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MUSIC SEQUENCER
OWNER’S MANUAL
Contents
Z
The QY22: What It Is &
What It Can Do....................... 7
What It Is .................................... 8
Voice Mode............................ 9
Song Mode ............................ 9
Pattern Mode ....................... 11
What It Can Do ........................ 12
About General MIDI ................. 14
X
Setting Up: Power &
Connections ......................... 15
Power Supply ........................... 16
Using Batteries .................... 16
When to Replace the Batteries .
17
Using a Power Adaptor ....... 18
Setting Up Your System........... 19
The Connectors ................... 19
Audio Connections .............. 21
MIDI Connections ................ 22
C
Getting to Know the QY22:
How the Controls Work..... 23
The Controls............................. 24
Play the Demo.......................... 34
V
The VOICE Mode: Selecting,
Playing, & Assigning the
QY22 Voices & Drums ....... 35
Try Out the Voices ................... 37
Making Voice-to-Track
Assignments............................. 38
The Mute Buttons..................... 38
The Pan Pots ........................... 39
The Faders............................... 40
B
Easy Accompaniment for
Other Instruments............... 41
Selecting & Playing the Preset
Patterns .................................... 42
Changing Chords................. 47
Muting Tracks ...................... 51
Record a Complete
Accompaniment........................ 52
Realtime Accompaniment
Recording ............................ 52
Step Accompaniment
Recording ............................ 59
Using the QY22 As a Drum
Machine.................................... 75
N
Creating Original Patterns
.. 77
Recording an Original
ABC Pattern ............................. 78
Realtime Pattern Recording...
78
Step Pattern Recording ....... 86
Playback In the Pattern Mode.. 94
Accompaniment Without the
Limitations of ABC.................... 95
The Pattern Jobs...................... 96
1: Copy Pattern.................... 98
2: Quantize .......................... 99
3: Transpose...................... 100
4: Modify Velocity .............. 101
5: Modify Gate Time .......... 102
6: Pattern Name ................ 103
7: Clear Track .................... 104
8: Clear Pattern ................. 105
M
Creating a Complete Song
........................................... 107
Recording the Sequencer
Tracks..................................... 108
Preparing to Record —
Voice Assignments ............ 108
Contents
Z
.........
X
.........
C
.........
V
.........
B
.........
N
.........
M
.........
<
.........
>
.........
?
.........
[
.........
Index
......
Realtime Sequencer Track
Recording .......................... 109
Step Sequencer Track
Recording .......................... 115
The Song Jobs ....................... 122
1: Mix Track ....................... 124
2: Copy Measure ............... 125
3: Create Measure............. 126
4: Quantize ........................ 127
5: Delete Measure ............. 128
6: Erase Measure .............. 129
7: Transpose...................... 130
8: Move Clock.................... 131
9: Remove Event ............... 132
10: Modify Velocity ............ 133
11: Modify Gate Time ........ 134
12: Song Name.................. 135
13: Clear Track .................. 136
14: Clear Song................... 137
<
Editing Songs & Patterns
. 139
Engaging the Edit Mode......... 140
Change Mode Editing ............ 143
Insert Mode Editing ................ 146
>
Utility Functions................ 157
Accessing the Utility Mode..... 158
System Parameters................ 160
Bulk Dump.............................. 163
ABC Zone............................... 165
Memory Initialize .................... 166
?
The QY22 As A Tone
Generator/ABC Expander
. 167
As a Tone generator Module . 168
As an ABC Expander ............. 170
[
Appendix ............................. 171
Voice List................................ 172
Drum Kit List........................... 176
Preset Pattern List.................. 180
ABC Fingering Chart .............. 182
Troubleshooting...................... 184
Error Messages...................... 186
Specifications ......................... 188
Index..................................... 190
4
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Precautions
Your QY22 will give you years of reliable service if you follow the simple rules given below:
■ Location
Do not expose the instrument to the following
conditions to avoid deformation, discoloration,
or more serious damage.
• Direct sunlight (e.g. near a window).
• High temperatures (e.g. near a heat source,
outside, or in a car during the daytime).
• Excessive humidity.
• Excessive dust.
• Strong vibration.
■ Power Supply
• Turn the power switch OFF when the instru-
ment is not in use.
• If you use an AC power adaptor, unplug the
adaptor from the AC outlet if the instrument is
not to be used for an extended period of time.
• Unplug the AC power adaptor during electric
storms.
• Avoid plugging an AC power adaptor used with
the QY22 into the same AC outlet as appli-
ances with high power consumption, 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
devices to which it is connected (a sound sys-
tem, for example), turn the power switches of all
related devices OFF prior to connecting or dis-
connecting audio and MIDI cables.
■ Handling and Transport
• Never apply excessive force to the controls,
connectors 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.
5
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Precautions
The backup battery should last for several
years. When the backup battery needs to be
replaced “Backup Batt. 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 BAT-
TERY YOURSELF!
• Internal memory data can be corrupted due to
incorrect operation. We recommend that you
use the QY22 MIDI bulk dump utility (see page
163 for details) to transfer important data to a
MIDI data recorder such as the Yamaha MDF2
for safe long-term storage. Yamaha cannot be
held responsible for data loss caused by battery
failure or improper operation of the QY22!
■ Service and Modification
• The QY22 contains no user serviceable parts.
Opening it or tampering with it in anyway can
lead to irreparable damage and possibly electric
shock. Refer all servicing to qualified YAMAHA
personnel.
YAMAHA is not responsible for damage caused by
improper handling or operation.
• Physical shocks caused by dropping, bumping,
or placing heavy objects on the instrument can
result 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 sur-
face).
■ Electrical Interference
• This instrument contains digital circuitry and
may cause interference if placed too close to
radio or television receivers. If this occurs,
move the instrument further away from the af-
fected equipment.
■ Data Backup
• The QY22 contains a special long-life battery
that retains the contents of its internal RAM
memory even when the power is turned OFF.
6
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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 QY22 in the quickest, most effi-
cient manner possible.
This icon warns of possible hardware
damage, software malfunction, or any other
serious problem that may occur due to im-
proper operation or set up.
This icon marks information that you
must read — i.e. important steps or proce-
dures that are essential for proper, efficient,
or easy operation.
The magnifying-glass icon indicates in-
formation that may not be essential for gen-
eral operation, but is a more detailed expla-
nation 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 func-
tion 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.
CAUTION
DETAIL
IMPORTANT
MUSICAL
NOTE
HINT
7
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1
The QY22:
What It Is & What It Can Do
What It Is .....................................................................8
Voice Mode .............................................................. 9
Song Mode...............................................................9
Pattern Mode ......................................................... 11
What It Can Do......................................................... 12
8
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SOUND
OUTPUT
QY22 Modes
SONG MODE
8 tracks: 4 sequencer tracks
+ 4 accompaniment tracks.
PATTERN MODE
Patterns for SONG mode
accompaniment tracks +
ABC auto-accompaniment.
VOICE MODE
AWM tone generator with
128 voices & 8 drum kits.
What It Is …
The QY22 is a complete music production system with tone generator, sequencer, and auto-
accompaniment capability all integrated with a sophisticated control interface. It has 3
modes that provide access to its 3 main functional blocks: the VOICE mode, the SONG
mode, and the PATTERN mode.
1 The QY22: What It Is & What It Can Do
9
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VOICE Mode ————————————————————————————
1 The QY22: What It Is & What It Can Do
The QY22’s internal AWM tone generator provides full General
MIDI Level 1 compatibility with 128 top-quality General MIDI
voices plus 8 complete drum kits with different drum and percussion
instruments assigned to different notes. You can assign any of these
voices to the internal sequencer tracks (➪ page 38), or play them di-
rectly from an external keyboard or other MIDI controller via the
MIDI interface (➪ page 168).
DETAIL
See the Appendix (page 172) for a complete list of the QY22 voices.
Think of the QY22 SONG mode as an 8-track tape recorder or 8-
part score that lets you record different parts of a musical composition
one at a time, and then play them back all together. You can even edit
certain parts after they’ve been recorded to correct mistakes and fine-
tune the overall sound. The QY22 has an internal memory that will
hold up to 20 complete songs. For extra storage capacity you can use
the MIDI bulk dump utility to transmit the song data to a MIDI data
recorder such as the Yamaha MDF2 (➪ page 163).
The SONG mode’s 8 tracks are actually divided into 2 4-track
groups: tracks 1 through 4 are the sequencer tracks, while the re-
maining 4 tracks are the accompaniment tracks. The difference is
described below.
SONG Mode ————————————————————————————
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SONG Mode Tracks
Sequencer track 1 (“TR1”)
Sequencer track 2 (“TR2”)
Sequencer track 3 (“TR3”)
Sequencer track 4 (“TR4”)
Accompaniment chord 1 (“C1”)
Accompaniment chord 2 (“C2”)
Accompaniment bass (“Ba”)
Accompaniment drums (“Dr”)
Sequencer
tracks.
Accomp.
tracks
1 The QY22: What It Is & What It Can Do
● The Sequencer Tracks
The QY22 sequencer has 4 “normal” sequencer tracks to
which you can individually assign any of the 128 internal
voices (or 8 drum kits if desired), and record just about any-
thing you like either via the QY22’s own micro keyboard or
an external keyboard connected to the QY22 MIDI IN connec-
tor. You can use the real-time record mode (➪ page 109) so
that the QY22 records exactly what you play as you play it, or
the step record mode (➪ page 115) in which notes can be en-
tered one at a time. The step record mode lets you record ex-
tremely fast or complex passages that would be impossible to
play in real time.
The remaining four tracks are dedicated to producing accompani-
ment: the chord 1 and chord 2 tracks, a bass track, and a drum
track. The accompaniment tracks differ from the sequencer tracks in
2 ways:
1. Accompaniments are produced by specifying a sequence of pat-
terns to be played rather than by recording individual notes or
chords (➪ page 52). The QY22 has 100 preset patterns that you
can simply select and use, and can store up to 100 original pat-
terns you create in the PATTERN mode (➪ page 78).
● The Accompaniment
Tracks
11
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PATTERN Mode ——————————————————————————
1 The QY22: What It Is & What It Can Do
2. The accompaniment tracks feature Yamaha’s advanced ABC
(Auto Bass Chord) auto-accompaniment system (➪ page 47).
Of course, you can create accompaniments without using ABC
if you like.
The QY22 PATTERN mode produces the accompaniment patterns
that are used by the SONG mode accompaniment tracks. The best of
the QY20’s preset patterns have been incorporated into the QY22’s
preset patterns as well as some powerfully new patterns created espe-
cially for the QY22. 100 preset patterns are provided (each with 6
variations: Intro, Normal, Variation, Fill-in 1, Fill-in 2, and Ending)
that you can simply select and use to create accompaniments in a
wide variety of styles (➪ page 42). In the PATTERN mode you can
also record entirely original patterns that you’ll later string together in
the SONG mode to create a complete accompaniment track (➪ page
52). The ABC auto-accompaniment feature can be applied to your
own patterns. The QY22 can store up to 100 original patterns, and
you can use the MIDI bulk dump utility to transmit pattern data to a
MIDI data recorder such as the Yamaha MDF2 if you want extra stor-
age capacity (➪ page 163).
DETAIL
See the Appendix (page 180) for a complete list of the preset patterns.
12
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1 The QY22: What It Is & What It Can Do
What It Can Do …
Here are a few ideas on how you can use the QY22. There’s no way we can cover all pos-
sibilities, but the ideas presented might help to spark some new and interesting applications.
Create accompaniments that you can practice with on your guitar,
keyboard, or any other instrument (vocals too, of course). That way
you have the advantage of practicing with a bass line and chords in-
stead of just a metronome or drum machine (➪ page 52).
Use the drum kit voices to record on the sequencer tracks, or record
drum-only patterns in the PATTERN mode that you can later string
together in the SONG mode. You can also use the drum tracks from
the preset patterns (➪ page 75).
● A Super Practice Tool
● Use It As A Drum Machine
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1 The QY22: What It Is & What It Can Do
● Compose & Arrange
● Serious Music Production
● Use It As a Tone Generator
● Add ABC Capability to Your
MIDI Keyboard
The QY22’s outstanding voices, versatile sequencing capability,
and in-depth editing features make it a perfect tool for trying out mu-
sical ideas and arrangements. It’s also a great way to present your
ideas to others (➪ page 108).
Use the QY22 as an adjunct to serious music recording and pro-
duction. It can, for example, be MIDI-clock synchronized to other
MIDI equipment in order to add extra tracks to an arrangement (➪
page 160).
The QY22’s AWM tone generator is in no way a compromise. You
get outstanding AWM sound quality that’s on a par with some of the
finest full-size synthesizers. You can select and play the QY22 voices
remotely from just about any MIDI keyboard, computer, or other con-
troller (➪ page 168).
Use the QY22 as an “ABC expander” for your MIDI keyboard.
Auto-accompaniment can make playing at home more fun, and it can
be a tremendous sound-booster at 1-performer live gigs (➪ page 170).
14
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About General MIDI
The QY22 is fully compatible with the General MIDI System Level 1 Standard.
As you probably know, MIDI (Musical Instrument Digital Interface) makes it possi-
ble for various electronic musical instruments and other devices to “communicate” with
each other. For example, by connecting a sequencer to a synthesizer, you can play back
a songs data on the sequencer using the voices of the synthesizer.
But until General MIDI came along, the problem has been that voice assignments
had never been standardized. So, if you were to create a song using tone generator A’s
piano voice and then play it back on tone generator B, it might be played back as an
organ voice. This is because each company has used it’s own voice assignments in it’s
products.
The General MIDI Level 1 Standard was developed to solve this problem. The most
important feature of General MIDI is the standardization of voices. This means that a
song recorded in the General MIDI format can be played back on any General MIDI
compatible tone generator and sound just as the composer had intended.
GENERAL
1 The QY22: What It Is & What It Can Do
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2
Setting Up:
Power & Connections
Power Supply..........................................................16
Using Batteries......................................................16
When to Replace the Batteries .....................................
17
Using a Power Adaptor.........................................18
Setting Up Your System.......................................19
The Connectors .................................................... 19
Audio Connections................................................21
MIDI Connections ................................................. 22
16
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2 Setting Up: Power & Connections
Six 1.5V AA size (SUM-3 or R6P) or equivalent alkaline batteries
must first be installed in the battery compartment.
Open the battery compartment cover — located on the instrument’s
bottom panel — by pressing down on the grooved section of the cover
and sliding in the direction of the arrow, as shown in the illustration.
Z
Open Battery
Compartment Cover
Power Supply
Your QY22 will run either from batteries or an optional AC adaptor. Follow the instructions
below according to the power source you intend to use.
Using Batteries ——————————————————————————
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Insert the six batteries, being careful to follow the polar-
ity markings on the bottom panel.
2 Setting Up: Power & Connections
X
Insert Batteries
Replace the compartment cover, making sure that it locks firmly in
place.
When the batteries run down and are no longer able to operate the
QY22, the sound may become distorted and the display shown to the
left will appear.
When this display appears, replace the batteries with a complete set
of six new batteries. NEVER mix old and new, or different types of
batteries (e.g. alkaline and manganese)!
CAUTION
To prevent possible damage due to battery leakage, remove the batteries
from the instrument if it is not to be used for an extended period of time.
C
Replace Cover
When to Replace the Batteries————————————————————
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DC IN
AC power socket.
PA-3
PA-4
PA-40
2 Setting Up: Power & Connections
Using a Power Adaptor ———————————————————————
Plug the DC output cable from a Yamaha PA-3, PA-4, or PA-40
AC Adaptor (available from your Yamaha dealer) into the DC IN jack
on the rear panel, then plug the adaptor into a convenient wall AC
power socket.
CAUTION
Do not attempt to use an AC adaptor other than the specified unit or an
appropriate replacement provided by your Yamaha dealer to power the
QY22. The use of an incompatible adaptor may cause irreparable dam-
age to the QY22, and might pose a serious shock hazard!
Be sure to unplug the AC adaptor from the AC mains socket when the
QY22 is not in use.
19
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VOLUMEMIN MAX PHONES
CONTRAST DC INOUT
——
MIDI
——
INLINE OUT
2 Setting Up: Power & Connections
Setting Up Your System
What you will connect the QY22 to, and what you will connect to the QY22, will depend en-
tirely on your individual requirements, and it would be impossible to cover all possibilities
here. A few examples are provided below to help you get started.
The Connectors ——————————————————————————
Right Side Panel
Rear Panel
4
21
3
20
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2 Setting Up: Power & Connections
This jack is only used when you are powering the QY22 from an
optional AC adaptor instead of batteries. The DC output cable from
an optional Yamaha PA-3, PA-4, or PA-40 AC Power Adaptor is
plugged in here.
DETAIL
The batteries are automatically disconnected when a plug is inserted into
the DC IN jack.
If you plan to use a MIDI keyboard or other instrument to play and
program the QY22, it should be connected to QY22 MIDI IN connec-
tor (see “MIDI Connections,” below). The MIDI OUT connector can
be connected to an external tone generator if you want to drive exter-
nal voices from the QY22 sequencer, or a MIDI data recorder such as
the Yamaha MDF2 if you want to store your songs and patterns to
floppy disk (➪ page 163).
This miniature stereo phone plug delivers a line-level stereo output
signal from the QY22 for connection to a stereo sound system (see
“Audio Connections,” below). The output level is adjusted via the
VOLUME control on the right side panel.
Any pair of stereo headphones with the miniature stereo phone plug
can be plugged in here for convenient monitoring. The PHONES out-
put level is adjusted via the VOLUME control on the right side panel.
1 DC IN Jack
2 MIDI IN & OUT Connectors
4 PHONES Jack
3 LINE OUT Jack
21
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Stereo sound system
LINE OUT
LR
2 Setting Up: Power & Connections
Audio Connections —————————————————————————
The simplest way to monitor the QY22 sound is via a pair of stereo
headphones (miniature stereo phone plug type) plugged into the
PHONES jack. If you want to use an external stereo sound system,
however, use the LINE OUT jack and the supplied “Y” cable (minia-
ture stereo phone plug to dual RCA pin plugs). The white RCA pin
plug goes to the left-channel input of your stereo sound system and
the red plug goes to the right-channel input.
CAUTION
Make sure that both the QY22 and your sound system are turned OFF
when making connections.
22
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
OUT
——
MIDI
——
IN
with
MIDI Interface
2 Setting Up: Power & Connections
MIDI Connections —————————————————————————
Although the QY22 can be played and programmed from the built-in micro
keyboard, it can also be connected to an external keyboard or computer for added
benefits. An external MIDI keyboard connected to the MIDI IN connector pro-
vides the added advantages of standard keyboard size and key velocity sensitivity
(if your keyboard has a velocity-sensitive keyboard). Connected to a computer
with sequencing software, the QY22’s high quality Voices and Multi-timbral
capabilities can easily expand your home studio setup. Connect the MIDI OUT
connector of the keyboard, or other control device, to the MIDI IN connector of
the QY22, and make sure that your keyboard is set to transmit on the appropriate
MIDI channel. The QY22 MIDI assignments are as follows:
MIDI Channel Voice
1 ........................ Sequencer track TR1
2 ........................ Sequencer track TR2
3 ........................ Sequencer track TR3
4 ........................ Sequencer track TR4
5 ........................ Accompaniment track C1 (Chord 1)
6 ........................ Accompaniment track C2 (Chord 2)
7 ........................ Accompaniment track Ba (Bass)
10 ...................... Accompaniment track Dr (Drums)
This simply means that if your keyboard transmits on MIDI channel 1, it will con-
trol the QY22 voice that is currently assigned to sequencer track 1, and so on. See
page 38 for instructions on how to assign different voices to the SONG mode tracks.
DETAIL
Data received on MIDI channels other than those listed above also produce sound,
according to the received MIDI program change messages (see the “MIDI Data
Format” booklet). Also, if the QY22 is to be used as a General MIDI tone generator,
the MIDI Ctl (MIDI Control) parameter should be set to “Off” (See page 160)
OUT
——
MIDI
——
IN
MIDI OUT
23
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
3
Getting to Know the QY22:
How the Controls Work
The Controls ............................................................... 24
Play the Demo ............................................................ 34
24
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
VOLUMEMIN MAX PHONES
ON OFF POWER
CONTRAST DC INOUT
——
MIDI
——
INLINE OUT
3 Getting to Know the QY22: How the Controls Work
The QY22 has fairly simple, consistent control interface that, once understood, makes op-
eration 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 QY22’s many advanced features.
Left Side Panel
Right Side Panel
1 !
Rear Panel
2
The Controls————————————————————————————
25
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
7
( 11)
7
( 5)
7
( 13)
add9
E FGABCD
MM76 7 m7m6m
m7
(b5)
m7
(b5)
add9
M9 aug 9 m9 mM7
m7
(11)
A
B
G
A7
( 13 )
7
(#9)
7
(b9)
7sus4
sus4
dim
– – –
F
G
D
E
C
D
MODE
MENU
–
1
+
1
NO YES
ENTER
INTRO NORMAL VARI. FILL1 FILL2 ENDING
CC
BASS
OCT
DOWN
OCT
UP
GENERAL
MUSIC SEQUENCER
3 Getting to Know the QY22: How the Controls Work
4
5
8
9
736
0
Front Panel
2
26
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
MODE
CONTRAST
ON OFF POWER
3 Getting to Know the QY22: How the Controls Work
Slide to the “ON” position to turn the QY22 on, and to the “OFF”
position to turn it off.
