Yamaha QY-300 de handleiding

Merk: Yamaha

Model: QY-300

Categorie: Sequencer

Type: de handleiding

Deze handleiding is ook geschikt voor

QY300

FCC INFORMATION (U.S.A)

1. IMPORTANT NOTICE : DO NOT MODIFY THIS UNIT!

This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved

by Yamaha may void your authority, granted by the FCC, to use the product.

2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this

product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the

USA.

3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices.

Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result

in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the

instructions found in the user’s manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations

does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined

by turning the unit “OFF” and “ON”, please try to eliminate the problem by using one of the following measures:

Relocate either this product or the device that is being affected by the interference.

Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s.

In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type

cable.

If these corrective measures do not produce satisfactory results, please contact the your local retailer authorized to distribute this type of product. If

you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave,

Buena Park, CA 90620

The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.

CANADA

THIS DIGITAL APPARATUS DOES NOT EXCEED THE “CLASS B”

LIMITS FOR RADIO NOISE EMISSIONS FROM DIGITAL APPARA-

TUS SET OUT IN THE RADIO INTERFERENCE REGULATION OF

THE CANADIAN DEPARTMENT OF COMMUNICATIONS.

LE PRESENT APPAREIL NUMERIQUE N’EMET PAS DE BRUITS

RADIOELECTRIQUES DEPASSANT LES LIMITES APPLICABLES

AUX APPAREILS NUMERIQUES DE LA “CLASSE B”

PRESCRITES DANS LE REGLEMENT SUR LE BROUILLAGE

RADIOELECTRIQUE EDICTE PAR LE MINISTERE DES COMMU-

NICATIONS DU CANADA.

This applies only to products distributed by Yamaha Canada Music

LTD.

Bescheinigung des Importeurs

Hiermit wird bescheinigt, daß der/die/das

Music Sequencer Typ: QY300

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

(Gerät, typ, Bezeichnung)

in Übereinstimmung mit den Bestimmungen der

VERFÜGUNG 1046/84

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

(Amtsblattverfügung)

funkentstört ist.

Der Deutschen Bundespost wurde das Inverkehrbringen dieses

Gerätes angezeigt und die Berechtigung zur Überprüfung der Serie

auf Einhaltung der Bestimmungen eingeräumt.

Yamaha Europa GmbH

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Name des lmporteurs.

Dies bezieht sich nur auf die von der YAMAHA EUROPA GmbH

vertriebenen Produkte.

ADVARSEL!

Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering. Udskiftning

må kun ske med batteri af samme fabrikat og type. Levér det brugte

batteri tilbage til leverandoren.

VARNING

Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller

en ekvivalent typ som rekommenderas av apparattillverkaren.

Kassera använt batteri enligt fabrikantens instruktion.

VAROITUS

Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda paristo

ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty

paristo valmistajan ohjeiden mukaisesti.

Dette apparat overholder det gaeldende EF-direktiv vedrørende

radiostøj.

Cet appareil est conforme aux prescriptions de la directive

communautaire 87/308/CEE.

Diese Geräte entsprechen der EG-Richtlinie 82/499/EWG und/

oder 87/308/EWG.

This product complies with the radio frequency interference re-

quirements of the Council Directive 82/499/EEC and/or 87/308/

EEC.

Questo apparecchio è conforme al D.M.13 aprile 1989 (Direttiva

CEE/87/308) sulla soppressione dei radiodisturbi.

Este producto está de acuerdo con los requisitos sobre

interferencias de radio frequencia fijados por el Consejo Directivo

87/308/CEE.

YAMAHA CORPORATION

This product utilizes batteries or an external power supply

(adapter). DO NOT connect this product to any power supply or

adapter other than one described in the manual, on the name

plate, or specifically recommended by Yamaha.

WARNING: Do not place this product in a position where any-

one could walk on, trip over, or roll anything over power or

connecting cords of any kind. The use of an extension cord is not

recommended! If you must use an extension cord, the minimum

wire size for a 25' cord (or less ) is 18 AWG. NOTE: The smaller

the AWG number, the larger the current handling capacity. For

longer extension cords, consult a local electrician.

This Product should be used only with the components supplied

or; a cart, rack, or stand that is recommended by Yamaha. If a

cart, etc., is used, please observe all safety markings and instruc-

tions that accompany the accessory product.

SPECIFICATIONS SUBJECT TO CHANGE: The informa-

tion contained in this manual is believed to be correct at the time

of printing. However, Yamaha reserves the right to change or

modify any of the specifications without notice or obligation to

update existing units.

This product, either alone or in combination with an amplifier and

headphones or speaker/s, may be capable of producing sound lev-

els that could cause permanent hearing loss. DO NOT operate for

long periods of time at a high volume level or at a level that is

uncomfortable. If you experience any hearing loss or ringing in the

ears, you should consult an audiologist. IMPORTANT: The

louder the sound, the shorter the time period before damage occurs.

Some Yamaha products may have benches and/or accessory

mounting fixtures that are either supplied with the product or as

optional accessories. Some of these items are designed to be

dealer assembled or installed. Please make sure that benches are

stable and any optional fixtures (where applicable) are well se-

cured BEFORE using. Benches supplied by Yamaha are designed

for seating only. No other uses are recommended.

NOTICE: Service charges incurred due to lack of knowledge

relating to how a function or effect works (when the unit is

operating as designed) are not covered by the manufacturer’s

warranty, and are therefore the owners responsibility. Please

study this manual carefully and consult your dealer before re-

questing service.

ENVIRONMENTAL ISSUES: Yamaha strives to produce

products that are both user safe and environmentally friendly.

We sincerely believe that our products and the production meth-

ods used to produce them, meet these goals. In keeping with both

the letter and the spirit of the law, we want you to be aware of

the following:

Battery Notice: This product MAY contain a small non-re-

chargeable battery which (if applicable) is soldered in place. The

average life span of this type of battery is approximately five

years. When replacement becomes necessary, contact a qualified

service representative to perform the replacement.

This Product may also use “household” type batteries. Some of

these may be rechargeable. Make sure that the battery being

charged is a rechargeable type and that the charger is intended

for the battery being charged.

When installing batteries, do not mix old batteries with new, or

with batteries of a different type. Batteries MUST be installed

correctly. Mismatches or incorrect installation may result in over-

heating and battery case rupture.

Warning: Do not attempt to disassemble, or incinerate any bat-

tery. Keep all batteries away from children. Dispose of used

batteries promptly and as regulated by the laws in your area.

Note: Check with any retailer of household type batteries in your

area for battery disposal information.

Disposal Notice: Should this Product become damaged beyond

repair, or for some reason its useful life is considered to be at an

end, please observe all local, state, and federal regulations that

relate to the disposal of products that contain lead, batteries,

plastics, etc. If your dealer is unable to assist you, Please contact

Yamaha directly.

NAME PLATE LOCATION: The name Plate is located on the

bottom of the product. The model number, serial number, power

requirements, etc., are located on this plate. You should record

the model number, serial number, and the date of purchase in the

spaces provided below and retain this manual as a permanent

record of your purchase.

Model

Serial No.

Purchase Date

SPECIAL MESSAGE SECTION

92-BP

PLEASE KEEP THIS MANUAL

Contents

Channel Assignments .......................................................18

Playback Effects ................................................................18

■ Quantization ..............................................................18

■ Swing ........................................................................20

■ Transpose & Clock Shift...........................................21

■ Gate Time & Velocity Modify..................................22

■ The “Per Track” Display...........................................22

Song Mode —

Part 2: Basic Recording ........................... 23

Realtime Recording ..........................................................23

■ Punch-in Recording ..................................................26

■ Multi-channel Recording ..........................................28

Step Recording ..................................................................28

■ Drum Assignment & Used Memory Displays ..........33

The Song Jobs............................................. 34

00: Undo/Redo ..................................................................34

01: Quantize ......................................................................35

02: Modify Velocity ..........................................................37

03: Modify Gate Time ......................................................38

04: Crescendo ....................................................................39

05: Transpose ....................................................................40

06: Shift Note.....................................................................41

07: Shift Clock ...................................................................42

08: Chord Sort ..................................................................43

09: Copy Event ..................................................................44

10: Erase Event .................................................................45

11: Extract Event ..............................................................46

12: Thin Out ......................................................................47

13: Create Measure ..........................................................48

14: Delete Measure ...........................................................48

15: Copy Track .................................................................49

16: Mix Track ...................................................................50

17: Clear Track .................................................................50

18: Expand Backing .........................................................51

19: Init Play Effect ............................................................52

20: Normalize Effect .........................................................52

21: Copy Song ...................................................................53

22: Clear Song ...................................................................53

23: Song Name ..................................................................54

Precautions ................................................. iv

About This Manual...................................... vi

The QY300: An Overview.......................... vii

■ Sequencer Functions ................................................ vii

■ Accompaniment Sequencing ................................... vii

■ Voice & Effects ...................................................... viii

Power & Connections................................... 1

Power Supply ......................................................................1

Setting Up Your System .....................................................2

■ The Connectors ...........................................................2

■ Audio Connections .....................................................3

■ MIDI Connections ......................................................3

The Controls................................................. 5

Song Mode —

Part 1: Playback & Control........................ 8

Play the Demo Song ............................................................8

■ Loop Playback ..........................................................10

Location .............................................................................10

■ The Measure/Beat Parameter ....................................10

■ The Shuttle Dial ........................................................10

■ The Mark/Jump Function..........................................11

Tempo Control ..................................................................12

Transposition ....................................................................12

Track Muting, Effect Bypass, &

Keyboard Track Setting...................................................13

■ Track Muting ............................................................13

■ Effect Bypass ............................................................13

■ Keyboard Track ........................................................14

Voices, Assignment & Effects ..........................................14

■ Try Out the Voices....................................................14

■ The Pan Pots .............................................................15

■ The Faders.................................................................15

■ Reverb .......................................................................15

■ Coarse & Fine Tuning...............................................16

■ Pitch Bend Range......................................................17

Contents

iii

Contents

Patterns —

Part 1: Accompaniment Basics................ 55

Defining “Patterns”, “Styles”, & “Sections” ..................55

Loading the Pre-programmed Patterns From Disk ......55

Selecting & Playing Patterns ...........................................57

■ Changing Chords ......................................................59

■ Track Muting & Effect Bypass .................................62

■ Voices, Assignment & Effects ..................................62

Patterns —

Part 2: Recording Accompaniments ........ 65

Realtime Accompaniment Recording .............................65

Step Accompaniment Recording .....................................68

■ “Pat” — Step Record Pattern Changes .....................69

■ “Chd” — Step Record Chord Changes .....................71

Phrases: Creating Patterns........................... 74

The Preset Phrases ...........................................................74

Combining Phrases In the Pattern Mode .......................75

Recording Original Phrases.............................................78

■ Realtime Phrase Recording.......................................78

■ Step Phrase Recording ..............................................81

The Pattern Jobs ......................................... 86

00: Undo/Redo ..................................................................86

01: Copy Pattern ...............................................................87

02: Append Pattern ..........................................................88

03: Split Pattern ................................................................88

04: Init Play Effect ............................................................89

05: Clear Pattern ..............................................................90

06: Style Name ..................................................................90

The Phrase Jobs.......................................... 92

00: Undo/Redo ..................................................................92

01: Quantize ......................................................................93

02: Modify Velocity ..........................................................95

03: Modify Gate Time ......................................................95

04: Crescendo ....................................................................96

05: Transpose ....................................................................97

06: Shift Note.....................................................................98

07: Shift Clock ...................................................................98

08: Copy Phrase ................................................................99

09: Append Phrase .........................................................100

10: Split Phrase ...............................................................100

11: Get Phrase .................................................................101

12: Put Phrase .................................................................102

13: Clear Phrase ............................................................. 102

14: Phrase Name .............................................................103

Editing Songs & Phrases............................ 104

Engaging the Edit Mode & Moving Around ................ 104

■ Moving Around.......................................................105

Change Mode Editing.....................................................106

■ Deleting Events .......................................................107

■ Changing Tracks .....................................................107

■ Assigning a Track Name.........................................107

Insert Mode Editing .......................................................107

Editing the Tempo Track (SONG mode) .....................112

The Chain Mode ...................................... 113

■ Deleting Songs From the Chain ..............................114

■ Inserting New Songs In the Chain ..........................114

The Utility Mode...................................... 115

System Parameters .........................................................115

■ Master Tuning.........................................................115

■ MIDI Synchronization ............................................115

■ MIDI Control ..........................................................116

■ Echo Back ...............................................................116

■ Interval Time...........................................................116

Input Filters ....................................................................116

Fingered Chord Zone Assignment ................................117

Disk Operations ....................................... 119

Direct Save & Load From the Song, Pattern,

Phrase, & Chain Modes .................................................119

■ Direct Save..............................................................120

■ Direct Load .............................................................121

The Disk Mode ................................................................121

■ Save & Load ...........................................................123

■ Delete ......................................................................124

■ Rename ...................................................................124

■ Format .....................................................................125

Appendix ................................................. 126

Troubleshooting ..............................................................126

Error Messages ...............................................................127

Specifications...................................................................128

Index ................................................................................129

Precautions

!! PLEASE READ THIS BEFORE PROCEEDING !!

■Location

Do not expose the QY300 to the following condi-

tions to avoid deformation, discoloration, or

more serious damage.

• Direct sunlight (e.g. near a window).

• High temperatures (e.g. near a heat source, out-

side, or in a car during the daytime).

• Excessive humidity.

• Excessive dust.

• Strong vibration.

■Power Supply

• Turn the power switch OFF when the instrument

is not in use.

• The power supply cord should be unplugged

from the AC outlet if the instrument is not to be

used for an extended period of time.

• Unplug the instrument during electric storms.

• Avoid plugging the instrument into the same AC

outlet as appliances with high power consump-

tion, such as electric heaters or ovens. Also avoid

using multi-plug adaptors since these can result

in reduced sound quality and possibly damage.

■Turn Power OFF When

Making Connections

• To avoid damage to the instrument and other de-

vices to which it is connected (a sound system,

for example), turn the power switches of all re-

lated devices OFF prior to connecting or discon-

necting audio and MIDI cables.

■MIDI Connections

• When connecting the QY300 to MIDI equip-

ment, be sure to use high-quality cables made

especially for MIDI data transmission.

