Yamaha Tyros5-61 User Manual
EN
DIGITAL WORKSTATION
Tyros5-76 Tyros5-61
Reference Manual
This Reference Manual explains advanced features of the Tyros5 that are not explained in the
Owner’s Manual. Please read the Owner’s Manual first, before reading this Reference Manual.
C.S.G., DMI Development Division
© 2013-2014 Yamaha Corporation
Published 02/2014 PO-B0
Contents
* Each chapter in this Reference Manual corresponds to the relevant chapters in the Owner’s Manual.
1 Voices – Playing the Keyboard – 4
Voice Types (Characteristics) .................................................................................................................. 4
Selecting GM, XG and Other Voices ....................................................................................................... 6
Touch Response and Effect-Related Settings ......................................................................................... 7
Pitch-Related Settings ........................................................................................................................... 10
Editing Voices (Voice Set) ..................................................................................................................... 12
Editing Organ Voices (Organ World) ..................................................................................................... 17
Editing Ensemble Voices (Ensemble Voice Edit)...................................................................................19
2 Styles – Playing Rhythm and Accompaniment – 25
Selecting the Chord Fingering Type ...................................................................................................... 26
Style Playback Related Settings ............................................................................................................ 28
Memorizing Original Settings to a One Touch Setting ........................................................................... 30
Creating/Editing Styles (Style Creator) .................................................................................................. 31
3 Multi Pads – Adding Musical Phrases to Your Performance – 46
Multi Pad Creating (Multi Pad Creator) .................................................................................................. 46
Multi Pad Editing .................................................................................................................................... 48
4 Songs – Recording Your Performances as MIDI Songs – 50
Editing Music Notation Settings ............................................................................................................. 51
Editing Lyrics/Text Display Settings....................................................................................................... 53
Using the Auto Accompaniment Features with Song Playback ............................................................. 54
Song Playback Related Parameters (Repeat Settings, Channel Settings, Guide Function) ................. 55
Creating/Editing Songs (Song Creator) ................................................................................................. 59
5 Audio Recorder/Player – Recording and Playback Audio Files – 76
Recording Your Performance ................................................................................................................ 76
Converting a file ..................................................................................................................................... 80
Editing the Recorded Data (Multi Track Recording File)........................................................................ 82
Re-recording the Multi Track Recording File ......................................................................................... 84
Setting the Start/End Points of the Audio (Multi Track Recording File) ................................................. 87
Playlist Mode.......................................................................................................................................... 88
6 Music Finder – Calling Up Ideal Panel Settings for Your Performance – 91
Creating a Set of Favorite Records........................................................................................................ 91
Editing Records...................................................................................................................................... 92
Saving the Records as a Single File (Music Finder File) ....................................................................... 93
7 Registration Memory – Saving and Recalling Custom Panel Setups – 95
Editing a Registration Memory ............................................................................................................... 95
Disabling Recall of Specific Items (Freeze) ........................................................................................... 96
Calling Up Registration Memory Numbers in Order (Registration Sequence)....................................... 97
8 Microphone – Adding Harmony Vocals and Synth Vocoder to Your Singing – 100
Vocal Harmony and Talk Setting ......................................................................................................... 100
Making and Saving the Microphone Settings (Vocal/Talk) .................................................................. 101
Setting and Editing Vocal Harmony Types .......................................................................................... 104
Editing the Synth Vocoder Types......................................................................................................... 111
2 Tyros5 Reference Manual
9 Mixing Console – Editing the Volume and Tonal Balance – 115
The names and positions of menu items may vary according to the version of Adobe Reader being used.
NOTE
Editing VOL/VOICE Parameters .......................................................................................................... 115
Editing FILTER Parameters ................................................................................................................. 116
Editing TUNE Parameters.................................................................................................................... 117
Editing EFFECT Parameters ............................................................................................................... 118
Editing EQ Parameters ........................................................................................................................ 122
Editing Master Compressor Settings ................................................................................................... 123
Line Out Settings ................................................................................................................................. 124
Block Diagram...................................................................................................................................... 125
10 Utility – Making Global Settings – 126
CONFIG 1 ............................................................................................................................................ 126
CONFIG 2 ............................................................................................................................................ 128
MEDIA.................................................................................................................................................. 129
OWNER ............................................................................................................................................... 130
SYSTEM RESET ................................................................................................................................. 131
11 Connections – Using Your Instrument with Other Devices – 133
Footswitch/Foot Controller Settings ..................................................................................................... 133
MIDI Settings ....................................................................................................................................... 136
MFC10 Settings ................................................................................................................................... 142
Connecting to a Network (Bundled USB Wireless LAN Adaptor) ........................................................ 144
Appendix 148
Expansion Pack Related Operations ................................................................................................... 148
Index 150
Using the PDF manual
• To quickly jump to items and topics of interest, click on the desired items in the “Bookmarks” index to the left of
the main display window. (Click the “Bookmarks” tab to open the index if it is not displayed.)
• Click the page numbers that appear in this manual to go directly to the corresponding page.
• Select “Find” or “Search” from the Adobe Reader “Edit” menu and enter a keyword to locate related information in
the document.
• The illustrations and LCD screens as shown in this manual are for instructional purposes only, and may appear somewhat different
from those on your instrument. Note that all display examples shown in this manual are in English.
• The company names and product names in this manual are the trademarks or registered trademarks of their respective companies.
Tyros5 Reference Manual 3
1
NEXT PAGE
1
Voices
– Playing the Keyboard –
Contents
Voice Types (Characteristics) ........................................................................... 4
Selecting GM, XG and Other Voices................................................................ 6
Touch Response and Effect-Related Settings .................................................. 7
• Setting the Touch Response of the Keyboard............................................... 7
• Using Keyboard Harmony/Echo .................................................................. 8
Pitch-Related Settings ..................................................................................... 10
• Fine-tuning the Pitch of the Entire Instrument........................................... 10
• Scale Tuning............................................................................................... 10
• Changing the Part Assignment of the TRANSPOSE Buttons ................... 11
Editing Voices (Voice Set)................................................................................ 12
• Editable Parameters in the VOICE SET Displays...................................... 13
• Disabling Automatic Selection of Voice Sets (Effects, etc.) ...................... 16
Editing Organ Voices (Organ World) ............................................................ 17
Editing Ensemble Voices (Ensemble Voice Edit)........................................... 19
Voice Types (Characteristics)
The particular type of Voice is indicated at the upper left of the Voice name in the Voice Selection display. The defining
characteristics of these Voices and their performance advantages are described below.
S.Art!
(Super Articulation)
S.Art2!
(Super Articulation2)
These Voices provide many benefits with great playability and expressive control in real time.
For example, with the Saxophone Voice, if you play a C and then a D in a very legato way, you will
hear the note change seamlessly, as though a saxophone player played it in a single breath.
Similarly with the Concert Guitar Voice and play the D note strongly, the D note would sound as a
“hammer on,” without the string being plucked again. Depending on how you play, other effects
such as “shaking” or breath noises (for the Trumpet Voice), or finger noises (for the Guitar Voice)
are produced.
For details on how to best play each S.Art! Voice, call up the information window (pressing the
[6 ] (INFO) button in the Voice Selection display).
