a single song. You can also select how strongly each track’s template will act on the track’s data — so that it is possible to get a wide range of different “grooves” e v en when using the same template.

• Y ou use the Groov e V ie w page to view the preset templates, and to view or create your own user templates. The page displays the template settings in an easy-to-follow graphical form.

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P.88

P.89 P.89

83Chapter 2. SONG MODE

2. Play Effects

• Each groove template is divided into equal quantizing intervals: eighth-note intervals, eighth-note triplet intervals, sixteenth-note intervals, or some other such value. On the Groove V ie w page, these intervals are represented by a grid pattern.

• The quantizing template sets separate adjustment values for each interval, allowing for subtle but swinging nuances. F or example, the template might increase the gate times and velocities in the first half of the first beat, while delaying the timing of notes that occur in the second half of the second beat.

• You can create your o wn user templa tes by copying any of the preset templates, then adjusting the various values to create your own customized variations.

■ Setting the Groove Quantize Parameters

1. From the SONG PLAY screen, press 1 (PlayFx).

▼ The QY700 enters the Play Effects submode.

2. Press 1 (Groove).

▼ The Groove Quantize page appears.

3. Press u or d as necessary to select the track you want to work on.

• Note that a single screen can only display 16 tracks (tracks 1 to 16, or tracks 17 to 32). You can toggle between these two groupings by pressing 6.

3. Move the cursor to the TEMPLATE setting. Select the template using the data dial, n/y, or the numeric keypad.

4. If you have selected the user template (US), you can now set the desired quantizing interval. To do so, mov e the cursor to the QNT VALUE line, then set the interval using the data dial, or n/y.

• Note that it is not possible to change the Quantize Value on the preset templates (templates 1 to 100).

5. Now move the cursor to any parameter line or (if US template) to any of the parameters in the grid area, and adjust as necessary using the data dial, n/y, or the numeric keypad.

6. When you have finished making changes, press e to return to the Groove Quantize page.

7. Press e again to return to the SONG PLAY screen.

• You can change the template and the template parameter values even while song playback is in progress.

1. Track numbers, track name, and keyboard-track setting

4. Move the cursor to the TEMPLATE line.

5. Select the template using the data dial, n/y, or the numeric keypad.

6. Move the cursor to each of the parameters you want to change, and set the new value using the data dial, n/y, or the numeric keypad.

7. When you have finished making changes, press e to return to the SONG PLAY screen.

■ Viewing or Creating a Groove Template

1. From the Groove Quantize page, press 4 (GrovView).

▼ The QY700 displays the Groove View page.

2. Press u or d as necessary to select the appropriate track.

• Each screen displays 16 tracks (tracks 1 to 16, or tracks 17 to 32). Y ou can toggle between these two groupings by pr essing 6.

• Each sequence track is identified by a track number.

• The highlighted track number selects the track for quantization editing. It also selects the keyboard track — the track that connects internally to the QY700’s ke yboard/ controller section.

• The upper right of the screen indicates the selected track, both by its number and by its name. You can set up your own track names from within SONG EDIT mode. (→ p.132)

0101

1,...,32

1101

84 Chapter 2. SONG MODE

2. Play Effects

• Press u or d until the track number for the desired track is highlighted.

• Note that the screen only shows tracks 1 to 16 or trac ks 17 to 32. Y ou can toggle between these tw o groupings by pressing 6.

2. Measure and beat

• The measure value sets the start point for song playback.

• The measure and beat values increase during playback, indicating the current song location.

0101

Measure: 001,...,999

1101

3. Voice program

• The icons indicate the voice program assigned to each track.

• You select the voices using VOICE mode. (→ p.168)

4. Play-effects THRU setting

1. Press d [D1] to move the cursor to the measure display area.

2. Set the measure value using the data dial, n/y, or the numeric keypad → e.

• You can change the measure value while song playback is in progress. Playback will immediately jump to the new location.

• There are three ways to change the measure during playback, as follows.

• Press d [D1] to move the cursor to the measure

display area, and then change the value as described above.

• Rotate the shuttle dial, or press r or f.

• Press t to return to the top of the song (measure 001,

beat 1).

• When you select a new song, the measure value automatically switches to 001.

• You use this setting to determine whether or not to apply the play effects to the corresponding track. If you set the value to the play effects.

• The QY700 memorizes the THRU settings separately for each song

0101 1101

1. Move the cursor to the P.FX.THRU line for the track you want to set.

2. Change the setting using the data dial or the n or y key.

, the QY700 will play the track without using

Apply play effects to the track. Do not apply play effects to the track.

85Chapter 2. SONG MODE

2. Play Effects

5. Groove template

• You use groove templates to set up the basic rhythm quantization settings for each track. Use of these templates allows you to impart a swing, or “groove,” to the song data as it is replayed.

• Each template contains quantizing parameters for one measure of the recorded data. Quantizing is executed by reapplying the values to each successive measure of the recorded track.

• Note that each template actually contains parameter values sufficient to cover eight beats. If the song’s time signature calls for less than eight beats per measure, the excess template values are not used. If the time signature is 4/4, for example, the template values for beats 5 to 8 are meaningless.

• The QY700 comes equipped with 100 preset templates, each corresponding to a different musical genre, such as swing, beat rock, and acid jazz. For a full template listing, refer to the QY700 Reference Listings (separately bound).

• The QY700 also allows you to create your own, customized templates (called user templates). (→ p.84)

• You can use the Groove View page to view the preset templates, and to view or create our own user templates. (→ p.84)

0101

-- No template

1101

1,...,100 Preset template US User template

6. Quantizing value (Accessible only on user templates)

• The quantizing value sets the interval between the quantizing lines. (If you select an eighth-note as the value, for example, then a quantizing line will exist at every eighth-note interval, with the first line at the very beginning of the measure).

• Quantization is carried out by shifting note timing toward the nearest quantizing line. The STRENGTH parameter determines how strongly note-event timing is adjusted in this manner; again, see below.

• The quantizing interval sets the scale of the groove-template grid (as viewable on the Groove View page). Each template provides separate adjustment values (such as gatetime and velocity adjustment values) for each interval. Refer also to page 88.

• You can use the “Groo ve View” page to edit the quantizing value for the user template. Note that it is not possible to change the values for the 100 preset templates.

0101

-- off 32nd

1101

16th-triplet 16th 8th-triplet 8th Quarter-triplet Quarter note 16th and 16th triplet 8th and 8th-triplet

7. Strength

1. Move the cursor to the TEMPLATE line for the track you want to set.

2. Select the template icon using the data dial, n/y, or the numeric keypad.

• This value sets the degree by which performance ev ents (note

86 Chapter 2. SONG MODE

events) are pulled toward the nearest quantizing line. (For more information about quantizing lines, refer to page 88, and also to page 142.)

2. Play Effects

• A setting of 100% produces the strongest quantizing, so that all notes are pulled directly onto the nearest line. A setting of 0% effectively switches off all quantizing.

Original (recorded) data

1:1 1:2 1:3 1:4 2:1

(Assuming that the quantizing value is set to

If STRENGTH = 100%:

1:1 1:2 1:3 1:4 2:1

If STRENGTH = 50%:

1:1 1:2 1:3 1:4 2:1

0101

000%,...,100%

1101

, and meter is 4/4)

1. Move the cursor to the STRENGTH line for the track you want to set.

2. Set the value using the data dial, n/y, or the numeric keypad.

8. Groove timing

0101

000%,...,100%,...,200%

1101

1. Move the cursor to the GROOVE TIMING line for the track you want to set.

2. Set the value using the data dial, n/y, or the numeric keypad.

9. Groove gate time

• This value determines how strongly the groove template’s “gate-time multiplier” (see Section 13 below) affects the note gate timing.

• The formula for the applied gate-time adjustment at each interval is as follows:

• This value sets the effectiveness of the groove template’s CLOCK SHIFT settings.

• The formula for the timing adjustment at each interval is as follows:

Adjusted timing = original timing + (CLOCK SHIFT × GROOVE

TIMING).

• A GROOVE TIMING value of 100% will therefore apply the template’s clock shift value without change. A value of 200% will double the clock shift, while a setting of 0% will cancel it completely.

