Yamaha SY85E2, SY85 User Manual

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Page 1

YAMAHA

SY85 Music Synthesizer

Owner’s Manual 2

- Feature Reference -

Page 2

GENERAL EDITING PROCEDURE

PERFORMANCE EDIT MODE

VOICE EDIT MODE

DRUM VOICE EDIT MODE

SONG EDIT MODE

PATTERN EDIT MODE

UTILITY MODE

WAVE EDIT MODE

APPENDIX

Page 3

CONTENTS

GENERAL EDITING PROCEDURE

■ Mode Selection.............................................8

■ Selecting Specific Edit Functions...............8

■ Selecting & Editing Parameters................10

■ Controller Assignment Display..................11

Performance Edit Mode

■ Edit 1: Layer

1: Voice Number .................................14

2: Vo l u m e .............................................15

3: Pa n ...................................................16

4: Tune .................................................17

5: No t e Li m i t ........................................18

6: Ve l o c i t y Li m i t...................................2 0

7: CS Enable .......................................22

Layer Data Copy.................................23

2: Performance Total Level .....................24

3: Performance Name ..............................25

4: Layer Voice Edit

1: Oscillator..........................................26

2: Amplitude EG..................................26

3: Filter .................................................26

4: Pi t c h EG ..........................................26

5: LF O ..................................................2 6

6: Controller .........................................26

7: Voice Total Level ...........................26

8: Voice Name.....................................26

■ Quick Edit

1: Amplitude EG Offset............................27

2: LFO & Filter Offset ..............................29

3: Controller Conditions ...........................31

4: Other Conditions ..................................33

5: Effect Type............................................35

6: Effect Parameter ..................................36

■ Effect Edit

1: Mode, Type ...........................................37

2: Send Select & Level............................38

3: Layer Dry Output Select .....................40

4: Output Level .........................................41

5: Wet : Dry Balance ...............................42

6: Send & Effect 2 Mix Level .................43

7: Effect 1 Parameters.............................44

8: Effect 2 Parameters.............................44

9: Control Parameters ..............................45

10: Control LFO ........................................47

Effect Data Copy .......................................48

Effect Signal Flow Display.......................49

■ Job

1: Layer Controller Sync..........................50

2: Layer Exchange....................................51

3: Performance Edit Recall .....................52

4: Performance Initialize ..........................53

■ Performance Compare ...............................54

■ Performance Store .....................................55

Voice Edit Mode

■ Edit

1: Oscillator................................................58

2: Amplitude EG

1: AEG Level & Rate .........................60

2: Level Scaling ..................................62

3: Sensitivity ........................................63

AEG Data Copy...................................64

3: Filter

1: Type, Cutoff Frequency.................65

2: Cu t o f f Sc a l i n g .................................6 9

3: FEG Level & Rate ..........................70

4: Filter Sensitivity ..............................72

Filter Data Copy..................................73

4: Pitch EG

1: Level & Rate...................................74

2: Range, Sensitivity...........................76

Pitch EG Data Copy ...........................77

5: LFO

1: LF O ..................................................7 8

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2: LFO Speed Sensitivity ...................80

LFO Data Copy ...................................81

6: Controller

1: Pitch Bend Range ..........................82

2: Modulation Wheel Depth ...............83

3: Foot Controller Depth ....................85

4: After Touch Depth..........................87

5: CS3 Parameter Edit.......................89

6: CS4 Parameter Edit.......................91

Controller Data Copy..........................93

7: Voice Total Level ...........................94

8: Voice Name.....................................95

Drum Voice Edit Mode

■ Edit

1: Key Parameters 1 ............................. 120

2: Key Parameters 2 ............................. 122

3: Total Level ......................................... 123

4: Drum Voice Name............................. 124

Drum Key Data Copy ............................ 125

■ Quick Edit

1: Effect Type......................................... 126

2: Effect Send Level.............................. 127

■ Quick Edit

1: Wave ......................................................96

2: Amplitude EG........................................98

3: Filter .................................................... 100

4: LF O ..................................................... 1 0 2

5: Effect Type......................................... 103

6: Effect Parameter ............................... 104

■ Effect Edit

1: Mode, Type ........................................ 105

2: Send, Mix, Wet : Dry........................ 106

3: Output Level ...................................... 108

4: Effect 1 Parameters.......................... 109

5: Effect 2 Parameters.......................... 109

6: Control Parameters ........................... 110

7: Ef f e c t LF O .......................................... 11 2

Effect Data Copy .................................... 113

Effect Signal Flow Display.................... 114

■ Job

1: Voice Edit Recall............................... 115

2: Voice Initialize ................................... 116

■ Effect Edit

1: Mode, Type ........................................ 128

2: Key Send Select & Level................. 129

3: Key Dry Output Select ..................... 131

4: Output Level ...................................... 132

5: Wet : Dry Balance ............................ 133

6: Send & Effect 2 Mix Level .............. 134

7: Effect 1 Parameter2.......................... 135

8: Effect 2 Parameter2.......................... 135

9: Control Parameters ........................... 136

10: Control LFO ..................................... 138

Effect Data Copy .................................... 139

Effect Signal Flow Display.................... 140

■ Job

1: Key Data Initialize............................. 141

2: Key Data Exchange .......................... 142

3: Drum Voice Edit Recall.................... 143

4: Drum Voice Initialize......................... 144

■ Drum Voice Compare ............................. 145

■ Voice Compare ........................................ 117

■ Voice Store............................................... 118

■ Drum Voice Store .................................... 146

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Song Edit Mode

■ Multi Edit

1: Vo i c e Se l e c t ....................................... 14 8

2: Vo l u m e ................................................ 149

3: Pa n ...................................................... 15 0

4: Effect Send Level.............................. 151

5: No t e Sh i f t ........................................... 1 5 2

6: Tune .................................................... 153

7: Effect Type, Out Balance................. 154

8: Song Name ........................................ 155

9: Song Initialize .................................... 156

■ Track Edit ................................................. 157

15: Ve l o c i t y Mo d i f y ................................ 1 9 8

16: Ga t e Ti m e Mo d i f y ........................... 19 9

17: Crescendo ........................................ 200

Pattern Edit Mode

■ Job

1: Copy Pattern...................................... 202

2: Clear Pattern ...................................... 203

3: Instrument Change............................ 204

4: Ve l o c i t y Mo d i f y .................................. 205

■ Effect Edit

1: Mode, Type ........................................ 166

2: Send Select & Level......................... 167

3: Inst Dry Output Select...................... 169

4: Output Level ...................................... 170

5: Wet : Dry Balance ............................ 171

6: Send & Effect 2 Mix Level .............. 172

7: Effect 1 Parameters.......................... 173

8: Effect 2 Parameters.......................... 173

9: Control Parameters ........................... 174

10: Control LFO ..................................... 176

Effect Data Copy .................................... 177

Effect Signal Flow Display.................... 178

■ Job

1: Clear Song ......................................... 179

2: Copy Song ......................................... 180

3: Memory Status/Clear Rhythm Track

.................................................... 181,182

4: Track Mixdown................................... 183

5: Delete Track ...................................... 185

6: Quantize ............................................. 186

7: Copy Measure ................................... 188

8: Delete Measure ................................. 190

9: Insert Measure................................... 191

10: Erase Measure ................................ 192

11: Remove Event ................................. 193

12: Clock Move ...................................... 195

13: Transpose......................................... 196

14: No t e Sh i f t ......................................... 19 7

■ Pattern Name ........................................... 207

Utility Mode

■ Synth Setup

1: System ................................................ 210

2: MIDI 1 (Channel Parameters) ......... 212

3: MIDI 2 (Other Parameters).............. 213

4: Program Change Table .................... 215

5: Ve l o c i t y ............................................... 21 6

■ SEQ Setup

1: Click Condition................................... 217

2: Record Condition............................... 219

3: Accent Velocity.................................. 220

4: Song Chain ........................................ 221

■ Bulk Dump

1: al l......................................................... 2 2 2

2: synth all.............................................. 222

3: sequencer all ..................................... 222

4: pattern all ........................................... 222

5: 1 performance .................................... 222

6: 1 vo i c e ................................................ 2 2 2

7: 1 song................................................. 222

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■ Card

1: Card All Load/Save........................... 223

2: Card Format....................................... 224

■ Disk

1: Disk All Load/Save............................ 225

2: Disk All Load/Save Synth ................ 225

3: Disk All Load/Save Seq ................... 225

4: Disk NSEQ Load/Save ..................... 225

5: Disk Other Load/Save ...................... 225

6: MD R .................................................... 228

7: Rename/Delete .................................. 231

8: Backup Disk....................................... 232

9: Di s k St a t u s ......................................... 234

10: Disk Format ..................................... 235

Wave Edit Mode

■ Wave Number Select .............................. 239

■ Edit

1: Waveform

1: Wave Assign ................................ 240

2: Wave Name ................................. 240

2: Sample

1: Sample Key Map......................... 243

2: Sample Data ................................ 243

■ Wave Initialize.......................................... 247

■ Sample Dump

1: Sample Dump Recieve..................... 248

2: Sample Dump Transmit.................... 249

APPENDIX

■ EFFECTS.................................................. 254

Effect Signal Flow Diagrams — Voice

Mode........................................................ 256

Effect Signal Flow Diagrams — Drum Voice,

Performance, and Song Modes ..................

The Effects & Their Parameters.......... 274

■ WAVE MEMORY EXPANSION .............. 285

Memory Installation................................ 286

■ INITIAL DATA & BLANK CHART

INITIAL PERFORMANCE “InitPerf” ..... 289

INITIAL NORMAL VOICE “InitVce”...... 290

INITIAL DRUM VOICE “DR PTN”........ 292

INITIAL DRUM VOICE “DR Zones”..... 294

INITIAL DRUM VOICE “DR GMIDI” .... 296

INITIAL DRUM VOICE “DR Efect” ...... 298

INITIAL MULTI “InitSong” ..................... 300

SYSTEM SETUP.................................... 301

INTERNAL PERFORMANCE LIST (1)....

INTERNAL PERFORMANCE LIST (2)....

INTERNAL VOICE LIST (1).................. 306

INTERNAL VOICE LIST (2).................. 307

INTERNAL VOICE LIST (3).................. 308

INTERNAL VOICE LIST (4).................. 309

INTERNAL WAVE LIST ......................... 310

BLANK CHART — PERFORMANCE... 311

BLANK CHART — VOICE .................... 312

BLANK CHART — DRUM VOICE ....... 314

BLANK CHART — MULTI .................... 316

BLANK CHART — SYSTEM SETUP .. 317

■ About the Standard MIDI File Format .. 318

264

302 304

■ Wave Card Load ..................................... 250

■ Wave Disk Load/Save 1 Sample .......... 251

■ Wave Memory Status Display................ 252

■ SPECIFICATIONS ................................... 319

■ ERROR MESSAGES............................... 320

■ TROUBLE SHOOTING............................ 324

■ INDEX ....................................................... 326

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GENERAL EDITING

PROCEDURE

■ Mode Selection ........................................... 8

■ Selecting Specific Edit Functions ............... 8

■ Selecting & Editing Parameters ............... 10

■ Controller Assignment Display ................. 11

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The SY85 makes editing easy by providing a consistent, logical control

The illustrations here are not available.

interface via which parameters can be located and edited. Once you’ve learned the general procedure, you can locate and edit any of the SY85’s many parameters quickly and easily.

■ Mode Selection

All SY85 edit modes are selected via the MODE matrix keys. To select the VOICE EDIT mode, for example, press the VOICE mode key so that its indicator lights, than press the second SUB MODE key in the VOICE column (EDIT).

■ Selecting Specific Edit Functions

Once you’ve selected an edit mode, one way to select the various edit screens and functions it contains is to use the PAGE [k] and [l] keys. The [k] and [l] keys step backward and forward through the available screens, respectively. Hold either of these keys for continuous stepping in the specified direction.

An alternative method is to use the [MENU] key. If you press the [MENU] key ion the VOICE EDIT mode, for example, you’ll see a display something like this:

VOICE`EDIT`MENU``1ø8````````````````````

`````````````1:Oscillator```````````````

GENERAL EDITING PROCEDURE

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From this display you can use either the data entry dial or the [-1] and [+1]

The illustrations here are not available.

keys to directly select any of the 8 available functions, then press the [ENTER/ YES] key to actually select the specified function.

In some cases the PAGE [k] and [l] or [MENU] keys will take you to another entry screen. If you select “3: Filter” after pressing the [MENU] key in the VOICE EDIT mode, and then press [ENTER/YES], you’ll see the following display:

FILTER``````````````````````````````````

`````````````````````````````Hit`[ENTER]

“Hit [ENTER]” will be flashing. In this case press [ENTER/YES] again to access the filter functions. Once in the filter “sub-mode” you can use the PAGE [k] and [l] or [MENU] keys to select the various filter functions, as described above. When you have finished with the filter functions, press [EXIT/ NO] to return to the normal VOICE EDIT mode.

GENERAL EDITING PROCEDURE

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■ Selecting & Editing Parameters

The illustrations here are not available.

Most SY85 edit screens contain several parameters that can be selected and edited. In most cases you can simply operate the continuous slider immediately below the parameter you want to edit on the display. Operating a slider automatically moves the underline cursor to the corresponding parameter. In the example below, for example (this is the VOICE EDIT mode Oscillator screen), the [CS5] slider can be used to adjust the “Fine” parameter.

OSC``Wave``````Mode`Fine`Note`Rndm``Rvs` P001`Piano`````norm```+0```+0````0``off`

The parameters can also be edited by first moving the cursor to the required parameter by pressing the corresponding function key ([F7], for example, would select the “Rndm” parameter in the above display), and then by using either the data entry dial or the [-1] and [+1] keys to adjust the parameter’s value.

In some special cases you’ll also use the function keys as parameter “switches,” and the [SHIFT] key is sometimes called into play to access secondary functions. Such exceptions are described in the appropriate sections of the manual.

GENERAL EDITING PROCEDURE

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■ Controller Assignment Display

It is possible to assign a wide range of parameters to be controlled by the [CS1] through [CS4] sliders when playing in the VOICE or PERFORMANCE PLAY modes. Since it is easy to forget what parameters have been assigned to which sliders, the SY85 features a controller assignment display that can be selected temporarily by pressing the [SHIFT] key in the VOICE or PERFORMANCE PLAY mode.

● PERFORMANCE PLAY mode

CS`````1(LFO):Ef1`Mix``````````````````` ASSGIN`2(MW`):Ef2»Hi`Gain```````````````

● VOICE PLAY mode

CS`````1(LFO):Ef1`Mix``````3:----------` ASSGIN`2(MW`):Ef2»Hi`Gain``4:----------`

● DRUM VOICE PLAY mode

CS`````1(LFO):Ef1`Mix``````````````````` ASSGIN`2(MW`):Ef2»Hi`Gain```````````````

This display shows the names of the parameters assigned to sliders [CS1] through [CS4] for the current voice or performance combination, so you can take a quick peek to refresh your memory even while playing.

GENERAL EDITING PROCEDURE

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PERFORMANCE EDIT MODE

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1: VOICE NUMBER

[PERFORMANCE] → [EDIT] → [MENU] → 1:Layer → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 1:Voice Number → [ENTER/YES]

SY85 performance combinations can have up to four voices assigned to different

“layers” — A, B, C and D. This screen lets you assign voices to the layers.

LAYER`Voice`Number````````<InitVce`>ABCD

````A=¡A1`````B=¡A1`````C=¡A1`````D=¡A1

CS1

CS2

CS3

CS4

Voice Number A, B, C, D

Range: off, A1 … H7 (internal & card) Controls: MEMORY, GROUP, PROGRAM, [CS2], [CS4], [CS6], [CS8],

[-1] [+1], Dial

After moving the cursor to the layer you want to edit by pressing the [F2], [F4], [F6] or [F8] function key, use the [INTERNAL 1], [INTERNAL 2], and [CARD] keys to select the memory area from which the voice is to be selected, and then use the GROUP and PROGRAM keys to select the voice. Voices within the selected memory bank can also be selected directy for each layer by the [CS2], [CS4], [CS6], and [CS8] keys. Internal and card voices cannot be mixed.

The voices can individually turned on or off by using the [-] (off) and [+] (on) keys while holding the [SHIFT] key.

The name of the currently selected voice is shown in the upper right corner of the display. The characters “ABCD” to the right of the voice name indicate the status of each voice:

CS5

CS6

CS7

CS8

• Capital letter = voice on.

• Lower-case letter = voice muted.

• “-” = voice is off.

For example, “Ab-D” indicates that voices A and D are on, voice B is muted, and voice C is off.

PERFORMANCE EDIT MODE / 1:Layer

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2: VOLUME

[PERFORMANCE] → [EDIT] → [MENU] → 1:Layer → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 2:Volume → [ENTER/YES]

For optimum balance between the voices in a performance combination, this

screen allows the volume of each voice to be adjusted individually.

LAYER`Volume``````````````<InitVce`>ABCD

``````127ƒ``````127ƒ``````127ƒ``````127ƒ

CS1

The name of the currently selected voice/layer is shown in the upper right corner of the display. The characters “ABCD” to the right of the voice name indicate the status of each voice: a capital letter if the voice is on, a lower-case letter if the voice is muted, and a dash if the voice is off.

Volume

Range: 0 … 127 Controls: [CS2], [CS4], [CS6], [CS8], [-1] [+1], Dial

Use the [CS2], [CS4], [CS6], and [CS8] sliders to adjust the volume levels of the A, B, C, and D layer voices, respectively. A setting of “0” produces no sound, while a setting of “127” produces maximum volume. The vertical bar graphs next to each parameter provide a visual indication of volume levels — the longer the bar the higher the volume. Voices that are turned off are indicated by “----” on the display.

CS2

CS3

CS4

CS5

CS6

CS7

CS8

15PERFORMANCE EDIT MODE / 1:Layer

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3: PAN

[PERFORMANCE] → [EDIT] → [MENU] → 1:Layer → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 3:Pan → [ENTER/YES]

In multi-layer performance combinations, interesting stereo effects can be produced by placing the output from different layers at different locations in the stereo sound field. The parameters in this screen determine the position in the stereo sound field in which the sound from each active layer will be heard (left to right).

LAYER`Pan`L¯¯Æ¯¯R`````````<InitVce`>ABCD

```````+0````````+0````````+0````````+0`

Pan

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Range: -31 … +31 Controls: [CS2], [CS4], [CS6], [CS8], [-1] [+1], Dial

Use the [CS2], [CS4], [CS6], and [CS8] sliders to adjust the pan positions of the A, B, C, and D layer voices, respectively. Minus values represent panning to the left, and positive values represent panning to the right. “0” positions the sound of the selected layer in the center of the stereo sound field. Voices that are turned off are indicated by “---” on the display. The upper line of the display also shows a graphic representation of the stereo sound field with “L” representing “left” and “R” representing “right.” As you change the pan value the vertical bar will appear at the corresponding position on the graphic display.

PERFORMANCE EDIT MODE / 1:Layer

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4: TUNE

[PERFORMANCE] → [EDIT] → [MENU] → 1:Layer → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 4:Tune → [ENTER/YES]

More than just simple tuning, the note shift and fine tune parameters make it

possible to create harmony and voice-thickening detune effects between layers.

LAYER`Tune`)NtShft(```````<InitVce`>ABCD

``+0```+0```+0```+0```+0```+0```+0```+0`

CS1

CS2

CS3

NtShft (Note shift)

Range: -63 … +63 Controls: [CS1], [CS3], [CS5], [CS7], [-1] [+1], Dial

Individually shifts the pitch of each active element up or down in semitone steps.

Use the [CS1], [CS3], [CS5], and [CS7] sliders to shift the pitch of the A, B, C, and D layer voices, respectively. A setting of “-12,” for example, shifts the pitch of the selected layer down by one octave; a setting of “+4” shifts the pitch up by a major third.

The Note Shift parameter can be used to transpose a voice to its most useful range, or to create harmony (intervals) between different layers in a performance combination.

Voices that are turned off are indicated by “---” on the display.

CS4

CS5

CS6

CS7

CS8

Fine (Fine tuning)

Range: -7 … +7 Controls: [CS2], [CS4], [CS6], [CS8], [-1] [+1], Dial

Allows slight upward or downward pitch adjustment of each active element.

Use the [CS2], [CS4], [CS6], and [CS8] sliders to fine tune the A, B, C, and D layer voices, respectively.

The maximum minus setting of “-7” produces a downward pitch shift of approximately 2 cents (a “cent” is 1/100th of a semitone), and the maximum plus setting of “+7” produces an upward pitch shift of approximately 2 cents. A setting of “0” produces no pitch change.

The Fine parameter allows different layers in a performance combination to be slightly detuned in relation to each other, thereby “thickening” the overall sound.

Voices that are turned off are indicated by “--” on the display.

17PERFORMANCE EDIT MODE / 1:Layer

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5: NOTE LIMIT

[PERFORMANCE] → [EDIT] → [MENU] → 1:Layer → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 5:Note Limit → [ENTER/YES]

The low and high note limit parameters make it possible to create a range of split keyboard effects using the performance layers. You could have two layers on either side of a single split point, a four-way split keyboard, or any other possible combination.

LAYER`NoteLimit`)Lo(``````<InitVce`>ABCD

``C≥`ø`G8```C≥`ø`G8```C≥`ø`G8```C≥`ø`G8

CS1

CS2

CS3

Lo (Low note limit)

Range: C-2 … G8 Controls: [CS1], [CS3], [CS5], [CS7], [-1] [+1], Dial,

[SHIFT]+keyboard

Individually sets the low note limit for each active layer (the lowest note that each layer will produce).

Use the [CS1], [CS3], [CS5], and [CS7] sliders to set the low note limits of the A, B, C, and D layer voices, respectively. It is also possible to press the desired note on the keyboard while holding the [SHIFT] key.

The C-2 to G8 range of this parameter covers a full 10-1/2 octaves. “C3” corresponds to “middle C” on a keyboard.

This parameter, in conjunction with the High Note Limit parameter described below, allows the sound from a layer to be limited to a specific region of the keyboard. If the Low Note Limit is set to C3 and the High Note Limit for the same layer is set to C4, for example, the sound from that layer will only be produced between C3 and C4 — the octave immediately above middle C. This makes it simple to produce split voices.

If the High Note Limit is set to a note that is Limit for the same layer, the notes between the high and low limits will not sound.

Voices that are turned off are indicated by “---” on the display.

CS4

CS5

CS6

CS7

CS8

lower than the Low Note

PERFORMANCE EDIT MODE / 1:Layer

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Hi (High note limit)

Range: C-2 … G8 Controls: [CS2], [CS4], [CS6], [CS8], [-1] [+1], Dial, [SHIFT]+keyboard

Individually sets the high note limit for each active layer (the highest note that each layer will produce).

Use the [CS2], [CS4], [CS6], and [CS8] sliders to set the high note limits of the A, B, C, and D layer voices, respectively. It is also possible to press the desired note on the keyboard while holding the [SHIFT] key.

See the “Lo” parameter, above, for more details.

19PERFORMANCE EDIT MODE / 1:Layer

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6: VELOCITY LIMIT

[PERFORMANCE] → [EDIT] → [MENU] → 1:Layer → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 6:VelocityLimit → [ENTER/YES]

The high and low velocity limit parameters make it possible to produce a range of “velocity switching” effects in which different layers of a performance combination are set up to produce sound only when the keyboard is played at a certain velocity. You could, for example, produce a flute sound by playing softly, and a horn sound by playing harder.

LAYER`VelLimit`)Lo(```````<InitVce`>ABCD

```1`ø127````1`ø127````1`ø127````1`ø127`

CS1

CS2

CS3

Lo (Low velocity limit)

Range: 1 … 127 Controls: [CS1], [CS3], [CS5], [CS7], [-1] [+1], Dial,

[SHIFT]+keyboard

Sets the lowest velocity value for a range of velocity values over which each active layer will produce output.

Use the [CS1], [CS3], [CS5], and [CS7] sliders to set the low velocity limits of the A, B, C, and D layer voices, respectively. It is also possible to play any note on the keyboard at the desired velocity while holding the [SHIFT] key.

Every note played on the keyboard (or external MIDI controller) produces a “velocity” value that tells the tone generator how hard the note has been played. The range of MIDI velocity values is from 1 to 127 — thus the 1 ... 127 range of this parameter.

The Low Velocity Limit parameter, in conjunction with the High Velocity Limit parameter described below, makes it possible to specify a range of velocity values over which the selected layer will produce sound. You could, for example, set Low Velocity Limit to “60” and High Velocity Limit to “127.” This would cause that layer to produce output between 60 and 127 was received — i.e. when a fairly loud note is played. A second layer could then be set to produce output only when velocity values below 60 are received, so that completely different sounds are produced on soft and loud notes.

Voices that are turned off are indicated by “---” on the display.

CS4

CS5

CS6

CS7

CS8

only when a velocity value

PERFORMANCE EDIT MODE / 1:Layer

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Hi (High velocity limit)

Range: 1 … 127 Controls: [CS2], [CS4], [CS6], [CS8], [-1] [+1], Dial,

[SHIFT]+keyboard

Sets the highest velocity value for a range of velocity values over which each active layer will produce output.

Use the [CS2], [CS4], [CS6], and [CS8] sliders to set the high velocity limits of the A, B, C, and D layer voices, respectively. It is also possible to play any note on the keyboard at the desired velocity while holding the [SHIFT] key.

See the “Lo” parameter, above, for more details.

21PERFORMANCE EDIT MODE / 1:Layer

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7: CS ENABLE

[PERFORMANCE] → [EDIT] → [MENU] → 1:Layer → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 7:CS Enable → [ENTER/YES]

The CS3 and CS4 sliders can be used to control the level of individual layers or specified groups of layers in the performance play mode. This screen specifies which slider controls which layers.

LAYER`CS`Enable`)CS4(`````<InitVce`>ABCD

`off``off``off``off``off``off``off``off

CS1

CS3 Enable

Range: on, off Controls: [CS1], [CS3], [CS5], [CS7], [-1] [+1], Dial

The [CS1], [CS3], [CS5], and [CS7] sliders turn CS3 control of layers A, B, C, and D on or off, respectively.

Voices that are turned off and are not available for editing are indicated by “---” on the display.

CS4 Enable

Range: on, off Controls: [CS2], [CS4], [CS6], [CS8], [-1] [+1], Dial

CS2

CS3

CS4

CS5

CS6

CS7

CS8

The [CS2], [CS4], [CS6], and [CS8] sliders turn CS4 control of layers A, B, C, and D on or off, respectively.

Voices that are turned off and are not available for editing are indicated by “---” on the display.

PERFORMANCE EDIT MODE / 1:Layer

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LAYER DATA COPY

[PERFORMANCE] → [EDIT] → [MENU] → 1:Layer → [ENTER/YES] → [COPY]

This function facilitates performance editing by allowing the layer parameters from any layer in any other performance (the “source” performance) to be copied to the current layer. You can copy a layer setup that is close to the type you want, then edit it to produce the required sound.

LAYER`COPY``````From`Performance```Layer

`````````````````````¡A1:InitPerf`````B`

CS1

CS2

CS3

From Performance

Range: Any INTERNAL or CARD performance Controls: MEMORY, GROUP, PROGRAM, [CS5], [-1] [+1], Dial

Layer

Range: A, B, C, D Controls: [CS8], [-1] [+1], Dial

Use the [INTERNAL 1], [INTERNAL 2], and [CARD] MEMORY keys to select the memory area from which the source performance is to be selected. Use the GROUP keys to select the source performance bank, then use the PROGRAM keys to select the source performance number. The [CS5] slider and other data entry controls can also be used to select the source performance number. Use the [CS8] slider to select the source layer.

Once the source performance and layer has been selected, press the [ENTER/YES] key. “Are you sure?” will appear on the display.

CS4

CS5

CS6

CS7

CS8

LAYER`COPY``````From`Performance```Layer Are`you`sure`?```````¡G1:InitPerf`````A

Press the [ENTER/YES] key again to copy the layer data, or press [EXIT/ NO] to cancel the copy operation. Once the copy operation has finished, “Completed!” will appear on the display briefly, then the display will return to the layer edit mode.

23PERFORMANCE EDIT MODE / 1:Layer

Page 25

PERFORMANCE TOTAL LEVEL

[PERFORMANCE] → [EDIT] → [MENU] → 2:Total Level → [ENTER/YES]

This parameter sets the overall volume of the current performance combination in relation to the others, making it possible to match levels for smooth transition when switching between performance combinations.

PERFORMANCE`Total`Level``

`````````````````80ß

CS1

Total Level

Range: 0 … 127 Controls: [CS4], [-1] [+1], Dial

Adjusts the volume of the current performance.

A setting of “0” produces no sound while a setting of “127” produces maximum volume. A bar graph to the right of the parameter provides a visual indication of volume level — the longer the bar, the higher the volume.

CS2

CS3

CS4

CS5

CS6

CS7

CS8

24 PERFORMANCE EDIT MODE / 2:Volume

Page 26

PERFORMANCE NAME

[PERFORMANCE] → [EDIT] → [MENU] → 3:Name → [ENTER/YES]

Your original performance combinations should naturally have original names. This function can be used to assign a name of up to 8 characters to the current performance.

PERFORMANCE`Name``````````````"InitPerf" [CLR][UPR][LWR][SPC]````````````[†]``[¥]

CS1

Name

Range: See character list, below Controls: GROUP, PROGRAM, [F1] … [F4], [F7], [F8],

[F8] function key to move the cursor to the right. Use the GROUP and PROGRAM keys to input a character at the cursor position. Each GROUP or PROGRAM key selects the three characters printed above it in sequence. It is also possible to use the [-1] and [+1] keys or dial to scroll through the available characters (see list below).

corresponding character position: [CS1] selects the first character, [CS2] selects the second character, and so on.

the entire name, [F2] selects upper-case characters for GROUP and PROGRAM key entry, [F3] selects lower-case characters for GROUP and PROGRAM key entry, and [F4] inserts a space at the cursor position.

CS2

CS3

CS4

CS5

CS6

CS7

CS8

[CS1] … [CS8], [-1] [+1], Dial

Assigns a name of up to 8 characters to the current performance. Use the [F7] function key to move the character cursor to the left, and the

The sliders, [CS1] through [CS8], independently select characters for the

The first four function keys also perform important functions: [F1] clears

GROUP key

[A]: A → B → C [B]: D → E → F [C]: G → H → I [D]: J → K → L [E]: M → N → O [F]: P → Q → R [G]: S → T → U [H]: V → W → X

PROGRAM key

[1]: Y → Z → 0 [2]: 1 → 2 → 3 [3]: 4 → 5 → 6 [4]: 7 → 8 → 9 [5]: * → & → _ [6]: / → . → , [7]: ’ → ! → ? [8]: # → : → ;

25PERFORMANCE EDIT MODE / 3:Name

Page 27

LAYER VOICE EDIT MENU

[PERFORMANCE] → [EDIT] → [MENU] → 4:Layer Voice → [ENTER/YES]

The Layer Voice Edit menu allows you to access any of the voice edit parameters for the voice assigned to the currently selected performance layer, without having to leave the performance edit mode.

LAYER`VOICE`

`````````````````````````````Hit`[ENTER]

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Press [ENTER/YES] from the entry display (above) to access the layer

voice edit menu.

LAYER`VOICE`EDIT``MENU``1ø8

`````````````1:Oscillator

Use the [CS3] slider, the [-1] and [+1] keys, or the data entry dial to select the desired voice edit screen, then press [ENTER/YES] to jump to selected screen. Other voice edit screens can then be selected by using the [k] and [l] keys. The available voice edit screens are listed below:

1: Oscillator

2: Amplitude EG

3: Filter

4: Pitch EG

5: LFO

6: Controller

7: VOICE Total Level

8: VOICE Name

While editing the voice parameters in voice edit screens 2 through 7, above, the PROGRAM keys [1] through [4] (LAYER SELECT A, B, C, and D) can be used to select a different layer for editing. PROGRAM keys [5] through [8] can also be used for layer muting.

Press [EXIT/NO] to return to the performance edit mode when you’re finished with the voice edit parameters. Refer to pages 58 through 95 in the “Voice Edit Mode” section for details on the voice edit parameters.

PERFORMANCE EDIT MODE / 4:Layer Voice

Page 28

1: AMPLITUDE EG OFFSET

[PERFORMANCE] → [QUICK EDIT] → [MENU] → 1:AEG Offset → [ENTER/YES]

These parameters allow the amplitude envelopes of the voices assigned to each layer to be modified to some degree. The actual amplitude EG of the voices are not affected, these “offset” values are only effective in the performance mode.

QED`AEG)````R1``R2,3``R4```RR``Vel

`ALL[Lyr:A]`+0```+0```+0```+0```+0

CS1

CS2

Use PROGRAM keys [1] through [4] (LAYER SELECT A, B, C, and D) to

select the layer to be edited.

Hold the [F1] function key (“ALL”) while editing any of the following parameters to change its value by the same amount for all layers simultaneously.

R1 (Attack rate)

Range: -63 … +63 Controls: [CS3], [-1] [+1], Dial

Modifies the “R1” parameter of the voice amplitude EG — see page 60. Plus (+) values produce a faster attack rate while minus (-) values produce a slower attack rate.

No matter how much offset is applied, the minimum and maximum EG attack rates cannot be exceeded.

CS3

CS4

CS5

CS6

CS7

CS8

R2,3 (Decay 1 rate)

Range: -63 … +63 Controls: [CS4], [-1] [+1], Dial

Modifies the “R2” and “R3” parameters of the voice amplitude EG — see page 60. Plus (+) values produce a faster decay rate while minus (-) values produce a slower decay rate.

No matter how much offset is applied, the minimum and maximum EG decay rates cannot be exceeded.

R4 (Decay 2 rate)

Range: -63 … +63 Controls: [CS5], [-1] [+1], Dial

Modifies the “R4” parameter of the voice amplitude EG — see page 60. Plus (+) values produce a faster decay rate while minus (-) values produce a slower decay rate.

No matter how much offset is applied, the minimum and maximum EG decay rates cannot be exceeded.

27PERFORMANCE EDIT MODE / QUICK EDIT

Page 29

RR (Release rate)

Range: -63 … +63 Controls: [CS6], [-1] [+1], Dial

Modifies the “RR” parameter of the voice amplitude EG — see page 60. Plus (+) values produce a faster release rate while minus (-) values produce a slower release rate.

No matter how much offset is applied, the minimum and maximum EG release rates cannot be exceeded.

Vel (Velocity sensitivity)

Range: -14 ... +14 Controls: [CS7], [-1] [+1], Dial

Modifies the amplitude EG velocity sensitivity setting (see page 63). Plus “+” settings increase sensitivity while minus “-” settings reduce sensitivity.

No matter how much offset is applied, the minimum and maximum velocity values cannot be exceeded.

28 PERFORMANCE EDIT MODE / QUICK EDIT

Page 30

2: LFO & FILTER OFFSET

[PERFORMANCE] → [QUICK EDIT] → [MENU] → 2:LFO,Filter Offset → [ENTER/YES]

These parameters allow the main LFO and filter parameters of the voices assigned to each layer to be modified to some degree. The actual LFO and filter parameters of the voices are not affected, these “offset” values are only effective in the performance mode.

QED``LFO)Speed`Depth`Fltr)Coff`Reso``Vel

`ALL[Lyr:C]`+0```+0``````----``---```+0

CS1

CS2

CS3

Use PROGRAM keys [1] through [4] (LAYER SELECT A, B, C, and D) to

select the layer to be edited.

Hold the [F1] function key (“ALL”) while editing any of the following parameters to change its value by the same amount for all layers simultaneously.

Speed (LFO speed)

Range: -99 … +99 Controls: [CS3], [-1] [+1], Dial

Modifies the speed of the LFO (this corresponds to the “Speed” parameter of the main voice LFO — see page 78). Plus (+) values increase the LFO speed while minus (-) values reduce the speed.

No matter how much offset is applied, the minimum and maximum LFO speeds cannot be exceeded.

CS4

CS5

CS6

CS7

CS8

Depth (LFO depth)

Range: -99 … +99 Controls: [CS4], [-1] [+1], Dial

Modifies the amplitude, pitch, and frequency modulation depth of the LFO (this corresponds to the “Pmod”, “Amod”, and “Fmod” parameters of the main voice LFO — see page 78 and 79). Plus (+) values produce greater modulation depth while minus (-) values reduce the modulation depth.

No matter how much offset is applied, the minimum and maximum LFO depth values cannot be exceeded.

29PERFORMANCE EDIT MODE / QUICK EDIT

Page 31

Coff (Filter cutoff frequency)

Range: -127 … +127 Controls: [CS6], [-1] [+1], Dial

Modifies the filter cutoff frequency (this corresponds to the voice filter “CutOff” parameter — see page 65). Plus (+) values increase the cutoff frequency while minus (-) values lower the cutoff frequency. This parameter cannot be used if the filter is set to “Thru”. In this case “----” appears in place of the parameter value.

No matter how much offset is applied, the minimum and maximum cutoff frequency values cannot be exceeded.

Reso (Filter resonance)

Range: -99 … +99 Controls: [CS7], [-1] [+1], Dial

Modifies the height of the filter’s resonant peak (this corresponds to the filter “Resonance” parameter — see page 68). Plus (+) values increase resonance while minus (-) values reduce resonance. This parameter cannot be used if the filter is rameter value.

No matter how much offset is applied, the minimum and maximum resonance values cannot be exceeded.

not set to “LPF”. In this case “---” appears in place of the pa-

Vel (Velocity sensitivity)

Range: -127 ... +127 Controls: [CS8], [-1] [+1], Dial

Modifies the filter velocity sensitivity setting (see page 72). Plus “+” settings increase sensitivity while minus “-” settings reduce sensitivity.

No matter how much offset is applied, the minimum and maximum velocity values cannot be exceeded.

30 PERFORMANCE EDIT MODE / QUICK EDIT

Page 32

3: CONTROLLER CONDITIONS

[PERFORMANCE] → [QUICK EDIT] → [MENU] → 3:Controller Condition → [ENTER/YES]

These parameters determine how the performance layers are affected by keyboard

aftertouch response, the modulation wheel, and the foot controller.

QED`CTRL)Use`AT``MW```FC`````AT>MW`MW>AT

`ALL[Lyr:A]LyrA`LyrA`LyrA``````off``off

CS1

CS2

Use PROGRAM keys [1] through [4] (LAYER SELECT A, B, C, and D) to select the layer to be edited.

Hold the [F1] function key (“ALL”) while editing any of the following parameters to change its value by the same amount for all layers simultaneously.

AT (Aftertouch)

Range: off, LyrA, LyrB, LyrC, LyrD Controls: [CS3], [-1] [+1], Dial

The aftertouch control settings from the voice assigned to the selected layer (LyrA, LyrB, LyrC, or LyrD) are applied to the layer being edited (i.e. the layer selected via PROGRAM keys [1] through [4]). Select “off” to turn aftertouch control off for the layer being edited.

CS3

CS4

CS5

CS6

CS7

CS8

MW (Modulation wheel)

Range: off, LyrA, LyrB, LyrC, LyrD Controls: [CS4], [-1] [+1], Dial

The modulation wheel control settings from the voice assigned to the selected layer (LyrA, LyrB, LyrC, or LyrD) are applied to the layer being edited (i.e. the layer selected via PROGRAM keys [1] through [4]). Select “off” to turn modulation wheel control off for the layer being edited.

FC (Foot controller)

Range: off, LyrA, LyrB, LyrC, LyrD Controls: [CS6], [-1] [+1], Dial

The foot controller control settings from the voice assigned to the selected layer (LyrA, LyrB, LyrC, or LyrD) are applied to the layer being edited (i.e. the layer selected via PROGRAM keys [1] through [4]). Select “off” to turn foot control off for the layer being edited.

31PERFORMANCE EDIT MODE / QUICK EDIT

Page 33

AT>MW (Aftertouch ➔ modulation wheel)

Range: off, on Controls: [CS7], [-1] [+1], Dial

When this parameter is turned “on,” aftertouch can be used to prouce the same effect as the modulation wheel, in addition to any parameters assigned to aftertouch.

MW>AT (Modulation wheel ➔ aftertouch)

Range: off, on Controls: [CS8], [-1] [+1], Dial

When this parameter is turned “on,” the modulation wheel can be used to produce the same effect as aftertouch, in addition to any parameters assigned to the modulation wheel.

32 PERFORMANCE EDIT MODE / QUICK EDIT

Page 34

4: OTHER CONDITIONS

[PERFORMANCE] → [QUICK EDIT] → [MENU] → 4:Other Condition → [ENTER/YES]

Other parameters that can be individually set for each performance layer are provided in this screen: sustain enable, pitch envelope generator enable, oscillator fixed note mode and note number.

QED`OTHER)``Sustain``PEG``Fix`FixNote

`ALL[Lyr:A]``````on```on``off``---

CS1

CS2

CS3

Use PROGRAM keys [1] through [4] (LAYER SELECT A, B, C, and D) to

select the layer to be edited.

Hold the [F1] function key (“ALL”) while editing any of the following parameters to change its value by the same amount for all layers simultaneously.

Sustain

Range: off, on Controls: [CS4], [-1] [+1], Dial

Turns sustain off or on for the selected layer. Interesting effects can be produced by setting some layers to respond to the sustain footswitch in the normal way, while others do not sustain at all.

PEG (Pitch EG enable)

Range: off, on Controls: [CS5], [-1] [+1], Dial

CS4

CS5

CS6

CS7

CS8

Turns pitch envelope generator control of the selected layer off or on.

Fix (Oscillator fix)

Range: off, on Controls: [CS6], [-1] [+1], Dial

Turns the oscillator fixed-pitch mode on or off (see page 58). The FixNote parameter described below can be used to set the note produced when the “fix” mode is turned on.

33PERFORMANCE EDIT MODE / QUICK EDIT

Page 35

FixNote (Oscillator fix note number)

Range: C-2 … G8 Controls: [CS7], [-1] [+1], Dial

Sets the frequency (note) at which the selected layer will be played when the “fix” mode is turned on (“---” is displayed in place of the note when the “fix” mode is turned off).

The C-2 to G8 range of this parameter covers a full 10-1/2 octaves. “C3” corresponds to “middle C” on a keyboard.

34 PERFORMANCE EDIT MODE / QUICK EDIT

Page 36

5: EFFECT TYPE

[PERFORMANCE] → [QUICK EDIT] → [MENU] → 5:Effect Type → [ENTER/YES]

The SY85 features a complex, high-performance effect system that can be pro-

grammed easily via the parameters presented here and in the following screen.

For a complete list of effect parameters see page 274.

QED`EFFECT)```Type```````````Wet`Balance

``06:Rev.Stage1``57:EQ`->`Sym```50%``50%

CS1

CS2

Effect Type 1/2

Range: 0 … 90 Controls: [CS1]/[CS4], [-1] [+1], Dial

[CS1] selects any of the SY85’s 90 effect types for the EFFECT 1 processor, and [CS4] does the same for the EFFECT 2 processor. See page 254 for more details on the SY85 effect system.

Wet Balance 1/2

Range: 0 … 100 Controls: [CS7]/[CS8], [-1] [+1], Dial

[CS7] controls the balance between the direct no-effect sound and the effect sound of the EFFECT 1 processor, while [CS8] does the same for the EFFECT 2 processor. The higher the value the deeper the effect. See page 254 for more details on the SY85 effect system.

CS3

CS4

CS5

CS6

CS7

CS8

35PERFORMANCE EDIT MODE / QUICK EDIT

Page 37

6: EFFECT PARAMETER

[PERFORMANCE] → [QUICK EDIT] → [MENU] → 6:Effect Param → [ENTER/YES]

QED`EF`PARAM)`<`1:Stge>``)Rev.Time``[s](

`2.5``1.0```45`12.0```+0```+0``0.8``100

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

This screen provides access to the four main parameters each for the current selected effect 1 and effect 2. The four effect 1 parameters are edited via [CS1] through [CS4], while the four effect 2 parameters are edited via [CS5] through [CS8].

The parameters are different for each effect (refer to page 274 for details). The EFFECT mode PARAMETERS screen described on page 44 provides full access to all 8 effect parameters.

36 PERFORMANCE EDIT MODE / QUICK EDIT

Page 38

1: MODE, TYPE

[PERFORMANCE] → [EFFECT EDIT] → [MENU] → 1:Mode, Type → [ENTER/YES]

The SY85 features a dual-processor effect system that includes 90 top-quality digital effects. Two different effects can be connected in series or parallel, providing an extensive range of possible configurations.

EF`Mode`````EF1`Type```````EF2`Type``

```2:para```06:Rev.Stage1``57:EQ`->`Sym

CS1

Mode

Range: 0:off, 1:seri, 2:para Controls: [CS1], [-1] [+1], Dial

Determines whether the SY85’s two effect processors are connected in series (“1:seri”) or in parallel (“2:para”), or whether the entire effect system is turned off (“0:off”).

EF1 Type

Range: 0 … 90 Controls: [CS3], [-1] [+1], Dial

Selects any of the SY85’s 90 effect types for the EFFECT 1 processor. See page 254 for more details on the SY85 effect system, and page 274 for a complete list of the available effects.

CS2

CS3

CS4

CS5

CS6

CS7

CS8

EF2 Type

Range: 0 … 90 Controls: [CS6], [-1] [+1], Dial

Selects any of the SY85’s 90 effect types for the EFFECT 2 processor. See page 254 for more details on the SY85 effect system, and page 274 for a complete list of the available effects.

37PERFORMANCE EDIT MODE / EFFECT EDIT

Page 39

2: SEND SELECT & LEVEL

[PERFORMANCE] → [EFFECT EDIT] → [MENU] → 2:Send → [ENTER/YES]

The parameters provided here determine to which of the SY85 effect stages the output from the voice assigned to each layer is sent, and at what level. It is also possible to control the effect send level via keyboard dynamics and key scaling.

EF`Send`<InitVce`>`Switch`Levl`VelS`Kscl

``Layer=A(¡A1)```1a/-`2a/b`127```+0```+0

CS1

CS2

CS3

Layer

Range: A, B, C, D Controls: [CS2], PROGRAM [1] … [4], [-1] [+1], Dial

Selects the layer to be edited. The name of the voice assigned to the se-

lected layer is shown between parentheses on the upper line of the display.

Switch 1a, 1b/2a, 2b

Range: See text below. Controls: [CS4]/[CS5], [-1] [+1], Dial

Determines to which of the EFFECT 1 and EFFECT 2 effect stages the output from the current layer is sent. The [-1] and [+1] keys can then be used to turn the stage on (“a” or “b”) or off (“.”). The [CS4] and [CS5] sliders select the following settings in sequence:

CS4

CS5

CS6

CS7

CS8

CS4 (EFFECT 1) CS5 (EFFECT 2)

1./. (a and b off) 2./. (a and b off)

1a/. (a on, b off) 2a/. (a on, b off)

1a/b (a and b on) 2a/b (a and b on)

1./b (a off, b on) 2./b (a off, b on)

If a “single” type effect is selected then only stage “a” can be selected. If a “dual” or “cascade” type effect is selected, then both stages “a” and “b” can be selected. An effect stage that cannot be selected is represented by “-” on the display.

38 PERFORMANCE EDIT MODE / EFFECT EDIT

Page 40

Send (Send level)

Range: 0 … 127 Controls: [CS6], [-1] [+1], Dial

This parameter adjusts the amount of direct voice signal that is sent to the effect processors, determining the strength of the final effect sound. A setting of “0” results in no effect, leaving only the “dry” sound of the voice. The maximum setting of “127” produces the maximum amount of effect.

VelS (Send velocity sensitivity)

Range: -7 … +7 Controls: [CS7], [-1] [+1], Dial

Determines how the send level from the selected layer is affected by velocity changes (e.g. keyboard dynamics).

Plus “+” settings produce higher send levels in response to higher velocity values — i.e. the harder a key is played, the higher the send level, and therefore the deeper the effect. The maximum setting of “+7” produces the maximum level variation in response to velocity changes. Minus “-” settings produce the opposite effect: lower send level in response to higher velocity. A setting of “+0” results in no send level variation.

Kscl (Send key scaling)

Range: -7 … +7 Controls: [CS8], [-1] [+1], Dial

Allows the send level for the selected layer to be varied across the entire pitch range (i.e. keyboard range).

Plus (“+”) settings produce a higher send level for the low notes and a lower send level for the high notes. The maximum “+7” setting produces the greatest send level variation across the pitch range. Minus (“-”) settings produce the opposite effect — a lower low-note send level and higher high-note send level. A setting of “+0” results in no send level variation.

39PERFORMANCE EDIT MODE / EFFECT EDIT

Page 41

3: LAYER DRY OUTPUT SELECT

[PERFORMANCE] → [EFFECT EDIT] → [MENU] → 3:Layer Dry Out Select → [ENTER/YES]

These parameters determine turn the “dry lines” (i.e. the signal paths which bypasses each effect processor) on or off, determining whether any dry signal output can occur at OUTPUT 1 and OUTPUT 2.

OUTPUT`Select`<InitVce`>`Dry1`Dry2`

``Layer=A(¡A1)`````````````on```on

Layer

Range: A, B, C, D Controls: [CS2], PROGRAM [1] … [4], [-1] [+1], Dial

lected layer is shown between parentheses on the upper line of the display.

Dry1

Range: off, on Controls: [CS6], [-1] [+1], Dial

When this parameter is turned “off,” the “WET:DRY BALANCE” parameters (page 42) have no effect.

Dry2

Range: off, on Controls: [CS7], [-1] [+1], Dial

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Selects the layer to be edited. The name of the voice assigned to the se-

Turns the “dry line” bypassing the EFFECT 1 signal processor on or off.

Turns the “dry line” bypassing the EFFECT 2 signal processor on or off. When this parameter is turned “off,” the “WET:DRY BALANCE” parameters (page 42) have no effect.

PERFORMANCE EDIT MODE / EFFECT EDIT

Page 42

4: OUTPUT LEVEL

[PERFORMANCE] → [EFFECT EDIT] → [MENU] → 4:Output Level → [ENTER/YES]

Depending on the selected effects the SY85 effect system can have up to four

separate output levels that are adjusted by the parameters provided in this screen.

EF`OutLevel`1a```1b`````````````2a```2b`

`EF1(sngl)=100%``--`EF2(casc)=``--``100%

CS1

CS2

CS3

CS4

CS5

CS6

1a, 1b, 2a, and 2b (Effect output levels)

Range: 0 … 100 Controls: [CS3], [CS4], [CS7], [CS8], [-1] [+1], Dial

The [CS3] and [CS4] sliders adjust the output levels of the effect 1 “1a” and “1b” stages, respectively, while the [CS7] and [CS8] sliders adjust the output levels of the effect 2 “2a” and “2b” stages. A setting of “0” turns output from the corresponding effect stage off, while a setting of “100” produces maximum output level.

If the selected effect is a “single” type, then only the “1a” or “2a” output level is available. If it is a “cascade” type, then only the “1b” or “2b” output level is available. Both the “1a” and “1b” or “2a” and “2b” levels are available only if the selected effect is a “dual” type. The type of the effects currently selected for the effect 1 and effect 2 processors are shown in parentheses on the bottom line of the display. See page 254 for details on the effect stages and the SY85 effect system in general.

If a controller is assigned to any of the output level parameters (page 45), an inverse “c” will appear to the right of the parameter.

CS7

CS8

41PERFORMANCE EDIT MODE / EFFECT EDIT

Page 43

5: WET:DRY BALANCE

[PERFORMANCE] → [EFFECT EDIT] → [MENU] → 5:Wet:Dry Balance → [ENTER/YES]

The balance between the direct sound of the voice and the effect sound is a delicate thing. Even slight changes can make a big difference to the final sound. The parameters provided in this screen provide precise balance control.

EF`Wet:Dry`Balance`````

`````Out1=``50`:`50``````Out2=``50`:`50

CS1

CS2

CS3

Out1 Wet/Out2 Wet

Range: 0 … 100 Controls: [CS3]/[CS7], [-1] [+1], Dial

These parameters and the corresponding “Out1 Dry” and “Out2 Dry” parameters, below, work together to balance the effect (“wet”) and direct (“dry”) signals delivered via the EFFECT 1 and EFFECT2 processors. Higher “Wet” values produce more effect sound in relation to the direct, dry sound of the voice.

Although the “Wet” and “Dry” parameters can be set independently, adjusting one will cause the other to change so that their total is always 100(%).

If a controller is assigned to the “Out1 Wet” or “Out2 Wet” parameter (page 45), an inverse “c” will appear to the right of the parameter.

Out1 Dry/Out2 Dry

Range: 0 … 100 Controls: [CS4]/[CS8], [-1] [+1], Dial

CS4

CS5

CS6

CS7

CS8

These parameters and the corresponding “Out1 Wet” and “Out2 Wet” parameters, above, work together to balance the effect (“wet”) and direct (“dry”) signals delivered via the EFFECT 1 and EFFECT 2 processors, respectively. Higher “Dry” values produce more direct, dry sound in relation to the effect sound.

Although the “Wet” and “Dry” parameters can be set independently, adjusting one will cause the other to change so that their total is always 100(%).

If a controller is assigned to the “Out1 Dry” or “Out2 Dry” parameter (page

45), an inverse “c” will appear to the right of the parameter.

42 PERFORMANCE EDIT MODE / EFFECT EDIT

Page 44

6: SEND & EFFECT 2 MIX LEVEL

[PERFORMANCE] → [EFFECT EDIT] → [MENU] → 6:Mix Level → [ENTER/YES]

These parameters determine the mix level between each effect send and the output of the preceding effect stage. Refer to the section beginning on page 254 for details on the overall SY85 effect system.

EF`Mix`Level```EF2``Insert`1b```2a```2b`

````````````````--`````````--```--````0%

CS1

CS2

CS3

CS4

EF2 Mix (Effect 2 mix level)

Range: 0 … 100 Controls: [CS4], [-1] [+1], Dial

Mixes the output of the EFFECT 2 processor with that of the EFFECT 1 processor. This parameter can only be used with the “serial” effect mode is selected. If any other mode is selected (“off” or “para”), “---” appears on the display in place of the value.

If a controller is assigned to the EF2 Mix parameter (page 45), an inverse “c” will appear to the right of the parameter.

Insert 1b, 2a, 2b (Insert level)

Range: 0 … 100 Controls: [CS6], [CS7], [CS8], [-1] [+1], Dial

These parameters mix the dry signal sent to the corresponding effect stage with the output of the preceding effect stage. The higher the value the greater mix level. If the current effect configuration does not allow one of these mix parameters, “--” will appear in place of the mix level parameter.

If a controller is assigned to the one of these parameters (page 45), an inverse “c” will appear to the right of the parameter.

CS5

CS6

CS7

CS8

43PERFORMANCE EDIT MODE / EFFECT EDIT

Page 45

7: EFFECT 1 PARAMETERS 8: EFFECT 2 PARAMETERS

[PERFORMANCE] → [EFFECT EDIT] → [MENU] → 7:EF1 Parameter → [ENTER/YES]

→ 8:EF2 Parameter → [ENTER/YES]

Each of the SY85’s 90 effects has 8 parameters that can be edited via the param-

eters in this screen to fine-tune the effect.

EF1`PARAM`<Rev.Stage1>```)ER/Rev`Bal[%](

`2.5``1.0```10```32```16````4````0`12.0

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Each parameter is controlled by the corresponding slider (i.e. the slider immediately below each parameter). The [-1]/[+1] keys and data entry dial can also be used to edit the parameter at which the cursor is currently located.

Refer to page 274 for a complete listing of the parameters provided for each effect.

44 PERFORMANCE EDIT MODE / EFFECT EDIT

Page 46

9: CONTROL PARAMETERS

[PERFORMANCE] → [EFFECT EDIT] → [MENU] → 9:Control Parameter → [ENTER/YES]

The SY85 [CS1] and [CS2] sliders can be assigned to control different effect parameters in real time while playing in the voice or performance modes. The parameters provided in this screen determine which effect parameters are to be controlled by the [CS1] and [CS2] sliders, the minimum and maximum parameter values, and assign MIDI control numbers to the same parameters for MIDI effect control.

EF`CTRL)````````(`Min``Max``Additional`

``CS1`:`off````````0%`100%`000:off

CS1

CS2

CS3

CS4

CS1/CS2 (CS1/CS2 switch)

Range: CS1, CS2 Controls: [CS1], [-1] [+1], Dial

Selects [CS1] or [CS2] for assignment.

Parameter (Effect parameter)

Range: Depends on selected effects. Controls: [CS2], [-1] [+1], Dial

Selects the effect parameter to be controlled by the currently selected slider. Since each effect has as many as 8 different parameters, the maximum number of settings available for this parameter will be 8: “Ef1prm1” through “Ef1prm8” on the display, for example, stands for “effect 1 parameter 1” through “effect 1 parameter 8”. The parameters available for each effect are different, but the name of the selected parameter will be shown between the parentheses on the top line of the display. Parameters that can not be assigned to the sliders are indicated by dashes (“--------”) instead of a parameter name.

CS5

CS6

CS7

CS8

Min (Minimum parameter value)

Range: 0 … 100 Controls: [CS4], [-1] [+1], Dial

Sets the lower limit of the [CS1] or [CS2] control range. A setting of “0”, for example, means that when the slider is set to its lowest position the assigned parameter will also be set to its lowest value. A setting of “50” means that the lowest slider position will set the assigned parameter to about 50% of its range (a parameter with a range of 0 to 127, for example, would be set to about 63).

If a controller is assigned to the “Min” parameter, an inverse “c” will appear to the right of the parameter.

45PERFORMANCE EDIT MODE / EFFECT EDIT

Page 47

Max (Maximum parameter value)

Range: 0 … 100 Controls: [CS5], [-1] [+1], Dial

Sets the upper limit of the [CS1] or [CS2] control range. A setting of “100”, for example, means that when the slider is set to its highest position the assigned parameter will also be set to its highest value. A setting of “80” means that the highest slider position will set the assigned parameter to about 80% of its range (a parameter with a range of 0 to 127, for example, would be set to about 102).

If a controller is assigned to the “Max” parameter, an inverse “c” will appear to the right of the parameter.

Additional (Additional MIDI control)

Range: 000 … 120, AfterTch, Velocity, KeyScale, LFO Controls: [CS6], [-1] [+1], Dial

This parameter allows MIDI control change numbers to be assigned to the selected effect parameters, so that they can be controlled from the SY85 controllers (modulation wheel, foot controller, etc) or an external MIDI device that is capable of transmitting control change messages. Additional settings include “AfterTch” for keyboard aftertouch control, “Velocity” for keyboard velocity control, “KeyScale” for key scaling control, and “LFO” for internal LFO control. This is in addition to control via the [CS1] and [CS2] sliders. MIDI control change numbers 000 through 120 can be assigned. Some control change numbers are already defined, while others are not assigned to any specific controller (see chart below).

MIDI CONTROL CHANGE NUMBER/DEVICE

0: “--------”

1: “Mod.Whl.”

2: “Breath C”

4: “Foot Cnt”

5: “Porta.Tm”

6: “Data Ent”

7: “Main Vol”

8: “Balance ”

10: “Panpot ”

11: “Express.”

64: “Hold 1 ”

65: “Porta.Sw”

66: “Sostenut”

67: “Soft ”

69: “Hold 2 ”

46 PERFORMANCE EDIT MODE / EFFECT EDIT

91: “Effect D” 92: “TremoloD” 93: “Chorus D” 94: “CelesteD” 95: “Phaser D” 96: “Inc. ” 97: “Dec. ” 98: “NRPN LSB” 99: “NRPN MSB” 100: “RPN LSB” 101: “RPN MSB” 121: “AfterTch” 122: “Velocity” 123: “KeyScale” 124: “LFO ”

Page 48

10: CONTROL LFO

[PERFORMANCE] → [EFFECT EDIT] → [MENU] → 10:Control LFO → [ENTER/YES]

All of the modulation-type effects — chorus, flanging, etc. — require LFO control. The SY85 has an independent effect LFO that is set up by the following parameters.

EF`CTRL`LFO``Waveform````Speed````Delay`

``````````````∆˚∆`tri````````0````````0

CS1

CS2

CS3

Wave (LFO waveform)

Range: tri, dwn, up, squ, sin, S/H, 1tm Controls: [CS4], [-1] [+1], Dial

Determines the waveform of the effect LFO.

“tri” = Triangle. “dwn” = Downward sawtooth. “up” = Upward sawtooth. “squ” = Square. “sin” = Sine. “S/H” = Sample and hold.

If a controller is assigned to the “Wave” parameter (page 45), an inverse

“c” will appear to the right of the parameter.

Speed (LFO speed)

Range: 0 … 99 Controls: [CS6], [-1] [+1], Dial

CS4

CS5

“1tm” = Upward 1-shot.

CS6

CS7

CS8

0 Hertz. The fastest setting of 99 produces an LFO speed of approximately 25 Hertz.

“c” will appear to the right of the parameter.

Delay

Range: 0 … 99 Controls: [CS8], [-1] [+1], Dial

effect LFO operation for the selected element.

“99” produces a delay of approximately 2.66 seconds before the effect LFO begins operation.

“c” will appear to the right of the parameter.

Sets the speed of the effect LFO. “0” is the slowest speed setting, producing an LFO speed of approximately

If a controller is assigned to the “Speed” parameter (page 45), an inverse

Sets the delay time between the beginning of a note and the beginning of

The minimum setting “0” results in no delay, while the maximum setting of

If a controller is assigned to the “Delay” parameter (page 45), an inverse

47PERFORMANCE EDIT MODE / EFFECT EDIT

Page 49

EFFECT DATA COPY

[PERFORMANCE] → [EFFECT EDIT] → [COPY]

This function facilitates performance effect editing by allowing the effect parameters from any other song, voice, or performance combination to be copied to the current performance combination. You can copy an effect setup that is close to the type you want, then edit it to produce the required sound.

EFFECT`COPY`````From

````````````````PFM``¡A1:InitPerf```````

From

Range: Any song, voice or performance combination Controls: MEMORY, GROUP, PROGRAM, [CS5], [-1] [+1], Dial

select the memory area from which the source voice is to be selected. Use the GROUP keys to select the source voice bank, then use the PROGRAM keys to select the source voice number. The [CS5] slider and other data entry controls can also be used to select the source voice number.

you sure?” will appear on the display.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Use the [INTERNAL 1], [INTERNAL 2], and [CARD] MEMORY keys to

Once the source voice has been selected, press the [ENTER/YES] key. “Are

EFFECT`COPY`````From Are`you`sure`?``PFM``¡A1:InitPerf

Press the [ENTER/YES] key again to copy the effect data, or press [EXIT/ NO] to cancel the copy operation. Once the copy operation has finished, “Completed!” will appear on the display briefly, then the display will return to the effect edit mode.

48 PERFORMANCE EDIT MODE / EFFECT EDIT

Page 50

EFFECT SIGNAL FLOW DISPLAY

[PERFORMANCE] → [EFFECT EDIT] → [SHIFT] + [F1] ~ [F3]

This function provides a graphic indication of the current effect system configura-

tion while in the effect edit mode.

● Overall Effect Flow

EFFECT`FLOW`Ú`∏Á

∏∏∏∏∏∏

Î`Ú`EF1=Rev.Stage1

`Mode=`para`Ú`ШШШШШЛФБ `Ú`EF2=EQ`->`Sym

CS1

● Effect 1 Configuration

CS2

CS3

CS4

CS5

CS6

CS7

EF1`Send1a>---[Stge˜]------------◊->OUT1

`````````````````````````````````’-<DRY1

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

● Effect 2 Configuration

EF2`Send2a>---[EQ```]-Ÿ-[Sym`˜]--◊->OUT2

````Send2b>-----------Û``````````’-<DRY2

CS1

Press [SHIFT] + [F1] to see the overall effect system signal flow. Press [SHIFT] + [F2] to see the effect 1 section configuration, and [SHIFT] + [F3] for the effect 2 section configuration.

Refer the to section beginning on page 254 for details on the effect system.

CS2

CS3

CS4

CS5

CS6

CS7

CS8

49PERFORMANCE EDIT MODE / EFFECT EDIT

Page 51

1: LAYER CONTROLLER SYNC

[PERFORMANCE] → [JOB] → [MENU] → 1:Layer Controller Sync → [ENTER/YES]

This function changes the controller parameters of all voices in the selected perfomance combination to match those of the voice assigned to the specified “source” layer.

PERFORMANCE`JOB`Layer`Controller`Sync```

``````````````````````````Source`LayerA

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Use the [CS8] slider to select the source layer (A, B, C, or D) from which the controller data is to be copied, then press [ENTER/YES] to begin the layer controller sync procedure. The following confirmation display will appear:

PERFORMANCE`JOB`Layer`Controller`Sync Are`you`sure`?````````````Source`LayerA

Press [ENTER/YES] again to confirm that you want to go ahead with the operation (which will overwrite all controller data for the voices assigned to all layers other than the source layer), or press [EXIT/NO] to cancel.

When the data has been copied, “Completed!” will appear briefly on the display, then the display will return to the mode that was engaged prior to calling the layer controller sync function.

50 PERFORMANCE EDIT MODE / JOB

Page 52

2: LAYER EXCHANGE

[PERFORMANCE] → [JOB] → [MENU] → 2:Layer Exchange → [ENTER/YES]

This function can be used to eliminate the audible effects of slight note delays that can occur in the performance play mode. The notes played by layers A, B, C, and D are sounded in sequence in the performance play mode. Normally the delay is so slight that it is not audible. If a voice with a sharp attack is assigned to one of the later layers (C or D), however, the delay can “soften” the attack of the voice. The problem can be overcome by using this function to exchange layers A and D, for example, so that the voice with the strong attack is assigned to layer A instead of layer D. Since layer A is sounded first, the sharpness of the attack will be retained.

PERFORMANCE`JOB`Layer`Exchange

`````````````````````````````````A`†¥`A

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Use the [CS7] and [CS8] sliders to select the layers to be exchanged (A through D), then press [ENTER/YES] to begin the layer exchange procedure. The following confirmation display will appear:

PERFORMANCE`JOB`Layer`Exchange Are`you`sure`?```````````````````A`†¥`A

Press [ENTER/YES] again to confirm that you want to go ahead with the layer exchange operation, or press [EXIT/NO] to cancel.

When the data has been exchanged, “Completed!” will appear briefly on the display, then the display will return to the mode that was engaged prior to calling the layer exchange function.

51PERFORMANCE EDIT MODE / JOB

Page 53

3: PERFORMANCE EDIT RECALL

[PERFORMANCE] → [JOB] → [MENU] → 3:Recall → [ENTER/YES]

If you’re dissatisfied with the results of edits you’ve made to a performance combination, or have accidentally lost track of changes made, use the PERFORMANCE EDIT RECALL function to recall the pre-edit performance data from the SY85’s backup buffer memory.

PERFORMANCE`JOB`Recall````````<InitPerf>

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Press [ENTER/YES] to begin the recall procedure. The following confirma-

tion display will appear:

PERFORMANCE`JOB`Recall````````<InitPerf> Are`you`sure`?

Press [ENTER/YES] again to confirm that you want to go ahead with the recall operation (which will erase all current edited data), or press [EXIT/NO] to cancel.

When the original voice data has been recalled, “Completed!” will appear briefly on the display, then the display will return to the mode that was engaged prior to calling the performance edit recall function.

52 PERFORMANCE EDIT MODE / JOB

Page 54

4: PERFORMANCE INITIALIZE

[PERFORMANCE] → [JOB] → [MENU] → 4:Initialize → [ENTER/YES]

When you want to program a totally new performance combination “from scratch,” rather than editing an existing combination, use this function to initialize all performance parameters.

PERFORMANCE`JOB`Initialize``

`````````````````````````[EDIT]`LYR

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Press [F6] if you want to initialize the entire performance combination currently in the edit buffer, or [F7] if you only want to initialize one specific layer. If you choose [F7], use the [CS8] slider to select the layer you want to initialize.

Press [ENTER/YES] to begin the initialize procedure. The following confirmation display will appear:

PERFORMANCE`JOB`Initialize Are`you`sure`?```````````[EDIT]`LYR

Press [ENTER/YES] again to confirm that you want to go ahead with the initialize operation (which will erase all current edited data), or press [EXIT/ NO] to cancel.

When the performance data has been initialized, “Completed!” will appear briefly on the display, then the display will return to the mode that was engaged prior to calling the performance initialize function.

53PERFORMANCE EDIT MODE / JOB

Page 55

[SHIFT] + [STORE]

The illustrations here are not available.

performance combination being edited with the same performance combination prior to editing.

[STORE] key while holding the [SHIFT] key. The [PERFORMANCE] LED will flash, indicating that the compare mode is engaged. Although you can select different edit mode display screens, data cannot be edited in the compare mode. Press [EXIT/ NO] to return to the edit mode and the performance combination being edited.

PERFORMANCE COMPARE

The performance compare function makes it possible to compare the sound of a

To temporarily recall the original performance data while editing, press the

54 PERFORMANCE EDIT MODE / COMPARE

Page 56

[STORE]

PERFORMANCE STORE

When you’re satsfied with a new performance combination you’ve created in the performance edit mode, use the store function described below to store the new performance combination to an internal or card memory location.

PERFORMANCE`STORE`````Layer-:<-------->

``To``¡A1:InitPerf```¡A1u`¡A1u`¡A1u`¡A1u

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

When you’ve finished editing, return to the normal performance play mode (press the [PERFORMANCE] key), and before selecting a different mode or performance combination press the [STORE] key. You can now use the MEMORY, GROUP, and NUMBER keys (or the [CS2] slider) to select the memory location to which your new performance combination is to be stored.

Since any changes you have made via the LAYER VOICE EDIT MENU (page 26) will be stored as voice data, it is also possible to specify the voice memory loactions to which the voice data from each layer will be stored. The [F5], [F6], [F7], and [F8] function keys select the layer A, B, C, and D layer voices, respectively. The corresponding layer and voice name appears on the upper display line. With the cursor in the appropriate position you can use the MEMORY, GROUP, and NUMBER keys (or the corresponding slider) to select the memory location to which each voice is to be stored. A “u” appearing next to one of these voice numbers means that the voice is currently used by another performance combination, and therefore any changes to that voice will affect the performance combination in which it is used. For more information press the [SHIFT] key for a list of names of other performance combinations that use the voices assigned to each layer.

Once the store location has been specified, press [ENTER/YES] to begin the store procedure. The following confirmation display will appear:

PERFORMANCE`STORE`````````Are`you`sure`?

``To``¡A1:InitPerf```¡A1u`¡A1u`¡A1u`¡A1u

Press [ENTER/YES] again to confirm that you want to go ahead with the store operation (which will erase all previous data in the specified memory location), or press [EXIT/NO] to cancel.

When the performance data has been stored, “Completed!” will appear briefly on the display, then the display will return to the mode that was engaged prior to calling the store function.

PERFORMANCE EDIT MODE / STORE

Page 57

Page 58

VOICE EDIT MODE

Page 59

OSCILLATOR

[VOICE] → [EDIT] → [MENU] → 1:Oscillator → [ENTER/YES]

This screen contains 6 parameters that determine the fundamental sound of the voice being edited — including the number of the waveform on which the voice will be based.

OSC``Wave``````Mode`Fine`Note`Rndm``Rvs` P244`Sin```````norm```+0```+0````0``off`

Wave

Range: P001 … P244, I00 … I63, C00 … C63 Controls: [CS1], [-1] [+1], Dial

[INTERNAL 1], [INTERNAL 2], and [CARD] keys to select the memory area from which the wave is to be selected. Please note that when SIMM memory is wave memory installed, wave data can not be loaded into memory from a waveform card. A complete listing of the internal waves is given in the Appendix, on page 310.

Mode

Range: fix, norm Controls: [CS4], [-1] [+1], Dial

pitch) or fixed-pitch mode.

to be controllable from a keyboard or other type of controller, in which case the “norm” mode should be selected. In some cases — sound effects in particular — you might want the same pitch to be produced no matter what note you play on the keyboard or other controller. In this case, the “fix” mode is appropriate. The Note parameter described below can be used to set the note produced when the “fix” mode is selected.

CS1

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Selects the wave (AWM waveform) to be used in the current voice. Use the

Determines whether the selected wave is reproduced in the normal (variable

Normally you want the pitch of the AWM wave (or waves) used in a voice

Fine

Range: -63 … 0 … +63 Controls: [CS5], [-1] [+1], Dial

Allows fine tuning of the selected AWM wave. Each increment corresponds to approximately 1.17 cents (a “cent” is 1/100th of a semitone) so the lowest setting (-63) shifts the pitch down by almost three quarters of a semitone, while the highest setting (+63) shifts the pitch up by the same amount. A setting of “+0” produces standard concert pitch (A3 = 440 Hertz).

VOICE EDIT MODE / 1:Oscillator

Page 60

Please note that this parameter is used to individually tune the current voice. Overall tuning control is provided by the MASTER TUNE function available in the UTILITY mode.

Note

Range: C-2 … G8, -64 … +63 Controls: [CS6], [-1] [+1], Dial

When the “fix” mode is selected this parameters sets the frequency (note) at which the selected wave will be played. The C-2 to G8 range of this parameter covers a full 10-1/2 octaves. “C3” corresponds to “middle C” on a keyboard.

When the “norm” mode is selected, this parameter is used to shift the overall pitch of the entire keyboard up or down in semitone increments (i.e. a “note shift” function). In this case the range of the parameters is from -64 through 0 to +63. A setting of “-12,” for example, shifts the pitch down by one octave; a setting of “+4” shifts the pitch up by a major third.

Rndm (Random pitch)

Range: 0 … 7 Controls: [CS7], [-1] [+1], Dial

Sets the amount of random pitch variation produced each time a note is played.

When this parameter is set to a value other than “0,” the pitch changes randomly each time a note is played. The random pitch change is applied independently to each note in a chord. A setting of “7” produces the greatest amount of random pitch change.

This function is ideal for simulating the sound of instruments like the clavichord, string sections or other ensembles in which the pitch of each note is rarely in perfect tune with the others.

Rvs (Reverse)

Range: off, on Controls: [CS8], [-1] [+1], Dial

When this parameter is turned “on,” the selected wave is played in reverse.

When Rvs is “on,” the pitch EG “Loop” parameter described on page 75 is automatically turned “off.”

59VOICE EDIT MODE / 1:Oscillator

Page 61

1: AEG LEVEL & RATE

The illustrations here are not available.

[VOICE] → [EDIT] → [MENU] → 2:Amlitude EG → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 1:Level&Rate → [ENTER/YES]

The SY85’s main AEG (Amplitude Envelope generator) has five individually programmable rates and two levels for exceptional envelope programming flexibility. Next to the fundamental waveform used, the amplitude envelope is one of the most important factors determining the overall sound of a voice.

AEG````R1```R2```L2```R3```L3```R4```RR`

`atk``π63`ƒ`63````0`π`63```63`ƒ``0`π`50

CS1

Atk/Hld (Amplitude EG attack/hold mode)

Range: atk, hold Controls: [CS1], [-1] [+1], Dial

The “Atk” and “Hld” mode settings affect the initial attack of the sound, determining how the amplitude envelope begins. In the “Atk” mode, the envelope begins from zero level, reaching the maximum AWM level at a rate determined by the R1 (Rate 1) parameter. In this mode there will always be a slight delay between the initiation of a note and maximum level.

R1 … RR, L2 … L3 (Rates & levels)

Range: 0 … 63 Controls: [CS2] … [CS8], [-1] [+1], Dial

CS2

CS3

CS4

CS5

CS6

CS7

CS8

The following diagrams illustrate how the AEG rate and level parameters determine the overall shape of the amplitude envelope.

● “Atk” Mode

VOICE EDIT MODE / 2:Amplitude EG

Page 62

The envelope begins at zero level, reaches maximum level at the rate deter-

The illustrations here are not available.

mined by the R1 parameter, moves to L2 (Level 2) at R2 (Rate 2), moves on to L3 (Level 3) at R3 (Rate 3), and finally decays to zero level at R4 (Rate 4) if the note is held the entire time.

If the note is released before the end of the envelope described above, then the sound decays to zero level from the point at which the note is released at the rate determined by the RR (Release Rate) parameter.

● “Hld” Mode

If the “hold” mode is selected, the envelope begins immediately from maximum AWM level, allowing the fast attack transients of waveforms to pass unaffected. In this case the R1 parameter is replaced by the HT (Hold Time) parameter. The HT parameter determines the length of time between the beginning of the envelope and the point at which the envelope begins to move towards L2 (Level 2) at R2 (Rate 2), as shown below.

For the level parameters, a setting of “0” corresponds to the lowest possible level (no sound) while a setting of 63 produces the highest output level. A “0” rate parameter setting produces the slowest rate between levels, while the maximum setting of “63” produces the fastest (almost instantaneous) change.

VOICE EDIT MOD E / 2:Amplitude EG

Page 63

2: LEVEL SCALING

[VOICE] → [EDIT] → [MENU] → 2:Amlitude EG → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 2:Level Scaling → [ENTER/YES]

Level scaling produces natural level variations across the range of the keyboard by allowing different level “offset” values to be applied to each of four “breakpoints” set at appropriate keys.

LEVEL`SCALING`)POINT1`(`````````````````

``C1```G2```E4```F4```+0```+0```+0```+0

CS1

CS2

Point 1 … 4

Range: C-2 ... G8 Controls: [CS1] … [CS4], [-1] [+1], Dial, [SHIFT] + Keyboard

Allows four separate amplitude envelope generator level-scaling breakpoints

to be set at any notes between C-2 and G8 for the selected element.

To use the keyboard for breakpoint entry, simply select a breakpoint parameter by pressing the coresponding function key or moving the corresponding continuous slider, then press the key at which you want to set the breakpoint while holding the [SHIFT] key.

No breakpoint can be set to a key lower than the breakpoint to its left.

Offset 1 … 4

Range: -127 ... +127 Controls: [CS5] … [CS8], [-1] [+1], Dial

CS3

CS4

CS5

CS6

CS7

CS8

Sets the amount of level offset for each of the four level-scaling breakpoints set by the “Point” parameters described above.

Negative values reduce the level, and positive values increase the level at the corresponding breakpoint. No matter what value is chosen, the EG level will never exceed its minimum or maximum levels. When different offset values are applied to adjacent breakpoints, the level varies smoothly between the breakpoints.

VOICE EDIT MODE / 2:Amplitude EG

Page 64

3: SENSITIVITY

[VOICE] → [EDIT] → [MENU] → 2:Amlitude EG → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 3:Sensitivity → [ENTER/YES]

The parameters provided here determine how the amplitude envelope generator

responds to changes in keyboard velocity and range.

AMP```Vel```AtkRateVel`````RateScaling`` Sens.``+0````````-7`````````````+0``````

CS1

CS2

CS3

CS4

CS5

CS6

CS7

Vel (Velocity sensitivity)

Range: -7 ... +7 Controls: [CS2], [-1] [+1], Dial

Determines how the output level of the current voice changes in response to velocity changes (e.g. keyboard dynamics).

Plus “+” settings produce higher output level in response to higher velocity values — i.e. the harder a key is played, the louder the sound. The maximum setting of “+7” produces the maximum level variation in response to velocity changes. Minus “-” settings produce the opposite effect: lower level in response to higher velocity. A setting of “+0” results in no level variation.

AtkRateVel (Attack rate velocity sensitivity)

Range: -7 … +7 Controls: [CS4], [-1] [+1], Dial

Determines how key velocity (keyboard dynamics) affect the attack time of the amplitude envelope generator.

Plus (“+”) settings produce an increase in attack time in proportion to key velocity, while minus (“-”) settings produce a decrease in attack time in proportion to key velocity. The greater the value the greater the change in envelope length.

CS8

RateScaling

Range: -7 ... +7 Controls: [CS7], [-1] [+1], Dial

Allows the overall amplitude envelope generator decay rate for the selected element to be varied across the entire pitch range.

Plus (“+”) settings produce a longer overall envelope time for the low notes and a shorter envelope time for the high notes. This is useful for simulating instruments such as piano, in which the low notes take much longer to decay than the high notes. The maximum “+7” setting produces the greatest envelope length variation across the pitch range. Minus (“-”) settings produce the opposite effect — short low notes and long high notes. A setting of “+0” results in no envelope length variation.

VOICE EDIT MOD E / 2:Amplitude EG

Page 65

AEG DATA COPY

[VOICE] → [EDIT] → [MENU] → 2:Amplitude EG → [ENTER/YES] → [ENTER/YES] → [COPY]

This function facilitates voice editing by allowing the amplitude EG data from any other voice (the “source” voice) to be copied to the current voice. You can copy an envelope that is close to the type you want, then edit it to produce the required sound.

AEG`COPY````````From`Voice``````````````

`````````````````````¡A1:InitVce

CS1

From Voice

Range: Any INTERNAL or CARD voice Controls: MEMORY, GROUP, PROGRAM, [CS5], [-1] [+1], Dial

Use the [INTERNAL 1], [INTERNAL 2], and [CARD] MEMORY keys to select the memory area from which the source voice is to be selected. Use the GROUP keys to select the source voice bank, then use the PROGRAM keys to select the source voice number. The [CS5] slider and other data entry controls can also be used to select the source voice bank and number.

Once the source voice has been selected, press the [ENTER/YES] key. “Are you sure?” will appear on the display.

AEG`COPY````````From`Voice`````````````` Are`you`sure`?```````¡A1:InitVce

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Press the [ENTER/YES] key again to copy the AEG data, or press [EXIT/ NO] to cancel the copy operation. Once the copy operation has finished, “Completed!” will appear on the display briefly, then the display will return to the amplitude EG edit mode.

VOICE EDIT MODE / 2:Amplitude EG

Page 66

1:TYPE, CUTOFF FREQUENCY

The illustrations here are not available.

[VOICE] → [EDIT] → [MENU] → 3:Filter → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 1:Cutoff Frequency → [ENTER/YES]

The SY85 features a sophisticated digital filter system that can be used to shape the timbre of the voice being edited in a number of ways. Changes in the response and cutoff frequency can be used to define the basic timbre of the voice, while EGcontrolled filter sweeps can produce a virtually unlimited range of time-based timbre variations.

FILTER`Cutoff`Freq.`Type`Band`Reso`CTRL`

`````(------Hz)`---`THRU``---```--``LFO`

CS1

CS2

CS3

CS4

CS5

Cutoff Freq. (Cutoff frequency)

Range: 0 … 127 Controls: [CS4], [-1] [+1], Dial

Sets the cutoff frequency of the selected filter. Lower cutoff values produce a lower cutoff frequency and higher values

produce a higher cutoff frequency.

CS6

CS7

CS8

With an LPF response (selected by the “Type” parameter, below), a lower cutoff frequency reduces the range of high frequencies passed, making the sound “darker” or “rounder.”

With a HPF response, a higher cutoff frequency reduces the range of low frequencies passed, making the sound “thinner” or “sharper.”

VOICE EDIT MODE / 3:Filter

Page 67

Type (Filter type)

The illustrations here are not available.

Range: THRU, LPF, LPF12, HPF, BPF, BEF Controls: [CS5], [-1] [+1], Dial

Determines the type of filter response used.

The “THRU” (THROUGH) setting turns the filter OFF.

● “LPF” and “LPF12” Types

The “LPF” (Low Pass Filter) and “LPF12” settings produces a filter response that allows only frequencies above) to pass. The “LPF” filter type has a steep 24-dB/octave cutoff slope, while the “LPF12” type has a gentler 12-dB/octave slope.

below the cutoff frequency (See “Cutoff”

● “HPF” Type

The “HPF” (High Pass Filter) setting produces a filter response that allows only frequencies

above the cutoff frequency (See “Cutoff” above) to pass.

VOICE EDIT MODE / 3:Filter

Page 68

● “BPF” Type

The illustrations here are not available.

The “BPF” (Band Pass Filter) setting produces a filter response that allows only a band of frequencies centered at the cutoff frequency (See “Cutoff” above) to pass. The “Band” parameter (below) determines the width of the pass band.

● “BEF” Type

The “BEF” (Band Elimination Filter) setting produces a filter response that eliminates a band of frequencies centered at the cutoff frequency (See “Cutoff” above) to pass. The “Band” parameter (below) determines the width of the elimination band.

Band (BPF & BEF bandwidth)

Range: 0 … 127 Controls: [CS6], [-1] [+1], Dial

Determeines the width of the frequency pass or elimination band for the BPF and BEF filter types, respectively. The minimum setting of “0” produces an extremely narrow pass or elimination band, while the maximum setting of “127” produces a wide band.

VOICE EDIT MODE / 3:Filter

Page 69

Reso (Resonance)

The illustrations here are not available.

Range: 0 … 99 Controls: [CS7], [-1] [+1], Dial

Determines the degree of filter resonance when the “LPF” filter type is selected (“--” appears in place of the resonance parameter when any other filter type is selected).

This parameter has a similar effect to the “resonance” settings on traditional analog synthesizer filters — i.e. it determines the height of a peak in the filter response at the cutoff frequency.

Higher resonance values produce a higher resonant peak and reduce the overall bandwidth of the filter, passing a narrow band of frequencies at the filter’s cutoff.

CTRL (Filter control)

Range: EG, LFO Controls: [CS8], [-1] [+1], Dial

Determines whether the cutoff frequency of the selected filter will be controlled by the LFO or by the filter envelope generator (EG).

Varying the filter cutoff frequency can create “sweep” or “wah-wah” type effects. If the cutoff is controlled via the LFO a cyclic variation based on the “shape” of the selected LFO waveform is produced. If EG control is selected, the filter envelope generator (see “FILTER EG LEVEL & RATE” below) can be set up to produce a wide range of time-based variations.

Please note that if “LFO” is selected, the filter cutoff envelope generator parameters have no effect on the sound.

VOICE EDIT MODE / 3:Filter

Page 70

2: CUTOFF SCALING

[VOICE] → [EDIT] → [MENU] → 3:Filter → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 2:Cutoff Scaling → [ENTER/YES]

Cutoff scaling produces natural timbre variations across the range of the keyboard by allowing different filter cutoff frequency “offset” values to be applied to each of four “breakpoints” set at appropriate keys.

CUTOFF`SCALING``````)POINT1`(```````````

``C1```G2```E4```F4```+0```+0```+0```+0

CS1

CS2

POINT 1 … 4

Range: C-2 ... G8 Controls: [CS1] … [CS4], [-1] [+1], Dial, [SHIFT] + Keyboard

Allows four separate cutoff envelope generator level-scaling breakpoints to

be set at any notes between C-2 and G8 for the selected filter.

No breakpoint can be set to a key lower than the breakpoint to its left.

OFFSET 1 … 4

Range: -127 ... +127 Controls: [CS5] … [CS8], [-1] [+1], Dial

CS3

CS4

CS5

CS6

CS7

CS8

Sets the amount of level offset for each of the four level-scaling breakpoints set by the “Point” parameter described above.

Negative values lower the cutoff frequency, and positive values increase the cutoff frequency at the corresponding breakpoint. No matter what value is chosen, the cutoff frequency will never exceed its minimum or maximum value. When different offset values are applied to adjacent breakpoints, the cutoff frequency varies smoothly between the breakpoints.

VOICE EDIT MODE / 3:Filter

Page 71

3: FEG LEVEL & RATE

[VOICE] → [EDIT] → [MENU] → 3:Filter → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 3:FEG Level&Rate → [ENTER/YES]

The filter envelope generator is entirely separate from the amplitude EG, and is used specifically to create time-based timbre variations. It can be used to simulate the natural timbre variations produced by acoustic instruments, or to create more pronounced electronic effects.

FEG````L0`π`L1`π`L2```L3`π`L4`πRL1`πRL2 [LVL]``+0```+0``-63`ƒ`+0```+0```+0```+0

CS1

CS2

CS3

CS4

CS5

CS6

CS7

FEG````RS`π`R1`π`R2```R3`π`R4`πRR1`πRR2 [RATE]`+0````0````0`ƒ``0````0````0````0`

CS1

LVL/RATE (Level/Rate switch)

Range: LVL, RATE Controls: [F1]

CS2

CS3

CS4

CS5

CS6

CS7

CS8

This “switch” determines whether the level parameters (L0 … L4, RL1, and RL2) or the rate parameters (RS, R1 … R4, RR1, and RR2), described below, are selected for editing.

L0 … L4, RL1, RL2 (Levels 0 … 4, Release levels 1 & 2)

Range: -63 ... +63 Controls: [CS2] … [CS8], [-1] [+1], Dial

These parameters are available when the Level/Rate switch parameter is set to “LVL”.

The level parameters work in conjunction with the rate parameters described below to determine the “shape” of the cutoff envelope generator for the selected filter. This function is only available if the “CTRL” parameter (page 68) is set to “EG.”

The cutoff envelope generator level parameters correspond to cutoff frequency. Plus “+” values produce higher cutoff frequencies while minus “-”

VOICE EDIT MODE / 3:Filter

Page 72

values produce lower cutoff frequencies. “0” level values produce the normal cutoff frequency as determined by the cutoff parameter (See “Cutoff” on page

65).

RS (Rate scaling)

Range: -7 ... +7 Controls: [CS2], [-1] [+1], Dial

Allows the overall cutoff envelope generator rate for the selected filter to be varied across the entire pitch range (i.e. keyboard range). This function is only available if the “CTRL” parameter (page 68) is set to “EG.”

Plus (“+”) settings produce a longer overall envelope time for the low notes and a shorter envelope time for the high notes. The maximum “+7” setting produces the greatest envelope length variation across the pitch range. Minus (“-”) settings produce the opposite effect — a shorter low-note envelope and longer high-note envelope. A setting of “+0” results in no envelope length variation.

R1 … R4, RR1, RR2 (Rates 1 … 4, Release rates 1 & 2)

Range: 0 … 63 Controls: [CS3] … [CS8], [-1] [+1], Dial

These parameters work in conjunction with the level parameters described above to determine the “shape” of the cutoff envelope generator for the selected filter. This function is only available if the “CTRL” parameter (page 68) is set to “EG.”

The “Rate” parameters work in the same way as the amplitude and pitch envelope generator rate parameters: a setting of “63” produces the fastest (almost instantaneous) rate between levels, while the minimum setting of “0” produces the slowest change.

The filter envelope begins at L0 (Level 0), moves to L1 (Level 1) at a rate determined by the setting of R1, then to L2 (Level 2) at R2 (Rate 2), then to L3 (Level 3) at R3 (Rate 3), and then to L4 (Level 4) at R4 (Rate 4). The cutoff stays at L4 until the key is released, and then moves to RL1 (Release Level 1) at the rate determined by RR1 (Release Rate 1), and finally to RL2 (Release Level 2) at RR2 (Release Rate 2).

VOICE EDIT MODE / 3:Filter

Page 73

4: FILTER SENSITIVITY

[VOICE] → [EDIT] → [MENU] → 3:Filter → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 4:Filter Sensitivity → [ENTER/YES]

These parameters determine how the filter envelope generator is affected by

keyboard dynamics.

FILTER`SENS.```Type``Vel`````AtkRateVel`

```````````EG»attack``+0`````````````+0`

CS1

CS2

CS3

CS4

CS5

Type (Velocity sensitivity type)

Range: EG_attack, EG_shift Controls: [CS4], [-1] [+1], Dial

Determines whether changes in key velocity (keyboard dynamics) affect the attack level of the filter EG or its cutoff frequency. When set to “EG_attack”, velocity affects filter EG attack level, and when set to “EG_shift”, velocity affects the filter cutoff frequency.

Vel (Velocity sensitivity)

Range: -63 ... +63 Controls: [CS5], [-1] [+1], Dial

Determines how the filter cutoff frequency changes in response to velocity changes (e.g. keyboard dynamics).

Plus “+” settings produce higher cutoff frequencies in response to higher velocity values — i.e. the harder a key is played, the higher the cutoff frequency. The maximum setting of “+63” produces the maximum level variation in response to velocity changes. Minus “-” settings produce the opposite effect: lower cutoff in response to higher velocity. A setting of “+0” results in no cutoff variation.

CS6

CS7

CS8

AtkRateVel (Attack rate velocity sensitivity)

Range: -63 ... +63 Controls: [CS8], [-1] [+1], Dial

Determines how key velocity (keyboard dynamics) affect the attack portion of the filter EG envelope.

VOICE EDIT MODE / 3:Filter

Page 74

FILTER DATA COPY

[VOICE] → [EDIT] → [MENU] → 3:Filter → [ENTER/YES]→ [ENTER/YES]→ [COPY]

This function facilitates voice editing by allowing the filter parameters from any other voice (the “source” voice) to be copied to the current voice. You can copy a filter setup that is close to the type you want, then edit it to produce the required sound.

FILTER`COPY`````From`Voice``````````````

`````````````````````¡A1:InitVce

CS1

From Voice

Range: Any INTERNAL or CARD voice Controls: MEMORY, GROUP, PROGRAM, [CS5], [-1] [+1], Dial

Once the source voice has been selected, press the [ENTER/YES] key. “Are you sure?” will appear on the display.

FILTER`COPY`````From`Voice`````````````` Are`you`sure`?```````¡A1:InitVce

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Press the [ENTER/YES] key again to copy the filter data, or press [EXIT/ NO] to cancel the copy operation. Once the copy operation has finished, “Completed!” will appear on the display briefly, then the display will return to the filter edit mode.

VOICE EDIT MODE / 3:Filter

Page 75

1: LEVEL & RATE

[VOICE] → [EDIT] → [MENU] → 4:Pitch EG → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 1:Level&Rate → [ENTER/YES]

In addition to the amplitude and filter envelope generators, the SY85 has an independent pitch EG that can be used to produce subtle or pronounced time-based pitch variations. The pitch EG has 5 programmable levels and 4 rates for extended flexibility.

PEG`````````L0`π`L1```L2`π`L3`πRL1`π```` [LEVEL]`````+0``-63`ƒ`+0```+0```+0``````

CS1

CS2

CS3

CS4

CS5

CS6

CS7

PEG```````Loop`π`R1```R2`π`R3`π`RR`π`RS` [RATE`]````off````0`ƒ`63```63```63```+0`

CS1

Level/Rate

Range: LEVEL, RATE Controls: [F1]

This “switch” determines whether the level parameters (L0 … L3, RL1) or the rate parameters (Loop, R1 … R3, RR, and RS), described below, are selected for editing.

CS2

CS3

CS4

CS5

CS6

CS7

CS8

L0 … L3, RL1 (Levels 0 … 3, release level 1)

Range: -63 ... +63 Controls: [CS3] … [CS7], [-1] [+1], Dial

These parameters work in conjunction with the rate parameters described below to determine the “shape” of the pitch envelope generator for the selected element.

Unlike the amplitude envelope generator, the “Level” parameters of which actually correspond to volume levels, the pitch envelope generator level parameters correspond to pitch. Plus “+” values produce higher pitch while minus “-” values produce lower pitch. “0” level values produce normal pitch.

VOICE EDIT MODE / 4:Pitch EG

Page 76

Loop

The illustrations here are not available.

Range: off, on Controls: [CS3], [-1] [+1], Dial

When the Loop parameter is set to “on” the pitch EG cycle repeats from the beginning (L0) to the L3 level until the keys being played are released. When set to “off,” the L3 level is maintained until the keys being played are released.

R1 … R3, RR (Rates 1 … 3, release rate)

Range: 0 ... +63 Controls: [CS4] … [CS7], [-1] [+1], Dial

These parameters work in conjunction with the level parameters described above to determine the “shape” of the pitch envelope generator for the selected element.

The “Rate” parameters work in the same way as the amplitude envelope generator rate parameters: a setting of “63” produces the fastest (almost instantaneous) rate between levels, while the minimum setting of “0” produces the slowest change.

The pitch envelope begins at L0 (Level 0), moves to L1 (Level 1) at a rate determined by the setting of R1, then to L2 (Level 2) at R2 (Rate 2), and then to L3 (Level 3) at R3 (Rate 3). The pitch stays at L3 until the key is released, and then moves to RL1 (Release Level 1) at the rate determined by RR (Release Rate).

RS (Pitch EG rate scaling)

Range: -7 … +7 Controls: [CS8], [-1] [+1], Dial

Allows the overall pitch envelope generator rate for the selected element to be varied across the entire pitch range.

VOICE EDIT MODE / 4:Pitch EG

Page 77

2: RANGE, SENSITIVITY

[VOICE] → [EDIT] → [MENU] → 4:Pitch EG → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 2:Sensitivity → [ENTER/YES]

These parameters determined the overall range of the pitch EG, and how it is

affected by variations in keyboard velocity.

PEG`SENS.``Range`````Vel`RateVel````````

`````````````1oct`````+0```+0``````

CS1

CS2

CS3

CS4

CS5

Range

Range: 1/8oct, 1/2oct, 1oct, 2oct Controls: [CS3], [-1] [+1], Dial

Sets the maximum range of pitch envelope generator pitch variation.

This parameter determines the

total maximum range of the pitch envelope

generator, so a setting of “2oct” means that the maximum range is ±1 octave. That is, if a level parameter is set to +63, for example, the pitch at that point will be one octave above normal pitch.

Vel (Pitch EG velocity sensitivity)

Range: -7 … +7 Controls: [CS5], [-1] [+1], Dial

Determines how the overall envelope depth of the pitch envelope generator is controlled by velocity information.

Plus (“+”) values produce a deeper pitch envelope in response to higher velocity, while minus (“-”) values produce a shallower pitch envelope in response to higher velocity values. The greater the value the greater the change in pitch envelope depth.

CS6

CS7

CS8

RateVel (Pitch EG rate velocity sensitivity)

Range: -7 … +7 Controls: [CS6], [-1] [+1], Dial

Determines how the overall envelope length of the pitch envelope generator is controlled by velocity information.

Plus (“+”) values produce a longer pitch envelope in response to higher velocity, while minus (“-”) values produce a shorter pitch envelope in response to higher velocity values. The greater the value the greater the change in pitch envelope length.

VOICE EDIT MODE / 4:Pitch EG

Page 78

PITCH EG DATA COPY

[VOICE] → [EDIT] → [MENU] → 4:Pitch EG → [ENTER/YES] → [ENTER/YES] → [COPY]

This function facilitates voice editing by allowing the pitch EG parameters from any other voice (the “source” voice) to be copied to the current voice. You can copy a pitch EG setup that is close to the type you want, then edit it to produce the required sound.

PEG`COPY````````From`Voice``````````````

`````````````````````¡A1:InitVce

CS1

From Voice

Range: Any INTERNAL or CARD voice Controls: MEMORY, GROUP, PROGRAM, [CS5], [-1] [+1], Dial

Once the source voice has been selected, press the [ENTER/YES] key. “Are you sure?” will appear on the display.

PEG`COPY````````From`Voice`````````````` Are`you`sure`?```````¡A1:InitVce

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Press the [ENTER/YES] key again to copy the pitch EG data, or press [EXIT/NO] to cancel the copy operation. Once the copy operation has finished, “Completed!” will appear on the display briefly, then the display will return to the pitch EG edit mode.

VOICE EDIT MODE / 4:Pitch EG

Page 79

1: LFO

[VOICE] → [EDIT] → [MENU] → 5:LFO → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 1:LFO → [ENTER/YES]

These parameters define the operation of the SY85’s main LFO (Low Frequency Oscillator). The main LFO controls amplitude, pitch, frequency, and filter cutoff modulation applied via the modulation wheel, the foot controller, and keyboard aftertouch response.

LFO``Wave`Sped`Pmod`Amod`Fmod`Dely`Phase

`∆˚∆``tri```64````0````0````0````0````0

CS1

Wave (LFO waveform)

Range: tri, dwn, up, squ, sin, S/H Controls: [CS2], [-1] [+1], Dial

Determines the waveform of the LFO.

“tri” = Triangle. “dwn” = Downward sawtooth. “up” = Upward sawtooth. “squ” = Square. “sin” = Sine. “S/H” = Sample and hold.

Sped (LFO speed)

Range: 0 … 99 Controls: [CS3], [-1] [+1], Dial

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Sets the speed of the LFO.

“0” is the slowest Speed setting, producing an LFO speed of approximately 0 Hertz. The fastest setting of 99 produces an LFO speed of approximately 25 Hertz.

Pmod (Pitch modulation depth)

Range: 0 … 127 Controls: [CS4], [-1] [+1], Dial

Sets the maximum amount of pitch modulation that can be applied to the current voice.

A “0” setting produces no modulation while a setting of “127” produces maximum modulation. Pitch modulation produces a periodic pitch variation, thereby creating a vibrato effect.

Please note that the pitch modulation depth parameter for the controller which is to be used to apply pitch modulation (see page 83, 85, and 87) must also be set to an appropriate value before pitch modulation can be applied.

VOICE EDIT MODE / 5:LFO

Page 80

Amod (Amplitude modulation depth)

Range: 0 … 127 Controls: [CS5], [-1] [+1], Dial

Sets the maximum amount of amplitude modulation that can be applied to the current voice.

A “0” setting produces no modulation while a setting of “127” produces maximum modulation. Amplitude modulation produces a periodic variation in the volume of the sound, thus creating a tremolo effect.

Please note that the amplitude modulation depth parameter for the controller which is to be used to apply amplitude modulation (see page 83, 85, and 87) must also be set to an appropriate value before amplitude modulation can be applied.

Fmod (Filter cutoff frequency modulation depth)

Range: 0 … 127 Controls: [CS6], [-1] [+1], Dial

Sets the maximum amount of filter cuttoff modulation that can be applied to the current voice.

A “0” setting produces no modulation while a setting of “127” produces maximum modulation. Filter cutoff modulation produces wah-wah type effects.

Please note that the filter cutoff modulation depth parameter for the controller which is to be used to apply cutoff modulation (see page 84, 86, and 88) must also be set to an appropriate value before cutoff frequency modulation can be applied.

Dely (Delay)

Range: 0 … 99 Controls: [CS7], [-1] [+1], Dial

Sets the delay time between the beginning of a note and the beginning of LFO operation for the selected element.

The minimum setting “0” results in no delay, while the maximum setting of “99” produces a delay of approximately 2.66 seconds before the LFO begins operation (5.3 seconds before it reaches maximum depth).

Phase

Range: 0 … 180 Controls: [CS8], [-1] [+1], Dial

Determines at which point in the LFO waveform the LFO will begin operation for the selected element. The values 0 through 180 correspond to phase angles in degrees. The illustration below shows how the various phase angles correspond to points on the LFO waveform (a sine wave is used for clarity).

VOICE EDIT MODE / 5:LFO

Page 81

2: LFO SPEED SENSITIVITY

[VOICE] → [EDIT] → [MENU] → 5:LFO → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 2:LFO Speed Sensitivity → [ENTER/YES]

The speed of the SY85 LFO can be varied randomly, and according to variations in keyboard velocity and range. Such variations can produce more natural, musical effects.

LFO`SPEED`SENS.`Random`Velocity`KeyScale

``````````````````0````````+0````````+0`

CS1

Random

Range: 0 … 7 Controls: [CS4], [-1] [+1], Dial

Sets the amount of random LFO speed variation produced each time a note

is played.

When this parameter is set to a value other than “0,” the LFO speed changes randomly each time a note is played. A setting of “7” produces the greatest amount of random speed change.

Velocity

Range: -7 … +7 Controls: [CS6], [-1] [+1], Dial

Determines how the LFO speed changes in response to velocity changes (e.g. keyboard dynamics).

Plus “+” settings produce higher LFO speed in response to higher velocity values — i.e. the harder a key is played, the higher the LFO speed. The maximum setting of “+7” produces the maximum speed variation in response to velocity changes. Minus “-” settings produce the opposite effect: lower speed in response to higher velocity. A setting of “+0” results in no speed variation.

CS2

CS3

CS4

CS5

CS6

CS7

CS8

KeyScale

Range: -7 … +7 Controls: [CS8], [-1] [+1], Dial

Determines how the LFO speed changes in response to the key played.

Plus “+” settings produce higher LFO speed when higher notes on the keyboard are played. The maximum setting of “+7” produces the maximum speed variation. Minus “-” settings produce the opposite effect: lower speed when higher notes are played. A setting of “+0” results in no speed variation.

VOICE EDIT MODE / 5:LFO

Page 82

LFO DATA COPY

[VOICE] → [EDIT] → [MENU] → 5:LFO → [ENTER/YES] → [ENTER/YES] → [COPY]

This function facilitates voice editing by allowing the LFO parameters from any other voice (the “source” voice) to be copied to the current voice. You can copy an LFO setup that is close to the type you want, then edit it to produce the required sound.

LFO`COPY````````From`Voice``````````````

`````````````````````¡A1:InitVce

CS1

From Voice

Range: Any INTERNAL or CARD voice Controls: MEMORY, GROUP, PROGRAM, [CS5], [-1] [+1], Dial

Once the source voice has been selected, press the [ENTER/YES] key. “Are you sure?” will appear on the display.

LFO`COPY````````From`Voice`````````````` Are`you`sure`?```````¡A1:InitVce

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Press the [ENTER/YES] key again to copy the LFO data, or press [EXIT/ NO] to cancel the copy operation. Once the copy operation has finished, “Completed!” will appear on the display briefly, then the display will return to the LFO edit mode.

VOICE EDIT MODE / 5:LFO

Page 83

1: PITCH BEND RANGE

[VOICE] → [EDIT] → [MENU] → 6:Controller → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 1:Pitch Bend Range → [ENTER/YES]

This screen includes parameters that set the SY85’s pitch bend range, the minimum volume attainable with the foot volume controller, and the sustain switch enable/disable mode.

CTRL`````PB»Range`VolLowLimit``SustainSw

`````````````2`````````0````````enable``

CS1

CS2

CS3

CS4

CS5

CS6

PB Range (Pitch bend range)

Range: 0 … 12 Controls: [CS3], [-1] [+1], Dial

Sets the maximum pitch bend range.

Each increment from “0” to “12” represents 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.

VolLoLimit (Minimum foot volume level)

Range: 0 … 127 Controls: [CS5], [-1] [+1], Dial

Determines the minimum volume level that can be set by the foot volume control. If this parameter is set to “0,” the minimum foot volume control position will produce no sound. A setting of “63” will result in about half volume when the control is set to its minimum position.

CS7

CS8

SustainSw (Sustain switch enable)

Range: enable, disable Controls: [CS7], [-1] [+1], Dial

Enables or disables sustain footswitch operation. The sustain footswitch operates normally when this parameter is set to “enable,” but has no effect when set to “disable.”

VOICE EDIT MODE / 6:Controller

Page 84

2: MODULATION WHEEL DEPTH

[VOICE] → [EDIT] → [MENU] → 6:Controller → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 2:MW Depth → [ENTER/YES]

The modulation wheel can be used to control a wide range of modulation effects.

The parameters provided in this screen set the depth of each effect type.

CTRL`MW````````Amod`Pmod`Fmod`EGBs`Coff`

``````````````````0````0````0```+0```+0`

CS1

CS2

CS3

CS4

CS5

CS6

Amod (Amplitude modulation depth)

Range: 0 … 127 Controls: [CS4], [-1] [+1], Dial

Sets the maximum depth of amplitude modulation (tremolo effects) applied via the modulation wheel.

A setting of “0” allows no amplitude modulation, while a setting of 127 results in maximum amplitude modulation depth.

When setting up the low-frequency oscillator to apply amplitude modulation, this parameter must be set to a value

other than “0” if amplitude modula-

tion is to be applied via the modulation wheel.

Pmod (Pitch modulation depth)

Range: 0 … 127 Controls: [CS5], [-1] [+1], Dial

CS7

CS8

Sets the maximum depth of pitch modulation (vibrato effects) applied via the modulation wheel.

A setting of “0” allows no pitch modulation, while a setting of 127 results in maximum amplitude modulation.

When setting up the low-frequency oscillator to apply pitch modulation, this parameter must be set to a value

other than “0” if pitch modulation is to be

applied via the modulation wheel.

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Fmod (Frequency modulation depth)

Range: 0 … 127 Controls: [CS6], [-1] [+1], Dial

Sets the maximum depth of filter cutoff frequency modulation (wah-wah type effects) applied via the modulation wheel.

A setting of “0” allows no frequency modulation, while a setting of 127 results in maximum frequency modulation.

When setting up the LFO (low-frequency oscillator) to apply cutoff modulation, this parameter must be set to a value is to be applied via the modulation wheel. Also, the filter “CTRL” parameter (page 68) must be set to “LFO” in order to vary the cutoff frequency continuously.

other than “0” if cutoff modulation

EGBs (EG bias depth)

Range: -127 … +127 Controls: [CS7], [-1] [+1], Dial

Sets the depth and “direction” of EG bias produced by the modulation wheel. EG bias increases or decreases the amplitude envelope generator levels, simulating the dynamic variations that can be produced on an acoustic instrument more accurately than simple volume control.

A setting of “0” produces no change in EG levels. Plus (“+”) settings produce an increase in level when the modulation wheel is rolled upward, and minus (“-”) settings produce a decrease in level when when the modultion wheel is rolled upward. The greater the value, the greater the change in level.

Coff (Cutoff frequency depth)

Range: -127 … +127 Controls: [CS8], [-1] [+1], Dial

Sets the maximum depth of filter cutoff frequency variation applied via the modulation wheel.

Plus “+” settings produce higher cutoff frequencies in response to modulation wheel operation — i.e. the higher the modulation wheel position, the higher the cutoff frequency. The maximum setting of “+127” produces the maximum cutoff variation. Minus “-” settings produce the opposite effect: lower cutoff in response to higher modulation wheel positions. A setting of “+0” results in no cutoff variation. The filter “CTRL” parameter (page 68) must be set to “LFO” in order to vary the cutoff frequency continuously.

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3: FOOT CONTROLLER DEPTH

[VOICE] → [EDIT] → [MENU] → 6:Controller → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 3:FC Depth → [ENTER/YES]

The SY85 allows modulation control via a foot controller connected to th rearpanel FOOT CONTROLLER jack as well as the modulation wheel. This allows modulation effects to be applied while playing with both hands. The parameters in this screen set the depth of the foot controller modulation effects.

CTRL`FC````````Amod`Pmod`Fmod`EGBs`Coff`

``````````````````0````0````0```+0```+0`

CS1

CS2

CS3

CS4

CS5

CS6

Amod (Amplitude modulation depth)

Range: 0 … 127 Controls: [CS4], [-1] [+1], Dial

Sets the maximum depth of amplitude modulation (tremolo effects) applied

via the foot controller.

A setting of “0” allows no amplitude modulation, while a setting of 127

results in maximum amplitude modulation depth.

When setting up the low-frequency oscillator to apply amplitude modula-

tion, this parameter must be set to a value

other than “0” if amplitude modula-

tion is to be applied via the foot controller.

Pmod (Pitch modulation depth)

Range: 0 … 127 Controls: [CS5], [-1] [+1], Dial

CS7

CS8

Sets the maximum depth of pitch modulation (vibrato effects) applied via

the foot controller.

A setting of “0” allows no pitch modulation, while a setting of 127 results

in maximum amplitude modulation.

When setting up the low-frequency oscillator to apply pitch modulation, this

parameter must be set to a value

other than “0” if pitch modulation is to be

applied via the foot controller.

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Fmod (Frequency modulation depth)

Range: 0 … 127 Controls: [CS6], [-1] [+1], Dial

Sets the maximum depth of filter cutoff frequency modulation (wah-wah

type effects) applied via the foot controller.

A setting of “0” allows no frequency modulation, while a setting of 127

results in maximum frequency modulation.

When setting up the LFO (low-frequency oscillator) to apply cutoff modulation, this parameter must be set to a value is to be applied via the foot controller. Also, the filter “CTRL” parameter (page

68) must be set to “LFO” in order to vary the cutoff frequency continuously.

other than “0” if cutoff modulation

EGBs (EG bias depth)

Range: -127 … +127 Controls: [CS7], [-1] [+1], Dial

Sets the depth and “direction” of EG bias produced by the foot controller. EG bias increases or decreases the amplitude envelope generator levels, simulating the dynamic variations that can be produced on an acoustic instrument more accurately than simple volume control.

A setting of “0” produces no change in EG levels. Plus (“+”) settings produce an increase in level when the foot controller is applied, and minus (“”) settings produce a decrease in level when the foot controller is applied. The greater the value, the greater the change in level.

Coff (Cutoff frequency depth)

Range: -127 … +127 Controls: [CS8], [-1] [+1], Dial

Sets the maximum depth of filter cutoff frequency variation applied via the foot controller.

Plus “+” settings produce higher cutoff frequencies in response to foot controller operation — i.e. the more the foot controller is depressed, the higher the cutoff frequency. The maximum setting of “+127” produces the maximum cutoff variation. Minus “-” settings produce the opposite effect: lower cutoff in response to higher foot controller positions. A setting of “+0” results in no cutoff variation. The filter “CTRL” parameter (page 68) must be set to “LFO” in order to vary the cutoff frequency continuously.

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4: AFTER TOUCH DEPTH

[VOICE] → [EDIT] → [MENU] → 6:Controller → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 4:AT Depth → [ENTER/YES]

For truly “intimate” modulation control, the SY85 allows a number of modulation effects to be controlled via keyboard aftertouch response. The parameters in this screen set the depth of the aftertouch modulation effects.

CTRL`AT````Amod`Pmod`Fmod`EGBs`Coff`PtBs

``````````````0````0````0```+0```+0```+0

CS1

CS2

CS3

CS4

CS5

CS6

Amod (Amplitude modulation depth)

Range: 0 … 127 Controls: [CS3], [-1] [+1], Dial

Sets the maximum depth of amplitude modulation (tremolo effects) applied

via keyboard aftertouch.

A setting of “0” allows no amplitude modulation, while a setting of 127

results in maximum amplitude modulation depth.

When setting up the low-frequency oscillator to apply amplitude modula-

tion, this parameter must be set to a value

other than “0” if amplitude modula-

tion is to be applied via keyboard after touch.

Pmod (Pitch modulation depth)

Range: 0 … 127 Controls: [CS4], [-1] [+1], Dial

CS7

CS8

Sets the maximum depth of pitch modulation (vibrato effects) applied via

keyboard aftertouch.

A setting of “0” allows no pitch modulation, while a setting of 127 results

in maximum amplitude modulation.

When setting up the low-frequency oscillator to apply pitch modulation, this

parameter must be set to a value

other than “0” if pitch modulation is to be

applied via keyboard aftertouch.

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Fmod (Frequency modulation depth)

Range: 0 … 127 Controls: [CS5], [-1] [+1], Dial

Sets the maximum depth of filter cutoff frequency modulation (wah-wah

type effects) applied via keyboard aftertouch.

A setting of “0” allows no frequency modulation, while a setting of 127

results in maximum frequency modulation.

When setting up the LFO (low-frequency oscillator) to apply cutoff modulation, this parameter must be set to a value is to be applied via keyboard aftertouch. Also, the filter “CTRL” parameter (page 68) must be set to “LFO” in order to vary the cutoff frequency continuously.

other than “0” if cutoff modulation

EGBs (EG bias depth)

Range: -127 … +127 Controls: [CS6], [-1] [+1], Dial

Sets the depth and “direction” of EG bias produced by aftertouch response. EG bias increases or decreases the amplitude envelope generator levels, simulating the dynamic variations that can be produced on an acoustic instrument more accurately than simple volume control.

A setting of “0” produces no change in EG levels. Plus (“+”) settings produce an increase in level when aftertouch is applied, and minus (“-”) settings produce a decrease in level when aftertouch is applied. The greater the value, the greater the change in level.

Coff (Cutoff frequency depth)

Range: -127 … +127 Controls: [CS7], [-1] [+1], Dial

Sets the maximum depth of filter cutoff frequency variation applied via keyboard aftertouch.

Plus “+” settings produce higher cutoff frequencies in response to aftertouch — i.e. the greater the aftertouch pressure, the higher the cutoff frequency. The maximum setting of “+127” produces the maximum cutoff variation. Minus “-” settings produce the opposite effect: lower cutoff in response to greater aftertouch pressure. A setting of “+0” results in no cutoff variation. The filter “CTRL” parameter (page 68) must be set to “LFO” in order to vary the cutoff frequency continuously.

PtBs (Pitch bias depth)

Range: -12 … +12 Controls: [CS8], [-1] [+1], Dial

Sets the maximum pitch variation range achievable via after-touch control.

Each increment represents a semitone. A setting of “0” produces no pitch variation. A setting of “+12” allows a maximum pitch variation of one octave up, while a setting of “-12” allows a maximum pitch variation of one octave down corresponding to aftertouch key pressure.

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5: CS3 PARAMETER EDIT

[VOICE] → [EDIT] → [MENU] → 6:Controller → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 5:CS3 Parameter → [ENTER/YES]

The [CS3] and [CS4] sliders can be assigned to control a wide range of voice parameters in real time while playing the SY85. These parameters assign a voice parameter to the [CS3] slider, and set the maximum and minimum limits of the control range.

CTRL`CS3`Param(CTRL#=18)``Min.``````Max.

```0:No»Assign``````````````0%``````100%

CS1

CS2

CS3

CS4

CS3 Param (CS3 parameter)

Range: 0 … 75 Controls: [CS1], [-1] [+1], Dial

Assigns any of 75 different voice parameters to be controlled via the [CS3]

slider.

The numbers and abbreviations associated with each voice parameter are

listed below:

CS3 PARAMETER LIST (0 … 39)

0: “No_Assign ” 1: “CT_MW_Pmod” 2: “CT_MW_Amod” 3: “CT_MW_Fmod” 4: “CT_MW_Coff” 5: “CT_MW_EGBs” 6: “CT_FC_Pmod” 7: “CT_FC_Amod” 8: “CT_FC_Fmod” 9: “CT_FC_Coff” 10: “CT_FC_EGBs” 11: “CT_AT_Pmod” 12: “CT_AT_Amod” 13: “CT_AT_Fmod” 14: “CT_AT_Coff” 15: “CT_AT_EGBs” 16: “CT_AT_PtBs” 17: “CT_PBRange” 18: “CT_VLLoLim” 19: “TotalLevel”

CS5

CS6

20: “EF_SendLvl” 21: “OS_FrqFine” 22: “OS_Random ” 23: “PEG_Rate1 ” 24: “PEG_Rate2 ” 25: “PEG_Rate3 ” 26: “PEG_RlsRt ” 27: “PEG_Level0” 28: “PEG_Level1” 29: “PEG_Level2” 30: “PEG_Level3” 31: “PEG_RlsLvl” 32: “PEG_Range ” 33: “PEG_LvlVel” 34: “PEG_RtVel ” 35: “LFO_Speed ” 36: “LFO_Delay ” 37: “LFO_Pmod ” 38: “LFO_Amod ” 39: “LFO_Fmod ”

CS7

CS8

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CS3 PARAMETER LIST (40 … 75)

40: “LFO_Wave ” 41: “LFO_Phase” 42: “LFO_SpdVel” 43: “LFO_SpdRnd” 44: “AEG_Rate1 ” 45: “AEG_Rate2 ” 46: “AEG_Rate3 ” 47: “AEG_Rate4 ” 48: “AEG_RlsRt ” 49: “AEG_Level2” 50: “AEG_Level3” 51: “AEG_LvlVel” 52: “AEG_RtVel ” 53: “FLT_Reso ” 54: “FLT_CofVel” 55: “FLT_ARVel ” 56: “FLT_Band ” 57: “FLT_CofFrq” 58: “FLT_Rate1 ” 59: “FLT_Rate2 ”

60: “FLT_Rate3 ” 61: “FLT_Rate4 ” 62: “FLT_RlsRt1” 63: “FLT_RlsRt2” 64: “FLT_Level0” 65: “FLT_Level1” 66: “FLT_Level2” 67: “FLT_Level3” 68: “FLT_Level4” 69: “FLT_RlsLv1” 70: “FLT_RlsLv2” 71: “OS_NoteSft” 72: “FLT_BPLvl1” 73: “FLT_BPLvl2” 74: “FLT_BPLvl3” 75: “FLT_BPLvl4”

The parameter assigned to [CS3] can also be controlled from an external MIDI controller via MIDI control number 18. Operation of the [CS3] slider in the VOICE or PERFORMANCE mode also transmits corresponding MIDI control change data using control number 18.

Min.

Max.

Range: 0 … 100 Controls: [CS6], [-1] [+1], Dial

Sets the lower limit of the [CS3] control range. A setting of “0”, for example, means that when the [CS3] slider is set to its lowest position the assigned parameter will also be set to its lowest value. A setting of “50” means that the lowest [CS3] position will set the assigned parameter to about 50% of its range (a parameter with a range of 0 to 127, for example, would be set to about 63).

Range: 0 … 100 Controls: [CS8], [-1] [+1], Dial

Sets the upper limit of the [CS3] control range. A setting of “100”, for example, means that when the [CS3] slider is set to its highest position the assigned parameter will also be set to its highest value. A setting of “80” means that the highest [CS3] position will set the assigned parameter to about 80% of its range (a parameter with a range of 0 to 127, for example, would be set to about 102).

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6: CS4 PARAMETER EDIT

[VOICE] → [EDIT] → [MENU] → 6:Controller → [ENTER/YES] → [ENTER/YES] →

→ [MENU] → 6:CS4 Parameter → [ENTER/YES]

The [CS3] and [CS4] sliders can be assigned to control a wide range of voice parameters in real time while playing the SY85. These parameters assign a voice parameter to the [CS4] slider, and set the maximum and minimum limits of the control range.

CTRL`CS4`Param(CTRL#=19)``Min.``````Max.

```0:No»Assign``````````````0%``````100%

CS1

CS2

CS3

CS4

CS4 Param (CS4 parameter)

Range: 0 … 75 Controls: [CS1], [-1] [+1], Dial

Assigns any of 75 different voice parameters to be controlled via the [CS4]

slider.

The numbers and abbreviations associated with each voice parameter are

listed below:

CS4 PARAMETER LIST (0 … 39)

CS5

CS6

CS7

CS8

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CS4 PARAMETER LIST (40 … 75)

The parameter assigned to [CS4] can also be controlled from an external MIDI controller via MIDI control number 19. Operation of the [CS4] slider in the VOICE or PERFORMANCE mode also transmits corresponding MIDI control change data using control number 19.

Min (Minimum parameter value)

Range: 0 … 100 Controls: [CS6], [-1] [+1], Dial

Sets the lower limit of the [CS4] control range. A setting of “0”, for example, means that when the [CS4] slider is set to its lowest position the assigned parameter will also be set to its lowest value. A setting of “50” means that the lowest [CS4] position will set the assigned parameter to about 50% of its range (a parameter with a range of 0 to 127, for example, would be set to about 63).

Max (Maximum parameter value)

Range: 0 … 100 Controls: [CS8], [-1] [+1], Dial

Sets the upper limit of the [CS4] control range. A setting of “100”, for example, means that when the [CS4] slider is set to its highest position the assigned parameter will also be set to its highest value. A setting of “80” means that the highest [CS4] position will set the assigned parameter to about 80% of its range (a parameter with a range of 0 to 127, for example, would be set to about 102).

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CONTROLLER DATA COPY

[VOICE] → [EDIT] → [MENU] → 6:Controller → [ENTER/YES] → [ENTER/YES] → [COPY]

This function allows the controller parameters from any other voice (the “source” voice) to be copied to the current voice. You can copy a controller setup that is close to the type you want, then edit it to produce the required sound.

CONTROLLER`COPY`From`Voice``````````````

`````````````````````¡A1:InitVce

CS1

From Voice

Range: Any INTERNAL or CARD voice Controls: MEMORY, GROUP, PROGRAM, [CS5], [-1] [+1], Dial

Once the source voice has been selected, press the [ENTER/YES] key. “Are you sure?” will appear on the display.

CONTROLLER`COPY`From`Voice`````````````` Are`you`sure`?```````¡A1:InitVce

CS2

CS3

CS4

CS5

CS6

CS7

CS8

Press the [ENTER/YES] key again to copy the controller data, or press [EXIT/NO] to cancel the copy operation. Once the copy operation has finished, “Completed!” will appear on the display briefly, then the display will return to the controller edit mode.

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VOICE TOTAL LEVEL

[VOICE] → [EDIT] → [MENU] → 7:Total Level → [ENTER/YES]

The ability to independently adjust the volume of each voice makes it possible to

match levels for smooth transition when switching between voices.

VOICE`Total`Level``

````````````````127ƒ``

CS1

Total Level

Range: 0 … 127 Controls: [CS4], [-1] [+1], Dial

Adjusts the volume of the current voice.

CS2

CS3

CS4

CS5

CS6

CS7

CS8

VOICE EDIT MODE / 7:Total Level

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VOICE NAME

[VOICE] → [EDIT] → [MENU] → 8:Name → [ENTER/YES]

Your original voices should naturally have original names. This function can be

used to assign a name of up to 8 characters to the current voice.

VOICE`Name````````````````````"InitVce`" [CLR][UPR][LWR][SPC]````````````[†]``[¥]

CS1

Name

Range: See character list, below Controls: [F1] … [F4], [F7], [F8], [CS1] … [CS8], [-1] [+1], Dial,

[F8] function key to move the cursor to the right. Use the GROUP and PROGRAM keys to input a character at the cursor position. Each GROUP and PROGRAM key selects the three characters printed above it in sequence. It is also possible to use the [-1] and [+1] keys or dial to scroll through the available characters (see list below).

corresponding character position: [CS1] selects the first character, [CS2] selects the second character, and so on.

the entire name, [F2] selects upper-case characters, [F3] selects lower-case characters, and [F4] inserts a space at the cursor position.

CS2

CS3

CS4

CS5

CS6

CS7

CS8

GROUP, PROGRAM

Assigns a name of up to 8 characters to the current voice.

Use the [F7] function key to move the character cursor to the left, and the

The sliders, [CS1] through [CS8], independently select characters for the

The first four function keys also perform important functions: [F1] clears

GROUP key

[A]: A → B → C [B]: D → E → F [C]: G → H → I [D]: J → K → L [E]: M → N → O [F]: P → Q → R [G]: S → T → U [H]: V → W → X

PROGRAM key

[1]: Y → Z → 0 [2]: 1 → 2 → 3 [3]: 4 → 5 → 6 [4]: 7 → 8 → 9 [5]: * → & → _ [6]: / → . → , [7]: ’ → ! → ? [8]: # → : → ;

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1: WAVE

[VOICE] → [QUICK EDIT] → [MENU] → 1:Wave → [ENTER/YES]

These parameters provide a fast, easy way to select a new wave for the current voice, and instantly set the main amplitude envelope generator parameters to values that produce good results with the selected wave.

For full oscillator parameters see page 58.

QED`WAVE)Group``````Number``

```````16:Osc```````P244:Sin

CS1

Group

Range: 1 … 16 Controls: [CS2], [-1] [+1], Dial

different wave categories or “groups”, each containing a number of waves that can be individually selected by using the “Number” parameter, below.

CS2

CS3

CS4

CS5

CS6

CS7

CS8

For fast, easy selection of the preset SY85 waves this parameter selects 16

Quick Edit Wave Groups

1:Piano Acoustic pianos 2:Key Other keyboards 3:Brass Brass instruments 4:Wind Wind instruments 5:Strings Strings 6:A.Guitar Acoustic guitars 7:E.Guitar Electric guitars 8:Bass Acoustic & electric bass 9:Folk Folk & ethnic instruments 10:Synth Synthesizer sounds 11:Choir Choir & human voice 12:TPerc Tuned percussion 13:Drum Drums 14:Perc Percussion instruments 15:SE Sound effects 16:Osc Basic oscillator waveforms

VOICE EDIT MODE / QUICK EDIT

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Number

Range: P001 … P244, I00 … I63, C00 … C63 Controls: MEMORY, [CS5], [-1] [+1], Dial

Selects the wave (AWM waveform) to be used in the current voice. Use the “Group” parameter, above, to select the group containing the wave that is to be selected. The [INTERNAL 1], [INTERNAL 2], and [CARD] keys can also be used to select the memory area from which the wave is to be selected. A complete listing of the internal waves is given in the Appendix, on page 310.

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2: AMPLITUDE EG

[VOICE] → [QUICK EDIT] → [MENU] → 2:AEG → [ENTER/YES]

Rather than having to set numerous level and rate values via the full-edit amplitude EG parameters, these parameters let you select from a range of preset envelope types, and then modify the overall attack, sustain, and release characteristics as required.

For full amplitude EG parameters see page 60.

QED`AEG)Type`````````Atk``Sus``Rel``Vel`

``0:--------``````````63```63```50```+0`

CS1

CS2

CS3

Type (Envelope type)

Range: 00 … 21 Controls: [CS1], [-1] [+1], Dial

Selects either the envelope defined by the current amplitude envelope parameter settings (page 60), or one of 21 preset amplitude envelope types for the current voice. The envelope types are:

Quick Edit Envelope Types

00:-------- Full-edit envelope

01:Piano Acoustic piano

02:Brass Brass

03:SfzBrass Sforzando brass

04:SynBrass Synthesizer brass

05:StFast Fast-attack strings

06:StSlw/Pd Slow-attack strings (pad)

07:E.Bass Electric bass

08:SynBass1 Synthesizer bass 1

09:SynBass2 Synthesizer bass 2

10:Organ Organ

11:Guitar Guitar

12:Pluck1 Plucked instrument 1

13:Pluck2 Pluched instrument 2

14:SynPad Synthesizer pad

15:SynComp Synthesizer comping (backing)

16:Percusiv Percussive

17:S.Ideal1 Sound envelope 1

18:S.Ideal2 Sound envelope 2

19:S.Ideal3 Sound envelope 3

20:S.Ideal4 Sound envelope 4

21:Init Initialized envelope

CS4

CS5

CS6

CS7

CS8

VOICE EDIT MODE / QUICK EDIT

Page 100

Atk (Attack rate)

Range: 0 … 63 Controls: [CS5], [-1] [+1], Dial

Sets the attack rate for the selected envelope. “63” produces the fastest attack, while “0” produces the slowest attack.

Sus (Sustain level)

Range: 0 … 63 Controls: [CS6], [-1] [+1], Dial

Sets the sustain level for the selected envelope.

Rel (Release rate)

Range: 0 … 63 Controls: [CS7], [-1] [+1], Dial

Sets the release rate for the selected envelope.

Velo (Velocity sensitivity)

Range: -7 … +7 Controls: [CS8], [-1] [+1], Dial

Determines how the output level of the current voice changes in response to velocity changes (e.g. keyboard dynamics).

VOICE EDIT MODE / QUICK EDIT

Yamaha SY85E2, SY85 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual