Yamaha QY70 Handleiding

Merk: Yamaha

Model: QY70

Categorie: Digitale piano's

Type: Handleiding

Owner’s Manual

SPECIAL MESSAGE SECTION

This product utilizes batteries or an external power

supply (adapter). DO NOT connect this product to

any power supply or adapter other than one

described in the manual, on the name plate, or

specifically recommended by Yamaha.

WARNING: Do not place this product in a position

where anyone could walk on, trip over ,or roll

anything over power or connecting cords of any kind.

The use of an extension cord is not recommended!

IF you must use an extension cord, the minimum

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

The smaller the AWG number ,the larger the current

handling capacity. For longer extension cords,

consult a local electrician.

This product should be used only with the

components supplied or; a cart, rack, or stand that is

recommended by Yamaha. If a cart, etc., is used,

please observe all safety markings and instructions

that accompany the accessory product.

SPECIFICATIONS SUBJECT TO CHANGE:

The information contained in this manual is believed

to be correct at the time of printing. However,

Yamaha reserves the right to change or modify any

of the specifications without notice or obligation to

update existing units.

This product, either alone or in combination with an

amplifier and headphones or speaker/s, may be

capable of producing sound levels that could cause

permanent hearing loss. DO NOT operate for long

periods of time at a high volume level or at a level

that is uncomfortable. If you experience any hearing

loss or ringing in the ears, you should consult an

audiologist.

IMPORTANT: The louder the sound, the shorter the

time period before damage occurs.

Some Yamaha products may have benches and / or

accessory mounting fixtures that are either supplied

with the product or as optional accessories. Some of

these items are designed to be dealer assembled or

installed. Please make sure that benches are stable

and any optional fixtures (where applicable) are well

secured BEFORE using.

Benches supplied by Yamaha are designed for

seating only. No other uses are recommended.

NOTICE:

Service charges incurred due to a lack of knowledge

relating to how a function or effect works (when the

unit is operating as designed) are not covered by the

manufacturer’s warranty, and are therefore the

owners responsibility. Please study this manual

carefully and consult your dealer before requesting

service.

ENVIRONMENTAL ISSUES:

Yamaha strives to produce products that are both

user safe and environmentally friendly. We sincerely

believe that our products and the production

methods used to produce them, meet these goals. In

keeping with both the letter and the spirit of the law,

we want you to be aware of the following:

Battery Notice:

This product MAY contain a small non-rechargeable

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

average life span of this type of battery is approxi-

mately five years. When replacement becomes

necessary, contact a qualified service representative

to perform the replacement.

This product may also use “household” type

batteries. Some of these may be rechargeable. Make

sure that the battery being charged is a rechargeable

type and that the charger is intended for the battery

being charged.

When installing batteries, do not mix batteries with

new, or with batteries of a different type. Batteries

MUST be installed correctly. Mismatches or incorrect

installation may result in overheating and battery

case rupture.

Warning:

Do not attempt to disassemble, or incinerate any

battery. Keep all batteries away from children.

Dispose of used batteries promptly and as regulated

by the laws in your area. Note: Check with any

retailer of household type batteries in your area for

battery disposal information.

Disposal Notice:

Should this product become damaged beyond repair,

or for some reason its useful life is considered to be

at an end, please observe all local, state, and federal

regulations that relate to the disposal of products

that contain lead, batteries, plastics, etc. If your

dealer is unable to assist you, please contact

Yamaha directly.

NAME PLATE LOCATION:

The name plate is located on the bottom of the

product. The model number, serial number, power

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

should record the model number, serial number, and

the date of purchase in the spaces provided below

and retain this manual as a permanent record of

your purchase.

Model

Serial No.

Purchase Date

92-BP

PLEASE KEEP THIS MANUAL

• Do not open the instrument or attempt to disassemble

the internal parts or modify them in any way. The in-

strument contains no user-serviceable parts. If it should

appear to be malfunctioning, discontinue use immedi-

ately and have it inspected by qualified Yamaha ser-

vice personnel.

• Do not expose the instrument to rain, use it near water

or in damp or wet conditions, or place containers on it

containing liquids which might spill into any openings.

• If the AC adaptor cord or plug becomes frayed or dam-

aged, or if there is a sudden loss of sound during use of

the instrument, or if any unusual smells or smoke should

appear to be caused by it, immediately turn off the

power switch, disconnect the adaptor plug from the

outlet, and have the instrument inspected by qualified

Yamaha service personnel.

• Use the specified adaptor (PA-3B or equivalent recom-

mended by Yamaha) only. Using the wrong adaptor

can result in damage to the instrument or overheating.

• Before cleaning the instrument, always remove the

electric plug from the outlet. Never insert or remove an

electric plug with wet hands.

• Check the electric plug periodically and remove any

dirt or dust which may have accumulated on it.

WARNING

Always follow the basic precautions listed below to avoid the possibility of serious injury or

even death from electrical shock, short-circuiting, damages, fire or other hazards. These

precautions include, but are not limited to, the following:

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING

* Please keep these precautions in a safe place for future reference.

• Always make sure all batteries are inserted in confor-

mity with the +/- polarity markings. Failure to do so

might result in overheating, fire, or battery fluid leak-

age.

• Always replace all batteries at the same time. Do not

use new batteries together with old ones. Also, do not

mix battery types, such as alkaline batteries with man-

ganese batteries, or batteries from different makers, or

different types of batteries from the same maker, since

this can cause overheating, fire, or battery fluid leak-

age.

• Do not dispose of batteries in fire.

• Do not attempt to recharge batteries that are not in-

tended to be charged.

CAUTION

Always follow the basic precautions listed below to avoid the possibility of physical injury to

you or others, or damage to the instrument or other property. These precautions include, but

are not limited to, the following:

• Do not place the AC adaptor cord near heat sources

such as heaters or radiators, and do not excessively

bend or otherwise damage the cord, place heavy ob-

jects on it, or place it in a position where anyone could

walk on, trip over, or roll anything over it.

• When removing the electric plug from the instrument

or an outlet, always hold the plug itself and not the

cord.

• Do not connect the instrument to an electrical outlet

using a multiple-connector. Doing so can result in lower

sound quality, or possibly cause overheating in the

outlet.

• Unplug the AC power adaptor when not using the in-

strument, or during electrical storms.

(4)

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING

* Please keep these precautions in a safe place for future reference.

CAUTION

Always follow the basic precautions listed below to avoid the possibility of physical injury to

you or others, or damage to the instrument or other property. These precautions include, but

are not limited to, the following:

• If the instrument is not to be in use for a long time,

remove the batteries from it, in order to prevent pos-

sible fluid leakage from the battery.

• Keep batteries away from children.

• Before connecting the instrument to other electronic

components, turn off the power for all components. Be-

fore turning the power on or off for all components, set

all volume levels to minimum.

• Do not expose the instrument to excessive dust or vi-

brations, or extreme cold or heat (such as in direct sun-

light, near a heater, or in a car during the day) to pre-

vent the possibility of panel disfiguration or damage to

the internal components.

• Do not use the instrument near other electrical prod-

ucts such as televisions, radios, or speakers, since this

might cause interference which can affect proper op-

eration of the other products.

• Do not place the instrument in an unstable position

where it might accidentally fall over.

• Before moving the instrument, remove all connected

adaptor and other cables.

• When cleaning the instrument, use a soft, dry cloth.

Do not use paint thinners, solvents, cleaning fluids, or

chemical-impregnated wiping cloths. Also, do not place

vinyl or plastic objects on the instrument, since this

might discolor the panel or keyboard.

• Do not rest your weight on, or place heavy objects on

the instrument, and do not use excessive force on the

buttons, switches or connectors.

• Do not operate the instrument for a long period of time

at a high or uncomfortable volume level, since this can

cause permanent hearing loss. If you experience any

hearing loss or ringing in the ears, consult a physician.

■REPLACING THE BACKUP BATTERY

• This instrument contains a non rechargeable internal

backup battery which permits internal data to remain

stored even when the power is off. When the backup

battery needs replacing, the message "Backup Batt.

Low" will display in the LCD panel. When this happens,

immediately back up your data (using an external de-

vice such as the floppy disk-based Yamaha MIDI Data

Filer MDF2), then have qualified Yamaha service per-

sonnel replace the backup battery.

• Do not attempt to replace the backup battery your-

self, in order to prevent the possible serious hazards.

Always have qualified Yamaha service personnel re-

place the backup battery.

• Never place the backup battery in a location that a child

can reach, since a child might accidentally swallow the

battery. If this should happen, consult a physician im-

mediately.

■SAVING USER DATA

• Save all data to an external device such as the Yamaha

MIDI Data Filer MDF2, in order to help prevent the loss

of important data due to a malfunction or user operat-

ing error.

Yamaha cannot be held responsible for damage caused by

improper use or modifications to the instrument, or data that

is lost or destroyed.

Always turn the power off when the instrument is not in

use.

Make sure to discard used batteries according to local

regulations.

(4)

Contents

1: The QY70 — An Overview ............. 5

Sequencer Functions....................... 6

Accompaniment Sequencing .......... 7

Voices & Effects .............................. 8

2: Power & Connections .................... 9

Power Supply ........................................ 9

Using Batteries ................................ 9

When to Replace the Batteries ..... 10

Using a Power Adaptor ................. 11

Setting Up ............................................ 12

The Connectors ............................. 12

Audio Connections ........................ 14

MIDI Connections ......................... 15

Connecting to a Personal

Computer ...................................... 16

About the MIDI Driver ................... 19

3: The Controls ................................. 22

4: Play the Demo Songs .................. 31

5: Easy Accompaniment .................. 33

Selecting & Playing the Preset

Patterns ............................................... 33

Changing Chords ........................... 39

Fingered Chord Function ............... 43

Preset Chord Templates ................ 43

Record a Complete Accompaniment ... 44

Realtime Accompaniment

Recording ...................................... 44

Recording Tempo Changes ........... 50

Step Accompaniment Recording... 51

■ “Pt” — Step Record Pattern

Changes ........................................ 54

■ “Cd” — Step Record Chord

Changes ........................................ 57

6: The Song Voice Mode .................. 61

The Effect Send Display ...................... 66

Voice Editing ........................................ 68

Drum Edit ...................................... 72

7: Creating A Complete Song ......... 75

Recording the Sequencer Tracks ......... 75

Preparing to Record

— Voice Assignments ................... 75

Realtime Sequencer Track

Recording ...................................... 76

Step Sequencer Track Recording .. 81

8: Playback Control .......................... 88

Play Effects ..........................................94

Groove Quantization ...................... 96

Drum Table Remapping ................. 98

9: The Song Jobs............................ 101

00 : Undo/Redo .................................. 103

01 : Quantize ..................................... 104

02 : Modify Velocity ........................... 107

03 : Modify Gate Time ....................... 109

04 : Crescendo .................................. 111

05 : Transpose ................................... 113

06 : Shift Clock .................................. 114

07 : Chord Sort .................................. 116

08 : Chord Separate ........................... 117

09 : Copy Event ................................. 118

10 : Erase Event ................................ 120

11 : Extract Event .............................. 121

12 : Create Continuous ...................... 123

13 : Thin Out ...................................... 125

14 : Time Stretch ............................... 126

15 : Create Measure .......................... 127

16 : Delete Measure .......................... 128

17 : Copy Track .................................. 129

18 : Mix Track .................................... 130

19 : Clear Track .................................. 131

20 : Expand Backing .......................... 132

21 : Normalize .................................... 133

22 : Copy Song .................................. 134

23 : Clear Song .................................. 135

24 : Song Name ................................. 136

T h e Q Y 7 0 — A n O v e r v i e w

10: Creating Original Accompaniment

Patterns ..................................... 137

The Preset Phrases ........................... 137

Combining Phrases In the Pattern

Mode ................................................. 139

Recording Original Phrases ............... 144

Realtime Phrase Recording ......... 144

Step Phrase Recording ................ 150

Pattern Voice mode ........................... 151

The Effect Send Display .................... 152

Voice Editing ...................................... 154

Play Effects ........................................ 155

11: The Pattern Jobs ...................... 157

00 : Undo/Redo .................................. 159

01 : Quantize ..................................... 160

02 : Modify Velocity ........................... 163

03 : Modify Gate Time ....................... 165

04 : Crescendo .................................. 167

05 : Transpose ................................... 169

06 : Shift Clock .................................. 170

07 : Chord Sort .................................. 172

08 : Chord Separate ........................... 173

09 : Copy Event ................................. 174

10 : Erase Event ................................ 176

11 : Extract Event .............................. 177

12 : Create Continuous ...................... 179

13 : Thin Out ...................................... 181

14 : Time Stretch ............................... 182

15 : Copy Phrase ............................... 183

16 : Get Phrase .................................. 184

17: Put Phrase ................................... 185

18 : Copy Track .................................. 186

19 : Mix Track .................................... 187

20 : Clear Track .................................. 188

21 : Copy Pattern ............................... 189

22 : Clear Pattern ............................... 190

23 : Style Name ................................. 191

12: Editing Songs & Patterns ........ 192

Engaging the SONG or PATTERN

Edit Mode .................................... 192

Moving Around ............................ 195

Change Mode Editing .................. 196

Insert Mode Editing ..................... 197

XG View ............................................. 208

View Filter .......................................... 209

Phrase Table (Pattern Edit Only) ........ 210

13: Effects & Effect Editing ............ 212

Accessing & Editing the Effect

Parameters ........................................ 212

Effect Editing ..................................... 216

14: Utility Functions ....................... 218

Accessing the Utility Mode ......... 218

System Parameters ..................... 220

MIDI Parameters ......................... 222

Bulk Dump ................................... 225

Fingered Zone ............................. 227

15: Appendix ................................... 229

Specifications .................................... 229

Troubleshooting ................................. 231

Error Messages ................................. 233

Glossary ............................................. 235

Index .................................................. 242

Contents

The screen displays as illustrated in this owner’s manual are for

instructional purposes, and may appear somewhat different from

the screens which appear on your instrument.

T h e Q Y 7 0 — A n O v e r v i e w

The QY70 is a sophisticated music production system with a

16-track sequencer, a high-quality tone generator that provides 519

voices and 20 drum kits, and advanced auto-accompaniment capabil-

ity all integrated in a compact, easy-to-handle package. It also features

a built-in micro-keyboard for easy programming without an external

MIDI keyboard.

Sequencer

QY70

Controller

Tone Generator Effects

• 16 sequencer tracks

• 8 accompaniment

tracks

• built-in micro keyboard

• 519 voices

• 20 drum kits

• reverb, delay,

modulation,

distortion, etc

MIDI messages MIDI messages

Audio

signals

LINE OUT/

PHONES

Audio

signals

MIDI

messages

T h e Q Y 7 0 — A n O v e r v i e w

Sequencer Functions

The QY70 sequencer has 16 “normal” sequencer tracks to which

you can individually assign any of the internal voices and record either via

the QY70’s own micro keyboard or an external keyboard connected to the

QY70 MIDI IN connector. In the “replace” real-time record mode the QY70

records exactly what you play as you play it; the “overdub” real-time

record mode lets you add new material to a previously recorded track; and

the step record mode allows notes to be entered one at a time. The step

record mode lets you record extremely fast or complex passages that

would be impossible to play in real time. It’s also useful for adding finishing

touches to tracks recorded in real time. There’s also a “multi” real-time

record mode in which all 16 sequencer tracks can be recorded simulta-

neously.

The QY70 provides an extensive range of advanced editing functions

that make modifying and refining your recorded data an easy, efficient

process.

T h e Q Y 7 0 — A n O v e r v i e w

Accompaniment Sequencing

The QY70 features a unique accompaiment system that makes it

easy to create complete accompaniments for any type of music. Accompa-

niments are produced by specifying a sequence of “patterns” to be played

rather than by recording individual notes or chords. The QY70 provides 128

preset accompaniment “styles”, and memory for up to 64 original user

“styles” that you can record yourself. Each “style” can have 6 variation

“patterns” — intro, main A, main B, fill AB, fill BA, and an ending — that

you can sequence, along with chord changes, to quickly create complete

accompaniment tracks. Chord changes are programmed simply by entering

the name of the chord — Yamaha’s advanced ABC (Auto Bass Chord) auto-

accompaniment system automatically re-harmonizes the patterns accord-

ingly. The QY70’s accompaniment sequencing features mean you can whip

up a complete accompaniment in a fraction of the time it would normally

take, significantly simplifying and speeding up the overall production

process.

STYLE 001

STYLE 128

INTRO MAIN A MAIN B FILL AB FILL BA ENDING

128 preset accompaniment “styles” each with 6 variation “patterns”

T h e Q Y 7 0 — A n O v e r v i e w

Voices & Effects

The QY70’s internal tone generator, compatible with XG and GM

format, provides 519 top-quality voices plus 20 complete drum kits with

different drum and percussion instruments assigned to different notes. You

can assign any of these voices to the sequencer tracks and patterns, or

play them from an external keyboard or other MIDI controller via the MIDI

interface, or directly from a personal computer. The QY70 also features a

high-quality internal DSP (Digital Signal Processor) system which provides a

range of reverb, delay, modulation, distortion and other effects in three

individually programmable groups so you can produce a polished sound

without the need for external equipment.

■

DETAIL

• See the List Book for a complete list of the QY70 voices.

• The QY70 effects are described on page 212.