Adjusted gate time =original gate time × (100 + (gatetime multi-

plier -100) × GROOVE GATETIME).

• If GROOVE GATETIME is 100%, the QY700 will adjust the note gate times for each interval exactly in accordance with the template’s multiplier value for that interval. If GROOVE GATETIME is 0%, the original gate times will be reproduced without change. If GROO VE GATETIME is 200%, the original gate times will be adjusted by double the template’s multiplier.

• If the adjusted gate time is less than 1, the QY700 automatically uses a value of 1.

0101

000%,...,100%,...,200%

1101

1. Move the cursor to the GROOVE GATETIME line for the track you want to set.

2. Set the value using the data dial, n/y, or the numeric keypad.

87Chapter 2. SONG MODE

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10. Groove velocity

• This value determines how strongly the groove template’s interval-specific of fset v alues (see section 14 below) affect the recorded note velocities.

• The formula for the applied adjustment is as follows:

Adjusted velocity = original velocity + (template’ s v elocity offset ×

GROOVE VELOCITY).

• A GROO VE VELOCITY value of 100% will therefore apply the template’s offset values without change. A value of 200% will applies twice the offset, while a setting of 0% leaves the original velocity unchanged.

• If the adjusted velocity is less than 1, the QY700 automatically uses a velocity of 1.

• If the adjusted velocity is greater than 127, the QY700 uses

127.

• The diamond-shaped figures along the top of the grid indicate the position of the quantizing lines. If the quantizing value is “eighth-note, ” then there will be 16 quantizing lines across the screen, each spaced one eighth-note apart. The first line will be at Measure 1, Beat 1; the second line (not drawn) will be halfway between Beat 1 and Beat 2; the third line will be directly on Beat 2; and so on.

• All templates contain parameter values sufficient to cover eight beats (1:1 to 1:8). If the song’s time signature selects less than eight beats per measure, the excess template values are not used. If the signature is 4/4, for example, the template values for beats 5 to 8 are meaningless.

• The template parameters determine the adjustments carried out at each quantizing interval. The template may call for increased velocities and strong timing adjustments in the first interval, with decreased velocities and weaker adjustment in the second interval, and so on. You can use the grid to view the template’ s parameter v alues at each interv al, so that you can see what the template is actually doing.

• Note that it is not possible to edit the interval-specific parameters of the preset templates. But it is possible to set or edit these values on the user templates.

0101 1101

Interval-line positions: 1:1:000,...,1:8:420

12. Clock shift

0101

000%,...,100%,...,200%

1101

1. Move the cursor to the GROOVE VELOCITY line for the track you want to set.

2. Set the value using the data dial, n/y, or the numeric keypad.

11. Grid

• The grid display shows the quantization timing scheme. The graphic area (with the diamonds and the lines) shows the quantization intervals, while the numerical values sho w the currently selected grid position (by measure, beat, and clock cycle).

• The clock-shift value sets the number of cycles that notes are shifted after initial quantization is completed. In other words, the QY700 will first quantize the notes (pulling them toward the nearest quantizing line) in accordance with the STRENGTH setting. It will then shift the notes by the specified number of clock cycles, in accordance with the clockshift setting. Note that the clock-shift value may be different for each quantizing interval.

• If you are using a preset template, you will not be able to change these values (although you can view them). If you are using a user template, you can edit the values as described below.

0101

The maximum clock shift displacement is equal to half the

1101

quantize interval in either direction. The range can be giv en as follows:

-1/2 × (interval time),...,000,...+1/2 × (interval time)

88 Chapter 2. SONG MODE

2. Play Effects

where “interval time” refers to the number of clock cycles between interval lines. Note that positive values shift notes toward the end of the song, while negative values shift them toward the beginning.

1. Move the cursor to the clock-shift setting (in the grid area) for the appropriate interval.

2. Adjust the value using the data dial, n/y , or the numeric keypad.

13. Gate-time multiplier

• This value adjusts the gate times for each interval.

• If you are using a preset template, you can not change these values. If you are using a user template, you can edit the values as described below.

