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.
PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING * Please keep these precautions in a safe place for future reference. 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: power switch, disconnect the adaptor plug from the outlet, and have the instrument inspected by qualified Yamaha service personnel.
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 possible fluid leakage from the battery.
Contents 1: The QY70 — An Overview ............. 5 7: Creating A Complete Song ......... 75 Sequencer Functions ....................... 6 Accompaniment Sequencing .......... 7 Voices & Effects .............................. 8 Recording the Sequencer Tracks ......... 75 Preparing to Record — Voice Assignments ................... 75 Realtime Sequencer Track Recording ...................................... 76 Step Sequencer Track Recording .. 81 2: Power & Connections .................... 9 Power Supply ..
Contents 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 ....................
,,,,,,, , , T h e Q Y 7 0 — A n O v e r v i e w The QY70 — An Overview 1 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 capability 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.
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.
T h e Q Y 7 0 — A n O v e r v i e w Accompaniment Sequencing , 1 The QY70 features a unique accompaiment system that makes it easy to create complete accompaniments for any type of music. Accompaniments 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.
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.
,,,,,,, , , , , , P o w e r & C o n n e c t i o n s Power & Connections 2 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. 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.
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.
P o w e r & C o n n e c t i o n s Using a Power Adaptor , Plug the DC output cable from a Yamaha PA-3B AC Adaptor (available from your Yamaha dealer) into the DC IN jack on the rear panel, then plug the adaptor into a convenient wall AC power socket. DC IN PA-3B 2 AC power socket. ■ CAUTION! • Do not attempt to use an AC adaptor other than the specified unit or an appropriate replacement provided by your Yamaha dealer to power the QY70.
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 Rear Panel r w q e Right Side Panel r q DC IN Jack This jack is only used when you are powering the QY70 from an optional AC adaptor instead of batteries.
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).
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.
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 connector of the QY70, and make sure that the QY70 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.
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.
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 RS232C 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.
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 appropriate “MIDI driver” needs to be installed. 2 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.
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.
P o w e r & C o n n e c t i o n s , 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. 2 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 PC9801/9821 series, you should type as follows: B:\NECPC98 Click “OK”. The “Add Unlisted or Updated Driver” dialog box will appear.
,,,,,,, , T h e C o n t r o l s The Controls 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 carefully, and try out the procedures in the␣ ”TRY THIS” sections, you should have no problem accessing and operating the QY70’s many advanced features.
T h e C o n t r o l s Front Panel t e r y w ou , 3 !1 i !0 !3 !2 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.
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.
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 3 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).
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.
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: , 3 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.
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. [S] RECORD READY: Press this key to engage the record ready mode. You have to press the START key to actually start recording. [A] STOP: Press to stop recording or playback. [W] START: Press to start recording or playback.
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).
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.
,,,,,,, , , , T h e C o n t r o l s Play the Demo Songs 3 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: 4 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).
P l a y t h e D e m o S o n g s C Start Playback Press the sequencer [W] 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 [A] key to stop playback.
,,,,,,, , , E a s y A c c o m p a n i m e n t Easy Accompaniment Using the QY70 preset patterns you can easily create accompaniments that you can play or sing along with. You can also add melody tracks later to create complete compositions. 5 ■ NOTE • In addition to the preset patterns, the QY70 has memory for 384 original patterns (i.e.
E a s y A c c o m p a n i m e n t Song number (1 … 20) 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)/ 7 (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 number.
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 accompaniment style number, then use the [-1] and [+1] buttons or the SHIFT-Number entry method to select the style you want to play.
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 ......
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 appropriate key on the micro-keyboard while the cursor is located at either the style number or the section name on the display. , 5 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.
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 (sections) 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.
E a s y A c c o m p a n i m e n t 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.
E a s y A c c o m p a n i m e n t 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. 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.
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 M M7(9) M7 aug 6 7(9) 7 add9 m m7(9) m7 mM7 m6 m7(11) m7(b5) 7(#9) 7(b9) 7(b13) 7(13) 7(#11) 7(#5) 7sus4 sus4 -- dim added ninth. major. major seventh ninth. major seventh.
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.
E a s y A c c o m p a n i m e n t 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.
E a s y A c c o m p a n i m e n t 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 accompaniment recorded in real time.
E a s y A c c o m p a n i m e n t , “Pt” track C Engage the Record Ready Mode 5 Press the [S] key to engage the record ready mode. The red LED above the [S] 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.
E a s y A c c o m p a n i m e n t Selected record mode button 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. Tempo N Record Press the [W] key to begin recording pattern changes.
E a s y A c c o m p a n i m e n t Count-in , 5 Since you selected “Pt” track recording, the cursor will automatically move to the style number when you start recording. All you have to do to record pattern changes is to select the required style numbers via the [-1] and [+1] keys or the SHIFTNumber 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.
E a s y A c c o m p a n i m e n t < Engage Record Ready Again and Select “Cd” Press the [S] 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. “Cd” track > Record Press the [W] key to begin recording chord changes. The metronome will sound and you’ll be given a one -measure countin.
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).
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 recorded: Select the “Tm” (Tempo) track, press the [S] button to engage the record ready mode (only realtime replace recording can be selected for the tempo track), press [W] 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 meth
E a s y A c c o m p a n i m e n t 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. 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.
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 [W] key to call the selected step record display.
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.
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).
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.
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 signatures 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.
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 selected an empty song (the appropriate chord data will appear if the selected song contains data). Measure number 1st measure 5 Time signature 2nd measure Subsequent measures follow Place cursor at beat on which chord is to be entered One beat ● Chords One chord can be entered per quarter note.
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.
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 reentering the chord.