GM(General MIDI) System Level 1

“GM System Level 1” is a standard specification that defines

the arrangement of voices in a tone generator and its MIDI

functionality, ensuring that data can be played back with

substantially the same sounds on any GM-compatible tone generator,

regardless of its manufacturer or model.

Tone generators and song data that meet the “GM System Level 1” bear

this GM logo.

“XG” is a tone generator format that expands the voice

arrangement of the “GM System Level 1” specification to

meet the ever-increasing demands of today’s computer

peripheral environment, providing richer expressive power while maintaining

upward compatibility of data. “XG” greatly expands “GM System Level 1”

by defining the ways in which voices are expanded or edited and structure

and type of effects.

When commercially available song data bearing the XG logo is played back

on a tone generator which bears the XG logo, you will enjoy a full musical

experience that includes unlimited expansion voices and effect functions.

P o w e r & C o n n e c t i o n s

Using Batteries

Six 1.5V AA size (SUM-3 or R6P) or equivalent batteries must first be

installed in the battery compartment. Alkaline batteries are recommended

for longer life.

Never mix battery types, such as alkaline batteries with manga-

nese batteries or batteries from different makers.

P o w e r & C o n n e c t i o n s

Power Supply

Your QY70 will run either from batteries or an optional AC adaptor.

Follow the instructions below according to the power source you intend to

use.

Z Open Battery Compartment Cover

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.

X Insert Batteries

Insert the six batteries, being careful to follow the polarity

markings on the bottom panel.

P o w e r & C o n n e c t i o n s

C Replace Cover

Replace the compartment cover, making sure that it locks

firmly in place.

When to Replace the Batteries

When the batteries run down and are no longer able to operate the

QY70, the sound may become distorted and the following display will

appear:

When this display appears, replace the batteries with a complete set

of six new batteries. NEVER mix old and new batteries!

■

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.

P o w e r & C o n n e c t i o n s

■

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 QY70. The use of an

incompatible adaptor may cause irreparable damage to the QY70, and might pose a

serious shock hazard!

• Unplug the AC power adaptor when not using the instrument, or during electrical

storms.

Using a Power Adaptor

Plug the DC output cable from a Yamaha PA-3B AC Adaptor (avail-

able from your Yamaha dealer) into the DC IN jack on the rear panel, then

plug the adaptor into a convenient wall AC power socket.

DC IN

P o w e r & C o n n e c t i o n s

PA-3B

AC power

socket.

P o w e r & C o n n e c t i o n s

Setting Up

What you will connect the QY70 to, and what you will connect to the

QY70, will depend entirely 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

q DC IN Jack

This jack is only used when you are powering the QY70

from an optional AC adaptor instead of batteries. The DC output

cable from an optional Yamaha PA-3B AC Power Adaptor is

plugged in here.

■

NOTE

• The batteries are automatically disconnected when a plug is inserted

into the DC IN jack.

w qr e

Rear Panel

Right Side Panel

P o w e r & C o n n e c t i o n s

w MIDI IN & OUT Connectors

If you plan to use a MIDI keyboard or other instrument to

play and program the QY70, it should be connected to QY70

MIDI IN connector (see “MIDI Connections,” on page 15). The

MIDI OUT connector can be connected to an external tone

generator if you want to drive external voices from the QY70

sequencer, or a MIDI data recorder such as the Yamaha MDF2 if

you want to store your songs and patterns to floppy disk (page

225).

e LINE OUT/PHONES Jack

This miniature stereo phone jack can be used to connect

the output of the QY70 to a stereo sound system, or a pair of

stereo headphones with a miniature stereo phone plug can be

plugged in here for convenient monitoring (see “Audio Connec-

tions,” on page 14). The output level is adjusted via the VOLUME

control on the left side panel.

r TO HOST Connector & HOST SELECT Switch

This jack and selector switch (the switch is on the side

panel) allow direct connection to a personal computer without the

need for a separate MIDI interface. See “Connecting To a Per-

sonal Computer” on page 16 for details.

P o w e r & C o n n e c t i o n s

Audio Connections

The simplest way to monitor the QY70 sound is via a pair of stereo

headphones (miniature stereo phone plug type) plugged into the LINE

OUT/PHONES jack. If you want to use an external stereo sound system,

however, use the supplied “Y” cable (miniature stereo phone plug to dual

RCA pin plugs) to connect the LINE OUT/PHONES jack to the inputs of a

stereo sound system. 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.

LINE OUT /

PHONES

■

CAUTION!

• Make sure that both the QY70 and your sound system are turned OFF when

making connections.

Stereo Sound System

P o w e r & C o n n e c t i o n s

MIDI Connections

Although the QY70 can be played and programmed from the built-in

micro-keyboard, an external MIDI keyboard connected to the MIDI IN

connector provides the added advantages of standard keyboard size and

key velocity sensivity (if your keyboard has a velocity-sensitive keyboard).

Connect the MIDI OUT connector of the keyboard to the MIDI IN connec-

tor of the QY70, and make sure that the QY70 HOST SELECT switch is set

to MIDI. The connected MIDI keyboard will play the voice assigned to the

currently selected sequencer track. See page 61 for instructions on how to

assign different voices to the sequencer tracks.

External MIDI Keyboard

OUT

——

MIDI

——

MIDI OUT

(HOST SELECT switch

is set to MIDI)

P o w e r & C o n n e c t i o n s

Connecting to a Personal Computer

Although the QY70 can be connected to a personal computer via the

MIDI IN/OUT connectors and a MIDI interface, the TO HOST connector

and selector switch allow direct connection to Apple Macintosh, IBM-PC/

AT, or NEC PC-9801/9821 series personal computers for sequencing and

other music applications without the need for a separate MIDI interface.

■

IMPORTANT!

• If the QY70 is to be connected to a computer via the TO HOST connector and a

MIDI controller via the MIDI IN connector, the “echo back”(or “MIDI Thru” etc)

function of the music software or sequencer you are using must be turned “on” so

that the MIDI note data from the controller is returned to the QY70 and any

subsequent devices connected to the QY70 MIDI OUT connector.

TO HOST

QY70

MIDI

OUT

MIDI

MIDI IN

MIDI OUT

MIDI Controller

(MIDI Keyboard etc)

Personal Computer

echo back = ON

Tone Generator

P o w e r & C o n n e c t i o n s

● Connecting to an Apple Macintosh Series Computer

Connect the TO HOST connector of the QY70 to the

modem or printer port on your Macintosh, depending on which

port your MIDI software is using for MIDI data communication,

using a standard Macintosh 8-pin system peripheral cable. Set

the HOST SELECT switch to the “Mac” position.

You may also have to make other MIDI interface settings

on the computer side, depending on the type of software you

use (refer to your software owner’s manual). In any case the

clock speed should be set to 1 MHz.

“Mac” Cable Connections

● Connecting to an IBM-PC/AT Series Computer

Connect the TO HOST connector of the QY70 to the RS-

232C port on your IBM computer, using a standard 8-pin MINI

DIN

→

9-pin D-SUB cross cable. Set the HOST SELECT switch to

the “PC-2” position.

Refer to your software owner’s manual for information on

any settings you might have to make on the computer side.

“PC-2” Cable Connections

• 8-pin system peripheral cable.

• Data transfer rate: 31,250 bps.

• 8-pin mini DIN

→

9-pin D-SUB cable. Use a “PC-1” type cable if your

computer uses a 25-pin serial port.

• Data transfer rate: 38,400 bps.

2 (HSK i)1

1 (HSK 0)2

5 (RxD-)3

MINI DIN

8-PIN

4 GND4

3 (TxD-)5

8 (RxD+)6

7 (GP i)7

6 (TxD+)8

MINI DIN

8-PIN

Modem or

printer port

TO HOST

connector

8 (CTS)1

7 (RST)2

2 (RxD)3

4 5 (GND)

3 (TxD) 5

MINI DIN

8-PIN

D-SUB

9-PIN

RS-232C

port

TO HOST

connector

P o w e r & C o n n e c t i o n s

● Connecting to an NEC PC-9801/9821 Series Computer

The NEC PC-9801/9821 computers are widely used in

Japan. Connect the TO HOST connector of the QY70 to the RS-

232C port on your NEC computer, using a standard 8-pin MINI

DIN

→

25-pin D-SUB cross cable. Set the HOST SELECT switch

to the “PC-1” position if you use Windows3.1, and to the “PC-2”

position if you use Windows95.

Refer to your software owner’s manual for information on

any settings you might have to make on the computer side.

“PC-1” Cable Connections

• 8-pin mini DIN

→

25-pin D-SUB cable. Use a “PC-2” type cable if your

computer uses a 9-pin serial port.

• Data transfer rate: 31,250 bps.

■

NOTE

• If your system doesn’t work properly with the connections and settings

listed above, your software may require different settings. Check your

software operation manual and set the HOST SELECT switch to the

position provides the appropriate data transfer rate.

• If you use Windows95 or Windows3.1 in your computer, the appropri-

ate “MIDI driver” needs to be installed. See page 19 for details.

MINI DIN

8-PIN

D-SUB

25-PIN

5 (CTS)1

4 (RTS)2

3 (RxD)3

4 7 (GND)

2 (TxD) 5

RS-232C

port

TO HOST

connector

P o w e r & C o n n e c t i o n s

About the MIDI Driver

If you use Windows95 or Windows3.1 in your computer, the appro-

priate “MIDI driver” needs to be installed.

First connect your QY70 to the computer via the TO HOST jack as

shown above, and install the Yamaha CBX Driver for Windows95 (if you

use Windows95) or the Yamaha CBX-T3 Driver (if you use Windows3.1)

from the supplied floppy disk labelled “QY Data Filer” as follows.

(For details about each MIDI driver, refer to the “Readme” file

contained within each MIDI driver’s folder in the floppy disk.)

● Installing the Yamaha CBX Driver for Windows95

Z Insert the floppy disk labelled “QY Data Filer for Windows”

into the floppy disk drive.

X Double click “Add New Hardware” in the Control Panel.

The “Add New Hardware Wizard” will appear.

C Click “Next”.

V When you are asked if you want to auto-detect the new

hardware, click “No” and then click “Next”.

B In the hardware screen choose “Sound, Video and Game

Controllers” and click “Next”.

N Click the “Have Disk” button.

M Type in the name of the floppy disk drive where the floppy

disk is inserted, and the name of the directory containing the

driver. After that, click “OK”.

For example, if you inserted the disk in drive A,

you should type as follows:

A:\MIDIDRV

If you inserted the disk in drive B, you should type

as follows:

B:\MIDIDRV

P o w e r & C o n n e c t i o n s

< In the “Select Device” screen you will see “Yamaha CBX

Driver for Windows95”. Click “OK”.

> Click “Finish”.

? The “YAMAHA CBX Driver Setup” dialog box appears after

the drivers are finished copying. Choose the desired COM port

and click “OK”. (The QY70 doesn’t support the Multi-port

feature) The “Do you want to restart Windows?” dialog will

appear.

[ Remove the floppy disk and click “OK” to activate the new

driver.

This completes installation of the MIDI driver.

Remember to set the Host Select switch to PC-2 when

you connect your QY70 to an IBM-PC/AT series or NEC PC-9801/

9821 series computer.

Z Insert the floppy disk labelled “QY Data Filer for Windows”

into the floppy disk drive.

X Double click the “Control Panel” icon typically found in the

Main Group of the Program Manager window.

The Control Panel window will appear.

C Double click the “Drivers” icon in the Control Panel window.

The “Drivers” dialog box will appear.

V Click the “Add” button. The “Add” dialog box will appear.

B Select “Unlisted or Updated Driver” from the list box and click

“OK”.

The “Install Driver” dialog box will appear.

● Installing the Yamaha CBX-T3 Driver (for Windows3.1)

P o w e r & C o n n e c t i o n s

Click “OK”.

The “Add Unlisted or Updated Driver” dialog box will

appear.

M With the “Yamaha CBXT3 Serial Driver” highlighted, click

“OK”.

The “Yamaha CBX-T3 Serial Driver Setup” dialog box will

appear.

< Click the desired COM port to select it, then click “OK”.

The System Setup dialog box will appear.

> Click “Restart” to make the added driver effective.

This completes installation of the MIDI driver.

Remember to set the Host Select switch to PC-2 when

you connect your QY70 to an IBM-PC/AT series, or PC-1 when

you connect to an NEC PC-9801/9821 series.

For example, if you inserted the disk in drive A of

an IBM-PC/AT series computer, you should type as

follows:

A:\IBMPC

If you inserted the disk in drive B of an NEC PC-

9801/9821 series, you should type as follows:

B:\NECPC98

N Type in the name of the floppy disk drive where the floppy

disk is inserted, and the name of the directory containing the

driver.

T h e C o n t r o l s

The QY70 has fairly simple, consistent control interface that,

once understood, makes operation fast and easy, no matter what

operation you are performing. If you read through this section care-

fully, and try out the procedures in the␣ ”TRY THIS” sections, you

should have no problem accessing and operating the QY70’s many

advanced features.

q !4

Left Side Panel

Rear Panel

T h e C o n t r o l s

q POWER Switch

Slide to the “ON” position to turn the QY70 on, or to the

“OFF” position to turn it off.

w LCD Display & CONTRAST Control

This large multi-function liquid crystal display panel shows

all parameters and prompts you need to operate the QY70 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).

e [SONG] Key

Use this key to select the QY70 SONG mode from any

other mode, and to switch between the SONG, SONG VOICE,

and SONG EFFECT displays.

et yr w o

Front Panel

T h e C o n t r o l s

TRY THIS:

Turn your QY70 on (the

power switch is on the

left side), then press the

[SONG] key a few times

and watch how the

display changes. The

[SONG] key calls the

SONG, SONG VOICE,

and SONG EFFECT

displays in sequence.

The order in which the

displays is selected is

reversed if you press the

[SONG] key while

holding the [SHIFT] key.

r [PATT] Key

The [PATT] key selects the QY70 PATTERN mode from any

other mode, and switches between the PATTERN, PATTERN

VOICE, and PATTERN EFFECT displays.

t [SHIFT] Key

The [SHIFT] key modifies the the function of certain other

keys in certain situations (e.g. it reverses the order in which the

[SONG] or [PATTERN] displays are selected, as described above).

It also allows direct numeric entry via the black micro-keyboard

keys (numbered 1 through 0). Situations in which the [SHIFT] key

can be used will be described where appropriate in the manual.

SONG EFFECT display

SONG VOICE display

SONG display

T h e C o n t r o l s

y [EXIT] Key

No matter where you are in the QY70 display hierarchy, the

[EXIT] key will take to the next highest level (effectively “backing

up” one step — unless you’re already at the top display).

u Cursor Keys

These 4 keys move the “cursor” around the display

screen, highlighting the various parameters that are available for

editing (the QY70 cursor appears as a dark block with inverse

characters).

TRY THIS:

Select the SONG mode display (use the [SONG] key, as

described above), then try using the cursor keys to move

the cursor around the screen.

i [-1/NO] and [+1/YES] Keys

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 continous

decrementing of incrememnting 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.

■

NOTE

• For even faster decrementing or incrementing, press the opposite

increment/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 [SONG] key, as

described above), use the cursor keys to select the trans-

pose 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.

T h e C o n t r o l s

o [MENU] and Function Keys

The [MENU] key calls a menu of functions or sub-modes

that can be accessed from the current QY70 mode, and the

function keys (the four small keys to the right of the display)

select the corresponding item from the menu that appears on the

display.

The function keys can also be used, as shown below, with

the [SHIFT] key, instead of calling a menu with the [MENU] key.

• Pressing the bottom function key while holding the [SHIFT]

key executes the Undo/Redo job for immediately previous

edit. (Refer to “Undo/Redo” on page 103).

• Pressing the second

function key while

holding the [SHIFT] key

calls the Used Memory

display.

• Pressing the top function

key while holding the

[SHIFT] key calls a

display showing drum

instrument assignments

to each micro keyboard

key at the current octave

setting.

Assignment to black keys

Assignment to white keys

T h e C o n t r o l s

TRY THIS:

Select the SONG mode display

(use the [SONG] key, as described

above), then press the [MENU]

key. You should see the menu

shown on the right:

Next press the second 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.

!0 [ENTER] Key

In addition to “entering” chords in the SONG and PAT-

TERN 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 QY70

screen. Use the cursor keys (up

and down only) to select job

number 02 “Modify Velocity”.

Now press the [ENTER] key to

actually engage the Modify

Velocity job — the display should

look like this:

Since we don’t really want to use the Modify Velocity job,

press the [EXIT] key twice (or the [SONG] key once) to go

back to the SONG mode.

T h e C o n t r o l s

!1 Sequencer Keys

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.

[

] RECORD READY: Press this key to engage the record

ready mode. You have to press the START key to

actually start recording.

[

] STOP: Press to stop recording or playback.

[

] START: Press to start recording or playback.

[

] GO TO TOP: This key takes you directly to the first

measure (the “top”) of the current song or pattern.

[

] MOVE BACK: Press briefly to move back one mea-

sure, or hold for continuous scrolling.

[

] MOVE FORWARD: Press briefly to move forward one

measure, or hold for continuous scrolling.

!2 Micro Keyboard

This tiny 2-octave keyboard makes it possible to program

the QY70 anywhere, anytime, without having to connect an

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

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

velocity sensitivity. The QY70 does, however, accept velocity

information from an external MIDI keyboard.