IMPORTANT
Always turn the power switch off when not using your QY22.
This large multi-function liquid crystal display panel shows all pa-
rameters and prompts you need to operate the QY22 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).
Use this key to switch between the QY22’s SONG, VOICE, and
PATTERN modes.
Try This:
Turn your QY22 on (the power switch is on the left
side), then press the
[
MODE
]
key a few times and
watch how the display changes. The
[
MODE
]
key calls
the SONG, VOICE, and PATTERN mode displays in
sequence.
1 POWER Switch
2 LCD Display &
CONTRAST Control
3
[
MODE
]
Key
27
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Down
Up
Left Right
3 Getting to Know the QY22: How the Controls Work
These 4 keys move the “cursor” around the display screen, high-
lighting the various parameters that are available for editing (the
QY22 cursor appears as a dark block with inverse characters).
Try This:
Select the SONG mode display (use the
[
MODE
]
key,
as described above), then try using the cursor keys to
move the cursor around the screen.
4 Cursor Keys
MODE
MODE
MODE
28
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
–
1
+
1
NO YES
These keys are used to edit (change the value of) the parameter at
which the cursor is currently located. The
[
−1/NO
]
key decrements
(decreases 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
specified direction.
The
[
−1/NO
]
and
[
+1/YES
]
keys are also used to respond to “Are
you sure?” prompts when they appear. Press
[
+1/YES
]
to go ahead
with the operation, or
[
−1/NO
]
to cancel.
HINT
For even faster decrementing or incrementing, press the opposite incre-
ment/decrement key while holding the key corresponding to the direction
you want to increment/decrement in.
Try This:
Select the SONG mode display (use the
[
MODE
]
key,
as described above), use the cursor keys to select the
transpose parameter (“Trns” on the display), then try
using the
[
−1/NO
]
and
[
+1/YES
]
keys to change its
value. Set it back to “+00” before continuing.
3 Getting to Know the QY22: How the Controls Work
5
[
−1/NO
]
and
[
+1/YES
]
Keys
m
This is the transpose
parameter.
Use
–
1
+
1
NO YES
to set.
29
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MENU
3 Getting to Know the QY22: How the Controls Work
The
[
MENU
]
key calls a menu of functions or sub-modes that can
be accessed from the current QY22 mode, and the function keys (the
small round yellow keys) select the corresponding item from the
menu that appears on the display.
Try This:
Select the SONG mode display (use the
[
MODE
]
key,
as described above), then press the
[
MENU
]
key. You
should see the menu shown to the left.
Next press the top function key (the one immediately
to the right of “Job” on the menu) to call the SONG
mode Job List:
You can now use the cursor keys (up and down only)
to select the various items in the Job List. Leave the
display as it is for now, and read about the
[
ENTER
]
key, below.
6
[
MENU
]
and Function
Keys
m
Press to see
job list.
m
m
Move cursor down.
Move cursor up.
30
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ENTER
In addition to “entering” chords in SONG and PATTERN modes
(which we’ll learn about later), the
[
ENTER
]
key is used to “enter” a
selected menu function.
Try This:
Assuming that you’ve gone through the “Try this:”
procedure for the
[
MENU
]
and Function keys, above,
you should now have the SONG mode Job List on your
QY22 screen. Use the cursor keys (up and down only)
to select job number 2 “Copy Meas”. Now press the
[
ENTER
]
key to actually engage the copy measure job
— the display should appear as shown to the left.
Since we don’t really want to use the copy measure
job, press the
[
MODE
]
key to go back to the SONG
mode. You could also press the top function key (next
to “Exit >” on the display) to first move back to the
Job List, and then again to return to the SONG mode.
The sequencer keys control recording and playback in the SONG
and PATTERN modes, and allow you to locate a specific measure
within a song or pattern. Their layout and functions are similar to the
transport controls on a tape recorder.
3 Getting to Know the QY22: How the Controls Work
7
[
ENTER
]
Key
8 Sequencer Keys
31
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
m7
( 5)
7
( 11)
7
( 5)
7
( 13)
7
( 9)
7
( 9)
E FGABCD
MM76 7 m7m6m
add9
M9 aug 9 m9 mM7
m7
(11)
A
B
G
A7
( 13 )
7sus4
sus4
dim
– – –
F
G
D
E
C
D
INTRO NORMAL VARI. FILL1 FILL2 ENDING
CC
add9
RECORD READY
Press this key to engage the
record ready mode. You have to
press START/STOP to actually
start recording.
MOVE FORWARD
Press briefly to move forward
one measure, or hold for
continuous scrolling.
START/STOP
Press to start or stop recording
or playback.
MOVE BACK
Press briefly to move back one measure,
or hold for continuous scrolling.
GO TO TOP
This key takes you straight to the
first measure ("top") of the current
song or pattern.
3 Getting to Know the QY22: How the Controls Work
When programming the
accompaniment tracks the
micro-keyboard is also used
to specify the chord roots and
types to be entered.
This tiny 2-octave keyboard makes it possible to program the QY22
anywhere, anytime, without having to connect an external MIDI key-
board. It’s even polyphonic, so you can directly enter chords as well
as single notes. The only thing it lacks is velocity sensitivity. The
QY22 does, however, accept velocity information from an external
MIDI keyboard.
9 Micro Keyboard
32
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BASS
OCT
DOWN
OCT
UP
Try This:
In the SONG mode, use the cursor keys to place the
cursor at the sequencer track 1 position (“TR1” on the
display).
Now play the micro keyboard. You should hear the
voice that is currently assigned to sequencer track 1.
Also try moving the cursor to the accompaniment bass
(“Ba”) and drum (“Dr”) tracks and playing the cur-
rently assigned bass and drum voices. In the SONG
mode, the micro keyboard plays the voice assigned to
the currently selected track (unless you’re recording the
accompaniment chord tracks, in which case it is used to
specify chords).
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 keyboard 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.
3 Getting to Know the QY22: How the Controls Work
0 Octave Keys
Sequencer
track 1.
m
33
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VOLUMEMIN MAX
3 Getting to Know the QY22: How the Controls Work
When recording the accompaniment chord tracks in the step mode,
the
[
OCT DOWN
]
key is used to specify the bass note for chords,
while the
[
OCT UP
]
key is used to enter syncopated chords.
The VOLUME control adjusts the volume of the sound delivered
via both the LINE OUT and PHONES jacks. Slide the control toward
“MAX.” to increase the volume or toward “MIN.” to decrease the
volume.
CAUTION
Set the VOLUME control to “MIN.” when connecting the QY22 to a sound
system for the first time, then gradually raise the volume level until the
required listening level is reached. This simple precaution can prevent
unexpectedly high volume levels from damaging your speaker system
(and maybe even your ears!).
! VOLUME Control
34
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MENU
Play the Demo ———————————————————————————
3 Getting to Know the QY22: How the Controls Work
Once you’ve set up your QY22 and become familiar with the con-
trols, you might like to play back the pre-programmed demonstration
to hear what the QY22 can do.
Z
From the SONG or VOICE mode display (use the
[
MODE
]
key
to select) press the
[
MENU
]
key.
X
Press the function key
immediately next to
“DEMO” on the display.
The initial demo display
should appear.
C
Press the
[
]
key to start demo playback. The demo will play
repeatedly until stopped.
V
Press the
[
]
key to stop the demo, then press the
[
MODE
]
key to return to the mode from which the demo was engaged.
35
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4
The VOICE Mode:
Selecting, Playing, & Assigning
the QY22 Voices & Drums
Try Out the Voices ...................................................... 37
Making Voice-to-Track Assignments .......................... 38
The Mute Buttons........................................................38
The Pan Pots ..............................................................39
The Faders.................................................................. 40
36
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MODE
4 The VOICE Mode: Selecting, Playing, & Assigning the QY22 Voices & Drums
The QY22 has 128 voices and 8 drum kits that can be selected, played, and assigned to the
SONG mode tracks in the VOICE mode. The voice mode also features a graphic on-screen
“mixer” that has mute buttons, pan pots, and faders for each track.
Use the
[
MODE
]
key to select the VOICE mode display.
SONG mode tracks.
Current track.
Mute buttons.
Faders.
Voice numbers.
Voice assigned to current track.
m
m
m
m
Pan pots.
m
m
m
37
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Try Out the Voices —————————————————————————
Move the cursor to the voice number immediately below “TR1” on
the display (as in the display shown to the left). Note that the name of
the voice currently assigned to TR1 appears in the upper right corner
of the display. Play the micro keyboard and you’ll hear that voice.
DETAIL
In any QY22 mode, the micro keyboard plays the voice assigned to the
currently selected track. A MIDI keyboard connected to the MIDI IN con-
nector, however, will only play the voice assigned to the track that re-
ceives on the MIDI channel that the external keyboard is transmitting on:
MIDI channel 1 plays TR1, channel 2 plays TR2, channel 3 plays TR3,
channel 4 plays TR4, channel 5 plays C1, channel 6 plays C2, channel 7
plays Ba, and channel 10 plays Dr. Channel 10 also plays any other track
to which a drum voice (“Dr1” through “Dr8”) is assigned.
Use the
[
+1/YES
]
key to step through the QY22’s 128 voices (you
can use the
[
−1/NO
]
key to step backward, too), trying out each voice
on the keyboard.
Keep incrementing past voice number 128 and you’ll select drum
kits 1 through 8 (“Dr1” through “Dr8” on the display). Try these out
on the keyboard, too.
DETAIL
See the Appendix (page 176) for a complete list of note assignments (i.e.
which drum instruments are assigned to which notes) for all 8 drum kits.
HINT
If you’re playing the micro keyboard, use the octave keys to access the
full range of instruments in each drum kit.
4 The VOICE Mode: Selecting, Playing, & Assigning the QY22 Voices & Drums
Use
–
1
+
1
NO YES
to select
voice numbers.
38
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Making Voice-to-Track Assignments —————————————————
4 The VOICE Mode: Selecting, Playing, & Assigning the QY22 Voices & Drums
When you record accompaniments (➪ page 52) or complete songs (➪
page 108) in the SONG mode, you’ll need to specify which voices are to be
played by which tracks. These assignments are made in the VOICE mode.
To assign voices to the sequencer and accompaniment tracks, simply move
the cursor to the voice number of the desired track, then use the
[
−1/NO
]
and
[
+1/YES
]
keys to select the voice (or drum kit) for that track.
DETAIL
When a different pattern is selected in the SONG mode, the voice assignments
for that pattern are automatically recalled, overriding any voice assignments
made in the VOICE mode (the pan and volume settings are not changed).
In the VOICE mode, any of the Normal voices (001...128) or Drum voices
(Dr1...Dr8) can be assigned to any of the sequence tracks. However, in the
SONG EDIT mode, only the Normal voices (001...128) can be assigned to
sequencer tracks using the Program Change function. If you want to use a
Drum voice in a sequencer track, use the VOICE mode to assign a Drum voice
to the desired track.
The mute “buttons” below the voice number for each track can be used to
mute (turn off) the corresponding track. Move the cursor to the appropriate
mute button, then press
[
+1/YES
]
to mute that track, 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 rather than dark blocks. In the display to the left, for exam-
ple, TR1 through TR4 contain no data and are therefore white. The Ba track
has been muted, and the cursor is currently over the C2 track mute button.
The Mute Buttons —————————————————————————
39
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
–
1
+
1
NO YES
Note that the status of the mute button over which the cursor is located is
also indicated in the upper right corner of the display (in this example,
“Mute = off” for the C2 track).
MUSICAL
NOTE
The mute buttons are a handy way to simply turn tracks that you don’t
want to hear off. When recording songs or patterns, they also make it
possible to mute a “busy” track that might make it difficult to hear an im-
portant accompaniment track.
Like the pan pots on a mixing console, the VOICE mode pan pots
can be used to position the sound of the corresponding track any-
where from left to right in the stereo sound field. Position the cursor
at the pan pot, then use the
[
−1/NO
]
and
[
+1/YES
]
keys to set the pan
position. The graphic pan pot will rotate to the corresponding posi-
tion. 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. In the display to the left, TR3 is panned about
half way to the left (“Left 4”).
4 The VOICE Mode: Selecting, Playing, & Assigning the QY22 Voices & Drums
m
m
Mute on.Mute off.
–
1
+
1
NO YES
m
m
Pan right.Pan left.
The Pan Pots ———————————————————————————
40
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
–
1
+
1
NO YES
4 The VOICE Mode: Selecting, Playing, & Assigning the QY22 Voices & Drums
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 the
[
−1/NO
]
and
[
+1/YES
]
keys to set the fader level.
The graphic fader will move to the corresponding position (higher for
higher volume, and lower for lower volume). 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.
In the display to the left, the TR2 fader has been set to a quiet “50.”
HINT
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 param-
eters (change voices, mute tracks, pan, and change volume settings)
while listening to the results in real time!
m
m
Raise volume.
Lower volume.
41
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5
Easy Accompaniment for
Other Instruments
Selecting & Playing the Preset Patterns.......... 42
Changing Chords .................................................. 47
Muting Tracks .......................................................51
Record a Complete Accompaniment................52
Realtime Accompaniment Recording ................... 52
Step Accompaniment Recording ..........................59
Using the QY22 As a Drum Machine ................ 75
42
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5 Easy Accompaniment for Other Instruments
Selecting & Playing the Preset Patterns
Using the QY22 preset patterns you can easily create accompaniments that you can play or
sing along with.
The QY22 has 100 preset accompaniment patterns covering a wide variety of musical
styles. Here’s how you can select and play the patterns while in the SONG mode.
In order to select and play the patterns as de-
scribed in this section you must select an empty song
(i.e. one in which nothing has been recorded). Empty
songs are indicated by a row of asterisks
(“********”) following the song number. Different
song numbers (1 through 20) are selected simply by
moving the cursor to the song number and using the
[
−1
]
and
[
+1
]
keys.
Z
Select the SONG mode
and an “empty” song.
Song number (1 … 20).
Use
–
1
+
1
NO YES
to set.
m
m
Asterisks (*) indicate an
empty song.
43
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
5 Easy Accompaniment for Other Instruments
X
Select a pattern number.
Use the cursor keys to move the cursor to the accompaniment pat-
tern number, then use the
[
−1
]
and
[
+1
]
buttons to select the pattern
you want to play. The preset patterns are numbers 001 through 100.
C
Start playback.
Press the
[
]
key to start playback of the selected accompani-
ment pattern. The play indicator will appear in the display and the
green LED above the
[
]
key will flash at the current playback
tempo.
Place the cursor here (this is the
accompaniment pattern number).
DETAIL
Note that the “Meas” (measure) number
on the display advances as each meas-
ure is played. In this mode playback will
continue up to measure “999” and then
repeat from measure “001”.
m
m
Play indicator.
Measure number.
44
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
5 Easy Accompaniment for Other Instruments
Each preset pattern has 6 variations or “sections” — INTRO, NOR-
MAL, VARI., FILL1, FILL2, and ENDING.
INTRO ........ introduction
NORMAL.... normal pattern, used for the “verse” of a song.
VARI. .......... variation, normally used as a chorus or bridge.
FILL1 .......... fill-in 1, transition from normal to variation.
FILL2 .......... fill-in 2, transition from variation to normal.
ENDING...... ending pattern.
IMPORTANT
When the INTRO, FILL1, and FILL2 sections are selected while playing a
pattern in the SONG mode, the section plays through once and is auto-
matically followed by either the NORMAL or VARI. pattern. INTRO is
followed by NORMAL, FILL1 is followed by VARI. and FILL2 is followed
by NORM. The FILL1 and FILL2 patterns automatically provide smooth,
“musical” transitions between the NORMAL and VARI. sections. Playback
stops automatically after the ENDING section.
The currently selected section is shown between square brackets
below the pattern number and name.
V
Listen to the pattern’s
variations.
The “Normal” selection
is currently playing.
45
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
E FGABC
INTRO NORMAL VARI. FILL1 FILL2 ENDING
5 Easy Accompaniment for Other Instruments
You can change patterns directly by pressing the appropriate key on
the micro-keyboard while the cursor is located at either the pattern
number or the section name on the display.
DETAIL
The micro-keyboard section keys do not produce any sound when used to
switch sections.
The newly selected section will begin playing from the top of the
next measure. “next” will appear below the pattern number until the
new section actually begins playing.
“Fill1” has been selected and will begin
playing from the top of the next measure.
DETAIL
You can also change sections by placing the cursor over the section
name and using the [
−
1] and [+1] keys.
–
1
+
1
NO YES
to select sections.
46
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
5 Easy Accompaniment for Other Instruments
With the cursor positioned over the pattern number you can use the
[
−1
]
and
[
+1
]
keys to select different patterns, and use the micro-key-
board section keys to select different sections during playback. In all
cases the newly selected pattern or section will begin playing from the
top of the next measure. “next” will appear below the pattern number
until the new pattern or section actually begins playing.
B
Select different patterns &
sections.
N
Stop playback when done.
Stop playback at any time by pressing the
[
]
key. For a more
musical ending, select the ENDING section. Playback will stop auto-
matically after the ENDING section.
DETAIL
Depending on the selected pattern, some voices may not sound if a pat-
tern is started from a point in the middle of the pattern rather than at the
beginning.
HINT
If you move the cursor to the tempo parameter (indicated by a note sym-
bol and a number in the upper right corner of the display), you can use
the [
−
1] and [+1] buttons to set the playback tempo to anywhere from 30
to 250 beats per minute. Please note, however, that if you play a pattern
that has a slow default tempo at a fast tempo, some notes may be un-
naturally cut off.
–
1
+
1
NO YES
to set tempo from 30 to 250 beats per minute.
47
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5 Easy Accompaniment for Other Instruments
Changing Chords —————————————————————————
Z
Play a pattern.
The QY22 features a sophisticated ABC (Auto Bass Chord) system that automatically re-harmonizes
the chord and bass 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.
Select and play one of the preset patterns, as described in the pre-
ceding section.
The micro-keyboard can be used to enter chords only when the cur-
sor 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 dis-
play.
X
Move the cursor to the
chord symbol.
m
Chord symbol.
48
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
G
7
9
ENTER
m7
( 5)
7
( 11)
7
( 5)
7
( 13)
7
( 9)
7
( 9)
E FGABCD
MM76 7 m7m6m
add9
M9 aug 9 m9 mM7
m7
(11)
A
B
G
A7
( 13 )
7sus4
sus4
dim
– – –
F
G
D
E
C
D
INTRO NORMAL VARI. FILL1 FILL2 ENDING
CC
add9
5 Easy Accompaniment for Other Instruments
C
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 alternately select the lower and upper chord types marked
… watch the display), and finally the
[
ENTER
]
key.
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.
DETAIL
Actually, you can press the chord type key and then the root key, the
order doesn’t matter.
Example: Enter a G7 chord.
49
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
5 Easy Accompaniment for Other Instruments
The Chord Types
add9...... major added ninth.
M........... major.
M9......... major ninth.
M7......... major seventh.
aug........ augmented.
6............ sixth.
9............ ninth.
7............ seventh.
add9...... minor added ninth.
m........... minor
m9......... minor ninth.
m7......... minor seventh.
mM7...... minor major seventh.
m6......... minor sixth.
m7(11) .. minor seven eleven.
m7(b5) .. minor seven flat five.
7(#9) ..... seventh sharp nine.
7(b9) ..... seventh flat nine.
7(b13) ... seventh flat thirteen.
7(13) ..... seventh thirteen.
7(#11) ... seventh sharp eleven.
7(#5) ..... seventh sharp five.
7sus4 .... seventh suspended four.
sus4 ...... suspended four.
- - - ........ non-ABC (see “DETAIL”
below).
dim........ diminished.
DETAIL
The “- - -” chord type marking is a special “non-ABC” type that can be
used to create accompaniment patterns without the harmonic limitations
of the ABC system. See page 95 for details.
HINT
If you enter only the chord root without a chord type, the result will be a
major chord.
50
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5 Easy Accompaniment for Other Instruments
During playback you can move the cursor up to the pattern number,
select a different pattern, then move the cursor back to the chord sym-
bol and try different chords with the new pattern.
HINT
If you move the cursor to the “Trns” (transpose) parameter, you can use
then [
−
1] and [+1] buttons to transpose the pitch of the entire pattern up
or down in semitone increments over a range of two octaves. A transpose
setting of “+00” produces normal pitch.
Stop playback by pressing the
[
]
key. You can also stop play-
back after an appropriate ending by selecting the ENDING section
(the cursor must be on the pattern number or section name to do this).
V
Try out the various chords
with different patterns.
B
Stop playback when done.
51
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
–
1
+
1
NO YES
5 Easy Accompaniment for Other Instruments
Muting Tracks ———————————————————————————
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 but-
tons appear as white rather than dark blocks. Please note that a dark
mute button will appear reversed when the cursor is placed over it
(white against the dark cursor). In the display to the left, for example,
TR1 through TR4 contain no data and are therefore white. The C1
and C2 tracks have been muted, and the cursor is currently over the
C2 track mute button.
MUSICAL
NOTE
The mute buttons are a handy way to turn tracks that you don’t want to
hear off. In the example above, for example, the C1 and C2 tracks have
been turned off, leaving only the bass and drum accompaniment. You
could also mute the bass track if you just want drums.