• Avoid MIDI cables longer than about 15 meters.

Longer cables can pick up electrical noise that

can causes data errors.

■Handling and Transport

• Never apply excessive force to the controls, con-

nectors or other parts of the instrument.

• Always unplug cables by gripping the plug

firmly, not by pulling on the cable.

• Disconnect all cables before moving the instru-

ment.

• Physical shocks caused by dropping, bumping, or

placing heavy objects on the instrument can re-

sult in scratches and more serious damage.

■Cleaning

• Clean the cabinet and panel with a dry soft cloth.

• A slightly damp cloth may be used to remove

stubborn grime and dirt.

• Never use cleaners such as alcohol or thinner.

• Avoid placing vinyl objects on top of the instru-

ment (vinyl can stick to and discolor the surface).

■Electrical Interference

• This instrument contains digital circuitry and

may cause interference if placed too close to ra-

dio or television receivers. If this occurs, move

the instrument further away from the affected

equipment.

Precautions

■Data Backup

• The QY300 contains a special long-life battery

that retains the contents of its internal memory

even when the power is turned OFF. The backup

battery should last for several years. When the

backup battery needs to be replaced “Battery

Low” will appear on the display when the power

is turned on. When this happens, have the backup

battery replaced by qualified Yamaha service

personnel. DO NOT ATTEMPT TO REPLACE

THE BACKUP BATTERY YOURSELF!

• Internal memory data can be corrupted due to

incorrect operation. Be sure to save important

data to floppy disk frequently so you have a

backup to revert to if something happens to dam-

age the data in memory. Also note that magnetic

fields can damage data on the disk, so it is advis-

able to make a second back-up copy of disks that

contain very important data, and keep backup

disks in a safe place away from stray magnetic

fields (i.e. away from speakers, appliances con-

taining motors, etc.).

■Handle Floppy Disks and the

Disk Drive With Care

• Use only 3.5" 2DD type floppy disks.

• Do not bend or apply pressure to the floppy disk.

Do not open the shutter and touch the surface of

the floppy disk inside.

• Do not expose the disk to high temperatures. (e.g.

direct sunlight, a car interior, etc.)

• Do not expose the disk to magnetic fields. Mag-

netic fields can partially or totally erase data on

the disk, rendering the disk unreadable.

• To eject a floppy disk, press the eject button

slowly as far as it will go then, when the disk is

fully ejected, remove it by hand.

The disk may not be ejected properly if the eject

button is pressed too quickly, or it is not pressed

in as far as it will go (the eject button may be-

come stuck in a half-pressed position and the disk

extends from the drive slot by only a few

millimeters). If this happens, do not attempt to

pull out the partially ejected disk. Using force in

this situation can damage the disk-drive mecha-

nism or the floppy disk. To remove a partially

ejected disk, try pressing the eject button once

again, or push the disk back into the slot and then

repeat the eject procedure carefully.

• Do not insert anything but floppy disks into the

disk drive. Other objects may cause damage to

the disk drive or the floppy disk.

■Service and Modification

• The QY300 contains no user serviceable parts.

Opening it or tampering with it in any way can

lead to irreparable damage and possibly electric

shock. Refer all servicing to qualified YAMAHA

personnel.

■Third-party Software

• Yamaha can not take any responsibility for soft-

ware produced for this product by third-party

manufacturers. Please direct any questions or

comments about such software to the manufac-

turer or their agents.

YAMAHA is not responsible for damage caused

by improper handling or operation.

About This Manual

The following simple icons are used throughout this manual to draw attention to important

points and information where necessary. The icons also make it easier to differentiate be-

tween information that you should read immediately and information that can be skipped

until later, hopefully helping you to become familiar with the QY300 in the quickest, most

efficient manner possible.

This icon warns of possible hardware damage, software malfunction, or

any other serious problem that may occur due to improper operation or

set up.

This icon marks information that you

must read — i.e. important steps or

procedures that are essential for proper, efficient, or easy operation.

The magnifying-glass icon indicates information that may not be essential for

general operation, but is a more detailed explanation of a feature, a description

of the principle involved, etc. You can skip this information if full details are

not required immediately.

Suggestions as to how a feature or function can be applied musically are

identified by this icon.

Hints or ideas that are not specifically musical but may make operation easier

or more interesting are marked by the light-bulb icon.

Power & Connections

Power Supply

Your QY300 comes supplied with a Yamaha PA-1207 optional AC adaptor.

Plug the DC output cable from the AC adaptor into the DC IN jack on the rear

panel, then plug the adaptor into a convenient wall AC power socket. It is also

a good idea to clip the adaptor’s DC cable into the cable clip on the QY300

rear panel to minimize the possibility of accidentally unplugging the cable

during operation.

• Do not attempt to

use an AC adaptor

other than the sup-

plied unit or an appropriate re-

placement provided by your

Yamaha dealer to power the

QY300. The use of an incom-

patible adaptor may cause ir-

reparable damage to the

QY300, and might pose a seri-

ous shock hazard!

• Be sure to unplug the AC

adaptor from the AC mains

socket when the QY300 is not

in use.

Cable Clip

Power & Connections

Setting Up Your System

What you will connect the QY300 to, and what you will connect to the QY300,

will depend entirely on your individual requirements. A few examples are

provided below to help you get started.

■ The Connectors

1 MIDI IN & OUT Connectors

If you plan to use a MIDI keyboard or other instrument to play and program

the QY300, it should be connected to QY300 MIDI IN connector (see “MIDI

Connections,” below). The MIDI OUT connector can be connected to an ex-

ternal tone generator or synthesizer if you want to drive external voices from

the QY300 sequencer.

2 L/MONO & R OUTPUT Jacks

These are the main stereo outputs from the QY300’s internal tone generator

system (see “Audio Connections,” below). Both are standard 1/4" mono phone

plugs. When a plug is inserted into only the L/MONO output, the left- and

right-channels signals are mixed and delivered via that output to allow direct

connection to mono sound systems. The output level is adjusted via the VOL-

UME control (Z page 7).

3 PHONES Jack

Any pair of stereo headphones with a 1/4" stereo phone plug can be plugged in

here for convenient monitoring. The PHONES output level is adjusted via the

VOLUME control.

4 DC IN Jack

The DC output cable from the Yamaha PA-1207 AC Power Adaptor supplied

with the QY300 is plugged in here.

Power & Connections

■ Audio Connections

The simplest way to monitor the QY300 sound is via a pair of stereo head-

phones (1/4" stereo phone plug type) plugged into the PHONES jack. If want

to use an external stereo sound system, however, use the L/MONO and R

OUTPUT jacks. Since the QY300 output jacks are 1/4" phone types, you

might have to use adaptors to connect to a sound system with different input

connectors — e.g. RCA type pin jacks. You can connect the QY300 directly to

most mixing consoles and instrument amplifiers via standard phone-plug ca-

bles (use the L/MONO output when connecting to a mono sound system).

■ MIDI Connections

Although the QY300 can be played and programmed from the built-in micro-

keyboard, an external MIDI keyboard connected to the MIDI IN connector

provides the added advantages of standard keyboard size

and key velocity

sensitivity (if your keyboard has a velocity-sensitive keyboard). Connect the

MIDI OUT connector of the keyboard to the MIDI IN connector of the QY300,

and make sure that your keyboard is set to transmit on the appropriate MIDI

channel. The QY300 MIDI channel-to-track assignments are described on page

18.

Make sure that both the

QY300 and your sound

system are turned OFF

when making connections.

MIDI Keyboard

MIDI INMIDI OUT

QY300

Power & Connections

Although it has a built-in tone generator, the QY300 can drive external tone

generators and synthesizers just like any other MIDI sequencer or music com-

puter. You can even combine the internal voices with those produced by exter-

nal equipment. Connect the QY300 MIDI OUT connector to the MIDI IN

connector of a single external device, or the first in a “chain” of devices you

want to control. The MIDI THRU connector of the first device in the chain

should then be connected to the MIDI IN connector of the second device, and

so on. It’s a good idea not to chain more than four or five external devices

without the use of a MIDI distributor or “thru box”, to prevent data delays

from having an audible effect on the sound.

Always use high-quality

MIDI cables when

connecting MIDI de-

vices, and avoid cables longer

than about 15 meters — longer

cables can pick up electrical

noise that can cause data errors.

Tone Generator

MIDI OUT

MIDI IN

QY300

MIDI THRU

Tone Generator

MIDI IN

The Controls

The QY300 has fairly simple, consistent control interface that, once understood, makes

operation fast and easy, no matter what operation you are performing. If you read through

this section carefully, and try out the procedures in the Try this: sections, you should have

no problem accessing and operating the QY300Õs many advanced features.

1 POWER Switch

Press in to turn the QY300 on, and press again to turn it

off. When the power is on one of the mode key indica-

tors will light and the SONG mode display will appear

on the LCD (Liquid Crystal Display).

2 LCD Display & CONTRAST Control

This large multi-function liquid crystal display panel

shows all parameters and prompts you need to operate

the QY300 with optimum ease and efficiency.

Use the CONTRAST control on the rear panel to

achieve the best display visibility (LCD visibility varies

greatly with viewing angle and lighting).

3 3 3

1 2

The Controls

4 Cursor and [–1/NO] and [+1/YES] Keys

This block of six keys includes four cursor keys — the

ones labeled with the triangular arrow-heads — and

two data decrement/increment keys.

The cursor keys move the “cursor” around the dis-

play screen, highlighting the various parameters that

are available for editing (the QY300 cursor appears as a

dark block with inverse characters).

The [–1/NO] and [+1/YES] keys are used to edit

(change the value of) the parameter at which the cursor

is currently located. The [–1/NO] key decrements (de-

creases stepwise) the value of the selected parameter,

while the [+1/YES] key increments (increases stepwise)

the parameter. Press either key briefly to decrement or

increment the parameter by one, or hold the key for

continuous decrementing of incrementing in the speci-

fied direction.

The [–1/NO] and [+1/YES] keys are also used to

respond to certain prompts when they appear. Press

[+1/YES] to go ahead with the operation, or [–1/NO] to

cancel.

3 Mode Keys

These six keys select the QY300’s main operating

modes:

SONG The main “sequencer” mode in which the QY300’s 16

sequencer tracks can be recorded, edited, and played

back. Pattern, chord, and tempo changes are also recorded

in this mode to create accompaniments.

PATTERN The PATTERN mode is used to create patterns by com-

bining or “patching” phrases from the PHRASE mode.

PHRASE The individual phrases that are used to create accompani-

ment patterns can be selected, played, and created in this

mode. There are 2,000 preset patterns, and memory for

100 user phrases.

CHAIN The CHAIN mode is used to specify a “chain” of songs

to be automatically played in sequence.

UTILITY The QY300’s MIDI, data filter, and ABC utility functions

are all accessed via the UTILITY mode.

DISK Although you can directly save and load data to and from

floppy disk from the SONG, PATTERN, PHRASE, and

CHAIN modes, the DISK mode provides access to a full

range of important disk and data management functions.

3 3 3

The Controls

5 Numeric Keypad & Enter Key

These keys allow direct entry of numeric values where

applicable. Enter the required value via the numeric

keys — the entered number will flash on the display —

then press the [ENTER] key to actually enter the speci-

fied value. The [ENTER] key is also used to enter

notes and other events when editing sequence data, and

to execute a specified job or disk function. The numeric

keys are also used to specify note lengths and dynamics

when step recording.

6 Data and Shuttle Dials

These concentric dials have different functions: The in-

ner “data dial” can be used for data entry in the same

situations as the [–1/NO] and [+1/YES] keys or nu-

meric keypad. Rotate the dial clockwise to increment

the select value or counter-clockwise to decrement. The

data dial is handy for quickly covering a large range of

values or searching for a specific item or value.

The outer “shuttle dial” is used to move forward or

backward in the SONG, PATTERN, or PHRASE mode

at varying speed, both during playback and when play-

back is stopped. The more you rotate the shuttle dial in

the clockwise direction the faster you will shuttle for-

ward through the song, pattern, or phrase. The same

applies to reverse shuttling in the counter-clockwise di-

rection. If you use the shuttle dial during playback you

will be able to monitor the sound while shuttling for-

ward or backward.

7 Function & [SHIFT] Keys

The function keys — [F1] through [F6] — select the

corresponding items from the menu that appears on the

display immediately above the keys. The available

functions are different in each mode.

The [SHIFT] keys are used to access several sec-

ondary or “background” functions that you might only

need in special situations. For example, the [SHIFT]

key can be used when you want to mute all tracks si-

multaneously instead of muting the tracks one at a time.

8 [EDIT] and [JOB] Keys

The [EDIT] key accesses the QY300 edit mode from

the SONG or PHRASE modes, allowing detailed event-

by-event editing of the recorded data.

The [JOB] key accesses the various “jobs” avail-

able in the SONG, PATTERN, and PHRASE modes.

The jobs include functions such as quantization, data

copying, track mixing, data modification, name entry,

and much more.

9 Sequencer Keys

The sequencer keys control recording and playback in

the SONG, PATTERN, and PHRASE modes.

REC Activates the record-ready mode in the QY300 SONG and PHRASE

modes. The red REC key indicator will light, then recording will begin as

soon as the [PLAY] key is pressed. The [REC] key can be pressed again

to cancel the record-ready mode before recording is actually started by

pressing the [PLAY] key.

PLAY Starts playback from the current point in the song or phrase if the record-

ready mode is not active, or recording from the same point if the record-

ready mode is active.

STOP Stops playback or recording.

TOP Instantly returns to the first beginning of the current song or phrase (i.e.

the first beat of the first measure).

10 Micro Keyboard

This tiny 2-octave keyboard makes it possible to program

the QY300 without having to connect an external MIDI

keyboard. It’s even polyphonic, so you can directly enter

chords as well as single notes. The only thing it lacks is

velocity sensitivity. The QY300 does, however, accept

velocity information from an external MIDI keyboard.

When programming an accompaniment the micro-

keyboard is also used to specify the chord roots and types

to be entered.

11 Octave Keys

Since the 2-octave range of the micro-keyboard is not

enough for serious music programming, the [OCT

DOWN] and [OCT UP] keys allow the pitch of the key-

board to be shifted up or down in octave steps, over a range

of 8 octaves. Each time the [OCT DOWN] key is pressed

the pitch of the keyboard is shifted down by one octave,

until the lower limit is reached. The [OCT UP] key shifts

the pitch of the keyboard up in the same way.