For wind instrument Voices and Violin Voices, a special technology called AEM (see below) has
been used, which features detailed samples of special expressive techniques used on those specific
instruments—to bend or slide into notes, to “join” different notes together, or to add expressive
nuances at the end of a note, etc. You can add these articulations by playing legato or non-legato, or
by jumping in pitch by around an octave. For example, using the Clarinet Voice, if you hold a C
note and play the Bb above, you’ll hear a glissando up to the Bb. Some “note off” effects are also
produced automatically when you hold a note for over a certain time. Each S.Art2! Voice has its
own default vibrato setting, so that when you select a S.Art2! Voice, the appropriate vibrato is
applied regardless of the Modulation wheel position. You can adjust the vibrato by moving the
Modulation wheel.
Live! These acoustic instrument sounds were sampled in stereo, to produce a truly authentic, rich
4 Tyros5 Reference Manual
For details on how to best play each S.Art2! Voice, call up the information window (pressing the
[6 ] (INFO) button in the Voice Selection display).
sound—full of atmosphere and ambience.
Cool! These Voices use sophisticated programming to capture the dynamic textures and subtle nuances of
NOTE
NOTE
NOTE
electric instruments.
Sweet! These acoustic instrument sounds also benefit from Yamaha’s sophisticated technology—and fea-
ture a finely detailed and natural sound.
Drums Various drum and percussion sounds are assigned to individual keys, letting you play the sounds
from the keyboard.
SFX Various special effect sounds and percussion sounds are assigned to individual keys, letting you
play the sounds from the keyboard.
Live! Drums These are high-quality drum sounds that take full advantage of Stereo Sampling and Dynamic Sam-
pling.
1
Live! SFX These are various high-quality special effect sounds and percussion sounds that take full advantage
of Stereo Sampling and Dynamic sampling.
Organ Flutes! These authentic organ Voices let you adjust the various footages and craft your own original organ
sounds. See page 17 for details.
MegaVoice These Voices make special use of velocity switching. Each velocity range (the measure of your
playing strength) has a completely different sound.
For example, a guitar MegaVoice includes the sounds of various performance techniques. In conventional instruments, different Voices having those sounds would be called up via MIDI and
played in combination to achieve the desired effect. However, now with MegaVoices, a convincing
guitar part can be played with just a single Voice, using specific velocity values to play the desired
sounds. Because of the complex nature of these Voices and the precise velocities need to play the
sounds, they’re not intended for playing from the keyboard. They are, however, very useful and
convenient when creating MIDI data—especially when you want to avoid using several different
Voices just for a single instrument part.
S.Art!, S.Art2! and Mega Voices are not compatible with other instrument models. For this reason, any Song or Style you’ve created on this instrument using these Voices
will not sound properly when played back on the instruments which do not have these types of Voices.
S.Art!, S.Art2! and Mega Voices sound differently depending on keyboard range, velocity, touch, etc. Hence, if you apply a HARMONY/ECHO effect, change the transpose
setting or change the Voice Set parameters, unexpected or undesired sounds may result.
The characteristics of S.Art2! Voices (default vibrato setting and articulation effects applied by the [ART] buttons) are effective for real-time performance; however, these
effects may not be completely reproduced when you play back a MIDI Song which has been recorded using S.Art2! Voices.
Voices – Playing the Keyboard –
For a list of preset Voices of this instrument, refer to the “Voice List” in the Data List, available at the online Yamaha
Library.
Converting the Voices of a MIDI Song to MegaVoices (MEGAEnhancer)
MEGAEnhancer is a software program that converts XG/GM song data (Standard MIDI File) to song data specially
enhanced to be played back using an instrument or tone generator containing MegaVoices. With the use of the
sophisticated MegaVoices, MEGAEnhancer automatically makes conventional song files with guitar, bass, and other
parts sound much more realistic and authentic. MEGAEnhancer can be downloaded from the Yamaha website.
http://download.yamaha.com/
Tyros5 Reference Manual 5
AEM Technology
43
When you play the piano, pressing a “C” key produces a definite and relatively fixed C note. When you play a wind
instrument, however, a single fingering may produce several different sounds depending on the breath strength, the
note length, the adding of trills or bend effects, and other performance techniques. Also, when playing two notes continuously—for example “C” and “D”—these two notes will be smoothly joined, and not sound independent as they
would on a piano.
AEM (Articulation Element Modeling) is the technology for simulating this characteristic of instruments. During
performance, the most appropriate sound samples are selected in sequence in real time, from huge quantities of sampled data. They are smoothly joined and sounded—as would naturally occur on an actual acoustic instrument.
This technology to smoothly join different samples enables the application of realistic vibrato. Conventionally on
electronic musical instruments, vibrato is applied by moving the pitch periodically. AEM technology goes much further by analyzing and disaggregating the sampled vibrato waves, and smoothly joins the disaggregated data in real
time during your performance. If you move the Modulation wheel when you play the S.Art2! Voice (using AEM
technology), you can also control the depth of the vibrato, and still maintain remarkable realism.
Selecting GM, XG and Other Voices
This instrument features Voices provided specially for Style playback and XG/GM compatibility. These Voices cannot
be called up directly from the VOICE category selection buttons. However, they can be called up as described below.
1 Press the PART SELECT button corresponding to the Part you want to use.
2 Press one of the VOICE category selection buttons (other than the [ORGAN WORLD],
[ENSEMBLE] and [EXPANSION/USER] buttons) to call up the Voice Selection display.
3 Press the [8 ] (UP) button to call up the Voice categories.
4 Press the [2 ] (P2) button to display Page 2.
5 Press the desired [A]–[J] button to call up the Voice Selection
display of GM&XG Voices, GM2 Voices, etc.
6 Select the desired Voice.
NOTE
You can also find the “Legacy” folder in
this display. This folder contains previous Yamaha keyboards’ Voices (such as
Tyros, Tyros2, Tyros3, Tyros4, etc.) for
data compatibility with other models.
6 Tyros5 Reference Manual
Touch Response and Effect-Related Settings
Touch Response is applied to the
checkmarked parts.
Setting the Touch Response of the Keyboard
Touch Response determines how the sound responds to your playing strength. The
touch response type becomes the common setting for all Voices.
1 Call up the operation display.
[FUNCTION] [D] CONTROLLER TAB [ E][F] KEYBOARD/PANEL
2 Use the [A]/[B] buttons to select the desired parameter: “1 INI-
TIAL TOUCH” or “2 AFTER TOUCH.”
2
3
NOTE
Some Voices are purposely designed
without touch response, in order to
emulate the true characteristics of the
actual instrument (for example, conventional organs, which have no touch
response).
1
Voices – Playing the Keyboard –
3 Use the [1 ]–[8 ] buttons to set the touch response.
1 INITIAL TOUCH
[1 ]/
[2 ]
[4 ] TOUCH OFF
[5 ]–
[8 ]
2 AFTER TOUCH
[1 ]/
[2 ]
TOUCH Determines the Initial Touch Response type.
HARD 2: Requires strong playing to produce high volume. Best for players with a
heavy touch.
HARD 1: Requires moderately strong playing for higher volume.
MEDIUM: Standard Touch Response.
SOFT 1: Produces high volume with moderate playing strength.
SOFT 2: Produces relatively high volume even with light playing strength. Best for
players with a light touch.
Determines the fixed volume level when Touch is set to “OFF.”
LEVEL
LEFT–RIGHT3 Turns Initial Touch on or off for each keyboard part.
TOUCH Determines the After Touch response type.
HARD: Relatively strong After Touch pressure is needed to produce changes.
MEDIUM: Produces a fairly standard After Touch response.
SOFT: Allows you to produce relatively large changes with very light After Touch
pressure.
[5 ]–
[8 ]
LEFT–RIGHT3 Turns After Touch on or off for each keyboard part.
Tyros5 Reference Manual 7
Using Keyboard Harmony/Echo
3 4
Harmony Types (see below)
Multi Assign Type (see below)
Echo Types (see below)
This parameter is not available for the Multi Assign type.
You can select the desired Harmony/Echo effect from a variety of types.
1 Turn the [HARMONY/ECHO] button on.
2 Call up the operation display.
NOTE
When the [MONO] button is turned to
on or you use the S.Art!/S.Art2! Voices,
the Harmony/Echo effect may not work
properly.
[FUNCTION] [F] HARMONY/ECHO
3 Use the [1 ]–[3 ] buttons to select the Harmony/Echo
type.
The Harmony/Echo types are divided into three groups (Harmony Types, Multi
NOTE
The available Harmony/Echo types differ when an Ensemble Voice is selected.
Assign Type, and Echo types), depending on the particular effect applied.
4 Use the [4 ]–[8 ] buttons to select various Harmony/Echo settings.
The available settings differ depending on the Harmony/Echo type.
[4 ] VOLUME This parameter is available for all types with the exception of “Multi Assign.” It deter-
] SPEED This parameter is only available when Echo, Tremolo, or Trill is selected in Type
[5
] ASSIGN Determines the keyboard Part that the effect is assigned.
[6
] CHORD NOTE
[7
] TOUCH LIMIT This parameter is available for all types with the exception of “Multi Assign.” It deter-
[8
ONLY
mines the volume level of the Harmony/Echo notes generated by the Harmony/Echo
effect.
above. It determines the speed of the Echo, Tremolo, and Trill effects.
AUTO: Applies the effect to the part for which PART ON/OFF is on. When more
than one parts are on, the RIGHT 1 part is given priority over the RIGHT 2/3 part.
In a similar way the RIGHT 2 part is given priority over the RIGHT 3 part.
MULTI: When more than one parts are on, the note played on the keyboard is
sounded by the RIGHT 1 part and the harmonies (effect) are divided to the RIGHT
1, RIGHT 2 and RIGHT 3 parts. When only one part is on, the note played on the
keyboard and effect are sounded by that part.
R1–R3: Applies the effect to the selected part (RIGHT 1, RIGHT 2 or RIGHT 3).
NOTE
This parameter is available when one of the Harmony Types is selected. When this is
set to “ON,” the Harmony effect is applied only to the notes (played in the right-hand
section of the keyboard) that belongs to a chord played in the chord section of the keyboard.
mines the lowest velocity value at which the harmony note will sound. This allows
you to selectively apply the harmony by your playing strength, letting you create harmony accents in the melody. The harmony effect is applied when you play the key
strongly (above the set value).
8 Tyros5 Reference Manual
Harmony Types
NOTE
Chord section for Style playback
and Harmony effect
Chord section for
Style playback and
Harmony effect
LEFT Voice and chord section
for Harmony effect
Split Point Split Point
RIGHT 1–3 Voices
RIGHT 1–3 Voices
LEFT Voice
Split Point
(for Style playback)
Split Point
(for the Voice)
The harmony effect is applied to the note played in the right-hand section of the
keyboard according to the chord specified in the chord or left-hand section shown
below.
You can make these different Split Point settings according to your performance
preferences.
The “1+5” and “Octave” settings are not
affected by the chord.
NOTE
The actual operation depends on the
Split Point settings. For more information, refer to “Specifying Chords with
Your Right Hand while Playing Bass
with Your Left Hand” in the Owner’s
Manual.
1
Voices – Playing the Keyboard –
Multi Assign Type
The Multi Assign effect automatically assigns the notes of chords you play on the
right-hand section of the keyboard to separate parts (Voices). For example, if you
play a three-note chord, the first note you press is played by the RIGHT 1 Voice,
the second by the RIGHT 2 Voice, and the third by the RIGHT 3 Voice. The Multi
Assign effect is not affected by the [ACMP] and LEFT part on/off status.
Echo Types
The Echo, Tremolo or Trill effect is applied to the note played in the right-hand section of the keyboard in time
with the currently set tempo, regardless of the [ACMP] and the LEFT part on/off status. Keep in mind that Trill
works when you hold down two notes on the keyboard simultaneously (or the last two notes, if more than two
notes are held), and it plays those notes alternately.
Tyros5 Reference Manual 9
Pitch-Related Settings
The tuning of each note for the currently
selected scale is shown.
NEXT PAGE
Fine-tuning the Pitch of the Entire Instrument
You can fine-tune the pitch of the entire instrument such as the keyboard, Style and Song parts (except the keyboard
part played by the Drum Kit or SFX Kit Voices, and audio playback)—a useful feature when playing the Tyros5 along
with other instruments or CD music.
1 Call up the operation display.
[FUNCTION] [A] MASTER TUNE/SCALE TUNE TAB [E][F] MASTER TUNE
2 Use the [4 ]/[5 ] buttons to set the tuning in 0.2 Hz steps.
Press both [] and [] buttons (of 4 and 5) simultaneously to reset the value to the factory setting of 440.0 Hz.
Scale Tuning
You can select various scales for playing in custom tunings for specific historical periods or music genres.
1 Call up the operation display.
[FUNCTION] [A] MASTER TUNE/SCALE TUNE TAB [E][F] SCALE TUNE
2 Use the [A]/[B] buttons to select the desired scale.
Preset Scale types
EQUAL The pitch range of each octave is divided equally into twelve parts, with each half-step
evenly spaced in pitch. This is the most commonly used tuning in music today.
PURE MAJOR, PURE
MINOR
PYTHAGOREAN This scale was devised by the famous Greek philosopher and is created from a series of per-
MEAN-TONE This scale was created as an improvement on the Pythagorean scale, by making the major
These tunings preserve the pure mathematical intervals of each scale, especially for triad
chords (root, third, fifth). You can hear this best in actual vocal harmonies—such as choirs
and a cappella singing.
fect fifths, which are collapsed into a single octave. The 3rd in this tuning are slightly unstable, but the 4th and 5th are beautiful and suitable for some leads.
third interval more “in tune.” It was especially popular from the 16th century to the 18th century. Handel, among others, used this scale.
WERCKMEISTER,
KIRNBERGER
ARABIC1, ARABIC2 Use these tunings when playing Arabic music.
10 Tyros5 Reference Manual
This composite scale combines the Werckmeister and Kirnberger systems, which were
themselves improvements on the mean-tone and Pythagorean scales. The main feature of
this scale is that each key has its own unique character. The scale was used extensively during the time of Bach and Beethoven, and even now it is often used when performing period
music on the harpsichord.
3 Change the following settings as necessary.
In musical terms a “cent” is 1/100th of a semitone. (100 cents equal one semitone.)
[2 ] BASE NOTE Determines the base note for each scale. When the base note is changed, the pitch of
the keyboard is transposed, yet maintains the original pitch relationship between the
notes.
[3 ]–
[5 ]
TUNE Select the desired note to be tuned by using the [3 ] buttons and tune it in cents by
using the [4 ]/[5 ] buttons.
NOTE
NOTE
To register the Scale Tune settings to
Registration Memory, be sure to checkmark the SCALE item in the REGISTRATION MEMORY CONTENTS display.