• The multiplier is only one of the factors determining the final gate-time adjustment. Specifically, the gate time is adjusted by the combined action of the multiplier and the GROOVE GATETIME setting (see Section 9 above).

0101

000%,...,100%,...,200%

1101

1. Move the cursor to the gate-time multiplier setting (in the grid area) for the appropriate interval.

0101 1101

• This value applies offsets to the v elocity values. Again, offsets can be different for each interval.

• If you are using a preset template, you can not change these values. If you are using a user template, you can edit the values as described below.

• This offset is only one of the factors determining the final velocity adjustment. Specifically, the velocity is adjusted by the combined action of the offset and the GROOVE VELOCITY setting (see Section 10 above).

–99%,...,00%,...,+99%

1. Move the cursor to the velocity-offset setting (in the grid area) for the appropriate interval.

2. Set the value using the data dial, n/y, or the numeric keypad.

(CopyTmp)

• This function copies the currently selected groove template into the user template for a designated song or style.

• Y ou can set up one user template f or each song, and one for each style.

• The values in the window select the destination.

Copy template

2. Set the value using the data dial, n/y, or the numeric keypad.

14. Velocity offset

Currently selected

Copy

groove template

0101

Destination: Song 01,...,20; Patt 01,...,64

1101

1. At the “Groove View” page, select 5 (CopyTmp).

▼ The screen displays the Copy to User Template window.

2. Select the destination values (Song or Patt in the left box, and the appropriate number in the right box) using the data dial, n/y, and numeric keypad.

User template for selected destination (song or style)

89Chapter 2. SONG MODE

2. Play Effects

Clock Shift, Gate Time, and Velocity

Data display1.Keyboard track 1.Track number and name

2. Measure and beat

1.Track number

3.Voice program

4.Play-effects THRU setting

15.Clock shift modifie

16.Gate-time modifier

17.Velocity rate

18.Velocity offset

SHIFT F1 F2 F3 F4 F5 F6 SHIFT EXIT

sSONG PLAY

1ÊPlay Effects

2ÊClock Shift, Gate Time,

and Velocity

Parameter Values Function See page

1 Track number

Track name Keyboard track

2 Measure; beat

3 Voice program 4 THRU setting 15Clock shift 16Gate-time modifier 17Velocity rate 18Velocity offset

View only View only 1,...,32 001,...,999

View only , T

-999,...,+999 000%,...,200% 000%,...,200%

-99,...,+99

Shows track number. Shows name of selected track. Selects track for editing. Sets location (measure) for start of song playback, and monitors current playback location. Identifies the voice program, as selected under VOICE mode. Sets the play effects ON or OFF for each track. Shifts playback timing, in clock-cycle increments . Gate-time modifier, used to adjust the original gate times. Velocity modifier, used to adjust the original velocity values. Offset value, applied to the original velocities.

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90 Chapter 2. SONG MODE

2. Play Effects

• You use this page to set the following play-effect parameters: clock shift, gate-time modifier, velocity rate, and velocity offset.

• Settings are different for each track. Use of this feature therefore allows you to adjust note-event timing, gate times, and velocities separately for each track.

1. At the SONG PLAY screen, press 1 (PlayFx).

▼ The QY700 enters the Play Effects submode.

2. Press 2 (Shf|GT|Vel).

▼ The “Clock Shift, Gate Time, and Velocity” page appears.

3. Press u or d as necessary to select the track whose values you want to set.

• Note that the screen only has room to display 16 tracks (tracks 1 to 16, or tracks 17 to 32). You can toggle between these two groupings by pressing 6.

4. Move the cursor to the line corresponding to the parameter that you want to set.

5. Change the value using the data dial, n/y, or the numeric keypad.

6. When you have finished making changes, presse to return to the SONG PLAY screen.

• You can change these parameter values even while song playback is in progress.

The first four parameters listed in the table above are identical to those on the “Groove Quantiz e” page , and are explained on pages 84 and 85. The remaining parameters are described below.

• On the QY700, one clock cycle is equiv alent to 1/480 quarter note.

• A negative value shifts the timing backward (toward the beginning of the song), while a positive v alue shifts the timing forward. A setting of +480, for example, will effecti vely delay the playback timing by one beat.