When recording the accompaniment chord tracks in

the step mode the octave keys perform several second-

ary functions, such as specifying “on-bass” or synco-

pated chords.

The keyboard octave is reset to the ÒnormalÓ range (E2 É F4)

when the power is turned off.

12 VOLUME Control

The VOLUME control adjusts the volume of the sound

delivered via the OUTPUT and PHONES jacks. Rotate

the control toward “MAX.” to increase the volume.

Set the VOLUME control to its minimum setting when

connecting the QY300 to a sound system for the first time,

then gradually increase the volume level until the required

listening level is reached. This simple precaution can prevent unex-

pectedly high volume levels from damaging your speaker system (and

maybe even your ears!).

Song Mode — Part 1: Playback & Control

Song Mode — Part 1:

Playback & Control

Playback in the QY300 SONG mode involves much more than simply starting and stopping

playback. You have extensive control over a number of important parameters that dramati-

cally affect the final sound. Use the demo song provided on the QY300 data disk to try out

the various features and functions described in this section.

Before you begin, be sure to select the SONG mode by pressing the [SONG] mode

button.

Play the Demo Song

The QY300 is shipped with a demonstration song and the required data already

loaded. Play the demonstration song (Song number 01) to hear an example of

what the QY300 can do, and use the demonstration song data to try out the

playback features and parameters described in this chapter.

1 Select Song Number 01

Move the cursor to the song number on the LCD and select song number 01

(use the data dial, the numeric keypad, or the [–1/NO] key to do this).

Mode indicators:

[v] = Record Ready

[m] = Stop

[©] = Play or Record

Song number

Song name

Measure number

Tempo & time signature

If for some reason the

demo song has been

erased or overwritten, it

can be re-loaded from the sup-

plied QY300 data disk. Follow

the instructions on page 56 of

this manual to load the all-data

type file “DEMO”.

NOTE Actual file names on the

data disk supplied with the

QY300 may be different from

those given in the manual.

Note that the name of

the selected song

appears to the right of

the song number, and tracks

which contain data are indicated

by solid blocks below the track

numbers (these are actually mute

buttons, described below).

Song Mode — Part 1: Playback & Control

2 Play the Demo Song

Press the [©] key to start playback. The demo will automatically stop when it

finishes, or you can press the [

m] key to stop playback at any time.

■ Loop Playback

For continuous “loop” playback — i.e. playback of the song will repeat until

stopped by pressing the [

m] key — hold the [SHIFT] key while pressing the

[

©] key. The loop playback symbol ( ) will appear to the right of the song

name.

Song Mode — Part 1: Playback & Control

Location

The QY300 lets you locate any measure within a song quickly and easily in

three ways:

■ The Measure/Beat Parameter

The large number to the left of the colon in this parameter is the measure

number and the small number to the right of the shows the number of the

current quarter-note beat within the current measure during playback and re-

cording. To go directly to any measure within a song, place the cursor at the

measure number and use the [–1/NO] and [+1/YES] keys, the data dial, or the

numeric keypad to enter the number of the measure you want to go to. Re-

member to press [ENTER] after entering a measure number via the numeric

keypad. The beat number will always be reset to “1” when you locate a

measure.

■ The Shuttle Dial

The outer ring of the QY300 data dial is a “shuttle” dial that lets you move

forward or backward through the current song at varying speed, both during

playback and when playback is stopped. The more you rotate the shuttle dial in

the clockwise direction the faster you will shuttle forward through the song.

The same applies to reverse shuttling in the counter-clockwise direction. If you

use the shuttle dial during playback you will be able to monitor the sound of

the song while shuttling forward or backward. No monitor sound is available if

the shuttle dial is used when playback is stopped.

Measure number

Beat number

Song Mode — Part 1: Playback & Control

■ The Mark/Jump Function

The mark/jump function lets you “mark” (memorize) up to 10 locations within

the current song and “jump” to any one of the marked locations in one easy

step.

Marking a Location

To mark the current location, press the [F4] function key (“Mark”). This calls

the Mark/Jump display.

When the Mark/Jump display appears, make sure the cursor is located at a

clear number (“2” in the example display above) and press [ENTER]. This

records the current measure/beat location in the specified Mark/Jump number,

and returns you to the SONG mode.

Jumping to a Marked Location

To jump to a marked location, press the [F6] key (“Mark”) from any other

location, move the cursor to the appropriate Mark/Jump number (or enter the

Mark/Jump number via the numeric keypad), and press [ENTER]. You will

immediately be returned to the SONG mode at the specified location.

Clearing a Marked Location

To clear a marked location go to the Mark/Jump display, move the cursor to

the Mark/Jump number you want to clear,and press the [F1] function key

(“Clear”).

Song Mode — Part 1: Playback & Control

Tempo Control

The QY300 allows precise tempo settings from 25 to 300 beats per minute in

fine one-tenth of a quarter-note increments.

The number to the left of the period in the tempo parameter is the number of

quarter-note beats per minute, an the number to the right of the period repre-

sents tenths of a quarter note. The cursor can be independently placed at the

ones or tenths section of the tempo parameter to set as required.

Transposition

The pitch of song playback can be transposed up or down by as much as an

octave in semitone increments.

To transpose playback pitch place the cursor at the transpose parameter (“Trs”

on the LCD) and set as required. Each increment corresponds to one semitone,

and the maximum range is from –12 (down one octave) to +12 (up one

octave).

Tenths of a beat per minute

Tempo in beats per minute (25 … 300)

Please note that the

transpose parameter

does not affect the re-

corded sequence data, only the

pitch of playback.

Song Mode — Part 1: Playback & Control

Track Muting, Effect Bypass, & Keyboard Track Settings

The mute “buttons” below each track number on the SONG mode display can

be used to mute (turn off) the corresponding track, or bypass the internal

effects for that track.

■ Track Muting

Move cursor to the appropriate mute button, then press [+1/YES] to mute that

track (you may have to press [+1/YES] twice if the track is effect-bypassed —

see below), or press [–1/NO] to turn a muted track back on. The letter “M”

appears in the mute buttons of tracks that are muted. Tracks that do not contain

data cannot be muted, and their mute buttons appear as white blocks with a

dotted outline rather than solid dark blocks. In the display below, for example,

tracks 1 through 4 are muted, tracks 5 through 10 and the tempo track (“Tmp”

on the display) contain data and are on, while the rest contain no data. The

cursor is currently located at the track 4 mute button.

Simultaneous Track Mute/Un-mute

You can mute or un-mute all tracks simultaneously by placing the cursor at

any mute button and pressing the [+1/YES] or [–1/NO] key while holding the

[SHIFT] key — [+1/YES] to mute, or [–1/NO] to un-mute.

■ Effect Bypass

To bypass the internal effects for a track (see next section), move the cursor to

the mute button for that track and, from the un-muted state, press the [–1/NO]

button. A “–” (minus) symbol appears in the mute buttons aill appear in the

mute button. All tracks can be set to effect-bypass or normal simultaneously in

the same as described above: hold one of the [SHIFT] keys while pressing the

[–1/NO] button to bypasss all tracks, or the [+1/YES] key to return all tracks

to the normal non-bypassed state.

The “Chd” (chord) and

“Tmp” (tempo) tracks

cannot be muted or ef-

fect-bypassed.

The mute buttons are a

handy way to simply

turn tracks that you

don’t want to hear off. When re-

cording, they also make it easy

to mute a “busy” track or several

tracks that might make it difficult

to hear an important track.

This function can be

very handy when you

want to “solo” monitor

a track: first mute all tracks, then

turn on only the track you want

to hear.

Song Mode — Part 1: Playback & Control

■ Keyboard Track

When the cursor is located at a specific track number/mute button (the track

number is inverted), that track becomes the QY300 “keyboard track” — i.e.

the track played by the micro-keyboard. The keyboard track setting is main-

tained even if the cursor is moved to other parameters on the display. The

current keyboard track setting determines which internal tone generator chan-

nel will be played by the micro-keyboard, and via which MIDI channel the

note data corrresponding to what is played on the micro-keyboard will be

output — according to the channel assignments made in the Output Select

display (Z page 18).

Voices, Assignment & Effects

The QY300 has 128 voices and 8 drum kits that can be selected, played, and

assigned to the 16 SONG mode sequencer tracks via the voice display. The

voice mode also features a graphic on-screen “mixer” that has pan pots and

faders for each tone-generator channel as well as reverb, tuning, and pitch

bend range controls (tone generator channel to sequencer track assignments are

described in the “Channel Assignments” section, Z page 18).

Press the [F3] function key (“Voice”) to select the voice mode and then, if

necessary, press [F1] (“Mixer”) to select the mixer display.

■ Try Out the Voices

Move the cursor to the channel-1 voice parameter immediately below “1” on

the display (as in the display shown above). Note that the name of the voice

currently assigned to channel 1 appears in the upper right corner of the display,

while an abbreviation indication the voice category appears at the voice

parameter location (the voices and their category abbreviations are listed on

page 2 of the separate “VOICE LISTS AND MIDI DATA” booklet). Play the

micro keyboard and you’ll hear that voice. Use any of the QY300’s data entry

methods to select and try out the various voices.

• Press the [F6] function

key (“Exit”) from any

of the voice-mode

displays to return to the normal

SONG mode display.

• The master (“M”) fader also af-

fects the pattern tracks —

page 65.

Track 1 becomes the

keyboard track when

the cursor is located at

the “Pat”, “Chd”, or “Tmp”

track.

• In any QY300 mode, the

micro keyboard plays

the voice assigned to the

currently selected track. A MIDI key-

board connected to the MIDI IN con-

nector, however, will only play the

voice assigned to the track that is set

to receive on the MIDI channel that

the external keyboard is transmitting

on. MIDI track assignments are dis-

cussed on page 18.

• To conform to General MIDI proto-

col, only the drum voices can be

assigned to track 10.

• See the “VOICE LISTS AND MIDI

DATA” booklet (Z page 3) for a

complete list of note assignments

(i.e. which drum instruments are as-

signed to which notes) for all 8

drum kits.

If you’re playing the micro

keyboard, use the octave

keys to access the full range

of instruments in each drum kit.

Song Mode — Part 1: Playback & Control

■ The Pan Pots

Like the pan pots on a mixing console, the voice display pan pots can be used

to position the sound of the corresponding track anywhere from left to right in

the stereo sound field. Position the cursor at the pan pot, then use any data

entry method to set the pan position. The graphic pan pot will rotate to the

corresponding position. The pan positions also have numeric values (1 through

7) that appear in the upper right corner of the display: “Left 7” is full left and

“Right 7” is full right (see “DETAIL”, below). Hold the [SHIFT] key while

setting a pan pot to change the settings of all pan pots by the same amount.

■ The Faders

Each track has a graphic “fader” that can be set to produce the best “mix”

(balance) between the various voices. Position the cursor at a fader, then use

any data entry method to set the fader level. The graphic fader will move to the

corresponding position (higher for higher volume, and lower for lower vol-

ume). The fader positions also have numeric values (000 through 127) that

appear in the upper right corner of the display: “000” is minimum volume (no

sound) and “127” is maximum volume. The default setting is “100” for all

tracks. Hold the [SHIFT] key while setting a fader to change the settings of all

faders by the same amount. The leftmost fader is a “master” fader which can

be used to adjust the overall volume level (including the pattern track).

■ Reverb

The QY300 features an internal digital signal processor which can be used to

apply high-quality reverb and similar effects to the sequencer-track voices. In

the voice mode press the [F2] function key (“Reverb”) to see the reverb

controls.

The pan pots actually

cover a ±7 range relative

to their default positions,

so they may not always go from

full left to full right.

You can switch back

and forth between the

SONG and VOICE

modes even while a song is

playing, so you can adjust all

VOICE mode parameters

(change voices, mute tracks,

pan, and change volume set-

tings) while listening to the re-

sults in real time!

The voice parameters in

this display can be used

to change voice assign-

ments in the same way as in the

Mixer display.

Song Mode — Part 1: Playback & Control

The effect type parameter on the left side of the display selects the type of

effect to be applied to the QY300 sound. 8 effect types are available, as listed

in the chart below.

Hall 1 This effect simulates the natural reverberation of a fairly large concert

hall.

Hall 2 An even larger hall than the Hall 1 program, with a correspondingly

longer reverb time.

Room 1 This setting is ideal when you want a warm reverb effect but not as

“expansive” as the Hall 1 and Hall 2 effects. Simulates the type of reverb

you might experience in a medium-size room or club.

Room 2 A slightly tighter reverb than the Room 1 effect, giving the impression of

a smaller room.

Plate 1 A short, tight reverb sound similar to effect produced by studio plate

reverb units.

Plate 2 Another plate delay simulation, with a well-defined initial delay “slap”.

Delay 1 A stereo multi-delay effect with well-defined repeats.

Delay 2 In this effect a very dense series of delays is more like the early-reflec-

tions portion of a reverb effect than individual repeats.

The faders set the reverb level for the corresponding tracks. Position the cursor

at a fader, then use any data entry method to set the reverb level. The graphic

fader will move to the corresponding position (higher for higher reverb level,

and lower for lower reverb level). The fader positions also have numeric

values (00 through 08) that appear in the upper right corner of the display:

“00” is no reverb and “08” is maximum reverb level. Hold the [SHIFT] key

while setting a fader to change the settings of all faders by the same amount.

■ Coarse & Fine Tuning

The voice mode includes two displays that allow individual tuning of the

sequencer tracks. Press the [F3] function key (“CosTun”) to access the coarse

tuning controls or the [F4] function key (“FinTun”) to access the fine tuning

controls.

A fast way to select the

effect type parameter

when the cursor is lo-

cated at any fader is to move the

cursor down past the fader.

The reverb settings apply

only to the QY300’s

internal voices — i.e.

they will not affect the sound of

an external tone generator or syn-

thesizer being driven by the

QY300.

Song Mode — Part 1: Playback & Control

The faders in the coarse tuning display individually tune the corresponding

tracks over 4-octave range (±2 octaves) in semitone increments, while those in

the fine tuning display tune the corresponding tracks over approximately a

whole tone (±1 semitone) in one-cent increments (100 cents = 1 semitone)

Position the cursor at a fader, then use any data entry method to set the coarse

or fine tuning as required. The graphic fader will move to the corresponding

position (above center when tuning up and below center when tuning down).