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.
,,,,,,, , , T h e S o n g V o i c e M o d e The Song Voice Mode The QY70 has 519 voices and 20 drum kits that can be selected, played, and assigned to the 16 SONG mode sequencer tracks via the SONG VOICE mode. The VOICE mode features a graphic onscreen “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).
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 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.
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 Pf Cp Or Gt Ba St En Br Rd Pi Ld Pd Fx Et Pc Se Sfx Sfk Dr Ds1 Ds2 , Category Piano Chromatic Percussion Organ Guitar Bass Strings Ensemble Brass Reed Pipe Lead Synth Pad Synth Effects Ethnic instruments Percussive Sound effects More sound effects Sound effect kits (i.e. a different effect on each key).
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.
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! , 6 65
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 processing 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.
T h e S o n g V o i c e M o d e Effect send display VARI. = System effect VARI. = Insertion effect , 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.
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.
T h e S o n g V o i c e M o d e VOICE EDIT display PB CUT RES A D R , 6 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.
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. Resonance Cutoff Frequency 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.
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 “envelope” of the sound — i.e. its attack, decay, and release times. Plotted against time, the level envelope looks something like this. Decay Attack Release , 6 A (Attack Time) Adjusts the attack portion of the envelope generator curve from “-64” through “0” to “+63”. Negative values produce a faster attack while positive values produce a slower attack.
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.
T h e S o n g V o i c e M o d e 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.
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).
,,,,,,, , , C r e a t i n g A C o m p l e t e S o n g Creating A Complete Song 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.
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.
C r e a t i n g A C o m p l e t e S o n g Track ■ NOTE • Before engaging the record mode you can also set the micro-keyboard “velocity” via the “VELO” parameter. 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.
C r e a t i n g A C o m p l e t e S o n g 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).
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 [W] 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).
C r e a t i n g A C o m p l e t e S o n g Recorded track < Record the Remaining Tracks Complete the song by re-engaging the record mode, selecting the next track to be recorded, and recording as described above. ■ NOTE • See the “Editing Songs & Patterns” section , page 192, for information on how to edit recorded song data.
C r e a t i n g A C o m p l e t e S o n g 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.
C r e a t i n g A C o m p l e t e S o n g Track C Engage the Record Ready Mode Press the [S] key to engage the record ready mode. The red LED above the [S] key will light. Record mode selector 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).
C r e a t i n g A C o m p l e t e S o n g “STEP” button B Engage the Record Mode , Press the [W] key to engage the step record mode. The step record display shown below will appear. 7 Current record track. Measure/beat/clock display. Time signature. Note parameters. Note display. 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 STEP VELO GATE A C o m p l e t e S o n g (Note length) 32nd, 16th, 16th triplet, 8th, 8th triplet, quarter, quarter triplet, half, whole. (Velocity) More bars = higher velocity, adjustable in 10 steps (ppp, pp, p, mp, normal, mf, f, ff, fff, ffff). ~ produces random velocity. (Gate time) = staccato (50%). = normal (90%). = slur (99%).
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. 1st beat. 2nd beat. Note pointer , Each dash represents a 32nd note (60 clocks). 3rd beat. 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.
C r e a t i n g A C o m p l e t e Measure number (001 ... 999) S o n g Clock (480 clocks per 1/4 note). Beat (01, 02, 03, 04 if 4/4 time). < Complete the Song , Repeat steps N and M until the current track is complete, then press [A] to stop recording and select the next track for recording, as necessary. 7 ■ 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 Playback Control 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).
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.
P l a y b a c k C o n t r o l ● Repeat Playback Press the [W] 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 [A] key. ● Measure Number The measure number parameter on the display shows the current measure number during song playback (and recording).
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 Stop Jump Top Jump Jump Off Key Combination [SHIFT] + [A] [SHIFT] + [U] [SHIFT] + [E] or [R] , 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.
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 5segment “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.
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 velocity” settings which produce different degrees of random velocity variation. “R1 produces the smallest variation and “R4” produces the greatest variation.
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.
P l a y b a c k C o n t r o l Groove Quantization display , 8 Drum Table display 95
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.
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.
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 selected groove template. The range is from “000” to “200”. Higher values produce greater timing variation (“100” is the default setting).
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.
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.
,,,,,,, , T h e S o n g J o b s The Song Jobs 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 pressing [ENTER].
T h e 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 S o n g J o b s “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 ■ Returnin
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). Name of the last operation performed , The name of the last operation performed will appear on the display (i.e. the operation which will be “undone”).
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 specified beat. First measure. First beat. Last measure. Last beat. The “TR” parameter selects the track to be affected by the Quantize job: “01” … “16” for individual tracks, or “All” to quantize all 16 tracks simultaneously. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be quantized.
T h e S o n g J o b s Aligns to the nearest 16th note + 16th note triplet. Aligns to the nearest 8th note + 8th note triplet. 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.
T h e S o n g J o b s Quarter-note length Original timing Quantizing value = , Swing rate 50% (no delay) Quantizing value = , Swing rate 60% (delay applied) 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.
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 specified track and range of measures. First measure. First beat. Last measure. , Last beat. 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.
T h e S o n g J o b s 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 accordingly. The range is from “-99” through “0” to “+99”.
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. First measure. Last measure. , First beat. Last beat. 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.
T h e S o n g J o b s 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”.
T h e S o n g J o b s 04 : Crescendo Produces a gradual crescendo (increase in note velocity) or decrescendo (decrease in note velocity) in the specified track over the specified range of measures. First measure. First beat. Last measure. , Last beat. The “TR” parameter selects the track to be affected by the Crescendo job: “01” … “16”. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be modified.
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.
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 specified number of semitones. First measure. First beat. Last measure. , Last beat. The “TR” parameter selects the track to be affected by the Transpose job: “01” … “16” for the sequncer tracks, or “Cd” for the accompaniment chord track. The “M” parameters above the graphic bar are used to specify the first measure:beat and last measure:beat of the range to be modified.
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 measure. First beat. 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.
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.
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 measure. First beat. 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.
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 measure. First beat. Last measure. , Last beat. The “TR” parameter selects the track to be affected by the Chord Separate job: “01” … “16”.
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 therefore lost. Chord template parameter The upper “TR” parameter selects the source track — i.e.
T h e S o n g J o b s 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 measure. Number of times to be copied. Destination beat. , The “Transpose” parameter sets a transpose value for the copied data in semitone increments from “-24” through “+00” to “+24”.
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 measure. First beat. 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.
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 measure. Event type parameter First beat. Last measure. , Last beat. The upper “TR” parameter selects the source track — i.
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.
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 measure. Data type parameter First beat. 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.
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”. Curve = +16 Curve = 0 (linear) End point Curve = -16 Start point Clock parameter 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.
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 operations, thus making more efficient use of the available memory. First measure. Data type parameter First beat. Last measure. , Last beat.
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. First measure. First beat. Last measure. Last beat. The “TR” parameter selects the track to be affected by the Time Stretch job: “01” … “16” for the sequencer tracks, or “Al” for all sequencer 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.
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 measure. First beat. Last measure. , Last beat. The “M” parameter above the graphic bar specifies the measure at which the newly created measures will be inserted.
T h e S o n g J o b s 16 : Delete Measure Deletes the specified range of measures from all tracks simultaneously. First measure. Last measure. 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.
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”.
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.
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 accompaniment “Cd” track, the “Tm” track, or “Al” (All) tracks.
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.
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. 9 After setting the parameter as required press [ENTER] to execute the Normalize job.
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.
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.
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 advance to the next character position.
,,,,,,, , , 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 Creating Original Accompaniment Patterns 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.
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 Category Da Db Fa Fb PC Ba Bb Ga Gb GR KC KR PD BR SE Drum-a (Pop&Rock) Drum-b (Specific) Drum Fill-a (Pop&Rock) Drum Fill-b (Specific) Percussion Bass-a (Pop&Rock) Bass-b (Specific) Guitar Chord-a (Pop&Rock) Guitar Chord-b (Specific) Guitar Riff Keyboard Chord Keyboard Riff Pad Brass Sound Effects P a t t e r n s Beat 16 Beat 8 Beat 3/4 Beat Number Differs depending on the category ■ NOTE • For details on the phrase category, beat and number
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 Combining Phrases In the Pattern Mode The phrases are combined to create patterns which can be used in accompaniments in the PATTERN mode. Z Select the PATTERN Mode, a User Style, & a Section Press the [PATT] key to select the PATTERN mode then, with the cursor located at the style number, select a “user” style: “U00” through “U64”. Also move the cursor to the section name and select the section you want to create.
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 ■ NOTE • The default pattern length for the INTRO, MAIN A, MAIN B, and ENDING sections is 2 measures, while the default length for the FILL AB and FILLBA sections is 1 measure. C Select a Pattern Track Phrases can be assigned to any of 8 “tracks” in the PATTERN mode.
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 Phrase Name Number Beat Category P a t t e r n s 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. , Monitoring the Pattern If you press the [W] button while entering phrases you can hear how the pattern sounds as the various phrases are added. Press [A] to stop playback.
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 appropriate phrase number, catgory, or beat and pressing the function key next to “Cler” on the display.
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.
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 microkeyboard or an external MIDI keyboard in real time.
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.
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 [S] key to engage the phrase record ready mode.
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 Type Voice Track D1 (Drum 1) D2 (Drum 2) PC (Percussion) BA (Bass) C1 (Chord 1) C2 (Chord 2) C3 (Chord 3) C4 (Chord 4) Default Type Bypass Bypass Bypass Bass Chord 1 Chord 1 Chord 1 Chord 1 The Phrase Types Bypass Bass Chord 1 Chord 2 Parallel P a t t e r n s Default Voice Dr 001: Standard Kit Dr 001: Standard Kit Dr 001: Standard Kit Ba 033: Acoustic Bass Pf 001: Grand Piano Pf 001: Grand Piano Pf 001: Grand Piano Pf 001: Grand Piano
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).
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 [A] key to stop recording. The normal PATTERN play mode is automatically re-selected when you stop recording.
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 brushup and add data to an existing phrase.
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 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.
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 processing 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.
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.
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.
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.
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 Quantization display Drum Table display “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.
,,,,,,, , , T h e P a t t e r n J o b s The Pattern Jobs 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].
T h e P a t t e r n J o b s 00: Undo/Redo 14: Time Stretch “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 “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 ■ Returning to th
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). Name of the last operation performed , The name of the last operation performed will appear on the display (i.e.
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 specified beat. First measure. First beat. Last measure. Last beat. 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.
T h e P a t t e r n J o b s Aligns to the nearest 16th note + 16th note triplet. Aligns to the nearest 8th note + 8th note triplet. 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.
T h e P a t t e r n J o b s Quarter-note length Original timing Quantizing value = , Swing rate 50% (no delay) Quantizing value = , Swing rate 60% (delay applied) 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.
T h e P a t t e r n J o b s 02 : Modify Velocity Increases or decreases the velocity values of all notes in the specified track and range of measures. First measure. First beat. Last measure. Last beat. , The “TR” parameter selects the track to be affected by the Modify Velocity 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 modified.
T h e P a t t e r n J o b s 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 accordingly. The range is from “-99” through “0” to “+99”.
T h e P a t t e r n 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. First measure. Last measure. First beat. Last beat. , The “TR” parameter selects the track to be affected by the Modify Gate Time 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 modified.
T h e P a t t e r n J o b s 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”.
T h e P a t t e r n J o b s 04 : Crescendo Produces a gradual crescendo (increase in note velocity) or decrescendo (decrease in note velocity) in the specified track over the specified range of measures. First measure. First beat. Last measure. Last beat. , The “TR” parameter selects the track to be affected by the Crescendo job: D1, D2, PC, BA, C1, C2, C3, C4.
T h e P a t t e r n 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.
T h e P a t t e r n J o b s 05 : Transpose Transposes all notes in the specified part up or down by the specified number of semitones. First measure. First beat. Last measure. Last beat. , The “TR” parameter selects the track to be affected by the Transpose 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 modified. The “Note” parameters specify the range of notes to be affected.
T h e P a t t e r n 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 measure. First beat. Last measure. Last beat. The “TR” parameter selects the track to be affected by the Shift Clock 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 modified.
T h e P a t t e r n J o b s ■ NOTE • The Shift Clock job will not shift data beyond the specified measure range. Therefore, events near the beginning of the specified range may sound “bunched” together and events near the end of the specified range may be “cut off” 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 pattern.
T h e P a t t e r n 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 measure. First beat. Last measure. Last beat. The “TR” parameter selects the track to be affected by the Chord Sort job: D1, D2, PC, BA, C1, C2, C3, C4.
T h e P a t t e r n 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 measure. First beat. Last measure. , Last beat.
T h e P a t t e r n J o b s 09 : Copy Event Copies all data from a specified range of measures to the selected place in the same 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 therefore lost. The upper “TR” parameter selects the source track — i.e.
T h e P a t t e r n J o b s 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 measure. Number of times to be copied. Destination beat. The “Transpose” parameter sets a transpose value for the copied data in semitone increments from “-24” through “+00” to “+24”. After setting the parameters as required press [ENTER] to execute the Copy Event job.
T h e P a t t e r n 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 measure. First beat. Last measure. Last beat. The “TR” parameter selects the track to be affected by the Erase Event job: D1, D2, PC, BA, C1, C2, C3, C4.
T h e P a t t e r n 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 measure. Last measure. Event type parameter First beat. , Last beat.
T h e NOTE PC PB CC CAT PAT EXC P a t t e r n J o b s Note events. Program change events. Pitch bend events. 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”. Channel aftertouch events. Polyphonic aftertouch events. Exclusive events.
T h e P a t t e r n 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, aftertouch, etc. First measure. Last measure. Data type parameter First beat. Last beat. , The “TR” parameter selects the track to be affected by the Create Continuous job: D1, D2, PC, BA, C1, C2, C3, C4.
T h e P a t t e r n 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”. Curve = +16 Curve = 0 (linear) End point Curve = -16 Start point Clock parameter 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.
T h e P a t t e r n 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 operations, thus making more efficient use of the available memory. First measure. Last measure. Data type parameter First beat. Last beat.
T h e P a t t e r n J o b s 14 : Time Stretch Lenghtens or shortens the specified track by a specified percentage without affecting tempo or pitch. First measure. First beat. Last measure. Last beat. The “TR” parameter selects the track to be affected by the Time Stretch 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 modified.
T h e P a t t e r n J o b s 15 : Copy Phrase Copies the specified preset phrase to a specified PATTERN mode track as a user phrase. , The “Phrase” parameter selects the source phrase — i.e. the preset phrase to be copied (preset phrase numbers have three sections which can be specified: category, beat, and number — page 137). The “TR” parameter selects the destination track: D1, D2, PC, BA, C1, C2, C3, C4. After setting the parameters as required press [ENTER] to execute the Copy Phrase job.
T h e P a t t e r n J o b s 16 : Get Phrase Copies the data from the specified range of measures in the specified track of a specified song to the specified phrase. First measure. Last measure. The “Song” parameter selects the source song — i.e. the song from which the data is to be copied: “01” … “20”. The “TR” parameter selects the song source track — i.e. the track from which the data is to be copied: “01” … “16”.
T h e P a t t e r n J o b s 17: Put Phrase Copies the phrase data from a specified pattern track to the specified measures in the specified track of a specified song. , The “Pattern TR” parameter specified the source pattern track: D1, D2, PC, BA, C1, C2, C3, C4. The “Song” parameter selects the destination song — i.e. the song to which the phrase data is to be copied: “01” … “20”. The “TR” parameter selects the destination song track — i.e.
T h e P a t t e r n J o b s 18 : Copy Track Copies all data from the specified track in the specified section of the specified style to any other specified track in the specified section of the specified style. The upper “Style” parameter specifies the source style: “001” … “128”, “U01” … “U64”. The upper “Section” parameter specifies the source section: “Intro”, “MainA”, “MainB”, “FillAB”, “FillBA”, “Ending”. The upper “TR” parameter selects the source track — i.e.
T h e P a t t e r n J o b s 19 : 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: D1, D2, PC, BA, C1, C2, C3, C4. The lower “TR” parameter specifies the destination track to which the mixed data is to be copied: D1, D2, PC, BA, C1, C2, C3, C4.
T h e P a t t e r n J o b s 20 : Clear Track Completely clears the specifed track in the specified section. The “Section” parameter specifies the section to be cleared: “Intro”, “MainA”, “MainB”, “FillAB”, “FillBA”, “Ending”. The “TR” parameter selects the track to be cleared: D1, D2, PC, BA, C1, C2, C3, C4.
T h e P a t t e r n J o b s 21 : Copy Pattern Copies all data from the specified section of the specified style to any other specified section of the specified style. , The upper “Style” parameter specifies the source style: “001” … “128”, “U01” … “U64”. The upper “Section” parameter specifies the source section: “Intro”, “MainA”, “MainB”, “FillAB”, “FillBA”, “Ending” and “All”. The lower “Style” parameter specifies the destination style: “U01” … “U64”.
T h e P a t t e r n J o b s 22 : Clear Pattern Completely clears all data from the specified section of the specified style. The “Style” parameter specifies the style: “U01” … “U64” and “All”. The “Section” parameter specifies the section of the style to be cleared: “Intro”, “MainA”, “MainB”, “FillAB”, “FillBA”, “Ending” and “All”. After setting the parameter as required press [ENTER] to execute the Clear Pattern job.
T h e P a t t e r n J o b s 23 : Style Name Allows an original name of up to 8 characters to be assigned to the current style. , To enter a character, use the cursor keys to move the cursor to the character to be entered, then press the [ENTER] key. The character will appear at the character cursor location and the character cursor will advance to the next character position. The character cursor can be moved by pressing the function key to the right of “ ”.
,,,,,,, , , E d i t i n g S o n g s & P a t t e r n s Editing Songs & Patterns The QY70’s editing capability makes it easy to correct mistakes made when recording song or pattern phrase data, and to generally refine your sound. The song and pattern edit “change” mode lets you individually modify the timing, pitch, gate time (length) and velocity (loudness) of each note or other events in the song or pattern.
E d i t i n g S o n g s & P a t t e r n s The edit display will look something like this (of course, the note data will be different).
E d i t i n g S o n g s & P a t t e r n s The pattern edit display is almost exactly the same. The only differences are the name of the track being edited and the current measure display.
E d i t i n g S o n g s & P a t t e r n s Moving Around The location, pitch, gate time, and velocity values for each note are shown on a single line of the display. The notes are arranged in order from top to bottom. You can move around within the song or pattern by simply moving the cursor. Move below the bottom of the display and the note data will scroll down, moving towards the end of the song or pattern. The opposite occurs when you move up above the top of the display.
E d i t i n g S o n g s & P a t t e r n s Change Mode Editing The “Change” edit mode is initially selected when the edit mode is engaged. To edit any note or other event in the song or pattern, simply move the cursor to the appropriate line, and then to the required parameter within that line. The [-1] and [+1] keys can then be used to select a new value for the selected parameter. The edited line will flash when any parameter within it is changed.
E d i t i n g S o n g s & P a t t e r n s Velocity This parameter controls the velocity (loudness) of the note. The range is from 001 to 127. Deleting Events Notes and other events (sustain on/off, pitch bend, etc.) can be deleted by placing the cursor at the line corresponding to the event to be deleted, and then pressing the function key next to “del” on the display. Insert Mode Editing The edit insert mode is used to insert new notes and other events at a specified location in the song or pattern.
E d i t i n g S o n g s & P a t t e r n s C Select an Event Type to Insert, and Set the Event Parameters If the display corresponding to the type of event you want to insert does not appear immediately, use the [-1] and [+1] keys to select the desired event type. All events have at least two parameters — usually the location of the event (Measure-Beat-Clock) and the event value.
E d i t i n g S o n g s & P a t t e r n s Velocity Gate time Pitch Location PB (Pitch Bend) Pitch bend events can be used to produce pitch bend effects. The pitch bend values correspond to pitch bend wheel positions from “-8192” (lowest position) through “+0000” (center) to “+8191” (highest position). To produce smooth pitch bends you’ll need to insert several small pitch bend events at appropriate intervals. Remember to use more pitch bend events to return the pitch to normal after a bend.
E d i t i n g S o n g s & P a t t e r n s bank selection when selecting XG voices. Refer to the XG Normal/Drum voice list in the List Book for details. Program change number Voice name Location Bank Select LSB Bank Select MSB Note that the program number in the XG Normal/Drum voice list (refer to the List Book) and the MIDI program change number is different: i.e., the program number for “Grand Piano” is “1” while its MIDI program change number is”0”.
E d i t i n g S o n g s & P a t t e r n s CAT (Channel Aftertouch) Inserts a channel aftertouch message with the specified aftertouch value. Location Aftertouch value PAT (Polyphonic Aftertouch) Inserts a polyphonic aftertouch message for the specified note with the specified aftertouch value.
E d i t i n g S o n g s & P a t t e r n s RPN Inserts RPN data. RPN is an abbreviation for “Registered Parameter Number”, which is a MIDI message used to control part settings such as pitch bend sensitivity, tuning, etc. Refer to the “MIDI Data Format” section of the manual (refer to the List Book) for details. RPN LSB RPN MSB Data entry LSB Data entry MSB Location NRPN Inserts NRPN data.
E d i t i n g S o n g s & P a t t e r n s Exc (Exclusive) Inserts a System Exclusive message in hexadecimal format. Refer to the “MIDI Data Format” section of the manual (refer to the List Book) for details. Location Data (in hexadecimal, begins with “F0” and ends with “F7”) , ■ Hexadecimal Number Entry Use the [SHIFT] and the micro-keyboard to enter hexadecimal values. • Press a black key while holding the [SHIFT] key to enter the corresponding number.
E d i t i n g S o n g s & P a t t e r n s XG RPN Inserts RPN (Registered Parameter Number) data using an XG parameter name (“RPN”, above, needs to be entered using numbers). Refer to the “MIDI Data Format” section of the manual (refer to the List Book) for details. Data RPN parameter name Location XG NRPN Inserts NRPN (Non Registered Parameter Number) data using an XG parameter name (“NRPN”, above, needs to be entered using numbers).
E d i t i n g S o n g s & P a t t e r n s XG Exc System Inserts a System Exclusive (XG System) message using an XG parameter name (“Exc”, above, needs to be entered using hexadecimal values). Refer to the “MIDI Data Format” section of the manual (refer to the List Book) for details. Data XG System parameter name Location , XG Exc Effect Inserts a System Exclusive (XG Effect) message using an XG parameter name (“Exc”, above, needs to be entered using hexadecimal values).
E d i t i n g S o n g s & P a t t e r n s XG Exc Multi Inserts a System Exclusive (XG Multi part) message using an XG parameter name (“Exc”, above, needs to be entered using hexadecimal values). Refer to the “MIDI Data Format” section of the manual (refer to the List Book) for details. Data Location Part XG Multi part parameter name XG Exc Drum Inserts a System Exclusive (XG Drum setup) message using an XG parameter name (“Exc”, above, needs to be entered using hexadecimal values).
E d i t i n g S o n g s & P a t t e r n s V Enter the Specified Event Press the [ENTER] key to enter the event as specified. B Return to the Change Edit Mode Press the [EXIT] key to return to the change edit display, and continue editing as required. , Pitch bend event inserted. once inserted, you can edit the event’s location and value in the change edit mode.
E d i t i n g S o n g s & P a t t e r n s XG View The XG View function displays XG-related events (RPN, NRPN, System Exclusive, etc.) using the name defined by the XG format. To engage the XG View function press the [MENU] key while in the EDIT mode, then press the function button next to “XG View” on the display. When the box to the left of “XG View” is checked, XG-related events will be displayed using the corresponding XG format name.
E d i t i n g S o n g s & P a t t e r n s View Filter The View Filter lets you “filter out” specified types of events so that they don’t appear in the EDIT mode display. To access the View Filter press the [MENU] key while in the EDIT mode, then press the function button next to “View Filter” on the display. The “sunglasses” appear if any events are “unchecked”. , When the check box beside an event type is checked, that events will be displayed in the EDIT display.
E d i t i n g S o n g s & P a t t e r n s Phrase Table (Pattern Edit Only) Phrase Table lets you edit phrase settings for the pattern track currently being edited. To access the Phrase Table function press the [MENU] key while in the EDIT mode, then press the function button next to “Phrase Table” on the display.
E d i t i n g S o n g s & P a t t e r n s SOURCE CHORD Sets the source chord for the phrase (i.e. the chord on which the phrase is based). Note that you can not enter an “on-bass” chord for the source chord. LO LIMIT HI LIMIT Sets the note range over which the re-harmonized phrase will be played (C-2 through G8). If any re-harmonized phrase notes exceed the range set here, the notes will be automatically shifted up or down in octave steps so that they fall within the specified range.
,,,,,,, , , E f f e c t s & E f f e c t E d i t i n g Effects & Effect Editing The QY70 features a versatile internal effects system which consists of three independent effect stages: REVERB, CHORUS, and VARIATION. Of these the REVERB and CHORUS stages function as “system effects”, and the VARIATION stage can be used either as a system or “insertion” effect. See the signal-flow digrams on page 214 for the difference between “system” and “insertion” effects.
E f f e c t s & E f f e c t E d i t i n g (Variation effect: INSERTION) Reverb effect Chorus-to-Reverb send control Chorus effect Variation effect Variation effect INSERTION/ SYSTEM selector Pattern Mode Effect Connection Display , Variation-to-Chorus send control Variation-to-Reverb send control Variation effect 13 Note that in the PATTERN mode effect connection display only the variation stage has accessible controls.
E f f e c t s & E f f e c t E d i t i n g X Set the Effect Parameters As Required Move the cursor to the desired parameter and use the [-1] and [+1] keys to set the selected parameter as required. The REVERB, CHORUS, and VARIATION effect parameters let you select any of the available effect types for each stage. The VARIATION stage INSERTION/SYSTEM selector determines whether the VARIATION stage functions as an insertion effect or system effect.
E f f e c t s & E f f e c t E d i t i n g ● When the Variation Stage is an Insertion Effect Track 1 VARIATION Track 2 REVERB Track 3 TO REV LINE OUT/ PHONES CHORUS Track 16 In this case the variation effect is applied to one specific part (track) with “Dry/Wet” mixing capability available in “Vari. Edit” (See “Effect Editing” on page 216). The track to which the variation effect is to be applied can be selected via the EFFECT SEND display (page 66).
E f f e c t s & E f f e c t E d i t i n g Effect Editing The Reverb Edit, Chorus Edit, and Variation Edit displays can be accessed from the Effect Connection display by pressing the [MENU] key and then the function key next to “Reverb Edit”, “Chorus Edit”, or “Vari. Edit” on the display. Note that only “Vari. Edit” is available from the PATTERN mode Effect Connection display.
E f f e c t s Reverb Edit Display & E f f e c t Chorus Edit Display E d i t i n g Variation Edit Display ■ NOTE • These effect displays can be used to edit not all the parameters but the main parameters given for each effect type. (Refer to the “Effect Parameter List” in the List Book.) To edit the effect in detail, send the appropriate system exclusive message to the QY70’s tone generator section.
,,,,,,, , , U t i l i t y F u n c t i o n s Utility Functions The QY70 utility mode includes a number of functions that are important for general operation — e.g. MIDI data handling, interfacing with external equipment, saving song and pattern data to an external storage device, ABC system operation, etc. Accessing the Utility Mode The utility mode can be accessed from the SONG or PATTERN mode.
U t i l i t y F u n c t i o n s Once the utility mode has been selected, any of the four utility displays can be called by pressing the [MENU] key and then the appropriate function key, as shown below. , ■ NOTE • When the utility mode is first engaged from the SONG or PATTERN mode, the last utility display selected will initially appear.
U t i l i t y F u n c t i o n s System Parameters The “System” display includes 5 parameters that affect the basic operation of the QY70. Move the cursor to the parameter to be adjusted and set as required by using the [-1] and [+1] keys. CLICK MODE Settings: Off, Record, Rec/Play, Always␣ Determines when the QY70 metronome will sound. Normally the QY70 metronome sounds only during realtime recording — the “Record” setting.
U t i l i t y F u n c t i o n s REC COUNT Settings: OFF, 1 Meas … 8 Meas This parameter sets the number of count-in measure provided before realtime recording begins in the SONG and PATTERN modes. The default setting is “1”. MASTER TUNE Settings: -102.4 … +000.0 … +102.3␣ Tunes the overall pitch of the QY70 sound. The Master Tune range is from “-102.4” through “+000” to “+102.3”. Each increment corresponds to aproximately 1 cent (a cent is 1/100th of a semitone).
U t i l i t y F u n c t i o n s MIDI Parameters The parameters in the “MIDI” display all relate to MIDI control. MIDI SYNC Settings: Internal, External␣ When this parameter is set to “Internal” the QY70 is controlled by its own internal clock. When set to “External” the QY70 is controlled by a MIDI clock signal received from an external device such as a sequencer or music computer (i.e., playback of the QY70 is synchronized to that of an external sequencer or other device).
U t i l i t y F u n c t i o n s ECHO BACK Settings: Off, Thru, RecMontr Determines whether MIDI data received via the MIDI IN terminal is simultaneously re-transmited (“echoed back”) via the MIDI OUT connector. When this parameter is set to “Off” no echo back occurs. When set to “Thru” the received MIDI data is re-transmitted without modification.
U t i l i t y F u n c t i o n s PATT OUT CH Settings: Off, 1~8, 9~16 This parameter specifies the MIDI channels on which QY70 pattern playback data will be transmitted. When “Off” pattern playback data is not transmitted. When set to “1~8” pattern playback data is transmitted on MIDI channels 1 through 8, and when set to “9~16” pattern playback data is transmitted on MIDI channels 9 through 16.
U t i l i t y F u n c t i o n s Bulk Dump Although the QY70 has memory for 20 songs and 64 user styles, you might want to save your song and pattern data to an external MIDI data recorder, computer, or similar device to allow greater storage capacity or simply to protect your data from accidental erasure or corruption.
U t i l i t y F u n c t i o n s Move the cursor to the upper parameter and use the [-1] and [+1] keys to select “Song” if you want to save the data for one song or all songs, “Style” if you want to save the data for one style or all styles, or “All” if you want to save all songs, styles, and system setup data. If you select “Song”, move the cursor to the song number parameter and select a song number (01 … 20), or “All” to save all songs.
U t i l i t y F u n c t i o n s Fingered Zone The QY70’s advanced ABC system can be controlled from the QY70 micro-keyboard or an external keyboard. The Fingered Zone utility function sets the range of notes in which chords played will be recognized by the QY70 ABC system. Use the “FINGERED” parameter to turn the QY70’s Fingered Chord function for the ABC system “On” or “Off” as required.
U t i l i t y F u n c t i o n s accompaniment chord will change accordingly during song, pattern playback or chord-track recording. Chords played within the specified range of either the QY70 micro-keyboard or an external MIDI keyboard are recognized. A chart of the chords recognized by the QY70 is provided on the List Book. If you play a note lower than the specified “LOW” note while holding a chord, it will be recognized as a bass note for the on-bass chord.
,,,,,,, , A p p e n d i x Appendix Specifications Sequencer block Data capacity Note resolution Polyphony Tempo Modes Record modes Tracks Songs Patterns Phrases Chord types Chord templates Play effect Tone generator block Type Maximum Polyphony Multi-timbral capability Preset voices Effects approximately 32,000 notes 480 clocks per quarter note 64 notes 25-300 SONG mode (SONG, SONG VOICE, SONG EFFECT) PATTERN mode (PATTERN, PATTERN VOICE, PATTERN EFFECT) Realtime
A p p e n d i x Controllers & display Micro keyboard Octave keys Cursor keys Sequencer keys 25 keys (2 octaves) [OCT DOWN], [OCT UP] up, down, left, right [W], [A], [S], [U], [E], [R] [SONG], [PATT], [SHIFT], [EXIT], [MENU], [-1(NO)], [+1(YES)], [ENTER], Function keys Volume control Contrast control HOST SELECT switch Display 128 x 64 dots graphic LCD Connectors LINE OUT/PHONES MIDI TO HOST DC IN stereo mini jack x 1 IN x1, OUT x1 for PA-3B Power supply Optional PA-3B AC adapter Six 1.
A p p e n d i x Troubleshooting If you experience problems such as “no sound,” “incorrect sound,” or “sequencer does not operate,” please check the following points before deciding that the unit is malfunctioning. In many cases, checking these points will help you solve the problem. If this does not solve the problem, contact your nearest Yamaha dealer or the authorized distributor for your country.
A p p e n d i x 232 Problem Possible causes When a song is played back, it stops in the middle. Is Style Number 129 (End Pattern) set in the middle of the Pattern Track? p.54 Rhythm or note timing are played back differently than when recorded. Are Play Effect settings being used? p.94 The same amount of force is used to play notes on the keyboard but it results in notes of different loudness. Is the keyboard velocity set between R1 and R4 (Random)? Cannot use the Fingered Chord function.
A p p e n d i x Error Messages ● Monitor No Data When a job is executed, this will appear if the selected track or area contains no data, making the job invalid. Reselect the area. Illegal Input This will appear in response to inappropriate operation or input. Check your input method. Preset Phrase This will appear when you attempt to edit a Preset Phrase. To edit a preset phrase, copy the phrase to a User Phrase and edit the User Phrase.
A p p e n d i x ● MIDI MIDI Data Error This will appear when the received QY bulk data contains an error. Now Running This will appear when the QY70 is receiving bulk data. Other MIDI signals cannot be received at this time. MIDI Buffer Full This will appear when the MIDI reception buffer of the QY70 has filled up, and processing was not possible. Try decreasing the amount of data or increasing the interval time and transmit the data once again.
A p p e n d i x Glossary A C Aftertouch: MIDI messages which are transmitted when additional pressure is applied to the keyboard after notes are played. Chord root: An alphabetical letter which indicates the root of a chord. The QY70 lets you indicate 12 different chord roots. Attack time: The time over which the volume rises from 0 when a note is played, until the maximum volume is reached. Chord template: A collection of preset models for chord progressions.
A p p e n d i x Cutoff frequency: Filters work by allowing the portion of the signal lower than a given frequency to pass, and cutting the portion of the signal above that frequency. This frequency is referred to as the cutoff frequency. See the entry for Low Pass Filter. D Decay time: The time from when the maximum volume of a note is reached until it falls to the sustain level. Delay: An effect that delays an audio signal. The QY70’s Variation effect allows a delay to be applied.
A p p e n d i x Fingered chord: A function that automatically detects chords based on the combination of notes that are played on the keyboard, and converts the playback of patterns to the chords that are detected. G Gate Time: The length of time that a note actually sounds. Longer gate times produce slurred notes, shorter gate times produce staccato. GM: An acronym for General MIDI.
A p p e n d i x M Maximum Polyphony: The maximum number of notes that can be played at once. The QY70 can produce 32 simultaneous notes (counted in 1-element units). If MIDI messages are received requesting more notes than the maximum polyphony allows, currently sounding notes will be turned off, and the later-received notes will be played. Measure: A unit of musical duration consisting of several beats.
A p p e n d i x Patch: An assignment of phrases for each track to create patterns. Pattern: An auto accompaniment pattern consisting of drums, bass and chord backing. Pattern track (Pt): The track which records and plays back pattern data. PC-9801/9821 Series: A type of personal computer manufactured and sold by the NEC Corporation widely in Japan. Compatible computers are manufactured and sold by the EPSON Company. Phrase: The smallest unit from which the accompaniment pattern is created.
A p p e n d i x Replace: A method of real-time recording in which previously recorded data is erased (replaced) as new material is recorded. Sequencer tracks: Tracks which record and playback normal MIDI sequence data. The QY70 has 16 sequencer tracks. Resonance: A parameter that boosts the level of the signal in the area of the cutoff frequency. By emphasizing the overtones in this area, this can produce a distinctive “peaky” tone, making the sound brighter and harder.
A p p e n d i x Sync: See Synchronization RECORDING operations. See the entry for Redo. System (effect): An effect which can be applied to all parts (tracks) by adjusting the Send Levels and Return Level. System effects allow reverb or chorus to be conveniently applied to the overall music. The QY70 provides Reverb and Chorus as system effects. The Variation effect can also be used as a system effect. Utility: On the QY70, the display in which MIDI settings and system settings can be made.
A p p e n d i x Index A AC Adaptor .............................. 1, 11, 12, 230 Aftertouch ....................................... 201, 235 Alkaline Batteries ............................ 1, 9, 230 Attack Time ....................................... 71, 235 Auto Bass Chord (ABC) ........................... 235 B BA ...................................................... 140 Back Delete ............................................... 86 Backup Battery .................................... 2, 233 Bdl .......
A p p e n d i x Exclusive ......................................... 203, 241 Expand Backing ....................................... 132 Expression .............................................. 236 Extract Event ................................... 121, 177 F Filter Cutoff Frequency ............... 70, 74, 236 Filter Resonance ......................... 70, 74, 240 FINGERED .............................................. 227 Fingered Chord ...... 43, 93, 211, 227, 237, Fingered Zone .........................
A p p e n d i x P Pan .......................................... 64, 73, 238 Pat ........................................................ 64 PAT ...................................................... 201 Pattern ........................................ 7, 137, 239 Clear Pattern ................................. 190 Copy Pattern ................................. 189 Effect Mode .................................. 212 Job ................................................ 157 Mode ..............................
A p p e n d i x Effect Mode .................................. 212 Job ................................................ 101 Mode .............................................. 88 Name ............................................ 136 Number ........................................... 88 Playback .......................................... 89 Play Effect ....................................... 94 Recording .................................. 44, 75 Song Name ................................... 136 Voice Mode .
A p p e n d i x Buttons & Display Symbols [U] ........................................................ 28 ........................................................ 28 [E] [R] ........................................................ 28 [S] ........................................................ 28 [A] ........................................................ 28 [W] ........................................................ 28 [-1(NO)]/[+1(YES)] ...................................... 25 [ENTER] ................
FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions.
ADVARSEL! Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering. Udskiftning må kun ske med batteri af samme fabrikat og type. Levér det brugte batteri tilbage til leverandoren. VARNING Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera använt batteri enlight fabrikantens instruktion. VAROITUS Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin.
For details of products, please contact your nearest Yamaha or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311 U.S.A. Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A.
M.D.G., EMI Division C Yamaha Corporation 1997 VZ24250 708POCP3.