1
Voices – Playing the Keyboard –
[6 ]/
[7 ]
[8 ] MARK ON/OFF
PART SELECT Select the part to which the Scale Tune setting is applied by using the [6 ]/
[7 ] buttons. Then press the [8 ] button to add a checkmark or press the [8 ]
button to remove the checkmark.
Changing the Part Assignment of the TRANSPOSE Buttons
You can determine to which parts the TRANSPOSE [-]/[+] buttons are applied.
1 Call up the operation display.
[FUNCTION] [D] CONTROLLER TAB [ E][F] KEYBOARD/PANEL
2 Use the [B] button to select “4 TRANSPOSE ASSIGN.”
3 Press the [4 ]/[5 ] buttons to select the desired part assignment.
KEYBOARD The TRANSPOSE [-]/[+] buttons affect the pitch of keyboard played Voices, Style playback
(controlled by the performance in the chord section of the keyboard), and Multi Pad playback (when Chord Match is on, and left-hand chords are indicated)—but they do not affect
Song playback.
SONG The TRANSPOSE [-]/[+] buttons affect only the pitch of Song playback.
MASTER The TRANSPOSE [-]/[+] buttons affect the overall pitch of the instrument, except audio
playback.
The assignment can be confirmed by the pop-up window called up via the TRANSPOSE [-]/[+] buttons.
Tyros5 Reference Manual 11
Editing Voices (Voice Set)
5
3
4
The Voice Set function allows you to create your own Voices by editing some parameters of the existing Voices. Once
you’ve created a Voice, you can save it as a file to internal memory (User drive) or external devices for future recall.
1 Select the desired Voice (other than an Organ World Voice/Ensemble Voice).
Organ World Voices/Ensemble Voices have different editing methods than described here. For instructions on editing the Organ World Voices, see page 17. For instructions on editing the Ensemble Voices, see page 19.
2 Press the [5 ] (VOICE SET) button to call up the VOICE SET display.
3 Use the TAB [E][F] buttons to call up the relevant setting page.
For information on the available parameters in each page, see the “Editable Parameters in the VOICE SET Displays” on page 13.
4 As necessary, use the [A]/[B] buttons to select the item (parameter) to be edited and edit
the Voice by using the [1 ]–[8 ] buttons or sliders.
By pressing the [D] (COMPARE) button, you can compare the sound of the edited Voice with the original
(unedited) Voice.
5 Press the [I] (SAVE) button to save your edited Voice.
For details on the Save operation, refer to the Owner’s Manual, Basic Operations.
NOTICE
The settings will be lost if you
select another Voice or turn the
power to the instrument off without executing the Save operation.
12 Tyros5 Reference Manual
Editable Parameters in the VOICE SET Displays
0
64 127
64
127
0
64 127
64
127
Actual Velocity for
tone generator
Depth = 127 (twice)
Depth = 64 (normal)
Depth = 32 (half)
Depth = 0
TOUCH SENSE DEPTH
Changes to velocity curve according to
VelDepth (with Offset set to 64)
Received Velocity
(Actual KeyOn speed)
TOUCH SENSE OFFSET
Changes to velocity curve according to
VelOffset (with Depth set to 64)
Actual Velocity for
tone generator
Received Velocit y
(Actual KeyOn speed)
Offset = 96 (+64)
Offset = 127 (+127)
Offset = 64 (normal)
Offset = 32 (-64)
Offset = 0 (-127)
Depends
on offset
Depends
on offset
Portamento is a function that creates a smooth transition in pitch from the first note played on the keyboard
to the next.
The Voice Set parameters are organized into five different pages. The parameters in
each page are described separately, below.
COMMON Page
[1 ] VOLUME Adjusts the volume of the current edited Voice.
[2 ]/
[3 ]
TOUCH SENSE Adjusts the touch sensitivity (velocity sensitivity), or how greatly the volume
responds to your playing strength.
NOTE
The available parameters differ depending on the Voice.
1
Voices – Playing the Keyboard –
[4 ]/
[5 ]
[6 ] MONO/POLY Determines whether the edited Voice is played monophonically or polyphonically.
[7 ] PORTAMENTO
CONTROLLER Page
1 MODULATION
The MODULATION wheel can be used to modulate the parameters below as well as the pitch (vibrato). Here, you
can set the degree to which the MODULATION wheel modulates each of the following parameters.
[2 ] FILTER Determines the degree to which the MODULATION wheel modulates the Filter Cut-
[3 ] AMPLITUDE Determines the degree to which the MODULATION wheel modulates the amplitude
[5 ] LFO PMOD Determines the degree to which the MODULATION wheel modulates the pitch, or
[6 ] LFO FMOD Determines the degree to which the MODULATION wheel modulates the Filter mod-
[7 ] LFO AMOD Determines the degree to which the MODULATION wheel modulates the amplitude,
DEPTH: Determines the velocity sensitivity, or how much the level of the Voice
changes in response to your playing strength (velocity).
OFFSET: Determines the amount by which received velocities are adjusted for the
actual velocity effect.
PART OCTAVE Shifts the octave range of the edited Voice up or down in octaves. When the edited
Voice is used as any of the RIGHT 1–3 parts, the R1/R2/R3 parameter is available;
when the edited Voice is used as the LEFT part, the LEFT parameter is available.
This setting can also be made from the VOICE EFFECT [MONO] button on the
panel.
Determines the pitch transition time when the edited Voice is set to MONO above.
TIME
NOTE
off Frequency. For details about the filter, see below.
(volume).
the vibrato effect.
ulation, or the wah effect.
or the tremolo effect.
Tyros5 Reference Manual 13
2 AFTER TOUCH
Vol ume
These frequencies are
“passed” by the filter.
Cutoff
range
Frequency
(pitch)
Cutoff Frequency
Vol ume
Frequency (pitch)
Resonance
Time
Level
Key on Key off
Sustain
Level
ATTACK DECAY RELEASE
After Touch can be used to modulate the parameters below. Here, you can set the degree to which After Touch
modulates each of the following parameters.
[2 ] FILTER Determines the degree to which After Touch modulates the Filter Cutoff Frequency.
See below for details about Filter.
[3 ] AMPLITUDE Determines the degree to which After Touch modulates the amplitude (volume).
[5 ] LFO PMOD Determines the degree to which After Touch modulates the pitch, or the vibrato effect.
[6 ] LFO FMOD Determines the degree to which After Touch modulates the Filter modulation, or the
wah effect.
[7 ] LFO AMOD Determines the degree to which After Touch modulates the amplitude, or the tremolo
effect.
SOUND Page
FILTER
Filter is a processor that changes the timbre or tone of a sound by either blocking or passing a specific frequency
range. The parameters below determine the overall timbre of the sound by boosting or cutting a certain frequency
range. In addition to making the sound either brighter or mellower, Filter can be used to produce electronic, synthesizer-like effects.
[1 ] BRIGHT
(Brightness)
Determines the cutoff frequency or effective frequency range of the filter (see diagram). Higher values result in a brighter
sound.
[2 ] HARMO.
(Harmonic Content)
Determines the emphasis given to the
cutoff frequency (resonance), set in
BRIGHT. above (see diagram). Higher
values result in a more pronounced effect.
EG
The EG (Envelope Generator) settings determine how the level of the
sound changes in time. This lets you reproduce many sound characteristics of natural acoustic instruments—such as the quick attack and
decay of percussion sounds, or the long release of a sustained piano
tone.
14 Tyros5 Reference Manual
[3 ] ATTACK Determines how quickly the sound reaches its maximum level after the key is played.
The lower the value, the quicker the attack.
[4 ] DECAY Determines how quickly the sound reaches its sustain level (a slightly lower level than
maximum). The lower the value, the quicker the decay.
[5 ] RELES. (Release) Determines how quickly the sound decays to silence after the key is released. The
lower the value, the quicker the decay.
VIBRATO
Pitch
DELAY
SPEED
DEPTH
Time
Vibrato is a quavering, vibrating sound effect that is produced by regularly modulating the pitch of the Voice.
[6 ] DEPTH Determines the intensity of the Vibrato effect. Higher settings result in a more pro-
nounced Vibrato.
[7 ] SPEED Determines the speed of the Vibrato effect.
[8 ] DELAY Determines the amount of time that elapses between the playing of a key and the start
of the Vibrato effect. Higher settings increase the delay of the Vibrato onset.
EFFECT / EQ Page
1 REVERB DEPTH / CHORUS DEPTH / DSP DEPTH / PANEL SUSTAIN
[1 ]/
[2 ]
REVERB DEPTH Adjusts the reverb depth.
1
Voices – Playing the Keyboard –
[3 ]/
[4 ]
[5 ] DSP ON/OFF Determines whether the DSP effect is on or off.
[6 ] DSP DEPTH Adjusts the DSP depth.
[7 ] PANEL SUSTAIN Determines the sustain level applied to the edited Voice when the VOICE EFFECT
CHORUS DEPTH Adjusts the chorus depth.
This setting can also be made from the VOICE EFFECT [DSP] button on the panel.
If you want to re-select the DSP type, you can do so in the “2 DSP” menu explained
on page 15.
[SUSTAIN] button on the panel is turned on.
2 DSP
[1 ]–
[4 ]
[5 ]–
[8 ]
[5 ] ON/OFF Turns the DSP Variation on or off for the selected Voice. This setting can also be made
[6 ]–
[8 ]
DSP TYPE Selects the DSP effect category and type. Select a type after selecting a category.
VARIATION Two variations are provided for each DSP type. Here, you can edit the VARIATION
on/off status and the variation’s parameter value setting.
from the VOICE EFFECT [VARIATION] button on the panel. (This button is effective only when the [DSP] button is on.)
PARAMETER Displays the variation parameter. (This differs depending on the effect type and can-
not be changed.)
VALUE Adjusts the value of the DSP variation parameter.
3 EQ
Determines the Frequency and Gain of the Low and High EQ bands. For information about EQ, refer to page 122.
HARMONY Page
Same as in the [FUNCTION] [F] HARMONY/ECHO display. See “Using Keyboard Harmony/Echo” on
page 8.
Tyros5 Reference Manual 15
Disabling Automatic Selection of Voice Sets (Effects, etc.)
2
3
Each Voice is linked to its default VOICE SET parameter settings. Usually these settings are automatically called up
when a Voice is selected. However, you can also disable this feature by the operation in the relevant display as
explained below. For example, if you want to change the Voice yet keep the same Harmony effect used with the
previous Voice, set the HARMONY/ECHO parameter to OFF (in the display explained below).
1 Call up the operation display.
[FUNCTION] [E] REGIST SEQUENCE/FREEZE/VOICE SET TA B [E][F] VOICE SET
2 Use the [A]/[B] buttons to select the desired keyboard part.
3 Use the [4 ]–[7 ] buttons to turn on or off of each item for the selected Part.
When the button is set to ON, the corresponding parameter settings are called up automatically together with the
Voice selection. For information on which parameters are linked to each item, see below.
[4 ] VOICE Corresponds to the parameter settings of the COMMON, CONTROLLER, and
SOUND pages.
[5 ] EFFECT Corresponds to the parameter settings of 1 and 2 in the EFFECT/EQ page.
[6 ] EQ Corresponds to the parameter settings of 3 in the EFFECT/EQ page.
[7 ] HARMONY/
ECHO
Corresponds to the HARMONY page.
16 Tyros5 Reference Manual
Editing Organ Voices (Organ World)
For details on how to adjust the
Footage levels, refer to the
Owner’s Manual, chapter 1.
NEXT PAGE
The Organ World Voices can be edited by adjusting the footage levers, adding the
attack sound, applying effects and equalizer, etc. If you want, you can also change the
Rotary Speaker speed and adjust the Vibrato setting.
1 Select the desired Organ Voice in the Organ World display.
Press the [ORGAN WORLD] button.
1-1
1-2 Use the TAB [E][F] buttons to select the organ type which you want to
edit.
If you selected the CONCERT or THEATRE type, go on to step 3. Only
effect/EQ parameters can be edited for those types.
1-3 Press the [D]/[I] button several times until the Preset Select display is called
up.
NOTICE
After editing, go to the Registration Memory function and save
the setting. The settings will be
lost if you select another Voice or
turn the power of the instrument
off without executing the Save
operation. For details on the
operation, refer to the Owner’s
Manual.
NOTE
The available parameters differ depending on the Organ type.
1-4 Use [1 ]–[8 ] buttons to select the desired preset.
2 Press the [D]/[I] button several times to call up the relevant setting display (FOOTAGES
or VOLUME&ATTACK)
For information on the available parameters in each display, see pages 17 and 18.
3 Use the [A] (EFFECT) buttons to call up the effect/EQ setting display.
For information on the available parameters in each display, see pages 15 and 18.
1
Voices – Playing the Keyboard –
4 As necessary, use the [A]/[B] buttons to select the item (parameter) to be edited and edit
the Voice by using the [1 ]–[8 ] buttons or sliders.
5 Play the keyboard.
FOOTAGES Page
[A] EFFECT Opens the effect/EQ setting display (page 18).
[C] ROTARY (Rotary
Speaker Speed)/
TREMOLO
(Vintage/Home type
only)
Alternately switches between the slow and fast rotary speaker speeds when a rotary
speaker effect is selected for the Organ Flutes (DSP TYPE parameter in the effect/
EQ setting display), and the VOICE EFFECT [DSP] button is turned on.
[F] VIBRATO
(Vintage/Home type
only)
Alternately turns the vibrato effect for the Organ Flutes Voice ON or OFF.
Tyros5 Reference Manual 17
[G]/[H] VIBRATO DEPTH
Same as the
FOOTAGES display
(Vintage/Home type
only)
Sets the Vibrato depth to one of three levels: 1 (low), 2 (mid), or 3 (high).
[D]/[I]
FOOTAGES/
VOLUME &
ATTACK / PRESETS
VOLUME&ATTACK
[1 ] VOL (Volume) Adjusts the overall volume of the Organ Flutes. The longer the graphic bar, the
Opens the Preset Select display or the relevant setting display (FOOTAGES or VOLUME & ATTACK)
greater the volume.
[2 ] RESP (Response) Affects both the attack and release (page 14) portion of the sound, increasing or
decreasing the response time of the initial swell and release, based on the FOOTAGES controls. The higher the value, the slower the swell and release.
[3 ] VIBRATO SPEED
(Vibrato Speed)
(Vintage/Home type
only)
[4 ] MODE The MODE control selects between two modes: FIRST and EACH. In the FIRST
[5 ]–
[7 ]
[8 ] LENG (Length) Affects the attack portion of the sound producing a longer or shorter decay immedi-
4’, 2 2/3’, 2’ These determine the attack sound volume of the Organ Flutes Voice. The 4’, 2-2/3’
Determines the speed of the vibrato effect controlled by the Vibrato On/Off ([F] button) and Vibrato Depth ([G]/[H] buttons).
mode, attack (percussive sound) is applied only to the first notes played and held
simultaneously; while the first notes are held, any subsequently played notes have no
attack applied. In the EACH mode, attack is applied equally to all notes.
and 2’ controls increase or reduce the volume of attack sound at the corresponding
footages. The longer the graphic bar, the greater the attack sound volume.
ately after the initial attack. The longer the graphic bar, the longer the decay.
Effect/EQ related display
Same parameters as in the VOICE SET “EFFECT/EQ” Page explained on page 15.
18 Tyros5 Reference Manual
Editing Ensemble Voices (Ensemble Voice Edit)
2
3
1 4
5
6
In addition to enjoying the Presets, you can create your original Ensemble Voice by editing various parameters as
described here. These relevant parameters determine which note is played by each Part, which Preset Voice is used with
each Part, when sounds are actually produced, and how the pitch envelope is produced. These settings result in a highly
realistic ensemble sound, as if acoustic instruments were played by real artists.
1 Select the desired Ensemble Voice.
1-1
Press the [ENSEMBLE] button.
1-2 Press one of the [1 ]–[8 ] buttons to select the Ensemble Voice which you want to edit.
If necessary, press the [J] (PRESETS) button, then select the desired one from the various Preset Ensemble
Voices.
For information on how to select more Ensemble Voices, refer to the Owner’s Manual.
2 Press the [E] (EDIT) button to call up the Ensemble Voice (edit) display.
3 Use the TAB [][] buttons to call up the relevant setting page.
For information on the available parameters in each page, see pages 20–24.
1
Voices – Playing the Keyboard –
4 Use the [A]–[E] buttons to select a parameter, then use the [1 ]–[8 ] buttons or
sliders to set the value for each part.
5 Press the [EXIT] button to exit from the edit display.
6 Press the [J] (PRESET) button to save your edited Voice.
For details on the Save operation, refer to the Owner’s Manual, Basic Operations.
NOTICE
The edited data will be lost if you
change to another Voice or you
turn the power off without executing the Save operation.
Tyros5 Reference Manual 19
ASSIGN / HARMONY
Orange: Active keys
Gray: Ignored keys
Octave
Filter 1
Filter 2 Assign
(Assignment)
Key off retrigger
Key Assign Status (page 21)
All Notes
Part 1
Part 2
Part 3
Part 4
Filter 1
Filter 2
Assign
[1 ]–
[5 ]
[6 ]–
[7 ]
KEY ASSIGN
TYPE
HARMONY
(Harmony Type)
Determines the Key Assignment type. This is applied commonly to all Voice parts.
For details, refer to the Ensemble Voice Key Assign Type List below.
Same as in the [FUNCTION] [F] HARMONY/ECHO display. See “Using Keyboard Harmony/Echo” on page 8. Only two types (“4-WAY CLOSE 1” and “4-WAY
CLOSE 2”) are available.
[8 ] ON/OFF Turns the Harmony effect on or off.
Ensemble Voice Key Assignment Structure
Each Part monitors all the pressed notes and plays the appropriate notes according to the settings you made.
For details about the settings, refer to the Ensemble Voice Key Assign Status List. You can conveniently call
up the settings for all parts at once. The current setting of each Part (Key Assignment Status) is displayed at the
bottom of its own keyboard figure (see above) on the screen.
20 Tyros5 Reference Manual
Ensemble Voice Key Assign Status List (Indication only)
*=2
*=2
*=2
*=2
Part 1
Part 2
Part 3
Part 4
Part 1
Part 2
Part 3
Part 4
Par t 1
Par t 2
Par t 3
Par t 4
Par t 1
Par t 3
Par t 2
Par t 4
Part 1
Part 2
Part 3
Part 4
Par t 1
Par t 2
Par t 3
Par t 4
NEXT PAGE
Parameter On-screen
Full name Description
display
Filter 1/
Filter 2
F*D First * in Descend-
ing
The highest * notes (“*” indicates the number of notes) are selected from the input
notes and sent to the next stage.
A*D After *-th in
Descending
The *th highest note and any higher notes
do not sound, but all lower notes are
selected from the input notes and sent to the
next stage.
F*A First * in Ascend-
ing
A*A After *-th in
Ascending
The lowest * notes are selected from the
input notes and sent to the next stage.
The *th lowest note and any lower notes do
not sound, but all higher notes are selected
from the input notes and sent to the next
stage.
THRU Through All input notes are sent as is to the next stage.
Assign HI Highest Of the notes remaining after Filter 2, the highest is selected.
LO Lowest Of the notes remaining after Filter 2, the lowest is selected.
EA Earliest Of the notes remaining after Filter 2, the one input first of all is
selected.
1
Voices – Playing the Keyboard –
LA Latest Of the notes remaining after Filter 2, the one input last of all is selected.
Key off
retrigger
RTG Retrigger Key Assign is updated whenever some of the keys are released (and
notes satisfying all applicable conditions are played).
(Not displayed)
- Whenever keys are released, the corresponding voices simply stop
playing and are not reassigned. However, when you play in legato,
notes will be retriggered regardless of whether Key off retrigger is off
or on (Yes or No in the table below).
* Indicates an integer of 1 or higher.
Ensemble Voice Key Assign Type List
No. Key Assign Type Description
1 Unison 1—latest This setting results in complete unison. If one key is
played, all four parts will produce the same note. If
multiple keys are played, the unison note will be
selected based on the last one played.
2 Unison 2—highest and
lowest
3 4 Voice Close—all parts on
retrigger
4 4 Voice Close—all parts on No
This setting produces unison or a two-note harmony.
If one key is played, all four parts will produce the
same note; however, if two or more are played, the
parts will be split between the lowest and highest.
This setting is suitable for closed chords. If one key is played, all four
parts will produce a sound. If two or more keys are played, the parts will
be divided among the various notes of the chord.
Key off retrigger (*3)
Ye s
Ye s
Ye s
Tyros5 Reference Manual 21
5 4 Voice Open—all parts on
Par t 1
Par t 2
Par t 3
Par t 4
Par t 1
Par t 2
Par t 3
Par t 4
Part 1
Part 2
Part 3
Part 4
Par t 1
Par t 3
Par t 2
Par t 4
Part 1
Part 2
Part 3
Part 4
Part 1
Part 2
Part 3
Part 1
Part 2
Par t 1
Par t 1
Par t 2
Par t 3
Par t 4
Part 2
Part 3
Part 4
Part 3
Part 4Part 4
NEXT PAGE
retrigger
6 4 Voice Open—all parts on No
This setting is suitable for open chords. If one key is played, all four
parts will produce a sound. If two or more keys are played, the parts will
be divided among the various notes of the chord.
Ye s
7 4 Voice Incremental 1
—from highest retrigger
8 4 Voice Incremental 1
The more keys played, the greater the number of parts that produce a
sound, with priority given to higher parts. For example, Part 1 is played
for one key, Part 1 and Part 2 are played for two keys, and so on.
Ye s
No
—from highest
9 4 Voice Incremental 2
—from lowest retrigger
10 4 Voice Incremental 2
The more keys played, the greater the number of parts that produce a
sound, with priority given to lower parts. For example, Part 4 is played
for one key, Part 4 and Part 3 are played for two keys, and so on.
Ye s
No
—from lowest
11 3 Voice Close—all parts on
This setting produces a three-note ensemble for closed chords. (*1) Yes
retrigger
12 3 Voice Close—all parts on No
13 3 Voice Open—all parts on
This setting produces a three-note ensemble for open chords. (*1) Yes
retrigger
14 3 Voice Open—all parts on No
15 3 Voice Incremental 1
—from highest retrigger
16 3 Voice Incremental 1
Three-note version of an ensemble with priority given to higher parts.
For example, Parts 1 & 4 are played for one key, Parts 1 & 4 and Part 2
are played for two keys, and so on. (*1)
Ye s
No
—from highest
17 3 Voice Incremental 2
—from lowest retrigger
18 3 Voice Incremental 2
Three-note version of an ensemble with priority given to lower parts.
For example, Part 3 is played for one key, Part 3 and Part 2 are played
for two keys, and so on. (*1)
Ye s
No
—from lowest
19 2 Voice Close—all parts on
This setting produces a two-note ensemble for closed chords. (*2) Yes
retrigger
20 2 Voice Close—all parts on No
21 2 Voice Incremental 1
—from highest retrigger
22 2 Voice Incremental 1
Two-note version of an ensemble with priority given to higher parts. For
example, Parts 1 & 3 are played for one key, and Parts 1 & 3 and Parts 2
& 4 are played for two keys. (*2)
Ye s
No
—from highest
23 2 Voice Incremental 2
—from lowest retrigger
24 2 Voice Incremental 2
Two-note version of an ensemble with priority given to lower parts. For
example, Parts 2 & 4 are played for one key, and Parts 1 & 3 and Parts 2
& 4 are played for two keys. (*2)
Ye s
No
—from lowest
*1: In three-voice ensembles, Part 4 moves in the same way as Part 1.
*2: In two-voice ensembles, Part 3 moves in the same way as Part 1; Part 4 moves in the same way as Part 2.
*3: With ensemble types that support key off retriggering, whenever a part stops playing because the corresponding key is released, it will be
reassigned based on the keys still held down and will play the appropriate note.
22 Tyros5 Reference Manual
VOLUME / PAN
Only the recommended Voices that are suitable for Ensemble Voices can be selected.
In musical terms, a “cent” is 1/100th of a semitone. (100 cents equal one semitone.)
NEXT PAGE
[A] VOICE Allows you to re-select the Voices for each part. You can also select this by using the
[C] PART ON/OFF Turns each part on or off. The PART 1–4 settings correspond to the PART ON/OFF
1
Voices – Playing the Keyboard –
PART SELECT buttons. The PART 1–4 settings correspond to the PART SELECT
[LEFT], [PART 1-3] buttons.
NOTE
[LEFT], [PART 1-3] buttons.
[D] PANPOT Determines the stereo position of the selected part.
[E] VOLUME Determines the volume of each part or channel, giving you fine control over the bal-
[3 ]–
[6 ]
TUNE / EFFECT
ance of all the parts. These parameters correspond to the LEFT and RIGHT 1–3
parameters of the VOL/VOICE tab in the MIXING CONSOLE display.
Selects the part to which the editing is applied, then set the value for each part.
[B] OCTAVE Determines the range of the pitch change in octaves, over two octaves up or down for
each keyboard part. The value set here is added to the setting made via the OCTAVE
[-]/[+] buttons.
[C] TUNING Determines the pitch of each keyboard part in cents.
[D] REVERB DEPTH Adjusts the reverb depth.
NOTE
Tyros5 Reference Manual 23
[E] VIBRATO
Attack Pitch Range
While a note is held
Time
Pitch Change Range
Attack Pitch Adjust Time Pitch Range
SENSITIVITY
Determines the intensity of the Vibrato effect. Higher settings result in a more pronounced Vibrato.
[3 ]–
[6 ]
HUMANIZE
[B] TIMING Determines the delay time between the moment the actual sound for each Part is pro-
Selects the part to which the editing is applied, then set the value for each part.
duced and the moment a few notes are pressed.
[C] PITCH RANGE Determines the pitch vibration (pitch range) when the sound is being produced. The
higher the value, the greater the pitch range.
[D] ATTACK PITCH
RANGE
[E] ATTACK PITCH
ADJUST TIME
[3 ]–
Determines the actual pitch envelope immediately after the sound is produced. The
higher the value, the greater the pitch range.
Determines the time between the moment the sound is produced and the moment the
pitch envelope reaches the correct value.
Selects the part to which the editing is applied, then set the value for each part.
[6 ]
24 Tyros5 Reference Manual
2
2
Styles
– Playing Rhythm and Accompaniment –
Contents
Selecting the Chord Fingering Type .............................................................. 26
Style Playback Related Settings ..................................................................... 28
Memorizing Original Settings to a One Touch Setting................................. 30
Creating/Editing Styles (Style Creator)......................................................... 31
• Realtime Recording.................................................................................... 33
• Step Recording ........................................................................................... 37
• Style Assembly........................................................................................... 37
• Editing the Rhythmic Feel (GROOVE)...................................................... 39
• Editing Data for Each Channel (CHANNEL)............................................ 41
• Making Style File Format Settings (PARAMETER) ................................. 42
Style Types (Characteristics)
The particular type of Style is indicated at the upper left of the Style name in the Style Selection display. The defining
characteristics of these Styles and their performance advantages are described below.
2
Styles – Playing Rhythm and Accompaniment –
• Pro: These Styles provide professional and exciting arrangements combined with perfect playability. The resulting
accompaniment exactly follows the chords of the player. As a result, your chord changes and colorful harmonies
are instantly transformed into lifelike musical accompaniment.
• Session: These Styles provide even greater realism and authentic backing by mixing in original chord types and
changes, as well as special riffs with chord changes, with the Main sections. These have been programmed to add
“spice” and a professional touch to your performances of certain songs and in certain genres. Keep in mind, however, that the Styles may not necessarily be appropriate—or even harmonically correct—for all songs and for all
chord playing. In some cases for example, playing a simple major triad for a country song may result in a “jazzy”
seventh chord, or playing an on-bass chord may result in inappropriate or unexpected accompaniment.
• Free Play: These Styles are characterized by rubato performance. You can perform freely with remarkably expressive accompaniment, without being constrained by a strict tempo.
• +Audio: Indicates the Audio Style. For more information on Audio Styles, refer to the Owner’s Manual.
For the Preset Style List, refer to the Data List downloadable from Yamaha Manual Library.
Tyros5 Reference Manual 25
Selecting the Chord Fingering Type
Depending on the chord, some notes may be omitted.
NOTE
The Chord Fingering type determines how chords are specified for Style playback. You can select desired one from
the seven types.
1 Call up the operation display.
[FUNCTION] [C] STYLE SETTING/SPLIT POINT/CHORD FINGERING TAB [ E][F] CHORD FINGERING
2 Press the [1 ]–[3 ] buttons to select a fingering.
For information on each fingering type, see page 27.
Chord Tutor Function
With this function shown in the right half of this display, you can see which notes to press for specifying the
chord. If you know a chord name but don’t know how to play it, use this function. Although this function
shows how to play a chord only in case of “Fingered,” the indication is useful also when a type other than “Single Finger” is selected.
Use the [6 ] buttons to select the chord root then use the [7 ]–[8 ] buttons to select the chord
type. The notes you need to play are shown in the display.
26 Tyros5 Reference Manual
Chord Fingering Types
Cm
C
Cm
7
C
7
For a major chord,
press the root key only.
For a minor chord,
simultaneously press
the root key and a black
key to its left.
For a seventh chord,
simultaneously press the
root key and a white key to
its left.
For a minor-seventh chord,
simultaneously press the root
key and both a white and black
key to its left.
NOTE
SINGLE FINGER Makes it simple to produce orchestrated accompaniment using major, seventh, minor and
minor-seventh chords by pressing only one, two or three keys on the Chord section of the
keyboard.
MULTI FINGER Automatically detects Single Finger or Fingered chord fingerings, so you can use either type
of fingering without having to switch fingering types.
FINGERED Lets you specify the chord by pressing the notes making up a chord in the left hand section
of the keyboard when ACMP is turned on or the Left part is turned on. For information on
which notes to press for each chord, refer to the Data List (Chord Types Recognized in the
Fingered Mode) downloadable from Yamaha Manual Library, or use the Chord Tutor function on the right-half of this display.
FINGERED ON BASS Accepts the same fingerings as Fingered; however, the lowest note played in the Chord sec-
tion of the keyboard is used as the bass note, allowing you to play “on bass” chords. (In the
Fingered type, the root of the chord is always used as the bass note.)
FULL KEYBOARD Detects chords in the entire key range. Chords are detected in a way similar to Fingered,
even if you split the notes between your left and right hands—for example, playing a bass
note with your left hand and a chord with your right, or by playing a chord with your left
hand and a melody note with your right.
2
Styles – Playing Rhythm and Accompaniment –
AI FINGERED Basically the same as Fingered, with the exception that less than three notes can be played to
indicate the chords (based on the previously played chord, etc.).
AI FULL KEYBOARD This type is similar to Full Keyboard, with the exception that less than three notes can be
played to indicate the chords (based on the previously played chord, etc.). 9th, 11th and 13th
chords cannot be played.
FINGERED* This type is called up automatically when the CHORD DETECTION AREA is set to
“UPPER.” In this status, the whole right-hand (UPPER) section works as the Chord section
as well as melody performance. As to which key should be pressed, this is basically same as
“FINGERED,” except that “1+5,” “1+8” and Chord Cancel are not available. For more
information, refer to “Specifying Chords with Your Right Hand while Playing Bass with
Your Left Hand” in the Owner’s Manual.
“AI” stands for “Artificial Intelligence.”
Tyros5 Reference Manual 27
Style Playback Related Settings
NEXT PAGE
When the selected Style contains MegaVoices, unexpected sounds may result when this is set to “STYLE.”
When you record a Song, the chord detected by playing the Stop Accompaniment can be recorded regardless of the setting here. Please note that both the sounding Voice and chord data is recorded when set to
“STYLE,” and only the chord data is recorded when set to “OFF” or “FIXED.”
The instrument has a variety of settings for Style playback which can be accessed in the display below.
1 Call up the operation display.
[FUNCTION] [C] STYLE SETTING/SPLIT POINT/CHORD FINGERING TAB [ E][F] STYLE SETTING
2 Use the [1 ]–[8 ] buttons for each setting.
[1 ] STOP ACMP When [ACMP] is turned on and [SYNC START] is off, you can play chords in the
chord section of the keyboard with the Style stopped, and still hear the accompaniment chord. In this condition—called “Stop Accompaniment”—any valid chord fingerings are recognized and the chord root/type are shown in the display. Here, you can
determine whether the chord played in the chord section will sound or not in the Stop
Accompaniment status.
OFF: The chord played in the chord section will not sound.
STYLE: The chord played in the chord section will sound via the Voices for the Pad
part and the Bass channel of the selected Style.
FIXED: The chord played in the chord section will sound via the specified Voice,
regardless of the selected Style.
NOTE
NOTE
[2 ] OTS LINK
TIMING
This applies to the OTS Link function. This parameter determines the timing in which
the One Touch Settings change with the MAIN VARIATION [A]–[D] change. (The
[OTS LINK] button must be on.)
REAL TIME: One Touch Setting is immediately called up when you press a MAIN
VARIATION button.
NEXT BAR: One Touch Setting is called up at the next measure, after you press a
MAIN VARIATION button.
[3 ] SYNCHRO STOP
WINDOW
28 Tyros5 Reference Manual
This determines how long you can hold a chord before the Synchro Stop function is
automatically cancelled. When the [SYNC STOP] button is turned on and this is set to
a value other than “OFF,” this automatically cancels the Synchro Stop function if you
hold a chord for longer than the time set here. This conveniently resets Style playback
control to normal, letting you release the keys and still have the Style play. In other
words, if you release the keys sooner than the time set here, the Synchro Stop function
works.
[4 ] STYLE TOUCH Turns touch response for the Style playback on/off. When this is set to “ON,” the Style
volume changes in response to your playing strength in the chord section of the keyboard.
[5 ]/
[6 ]
[7 ] TEMPO This determines whether the tempo setting of the Style changes or not when you
[8 ] PART ON/OFF This determines whether the Style Channel On/Off status changes or not when you
SECTION SET Determines the default section that is automatically called up when selecting different
Styles (when Style playback is stopped). When set to “OFF” and Style playback is
stopped, the active section is maintained even if the different Style is selected. When
any of the MAIN A–D sections is not included in the Style data, the nearest section is
automatically selected. For example, when MAIN D is not contained in the selected
Style, MAIN C will be called up.
change Styles.
LOCK: The previous tempo setting is always maintained.
HOLD: During Style playback, the previous tempo setting is maintained. When Style
playback is stopped, the tempo changes to that of the initial default tempo for the
selected Style.
RESET: The tempo always changes to that of the initial default tempo for the selected
Style.
change Styles.
LOCK: The Channel On/Off status of the previous Style is always maintained.
HOLD: During Style playback, the Channel On/Off status of the previous Style is
maintained. When Style playback is stopped, all Style Channels are set to On.
RESET: All Style Channels are set to On.
2
Styles – Playing Rhythm and Accompaniment –
Tyros5 Reference Manual 29
Memorizing Original Settings to a One Touch Setting
NOTE
NOTICE
You can memorize your original panel settings to a One Touch Setting (OTS). The newly created One Touch Setting
will be saved in the User drive as a Style, and you can call up the One Touch Setting as a part of the Style.
1 Select the desired Style to memorize your One Touch Setting.
2 Make the desired panel settings, such as those for Voices and effects.
3 Press the [MEMORY] button in the REGISTRATION MEMORY section.
The REGISTRATION MEMORY CONTENTS display appears. However, you do not need to set these items,
since the On/Off settings in this display do not affect the One Touch Settings.
4 Press the ONE TOUCH SETTING [1]–[4] button to which you
wish to memorize your panel settings.
Follow the onscreen message. To memorize various panel settings to other buttons,
press the [G] (NO) button, then repeat steps 2–4.
For OTS buttons to which your original
panel settings have not been memorized, the OTS settings of the original
Style will be maintained.
5 Press the [F] (YES) button to call up the Style Selection display
and save the One Touch Setting as a Style.
For instructions on saving, refer to the Owner’s Manual, Basic Operations.
The memorized One Touch Settings will be lost if you change the
Style or turn the power off without
executing the Save operation.
30 Tyros5 Reference Manual
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