The fader positions also have numeric values that appear in the upper right

corner of the display: in the coarse tuning display the range is from “–24”

(down two octaves) through “00” (standard pitch) to “+24” (up two octaves).

In the fine tuning display the range is from “–100” (down a semitone through

“00” (standard pitch) to “+99” (up a semitone). Hold the [SHIFT] key while

setting a fader to change the settings of all faders by the same amount.

■ Pitch Bend Range

The pitch bend range display makes it possible to individually set the pitch

bend range of the sequencer tracks — a valuable feature when programming

the QY300 from an external keyboard or other controller which has a pitch

bend wheel.

In the voice mode press the [F5] function key (“PbRang”) to access the

pitch bend range controls.

• The voice parameters

in this display can be

used to change voice

assignments in the same way as

in the Mixer display.

• Since track 10 is only used for

drums and drums are not

pitched voices, no pitch bend

range fader is provided for the

drum track.

• The voice parameters

in these displays can

be used to change

voice assignments in the same

way as in the Mixer display.

• Since track 10 is only used for

drums and drums are not

pitched voices, no tuning

fader is provided for the drum

track in either the coarse or

fine tuning displays.

The tuning settings apply

only to the QY300’s

internal voices — i.e.

they will not affect the sound of

an external tone generator or syn-

thesizer being driven by the

QY300.

Song Mode — Part 1: Playback & Control

The faders set the maximum pitch bend range for the corresponding tracks

over a 2-octave range in semitone increments. Position the cursor at a fader,

then use any data entry method to set the pitch bend range. The graphic fader

will move to the corresponding position (higher for greater pitch bend range).

The fader positions also have numeric values (00 through 24) that appear in

the upper right corner of the display: “00” allows no pitch bend while “24”

allows the maximum pitch bend range of 2 octaves. Hold the [SHIFT] key

while setting a fader to change the settings of all faders by the same amount.

Channel Assignments

The Output Select display, accessed by pressing the [F2] function key (“Out-

put”) from the main SONG mode display, determines the QY300’s track-to-

channel assignments.

The “MIDI CH” settings determine which MIDI channels are assigned to the

corresponding tracks for both reception and transmission.

The “TG CH” settings determine which internal tone generator channel

(this is unrelated to the MIDI channel) will be controlled by the corresponding

sequencer track. This type of setting is provided because in some cases it may

be necessary to control a single channel of the internal tone generator from two

or more sequencer tracks.

Playback Effects

The QY300 provides a number of “playback effects” which allow the playback

data to be modified in a number of ways. The data is actually modified “on the

fly” during playback — the data in memory is not affected.

■ Quantization

Quantization aligns notes in the specified track to the nearest specified beat —

usually to tighten up sloppy timing. Use it judiciously, however, because tim-

ing that is too perfect can sound cold and mechanical — unless, of course,

you’re specifically aiming for a cold, mechanical feel.

After selecting the playback effect mode from the main SONG display by

pressing the [F1] function key (“Effect”), press the [F2] function key

(“Quant”) to select the quantization display.

The pitch bend range

settings apply only to

the QY300’s internal

voices — i.e. they will not affect

the sound of an external tone

generator or synthesizer being

driven by the QY300.

Song Mode — Part 1: Playback & Control

The “Val” (value) parameters for each track (the rotary controls) determine to

what beats the note data in the corresponding track will be aligned. If you

select “d”, for example, all notes in the track will be aligned to the nearest

16th-note beat, to a degree determined by the “strength” parameter. Hold the

[SHIFT] key while setting a value parameter to change all value parameters

by the same amount.

Value Effect

Off No quantization. Swing settings also ignored.

Aligns to the nearest 32nd note.

Aligns to the nearest 16th note triplet.

Aligns to the nearest 16th note.

Aligns to the nearest 8th note triplet.

Aligns to the nearest 8th note.

Aligns to the nearest quarter note triplet.

Aligns to the nearest quarter note.

Aligns to the nearest 16th note + 16th note triplet.

Aligns to the nearest 8th note + 8th note triplet.

The “Str” (strength) parameter determines how “strongly” the notes are at-

tracted to the specified quantize value. The strength range is from 0% to 100%.

At a setting of “0%” no quantization will occur, while a setting of “100%” will

cause all notes to be aligned precisely to the nearest specified beat value. In-

between settings produce a corresponding shift in the position of all off-beat

notes to the nearest specified beat value. With a value setting of “d” and a

strength setting of 50%, for example, a note that does not fall precisely on an

8th-note beat will be shifted about halfway to nearest 8th-note beat.

The faders set the strength value for the corresponding tracks. Position the

cursor at a fader, then use any data entry method to set the strength as required.

The graphic fader will move to the corresponding position. The specified

strength setting will appear in the upper right corner of the display. Hold the

[SHIFT] key while setting a fader to change the settings of all faders by the

same amount.

Song Mode — Part 1: Playback & Control

■ Swing

The Swing effect can only be used when playback quantization (above) is

active. This effect produces a “swing” feel by shifting the timing of “back

beats”, as specified by the quantize effect. For example, if the specified

quantization value is 8th notes, then the swing effect will shift the 2nd, 4th,

6th, and 8th beats of each measure forward to create a swing feel. If the

quantize value is set to a triplet note length, the last note in each triplet group

will be shifted. If the quantize value is set to a compound note length (e.g. 8th

note + 8th note triplet), then the even-numbered back beats will be shifted.

The “Rat” (swing rate) parameter determines how much the timing of the

affected notes will be shifted. The range is from 50% (no swing) to 75%

(maximum swing) for even note lengths, from 66% to 83% for triplet note

lengths, and from 50% to 66% for even-plus-triplet note lengths (e.g. 8th note

+ 8th note triplet). The faders set the amount of swing for the corresponding

tracks. Position the cursor at a fader, then use any data entry method to set the

swing rate as required. The graphic fader will move to the corresponding

position. The current swing setting will appear in the upper right corner of the

display. Hold the [SHIFT] key while setting a fader to change the settings of

all faders by the same amount.

The “Vlc” (velocity) and “Gat” (gate time) parameters increases or de-

creases the velocity and gate times (length) of all notes affected by the swing

effect. The range of both parameters is from 1% to 200%. The “Vlc” param-

eter sets the ratio between the lower and higher velocity values. A setting of

“100%” maintains the original relationship between the notes, lower values

produce a narrower dynamic range, and higher values produce a broader dy-

namic range. The “Gat” parameter sets the ratio between the shorter and

longer gate time values. A setting of “100%” maintains the original relation-

ship between the notes, lower values produce a narrower gate time range, and

higher values produce a broader gate time range.

Song Mode — Part 1: Playback & Control

Since the Clock Shift

parameters shift the

timing of all notes and

other events in the specified track

forward or backward, they can sig-

nificantly alter the “feel” of the

song. You could move the notes

forward (“+” settings) to create a

more “laid back” feel, or back-

ward (“–” settings) to produce a

more “driving” feel. Of course,

you can also use Clock Shift to

correct timing that is off in the first

place.

■ Transpose & Clock Shift

The “Trans” controls in this display transpose all notes in the corresponding

tracks up or down in semitone increments. The “Shift” faders move all notes

and events in the corresponding tracks forward or backward by the specified

number of clocks (96 clocks per 1/4 note).

The rotary “Trans” controls set the amount of transposition for the correspond-

ing tracks. The transpose range is from “–99” (full left) through “+00” (center

position) to “+99” (full right), with each increment corresponding to a semi-

tone. The current numeric transpose setting for the selected track appears in

the upper right-hand corner of the display.

The faders set the amount of clock shift for the corresponding tracks. Posi-

tion the cursor at a fader, then use any data entry method to set the clock shift as

required. The graphic fader will move to the corresponding position — above

center for positive clock shift and below center for negative clock shift. The

current clock shift setting will appear in the upper right corner of the display —

the numeric range is from “–999” through “0” to “+999”. Hold the [SHIFT] key

while setting a fader to change the settings of all faders by the same amount.

Song Mode — Part 1: Playback & Control

■ Gate Time & Velocity Modify

The parameters in this screen make it easy to increases or decreases the gate

times (length) and velocity of all notes in the specified track.

The “G.Rat” (gate rate) parameter sets the ratio between the shorter and

longer gate time values. A setting of “100%” maintains the original relation-

ship between the notes, lower values produce a narrower gate time range

(minimum 1%), and higher values produce a broader gate time range (maxi-

mum 200%).

The “V.Rat” (velocity rate) parameter sets the ratio between the lower and

higher velocity values. A setting of “100%” maintains the original relationship

between the notes, lower values produce a narrower dynamic range (minimum

1%), and higher values produce a broader dynamic range (maximum 200%).

The “V.Ofs” (velocity offset) parameters determines the amount of veloc-

ity change. “–” settings reduce the velocity while “+” settings increase the

velocity. The range is from “–99” through “00” to “+99”.

■ The “Per Track” Display

In addition to the playback effect displays described above the QY300 pro-

vides a “per track” display which shows all parameters for all effects for one

track at a time. Only the sound of the selected track will be monitored when

this display is selected. Press the [F1] function key (“perTR”) to select the per

track display.

The individual effects and parameters are exactly the same as those described

above. To select a track, move the cursor to the track number bar at the top of

the display, then move the cursor sideways to select the track you want to

program.

• The gate time can be

modified to give the

entire track a more

staccato or legato feel, as re-

quired.

• Modifying the velocity is a

great way to “soften” the

sound of a track that has too

great a variation between the

softest and loudest notes, or,

conversely, to add extra

punch to a dull-sounding

track. Experiment with the pa-

rameters to get a feel for what

they do.

Song Mode — Part 2: Basic Recording

Song Mode — Part 2:

Basic Recording

The QY300 SONG mode provides two main record modes for the 16 sequencer tracks:

realtime and step record. When you use the realtime record mode the QY300 records exactly

what you play as you play it. In the step record mode notes can be entered one at a time.

There’s also a “multi” real-time record mode in which all 16 sequencer tracks can be

recorded simultaneously, and a punch-in real-time record mode in which you can re-record

any specified section of an already-recorded track. The step record mode lets you record

extremely fast or complex passages that would be difficult or impossible to play in real time.

It’s also useful for adding finishing touches to tracks originally recorded in real time.

Realtime Recording

In the realtime record mode you select the track you want to record , and then

play the part on the micro-keyboard or an external MIDI keyboard in real time.

1 Select a Song

Place the cursor at the song number and use any data entry method to select

the song number you want to record (01 … 10). If the song doesn’t contain any

data yet, a row of asterisks will appear to the right of the song number

(********).

2 Make the Required Voice Assignment(s)

Go to the voice mode ([F3] key) and assign the voice(s) you want to use to the

track(s) you intend to record, as described on page 14.

Press the [F6] key (“Exit”) to return to the SONG mode when done.

Asterisks indicate song contains no data.

Song number

If for some reason all 10

songs contain data and

you want to start re-

cording with an empty song, use

the “Clear Song” job described

on page 53 to clear a song for

recording. If you want to save

the existing song data to floppy

disk before clearing, see “Disk

Operations” page 119.

Song Mode — Part 2: Basic Recording

3 Select the Track to Record

Move the cursor to the track area of the display, and then shift the cursor

sideways to select the track you want to record (01 … 16). Move the cursor

vertically to move to other areas of the screen — the selected track will remain

highlighted.

4 Engage the Record Ready Mode

Press the [v] key to engage the record ready mode. The red LED above the

[

v] key will light.

5 Select the Realtime Record Mode

Press the [F4] function key (“REAL”) to select the realtime record mode.

6 Select the Record Tempo and Time Signature

Move the cursor to the tempo and time signature parameters and set as re-

quired. The time signature

cannot be changed if the song already contains data.

Track 1 selected.

Tempo: 25.0 … 300.0

Time signature: 1/16 … 16/16, 1/8 … 16/8, 1/4 … 8/4

It’s sometimes easier to

set a slow tempo for

realtime recording, so

you have plenty of time to enter

the data.

Song Mode — Part 2: Basic Recording

7 Record

Press the [©] key to begin recording. The metronome will sound and you’ll be

given a two-measure count-in prior to the first measure actually recorded. The

count-in is also indicated by negative numbers in the “Meas” parameter. If a

4/4 time signature is selected, for example, the count-in will run from measure

“–08” to “–01”, then recording will begin from measure “001”.

Play the required part either on the micro-keyboard or via an external MIDI

keyboard.

8 Stop Recording

Press the [m] key to stop recording. The normal SONG play mode is automati-

cally re-selected when you stop recording, and you’ll automatically be re-

turned to the top (first measure) of the song.

9 Record Other Tracks As Required

Repeat steps 2 through 8 to record other sequencer tracks, as required.

Negative numbers for two-measure count-in.

The “Click” parameter determines whether the metronome sounds during recording,

playback and recording, or at all times.

The metronome can also be turned off. See “Click (Metronome) Settings” on page 26.

QY300 realtime recording

is “replace” recording,

meaning that any previous

data in the a track will be erased

and replaced when new data is re-

corded to that track. This is in con-

trast to “overdub” recording in

which new data is recorded over the

existing data and the existing data

remains intact. In the QY300 step

recording, described later, allows

new material to be added to a track

without erasing the previous data.

You can also use the “Mix Track”

job (page 50) to mix data from two

tracks and place the result on a sin-

gle track.

Asterisks have disappeared, indicating that the song now

contains data. Use the “Song Name” job (page 54) to

give the song an original name.

Solid mute button indicates that track 1 contains data.

See the “Editing Songs &

Phrases” section, page

104, for information on

how to edit recorded song data.

Song Mode — Part 2: Basic Recording

Click (Metronome) Settings

The click mode parameter in the SONG display determines whether the metro-

nome sounds only during recording, during both recording and playback, at all

times, or not at all. Move the cursor to this parameter and set as required using

the data dial or [–1/NO] and [+1/YES] keys.

Off Metronome off.

Rec Metronome sounds during realtime recording only.

Ply Metronome sounds during realtime recording and playback.

All Metronome sounds at all times.

The click beat parameter determines on what beat the metronome will sound

(the [PLAY] key indicator will also flash on the specified beat). Move the

cursor to this parameter and set as required using the data dial or [–1/NO] and

[+1/YES] keys.