• For more information about clock usage, refer to page 131.

Original data

CLOCK SHIFT = +240

CLOCK SHIFT = -240

0101

–999,...,000,...,+999

1101

1. Move the cursor to the CLOCK SHIFT line of the track you want to set.

2. Set the value using the data dial, n/y, or the numeric keypad.

• It is not possible to shift the playback timing backwards past the song’s original start point. If you set the value to –300, for instance, all song data in the first 300 clock cycles of the recording will be shifted back exactly to the start point.

16. Gate-time modifier

15. Clock shift

• You use this parameter to shift the playback timing by a specified number of clock cycles.

• This value adjusts the gate times of the notes on the track. Adjustment is made by multiplying the original gate time by the modifier value (percentage).

91Chapter 2. SONG MODE

2. Play Effects

• The gate time denotes the length of time that a note is held. For non-percussive voices, the gate time is equal to the actual playback time span.

• If you set this value to 100%, the original gate times will be used. Setting the value below 100% will lo wer the gate times, while higher values will increase them.

• If an adjusted gate-time value is less than 1, the QY700 will use a value of 1.

Original data

(Gate)

48 48 95 86 48

Gate time modifier = 50%

(Gate)

24 24 47 43 24

Gate-time modifier = 150%

(Gate)

72 72 142 129 72

0101

000%,...,100%,...,200%

1101

1. Move the cursor to the GATETIME setting of the track you want to adjust.

2. Set the value using the data dial, n/y , or the numeric keypad.

17. Velocity rate

Original data

(Vel)

96 64 32 127 96

Velocity rate = 50%

(Vel)

48 32 16 63 48

Velocity rate = 150%

(Vel)

127 96 48 127 127

0101

000%,...,100%,...,200%

1101

1. Move the cursor to the VELOCITY RATE setting of the track you want to adjust.

2. Set the value using the data dial,n/y, or the numeric keypad.

• In electronic music applications, velocity indicates how forcefully a note is struck. (The term “velocity” is used because, in keyboard instruments, the force is determined by measuring the speed at which the key is depressed). Changing the velocity may affect both the loudness and the timbre, although the relationship varies according to the voice.

• The VELOCITY RATE (described here) and the VELOCITY OFFSET (described below) work together to determine the actual adjustment applied to the track’s velocities. The relation is as follows:

Playback velocity = (original velocity × VELOCITY RATE)

• You use this parameter to apply a proportional change to

• If an adjusted velocity is less than 1, the QY700 automati-

the track’s original velocity values.

• If you set this value to 100%, playback will be at the origi-

• If an adjusted velocity is greater than 127, the QY700 uses

nal velocities. If you set this value below 100%, velocities will be adjusted downward at playback. If you set the value above 100%, velocities will be adjusted upward.

92 Chapter 2. SONG MODE

+ VELOCITY OFFSET.

cally uses a velocity of 1.

127.

2. Play Effects

18. Velocity offset

• Y ou use this parameter to apply an of fset to the track’ s rateadjusted velocity values. Note that the offset is applied af- ter the VELOCITY RATE adjustment described above.

• Positive values increase the playback velocity, while negative values decr ease it.

Original data

(Vel)

96 64 32 127 96

• The VELOCITY OFFSET (described here) and the VELOCITY RATE (described above) work together to determine the actual adjustment applied to the track’s velocities. The relation is:

Playback velocity = (original velocity × VELOCITY RATE)

+ VELOCITY OFFSET .

• If an adjusted velocity is less than 1, the QY700 automatically uses a velocity of 1.

• If an adjusted velocity is greater than 127, the QY700 uses

127.

VELOCITY OFFSET = -20

(Vel)

76 44 12 107 76

VELOCITY OFFSET = +20

(Vel)

116 84 52 127 116

0101

–99,...,+00,...,+99

1101

1. Move the cursor to the VELOCITY OFFSET line of the track you want to set.

2. Set the value using the data dial, the n/y key, or the numeric keypad.

93Chapter 2. SONG MODE

2. Play Effects

Transposition

Data display1.Keyboard track 1.Track number and name

2.Measure and beat

1.Track number

3.Voice program Play-effects THRU setting

19.Drum table

20.Transposition

SHIFT F1 F2 F3 F4 F5 F6 SHIFT EXIT

SONG PLAY

1Ê

Play Effects

3Ê

Transpose

4Ê

Drum-Table Edit

1 Track number

Track name Keyboard track

2 Measure; beat

3 Voice program 4 THRU setting 19Drum table 20Transposition

Parameter Values Function See page

View only View only 1,...,32 001,...,999

View only , T

-- (=none),1,...,8

-99,...,+99

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94 Chapter 2. SONG MODE

2. Play Effects

• Y ou use this pa ge to select the drum table and transposition used for track playback.

• You can access and edit the drum-table data by pressing 4 (DrTabEdit).

1. At the SONG PLAY screen, press 4 (PlayFx).

▼ The QY700 enters the Play Effects submode.

2. Press 3 (Transpose).

▼ The Transpose page appears.

3. Press u or d as necessary to select the track you want to work on.

• The screen can only display 16 tracks at one time (tracks 1 to 16, or tracks 17 to 32). You can toggle between these two groupings by pressing 6.

4. Move the cursor to the appropriate parameter setting for the track you want to adjust.

5. Change the value using the data dial, n/y, or the numeric keypad.

6. If you wish to view or edit the drum-table values, press 4 (DrTabEdit).

19. Drum table

• Drum tables are required to handle sequence data produced by drum machines that are not XG or GM compatible. As these machines may use different numbering arrangements to identify the various rhythm instruments, it becomes necessary to make appropriate substitutions when playing back the recorded data. Failure to make these substitutions will cause the “wrong” instruments to be produced.

• Each drum table therefore contains a list of rhythm-instrument substitutions. You can select the table separately for each track.

• The QY700 provides eight different tables. To view or edit the contents of a drum table you must press 4 (DrTabEdit) to move into the Drum-Table Edit page (→ p.98).

0101

-- (=none),1,...,8

1101

1. Move the cursor to the DR TABLE setting for the appropriate track.

2. Set the value using the data dial, n/y, or the numeric keypad.

7. When you have finished making changes, presse to return to the SONG PLAY screen.

• You can change these parameter values even while song playback is in progress.

The first four parameters listed in the table above are identical to those on the “Groove Quantiz e” page , and are explained on pages 84 and 85. The remaining parameters are described below.

95Chapter 2. SONG MODE

2. Play Effects

20. Transposition

• You can use this feature to c hange the key (alter the pitch) of any track. You can set transposition separately for each track.

• Transposition is in semitone increments. Setting the value to +12, therefore, will raise the pitch of all notes on the track by exactly one octave. A setting of -12 would drop the pitch by exactly one octave.

0101

–99,...,+99

1101

1. Move the cursor to the TRANSPOSE setting for the track you want to transpose.

2. Set the value using the data dial, n/y, or the numeric keypad.

96 Chapter 2. SONG MODE

Drum Table Edit

Data display1.Keyboard track 1.Track number and name

21.Replacement list

SHIFT F1 F2 F3 F4 F5 F6 SHIFT EXIT

2.Measure and beat

1.Track number

3.Voice program

4. Play-effects THRU setting

19.Drum table

22.Velocity rate

2. Play Effects

sSONG PLAY

1ÊPlay Effects

3ÊTranspose

4ÊDrum-Table Edit

Parameter Values Function See page

1 Track number

Track name Keyboard track

2 Measure

Beat 3 Voice program 4 THRU setting 19Drum table 21Replacement list 22Velocity rate

View only View only 1,...,32 001,...,999 View only View only , T

-- (=none),1,...,8

000%,...,100%,...,200%

Shows track number. Shows name of selected track. Selects track for editing. Sets location (measure) for start of song playback, and monitors current playback location. Identifies the voice program, as selected under VOICE mode. Sets the play effects ON or OFF for each track. Selects the drum table. List of drum-voice replacements. Adjusts the velocity of the replacement voice. This parameter allows you to correct for volume imbalance that may be caused by the replacement.

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97Chapter 2. SONG MODE

2. Play Effects

• You use this page to edit the selected drum table. This feature is useful when you need to set the QY700 to replay rhythm-instrument data generated by a machine that was not compatible with the XG or GM protocol.

• You can use the V elocity Rate parameter to adjust the loudness balance.

1. At the SONG PLAY screen, press 1 (PlayFx).

▼ The QY700 enters the Play Effects submode.

2. Press 3 (Transpose).

▼ The Transpose page appears.

3. Press4 (DrTabEdit).

▼ The Drum-Table Edit page appears.

4. Press u or d as necessary to select the appropriate track.

• The screen can only display 16 tracks at one time (tracks 1 to 16, or tracks 17 to 32). You can toggle between these two groupings by pressing 6.

5. With the cursor on the DR TABLE line, select the desired drum table.

6. Move the cursor to the list entry or V elocity Rate v alue that you want to set.

7. Set the value using the data dial, n/y, or the numeric keypad.

8. When you have finished making changes, press e to return to the Transpose screen.

• You can change these parameter values even while song playback is in progress.

21. Replacement List

• This list sets up the rhythm-instrument replacements.

• If this drum table is selected for a track during replay, the QY700 will replace any rhythm instrument designated in the From column (when encountered in the performance data for that track) with the instrument named in the corresponding To line.

• A “No” entry in the From column actually means “ All but”. A “No Snares” entry, for example, instructs the QY700 to substitute the to instrument for all voices other than snare voices.

• An “All” specification in the From column (for example, “All Shak ers”) tells the QY700 to replace all instruments of the specified type with the item named in the To entry.

• If different lines contain contradictory specifications, the lower line is effective.

0101

[From]

1101

No Shakers, No Congas&Bongos, No Crash Sym., No Ride Sym., No Hi-Hat, No Tom, No Brush Snare, No Kick, No Snare, All Shakers, Congas&Bongos, All Crash Sym., All Ride Sym., All Hi-Hat, All Tom, All Brush Snare, All kick, All Snare, All drum Kit, All Perc., C5 Bell Tree ~ C#1 Surdo Mute

[T o]

C5 Bell Tree,..., C#1 Surdo Mute

1. Move the cursor to the parameter you want to set (F rom entry, To entry, or Velocity Rate).

2. Set the value using the data dial, the n or y key , or the numeric keypad.

3. When you have finished making changes, press e to return to the Transpose screen.

The first five parameters listed in the table above (numbered 1, 2, 3, 4, and 19) are identical to those on the “Transpose” page; see page 94. The remaining parameters are described below.

98 Chapter 2. SONG MODE

22. Velocity rate

• This Velocity Rate parameter adjusts the velocity of the replacement rhythm instrument (the instrument named in the To column).

• T o calculate the adjusted velocity , the QY700 multiplies the original velocity value by the Velocity Rate value. A Velocity Rate of 100% produces no adjustment, while larger values increase the velocity and lower values reduce it.

• This parameter allows you to adjust for loudness imbalances that may occur when you replace one instrument with another.

Original data

(Vel)

96 64 32 127 96

Velocity rate = 50%

(Vel)

48 32 16 63 48

Velocity rate = 150%

(Vel)

127 96 48 127 127

2. Play Effects

0101

000%,...,100%,...,200%

1101

1. Move the cursor to the Velocity Rate icon for the list entry you want to adjust.

2. Set the value using the data dial, the n or y key , or the numeric keypad.

1 (Clear)

• Press 1 (Clear) to delete the entry on the selected line of the table.

• If you press 1 while the cursor is in the From column, the QY700 will delete both the From and the To entries for that line.

• If you press 1 while the cursor is in the To column, only the T o item will be deleted. (If the T o entry is left b lank, the “From” instrument will be muted.)

1. Move the cursor to the appropriate entry.

2. Press 1 (Clear).

2 (Default)

• Press 2 (Default) to reset the drum table to its default values. All of the From, To, and V elocity Rate settings will return to their defaults.

Press 2 (Default).

▼ The table resets to its defaults.

99Chapter 2. SONG MODE

Yamaha QY700E1 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual