Yamaha SY35E2, SY35 User Manual

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CONTENTS

VOICE COMMON...................................................3

NAME................................................................5

CONFIGURATION.............................................5

EFFECT (Type & Depth)....................................5

PITCH BEND.....................................................6

WHEEL (Amplitude & Pitch Modulation)...........6

AFTER TOUCH (Amplitude &

Pitch Modulation, Pitch & Level Control).......7

ENVELOPE (Attack & Release Rates).................7

RANDOM (Element, Level & Detune)................8

VOICE VECTOR.....................................................9

LEVEL SPEED (Vector Rate)...........................11

LEVEL RECORD.............................................11

LEVEL EDIT (Step, X-axis, Y-axis & Time).....11

DETUNE SPEED (Vector Rate)........................13

DETUNE RECORD..........................................13

DETUNE EDIT

(Step, X-axis, Y-axis & Time).......................13

ELEMENT TONE................................................15

WAVE TYPE....................................................17

ELEMENT COPY.............................................19

FREQUENCY SHIFT........................................19

VOLUME.........................................................20

PAN..................................................................20

VELOCITY SENSITIVITY...............................20

AFTER TOUCH SENSITIVITY........................21

TONE (FM Elements B and D Only).................21

LFO (Low Frequency Oscillator) AM Depth,

PM Depth, Type, Delay, Rate & Speed..........22

MIDI RECEIVE CHANNEL.............................36

VOLUME.........................................................36

DETUNE..........................................................37

NOTE LIMIT (Low & High)............................37

NOTE SHIFT....................................................37

UTILITY SETUP.................................................39

MASTER TUNE...............................................41

TRANSPOSE....................................................41

MEMORY CARD

(Save, Load, Format, & Bank).......................41

VOICE INITIALIZE.........................................43

MULTI INITIALIZE........................................44

MEMORY PROTECT (Internal & Card)...........45

FACTORY VOICE & MULTI RESTORE..........45

UTILITY RECALL...............................................47

VOICE RECALL (Voice or Multi)....................49

UTILITY MIDI....................................................51

MIDI ON/OFF...................................................53

BASIC RECEIVE CHANNEL...........................53

TRANSMIT CHANNEL...................................53

LOCAL CONTROL ON/OFF.............................54

MIDI PROGRAM CHANGE.............................54

MIDI CONTROL CHANGE..............................54

AFTER TOUCH ON/OFF..................................55

PITCH BEND ON/OFF......................................55

EXCLUSIVE ON/OFF.......................................55

ALL V/M TRANSMIT......................................56

1 VOICE TRANSMIT.......................................56

ELEMENT ENVELOPE.......................................25

TYPE................................................................27

ENVELOPE COPY...........................................28

DELAY (Delay Rate & Element ON/OFF).........28

INITIAL LEVEL..............................................28

ATTACK (Level & Rate)..................................29

DECAY 1 (Level & Rate)..................................29

DECAY 2 (Level & Rate)..................................29

RELEASE RATE..............................................30

LEVEL SCALING............................................30

RATE SCALING..............................................31

MULTI.................................................................33

NAME..............................................................35

EFFECT (Type & Depth)..................................35

VOICE NUMBER.............................................35

APPENDIX...........................................................57

VOICE LIST.....................................................59

MULTI LIST....................................................66

WAVEFORM LIST...........................................67

SPECIFICATIONS............................................69

ERROR MESSAGES.........................................70

INDEX.............................................................71

MIDI DATA FORMAT.....................................73

MIDI IMPLEMENTATION CHART................76

About This Manual

We recommend that you start by going through the Getting Started manual in

order to become familiar with the SY35 and the way it works, then you can

refer to the Feature Reference manual from time to time to get details on

functions you’ve never used before, or refresh your memory about functions

Each section of this manual has its own table of contents, so you should be

able to locate any particular function quickly and easily. Functions and refer-

The SY35 Feature Reference manual individually describes the SY35 functions in detail, providing a summary, operating procedure, and additional details for each function. It is divided into eight main sections, each describing the various functions within a particular SY35 edit or utility mode.

1. VOICE COMMON [Page 3]

2. VOICE VECTOR [Page 9]

3. ELEMENT TONE [Page 15]

4. ELEMENT ENVELOPE [Page 25]

5. MULTI [Page 33]

6. UTILITY SETUP [Page 39]

7. UTILITY RECALL [Page 47]

8. UTILITY MIDI [Page 51]

that you don’t use very often.

ences can also be located by referring to the index at the back of the manual.

Feature

Reference Manual

VOICE COMMON

The VOICE COMMON mode provides access to a range of parameters that affect the selected voice as a whole. Detailed programming of individual elements is provided by the ELEMENT TONE and ELEMENT ENVELOPE edit modes.

NAME............................................................................................................................ 5

CONFIGURATION......................................................................................................... 5

EFFECT (Type & Depth)............................................................................................... 5

PITCH BEND................................................................................................................. 6

WHEEL (Amplitude & Pitch Modulation)...................................................................... 6

AFTER TOUCH (Amplitude & Pitch Modulation, Pitch & Level Control).................... 7

ENVELOPE (Attack & Release Rates)............................................................................ 7

RANDOM (Element, Level & Detune)........................................................................... 8

NAME

VOICE COMMON

VC>VOICE NAME

I23 Initial

Summary: Assigns a name of up to 8 characters to

the current voice.

Settings: The following characters are available for

use in voice names:

(Space) !"#¢%&'()*+,-./0123456789:;<=>?Å

ABCDEFGHIJKLMNOPQRSTUVWXYZ[Á]^_« abcdefghijklmnopqrstuvwxyz“|‘Ÿ˚

CONFIGURATION

VC>CONFIGURATION

A-B-C-D

Summary: Selects the two-element (A-B) or four-

element (A-B-C-D) voice configuration.

Settings: A-B, A-B-C-D Procedure: Use the [6] key to move the cursor to

the lower display line. Use the [–1/NO] and [+1/YES] keys to select the desired configuration.

Procedure: Use the [4] and [6] cursor keys to place

the underline cursor under the character to be changed. Use the [–1/NO] and [+1/YES] keys to select the desired character. Continue until the entire voice name has been programmed.

Details: It’s a good idea to give your voices names

that make them easily identifiable. If you’ve created a new voice that combines piano and organ elements, for example, you could call it something like “PianOrg”. When selecting characters, scrolling will pause at the beginning of each character group (capitals, lower case, numbers, and symbols).

Details: In the 2-element “A-B” configuration, ele-

ment A is AWM and element B is FM. In the 4element “A-B-C-D” configuration elements A and B are the same as in the “A-B” configuration, while element C is AWM and element D is FM.

A-B: A = AWM, B = FM. A-B-C-D: A = AWM, B = FM, C = AWM, D = FM.