When programming accompaniment tracks the micro-

keyboard is also used to specify the chord roots and types to be

entered.

TRY THIS:

In the SONG mode, use the cursor

keys to place the cursor at the

track 1 position (“1” on the

display).

T h e C o n t r o l s

Now play the micro keyboard. You should hear the voice

that is currently assigned to sequencer track 1.

In the SONG mode, the micro keyboard plays the voice

assigned to the currently selected track (unless you’re

recording the chord track, in which case it is used to

specify chords).

!3 Octave Keys

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

enough for serious music programming, the [OCT DOWN] and

[OCT UP] keys allow the pitch of the 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. The

number of octaves the pitch of the micro-keyboard has been

shifted down or up is shown by the octave indicator in the upper

left corner of the display — the number of arrows indicates the

number of octaves shifted in the corresponding direction.

Pressing the [OCT DOWN] and [OCT UP] keys simulta-

neously shifts the pitch to ±0.

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 synco-

pated chords.

While playing a note on the micro-keyboard, the [OCT

DOWN] key will shift the pitch of the note up while held, and the

[OCT UP] key will apply modulation while held.

Octave indicator

T h e C o n t r o l s

!4 VOLUME Control

The VOLUME control adjusts the volume of the sound

delivered via the LINE OUT/PHONES jack. 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 QY70 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!).

T h e C o n t r o l s

P l a y t h e D e m o S o n g s

After you’ve set up and made all necessary connections, you

might like to play back the QY70 demo songs to hear a few examples

of what it can do:

Z Select the SONG Mode

If not already selected, press the [SONG] button to select

the main SONG mode display (depending on the current mode

you may have to press the [SONG] button more than once).

Song number 21, 22, or 23

X Select a Demo Song

Use the cursor keys to move the cursor to the song

number, then use the [-1] and [+1] keys to select one of the

demo songs: song number 21, 22, or 23.

P l a y t h e D e m o S o n g s

C Start Playback

Press the sequencer [

] key to start playback. Use the

VOLUME control to set the optimum listening level.

V Stop Playback

Although playback will stop automatically when the current

song is finished, you can stop playback at any time by pressing

the sequencer [

] key to stop playback.

E a s y A c c o m p a n i m e n t

Using the QY70 preset patterns you can easily create accom-

paniments that you can play or sing along with. You can also add

melody tracks later to create complete compositions.

■

NOTE

• In addition to the preset patterns, the QY70 has memory for 384 original

patterns (i.e., 64 user accompaniment “styles” x 6 variation patterns) which

you can create as described in “Creating Original Accompaniment Patterns”,

beginning on page 137.

Z Select the SONG Mode and an “Empty” Song

First use the [SONG] key to select the main SONG mode

display. In order to select and play the patterns as described in

this section you must select an empty song (i.e. one in which

nothing has been recorded). Different song numbers (1 through

20) are selected simply by moving the cursor to the song number

and using the [-1] and [+1] keys (or use the SHIFT-Number entry

method described below).

Selecting & Playing the Preset Patterns

The QY70 has 128 preset accompaniment styles, each containing 6

variation patterns, that cover a wide variety of musical patterns. Here’s

how you can select and play the patterns while in the SONG mode.

E a s y A c c o m p a n i m e n t

The SHIFT-Number Entry Method

Numeric values can be directly entered by using the black

micro-keyboard keys (numbered 1 through 0) while holding

the shift key. To enter the number “16”, for example,

press the “1” and then the “6” keys (“F#/Gb” and “7

(#9)

(b9)

” on the micro-keyboard) while holding the [SHIFT]

key. The entered number — “16” — will flash on the

display. Press the [ENTER] key to actually enter the num-

ber.

Song number (1 … 20)

E a s y A c c o m p a n i m e n t

In cases in which a negative number needs to be entered

(a TRANSPOSE value, for example) press the leftmost

micro-keyboard key — the lowest “E” key — to switch

between “+” and “-” values before entering the number.

X Select a Style Number

Use the cursor keys to move the cursor to the accompani-

ment style number, then use the [-1] and [+1] buttons or the

SHIFT-Number entry method to select the style you want to play.

The preset styles are numbers 001 through 128.

C Start Playback

Press the [

] key to start playback of the selected accom-

paniment style. The green LED above the [

] key will flash at the

current playback tempo.

Note that the measure number on the display advances as

each measure is played.

Style

number

Measure

number

E a s y A c c o m p a n i m e n t

V Listen to the Style’s Variation Patterns

Each preset style has 6 variation patterns or “sections” —

INTRO, MAIN A, MAIN B, FILL AB, FILL BA, and ENDING.

There’s also a “BLANK” section that can be used to create

breaks.

INTRO ........ introduction

MAIN A...... normal pattern, used for the “verse” of a

song.

MAIN B . .... variation, normally used as a chorus or bridge.

FILL AB ...... fill-in transition from MAIN A to MAIN B.

FILL BA ...... fill-in transition from MAIN B to MAIN A.

ENDING ..... ending pattern.

BLANK ....... silent pattern for “breaks”.

When the INTRO, FILL AB, and FILL BA sections are

selected while playing a pattern in the SONG mode, the section

plays through once and is automatically followed by either the

MAIN A or MAIN B section. INTRO is followed by MAIN A, FILL

AB is folowed by MAIN B and FILL BA is followed by MAIN A.

The FILL AB and FILL BA sections automatically provide smooth,

“musical” transitions between the MAIN A and MAIN B sections.

Playback stops automatically after the ENDING section.

The currently selected section is shown between square

brackets below the style number and name.

Currently selected section

E a s y A c c o m p a n i m e n t

You can change sections directly by pressing the appropri-

ate key on the micro-keyboard while the cursor is located at

either the style number or the section name on the display.

The newly selected section will begin playing from the top

of the next measure. “NEXT” will appear below the style number

until the new section actually begins playing.

■

NOTE

• You can also change sections by placing the cursor over the section

name and using the [-1] and [+1] keys.

“NEXT”

E a s y A c c o m p a n i m e n t

B Select Different Styles & Patterns (Sections)

With the cursor positioned over the style number you can

use the [-1] and [+1] keys to select different styles, and use the

micro-keyboard section keys to select different patterns (sec-

tions) during playback. In all cases the newly selected style or

pattern (section) will begin playing from the top of the next

measure. “NEXT” will appear below the style number until the

new style or pattern (section) actually begins playing.

■

NOTE

• If you move the cursor to the tempo parameter (indicated by a note

symbol and a number in the upper left corner of the display), you can

use the [-1] and [+1] buttons or the SHIFT-Number entry method to set

the playback tempo to anywhere from 25 to 300 beats per minute.

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 automatically after the ENDING section.

Tempo

E a s y A c c o m p a n i m e n t

Z Play a Pattern

Select and play one of the preset patterns, as described in

the preceding section.

X Move the Cursor to the Chord Symbol

The micro-keyboard can be used to enter chords only

when the cursor is located over the chord symbol on the display.

Use the cursor keys to move the cursor to the chord symbol at

the bottom of the display.

Changing Chords

The QY70 features a sophisticated ABC (Auto Bass Chord) system

that automatically re-harmonizes the accompaniment 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.

The following procedure can be performed when “FNGR”(Fingered

Chord function) is set to “OFF”. First of all, confirm that FNGR is “OFF”

before changing chords as follows. (For details on the Fingered Chord

function, see page 43 and 227.)

Chord symbol

Fingered chord

function ON/OFF

E a s y A c c o m p a n i m e n t

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.

C Enter a Chord

Note that the lower octave of the micro-keyboard has

chord root names “E” through “D#/Eb” marked on the keys, and

the upper octave keys are marked with a variety of chord types.

Example: Enter a G7 Chord

E a s y A c c o m p a n i m e n t

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.

■

NOTE

• Actually, you can press the chord type key and then the root key, the

order doesn’t matter.

The Chord Types

add9 added ninth.

M major.

M7(9) major seventh ninth.

M7 major seventh.

aug augmented.

6 sixth.

7(9) seventh ninth.

7 seventh.

add9 minor added ninth.

m minor

m7(9) minor seventh ninth.

m7 minor seventh.

mM7 minor major seventh.

m6 minor sixth.

m7(11) minor seventh added eleventh.

m7(b5) minor seventh flatted fifth.

7(#9) seventh sharp ninth.

7(b9) seventh flatted ninth.

7(b13) seventh added flatted thirteenth.

7(13) seventh added thirteenth.

7(#11) seventh added sharp eleventh.

7(#5) seventh sharp fifth.

7sus4 seventh suspended fourth.

sus4 suspended fourth.

- non-ABC (see “NOTE” below).

dim diminished.

■

NOTE

• The “-

-” chord type marking is a special “non-ABC” type that can be

used to transpose accompaniment patterns to the selected chord root

without re-harmonization.

• If you enter only the chord root without a chord type, the preceding

chord type will be retained. In the same way the root of the preceding

chord will be retained if only the chord type is entered.

E a s y A c c o m p a n i m e n t

V Try Out the Various Chords with Different Patterns

During playback you can move the cursor up to the style

number, select a different pattern (section), then move the cursor

back to the chord symbol and try different chords with the new

pattern.

■

NOTE

• If you move the cursor to the “TRNS” (transpose) parameter, you can

use then [-1] and [+1] buttons or the SHIFT-Number entry method to

transpose the pitch of the entire pattern up or down in semitone

increments over a range of two octaves (-24 through +24). A transpose

setting of “+00” produces normal pitch.

B Stop Playback When Done

Stop playback by pressing the [

] key. You can also stop

playback after an appropriate ending by selecting the ENDING

section (the cursor must be on the style number or section name

to do this).

TRNS

parameter

■

NOTE

• ENDING and INTRO patterns for each preset style have their own

chord progressions which means chord types (major, minor, etc.)

selected will be ignored. (i.e., preset ENDING and INTRO patterns will

simply be transposed to the selected chord root without re-harmoniza-

tion.)

E a s y A c c o m p a n i m e n t

Preset Chord Templates

The QY70 also features preset chord progression templates that can

re-harmonize the accompaniment patterns to match preset chord progres-

sions.

This is useful when you practice playing along with or studying the

“typical”chord progressions for a variety of musical genres.

To use this template, move the cursor to “USR” to the right of the

chord symbol and select the template using the [+1] and [-1] buttons or the

SHIFT-Number entry method. The preset chord template list is on the List

Book.

Fingered chord

function

Fingered Chord Function

Chords can also be changed by playing the chord, as it is, on the

micro keyboard or an external MIDI keyboard. To enter the chord in this

method, turn the “FNGR”(Fingered Chord function) to “ON”.

You do not need to press [ENTER] for the newly entered chord using

this procedure.

Chord template

■

NOTE

• The preset chord templates will repeatedly play chord progressions until the [

] key

is pressed.

• The preset chord templates can be stored as a user chord progression by executing

the “Copy Event” job on page 118.

• The preset chord templates can not be played properly in other than 4/4 time

signature songs, since these templates have been programmed for 4/4 songs. To

play a template properly in the non-4/4 songs, execute the “Copy Event” job to

copy it to “USR”, then edit the chord (Cd) track.

E a s y A c c o m p a n i m e n t

Z Select the SONG Mode & an Empty Song

Use the [SONG] key to select the main SONG mode

display and, with the cursor located over the song number at the

top of the display, use the [-1] and [+1] keys or the SHIFT-Number

entry method to select an empty song number if necessary.

Realtime Accompaniment Recording

Once you know how to select patterns (i.e., styles and sections) and

enter chords in the SONG mode (see the preceding sections), recording a

basic accompaniment in real time is easy. Tempo changes can be added

later (page 50).

Record a Complete Accompaniment

The QY70 provides two ways to record an accompaniment by

specifying patterns and chords: “realtime” and “step” recording. The

realtime method is the fastest and easiest, letting you record pattern and

chord changes “on the fly.” The step method gives you more detailed

control, and is an excellent way to add the finishing touches to an accom-

paniment recorded in real time.

■

NOTE

• If for some reason all 20 songs contain data, use the “Clear Song”

function described on page 135 to clear a song for recording.

X Select the “Pt” Track to Record Pattern Changes

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

shift the cursor sideways to select “Pt.” Once selected, move

the cursor vertically to move to other areas of the screen. The

selected track will remain highlighted no matter where you move

the cursor.

E a s y A c c o m p a n i m e n t

C Engage the Record Ready Mode

Press the [

] key to engage the record ready mode. The

red LED above the [

] key will light. The record mode selectors

will appear in the central area of the display, and the name of the

current record mode will appear at the top of the display.

V Select the Realtime Replace Record Mode

Move the cursor to the record mode selector area of the

display (the area with the “REPL”, “OVER”, “STEP”, and

“MULTI” buttons), and move it to the “REPL” (realtime replace)

button, then press the [+1/YES] key to select the realtime replace

record mode (if it isn’t already selected). An inverse “R” will

appear in the selected record mode button.

“Pt” track

Record mode

selector

E a s y A c c o m p a n i m e n t

B Select the Starting Pattern, Chord, & Tempo

Move the cursor to the style number, section, chord, and

tempo parameters, and set as required.

■

NOTE

• It’s sometimes easier to set a slow tempo for realtime recording, so

you have plenty of time to enter pattern and chord changes.

Selected record

mode button

N Record

Press the [

] key to begin recording pattern changes. The

metronome will sound and you’ll be given a one-measure count-

in prior to the first measure actually recorded (the number of

count-in measures can be set from 1 to 8 in the Utility mode —

page 220). The count-in is also indicated by negative numbers in

the measure number display. If the number of count-in measures

is “1” (the default setting), for example, “-01” will appear during

the count-in, then recording will begin from measure “001”.

Tempo

E a s y A c c o m p a n i m e n t

Count-in

Since you selected “Pt” track recording, the cursor will

automatically move to the style number when you start record-

ing. All you have to do to record pattern changes is to select the

required style numbers via the [-1] and [+1] keys or the SHIFT-

Number entry method, and section changes via the appropriate

micro-keyboard keys. Remember that all pattern 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

MAIN A pattern, FILL AB will automatically switch to the MAIN B

pattern, and FILL BA will automatically switch to the MAIN A

pattern.

You should end your accompaniment track by entering

either the ENDING section or the QY70 “End Pattern” (style

number 129), otherwise your accompaniment will play back

indefinitely.

M Stop Recording

Stop recording by pressing the [

] key. The normal SONG

play mode is automatically re-selected when you stop recording.

E a s y A c c o m p a n i m e n t

“Cd” track

> Record

Press the [

] key to begin recording chord changes. The

metronome will sound and you’ll be given a one -measure count-

in.

< Engage Record Ready Again and Select “Cd”

Press the [

] key to engage the record ready mode again

(the “REPL” mode will still be selected), then move the cursor to

the track section of the display and select “Cd” in order to record

chord changes.

Since you selected “Cd” recording, the cursor will auto-

matically 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 39).

E a s y A c c o m p a n i m e n t

■

NOTE

• 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

fraction of a section before the beat on which you want the chord

change to occur. Syncopated chord changes can be programmed in the

STEP record mode (page 59).

If the Fingered Chord function(FNGR) is previously set

to“ON”, a chord change can be entered by playing the chord as it

is on the micro keyboard or an external MIDI keyboard. In this

case, you do not need to press [ENTER] for the newly entered

chord.

? Stop Recording

Press the [

] key to stop recording when all the required

chord changes have been entered. The normal SONG play mode

is automatically re-selected when you stop recording.

[ Listen To the Results

Press the [

] key to play back and check out the accompa-

niment you’ve just recorded.

■

NOTE

• Note that the chord currently playing is shown in the chord symbol

location on the display.

• 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.

E a s y A c c o m p a n i m e n t

Recording Tempo Changes

If you want your accompaniment to include tempo changes, they

can easily be added after the pattern and chord changes have been re-

corded: Select the “Tm” (Tempo) track, press the [

] button to engage the

record ready mode (only realtime replace recording can be selected for the

tempo track), press [

] to start recording (the cursor will automatically

move to the tempo parameter), then use the [-1/NO] and [+1/YES] keys or

the SHIFT-Number entry method to make the required tempo changes in

real time. Press [

] to stop recording.

■

NOTE

• Tempo changes can be edited in detail as described in “Editing Songs and

Patterns”, beginning on page 192.

• You should record tempo data with this method at the top of the song to fix the

song’s beginning tempo, if you want to add tempo changes.

“Tm” track

E a s y A c c o m p a n i m e n t

Z Select a Song to Record

Select an empty song if you want to record a new song in

the step record mode, or select a song that already contains data

if you want to make changes or additions.

X Engage the Record Ready Mode

Press the [

] key to engage the record ready mode. The

red LED above the [

] key will light.

Step Accompaniment Recording

The STEP record mode can be used with the “Pt” (Pattern) and

“Cd” (Chord) tracks, making it easy to individually enter or delete pattern

and chord changes at precisely the required locations.

C Select the “Pt” or “Cd” Track

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

shift the cursor sideways to select “Pt” or “Cd”. Once selected,

move the cursor vertically if you want to move to other areas of

the screen. The selected track will remain highlighted no matter

where you move the cursor.

“Pt” or

“Cd” Track

E a s y A c c o m p a n i m e n t

V Select the Step Record Mode

Move the cursor to the record mode selector area of the

display (the area with the “REPL”, “OVER”, “STEP”, and

“MULTI” buttons), and move it to the “STEP” button, then press

the [+1/YES] key to select the step record mode. An inverse “R”

will appear in the selected record mode button.

“STEP” button

B Start Recording

Press the [

] key to call the selected step record display.

“Pt” step record “Cd” step record

E a s y A c c o m p a n i m e n t

N Enter the Required Pattern and/or Chord Data

Refer to the following sections for details on how to use

each of the step-record mode data-entry displays.

You can switch directly between the pattern and chord

data-entry displays while the step record mode is engaged simply

pressing the [MENU] key to call the menu shown below, and

then the function key corresponding to the display you want to

go to.

M Stop Recording

Press the [

] key to exit from the step record mode and

return to the normal SONG play mode.

E a s y A c c o m p a n i m e n t

■ “Pt” — Step Record Pattern Changes

Here’s how the STEP record pattern display will look if you’ve

selected an empty song (the appropriate pattern data will appear if the

selected song contains data).

Measure number

Time signature

1st measure

2nd measure

Subsequent measures follow

Style number area

Section area

● Moving Around & Entering Data

As usual, the cursor keys are used to move the cursor to

the location at which you want to enter data, and the [-1] 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 subsequent measures, while moving it above

the top of the screen accesses the preceding measures (if there

are any). In the pattern display moving sideways takes you to the

time signature, style 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.

[

] Go to first measure.

[

] Scroll up (see lower measure numbers)

[

] Scroll down (see higher measure numbers)

E a s y A c c o m p a n i m e n t

● Style Number and Section

Any preset style number from 001 through 128, the “end

pattern” (number 129), or any user style number from U1

through U64 can be entered for each measure. The style name

appears to the right of the style number. Only one style & 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 differ-

ent pattern is entered. If you want to change sections without

changing the style number, only the section need be entered.

Playback will stop automatically when an “end pattern” (style

number 129) or an ending section is encountered.

In the example display below the intro pattern (section) of

style 006 plays for the first measure, then the main A pattern

(section) of the same style is selected in measure 2.

Style number/name

Section

E a s y A c c o m p a n i m e n t

● Time Signature

Although the default time signature for the selected song

is automatically selected, the time signature value for each

measure can be changed as required. The available time signa-

tures are:

1/16 … 16/16

1/8 … 16/8

1/4 … 8/4

If a time signature is selected that results in shorter

measures than the pattern default, the pattern will be truncated

(cut short) accordingly. If the selected time signature results in

longer measures than the pattern default, the pattern will be

repeated to fill the specified measure length.

● Erasing Pattern Changes

The function key immediately to the right of “ers” on the

display can be used to erase style number or section data at

which the cursor is located.

Press to erase style or

section at cursor

location.

E a s y A c c o m p a n i m e n t

■ “Cd” — Step Record Chord Changes

Here’s how the STEP record chord display will look if you’ve se-

lected an empty song (the appropriate chord data will appear if the se-

lected song contains data).

● Chords

One chord can be entered per quarter note. Place the

cursor at the required quarter-note division on the display and

enter the chord by specifying the root and type via the micro-

keyboard (see page 40). In the example display below, 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.

Measure number

Time signature

1st measure

2nd measure

Subsequent measures follow

Place cursor at beat on

which chord is to be

entered

One beat

Chord

You can also enter a chord by playing the chord as it is on

the micro keyboard or an external keyboard if the Fingered Chord

function(FNGR) is previously set to “ON”.

E a s y A c c o m p a n i m e n t

● 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 above

the key). Enter the chord by specifying the root and type, then

press the key on the micro-keyboard corresponding to the

desired bass note while holding the [OCT DOWN/BASS] key. The

bass note will appear to the right of a slash below the chord

name.

Example: Bm7 with E bass

E a s y A c c o m p a n i m e n t

■

NOTE

• 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 re-

entering the chord.

If FNGR is set to “ON”, a bass note can be entered by

pressing a key for a bass note on the left part of the micro

keyboard or an external keyboard while holding the chord. (The

“left part” range for entering a bass note can be specified in the

Utility mode on page 227.)

● Syncopated Chords

Chords can be syncopated (i.e. the chord actually begins an

eighth or sixteenth note before the beat on which it is entered)

by using the [OCT UP] key (note the “ ” marking above the

key). Enter the chord, then press the [OCT UP] key once for

eigth-note syncopation, or twice for sixteenth-note syncopation

(the appropriate syncopation symbol will appear below the chord

name).

Example: D chord syncopated (8th note)

E a s y A c c o m p a n i m e n t

■

NOTE

• 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] once or twice so that

the syncopation symbol disappears.

● 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.

● Sound On/Off

You can hear the sound of entered chord in step recording.

If you don’t want to hear the sound, press the [MENU] key and

then the function key next to “Sound” to call the Sound on/off

display.

Press [-1/NO] key to turn the sound off, [+1/YES] key to

turn on.

T h e S o n g V o i c e M o d e

The QY70 has 519 voices and 20 drum kits that can be se-

lected, played, and assigned to the 16 SONG mode sequencer tracks

via the SONG VOICE mode. The VOICE mode features a graphic on-

screen “mixer” that has mute/solo controls, pan pots, and faders for

each track. The SONG voice mode also provides access to effect

send controls and a versatile range of voice editing parameters (page

68).

Press the [SONG] key to select the voice mode mixer display.

The mixer display shows 8 of the 16 available tracks at a time. Use

the cursor keys to scroll left or right to the remaining tracks (an arrow

appears at either the left or right of the track numbers to indicate that

more tracks can be accessed by scrolling in the corresponding

direction).

Track numbers

Master fader

Mute/Solo parameters

Voice selectors

Pan pots

Volume faders

Pattern fader

T h e S o n g V o i c e M o d e

● Mute/Solo

The Mute/Solo (“M/S”) parameters below each track

number in the VOICE mode mixer display can be used to mute

(turn off) or solo (only that track will be monitored) the corre-

sponding track. Move the cursor to the appropriate M/S param-

eter, then use the [-1] key to alternately mute or un-mute that

track, or use the [+1] key to alternately solo or un-solo the track.

Any number of tracks can be muted and/or soloed at a time. To

solo more than one track at a time hold the [SHIFT] key while

soloing additional tracks after the first solo track has been speci-

fied. Also hold the [SHIFT] key while un-soloing a single track

when multiple tracks are soloed (un-soloing a single track without

holding the [SHIFT] key will un-solo all soloed tracks).

The letter “M” appears below the number of tracks that

are muted, and the letter “S” appears when a track is soloed.

■

NOTE

• The mute function is a handy way to simply turn tracks that you don’t

want to hear off. When recording, they also make it easy to mute a

“busy” track or several tracks that might make it difficult to hear an

important track.

• Solo monitoring is a great way to isolate a track or two when you want

to concentrate on the sound while, for example, making delicate

adjustments to effects or other parameters that might get “swamped”

by the sound from other tracks. It’s also handy for listening for small

mistakes that you might otherwise overlook.

• These same parameters also appear in the main SONG display. A track

that is muted or soloed in the main SONG display will also appear

muted or soloed in the voice mode mixer display, and vice-versa.

Mute (use the [-1] key)

Solo (use the [+1] key)

T h e S o n g V o i c e M o d e

● The Voices

Due to the large number of voices provided in the QY70,

they are organized into 21 categories, as follows:

Prefix Category

Pf Piano

Cp Chromatic Percussion

Or Organ

Gt Guitar

Ba Bass

St Strings

En Ensemble

Br Brass

Rd Reed

Pi Pipe

Ld Lead Synth

Pd Pad

Fx Synth Effects

Et Ethnic instruments

Pc Percussive

Se Sound effects

Sfx More sound effects

Sfk Sound effect kits (i.e. a different effect on each key).

Dr Drum kits

Ds1 Drum set 1

(Drum kit including “editable” drum instruments)

Ds2 Drum set 2

(Drum kit including “editable” drum instruments)

See the List Book for a complete list of the voices with

their corresponding category, program number, and bank number.

To select a voice for a specific track, move the cursor to

the appropriate VOICE parameter and select using the [-1] and

[+1] keys or the SHIFT-Number entry method (page 34). You can

also skip to the first voice in each category by using the [-1/NO]

and [+1/YES] keys while holding the [SHIFT] key.

Note that the currently selected voice category, number,

and name appear at the top of the display. Also note that some of

the voices have variations, indicated by a plus sign (“+”) between

the program number and voice name. Play the micro keyboard

and you’ll hear that voice.

T h e S o n g V o i c e M o d e

■

NOTE

• In any QY70 mode, the micro keyboard or an external MIDI keyboard

plays the voice assigned to the currently selected track. A MIDI

keyboard will also play the voice assigned to a track with the same

number as the external keyboard’s MIDI transmit channel unless the

“ECHO BACK” parameter (page 223) is set to “Rec Monitor”.

• If you’re playing the micro keyboard, use the octave keys to access the

full range of instruments in each drum or effects kit.

• See the List Book for a complete list of note assignments (i.e. which

drum instruments and SFX sounds are assigned to which notes) for all

drum and SFX kits.

● The Pan Pots

Like the pan pots on a mixing console, the VOICE mode

pan pots can be used to position the sound of the corresponding

track anywhere from left to right in the stereo sound field.

Position the cursor at the pan pot, then use the [-1/NO] and [+1/

YES] keys to set the pan position. The graphic pan pot will rotate

to the corresponding position. The pan positions also have

numeric values (1 through 63) that appear at the top of the

display: “Center” is center, “Left 63” is full left, and “Right 63” is

full right. There’s also a “Random” setting in which the pan

position is set randomly.

● The Volume Faders

Each track has a graphic volume “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 or the SHIFT-Number entry method 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. The leftmost “mst” fader is a

“master” fader which can be used to adjust the overall volume

level, while the “pat” fader independently controls the level of

the pattern track.

T h e S o n g V o i c e M o d e

■

NOTE

• You can switch back and forth between the SONG and VOICE modes

even while a song is playing, so you can adjust all VOICE mode

parameters (change voices, mute tracks, pan, and change volume

settings) while listening to the results in real time!

T h e S o n g V o i c e M o d e

The Effect Send Display

The QY70 features a high-performance internal digital signal process-

ing system which provides a range of effects including reverb, delay,

modulation, distortion, and more. Three independent effect blocks are

provided — Reverb, Chorus, and Variation. The individual effects are

selected and modified via the EFFECT mode, described in detail on page

212. The VOICE mode mixer display provides acces to independent effect

send controls for each of the three effect blocks via the MENU sub-display:

press the [MENU] button, and then the function key next to “Effect Send”

on the display.

VOICE mode mixer display

T h e S o n g V o i c e M o d e

The VARI. (variation effect) control appears either as a standard

rotary control or a switch, depending on how the variation effect block is

“connected” to the system in the EFFECT mode (“System” or “Insertion”

— see page 215).

The effect controls — “REVERB”, “CHORUS”, and “VARI.” — set

the level of the corresponding effect for the corresponding parts. Position

the cursor at a control, then use [-1/NO] and [+1/YES] keys or the SHIFT-

Number entry method to set the corresponding effect level. The graphic

control will rotate to the corresponding position (clockwise for higher level,

and counter-clockwise for lower level). The control positions also have

numeric values (000 through 127) that appear at the top of the display:

“000” is no effect and “127” is maximum effect level. When the VARIA-

TION control appears as a switch, it simply turns the current variation

effect on or off (“E” appears in the switch when the variation effect is on).

The Mute/Solo and Voice selectors in the Effect Send display

duplicate those in the VOICE mode mixer display, and have exactly the

same functions.

You can return to the SONG VOICE mixer display by pressing the

[EXIT] key.

■

NOTE

• The effect settings apply only to the QY70’s internal voices — i.e. they will not

affect the sound of an external tone generator or synthesizer being driven by the

QY70.

• When the “VARI.” control appears as a standard rotary control (i.e., the variation

effect block is connected as a “System” effect), the “DRY” rotary control also

appears to control “Dry/Wet” mixing of effects for each track.

When the “VARI.” control appears as a switch (i.e., the variation effect block is

connected as an “Insertion” effect), the “DRY” rotary control disappears. In this

case, “Dry/Wet” mixing can be controlled in the “Vari.Edit” of the Effect Editing

display. (page 216)

Effect send display

VARI. = System effect VARI. = Insertion effect

T h e S o n g V o i c e M o d e

Voice Editing

The QY70 VOICE EDIT mode makes it possible to modify the sound

of the voices assigned to each track to best suit your particular musical

requirements. The VOICE EDIT mode can be accessed from the SONG

VOICE mode by pressing the [MENU] button, and then the function key

next to “Voice Edit” on the display. If a Drum Set is selected (“Ds1” or

“Ds2”) the “Drum Voice Edit” mode will also be available via the menu.

VOICE mode mixer display

T h e S o n g V o i c e M o d e

PB (Pitch Bend Range)

This control sets the maximum pitch bend control range.

The range is from “-24” through “0” to “+24”. Each

increment corresponds to one semitone (100 cents), thus

the maximum pitch bend control range is plus or minus

two octaves. The value set here also applies to the pitch

bend range controlled by the [OCT DOWN] key while

playing on the micro keyboard.

To edit a voice parameter, move the cursor to the parameter and edit

using either the [-1] and [+1] buttons or the SHIFT-Number entry method.

■

NOTE

• The Mute/Solo and Voice selectors in the VOICE EDIT display duplicate those in the

VOICE mode mixer display, and have exactly the same functions.

• You can return to the SONG VOICE mixer display by pressing the [EXIT] key.

VOICE EDIT display

CUT RES A D R

T h e S o n g V o i c e M o d e

● Filter Controls

The filter controls affect the basic “timbre” of the sound.

CUT (Cutoff Frequency)

Sets the cutoff frequency of the low-pass filter from “-64”

through “0” to “+63”. Negative values lower the cutoff

frequency, producing a “darker” sound. Positive values

raise the cutoff frequency, producing a brighter sound. The

graphic filter response curve will shift to indicate the

current setting (the heavy default setting curve will also

remain on the display).

RES (Resonance)

Adjusts the height of the filter’s resonance peak from “-

64” through “0” to “+63”. Negative values lower the

resonant peak producing a “flatter” sound. Positive values

increase the resonant peak, emphasizing components at

the filter cutoff frequency. The peak on the graphic filter

response curve will grow or shrink to indicate the current

setting (the heavy default setting curve will also remain on

the display).

Cutoff Frequency

Resonance

T h e S o n g V o i c e M o d e

● EG (Envelope Generator) Controls

The envelope generator controls affect the level “enve-

lope” of the sound — i.e. its attack, decay, and release times.

Plotted against time, the level envelope looks something like this.

A (Attack Time)

Adjusts the attack portion of the envelope generator curve

from “-64” through “0” to “+63”. Negative values pro-

duce a faster attack while positive values produce a slower

attack. The graphic envelope generator curve will shift to

indicate the current setting (the heavy default setting curve

will also remain on the display).

D (Decay Time)

Adjusts the decay portion of the envelope generator curve

from “-64” through “0” to “+63”. Negative values pro-

duce a faster decay while positive values produce a slower

decay. The graphic envelope generator curve will shift to

indicate the current setting (the heavy default setting curve

will also remain on the display).

R (Release Time)

Adjusts the release portion of the envelope generator

curve from “-64” through “0” to “+63”. Negative values

produce a faster release while positive values produce a

slower release. The graphic envelope generator curve will

shift to indicate the current setting (the heavy default

setting curve will also remain on the display).

Attack

Decay

Release

T h e S o n g V o i c e M o d e

Drum Edit

When a Drum Set is selected (“Ds1” or “Ds2”) the “Drum Voice

Edit” mode can be selected via the SONG VOICE menu.

PITCH

CUT RES DECAY

REV

VAR

PAN

LV L

Selected drum kit

Current selected

drum instrument

Editable drum

instrument

“Ds1” or “Ds2”

T h e S o n g V o i c e M o d e

PICH (Pitch Coarse)

Adjusts the pitch of the selected drum instrument from “-

64” through “0” to “+63”. Negative values lower the pitch

of the instrument, while positive values raise the pitch of

the instrument.

REV (Reverb Send)

Independently adjusts the reverb send level of the selected

drum instrument from “0” (no reverb) to “127” (maximum

reverb).

VAR (Variation Send)

Independently adjusts the variation effect send level of the

selected drum instrument from “0” (no effect) to “127”

(maximum effect) when the variation effect block is

connected as a system effect, or turns the variation effect

“On (in case set to other than 0)” or “Off (in case set to

0)” when the variation effect block is connected as an

insertion effect (see page 215 for details on the effect

connections).

PAN (Pan Position)

Sets the pan position of the selected drum instrument.

“Center” is center, “Left 63” is full left, and “Right 63” is

full right. There’s also a “Random” setting in which the pan

position is set randomly.

LVL (Level)

Sets the level (volume) of the selected drum instrument

from “0” (no sound) to “127” (maximum volume).

Select the specific drum set to be edited by placing the cursor on

the drum set number and selecting via the [-1] and [+1] keys or by using

the SHIFT-Number entry method. Only certain drum instruments can be

edited, and these are indicated by dots on the appropriate keys in the

graphic keyboard display at the top of the display panel. Use the [OCT

DOWN] and [OCT UP] keys to access the full range of drum instruments,

and press the corresponding micro-keyboard key to select an instrument

for editing. When a drum instrument which cannot be edited is selected,

the controls on the display appear “grayed” and cannot be accessed.

T h e S o n g V o i c e M o d e

CUT (Cutoff Frequency)

Sets the cutoff frequency of the low-pass filter from “-64”

through “0” to “+63”. Negative values lower the cutoff

frequency, producing a “darker” sound. Positive values

raise the cutoff frequency, producing a brighter sound. The

graphic filter response curve will shift to indicate the

current setting (the heavy default setting curve will also

remain on the display).

RES (Resonance)

Adjusts the height of the filter’s resonance peak from “-

64” through “0” to “+63”. Negative values lower the

resonant peak producing a “flatter” sound. Positive values

increase the resonant peak, emphasizing components at

the filter cutoff frequency. The peak on the graphic filter

response curve will grow or shrink to indicate the current

setting (the heavy default setting curve will also remain on

the display).

DECAY (Decay Rate)

Adjusts the decay rate from “-64” through “0” to “+63”.

Negative values produce a slower decay while positive

values produce a faster decay (Unlike the Decay Time in

normal Voice Editing (page 71), this parameter sets the rate

for how much the level of the instrument decays. There-

fore, positive values produce a faster decay.). The graphic

envelope generator curve will shift to indicate the current

setting (the heavy default setting curve will also remain on

the display).

C r e a t i n g A C o m p l e t e S o n g

C r e a t i n g

A C o m p l e t e S o n g

In chapter 5, “Easy Accompaniment”, we learned how to

record the accompaniment tracks in the SONG mode. In this chapter

we’ll learn how to record the sequencer tracks to create complete

songs.

Preparing to Record — Voice Assignments

Recording the Sequencer Tracks

After recording the accompaniment tracks in the SONG mode using

either the preset patterns (chapter 5, page 44) or original patterns you have

created in the PATTERN mode (chapter 10, page 137), record melody lines,

harmony parts, counter-melodies, or any other parts required to complete

your composition on the SONG mode sequencer tracks. The SONG mode

provides realtime replace, realtime overdub, step, and multi recording

modes for the sequencer tracks.

Before actually beginning to record

you should switch to the SONG VOICE

mode and assign the desired voices to the

SONG mode sequencer tracks (page 61).

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.

C r e a t i n g A C o m p l e t e S o n g

Realtime Sequencer Track Recording

In the realtime record mode you select the track you want to record

(1 through 16), and then play the part on the micro-keyboard or an external

MIDI keyboard in real time.

Z Select the SONG Mode & the Song To Be Recorded

Use the [SONG] key to select the main SONG mode

display and, with the cursor located over the song number at the

top of the display, use the [-1] and [+1] keys or the SHIFT-Number

entry method to select the song you intend to record.

X Select a Track to Record

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

shift the cursor sideways to select the track you want to record:

1 through 16. The SONG display shows 8 of the 16 available

tracks at a time. Use the cursor keys to scroll left or right to the

remaining tracks (an arrow appears at either the left or right of

the track numbers to indicate that more tracks can be accessed

by scrolling in the corresponding direction). Move the cursor

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

will remain highlighted.

Song number

C r e a t i n g A C o m p l e t e S o n g

C Engage the Record Ready Mode

Press the [

] key to engage the record ready mode. The

red LED above the [

] key will light.

Track

Record mode

selector

■

NOTE

• Before engaging the record mode

you can also set the micro-keyboard

“velocity” via the “VELO” param-

eter. The velocity can be set in ten

levels — the more bars the higher

the velocity. There are also four

“random velocity” settings which

produce different degrees of random

velocity variation. “R1 produces the

smallest variation and “R4”

produces the greatest variation.

“VELO” parameter

C r e a t i n g A C o m p l e t e S o n g

If you want to add new material to a recorded track with-

out erasing the existing material as you record, select the

realtime overdub record mode (“OVER”) instead of the “REPL”

mode.

“REPL” button

B Set the Tempo and Time Signature Parameters As

Required.

Move the cursor to the tempo and time signature param-

eters and set as required using the [-1] and [+1] keys.

V Select the Realtime Replace or Overdub Record Mode

To select the realtime replace record mode — the mode

you’ll want to use when recording a new song — move the

cursor to the record mode selector area of the display (the area

with the “REPL”, “OVER”, “STEP”, and “MULTI” buttons), and

move it to the “REPL” (realtime replace) button, then press the

[+1/YES] key to select the realtime replace record mode (if it isn’t

already selected). An inverse “R” will appear in the selected

record mode button.

Tempo and

time signature

parameters

C r e a t i n g A C o m p l e t e S o n g

■

NOTE

• It’s sometimes easier to set a slow tempo for realtime recording, so

you have plenty of time to enter the data.

N Record

Press the [

] key to begin recording. The metronome will

sound and you’ll be given a one-measure count-in prior to the first

measure actually recorded. Although the default count-in is one

measure, you can set the QY70 to provide anywhere from one to

eight count-in measures via the utility mode (page 220). The

current count-in measure number is indicated by a negative

number in the measure number section of the display.

Play the required part either on the micro-keyboard or via

an external MIDI keyboard.

M Stop Recording

Press the [

] key to stop recording. The normal SONG play

mode is automatically re-selected when you stop recording.

Note that when you return to the SONG play mode a bar

will appear below each track that contains data. This is the lowest

segment of a “velocity meter” which will indicate velocity levels

in the track during playback.

Count-in

C r e a t i n g A C o m p l e t e S o n g

< Record the Remaining Tracks

Complete the song by re-engaging the record mode,

selecting the next track to be recorded, and recording as de-

scribed above.

■

NOTE

• See the “Editing Songs & Patterns” section , page 192, for information

on how to edit recorded song data.

Recorded

track

About the “MULTI” Recording

If you select the “MULTI” mode in step V on page 78, the

QY70 will simultaneously record data received over MIDI channels 1

to 16 onto the corresponding sequencer tracks (1 to 16). This is useful

when you want to record a multipart recording from a computer or

another sequencer in real time, or when you want to record from a

MIDI insrtrument (such as a MIDI guitar) that outputs over multiple

channels.

Before starting the multipart recording, be sure to set the MIDI

Sync to “External” (page 222), MIDI Control to “In” or “In/Out” (page

222), Rec Count to “OFF” (page 221). Then engage the record ready

mode (page 77) and select “MULTI” record mode. When you start

the external computer or sequencer, the QY70 will start multipart

recording automatically.

C r e a t i n g A C o m p l e t e S o n g

Z Select the SONG Mode & the Song To Be Recorded

Use the [SONG] key to select the main SONG mode

display and, with the cursor located over the song number at the

top of the display, use the [-1] and [+1] keys or the SHIFT-Number

entry method to select the song you intend to record.

Step Sequencer Track Recording

The step 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.

Song number

X Select a Track to Record

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

shift the cursor sideways to select the track you want to record:

1 through 16. The SONG display shows 8 of the 16 available

tracks at a time. Use the cursor keys to scroll left or right to the

remaining tracks (an arrow appears at either the left or right of

the track numbers to indicate that more tracks can be accessed

by scrolling in the corresponding direction). Move the cursor

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

will remain highlighted.

C r e a t i n g A C o m p l e t e S o n g

V Select the Step Record Mode

Move the cursor to the record mode selector area of the

display (the area with the “REPL”, “OVER”, “STEP”, and

“MULTI” buttons), and move it to the “STEP” button, then press

the [+1/YES] key to select the step record mode (if it isn’t already

selected). An inverse “R” will appear in the selected record

mode button.

C Engage the Record Ready Mode

Press the [

] key to engage the record ready mode. The

red LED above the [

] key will light.

Track

Record mode

selector

C r e a t i n g A C o m p l e t e S o n g

B Engage the Record Mode

Press the [

] key to engage the step record mode. The

step record display shown below will appear.

Current record track.

Time signature.

Note parameters.

Note display.

Measure/beat/clock display.

“STEP” button

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.

C r e a t i n g A C o m p l e t e S o n g

STEP (Note length)

32nd, 16th, 16th triplet, 8th, 8th

triplet, quarter, quarter triplet, half, whole.

VELO (Velocity)

More bars = higher velocity, adjustable in 10

steps (ppp, pp, p, mp, normal, mf, f, ff, fff, ffff).

~ produces random velocity.

GATE (Gate time)

= staccato (50%).

= normal (90%).

= slur (99%).

M Enter a Note

Once the note parameter have been specified, the note

can be entered simply by playing the appropriate key on the

micro-keyboard (or on your external MIDI keyboard). A dot

appears on the note display and the note pointer advances to the

next note position. Chords are also indicated by a dot. Here’s how

the display will look after two 8th notes have been entered.

■

NOTE

• If you use an external MIDI keyboard for step recording, the QY70

always accepts velocity from the external keyboard regardless of the

“VELO” setting.

C r e a t i n g A C o m p l e t e S o n g

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.

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. When you move the note pointer past

the end of the note display, the next measure will appear.

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.

1st beat. 2nd beat.

Each dash represents a

32nd note (60 clocks).

3rd beat.

Note

pointer

4th beat.

C r e a t i n g A C o m p l e t e S o n g

The Step Mode Function Keys

The four function keys immediately to the right of the

display provide acces to a number of handy functions in

the step record mode. The “del” (delete) key deletes the

note or chord at the note pointer. The “Bdl” (back delete)

key moves the note pointer backward by the currently

selected note length and deletes the note at that position.

The “rst” (rest) 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 (specified by the STEP parameter)

and pitch to it. The “tie” key only works immediately after

entering a note.

The Measure/Beat/Clock Display

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

current position of the note pointer in measures, beats,

and clocks (there are 480 clocks per 1/4 note). If you’re not

sure what measure you’re seeing on the note display while

recording, check the measure/beat/clock display.

You can move the note pointer to any measure by moving

the cursor to the measure number and entering the value

with the [-1] and [+1] keys or the SHIFT-Number entry

method.

C r e a t i n g A C o m p l e t e S o n g

< Complete the Song

Repeat steps N and M until the current track is complete,

then press [

] to stop recording and select the next track for

recording, as necessary.

Beat

(01, 02, 03, 04 if 4/4 time).

Measure number

(001 ... 999)

Clock

(480 clocks per 1/4 note).

■

NOTE

• See the “Editing Songs & Patterns” section , page 192, for information

on how to edit recorded song data.

P l a y b a c k C o n t r o l

The normal SONG mode display includes all the parameters

and controls you need for song playback. Press the [SONG] key to go

to the SONG play mode (depending on the current mode, you may

need to press the [SONG] key more than once).

Song number

Song name

Measure number

Tempo

Time signature

Micro-keyboard

octave indicator

Jump mode (Off/

Stop/Top) and

location

Accompaniment

tracks (Pattern,

Chord, Tempo)

Sequencer tracks

(1 … 16)

Style number &

name

Style section name

Chord display

Chord template number

Velocity meters &

Mute/Solo buttons

Micro-keyboard velocity

Transpose

Fingered Chord on/off

P l a y b a c k C o n t r o l

● Selecting a Song

The QY70 can retain up to 20 different songs in memory at

the same time: song numbers 01 through 20 (three demo songs

are recorded as song numbers 21 through 23). To select a song

for playback use the cursor keys to move the cursor to the song

number location (the song number will be highlighted), and then

use the [-1] and [+1] keys or the SHIFT-Number entry method

desribed below to select the desired song number. If the song

has been given a name (this is done via the Song Name job

described on page 136), the song name will appear to the right of

the song number.

The SHIFT-Number Entry Method

Numeric values can be directly entered by using the black

micro-keyboard keys (numbered 1 through 0) while holding

the [SHIFT] key. To enter the number “16”, for example,

press the “1” and then the “6” keys (“F#/Gb” and “7

(#9)

(b9)

” on the micro-keyboard) while holding the [SHIFT]

key. The entered number — “16” — will flash on the

display. Press the [ENTER] key to actually enter the num-

ber.

Negative values can be entered where applicable by first

pressing the “E” (“-”) key on the micro-keyboard while

holding the [SHIFT] key, and then entering the value as

described above.

● Playing the Selected Song

Playback of the selected song is started by pressing the [

]

(“PLAY”) sequencer key. The green LED will flash at the playback

tempo. The song will play through to the end and then stop

automatically. Song playback can also be stopped at any time by

pressing the [

] sequencer key.

■

NOTE

• When a song is selected, its voice and effect settings will be recalled.

Therefore, you should wait for about 1 second until pressing the [

]

button after selecting a song.

P l a y b a c k C o n t r o l

● Repeat Playback

Press the [

] key while holding the [SHIFT] key to start

repeat playback of the selected song. The repeat playback

symbol ( ) will appear in the upper right corner of the display

during repeat playback. In this mode the selected song will

repeat indefinitely untill stopped by pressing the [

] key.

● Measure Number

The measure number parameter on the display shows the

current measure number during song playback (and recording).

You can also place the cursor here and use the [-1] and [+1] keys

or the SHIFT-Number entry method to enter any measure number

from which you want to start playback or recording. The se-

quencer [

] and [

] keys can be used to step or scroll forward

or backward through the song’s measures no matter where the

cursor is located.

● Jump Functions

For convenient navigation the QY70 has two “jump”

modes that let you jump to a specified measure number.

Jump Mode Symbol Function

Stop Jump When this mode is selected the QY70

will automatically jump to the

specified measure number whenever

the sequencer [

] (Stop) key is

pressed.

Top Jump In this mode the QY70 will automati-

cally jump to the specified measure

number when the sequencer [

] (Top)

key is pressed and the current

measure number is greater than the

specified jump location. If the current

measure number is lower than the

specified jump location the QY70 will

jump to the top of the song (measure

001).

Jump Off [-

-] The jump function is OFF.

P l a y b a c k C o n t r o l

The jump modes can be selected by moving the cursor to

the jump mode symbol and selecting via the [-1] and [+1] keys, or

by using the following key combinations:

Mode Key Combination

Stop Jump [SHIFT] + [

]

Top Jump [SHIFT] + [

]

Jump Off [SHIFT] + [

] or [

]

To specify the measure number you want to jump to move

the cursor to the jump location parameter and use the [-1] and

[+1] keys or the SHIFT-Number entry method to set as required.

● Playback Tempo

The playback tempo can set from 25 to 300 quarter-note

beats per minute by moving the cursor to the tempo parameter

and using the [-1] and [+1] keys or the SHIFT-Number entry

method to set as required.

● Track Selection

Although track selection is more of a recording than a

playback function, it is necessary to select tracks in the playback

mode for muting and solo monitoring control (below). The SONG

display shows the pattern (“Pt”), chord (“Cd”), and tempo

(“Tm”) accompaniment tracks as well as 8 of the 16 available

sequencer tracks at a time. Move the cursor to the track area and

scroll left or right to the remaining tracks (an arrow appears at

either the left or right of the track numbers to indicate that more

tracks can be accessed by scrolling in the corresponding direc-

tion). The number of the selected track remains highlighted when

the cursor is moved to other areas of the display.

P l a y b a c k C o n t r o l

● The Velocity Meters

The area below each sequencer track number is a 5-

segment “velocity” meter that shows approximate MIDI velocity

in the corresponding track during playback. When playback is

stopped, the lowest segment of the velocity meter appears only

below tracks which contain data.

● Mute/Solo

The velocity meter area below each track number in the

SONG mode also functions as a mute/solo button which can be

used to mute (turn off) or solo (only that track will be monitored)

the corresponding track. Move the cursor to the track, then use

the [-1] key to alternately mute or un-mute that track, or use the

[+1] key to alternately solo or un-solo the track. Any number of

tracks can be muted and/or soloed at a time. To solo more than

one track at a time hold the [SHIFT] key while soloing additional

tracks after the first solo track has been specified. Also hold the

[SHIFT] key while un-soloing a single track when multiple tracks

are soloed (un-soloing a single track without holding the [SHIFT]

key will un-solo all soloed tracks).

The letter “M” appears below the number of tracks that

are muted, and the letter “S” appears when a track is soloed.

■

NOTE

• The mute function is a handy way to simply turn tracks that you don’t

want to hear off. When recording, they also make it easy to mute a

“busy” track or several tracks that might make it difficult to hear an

important track.

• Solo monitoring is a great way to isolate a track or two when you want

to concentrate on the sound while, for example, making delicate

adjustments to effects or other parameters that might get “swamped”

by the sound from other tracks. It’s also handy for listening for small

mistakes that you might otherwise overlook.

P l a y b a c k C o n t r o l

● Velocity

This parameter sets the “velocity” (i.e. loudness) of the

micro-keyboard. The velocity can be set in ten levels — the more

bars the higher the velocity. There are also four “random veloc-

ity” settings which produce different degrees of random velocity

variation. “R1 produces the smallest variation and “R4” produces

the greatest variation.

● Transposition

The transpose (“TRNS”) parameter can be used to trans-

pose the pitch of song playback up or down by a maximum of 2

octaves in semitone increments. A transpose setting of “+00”

produces normal pitch. To transpose song playback move the

cursor to the “TRNS” parameter and use the [-1] and [+1] keys or

the SHIFT-Number entry method to set as required. Minus

settings transpose down, and plus settings transpose up by the

specified amount. Each increment corresponds to one semitone.

The maximum range is from “-24” through “+00” to “+24”.

● Fingered Chord

This parameter can either be turned “OFF” or “ON”.

When “ON” chords played in the specified “fingered zone” of

the micro-keyboard or an external MIDI keyboard are recognized

by the QY70 and the chord accompaniment track is reharmonized

accordingly. See page 227 for details.

P l a y b a c k C o n t r o l

Play Effects

The QY70 “Play Effects” affect sequence playback in real time, and

are not actually recorded with the sequence data. The Play Effects include

Groove Quantization and Drum Table Remapping.

To access the Play Effects press the [MENU] key while in the SONG

mode and press the function key next to “Play Fx” on the display. The

“Groove” and “Drum Table” displays can then be selected by pressing the

[MENU] key and then the function key next to “Groove” or “Drum Table”

on the display, as required.

■

NOTE

• The Play Effects settings can be stored for each song.

• See the “Normalize” job on page 133 to apply the Play Effects to the actual

sequence data.

P l a y b a c k C o n t r o l

Groove Quantization display

Drum Table display

P l a y b a c k C o n t r o l

Groove Quantization

If the Groove display shown below does not appear when “Play Fx”

is selected, press the [MENU] key again and press the function key next to

“Groove” on the display.

“Groove Quantization” is different from standard quantization in that

specific beats within a track are shifted away from precise on-the-beat

timing to create a natural “groove”. Both the timing and velocity of certain

notes can be affected by groove quantization.

The Groove display shows 8 of the 16 available tracks at a time. Use

the cursor keys to scroll left or right to the remaining tracks (an arrow

appears at either the left or right of the track numbers to indicate that more

tracks can be accessed by scrolling in the corresponding direction).

Mute/Solo buttons

FX THRU switches

Groove template

Timing

Velocity

Sequencer tracks

(1 … 16)

P l a y b a c k C o n t r o l

● M/S (Mute/Solo)

The Mute/Solo (“M/S”) parameters below each track

number in the Groove display can be used to mute (turn off) or

solo (only that track will be monitored) the corresponding track.

Move the cursor to the appropriate M/S parameter, then use the

[-1] key to alternately mute or un-mute that track, or use the [+1]

key to alternately solo or un-solo the track. Any number of tracks

can be muted and/or soloed at a time. To solo more than one

track at a time hold the [SHIFT] key while soloing additional tracks

after the first solo track has been specified. Also hold the [SHIFT]

key while un-soloing a single track when multiple tracks are

soloed (un-soloing a single track without holding the [SHIFT] key

will un-solo all soloed tracks).

The letter “M” appears below the number of tracks that

are muted, and the letter “S” appears when a track is soloed.

■

NOTE

• The M/S parameters duplicate those in the SONG play mode and

SONG VOICE displays, and have exactly the same effect.

● FX THRU

These “switches” enable or bypass the effect for the

corresponding tracks. When an FX THRU switch appears as an

empty square, the effect is enabled for that track. To bypass the

effect for a track, move the cursor to the appropriate FX THRU

switch, and press the [+1] key so that a “T” (THRU) in the

square. Bypassed tracks can be enabled by pressing the [-1] key.

● GROOVE TEMPLT

This parameter selects one of the 100 available groove

templates for the corresponding track. Each groove template

affects different beats in different ways, thus creating different

grooves. See the List Book for a complete list of the available

groove templates. To select a groove template for a track, , move

the cursor to the appropriate GROOVE TEMPLT parameter, then

use the [-1] and [+1] parameters or the SHIFT-Number entry

P l a y b a c k C o n t r o l

method to select the desired template. No groove template is

selected when “-

-” appears in the GROOVE TEMPLT parameter

location.

● TIMING

The TIMING controls determine to what degree the timing

of the notes in the corresponding track is affected by the se-

lected groove template. The range is from “000” to “200”.

Higher values produce greater timing variation (“100” is the

default setting).

● VELOC

The VELOC controls determine to what degree the velocity

of the notes in the corresponding track is affected by the se-

lected groove template. The range is from “000” to “200”.

Higher values produce greater velocity variation (“100” is the

default setting).

Drum Table Remapping

If the Drum Table display shown below does not appear when “Play

Fx” is selected, press the [MENU] key again and press the function key

next to “Drum Table” on the display.

Drum Table remapping allows the drum instruments to be

“remapped” so that, for example, you can replace a medium snare drum

with a high snare or rimshot without affecting the data in the drum track.

Mute/Solo buttons

FX THRU switches

Drum table

Sequencer tracks

(1 … 16)

P l a y b a c k C o n t r o l

● M/S (Mute/Solo)

The Mute/Solo (“M/S”) parameters below each track

number in the Drum Table display can be used to mute (turn off)

or solo (only that track will be monitored) the corresponding track.

Move the cursor to the appropriate M/S parameter, then use the

[-1] key to alternately mute or un-mute that track, or use the [+1]

key to alternately solo or un-solo the track. Any number of tracks

can be muted and/or soloed at a time. To solo more than one

track at a time hold the [SHIFT] key while soloing additional tracks

after the first solo track has been specified. Also hold the [SHIFT]

key while un-soloing a single track when multiple tracks are

soloed (un-soloing a single track without holding the [SHIFT] key

will un-solo all soloed tracks).

The letter “M” appears below the number of tracks that

are muted, and the letter “S” appears when a track is soloed.

■

NOTE

• The M/S parameters duplicate those in the SONG play mode and

SONG VOICE displays, and have exactly the same effect.

● FX THRU

These “switches” enable or bypass the effect for the

corresponding tracks. When an FX THRU switch appears as an

empty square, the effect is enabled for that track. To bypass the

effect for a track, move the cursor to the appropriate FX THRU

switch, and press the [+1] key so that a “T” (THRU) in the

square. Bypassed tracks can be enabled by pressing the [-1] key.

100

P l a y b a c k C o n t r o l

● DRUM TABLE

This parameter specifies the drum instrument to be

remapped for the selected track. 24 choices are available (in

addition to “-

-” or “OFF”), spanning 6 remapping categories, as

shown in the chart below. A selected instrument will replace any

other instrument in the same category. For example, if a drum

track uses the Snare M instrument and you select DRUM TABLE

number 7 for that track, every occurence of the Snare M instru-

ment will be replaced by the Open Rimshot instrument.

No. Category Instrument

1 Bass Drum L

2 Bass Drum Bass Drum M

3 Bass Drum H

4 Snare L

5 Snare M

6 Snare H

Snare

Open Rimshot

8 Brush Slap

9 Side Stick

10 Hand Clap

11 Mid Tom

12 Ride Cymbal

13 Cabasa

Hi Hat

Maracas

15 Triangle

16 Shaker

17 Tambourine

18 Bongo-Conga Bongo-Conga

19 Solo BassDr

20 Solo Solo SnareDr

21 Solo Hi-Hat

22 Mute BassDr

23 Mute Mute SnareDr

24 Mute Hi-Hat

101

T h e S o n g J o b s

The SONG mode includes 25 song “jobs” that perform a

variety of important functions. To access and use the song jobs, press

the [MENU] key while in the main SONG play mode, then press the

“Job” function key. This calls the song job list. You can select any job

on the list simply by moving the cursor to the required job and press-

ing [ENTER]. The function keys can be used to move the cursor

directly to the first job in the corresponding category: Event, Measure,

Track, or Song (press the [MENU] key, then the appropriate function

key).

102

T h e S o n g J o b s

■

Returning to the SONG Mode

The [EXIT] key can be used to exit from any song job, and then from the job list thereby

returning you to the normal song play mode. You can also press the [SONG] key to

directly return to the SONG mode.

00: Undo/Redo

“Event” category

01: Quantize

02: Modify Velocity

03: Modify Gate Time

04: Crescendo

05: Transpose

06: Shift Clock

07: Chord Sort

08: Chord Separate

09: Copy Event

10: Erase Event

11: Extract Event

12: Create Continuous

13: Thin Out

14: Time Stretch

“Measure” category

15: Create Measure

16: Delete Measure

“Track” category

17: Copy Track

18: Mix Track

19: Clear Track

20: Expand Backing

21: Normalize

“Song” category

22: Copy Song

23: Clear Song

24: Song Name

103

T h e S o n g J o b s

00 : Undo/Redo

This job will “undo” any other song/pattern job, edit, or record

function if it is executed before any other operation is performed. In all

cases the affected data is restored to the state it was in before performing

the job, edit, or record operation. This job will also undo the last undo

operation (redo).

The name of the last operation performed will appear on the display

(i.e. the operation which will be “undone”). In the example display, above,

a quantize operation will be undone.

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

will appear on the display while the data is being processed, then “Com-

pleted” will appear briefly when the job is done. Press the [EXIT] key to

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

■

DETAIL

• The UNDO/REDO job will not undo the Clear Song (“All”), the Clear Pattern (“All”

styles), the Song Name or Style Name jobs.

Name of the last

operation performed

104

T h e S o n g J o b s

01 : Quantize

Aligns notes in the specified track to or close to the nearest speci-

fied beat.

Quantize Values

Value Effect

Aligns to the nearest 32nd note.

Aligns to the nearest 16th note triplet.

Aligns to the nearest 16th note.

Aligns to the nearest 8th note triplet.

Aligns to the nearest 8th note.

Aligns to the nearest quarter note triplet.

Aligns to the nearest quarter note.

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

job: “01” … “16” for individual tracks, or “All” to quantize all 16 tracks

simultaneously.

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

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

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

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

notes in the track will be aligned to the nearest 16th-note beat, to a degree

determined by the “Strength” parameter.

First beat.

First measure. Last measure.

Last beat.

105

T h e S o n g J o b s

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

are attracted to the specified quantize value. The strength range is from

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

setting of “100%” will cause all notes to be aligned precisely to the

nearest specified beat value. In-between settings produce a corresponding

shift in the position of all off-beat notes to the nearest specified beat value.

With a value setting of “ ” and a strength setting of 50%, for example, a

note that does not fall precisely on a quarter beat will be shifted about

halfway to nearest quarter beat.

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

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

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

the timing of “back beats”, as specified by the quantize value. For ex-

ample, if the specified quantization value is 8th notes, then the swing

effect will shift the 2nd, 4th, 6th, and 8th beats of each measure forward

to create a swing feel. If the quantize value is set to a triplet note length,

the last note in each triplet group will be shifted. If the quantize value is set

to a compound note length (e.g. 8th note + 8th note triplet) the even-

numbered back beats will be shifted. The “Swing Rate” parameter deter-

mines how much the timing of the affected notes will be shifted. The

range is from 50% (no swing) to 75% (maximum swing) for even note

lengths, from 66% to 83% for triplet note lengths, and from 50% to 66%

for even-plus-triplet note lengths (e.g. 8th note + 8th note triplet).

Original data (assuming 4/4 meter)

Quantizing strength = 100% (quantize value = )

Quantizing strength = 50% (quantize value = )

106

T h e S o n g J o b s

The “Gate Time” parameter increases or decreases the gate times

(length) of all notes affected by the swing parameter. The range is from 0%

to 200%. The “Gate Time” parameter sets the ratio between the shorter

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

relationship between the notes, lower values produce a narrower gate time

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

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

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

data is being processed, then “Completed” will appear briefly when the

job is done. Press the [EXIT] key to return to the job list, or a mode key to

go directly to the selected mode.

Original timing

Quantizing value = , Swing rate 50% (no delay)

Quantizing value = , Swing rate 60% (delay applied)

Quarter-note length

107

T h e S o n g J o b s

02 : Modify Velocity

Increases or decreases the velocity values of all notes in the speci-

fied track and range of measures.

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

Velocity job: “01” … “16”.

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

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

The “SetAll” parameter makes it possible to set all notes in the

specified range to a single velocity value from “1” to “127”. “Set All” can

also be turned “Off” when the “Rate” and “Offset” parameters, below,

are to be used for velocity modification.

The “Rate” parameter allows you to change the Velocity value of

each note without affecting the velocity ratios between notes (proportional

change). A setting of

“100%” maintains the

absolute velocity differ-

ences between notes,

while lower (higher) values

will decrease (increase)

the velocity values to the

corresponding percentage,

resulting in a narrower

(wider) dynamic range.

The range is from “0%” to

“200%”.

First beat.

First measure. Last measure.

Last beat.

96 64 32 127 96

48 32 16 63 48

127 96 48 127 127

Original

velocities

Rate = 50%

Rate = 150%

108

T h e S o n g J o b s

New Velocity = Original Velocity x rate/100 + offset

(If the right side of the equation is 0 or less, the New Velocity

becomes 1. If the right side of the equation is 128 or more, the New

Velocity becomes 127.)

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

the Modify Velocity job. The metronome icon will appear on the display

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

when the job is done. Press the [EXIT] key to return to the job list, or a

mode key to go directly to the selected mode.

■

NOTE

• The Modify Velocity job is a great way to “soften” the sound of material that has

too great 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.

The “Offset” parameter allows you to change all velocity values by

an absolute amount. “-” settings will decrease the velocity of each note by

the corresponding amount, “+” settings will increase the velocity accord-

ingly. The range is from “-99” through “0” to “+99”.

96 64 32 127 96

76 44 12 107 76

116 84 52 127 116

Original

velocities

Offset = -20

Offset = +20

109

T h e S o n g J o b s

03 : Modify Gate Time

Increases or decreases the gate times (length) of all notes in the

specified track and range of measures.

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

Gate Time job: “01” … “16”.

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

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

The “SetAll” parameter makes it possible to set all notes in the

specified range to a single gate time value from “1” to “9999”. “Set All”

can also be turned “Off” when the “Rate” and “Offset” parameters,

below, are to be used for gate time modification.

The “Rate” parameter allows you to change the Gate Time value of

each note without affecting the gate time ratios between notes (propor-

tional change). A setting of “100%” maintains the absolute gate time

differences between notes, while lower (higher) values will decrease

(increase) the gate time values to the corresponding percentage. The range

is from “0%” to “200%”.

First beat.

First measure. Last measure.

Last beat.

32 32 32 48 48

16 16 16 24 24

48 48 48 72 72

Original

gate time

Rate = 50%

Rate = 150%

110

T h e S o n g J o b s

New Gate Time = Original Gate Time x rate/100 + offset

(If the right side of the equation is 0 or less, the New Gate Time

becomes 1)

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

the Modify Gate Time job. The metronome icon will appear on the display

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

when the job is done. Press the [EXIT] key to return to the job list, or a

mode key to go directly to the selected mode.

■

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.

32 32 32 48 48

12 12 12 28 28

52 52 52 68 68

Original

gate time

Offset = -20

Offset = +20

The “Offset” parameter allows you to change all gate time values by

an absolute amount. “-” settings will decrease the gate time of each note

by the corresponding amount, “+” settings will increase the gate time

accordingly. The range is from “-9999” through “0” to “+9999”.

111

T h e S o n g J o b s

04 : Crescendo

Produces a gradual crescendo (increase in note velocity) or decre-

scendo (decrease in note velocity) in the specified track over the specified

range of measures.

The “TR” parameter selects the track to be affected by the Cre-

scendo job: “01” … “16”.

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

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

The “Range” parameter determines the range of velocity values

over which the crescendo will occur. A setting of “+24”, for example, will

cause the MIDI velocity values to increase by 24 over the specified mea-

sure range (The MIDI velocity value range is from 1 to 127).

First beat.

First measure. Last measure.

Last beat.

Negative values cause a corresponding decrease in velocity, thereby

producing a decrescendo rather than a crescendo. The range of this

parameter is from “-99” through “0” to “+99”.

Specified measure (“M”) range.

Range +24.

Crescendo.

Original

velocity.

112

T h e S o n g J o b s

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

the Crescendo job. The metronome icon will appear on the display while

the data is being processed, then “Completed” will appear briefly when

the job is done. Press the [EXIT] key to return to the job list, or a mode key

to go directly to the selected mode.

113

T h e S o n g J o b s

05 : Transpose

Transposes all notes in the specified part up or down by the speci-

fied number of semitones.

The “TR” parameter selects the track to be affected by the Trans-

pose job: “01” … “16” for the sequncer tracks, or “Cd” for the accompa-

niment chord track.

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

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

The “Note” parameters specify the range of notes to be affected.

The maximum range is from “C-2” to “G8”.

The “Transpose” parameter determines the amount of transposi-

tion in semitone increments. Minus (-) values transpose down while plus

(+) values transpose up. the range is from “-99” through “0” to “+99”.

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

the Transpose job. The metronome icon will appear on the display while

the data is being processed, then “Completed” will appear briefly when

the job is done. Press the [EXIT] key to return to the job list, or a mode key

to go directly to the selected mode.

■

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 changing 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 another track.

First beat.

First measure. Last measure.

Last beat.

114

T h e S o n g J o b s

06 : Shift Clock

Moves all notes and events in the specified track and range of

measures forward or backward by the specified number of clocks (480

clocks per 1/4 note).

First beat.

First measure. Last measure.

Last beat.

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

Clock job: “01” … “16” for the sequencer tracks, or “Tm” for the tempo

track.

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

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

The “Clock” parameter determines the direction and number of

clocks by which the notes in the specified measure range will be shifted.

“+” settings shift the notes forward (toward the end of the song) and “-”

settings shift the notes backward (toward the beginning of the song). The

range is from “-9999” through “0000” to “+9999”.

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

the Shift Clock job. The metronome icon will appear on the display while

the data is being processed, then “Completed” will appear briefly when

the job is done. Press the [EXIT] key to return to the job list, or a mode key

to go directly to the selected mode.

115

T h e S o n g J o b s

■

NOTE

• The Shift Clock job will not shift data beyond the specified measure range. Events

near the beginning and end of the specified range may therefore sound “bunched”

together in some cases.

• Since the Shift 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 (“+” settings) to create a more “laid

back” feel, or backward (“-” settings) to produce a more “driving” feel. Of course,

you can also use Shift Clock to correct timing that is off in the first place.

116

T h e S o n g J o b s

07 : Chord Sort

Sorts all notes in the specified measure range which fall on the

same beat (i.e. chords) so that the notes are arranged in order from lowest

to highest or from highest to lowest.

First beat.

First measure. Last measure.

Last beat.

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

Sort job: “01” … “16”.

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

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

The “Type” parameter determines whether the chords in the

specified range are arranged from lowest to highest note (“Normal”) or

from highest to lowest note (“Reverse”).

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

the Chord Sort job. The metronome icon will appear on the display while

the data is being processed, then “Completed” will appear briefly when

the job is done. Press the [EXIT] key to return to the job list, or a mode key

to go directly to the selected mode.

117

T h e S o n g J o b s

08 : Chord Separate

Shifts each note in the specified measure range which falls on the

same beat (i.e. chords) forward in order from lowest to highest or vice

versa according to the Chord Sort settings, by the specified number of

clocks, thus “separating” the chord notes by the specified number of

clocks.

First beat.

First measure. Last measure.

Last beat.

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

Separate job: “01” … “16”.

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

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

The “Clock” parameter determines the number of clocks by which

the notes of the chord will be separated: “000” through “999”.

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

the Chord Separate job. The metronome icon will appear on the display

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

when the job is done. Press the [EXIT] key to return to the job list, or a

mode key to go directly to the selected mode.

118

T h e S o n g J o b s

09 : Copy Event

Copies all data from a specified range of measures from one track to

the specified measure in the specified destination track. The copied data

can also be transposed as required. This operation overwrites the data

from the beginning of the specified destination measure with the data from

the source measures. Previous data in the overwritten measures is there-

fore lost.

First beat.

First measure. Last measure.

Last beat.

The upper “TR” parameter selects the source track — i.e. the track

from which the data is to be copied: “01” … “16” for the sequencer

tracks, the accompaniment “Pt” track, the accompaniment “Cd” track, the

“Tm” track, or “Al” (All) tracks. When “Pt”, “Cd”, Tm” or “Al” is selected,

the lower “TR” parameter is automatically set to the same track.

The lower “TR” parameter selects the destination track — i.e. the

track to which the data is to be copied: “01” … “16” for the sequencer

tracks, the accompaniment “Pt” track, the accompaniment “Cd” track, the

“Tm” track, or “Al” (All) tracks. When “Pt”, “Cd”, Tm” or “Al” is selected,

the upper “TR” parameter is automatically set to the same track.

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

specify the first measure:beat and last measure:beat of the range to be

copied.

Chord template

parameter

119

T h e S o n g J o b s

The “Transpose” parameter sets a transpose value for the copied

data in semitone increments from “-24” through “+00” to “+24”.

The Chord template parameter, above the upper graphic bar, appears

only when the “Cd” track is selected at the “TR” parameter. This param-

eter specifies which chord progression, either the user chord progression

programmed in the source “Cd” track or preset chord template, will be

copied to the User chord progression.

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

the Copy Event job. The metronome icon will appear on the display while

the data is being processed, then “Completed” will appear briefly when

the job is done. Press the [EXIT] key to return to the job list, or a mode key

to go directly to the selected mode.

■

NOTE

• Previous data in measures overwritten by the Copy Event job will be completely

erased and replaced by the copied data.

• The time signature is copied by the Copy Event job, but Voice and Play Effect data

is not copied.

• The Copy Event job makes it easy to use phrases or even complete sections (an

entire chorus, for example) in more than one place in a song. You can copy a phrase

played by one voice, and have it repeated by a different voice later in the song. You

can always edit the copied sections to create variations.

The “M” parameters below the lower graphic bar specifiy the

destination measure:beat to which the data will be copied, as well as the

number of times the data is to be copied.

Destination beat.

Destination measure. Number of times to be copied.

120

T h e S o n g J o b s

10 : Erase Event

Erases all note and event data from the specified measure or range

of measures in the specified track. An erase operation leaves the specified

measures intact but blank.

First beat.

First measure. Last measure.

Last beat.

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

Event job: “01” … “16” for the sequencer tracks, the accompaniment

“Pt” track, the accompaniment “Cd” track, or the “Tm” track.

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

first measure:beat and last measure:beat of the range to be erased.

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

the Erase Event job. The metronome icon will appear on the display while

the data is being processed, then “Completed” will appear briefly when

the job is done. Press the [EXIT] key to return to the job list, or a mode key

to go directly to the selected mode.

■

NOTE

• Unlike the Delete Measure job, the Erase Event 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.

121

T h e S o n g J o b s

11 : Extract Event

Allows a specified type of event — note, program change, pitch

bend, control change, channel aftertouch, polyphonic aftertouch, or system

exclusive — to be extracted (removed) from a specified range of measures

in a specified track. The extracted data can be moved to the same range of

measures in any other specified track.

First beat.

First measure. Last measure.

Last beat.

The upper “TR” parameter selects the source track — i.e. the track

from which the event data is to be extracted: “01” … “16”.

The lower “TR” parameter selects the destination track — i.e. the

track to which the extracted event data is to be moved: “01” … “17”, or

“Off” if you simply want to discard the specified event data.

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

first measure:beat and last measure:beat of the range from which the

event data is to be extracted.

The event type parameter near the upper graphic bar determines the

type of event data to be extracted:

NOTE Note events.

PC Program change events.

PB Pitch bend events.

CC Control change events. When this event type is selected a control

change number parameter appears to the right of the even type.

The control change parameter determines the MIDI control

change number(s) to be extracted: “000” … “127” or “All”.

CAT Channel aftertouch events.

PAT Polyphonic aftertouch events.

EXC Exclusive events.

Event type

parameter

122

T h e S o n g J o b s

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

the Extract Event job. The metronome icon will appear on the display while

the data is being processed, then “Completed” will appear briefly when

the job is done. Press the [EXIT] key to return to the job list, or a mode key

to go directly to the selected mode.

■

NOTE

• Although you can remove events individually in the edit mode (page 192), the

Extract Event job makes it simple to remove all occurences 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.

• If the destination track already contains data, the extracted event data will be

merged.

123

T h e S o n g J o b s

12 : Create Continuous

This job makes it possible to create continuous data of the specified

type in order to produce smooth pitch bends, tempo changes, etc.

First beat.

First measure. Last measure.

Last beat.

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

Continuous job: “01” … “16” for the sequencer tracks, or “Tm” for the

tempo track.

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

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

The data type parameter determines the type of data to be created.

PB Pitch bend events.

CC Control change events. When this event type is selected a control

change number parameter appears to the right of the type

parameter. The control change parameter determines the MIDI

control change number to be created: “000” … “127”.

CAT Channel aftertouch events.

EXC Master volume.

TMP Tempo events (can only be selected for the Tm (Tempo) track).

The “Data” parameters set the range of data values to be created:

the left number sets the starting value and the right number sets the

ending value. The range of values available will depend on the type of

event selected.

The “Clock” parameter sets the spacing between the created

events in clocks: “000” … “999”.

Data type

parameter

124

T h e S o n g J o b s

The “Curve” parameter sets the degree of positive or negative

“curvature” that will be applied to the continuous data: “-16” … “00” …

“+16”.

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

the Create Continuous job. The metronome icon will appear on the display

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

when the job is done. Press the [EXIT] key to return to the job list, or a

mode key to go directly to the selected mode.

Start point

End point

Curve = +16 Curve = 0 (linear)

Curve = -16

Clock

parameter

125

T h e S o n g J o b s

13 : Thin Out

“Thins out” specified types of data by removing every other event of

the specified type. This is particularly useful for reducing the volume of

data required for pitch bends, aftertouch and other control change opera-

tions, thus making more efficient use of the available memory.

First beat.

First measure. Last measure.

Last beat.

The “TR” parameter selects the track to be affected by the Thin Out

job: “01” … “16” for the sequencer tracks, or “Tm” for the tempo track.

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

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

The data type parameter determines the type of data to be thinned.

PB Pitch bend events.

CC Control change events. When this event type is selected a control

change number parameter appears to the right of the type

parameter. The control change parameter determines the MIDI

control change number to be thinned: “000” … “127”.

CAT Channel aftertouch events.

PAT Polyphonic aftertouch events.

TMP Tempo events (can only be selected for the Tm (Tempo) track).

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

the Thin Out job. The metronome icon will appear on the display while the

data is being processed, then “Completed” will appear briefly when the

job is done. Press the [EXIT] key to return to the job list, or a mode key to

go directly to the selected mode.

Data type

parameter

126

T h e S o n g J o b s

14 : Time Stretch

Lenghtens or shortens the specified track by a specified percentage

without affecting tempo or pitch.

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

Stretch job: “01” … “16” for the sequencer tracks, or “Al” for all se-

quencer tracks.

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

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

The “Time” parameter specifies the percentage by which the time

is to be lengthened or shortened: “50%” … “200%”. Gate time of notes

in the specified track and measures will also be changed in proportion to

this setting.

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

the Time Stretch job. The metronome icon will appear on the display while

the data is being processed, then “Completed” will appear briefly when

the job is done. Press the [EXIT] key to return to the job list, or a mode key

to go directly to the selected mode.

First beat.

First measure. Last measure.

Last beat.

127

T h e S o n g J o b s

15 : Create Measure

Creates a specified number of blank measures having the specified

time signature for all tracks. The created measures are inserted at a

specified measure number, and all subsequent measures are moved

forward to make room.

First beat.

First measure. Last measure.

Last beat.

The “M” parameter above the graphic bar specifies the measure at

which the newly created measures will be inserted.

The time signature parameter below the graphic bar determines the

time signature of the measures to be created: 1/16 … 16/16, 1/8 … 16/8,

1/4 … 8/4.

The “Measure” parameter below the bar specifies the number of

measures to be created.

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

the Create Measure job. The metronome icon will appear on the display

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

when the job is done. Press the [EXIT] key to return to the job list, or a

mode key to go directly to the selected mode.

■

NOTE

• All existing measures after the point at which the new measures are created will be

moved forward to make room for the new measures.

• If you use the Create Measure job with an empty song, the specified new

measures will be placed in track 1 only.

• Use Create Measure when you want to add new material 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 Event function, or record new data as required.

128

T h e S o n g J o b s

16 : Delete Measure

Deletes the specified range of measures from all tracks simulta-

neously.

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

first measure and last measure of the range to be deleted.

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

the Delete Measure job. The metronome icon will appear on the display

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

when the job is done. Press the [EXIT] key to return to the job list, or a

mode key to go directly to the selected mode.

■

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.

First measure.

Last measure.

129

T h e S o n g J o b s

17 : Copy Track

Copies all data from the specified track to any other specified track.

The upper “TR” parameter selects the source track — i.e. the track

from which the data is to be copied: “01” … “16”.

The lower “TR” parameter selects the destination track — i.e. the

track to which the data is to be copied: “01” … “16”.

The “Event”, “Play Effect”, and “Voice” check boxes make it

possible to specify whether or not the corresponding types of data will be

copied or not (the data is copied when the checkbox is checked).

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

the Copy Track job. The metronome icon will appear on the display while

the data is being processed, then “Completed” will appear briefly when

the job is done. Press the [EXIT] key to return to the job list, or a mode key

to go directly to the selected mode.

■

NOTE

• If the destination track already contains data, the copied track data will erase and

replace the previous data.

130

T h e S o n g J o b s

18 : Mix Track

Combines the data contained in two specified tracks and places the

result in a third track (which can be the same as the second track).

The upper and center “TR” parameters select the first and second

source tracks — i.e. the tracks which are to be mixed: “01” … “16”.

The lower “TR” (“01” … “16”) parameter specifies the destination

track to which the mixed data is to be copied.

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

the Mix Track job. The metronome icon will appear on the display while the

data is being processed, then “Completed” will appear briefly when the

job is done. Press the [EXIT] key to return to the job list, or a mode key to

go directly to the selected mode.

■

NOTE

• If there is no data in the second source track, the data from the first source track is

simply copied to the destination track.

131

T h e S o n g J o b s

19 : Clear Track

Completely clears the specifed track from the currently selected

song (including all Play Effect parameters).

The “TR” parameter selects the track(s) to be cleared: “01” … “16”

for the sequencer tracks, the accompaniment “Pt” track, the accompani-

ment “Cd” track, the “Tm” track, or “Al” (All) tracks.

The “Event”, “Play Effect”, and “Voice” check boxes make it

possible to specify whether or not the corresponding types of data will be

cleared or not (the data is cleared when the checkbox is checked).

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

the Clear Track job. The metronome icon will appear on the display while

the data is being processed, then “Completed” will appear briefly when

the job is done. Press the [EXIT] key to return to the job list, or a mode key

to go directly to the selected mode.

132

T h e S o n g J o b s

20 : Expand Backing

“Expands” the accompaniment track data — i.e. the pattern and

chord data — and places the results in the normal sequencer tracks after

converting the data to standard MIDI format. The expanded data is placed

in sequencer tracks 9 through 16 (see chart below). Any previous data in

those tracks will be erased!

Press [ENTER] to execute the Expand Backing job. The metronome

icon will appear on the display while the data is being processed, then

“Completed” will appear briefly when the job is done. Press the [EXIT] key

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

Pattern Track Sequencer Track

D1 9

D2 10

PC 11

BA 12

C1 13

C2 14

C3 15

C4 16

■

NOTE

• If the “Ds3” (Drum set 3) is assigned to the D1, D2 or PC track of the expanded

pattern, the drum voice settings will be copied to “Ds2” (Drum set 2). The previous

settings in Ds2 will be overwritten (erased).

133

T h e S o n g J o b s

21 : Normalize

Actually applies the Play Effect settings to the sequence data,

modifying the sequence data accordingly. The Play Effect settings are

initialized after execution.

The “TR” parameter selects the track(s) to be affected by the

Normalize job: “01” … “16” for the sequencer tracks, or “Al” (All) for all

sequencer tracks.

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

the Normalize job. The metronome icon will appear on the display while

the data is being processed, then “Completed” will appear briefly when

the job is done. Press the [EXIT] key to return to the job list, or a mode key

to go directly to the selected mode.

134

T h e S o n g J o b s

22 : Copy Song

Copies all data from all tracks of the specified song to any other

specified song (including song name, play effect and voice assignment

settings).

The upper “Song” parameter selects the source song — i.e. the

song from which the data is to be copied: “01” … “20”.

The lower “Song” parameter selects the destination song — i.e. the

song to which the data is to be copied: “01” … “20”

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

the Copy Song job. The metronome icon will appear on the display while

the data is being processed, then “Completed” will appear briefly when

the job is done. Press the [EXIT] key to return to the job list, or a mode key

to go directly to the selected mode.

■

NOTE

• If the destination song already contains data, the copied song will erase and replace

the previous song.

135

T h e S o n g J o b s

23 : Clear Song

Completely clears all data from all tracks of the currently selected

song. Also initializes the play effect and voice settings.

The “Song” parameter selects the song to be cleared: “01” … “20”

or “Al”(All)

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

the Clear Song job. The metronome icon will appear on the display while

the data is being processed, then “Completed” will appear briefly when

the job is done. Press the [EXIT] key to return to the job list, or a mode key

to go directly to the selected mode.

■

NOTE

• Clearing “All” songs can not be undone with the “Undo/Redo” job.

136

T h e S o n g J o b s

24 : Song Name

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 ad-

vance to the next character position.

The character cursor can be moved by pressing the function key to

the right of “ ”

To delete a character, press the function key to the right of “del”.

The character to the left of the cursor will be deleted and the cursor will

move to the deleted character’s position.

When the name has been entered press the [EXIT] key to return to

the job list, or a mode key to go directly to the selected mode (it is not

necessary to press the [ENTER] key to enter the specified name).

■

NOTE

• Entering a song name can not be undone with the “Undo/Redo” job.

137

C r e a t i n g O r i g i n a l A c c o m p a n i m e n t P a t t e r n s

C r e a t i n g O r i g i n a l

A c c o m p a n i m e n t P a t t e r n s

QY70 accompaniment patterns are created by combining

“phrases” — either preset or original — in the PATTERN mode. A

phrase is simply an individual “part” of a pattern — e.g. a drum

phrase, a bass phrase, a keyboard phrase, etc. — using a single voice.

The QY70 has 4,167 preset phrases, and 384 memory locations for

original patterns (i.e., 64 user styles, each with independent INTRO,

MAIN A, MAIN B, FILL AB, FILL BA, and ENDING sections).

You can also see phrase components of the preset patterns in

the PATTERN mode.

The Preset Phrases

The QY70 has a total of 4,167 preset phrases that can be combined

to create a virtually endless variety of accompaniment patterns. The preset

phrase numbers have three sections, as shown below. The cursor can be

placed at any of these three sections to select as required.

Category

Beat

Number

Phrase Name

Monitoring the Pattern

If you press the [

] button while entering phrases you can

hear how the pattern sounds as the various phrases are

added. Press [

] to stop playback.

Muting & Soloing the Pattern Tracks

One or more PATTERN mode tracks can be muted or

soloed by placing the cursor immediately to the left of the

track (in the velocity-meter position) and using the [-1] or

[+1] to mute or solo the track as required. Use the [-1] key

to alternately mute or un-mute the selected track, or the

[+1] key to alternately solo or un-solo the track. Any

number of tracks can be muted and/or soloed at a time. To

solo more than one track at a time hold the [SHIFT] key

while soloing additional tracks after the first solo track has

been specified. Also hold the [SHIFT] key while un-soloing

a single track when multiple tracks are soloed (un-soloing a

single track without holding the [SHIFT] key will un-solo all

soloed tracks).

If the assigned

phrase is longer

than the pattern

length, this symbol

( ) appears. In this

case, the exceeded

part of the phrase

will not be played.

142

C r e a t i n g O r i g i n a l A c c o m p a n i m e n t P a t t e r n s

The letter “M” appears next to tracks that are muted, and

the letter “S” appears when a track is soloed.

Mute

Solo

Clearing Phrases

Phrases can be cleared by placing the cursor at the appro-

priate phrase number, catgory, or beat and pressing the

function key next to “Cler” on the display.

Changing the Pattern Playback Chord

The chord used for pattern playback can be changed by

placing the cursor at the chord location and entering the

chord via the micro-keyboard and [ENTER] keys as de-

scribed on page 40. The bass note for “on-bass” chords

can be entered via the lower octave of the micro-keyboard

while holding the [OCT DOWN/BASS] key (the bass note

will appear to the right of a slash next to the chord name).

143

C r e a t i n g O r i g i n a l A c c o m p a n i m e n t P a t t e r n s

You can also enter the chord by pressing the chord as it is

on the micro keyboard or an external keyboard if

“FNGR”(Fingered Chord function) is set to “ON”. In this

case, a bass note can be entered by pressing a key for a

bass note on the left part of the micro keyboard or an

external keyboard while holding the chord. (The “left part”

range for entering a bass note can be specified in the

Utility mode on page 227.)

B Repeat for as Many Tracks as Necessary

Repeat steps C and V to enter phrases for as many

tracks as required (you don’t have to program all 8 pattern tracks).

N Repeat for the Other Sections

Repeat the above procedure to complete the remaining

sections of the style, as required.

■

NOTE

• See “The Pattern Jobs” on page 157 for details on the QY70's pattern

jobs which allow considerable versatility in creating and modifying

patterns.

• You can also re-combine phrases on the preset pattern. To store the re-

combination, execute the “Copy Pattern” (page 189) or “Copy Track”

(page 186) job before changing the style number of the pattern.

144

C r e a t i n g O r i g i n a l A c c o m p a n i m e n t P a t t e r n s

Recording Original Phrases

The QY70 makes it easy to create original accompaniment phrases.

The PATTERN mode provides two ways to create original phrases: realtime

and step recording.

Realtime Phrase Recording

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

the voice you want to record with, and then play the part on the micro-

keyboard or an external MIDI keyboard in real time.

Z Select a User Style and Section

As described in the preceding section, begin by selecting a

user style (“U01” through “U64”) and a section (“INTRO”,

“MAIN A”, etc.) in the PATTERN mode.

User style

Section

X Select a Source Chord

Move the cursor to the chord parameter and use the chord

entry procedure described above to enter the “source chord” for

the phrase you are recording (i.e. the chord on which the phrase

is based). Note that you can not enter an “on-bass” chord for the

“source chord”.

145

C r e a t i n g O r i g i n a l A c c o m p a n i m e n t P a t t e r n s

Source chord

C Select a Pattern Track and its “User” Phrase

Move the cursor to the track you want to create an original

phrase for. To create a bass phrase, for example, select the “BA”

(Bass) track. Then use the [+1] key to select the user phrase for

that track (“Us-

-001” for Intro section’s D1 track through “Us-

048” for Ending section’s C4 track, depending on the selected

section and track.) If the track you intend to record is empty, you

need not select the user phrase for that track.

“User” phrase

■

NOTE

• Before engaging the record mode you can also set the micro-keyboard

“velocity” via the “VEL” parameter in the upper right corner of the

display. The velocity can be set in ten levels — the more bars the

higher the velocity. There are also four “randon velocity” settings

which produce different degrees of random velocity variation. “R1

produces the smallest variation and “R4” produces the greatest

variation.

• You can also set the micro-keyboard’s octave before engaging the

record mode by pressing [OCT UP] or [OCT DOWN] key.

146

C r e a t i n g O r i g i n a l A c c o m p a n i m e n t P a t t e r n s

V Engage the Phrase Record Ready Mode

Press the [

] key to engage the phrase record ready mode.

The red LED will light, and the display will appear something like

this:

B Select the Realtime Overdub Record Mode

Move the cursor to the record mode selector area of the

display (the area with the “OVER” and “STEP” buttons), and

move it to the “OVER” (realtime overdub) button, then press the

[+1/YES] key to select the realtime overdub record mode (if it

isn’t already selected). An inverse “R” will appear in the selected

record mode button.

N Set the Phrase Type and Voice

Note that a default “TYPE” and voice are shown for the

selected track. These can be changed as required before record-

ing the phrase. The default types and voices for each pattern

track are shown below. The “TYPE” parameter is actually the

“Note Transition Table Type” and it determines how the corre-

sponding track will be re-harmonized when used in an accompa-

niment with chord changes. The various phrase types are de-

scribed below.

Record mode

selector

147

C r e a t i n g O r i g i n a l A c c o m p a n i m e n t P a t t e r n s

Track Default Type Default Voice

D1 (Drum 1) Bypass Dr 001: Standard Kit

D2 (Drum 2) Bypass Dr 001: Standard Kit

PC (Percussion) Bypass Dr 001: Standard Kit

BA (Bass) Bass Ba 033: Acoustic Bass

C1 (Chord 1) Chord 1 Pf 001: Grand Piano

C2 (Chord 2) Chord 1 Pf 001: Grand Piano

C3 (Chord 3) Chord 1 Pf 001: Grand Piano

C4 (Chord 4) Chord 1 Pf 001: Grand Piano

The Phrase Types

Bypass The phrase is not re-harmonized — i.e. it is not

affected by chord changes — when this type is

selected. This type should be used for drum and

percussion phrases, otherwise the drum instruments

will be “re-harmonized” and change whenever a

chord change is encountered.

Bass When the “Bass” type is selected the phrase is re-

harmonized in the same way as for the Chord 1

phrase type, below, except that the root is always

used as the first note immediately following a chord

change. In the case of an “on-bass” chord, the bass

phrase always plays the “on-bass” note.

Chord 1 The source note data is reharmonized based on the

root of the specified chord.

Chord 2 The source note data is re-harmonized with the

closest possible “voice leading” from the preceding

chord. This results in the smoothest possible chord

changes.

Parallel When this type is selected the source note data is

simply transposed to the root of the new chord

without re-harmonization.

VoiceType

148

C r e a t i n g O r i g i n a l A c c o m p a n i m e n t P a t t e r n s

M Set the Pattern Length, Time Signature & Tempo as

Required

If you’re creating a phrase for an empty pattern, move the

cursor to the pattern length parameter and set the desired

pattern length from 1 to 8 measures. If necessary, also move the

cursor to the time signature parameter and set as required (1/16

… 16/16, 1/8 … 16/8, 1/4 … 8/4). The default tempo is 120, but

you can move the cursor to the tempo parameter and set any

other tempo that is suitable for your recording.

< Record

Press the [

] key to begin recording. The metronome will

sound and you’ll be given a one-measure count-in prior to the first

measure actually recorded.

Play the required part either on the micro-keyboard or via

an external MIDI keyboard. The phrase will continuously repeat

from the first to last measure, so you can continue to add notes

until the current part is complete.

■

NOTE

• Since your original phrase will be automatically re-harmonized as

required by the QY70 ABC system, there are a few rules you should

follow to ensure the best results:

1: Stick to the harmonic environment of your source chord.

2: Use primarily the root, 3rd, 5th, and major 7th.

3: Keep it rhythmic … avoid melodic lines.

Pattern length

Time signature

Tempo

149

C r e a t i n g O r i g i n a l A c c o m p a n i m e n t P a t t e r n s

> Delete Mistakes as Required

To delete mistakes, simply play the note to be deleted on

either the micro-keyboard or an external MIDI keyboard while

holding the [SHIFT] key. All corresponding notes that occur while

the key is held will be deleted.

? Stop Recording

Press the [

] key to stop recording. The normal PATTERN

play mode is automatically re-selected when you stop recording.

[ Repeat for as Many Tracks and Sections as Necessary

Repeat the appropriate steps of the above procedure to

record phrases for as many tracks and sections as required.

■

NOTE

• See “The Pattern Jobs” on page 157 for details on the QY70’s pattern

jobs which allow considerable versatility in creating and modifying

patterns.

150

C r e a t i n g O r i g i n a l A c c o m p a n i m e n t P a t t e r n s

Step Phrase Recording

The step phrase record mode lets you enter phrases note-by-note,

with precise control over the timing, length, and loudness of each note.

You can record complete phrases using the step mode, or use it to brush-

up and add data to an existing phrase.

Steps Z through M are the same as for phrase realtime recording,

above, except for step B in which you’ll need to select the “STEP” record

mode rather than “OVER” (page 146). The actual recording process is then

the same as step-recording the SONG tracks except that the measure/

beat/clock display shows the total number of measures in the pattern as

well as the current measure number. Refer to pages 81 through 87 for

details on step recording.

“STEP” button

■

NOTE

• The recorded user phrase can be cleared by pressing the function key next to

“cler”, as shown on page 142. In this case, you can recall the cleared phrase by

selecting a user phrase for that track again with [+1]/[-1] key. To delete the recorded

phrase completely, execute the “Clear Track” job on page 188.

151

C r e a t i n g O r i g i n a l A c c o m p a n i m e n t P a t t e r n s

For details on each parameter of the VOICE mixer display, see “The

Song Voice Mode” on page 61. Remember that each track’s voice assign,

pan and volume settings for a preset pattern in the VOICE mode will not be

stored in memory.

Pattern Voice mode

Each pattern phrase has its own voice whether it is a preset phrase

or a user phrase. (The user phrase voice is specified in the phrase record

ready mode described on page 146).

However, you can also assign any of the QY70’s 519 voices and 20

drum kits to the 8 pattern phrase tracks(D1, D2, PC, BA, C1...C4) via the

PATTERN VOICE mode.

The VOICE mode features a graphic on-screen “mixer” that has

mute/solo controls, pan pots, and faders for each track. The PATTERN

voice mode also provides access to effect send controls and a versatile

range of voice editing parameters.

Press the [PATT] key to select the voice mode mixer display. The

mixer display shows 8 pattern phrase tracks at a time.

The VOICE mode mixer display looks almost the same as that of the

SONG VOICE mode except:

Voice parameter for

each track shows “-

-”

as the default setting,

which means that the

phrase has its own

voice assigned to each

track.

The track numbers are D1, D2, PC,

BA and C1...C4.

Master volume and Pattern

volume faders are omitted.

152

C r e a t i n g O r i g i n a l A c c o m p a n i m e n t P a t t e r n s

The Effect Send Display

The QY70 features a high-performance internal digital signal process-

ing system which provides a range of effects including reverb, delay,

modulation, distortion, and more. Three independent effect blocks are

provided — Reverb, Chorus, and Variation. The individual effects are

selected and modified via the EFFECT mode, described in detail on page

212. The VOICE mode mixer display provides access to independent effect

send controls for each of the three effect blocks via the MENU sub-display.

Press the [MENU] button, and then the function key next to “Effect Send”

on the display.

153

C r e a t i n g O r i g i n a l A c c o m p a n i m e n t P a t t e r n s

The Effect Send display looks almost the same as that of the SONG

VOICE mode’s Effect Send display except for track numbers and the

assigned voice (“-

-” means the phrase has its own voice).

For details on each parameter of the Effect Send display, see “The

Effect Send Display” of the Song Voice mode on page 66.

154

C r e a t i n g O r i g i n a l A c c o m p a n i m e n t P a t t e r n s

Voice Editing

The QY70’s VOICE EDIT mode allows you to modify the sound of

the voices assigned to each track to best suit your particular musical

requirements. The VOICE EDIT mode can be accessed from the PATTERN

VOICE mode by pressing the [MENU] button, and then the function key

next to “Voice Edit” on the display. If a Drum Set is selected (i.e., if a drum

track, to which “Ds3” drum set voice is assigned, is selected) the “Drum

Voice Edit” mode will also be available via the menu.

■

NOTE

• “Ds1” and “Ds2” drum sets can be selected in the SONG VOICE mode only. In the

PATTERN VOICE mode, “Ds3” drum set can be selected to edit drum instruments.

The VOICE EDIT display looks almost the same as that of the SONG

VOICE mode’s VOICE EDIT display except for track numbers and the

assigned voice (“-

-” means the phrase voice has its own voice).

For details on each parameter of the VOICE EDIT display, see “Voice

Editing” of the Song Voice mode on page 68.

155

C r e a t i n g O r i g i n a l A c c o m p a n i m e n t P a t t e r n s

Play Effects

The QY70’s “Play Effects” can also affect pattern playback in real

time as well as song playback, and are not actually recorded with the

phrase data. The Play Effects include Groove Quantization and Drum Table

Remapping.

To access the Play Effects press the [MENU] key while in the

PATTERN play mode and press the function key next to “Play Fx” on the

display. The “Groove” and “Drum Table” displays can then be selected by

pressing the [MENU] key and then the function key next to “Groove” or

“Drum Table” on the display, as required.

■

NOTE

• The Play Effects settings can be stored for each user style. These settings will also

be effective when the user style is assigned and played in the SONG mode’s

pattern (Pt) track.

156

C r e a t i n g O r i g i n a l A c c o m p a n i m e n t P a t t e r n s

“Groove” and “Drum Table” displays are exactly the same as those

in the SONG mode except track numbers (D1, D2, PC, BA, C1...C4). See

“Play Effects” of the SONG mode on page 94 for details.

Groove Quantization display

Drum Table display

157

T h e P a t t e r n J o b s

The PATTERN mode includes 24 pattern “jobs” that perform a

variety of important functions. To access and use the pattern jobs,

press the [MENU] key while in the main PATTERN mode, then press

the “Job” function key. 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]. The function keys can be used to move the cursor

directly to the first job in the corresponding category: Event, Phrase,

Track, or Pattern (press the [MENU] key, then the appropriate function

key).

158

T h e P a t t e r n J o b s

■

Returning to the PATTERN Mode

The [EXIT] key can be used to exit from any pattern job, and then from the job list

thereby returning you to the normal PATTERN mode. You can also press the [PATTERN]

key to directly return to the PATTERN mode.

00: Undo/Redo

“Event” category

01: Quantize

02: Modify Velocity

03: Modify Gate Time

04: Crescendo

05: Transpose

06: Shift Clock

07: Chord Sort

08: Chord Separate

09: Copy Event

10: Erase Event

11 : Extract Event

12: Create Continuous

13: Thin Out

14: Time Stretch

“Phrase” category

15: Copy Phrase

16: Get Phrase

17: Put Phrase

“Track” category

18: Copy Track

19: Mix Track

20: Clear Track

“Pattern” category

21: Copy Pattern

22: Clear Pattern

23: Style Name

159

T h e P a t t e r n J o b s

00 : Undo/Redo

This job will “undo” any other pattern/song job, edit, or record

function if it is executed before any other operation is performed. In all

cases the affected data is restored to the state it was in before performing

the job, edit, or record operation. This job will also undo the last undo

operation (redo).

The name of the last operation performed will appear on the display

(i.e. the operation which will be “undone”). In the example display, above,

a quantize operation will be undone.

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

will appear on the display while the data is being processed, then “Com-

pleted” will appear briefly when the job is done. Press the [EXIT] key to

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

■

DETAIL

• The UNDO/REDO job will not undo the Clear Song (“All”), the Clear Pattern (“All”

styles), the Song Name, or Style Name jobs.

Name of the last

operation performed

160

T h e P a t t e r n J o b s

01 : Quantize

Aligns notes in the specified track to or close to the nearest speci-

fied beat.

Quantize Values

Value Effect

Aligns to the nearest 32nd note.

Aligns to the nearest 16th note triplet.

Aligns to the nearest 16th note.

Aligns to the nearest 8th note triplet.

Aligns to the nearest 8th note.

Aligns to the nearest quarter note triplet.

Aligns to the nearest quarter note.

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

job: D1, D2, PC, BA, C1, C2, C3, C4.

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

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

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

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

notes in the track will be aligned to the nearest 16th-note beat, to a degree

determined by the “Strength” parameter.

First beat.

First measure. Last measure.

Last beat.

161

T h e P a t t e r n J o b s

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

are attracted to the specified quantize value. The strength range is from

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

setting of “100%” will cause all notes to be aligned precisely to the

nearest specified beat value. In-between settings produce a corresponding

shift in the position of all off-beat notes to the nearest specified beat value.

With a value setting of “ ” and a strength setting of 50%, for example, a

note that does not fall precisely on a quarter note beat will be shifted about

halfway to nearest quarter note beat.