The metronone sounds on every sixteenth note.



The metronone sounds on every eighth note.



The metronone sounds on every quarter note.



The metronone sounds on every half-note.

 The metronone sounds on every whole note beat.

■ Punch-in Recording

Punch-in recording is a special type of realtime recording in which you specify

a range of measures you want to record, leaving all other material on the track

intact. This is particularly useful for re-recording a short segment of an other-

wise perfect track — so you don’t have to re-record the entire track.

The “Click” (metronome) parameter

The Click beat parameter

Song Mode — Part 2: Basic Recording

1 Select the Punch-in Record Mode

For punch-in recording you must first select the punch-in mode after engaging

the record ready mode (step 4 of the realtime record process, described above).

Press the [F6] function key (“PUNCH”) to select the punch-in record mode.

2 Specify the Punch-in & Punch-out Points

Specify the “punch-in” and “punch-out” points, the punch-in point being the

measure and beat at which recording will begin, and the punch-out point being

the measure and beat at which recording will end.

Move the cursor to the punch-in and punch-out measure and beat parameters

and set as required. Then, before actually starting recording, set the measure

parameter a few measures before the punch-in point so you’ll be ready to

record when the punch-in point is reached.

3 Start the Punch-in Record Operation

Start the punch-in operation by pressing the [©] key (there is no count-in

when punch-in recording is started). Recording will begin automatically at the

specified punch-in point.

4 Stop the Punch-in Record Operation

Recording will stop, but playback will continue, when the punch-out point is

reached. Press the [

m] key to stop playback.

In the example display above, playback will begin at the first measure,

recording will begin on the first beat of the third measure and then stop on the

fourth beat of the fifth measure.

Punch-out measure & beat

Punch-in measure & beat

Song Mode — Part 2: Basic Recording

■ Multi-channel Recording

The “Multi” recording mode allows simultaneous realtime (or punch-in) re-

cording of all 16 sequencer tracks. This can be useful when you want to record

complete sequences from another sequencer or music computer which is not

data-compatible with the QY300.

Select the multi mode by pressing the [F1] function key (“MULTI”) after selecting

either the realtime or punch-in record mode (step 5 of the realtime record process,

described above). The record procedure is exactly the same as that described for

realtime or punch-in recording, except that all 16 sequencer tracks are recorded

simultaneously (assuming, of course, that appropriate MIDI data is received on the

corresponding MIDI channels — see “Channel Assignments” on page 18).

Step Recording

The step record mode lets you enter data note-by-note, with precise control

over the timing, length, and loudness of each note. You can record complete

tracks using the step mode, or use it to brush-up and add data to existing tracks.

1 Select a Song

Place the cursor at the song number and use any data entry method to select

the song number you want to record (01 … 10). If the song doesn’t contain any

data yet, a row of asterisks will appear to the right of the song number

(********).

2 Make the Required Voice Assignment(s)

Go to the voice mode ([F3] key) and assign the voice(s) you want to use to the

track(s) you intend to record, as described on page 14.

Asterisks indicate song contains no data.

Song Mode — Part 2: Basic Recording

Press the [F6] key (“Exit”) to return to the SONG mode when done.

3 Select the Track to Record

Move the cursor to the track area of the display, and then shift the cursor

sideways to select the track you want to record: 1 … 16. Move the cursor

vertically to move to other areas of the screen. The selected track will remain

highlighted.

4 Engage the Record Ready Mode

Press the [v] key to engage the record ready mode. The red LED above the

[

v] key will light.

5 Select the Step Record Mode

Press the [F5] function key (“STEP”) to select the step record mode.

Track 1 selected.

Song Mode — Part 2: Basic Recording

6 Set the Time Signature (new songs only)

Move the cursor to the time signature parameter and set as required. The time

signature

cannot be changed if the song already contains data.

7 Record

Press the [©] key to begin recording. The step record display shown below

will appear.

8 Set the Note Parameters as Required

Move the cursor to the note length, velocity, and gate time parameters and set

as required.

When the cusor is located at the note length parameter the numeric keypad

can be used to enter the note lengths marked on the keys. The dot key (the [0]

key) can be used to add one or more dots to the currently selected note length.

In-between values can be entered using the [–1/NO] and [+1/YES] keys or the

data dial, or by using the numeric keypad while holding a [SHIFT] key.

When the cursor is located at the velocity parameter, the numeric keypad

can be used to directly enter the dynamic values marked on the keys (pp, mf,

etc.). In-between values can be entered using the [–1/NO] and [+1/YES] keys

or the data dial, or by using the numeric keypad while holding a [SHIFT] key.

Measure/beat/clock display

Time signature

Gate time: Stac, Norm, Slur

Current note pointer

Note-entry display

Keyboard display

Time signature: 1/16 … 16/16, 1/8 … 16/8, 1/4 … 8/4

Velocity: 000 … 127, ext.

Graphic symbols for: , , , , , , ﬀ,

Song Mode — Part 2: Basic Recording

9 Enter a Note

Once the note parameters have been specified, the note can be entered simply

by playing the appropriate key on the micro-keyboard (or on your external

MIDI keyboard). A note symbol appears on the note display an the note

pointer advances to the next note position. The note symbol always appears as

a 1/4-note, regardless of the actual note entered (chords are also indicated by

the 1/4-note symbol). Here’s how the display will look after two 8th notes

have been entered.

Chords can be entered simply by moving the note pointer back to a note and

entering another note at the same location (this can be repeated as many times

as necessary. See “Moving Around In the Note Display”, below.

The Note & Keyboard Displays

The note display shows up to four 1/4-notes worth of data at once (that’s one

measure in 4/4 time). If the selected time signature results in more than four

1/4 notes per measure, then the display will scroll to show the extra notes.

The keyboard display shows the pitch(es) of the note(s) at the current note

pointer position. In the example below the keyboard displays that a chord (C

major) consisting of three notes exists at the current note pointer location.

Note pointer

Each dash represents a 32nd note (12 clocks)

1st beat

2nd beat 3rd beat

4th beat

Song Mode — Part 2: Basic Recording

Cursor moved to note pointer

(the note pointer appears filled).

Moving Around In the Note Display

You can move the cursor down to the note display (the note pointer will appear

filled) and move the note pointer to any position at which you want to enter a

note, or to any note that you want to delete. You will actually hear the appro-

priate note or chord when the note pointer is moved to an existing note sym-

bol. When you move the note pointer past the end of the note display, the next

measure will appear. If you move past the last measure in the phrase, the first

measure of the phrase will appear.

The Step Mode Function Keys

The six function keys immediately below the display provide access to a

number of handy functions in the step record mode.

[F1] – “Rest” Enters a rest of the currently selected note length at the note pointer position.

[F2] – “Tie” Lengthens the previously entered note by “tying” another note of the same

length and pitch to it. An alternative method is simply to change the length

of the note as required via the note length keys on the numeric keypad.

[F3] – “Delete” Deletes the note or chord at the note pointer.

[F4] – “BkDelt” Moves the note pointer backward by the currently selected note length and

deletes the corresponding note or chord.

[F5] – “LoKey” Displays the lowest range of the keyboard (scrolls the keyboard display two

octaves to the right). Press again to return to the normal “centered” display.

[F6] – “HiKey” Displays the highest range of the keyboard (scrolls the keyboard display two

octaves to the left). Press again to return to the normal “centered” display.

The Measure/Beat/Clock Display

The “Meas” area of the step record display shows the current position of the

note pointer in measures, 1/4-note beats, and clocks (there are 96 clocks per

1/4 note). If you’re not sure what measure you’re seeing on the note display

while recording, check the measure/beat/clock display.

1-1-00

Beat: 1 … 4 if 4/4 time

Measure number

Clock: 96 clocks per 1/4-note

Song Mode — Part 2: Basic Recording

; Complete the Track

Repeat steps 8 and 9 until the current track is complete, then press [m] to stop

recording.

■ Drum Assignment & Used Memory Displays

The QY300 provides “Drum Assignment” and “Used Memory” displays which

can provide valuable information when recording.

Press the left [OCT DOWN] and [OCT UP] keys simultaneously to see

the current pitch of the micro-keyboard (as determined by the [OCT DOWN]

and [OCT UP] keys) and a list of the drum instruments currently played by the

micro-keyboard keys.

Press the right [OCT DOWN] and [OCT UP] keys simultaneously to see how

much of the available QY300 memory is currently used. When the bar ap-

proaches 100% it is advisable to save data you want to keep to floppy disk, and

clear song data that you don’t need at the moment to make as much room as

possible for the current recording operation.

Drum instruments played by the corresponding

micro-keyboard white keys.

The current pitch of the

lowest key on the micro-keyboard

Drum instruments played by the corresponding

micro-keyboard black keys.

Micro-keyboard keys

See the “Editing Songs

& Phrases” section,

page 104, for informa-

tion on how to edit recorded

song data.

The Song Jobs

The song mode includes 24 song “jobs” that perform a variety of important functions. To access

and use the song jobs, press the [JOB] key while in the SONG play mode. This calls the song

job list. You can select any job on the list simply by moving the cursor to the required job (use

the cursor keys or the data dial) and pressing [ENTER]. You can also move up or down the list

in 1-page steps by using the cursor [

] and [▼] keys while holding one of the [SHIFT] keys.

An alternative method is to enter the job’s number via the numeric keypad and press [ENTER].

Returning to the SONG Mode

The [F6] function key (“Exit”) can be used to exit from any song job, and then

from the job list thereby returning you to the normal song play mode. You can

also press the [F6] function key (“Exit”) while holding one of the [SHIFT]

keys to directly return to the SONG mode.

00: Undo/Redo

This job will “undo” any other song job, edit, or record function if it is

executed before any other operation is performed. In all cases the affected data

is restored to the state it was in before performing the job, edit, or record

operation. This job will also undo the last undo operation (redo).

The name of the last operation performed will appear on the display (i.e. the

operation which will be “undone”). In the example display, above, a quantize

opersation will be undone.

Press [ENTER] to execute the Undo/Redo job. The metronome icon will

appear on the display while the data is being processed, then “Completed” will

appear briefly when the job is done. Press the [F6] key (“Exit”) to return to the

job list, or a mode key to go directly to the selected mode.

The last operation

performed is “forgotten”

by the UNDO job

whenever the SONG or PHRASE

step record mode is engaged,

even if the step record mode is

exited without actually recording

any data.

The Song Jobs

01: Quantize

Aligns notes in the specified track to or close to the nearest specified beat.

The “TR” parameter selects the track to be affected by the Quantize job: “01”

… “16” for individual tracks, or “All” to quantize all 16 tracks simultaneously.

The “M” parameters above the graphic bar are used to specify the first

measure:beat and last measure:beat of the range to be quantized.

The “Quantize” parameter determines to what beats the note data in the

specified track will be aligned. If you select “”, for example, all notes in the

track will be aligned to the nearest 16th-note beat, to a degree determined by

the “Strength” parameter.

Quantize Values

Value Effect

Aligns to the nearest 32nd note.

Aligns to the nearest 16th note triplet.

Aligns to the nearest 16th note.

Aligns to the nearest 8th note triplet.

Aligns to the nearest 8th note.

Aligns to the nearest quarter note triplet.

Aligns to the nearest quarter note.

Aligns to the nearest 16th note + 16th note triplet.

Aligns to the nearest 8th note + 8th note triplet.

M001:1~999:4

First measure Last measure

Last beatFirst beat

The Song Jobs

The “Strength” parameter determines how “strongly” the notes are attracted

to the specified quantize value. The strength range is from 0% to 100%. At a

setting of “0%” no quantization will occur, while a setting of “100%” will

cause all notes to be aligned precisely to the nearest specified beat value. In-

between settings produce a corresponding shift in the position of all off-beat

notes to the nearest specified beat value. With a value setting of “d” and a

strength setting of 50%, for example, a note that does not fall precisely on an

8th-note beat will be shifted about halfway to nearest 8th-note beat.

The “Sens.” parameter (sensitivity) determines the range over which notes

will be quantized. This parameter can be set from “–100%” through “0%” to

“+100%”. at “0%” no quantization will occur. A setting of either “–100%” or

“+100%” will cause all notes to be quantized. Refer to the graph below for an

idea of how the quantize range is determined by other settings. The heavy solid

lines in the sensitivity graph represent the range over which notes will be

quantized. At a setting of “+50%”, for example, only notes that fall within the

range that is less than halfway to the quantize range of the adjacent note will

be quantized. Notes outside this range and those of adjacent notes will be left

un-quantized.

The “Swing Rate” parameter produces a “swing” feel by shifting the timing of

“back beats”, as specified by the quantize parameters. For example, if the

specified quantization value is 8th notes, then the swing effect will shift the

2nd, 4th, 6th, and 8th beats of each measure forward to create a swing feel. If

the quantize value is set to a triplet note length, the last note in each triplet

group will be shifted. If the quantize value is set to a compound note length

(e.g. 8th note + 8th note triplet) the even-numbered back beats will be shifted.

The “Swing Rate” parameter determines how much the timing of the affected

notes will be shifted. The range is from 50% (no swing) to 75% (maximum

swing) for even note lengths, from 66% to 83% for triplet note lengths, and

from 50% to 66% for even-plus-triplet note lengths (e.g. 8th note + 8th note

triplet).

+100%

+50%

Sensitivity 0%

–50%

–100%

Quantize value (note length)

Nearest specified beat

The Song Jobs

The “Gate Time” and “Velocity” parameters increase or decrease the gate

times (length) and velocity of all notes affected by the swing parameter. The

range of both parameters is from 0% to 200%. The “Gate Time” parameter sets

the ratio between the shorter and longer gate time values. A setting of “100%”

maintains the original relationship between the notes, lower values produce a

narrower gate time range, and higher values produce a broader gate time range.

The “Velocity” parameter sets the ratio between the lower and higher velocity

values. A setting of “100%” maintains the original relationship between the

notes, lower values produce a narrower dynamic range, and higher values

produce a broader dynamic range.

After setting the parameters as required press [ENTER] to execute the

Quantize job. The metronome icon will appear on the display while the data is

being processed, then “Completed” will appear briefly when the job is done.

Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly

to the selected mode.

02: Modify Velocity

Increases or decreases the velocity values of all notes in the specified track and

range of measures.

The “TR” parameter selects the track to be affected by the Modify Velocity

job: “01” … “16”.

The “M” parameters above the graphic bar are used to specify the first

measure:beat and last measure:beat of the range to be modified.

The “rate” parameter sets the ratio between the lower and higher velocity

values. A setting of “100%” maintains the original relationship between the

notes, lower values produce a narrower dynamic range, and higher values

produce a broader dynamic range. The range is from “0%” to “200%”.

The “offset” parameters determines the amount of velocity change. “–”

settings reduce the velocity while “+” settings increase the velocity. The range

is from “–99” through “0” to “+99”.

M001:1~999:4

First measure Last measure

Last beatFirst beat

The Song Jobs

New Velocity = Original Velocity × rate/100 + offset

(If the right side of the equation is less than 0, the New Velocity becomes 1.)

After setting the parameters as required press [ENTER] to execute the Modify

Velocity job. The metronome icon will appear on the display while the data is

being processed, then “Completed” will appear briefly when the job is done.

Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly

to the selected mode.

03: Modify Gate Time

Increases or decreases the gate times (length) of all notes in the specified track

and range of measures.

The “TR” parameter selects the track to be affected by the Modify Gate Time

job: “01” … “16”.

The “M” parameters above the graphic bar are used to specify the first

measure:beat and last measure:beat of the range to be modified.

The “rate” parameter sets the ratio between the shorter and longer gate time

values. A setting of “100%” maintains the original relationship between the

notes, lower values produce a narrower gate time range, and higher values

produce a broader gate time range. The range is from “0%” to “200%”.

The “offset” parameter determines the amount of gate time modification.

“–” settings shorten the gate time while “+” settings increase the gate time.

The range is from “–99” through “0” to “+99”.

The Modify Velocity job

is a great way to “soften”

the sound of material that

has too great a variation between

the softest and loudest notes, or,

conversely, to add extra punch to

dull-sounding material. Experi-

ment with the parameters to get a

feel for what they do.

M001:1~999:4

First measure Last measure

Last beatFirst beat

The Song Jobs

New Gate Time = Original Gate Time × rate/100 + offset

(If the right side of the equation is less than 0, the New Gate Time becomes 1.)

After setting the parameters as required press [ENTER] to execute the Modify

Gate Time job. The metronome icon will appear on the display while the data

is being processed, then “Completed” will appear briefly when the job is done.

Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly

to the selected mode.

04: Crescendo

Produces a gradual crescendo (increase in note velocity) or decrescendo (de-

crease in note velocity) in the specified track over the specified range of

measures.

The “TR” parameter selects the track to be affected by the Crescendo job:

“01” … “16”.

The “M” parameters above the graphic bar are used to specify the first

measure:beat and last measure:beat of the range to be modified.

The “Range” parameter determines the range of velocity values over which

the crescendo will occur. A setting of “+24”, for example, will cause the MIDI

velocity values to increase by 24 over the specified measure range (The MIDI

velocity value range is from 1 to 127).

Specified measure (“M”) range.

Range

+24

Original

velocity

Crescendo

The Modify Gate Time

job can be used to

produce a more stac-

cato or legato feel, as required.

Experiment with the parameters

to get a feel for what they do.

M001:1~999:4

First measure Last measure

Last beatFirst beat

The Song Jobs

Negative values cause a corresponding decrease in velocity, therby producing

a decrescendo rather than a crescendo. The range of this parameter is from

“–99” through “0” to “+99”.

After setting the parameters as required press [ENTER] to execute the Cre-

scendo job. The metronome icon will appear on the display while the data is

being processed, then “Completed” will appear briefly when the job is done.

Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly

to the selected mode.

05: Transpose

Transposes all notes in the specified part up or down by the specified number

of semitones.

The “TR” parameter selects the track to be affected by the Transpose job:

“01” … “16” for the sequncer tracks, or “Chd” for the accompaniment chord

track.

The “M” parameters above the graphic bar are used to specify the first

measure:beat and last measure:beat of the range to be modified.

The “Transpose” parameter determines the amount of transposition in semi-

tone increments. Minus (–) values transpose down while plus (+) values trans-

pose up. the range is from “–99” through “0” to “+99”.

After setting the parameters as required press [ENTER] to execute the Trans-

pose job. The metronome icon will appear on the display while the data is

being processed, then “Completed” will appear briefly when the job is done.

Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly

to the selected mode.

Of course, you can

transpose all parts as

required to shift the en-

tire song to a different key, but

the Transpose job is actually

more suited to changing the

pitch of a section of a single

track. This can be done to pro-

duce temporary “modulations”

to another key, or to create har-

mony with another track.

M001:1~999:4

First measure Last measure

Last beatFirst beat

The Song Jobs

06: Shift Note

Changes the pitch of all specified notes within the specified range of measures

in the specified track.

The “TR” parameter selects the track to be affected by the Shift Note job:

“01” … “16”.

The “M” parameters above the graphic bar are used to specify the first

measure:beat and last measure:beat of the range to be modified.

The source note parameter determines which notes in the specified measure

range will be shifted, and the destination note parameter determines to what

note they will be shifted to. The range of both parameters is from “C-2” to

“G8”. The notes can be enter via the micro-keyboard, the data dial, or the

[–1/NO] and [+1/YES] keys.

After setting the parameters as required press [ENTER] to execute the Shift

Note job. The metronome icon will appear on the display while the data is

being processed, then “Completed” will appear briefly when the job is done.

Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly

to the selected mode.

M001:1~999:4

First measure Last measure

Last beatFirst beat

Destination noteSource note

The Song Jobs

07: Shift Clock

Moves all notes and events in the specified track and range of measures for-

ward or backward by the specified number of clocks (96 clocks per 1/4 note).

The “TR” parameter selects the track to be affected by the Shift Clock job:

“01” … “16” for the sequencer tracks, or “Tmp” for the tempo track.

The “M” parameters above the graphic bar are used to specify the first

measure:beat and last measure:beat of the range to be modified.

The “Clock” parameter determines the direction and number of clocks by

which the notes in the specified measure range will be shifted. “+” settings

shift the notes forward (toward the end of the song) and “–” settings shift the

notes backward (toward the beginning of the song). The range is from “–999”

through “0” to “+999”.

After setting the parameters as required press [ENTER] to execute the Shift

Clock job. The metronome icon will appear on the display while the data is

being processed, then “Completed” will appear briefly when the job is done.

Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly

to the selected mode.

Since the Move Clock

job actually shifts the

timing of all notes and

other events in the specified

measures forward or backward,

it can significantly alter the

“feel” of the song. You could

move the notes forward (“+” set-

tings) to create a more “laid

back” feel, or backward (“–” set-

tings) to produce a more “driv-

ing” feel. Of course, you can

also use Clock Move to correct

timing that is off in the first

place.

The Shift Clock job will

not shift data beyond

the specified measure

range. Events near the beginning

and end of the specified range

may therefore sound “bunched”

together in some cases.

M001:1~999:4

First measure Last measure

Last beatFirst beat

The Song Jobs

08: Chord Sort

Sorts all notes in the specified measure range which fall on the same beat (i.e.

chords) so that the notes are arranged in order from lowest to highest or from

highest to lowest.

The “TR” parameter selects the track to be affected by the Chord Sort job:

“01” … “16”.

The “M” parameters above the graphic bar are used to specify the first

measure:beat and last measure:beat of the range to be modified.

The “Type” parameter determines whether the chords in the specified range

are arrange from lowest to highest note (“Norm”) or from highest to lowest

note (“Rev”).

After setting the parameters as required press [ENTER] to execute the Chord

Sort job. The metronome icon will appear on the display while the data is

being processed, then “Completed” will appear briefly when the job is done.

Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly

to the selected mode.

M001:1~999:4

First measure Last measure

Last beatFirst beat

The Song Jobs

09: Copy Event

Copies all data from a specified range of measures from one track of a speci-

fied song to the specified measure in the specified track of the specified song.

This operation overwrites the data from the beginning of the specified destina-

tion measure with the data from the source measures. Previous data in the

overwritten measures is therefore lost.

The upper “Song” parameter selects the source song — i.e. the song from

which the data is to be copied: “01” … “10”.

The lower “Song” parameter selects the destination song — i.e. the song

to which the data is to be copied: “01” … “10”.

The upper “TR” parameter selects the source track — i.e. the track from

which the data is to be copied: “01” … “16” for the sequencer tracks, “Pat” for

the accompaniment pattern track, “Chd” for the accompaniment chord track,

“Tmp” for the tempo track, or “All” for all tracks. When “Pat”, “Chd”, Tmp” or

“All” is selected, the lower “TR” parameter is automatically set to the same track.

The lower “TR” parameter selects the destination track — i.e. the track to

which the data is to be copied: “01” … “16” for the sequencer tracks, “Pat” for the

accompaniment pattern track, “Chd” for the accompaniment chord track, “Tmp”

for the tempo track, or “All” for all tracks. When “Pat”, “Chd”, Tmp” or “All” is

selected, the upper “TR” parameter is automatically set to the same track.

The “M” parameters above the upper graphic bar are used to specify the

first measure:beat and last measure:beat of the range to be copied.

The “M” parameters below the lower graphic bar specifiy the destination

measure:beat to which the data will be copied, as well as the number of times

the data is to be copied.

• Previous data in

measures overwritten

by the Copy Event

job will be completely erased

and replaced by the copied data.

• The time signature is copied

by the Copy Event job, but

Voice and Play Effect data is

not copied.

M001:1~999:4

First measure Last measure

Last beatFirst beat

Destination measure

Copy numberDestination beat

The Song Jobs

The Copy Event job

makes it easy to use

phrases or even com-

plete sections (an entire chorus,

for example) in more that one

place in a song. You can copy a

phrase played by one voice, and

have it repeated by a different

voice later in the song. You can

always edit the copied sections

to create variations.

After setting the parameters as required press [ENTER] to execute the Copy

Event job. The metronome icon will appear on the display while the data is

being processed, then “Completed” will appear briefly when the job is done.

Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly

to the selected mode.

10: Erase Event

Erases all note and event data from the specified measure or range of measures

in the specified track. An erase operation leaves the specified measures intact

but blank.

The “TR” parameter selects the track to be affected by the Erase Event job:

“01” … “16” for the sequencer tracks, “Pat” for the accompaniment pattern

track, “Chd” for the accompaniment chord track, or “Tmp” for the tempo

track.

The “M” parameters above the graphic bar are used to specify the first

measure:beat and last measure:beat of the range to be erased.

After setting the parameters as required press [ENTER] to execute the Erase

Event job. The metronome icon will appear on the display while the data is

being processed, then “Completed” will appear briefly when the job is done.

Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly

to the selected mode.

Unlike the Delete Measure

job, the Erase Event job

erases the data from the

specified measures only in the speci-

fied track. Also, the data is erased

but the measures remain intact (i.e.

the subsequent measures are not

moved back). After an erase opera-

tion you can record new material in

the resulting blank measures as re-

quired.

M001:1~999:4

First measure Last measure

Last beatFirst beat

The Song Jobs

11: Extract Event

Allows a specified type of event — note, program change, pitch bend, control

change, channel aftertouch, polyphonic aftertouch, or exclusive — to be ex-

tracted (removed) from a specified range of measures in a specified track. The

extracted data can be moved to the same range of measures in any other

specified track.

The upper “TR” parameter selects the source track — i.e. the track from

which the event data is to be extracted: “01” … “16”.

The lower “TR” parameter selects the destination track — i.e. the track to

which the extracted event data is to be moved: “01” … “16”, or “Off” if you

simply want to discard the specified event data.

The “M” parameters above the graphic bar are used to specify the first

measure:beat and last measure:beat of the range from which the event data is

to be extracted.

The event type parameter above the lower graphic bar determines the type of

event data to be extracted:

NOTE Note events. When this event type is selected a note parameter

appears at the right end of the bar. The note parameter determines

the pitch of the notes to be extracted: “C-2” … “G8” for individual

notes, or “All” for all notes.

PRGM Program change events.

P.BEND Pitch bend events.

CTRL Control change events. When this event type is selected a control

change number parameter appears at the end of the bar. The control

change parameter determines the MIDI control change number(s)

to be extracted: “000” … “127” for individual control change num-

bers, or “All” for all numbers.

CH A.T Channel aftertouch events.

POLY A.T Polyphonic aftertouch events.

EXCL Exclusive events.

Although you can remove

events individually in the

edit mode (page 104), the

Extract Event job makes it simple to

remove all occurences of the speci-

fied event within the specified meas-

ure range in one operation. This is

particularly convenient when re-

moving slow pitch bends or volume

changes that may employ many

individual events to create a single

effect.

M001:1~999:4

First measure Last measure

Last beatFirst beat

The Song Jobs

After setting the parameters as required press [ENTER] to execute the Extract

Event job. The metronome icon will appear on the display while the data is

being processed, then “Completed” will appear briefly when the job is done.

Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly

to the selected mode.

12: Thin Out

“Thins out” specified types of data by removing every other event of the

specified type. This is particularly useful for reducing the volume of data

required for pitch bends, aftertouch and other control change operations, thus

making more efficient use of the available memory.

The “TR” parameter selects the track to be affected by the Thin Out job: “01”

… “16” for the sequencer tracks, or “Tmp” for the tempo track.

The “M” parameters above the graphic bar are used to specify the first

measure:beat and last measure:beat of the range to be modified.

The data type parameter determines the type of data to be thinned.

P.BEND Pitch bend events.

CTRL Control change events. When this event type is selected a control

change number parameter appears to the right of the type param-

eter. The control change parameter determines the MIDI control

change number(s) to be thinned: “000” … “127”.

CH A.T Channel aftertouch events.

POLY A.T Polyphonic aftertouch events.

After setting the parameters as required press [ENTER] to execute the Thin

Out job. The metronome icon will appear on the display while the data is being

processed, then “Completed” will appear briefly when the job is done. Press

the [F6] key (“Exit”) to return to the job list, or a mode key to go directly to

the selected mode.

M001:1~999:4

First measure Last measure

Last beatFirst beat

The Song Jobs

13: Create Measure

Creates a specified number of blank measures having the specified time signa-

ture for all tracks. The created measures are inserted at a specified measure

number, and all subsequent measures are moved forward to make room.

The “M” parameter above the graphic bar specifies the measure at which the

newly created measures will be inserted.

The time signature parameter below the graphic bar determines the time

signature of the measures to be created: 1/16 … 16/16, 1/8 … 16/8, 1/4 … 8/4.

The “Meas” parameter below the bar specifies the number of measures to

be created.

After setting the parameters as required press [ENTER] to execute the Create

Measure job. The metronome icon will appear on the display while the data is

being processed, then “Completed” will appear briefly when the job is done.

Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly

to the selected mode.

14: Delete Measure

Deletes the specified range of measures from all tracks simultaneously.

The “M” parameters above the graphic bar are used to specify the first meas-

ure and last measure of the range to be deleted.

• All existing measures

after the point at

which the new meas-

ures are created will be moved

forward to make room for the

new measures.

• If you use the Create Measure

job with an empty song, the

specified new measures will

be placed in track 1 only.

Use Create Measure

when you want to add

new material some-

where in the middle of data

you’ve already recorded, with-

out erasing the existing data.

First create the required meas-

ures, then either copy the data

from existing measures using the

Copy Event function, or record

new data as required.

The Song Jobs

After setting the parameters as required press [ENTER] to execute the Delete

Measure job. The metronome icon will appear on the display while the data is

being processed, then “Completed” will appear briefly when the job is done.

Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly

to the selected mode.

15: Copy Track

Copies all data from the specified track of a specified song to any other

specified track of a specified song.

The upper “Song” parameter selects the source song — i.e. the song from

which the data is to be copied: “01” … “10”.

The lower “Song” parameter selects the destination song — i.e. the song

to which the data is to be copied: “01” … “10”.

The upper “TR” parameter selects the source track — i.e. the track from

which the data is to be copied: “01” … “16”, “Pat”, “Chd” or “Tmp”. When

“Pat”, “Chd” or “Tmp” is selected the lower “TR” parameter is set to the same

track.

The lower “TR” parameter selects the destination track — i.e. the track to

which the data is to be copied: “01” … “16”, “Pat”, “Chd” or “Tmp”. When

“Pat”, “Chd” or “Tmp” is selected the upper “TR” parameter is set to the same

track.

After setting the parameters as required press [ENTER] to execute the Copy

Track job. The metronome icon will appear on the display while the data is

being processed, then “Completed” will appear briefly when the job is done.

Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly

to the selected mode.

Delete Measure is a

great way to completely

cut out unwanted data

from the song. It’s important to

remember, however, that a de-

lete operation affects all tracks

simultaneously, and that meas-

ures following the deleted range

are moved back to take the

place of the deleted measures.

M001 ~ 999

First measure Last measure

The Song Jobs

16: Mix Track

Combines the data contained in two specified tracks and places the result in

the second track.

The upper and center “Song” parameters select the first and second source

songs— i.e. the songs containing the tracks which are to be mixed: “01” …

“10”. Both of these Song parameters should be set to the same song number if

you’re mixing tracks from a single song.

The upper and center “TR” parameters select the first and second source

tracks — i.e. the tracks which are to be mixed: “01” … “16”.

The lower “Song” and “TR” parameters are always the same as the center

parameters.

After setting the parameters as required press [ENTER] to execute the Mix

Track job. The metronome icon will appear on the display while the data is

being processed, then “Completed” will appear briefly when the job is done.

Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly

to the selected mode.

17: Clear Track

Completely clears the specifed track from the currently selected song (includ-

ing all Play Effect parameters).

NOTE If there is no data in the

second track, the data from the

first track is simply copied to the

second track (the time signature

is not copied).

In many situations you

may want to “overdub,”

or add new material to

a single track without deleting

the previous material. This is

dangerous, however, since you

can ruin one or more layers of

good material by making a mis-

take during a later overdub. The

QY300 eliminates this possibility

by allowing only “replace” re-

cording (i.e. all material re-

corded to a track erases an re-

places any previous material on

that track). In order to record

more than one layer of material

to a single track (using the same

voice, of course), first record the

layers on separate tracks, then

after ensuring that there are no

mistakes, use the Mix Track job

to combine these separate tracks

onto a single track.

The Song Jobs

The “TR” parameter selects the track(s) to be cleared: “01” … “16” for the

sequencer tracks, “Pat” for the accompaniment pattern track, “Chd” for the

accompaniment chord track, “Tmp” for the tempo track, or “All” for all tracks.

After setting the parameters as required press [ENTER] to execute the Clear

Track job. The metronome icon will appear on the display while the data is

being processed, then “Completed” will appear briefly when the job is done.

Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly

to the selected mode.

18: Expand Backing

“Expands” the accompaniment track data — i.e. the pattern and chord data —

and places the results in the normal sequencer tracks after converting the data

to standard MIDI format. The expanded data is placed in sequencer tracks 8, 9,

11, 12, 13, 14, 15, and 16 (see chart below). Any previous data in those tracks

will be erased!

Press [ENTER] to execute the Expand Backing job. The metronome icon will

appear on the display while the data is being processed, then “Completed” will

appear briefly when the job is done. Press the [F6] key (“Exit”) to return to the

job list, or a mode key to go directly to the selected mode.

Pattern Track Sequencer Track

1 8

2 9

311

412

513

614

715

816

The Song Jobs

19: Init Play Effect

Resets all playback effect settings for the specified track to their default values.

The “TR” parameter selects the track(s) to be affected by the Init Play Effect

job: “01” … “16” for the sequencer tracks, or “All” for all tracks.

After setting the parameter as required press [ENTER] to execute the Init Play

Effect job. The metronome icon will appear on the display while the data is

being processed, then “Completed” will appear briefly when the job is done.

Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly

to the selected mode.

20: Normalize Effect

Actually applies the Play Effect settings to the sequence data, modifying the se-

quence data accordingly. The Play Effect settings are initialized after execution.

The “TR” parameter selects the track(s) to be affected by the Normalize Effect

job: “01” … “16” for the sequencer tracks, or “All” for all tracks.

After setting the parameter as required press [ENTER] to execute the Normal-

ize Effect job. The metronome icon will appear on the display while the data is

being processed, then “Completed” will appear briefly when the job is done.

Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly

to the selected mode.

The Song Jobs

21: Copy Song

Copies all data from all tracks of the specified song to any other specified song (includ-

ing song name, play effect, voice assignment, and output assignment settings).

The upper “Song” parameter selects the source song — i.e. the song from

which the data is to be copied: “01” … “10”.

The lower “Song” parameter selects the destination song — i.e. the song

to which the data is to be copied: “01” … “10”.

After setting the parameters as required press [ENTER] to execute the Copy

Song job. The metronome icon will appear on the display while the data is

being processed, then “Completed” will appear briefly when the job is done.

Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly

to the selected mode.

22: Clear Song

Completely clears all data from all tracks of the currently selected song. Also

initializes the play effect, voice, and output settings.

The “Song” parameter selects the song to be cleared: “01” … “10”.

After setting the parameter as required press [ENTER] to execute the Clear

Song job. The metronome icon will appear on the display while the data is

being processed, then “Completed” will appear briefly when the job is done.

Press the [F6] key (“Exit”) to return to the job list, or a mode key to go directly

to the selected mode.

The Song Jobs

23: Song Name

Allows an original name of up to 8 characters to be assigned to the current

song.

The song number parameter selects the song for which a name is to be as-

signed: “1” … “10”.

Lower-case To enter a lower-case character, use the cursor keys to move

Characters the cursor to the position at which a character is to be entered,

then press the micro-keyboard key corresponding to the

character to be entered.

Upper-case

Hold the left [OCT DOWN] key (“CAPS”) while pressing the

Characters

micro-keyboard key corresponding to the character to be entered.

Symbols Hold the left [OCT UP] key (“SHIFT”) while entering to enter

the symbols listed above the characters corresponding to each

micro-keyboard key.

Space The right [OCT DOWN] key enters a space.

Numbers Numbers can be entered via the numeric keypad.

Delete The right [OCT UP] key deletes the character at the cursor

position.

When the name has been entered press the [F6] key (“Exit”) to return to the

job list, or a mode key to go directly to the selected mode (it is

not necessary to

press the [ENTER] key to enter the specified name).

NOTE If a series of asterisks ap-

pears in the song name area, the

selected song contains no data

and a song name cannot be as-

signed.

Patterns — Part 1: Accompaniment Basics

Patterns — Part 1:

Accompaniment Basics

Using the pre-programmed style data provided with the QY300 you can easily create accom-

paniments that can be used alone — to play or sing along with, for example — or as the

basis for complete compositions. The pre-programmed styles are provided on disk, and must

be loaded before they can be used. You can also create patterns by combining individual

“phrases”. A phrase is a single “part” of a pattern, such as the drum or bass part. The QY300

provides 2,000 preset phrases in internal ROM memory, or you can record your own. The

procedures for creating patterns by using phrases will be discussed in the “Creating Patterns”

section (Z page 74).

Defining “Patterns”, “Styles”, & “Sections”

Although you’ll usually be working with individual patterns in the QY300,

these are actually part of larger structures known as “styles”. A style consists

of a group of genre-related patterns designed to be used together to create a

complete song. Each pattern within a style is a “section” of a song: e.g. an

introduction, two main themes, fill-ins, and an ending (these will be discussed

in more detail in “Selecting & Playing Patterns” on page 57). The number that

appears at the top of the main PATTERN mode display is therefore actually

the “style number”, since it selects a complete set of related patterns. Several

of the PATTERN mode jobs (page 86) also use the term “style” when they

operate on a complete set of patterns rather than an individual pattern.

Loading the Pre-programmed Patterns From Disk

So you can load a complete set of styles in one operation, the styles provided

on the QY300 data disk have been saved as an “All Data” file which must be

loaded via the DISK mode. Please note that loading the style data will erase all

other song, phrase, and chain data currently in memory. Be sure to save any

data you want to keep before loading.

1 Insert the Supplied Disk

Insert the floppy disk supplied with the QY300 into the disk drive slot on the

right side of the unit. The label side of the disk should face up and the sliding

disk door should face the drive slot. Slide the disk in until it clicks firmly in

place.

The QY300 is initially

shipped with the styles

already loaded. If for

some reason the styles have

been erased or modified, you

can use the following procedure

to re-load them.

NOTE Actual file names on the

data disk supplied with the

QY300 may be different from

those given in the manual.

Patterns — Part 1: Accompaniment Basics

2 Select the Disk Mode, Select “Load” & “All Data”

The data disk supplied with the QY300 contains a single “All Data” format file

which include 1 demo song and 100 styles × 8 sections (800 patterns). Press

the [DISK] mode key to select the DISK mode, press the [F2] function key

(“Load”), then use the cursor keys, the [–1/NO] and [+1/YES] keys, or the

data dial to select “All Data”.

3 Press [ENTER] & Select the “DEMO” File

Press the [ENTER] key top go to the load all data display, then use the cursor

keys, the [–1/NO] and [+1/YES] keys, or the data dial to select the “DEMO”

file.

4 Press [ENTER]

Press the [ENTER] key to execute the load operation. The QY300 will display

a confirmation prompt asking you if you’re sure you want to delete all previ-

ous data in memory.

5 Press [+1/YES] to Confirm & Load the Data

Press [+1/YES] if you want to go ahead with the load operation, or [–1/NO] if

you want to cancel the load operation. If you choose [+1/YES], an “Execut-

ing” bar graph will appear while the data is being loaded.

Patterns — Part 1: Accompaniment Basics

Selecting & Playing Patterns

Although you’ll normally use the PATTERN mode when creating new styles

(page 74), the PATTERN mode is also useful when you want to listen to

individual phrases and experiment with chord changes using the QY300’s

advanced ABC capability.

1 Select the STYLE Mode

In order to select and play the styles as described in this section you must be in

the QY300 PATTERN mode. Press the [PATTERN] mode key to select the

PATTERN mode.

2 Select a Style Number

Use the cursor keys to move the cursor to the style number, then use any data

entry method to select the style you want to play. The styles are numbers 001

through 100 (the currently selected section is shown in the square brackets to

the right of the style name).

3 Start Playback

indicator will appear in the display and the green LED above the [

©] key will

flash at the current playback tempo.

4 Listen to the Sections

Each style can have 8 sections — INTRO, MAIN A, MAIN B, FILL AA,

FILL BB, FILL AB, FILL BA, and ENDING.

INTRO Introduction. When used in a song the introduction will automatically

be followed by the MAIN A section unless another section is specified.

MAIN A The main section, generally used for the “verse” of a song.

MAIN B A variation on the main section which can be used as a chorus or bridge.

FILL AA Fill-in for the MAIN A section.

FILL BB Fill-in for the MAIN B section.

FILL AB Fill-in transition from MAIN A to MAIN B. MAIN B will automati-

cally be selected after the fill-in.

FILL BA Fill-in transition from MAIN B to MAIN A. MAIN A will automati-

cally be selected after the fill-in.

ENDING Ending pattern. When used in a song, playback will stop when the

ending section finishes.

Note that the “Meas”

(measure) number on

the display includes two

numbers: e.g. “1of4”. The first

number is the current measure

number and the second is the to-

tal number of measures in the

pattern (patterns can be up to 8

measures long). “2of4”, there-

fore, means that the second

measure of a 4-measure pattern

is currently playing.

Style number

Style name

Section

Patterns — Part 1: Accompaniment Basics

The currently selected section is shown between square brackets to the right of

the style number and name. You can change styles by playing the cursor at the

section name and using the [–1/NO] and [+1/YES] keys or the data dial. The

newly selected section will begin playing from the top of the next measure.

You can also change sections directly by pressing the appropriate key on the

micro-keyboard while the cursor is located at either the style number or the

section name on the display.

5 Select Different Styles & Sections

With the cursor positioned over the style number you can use any data entry

method to select different styles, and use the micro-keyboard section keys to

select different sections during playback. In all cases the newly selected style

or section will begin playing from the top of the next measure.

6 Stop Playback When Done

Stop playback at any time by pressing the [m] key.

If you move the cursor

to the tempo parameter

(indicated by a note

symbol and a number in the up-

per right corner of the display),

you can use the any data entry

method to set the playback

tempo to anywhere from 25.0 to

300.0 beats per minute. The

number to the right of the deci-

mal point after the tempo value

lets you change the tempo in

1/10th of a beat increments.

Patterns — Part 1: Accompaniment Basics

■ Changing Chords

The QY300 features a sophisticated ABC (Auto Bass Chord) system that

automatically re-harmonizes the pattern tracks to match chords you specify.

This makes creating complete accompaniment tracks fast and easy … just

select a pattern, then specify the required chord changes (details in the next

section). Here’s how you use the micro-keyboard to specify chord changes.

1 Play a Pattern

Select and play a pattern, as described in the preceding section.

2 Move the Cursor to the Chord Symbol

The micro-keyboard can be used to enter chords only when the cursor is

located over the chord symbol on the display. Use the cursor keys to move the

cursor to the chord symbol at the bottom of the display.

3 Enter a Chord

Note that the lower octave of the micro-keyboard has chord root names “E”

through “D” marked on the keys, and the upper octave keys are marked with a

variety of chord types.

To enter a chord, press the key corresponding to the desired chord root, then

the key corresponding to the desired chord type (the chord type keys alter-

nately select the lower and upper chord types marked … watch the display),

and finally the [ENTER] key.

Chord roots Chord types

Patterns — Part 1: Accompaniment Basics

The chord is actually entered only when the [ENTER] key is pressed. Until

the [ENTER] key is pressed, the newly specified chord root and type will

flash on the display.

The Chord Types

Chord roots Chord types

Press [ENTER] key

Actually, you can press

the chord type key and

then the root key, the

order doesn’t matter.

add9 major added ninth.

M major.

M7(9) major seventh ninth.

M7 major seventh.

aug augmented.

6(9) sixth ninth.

6 sixth

7(9) ninth.

7 seventh.

add9 minor added ninth.

m minor

m7(9) minor seventh ninth.

m7 minor seventh.

mM7 minor major seventh.

m6 minor sixth.

dim diminished.



5) seventh sharp five.



5) seventh flat five.



9) seventh sharp nine.



9) seventh flat nine.



13) seventh flat thirteen.

7(13) seventh thirteen.

7sus4 seventh suspended four.

sus4 suspended four.

m7(11) minor seven eleven.



11) seventh sharp eleven.

- - -

THRU (see “DETAIL” below).

The “- - -” chord type

marking is a special

“THRU” or “non-ABC”

type that can be used to create

accompaniment patterns without

the harmonic limitations of the

ABC system.

Patterns — Part 1: Accompaniment Basics

Specifying the Bass Note For a Chord

You can specify the bass note to be used with any chord by using the left

[OCT DOWN] key (note the “ON BASS” marking below the key). Enter the

chord in the normal way, then while holding the [OCT DOWN/ON BASS]

key press the key on the micro-keyboard corresponding to the desired bass

note (the bass note will appear to the right of the chord). In the example

display, below, the Dm7 chord will be played on a “C” bass note (in this case

the 7th degree of the chord).

Specifying the Bass Phrase Chord Type (Harmonization)

While the “ON BASS” function described above allows you to specify the

actual root of the bass phrase to be used with a chord, the “ORG BASS”

function also lets you specify a chord type on which the bass pattern will be

based. To do this use the left [OCT UP] key (note the “ORG BASS” marking

below the key). Enter the chord in the normal way, then while holding the

[OCT UP/ORG BASS] key press the key on the micro-keyboard correspond-

ing to the desired root note and then the key corresponding to the desired chord

type (the root note and chord type will appear below the chord root). In the

example display, below, the Dm7 chord will be played with a bass phrase

based on a CM7 chord.

4 Try Out the Various Chords With Different Styles

During playback you can move the cursor up to the style number, select a

different style, then move the cursor back to the chord symbol and try different

chords with the new style.

5 Stop Playback When Done

Stop playback by pressing the [m] key.

If you enter only the

chord root the major

chord type will auto-

matically be selected. If you en-

ter only the chord type the root

will be set to “C” automatically.

Patterns — Part 1: Accompaniment Basics

Place cursor here to switch between pattern (“Pat”) and phrase (“Phr”) voice assignments.

■ Track Muting & Effect Bypass

The track mute “buttons” in the PATTERN mode function in exactly the same

way as they do in the SONG mode. See page 14 for details.

■ Voices, Assignment & Effects

The PATTERN mode has basically the same Voice mode Mixer and Reverb

displays, the same Effect (Quantize, Swing, Shift, Gate/Velocity, Per Track)

displays, and the same Output displays and functions as the SONG mode. The

main difference is that while the SONG mode has 16 tracks the PATTERN mode

has only 8. Refer to the page numbers listed with the displays below for details:

● Voice: Mixer display for voice assignment, panning and level control (Z

page 14). The “Voice” parameter in this display additionally lets you switch

between the pattern and phrase voice assignments.

● Voice: Reverb display for voice assignment, effect selection, and effect

depth control (Z page 15). As in the Mixer display, above, the “Voice”

parameter lets you switch between the pattern and phrase voice assignments.

Patterns — Part 1: Accompaniment Basics

● Effect: Quantization display for playback quantization (Z page 18).

● Effect: Swing display to automatically create a “swing” feel (Z page 20).

● Effect: Transpose & Clock Shift display to transpose tracks and shift note

timing forward or backward (Z page 21).

● Effect: Gate Time/Velocity display to modify gate time and velocity

values (Z page 22).

Patterns — Part 1: Accompaniment Basics

●

Effect: Per Track display shows all playback effect parameters for one

track at a time, and allows monitoring of only the selected track (Z page

22).

● Output display for pattern track to MIDI channel assignments for all styles.

Patterns — Part 2: Recording Accompaniments

Patterns — Part 2:

Recording Accompaniments

The QY300 provides two ways to record an accompaniment by specifying patterns and chords:

“realtime” and “step” recording. The realtime method is the fastest and easiest, letting you record

pattern and chord changes “on the fly.” The step method gives you more detailed control, and is

an excellent way to add the finishing touches to an accompaniment recorded in real time.

Realtime Accompaniment Recording

Once you know how to select styles, sections, and enter chords in the PAT-

TERN mode (see the preceding sections), recording a basic accompaniment in

real time is easy. Tempo changes can be added later using the EDIT mode (Z

page 112).

1 Select the SONG Mode & an Empty Song

Press the [SONG] mode key to select the SONG mode and, with the cursor

located over the song number at the top of the display, use any data entry

method to select an empty song number if necessary. Empty songs are indi-

cated by a row of asterisks (“********”) following the song number.

2 Select the “Pat” Track to Record Style &

Section Changes

Move the cursor to the track area of the display, and then shift the cursor

sideways to select “Pat”. Once selected, move the cursor vertically to move to

other areas of the screen. The selected track will remain highlighted no matter

where you move the cursor.

Asterisks indicate that the song does not contain any data.

If for some reason all 10

songs contain data, use

the “Clear Song” job de-

scribed on page 53 to clear a song

for recording.

Patterns — Part 2: Recording Accompaniments

3 Select the Starting Style, Section, Chord, & Tempo

Move the cursor to the style number, section, chord, and tempo parameters,

and set as required.

4 Engage the Record Ready Mode

Press the [v] key to engage the record ready mode. The red LED above the

[

v] key will light.

5 Select the Realtime Record Mode

Press the [F4] function key (“REAL”) to select the realtime record mode.

6 Record

sound and you’ll be given a two-measure count-in prior to the first measure

actually recorded. The count-in is also indicated by negative numbers in the

“Meas” parameter. If a 4/4 pattern is selected, for example, the count-in will

run from measure “–08” to “–01”, then recording will begin from measure

“001”.

Since you selected “Pat” recording, the cursor will automatically move to

the style number when you start recording. All you have to do to record style

and section changes is to select the required style numbers by using any data

entry method, and section changes via the appropriate micro-keyboard keys.

Remember that all style and section changes occur from the top of the

measure after the change is entered. Also keep in mind that the INTRO will

automatically switch to the MAIN A pattern, FILL AB will automatically

switch to the MAIN B pattern, and FILL BA will automatically switch to the

MAIN A pattern.

t’s sometimes easier to

set a slow tempo for

realtime recording, so you

have plenty of time to enter pattern

and chord changes.

Patterns — Part 2: Recording Accompaniments

7 Stop Recording

Stop recording either by pressing the [m] key or by selecting the ENDING

section. The normal SONG play mode is automatically re-selected when you

stop recording.

8 Engage Record Ready Again and Select “Chd”

Press the [v] key to engage the record ready mode again (the red [REC] key

indicator should light and the “REAL” mode will still be selected), then move

the cursor to the track section of the display and select “Chd” in order to

record chord changes.

9 Record

sound and you’ll be given a two-measure count-in.

Since you selected “Chd” recording, the cursor will automatically move to

the chord when you start recording. All you have to do to record chord changes

is to enter the required chords as described in the “Changing Chords” section

(Z page 59).

; Stop Recording

Press the [m] key to stop recording when all the required chord changes have

been entered. The normal SONG play mode is automatically re-selected when

you stop recording.

a Listen to the Results

Press the [|ß] key to make sure you return to the top of the song, then press

the [

corded.

Don’t worry if you’ve

made a few mistakes.

Simple slip-ups made in

the realtime record mode can usu-

ally be corrected in the step record

mode … described next.

Asterisks have disappeared because the song now contains data.

Use the “Song Name” job (page 54) to enter an original name.

Chord changes normally

occur on quarter-note

divisions, so try to press

the [ENTER] key to enter each chord

either exactly on the beat or a frac-

tion of a section before the beat on

which you want the chord change

to occur. Syncopated chord changes

can be recorded by entering the

chord an eighth or sixteenth note

before the beat (syncopated changes

can also be programmed in the STEP

record mode, Z page 73).

Patterns — Part 2: Recording Accompaniments

Step Accompaniment Recording

The STEP record mode provides two different accompaniment-track data-

entry displays: “Pat” (pattern changes) and “Chd” (chord changes). In each of

these you can individually enter or delete pattern and chord changes at pre-

cisely the required locations.

1 Select a Song to Record

Select an empty song if you want to record a new song in the step record

mode, or select a song that already contains data if you want to make changes

or additions.

2 Engage the Record Ready Mode.

Press the [v] key to engage the record ready mode. The red LED above the

[

v] key will light.

3 Select the Step record Mode

Press the [F5] function key (“STEP”) to select the step record mode.

4 Select the “Pat” or “Chd” Track

Move the cursor to the track area of the display, and then shift the cursor

sideways to select “Pat” or “Chd”. Once selected, move the cursor vertically if

you want to move to other areas of the screen. The selected track will remain

highlighted no matter where you move the cursor.

5 Start Recording

“Tmp” track data is

entered in the Edit

mode (

page 112).

Patterns — Part 2: Recording Accompaniments

6 Enter the Required Pattern or Chord Data

Refer to the following sections for details on how to use the pattern and chord

step-record displays.

7 Stop Recording

Press the [m] key to exit from the step record mode and return to the normal

SONG play mode.

■ “Pat” — Step Record Pattern Changes

Here’s how the STEP record pattern display will look if you’ve selected an

empty song (the appropriate pattern data will appear if the selected song con-

tains data).

Moving Around & Entering Data

As usual, the cursor keys are used to move the cursor to the location at which

you want to enter data, and the [–1/NO] and [+1/YES] keys, data dial, or

numeric keypad are used to actually enter or change data.

The cursor keys also move you forward or backward through the song:

moving the cursor past the bottom of the screen accesses subsequent measures,

while moving it above the top of the screen accesses the preceding measures

(if there are any). In th pattern display moving sideways takes you to the time

signature, pattern number, and section parameters.

In all of the STEP record displays the [

ß] key takes you directly to the

first measure.

Time signature

Measure number

Style number

Section

End-of-song marker

Patterns — Part 2: Recording Accompaniments

Style Number and Section

Any style number from 001 through 100 can be entered for each measure. The

style name appears to the right of the style number. Only one pattern (style &

section) can entered per measure, and that pattern will begin playing from the

beginning of the measure at which it is entered.

A pattern entered once will continue to play until a different pattern is

entered. If you want to change sections without changing the style number,

only the pattern need be entered.

In the example display below the intro section of

style

001 plays for the

first measure, the MAIN A section of the same

style

is selected in measure 2.

Time Signature

Although the original time signature for the selected pattern is automatically

selected, the time signature value for each measure can be changes as required.

The available time signatures are:

1/16 … 16/16

1/86 … 16/8

1/46 … 8/4

If a time signature is selected that results in shorter measures than the pattern

default, the pattern will be truncated (cut short) accordingly. If the selected

time signature results in longer measures than the pattern default, the pattern

will be repeated to fill the specified measure length.

End-of-Song Marker

By moving the cursor to the “End” block and pressing the [+1/YES] key you

can enter an end-of-song marker which will cause playback to stop at the end

of the corresponding measure (in the example display, below, playback will

stop at the end of the 24th measure). This allows you to stop playback at any

point without having to use an Ending section.

• If there is no data in

the pattern track

(sequencer-track data

only) and no Ending section or

end-of-song marker is encoun-

tered, playback will stop auto-

matically when the end of the

sequencer-track data is reached.

• If the pattern track contains

data and no Ending section or

end-of-song marker is encoun-

tered, playback will continue

until stopped by pressing the

[m] key.

Patterns — Part 2: Recording Accompaniments

Measure number

Erasing Pattern Changes

The [F6] function key (“Clear”) can be used to clear the style number, section,

or end-of-song marker at which the cursor is located. If you clear a time

signature change, the default time signature value for the current pattern will

be automatically re-selected.

■ “Chd” — Step Record Chord Changes

Here’s how the STEP record chord display will look if you’ve selected an

empty song (the appropriate chord data will appear if the selected song con-

tains data).

Chords

One chord can be entered per quarter note. Place the cursor at the required

quarter-note division on the display and enter the chord via the micro-key-

board in the normal way (Z page 59). In the example display below, a C

major chord is entered on the first beat of the first measure, a D minor seventh

on the first beat of the second measure, and a G seventh on the third beat of the

second measure.

Place cursor at beat at which you want the chord change to occur.

Time signature

One beat

Patterns — Part 2: Recording Accompaniments

Specifying the Bass Note For a Chord

You can specify the bass note to be used with any chord by using the left

[OCT DOWN] key (note the “ON BASS” marking below the key). Enter the

chord in the normal way, then while holding the [OCT DOWN/ON BASS]

key press the key on the micro-keyboard corresponding to the desired bass

note (the bass note will appear below the chord root). In the example display,

below, the Dm7 chord will be played on a “C” bass note (in this case the 7th

degree of the chord).