VC>VOICE EFFECT Rev Hall Dep=1

EFFECT (Type & Depth)

Summary: Selects one of sixteen digital effects, and

sets the depth of the selected effect for the current voice.

VOICE COMMON

Settings: Effect type:

Rev Hall (Reverb Hall) Rev Room (Reverb Room) Rev Plate (Reverb Plate) Rev Club (Reverb Club) Rev Metal (Reverb Metal) Delay 1 (Short Single Delay) Delay 2 (Long Delay) Delay 3 (Long Delay) Doubler (Doubler) Ping-Pong (Ping Pong Delay) Pan Ref (Panned Reflections) Early Ref (Early Reflections) Gate Rev (Gated Reverb) Dly&Rev 1 (Delay & Reverb 1) Dly&Rev 2 (Delay & Reverb 2) Dist&Rev (Distortion & Reverb)

PITCH BEND

VC@PITCH BEND

Range= 2

Summary: Sets the range of the pitch bend wheel. Settings: 0 … 12 max.* Procedure: Use the [6] key to move the cursor to

the lower display line. Use the [–1/NO] and [+1/YES] keys to select the desired pitch bend range.

Depth: 0 … 7 Procedure: Use the [4] and [6] cursor keys to place

the underline cursor under the effect type or depth parameter. Use the [–1/NO] and [+1/YES] keys to select the desired effect or effect depth.

Details: Setting the depth parameter to “0” is

equivalent to turning the effect OFF. A depth setting of “7” produces the greatest effect.

Details: Each increment from “0” to “12” repre-

sents a semitone. A setting of “0” produces no pitch bend. A setting of “12” allows a maximum pitch bend of plus or minus one octave, while a setting of “4” allows a maximum pitch bend of plus or minus a major third.

* This range may be more limited in some cases.

An exclamation mark (!) will appear after the range value when the limit is reached.

WHEEL (Amplitude & Pitch Modulation)

VC@WHEEL

AM=on PM=ON

Summary: Assigns the modulation wheel to ampli-

tude and/or pitch modulation.

Settings: AM (Amplitude Modulation): off, on

PM (Pitch Modulation): off, on

Procedure: Use the [4] and [6] cursor keys to place

the underline cursor under the AM or PM parameter. Use the [–1/NO] and [+1/YES] keys to turn the selected parameter on or off.

Details: Amplitude modulation produces a tremolo

effect while pitch modulation produced a vibrato effect. This function allows the modulation wheel to be assigned to produce either or both. This is only an “off/on” switch, however, and the maximum depth of modulation to be applied must be set using the LFO AM Depth and PM Depth parameters in the ELEMENT TONE edit mode. When the modulation wheel is assigned to amplitude or pitch modulation, LFO modulation can only be applied via the wheel. If both WHEEL and AFTER TOUCH are assigned to modulation control, the controller via which the highest modulation level is applied will take priority when both are used simultaneously.

VOICE COMMON

AFTER TOUCH (Amplitude & Pitch Modulation, Pitch & Level Control)

VC>AFTER TOUCH

AM=on PM=on ->

Summary: Assigns keyboard after-touch to ampli-

tude modulation, pitch modulation, pitch control, or level control — or any combination of the above.

Settings: AM (Amplitude Modulation): off, on

PM (Pitch Modulation): off, on Pit (Pitch Control): –12 … 0 … +12 max.* Lev (Level Control): off, on

Procedure: Use the [4] and [6] cursor keys to place

the underline cursor under the AM, PM, Pit, or Lev parameter. The arrows at either end of the display mean that more parameters can be accessed by scrolling in the indicated direction. Use the [–1/NO] and [+1/YES] keys to turn the AM, PM, and/or Lev parameter on or off, or to select the desired Pit control range.

Details: As with the modulation wheel, amplitude

modulation produces a tremolo effect while pitch modulation produced a vibrato effect. The harder you press a key, the deeper the modulation. This is only an “off/on” switch, however, and the maximum depth of modulation to be applied must be set using the LFO AM Depth and PM Depth parameters in the ELEMENT TONE edit mode.

When after touch is assigned to amplitude or pitch modulation, LFO modulation can only be applied via after touch. The Pit parameter allows keyboard after touch to be used for note bending. The greater the key pressure the greater the amount of pitch bend. Positive values produce an upward bend when key pressure is applied, and minus values produce a downward bend. Each increment from represents a semitone. A setting of “0” produces no pitch bend. A setting of “12” allows a maximum upward pitch bend of one octave, while a setting of “–4” allows a maximum downward pitch bend of a major third. When the Lev parameter is turned on it becomes possible to control the level of the sound over a limited range by keyboard after touch. The amount and direction (i.e. an increase or decrease) of level change depends on the setting of the AFTER TOUCH SENSITIVITY parameter in the ELEMENT TONE edit mode. If both WHEEL and AFTER TOUCH are assigned to modulation control, the controller via which the highest modulation level is applied will take priority when both are used simultaneously.

* This range may be more limited in some cases.

An exclamation mark (!) will appear after the range value when the limit is reached.

ENVELOPE (Attack & Release Rates)

VC>ENVELOPE

AR= 0 RR= 0

Summary: Sets the overall attack and release rates

for the current voice.

Settings: AR (Attack Rate): –99 … 0 … +99 max.*

RR (Release Rate): –99 … 0 … +99 max.*

Procedure: Use the [4] and [6] cursor keys to place

the underline cursor under the AR or RR parameter. Use the [–1/NO] and [+1/YES] keys to set the selected parameter as required.

Details: Although much more detailed envelope

programming capability is available for individual elements (see the ELEMENT ENVELOPE edit mode), these functions provide an easy way to adjust the most important envelope parameters for the overall voice. Positive values produce a faster attack or release time, while negative values produce a slower attack or release time. You might want to lengthen the release time of a voice, for example, to produce a lingering sustain effect after you release the keys.

VOICE COMMON

Please note that the AR parameter will have no effect on elements in which the INITIAL LEVEL parameter (page 28) is set to 99.

LEVEL

Key ON

Faster attack.

0 –99+99

Envelope

TIME

Slower attack.

Key OFF

Faster release.

0 –99+99

Slower release

RANDOM (Element, Level & Detune)

VC>RANDOM

ELEMENT

Summary: Automatically produces random combi-

nations of elements, level vectors, or detune vectors.

Settings: None. Procedure: Use the [4] and [6] cursor keys to place

the left parameter on the lower display line, then use the [–1/NO] and [+1/YES] keys to select ELEMENT, LEVEL or DETUNE. Press the [6] to move the cursor to “Y/N,” then press the [+1/YES] key to generate random values of the select type. A new set of random values is generated each time the [+1/YES] key is pressed while the cursor is in this position. Pressing the [–1/NO] returns the cursor to the left parameter.