The mute “buttons” below each track name can be used to mute
(turn off) the corresponding track, either while playback is stopped or
running. Move the cursor to the appropriate mute button, then press
[
+1/YES
]
to mute that track, or press
[
−1/NO
]
to turn a muted track
back on.
m
m
Mute off. Mute on.
52
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5 Easy Accompaniment for Other Instruments
Record a Complete Accompaniment
The QY22 provides two ways to record an accompaniment by specifying patterns and
chords: “realtime” and “step” recording. The realtime method is the fastest and easiest, let-
ting 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 patterns, sections, and enter chords
in the SONG mode (see the preceding sections), recording a basic
accompaniment in real time is easy. Repeats and tempo changes can
be added later using the step record method (page 59).
Use the
[
MODE
]
key to select the SONG mode and, with the cur-
sor located over the song number at the top of the display, use the
[
−1
]
and
[
+1
]
keys to select an empty song number if necessary.
Empty songs are indicated by a row of asterisks (“********”) follow-
ing the song number.
Z
Select the SONG mode &
an empty song.
53
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MODE
5 Easy Accompaniment for Other Instruments
Asterisks (*) indicate an empty song.Song number (1 … 20).
DETAIL
If for some reason all 20 songs contain data, use the
“Clear Song” function described on page 137 to clear a
song for recording.
X
Engage the record ready
mode.
Press the
[
●
]
key to engage the record ready mode. The red LED
above the
[
●
]
key will light.
“REC” appears when the
record mode is engaged.
54
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5 Easy Accompaniment for Other Instruments
m
Place cursor here to select
the realtime record mode.
C
Select the realtime
record mode.
Move the cursor to the “REC REAL STEP” area of the display,
then press the left cursor key to select the “REAL” mode (if it isn’t
already selected). The selected record mode is indicated by a pair of
arrows on either side of the mode name — i.e. “>REAL<”. Once
selected, move the cursor vertically to move to other areas of the
screen. The arrows will remain positioned at the selected mode no
matter where you move the cursor.
V
Select the starting pat-
tern, section, chord, &
tempo.
Move the cursor to the pattern number, section, chord, and tempo
parameters, and set as required.
HINT
It’s sometimes easier to set a slow tempo for realtime recording, so you
have plenty of time to enter pattern and chord changes.
55
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
5 Easy Accompaniment for Other Instruments
B
Select the “Pat” track to
record pattern & 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 verti-
cally to move to other areas of the screen. An underline will remain
below the selected track no matter where you move the cursor.
Select “Pat” to record pattern changes.
N
Record.
Press the
[
]
key to begin recording pattern changes. The met-
ronome 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 pattern is se-
lected, for example, the count-in will
run from measure “−08” to “−01”,
then recording will begin from
measure “001”.
m
Realtime recording in progress.
Minus measure numbers during
count-in.
56
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5 Easy Accompaniment for Other Instruments
Since you selected “Pat” recording, the cursor will automatically
move to the pattern number when you start recording. All you have to
do to record pattern and section changes is to select the required pat-
tern numbers via the
[
−1
]
and
[
+1
]
keys, and section changes via the
appropriate micro-keyboard keys. Remember that all pattern and sec-
tion changes occur from the top of the
next measure after the change
is entered. Also keep in mind that the INTRO will automatically
switch to the NORMAL pattern, FILL1 will automatically switch to
the VARI. pattern, and FILL2 will automatically switch to the NOR-
MAL pattern.
DETAIL
The sequencer tracks (TR1 through TR4) will not sound during accompa-
niment track recording even if they contain data.
Stop recording either by pressing the
[
]
key or by selecting the
ENDING section. The normal SONG play mode is automatically re-
selected when you stop recording.
M
Stop recording.
57
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
5 Easy Accompaniment for Other Instruments
Press the
[
●
]
key to engage the record ready mode again (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.
<
Engage record ready
again and select “Chd”.
Press the
[
]
key to begin recording chord changes. The metro-
nome will 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 (page 47).
HINT
Chord changes actually 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.
>
Record.
Select “Chd” to record
chord changes.
Asterisks have disappeared
because the song now con-
tains data. Use the “Song
Name” job (page 135) to enter
an original name.
58
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
5 Easy Accompaniment for Other Instruments
Press the
[
]
key to stop recording when all the required chord
changes have been entered. The normal SONG play mode is automati-
cally re-selected when you stop recording.
Press the
[
]
key to play back and check out the accompaniment
you’ve just recorded.
DETAIL
Note that the chord currently playing is shown in the normal chord symbol
location on the display, while the next chord is shown to its right. If the
same chord continues for more than 2 measures, however, the next chord
is not shown.
HINT
Don’t worry if you’ve made a few mistakes. Simple slip-ups made in the
realtime record mode can usually be corrected in the step record mode …
described next.
[
Listen to the results.
?
Stop recording.
m
m
The next chord is
“G7”.
“Am7” currently
playing.
59
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
5 Easy Accompaniment for Other Instruments
Step Accompaniment Recording———————————————————
The STEP record mode provides four different accompaniment-
track data-entry displays: “Pat” (pattern changes), “Chd” (chord
changes), “Rpt” (repeats), and “Tmp” (tempo changes). In each of
these you can individually enter or delete pattern, chord, repeat, and
tempo changes at precisely the required locations.
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.
Press the
[
●
]
key to engage the record ready mode. The red LED
above the
[
●
]
key will light.
Z
Select a song to record.
X
Engage the record ready
mode.
60
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5 Easy Accompaniment for Other Instruments
C
Select the step record
mode.
Move the cursor to the “REC REAL STEP” area of the display,
then press the right cursor key to select the “STEP” mode (if it isn’t
already selected). The selected record mode is indicated by a pair of
arrows on either side of the mode name — i.e. “>STEP<”. Once
selected, move the cursor vertically to move to other areas of the
screen. The arrows will remain positioned at the selected mode no
matter where you move the cursor.
Move the cursor to the track area of the display, and then shift the
cursor sideways to select “Pat”, “Chd”, “Rpt”, or “Tmp”. Once se-
lected, move the cursor vertically if you want to move to other areas
of the screen. An underline will remain below the selected track no
matter where you move the cursor.
Cursor here to select the step
record mode.
V
Select “Pat”, “Chd”,
“Rpt”, or “Tmp”.
Select “Pat” to record pattern changes, “Chd” to
record chord changes, “Rpt” to record repeats,
or “Tmp” to record tempo changes.
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5 Easy Accompaniment for Other Instruments
Press the
[
]
key to call the selected step record display.
B
Start recording.
Press the
[
]
key to exit from the step record mode and return to
the normal SONG play mode.
M
Stop recording.
Refer to the following sections for details on how to use each of the
step-record mode data-entry displays.
N
Enter the required pat-
tern, chord, repeat, and
tempo data.
m
m
m
m
Go to “Pat” screen.
Go to “Chd” screen.
Go to “Rpt” screen.
Go to “Tmp” screen.
HINT
You can switch directly between the
pattern, chord, repeat, and tempo
data-entry displays while the record
mode is engaged by simply pressing
the [MENU] key to call the menu
shown here, and then the function
key corresponding to the display you
want to go to.
62
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5 Easy Accompaniment for Other Instruments
Here’s how the STEP record pattern display will look if you’ve selected an empty song (the appro-
priate pattern data will appear if the selected song contains data).
“Pat” — Step Record Pattern Changes
m
m
Measure number.
Time signature.
1st measure.
2nd measure.
Subsequent measures follow.
m
Cursor here to
set section.
Cursor here to set
pattern number.
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5 Easy Accompaniment for Other Instruments
As usual, the cursor keys are used to move the cursor to the loca-
tion at which you want to enter data, and the
[
−1
]
and
[
+1
]
keys 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 subse-
quent measures, while moving it above the top of the screen accesses
the preceding measures (if there are any). In the pattern display mov-
ing sideways takes you to the time signature, pattern number, and
section parameters.
In all of the STEP record displays the sequencer keys can also be
used to move forward or backward through the song. The
[
p
]
key
takes you directly to the first measure.
●
Moving Around &
Entering Data
m
m
Scroll up (see lower
measure numbers).
Scroll down (see higher
measure numbers).
m
Scroll up (see lower
measure numbers).
m
m
Go to first measure. Scroll down (see higher
measure numbers).
64
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Any pattern number from 001 through 200 (presets and user pat-
terns) can be entered for each measure. Only the preset patterns, how-
ever, have sections. The pattern name appears to the right of the pat-
tern number. Only one pattern & section can be 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 pat-
tern number, only the section need be entered.
In the example display to the left the intro section of pattern 006
plays for the first measure, the normal section of the same pattern is
selected in measure 2.
Although the default time signature for the selected pattern is auto-
matically selected, the time signature value for each measure can be
changed as required. The available time signatures are:
1/16....... 16/16
1/8......... 16/8
1/4......... 8/4
5 Easy Accompaniment for Other Instruments
●
Pattern Number and
Section
●
Time Signature
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5 Easy Accompaniment for Other Instruments
If a time signature is selected that results in shorter measures than
the pattern default, the pattern will be truncated (cut short) accord-
ingly. If the selected time signature results in longer measures than
the pattern default, the pattern will be repeated to fill the specified
measure length.
The function key immediately to the right of “ers” on the display
can be used to erase the time signature, pattern number, or section
data at which the cursor is located. If you erase a time signature
change, the default time signature value for the current pattern will be
automatically re-selected.
●
Erasing Pattern Changes
m
Press to erase pattern, section, or time
signature change at cursor location.
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5 Easy Accompaniment for Other Instruments
“Chd” — Step Record Chord Changes
Here’s how the STEP record chord display will look if you’ve selected an empty song (the appropri-
ate chord data will appear if the selected song contains data).
m
m
Measure number.
Time signature.
1st measure.
2nd measure.
Subsequent measures follow.
m
One beat.Place cursor at beat
on which chord is to
be entered.
67
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B
m7
m9
BASS
OCT
DOWN
E
5 Easy Accompaniment for Other Instruments
●
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-keyboard in the normal way (see page 48). In the example
display to the left, an A major chord is entered on the first beat of the
first measure, a B minor seventh on the third beat of the first measure,
and a D major on the first beat of the second measure.
●
Specifying the Bass Note
For a Chord
You can specify the bass note to be used with any chord by using
the
[
OCT DOWN
]
key (note the “BASS” marking below the key).
Enter the chord in the normal way, press the
[
OCT DOWN/BASS
]
key (a slash will appear below the chord name), then press the key on
the micro-keyboard corresponding to the desired bass note (the bass
note will appear to the right of the slash).
HINT
You can add bass notes to existing chords without having to re-enter the
entire chord by simply moving the cursor to the chord and using the [OCT
DOWN/BASS] key to specify the bass note. A bass note can be removed
from a chord by placing the cursor at the chord and either re-entering the
chord or pressing the [OCT DOWN/BASS] key twice.
Example: Enter a Bm7 chord with
E in the bass.
68
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D
OCT
UP
5 Easy Accompaniment for Other Instruments
●
Syncopated Chords
Chords can be syncopated (i.e. the chord actually begins an eighth-
note before the beat on which it is entered) by using the
[
OCT UP
]
key (note the “e
c
” marking below the key). Enter the chord in the
normal way, then press the
[
OCT UP
]
key (a syncopation symbol will
appear below the chord name).
HINT
You can add syncopation to existing chords without having to re-enter the
entire chord by simply moving the cursor to the chord and pressing the
[OCT UP] key. Syncopation can be removed from a chord by placing the
cursor at the chord and pressing the [OCT UP] key.
●
Erasing Chords
The function key immediately to the right of “ers” on the display
can be used to erase the chord at which the cursor is located.
Press to erase chord at
cursor location.
Example: Enter a syncopated
D chord.
69
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5 Easy Accompaniment for Other Instruments
●
The Chord Display
During Playback
Chord bass notes and syncopation marks appear on the display as
shown in the SONG playback mode.
m
Syncopation mark.
Chord actually be-
gins 1/8-note earlier.
m
“/E” indicates that Bm7
is played with E bass.
m
Half-note indicates
length of chord.
70
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5 Easy Accompaniment for Other Instruments
“Rpt” — Step Record Repeats
The STEP record “Rpt” display allows three different types of repeats to be entered at appropriate
points during the song: start repeat, end/number of repeats, and end song.
The start repeat
(
)
or end of song mark
( )
can
be selected via the
[
−1
]
and
[
+1
]
keys when the cur-
sor is located at the top of the measure, and the end
repeat mark
(
)
can be selected when the cursor is
placed at the end of the measure. When the end of
repeat mark is selected the
[
−1
]
and
[
+1
]
keys are
also used to select any number of repeats from 02 to
99. When “X02” is selected, for example, the sec-
●
Repeats
Cursor here to enter repeat
at end of measure.
Cursor here to enter repeat
at top of measure.
m
Number of
repeats.
m
End of song.
m
End
repeat.
m
Start
repeat.
71
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5 Easy Accompaniment for Other Instruments
tion of the song between the “ ” and “ ” marks is played twice (re-
peated once), then the song continues until the next repeat section or
the end of the song.
HINT
You can even enter repeats within repeats (this is known as “nesting”
repeats). Up to 10 repeats can be nested.
●
Erasing Repeats
The function key immediately to the right of “ers” on the
display can be used to erase the repeat at which the cursor is
located.
Press to erase repeat at
cursor location.
DETAIL
Any material recorded to the accompaniment tracks in the
realtime record mode
after insertion of repeats will not be af-
fected by those repeats.
72
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The STEP record mode “Tmp” display can be used to enter instantaneous tempo changes as well as
gradual ritardando and accelerando tempo changes.
5 Easy Accompaniment for Other Instruments
“Tmp” — Step Record Tempo Changes
m
m
Measure number.
Time signature.
1st measure.
2nd measure.
Subsequent measures follow.
m
One beat.
Place cursor at beat at
which tempo change is
to occur or begin.
73
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5 Easy Accompaniment for Other Instruments
●
Tempo Changes
Place the cursor in the center of the
measure/beat at which you want the tempo
change to begin, then use the
[
−1
]
key to
enter a “rit” (tempo decrease) value or the
[
+1
]
key to enter an “accel” (tempo in-
crease) value. The amount of tempo
change is specified in beats per minute, so
if the starting tempo is 120 and you enter
an “accel” value of 10, the tempo will in-
crease by 10 beats per minute to 130. The
only limitation is that you can’t enter
tempo changes that result in a tempo
slower than 30 or higher than 250.
“accel” or “rit”.
Amount of tempo change.
Number of beats over which
tempo change occurs.
To enter gradual accelerando or ritardando changes, first set the
amount of “accel” or “rit” change required, as described above, then
move the cursor to the lower number and use the
[
−1
]
and
[
+1
]
keys
to enter the number of beats over which you want the tempo change
to occur. In the sample display to the left, the tempo will increase by
12 over two beats (the wiggly arrow extends for the specified number
of beats).
74
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In the next sample display a ritardando of 25 beats per minute is set
to occur over six beats.
DETAIL
The wiggly arrow that represents the duration of the tempo change only
appears within the two measures shown on the display. You can enter
much longer tempo change lengths (up to a maximum of 99 measures),
but the arrow will not appear when you scroll the screen to see subse-
quent measures.
5 Easy Accompaniment for Other Instruments
●
Erasing Tempo Changes
m
Press to erase tempo
change at cursor location.
The function key immediately to the right of “ers” on the display
can be used to erase the tempo change at which the cursor is located.
75
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5 Easy Accompaniment for Other Instruments
Using the QY22 As a Drum Machine
Although you can create complete accompaniments using the preset patterns as described
in the preceding section, you can also mute the C1, C2, and Ba tracks, leaving only the Dr
track, so the QY22 functions as a drum machine. You can create drum-only accompani-
ments using the drum tracks from the preset patterns, or record original drum tracks for your
own patterns, as described in the following chapter.
It’s also possible to record drum voices to the sequencer tracks as described in the “Cre-
ating a Complete Song” chapter (page 108).
76
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6
Creating Original Patterns
Recording an Original
ABC Pattern
.................................... 78
Realtime Pattern Recording......... 78
Step Pattern Recording ............... 86
Playback In the Pattern Mode.... 94
Accompaniment Without the
Limitations of ABC
....................... 95
The Pattern Jobs........................... 96
1: Copy Pattern............................ 98
2: Quantize................................... 99
3: Transpose .............................. 100
4: Modify Velocity....................... 101
5: Modify Gate Time .................. 102
6: Pattern Name......................... 103
7: Clear Track ............................ 104
8: Clear Pattern.......................... 105
78
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6 Creating Original Patterns
Recording an Original ABC Pattern
The QY22 makes it easy to create original accompaniment patterns. In addition to the pre-
set patterns residing in pattern memory locations 001 through 100, the QY22 has 100 more
pattern memory locations (101 through 200) which can be used to store your own creations.
Like the SONG mode, the PATTERN mode provides two ways to create original patterns:
realtime and step recording.
Realtime Pattern Recording —————————————————————
In the realtime record mode you select the track you want to
record (C1, C2, Ba, or Dr), and then play the part on the micro-key-
board or an external MIDI keyboard in real time.
Use the
[
MODE
]
key to select the PAT (pattern) mode and, with
the cursor located over the pattern number at the top of the display,
use the
[
−1
]
and
[
+1
]
keys to select an empty user pattern number (the
programmable user patterns are numbered 101 through 200). Empty
patterns are indicated by a row of asterisks (“********”) following
the pattern number.
Z
Select the PATTERN
mode & an empty user
pattern.
79
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–
1
+
1
NO YES
MODE
6 Creating Original Patterns
DETAIL
If for some reason all 100 user patterns contain data, use the “Clear Pat-
tern” function described on page 105 to clear a pattern for recording.
Press the
[
●
]
key to engage the record ready mode. The red LED
above the
[
●
]
key will light.
X
Engage the record ready
mode.
Asterisks (*) indicate
an empty pattern.
Select user pattern
number (101 … 200).
80
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6 Creating Original Patterns
“REC” appears when the
record mode is engaged.
m
Move the cursor to the “REC REAL STEP” area of the display,
then press the left cursor key to select the “REAL” mode (if it isn’t
already selected). The selected record mode is indicated by a pair of
arrows on either side of the mode name — i.e. “>REAL<”. Once
selected, move the cursor vertically to move to other areas of the
screen. The arrows will remain positioned at the selected mode.
C
Select the realtime
record mode.
m
Place cursor here to select
the realtime record mode.
81
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6 Creating Original Patterns
Move the cursor to the tempo, time signature, and pattern length
parameters and set as required using the
[
−1
]
and
[
+1
]
keys.
V
Select the record tempo,
time signature, and
pattern length.
m
Record tempo.
m
Time signature: 1/16 … 16/16,
1/8 … 16/8,
1/4 … 8/4.
m
Length of pattern: “1of1” … “1 of 8”
(max. length 8 measures).
HINT
It’s sometimes easier to set a slow tempo for realtime recording, so you
have plenty of time to enter the data.
Move the cursor to the track area of the display, and then shift the
cursor sideways to select the track you want to record: “C1” = chord
1, “C2” = chord 2, “Ba” = bass, “Dr” = drums. Once the track has
been selected use the
[
−1
]
and
[
+1
]
keys to select the voice you want
to use for that track. If you don’t intend to use a track, set the voice
number to “OFF.”
Move the cursor vertically to move to other areas of the screen. An
underline will remain below the selected track.
B
Select the track to
record and the voice for
that track.
82
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6 Creating Original Patterns
m
Number & name of voice
assigned to current track
shown here.
Cursor here to select the C1 (Chord 1) track.
–
1
+
1
NO YES
to select C1 voice (001 …
128, Dr1 … Dr8, OFF). The same applies to
the C2, Ba, and Dr tracks, except that only
the Dr1 … Dr8 voices and “OFF” can be
assigned to the Dr track.
N
Record.
DETAIL
In the PATTERN PLAY or PATTERN RECORD modes, with the excep-
tion of the Drum Track, it is possible to assign any of the Normal voices
(001 ... 128) or Drum voices (Dr1 ... Dr8) to any of the sequencer tracks.
However, in the PATTERN EDIT mode, with the exception of the DRUM
track, only Normal voices (001 ... 128) can be assigned to the other tracks
using the Program Change function. Use the PATTERN PLAY or PAT-
TERN RECORD modes to assign Drum voices to sequencer tracks.
HINT
You can also change the voice assignments later in the same way.
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 exam-
ple, the count-in will run from measure “−08” to “−01”, then record-
ing will begin from measure “001”.
83
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6 Creating Original Patterns
Patterns can only be recorded in the key of C. Play the required
part either on the micro-keyboard or via an external MIDI keyboard
transmitting on the appropriate MIDI channel:
MIDI Channel Track
5 ....................... C1 (Chord 1)
6 ....................... C2 (Chord 2)
7 ....................... Ba (Bass)
10 ....................... Dr (Drums)
The pattern will continue to repeat from the first to last measure, so
you can continue to add notes until the current part is complete.
m
Realtime recording
in progress.
m
Minus measure numbers
during count
-
in.
84
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6 Creating Original Patterns
MUSICAL
NOTE
Since your original ABC pattern will be automatically re-harmonized as
required by the QY22 ABC system, there are a few rules you should fol-
low to ensure the best results:
1: You’re recording in C, so think in C.
2: Use primarily the root, 3rd, 5th, and major 7th.
3: Keep it rhythmic … avoid melodic lines.
To delete mistakes, simply play the note to be deleted on the micro-
keyboard while holding the function key next to “Del” on the display.
All corresponding notes that occur while the micro-keyboard key is
held will be deleted.
M
Delete mistakes as
required.
m
Press while holding a note on the micro-
keyboard to delete all occurrences of that
note for as long as the note is held.
Press the
[
]
key to stop recording. The normal PAT play mode
is automatically re-selected when you stop recording.
<
Stop recording.
85
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6 Creating Original Patterns
Note that when you return to the PAT play mode the block below
each track that contains data will be filled (dark) while the blocks
below empty tracks are empty (outline only).
>
Record the remaining
tracks.
Track contains data.
Track empty.
Complete the pattern by selecting the remaining tracks, assigning
the required voices, and recording as described in steps 5 through 8,
above.
HINT
As long as the record mode is not engaged you
can press the [MODE] key while holding the
[MENU] key 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.
DETAIL
See the “Editing Songs & Patterns” section , page
140, for information on how to edit recorded pat-
tern data.
The pitch of the lowest
micro-keyboard key
(changes when the
octave keys are used).
Micro-keyboard.
m
m
m
Hold
MENU
and press
MODE
Drum instruments
currently played by
the corresponding
micro-keyboard keys.
86
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MODE
–
1
+
1
NO YES
6 Creating Original Patterns
Z
Select the PATTERN
mode & a user pattern.
Step Pattern Recording ———————————————————————
The step pattern record mode lets you enter each track note-by-
note, with precise control over the timing, length, and loudness of
each note. You can record entire tracks using the step mode, or use it
to brush-up and add data to an existing track.
Use the
[
MODE
]
key to select the PAT (pattern) mode
and, with the cursor located over the pattern number at the
top of the display, use the
[
−1
]
and
[
+1
]
keys to select the
pattern you want to record (the programmable user patterns
are numbered 101 through 200). You can select an empty
pattern if you want to record a new pattern using the STEP
mode, or a pattern that already contains data if you want to
edit or add new data to the pattern.
Select user pattern
number (101 … 200).
Asterisks (*) indicate
an empty pattern.
m
m
87
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6 Creating Original Patterns
Press the
[
●
]
key to engage the record ready mode. The red LED
above the
[
●
]
key will light.
X
Engage the record ready
mode.
C
Select the step record
mode.
Move the cursor to the “REC REAL STEP” area of the display,
then press the right cursor key to select the “STEP” mode (if it isn’t
already selected). The selected record mode is indicated by a pair of
arrows on either side of the mode name — i.e. “>STEP<”. Once
selected, move the cursor vertically to move to other areas of the
screen. The arrows will remain positioned at the selected mode.
m
“REC” appears when the
record mode is engaged.
Place cursor here to select the step
record mode.
88
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6 Creating Original Patterns
If you are recording a new pattern, move the cursor to the time sig-
nature and pattern length parameters and set as required.
V
Set time signature and
pattern length (new
patterns only).
DETAIL
The time signature and pattern
length parameters can not be
changed if the selected pattern
already contains data.
m
m
Time signature: 1/16 … 16/16,
1/8 … 16/8,
1/4 … 8/4.
Length of pattern: “1of1” … “1 of 8”
(max. length 8 measures).
Move the cursor to the track area of the display, and then shift the
cursor sideways to select the track you want to record: “C1” = chord
1, “C2” = chord 2, “Ba” = bass, “Dr” = drums. If you are recording a
new pattern or track, use the
[
−1
]
and
[
+1
]
keys to select the voice
you want to use for that track once the track has been selected. If you
don’t intend to use a track, set the voice number to “OFF.”
Move the cursor vertically to move to other areas of the screen. An
underline will remain below the selected track.
B
Select the track to
record and the voice for
that track.
89
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6 Creating Original Patterns
Cursor here to select the C1
(Chord 1) track.
–
1
+
1
NO YES
to select C1 voice
(001 … 128, Dr1 … Dr8, OFF).
The same applies to the C2, Ba,
and Dr tracks, except that only the
Dr1 … Dr8 voices and “OFF” can
be assigned to the Dr track.
Number & name of voice assigned
to current track shown here.
m
HINT
You can also change the voice as-
signments later in the same way.
Press the
[
]
key to begin recording. The step record display
shown below will appear.
N
Record.
m
m
m
Note parameters.
Note display.
Time signature.
Measure/beat/clock display.
90
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
6 Creating Original Patterns
M
Set the note parameters
as required.
Move the cursor to the note, velocity, and gate time parameters and
set as required using the
[
−1
]
and
[
+1
]
keys for the first (or next) note
to be entered.
DETAIL
The velocity and gate time settings in the step record
display correspond to the following numeric values in
the edit displays (to be described later):
Velocity “p” =56
“mf” =88
“f” = 120
Gate Time “Staccato” = 50% normal note length.
“Normal” = 90% normal note length.
“Slur” = 99% normal note length.
<
Enter a note.
Once the note parameter have been specified, the note can be en-
tered simply by playing the appropriate key on the micro-keyboard
(or on your external MIDI keyboard). A note symbol appears on the
note display and 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 en-
tered.
Note (32nd, 16th triplet,
16th, 8th triplet, 8th,
1/4 triplet, 1/4,
1/2 triplet, 1/2).
m
Gate time
(Staccato,
Normal, Slur).
Velocity
(p = soft,
mf = medium,
f = loud).
91
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6 Creating Original Patterns
The Note Display
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. On the other hand, if the time signa-
ture is 3/4, then the 4th beat is not used and appears as
double dashes on the display (“========”).
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 appropriate note or chord when the
note pointer is moved to an existing note symbol.
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 pattern, the first
measure of the pattern will appear.
1st beat.
2nd beat.
4th beat.3rd beat.
Each dash
represents a
32nd note
(12 clocks).
Note
pointer.
Cursor moved to note pointer (pointer filled).
Note that the pointer points up to notes in the
upper row and down to notes in the lower row.
92
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6 Creating Original Patterns
note pointer. The “Bdl” key moves
the note pointer backward by the
currently selected note length and
deletes any notes that exist at that
location. The “rst” key enters a rest
of the currently selected note length
at the note pointer position. And the
“tie” key lengthens the previously
entered note by “tying” another note
of the same length and pitch to it
(the “tie” key only works immedi-
ately after entering a note).
The Step Mode Function Keys
The four function keys immediately to the right of the dis-
play provide access to a number of handy functions in the step
record mode. The “del” key deletes the note or chord at the
Step back by current
note length and delete.
Enter a note of the same
length as the last note,
tied to the last note (this
effectively lengthens the
last note).
Enter rest of current
note length.
Delete note at note
pointer.
m
m
m
m
The Measure/Beat/Clock Display
The “Meas” area of the step record display shows the cur-
rent 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 record-
ing, check the measure/beat/clock display.
m
Measure (1 of 4,
2 of 4, 3 of 4, 4
of 4 if 4/4 time).
1/4-note beat
(01, 02, 03, 04
if 4/4 time).
Clock (96
clocks per
1/4 note).
93
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6 Creating Original Patterns
Repeat steps 7 and 8 until the current track of the pattern is com-
plete, then press
[
]
to stop recording and go back to step 5 to
record the next track, as necessary.
DETAIL
See the “Editing Songs & Patterns” section , page 140, for information on
how to edit recorded pattern data.
>
Complete the pattern.
94
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6 Creating Original Patterns
Playback In the Pattern Mode
Patterns can be played in the PATTERN mode in much the same way as they are in the
SONG mode.
Use the
[
]
key to start and stop playback. The main different
between playback in the PATTERN mode and playback in the SONG
mode is that in the PATTERN mode the sections don’t switch auto-
matically. If you select “Fill1”, for example, “Fill1” will play repeat-
edly until a different section is selected (in the SONG mode “Vari.” is
automatically selected after “Fill1” plays through once). Also, only
the accompaniment tracks are available for playback in the PAT-
TERN mode.
* Only preset patterns have sections. No
section name appears when a user pat-
tern is selected.
Pattern number. Sections can be
changed via micro-keyboard when
cursor here or on section name.*
Section name.*
Pattern name.
Tempo
Voice numbers.
Mute buttons. Operation is the
same as in the SONG mode.
Chords can be changed via micro-
keyboard when cursor here.
95
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Accompaniment Without the Limitations of ABC
If you want total harmonic freedom in your accompaniment tracks, unrestrained by the limits
of the ABC system, simply record the accompaniment for your song in sections, recording
the required chord/harmonic changes directly into as many patterns as your song requires
(remember, patterns can be up to 8 measures long). Then, when recording the accompani-
ment tracks in the SONG mode, use the “- - - ” chord type so that the pattern data is played
back unmodified. You might need to record several patterns containing the various chord
changes you need for your song, but you don’t have to worry about how the ABC system
might alter your accompaniment when it is played back.
6 Creating Original Patterns
96
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MENU
The Pattern Jobs
The pattern mode includes 8 pattern “jobs” that perform a variety of important functions. To
access and use the pattern jobs, press the
[
MENU
]
key while in the normal PATTERN play
mode, and then press the function key next to “Job” on the display.
6 Creating Original Patterns
This calls the pattern job list. You can select any job on the list
simply by moving the cursor to the required job and pressing
[
ENTER
]
.
m
Press for
pattern
job list.
Pattern jobs 3 … 8
(cursor at bottom of list).
Pattern jobs 1 … 6
(cursor at top of list).
97
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6 Creating Original Patterns
User Patterns Only!
Since all of the pattern jobs modify the pattern data in some way,
they can only be used on user patterns (numbers 101 through 200). If
you attempt to use a pattern job while a preset pattern is selected, the
error display shown to the left will appear. Press any key (except the
micro-keyboard) to return to the job list.
Returning to the Pattern Play Mode
The function button next to “Exit” on the display can be used to
exit from any pattern job, and then from the job list thereby returning
you to the normal pattern play mode.
m
m
Press to exit
to job list.
Press to exit to pattern
play mode.
98
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
–
1
+
1
NO YES
ENTER
6 Creating Original Patterns
Copies a specified track (C1, C2, Ba, Dr, or
All) from one pattern to the specified track in a
user pattern. The section to be copied can also
be specified when a preset pattern is the source.
After setting the parameters as required, press
[
ENTER
]
. “Are you sure?” will appear on the
display. Press
[
+1/YES
]
to confirm that you
want to go ahead with the copy operation
(which will overwrite data in the destination
track), or press
[
−1/NO
]
to cancel.
MUSICAL
NOTE
The Copy Pattern job makes it possible to use tracks from other patterns as
“building blocks” to create new patterns. You can, for example, combine differ-
ent tracks from different preset patterns to create a completely new “hybrid”
pattern. Of course, you can also copy just one or two existing tracks and record
the remaining tracks yourself. Copied tracks can be edited using the edit mode
(page 140) to fit them to the pattern you are creating.
DETAIL
Depending on the selected pattern, some voices may not sound if a preset
pattern is copied to a user pattern.
Press
[
−
1/NO
]
to cancel.
1: Copy Pattern
Destination track
(C1, C2, Ba, Dr, or All).
Source track
(C1, C2, Ba, Dr, or All).
Source pattern
number (001 … 200).
Section (only available
in preset patterns).
Destination pattern
number (101 … 200).
99
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
–
1
+
1
NO YES
ENTER
Press
[
−
1/NO
]
to cancel.
6 Creating Original Patterns
Aligns notes in the specified track to the nearest specified beat.
MUSICAL
NOTE
Quantization is generally used to tighten up sloppy timing. Use it judi-
ciously, however, because timing that is too perfect can sound cold and
mechanical — unless, of course, you’re specifically aiming for a cold,
mechanical feel. Always use a quantize value that is at least as “short” as
the shortest notes in the track to be quantized. If you quantize a track
containing 16th notes to 1/8 (8th notes), for example, some of the 16th
notes will be aligned with 8th note beats, thus ruining the track.
One measure of 8th notes before
quantization.
After quantization.
2: Quantize
Track to be quantized (C1, C2, Ba, or Dr).
Quantize note length (32nd note, 16th
note triplet, 16th note, 8th note triplet, 8th
note, 1/4-note triplet, 1/4-note, 1/2-note
triplet, 1/2-note).
After setting the parameters as required, press
[
ENTER
]
. “Are you sure?” will appear on the
display. Press
[
+1/YES
]
to confirm that you
want to go ahead with the quantize operation
(which will irreversibly modify the data in the
specified track), or press
[
−1/NO
]
to cancel.
100
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
–
1
+
1
NO YES
ENTER
Press
[
−
1/NO
]
to cancel.
Transposes all notes in the specified track up or down by the speci-
fied number of semitones. Minus (−) values transpose down while
plus (+) values transpose up.
After setting the parameters as required, press
[
ENTER
]
. “Are you sure?” will appear on the
display. Press
[
+1/YES
]
to confirm that you
want to go ahead with the transpose operation,
or press
[
−1/NO
]
to cancel.
6 Creating Original Patterns
MUSICAL
NOTE
Of course, you can transpose all tracks as required to shift the entire pat-
tern to a different key, but you could also transpose only the C2 track, for
example, to produce an interval (and therefore harmony) between the C1
and C2 tracks.
3: Transpose
Amount or transposition in
semitones (
−
12 … +00 … +12).
Track to be transposed
(C1, C2 or Ba).
101
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
–
1
+
1
NO YES
ENTER
Press
[
−
1/NO
]
to cancel.
Increases or decreases the velocity values of all notes in the speci-
fied track and range of measures.
6 Creating Original Patterns
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 nar-
rower dynamic range, and higher values produce
a broader dynamic range.
The “offset” parameters determines the
amount of velocity change. “−” settings reduce
the velocity while “+” settings increase the ve-
locity.
After setting the parameters as required, press
[
ENTER
]
. “Are you sure?” will appear on the
display. Press
[
+1/YES
]
to confirm that you
want to go ahead with the modify velocity op-
eration, or press
[
−1/NO
]
to cancel.
MUSICAL
NOTE
The Modify Velocity job is a great way to “soften” the sound of a pattern
that has too great a variation between the softest and loudest notes, or,
conversely, to add extra punch to a dull-sounding pattern. Experiment
with the parameters to get a feel for what they do.
Amount of velocity
change
(
−
99 … +00 … +99).
Track to be modified
(C1, C2, Ba, or Dr).
Velocity ratio
(000% … 200%).
4: Modify Velocity
102
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–
1
+
1
NO YES
ENTER
Press
[
−
1/NO
]
to cancel.
6 Creating Original Patterns
Increases or decreases the gate times (length) of all notes in the
specified track and range of measures.
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 nar-
rower gate time range, and higher values pro-
duce a broader gate time range.
The “offset” parameter determines the amount
of gate time modification. “−” settings shorten
the gate time while “+” settings increase the gate
time.
After setting the parameters as required, press
[
ENTER
]
. “Are you sure?” will appear on the
display. Press
[
+1/YES
]
to confirm that you
want to go ahead with the modify gate time op-
eration, or press
[
−1/NO
]
to cancel.
Track to be modified
(C1, C2, Ba, or Dr).
Amount of gate time
change
(
−
99 … +00 … +99).
Gate time ratio
(000% … 200%).
MUSICAL
NOTE
The Modify Gate Time job can be used to give the entire pattern a more
staccato or legato feel, as required. Experiment with the parameters to
get a feel for what they do.
5: Modify Gate Time
103
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Allows an original name of up to 8 characters to be assigned to the
current pattern.
6 Creating Original Patterns
To enter a character, use the cursor keys to
move the cursor to the character to be entered,
then press the
[
ENTER
]
key. The character
will appear at the character cursor location and
the character cursor will advance to the next
character position.
To delete the last character entered place the
cursor over “DEL” at the bottom of the display
and press
[
ENTER
]
. The character will be
deleted and character cursor will move back to
the last character position.
When the entire name has been entered, press the top function but-
ton next to “Exit” on the display. The new name will appear next to
the pattern number at the top of the PATTERN mode display.
6: Pattern Name
Name area.
Character cursor. Moves forward
as each character is entered, or
backward when a character is
deleted.
Characters and
DEL function.
104
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–
1
+
1
NO YES
ENTER
Press
[
−
1/NO
]
to cancel.
Completely clears the specified track from the currently selected
pattern.
6 Creating Original Patterns
Track to be cleared (C1, C2, Ba, or Dr).
Select the track to be cleared and press
[
ENTER
]
. “Are you sure?” will appear on
the display. Press
[
+1/YES
]
to confirm that
you want to go ahead with the Clear Track
operation (Clear Track is irreversible), or
press
[
−1/NO
]
to cancel.
7: Clear Track
105
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–
1
+
1
NO YES
ENTER
Press
[
−
1/NO
]
to cancel.
6 Creating Original Patterns
Completely clears the currently selected user pattern.
After selecting the Clear Pattern job, press
[
ENTER
]
. “Are you sure?” will appear on the
display. Press
[
+1/YES
]
to confirm that you
want to go ahead with the Clear Pattern op-
eration (Clear Pattern is irreversible), or press
[
−1/NO
]
to cancel.
8: Clear Pattern
106
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107
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7
Creating a Complete Song
Recording the Sequencer Tracks
. 108
Preparing to Record —
Voice Assignments ....................... 108
Realtime Sequencer Track
Recording...................................... 109
Step Sequencer Track Recording. 115
The Song Jobs................................ 122
1: Mix Track .................................. 124
2: Copy Measure .......................... 125
3: Create Measure ........................ 126
4: Quantize.................................... 127
5: Delete Measure ........................ 128
6: Erase Measure ......................... 129
7: Transpose ................................. 130
8: Move Clock ............................... 131
9: Remove Event .......................... 132
10: Modify Velocity........................ 133
11: Modify Gate Time ................... 134
12: Song Name............................. 135
13: Clear Track ............................. 136
14: Clear Song.............................. 137
108
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MODE
7 Creating a Complete Song
Recording the Sequencer Tracks
After recording the accompaniment tracks in the SONG mode using either the preset pat-
terns (chapter 5, page 52) or original patterns you have created in the PATTERN mode
(chapter 6, page 78), record melody lines, harmony parts, counter-melodies, or any other
parts required to complete your composition on the SONG mode sequencer tracks (TR1,
TR2, TR3, and TR4). The SONG mode provides realtime and step recording modes for the
sequencer tracks as well as the accompaniment tracks.
Preparing to Record — Voice Assignments ——————————————
Before actually beginning to record
you should switch to the VOICE mode
and assign the desired voices to the
SONG mode sequencer tracks (page 38).
Of course, you can make these assign-
ments later but it’s better to record with
the voices you actually intend to use in
the song.
SONG mode
tracks.
Mute buttons.
Faders.
Voice
numbers.
m
m
Pan pots.
m
m
m
Current track.
Voice assigned to
current track.
109
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–
1
+
1
NO YES
MODE
7 Creating a Complete Song
Realtime Sequencer Track Recording ————————————————
In the realtime record mode you select the track you want to record
(TR1, TR2, TR3, or TR4), and then play the part on the micro-key-
board or an external MIDI keyboard in real time.
Use the
[
MODE
]
key to select the SONG mode and, with the cur-
sor located over the song number at the top of the display, use the
[
−1
]
and
[
+1
]
keys to select the song you intend to record.
Z
Select the SONG mode &
the song to be recorded
Select song number (01 … 20).
110
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X
Engage the record ready
mode.
Press the
[
●
]
key to engage the record ready mode. The red LED
above the
[
●
]
key will light.
Move the cursor to the “REC REAL STEP” area of the display,
then press the left cursor key to select the “REAL” mode (if it isn’t
already selected). The selected record mode is indicated by a pair of
arrows on either side of the mode name — i.e. “>REAL<”. Once
selected, move the cursor vertically to move to other areas of the
screen. The arrows will remain positioned at the selected mode.
“REC” appears when the
record mode is engaged.
m
Place cursor here to select the
realtime record mode.
C
Select the realtime
record mode.
7 Creating a Complete Song
111
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V
Select tempo and trans-
pose parameters as re-
quired.
Move the cursor to the tempo and transpose parameters and set as
required using the
[
−1
]
and
[
+1
]
keys (since you’ve probably already
recorded the accompaniment tracks, the time signature can’t be
changed).
Record tempo.
Transpose.
HINT
It’s sometimes easier to set a slow tempo for realtime
recording, so you have plenty of time to enter the data.
B
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: TR1, TR2, TR3, or TR4. Move the cur-
sor vertically to move to other areas of the screen. An
underline will remain below the selected track.
m
Cursor here
to select TR1
for recording.
7 Creating a Complete Song
112
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7 Creating a Complete Song
N
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 exam-
ple, the count-in will run from measure “−08” to “−01”, then record-
ing will begin from measure “001”.
Play the required part either on the micro-keyboard
or via an external MIDI keyboard transmitting on the
appropriate MIDI channel:
MIDI Channel Track
1......................... TR1
2......................... TR2
3......................... TR3
4......................... TR4
Minus measure
numbers during
count-in.
m
m
Realtime record-
ing in progress.
HINT
If the track selected for recording contains previously-recorded data, the
old data will be erased and replaced by the new data. If you want to
record several separate parts to the same track (using the same voice, of
course), use the “Mix Track” song job (page 124) to combine separately
recorded tracks.
113
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7 Creating a Complete Song
Press the
[
]
key to stop recording. The normal SONG play
mode is automatically re-selected when you stop recording.
M
Stop recording.
m
Track contains
data.
Track empty.
Note that when you return to the SONG play mode
the block below each track that contains data will be
filled (dark) while the blocks below empty tracks are
empty (outline only).
Complete the song by re-engaging the record mode, selecting the
next track to be recorded, and recording as described in steps 2 and 5
through 7, above.
<
Record the remaining
tracks.
114
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OCT
DOWN
OCT
UP
HINT
As long as the record mode is not engaged you
can press the [MODE] key while holding the
[MENU] key 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.
DETAIL
See the “Editing Songs & Patterns” section , page
140, for information on how to edit recorded song
data.
Hold
MENU
and press
MODE
m
m
The pitch of the low-
est micro-keyboard
key (changes when
the octave keys are
used).
Micro-keyboard.
m
Drum instruments
currently played by
the corresponding
micro-keyboard keys.
● The “Used Memory” Display
Press the
[
OCT DOWN
]
and
[
OCT UP
]
keys simultaneously at
any time when the record mode is not engaged to see how much of
the QY22’s memory has been used.
When the bar reaches “100%” the QY22 memory is full (or almost
full) and further recording may not be possible unless you delete
some unwanted data or transfer some data to an external data storage
device using the MIDI bulk dump function (see page 163).
DETAIL
If the memory becomes full during realtime recording the “Memory Full”
error message will appear and recording will stop automatically. Although
the used memory display may not show “100%” at this point, further re-
cording will not be possible until some data is deleted.
7 Creating a Complete Song
115
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–
1
+
1
NO YES
MODE
Select song number (01 … 20).
The step pattern record mode lets you enter each track note-by-
note, with precise control over the timing, length, and loudness of
each note. You can record entire tracks using the step mode, or use it
to brush-up and add data to an existing track.
Use the
[
MODE
]
key to select the SONG mode and, with the cur-
sor located over the song number at the top of the display, use the
[
−1
]
and
[
+1
]
keys to select the song you intend to record.
Step Sequencer Track Recording ——————————————————
Z
Select the SONG mode &
the song to be recorded
7 Creating a Complete Song
116
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X
Engage the record ready
mode.
Press the
[
●
]
key to engage the record ready mode. The red LED
above the
[
●
]
key will light.
“REC” appears when the
record mode is engaged.
m
Place cursor here to select the
step record mode.
Move the cursor to the “REC REAL STEP” area of the display,
then press the right cursor key to select the “STEP” mode (if it isn’t
already selected). The selected record mode is indicated by a pair of
arrows on either side of the mode name — i.e. “>STEP<”. Once
selected, move the cursor vertically to move to other areas of the
screen. The arrows will remain positioned at the selected mode.
C
Select the step record
mode.
7 Creating a Complete Song
117
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V
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: TR1, TR2, TR3, or TR4. Move
the cursor vertically to move to other areas of the
screen. An underline will remain below the selected
track.
TR2 selected for
step recording.
Time signature.
Note display.
Note parameters.
Measure/beat/clock display.
Press the
[
]
key to begin recording. The step record display
shown below will appear.
B
Record.
Current record track.
7 Creating a Complete Song
118
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N
Set the note parameters
as required.
Move the cursor to the note, velocity, and gate time parameters and
set as required using the
[
−1
]
and
[
+1
]
keys for the first (or next) note
to be entered.
DETAIL
The velocity and gate time settings in the step record
display correspond to the following numeric values in
the edit displays (to be described later):
Velocity “p” =56
“mf” =88
“f” = 120
Gate Time “Staccato” = 50% normal note length.
“Normal” = 90% normal note length.
“Slur” = 99% normal note length.
Once the note parameter have been specified, the note can be en-
tered 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 en-
tered.
M
Enter a note.
Note (32nd, 16th triplet,
16th, 8th triplet, 8th,
1/4 triplet, 1/4,
1/2 triplet, 1/2).
m
Gate time
(Staccato,
Normal, Slur).
Velocity
(p = soft,
mf = medium,
f = loud).
7 Creating a Complete Song
119
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The Note Display
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 se-
lected time signature results in more than four 1/4 notes
per measure, then the display will scroll to show the ex-
tra notes. On the other hand, if the time signature is 3/4,
then the 4th beat is not used and appears as double
dashes on the display (“========”).
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 appropriate note or chord when the note pointer is
moved to an existing note symbol. When you move the
note pointer past the end of the note display, the next
measure will appear.
1st beat.
2nd beat.
4th beat.3rd beat.
Each dash
represents a
32nd note
(12 clocks).
Note
pointer.
Cursor moved to note pointer (pointer filled).
Note that the pointer points up to notes in the
upper row and down to notes in the lower row.
7 Creating a Complete Song
120
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The Step Mode Function Keys
The four function keys immediately to the right of the dis-
play provide access to a number of handy functions in the step
record mode. The “del” key deletes the note or chord at the
note pointer. The “Bdl” key moves
the note pointer backward by the
currently selected note length and
deletes any notes that exist at that
location. The “rst” key enters a rest
of the currently selected note length
at the note pointer position. And the
“tie” key lengthens the previously
entered note by “tying” another note
of the same length and pitch to it
(the “tie” key only works immedi-
ately after entering a note).
Step back by current
note length and delete.
Enter a note of the same
length as the last note,
tied to the last note (this
effectively lengthens the
last note).
Enter rest of current
note length.
Delete note at note
pointer.
m
m
m
m
7 Creating a Complete Song
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 record-
ing, check the measure/beat/clock display.
m
Measure number
(001 … 999).
1/4-note beat
(01, 02, 03, 04
if 4/4 time).
Clock (96
clocks per
1/4 note).
121
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Repeat steps 7 and 8 until the current track of the
song is complete, then press
[
]
to stop recording
and go back to step 5 to record the next track, as nec-
essary.
DETAIL
See the “Editing Songs & Patterns” section , page 140,
for information on how to edit recorded song data.
<
Complete the song.
7 Creating a Complete Song
122
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MODE
The Song Jobs
The song mode includes 14 song “jobs” that perform a variety of important functions. To ac-
cess and use the song jobs, press the
[
MENU
]
key while in the normal SONG play mode,
and then press the function key next to “Job” on the display.
Press for song job list.
m
This calls the song job list. You can select any job on the list
simply by moving the cursor to the required job and pressing
[
ENTER
]
.
7 Creating a Complete Song
123
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Song jobs 1 … 6. Song jobs 7 … 12. Song jobs 9 … 14.
m
Press to exit
to job list.
m
Press to exit to
song play mode.
Returning to the Song Play Mode
The function button next to “Exit” on the display can be used to
exit from any song job, and then from the job list thereby returning
you to the normal song play mode.
7 Creating a Complete Song
124
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–
1
+
1
NO YES
ENTER
Press
[
−
1/NO
]
to cancel.
Combines the data contained in two specified
source tracks and places the result in a third des-
tination track. The destination track can be the
same as either of the source tracks.
MUSICAL
NOTE
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 mistake during a later overdub. The QY22 eliminates
this possibility by allowing only “replace” recording (i.e. all material recorded to a track
erases and replaces 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.
Please note that if both source tracks are set to the same track number, the data from
that track will simply be copied to the destination track.
7 Creating a Complete Song
Destination track
(TR1 … TR4).
Second source track
(TR1 … TR4).
First source track
(TR1 … TR4).
m
m
m
1: Mix Track
After setting the parameters as required, press
[
ENTER
]
. “Are you sure?” will appear on the
display. Press
[
+1/YES
]
to confirm that you
want to go ahead with the Mix Track operation
(which will overwrite data in the destination
track), or press
[
−1/NO
]
to cancel.
125
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–
1
+
1
NO YES
ENTER
Press
[
−
1/NO
]
to cancel.
Copies a specified range of measures from
one track to the specified measure in another
track. This operation overwrites the data from
the beginning of the specified destination
measure with the data from the source meas-
ure. Previous data in the overwritten measures
is therefore lost. If the “Chd” track is se-
lected, the corresponding chord progression is
copied.
MUSICAL
NOTE
The Copy Measure job makes it easy to use phrases or even complete sections (an entire cho-
rus, 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 sec-
tions to create variations.
7 Creating a Complete Song
2: Copy Measure
Measure to which source measures
are to be copied (001 … 999).
m
m
Number of times specified range of
measures is to be copied (01 … 99).
Destination track
(TR1 … TR4, Chd).
First measure in range to
be copied (001 … 999).
Last measure in range to
be copied (001 … 999).
After setting the parameters as required,
press
[
ENTER
]
. “Are you sure?” will appear
on the display. Press
[
+1/YES
]
to confirm
that you want to go ahead with the Copy
Measure operation (Copy Measure is irrevers-
ible), or press
[
−1/NO
]
to cancel.
Source track
(TR1 … TR4, Chd).
126
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–
1
+
1
NO YES
ENTER
Press
[
−
1/NO
]
to cancel.
Creates a specified number of blank measures
having the specified time signature for all
sequencer tracks (TR1 ... TR4). The accompani-
ment tracks are not affected. The created meas-
ures are inserted at a specified measure number,
and all subsequent measures are moved forward
to make room. Always set the time signature pa-
rameter to the same time signature as the song,
otherwise the difference between the specified
time signature and that of the accompaniment
After setting the parameters as required, press
[
ENTER
]
. “Are you sure?” will appear on the
display. Press
[
+1/YES
]
to confirm that you want
to go ahead with the Create Measure operation,
or press
[
−1/NO
]
to cancel.
MUSICAL
NOTE
Use create measure when you want to add new material somewhere in
the middle of data you’ve already recorded, without erasing the existing
data. First create the required measures, then either copy the data from
existing measures using the Copy Measure function, or record new data
as required.
7 Creating a Complete Song
3: Create Measure
Measure at which
created measures
are to be inserted
(001 … 999).
Time signature of measures to be created
(1/4 … 8/4, 1/8 … 16/8, 1/16 … 16/16).
Number of measures to
be created (01 … 99).
tracks makes it impossible to prop-
erly create the specified measures.
127
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–
1
+
1
NO YES
ENTER
Press
[
−
1/NO
]
to cancel.
Aligns notes in the specified track to the near-
est specified beat.
One measure of 8th notes before
quantization.
After quantization.
MUSICAL
NOTE
Quantization is generally used to tighten up sloppy timing. Use it judi-
ciously, however, because timing that is too perfect can sound cold and
mechanical — unless, of course, you’re specifically aiming for a cold,
mechanical feel. Always use a quantize value that is at least as “short” as
the shortest notes in the track to be quantized. If you quantize a track
containing 16th notes to 1/8 (8th notes), for example, some of the 16th
notes will be aligned with 8th note beats, thus ruining the track.
7 Creating a Complete Song
4: Quantize
First measure in range to
be modified (001 … 999).
Track (TR1 … TR4).
Quantize note length (32nd note, 16th
note triplet, 16th note, 8th note triplet, 8th
note, 1/4-note triplet, 1/4-note, 1/2-note
triplet, 1/2-note).
Last measure in range to be modified
(001 … 999).
After setting the parameters as required, press
[
ENTER
]
. “Are you sure?” will appear on the
display. Press
[
+1/YES
]
to confirm that you want
to go ahead with the quantize operation (which
will irreversibly modify the data in the specified
track), or press
[
−1/NO
]
to cancel.
128
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–
1
+
1
NO YES
ENTER
Press
[
−
1/NO
]
to cancel.
Deletes the specified range of measures from all
sequencer tracks (TR1 ... TR4) simultaneously.
The accompaniment tracks are not affected. Please
note that if the Delete Measure job is used to de-
lete a measure or measures that have a different
time signature from the rest of the song, the speci-
fied measure or measures may not be properly
deleted due to the resulting difference between the
7 Creating a Complete Song
5: Delete Measure
Last measure in range to
be deleted (001 … 999).
MUSICAL
NOTE
Delete Measure is a great way to completely cut out unwanted data from
the song. It’s important to remember , however, that a delete operation
affects all tracks simultaneously, and that measures following the deleted
range are moved back to take the place of the deleted measures.
After setting the parameters as required, press
[
ENTER
]
. “Are you sure?” will appear on the
display. Press
[
+1/YES
]
to confirm that you want
to go ahead with the Delete Measure operation
(Delete Measure is irreversible), or press
[
−1/
NO
]
to cancel.
First measure in range to
be deleted (001 … 999).
time signatures of the
sequencer and accom-
paniment tracks.
129
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–
1
+
1
NO YES
ENTER
Press
[
−
1/NO
]
to cancel.
Erases all note and event data from the speci-
fied measure or range of measures in the speci-
fied track. An erase operation leaves the speci-
fied measures intact but blank.
After setting the parameters as required, press
[
ENTER
]
. “Are you sure?” will appear on the
display. Press
[
+1/YES
]
to confirm that you want
to go ahead with the Erase Measure operation
(Erase Measure is irreversible), or press
[
−1/NO
]
to cancel.
MUSICAL
NOTE
Unlike the Delete Measure job, the Erase Measure job erases the data
from the specified measures only in the specified track. Also, the data is
erased but the measures remain intact (i.e. the subsequent measures are
not moved back). After an erase operation you can record new material in
the resulting blank measures as required.
7 Creating a Complete Song
Last measure in range to
be erased (001 … 999).
First measure in range to
be erased (001 … 999).
Track (TR1 … TR4).
6: Erase Measure
130
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–
1
+
1
NO YES
ENTER
Press
[
−
1/NO
]
to cancel.
Transposes all notes in the specified part up or
down by the specified number of semitones. Mi-
nus (−) values transpose down while plus (+)
values transpose up.
First measure in range to
be modified (001 … 999).
Track (TR1 … TR4).
Last measure in range to be modified
(001 … 999).
Amount of transposition in semitones
(
−
12 … +00 … +12).
After setting the parameters as required, press
[
ENTER
]
. “Are you sure?” will appear on the
display. Press
[
+1/YES
]
to confirm that you
want to go ahead with the transpose operation,
or press
[
−1/NO
]
to cancel.
MUSICAL
NOTE
Of course, you can transpose all tracks as required to shift the entire song
to a different key, but the Transpose job is actually more suited to chang-
ing the pitch of a section of a single track. This can be done to produce
temporary “modulations” to another key, or to create harmony with an-
other track.
7 Creating a Complete Song
7: Transpose
131
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–
1
+
1
NO YES
ENTER
Press
[
−
1/NO
]
to cancel.
Moves all notes and events in the specified
track and range of measures forward or backward
by the specified number of clocks (96 clocks per
1/4 note).
First measure in range to
be modified (001 … 999).
Track (TR1 … TR4).
Last measure in range to be modified
(001 … 999).
After setting the parameters as required, press
[
ENTER
]
. “Are you sure?” will appear on the
display. Press
[
+1/YES
]
to confirm that you want
to go ahead with the Move Clock operation, or
press
[
−1/NO
]
to cancel.
MUSICAL
NOTE
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 (“
−
” settings) to pro-
duce a more “driving” feel. Of course, you can also use Clock Move to
correct timing that is off in the first place.
Number of clocks by which data in
specified range are to be moved
(
−
99 … +00 … +99).
7 Creating a Complete Song
8: Move Clock
132
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–
1
+
1
NO YES
ENTER
Press
[
−
1/NO
]
to cancel.
Allows pitch bend, program change, or control
change events (data) to be removed from a speci-
fied measure or range of measures in a specified
track.
After setting the parameters as required, press
[
ENTER
]
. “Are you sure?” will appear on the
display. Press
[
+1/YES
]
to confirm that you
want to go ahead with the Remove Event opera-
tion (Remove Event is irreversible), or press
[
−1/NO
]
to cancel.
MUSICAL
NOTE
Although you can remove events individually in the edit mode (page 145),
the Remove Event job makes it simple to remove all occurrences of the
specified event within the specified measure range in one operation. This
is particularly convenient when removing slow pitch bends or volume
changes that may employ many individual events to create a single effect.
First measure in range to
be modified (001 … 999).
Track (TR1 … TR4).
Last measure in range to be modified
(001 … 999).
Type of event to be removed from the specified range
of measures (Note, Program Change, Sustain, Pitch
Bend, Modulation, Pan, Volume, Expression, Data
Entry LSB, Data Entry MSB, RPN LSB, RPN MSB).
7 Creating a Complete Song
9: Remove Event
133
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
–
1
+
1
NO YES
ENTER
Press
[
−
1/NO
]
to cancel.
Increases or decreases the velocity values of
all notes in the specified track and range of
measures.
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 nar-
rower dynamic range, and higher values produce
a broader dynamic range.
The “offset” parameters determines the
amount of velocity change. “−” settings reduce
the velocity while “+” settings increase the ve-
locity.
After setting the parameters as required, press
[
ENTER
]
. “Are you sure?” will appear on the
display. Press
[
+1/YES
]
to confirm that you
want to go ahead with the modify velocity opera-
tion, or press
[
−1/NO
]
to cancel.
MUSICAL
NOTE
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. Experiment with
the parameters to get a feel for what they do.
Last measure in range to
be modified (001 … 999).
7 Creating a Complete Song
10: Modify Velocity
First measure in range to
be modified (001 … 999).
Track (TR1 … TR4).
Velocity ratio
(000% … 200%).
Amount of velocity change
(
−
99 … +00 … +99).
134
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–
1
+
1
NO YES
ENTER
Press
[
−
1/NO
]
to cancel.
Increases or decreases the gate times (length)
of all notes in the specified track and range of
measures.
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 nar-
rower gate time range, and higher values produce
a broader gate time range.
The “offset” parameter determines the amount
of gate time modification. “−” settings shorten
the gate time while “+” settings increase the gate
time.
After setting the parameters as required, press
[
ENTER
]
. “Are you sure?” will appear on the
display. Press
[
+1/YES
]
to confirm that you want
to go ahead with the modify gate time operation,
or press
[
−1/NO
]
to cancel.
MUSICAL
NOTE
The Modify Gate Time job can be used to produce a more staccato or
legato feel, as required. Experiment with the parameters to get a feel for
what they do.
Last measure in range to
be modified (001 … 999).
Amount of gate time
change
(
−
99 … +00 … +99).
7 Creating a Complete Song
First measure in range to
be modified (001 … 999).
Track (TR1 … TR4).
Gate time ratio
(000% … 200%).
11: Modify Gate Time
135
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Allows an original name of up to 8 characters to be assigned to the
current song.
To enter a character, use the cursor keys to
move the cursor to the character to be entered,
then press the
[
ENTER
]
key. The character will
appear at the character cursor location and the
character cursor will advance to the next charac-
ter position.
To delete the last character entered place the
cursor over “DEL” at the bottom of the display
and press
[
ENTER
]
. The character will be de-
leted and character cursor will move back to the
last character position.
When the entire name has been entered, press the top function but-
ton next to “Exit” on the display. The new name will appear next to
the song number at the top of the SONG mode display.
7 Creating a Complete Song
12: Song Name
Name area.
Character cursor. Moves forward
as each character is entered, or
backward when a character is
deleted.
Characters and
DEL function.
136
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–
1
+
1
NO YES
ENTER
Press
[
−
1/NO
]
to cancel.
Completely clears the specified track from the currently selected
song. If “BK” is selected, all accompaniment tracks are cleared.
Track to be cleared
(TR1 … TR4, BK).
Select the track to be cleared and press
[
EN-
TER
]
. “Are you sure?” will appear on the dis-
play. Press
[
+1/YES
]
to confirm that you want to
go ahead with the Clear Track operation (Clear
Track is irreversible), or press
[
−1/NO
]
to can-
cel.
7 Creating a Complete Song
13: Clear Track
137
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–
1
+
1
NO YES
ENTER
Press
[
−
1/NO
]
to cancel.
Completely clears the currently selected song.
After selecting the Clear Song job, press
[
EN-
TER
]
. “Are you sure?” will appear on the dis-
play. Press
[
+1/YES
]
to confirm that you want
to go ahead with the Clear Song operation
(Clear Song is irreversible), or press
[
−1/NO
]
to
cancel.
7 Creating a Complete Song
14: Clear Song
138
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139
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8
Editing Songs & Patterns
Engaging the Edit Mode ...........................................140
Change Mode Editing ............................................... 143
Insert Mode Editing ................................................... 146
140
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
MENU
MENU
8 Editing Songs & Patterns
The QY22’s editing capability makes it easy to correct mistakes made when recording song
or pattern data, and to generally refine your sound.
The song and pattern edit “change” mode lets you individually modify the timing, pitch, gate
time (length) and velocity (loudness) of each note in the pattern. There’s also an edit “insert”
mode that allows insertion of note, program change, sustain on/off, pitch bend, modulation,
pan, volume, expression, and other events at any point in the pattern.
To engage the edit mode, place the cursor at the track you want to
edit in the normal SONG or PATTERN play mode, press the
[
MENU
]
key, and then the function key next to “Edit” on the display.
m
Press to enter
song edit mode
for current track.
m
From the
PATTERN
mode:
From the
SONG mode:
Press to enter
pattern edit mode
for current track.
Engaging the Edit Mode———————————————————————
141
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8 Editing Songs & Patterns
The edit display will look something like this
(of course, the note data will be different).
m
m
m
m
m
m
m
m
Beat-clock. Note
(pitch).
Gate time
(beat-clock).
Velocity.
Edit “change” mode
(this is the default
mode).
Track being edited.
One note per line.
Top of song.
The pattern edit display is almost exactly the same. The only differ-
ence is that the part being edited (C1, C2, Ba, or Dr) is displayed in
the upper right corner instead of the track.
142
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8 Editing Songs & Patterns
The timing, pitch, gate time, and velocity values for each note are
shown on a single line of the display. The notes are arranged in order
from top to bottom. You can move around within the pattern by sim-
ply moving the cursor. Move below the bottom of the display and the
note data will scroll up, moving towards the end of the pattern. The
opposite occurs when you move up above the top of the display.
In addition to the lines of note data, there are markers for the top of
the song, measure lines, and the end of the song.
● Moving Around
m
m
Measure line.
Cursor currently
in measure 002.
m
End of song.
143
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8 Editing Songs & Patterns
The “Change” edit mode is initially selected when the edit mode is
engaged. To edit any note in the song or pattern, simply move the
cursor to the appropriate line, and then to the required parameter
within that line. The
[
−1
]
and
[
+1
]
keys can then be used to select a
new value for the selected parameter. The edited line will flash when
any parameter within it is changed. This indicates that a change has
been made but has not yet been entered. Press the
[
ENTER
]
key to
actually enter the changes, or move the cursor to another line to can-
cel the changes.
Beat-clock
The first column contains the note timing data. The left number is
the 1/4-note beat within the current measure (1 through 4 in a 4/4
measure), and the right number is the clock within that beat (00
through 95). The beat and clock values can be selected and edited
independently.
Change Mode Editing ————————————————————————
For example, you would place the
cursor here if you wanted to
change the pitch of the second
note in the second measure.
m
144
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8 Editing Songs & Patterns
Pitch
This is the actual pitch of the note. The range is from C-2 to G8.
Gate Time
Gate time is the length of the note in clocks. A normal 1/4 note, for
example, is 86 clocks long. This is about 90% of the actual length of
a 1/4-note division, which is 96 clocks. The “normal” length of the
note is slightly shortened to prevent notes from running into each
other and sounding slurred (a slur is produced by setting the full note
length). The left number is 1/4-note beats (96-clock units) and the
right number is clocks. The range is from 00-01 to 99-95.
Velocity
This parameter controls the velocity (loudness) of the note. The
range is from 001 to 127.
145
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8 Editing Songs & Patterns
Notes and other events (sustain on/off, pitch bend, etc.) can be de-
leted by placing the cursor at the line corresponding to the event to be
deleted, and then pressing the function key next to “Del” on the dis-
play.
● Deleting Events
m
Press to delete line at cursor location
(note or other event).
146
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8 Editing Songs & Patterns
The edit insert mode is used to insert new notes and other events at
a specified location in the pattern.
Move the cursor to the edit line corresponding to (or near to) the
location at which you want to insert the new data.
Insert Mode Editing—————————————————————————
Z
Place the cursor at the
insert location.
Press the
[
MENU
]
key and then the function key next to “Insert”
on the display to switch to the insert edit mode.
X
Engage the insert edit
mode.
m
Place cursor at
insert location.
147
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MENU
8 Editing Songs & Patterns
If the display corresponding to the type of
event you want to insert does not appear immedi-
ately (the last selected event type will appear),
press the function key next to “evt” on the display
to call the insert edit mode event list.
C
Call the event list.
m
Press to engage
insert edit mode.
m
Press for
event list.
148
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8 Editing Songs & Patterns
Move the cursor to the type of event you want to insert (see de-
scriptions below), then press the
[
ENTER
]
key to call the display for
the selected event.
V
Select the type of event
to be inserted.
Bottom half of event list.
Top half of event list.
All events have at least two parameters — usually the location of
the event (Beat-clock) and the event value. Move the cursor to the
event parameters and set as required by using the
[
−1
]
and
[
+1
]
keys.
Note that the measure number above the event line will change to
indicate the event locations as you change the beat-clock location
value (M001 … M999).
B
Set the event param-
eters.
149
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8 Editing Songs & Patterns
Note
New notes can be inserted at any specified location. The note range
is from “C-2” to “G8”. Gate time and velocity can also be specified.
Location. Pitch. Gate
time.
Velocity.
Location.
Program Change
In the SONG mode, Program Change events can be used to switch
voices at any point in the track. You can select voices “001” through
“128”. The QY22’s Normal voice names are fully compatible with the
General MIDI System Level 1.
In the PATTERN mode it is possible to assign voices to tracks as
follows:
C1, C2, Ba Track..................Normal voice
Dr Track ................................Drum voice
Both Normal voice and Drum voice names are fully compatible
with General MIDI System Level 1.
Voice
number.
Voice name
(changes accord-
ing to voice
number selected).
150
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8 Editing Songs & Patterns
Sustain
Inserting a sustain ON event has the same effect as pressing the
sustain pedal on a keyboard. All subsequent notes will be sustained
(applicable voices only) until a sustain OFF event is encountered. Be
sure to select “ON” or “OFF”, as required, before entering a sustain
event.
Pitch Bend
Pitch bend events can be used to produce pitch bend effects. The
amount of pitch bend produced by each event can be set from “−64”
through “+00” to “+63”. To produce smooth pitch bends, you’ll need
to insert several appropriately-spaced small pitch bend events. Re-
member to use more pitch bend effects to return the pitch to normal
after a bend.
ON or OFF.
Location.
Location.
Amount of pitch
change.
151
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8 Editing Songs & Patterns
Modulation
Modulation events apply pitch modulation (vibrato) to the voice.
The amount of modulation applied can be set from “000” (no modula-
tion) to “127” (maximum modulation). Modulation remains in effect
until a “000” modulation event is encountered.
Location.
Amount of modulation.
Pan
Pan events can be used to pan the current voice to a specified posi-
tion in the output stereo sound field (drum voices cannot be panned).
The pan position can be set from “L7” (full left) through “C” (center)
to “R7” (full right).
Location.
Pan position.
152
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8 Editing Songs & Patterns
Volume
Volume events can be used to produce sudden volume changes or
gradual crescendos and decrescendos. The volume range is from
“000” (minimum volume) to “127” (maximum volume). Use a
number of small volume events spaced at appropriate intervals to cre-
ate gradual volume changes.
Expression
Expression events function in much the same way as volume
events, but can be used to produce “finer” volume variations. The
expression range is from “000” (lower volume) to “127” (higher vol-
ume). Use a number of small expression events spaced at appropriate
intervals to create gradual expression “swells” and other volume
changes.
Location.
Location.
Volume level.
Expression level.
153
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8 Editing Songs & Patterns
Data Entry LSB & Data Entry MSB
Data entry events can be used in conjunction with RPN events (de-
scribed below) to control a wide variety of parameters. An RPN event
is used to specify the parameter to be controlled, then a data entry
event supplies the control value. A single data entry event consists of
two bytes of data — the LSB (Least Significant Byte) and the MSB
(Most Significant Byte). See the “MIDI Data Format” booklet for
technical details.
Location. Data entry LSB
value.
Location. Data entry MSB
value.
154
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8 Editing Songs & Patterns
RPN LSB & RPN MSB
RPN (Registered Parameter Number) events can be used in con-
junction with data entry events (described above) to control pitch
bend sensitivity, tuning, and other basic tone generator settings. An
RPN event is used to specify the parameter to be controlled, then a
data entry event supplies the control value. A single RPN event con-
sists of two bytes of data — the LSB (Least Significant Byte) and the
MSB (Most Significant Byte). See the “MIDI Data Format” booklet
for technical details.
Location. RPN LSB value.
Location. RPN MSB value.
155
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MODE
MENU
CLICK!
ENTER
8 Editing Songs & Patterns
N
Enter the specified
event.
Press the
[
ENTER
]
key to enter the event as specified. A click will
be heard as the event is entered. Please note that the click sound will
not be heard if no drum voice is assigned to the drum track, or if the
volume is set to “0”.
<
Exit from the edit mode.
M
Return to the change
edit mode.
Press the
[
MENU
]
key and then the function key next to “Change”
on the display to return to the change edit display, and continue edit-
ing as required.
m
Press to return
to change edit
mode.
Pitch bend event inserted.
Once inserted, you can edit
the event’s location and
value in the change mode.
Press the
[
MODE
]
key to exit from either the change or insert edit
mode and return to the normal SONG or PATTERN play mode.
156
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157
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9
Utility Functions
Accessing the Utility Mode........................................ 158
System Parameters .................................................. 160
Bulk Dump ................................................................ 163
ABC Zone ................................................................. 165
Memory Initialize ....................................................... 166
158
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MENU
9 Utility Functions
m
Press to engage
utility mode.
The utility mode can be accessed from the SONG, VOICE, or PAT-
TERN mode. Simply press the
[
MENU
]
key and then the function
key next to “Utility” on the display.
Accessing the Utility Mode —————————————————————
The QY22 utility mode includes a number of functions that are important for general opera-
tion — e.g. MIDI data handling, interfacing with external equipment, saving song and pattern
data to an external storage device, ABC system operation, etc.
159
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MENU
9 Utility Functions
Once the utility mode has been selected, any of the three utility
displays can be called by pressing the
[
MENU
]
key and then the ap-
propriate function key, as shown below.
m
Press to exit from
utility mode.
m
m
m
Press for utility mode
system parameters.
Press to set ABC
keyboard zone.
Press for MIDI bulk
dump.
DETAIL
When the utility mode is first engaged
from the SONG, PATTERN, or VOICE
mode, the last utility display selected will
initially appear.
● Exiting From the Utility
Mode
The function key next to “Exit” on the
display can be used to exit from any util-
ity display and return to the SONG,
VOICE, or PATTERN mode.
160
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9 Utility Functions
The “System” display includes 6 parameters that affect the basic op-
eration of the QY22. Move the cursor to the parameter to be adjusted and
set as required by using the
[
−1
]
and
[
+1
]
keys.
System Parameters—————————————————————————
MIDI Sync
(MIDI synchronization mode)
Settings: Int, Ext
When this parameter is set to “Int” the QY22 is controlled by its own
internal clock.
When set to “Ext” the QY22 is controlled by a MIDI clock signal re-
ceived from an external device such as a sequencer or music computer.
Please note that the QY22 will not run on its own when this parameter is
set to “Ext.”
This parameter simply turns MIDI control of the QY22 on or off.
“On” is the normal setting, and with this setting the QY22 receives note,
program change, and control change data from an external MIDI key-
board or other controlling device. Transmission of start, stop, and con-
tinue commands is also active, as is MIDI clock transmission.
When set to “Off” the QY22 will not respond to external MIDI control
(start, stop, and continue commands only).
If the QY22 is to be used as a General MIDI tone generator, the MIDI
control parameter should be set to “Off”.
MIDI Ctl
(MIDI control)
Settings: On, Off
161
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9 Utility Functions
The Device Number setting determines the MIDI channel via which
MIDI exclusive data will be transmitted when a Bulk Dump operation
is executed (page 163) or received when bulk data is received from an
external device.
When set to “Off” no bulk data transfer occurs.
When set to a channel number between 1 and 16 the bulk data
transfers occur via the specified channel.
When set to “All” bulk data is transmitted and received on all
channels.
Tunes the overall pitch of the QY22 sound. The Master Tune range
is from “−64” through “+00” to “+63”. Each increment corresponds
to approximately 2 cents (a cent is 1/100th of a semitone). A setting
of “+00” produces normal pitch: A4 = 440 Hz.
Determines when the QY22 metronome will sound. Normally the
QY22 metronome sounds only during realtime recording — the
“Record” setting. With this parameter, however, you can turn the
metronome “Off” so that it never sounds, set it to “Rec/Ply” so that
it sounds during realtime recording and playback, or set it to “Al-
ways” so that the metronome sounds at all times.
CAUTION
Internal data may be corrupted if the power is turned off while the metro-
nome display is showing!
Device No.
(MIDI device number)
Settings: Off, 1 … 16, All
Master Tune
Settings: −64 … +00 … +63
Metronome
Settings: Off, Record,
Rec/Ply, Always
162
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9 Utility Functions
The Master Volume controls the overall volume of the QY22. It is
recommended to use the default setting of 127.
Master Vol
(Master Volume)
Settings: 0 ... 127
DETAIL
When the QY22 is used as a General MIDI tone generator, it will receive
Master Volume System Exclusive messages from other MIDI controllers.
163
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OUT
——
MIDI
——
IN
MIDI IN
MDF2
9 Utility Functions
Bulk Dump ————————————————————————————
Although the QY22 has memory for 20 songs and 100 user pat-
terns, you might want to save your song and pattern data to an exter-
nal device to allow greater storage capacity or simply to protect your
data from accidental erasure or corruption. An ideal storage device for
use with the QY22 is the Yamaha MDF2 MIDI Data Filer.
To save data from the QY22 to the MDF2, first connect the QY22
MIDI OUT to the MDF2 MIDI IN via a MIDI cable, and prepare the
MDF2 for reception (refer to the MDF2 operation manual). Also
make sure that the Device Number parameter in the utility System
screen is set to the appropriate device number or “All.”
Next, select the utility mode Bulk Dump screen,
select “Song” if you want to save the data for one
song or all songs, “Pattern” if you want to save
the data for one pattern or all patterns, or “All” if
you want to save all song and pattern data.
If you select “Song”, move the cursor to the
song number parameter and select a song number
(01 … 20), or “All” to save all songs.
If you select “Pattern”, move the cursor to the
pattern number parameter and select a pattern
number (101 … 200), or “All” to save all patterns.
Type of data to be
transmitted (Song,
Pattern, or All)
Song or pattern
number (no number
available when “All”
is selected above)
164
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OUT
——
MIDI
——
IN
MIDI OUT
MDF2
–
1
+
1
NO YES
ENTER
Press
[
−
1/NO
]
to cancel.
9 Utility Functions
When the parameters have been set as re-
quired, press
[
ENTER
]
. “Are you sure?” will
appear on the display. Press
[
+1/YES
]
to go
ahead with the bulk dump operation, or
[
−1/NO
]
to cancel. “Transmitting” will appear on the dis-
play while the data is being transmitted, and
“Completed!” will appear when the transmission
is complete. Press any key (other than the micro-
keyboard) to return to the Bulk Dump display.
● Bulk Reception of Song
& Pattern Data
If no other operation is currently in progress (recording, for exam-
ple) the QY22 will automatically receive bulk song and pattern data
transmitted from the MDF2. Make sure the QY22 song play mode is
selected when receiving song data, and that the pattern play mode is
selected when receiving pattern data. “ALL” data files including both
song and pattern data can be received in the song play, pattern play,
or voice mode.
To receive bulk data make sure that the MIDI OUT of the MDF2
(or other device) is connected to the MIDI IN of the QY22. Also
make sure that the Device Number parameter in the utility System
screen is set to the appropriate device number or “All.”
165
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9 Utility Functions
ABC Zone —————————————————————————————
m
Turns ABC On or OFF.
m
Graphic range markers
(arrows appear if the
markers are moved out-
side the screen area).
m
m
Lowest note in
ABC range.
Highest note in
ABC range.
This utility function sets the range of notes
in which chords played will be recognized by
the QY22 ABC system (see “10: The QY22
As a Tone Generator/ABC Expander”, page
170).
Use then “ABC” parameter to turn the
QY22 ABC system “On” or “Off” as required.
The “Low” and “High” parameters at the
bottom of the display set the ABC range. The
maximum range is from C-2 to G8 (the
“High” parameter cannot be set lower than the
“Low” parameter). When ABC is turned
“On”, chords played within the specified ABC range will be recognized by the
ABC system and the accompaniment chord will change accordingly during song
playback or chord-track recording. To ensure reliable chord detection and recog-
nition use an external MIDI keyboard to play the ABC system. The built-in mi-
cro-keyboard can be used, but because of its small size and necessarily simpli-
fied construction, chord detection is less reliable. Notes played below the low
limit are interpreted as “on bass” notes. A chart of the chords recognized by the
QY22 is provided in the Appendix (page 182).
DETAIL
When ABC is ON, notes played below the specified high limit are not played, or re-
corded in the realtime or step record modes.
166
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GFA
AGB
OCT
DOWN
OCT
UP
ON OFF POWER
Memory Initialize ——————————————————————————
9 Utility Functions
Although not on the utility mode job list, this function makes it
possible to clear and initialize all internal song and pattern memory
and reset all parameters in one single operation.
To initialize the QY22 memory, turn the power switch on while
holding the
[
OCT DOWN
]
,
[
OCT UP
]
and
[
A#/Bb
]
keys simultane-
ously — then release the keys as soon as the initial power-on display
appears.
Since all data in the internal memory will be erased, make sure any
data you want to keep has been saved to an external data storage de-
vice (page 163) before initializing the memory.
167
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10
The QY22 As A Tone Generator/
ABC Expander
As a Tone generator Module .................................... 168
As an ABC Expander................................................ 170
168
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10 The QY22 As A Tone Generator/ABC Expander
In addition to being played from its own keyboard and internal sequencer, the QY22 can be
controlled from an external keyboard, sequencer, or music computer.
Used as a tone generator module, the QY22 allows 8 different
voices (7 normal voices and one drum voice) to be played via differ-
ent MIDI channels. The MIDI channel/voice assignments are nor-
mally determined by the voice-to-track voice assignments made in the
VOICE mode.
Each of the QY22 tracks is controlled by a different MIDI channel,
as listed below.
MIDI Channel Voice
1 .....................Sequencer track TR1
2 .....................Sequencer track TR2
3 .....................Sequencer track TR3
4 .....................Sequencer track TR4
5 .....................Accompaniment track C1 (Chord 1)
6 .....................Accompaniment track C2 (Chord 2)
7 .....................Accompaniment track Ba (Bass)
10 .....................Accompaniment track Dr (Drums)
As a Tone generator Module—————————————————————
Use
–
1
+
1
NO YES
to select
voice numbers.
169
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10 The QY22 As A Tone Generator/ABC Expander
DETAIL
Data received on MIDI channels other than those listed above also pro-
duce sound, according to the received MIDI program change messages
(see the “MIDI Data Format” booklet).
You can assign any of the QY22’s 128 voices and 8 drum kits to
the tracks controlled via MIDI channels 1 through 7, but only drum
kit voices can be assigned to the “Dr” track, controlled via MIDI
channel 10.
170
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GENERAL
MUSIC SEQUENCER
10 The QY22 As A Tone Generator/ABC Expander
As an ABC Expander ————————————————————————
The QY22’s advanced ABC system can
also be controlled from an external keyboard,
making it useful as an ABC expander mod-
ule. Use the utility mode “ABC Zone” func-
tion (page 165) to specify the range of notes
in which you want the QY22 ABC system to
recognize chords. Then you can change ac-
companiment chords during song playback
simply by playing the appropriate chord in
the specified section of the keyboard. See the
“ABC Fingering Chart” in the Appendix
(page 182) for a list of the chords that can be
recognized by the QY22 ABC system.
HINT
If you place the cursor at the pattern number
or section name during song playback, you
can use the micro-keyboard section keys to
change sections as you play.
m
Turns ABC On or OFF.
m
Graphic range markers
(arrows appear if the
markers are moved out-
side the screen area).
m
m
Lowest note in
ABC range.
Highest note in
ABC range.
ABC section.
171
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11
Appendix
Voice List .................................................................. 172
Drum Kit List ............................................................. 176
Preset Pattern List .................................................... 180
ABC Fingering Chart................................................. 182
Troubleshooting ........................................................ 184
Error Messages......................................................... 186
Specifications ............................................................ 188
172
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11 Appendix
Piano
001 GrandPno Acoustic Grand Piano 1 001
002 BritePno Bright Acoustic Piano 1 002
003 E.Grand Electric Grand Piano 2 003
004 HnkyTonk Honky-tonk Piano 2 004
005 E.Piano1 Electric Piano 1 2 005
006 E.Piano2 Electric Piano 2 2 006
007 Harpsi. Harpsichord 1 007
008 Clavi. Clavi 1 008
Chromatic Percussion
009 Celesta Celesta 1 009
010 Glocken Glockenspiel 1 010
011 MusicBox Music Box 2 011
012 Vibes Vibraphone 1 012
013 Marimba Marimba 1 013
014 Xylophon Xylophone 1 014
015 TubulBel Tubular Bells 1 015
016 Dulcimer Dulcimer 2 016
Organ
017 DrawOrgn Drawbar Organ 1 017
018 PercOrgn Percussive Organ 1 018
019 RockOrgn Rock Organ 1 019
020 ChrchOrg Church Organ 2 020
021 ReedOrgn Reed Organ 1 021
022 Acordion Accordion 2 022
023 Harmnica Hamonica 1 023
024 TangoAcd Tango Accordion 2 024
Voice #
LCD Voice Name
Element
Pgm#
Voice List (Voice# 001 — 096)———————————————————————
Guitar
025 NylonGtr Acoustic Guitar (nylon) 1 025
026 SteelGtr Acoustic Guitar (steel) 1 026
027 Jazz Gtr Electric Guitar (jazz) 1 027
028 CleanGtr Electric Guitar (clean) 2 028
029 Mute.Gtr Electric Guitar (muted) 1 029
030 Ovrdrive Overdriven Guitar 1 030
031 Dist.Gtr Distortion Guitar 1 031
032 GtrHarmo Guitar Harmonics 1 032
Bass
033 Aco.Bass Acoustic Bass 1 033
034 FngrBass Electric Bass (finger) 1 034
035 PickBass Electric Bass (pick) 1 035
036 Fretless Fretless Bass 1 036
037 SlapBas1 Slap Bass 1 1 037
038 SlapBas2 Slap Bass 2 1 038
039 SynBass1 Synth Bass 1 1 039
040 SynBass2 Synth Bass 2 1 040
Strings
041 Violin Violin 1 041
042 Viola Viola 1 042
043 Cello Cello 1 043
044 ContraBs Contrabass 1 044
045 Trem.Str Tremolo Strings 1 045
046 Pizz.Str Pizzicato Strings 2 046
047 Harp Orchestral Harp 1 047
048 Timpani Timpani 1 048
Voice #
LCD Voice Name
Element
Pgm#
173
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11 Appendix
Voice #
LCD Voice Name
Element
Pgm#
Ensemble
049 Strings1 String Ensemble 1 1 049
050 Strings2 String Ensemble 2 1 050
051 Syn.Str1 Synth Strings 1 2 051
052 Syn.Str2 Synth Strings 2 2 052
053 ChoirAah Choir Aahs 1 053
054 VoiceOoh Voice Oohs 1 054
055 SynVoice Synth Voice 1 055
056 Orch.Hit Orchestra Hit 1 056
Brass
057 Trumpet Trumpet 1 057
058 Trombone Trombone 1 058
059 Tuba Tuba 1 059
060 Mute.Trp Muted Trumpet 1 060
061 Fr.Horn French Horn 1 061
062 BrasSect Brass Section 1 062
063 SynBras1 Synth Brass 1 2 063
064 SynBras2 Synth Brass 2 2 064
Reed
065 SprnoSax Soprano Sax 1 065
066 Alto Sax Alto Sax 1 066
067 TenorSax Tenor Sax 1 067
068 Bari.Sax Baritone Sax 1 068
069 Oboe Oboe 1 069
070 Eng.Horn English Horn 1 070
071 Bassoon Bassoon 1 071
072 Clarinet Clarinet 1 072
Voice #
LCD Voice Name
Element
Pgm#
Pipe
073 Piccolo Piccolo 1 073
074 Flute Flute 1 074
075 Recorder Recorder 1 075
076 PanFlute Pan Flute 1 076
077 Bottle Blown Bottle 2 077
078 Shakhchi Shakuhachi 2 078
079 Whistle Whistle 1 079
080 Ocarina Ocarina 1 080
Synth Lead
081 SquareLd Lead 1 (square) 2 081
082 Saw.Lead Lead 2 (sawtooth) 2 082
083 CaliopLd Lead 3 (calliope) 2 083
084 Chiff Ld Lead 4 (chiff) 2 084
085 CharanLd Lead 5 (charang) 2 085
086 Voice Ld Lead 6 (voice) 2 086
087 Fifth Ld Lead 7 (fifths) 2 087
088 Bass &Ld Lead 8 (bass+lead) 2 088
Synth Pad
089 NewAgePd Pad 1 (new age) 2 089
090 Warm Pad Pad 2 (warm) 2 090
091 PolySyPd Pad 3 (polysynth) 2 091
092 ChoirPad Pad 4 (choir) 2 092
093 BowedPad Pad 5 (bowed) 2 093
094 MetalPad Pad 6 (metallic) 2 094
095 Halo Pad Pad 7 (halo) 2 095
096 SweepPad Pad 8 (sweep) 2 096
174
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11 Appendix
Voice #
LCD Voice Name
Element
Pgm#
Voice List (Voice# 097 — 128, Dr1 — Dr8)
Synth Effects
097 Rain FX 1 (rain) 2 097
098 SoundTrk FX 2 (soundtrack) 2 098
099 Crystal FX 3 (crystal) 2 099
100 Atmosphr FX 4 (atmosphere) 2 100
101 Bright FX 5 (brightness) 2 101
102 Goblins FX 6 (goblins) 2 102
103 Echoes FX 7 (echoes) 2 103
104 SF FX 8 (sci-fi) 2 104
Ethnic
105 Sitar Sitar 1 105
106 Banjo Banjo 1 106
107 Shamisen Shamisen 1 107
108 Koto Koto 1 108
109 Kalimba Kalimba 1 109
110 Bagpipe Bagpipe 2 110
111 Fiddle Fiddle 1 111
112 Shanai Shanai 1 112
Percussive
113 TnklBell Tinkle Bell 2 113
114 Agogo Agogo 1 114
115 SteelDrm Steel Drums 2 115
116 WoodBlok Woodblock 1 116
117 TaikoDrm Taiko Drum 1 117
118 MelodTom Melodic Tom 1 118
119 Syn.Drum Synth Drum 1 119
120 RevCymbl Reverse Cymbal 1 120
Voice #
LCD Voice Name
Element
Pgm#
Sound Effects
121 FretNoiz Guitar Fret Noise 1 121
122 BrthNoiz Breath Noise 1 122
123 Seashore Seashore 2 123
124 Tweet Bird Tweet 2 124
125 Telphone Telephone Ring 1 125
126 Helicptr Helicopter 2 126
127 Applause Applause 2 127
128 Gunshot Gunshot 1 128
Drum Kit
Dr1 Standard Standard Kit 001
Dr2 Room Room Kit 009
Dr3 Rock Rock Kit 017
Dr4 Elctrnic Electronic Kit 025
Dr5 Analog Analog Kit 026
Dr6 Jazz Jazz Kit 033
Dr7 Brush Brush Kit 041
Dr8 Classic Classic Kit 049
175
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11 Appendix
176
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Drum Kit List (Note# 23 — 54) ——————————————————————
11 Appendix
23 B -1 Click L <— <— <—
24 C 0 Click H <— <— <—
25 C# 0 Brush Tap <— <— <—
26 D 0 O Brush Swirl L <— <— <—
27 D# 0 Brush Slap <— <—
28 E 0 O Brush Swirl H <— <— Reverse Cymbal
29 F 0 O Snare Roll <— <— <—
30 F# 0 Castanet <— <— Hi Q
31 G 0 Snare L <— SD Power M Snare M
32 G# 0 Sticks <— <— <—
33 A 0 Bass Drum L <— Bass Drum M Bass Drum H
34 A# 0 Open Rim Shot <— <— <—
35 B 0 Bass Drum M <— Bass Drum H BD Power
36 C 1 Bass Drum H <— BD Power BD Gate
37 C# 1 Side Stick <— <— <—
38 D 1 Snare M <— SD Rock SD Power L
39 D# 1 Hand Clap <— <— <—
40 E 1 Snare H <— SD Power Rim SD Power H
41 F 1 Floor Tom L Room Tom 1 Power Tom 1 E Tom 1
42 F# 1 1 Closed Hi Hat <— <— <—
43 G 1 Floor Tom H Room Tom 2 Power Tom 2 E Tom 2
44 G# 1 1 Pedal Hi-Hat <— <— <—
45 A 1 Low Tom Room Tom 3 Power Tom 3 E Tom 3
46 A# 1 1 Hi-Hat Open <— <— <—
47 B 1 Mid Tom L Room Tom 4 Power Tom 4 E Tom 4
48 C 2 Mid Tom H Room Tom 5 Power Tom 5 E Tom 5
49 C# 2 Crash Cymbal 1 <— <— <—
50 D 2 High Tom Room Tom 6 Power Tom 6 E Tom 6
51 D# 2 Ride Cymbal 1 <— <— <—
52 E 2 Chinese Cymbal <— <— <—
53 F 2 Ride Cymbal Cup <— <— <—
54 F# 2 Tambourine <— <— <—
Program# 1 9 17 25
Note#
Note Key Off Alternate Dr1/Standard Kit Dr2/Room Kit Dr3/Rock Kit Dr4/Electronic Kit
177
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
11 Appendix
23 B -1 Click L <— <— <— <—
24 C 0 Click H <— <— <— <—
25 C# 0 Brush Tap <— <— <— <—
26 D 0 Brush Swirl L <— <— <— <—
27 D# 0 Brush Slap <— <— <— <—
28 E 0 Brush Swirl H Reverse Cymbal <— <— <—
29 F 0 Snare Roll <— <— <— <—
30 F# 0 Castanet Hi Q <— <— <—
31 G 0 Snare L SD Power H <— Brush Slap L <—
32 G# 0 Sticks <— <— <— <—
33 A 0 Bass Drum L Bass Drum M <— <— <—
34 A# 0 Open Rim Shot <— <— <— <—
35 B 0 Bass Drum M BD Analog L <— <— <—
36 C 1 Bass Drum H BD Analog H <— <— Gran Cassa
37 C# 1 Side Stick Analog Side Stick <— <— <—
38 D 1 Snare M Analog Snare L <— Brush Slap <—
39 D# 1 Hand Clap <— <— <— <—
40 E 1 Snare H Analog Snare H <— Brush Tap <—
41 F 1 Floor Tom L Analog Tom 1 Jazz Tom 1 Brush Tom 1 Jazz Tom 1
42 F# 1 Closed Hi Hat Analog HH Closed 1 <— <— <—
43 G 1 Floor Tom H Analog Tom 2 Jazz Tom 2 Brush Tom 2 Jazz Tom 2
44 G# 1 Pedal Hi-Hat Analog HH Closed 2 <— <— <—
45 A 1 Low Tom Analog Tom 3 Jazz Tom 3 Brush Tom 3 Jazz Tom 3
46 A# 1 Hi-Hat Open Analog HH Open <— <— <—
47 B 1 Mid Tom L Analog Tom 4 Jazz Tom 4 Brush Tom 4 Jazz Tom 4
48 C 2 Mid Tom H Analog Tom 5 Jazz Tom 5 Brush Tom 5 Jazz Tom 5
49 C# 2 Crash Cymbal 1 <— <— <— Hand Cym.Open L
50 D 2 High Tom Analog Tom 6 Jazz Tom 6 Brush Tom 6 Jazz Tom 6
51 D# 2 Ride Cymbal 1 <— <— <— Hand Cym.Closed L
52 E 2 Chinese Cymbal <— <— <— <—
53 F 2 Ride Cymbal Cup <— <— <— <—
54 F# 2 Tambourine <— <— <— <—
pgm# 1 26 33 41 49
Note#
Note Dr1/Standard Kit Dr5/Analog Kit Dr6/Jazz Kit Dr7/Brush Kit Dr8/Classic Kit
178
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Drum Kit List (Note# 55 — 85)
11 Appendix
55 G 2 Splash Cymbal <— <— <—
56 G# 2 Cowbell <— <— <—
57 A 2 Crash Cymbal 2 <— <— <—
58 A# 2 Vibraslap <— <— <—
59 B 2 Ride Cymbal 2 <— <— <—
60 C 3 Bongo H <— <— <—
61 C# 3 Bongo L <— <— <—
62 D 3 Conga H Mute <— <— <—
63 D# 3 Conga H Open <— <— <—
64 E 3 Conga L <— <— <—
65 F 3 Timbale H <— <— <—
66 F# 3 Timbale L <— <— <—
67 G 3 High Agogo <— <— <—
68 G# 3 Low Agogo <— <— <—
69 A 3 Cabassa <— <— <—
70 A# 3 Maracas <— <— <—
71 B 3 O Samba Whistle H <— <— <—
72 C 4 O Samba Whistle L <— <— <—
73 C# 4 Guiro Short <— <— <—
74 D 4 O Guiro Long <— <— <—
75 D# 4 Claves <— <— <—
76 E 4 Wood Block H <— <— <—
77 F 4 Wood Block L <— <— <—
78 F# 4 Cuica Mute <— <— Scratch Push
79 G 4 Cuica Open <— <— Scratch Pull
80 G# 4 2 Triangle Mute <— <— <—
81 A 4 2 Triangle Open <— <— <—
82 A# 4 Shaker <— <— <—
83 B 4 Jingle Bell <— <— <—
84 C 5 Bell Tree <— <— <—
85 C# 5 Hi Q <— <— <—
Program# 1 9 17 25
Note#
Note Key Off Alternate Dr1/Standard Kit Dr2/Room Kit Dr3/Rock Kit Dr4/Electronic Kit
179
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11 Appendix
55 G 2 Splash Cymbal <— <— <— <—
56 G# 2 Cowbell <— <— <— <—
57 A 2 Crash Cymbal 2 <— <— <— Hand Cym.Open H
58 A# 2 Vibraslap <— <— <— <—
59 B 2 Ride Cymbal 2 <— <— <— Hand Cym.Closed H
60 C 3 Bongo H <— <— <— <—
61 C# 3 Bongo L <— <— <— <—
62 D 3 Conga H Mute Analog Conga H <— <— <—
63 D# 3 Conga H Open Analog Conga M <— <— <—
64 E 3 Conga L Analog Conga L <— <— <—
65 F 3 Timbale H <— <— <— <—
66 F# 3 Timbale L <— <— <— <—
67 G 3 High Agogo <— <— <— <—
68 G# 3 Low Agogo <— <— <— <—
69 A 3 Cabassa <— <— <— <—
70 A# 3 Maracas <— <— <— <—
71 B 3 Samba Whistle H <— <— <— <—
72 C 4 Samba Whistle L <— <— <— <—
73 C# 4 Guiro Short <— <— <— <—
74 D 4 Guiro Long <— <— <— <—
75 D# 4 Claves <— <— <— <—
76 E 4 Wood Block H <— <— <— <—
77 F 4 Wood Block L <— <— <— <—
78 F# 4 Cuica Mute Scratch Push <— <— <—
79 G 4 Cuica Open Scratch Pull <— <— <—
80 G# 4 Triangle Mute <— <— <— <—
81 A 4 Triangle Open <— <— <— <—
82 A# 4 Shaker <— <— <— <—
83 B 4 Jingle Bell <— <— <— <—
84 C 5 Bell Tree <— <— <— <—
85C#5Hi Q<—<—<—<—
pgm# 1 26 33 41 49
Note#
Note Dr1/Standard Kit Dr5/Analog Kit Dr6/Jazz Kit Dr7/Brush Kit Dr8/Classic Kit
180
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11 Appendix
QY20's
No.
No.
QY20's
No.
No.
Time
Signature
Time
Signature
Preset Pattern List —————————————————————————
Style NameStyle Name
Dance
001 DA RaveQ Rave 4/4
002 DA Tekno Techno 4/4 007
003 DA Jazzy Acid Jazz 4/4
004 DA AcidJ Cool Acid Jazz 4/4
005 DA Light Techno House 4/4 010
006 DA Craze House Pop Dance 4/4 008
007 DA Grand Groundbeat 4/4 028
008 DA Rappr Rap 4/4
009 DA Dark? Dark Rap 4/4 016
010 DA Mitch Rap Shuffle 4/4 017
011 DA JackS New Jack Swing 4/4
012 DA Mage! Heavy Dance 4/4 002
013 DA Frame German Dance 4/4 003
014 DA EuroB Eurobeat 4/4
015 DA ABCDE ’80s Pop Dance 4/4 004
016 DA Disco Disco 4/4 005
017 DA Train ’70s Disco Funk 4/4 006
018 DA Coast Dance Funk 4/4
Ballad
019 BA Llade 8-Beat Ballad 4/4 019
020 BA Group 8-Beat Pop Ballad 4/4 020
021 BA Gofer Blue-eyed Soul Ballad 4/4 021
022 BA Quiet Folk Ballad 4/4 022
023 BA LovIt Country Ballad 4/4 023
024 BA Magma Ambient House Ballad 4/4 024
025 BA Venus 16-beat Ballad 4/4 025
026 BA Human Dark Electronic Pop Ballad 4/4 026
027 BA RioDJ Latin Ballad 4/4 027
028 BA Witby 6/8 Pop Ballad 4/4 029
029 BA RWalz 6/4 Soul Ballad 6/4 030
030 BA CWalz Country Ballad Waltz 3/4 031
031 BA EWalz Slow Ballad Waltz 3/4 032
Rock & Pop
032 RP Mouth Country Rock 4/4 033
033 RP Party ’70s 8-Beat Pop 4/4
034 RP GetUp Glam Rock 4/4 034
035 RP Stone ’70s Mid-Tempo Rock 4/4
036 RP Rozza ’80s Mid-Tempo Pop 4/4 035
037 RP Faces ’80s Synth Pop 4/4 036
038 RP Urple ’80s Dance Pop 4/4 037
039 RP Rhino 16-Beat Pop 4/4 038
040 RP N.Y.! New York Pop 4/4 039
041 RP Start Country Rock Shuffle 4/4 041
042 RP Troll Detroit Pop Shuffle 4/4 042
043 RP Earth ’80s Mid-Tempo Pop Shuffle 4/4 044
044 RP Candy Jazzy Pop Shuffle 4/4 045
045 RP RkBgy Rock Boogie 4/4
046 RP SeeYa Rock Shuffle 4/4 046
047 RP River Southern Rock Shuffle 4/4 047
048 RP Judge ’80s Dance Pop Shuffle 4/4 048
Rhythm&Bules
049 RB Good! ’60s Rhythm & Blues 4/4
050 RB Shore Mid-Tempo R&B 4/4 051
051 RB Motor Detroit R&B 4/4 052
052 RB Going Light Soul 4/4 053
181
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
11 Appendix
QY20's
No.
No. Style Name
QY20's
No.
No. Style Name
Time
Signature
Time
Signature
053 RB Funky ’60s Funk Shuffle 4/4 013
054 RB Brass West Coast R&B Funk 4/4 054
055 RB NFunk Modern Funk 4/4 055
056 RB JFunk Jazz Funk 4/4
057 RB CFS01 Blues Shuffle 4/4 057
058 RB Blues 6/8 Blues 4/4
059 RB SBlus Slow Blues 4/4
060 RB Lucky Bluesy R&B 4/4 058
061 RB South Southern Gospel 6/8 060
062 RB Free! R&B Gospel 4/4
Hard Rock
063 HR Speed Hi-Tempo Hard Rock 4/4 061
064 HR Drive Mid-Tempo American Hard Rock 4/4 062
065 HR HurtN Hard Rock Ballad 4/4 063
066 HR Piles Slash Metal 4/4 065
067 HR BoogE Hard Rock Shuffle 4/4 066
068 HR Help! 6/8 Progressive Rock 6/8 067
Rock & Roll
069 RR Twist Twist 4/4
070 RR Crock ’50s Rock &Roll 4/4
071 RR BgWgy Boogie Woogie 4/4
072 RR Billy Rockabilly 4/4 072
073 RR Gravy ’60s British Rock & Roll 4/4 069
074 RR Jngle 16-Beat Rock & Roll 4/4
Jazz
075 JA Dook! ’40s Jazz 4/4 074
076 JA Swing Big Band Swing 4/4 075
077 JA Bebop Bebop 4/4
078 JA Dixie Dixie 4/4 077
079 JA Zzz.. Jazz Ballad 4/4 078
080 JA Foxy! Slow Fox 4/4 079
081 JA Vince Jazz Waltz 3/4 080
082 JA WFuse West Coast Fusion 4/4
083 JA EFuse ’80s Fusion 4/4 082
Latin
084 LA Salsa Salsa 4/4 083
085 LA Samba Jazz Samba 4/4 086
086 LA Bossa Pop Bossa Nova 4/4 087
087 LA TinRk Latin Rock 4/4
088 LA Rumba Rumba 4/4 089
089 LA Tango Tango 4/4 090
090 LA Espag Rumba Espagnole 4/4
Reggae
091 RE Cycle Traditional Reggae 4/4 091
092 RE Tired Pop Reggae Shuffle 4/4 092
093 RE Gular 16-Beat Pop Reggae 4/4 093
094 RE SkyBt Ska 4/4
World
095 WO Grass Bluegrass 4/4 095
096 WO Polka Polka 4/4 096
097 WO Mrch1 March 4/4 097
098 WO Mrch2 6/8 March 4/4
099 WO Waltz Vienna Waltz 3/4 099
100 WO RCade Game Music 4/4 100
182
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
ABC Fingering Chart ————————————————————————
This chart shows the chord fingerings recognized by the QY22 ABC system. 3-, 4-, and 5-note
fingerings can be used, depending on the inversion and tensions required. In the fingerings “1” is the root,
“3” is the 3rd, “7” is the seventh, and so on. The “Comments” column indicates inversions that should be
avoided because they produce a different chord.
Chord Type 3-note Chord 4-note Chord 5-note Chord Comments (for C chords)
1+3+7 Amadd9 when E is the lowest note.
Maj7 1+5+7
1+3+5+7
Maj 1+3+5
6
3+5+6
1+3+5+6 Am7 when lowest note is not C.
Maj9
1+3+7+9
1+3+5+7+9
add9
1+3+5+9
3+5+9 Em7 when E is the lowest note.
min 1+b3+5
min6
1+b3+5+6 F9 when Eb is the lowest note, Am7(b5) when G or A is the lowest note.
1+b3+6
min7
1+b3+b7Abadd9 when Eb or Bb is the lowest note.
1+b3+5+b7Eb6 when Eb is the lowest note.
min7(b5) 1+b3+b5+b7Ebm6 when Eb is the lowest note, Ab9 when Gb is the lowest note.
mMaj7
1+b3+7
1+b3+5+7
min9
1+b3+b7+9
1+b3+5+b7+9
minadd9
1+b3+5+9
b3+5+9 EbMaj7 when Eb or D is the lowest note.
11 Appendix
183
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Chord Type 3-note Chord 4-note Chord 5-note Chord Comments (for C chords)
min7(11)
1+b3+b7+11 F7sus4 when F or Bb is the lowest note.
1+b3+5+b7+11
7
1+3+b7
1+3+5+b7
7(#5)
3+#5+b7
1+3+#5+b7
7(b9)
1+3+b7+b9
1+3+5+b7+b9
1+3+b7+9
9 3+5+b7+9 Em7(b5) when E or D is the lowest note, Gm6 when G is the lowest note.
1+3+5+b7+9
3+b7+#9
7(#9)
1+3+b7+#9
3+5+b7+#9
1+3+5+b7+#9
7(#11)
1+3+b7+#11 F#7(#11) when F# or E is the lowest note.
1+3+5+b7+#11
3+5+b7+b13
1+3+5+b7+b13
7(b13) 1+3+b7+b9+b13
1+3+b7+9+b13
1+3+b7+#9+b13
1+3+b7+13
3+5+b7+13
7(13)
3+b7+9+13
1+3+5+b7+13
1+3+b7+b9+13
1+3+b7+9+13
7sus4
1+4+b7 Fsus4 when lowest note is not C.
1+4+5+b7 Gm7(11) when G or Bb is the lowest note.
sus4 1+4+5 G7sus4 when G is the lowest note.
dim 1+b3+b5+6 Only C (root) accepted as lowest note.
aug 1+3+#5 Only C (root) accepted as lowest note.
ABC Fingering Chart
11 Appendix
184
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Troubleshooting ——————————————————————————
If something doesn’t seem to be working right, please check the following points before assuming that
your QY22 is faulty.
Symptom Possible Causes
If you are using an AC adaptor, is the adaptor properly plugged into
both the AC outlet and the QY22? See page 18.
If you are using batteries, is a fresh set of batteries properly installed
in the battery compartment? See page 16.
Is the volume control set to an appropriate level? See page 33.
Are the volume parameters for each track set to appropriate levels?
See page 40.
Is the transpose parameter set to the normal value (“0”)? See page
111.
Is the maximum polyphony of the QY22 being exceeded? The QY22
can play no more than 28 notes at once.
You may have selected a song or pattern that contains no data? See
page 42.
Playback can not be controlled from the QY22 panel when the MIDI
Sync parameter is set to “Ext”. See page 160.
Power won’t turn on.
No sound.
Wrong pitch.
Notes are cut off or omitted.
Playback doesn’t begin
when the
[ ]
key is
pressed.
11 Appendix
185
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Symptom Possible Causes
The time signature and/
or pattern changes when
the song is started.
The time signature cannot be changed for songs or patterns that already
contain data.
Have you inserted an end marker in the song? See page 70.
Have you inserted an ending section of a preset pattern in the middle of
the song? See page 62.
The ABC Zone function may be turned OFF. See page 165.
Are the ABC Zone high and low limits set to appropriate notes? See
page 165.
Is the cursor placed at a location other than the chord display? See page
47.
Most likely the time signature and pattern changes have been recorded
onto the accompaniment tracks. See page 62.
Is the QY22 device number set to match that of the transmitting device?
See page 161.
Is the song play or pattern play display showing? See page 164.
If you are receiving a 1-song or 1-pattern bulk dump, is the currently se-
lect song or pattern empty and therefore available to receive the data?
Bulk data cannot be received during song or pattern playback.
The time signature cannot
be changed.
ABC doesn’t work.
Playback stops in the
middle of a song.
Bulk data not received.
Troubleshooting
11 Appendix
186
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Error Messages ——————————————————————————
Errors do occur from time to time, and when they do the QY22 will usually display a message that indicates
what type of problem has occurred so you can rectify it and return to normal operation as quickly as possible.
Illegal Input
This error appears if you attempt to enter a value
that is out of range or otherwise unacceptable in the
current situation.
Memory Full
The QY22 memory is full or almost full and the
specified operation cannot be performed. Delete
unwanted song and/or pattern data to make more
memory available.
Battery Low
The battery voltage is too low for proper opera-
tion. The sound may also become distorted when
this display appears. Replace the old batteries with
a set of new ones as soon as possible. Internal data
will be retained while the batteries are replaced.
Backup Batt. Low
Appears when the power is turned on if the inter-
nal memory backup battery is too low to maintain
the internal memory data. Have the backup battery
replaced by qualified Yamaha service personnel.
Now Working
This error may appear if a data error is detected
when the QY22 power is turned on. The “Now Work-
ing” display indicates that the data is being repaired
... wait a few moments until the error message dis-
appears.
Preset Pattern
Since the preset patterns cannot be changed in
any way, this error message will appear if you at-
tempt to execute any operation that is intended to
alter the pattern data while a preset pattern is se-
lected.
Repeat Exist
This error message will appear if you copy a
chord part using the song job copy measure function
while one or more repeats exist in the accompani-
ment tracks. Delete all repeats in the step record
mode and then execute the copy measure function
as required.
11 Appendix
187
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
MIDI Data
An error has been detected in the MIDI data re-
ceived by the QY22. Check all relevant settings,
then try receiving the data again.
Check Sum
An error has been detected in a MIDI bulk dump
received by the QY22. Check all relevant settings,
then try receiving the data again.
Buffer Full
Too much MIDI data is being received by the
QY22 at one time. Reduce the amount of data that
is being sent to the QY22.
Illegal Data
Unrecognizable bulk data has been received by
the QY22. Make sure that all bulk data sent to the
QY22 conforms with QY22 MIDI specifications.
Device# Off
Bulk data could not be transmitted or received
because the device number parameter is set to
“Off”. Set an appropriate device number before
transmitting or receiving bulk data.
Device# Mismatch
Bulk data could not be received because the de-
vice number of the QY22 does not match that of the
data. Set the QY22 device number parameter to the
appropriate number (or “All”), then try receiving the
data again.
Now Running
A MIDI bulk dump has been received during song
or pattern playback (in this case the bulk data is
lost). Stop playback and try receiving the bulk data
again.
Data Exist
A 1-song or 1-pattern bulk dump has been re-
ceived but the currently selected song or pattern
already contains data so the received data was not
loaded. Make sure an empty song or pattern is se-
lected when receiving this type of data.
Bulk Ignored
Bulk data was transmitted to the QY22 while it
was in a mode in which bulk data reception is not
possible. The QY22 can only receive bulk data while
the song or pattern play display is showing.
11 Appendix
188
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Specifications ———————————————————————————
Sequencer
No. of Tracks Song mode: 8
(TR1 … TR4, Accompaniment x 4)
Pattern mode: 4
(C1, C2, Ba, Dr)
Record Modes Realtime, Step
Data Capacity Approximately 28,000 notes
20 songs
100 user patterns
Preset Patterns 600 (100 patterns x 6 sections:
intro, normal, variation, fill 1, fill 2,
ending)
Preset Chords 25 types
Note Resolution 96 clocks per quarter note
Polyphony 32 notes
Tone Generator
Type AWM (Advanced Wave Memory)
Max. Polyphony 28 notes
Multi-timbre Parts 16 (with dynamic voice allocation)
Preset Voices 128 pitched voices
8 drum kits
Display 128 x 64 dot graphic liquid crystal
display
Connectors Output (mini stereo phone jack)
Headphone (mini stereo phone jack)
DC IN
MIDI IN
MIDI OUT
Power Supply Six 1.5V AA size (SUM-3 or R6P) or
equivalent alkaline batteries
Optional PA-3, PA-4, or PA-40
AC Adaptor
Dimensions 188 x 37 x 104 mm
(W x H x D) 7-3/8" x 1-1/2" x 4-1/8"
Weight Approx. 400 g (14 oz) without
batteries
11 Appendix
189
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
11 Appendix
190
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Index
Clear Song.....................................................................137
Clear Track, pattern.......................................................104
Clear Track, song ..........................................................136
Clock................................................................................92
Contrast control ...............................................................26
Copy Measure ...............................................................125
Copy Pattern....................................................................98
Count-in ...........................................................................55
Create Measure.............................................................126
Cursor keys .....................................................................27
D
Data entry LSB & MSB events, insert edit ....................153
DC IN jack .......................................................................20
Delete during pattern record............................................84
Delete Measure .............................................................128
Deleting events..............................................................145
Demo, playing the............................................................34
Drum instrument display..................................................85
Drum kit list....................................................................176
Drum machine, using the QY22 as .................................75
E
Edit mode, engaging .....................................................140
Edit mode, moving around ............................................142
Empty pattern ..................................................................78
A
ABC expander, the QY22 as an....................................170
ABC fingering chart .......................................................182
ABC zone ......................................................................165
Accompaniment recording, realtime ................................52
Accompaniment recording, step ......................................59
Accompaniment tracks, description.................................10
Audio connections ...........................................................21
B
Backup battery...................................................................5
Bass note, specifying for a chord ....................................67
Batteries, using................................................................16
Beat-clock data, edit mode............................................143
C
Change edit ...................................................................143
“Chd” track.......................................................................57
Chord changes, step record ............................................66
Chord display...................................................................69
Chord symbol ..................................................................47
Chord types .....................................................................49
Chords, changing ............................................................47
Chords, erasing ...............................................................68
Chords, step recording ....................................................67
Clear Pattern .................................................................105
191
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Index
Empty song......................................................................42
Enter key .........................................................................30
Erase Measure ..............................................................129
Error messages .............................................................186
Event list, insert edit mode ............................................147
Expression events, insert edit .......................................152
F
Faders..............................................................................40
Function keys ..................................................................29
Function keys, step record mode ........................... 92, 120
G
Gate time .................................................................90, 118
Gate time data, edit mode .............................................144
GM(General MIDI) System Level 1 .................................14
I
Icons ..................................................................................6
Insert edit.......................................................................146
L
LCD display .....................................................................26
Line out jack ....................................................................20
M
Master tune parameter ..................................................161
Master Volume ..............................................................162
MDF2 MIDI Data Filer ...................................................163
Measure number .............................................................43
Measure/beat/clock display .....................................92, 120
Memory initialize............................................................166
Menu key .........................................................................29
Metronome parameter ...................................................161
Micro keyboard ................................................................31
Micro-keyboard chord entry.............................................48
Micro-keyboard variation selection ..................................45
MIDI bulk dump .............................................................163
MIDI channel/QY22 track relationship.............................22
MIDI connections.......................................................20, 22
MIDI control parameter..................................................160
MIDI device number parameter.....................................161
MIDI synchronization mode parameter .........................160
Mix Track .......................................................................124
Mode diagram....................................................................8
Mode key .........................................................................26
Modify Gate Time, pattern.............................................102
Modify Gate Time, song ................................................134
Modify Velocity, pattern .................................................101
Modify Velocity, song.....................................................133
Modulation events, insert edit........................................151
Move Clock....................................................................131
Mute buttons....................................................................38
192
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Index
N
Non-ABC patterns ...........................................................95
Note display.............................................................91, 119
Note events, insert edit..................................................149
Note parameters......................................................90, 118
O
Octave keys.....................................................................32
P
Pan events, insert edit...................................................151
Pan pots ..........................................................................39
“Pat” track ........................................................................55
Pattern changes, erasing ................................................65
Pattern changes, step record ..........................................62
Pattern jobs .....................................................................96
Pattern length ............................................................81, 88
Pattern mode playback....................................................94
Pattern mode, description................................................11
Pattern Name ................................................................103
Pattern number, selecting................................................43
Pattern number, step record............................................64
Pattern record, realtime ...................................................78
Pattern record, step .........................................................86
Pattern selection..............................................................78
Pattern track & voice selection ................................. 81, 88
Pattern variations (“sections”)..........................................44
Phones jack .....................................................................20
Pitch bend events, insert edit ........................................150
Pitch data, edit mode.....................................................144
Playback, starting ............................................................43
Playback, stopping ..........................................................46
Power adaptor .................................................................18
Power supply ...............................................................4, 16
Power switch ...................................................................26
Precautions........................................................................4
Preset pattern list...........................................................180
Program change events, insert edit ..............................149
Q
Quantize, pattern .............................................................99
Quantize, song ..............................................................127
R
Record tempo ..................................................................81
Remove Event ...............................................................132
Repeats, erasing .............................................................71
Repeats, step record .......................................................70
RPN LSB & MSB events, insert edit .............................154
193
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Index
S
Section.............................................................................64
Sequencer keys...............................................................30
Sequencer record track selection..................................111
Sequencer track recording, realtime .............................109
Sequencer track recording, step ...................................115
Sequencer tracks, description .........................................10
Song jobs.......................................................................122
Song mode, description.....................................................9
Song Name....................................................................135
Song, selecting ................................................................42
Specifications.................................................................185
Sustain events, insert edit .............................................150
Syncopated chords..........................................................68
System parameters .......................................................160
T
Tempo changes, erasing .................................................74
Tempo changes, step record...........................................72
Tempo parameter ....................................................46, 111
Time signature.................................................... 64, 81, 88
Tone generator, the QY22 as a.....................................168
Track muting....................................................................51
Transpose job, pattern...................................................100
Transpose job, song ......................................................130
Transpose parameter ....................................................111
Troubleshooting .............................................................181
U
Used memory display ....................................................114
Utility mode, accessing..................................................158
V
Velocity ....................................................................90, 118
Velocity data, edit mode ................................................144
Voice assignments ..................................................38, 108
Voice list ........................................................................172
Voice mode display .........................................................36
Voice mode, description ....................................................9
Voices, selecting..............................................................37
Volume control.................................................................33
Volume events, insert edit .............................................152
−1/NO and +1/YES keys .................................................28
194
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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 users 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 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 Divi-
sion, 6600 Orangethorpe Ave, Buena Park, CA90620
The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.
195
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CANADA
THIS DIGITAL APPARATUS DOES NOT EXCEED THE “CLASS B”
LIMITS FOR RADIO NOISE EMISSIONS FROM DIGITAL APPARATUS
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 COMMUNICATIONS DU CANADA.
• This applies only to products distributed by Yamaha Canada Music Ltd.
• Ceci ne s’applique qu’aux produits distribués par Yamaha Canada Music Ltd.
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 asennttu. Vaihda paristo
ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty
paristo valmistajan ohjeiden mukaisesti.
Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten Nie-
derlassung und bei Yamaha Vertragshändlern in den jeweiligen
Bestimmungsländern erhältlich.
Para detalles sobre productos, contacte su tienda Yamaha más cercana
o el distribuidor autorizado que se lista debajo.
For details of products, please contact your nearest Yamaha or the
authorized distributor listed below.
Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha
ou au distributeur le plus proche de vous figurant dans la liste suivante.
ITALY
Yamaha Musica Italia S.P.A.,
Combo Division
Viale Italia 88, 20020 Lainate (Milano), Italy
Tel: 02-935-771
SPAIN
Yamaha-Hazen Electronica Musical, S.A.
Jorge Juan 30, 28001, Madrid, Spain
Tel: 91-577-7270
PORTUGAL
Valentim de Carvalho CI SA
Estrada de Porto Salvo, Paço de Arcos 2780 Oeiras,
Portugal
Tel: 01-443-3398/4030/1823
GREECE
Philippe Nakas S.A.
Navarinou Street 13, P.Code 10680, Athens, Greece
Tel: 01-364-7111
SWEDEN
Yamaha Scandinavia AB
J. A. Wettergrens Gata 1
Box 30053
S-400 43 Göteborg, Sweden
Tel: 031 89 34 00
DENMARK
YS Copenhagen Liaison Office
Generatorvej 8B
DK-2730 Herlev, Denmark
Tel: 44 92 49 00
FINLAND
Warner Music Finland OY/Fazer Music
Aleksanterinkatu 11, P.O. Box 260
SF-00101 Helsinki, Finland
Tel: 0435 011
EUROPE
THE UNITED KINGDOM
Yamaha-Kemble Music (U.K.) Ltd.
Sherbourne Drive, Tilbrook, Milton Keynes,
MK7 8BL, England
Tel: 01908-366700
IRELAND
Danfay Ltd.
61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin
Tel: 01-2859177
GERMANY/SWITZERLAND
Yamaha Europa GmbH.
Siemensstraße 22-34, D-2084 Rellingen, F.R. of
Germany
Tel: 04101-3030
AUSTRIA/HUNGARY/SLOVENIA/
ROMANIA/BULGARIA
Yamaha Music Austria Gesmb H.
Schleiergasse 20, A-1100 Wien Austria
Tel: 0222-60203900
THE NETHERLANDS
Yamaha Music Benelux B.V.,
Verkoop Administratie
Kanaalweg 18G, 3526KL, Utrecht, The Netherlands
Tel: 030-828411
BELGIUM/LUXEMBOURG
Yamaha Music Benelux B.V.,
Brussels-office
Keiberg Imperiastraat 8, 1930 Zaventem, Belgium
Tel: 02-7258220
FRANCE
Yamaha Musique France,
Division Professionnelle
BP 70-77312 Marne-la-Valée Cedex 2, France
Tel: 01-64-61-4000
NORTH AMERICA
CANADA
Yamaha Canada Music Ltd.
135 Milner Avenue, Scarborough, Ontario,
M1S 3R1, Canada
Tel: 416-298-1311
U.S.A.
Yamaha Corporation of America
6600 Orangethorpe Ave., Buena Park, Calif. 90620,
U.S.A.
Tel: 714-522-9011
MIDDLE & SOUTH AMERICA
MEXICO
Yamaha De Mexico S.A. De C.V.,
Departamento de ventas
Javier Rojo Gomez No.1149, Col. Gpe Del
Moral, Deleg. Iztapalapa, 09300 Mexico, D.F.
Tel: 686-00-33
BRASIL
Yamaha Musical Do Brasil LTDA.
Ave. Reboucas 2636, São Paulo, Brasil
Tel: 011-853-1377
PANAMA
Yamaha De Panama S.A.
Edificio Interseco, Calle Elvira Mendez no.10,
Piso 3, Oficina #105, Ciudad de Panama, Panama
Tel: 507-69-5311
OTHER LATIN AMERICAN COUNTRIES
AND CARIBBEAN COUNTRIES
Yamaha Music Latin America Corp.
6101 Blue Lagoon Drive, Miami, Florida 33126,
U.S.A.
Tel: 305-261-4111
HEAD OFFICE Yamaha Corporation, Electronic Musical Instrument Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 053-460-2445
OCEANIA
AUSTRALIA
Yamaha Music Australia Pty. Ltd.
17-33 Market Street, South Melbourne, Vic. 3205,
Australia
Tel: 3-699-2388
NEW ZEALAND
Music Houses of N.Z. Ltd.
146/148 Captain Springs Road, Te Papapa,
Auckland, New Zealand
Tel: 9-634-0099
COUNTRIES AND TRUST
TERRITORIES IN PACIFIC OCEAN
Yamaha Corporation,
International Marketing Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 053-460-2317
TAIWAN
Kung Hsue She Trading Co., Ltd.
No. 322, Section 1, FuHsing S. Road,
Taipei 106, Taiwan. R.O.C.
Tel: 02-709-1266
THAILAND
Siam Music Yamaha Co., Ltd.
865 Phornprapha Building, Rama I Road,
Patumwan, Bangkok 10330, Thailand
Tel: 2-215-3443
THE PEOPLE’S REPUBLIC OF CHINA
AND OTHER ASIAN COUNTRIES
Yamaha Corporation,
International Marketing Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 053-460-2317
NORWAY
Narud Yamaha AS
Grini Næringspark 17
N-1345 Østerås, Norway
Tel: 67 14 47 90
ICELAND
Skifan HF
Skeifan 17 P.O. Box 8120
IS-128 Reykjavik, Iceland
Tel: 525 5000
EAST EUROPEAN COUNTRIES
(Except HUNGARY)
Yamaha Europa GmbH.
Siemensstraße 22-34, D-2084 Rellingen, F.R. of
Germany
Tel: 04101-3030
SY08
AFRICA
Yamaha Corporation,
International Marketing Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 053-460-2312
MIDDLE EAST
TURKEY/CYPRUS
Yamaha Musique France, Division Export
BP 70-77312 Marne-la-Valée Cedex 2, France
Tel: 01-64-61-4000
OTHER COUNTRIES
Yamaha Corporation,
International Marketing Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 053-460-2312
ASIA
HONG KONG
Tom Lee Music Co., Ltd.
11/F., Silvercord Tower 1, 30 Canton Road,
Tsimshatsui, Kowloon, Hong Kong
Tel: 730-1098
INDONESIA
PT. Yamaha Music Indonesia (Distributor)
PT. Nusantik
Gedung Yamaha Music Center, Jalan Jend. Gatot
Subroto Kav. 4, Jakarta 12930, Indonesia
Tel: 21-520-2577
KOREA
Cosmos Corporation
#131-31, Neung-Dong, Sungdong-Ku, Seoul
Korea
Tel: 02-466-0021~5
MALAYSIA
Yamaha Music Malaysia, Sdn., Bhd.
16-28, Jalan SS 2/72, Petaling Jaya, Selangor,
Malaysia
Tel: 3-717-8977
PHILIPPINES
Yupangco Music Corporation
339 Gil J. Puyat Avenue, P.O. Box 885 MCPO,
Makati, Metro Manila, Philippines
Tel: 819-7551
SINGAPORE
Yamaha Music Asia Pte., Ltd.
Blk 17A Toa Payoh #01-190 Lorong 7
Singapore 1231
Tel: 354-0133
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