* This range may be more limited in some cases.

An exclamation mark (!) will appear after the range value when the limit is reached.

Details: This function is actually a very useful pro-

gramming aid. It allows you try out a virtually unlimited variety of element combinations or level/detune vectors by simply pressing a single key. The random element combinations, in particular, can produce some very surprising and often pleasant results. When the “A-B” voice configuration is selected (see CONFIGURATION on page 5), random element combinations will always consist of only two elements. When the “A-B-C-D” voice configuration is selected, random element generation will produce combinations of four elements.

VOICE VECTOR

The VOICE VECTOR edit mode allows recording and fine editing of dynamic level and detune vectors.

LEVEL SPEED (Vector Rate)......................................................................................... 11

LEVEL RECORD............................................................................................................ 11

LEVEL EDIT (Step, X-axis, Y-axis & Time).................................................................. 11

DETUNE SPEED (Vector Rate)..................................................................................... 13

DETUNE RECORD........................................................................................................ 13

DETUNE EDIT (Step, X-axis, Y-axis & Time).............................................................. 13

LEVEL SPEED (Vector Rate)

VOICE VECTOR

VV>LEVEL SPEED Vector Rate 30ms

Summary: Sets the time between level vector steps. Settings: 10 … 160 milliseconds (in 10-millisecond

steps)

Procedure: Use the [6] key to move the cursor to

the lower display line. Use the [–1/NO] and [+1/YES] keys to select the desired vector rate.

LEVEL RECORD

VV>LEVEL REC

STBY REC PLAY

Summary: Allows recording of a dynamic level

vector.

Settings: STBY, REC, PLAY

Details: Each dynamic vector is composed of up to

50 “steps” corresponding to points along the path followed by the vector control. This function sets the initial time between each step. The Time parameter in the LEVEL EDIT function, described later, allows the length of individual steps to be edited. The vector rate parameter can be changed even after recording a vector, producing a corresponding change in the spacing between the steps. The LEVEL SPEED parameter can also be used to change the playback speed of a pre-recorded vector.

Move the cursor to REC. Recording will actually begin as soon as you play a key on the keyboard. When you release the key or when 50 steps have been recorded (See “LEVEL SPEED” above), recording will end and the cursor will move to the PLAY position. You can now play the keyboard to hear how the vector sweep you just recorded sounds.

Procedure: Use the [4] and [6] cursor keys to place

the underline cursor under STBY. The vector control LEVEL mode will be automatically selected and you can rehearse the vector sweep you wish to record.

LEVEL EDIT (Step, X-axis, Y-axis & Time)

l Step

VV L.ED A B C D

1 X 0 Y 0 End

Summary: Selects any of the 50 steps in a recorded

level vector for editing.

Details: The amount of time available for recording

depends both on the vector rate setting and how much the vector control is moved.

Settings: 1 … 50 Procedure: Use the [4] and [6] cursor keys to place

the underline cursor under the leftmost value on the lower display line (Step). Use the [–1/NO] and [+1/YES] keys to select the step to be edited.

VOICE VECTOR

Details: Step 1 is the first step recorded and step 50

is the last. Experience will give you a feel for relating specific points in a dynamic vector to the corresponding steps.

l X-axis & Y-axis

VV L.ED A B C D

1 X 0 Y 0 End

Summary: These parameters define the position of

the currently selected step on the X and Y axes of the level vector control range.

Settings: –31 … 0 … +31 Procedure: After selecting the step to be recorded

as described in the previous function, use the [4] and [6] cursor keys to place the underline cursor under the X or Y parameter. Use the [–1/NO] and [+1/YES] keys to set the value as required.

Details: On the X (D-C) axis, a setting of –31 places

the step as far as possible toward the D element while a setting of +31 places it as far as possible toward the C element. The Y (A-B) axis values work in the same way: a setting of –31 places the step as far as possible toward the B element while a setting of +31 places it as far as possible toward the A element. In both axes a setting of 0 places the step at center position.

l Time

VV L.ED A B C D

1 X 0 Y 0 End

Summary: Multiplies the vector rate setting of the

current level vector step only. Also allows vectors to be looped or ended at the current step.

Settings: 1 … 254, Rep, End Procedure: Use the [4] and [6] cursor keys to place

the underline cursor under the rightmost value on the lower display line (Time). Use the [–1/NO] and [+1/YES] keys to select the required time value, repeat, or end.

Details: Time values multiply the vector rate setting

for the current step. If the vector rate parameter is set to 30ms, for example, setting the time parameter to 2 results in a step length of 60ms, setting it to 3 results in a step length of 90ms, and so on. Since the maximum time value is 254, extremely long steps can be created. If you select the “End” setting, the vector will end at the current step. The “Rep” setting causes the vector to loop back to the first step from the current step, repeating continuously.

X axis

+31

–31

Y axis

+31–31

DETUNE SPEED (Vector rate)

VOICE VECTOR

VV>DETUNE SPEED Vector Rate 30ms

Summary: Sets the time between detune vector

steps.

Settings: 10 … 160 milliseconds Procedure: Use the [6] key to move the cursor to

the lower display line. Use the [–1/NO] and [+1/YES] keys to select the desired vector rate.

DETUNE RECORD

VV>DETUNE REC

STBY REC PLAY

Summary: Allows recording of a dynamic detune

vector.

Settings: STBY, REC, PLAY Procedure: Use the [4] and [6] cursor keys to place

the STBY. The vector control DETUNE mode will be automatically selected and you can rehearse the vector sweep you wish to record. Move the cursor to REC. Recording will actually begin as soon as you play a key on the key

Details: Each automatic vector sweep is composed

of up to 50 “steps,” corresponding to equallyspaced points along the path followed by the vector control. This function sets the initial time between each step.

board. When you release the key or when all 50 steps have been recorded (See “DETUNE SPEED” above), recording will end and the cursor will move to the PLAY position. You can now play the keyboard to hear how the vector sweep you just recorded sounds.

Details: The amount of time available for recording

depends both on the vector rate setting and how much the vector control is moved. Moving the vector control towards an element raises the pitch of that element while lowering the pitch of the others.

DETUNE EDIT (Step, X-axis, Y-axis & Time)

l Step

VV D.ED A B C D

1 X 0 Y 0 End

Summary: Selects any of the 50 steps in a recorded

detune vector for editing.

Settings: 1 … 50 Procedure: Use the [4] and [6] cursor keys to place

the underline cursor under the leftmost value on the lower display line (Step). Use the [–1/NO] and [+1/YES] keys to select the step to be edited.

Details: Step 1 is the first step recorded and step 50

is the last. Experience will give you a feel for relating specific points in a dynamic vector to the corresponding steps.

VOICE VECTOR

l X-axis & Y-axis

VV D.ED A B C D

1 X 0 Y 0 End

Summary: These parameters define the position of

the currently selected step on the X and Y axes of the detune vector control range.

Settings: –31 … 0 … +31 Procedure: Use the [4] and [6] cursor keys to place

the underline cursor under the X or Y parameter. Use the [–1/NO] and [+1/YES] keys to set the value as required.

Details: On the X (D-C) axis, a setting of –31 places

+31

X axis

–31

+31

l Time

VV D.ED A B C D

1 X 0 Y 0 End

Summary: Multiplies the vector rate setting of the

current detune vector step only. Also allows vectors to be looped or ended at the current step.

Settings: 1 … 254, Rep, End Procedure: Use the [4] and [6] cursor keys to place

the underline cursor under the rightmost value on the lower display line (Time). Use the [–1/NO] and [+1/YES] keys to select the required time value.

Details: Time values multiply the vector rate setting

–31

Y axis

ELEMENT TONE

The ELEMENT TONE edit mode allows editing many of the most important sound-determining parameters of each individual element — A and B in a 2-element voice; A, B, C and D in a 4-element voice.

WAVE TYPE................................................................................................................. 17

ELEMENT COPY.......................................................................................................... 19

FREQUENCY SHIFT...................................................................................................... 19*

VOLUME....................................................................................................................... 20

PAN............................................................................................................................... 20*

VELOCITY SENSITIVITY............................................................................................. 20

AFTER TOUCH SENSITIVITY..................................................................................... 21

TONE (FM Elements B and D Only).............................................................................. 21*

LFO (Low Frequency Oscillator) AM Depth, PM Depth, Type,

Delay, Rate & Speed.................................................................................................. 22*

* These four parameters are not available for an AWM element in which wave number 127

(Drum Set) is selected — “Cannot edit” display appears.

ELEMENT TONE

ÔÔÔ

Selecting the ELEMENT TONE Edit Mode

From the VOICE or MULTI mode:

From another edit or utility mode simply press [ELEMENT TONE]. An “E” will appear to the left of the LED display to indicate that an edit mode is selected, and the element selected for editing will be displayed to the right of the display — “A”, “b”, “C”, or “d”. A dot will appear to the right of the element character as soon as any parameter has been edited.

ON, if a dash appears in place of the element character, that element is OFF. The ability to turn elements on or off while editing makes it easier to hear the effect of parameter changes on a single element. The currently selected element is also shown on the LCD as a reversed (white on black) character.

In this example elements A, B and D are ON, while element C is OFF. Element A is currently selected for editing.

ET>WAVE 000 ÅB-D

Piano:Piano

Selecting the ELEMENT TONE Edit Mode Functions

The various ELEMENT TONE edit mode functions can be selected in sequence by pressing the [ELEMENT TONE] key, or by using the [–1/NO] and [+1/YES] keys when the cursor (6)is located immediately before the function name on the upper display line.

Different elements can be selected for editing by pressing the appropriate [ELEMENT SELECT] key — [A], [B], [C] or [D]. If a 2-element voice is being edited, only elements A and B can be selected. Any of the available elements can also be turned on or off by pressing the appropriate [ELEMENT ON/OFF] key. Each key alternately turns the associated element on and off, and the on/off status of the elements is shown to the right of the upper LCD line. If the element character is showing, the associated element is

The COMPARE Function

You can compare the sound of the edited voice with the sound of the voice before it was edited by pressing the [EDIT/COMPARE] key to activate the COMPARE function. A “C” will appear on the LED display while the COMPARE function is active, and the sound of the voice prior to editing will be heard when you play the keyboard. Press the [EDIT/COMPARE] key again to return to the edit mode.

WAVE TYPE

161718

3233343536

383940

46474849505152

55565758596061

65666768697071

7475767778

96979899100

101

102

103

104

105

106

107

108

109

110

111

112

113

114

115

116

117

119

120

121

122

123

124

125

ELEMENT TONE

ET>WAVE 000 !BCD

Piano:Piano

Summary: Assigns a preset wave to the selected

element.

Settings: Elements A and C (AWM): 0 … 127

Elements B and D (FM): 0 … 255

Procedure: Use the [4] and [6] cursor keys to place

the underline cursor under the left

AWM WAVEFORM LIST

Category No. Name

Piano 0

Organ 5

Brass 9

Wood

Gtr 20

Bass 28

1 2 3 4

6 7 8

10 11 12 13 14 15

21 22 23 24 25 26 27

29 30 31

Piano E.Piano Clavi Cembalo Celesta

P.Organ E.Organ1 E.Organ2 Bandneon

Trumpet Mute Trp Trombone Flugel Fr Horn BrasEns SynBrass

Flute Clarinet Oboe Sax

Gut Steel E.Gtr 1 E.Gtr 2 Mute Gtr Sitar Pluck 1 Pluck 2

Wood B 1 Wood B 2 E.Bass 1 E.Bass 2

Category No. Name

Bass

Str.

Vocal

Perc.

Synth

E.Bass 3 E.Bass 4 Slap Fretless SynBass1 SynBass2

Strings Vn.Ens. Cello Pizz. Syn Str

Choir Itopia Choir pa

Vibes Marimba Bells Timpani Tom E. Tom Cuica Whistle ThumbStr

SynPad Harmonic SynLead1 SynLead2 Bell Mix Sweep HumanAtk Noise 1 Noise 2

parameter on the lower display line to directly select the different wave categories, or under the right parameter to select individual waves. Use the [–1/NO] and [+1/YES] keys to select the desired wave (refer to the wave list, below).

Details: The number of waves available depends on

whether the currently selected element is an AWM element (A or C) or an FM element (B or D). The SY35 has 128 preset AWM waves (0 …

127) and 256 preset FM waves (0 … 255).

Category No. Name Synth 64 PopsHit SFX

Hits

Tran. 81

OSC 90

82 83 84 85 86 87 88 89

91 92 93 94 95

NoisPad1 NoisPad2 NoisPad3 Coin Crash Bottle BotleOpn Cracker Scratch

Metal 1 Metal 2 Metal 3 Metal 4 Wood Bamboo Slam

Tp. Body Tb. Body HornBody Fl. Body Str.Body AirBlown Reverse1 Reverse2 Reverse3

EP wv Organ wv M.Tp wv Gtr wv Str wv 1 Str wv 2

Category No. Name

OSC

SEQ

Drum 127 Drum set

118

126

Pad wv Digital1 Digital2 Digital3 Digital4 Digital5 Saw 1 Saw 2 Saw 3 Saw 4 Square 1 Square 2 Square 3 Square 4 Pulse 1 Pulse 2 Pulse 3 Pulse 4 Pulse 5 Pulse 6 Tri Sin8’ Sin8’+4’

SEQ 1 SEQ 2 SEQ 3 SEQ 4 SEQ 5 SEQ 6 SEQ 7 SEQ 8

AWM Waveform Category Descriptions

Piano Organ Brass Wood Gtr Bass Str. Vocal Perc.

Piano, clavi, and other decay-type keyboard sounds. Pipe, electric and reed organs. Acoustic and synthesized brass sounds. Flute, sax and other woodwind sounds. Acoustic and electric guitars. Acoustic, electric, and synth bass. Violin ensemble and other strings. Choir and other vocal-type sounds. Vibes, timpani, etc.

Synth SFX Hits Tran. OSC

SEQ Drum

A range of synth sounds (including noise). Special effects – crash, bottle, etc. Struck metal and woods. Transient attack waves and some reverse sounds. Standard synth waveforms and the basic waveforms from some actual instruments. Sequences of sampled sounds. Drum set waves.

ELEMENT TONE

101112

14151617181920212223242526

28293031323334

3637383940

4243444546

495051

54555657585960

6364656667

70717273747576777879808182838485868788

9192939495

9899100

101

102

103

104

105

106

107

108

109

110

111

112

113

114

115

116

118

119

120

121

122

123

125

126

127

128

129

130

131

132

133

134

135

136

137

138

139

140

141

143

144

145

147

148

150

151

152

153

154

155

156

157

158

159

160

161

162

163

164

165

166

167

168

169

170

172

173

174

175

176

177

220

221

223

224

225

250

251

252

253

254

FM WAVEFORM LIST

Category No. Name

Piano 0

Organ 6

Brass

Wood

Reed

Pluck

1 2 3 4 5

7 8 9

E.Piano1 E.Piano2 E.Piano3 E.Piano4 E.Piano5 E.Piano6

E.Organ1 E.Organ2 E.Organ3 E.Organ4 E.Organ5 E.Organ6 E.Organ7 E.Organ8

Brass 1 Brass 2 Brass 3 Brass 4 Brass 5 Brass 6 Brass 7 Brass 8 Brass 9 Brass 10 Brass 11 Brass 12 Brass 13 Brass 14

Wood 1 Wood 2 Wood 3 Wood 4 Wood 5 Wood 6 Wood 7 Wood 8

Reed 1 Reed 2 Reed 3 Reed 4 Reed 5 Reed 6

Clavi 1 Clavi 2 Clavi 3 Clavi 4 Guitar 1 Guitar 2 Guitar 3

Category No. Name

Pluck

Bass.

Str.

Perc.

Syn.S

Guitar 4 Guitar 5 Guitar 6 Guitar 7 Guitar 8

Bass 1 Bass 2 Bass 3 Bass 4 Bass 5 Bass 6 Bass 7 Bass 8 Bass 9

Str 1 Str 2 Str 3 Str 4 Str 5 Str 6 Str 7

Vibes 1 Vibes 2 Vibes 3 Vibes 4 Marimba1 Marimba2 Marimba3 Bells 1 Bells 2 Bells 3 Bells 4 Bells 5 Bells 6 Bells 7 Bells 8 Metal 1 Metal 2 Metal 3 Metal 4 Metal 5 Metal 6

Lead 1 Lead 2 Lead 3 Lead 4 Lead 5 Lead 6 Lead 7

Category No. Name Syn.S

Syn.M

Syn.D

SFX

117

124

142

146

Sus. 1 Sus. 2 Sus. 3 Sus. 4 Sus. 5 Sus. 6 Sus. 7 Sus. 8 Sus. 9 Sus. 10 Sus. 11 Sus. 12 Sus. 13 Sus. 14 Sus. 15 Attack 1 Attack 2 Attack 3 Attack 4 Attack 5

Move 1 Move 2 Move 3 Move 4 Move 5 Move 6 Move 7

Decay 1 Decay 2 Decay 3 Decay 4 Decay 5 Decay 6 Decay 7 Decay 8 Decay 9 Decay 10 Decay 11 Decay 12 Decay 13 Decay 14 Decay 15 Decay 16 Decay 17 Decay 18

SFX 1 SFX 2 SFX 3 SFX 4

Category No. Name

SFX

OSC 1

OSC 2

OSC 3

149

171

222

255

SFX 5 SFX 6 SFX 7

Sin 16’ Sin 8’ Sin 4’ Sin2 2/3 Sin 2’ Saw 1 Saw 2 Square LFOnoise Noise 1 Noise 2 Digi 1 Digi 2 Digi 3 Digi 4 Digi 5 Digi 6 Digi 7 Digi 8 Digi 9 Digi 10 Digi 11

wave1-1 wave1-2 wave1-3 wave2-1 wave2-2 wave2-3 : : wave17-1 wave17-2 wave17-3

wave18-1 wave18-2 wave18-3 : : wave27-1 wave27-2 wave27-3 wave28 wave29 wave30

FM Voice Category Descriptions

Piano Organ Brass Wood Reed Pluck Bass Str.

Electric pianos. Electric organs. A variety of brass sounds. Woodwind instrument sounds. Sax, oboe and other reed instruments. Guitar, clavi, and other plucked instrument sounds. Bass sounds. Strings.

If the TYPE parameter in the ELEMENT ENVELOPE edit mode (page 27) is set to PRESET, selecting a WAVE TYPE also selects

Perc. Syn.S Syn.M Syn.D SFX OSC1 OSC2 OSC3

Vibes, marimba, bells and other percussion sounds. Sustained lead synth sounds. Synth sounds that vary with time. Decay-type synth sounds. A range of sound-effect type synth sounds. Sine, sawtooth, and other standard synth waveforms. Basic FM timbres, group 1. Basic FM timbres, group 2.

the corresponding preset envelope. If a different envelope type is selected, the preset envelope is not selected together with the wave.

ELEMENT COPY

ELEMENT TONE

ET>COPYfrom ABCD

any Voice? ->

Summary: Copies all element parameters from an

element of the same type (AWM or FM) in another voice to the current element of the current voice.

Settings: Source: I, C, P

Bank: 1 … 8 Number: 1 … 8 Element: A/C or B/D

Procedure: Use the [4] and [6] cursor keys to move

the cursor to the source, bank, or number of the source voice (the voice from which the element parameters are to be copied) to the left of the lower display line. Use the [–1/NO] and [+1/YES] keys to set the selected parameter as necessary. Next move the cursor to the element type parameter to the right of the lower display line, and select the element from which the data is to be copied using the [–1/NO] and [+1/YES] keys.

Press the [6] cursor key one more time and the “Are you sure?” display will appear. Press [+1/YES] to execute the element copy operation or [–1/NO] to cancel. “>>Completed!!<<” will appear briefly when the copy operation has finished.

Details: In this display the source, bank and number

parameters are shown in the standard SY35 voice number format. “P12,” for example, is preset bank 1, number 2; “I35” is internal bank 3, number 5, etc. Data can only be copied between elements of the same type. If the element currently being edited is an AWM element (A or C), only element A or C of the source voice can be copied from. the same applies to FM elements. The data for all parameters contained in the ELEMENT TONE mode will be copied.

FREQUENCY SHIFT

ET>FREQ. ABCD

Shift= 0

Summary: Shifts the frequency (pitch) of the

selected element up or down in semitone steps.

Settings: –12 ... 0 … +12. Procedure: Use the [6] key to move the cursor to

the lower display line. Use the [–1/NO] and [+1/YES] keys to select the desired amount of frequency shift.

Details: A setting of “–12,” for example, shifts the

pitch of the selected element down by one octave; a setting of “+4” shifts the pitch up by a major third. The Frequency Shift function can be used to transpose an element to its most useful range, or to create harmony (intervals) between different elements.

ELEMENT TONE

VOLUME

ET>VOLUME ABCD Level= 0

Summary: Adjusts the volume of the selected ele-

ment.

Settings: 0 ... 99 Procedure: Use the [6] key to move the cursor to

the lower display line. Use the [–1/NO] and [+1/YES] keys to select the desired volume level.

ET>PAN ÅBCD

L--|--R

Summary: Determines the position in the stereo

sound field in which the sound from selected element will be heard (left to right).

Settings: Graphic Display: L--+--R, 5 positions from

left to right.

Procedure: Use the [6] key to move the cursor to

the lower display line. Use the [–1/NO] and [+1/YES] keys to select the desired pan position.

Details: A setting of “0” produces no sound while

a setting of “99” produces maximum volume. The ability to independently adjust the volume of each element makes it simple to set up the optimum balance or “mix” between elements.

PAN

Details: The lower line of the display shows a

graphic representation of the stereo sound field with “L” representing “left” and “R” representing “right.” As you edit the pan parameter the position indicator will appear at the corresponding position on the graphic display. A total of five different positions are available, corresponding to left, left-center, center, rightcenter, and right. Interesting stereo effects can be produced by placing the output from different elements at different locations in the stereo sound field.

VELOCITY SENSITIVITY

ET>VELOCITY ABCD

Sense= 0 ---

Summary: Determines how the output level of the

selected element changes in response to velocity changes (keyboard initial touch response).

Settings: –5 ... 0 … +5 Procedure: Use the [6] key to move the cursor to

the lower display line. Use the [–1/NO] and [+1/YES] keys to select the desired velocity sensitivity.

Details: Plus “+” settings produce higher output

level in response to higher velocity values — i.e. the harder a key is played, the louder the sound. Minus “–” settings produce the opposite effect: lower level in response to higher velocity. A setting of “0” results in no level variation.

0 No response. +1 Narrow change between medium-hard and

hard velocity.

ELEMENT TONE

+2 Broader change between medium and hard

velocity.

+3 Smooth change all the way from soft to hard

velocity. +4 Large change over small velocity range. +5 Sudden change from no sound to maximum

level at about medium velocity.

AFTER TOUCH SENSITIVITY

ET>AFTER ABCD

Sense= 0 ---

Summary: Determines how the output level of the

selected element changes in response to keyboard after touch pressure changes when the Lev (Level) parameter of the AFTER TOUCH function in the VOICE COMMON mode is set to “on” (see page 7).

Settings: –3 ... 0 … +3 Procedure: Use the [6] key to move the cursor to

the lower display line. Use the [–1/NO] and [+1/YES] keys to select the desired after touch sensitivity.

Details: Plus “+” settings produce higher output

level in response to higher after touch pressure. Minus “–” settings produce the opposite effect:

“–” Settings have the same effect, but the sound level decreases rather than increasing with increased key velocity. A graphic display to the right of the sensitivity value provides a visual indication as to the type of change produced by each setting.

lower level in response to higher pressure. A setting of “0” results in no level variation.

0 No response. +1 Narrow change between medium-high and

high pressure.

+2 Broader change between medium and high

pressure.

+3 Smooth change all the way from low to high

pressure.

“–” Settings have the same effect, but the sound level decreases rather than increasing with increased after touch pressure. A graphic display to the right of the sensitivity value provides a visual clue as to the type of change produced by each setting.

TONE (FM Elements B and D Only)

ET>TONE A>CD

Lev= 0 FB=0

Summary: Adjusts the tone of the selected FM

element — B or D.

Settings: Lev (Level): 0 … 99

FB (Feedback): 0 … 7

Procedure: Use the [4] and [6] cursor keys to place

the underline cursor under the Lev or FB parameter. Use the [–1/NO] and [+1/YES] keys to set the level or feedback as required.

Details: The Lev parameter adjusts the modulation

level of the select FM element, so higher values produce a brighter, sharper tone while lower values produce a rounder, more mellow tone. The effect of the feedback parameter varies from element to element, but in general higher values make the sound more brassy or noisy, while lower values make the sound smoother.

ELEMENT TONE

LFO (Low Frequency Oscillator) AM Depth, PM Depth, Type, Delay, Rate & Speed

l AM (Amplitude Modulation Depth)

ET LFO ABCD AM= 0 PM= 0

Summary: Determines the maximum amount of

amplitude modulation that can be applied to the selected element by the modulation wheel or keyboard after touch.

Settings: 0 ... 15 Procedure: Use the [

the AM parameter. Use the [–1/NO] and [+1/YES] keys to set the desired degree of amplitude modulation.

Details: A “0” setting produces no modulation

while a setting of “15” produces maximum modulation. Amplitude modulation produces a periodic variation in the volume of the sound, thus creating a tremolo effect. Please note that the AM parameter of the WHEEL and/or AFTER TOUCH function in the VOICE COMMON edit mode must be set to “on” before amplitude modulation can be applied manually (see page 7). Amplitude modulation is applied automatically when these parameters are off.

l PM (Pitch Modulation Depth)

4] and [6] cursor keys to select

Details: A “0” setting produces no modulation

while a setting of “31” produces maximum modulation. Pitch modulation produces a periodic pitch variation, thereby creating a vibrato effect. Please note that the PM parameter of the WHEEL and/or AFTER TOUCH function in the VOICE COMMON edit mode must be set to “on” before pitch modulation can be applied manually. Pitch modulation is applied automatically when these parameters are off.

l Type

ET LFO ABCD AM= 0 PM= 0

Summary: Determines the waveform of the LFO

for the selected element.

Settings:

SAW UP SAW DOWN TRIANGLE

SQUARE SAMPLE&HOLD

Procedure: Use the [4] and [6] cursor keys to select

the waveform parameter. Use the [–1/NO] and [+1/YES] keys to select the desired LFO waveform.

ET LFO ABCD AM= 0 PM= 0

Summary: Determines the maximum amount of

pitch modulation that can be applied to the selected element by the modulation wheel or keyboard after touch.

Settings: 0 ... 31 Procedure: Use the [

the PM parameter. Use the [–1/NO] and [+1/YES] keys to set the desired degree of pitch modulation.

4] and [6] cursor keys to select

Details:

= Upward sawtooth. = Downward sawtooth. = Triangle. = Square. = Sample and hold.

ELEMENT TONE

l Dly (Delay)

ET LFO ABCD ˚Dly= 0 Rate= 0->

Summary: Sets the delay time between the begin-

ning of a note and the beginning of LFO operation for the selected element when the WHEEL and AFTER TOUCH parameters in the VOICE COMMON edit mode are both turned off.

Settings: 0 ... 99 Procedure: Use the [

the Dly parameter. Use the [–1/NO] and [+1/YES] keys to set the desired LFO delay.

Details: The minimum setting “0” results in no

delay, while the maximum setting of “99” produces maximum delay before the LFO begins operation.

l Rate

4] and [6] cursor keys to select

ET LFO ÅBCD ˚Dly= 0 Rate= 0->

Summary: Sets the rate of LFO “fade in” for the

selected element when the WHEEL and AFTER TOUCH parameters in the VOICE COMMON edit mode are both turned off.

Procedure: Use the [

the Rate parameter. Use the [–1/NO] and [+1/YES] keys to set the desired LFO fade-in rate.

Details: “0” is the fastest rate, causing the LFO to

start operation at full depth immediately. A setting of 99 produces the longest LFO fade in.

l Spd (Speed)

4] and [6] cursor keys to select

ET LFO ABCD ˚Spd= 0

Summary: Sets the speed of the LFO for the

selected element.

Settings: 0 ... 31 Procedure: Use the [

the Spd parameter. Use the [–1/NO] and [+1/YES] keys to set the desired LFO speed.

Details: “0” is slowest LFO speed setting; “31” is

the fastest. The speed parameter can not be edited when the sample-and-hold (

4] and [6] cursor keys to select

) LFO TYPE is selected.

º–º

Settings: 0 ... 99

ELEMENT TONE

ELEMENT ENVELOPE

The ELEMENT ENVELOPE edit mode allows detailed programming of the amplitude envelopes for each element in the selected voice.

TYPE............................................................................................................................. 27

ENVELOPE COPY......................................................................................................... 28

DELAY (Delay Rate & ON/OFF).................................................................................... 28

INITIAL LEVEL............................................................................................................ 28

ATTACK (Level & Rate)............................................................................................... 29

DECAY 1 (Level & Rate)............................................................................................... 29

DECAY 2 (Level & Rate)............................................................................................... 29

RELEASE RATE............................................................................................................ 30

LEVEL SCALING........................................................................................................... 30

RATE SCALING............................................................................................................. 31

ELEMENT ENVELOPE

ÔÔÔ

Selecting the ELEMENT ENVELOPE Edit Mode

From the VOICE or MULTI mode:

From another edit or utility mode simply press [ELEMENT ENVELOPE]. An “E” will appear to the left of the LED display to indicate that an edit mode is selected, and the element selected for editing will be displayed to the right of the display — “A”, “b”, “C”, or “d”. A dot will appear to the right of the element character as soon as any parameter has been edited.

In this example elements A, B and D are ON, while element C is OFF. Element A is currently selected for editing.

ET@TYPE ÅB-D

USER

Selecting the ELEMENT ENVELOPE Edit Mode Functions

The various ELEMENT ENVELOPE edit mode functions can be selected in sequence by pressing the [ELEMENT ENVELOPE] key, or by using the [–1/NO] and [+1/YES] keys when the cursor (6)is located immediately before the function name on the upper display line.

The COMPARE Function

TYPE

ELEMENT ENVELOPE

EE>TYPE ÅBCD

USER

Summary: Selects a user or preset amplitude enve-

lope for the selected element.

Settings: PRESET, PIANO, GUITAR, PLUCK,

BRASS, STRINGS, ORGAN, USER

Procedure: Use the [6] key to move the cursor to

the lower display line. Use the [–1/NO] and [+1/YES] keys to select the desired envelope.

Details: When “PRESET” is selected, the original

envelope of the wave selected for the current element is used. For example, if the current uses a guitar wave corresponding guitar envelope will be selected. When “PIANO,” “GUITAR,” “PLUCK,” “BRASS,” “STRINGS,” or “ORGAN” is selected, a generic envelope of the appropriate type is used. Then piano, organ and strings envelopes are roughly as shown below:

PLUCK

LEVEL

TIME

BRASS

LEVEL

TIME

STRINGS

LEVEL

PIANO

LEVEL

GUITAR

TIME

ORGAN

LEVEL

TIME

Editing any of the envelope parameters for one of the above types turns the envelope into a “USER” type. When “USER” is selected, an original envelope can be programmed using the attack, decay, and release parameters described on pages 29, 30.

ELEMENT ENVELOPE

ENVELOPE COPY

EE>COPYfrom ÅBCD

any Element? ->

Summary: Copies envelope parameters from a

selected element to the current element.

Settings: Element: A, B, C, D Procedure: Use the [4] and [6] cursor keys to move

the cursor to the “from” element parameter. Use the [–1/NO] and [+1/YES] keys to select the element from which the envelope data is to be copied.

DELAY (Delay Rate & ON/OFF)

EE>DELAY ÅBCD

Rate= 0 off

Summary: Sets a delay before the envelopes of all

elements begin.

Settings: Delay: 0 … 99

Mode: on/off

Procedure: Use the [4] and [6] cursor keys to move

the cursor to the “Rate” parameter. Use

Press the [6] cursor key one more time and the “Are you sure?” display will appear. Press [+1/YES] to execute the copy operation or [–1/NO] to cancel. “>>Completed!!<<” will appear briefly when the copy operation has finished.

Details: This function can save a lot of

programming time by allowing easy copying of complex USER type envelope data between elements.

the [–1/NO] and [+1/YES] keys to select the desired delay rate. Press the [6] cursor key one more time to move to the on/off mode parameter, and use the [–1/NO] and [+1/YES] keys to set as required.

Details: The envelope delay rate parameter affects

all envelopes simultaneously. A setting of “0” produces almost no delay while a setting of “99” produces maximum delay.

INITIAL LEVEL

EE>INITIAL ÅBCD

Level= 0

Summary: Sets the starting level of the amplitude

envelope for the current element.

Settings: 0 … 99 Procedure: Use the [6] cursor key to move the cur-

sor to the lower display line. Use the [–1/NO] and [+1/YES] keys to set the initial level.

Details: A setting of “0” means that the envelope

will begin from zero (minimum) level, while a setting of “99”causes the envelope to begin

immediately from maximum level. The highest setting produces the sharpest attack.

Attack rate

Attack level

•

Initial level

LEVEL

•

Key ON (Delay off) Key OFF

Decay 1 rate

•

Decay 1 level

Decay 2 rate

TIME

Decay 2 level

•

Release rate

ATTACK (Level & Rate)

ELEMENT ENVELOPE

EE>ATTACK ÅBCD

AL= 0 AR= 0

Summary: Sets the rate and peak level of the attack

of the amplitude envelope for the current element.

Settings: AL (Attack Level): 0 … 99

AR (Attack Rate): 0 … 99

Procedure: Use the [4] and [6] cursor keys to move

the cursor to the “AL” or “AR” parameter. Use the [–1/NO] and [+1/YES] keys to set the selected level or rate parameter.

DECAY 1 (Level & Rate)

EE>DECAY1 ÅBCD

D1L= 0 D1R= 0

Summary: Sets the rate and final level of the first

decay of the amplitude envelope for the current element.

Settings: D1L (Decay 1 Level): 0 … 99

D1R (Decay 1 Rate): 0 … 99

Procedure: Use the [4] and [6] cursor keys to move

the cursor to the “D1L” or “D1R” parameter.

Details: Refer to the INITIAL LEVEL function for

a complete envelope diagram. A rate setting of “0” produces the slowest attack, and a setting of “99” produces the fastest attack. A level setting of “0” produces the lowest attack level, while a setting of “99” produces the highest level. Please note that the attack may be “biased” by the ENVELOPE Attack Rate parameter in the VOICE COMMON edit mode.

Use the [–1/NO] and [+1/YES] keys to set the selected level or rate parameter.

Details: Refer to the INITIAL LEVEL function for

a complete envelope diagram. A rate setting of “0” produces the slowest decay, and a setting of “99” produces the fastest decay. A level setting of “0” produces the lowest decay level, while a setting of “99” produces the highest level.

DECAY 2 (Level & Rate)

EE>DECAY2 ÅBCD

D2L= 0 D2R= 0

Summary: Sets the rate and final level of the

second decay of the amplitude envelope for the current element.

Settings: D2L (Decay 2 Level): 0 … 99

D2R (Decay 2 Rate): 0 … 99

Procedure: Use the [4] and [6] cursor keys to move

the cursor to the “D2L” or “D2R” parameter. Use the [–1/NO] and [+1/YES] keys to set the selected level or rate parameter.

Details: Refer to the INITIAL LEVEL function for

ELEMENT ENVELOPE

MULTI

The MULTI edit mode allows 8 different voices to be assigned to different MIDI channels. The assigned voices can then be individually controlled over the appropriate channels from an external MIDI sequence recorder or other controller. If a number of these channel/voice “parts” are assigned to the MIDI transmit channel of the SY35, they can all be played simultaneously from the SY35 keyboard. Individual characteristics of each voice, such as volume and detune, can also be programmed.

NAME............................................................................................................................ 35

EFFECT (Type & Depth)............................................................................................... 35

VOICE NUMBER........................................................................................................... 35

MIDI RECEIVE CHANNEL........................................................................................... 36

VOLUME....................................................................................................................... 36

DETUNE........................................................................................................................ 37

NOTE LIMIT (Low & High).......................................................................................... 37

NOTE SHIFT................................................................................................................. 37

MULTI

NAME

MULTI

MU>NAME

P11 Initial

Summary: Assigns a name of up to 8 characters to

the current multi-play setup.

Settings: The following characters are available for

use in multi-play names:

(Space) !"#¢%&'()*+,-./0123456789:;<=>?Å

ABCDEFGHIJKLMNOPQRSTUVWXYZ[Á]^_« abcdefghijklmnopqrstuvwxyz“|‘Ÿ˚

EFFECT (Type & Depth)

MU>EFFECT Rev Hall Dep=1

Summary: Selects one of sixteen digital effects, and

sets the depth of the selected effect for the current multi-play setup.

Procedure: Use the [4] and [6] cursor keys to place

the underline cursor under the character to be changed. Use the [–1/NO] and [+1/YES] keys to select the desired character. Continue until the entire multi-play name has been programmed.

Details: It’s a good idea to give your multi-play se-

tups names that make them easily identifiable. If you’ve created a new setup using three voices intended for rock music, you could call it something like “RockTrio”.

Depth: 0 … 7 Procedure: Use the [4] and [6] cursor keys to place

the underline cursor under the effect type or depth parameter. Use the [–1/NO] and [+1/YES] keys to select the desired effect or effect depth.

Settings: Effect type:

MU>VOICE NUMBER

I11 Initial

Details: Setting the depth parameter to “0” is

equivalent to turning the effect OFF. A depth setting of “7” produces the greatest effect.

VOICE NUMBER

Summary: Assigns a preset, card or internal voice

to the selected multi-play part.

MULTI

Settings: Source: I, C, P

Bank: 1 … 8 Number: 1 … 8

Procedure: Press the [NUMBER/MULTI PART

SELECT] key corresponding to the desired multi-play part. Use the [4] and [6] cursor keys to move the cursor to the source, bank, or number parameter. Use the [–1/NO] and [+1/YES] keys to set the selected parameter as necessary.

MIDI RECEIVE CHANNEL

MU>MIDI Rcv.ch

channel= 1

Summary: Sets the MIDI receive channel for the

selected multi-play part to any channel between 1 and 16, or off.

Settings: 0 ... 16, off Procedure: Press the [NUMBER/MULTI PART

SELECT] key corresponding to the desired multi-play part.

Details: In this display the source, bank and number

parameters are shown in the standard SY35 voice number format. “P12,” for example, is preset bank 1, number 2; “I35” is internal bank 3, number 5, etc.

Use the [6] cursor key to move the cursor to the lower display line. The [–1/NO] and [+1/YES] keys are used to select the desired MIDI channel or turn MIDI reception for that part off.

Details: The most logical and easy-to-follow set-

tings for multi-play parts 1 through 8 are, naturally, MIDI channels 1 through 8. Turn MIDI reception “off” for parts you do not intend to use.

VOLUME

MU>VOLUME

Level= 0

Summary: Adjusts the volume of the selected

multi-play part.

Settings: 0 ... 99 Procedure: Press the [NUMBER/MULTI PART

SELECT] key corresponding to the desired multi-play part.

Use the [6] cursor key to move the cursor to the lower display line. Use the [–1/NO] and [+1/YES] keys to select the desired volume level.

Details: A setting of “0” produces no sound while

a setting of “99” produces maximum volume. The ability to independently adjust the volume of each multi-play part makes it simple to set up the optimum balance or “mix” between parts.

Yamaha SY35E2, SY35 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual