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YAMAHA
MUSIC SYNTHESIZER
SUPPLEMENTAL MARKING INFORMATION
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DO NOT REMOVE COVER (OR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
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YAMAHA
JOB TABLE
Voice mode
Voice common data
01. Element level
02. Element detune
03. Element note shift
#200
#201
#202
#203
#204
#205 04. Element note limit
05. Element velocity limit
06. Element dynamic pan
07. Output group select
08. Random pitch
09. Portamento
10. Effect set
01 Effect mode select
02 Modulation effect 1 set
Data
Parm
#212
#213
#214
03 Modulation effect 2 set
Data
Parm
#215
#216
04 Reverb effect 1 set
Data
Parm
#217
#218
05 Reverb effect 2 set
13. Voice name
15. Initialize voice
16. Recall voice
Data
Parm
#219
#220
11. Micro tuning set
01 Micro tuning edit
02 Micro tuning data
03 Micro tuning name
12. Controller set
#221
#222
#223
#224
PB #225
Mod #226
Pan #227
Othr #228
#229
—
—
#206
#207
#208
#209
#210
#211
AFM element data
01. AFM algorithm
Multi data
01 Voice select
02. Voice volume
03. Voice tuning
04. Voice note shift
# 2 3 0 AWM element data
Form
Extn
#231
#232
02. AFM oscillator
03. AFM operator EG
04. AFM operator output
05. AFM sensitivity
06. AFM LFO
07. AFM pitch EG
Inpt #233
Graphic #234
Each
#235
#236
~237
All
#238
~240
Each #241
All #242
#243
Main
Sub
Sw
244
#245
08. AFM filter
01
02
Cutoff frequency
Cutoff scaling
EG
Flt1
Flt2
#246
#247
#248
#249
#250
03 Cutoff EG
Flt1
#251
#252
~253
15. Initialize AFM element
16. Recall voice
Flt2
#254
~255
—
—
#400
#401
1 ~ 8 #402
9~16 #403
1 ~ 8
9~16
#404
#405
1 ~ 8 #406
9~16 #407
#256
01. AWM waveform set
02. AWM EG
03. AWM output
04. AWM sensitivity
05. AWM LFO
06. AWM pitch EG
#257
#258
#259
#260
Data
#261
#262
Song edit job
01. Quantize
02. Modify gate time
03. Modify velocity
04. Crescendo
05. Transpose
EG #263 06. Thin out
07. AWM filter
01 Cutoff frequency
02 Cutoff scaling Flt1
05. Voice name
#264
#265
#266
07. Erase event
08. Note shift
09. Move clock
Flt2 #267
#273
10. Copy measure
03 Cutoff EG
Flt1
#268
~269
11. Erase measure
12. Delete measure
15. Initialize AWM element
16. Recall voice
Drum set data
#270
13. Create measure
Flt2
~271
14. Mix track
—
15. Erase track
—
16. Clear song
#272 Song setup
01. Receive event
01. Voice volume
02. Wave data set
03. Effect set
(see Voice Common Data)
#274
#211
02. Output channel
03. MIDI control
04. Accent level
04. Controller set
#212
~220
#275
05. Clock/beat
Song name
#229
— 07. Initialize voice
08. Recall voice —
05. Voice static pan 1 ~ 8 #408
9 ~ 1 6 #409
06. Voice output group select
1 ~ 8 #410
9 ~ 1 6 #411
07. Effect set #412
01 Effect mode select
02 Modulation effect 1 set
Data
Parm
#413
#414
#415
03 Modulation effect 2 set
04 Reverb effect 1 set
05 Reverb effect 2 set
08. Multi name
15. Initialize multi
16. Recall multi
#601 Pattern edit job
#601 01. Copy pattern
#602 02. Get pattern
#603
#604
#605
#606
03. Put pattern
04. Put chain pattern
Pattern setup
01. Receive event
#607
#608
02. Output channel
03. MIDI control
04. Accent level #609
#610
#611
#612
05. Clock/beat
Clear pattern (One)
Clear pattern (All)
#613
#614
#615
System utility
01. Master tuning
#616
# 6 1 7
#618
02. Velocity set
03. Controllers
#619
#620
#621
04. Edit confirm
05. Greeting message
MIDI utility
01. Channel set
#622
#623
02. Program change
03. Bulk dump
Card utility
01. Save to card
02. Load from card
Data #416
Parm #417
Data #418
Parm #419
Data #420
Parm #421
#422
—
03. Format card
Disk utility
01. Save to disk
02. Load from disk
03. Format disk
04. Backup disk
05. Rename file
06. Delete file
—
07. Disk status
#800
#801
#802
#803
#804
#805
#806
# 8 0 7
# 8 0 8
# 8 0 9
# 8 1 2
#813
#814
#815
# 8 1 6
—
#817
#818
#819
—
—
—
#700
# 7 0 1
# 7 0 2
# 7 0 3
# 7 0 4
#705
#706
#707
#708
#709
#710
#711
#712
YAMAHA
GLOBAL VIEW
Element Level
Element Detune
Note Shift
Velocity Limit
Element Pan
Output Select
Random
Portamento
Effect Select
Micro Tune
Controller
Voice Name
Init
Recall
YAMAHA
AWM Element Edit Reference
AWM element edit jobs
1. AWM Waveform Set
2. AWM Amplitude EG
3. AWM Output
4. AWM Sensitivity
5. AWM LFO
6. AWM Pitch EG
7. AWM Filter set
#257
#258
#259
#260
#261
#262...263
#264
Cutoff frequency #265
Cutoff scaling #266...267
Cutoff EG #268...271
Waveform list
Multi-sampled
1 Piano
2 Trumpet
3 Mute Tp
4 Horn
5 Fluqel
6 Trombone
7 Brass
8 Flute
9 Clarinet
10 Tenor Sax
11 Alto Sax
12 Gtr Steel
13 EG Sngl
14 EG Humbk
15 EG Harmo
16 EG mute
17 E.Bass
18 Thumping
19 Popping
20 Fretless
21 Wood Bass
22 Shamisen
23 Koto
24 Violin
24 Pizz
25 Strings
26 Anlg Bass
28 Anlg Brs
29 Chorus
30 ltopia
31 Vib
32 Marimba
33 Tubular
34 Cele W
V
35 Harpsi W V
36 E.P. W V
37 Pipe W V
38 Organ W V
39 Tuba W V
40 Picco W V
41 S. Sax W
V
42 Basson W V
43 Reco W V
44 Mute Tp W V
45 Gut W
V
46 12Str W
V
47 Bass W Y
48 Cello W V
49 Contra W
V
50 Xylo WV
Waves Transients
51 Gloch W
V
52 Harp W V
53 Sitar W V
66 Piano Np
67 E.P. Np
68 Vibe Np
69 Dmp Piano 54 Stl Drm W V
55 Mt Reed W V 70 Bottle 1
56 Oh Attack 71 Bottle 2
72 Bottle 3
Oscillator
73 Tube
57 Anlg Saw1
58 Anlg Saw2
59 Digital1
60 Digital2
61 Digital3
74 Vocal Ga
75 Vocal Ba
76 Sax trans
77 Bow trans
62 Pulse10
63 Pulse25
64 Pulse50
65 Tri
Other
78 B u l b
79 Tear
80 Bamboo
81 Cup Echo
82 Digi Atk
83 Temp Ra
84 Giri
85 Water
86 Steam
87 Narrow
88 Airy
89 Styroll
90 Noise
91 Bell mix
92 Haaa
Drumset
93 BD1
94 BD2
95 BD3
96 BD4
97 SD1
98 SD2
99 SD3
100 SD roll
101 Rim
102 Tom 1
103 Tom 2
104 HH closed
105 HH open
106 Crash
107 Ride
108 Claps
109 Cowbell
110 Tambrn
111 Shaker
112 Analg Perc
YAMAHA AFM Element Edit Reference
AFM element edit jobs
1. Algorithm
(Form)
(Extr)
#231
#232
(Inpt)
2. Oscillator
3. AFM EG
4. AFM operator output
#233
#235
#236...239
#241...242
#243 5. AFM sensitivity
6. AFM LFO
(Main) #244
(Sub)
Cutoff scaling
Cutoff EG
#245
7.
AFM pitch EG #246...247
8. AFM filter #248
Cutoff frequency #249
#250...251
#253...255
* Keyboard * SEQUENCER
The sequencer is always in either Song or Pattern mode.
Song mode (16 tracks)
TONE GENERATOR
The tone generator is always in either Multi or Voice mode.
Multi mode (16 voices)
Voice mode (1,2 or 4 elements) Voice mode (1,2 or 4 elements)
INTRODUCTORY SECTION
INTRODUCING THE SY77
HOW TO USE THE SEQUENCER
HOW TO EDIT A VOICE
VOICE PLAY MODE
VOICE EDIT MODE
MULTI PLAY MODE
MULTI EDIT MODE
SONG MODE
PATTERN MODE
UTILITY MODE
REFERENCE SECTION
APPENDIX
n n n n n n n n n n n
Thank you for purchasing the Yamaha SY77 digital synthesizer. The SY77 is the first of a new generation of
Yamaha synthesizers featuring the new Realtime Convolution and Modulation (RCM) hybrid tone generation system, which uses Advanced FM (AFM) tone generation and Advanced Wave Memory (AWM) tone generation in conjunction with realtime digital filtering.
The SY77 can function as up to 16 independent synthesizers with dynamically allocated voices, and includes an on-board 16-track 99-pattern sequencer.
To take full advantage of the SY77 and enjoy long and trouble-free use, please read this manual carefully.
How to use this manual
This manual is divided into three sections; an introductory section, a reference section, and an appendix.
Introductory section: This section contains the information you need to start using your SY77 right away.
l Introducing the SY77: Please be sure to read this section. It will tell you how to play the sounds, about the main features of the SY77, and about basic operation.
l How to use the sequencer: This explains how to use the built-in sequencer to record your own song of up to 16 parts, with the SY77 functioning as up to sixteen independent instruments.
l How to edit a Voice: Read this when you want to modify a voice or create a completely new voice.
Reference section: This section contains a full explanation of all the SY77’s functions. Once you have worked through the introductory section and are comfortable with basic operation, glance through this section to get an idea of the SY77’s capabilities. Refer to the details when necessary.
Appendix: This section contains technical information that may be of interest to advanced users or programmers.
Conventions in this manual
In order to present information as clearly as possible, the following conventions are used in this manual.
l The names of front panel buttons and controls are set in small capital type; e.g., press the EDIT button.
l Italics are used mainly when referring to a section in this manual; e.g., for details refer to AFM element job 5. AFM sensitivity. l Most of the LCDs in the SY77 have a unique Page Jump number to which you can jump by pressing JUMP and entering the number. These numbers will be prefixed by a “#” sign; e.g, JUMP #312.
l Function names will be capitalized when they first occur or when necessary for emphasis, but will be uncapitalized in subsequent occurrences; e.g., adjust the LFO Speed ... after adjusting the LFO speed, ...
l The beginning of each two-page subsection in the introductory section contains a short abstract or summary of the entire subsection, printed in bold type.
l Three periods between two numbers are used to indicate that a parameter can be set to any value in this range; e.g., Velocity Sensitivity (-7...+7).
Since some parameters can be set to negative values, this avoids the possibility of confusing a dash with a minus sign.
CONTENTS
INTRODUCTORY SECTION
How to load and play the disk demo songs
About the SY77: RCM hybrid synthesis
About the SY77: AFM and AWM voices
About the SY77: filter, pan, and effects
About the SY77: multi-timbral sequencing
How to move around: job directories
How to move around: the jump function
How to use the numeric key pad
How the sequencer controls the tone generator
Place the patterns in the pattern track
How voice edit mode is organized
Simple editing: reverb (Effect)
Simple editing: using a controller
How to name and store your new voice
i
REFERENCE SECTION
10.2 (Fl) Modulation effect 1 set (Data) 102
10.2 (F2) Modulation effect 1 set
10.4 (Fl) Reverb effect 1 set (Data)
(Fl) Controllers set (Pitch bend)
(F2) Controllers set (Modulation)
(F2) AFM algorithm (External input) 120
(F3) AFM algorithm (Input level) 120
(F2) AFM operator output (All)
(F2) AFM pitch EG (EG settings)
6. (F2) AWM pitch EG (EG settings)
How song play mode and song edit mode are organized
ii
How pattern play mode and pattern edit mode are organized 203
Explanation of the preset voices 238
Using RCM hybrid synthesis 242
Suggestions for using AWM + AFM
APPENDIX
iii
iv
1
2
INTRODUCING THE SY77
This section will tell you how to play the sounds, introduce you to the main features of the
SY77, and explain basic operation.
Contents of this section Page
How to load and play the disk demo songs 6
About the SY77: RCM hybrid synthesis 10
About the SY77: AFM and AWM voices 12
About the SY77: filter, pan, and effects 14
About the SY77: multi-timbral sequencing 16
How to move around: job directories 24
How to move around: the jump function 26
How to use the numeric key pad 30
3
How to setup and play
The first thing you will probably want to do is play the voices (sounds) of your new SY77. Here’s how to select and play the SY77’s voices.
Connections
Turn the power on
Make sure that your amp/speaker system and the SY77 are switched off.
Connect the rear panel output OUTPUT 1/1+2 jacks ( L/MONO and R ) to the inputs of your amp/speaker system. Or, if you are using a set of stereo headphones, plug them into the rear panel PHONES jack.
Turn down the SY77’s two VOLUME sliders marked
OUTPUT
1 and 2, located at the far left. Then turn the power on by pressing the POWER switch located on the rear panel to your right. After displaying a greeting message for about two seconds, a display similar to the following should appear. If the SY77 was in
Voice Play mode when the power was last turned off, the upper left of the LCD will read “VOICE”.
How to select and play voices
If the upper line of the display does not show VOICE then press the VOICE button located at the upper left of the front panel.
Make sure that the volume of your amp/speaker system is turned down, and turn its power on. Set the volume of your amp/speaker system to an appropriate level, and gradually raise the SY77’s OUTPUT 1 and 2 sliders slider while playing the keyboard. If you don’t hear anything, re-check the connections, and make sure that your amp/speaker system is functioning correctly.
What you hear when you play the keyboard is defined as a Voice. The SY77 has
128 voices that are preset in permanent memory, and 64 memories for you to store your own newly created voices. An optional RAM or ROM card can be inserted into the
VOICE
card slot to provide 64 more voices.
The preset voices are organized into two locations; PRESET 1 and PRESET
2. Each of these has four banks (A-D) with 16 voices in each. The LCD shows the ten-character voice name, and also tells you which memory the voice is from
The number in parentheses indicates what number the voice would be if we started counting from the beginning of the bank.
This indicates that you are in Voice Play mode.
Memory
PRESET
1.
Bank A.
Voice number “1” of bank A.
4
If we count from the beginning of the bank, this is Voice number 1.
The voice name is “GrandPiano”.
You will learn about the other parts of the display later. For now, here’s how to select voices.
1. Select the voice memory; INTERNAL, CARD (only if a card is inserted into the
DATA slot), PRESET 1 , or PRESET 2 . The selected LED will light.
2. Select a bank A, B, C, or D. The selected LED will light.
3. Select a voice 1-16. The selected LED will light, and the LCD display will show the newly selected voice name.
Notice that the voice does not actually change until you specify the number 1-16.
If you want to play a different voice in the same bank, simply specify a different number 1-16. There’s no need to re-select the voice memory and the bank each time.
Go ahead and try out each of the preset voices. When you are ready to learn more about the SY77, continue reading.
PRESET 1 (64 voices) PRESET 2 (64 voices)
# Bank A Bank B Bank C Bank D # Bank A Bank B Bank C Bank D
1 GrandPiano Dyna Grand Mute Trmpt Tutti Orch 1 SaxSection Violin Shamisen Brass Orch
2 Arianne MW2Grand FlugelHorn Trad E.Pno 2 Folk 2 Gtr Pizzicato Koto Millenium!
3 Dyno E.Pno 8ba Piano Big Band Full E.Pno
4 Alto Sax Rock Pno Brass1 Sct Bop Organ
5 BrasChoral Chorus Pno 1980 Brass Warm Organ
6 Folk 1 Gtr BigChordEP Star Brass Deep Organ
7 Triton Ice Piano Anna Brass Pan Flute
8 FrenchHorn Dark E.Pno BrashBrass MW2Feedbck
9 MW2TackPno Wet Clavi Soft Brass Distort5th
10 Wood Bass TightClavi DigiSwpBrs Thumb Bass
11 ChamberStr Celesta Brass2 Sct Sync Bass
12 Jazz Organ Harpsichrd Soft Sax FullString
13 Nasty Saw Full Organ Tenor Sax WideString
14 Metamonics Pipe Organ Flute ConvoStrgs
3 Humbucker Contrabass Sitar Catharsis
4 Singlecoil Air Cello Steel Drum MethylMist
5 12stGuitar SilkString Harp Voyager
6 Guit Guitar Obie Strgs Accordion Inferno
7 Mute E.Gtr SizIeStrgs Harmonica Valkyrie
8 JazzGuitar Ah Choir Harpomatic Syren Song
9 Pick Bass Spirits Ravi Clavi Anna Sweep
10 Fretless B Chor Meist Forest SyncanSyn
11 FingerBass Vibes Satin Bell AnnaPad
12 Syn Bass Marimba Mr.Lucky Gosh!
13 Plastic Bs Pluck Echo Mini Lead! Debonair
14 Mini Bass Bah Mallet Keytar HiddenRing
15 ltopia Solo Trmpt Clarinet Oh Choir 15 Boppa Bass Oz Hammer SoloFlight Drum 1
16 Wild Sing DualTrmpt Reed Piper Orchestra 16 BreathBass Ice Chime Wayfarer Drum 2
5
How to load and play the disk demo songs
The disk included with the SY77 contains demo songs which take advantage of its capabilities. Here’s how to load and play the songs.
Load the demo song data
1.
from disk
Press UTILITY, and then press F4 (Disk) to get the following display. (If you have been editing voice or multi data, the top line of the LCD will blink
“AUTO-STORE”. For details on Auto-Store, refer to page 63.)
2. Insert the demo disk into the disk drive, with the metal shutter going in first and the label facing up. Push it gently in until it clicks into position.
3. Press once to move the cursor to 02:Load From Disk, and press ENTER to get the following display.
4. With the cursor located at 01:All Data, press ENTER
to get a display like the following. (The filenames will be different.)
5. Move the cursor to select the song you wish to hear, and press F8
(Go). The display will ask “Are you sure”. Press YES if you are sure you want to load the song data from disk. Loading song data from disk will erase any song data which was previously in the SY77 sequencer memory.
6. While the data is being read from disk, the bottom line of the LCD will show
“Now executing”, and “Completed!” when the data has been completely read.
6
Enter song play mode and
7. Press SONG to make the SONG LED light red. A display like the following will
playback the song
appear. (The song name and other details will depend on the song you have selected.)
8. Press
PLAY
and the playback will begin. When the song ends you automatically return to measure 1.
9. To stop playback during the song press
STOP
. To resume playback from where you stopped, press
START
. Or, use and to move to another measure before pressing START . To return to the beginning of the song press
How to load another song
To load another song from disk, repeat the procedure from step 1. Or, press
JUMP, 8, 1, 7
and then
ENTER
to jump directly to step 3.
How to load other demo disks
The demo disk included with the SY77 contains both synthesizer and sequencer data, and must be loaded by selecting 01:All Data in step 4. If you have other demo disks, refer to the package to see what type of data the disk contains, and select the appropriate type in step 4.
7
How to record a song
The SY77 can function as 16 independent synthesizers, and also contains a built-in 16 track sequencer.
This allows you to create sixteen-part compositions without using any other equipment. This section will explain the simplest way to record a multi-part song.
Clear the sequencer memory
Select a Multi
1. Turn the SY77 power off, and all data in the sequencer memory will be cleared.
In multi mode the SY77 can function as 16 independent synthesizers. The multi settings determine which voices are used.
2. Press MULTI to enter multi mode. The MULTI LCD will light red and a display similar to the following will appear.
8
Number Multi Name
01
02
03
04
05
06
POP
ROCK 1
JAZZ 1
07
08
09
JAZZ 2
BAROQUE
ROCK 2
ORCHESTRA
FOLK
JAZZ 3
10
11
CHURCH
FUNK
12
13
FLEXIBLE ONE
OLD SYNTHESIZERS
14 PIANO & STRINGS
ENVIRONMENT 15
16 MOTIF
P1: Preset 1 P2: Preset 2
3.
Press PRESET 1, then press a memory select button 1-16 to select one of the following 16 preset Multis.
01
09
02
10
P2-A09 P1-A12
P2-A09 P1-A12
03
11
P1-B15
P1-A08
Voice Number
04
12
P1-A04
05
13
06
14
P1-A10
P1-A10
P2-B01
P1-A01 P1-A04 P1-C04
P1-A09 P1-C13 P2-C13
P2-B03 P1-B12 P1-C14
P2-A12
P1-A11
P1-C05
P2-B03
P1-A06 P1-A10
P1-A10 P2-B11
P2-C11
P1-C07 P1-C15 P1-C16 P1-B15
P2-B01
P2-A03
P2-C07
P1-C15
P1-B14 P2-B08 P1-A15
P1-D10 P2-C14 P2-A07
P2-A09
P2-A13
P1-A01
P2-D04
P1-A01
P1-C03
P1-D12
P2-D06
P1-A03
P2-C12 P1-D14
P2-B15
P1-B07
P1-C03
P2-B05
P1-C09
07
15
P1-A08
08
16
P2-D15
P2-D16
P2-D15
P2-D15
P2-D16
P2-D15
P2-D15
P2-D16
P2-D16
P2-D16
P2-D15
P2-D16
The selected multi will be displayed in large characters.
Prepare for recording
4. Press
SONG.
The
SONG
LED will light red and the following display will appear.
5. Press RECORD to get the following display.
Record the first track
6. Press a track select button to select the track you wish to record. With the default settings, the tracks of the sequencer will transmit on the channel of the corresponding number, and will be played by the corresponding channel of the multi you have selected. For example if you have selected Multi
1. POP and wish to record the Pick Bass part, press 1. If you select a channel for which the multi does not use a voice, there will be no sound.
7. Press
PLAY
. After a two-measure countdown, recording will begin. Play along with the metronome to record the part. When you are finished, press
STOP . Press to return to measure 1.
Record additional tracks
8. As desired, repeat steps 6 and 7 to select and record additional tracks.
Note:
A more complete explanation of using the SY77 sequencer is given in the following section How to use the sequencer, which explains how to set up your own Multi, create rhythm patterns, arrange the rhythm patterns in track 16
(the pattern track), record additional tracks, edit the song, and save the finished song to disk. Refer to page 33.
9
About the SY77: RCM
hybrid
synthesis
The SY77’s RCM hybrid tone generation system fuses the realism of digital samples with the expressive power of FM. It uses Advanced Wave Memory 2 (AWM2) and Advanced Frequency Modulation (AFM) in conjunction with digital filters to allow a wide variety of sound creation techniques.
Advanced Wave Memory
2 (AWM2)
Advanced Frequency
Modulation (AFM)
Dynamic touch and control
AWM2 uses 16 bit linear sample reproduction with proprietary Yamaha convolution technology (digital filtering) that allows you to emphasize or cut any desired portion of the frequency spectrum with full realtime control.
In addition to advancing beyond the FM synthesis capabilities of the DX7 and previous Yamaha synthesizers, AFM allows you to filter and envelope any
AWM waveform and use the shaped waveform it as part of an FM algorithm to apply frequency modulation, creating partials that were not present in the original AWM waveform. This modulated waveform can be processed by additional digital filtering.
One of the greatest advantages of RCM hybrid tone generation is that it fuses the realism of digital sampling with the expressive power of FM. Keyboard dynamics and controllers can be used to control nearly any aspect of the sound, allowing great musical expressiveness.
The possibilities of RCM hybrid synthesis
The SY77 allows a wide variety of synthesis techniques to be used, and digital filtering is always provided for each AFM or AWM element. The following diagrams show how the RCM hybrid synthesis system can simulate many of the analog and digital synthesizers of the past.
System diagram
Filter style “analog” synthesis: Single cycle AWM waveforms can be enveloped and filtered to simulate analog synthesizers. (Various sawtooth and pulse waves are provided, and the SY77’s filters can be configured as
24dB/octave filters with resonance adjustable into oscillation.)
10
Traditional FM: The AFM tone generator can be used alone to produce any sound that the DX series was capable of, and much more.
AWM sample playback: The AWM tone generator can be used along to playback high quality digital samples from internal AWM memory or an optional waveform card.
AWM sample playback mixed with FM: The sounds of the AWM and AFM tone generators can be layered.
FM modulated by AWM: AWM digital samples can be used to modulate one or more operators in an FM algorithm, for very complex FM sounds.
AWM sample playback + FM modulated by AWM: In a variation of the original sound of the AWM sample can be mixed with the complex AFM sound.
For techniques which use both AWM and AFM ( tional possibilities.
l
) there are two addi-
Both AFM and AWM can be used to create sustaining sounds.
l The AFM and AWM tone generators can be used “LA” style, with short transient AWM waveforms used to create an attack and the AFM tone generator used to create the sustain component of the sound (or vice versa).
Since each voice can use one two or four AFM or AWM elements, these synthesis strategies can be combined in complex ways.
11
About the SY77: AFM and AWM voices
The SY77 produces sound using two proprietary Yamaha technologies; Advanced Frequency Modulation
(AFM) synthesis and Advanced Wave Memory (AWM). A special Drum Voice assigns a different AWM percussion sound to each note of the keyboard.
AFM — Advanced
Frequency Modulation
Frequency Modulation (FM) is a patented Yamaha technology for producing complex and musical controllable sounds, and was first made famous by the DX7 synthesizer. The SY77’s Advanced FM (AFM) takes FM synthesis to new levels of realism, expression, and programmability.
Each of the six FM operators in the SY77 can use one of 16 different waveforms, and be connected to each other in 45 basic algorithms (patterns). In addition, each operator has two inputs which can be modulated by feedback from any other operator, from a noise generator, or from an AWM sample. Compared to previous FM instruments, many parameters have a wider range of control, and the SY77 envelope generators have six segments. with looping.
AFM can produce sounds that change dramatically in response to your playing, allowing a wide range of expressiveness.
AWM — Advanced Wave
Advanced Wave Memory (AWM) is a patented Yamaha technology for storing
Memory
and reproducing digital sound. The SY77 contains 2 Mwords (4 Mbytes) of
AWM samples in Read Only Memory (ROM), including piano, strings, choir, and percussive sounds among many others. Optional cards can be inserted into the front panel WAVEFORM slot to make additional sounds available. The sounds are sampled in 16-bit linear format with a maximum sampling frequency of 48 kHz.
AWM sounds are high-quality digital recordings of actual instruments.
A voice consists of one two or four Elements
Each sound that you have been playing from the SY77’s keyboard is defined as a Voice, and consists of one two or four Elements. (The drum voice explained below is a special case.) Each of these elements is actually the equivalent of an independent synthesizer; either AFM or AWM.
An element can be set to produce sound for only a specific range of the keyboard, or for a specific range of velocities. This allows you to create a voice which produces different sounds for different ranges of the keyboard, or for loudly or softly played notes.
Key
Velocity
127
Element 1: Element 2: Element 3:
G-8
Element 4:
Key
Pitch
12
Play up to 16 AFM notes and 16 AWM notes at once
A Drum voice consists of
61 percussive sounds
The one two or four elements in a voice can produce many types of keyboard split and layer effects.
On earlier Yamaha synthesizers such as the DX7-II, layers and splits were created by combining two or more Voices into a “Performance”. This meant that sometimes you played Voices and other times you played Performances.
However on the SY77, layers and splits can be included in a voice, so you can simply select a voice and play without considering whether it contains layers or splits.
The SY77 contains two tone generators; an AFM tone generator and an AWM tone generator. The AFM tone generator can produce up to 16 simultaneous notes of FM sound, and the AWM tone generator can produce up to 16 simultaneous notes of digitally sampled sound.
Some voices consist of only one element, some of two elements, and others of four elements. (The Voice mode setting inside each voice determines how many elements are used.) The important thing to remember is that up to a total of 16 notes of AFM sound and 16 notes of AWM sound can be sounding at any time. If a voice plays two or more elements for a single key, the sound will be more complex and richer, but you will be able to play fewer simultaneous notes.
In addition to the “normal” voices explained above which consist of one two or four elements, the SY77 provides a special type of voice; the Drum voice.
A drum voice has no elements, but consists of a different AWM sample for each of the 61 keys of the SY77 keyboard.
A drum voice can be played from the keyboard just like a normal voice.
Usually you will use a sequencer to play a drum voice, providing drums and percussion accompaniment. Either the SY77’s internal sequencer or an external
MIDI sequencer can be used to play a drum voice.
There is no distinction between normal voice memory and drum voice memory; either type of voice can be stored in any of the voice memories.
13
About the SY77: filter, pan, and effects
Each of the one two or four elements in a voice has two independent digital filters, and is sent through its own pan table. The SY77 also has four built-in digital effect processing (DSP) effect units, and effect settings are stored as part of each voice.
Two realtime digital filters for each element
Dynamic pan table for each element
Each AFM or AWM element in a voice includes two 12 dB/octave realtime digital filters, each filter independently controlled by its own envelope generator
(EG). One filter is fixed as a Low Pass Filter (LPF) and the other filter can be used either as a LPF or a High Pass Filter (HPF). This allows you to use the two in conjunction to create a 12 dB/octave Band Pass Filter (BPF) or a 24 dB/octave LPF. Veterans of analog synthesizers will be happy to hear that the filter resonance (or “Q”) can be adjusted all the way into filter oscillation.
Since a voice can consist of one two or four elements, a single voice can use
2, 4 or 8 independent filters.
Each element in a voice is sent through a pan table (64 preset and 32 user pan tables are provided) that determines how the sound will move between the left and right outputs. Each pan table has its own EG, and also allows you to select a pan source (velocity, key note number, or LFO). Another controller can be used to further bias the panning movement.
Four DSP effects
The stereo output from the voice is sent through the voice output group selector
(both, group 1, group 2, or off) to the DSP effects section. The SY77 contains two modulation-type effect units and two reverb-type effect units.
Each modulation-type effect unit can produce four different effects; chorus, flanger, symphonic, or tremolo. Each reverb-type effect unit can produce 40 different effects, including several types of reverb, delay, tone control, distortion, and various combinations of these. All effect parameters are fully adjustable.
The sound from the two output groups can be sent through these four effect units in three different routes.
14
AFM x AWM x Filtering =
The SY77 can utilize most of the programming techniques of previous synthe-
the SY77
sizers; FM, sample playback, and realtime filtering. This means that the SY77 can produce the sounds of the classic 24 dB/octave analog synthesizers of the past, the FM sounds of the DX series, the sampled sounds of many of today’s instruments ... and also sounds that have never been heard before.
15
About the SY77: multi-timbral sequencing
In Multi mode, the SY77 acts as 16 synthesizers, each able to be controlled independently and produce its own sound. The SY77’s built-in 16-track sequencer records and plays back musical data. Each track 1-15 contains an independent musical performance; notes, pitch bends, controller movements, and program changes. You can create 99 patterns and place them in track 16 (the pattern track). Using the sequencer together with multi mode lets you use the SY77 to create sixteen-part compositions.
In Multi mode the SY77 is 16 independent synthesizers
In Voice mode, the SY77 plays a single voice in response to the notes you play and the controllers (wheels, foot pedals, etc.) you move. However in Multi mode, the SY77 acts as 16 completely independent synthesizers, each sounding a different voice and responding independently to notes and controller movements.
Use a sequencer to play a
To create multi-part compositions, you will play and record one part at a time
multi
using a sequencer.
A sequencer is a device that records music, but instead of recording the
sound of a musical performance, a sequencer records the musical data; the precise timing of the keys you press, program changes, movements of the sustain pedal, foot controllers, and wheels, etc. When this data is played back, the result is exactly the same as if you were playing the keys and moving the controllers. You can record Tracks (musical parts played by one instrument) one at a time, and then playback all the tracks together.
The SY77 sequencer has 16 tracks, and each track plays the corresponding voice of a Multi. (A multi can also be played by an external sequencer connected to the MIDI IN terminal, and the sequencer can also transmit data from MIDI
OUT to control external synthesizers.) For example, you might select a piano voice for voice 1 and record the piano part on track 1, select a strings voice for voice 2 and record the strings part on track 2, and so on for all sixteen tracks and voices.
SEQUENCER MULTI
Measure 1 2 3 Each timbre in the multi can play a different voice
Track 1 Piano
Track 2
Track 3
. . .
Track 16
Strings
Brass
Percussion
Three ways to record —
The SY77 sequencer lets you record in three ways.
realtime, punch-in, and
Realtime: In realtime recording, notes and controller movements are
step
recorded with the exact timing that you play them.
Punch-in: Punch-in recording is like realtime recording, except that the data is recorded only for the measures you specify. This is useful for fixing minor mistakes in an otherwise well-recorded track.
Step: Step recording allows you to enter notes and other data one step at a time. This allows you to record complex musical phrases that would be impossible for a human to play, and also can be used to edit individual notes that have already been recorded.
16
Sequence editing jobs
A wide variety of “sequence editing jobs” are provided to allow you to modify the musical data that has been recorded.
l Tracks can be moved forward or backward in time, mixed, or deleted.
l Measures can be copied, erased, deleted, or created.
l For specified measures you can quantize the data (adjust each note to a specified timing precision), transpose it to a different pitch, adjusted the velocity (playing strength), or modify the gate time (note length).
99 Patterns can be used in
Track 16 is a dedicated Pattern track. In pattern mode, you can create up to 99
a song
patterns; short phrases one to thirty-two measures long. Patterns are especially suitable for rhythm parts; since the same basic drum pattern may be repeated many times during a song, you can record a single pattern and place it in the pattern track wherever you want it to play back. When song playback reaches that point, the pattern will play back along with track 1-15.
Track 16 contains pattern numbers
Playback result
Ptn
01
(Ptn. 01 =
Ptn
02
Ptn. 02 =
Ptn
01
Pattern recording — realtime or step
Patterns can be created either by realtime recording or step recording.
Realtime recording: Since patterns are sometimes used for drum and percussion parts, realtime pattern recording has features that make it easy for you to build up complex drum parts. There is no need to play all the rhythm instruments at once. When you record a pattern in realtime, the pattern will continue repeating, and you can add each instrument one by one as the pattern repeats.
Step recording: When step recording a pattern, the LCD will graphically indicate exactly where you are in the pattern. You can move back and forth, entering notes on any beat to build up a pattern of any complexity.
17
Front panel: left side
In order to understand the rest of this manual and take full advantage of the SY77, you will need to know the names and uses of the controls and other features of the front panel. This page explains the left side of the front panel, including the LCD.
Keyboard:
The 61-note keyboard of the SY77 is sensitive to key-on velocity and to channel aftertouch.
Pitch and modulation wheels:
The
PITCH
wheel bends the pitch up or down, and is spring-loaded to return to center position. The
MODULATION 1 wheel affects the sound as specified by the voice parameters; usually controlling the amount of vibrato or tremolo. The
MODULATION 2
wheel also affects the sound as specified by the voice parameters, but is centerdetented to help you return it to exactly center position.
Disk drive:
The 3.5" 2DD floppy disk drive can economically store large amounts of the various types of data used by the SY77. The disk drive indicator LED will light when the disk is being read or written.
Never attempt to remove the disk while this
LED is lit. Doing so could damage the disk.
Insert the disk with the label facing up, from the end with the metal shutter. To remove the disk, press the button at the lower right of the drive.
DATA card slot:
An optional RAM card (MCD64) can be inserted into the DATA slot to store data for the SY77’s tone generator.
Waveform card slot:
An optional waveform ROM card can be inserted into the
WAVEFORM
slot to provide additional
AWM sounds.
Volume sliders:
These sliders regulate the output volume from the two pairs of stereo output on the rear panel.
Liquid Crystal Display (LCD):
The 240 x 64 pixel LCD is backlit for readability even in dark locations. Adjust the
CONTRAST control on the rear panel to suit your viewing angle.
18
Mode select keys:
The functions of the SY77 are divided into five modes. Press one of these buttons to select the mode, and the LED above the button will light red to indicate the selected mode.
The SY77’s Synthesizer is always in one of two modes; Voice mode or Multi mode. One of the LEDs above these two keys will always be lit (green, if neither Voice nor Multi mode is selected) to indicate which mode the synthesizer is in.
The SY77’s Sequencer is always in one of two modes; Song mode or Pattern mode. One of the LEDs above these two keys will always be lit (green, if neither Song nor Pattern mode is selected) to indicate which mode the sequencer is in.
The Utility mode LED is either red (when
Utility mode is selected) or off (when a different mode is selected).
Edit/Compare:
Press this button to edit the data of the currently selected; Voice, Multi, Sequencer Song, or
Sequencer Pattern. In voice edit or multi edit mode, pressing this button allows you to compare the original data with the edited data.
Copy:
While editing, this button is used to copy various types of data.
Effect Bypass:
At any time, pressing this button will allow you to hear the sound without the DSP effects. The red LED will light to indicate that the effects are bypassed. To defeat effect bypass, press the button again.
Sequencer control:
The SY77 sequencer can be used at any time, even while editing. The data played or recorded will depend on whether the sequencer is in Song or Pattern mode.
LOCATE
RECORD
STOP
RUN
: Move to the beginning of the song
: Move back one measure (press and hold to rewind)
: Move to a previously specified location
: Move forward one measure (press and hold to fast forward)
: Start recording (during recording,
LED lights red)
: Stop playback or recording
: Begin playback (blinks green on each beat of the click, and blinks red to indicate the first beat of the measure)
Shift:
While the
SHIFT
button is held down, the function keys F1-F8 will act as F9-F16. Also, pressing the JUMP key while SHIFT is held down will mark the current location.
Function keys:
In some jobs, the bottom line of the LCD will display a function for F1-F8 (F9-F16 while the
Shift key is held down). These keys are used in various ways, such as selecting menu items shown in the function key display, moving the cursor in the display, or executing a function shown in the function key display.
Exit:
This key moves back to where you last were before entering the level you are now in; i.e., it moves back to the previous branch of the function tree.
19
Front panel: right side
This page explains the front panel features to the right of the LCD.
20
Page
These keys move to the next or previous function within the same level; i.e., they move from branch to branch of the tree of functions.
Jump/Mark:
The LCD of each function in the SY77 has a
“system page number”, which is displayed at the upper right of each LCD. If you know the number of the page to which you want to jump; press JUMP , use the numeric key pad to enter the page number, press ENTER , and you will be taken to the specified page.
If you press MARK while holding SHIFT , the current page will be marked. Later when you are in another page and wish to return to the marked page, press JUMP and then ENTER , and you will be taken to the previously marked page. (The page you jumped from will now be marked.)
Data entry slider, Data entry wheel, -1/+1:
The data entry slider, data entry wheel, and
-1/+1 keys are all used to modify the data value indicated by the cursor.
When you move the DATA ENTRY slider, the data is directly set to the value indicated by the slider position; i.e., use the data entry slider to
“absolutely” specify the data.
The data entry wheel can be rotated freely in either direction, and will change the current data value continuously. In job or voice directories it will also move the cursor around the screen.
The -1/+1 buttons will decrease/increase the current data value in steps of one. (These buttons also act as “yes/no” or “on/off” for various functions.)
The data entry wheel and -1/+1 buttons can also be used to select programs (voice or multi).
The slider, wheel, and -1/+1 will not necessarily act in the same way for all functions.
Exceptions will be noted when each function is explained.
Cursor keys:
Use these keys to move the cursor in the LCD to select items or data. (Simply moving the cursor will not modify the data.)
Numeric key pad:
Use these keys to enter data as an absolute number.
l l to select a voice or multi after pressing JUMP to specify the page to which you want to jump l l to directly enter a value for the data indicated by the cursor to directly select an item from a directory
When step recording sequencer data, the numeric key pad is used to enter the note values printed above each key. When specifying a voice name etc., the numeric key pad enters the characters printed below each key.
In general to enter a value, use keys 0-9 to specify the value, press +/- to change the sign if necessary, and press ENTER . In some cases,
ENTER is not necessary.
Memory source select:
When selecting a memory, press one of these buttons to select the source;
INTERNAL
(internal user memory), CARD (card memory), and PRESET
1 or 2 (internal ROM preset data). The LED above each button will light to indicate the selected memory.
When in Voice Edit mode, these buttons are also used to directly select elements 1-4.
Bank select:
When selecting a Voice program, press one of these buttons to select the bank; A-D. The LED above each button will light to indicate the selected bank.
When in Voice Edit mode, these buttons are also used to turn elements 1-4 on/off.
Program select:
These keys are normally used to select programs
(voice or multi). The selected button will light red. In addition, they have the following special uses.
Voice edit mode: While you are editing an
AFM element, buttons 1-6 select operators 1-6, and buttons 9-14 turn operators 1,6 on/off.
Sequencer mode: Buttons 1-16 will mute/unmute tracks 1-16. The LEDs will light green to indicate tracks which contain data.
Muted tracks which contain data will blink green during playback. Tracks selected for recording or editing will light red.
21
Rear panel
In order to connect the SY77 to other devices (an amp/speaker system, MIDI equipment, footswitches, etc.), you will need to know the names and uses of the various items on the rear panel.
MIDI IN, OUT, THRU:
Contrast:
Breath:
Click volume:
Foot volume:
Foot controller:
Any MIDI device (sequencer, keyboard, WX7/11 wind controller, G10 guitar controller, etc.) can be connected to MIDI IN to play the sounds of the SY77.
Data produced by the SY77 keyboard and the SY77 internal sequencer is transmitted from MIDI OUT. By connecting a tone generator module or synthesizer to this terminal, you can play it from the SY77 keyboard.
The data received at MIDI IN is re-transmitted unchanged from MIDI
THRU. Another MIDI device connected to this terminal will receive the same
MIDI data that the SY77 receives.
This knob adjusts the contrast of the LCD. Adjust it to suit your viewing angle.
(At extreme settings the display will not be readable.)
By connecting an optional BC1 or BC2 breath controller to this jack, you can expressively control various aspects of a sound by blowing into the breath controller. For example, a voice might be programmed so that the tone or volume changes in response to breath controller signals. (The effect will depend on the breath control sensitivity parameter settings of each voice.)
This knob adjusts the volume of the click (metronome) produced by the sequencer.
An optional foot controller (FC7, FC9, etc.) can be connected here to regulate the overall volume of the SY77.
An optional foot controller (FC7, FC9, etc.) can be connected here to perform the function (foot controller, portamento time, etc.) determined by the Assignable
Foot Switch setting of Utility mode.
22
Sustain:
Foot switch:
Phones:
Output 1/1+2 (L/MONO, R):
Output 2 (L, R):
Power switch:
Power cable:
An optional foot switch (FC4, FC5) can be connected here to act as a sustain pedal.
An optional foot switch (FC4, FC5, etc.) can be connected here to perform the function (hold on/off, portamento on/off, etc.) determined by the Assignable Foot
Switch setting of Utility mode.
A pair of stereo headphones can be connected here to hear the combined stereo sounds of outputs 1 and 2.
If the OUTPUT 2 L/R jacks are not plugged in, these jacks will output the combined stereo signal from group 1 and group 2 of the DSP effects unit. If the
OUTPUT 2 L/R jacks are plugged in, these jacks will output the sound from the group 1 stereo output of the DSP effects unit.
If only the L/MONO jack is used, it will carry the combined output of L and R.
(Use the
L/MONO
jack if your mixer/amp system has only one input.)
These jacks output the sound from the group 2 stereo output of the DSP effects unit. If your mixer/amp system has four or more inputs, using both the
OUTPUT 1 and the OUTPUT 2 jacks will allow you to treat the two output groups in different ways, perhaps by panning them to different locations, or processing them through different external effect devices.
The power is on when this switch is pressed. The front panel display will light when the power is turned on.
Plug the power cable into an AC outlet of the correct voltage.
23
How to move around: job directories
The functions of the SY77 are organized into five main Modes and four editing modes. Some modes have a
Job Directory that shows the various Jobs (functions) in the mode. Move to the desired function by selecting a job from the job directory.
Five main modes (1)
Play modes and Edit modes (2)
Select a job from the job directory (3)
The SY77 operates in five main modes. Press one of the five mode select buttons to enter the corresponding mode. (A red LED will light to indicate the selected mode.)
Press
VOICE
MULTI
SONG
PATTERN
UTILITY to enter
Voice mode
Multi mode
Song mode
Pattern mode
Utility mode where you can
Select and play a Voice.
Select and play a Multi.
Playback the song in sequencer memory.
Select and playback a pattern from sequencer memory.
Make overall settings for the SY77, manage disk and card data, etc.
While in voice, multi, song, or pattern mode, press EDIT to move to the corresponding edit mode. For example Voice Edit mode is where you modify the settings that make up a voice, and Song Edit mode is where you modify the data that makes up a song. (There is no “utility edit” mode.)
Press
VOICE
MULTI
SONG
PATTERN to enter
Voice mode
Multi mode
Song mode
Pattern mode then press
EDIT
EDIT
EDIT
EDIT to enter
Voice Edit mode
Multi Edit mode
Song Edit mode
Pattern Edit mode
To leave an edit mode, simply re-select any of the five main modes (or press
EXIT from the top level of the edit mode to return to the main mode from which you came).
Whenever a mode or function is sub-divided into more than one job, there will be a “job directory” that lists the various items or operations. For example, when you enter Multi Edit mode, the following display will appear.
This lists the various parameters that can be adjusted in Multi Edit mode;
1.Voice, 2.Volume, 3.Tuning, etc.
To select an item from a job directory, use the arrow keys to move the cursor to the desired item and press
ENTER
. For example, if from the above display you press once to move the cursor to “2.Volume” and press
ENTER
, the following display will appear.
24
To return to the job directory, press EXIT.
Function keys (4)
Sometimes a job will be divided into two or more screens. For example,
“2.Volume” is divided into two jobs; one to set the volume for voices 1-8 and the other to set the volume for voices 9-16. Notice that the bottom line shows
“1-8” (above function key F1) and “9-16” (above function key F2). The “1-8” is displayed in inverse video to indicate that the volumes of voices 1-8 can be edited. To edit the volumes of voices 9-16, press function key F2.
Whenever function key assignments are displayed in the bottom line of the
LCD, the current selection is indicated in reverse video. Press a function key to move to the desired job.
Move between jobs using
Suppose that you wanted to move from the “2.Volume” job to the “3.Tuning”
(page) (5)
job. You could press
EXIT
to return to the job directory, and then press 3 and
ENTER to move to “3.Tuning”, but there is a faster way.
To move between jobs of the same level (i.e., inside the same job directory), use the PAGE keys. For example if you are now in the “2.Volume” job, pressing PAGE would take you to the “1.Voice” job, and pressing P A G E would take you to the “3.Tuning” job. When moving to a nearby job, this is usually faster than returning to the job directory.
Select a main mode
Enter edit mode
Use the cursor or numeric keypad to select a page, and press ENTER.
Use PAGE to move between pages of the same level.
Use the function keys to move within multi-screen pages.
25
How to move around: the jump function
If you already know the exact function you need to use, it is possible to Jump directly to a specific page number instead of working your way through the job directories. The jump function also allows you to repeatedly jump back and forth between two jobs.
Jump to a specified page
If you need to move to a distant job, it may sometimes be necessary to press
EXIT
several times, and then move down through two or more job directories. In such cases, it is much faster to jump directly to a specific page.
You may have noticed that most page displays have a unique three-digit number in the upper right corner. This is the Display Page number. For example,
“Multi edit 2. Multi Volume” is page #402. If you frequently need to adjust the settings of this page, remember this page number. Then, no matter where you are, you can press JUMP, 4, 0, 2, and
ENTER
to jump instantly to that page.
1. Press JUMP.
2. Enter the three digit page number.
3. Press ENTER and you will jump to the specified page.
Jump between two marked pages
While you are becoming familiar with the SY77 it will probably be easier for you to select the desired page while viewing a page directory. However as you gain more experience, you may find it convenient to use the
JUMP
key to go directly to frequently-used pages.
It often happens that you will need to repeatedly make adjustments in two different pages, which may be widely separated. The jump/mark function allows you to jump back and forth between two pages.
Suppose you are in song edit job directory, and need to adjust the volume levels of the voices in the multi.
26
1. Hold down the SHIFT key and press JUMP.
The current page will be marked, and the page number will displayed in inverse with a triangle mark to indicate this.
2. Then move to the other page, either by jumping to the page number, or by moving through the job directories.
3. To return to the previously marked page press
JUMP
and then
ENTER
without entering a page number.
4. To jump back to the page you first marked, press
JUMP
and then
ENTER again. In this way, pressing
JUMP
and then
ENTER
will jump back and forth between the two pages. Each time you jump, the mark is shifted to the page you jumped from. If you return to that page by moving through the modes and job directories in the usual way, you will find that it is marked by the inverted page number and triangle.
Note:
The two pages used in this example are located in two different modes.
Whenever you leave multi edit (or voice edit) mode after modifying the data, either by pressing EXIT or by using the Jump function, you will pass through the Auto-Store screen, and must press F6 (Ret) to return to editing mode, F7
(Quit) to quit without storing the changes, or F8 (Go) to store the data.
If the data has not been modified, this Auto-Store screen will not appear.
27
How to enter data
To select a voice, adjust a parameter, or give a name to a newly created setting, you will need to enter various types of data into the SY77. The -1/+1 keys, data entry slider, and data entry dial provide various ways to enter data. Use the data entry method that is most appropriate for each situation. (The following page explains how to use the numeric key pad.)
Select the data to enter
First, use the arrow keys want to modify.
to move the inverse cursor to the data you
-1/+1 (no/yes)
Move the cursor
LCD
Next you will modify the value using one of the following; -1/+1 keys, data entry wheel, data entry slider, or the numeric key pad. The method you use will depend on how you want to modify the data.
If you want to decrease or increase the existing data value one step at a time, use the -1/+1 keys. Each time you press the -1 or +1 key, the data will decrease or increase one step. This method allows you to move in precise steps, but can take a long time when you need to make a major change in the value.
Some parameters consist of a “off/on” setting, and sometimes you will be asked to reply “no/yes” to a question (such as “do you really want to do this?“). In such cases, press -1 to turn something off or to answer “no”, and press +1 to turn something on or to answer “yes”.
Decrease/increase the data one step at a time
28
Data entry wheel
If you want to decrease or increase the existing data value by a significant amount, use the data entry wheel. As you rotate the wheel to the right
(clockwise) the data will increase, and as you rotate the wheel to the left
(counter-clockwise) the data will decrease. The wheel rotates freely; it modifies the data by its movement, not by its position. Like the -1/+1 keys, the data entry wheel modifies the existing value, but is more suitable for making larger continuous changes. In job or voice directories, the wheel can be used to select jobs and voices.
Data entry slider If you want to set a data value to some setting relative to the entire range of that value (for example “maximum”, “minimum”, or “about 90% of maximum”), use the data entry slider. When you move the slider, the data value is immediately changed to correspond to the position of the slider. The range of the slider will match the range of the parameter value. For example if the parameter being modified has a value range of 0-127, pulling the slider fully towards you will set a value of 0, and pushing the slider fully away from you will set a value of 127. Setting the slider exactly in the middle of its range would set a value of
64.
Since the range of the slider always matches the range of the parameter you are adjusting, there is no need to remember the range of the parameter; just move the slider to the position that corresponds to the relative setting you want.
DATA ENTRY
(range of each parameter)
0-99 0-7 -50 – +50
9 9 7
50 3
0 0
+50
+0
–50
29
How to use the numeric key pad
The numeric key pad can be used to enter an absolute data value, and also to enter characters for a memory name or disk file name.
How to enter absolute numerical data
If you want to set a data value to some specific number (for example “57” or
“121”), use the numeric key pad. Press one or more keys 0-9 to specify the number, press the – key to change the sign if necessary (when entering a negative number), and press
ENTER
. For example if you wanted to enter the number
“–18”, you would press 1, 8, –,
ENTER
. If the data value has a three-place range
(such as 0-127), there is no need to add a zero in front.
How to enter character data
In most displays, the first digit you enter from the numeric key pad will be displayed blinking with an asterisk after it. When. you enter the second digit the number will be finalized.
You will sometimes need to enter character data to specify a voice name, multi name, file name, etc. When the currently selected parameter requires that you enter character data, the numeric key pad will act in a different way than usual.
To try this out, jump to the Voice Name page by pressing the following keys in order;
JUMP, 2 ,2, 9, ENTER
. The following display will appear.
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This display is essentially the same as for any other job that requires you to enter character data. Press F1 (Clr) to clear the currently set name, and press F2
(Uppr) or F3 (Lowr) to select uppercase or lowercase letters.
Notice that below the 0 key are printed the characters “A”, “B”, and “C”.
Press the 0 key, and the numeral “0” will appear. Press it again for the character “A”, again for “B”, and again for “C”. Press it once more and “0” will reappear. In this way, each time you press a key, the character indicated by the cursor will alternate through the alphabetical characters printed below it and the numeral printed on the key itself. (If you press another of the numeric keys, the cycle will begin from the first character.) Notice that the third press of 8 is an apostrophe, that 9 gives you an asterisk, ampersand, and an underline character, and that - enters a hyphen, slash, comma, and period.
Other characters are available in addition to the characters entered using the numeric key pad. These characters can be selected using the DATA ENTRY slider or the –1 +1 keys. Moving the DATA ENTRY slider will scroll through all available characters in the following order.
(Space) ! ” # $ % & ’ ( ) * + , - . / 0~9 : ;
< = > ? @ A~Z [ \ ] ^ _ ` a~z { | } ~ (Space.)
Use the keys to move the cursor, and enter characters for the desired name.
Pressing the ENTER (space) key will enter a blank and move the cursor to the right.
Other uses of the numeric
In step recording mode, the numeric keys specify the note value printed above
key pad
each key. For example key 1 will enter a whole note and key 6 will enter a 32nd note. Details will be explained in the section on step recording.
In jobs where you are required to set parameters and execute, you will execute the specified job by pressing the
ENTER
button. Details will be explained when necessary.
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32
HOW TO USE THE SEQUENCER
This section is a step by step explanation of how to create a song using the SY77’s built-in sequencer. By using the sequencer in conjunction with Multi mode, you can create songs of up to 16 independent parts.
Contents of this section
How the sequencer controls the tone generator
Place the patterns in the pattern track
page
33
How the sequencer controls the tone generator
Although the SY77’s tone generator and sequencer are contained in the same unit, these two are independent. When the tone generator is in Multi mode, each channel of the multi can be played by a different track of musical data from the sequencer.
The tone generator and sequencer are independent
The SY77 can be divided into two sections; the tone generator that produce sound, and the sequencer that records and plays back data such as notes and controller movements to control sound. The sequencer is completely independent of the tone generator, and has its own set of control buttons. This allows you to start or stop, record or playback at any time even while editing a voice or multi.
It is especially helpful to edit a voice while it is being played by a sequencer pattern, or to make adjustments to the volume balances or pan settings of a multi while listening to the song playback.
The sequencer will record data from the SY77’s keyboard and also from
MIDI IN, and will playback data to the SY77’s tone generator and also transmit it from MIDI OUT. The tone generator will produce sound in response to data from the sequencer and also from MIDI IN.
How the sequencer controls the tone generator
Depending on whether the SONG or the PATTERN button was last pressed, the sequencer will record and playback data either in Song mode or in Pattern mode.
Depending on whether the VOICE or the MULTI button was last pressed, the tone generator will produce sound either in Voice mode or in Multi mode. This means that the sequencer and tone generator can work together in four possible ways as shown in the following table.
Sequencer Mode
Transmits
SONG SONG
16 channels 16 channels
PATTERN
1 channel
PATTERN
1 channel
Tone generator Mode
Receives
VOICE
1 channel
MULTI
16 channels
VOICE
1 channel
MULTI
16 channels
As you can see from the above table, the greatest musical complexity is possible when the sequencer is used in Song mode to play the tone generator in
Multi mode. However other combinations of sequencer and tone generator will be useful when creating sequences, patterns, or voices, For example it is often helpful to keep a sequencer Pattern playing while you edit a Drum Voice.
34
Fifteen tracks + pattern track + patterns = one song
About this tutorial
Each track 1-15 contains an independent musical performance; notes, pitch bends, controller movement, and program changes. Track 16 is a dedicated
Pattern track. It contains pattern numbers and repeat marks. When playback comes to a pattern number, the specified pattern will be played.
In the following pages of this section, we will be explaining the entire process of creating a song; creating patterns and arranging them in the pattern track, recording other tracks, and editing. Finally we will save the completed song to disk. Our procedure will be as follows.
1. Create a Multi by selecting a voice for each of the 16 channels, and making settings for volume, pan, etc. for each channel.
2. Enter Pattern mode and create several rhythm patterns.
3. Enter Song mode and place these patterns in track 16 (the pattern track).
4. Record one or more tracks in realtime.
5. Punch-in on a section of the track to fix a mistake.
6 . Use song edit mode to correct and insert individual data events.
7 . Use a song edit job to transpose specified measures.
8 . Save the completed sequence to disk.
Note:
The output channel of the sequencer tracks can be changed if desired, allowing you to use two or more tracks to control a single channel of the multi.
However to keep this tutorial simple, we will select normal voices (piano, bass, strings, etc.) for channels 1-15 of the multi and a drum voice for channel
16 of the multi. Tracks 1-15 of the sequencer will contain the music for the normal voices, and track 16 will contain the patterns to play the drum voice.
35
Set up a multi
When the SY77’s tone generator is used in Multi mode, it will function as 16 independent synthesizers. This allows each track of the sequencer to play a different sound.
Start with the initial multi
Since in this tutorial we will be creating a song with more than one track, we will use the SY77’s tone generator in multi mode so that it will function as 16 independent synthesizers.
Press
MULTI
, then press
EDIT
. While holding
SHIFT
press F7 (15) to select the Initialize job.
Select the voice for each channel of the multi
Press +1/YES . The display will show “Completed!”. Press EXIT to return to the
Multi Edit job directory.
Press
F1
(01) to get the following display (or JUMP #401).
Specify the voice that will be played by each channel 1-16 of the multi by moving the cursor and using the MEMORY, BANK , and the memory select buttons 1-16.
It is not possible for an Internal multi to use Card voices, nor is it possible for a
Card multi to use Internal voices.
In this example we will be assuming that you have selected the following voices for channels 1-3 and 16. Select voices as desired for the other channels of the multi.
Multi ch. no. Voice no. Voice name
2
3
...
P1-A10 Wood Bass
P1-A11 ChamberStr
16 P2-D15 Drum 1
Press EXIT to return to the Multi Edit job directory.
36
Make effect settings for the multi
Press F7 (07) to select 07:Effect from the Multi Edit job directory and then press
F1 to select 01:Effect Mode Select (or JUMP to page #413). With the initial settings the effect mode will be off. Press
+1/YES
to select effect mode 1.
Press
PAGE three times to get the Reverb Effect 1 set display. With the initial settings the Reverb Effect 1 will be 00:Through. Press +1/YES to select
01:Rev.Hall.
Press
EXIT
twice to return to the Multi Edit job directory.
Other settings in multi edit
To keep this example simple, we will leave the rest of the multi settings at their
mode
initial values. After completing this tutorial, you can read about Multi edit in the
Reference section to learn more about a multi.
Save the newly created multi
From the Multi Edit job directory press
EXIT
. Since you have modified the data, the top line of the display will blink “Auto-store multi”.
Press F8 (Go) and the multi will be stored into the currently selected multi memory. Or, if you want to keep the previous data of that multi, use the memory select buttons 1-16 to specify a different memory before you press
F8
(Go).
The bottom line of the display will ask “Are you sure?‘. Press
+1/YES
and the newly edited multi will be stored, and you will return to multi play mode.
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Create rhythm patterns
Pattern mode allows you to create short phrases of 1-32 measures. These patterns can later be placed in track 16 (the pattern track) of song mode for use as rhythm parts or for phrases which appear frequently.
Make settings for pattern
Press
PATTERN
, then press
RECORD
to make the
RECORD
LED light. Make the
recording
following settings.
PATTERN01 (we will record pattern 01)
Time = 4/4 (the pattern will be in 4/4 time)
Length = 01 (the pattern will be one measure long)
Quantize = 1/16 (notes will be corrected to the nearest 1/16th
Receive Ch = kbd (notes will be recorded from the SY77 keyboard)
Click = rec
Click Beat = 1/4
Sync
(the click will sound only while recording)
(the click will sound on each quarter note)
= internal (the SY77 will keep time to its own internal clock)
Press F1 (Real) to select realtime recording. The LCD should now be as follows.
Record the pattern
Record another pattern
When you enter pattern recording mode, the keyboard will transmit the channel selected for track 16 (the pattern track) of the sequencer. With the default settings this will be channel 16, which will play the Drum 1 voice we selected for channel 16 of the multi.
Before you begin recording, play the keyboard to locate the rhythm sounds you will be using. Our first pattern will be a simple rhythm backing of bass drum, snare, and hi-hat.
Press RUN and pattern recording will begin. Keep time to the click and play the bass drum part (the C1 key) for one measure. The pattern will continue to repeat from beginning to end, and you can hear the bass drum pattern just recorded. Next play the snare notes (C#2), and finally play the hi-hat notes (A2 and B2). Of course it is possible to record more than one note at a time, and as you become more skilled you may wish to do so. You can delete any given note from the pattern by pressing
SHIFT
while holding down the key of the unwanted note, and allowing the pattern to run through the section you wish to erase.
Press
STOP
and pattern recording will end. Notice that the upper right of the
LCD now shows PATTERN01w. The “w” indicates that data has been written into the pattern.
For the second pattern we will record a fill-in with toms (E1, F1, F#1, G1) and crash cymbal (C3). Press RECORD to make the RECORD LED light, and move the cursor to the upper right and select PATTERN02. Notice that there is no “w” after the pattern number, since no data has been written into this pattern.
Press
RUN
and pattern recording will begin. Now you can record an appropriate fill-in pattern.
Press STOP and pattern recording will end.
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39
Place the patterns in the pattern track
Editing functions in song mode allow you to place previously created patterns into track 16 (the pattern track) for use as rhythm parts or for phrases which appear frequently.
Chain Pattern mode
Before recording the other tracks, we will place the previously recorded patterns into track 16. Press SONG and then EDIT to enter song edit mode. Press 16 to select track 16 (the pattern track) for editing. While editing track 16 you will be in Chain Pattern mode.
Using repeat marks
In this example, we will chain patterns so that three measures of the basic rhythm are followed by a fill-in, and make this four-measure chain repeat for eight times. Although is is possible to input all 32 parts (the four-measure chain
×
8 times), it is more efficient to use repeat marks. To do this we will input data for each part as follows.
Input the data for each part
Part 001 : II:
Part 002 : 01
Part 003 : 01
Part 004 : 01
Part 005 : 02
Part 006 : :II
×
7
Move the cursor to the right and press
F2
(II:) to enter a repeat begin mark for part 001, then press ENTER . The “Part” display will advance to 002.
Select pattern “01w” for Part 002, and press ENTER .
In the same way input pattern 01 for parts 003 and 004, and pattern 02 for part 005.
For part 006, press
F3
(:II). Use –1 +1 to specify “
×
7” so that the range of parts between the begin and end repeat marks repeat 7 times. Be sure to press
ENTER to enter each part.
When you are finished editing the chain of patterns, press EXIT to return to
Song Play mode. Press RUN and you will hear the newly edited chain of patterns.
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41
Realtime recording
In realtime recording the notes you play will be recorded in the exact timing with which you play them.
Make settings for realtime recording
From the song play display press RECORD to enter song record mode and press
F1
(Real) to select realtime recording.
If you have been following along with the previous pages of this section, the various settings will be the same as you specified in Pattern recording. However for realtime recording a track, you may wish to turn off quantization. Move the cursor to Quantize and press –1 several times to select “off”.
Record the first track
In song mode, the memory buttons 1-15 select the track to record. For this example, press the select button 1 to make the track 1 LED light red. With the default settings track 1 of the sequencer will transmit its data on channel 1.
Since in this example you have selected a piano voice for channel 1 of the multi, you will hear the piano voice when you play the keyboard.
To begin recording press RUN . The RUN LED will light red, and after a twomeasure countdown recording will begin. Play the keyboard. As you record, the
Measure display will advance to show the number of the measure currently being recorded.
When you are finished recording the track, press
STOP
. You will return to the song play display.
Press to return to measure 1, and press RUN to hear the track you just recorded. Press
STOP
to stop playback.
Record additional tracks
To record additional tracks, l press to return to measure 1 l l press RECORD press a memory button 2-15 to select another track (LED lights red) and press RUN to record the track while listening to previously recorded parts. Press STOP to stop playback.
42
In this way, record all the tracks of the song. As you record each track you will hear the previously recorded tracks playback. The multi we created in the beginning of this example uses the following voices.
Multi ch. no.
1
2
3
...
16
Voice no.
P1-A01
P1-A10
P1-A11
Voice name
GrandPiano
Wood Bass
ChamberStr
P2-D15 Drum 1
With the initial settings of the sequencer, tracks 1-16 will transmit their data on channels 1-16 (this can be changed) and be received by channels 1-16 (this cannot be changed) of the multi. If you are following this example, record the piano on track 1, bass on track 2, and strings on track 3.
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Punch-in recording
In punch-in recording the notes you play will be recorded in the exact timing with with you play them, but only over the measures you specify. This is useful when you wish to re-record only a specific section of a previously recorded track.
When to use punch-in recording
Suppose that while recording track 2, you made a few mistakes in measures 15 and 16. While it is possible. to re-record the entire track, it is more efficient to use punch-m recording to re-record only the measures necessary. There is no purpose in using punch-m recording on a track which contains no data.
Punch-in recording allows you to specify the measure at which recording will begin and the measure at which recording will end. Measures before and after this area will not be affected.
The following diagram shows the result of punch-in recording.
Specify the area of measures to re-record
In this example we will assume that you wish to re-record measures 15 and 16 of track 2.
1. Press SONG to enter song play mode.
2. Press
RECORD
to enter song record mode.
3. Press F3 (Pnch) to select punch-in recording.
4. Press the memory select button 2 to select track 2 for recording.
5. Specify “From Meas =015” and “To Meas =016”.
Re-record the specified measures
Move the cursor to Measure and select a point a few measures before 015. This will give you a chance to get the feel of the section you are going to re-record.
To begin recording press RUN . The RUN LED will blink on the beats. Play along with the original. When measure 15 is reached, the original recording on track 2 will disappear and your new playing will be recorded. When measure 16 ends, the original recording of track 2 will reappear, but playback will continue.
Press STOP and you will return to the song play display.
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45
Song editing
Song edit mode allows you to modify, insert, or delete individual events that have been recorded in tracks
1-15.
When to use song edit
As explained earlier, a sequencer records not the sound of a musical performance but the musical data. Notes, controller movements, program changes, and other data are recorded as individual events. Song edit mode allows you to edit individual events that have been recorded in tracks 1-15.
In this example we will assume that the piano part in track 1 was perfect except for one F3 in the tenth measure that should have been an F#3.
Use Data Change mode to
From the song play mode or song record mode display, press EDIT . Press a
modify the data
memory select button 1-15 to select the track to edit (track 1 in this example).
If you are in Data Insert or Graph modes as explained below, press
F8
(Data) and then press F2 (Chng) to select data change mode. The following display will appear.
Use Data Insert mode to insert new data
In this mode you can view and edit data in numerical form. With the cursor located at the measure number, use the dial or the –1 +1 keys to move through the data in the track. The lower part of the display will show the location
(measure, beat, clock) and parameters of each data event.
When you find the data you wish to modify (in this example, the mistaken note F3), move the cursor to Note and press +1 to change the F3 to F#3. Press
ENTER to finalize the change.
Song edit also allows you to insert new data into the track. In this example we will insert a program change at the beginning of measure 17 to change the voice played by this track. Press F1 (Ins) to select data insert mode.
To specify the type of data to be inserted, press and hold
SHIFT
. Then press
F2
(Prog) to insert a program change.
With the cursor at the far left, specify measure 17 as the location where the program change will be inserted. Next, move the cursor to the right and specify the Data (program change number 000...127). For this example, specify a program change of 3 to select P1-A03 DynoE.Pno.
46
Use Graph mode to view notes
Press ENTER to insert the program change data. In the same way, insert another program change number 1 at the beginning of the track (measure 001-01-00/96) so that the original voice P1-A01 GrandPiano will be selected when the track begins.
Press
F2
(Chng) to return to data change mode. Move the dial to scroll through the data and notice that the program change data has been inserted into the track.
When you return to song play mode and playback this track, the piano voice originally selected for this track will change to voice P1-A03 DynoE.Pno when playback reaches measure 17.
Song edit Graph mode allows you to view notes as dots on a keyboard diagram.
Press
F7
(Grph) to enter Graph mode. The following display will appear.
A horizontal line will be displayed with dots indicating the position of note data in the measure. To select the measure, place the cursor on the measure number and use the dial or –1 +1 keys. To move through the data note by note, place the cursor on the same row as the downward pointing arrow and use the dial or
–1 +1 keys. As you move, the keyboard diagram in the lower part of the LCD will indicate the notes at the currently selected 32nd note area. The notes will also be played as you come to them.
Graph mode displays only note data, and does not allow you to modify the data.
Press EXIT to leave song edit mode and return to song play mode. Playback the song to check that the F3 note has been corrected to F#3, and that the voice changes to number 3 at measure 17.
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Using a song edit job
Song edit jobs allow you to make overall changes in specified measures of a track, and to copy, erase, delete, insert, or apply other operations to entire measures
When to use a song edit job
Select the song edit job
As explained in the previous section, song edit mode allows you to modify, insert, or delete individual events of tracks 1-15. This gives you very precise control over individual data events, but it is often useful to use a Song Edit Job to make overall changes that apply to all the data in one or more entire measures.
Sixteen different song edit jobs are provided, allowing you to modify the data of specified measures in various ways. You can also copy, erase, delete, insert, etc. entire measures. In this example, we will use a song edit job to transpose the notes in measures 17-32 of track 3 an octave up.
From the song play display, press F6 (Job) to get the Song Edit Job display.
Press F5 (05) to select the 05:Transps (transpose) job.
Set parameters and execute the job
Now we will specify the track to be affected, the area of measures, and the amount by which the data will be transposed.
1. Press memory select button 3 to select track 3.
2. Set the Top Measure =017 and the Last Measure =032.
3. Set the Interval =+12 (one octave up).
After setting the parameters, press ENTER . The bottom line of the LCD will ask
“Are you sure ?”. Press +1 /YES and the job will be executed.
Press EXIT twice to leave song edit mode and return to song play mode.
Press RUN to playback the song, and notice that measures 17-32 of track 3 play an octave higher than measures 1-16.
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49
Saving your sequence to disk
Since the sequencer memory can contain only one song, you will need to save the song to disk before creating another song. It is also a good idea to periodically save your work so as not to accidentally lose important data.
Enter disk utility mode
Press UTILITY to enter utility mode, make sure that a floppy disk of the correct type (3.5" 2DD) is inserted into the disk drive, and press F4 (Disk) to select disk utility mode.
Format a new disk
Before a disk can be used it must be formatted to accept SY77 data. If the disk currently inserted into the disk drive has never before been used to store SY77 data, you must format it. Formatting the disk will erase all the data on the disk.
Be careful not to accidentally format a disk which contains valuable data.
If the currently inserted disk has already been formatted, skip to the next step.
To format the disk, select 03:Format Disk (
JUMP
#818). The following display will appear.
To execute the formatting operation press F8 (Go). You will be asked “Are you sure”. If you are, press YES .
While the disk is being formatted the display will show “xx% Formatted”.
When the number reaches 100% the display will show “*** Completed ! ***“.
Press EXIT to return to the Disk Utility job directory.
Select the type of data to
Select 01:Save To Disk and press ENTER . The disk drive will operate briefly,
be saved
and the following display will appear.
50
Select 03:Sequencer All, and press ENTER to get the following display.
Specify a filename
If files containing Sequencer All data have already been saved on this disk, the filenames will be displayed. Move the cursor in this area to select a disk file to which you want to save your newly recorded song. For this example, select any filename of “– NEW –*”.
Press
F7
(Name). This allows you to give an eight character name to the file.
Save the data to disk
Press F1 (Clr) to clear the currently entered name. Then specify a filename, using the numeric keypad to enter characters. Each time you press one of the numeric keys, the LCD will cycle through the numeral printed on the numeric key and the three alphabetical characters printed below it. Press F2 (Uppr) to switch to upper-case characters. Press F3 (Lowr) to switch to lower-case characters.
After you have entered a name for the disk file press F8 (GO). The bottom line of the display will ask “Are you sure ?” If you are sure that you want to save the data, press YES and the data will be saved to the specified disk file.
Press any mode select button to leave this job.
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52
HOW TO EDIT A VOICE
This section explains how to edit an existing voice or create a new voice from scratch.
Although it is possible to enjoy the SY77 just by playing preset voices, we suggest that you take some time to learn how to edit your own voices. It will take a bit of practice to create the sounds you want, but as you become more experienced you will find that creating voices is enjoyable and rewarding.
Contents of this section
How voice edit mode is organized
Simple editing: reverb (Effect)
Simple editing: using a controller
How to name and store your new voice
page
53
What is a Voice
Each Normal voice consists of settings for one two or four AFM or AWM elements (Element data) and settings which affect the entire voice (Common data). Each Drum voice consists of a different AWM sampled sound for each of the SY77’s 61 keys.
The Voice Mode determines the number of elements
The SY77 contains a 16 note AFM tone generator and a 16 note AWM tone generator. The Voice Mode setting determines how these tone generators are used to create a Voice, and how many elements are used for each note you play.
Each voice uses one of these eleven voice modes.
Mode
01
02
03
04
05
06
07
08
09
10
11
Element
1AFM mono
2AFM mono
4AFM mono
1AFM poly
2AFM poly
1AWM poly
2AWM poly
4AWM poly
1AFM & 1AWM poly
2AFM & 2AWM poly
Drum Set
E1
AFM
AFM
AFM
AFM
AFM
AWM
AWM
AWM
AFM
AFM
E2 E3
—
AFM
AFM
—
AFM
—
—
AFM
—
—
—
AWM
—
—
AWM
AWM
AFM
AWM
—
AWM
61 AWM waves
E4
—
—
AFM
—
—
—
—
AWM
—
AWM
A normal voice uses one two or four elements
Voices created using modes 1-10 consist of Common data that affects all elements, and Element data for one two or four elements.
Common data includes a complete set of Effect data for the four DSP units,
Controller data such as pitch bend and aftertouch assignments, and Other data such as microtuning table selection, random pitch fluctuation, and portamento settings. Common data also contains settings such as element volume level, detune, note shift, note limit, and velocity limit for each element.
Element data includes AFM or AWM data for one two or four AFM or
AWM elements. The voice mode will determine whether each element uses
AFM tone generation or AWM tone generation. Details of AFM and AWM element data are covered separately in following sections.
Element 1
Element 2
Element 3
Element 4
Dynamic pan memory select
14L > R solw
19R > L fast
62 Vel w + EG n
43 C > RL < > L fst output group select
Group 1
1
2
L
R
1
Group 2
L
R both
OUTPUT 1
L
R
Four
DSP effect units
OUTPUT 2
L
R
54
A drum voice uses 61
AWM samples
Voices created using mode 11 will, have a different AWM sample assigned to each of the 61 keys (C1-C6) of the SY77. Each key also has independent settings for volume, tuning, note shift, pan, etc.
This type of voice is most often used to arrange drums and percussion sounds across the keyboard so that each key will produce a different percussive sound. For example a bass drum might be assigned to C3, a snare to C#3, and a cymbal to D3. Drum voices may be played from the keyboard in real time or recorded from the keyboard into a sequencer track. Details of how to edit drum voices are given at the end of this section.
Note
C1
AWM wave select
96 BD 4
C#1
...
103 Tom 2
C5 108 Claps
Static pan setting
Output group select
–15 2
+ 0 4 1
Group 1
L
R
Group 2
L
R
–31 b o t h
OUTPUT 1
L
R
F o u r
D S P effect units
OUTPUT 2
L
R
55
What is an AWM element
An AWM element consists of four main blocks. The Waveform block plays back a sampled sound and determines the pitch, the Filter block modifies the tone, the Amplifier block modifies the volume, and the
Pan block moves the sound between left and right outputs. Each block can be controlled in a variety of ways.
Many different ways to control sound
The following diagram shows how the various blocks in an AWM element are related, and how they can be controlled.
All interesting sounds are constantly changing. For instruments such as piano, the tone and volume of each note changes in a predictable way over time. For other instruments such as violin, the volume, tone, or pitch can be continuously and freely modified by the musician. The SY77 provides several ways to control various aspects of the sound.
l Envelope Generator (EG): An EG produces a fixed pattern of change over time. For example to simulate the attack and decay of a piano, you would set the volume EG to be loud when the note is first played and then gradually diminish in volume.
56
The waveform block determines the pitch and basic tone
The filter block modifies the tone
The amplifier block modifies the volume
The pan block moves the sound
l l l l
Note Number: The number of the note which is played can be used to affect various aspects of the sound. For example, high notes can be made to decay more rapidly than low notes. Or, low notes can be made to change in pitch, tone, or volume more than high notes.
Key Velocity: The velocity (speed) with which you play each key can affect various aspects of the sound. For example, strongly and softly played notes can differ in pitch, tone, or volume.
Low Frequency Oscillator (LFO): The LFO produces various patterns of cyclical change. Vibrato is the result when the LFO is applied to the waveform block, wah-wah when applied to the filter block; and tremolo when applied to the amplitude block.
Controllers: Controllers such as the pitch and modulation wheels, aftertouch, and optional foot controllers can be used to control the sound in various ways. Some controllers such as the pitch bend wheel can directly determine the pitch. Other aspects of the sound can be controlled by the controller you assign. For example you might assign Aftertouch so that the amount of vibrato (LFO modulation to the Waveform block) is increased as you press down on the keyboard.
The basic sound of each AWM element is produced by a waveform (a digitally sampled sound). The SY77 contains 112 different waveforms in internal ROM, and an optional waveform card can be inserted into the
WAVEFORM
slot to provide additional waveforms.
The waveform block can be controlled in various ways to modify the pitch of the sound. The pitch EG can be used to give each note a fixed pattern of pitch change, and this pitch change can also be affected by the note number or by key velocity. Vibrato (pitch modulation) can be created using the LFO, and the amount of vibrato can be regulated by a controller. The pitch can be controlled directly using the pitch bend wheel and/or aftertouch.
The filter block can be controlled in various ways to modify the tone of the sound.
Each note can be given a fixed pattern of tonal change by using the filter EG, and this can be also affected by the note number or key velocity. Wah-wah (filter modulation) can be created using the LFO, and wah-wah depth can be regulated by a controller. The tone can also be directly affected by a controller.
The amplifier block can be controlled in various ways to control the volume of the sound. Each note can be given a fixed pattern of volume change by using the amplifier EG, and this can also be affected by the note number or key velocity.
Tremolo (volume modulation) can be created using the LFO, and tremolo depth can be regulated by a controller. The volume can also be directly affected by a controller.
The pan block can be controlled in various ways to move the sound between left and right outputs. Each note can be given a fixed pattern of panning by using the pan EG, and this panning can be further affected by either note number, key velocity, or LFO.
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The basics of FM synthesis
FM synthesis is a patented Yamaha method for using Frequency Modulation (FM) to produce complex waveforms that can be controlled in musically useful ways.
Interesting sounds have complex waveforms
The sounds produced by most musical instruments have a very complex waveform, which is constantly changing. We hear these complex waveforms as
“interesting” or “acoustic-sounding”.
Electronic instruments use an oscillator to produce a waveform. Unfortunately, electronic oscillators are best at producing simple and repetitive waveforms. These waveforms sound “artificial” or “electronic”, and are not very interesting to listen to. A major concern of electronic musical instrument design is to find a simple way to electronically produce a complex waveform and be able to control it.
FM is a simple way to make a complex waveform
Complex waveform
= interesting sound
Simple waveform
= boring sound
The advantage of FM synthesis is that waveforms with very complicated harmonic structure can be simply and economically created, and controlled in many different musically useful ways. In FM synthesis, one waveform is used to modulate another waveform. Even if the two original waveforms are simple, the result can be a complex and interesting sound.
In the following diagram, the upper oscillator is called the Modulator and the lower oscillator is called the Carrier. The complexity or brightness of the resulting waveform that we hear will depend on the output level of the Modulator; i.e., as we increase the modulation, the complexity or brightness will increase.
Increasing the output level of the Carrier will simply increase the volume.
Interesting sounds change
Many instruments have a characteristic pattern with which the sound changes
over time
as time goes by. This “shape in time” is called the Envelope. The following diagram shows how a piano envelope differs from an organ envelope. A piano begins loud and then gradually diminishes in volume and tonal complexity. An organ however maintains the same volume and tone as long as the key is pressed.
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An algorithm is an arrangement of six operators
Piano envelope Organ envelope
Key On Key Off Key On Key Off
In synthesizers, a device called an Envelope Generator (EG) is used to produce a “shape in time” which can be used to control various aspects of the sound.
In Yamaha FM synthesizers, each oscillator has its own Envelope Generator
(EG) to vary its output level over time. This package of oscillator and EG is called an Operator.
The FM tone generator of the SY77 uses six operators to produce sounds.
These six operators can be arranged in 45 different basic Algorithms (patterns or combinations). Each operator acts either as a modulator or carrier depending on its location in the algorithm. Only operators that appear at the bottom of an algorithm are carriers.
For example algorithm 42 uses the six operators as three separate FM pairs; operators 2, 4, and 6 (the modulators) are modulating operators 1, 3, and 5
(the carriers). On the other hand, algorithm 6 has only one carrier; operators 4,
5, and 6 are all modulating operator 3, which is modulating operator 2, which is modulating operator 1.
How to change the tone of an FM sound
Algorithm 42 Algorithm 6
We have learned that the output level of a modulator operator determines how complex or bright the resulting sound will be. This means that changing the output level of a modulator will affect the tone. The output of the carrier operator is what we actually hear, so changing the output level of a carrier will affect the volume.
Before you begin editing an FM sound, check the algorithm to see how the operators are arranged. Notice which operators are acting as carriers and which are acting as modulators. Then you can adjust the output levels of the various operators to modify the tone or volume.
Each operator has its own EG to vary the operator output level over time.
Adjusting the EG of a modulator will modify how the tone will change over time.
Adjusting the EG of a carrier will modify how volume will change over time.
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What is an AFM element
An AFM element consists of four main blocks. The FM block uses six operators to create a complex sound and determines the pitch and basic tone, the Filter block modifies the tone, the Amplifier block modifies the volume, and the Pan block moves the sound between left and right outputs. Each block can be controlled in a variety of ways.
Many different ways to control sound
The following diagram shows how the various blocks in an AFM element are related, and how they can be controlled.
As explained in the previous section “What is an AWM element”, an AFM element can be controlled in various ways using EG, note number, key velocity,
LFO, and controllers.
The FM block determines
The basic sound of each AFM element is produced by six FM operators
pitch, tone, and volume
arranged in an algorithm. The FM block can be controlled in various ways to modify the pitch, tone, and volume of the sound.
l EGs of the six operators determine how the volume and tone will change over time. Each operator EG can also be affected by the note number or key velocity.
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The filter block modifies the tone
The amplifier block modifies the volume
The pan block moves the sound
l l l l
Pitch EG determines how each note will change in pitch over time. This pitch change can also be affected by the note number or by key velocity.
LFO signal can be used to create vibrato (by modulating operator pitch) or tremolo (by modulating the output level of a carrier operator) or wahwah (by modulating the output level of a modulator operator). The amount of pitch modulation or amplitude modulation from the main LFO can be regulated by a controller. In addition, the FM block of an AFM element contains a Sub LFO that can be used to modulate the pitch independently of the main LFO.
The pitch of all operators can be controlled directly using the pitch bend wheel and/or aftertouch.
As indicated by the “AWM” in the oval at the far left of the diagram, an
AWM digital sample can be used to modulate an FM operator. This is one of the most significant features of the SY77’s tone generation system.
The filter block can be controlled in various ways to modify the tone of the sound.
Each note can be given a fixed pattern of tonal change by using the filter EG, and this can be also affected by the note number or key velocity. Wah-wah (filter modulation) can be created using the LFO, and wah-wah depth can be regulated by a controller. The tone can also be directly affected by a controller.
The filter blocks of AFM and AWM elements are identical.
The amplifier block can be controlled directly by an assigned controller. Since the change in volume over time of an element is determined by the of carrier operators in the FM block, the amplifier block of an AFM element does not have its own EG.
The pan block can be controlled in various ways to move the sound between left and right outputs. Each note can be given a fixed pattern of panning by using the pan EG, and this panning can be further affected by either note number, key velocity, or LFO.
The pan blocks of AFM and AWM elements are identical.
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The process of voice editing
Editing a voice is a three-step process; select a voice, modify parameters as necessary, and store the edited voice. If you do not store the voice after editing it, the original voice will reappear and your edits will be lost.
1. Select the voice to edit
The first step in the voice editing process is to select the voice you wish to edit.
Although it is possible to create a voice starting with the initialized data (a voice where all parameters are set to zero or some basic value), it is usually more efficient to start with a voice that is similar to what you want, and edit it to meet your requirements.
To select a voice, press VOICE to enter voice play mode. The VOICE LED will light red. Select voice memory INTERNAL, CARD, PRESET 1, or PRESET 2.
Then select bank A, B, C, or D. Finally select a voice 1-16. The LCD will show the selected voice name.
2. Edit parameters/ compare with the original voice
Now that you have selected a voice, press
EDIT
to edit it. The upper left of the
LCD will show “VOICE EDIT”. If “Mode” at the lower left is not displayed in inverse, press F1 to get the following display.
Original data unchanged
Notice that a small square is displayed at the left of the voice number. This indicates that the voice has not yet been edited. Press –1/+1 to modify the voice mode parameter. (For now, don’t worry about what this parameter actually does. Here we are simply learning the process of voice editing.) The voice data has now been edited, and this is indicated by a inverse “E” displayed at the left of the voice number.
Data has been edited
Note:
While editing, it is often useful to see and hear the original data. (This
Compare function is available in most editing screens, but NOT in the screen shown above. Move to another editing screen to try out the Compare function.) To temporarily bring back the original data, press EDIT (COMPARE).
Notice that a “C” is now displayed, indicating that you are in Compare mode.
While in compare mode you can view the various parameters, but will not be able to modify them. To return to Edit mode, press EDIT (COMPARE) once again, and the “C” will change back to an “E”.
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3. Store the edited voice
When you have finished editing, you must store the voice if you want to keep it.
After you finish editing, exit voice edit mode by pressing EXIT or any mode select key
VOICE, MULTI, SONG, PATTERN,
or
UTILITY.
If you have edited the voice data in any way, the top line of the display will ask “AUTO-STORE
VOICE” ?
Note:
Voices which use voice mode 3 (4AFM mono), 8 (4AWM poly), and 10
(2AFM & 2AWM) occupy extra memory, and can be stored only in bank D. The
AUTO-STORE display for such voices will automatically show bank D, and will show “Use bank D” in the bottom line as a reminder.
Voices which use other voice modes can be stored in bank D as well.
The LCD will show the first seven characters of the voicenames in the currently selected bank of voices. The voice name displayed in inverse indicates the voice memory into which the edited data will be stored.
Storing data will overwrite the data that previously occupied that memory, so if you do not want to overwrite the original data, use INTERNAL or CARD to specify the voice memory, select a bank A-D, and select the voice memory 1-16 in which you want to store your newly edited voice.
Procedure:
When: you exit editing mode and LCD blinks “AUTO-STORE VOICE”
Specify: the memory into which you wish to store the voice.
To return: to edit mode and continue editing without storing, press F6 (Ret).
To quit: editing and return to voice play mode without storing the edited data, press
F7
(Quit). You will exit voice edit mode, and the bottom line of the LCD will show “Store cancelled !” until you press another button.
To store: the data press
F8
(Go). The bottom line will ask “Are you sure ?
(Yes or No)”. If you are sure you want to store the edited voice, press
+1/YES
and the bottom line of the LCD will show “Store completed”. If you decide not to store, press
–1/NO
and the bottom line of the LCD will show “Store cancelled”.
6 3
How voice edit mode is organized
The parameters of a voice are organized into two or more Job Directories, depending on the voice mode.
Each job directory lists several groups of parameters. Select a job from the job directory, and edit the parameters in each job.
Normal voice
MODE
F1
Specify the
Voice Mode
1. 1FM mono
2. 2FM mono
3. 4FM mono
4. 1FM poly
5. 2FM poly
6. 1PCM poly
7. 2PCM poly
8. 4PCM poly
9. 1FM&1PCM poly
10. 2FM&2PCM poly
11. Drum set
If a voice mode of 1-10 is selected, the voice will consist of 1, 2, or 4 elements.
Each element will be either an AFM element or an AWM element, depending on the selected voice mode.
Voice parameters will be organized into the following job directories. Press a function key F1–F6 to see the job directories, and select the job you want to edit.
COM
F2
Common data edit job directory
1. Element level
2. Element detune
3. Element note shift
4. Element note limit
5. Element velocity limit
6. Element dynamic pan
7. Output select
8. Random pitch
9. Portamento
10. Effect set
11. Micro tuning set
12. Controller set
13. Voice name
...
15. Initialize voice
16. Recall voice
E1 E2
F4
E3
F5 F3
AFM element edit job directory
1. Algorithm
2. Oscillator
3. AFM EG
4. AFM operator output
5. AFM sensitivity
6. AFM LFO
7. AFM pitch EG
8. AFM filter
AWM element edit
OR job directory
1. AWM waveform set
2. AWM EG
3. AWM output
4. AWM sensitivity
5. AWM LFO
6. AWM pitch EG
7. AWM filter
E4
F6
...
15. Initialize FM element
16. Recall FM element
...
15. Initialize PCM element
16. Recall PCM element
Drum voice
If voice mode 11 has been selected, the voice will consist of 61 AWM digital samples, with a sample assigned to each key of the SY77’s keyboard. Voice parameters will be organized into the following job directories. Press a function key F1–F2 to see the job directories, and select the job you want to edit.
MODE
F1
Specify the
Voice Mode
1. 1FM mono
2. 2FM mono
3. 4FM mono
4. 1FM poly
5. 2FM poly
6. 1PCM poly
7. 2PCM poly
8. 4PCM poly
9. 1FM&1PCM poly
10. 2FM&2PCM poly
11. Drum set
COM
F2
Drum Set edit job directory
1. Voice volume
2. Wave data set
3. Effect set
4. Controller set
5. Name
...
7. Initialize
8. Recall
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How to select a job
Suppose that you are editing a normal voice and want to edit the Note Shift Settings for each element. Press F2 to select the Voice Common data job directory.
Notice that the note shift parameter is job 03. Use the cursor keys or press 0 then 3 on the numeric key pad to move the inverse cursor to “03.NtShift”. Then press ENTER and you will enter the Element Note Shift job.
To return to the job directory, press EXIT.
You can use the (PAGE) keys to move to other jobs in the same directory. For example from the note shift job, pressing would take you to job
02.Element Detune, and pressing would take you to job 04.Note Limit.
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Simple editing: reverb (Effect)
The DSP effect unit adds chorus, echo, reverb, and other effects of spatial ambience. Adjusting the effect is an easy way to change the overall character of a voice.
Select a voice and enter edit mode
Press
VOICE
and select a voice. So that it will be easy to hear the result of this editing example (and the editing examples in the following sections), select any bright, sustained voice. The voice names shown in the LCDs in this and following sections are entirely fictitious, and do not correspond to any factory set data.
Press
EDIT
to enter voice edit mode. Press
F2
to select the voice edit Common data job directory, and press 1 then 0 or use the arrow keys to select
“10.Effect”. Press ENTER and the Effect parameter job directory will appear.
First we will be selecting the Effect Mode. Press
F1
to select “01.Effect Mode”.
Select one of three effect
The SY77 contains four DSP effects; two modulation-type effects (Mod1 and
modes
Mod2) and two reverb-type effects (Rev1 and Rev2). The Effect Mode determines how these four effects are connected. There are three ways of connecting the effects; modes 1, 2, and 3. Mode 0 bypasses the effect units. Use the –1/+1 keys to select the various modes 0-3 and note how the LCD graphically indicates the flow from the pan output at left to the final Out1 and Out2 at right.
Select and adjust a modulation effect
and sent out from the rear panel Out1/Out2 jacks.
is processed through the effects
The stereo sound from the voice pan
For this example select effect mode 1.
Press the
PAGE button to move to Modulation Effect 1 Set. This parameter is divided into two jobs. Press F1 (Data) and move the cursor to Effect Type. Use the –1/+1 keys to select 02.St.Flange (stereo flanging).
6 6
Play the keyboard and notice the swirling or swishing effect. If the effect is not noticeable, move the cursor to Effect Balance or Output Level and set a higher value.
To adjust the parameters of the modulation effect, press F2 (Parm). Move the cursor to Mod.Frequency and use the –1/+1 keys to increase or decrease the speed of modulation while playing the keyboard to hear the result. You can experiment with various settings of the Mod.Depth, Mod.Delay, and Feedback
Gain settings as well.
Select and adjust a reverb
Press
PAGE twice to select Reverb Effect 1 Set. This parameter is also divided
e f f e c t
into two jobs. Press F1 (Data), move the cursor to Effect Type, and select
01:Rev.Hall.
Play the keyboard and notice the feeling of spacious ambience as if the instrument were being played in a large, reverberant hall. If the effect is not noticeable, move the cursor to Effect Balance or Output Level and set a higher value.
To adjust the parameters of the reverb effect, press F2 (Parm). Move the cursor to Reverb Time and experiment with various settings. Higher settings will make the reverb longer. You can experiment with various settings of the
L.P.F. (Low Pass Filter) and Initial Delay as well.
When finished, press EXIT twice to return to the voice edit Common data job directory.
Bypass the effect to hear
Whether or not you are editing the effect, you can press the EF BYPASS button at
the unprocessed sound
any time to bypass the effect. When you press
EF BYPASS
the LED will light, and you can hear the sound without the effect. Press it once again, and the LED will go out and the effect will be applied once again.
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Simple editing: tone (Filter)
Each element in a voice has two filters which can be used to make overall adjustments in tone. A filter can be controlled in various ways. Controlling a filter by key-on velocity is a simple way to make a voice respond expressively to your keyboard playing.
What is a filter
In electronic musical instruments, a filter removes a specified range of frequencies from the sound, and allows the rest to pass through. For example if the high frequencies are removed and the low frequencies allowed to pass through, the sound will be made darker. This type of filter is called a Low Pass Filter
(LPF). The frequency at which the filter begins to affect the sound is called the
Cutoff Frequency.
Low Pass Filter (LPF)
Turn off unwanted elements
Original sound
High frequencies are removed
Low frequencies are allowed to pass
Each of the one two or four elements in a normal voice contains two filters, which can be controlled independently. One filter is fixed as a Low Pass Filter
(LPF). The other filter can be used either as a LPF or as a High Pass Filter
(HPF); i.e., a filter that allows only high frequencies to pass, resulting in a thinner tone.
Each normal voice consists of one two or four elements, and each element has its own set of two filters. If the voice you are editing contains two or four elements, you may be helpful to listen to only one element as you adjust its filters.
To the right of the voice name displayed in the voice edit job directory is a list of the elements used by the currently selected voice.
This voice uses two elements
Specify the type of filter and the cutoff frequency
The voice selected in the above display uses two elements. Press EL 2 (the bank B button) to turn off element 2. Now you will hear only element 1. Press
EL
2 once again and it will be turned on. You can turn each element on/off at any time while editing.
Press
F3
to select the voice edit Element 1 job directory, select 08:Filter, and press ENTER.
Filter parameters are divided into three jobs. Press
F1
to select 01:Cutoff
Frequency.
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Set both filters 1 and 2 to LPF and 9.510 kHz, and set Velocity Sens = +7. Play notes on the keyboard, softly and then strongly. Notice that as the keyboard is played more strongly, the tone is brighter. This is because the velocity sensitivity setting of +7 allows the key velocity to increase the cutoff frequency of the filter.
Increasing the Resonance setting will boost the frequencies at the cutoff point, making the effect of the filter more noticeable.
Other ways to control the
The SY77 provides many ways to control the filter in addition to key velocity.
filter
EG: Each of the two filters has its own independent EG, which can be be used to give each note a fixed pattern of tonal change, such as the characteristic
“whaaa” of a brass instrument.
Note Number: The note number can affect the rate at which each filter EG changes the tone, and/or affect the width of the change in tone. For example high notes can be made to change in tone more rapidly than low notes, or low notes can be made to change in tone more greatly than high notes.
Key velocity: Key velocity can be used to affect the amount of tonal change produced by each filter EG. For example strongly played notes can be made to have a greater change in tone.
LFO: Wah-wah (cyclical tone change) occurs when the LFO is applied to the filter block.
Controllers: A specified controller (such as modulation wheel or foot controller) can be used to adjust the depth of the wah-wah (Filter Modulation) caused by the LFO.
For example to assign
MODULATION 2
to filter cutoff, you must
1. go to System Utility, 3. Controllers (JUMP #803) and check the controller number which is assigned to MODULATION 2 (default 13)
2. go to Voice Common Job 12. Controller Set (JUMP #228) and press F4
(Other)
3. select controller number 13 to affect filter cutoff
4. go to element filter page (for an AFM element JUMP #249, for an AWM element JUMP #265), assign Filter to be controlled by LFO,
5. adjust LFO cutoff sensitivity for the amount of control you wish.
6. If the LFO has already been assigned to affect filter cutoff, you may wish to decrease the LFO F.Mod Depth (for an AFM element JUMP #244, for an AWM element JUMP #261).
Or, a device can be used to directly control the filter EG, for example allowing you to use a controller to continuously adjust the tone during a note.
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Simple editing: vibrato (LFO)
The LFO produces a cycliclly repeating pattern of change. Vibrato is created by applying the LFO to the pitch.
What is an LFO
Adjust the LFO
A Low Frequency Oscillator (LFO) is a device that produces a waveform at a slow speed (low frequency). This slowly repeating waveform can be applied to various aspects of the sound to cause cycliclly repeating patterns of change.
When the LFO is applied to the pitch, vibrato is the result. When the LFO is applied to the filter, wah-wah is the result. When the LFO is applied to the volume, tremolo is the result.
In this example we will use the LFO to add vibrato to the sound. Move to the
Voice Edit job directory, and press
F3
to get the Element 1 job directory. If element 1 is AWM, select job 05:LFO. If element 1 is AFM, select job 06:LFO and press
F1
to select the Main LFO.
Other LFO parameters -
Speed and Wave
The Main LFOs of AWM and AFM elements are the same. (AFM elements have a Sub LFO which we will not be using in this example.)
Increase the P Mod Depth setting (Pitch Modulation Depth) while playing a note, and you will hear vibrato. If you do not hear any change when you increase the LFO P Mod Depth, you may need to increase the Pitch Modulation Sensitivity (PMS) as explained in the last two paragraphs below.
To regulate the speed of vibrato, move the cursor to Speed and adjust the value over a range of 0-99. Extremely high settings will result in a buzzing sound, and extremely low settings will result in a very slow pitch change.
To modify the shape of the vibrato, move the cursor to Wave and select a different LFO waveform. The selected LFO waveform will be graphically shown in the line below.
to 0.
Before you proceed to the next section of this example, set P Mod Depth
Increase the modulation sensitivity for a AWM element
Press EXIT to return to the Element 1 job directory, and select 04:Sensitv
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Increase the modulation sensitivity for a AFM element
Pitch Mod Sense (pitch modulation sensitivity) determines how sensitive the pitch will be to modulation from the LFO. Increase the Pitch Mod Sense until you hear vibrato.
Press EXIT to return to the Element 1 job directory and select 05:Sensitv
(sensitivity).
PModSens (pitch modulation sensitivity) is adjustable independently for each operator over a range of 0-7. To create normal vibrato, all operators must be pitch modulated equally by the LFO. Increase the PModSens equally for all operators. (If the LFO affects the pitch of some operators more than others, the harmoic structure of the sound will cycliclly change, which can be an interesting effect in its own right.)
71
Simple editing: using a controller
Many acoustic instruments allow the musician to modify the volume, tone, or pitch while a note is being played. The SY77’s controllers can be assigned to continuously affect various aspects of the sound for musically expressive control.
Control makes musical expressiveness possible
Assign a controller to regulate vibrato
On instruments such as piano or organ, there is little that the musician can do to modify the sound once the note has been struck. However on instruments such as wind, brass; or strings, the volume, tone, or pitch can be continuously and freely modified even while sound is being produced. The SY77’s Controllers
(pitch and modulation wheels, aftertouch, optional foot controllers, etc.) can be used to control various aspects of the sound over the duration of a note. This allows the SY77 to be played with the musical expressiveness of an acoustic instrument.
In the voice edit job directory, press
F2
to get the Common data job directory and select 12:Cntrllr (controller). In this example, press F2 (Mod) to get the LFO modulation controller assignment job.
Adjust the pitch bend range
Move the cursor to the Pitch row. Set Depth to its maximum value of 127 and set 001 Modulation. With this setting, the
MODULATION 1
wheel will regulate the depth of pitch modulation over its full range. Move the MODULATION 1 wheel and notice that vibrato deepens as you move the wheel forward. You will probably find that when the wheel is fully forward, the effect is too extreme to be musically useful. Decrease the Depth setting so that the full range of the wheel is musically useful.
In this example, you assigned the MODULATION 1 wheel to control pitch modulation, but any other controller could have been used instead. It is also possible to assign two or more parameters to be regulated by the same controller.
The controllers for pitch bend are fixed; the
PITCH
wheel located at the left of the keyboard, and aftertouch (pressing down on the keyboard after playing a note).
Press F1 (PB) to get the following display.
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Other controller assignments
With the settings as shown in the display, the PITCH wheel will bend the pitch up or down by two half steps, and after-touch will have no effect on pitch. Modify the Pitch Bend Wheel value in the display, and move the PITCH wheel up and down to hear how the the pitch is affected.
Next move the cursor to After Touch Pitch Bend and try out both positive and negative settings while playing a note and then varying the pressure on the keyboard.
F3
(Pan) allows you to set make controller assignments for pan, and
F4
(Othr) for various other parameters.
Except for pitch bend, a different controller can be freely assigned to each parameter.
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Simple editing: attack (EG)
The Envelope Generator (EG) determines how a sound attacks (begins) and decays (ends).
What is an envelope generator
Most instruments have a characteristic pattern in which the volume or tone changes over time. In electronic instruments, this is determined by the envelope generator (EG). The EG produces a fixed pattern of change over time. For example to simulate the attack and decay of a piano, you would set the volume
EG to be loud when the note is first played and then gradually diminish in volume. The EGs of the SY77 allow you to specify a change over time by settings Levels and Rates. The levels are volume levels, and the rates determines the speed of change that leads to the next level.
In this example, we will be adjusting only R1 (rate 1) to change the attack of the sound.
AWM element EGs are slightly different from AFM element EGs. If you are editing an AWM element, continue to the next section “Adjusting the attack of an AWM element”. If you are editing an AFM element, skip to the last section
“Adjusting the attack of an AFM element”.
Adjusting the attack of an
For an AWM element, the amplifier block EG determines how the volume of
AWM element
each note will change over time. From the AWM element 1 job directory, select
02:EG. If the Mode is set to “hold”, change it to “attack”.
Move the cursor to R1 (rate 1) and decrease the value while repeatedly playing notes. Notice that as R1 decreases, the attack becomes slower.
Adjusting the attack of an
For an AFM element, the EG of each operator determines how each note will
AFM element
change over time. From the AFM element 1 job directory, select 03:EG. Press
F2
(All) and then press
F3
(OnR) (key-on rates).
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The EGs of carrier operators determine how the volume will change over time, and the EGs of modulator operators determine how the tone will change over time. To see which operators are acting as carriers, press F8 (Alg) to get a graphic display of the algorithm. The operators in the bottom row are acting as carriers.
Move the cursor to R1 (rate 1) of the carrier operator(s), and decrease the value while repeatedly playing notes. Notice that as R1 decreases, the attack becomes slower.
Depending on how the modulator operators are being used, it may be necessary to decrease R1 for modulator operators as well.
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How to name and store your new voice
If you have followed along with the last five “Simple editing” sections, the voice is now probably quite different than when you first selected it. Even if the voice sounds rather strange, give it a new name and store it as explained in this section.
Enter a 10-character voice name
From the voice edit Common data job directory, select 13:Name.
Store the edited voice
Press F1 (Clr) to clear the currently set voice name, and use the numeric keypad to enter the characters printed below each key. Press
F2
to select uppercase characters and press F3 to select lowercase characters. Use to move the cursor.
For example to enter the voice name “New1”, use to move the cursor to the beginning of the line, and press the following buttons; F2 to select uppercase,
4 three times to enter “N”, D,
F3
to select lowercase, 1 three times to enter “e”,
7
three times to enter
“W”
, and 1 once to enter “1”.
When you have finished entering the voice name, press the mode select key
VOICE to exit to the voice edit Common job directory, and press EXIT once again to exit voice edit mode. Since the voice data has been edited, the top line of the display will blink “AUTO-STORE VOICE”
Note:
Voices which use voice mode 3 (4AFM mono), 8 (4AWM poly), and 10
(2AFM&2AWM) occupy extra memory, and can be stored only in bank D. The
AUTO-STORE display for such voices will automatically show bank D, and blink “Use bank D” in the bottom line as a reminder..
Voices which use other voice modes can be stored in bank D as well.
The LCD will show the first seven characters of the voicenames in the currently selected bank of voices. The voice name displayed in inverse indicates the voice memory into which the edited data will be stored.
Storing data will overwrite the data that previously occupied that memory, so if you do not want to overwrite the original data, use INTERNAL or CARD to specify the voice memory, select a bank A-D, and select the voice memory 1-16 in which you want to store your newly edited voice.
76
For example to store your new voice in Internal memory bank C memory number 16, press INTERNAL, then C then 16 .
Press F8 (Go), and the bottom line will ask “Are you sure ? (Yes or No)“. If you are sure you want to store the edited voice, press +1/YES and the bottom line of the LCD will show “Store completed”. If you decide not to store, press
-1/NO and the bottom line of the LCD will show “Store cancelled”.
You will then return to voice play mode.
77
How to edit a drum voice
A drum voice is a special type of voice which plays a different AWM sampled wave from each key of the
SY77’s 61-note keyboard. This is normally used to assign drums and percussion sounds to the keyboard when creating rhythm accompaniments.
Set the voice mode to
Drum Voice
In the top level of voice edit mode, press
F1
(Mode) to get the voice mode job and select 11:Drum Set.
Drum voice parameters
Press
F2
(Com) to get the voice common data job directory. All drum voice parameters are contained in this job directory.
Wave Data Set - select a wave for each key
As when editing a normal voice, a drum voice allows you to set the overall volume of the voice (01:Voice volume), make settings for the DSP effect units
(03:Effect Set), specify the controller which will regulate the volume of the voice
04:Controller Set), and assign a name (05:Drum Set Name).
A drum voice differs from other voices mainly in the second parameter job,
02:Wave Data Set.
From the voice common data job directory, select 02:Wave Data Set.
This job is where you specify the AWM wave played by each key. Adjustments for level, pan, etc. can also be made independently for each key.
Press the
C1
key or use F1 (K-Dn) and F2 (K-Up) to select C1 (the lowest note on the SY77 keyboard). Move the cursor to Waveform and select preset wave number 93 BD 1 (bass drum).
78
Next select note C#1 and specify preset wave number 97 SD 1 (snare drum).
In this way, make the following settings for notes C1-F# to create the simple seven-instrument drum set shown in the table below. For notes F and F# set
Alternate to “on”.
Alternate On/Off
Other wave data settings
Name and store your new drum voice
D#1
E1
F1
F#1
Note
C1
C#1
D1
Wave no.
93
97
102
103
107
104
105
Wave name
BD 1
SD 1
Tom 1
Tom 2
Ride
HH closed
HH open
Alternate off on on off off off off
Play notes C1-F#1 to play your new drum set. Notice that when you play F#1
(hi-hat open) and then quickly play F1 (hi-hat closed), the open hi-hat will stop sounding when the closed high sound begins. It is impossible for a real hi-hat to produce closed and open sounds at the same time, and this is the reason that we set these two waves to Alternate On. When two or more waves are set to alternate On, the last-played wave will take priority and the previously played wave will be turned off.
The volume of each note is adjusted by Level. The tuning of each note is adjusted in half steps by Note Shift and finely by Fine Tune. The stereo position of each note is determined by Static Pan.
The Voice edit mode, Drum set data section explains the details of these and other parameters.
As explained in the previous section, give your newly created drum voice a name and store it into memory. The previous section of this manual How to use the
sequencer has shown how to use the sequencer to play a drum voice along with other parts in a song.
79
80
VOICE PLAY MODE
81
82
VOICE PLAY MODE
VOICE PLAY MODE
You will normally play the SY77 in voice play mode. In voice play mode you can do the following things.
l Select voices from preset, internal, or card memory.
l View a directory of the 16 voices in the currently selected bank of internal, card, or preset memory.
l Copy the currently selected voice to any internal or card memory.
l View the controller assignments for the currently selected voice.
l Send a program change to an external device.
83
VOICE PLAY MODE
Voice select
Press VOICE to enter voice play mode. The following
LCD will appear.
VOICE This indicates that you are in Voice
Play mode.
Voice memory (I, C, P1, P2): This indicates the voice memory; Internal, Card, Preset 1, or Preset
2.
Bank (A-D): This indicates the voice memory bank.
Voice number in individual bank (1-16): This indicates the number of the voice in the bank.
Voice number in banks A-D (1-64): This indicates the voice as a number between 1 (voice 1 of bank A) to 64 (voice 16 of bank D).
Transmit channel (1-16): This indicates the transmit channel you selected in MIDI Utility
1. Channel set (JUMP #807). The SY77 keyboard will transmit from MIDI OUT on this channel.
Voice name: The voice name is displayed in large characters.
JUMP #100
Voice mode: This indicates the type and number of elements used by this voice. For details refer to Voice Edit mode, Voice Mode Select.
Effect settings: This area indicates the effect mode (off, 1-3) and type of effect selected by this voice for each of the four DSP units; Modulation 1 and 2, and Reverb 1 and 2. For details refer to Voice Edit mode, Common Data job
10. Effect set.
Refer to the following section Send program change.
Refer to the following section Voice directory.
Refer to the following section Controller view.
To select a voice use the following procedure. The voice will not actually change until you specify the voice number 1-16. If you want to play a different voice in the same bank, simply specify a different number 1-16.
1. Select the voice memory; INTERNAL, CARD (only if a card is inserted into the
DATA
slot),
PRESET
1 , or PRESET 2 . The selected LED will blink.
2. Select a bank A, B, C, or D. The selected LED will blink.
3. Select a voice 1-16. The selected LED will light, and the LCD display will show the newly selected voice name.
Voice directory
Summary: This function allows you select voices while viewing a directory of the sixteen voices in the currently selected voice bank.
Procedure:
From: voice play mode
Select:
F8
(Dir)
(JUMP #100)
(JUMP #101)
Specify: one of the displayed voices
To quit: and return to the voice play display press EXIT.
JUMP #101
The first seven characters of each ten-character voice name will be displayed. When you select a different voice memory (internal, card, preset 1, or preset 2) and voice bank (A-D) the sixteen voices in the newly selected bank will be displayed. In addition to the usual methods of selecting a voice, you can also use the arrow keys to select a voice. When the voice directory is displayed, pressing a memory select button or bank select button will immediately select a voice.
84
Pressing F1-F8 (01)-(08) will select a voice 1-8 from the displayed voice bank. Holding SHIFT and pressing
F1-F8
(09)-(16) will select a voice 9-
16 from the displayed voice bank.
VOICE PLAY MODE
To return to the voice play display with the single voice name displayed in large characters press
EXIT.
Copy voice
Summary: Anytime in voice play mode you can copy the currently selected voice to another voice memory.
Procedure:
From: voice play mode
Press: COPY
(JUMP #100)
Specify: the destination to which the voice will be copied.
To execute: the copy operation press F8 (Go).
To quit: without executing press
EXIT.
The names of the sixteen voices in the currently selected bank of Internal or Card memory are displayed as explained in Voice Directory. Press
INTERNAL or CARD , press a bank button A D , and press a memory select button 1-16 to specify the copy destination.
After specifying the copy destination press F8
(Go). You will be asked “Are you sure?” If you are sure you want to copy the voice, press
YES
and the data will be copied. To quit without copying press
NO .
Controller view
Summary: This function allows you to view the controller assignments for the voice as a reminder of how the voice can be controlled.
Procedure:
From: voice play
Select:
F7 (Ctrl)
(JUMP #100)
(JUMP #102)
To quit: and return to voice play mode press
EXIT.
Parameter: The left side of each column displays the parameter which is being controlled. The actual effect that a controller will have on the parameter to which it is assigned will depend on
JUMP #102 the depth that is specified for each controller assignment as explained in Voice Common job
12. Controller.
Controller: The right side of each column displays the controller which is assigned to control each parameter. The range is not displayed. “-” will be displayed to indicate a controller which the SY77 itself does not have, or to indicate that the parameter’s depth has been set in such a way that the controller has no effect. (Refer to
Voice Common, Controller Set.)
Pitch Bend Range: This area shows the range over which the PITCH wheel can raise or lower the pitch, and the maximum pitch change that will result when you press down on the keyboard after playing a note (After-touch).
This function allows you to only view the controller assignments. To edit them, refer to Voice Common job 12. Controller.
85
VOICE PLAY MODE
Send program change
Summary: Anytime in voice play mode you can transmit a program change message from MIDI
OUT without affecting the SY77’s own tone generator. This allows you to switch a tone generator module connected to the SY77 MIDI
OUT to another memory without changing the
SY77’s own memory.
Procedure:
From: voice play mode (JUMP #100)
Select:
F1
(Send)
Specify: a program change number 1-128
To transmit: the program change press ENTER.
To quit: without. sending a program change press EXIT.
1. Use the numeric key pad to enter a one two or three digit number 1-128.
2. Press
ENTER
and a program change message of the specified number will be transmitted on the
Kyb Trans Ch (keyboard transmit channel) specified in MIDI Utility job 1. Channel set
(JUMP #807). The LCD will show the transmitted number; e.g., “Completed ! PC No.=128”.
If you enter a number below 1 it will be transmitted as 1. If you enter a number above 128 it will be transmitted as 128.
In addition to the program change message transmitted by this function, a program change message will be transmitted’ every time you select a
SY77 voice or multi unless Utility mode MIDI
Utility 2. Program change (JUMP #808) has been turned off.
86
VOICE EDIT MODE
VOICE EDIT MODE
This section explains the details of all Voice Edit parameters.
Contents of this section
Page
87
VOICE EDIT MODE
The organization of Voice Edit mode will depend on whether the voice is a Normal voice or a Drum voice.
Specify the
Voice Mode
1. 1FM mono
2. 2FM mono
3. 4FM mono
4. 1FM poly
5. 2FM poly
6. 1PCM poly
7. 2PCM poly
8. 4PCM poly
9. 1FM&PCM poly
10. 2FM&2PCM poly
11. Drum set
Common data edit job directory
1. Element level
2. Element detune
3. Element note shift
4. Element note limit
5. Element velocity limit
6. Element dynamic pan
7. Output select
8. Random pitch
9. Portamento
10. Effect set
11. Micro tuning set
12. Controller set
13. Voice name
...
15. Initialize voice
16. Recall voice
AFM element edit job directory
1. Algorithm
2. Oscillator
3. AFM EG
4. AFM operator output
5. AFM sensitivity
6. AFM LFO
7. AFM pitch EG
8. AFM filter
OR
AWM element edit job directory
1. AWM waveform set
2. AWM EG
3. AWM output
4. AWM sensitivity
5. AWM LFO
6. AWM pitch EG
7. AWM filter
...
15. initialize FM element
16. Recall FM element
...
15. Initialize PCM element
16. Recall PCM element
8 8
VOICE EDIT MODE
Compare
When you are in edit mode but have have not yet Note: modified the data, a small square is displayed at The Compare function is not available in the job the left of the voice number to indicate that the voice has not yet been edited. If the data is edited in any way, this will change to a inverse "E".
directory displays, nor while editing Dynamic
Pan or Micro Tuning.
If the Voice Mode has been changed, the Compare function will not be available.
If you want to see and hear the original data press
EDIT (COMPARE) and the inverse "E" will change to a "C" indicating that you are in compare mode.
To return to edit mode press EDIT (COMPARE) once again and the "C" will change back to an "E".
While comparing, it is not possible to modify parameter values. (However there are some exceptions.)
If you compare while editing a card voice, a card error will cancel compare after displaying an error message.
While comparing, EXIT, mode select, page, cursor, JUMP, COPY, and some ofF1-F8 will not function.
Store voice
When you press EXIT or use the JUMP button to exit
Voice Edit mode after editing the data, the top line of the display will blink "AUTO-STORE VOICE"
Note 1:
Four-element voices, i.e., voices using voice mode 3 (4AFM mono), 8 (4AWM poly), or 10
(2AFM&2AWM) occupy extra memory, and can be stored only in bank D. The AUTO-STORE display for such voices will automatically show bankD, and blink "Use bank D" in the bottom line as a reminder.
Voices which use other voice modes can be stored in bank D as well.
Note 2:
When storing a voice which uses an AWM waveform card, make sure that the correct card is inserted when you store, since the waveform card
ID number is stored as part of the voice.
The LCD will show the first seven characters of the voice names in the currently selected bank of voices.
The voice name displayed in inverse indicates the voice memory into which the edited data will be stored.
1. Use INTERNAL or CARD to specify the voice memory, select a bank A-D, and select the voice memory 1-16 in which you want to store your newly edited voice.
2. Press F8 (Go), and the bottom line will ask "Are you sure ? (Yes or No)".
3. If you are sure you want to store the edited voice, press +1/YES and the bottom line of the
LCD will show "Store completed". If you decide not to store, press -1/NO and the bottom line of the LCD will show "Store cancelled".
4. You will then return to voice play mode or the jump destination.
89
VOICE EDIT MODE
Element on/off
When editing a voice which uses two or more elements, it is often useful to hear only the element being edited. At any time while editing a normal voice, pressing the ELEMENT ON/OFF buttons located at the upper right of the front panel will turn individual elements off/on. When editing voice common data, the number and type of elements used by the voice will be shown in the upper right of the display.
Elements that are on will be displayed in inverse. In addition the LEDs above the ELEMENT ON/OFF buttons will light if the element is on and be darkened when the element is turned off. In the following LCD, element 2 has been turned off, and will not be heard.
When editing Drum Set data the ELEMENT ON/OFF buttons will have no effect.
When you move to the Voice Mode Select display, the element on/off settings will automatically be cancelled.
Element select
At any time while editing the element data of a normal voice, you can use the ELEMENT SELECT buttons located at the upper right of the front panel to select an element to edit. This is often faster than returning to the top level of voice edit mode and pressing F3-F6 to select the job directory of a different element.
When editing Voice Common data or Drum Set data the ELEMENT SELECT buttons will have no effect.
90
VOICE EDIT MODE
Voice mode select
Summary: The voice mode setting determines whether a voice will consist of one two or four
AWM or AFM elements (modes 1-10), or 61
AWM waves (mode 11).
Procedure:
From: the top level of voice edit mode
(JUMP #200, #201, #230, #256)
Press: F1 (Mode) to get the following display
(JUMP #200)
Specify: the desired voice mode.
This area shows the number (1, 2, or 4) and type
(AWM or AFM) of elements in the selected voice mode.
Move the cursor to the desired voice mode 1-11.
The selected voice mode will become effective immediately.
01: 1AFM mono: The voice consists of one
AFM element.
02: 2AFM mono: The voice consists of two
AFM elements.
03: 4AFM mono: The voice consists of four
AFM elements. (See note)
04: 1AFM poly: The voice consists of one AFM element.
05: 2AFM poly: The voice consists of two AFM elements.
06: 1AWM poly: The voice consists of one
AWM element.
07: 2AWM poly: The voice consists of two
AWM elements.
08: 4AWM poly: The voice consists of four
AWM elements. (See note)
09: 1AFM&1AWM: The voice consists of one
AFM and one AWM element.
10: 2AFM&2AWM: The voice consists of two
AFM and two AWM elements. (See note)
11: Drum Set: The voice consists of sixty-one
AWM samples.
Mono modes (1-3): Voices which use modes 1-3 are monophonic. Only one note can be produced at a time. If a note is played while the previous note is still sounding, the previous note will be cut off. Mono mode is useful when simulating instruments that naturally produce only one note at a time. Mono mode also allows you to use a special type of Portamento; fingered Portamento.
For details refer to Voice Common
9. Portamento.
Polyphonic modes (4-10): Voices which use modes
4-10 are polyphonic, and will allow you to play chords of as many notes as can be produced by the SY77's tone generator. The AWM and
AFM tone generators can each produce up to 16 simultaneous notes. For some voice modes more than one element may be sounded by a single key, and this will correspondingly reduce the number of simultaneous notes you can play.
Drum Set mode (II): Drum set voices use only the
AWM tone generator, and up to 16 AWM samples can be sounded simultaneously.
Note: Four-element voices (modes 3, 8, and 10) can be stored only in bank D.
91
VOICE EDIT MODE
Common data
COMMON DATA
Common data job directory
Summary: This job directory shows the jobs containing data that affects all elements in the voice.
Procedure:
From: the top level of voice edit mode
When: editing a normal voice
Press: F2 (Corn) (JUMP #201)
Select: the desired job
This area shows the number (1, 2, or 4) and type
(AWM or AFM) of elements in the selected voice mode.
Move the cursor in this area to select a job.
01: ElemLvl (Element level): Total voice volume, and element level
02: ElemDtn (Element detune): Pine tuning for each element
03: NtShft (Note shift): Transpose each element
JUMP #201
04: NtLimt (Note limit): Range of notes that play each element
05: VlLimt (Velocity limit): Range of key-on velocities that play each element
06: ElemPan (Element dynamic pan): Dynamic panning table for each element
07: OutSel (Output group select): Output group for each element
08: Random (Random pitch): Random pitch variation for entire voice
09: Porta (Portamento): Portamento mode and time
10: Effect (Effect set): Effect set job directory
11: McrTune (Micro tuning): Micro tuning select for entire voice, and element off/on
12: Ctrllr (Controller set): Controller assignments and depth for pitch bend, modulation, pan, etc.
13: Name (Voice name): Ten-character voice name
15: Initlz (Initialize voice): Initialize the voice common data being edited
16: Recall (Recall voice): Recall all data
(common and element) of the previously edited voice
COMMON DATA
1. Element level
Summary: Adjust the overall volume of the entire voice, and the volume of individual elements 1-4.
Procedure:
From: voice common job directory (JUMP #201)
Select: job 01:ElemLvl (JUMP #202)
Specify: the total voice volume and the levels of each element
JUMP #202
Total voice volume (0... 127): This determines the overall volume of the entire voice.
92
Element level (0...127) E1-E4: These determine the volume level of each element. Press F2,
F4, F6, F8 to move the cursor to elements 1-4.
The level of each element is displayed as a vertical bar graph.
Pressing F1 will move the cursor to Total Voice
Volume. Pressing F2, F4, F6, F8 will move the cursor to elements 1-4.
VOICE EDIT MODE
Remarks: Since the total voice volume setting is part of the voice data, it can be used to even out the volume differences between voices. This is important when editing a set of voices for live performance, and allows you to avoid any sudden jumps in volume when a voice is selected.
COMMON DATA
2. Element detune
Summary: Adjust the fine tuning of individual elements 1-4.
Procedure:
From: voice common job directory (JUMP #201)
Select: job 02:ElemDtn (JUMP #203)
Specify: the tuning of each element
Detune (-7...+7) E1-E4: When this is set to 0, the element will play the correct pitch for the key that was pressed. Negative settings will lower
JUMP #203 the pitch, and positive settings will raise the pitch. The tuning of each element is displayed as a horizontal bar graph.
Pressing F1-F4 will move the cursor to elements
1-4.
Remarks: If you are creating a voice that plays two or more elements for a single note, slightly detuning the elements will create a natural chorus effect, giving a richer quality to the sound.
Element detune is intended to change the rela-
tive pitch of two or more elements. Setting all elements to the same detune value will not be useful, nor will this setting be useful if the voice contains only one element.
COMMON DATA
3. Note shift
Summary: Transpose the pitch of individual elements 1-4.
Procedure:
From: voice common job directory (JUMP #201)
Select: job 03:NtShft (JUMP #204)
Specify: the transposition of each element
Note Shift (-64...+63) E1-E4: When this is set to 0, the element will play the correct pitch for
JUMP #204 the key that was pressed. This setting adjusts the pitch in units of a half step. For example if set to -12 the pitch will be one octave lower than normal, and if set to +24 the pitch will be two octaves higher than normal.
Pressing F1-F4 will move the cursor to elements
1-4 .
Remarks: The note shift setting can be useful when you need play notes that are beyond the range of the SY77's 61-note keyboard. For voices which play two or more elements for each key, note shift can be used to create automatic parallel harmony.
93
VOICE EDIT MODE
COMMON DATA
4. Note limit
Summary: Specify the range of notes that will play each element.
Procedure:
From: voice common job directory (JUMP #201)
Select: job 04:NtLimt (JUMP #205)
Specify: the note range for each element
JUMP #205 in a two-element voice where element 1 is a bass sound and element 2 is a piano sound, set element 1 to Low=C1 and High=B2 and set element 2 to Low=C3 and High=C5. With these settings, notes below middle C will play bass
(element 1) and notes above middle C will play piano (element 2).
Low Note Limit (C-2...G8) E1-E4: This specifies the lowest note that will be played by the element.
High Note Limit (C-2...G8) E1-E4: This specifies the highest note that will be played by the element.
Pressing F1-F4 will move the cursor to elements
1-4.
Remarks: After moving the cursor to the parameter you want to set, you can modify the data in the usual way or press F8 (Kbd) and then press a key of the SY77's keyboard to enter a note.
(The notes of the SY77 keyboard are C1-C6.)
If you want to play an element over the entire range of the keyboard, leave this parameter set at Low=C-2 and High=G8.
This parameter can be used to create keyboard split effects where different elements are played by different keyboard areas. For example
It is possible to set the low limit above the high limit. In this case, the element will be played by notes above the low limit and below the high limit. The following diagram shows the keyboard range that would play an element set to Low=C4 and High=C2.
Note: This note limit setting will be ignored if the voice mode is mono (voice mode 1:1AFM mono,
2:2AFM mono, and 3:4AFM mono).
COMMON DATA
5. Velocity limit
Summary: Specify the range of key-on velocities that will play each element.
Procedure:
From: voice common job directory (JUMP #201)
Select: job 05:VlLimit (JUMP #206)
Specify: the range of velocities for which the element will sound
JUMP #206
Low Velocity Limit (1... 127): This is the lowest key-on velocity for which the element will sound.
94
VOICE EDIT MODE
High Velocity Limit (1...127): This is the highest key-on velocity for which the element will sound.
Press F1-F4 to move the cursor to elements 1-4.
Remarks: If you want to play an element over the full range of key velocities, leave this parameter set at Low=1 and High=127. This parameter can be used to make strongly played notes play different elements than softly played notes. For example in a two-element voice where element 1 is a piano sound and element 2 is a brass sound, set element 1 to Low=l and High=100 and set element 2 to Low=101 and High=127. With these settings, soft notes will play the piano
(element 1) and strong notes will play brass
(element 2). If desired, you could overlap the velocity limits of the elements, or use more than two elements.
It is possible to set the low limit above the high limit. In this case, the element will be sounded by key-on velocities outside the limits. The following diagram shows the velocity range that would play an element set to Low=100 and
High=40.
COMMON DATA
6. Element dynamic pan
Summary: Select the Dynamic Pan data used by each element. The selected dynamic pan data will determine how the stereo position of the element will change over time.
Procedure:
From: Voice Common job (JUMP #201) directory
Select: job 06:ElemPan (JUMP #207)
Specify: the Dynamic Pan data used by each element
Dynamic Pan Select (I1...32, C1...32, P1...64):
This specifies the dynamic pan data that will move the stereo position of this element over time. The number and name of the selected pan data will be displayed. For an internal voice, select a pan data memory from Internal or Preset. For a card voice, select a pan data memory from Card or Preset.
JUMP #207
Pressing F1-F4 will move the cursor to elements
1-4.
Press F8 to edit the currently selected pan data.
(Only Internal pan data can be edited.)
Remarks: Each Dynamic Pan memory contains the following data.
a Pan Source which allows the panning movement to be controlled by velocity, note number, or LFO
EG settings which determine panning movement over time a Pan Name 64 preset dynamic pan memories are provided, as explained in the following table. In addition, 32 internal memories are provided for you to store your own pan data, and a RAM card can accommodate 32 more pan data memories. The following section 6.0
Dynamic Pan Edit explains how to edit the
Dynamic Pan data.
95
VOICE EDIT MODE
#
13
14
15
16
17
7
8
9
10
11
12
1
2
3
4
5
6
25
26
27
28
29
30
31
18
19
20
21
22
23
24
32
33
34
35
36
L<>R fast
R<>L slow
Preset Dynamic Pan data
Name
Center
Right 6
Right 5
Right 4
Right 3
Right 2
Right 1
Left 6
Left 5
Left 4
Left 3
Left 2
Left1
L>R slow
L>R
L>Rfast
R>L slow
R>L
R>L fast
C>R slow
C>R
C>R fast
C—>R slow
C—>R
C—>R fast
C>L slow
C>L
C>L fast
C—>L slow
C—>L
C—>L fast
L<>R slow
L<>R
L<>R narrow
Description fixed at center fixed full right fixed slightly right fixed full left fixed slightly left slowly move L—>R move L—>R quickly move L—>R slowly move R—>L move R—>L quickly move R—>L slowly move C—>R move C—>R quickly move C—>R pause at center then slowly move C—>R pause at center then move C—>R pause at center then quickly move C—>R slowly move C—>L move C—>L quickly move C—>L pause at center then slowly move C—>L pause at center then move C—>L pause at center then quickly move C—>L start at L then slowly move between LR start at L then move between LR start at L then move (narrowly) between
LR start at L then move quickly between LR start at R then slowly move between RL
54
55
56
57
58
47
48
49
50
51
52
53
#
37
38
39
40
41
42
43
44
45
46
59
60
61
62
63
64
Name
R<>L
R<>L narrow
R<>L fast
C>R<>L slw
C>R<>L s&n
C>R<>L
C>R<>Lfst
C—>R<>L sl
C—>R<>L
C—>R<>L fs
C>L<>R slw
C>L<>R s&n
C>L<>R
C>L<>R fst
C—>L<>R sl
C—>L<>R
C—>L<>R fs
LFO MWheel
LFO wide
Note wide
Note narrw
Notew+EG n
Noten+EG w
Vel wide
Vel narrow
Vel w+EG n
R&L1
R&L2
Description start at R then move between RL start at R then move narrowly betweenRL start at R then move quickly between RL start at C then move slowly between RL start at C then move slowly and narrowly between RL start at C then move between RL start at C then move quickly between RL pause at C then move slowly between RL pause at C then move between RL pause at C then move quickly between
RL start at C then move slowly between LR start at C then move slowly and narrowly between LR start at C then move between LR start at C then move quickly between LR pause at C then move slowly between LR pause at C then move between LR pause at C then move quickly between
LR controller regulates the width (initially 0) of LFO panning broad panning by LFO broad panning by note number narrow panning by note number broad panning by note number + narrow
LR movement narrow panning by note number + broad
LR movement broad panning by key velocity narrow panning by key velocity broad panning by key velocity + narrow
LR movement variation of repeated LR movement variation of repeated LR movement
COMMON DATA / ELEMENT DYNAMIC PAN
6.0 Dynamic pan edit
Summary: This function allows you to edit the currently selected Dynamic Pan data.
Procedure:
From: Voice Common job 06.ElemPan
(JUMP #207)
When: an Internal dynamic pan memory is selected
Press: F8 (Edit)
Select: the Dynamic Pan parameter you wish to edit
Editing is possible only when an Internal pan memory is selected. If you want to edit one of the preset pan memories, press COPY to copy it to an
Internal pan memory as explained in the following section 6.0.1 Copy Pan Data.
The name and number of the currently selected
Dynamic Pan data are displayed.
Move the cursor in this area to select a job.
01: Pan Source: Select a control source
(velocity, note number, or LFO) to affect dynamic panning. (See 6.1 Pan Source)
02: Pan EG: Set the panning EG. (See 6.2 Pan
EG)
03: Pan Name: Assign a ten-character name to the pan data. (See 6.3 Pan Name)
Pressing F1-F3 will select the corresponding job.
96
VOICE EDIT MODE
COMMON DATA / ELEMENT DYNAMIC PAN
6.0.1 Copy pan data
Summary: This function copies dynamic pan data from another memory into an Internal pan data memory.
Procedure:
When: editing dynamic pan data
Press: COPY to get the following display.
Specify: the source and destination pan.
To copy: the pan data press F8.
To quit: without copying press EXIT.
Source Pan: Select the dynamic pan data to copy.
Destination Pan: Select the dynamic pan data
(internal 1-32) into which to copy the Source
Pan data.
After selecting Source Pan and Destination Pan, press F8 (Go) to copy the data. You will be asked "Are you sure?". Press YES and the data will be copied.
Remarks: Only Internal Pan Data memories can be edited. If you want to edit one of the preset pan tables, use this function to copy it into an Internal pan memory.
COMMON DATA / ELEMENT DYNAMIC PAN
6.1 Pan source
Summary: This determines how the dynamic panning will be affected; either by Velocity, or Note
Number, or LFO.
Procedure:
From: Dynamic Pan Edit job directory
Select: 01 :Pan Source
Specify: the pan source and depth source will have no effect. When this is set to
127, the selected pan source will pan the element over the range of full left to full right.
Pan Source (Velocity, Key Note Number, LFO):
Select the control source which will affect dynamic panning. When velocity is selected, the playing strength of each note will affect panning.
When note number is selected, notes above middle C will be panned more to the right, and notes below middle C will be panned more to the left. When LFO is selected, the LFO of the element will continuously pan the sound.
Source Depth (0...127): This determines how much the selected Pan Source will affect panning. When this is set to 0, the selected pan
Remarks: Dynamic panning is controlled by two factors working together; the Pan Source and the
Pan EG. Refer to the diagram in 6.2 Pan EG for an example of this.
97
VOICE EDIT MODE
COMMON DATA / ELEMENT DYNAMIC PAN
Summary: Specify how the element will be panned over time, starting when each note is played.
Procedure:
From: Dynamic Pan Edit job directory
Select: 02:Pan EG.
Press: F1 (Rate) to set pan EG rates.
Press: F2 (Lvl) to set pan EG levels.
6.2 Pan EG
SLP (Loop Point S1-S4): This specifies the segment from which the EG will continue looping if a key remains depressed after the EG has come to the end. Refer to the following diagram.
98
The number and name of the currently selected
Dynamic Pan data are displayed.
This indicates the displayed segment and range of the EG graphic display. To change the range, hold SHIFT and press F1-F6 (x1, x2, x5, x10, x20, x50). To shift the EG graphic display to a different segment, hold SHIFT and press F7 or F8 to select Seg0-Seg4, Rell.
The pan EG is graphically displayed.
Press F1 (Rate) to set EG rates. Press F2 (Lvl) to set EG levels.
HT (Keyon Delay Time 63...0): When this is set to 0, the pan EG will begin immediately after a key is pressed. For higher settings, there will be an increasingly longer delay before the pan EG begins.
R1-R4, RR1-RR2 (Keyon Rates, Release Rates
0...63): Keyon Rates 1-4 and Release Rates 1-
2 determine the speed of the pan EG. Higher settings result in faster change. Refer to the following diagram.
L0-L4, RL1-2 (Keyon Levels, Release Levels
-32...+32): Keyon Levels 0-4 and Release
Levels 1-2 determine the panning direction and distance of the pan EG. Negative settings move left, and positive settings move right. Refer to the following diagram.
When you press a key, the sound will be output at the pan position of L0. When the specified hold time
(HT) has elapsed, the pan position will change at the rate of R1 to level L1. When the pan position reaches L1, it will change at the rate of R2 to the position of L2. When the pan position reaches L2, it will change at the rate of R3 to the position of L3.
When the pan position reaches L3, it will change at the rate of R4 to the position of L4. When the pan position reaches L4, the EG will begin looping from the specified segment (in the above diagram,
SLP=S3).
When you release the key, the pan position will change at the rate of RR1 to the position of RL1.
When the pan position reaches RL1, it will change at the rate of RR2 to the position of RL2.
Remarks: Hold Time (HT) is a time setting, but the various Rates are speed. Higher settings for
Hold Time will result in a longer delay before the pan EG begins, but higher settings for Rates will result in faster change. The final result of the
Pan EG will depend on the Pan Source settings.
VOICE EDIT MODE
COMMON DATA / ELEMENT DYNAMIC PAN
6.3 Pan name
Summary: Specify a ten-character name for the internal Pan data memory being edited.
Procedure:
From: Dynamic Pan Edit job directory
Select: 03:Pan Name
Specify: a name for the pan memory
Enter a ten-character name for the Pan data.
To clear the currently entered name press F1
(Clr).
To switch to upper-case characters press F2
(Uppr).
To switch to lower-case characters press F3
(Lowr).
Methods of entering character data are explained in Introducing the SY77, How to use the
numeric key pad, on page 00.
COMMON DATA
7. Output group select
Summary: Specify the output group for each element.
Procedure:
From: voice common job directory (JUMP #201)
Select: job 07:OutSel (JUMP #208)
Specify: the output group for each element
JUMP #208 dynamic pan memory, and the stereo signal for each element is. sent to the DSP effect units via
Output Group 1 and/or 2. The selected Output
Group(s) will determine how each element is processed through the effects units. (Refer to
Voice Common data job 10.1 Effect Mode for details.) If output group is turned off, that element will not be heard.
Element 1-4 (off, grp1, grp2, both): Each of the elements in a voice is independently panned by a
COMMON DATA
8. Random pitch
Summary: Specify the amount of random pitch variation for the voice.
Procedure:
From: voice common job directory (JUMP #201)
Select: job 08:Random (JUMP #209)
Specify: the amount of random pitch variation
JUMP #209
99
VOICE EDIT MODE
Random Pitch Depth (0...7): For a setting of 0, a key will produce the same pitch each time it is pressed. For settings of 1...7, a key will produce a random deviation in pitch. Higher settings result in greater deviation from the standard key pitch.
Remarks: This parameter is helpful when simulating instruments which have a naturally unsteady pitch.
The random pitch deviation is applied separately to each element in the voice, meaning that pitch differences may appear between elements.
COMMON DATA
9. Portamento
Summary: Specify the Portamento mode and time.
Portamento creates a smooth glide in pitch between one note and the next.
Procedure:
From: voice common job directory (JUMP #201)
Select: job 09:Porta (JUMP #210)
Specify: the portamento mode and time
Portamento Mode: If the currently selected voice mode is polyphonic (voice modes 4-10), the
Portamento mode is fixed at Follow mode. If the currently selected voice mode is monophonic
(voice modes 1-3), the Portamento mode can be set either to Fingered or Fulltime.
JUMP #210
Fingered portamento: Portamento is applied only if you press a note before releasing the previous one; i.e., when you play legato.
Full Time portamento: Portamento is applied between all notes.
Portamento Time (0...127): This determines the time of the pitch glide between notes. Higher settings result in a longer (slower) glide.
Remarks: If you do not want portamento, set
Portamento Time to 0 so that the pitch change between notes is instantaneous.
As noted in the display, portamento applies only to AFM elements. It will have no effect on voices which use only AWM elements (voice modes 6-8). If a voice uses both AFM and
AWM elements (voice modes 9 and 10), Portamento will apply only to the AFM elements in the voice.
COMMON DATA
10. Effect set
Summary: Specify how the effects units are connected, select an effect type for each unit, and make settings for each effect.
Procedure:
From: voice common job directory (JUMP #201)
Select: job 10:Effect (JUMP #211)
Select: the effect parameter you wish to edit
JUMP #211
Move the cursor in this area to select a job.
01: Effect Mode Select: Specify how the four effect units will be connected. See 10.1
Effect Mode Select.
02: Modulation Effect 1 Set: Select an effect type and set parameters for modulation effect 1. See 10.2 Modulation Effect 1 Set.
03: Modulation Effect 2 Set: Select an effect type and set parameters for modulation effect 2. This is set in exactly the same way as explained for Modulation Effect 1. See
10.2 Modulation Effect 1 Set.
100
04: Reverb Effect 1 Set: Select an effect type and set parameters for reverb effect 1. See
10.4 (F1) Reverb effect 1 set.
VOICE EDIT MODE
05: Reverb Effect 2 Set: Select an effect type and set parameters for reverb effect 2. This is set in exactly the same way as Reverb
Effect 1. See 10.4 (F1) Reverb effect 2 set.
Pressing F1-F5 will select the corresponding job.
COMMON DATA / EFFECT SET
10.1 Effect mode select
Summary: This determines how the four effects will be arranged to process the sound from the two stereo groups 1 and 2.
Procedure:
From: Effect Set job directory (JUMP #201)
Select: 01:Effect Mode Select (JUMP #212)
Specify: the effect mode
JUMP #212
Effect Mode (off, 1, 2, 3): This determines how the four effects will be arranged to process the sound from the two stereo groups 1 and 2. The effect mode will be graphically shown in the display.
When the Effect Mode is Off, the stereo groups 1 and 2 will be sent directly to output groups 1 and 2 without passing through the effect units.
When an Effect Mode of 1, 2, or 3 is selected, the stereo groups 1 and 2 will be processed through the effect units as shown in the following diagram.
Stereo Mix 1 (off, on): When this is turned on, the unprocessed sound from group 1 will be added to the processed sound sent from output group 1.
Stereo Mix 2 (off, on): When this is turned on, the unprocessed sound from group 2 will be added to the processed sound sent from output group 2. If effect mode 3 is selected, the Stereo
Mix 2 cannot be set.
Remarks:
The settings in Voice Common data 7. Output
group select (JUMP #208) will determine whether each element of the voice is sent to
Group 1 or Group 2.
All modulation effects are stereo-in stereo-out.
Reverb effects 35-40 are also stereo-in stereoout. Reverb effects 1-34 are mono-in stereoout, and the incoming stereo signal to each effect unit is combined into a mono signal before it is processed.
Effect Mode 3 is an exception. Only the Lch output of modulation effect 1 and the Rch output of modulation effect 2 will be used for the
Reverb effect 1 input.
If you want the Dynamic Pan to be heard when using reverb effects 1-34, you must turn the
Stereo Mix on to allow the direct stereo signal from the element pan to be combined with the output from the effect units.
The following sections 10.2-10.5 explain low to make settings for the four effect units.
101
VOICE EDIT MODE
COMMON DATA / EFFECT SET
10.1.1 Copy voice effect
Summary: This function copies Effect data from another voice into the effect data of the currently edited voice.
Procedure:
When: editing Effect data (jobs 10.1-10.5)
Press: COPY to get the following display.
Specify: the voice from which to copy the effect data
To copy: the data press F8
To quit: without copying press EXIT
Use the voice memory buttons, bank buttons A-
D, and voice memory buttons 1—16 to select a source voice from which to copy the Effect data.
Press F8 (Go) and you will be asked "Are you sure?". If you are sure you want to copy the effect data, pressYES and the effect data will be copied from the selected voice to the voice being edited.
COMMON DATA / EFFECT SET
10.2 (F1) Modulation effect 1 set (Data)
Summary: Select an effect type for modulation effect
1, and set the effect balance and output level.
This explanation also applies to modulation effect 2.
Procedure:
From: Effect Set job directory (JUMP #211)
Select: 02:Modulation Effect 1 Set
Press: F1 (Data) (JUMP #213)
Specify: the effect type, effect balance, and output level
JUMP #213
Output Level (0...100%): This determines the volume level of the effect output. At a setting of
0% the effect unit will output no sound, and at a setting of 100% the output of the effect unit will be at full volume.
To set the parameters of the selected Effect
Type, press F2 (Parm). (See the following section 10.2 (F2).)
102
Effect Type: Four types of effect can be selected for the modulation effect unit. Refer to the list of modulation-type effects in the following section
10.2 (F2).
Effect Balance (0...100%): This determines the balance of processed and unprocessed sound. At a setting of 0% the output of the effect unit will be only unprocessed sound, and at a setting of
100% the output of the effect unit will be only processed sound.
Remarks: All modulation effects are stereo-in stereo-out.
Note: Changing the Effect Type will initialize the
Parameter settings of F2 (Parm).
VOICE EDIT MODE
COMMON DATA / EFFECT SET
10.2 (F2) Modulation effect 1 set (Parameters)
Summary: Set effect parameters of the effect type selected for modulation effect 1. This explanation also applies to modulation effect 2.
Procedure;
From: Effect Set job directory (JUMP #211)
Select: 02:Modulation Effect 1 Set
Press: F2 (Parm) (JUMP #214)
Specify: parameter settings for the selected effect
The number and type of effect parameters will depend on the selected Effect Type. Refer to the following parameter lists for each effect type.
Through has no parameters.
To select an Effect Type and set Effect Balance and Output level, press F1 (Data). (See the previous section 10.2 (F1).)
Note: Changing the Effect type in F 1 (Data) will initialize these Parameter settings.
Through: The input sound will be output without any processing.
1:St.Chorus (stereo chorus)
Modulation Frequency (0.2...20.0 Hz)
Pitch Mod. Depth (0...100%)
Amplitude Modulation Depth (0...100%)
JUMP #214
2:St.Flange (stereo flanger)
Modulation Frequency (0.2...20 Hz)
Modulation Depth (0...100%)
Modulation Delay Time (0.2...15 ms)
Feed Back Gain (0...99%)
3:Symphonic
Modulation Frequency (0.2...20 Hz)
Modulation Depth (0...100%)
4:Tremolo
Modulation Frequency (0.2...20 Hz)
Modulation Depth (0...100%)
Phase (-8...+8)
Modulation effect parameters: The parameters of the modulation effects are explained below in alphabetical order.
Amplitude Modulation Depth: The amount of tremolo; i.e., cyclical change in volume.
Feedback Gain: For effects with very short delays such as 2.St.Flange, this will adjust the character of the effect.
Modulation Depth: The depth of the cyclical change.
Modulation Delay Time: For effects with very short delays such as 2.St.Flange, this will adjust the character of the effect.
Modulation Frequency: The speed of the cyclical change; i.e., the speed of chorusing, flanging, etc.
Pitch Modulation Depth: The amount of vibrato; i.e., cyclical change in pitch.
Phase: The phase of the pitch shifted signal.
COMMON DATA / EFFECT SET
10.4 (F1) Reverb effect 1 set (Data)
Summary: Select an effect type for Reverb effect 1, and set the effect balance and output level. This explanation also applies to reverb effect 2.
Procedure:
From: Effect Set job directory (JUMP #211)
Select: 04:Reverb Effect 1 Set
Press: Fl (Data) (JUMP #217)
Specify: the effect type, effect balance, and output level
JUMP #217
103
VOICE EDIT MODE
Effect Type: Forty types of effects can be selected for the reverb effect unit. Refer to the list of reverb-type effects in the following section
10.4 (F2).
Effect Balance (0...100%): This determines the balance of processed and unprocessed sound. At a setting of 0% the output of the effect unit will be only unprocessed sound, and at a setting of
100% the output of the effect unit will be only processed sound.
Output Level (0...100%): This determines the volume level of the effect output. At a setting of
0% the effect unit will output no sound, and at a setting of 100% the output of the effect unit will be at full volume.
To set the parameters of the selected Effect
Type, press F2 (Parm). (See the following section 10.4 (F2).)
Remarks: Reverb effects l:Rev.Hall to
34:Distortion are mono-in stereo-out. In other words, the incoming stereo signal from the element Dynamic Pan is combined into a mono signal and processed to create a stereo effect.
Reverb e f f e c t s 35:Ind.Delay to
40:Ind.Rev&Delay are stereo-in stereo-out, with independently settable parameters for left and right.
Note: Changing the Effect Type will initialize the
Parameter settings of F2 (Parm).
COMMON DATA / EFFECT SET
10.4 (F2) Reverb effect 1 set (Parameters)
Summary: Set effect parameters of the effect type selected for reverb effect 1. This explanation also applies to reverb effect 2.
Procedure:
From: Effect Set job directory (JUMP #211)
Select: 04:Modulation Effect 1 Set
Press: F2 (Parm) (JUMP #218)
Specify: parameter settings for the selected effect
The number and type of effect parameters will depend on the selected Effect Type. Refer to the following parameter lists for each effect type.
00:Off(Through) has no parameters.
To select an Effect Type and set Effect Balance and Output level, press F1 (Data). (See the previous section 10.4 (F1).)
Note: Changing the Effect Type in F1 (Data), will initialize these Parameter settings.
104
JUMP #218
1:Reverb Hall, 2:Reverb Room, 3:Reverb Plate,
4:Reverb Church,5:Reverb Club, 6:Reverb
Stage, 7:Reverb Bath Room, 8:Reverb Metal
Reverb Time (0.3...10.0 sec)
L.P.F. (1.25...12 KHz, Through)
Initial Delay (0.1...50 ms)
9:Single Delay
Delay Time (0.1...300 ms)
FB Delay Time (0.1...300 ms)
Feedback Gain (0...99%)
10:Delay L,R,
Lch Delay Time (0.1...300 ms)
Rch Delay Time (0.1...300 ms)
Feedback Gain (0...99%)
11:Stereo Echo
Lch Delay Time (0.1...152 ms)
Rch Delay Time (0.1...152 ms)
Feedback Gain (0...99%)
12:Doubler 1
Delay Time (0.1...50 ms)
H.P.F. (Thru, 160...1000 Hz)
L.P.F. (1.25...12 KHz, Thru)
13:Doubler 2
Lch Delay Time (0.1...50 ms)
Rch Delay Time (0.1...50 ms)
L.P.F. (1.25... 12 KHz, Thru)
14:Ping-Pong Echo
Delay Time (0.1... 152 ms)
Pre-Delay Time (0.1... 152 ms)
Feedback Gain (0... 99%)
15: Pan Reflection
Room Size (0.5... 3.2)
Feedback Gain (0...99%)
Direction (L R,L R)
16:Early Reflection, 17:Gate Reverb,
18:Reverse Gate
Room Size (0.5...3.2)
L.P.F. (1.25... 12 KHz, Thru)
Initial Delay (0.1... 50 ms)
19:Feedback Early Reflection, 20:Feedback
Gate, 21:Feedback Reverse
Room Size (0.5...3.2)
L.P.F. (1.25...12 KHz, Thru)
Feedback Gain (0...99%)
22:Single Delay & Reverb
Reverb Time (0.3... 10.0 sec)
Delay Time (0.1... 152 ms)
Feedback Gain (0...99%)
23: Delay L/R & Reverb
Reverb Time (0.3... 10.0 sec)
Lch Delay Time (0.1... 152 ms)
Rch Delay Time (0.1... 152 ms)
24:Tunnel Reverb
Reverb Time (0.3... 10.0 sec)
Delay Time (0.1... 152 ms)
Feedback Gain (0..99%)
25:Tone Control 1
Low Gain (-12...+12 dB at 800 Hz)
Mid Gain (-12...+12 dB at 1260 Hz)
High Gain (-12...+12 dB at 3KHz)
26:Single Delay + Tone Control 1,
27:Delay L/R + Tone Control 1
Brilliance (0... 12)
Delay Time (0.1... 300 ms)
Feedback Gain (0...99%)
VOICE EDIT MODE
28:Tone Control 2
H.P.F (Thru, 160... 1000 Hz)
Mid Gain (-12...+12 dB at 1260 Hz)
L.P.F. (1.25... 12 KHz, Thru)
29:Single Delay + Tone Control 2,
30:Delay L/R + Tone Control 2
Brilliance (0... 12)
Delay Time (0.1... 300 ms)
Feedback Gain (0...99%)
31:Distortion + Reverb
Reverb Time (0.3... 10.0 sec)
Distortion Level (0... 100%)
Dist & Rev Balance (0...100%)
32:Distortion + Single Delay,
33:Distortion + Delay L/R
Delay Time (0.1... 300 ms)
Feedback Gain (0...99%)
Distortion Level (0...100%)
34:Distortion
Distortion Level (0...100%)
H.P.F. (Thru, 160... 1000 Hz)
L.P.F. (1.25... 12 KHz, Thru)
35:Ind. Delay
Lch Delay Time (0.1... 152 ms)
Rch Delay Time (0.1... 152 ms)
Feedback Gain (0...99%)
36:Ind. Tone Control
Lch Brilliance (0... 12)
Rch Brilliance (0... 12)
Mid Gain (-12...+12 dB at 1260 Hz)
37:Ind. Distortion
Lch Dist. Level (0...100%)
Rch Dist. Level (0...100%)
L.P.F. (1.25... 12 KHz, Thru)
38:Ind. Reverb
Lch Reverb Time (0.3... 10.0 sec)
Rch Reverb Time (0.3... 10.0 sec)
High Control (0.1... 1.0)
39:Ind. Delay & Reverb
Lch Delay Time (0.1... 152 ms)
Lch Feedback Gain (0.. .99%)
Rch Reverb Time (0.3... 10.0 sec)
105
VOICE EDIT MODE
40:Ind. Reverb & Delay
Lch Reverb Time (0.3... 10.0 sec)
Rch Delay Time (0.1... 152 ms)
Rch Feedback Gain (0...99%)
Reverb effect parameters: The parameters of the reverb effects are explained below in alphabetical order.
Brilliance: the overall brightness of the sound
Delay Time: the delay before the echoed sound
Direction: the direction in which the echoes will be panned
Dist & Rev Balance: the balance between distortion and reverb
Distortion Level: the amount of the distorted sound
FB Delay Time: the delay between repeated echoes of the sound
Feedback Gain: the volume ratio of each echo to the previous one
H.P.F.: frequencies higher than this will be allowed to pass
High Control: the proportion at which high frequency reverb will decay
High Gain: the amount of boost or cut at 3 KHz
Initial Delay: the delay before the effect processed sound will be heard
L.P.F.: frequencies lower than this will be allowed to pass
Lch Brilliance: the overall brightness of the left channel
Lch Delay Time: the delay between repeated echoes in the left channel
Lch Dist. Level: the amount of distortion for the left channel
Lch Feedback Gain: the volume ratio of each successive left channel echo
Lch Reverb Time: the time for the left channel reverb to decrease 60 dB
Low Gain: the amount of boost or cut at 800 Hz
Mid Gain: the amount of boost or cut at 1260 Hz
Pre-Delay Time: the time delay before reverb will begin
Rch Brilliance: the overall brightness of the right channel
Rch Delay Time: the delay between repeated echoes in the right channel
Rch Dist. Level: the amount of distortion for the right channel
Rch Feedback Gain: the volume ratio of each successive right channel echo
Rch Reverb Time: the time for the right channel reverb to decrease 60 dB
Reverb Time: the time for the reverb to decrease
60 dB
Room Size: the size (in arbitrary units) of the reverberant room
COMMON DATA
11. Micro tuning
Summary: Select a micro tuning for the entire voice, and specify whether or not each element will use this micro tuning.
Procedure:
From: Voice Common job (JUMP #201) directory
Select: job 11 :McrTune (JUMP #221)
Specify: the micro tuning, and element micro tuning on/off
JUMP #221
Micro Tuning Select (I-1, I-2, C-1, C-2, P-1...
P-64): Select a micro tuning to be used by the voice. 64 micro tuning memories are preset inside the SY77 (see the following remarks).
Two of your own micro tunings can be stored in
Internal memory, and a card can accommodate another two micro tunings. Internal voices cannot use card micro tunings, nor can card voices use internal micro tunings.
Element 1-4 (off, on): When this is turned on, the element will use the micro tuning selected by
Micro Tuning Select. When this is turned off, the element will use equal temperament scale instead of the selected micro tuning.
106
Pressing F1 (Sel) will move the cursor to Micro
Tuning Select. Pressing F2-F5 will move the cursor to Element 1-4.
Remarks: As with Pan data, Micro Tuning data is not part of the voice. This Micro Tuning Select setting merely specifies which micro tuning will be used.
The sixty four micro tunings preset inside the SY77 are as follows.
01 Equal temperament: The "compromise" tuning used for most of the last 200 years of
Western music, and found on most electronic keyboards. Each half step is exactly 1/12th of an octave, and music can be played in any key with equal ease. However, none of the intervals are perfectly in tune.
02-13 Pure major (C...B): This tuning is designed so that most of the intervals
(especially the major third and perfect fifth) in the major scale are pure. This means that other intervals will be correspondingly out of tune.
You need to specify the key (C...B) you will be playing in.
14-25 Pure minor (A...G#): The same as Pure
Major, but designed for the minor scale.
26-37 Mean tone (C...B): This is an adjustment of the Pure and Pythagorean tunings. The interval between the root and fifth is tuned slightly flat, so that the interval between the root and second degree is exactly halfway between a major and minor pure second; i.e., an average or "mean".
38-49 Pythagorean (C...B): This scale is derived by tuning pure perfect fifths upward from the root. This causes the octave to be flat, so one of the fourths is mistuned to compensate.
(In the key of C, the Ab — Eb interval.)
50 Werckmeister: Andreas Werckmeister, a contemporary of Bach, designed this tuning so that keyboard instruments could be played in any key. Each key has a unique character.
51 Kirnberger: Johan Philipp Kimberber was also concerned with tempering the scale to allow performances in any key.
VOICE EDIT MODE
52 Vallotti & Young: Francescantonio Vallotti and Thomas Young (both mid-1700s) devised this adjustment to the Pythagorean tuning in which the first six fifths are lower by the same amount.
53 1/4 shifted equal: This is the normal equal tempered scale shifted up 50 cents.
54 1/4 tone: Twenty-four equally spaced notes per octave. (Play twenty-four notes to move one octave.)
55 1/8 tone: Forty-eight equally spaced notes per octave. (Play forty-eight notes to move one octave.)
56 JustAdjust: This is a special tuning used in preset voice P1-B05 Chorus Pno to make fine adjustments in the pitch of the AWM waveform.
57 Big Chord: The pitch is adjusted down one octave for every 8 half notes, allowing chords to be played anywhere without becoming overly heavy. This microtuning is taken advantage of in preset voice P1-B06 BigChordEP.
58 Log Equal: A variation of conventional equal temperament.
59 1/4 Tonelo: The same as micro tuning 54, but lower in pitch.
60 Harmonic A: The white keys will play the harmonic series beginning on A, and the black keys will play the harmonic series beginning on
E.
61 Reverse: The conventional equal tempered scale is inverted.
62 Far East: The black keys and white keys will each play a different eastern scale.
63 Blue: The white keys will play the blues scale. The black keys add a blue flavor
64 Question-1: Play the white keys consecutively upwards starting from C2.
Play the black keys consecutively upwards starting from C#1.
Editing: To edit the currently selected Internal micro tuning, press F8 (Edit). Preset or Card micro tunings cannot be edited. If you want to edit a preset or card micro tuning, you must first copy it to an internal micro tuning memory.
107
VOICE EDIT MODE
COMMON DATA / MICRO TUNING SET
11.0 Micro tuning edit
Summary: This function allows you to edit the currently selected Micro Tuning data.
Procedure:
From: Voice Common job 11. Micro Tuning Set
(JUMP #221)
When: an Internal micro tuning is selected
Press: F8 (Edit) (JUMP #222)
Select: the micro tuning data you wish to edit
Editing is possible only when an Internal micro tuning memory is selected. If you want to edit a Preset or Card micro tuning memory, press COPY to copy it to an Internal micro tuning memory as explained in the following section 11.0.1 Copy Micro Tuning
Data.
JUMP #222
The number and name of the currently selected
Micro Tuning data are displayed.
Move the cursor in this area to select a job, and press ENTER.
01: Micro Tuning Data: Edit the tuning for each note of the scale. See 11.1 Micro Tuning
Data
02: Micro Tuning Name: Assign a ten-character name to the micro tuning data. See 11.2
Micro Tuning Name.
Pressing F1 or F2 will select the corresponding job.
COMMON DATA / MICRO TUNING SET
11.0.1 Copy micro tuning
Summary: This function copies micro tuning data from another memory into an Internal micro tuning memory.
Procedure:
When: editing micro tuning data
(JUMP #223, #224)
Press: COPY to get the following display.
Select: the micro tuning copy source and destination
To copy: the data press F8
To quit: without copying press EXIT
Source Tuning (I-1, I-2, C-1, C-2, P-1...P-64):
Select the micro tuning data to copy. C-1 and C-2
(card) can be selected only if a VOICE card is
Destination Tuning (I-1, I-2): Select the micro tuning (internal 1 or 2) into which to copy the
Source Tuning data.
After selecting Source Tuning and Destination
Tuning, press F8 (Go) to copy the data. You will be asked "Are you sure?". Press YES and the data will be copied.
Remarks: Only Internal micro tuning data can be edited. If you want to edit one of the preset or card micro tunings, use this function to copy it into an internal micro tuning memory.
108
VOICE EDIT MODE
COMMON DATA / MICRO TUNING SET
11.1 Micro tuning data
Summary: Edit the tuning for each note of the selected micro tuning data.
Procedure:
From: Micro Tuning Edit job (JUMP #222) directory
Select: 0 1 : M i c r o Tuning Data (JUMP #223)
Specify: the tuning for each note
The number and name of the micro tuning data being edited are displayed.
The previous note and its absolute tuning value.
The note whose tuning you are editing.
Coarse Tuning (C#-1...G8): With the cursor located at Coarse, adjust the tuning of the currently edited note in half steps.
Fine Tuning (-43 or -42...+42): With the cursor located at Fine, adjust the tuning of the currently edited note in fine steps of 1.171875 cents. The
JUMP #223 absolute tuning value displayed in parentheses indicates the number of these steps starting from 0 steps at C#-2. The lowest setting of this parameter will be either -43 or -42 depending on the Coarse Tuning value.
The next note name and its absolute tuning value.
Pressing F1 (K-Dn) or F2 (K-Up) will move to the previous or next note. You can also play a note on the keyboard to select a note at any time.
Remarks: First use F1 (K-Dn) and F2 (K-Up) to select the note whose tuning you want to edit.
You can also use the SY77 keyboard to select the note. The currently edited note will appear in the center of the display, with the previous note shown at left and the next note shown at right.
Next set the Coarse and Tune tuning for the selected note. If you adjust Fine Tuning beyond the range of ±42, the Coarse Tuning will be moved up or down as appropriate.
COMMON DATA / MICRO TUNING SET
11.2 Micro tuning name
Summary: Specify a ten-character name for the internal Micro Tuning memory being edited.
Procedure:
From: Micro Tuning Edit job (JUMP #222) directory
Select: 02:Micro Tuning Name (JUMP #224)
Specify: a name for the micro tuning data
JUMP #224
Enter a ten-character name for the Micro Tuning data.
To clear the currently entered name press F1
(Clr).
To switch to upper-case characters press F2
(Uppr).
To switch to lower-case characters press F3
(Lowr).
Remarks: Methods of entering character data are explained in Introducing the SY77, How to use
the numeric key pad, on page 30.
109
VOICE EDIT MODE
COMMON DATA
12. (F1) Controller set (Pitch bend)
Summary: Specify the range over which the PITCH wheel and After Touch will affect the pitch.
Procedure:
From: Common Data job directory (JUMP #201)
Select: job 12:Ctrllr
Press: F1 (PB) (JUMP #225)
Specify: the pitch bend effect of the PITCH wheel and aftertouch
JUMP #225
Pitch Bend Wheel (0...12): This determines the range (0...12 half steps) over which the PITCH wheel will affect the pitch. When this is set to
12, the PITCH wheel will move the pitch one octave up or down. When this is set to 0, the
PITCH wheel will have no effect.
After Touch Pitch Bend (-12...+12): This determines how aftertouch will affect the pitch.
Pressing strongly down on the keyboard after playing a note will move the pitch down one octave (with a maximum setting of -12) and up one octave (with a maximum setting of +12).
COMMON DATA
12. (F2) Controller set (Modulation)
Summary: Specify the controller device that will add vibrato (pitch modulation), tremolo (amplitude modulation), and wah-wah (filter modulation).
Procedure:
From: Common Data job directory (JUMP #201)
Select: job 12:Ctrllr
Press: F2 (Mod) (JUMP #226)
Specify: the controller and depth for each parameter
Pitch Modulation Depth (0...127): This setting determines the range over which the specified device will add vibrato (pitch modulation). For a setting of 127, the selected controller will be able to add the maximum amount of vibrato. For a setting of 0, the selected controller will not be able to add vibrato.
Amplitude Modulation Depth (0...127): This setting determines the range over which the specified device will add tremolo (amplitude modulation). Details are the same as in
JUMP #226
Filter Modulation Depth (0...127): This setting determines the range over which the specified device will add wah-wah (filter modulation).
Details are the same as in
MIDI Ctrl No. & Device (0...120, After Touch):
These settings determine the controller devices that will add Pitch modulation, Amplitude modulation, and Filter modulation. The selected MIDI control number (0...120) is displayed at left, and the function which is defined for that number is displayed at right.
To make controller settings for Pitch Bend, Pan, or Other, press F1, F3, or F4. Refer to sections
12.(F1), 12.(F3), or 12.(F4).
Remarks: As shown by the following diagram, the controllers selected here will be able to add pitch, amplitude, and filter modulation in addition
to the pitch, amplitude, and filter modulation specified by the PModDepth, AModDepth, and
FModDepth settings of each element LFO. The effect of the resulting modulation will depend on the sensitivity settings of each element.
110
Fixed controllers: The control numbers transmitted by the following four controllers built into the
SY77 are fixed, and cannot be changed. When these controllers are moved, they will transmit
MIDI control messages of the corresponding number. When the following control numbers are selected, these built-in controllers will regulate the assigned function. The official MIDI standard defines Aftertouch not as a control number but as a different type of message, so it is not given a control number.
001: The MODULATION 1 wheel located at the left of the keyboard
002: An optional breath controller connected to the rear panel BREATH jack
004: An optional foot controller connected to the rear panel FOOT CONTROLLER jack
Aftertouch: (i.e., pressing down on the keyboard after playing a note)
Assignable controllers: In addition to these four controllers whose function is fixed, the SY77 has the following two assignable controllers. With the factory settings, the MODULATION 2 wheel is assigned MIDI control number 13, and the FOOT
SWITCH is assigned control number 65. The con-
COMMON DATA
12. (F3) Controller set (Pan)
Summary: Specify the controller device that will regulate the depth of the cyclical panning movement (Pan LFO), and the controller that will directly adjust the pan position (Pan Bias).
Procedure:
From: Voice Common job (JUMP #201) directory
Select: job 12:Ctrllr
Press: F3 (Pan) (JUMP #227)
Specify: the controller and depth for each parameter
VOICE EDIT MODE trol number transmitted by these controllers can be changed by the setting in Utility mode System
Utility 3. Controllers (JUMP #803).
The MODULATION 2 wheel located at the left of the keyboard (initially set to transmit control number 013:Non-assigned)
An optional foot switch connected to the rear panel FOOT SWITCH jack (initially set to transmit control number 065:Portamento Switch)
MIDI controllers: The specified MIDI Ctrl No.&
Device applies both to the built-in controllers of the SY77 and to incoming MIDI control data received at MIDI IN. For example if you have specified that Amplitude Modulation Depth be regulated by 001:Modulation Wheel, it will be regulated by incoming MIDI Control Change 001 messages in addition to movements of the
SY77's own MODULATION 1 wheel.
The official MIDI standard does not define the purpose of all of the MIDI Control Change messages 0-120. If the selected control number has not been defined, the LCD will show "Nonassigned no.". You can use these control numbers just like any other control number. For example you might assign an assignable controller (see Utility mode System Utility
3. Controllers) to one of these numbers, and then select that control number to regulate Pitch
Modulation depth. "Non-assigned no." simply means that there is no official agreement as to the use of that control number.
JUMP #227
1 1 1
VOICE EDIT MODE
Pan LFO Depth (0...127): This determines the range over which the specified controller will regulate the depth of the Pan LFO. When this is set to 127, the selected controller will regulate
LFO panning over the full range from no LFO panning to maximum LFO panning. When this is set to 0, the selected controller will have no effect on LFO panning.
Pan Bias Depth (0...127): This determines the range over which the specified controller will affect pan position.
MIDI Ctrl No. & Device (0...120, After Touch):
These settings determine which controllers will regulate the depth of LFO panning and Pan Bias.
To make controller settings for Pitch Bend,
Modulation, or Other, press F1, F2, or F4. Refer to sections 12. (F1), 12. (F2), or 12. (F4).
MIDI Ctrl No. & Device: For details refer to 12.
(F2) Controller set (Modulation).
Remarks: Since the MODULATION 2 wheel is detented at the center position, it is especially useful for controlling pan. Since the MODULATION
2 wheel is assignable, to use it you must select the MIDI Ctrl No. to which it has been assigned.
Check the Utility mode System Utility
3. Controllers (JUMP #803) settings to see the
MIDI Control Number to which the assignable wheel has been set. For example if the assignable wheel has been set to its initial setting of MIDI Control Number 13, you would select "013:Non-assigned no." for the Pan Bias control number in order to use WHEEL 2 to control panning.
Note: When a voice is used in Multi Play mode, these Pan Control settings will be effective only if the Static Pan is set to Voice. Refer to Multi
Edit 5. Voice static pan (JUMP #408, #409).
COMMON DATA
12. (F4) Controller set (Other)
Summary: Specify controller devices that will regulate the volume, the EG bias and the Cutoff
Frequency of the filters in each element of the voice.
Procedure:
From: Voice Common job (JUMP #201) directory
Select: job 12:Ctrllr
Press: F4 (Othr) (JUMP #228)
Specify: the controller and depth for each parameter
VolLowLimit (Volume Low Limit 0...127): This determines the lowest volume that can be set by the specified controller. For example when this is set to 80, the controller will reduce the volume no lower than 80. When this is set to 0, the controller can reduce the volume to silence. When this is set to 127, the controller will have no
JUMP #228 effect on the volume. In addition to the controller specified here, the volume can always be controlled over its full range by an optional foot controller connected to the rear panel VOLUME jack.
EGbiasDepth (Eg Bias Depth 0...127): This determines the range over which the specified controller will control the EG bias. The result of controlling EG Bias for an AFM element will depend on the AModSens setting for each operator. If AModSens is set for carrier operators, the controller assigned to EG Bias will affect the volume of an AFM element. If AModSens is set for modulator operators, the controller assigned to EG Bias will affect the tone of an AFM element. For details refer to Voice AFM Element job 5. Sensitivity. For an AWM element, this setting will affect the Volume.
CutoffDepth (Filter Cutoff Depth 0...127): This determines the range over which the specified controller will increase the cutoff frequency specified for the filters of each element. Higher settings will allow the controller to brighten the tone. If the filter cutoff frequencies are already at maximum, this will have no effect. See the remarks below for details.
1 1 2
MIDI Ctrl No. & Device (0...120, Aftertouch):
These settings determine which controllers will regulate each parameter.
To make controller settings for Pitch Bend,
Modulation, or Pan, press Fl, F2, or F3. Refer to sections 12. (Fl), 12. (F2), or 12. (F3).
MIDI Ctrl No. & Device: For details refer to
12. (F2) Controllers set (Modulation).
Filter Cutoff Depth: The controller assigned to
CutoffDepth can be used in two ways to affect the filter, depending on the Control Source setting of each filter. Refer to Voice AFM Element
8.3 Cutoff EG or Voice AWM Element 7.3 Cutoff
EG.
COMMON DATA
13. Voice name
VOICE EDIT MODE
Continuously control the filter cutoff: If the
Control Source of a filter is set to LFO then the controller assigned to CutoffDepth can be used to continuously control the cutoff frequency even while a note is sounding.
Control the filter cutoff at key-on: If the Control Source of a filter is set to EG or EG-VA then the controller assigned to CutoffDepth will be used only at the instant the note is played; i.e., after playing a note you can move the controller without affecting the sound.
This can be used to give different filter cutoffs to individual notes as you play them.
JUMP #229
Summary: Specify a ten-character name for the voice being edited. In voice play mode, this voice name will be displayed in large characters.
Procedure:
From: Voice Common job (JUMP #201) directory
Select: job 13:Name (JUMP #229)
Specify: the voice name
Enter a ten-character name for the voice.
To clear the currently entered name press F1
(Clr).
To switch to upper-case characters press F2
(Uppr).
To switch to lower-case characters press F3
(Lowr).
Remarks: Methods of entering character data are explained in Introducing the SY77, How to use
the numeric key pad, on page 00.
COMMON DATA
15. Initialize voice
Summary: Initialize the Voice Common data being edited to a set of standard values. The Voice
Mode will not change.
Procedure:
From: Voice Common job (JUMP #201) directory
Select: job 15:Init
To execute: initialization press YES
To quit: without initializing press NO
1 1 3
VOICE EDIT MODE
This function sets all voice common data values to the minimum or simplest possible setting. When creating your own new voices, it is usually best to begin by editing an existing voice. However if you want to start from scratch, this Initialize function can often be helpful.
If you are sure you want to initialize the voice data, press YES and the voice common data of the voice being edited will be set to the values shown below. If you decide not to initialize, press NO.
This function initializes only Voice Common data.
Other initialize functions are provided for initializing
AFM Element or AWM Element data. Referto
Voice AFM Element 15. Initialize or Voice AWM
Element 15. Initialize.
Initialized settings for Voice Common Data
01 Element Levels
Voice Volume = 127
Element level =127 (all elements)
02 Element Detune
Element detune = ±0 (all elements)
03 Element Note Shift
Shift = ±0 (all elements)
04 Element Note Limit
Low Limit = C-2 (all elements)
High Limit = G8 (all elements)
05 Element Velocity Limit
Low Limit = 1
High Limit = 127
06 Element Dynamic Pan
Element Preset 1-01 "Center" (all elements)
(Pan Source = velocity, Source Depth = 0,
Pan EG; HT=0, R1-RR2=63, L0-RL2=0,
SLP=S1)
07 Output Select
Output Group = Both (all elements)
08 Random Pitch
Random Pitch Depth = 0
09 Portamento
Mode = Follow (poly)/ Fingered
(mono)
Speed = 0
10 Effect Set
Effect Mode = off
Stereo Mix = 1 and 2 both on
Effect Type = 00:through (all effects)
Effect Balance = 100% (all effects)
Output Level = 100% (all effects)
11 Micro Tuning Set
Preset-01 Equal Temperament
Element = off (all elements)
12 Controller Set
Pitch Bend Wheel Depth = 2
Aftertouch Pitch Bend Depth = 0
Pitch Modulation Depth = 64
Pitch Modulation Device = 1
Amplitude Modulation Depth = 64
Amplitude Modulation Device = 1 2
Filter Modulation Depth = 0
Filter Modulation Device = 1
Pan LFO Depth = 64
Pan LFO Device = 13
Pan Bias Depth = 0
Pan Bias Device = 10
Volume Low Limit = 0
Volume Low Device = 14
EG Bias Depth = 0
EG Bias Device = 2
Filter Cutoff Frequency Depth = 0
Filter Cutoff Frequency Devics = 12
13 Name Voice
Name = INIT VOICE
1 1 4
VOICE EDIT MODE
COMMON DATA
16. Recall voice
Summary: Recall the previously edited voice data.
Procedure:
From: Voice Common job (JUMP #201) directory
Select: job 16:Recall
To recall: the data press YES
To quit: without recalling press NO
If after editing a voice you exit voice edit mode without storing, the edited voice data will be lost. In such cases, you can use this function to recall the previously edited voice data into the editing buffer.
If you are sure you want to recall, press YES and the previously edited voice data will be recalled into the editing buffer. If you decide not to recall, press
NO.
This function recalls all voice data; element data as well as common data. The same function is also available when editing AFM Element or AWM
Element data.
1 1 5
VOICE EDIT MODE
AFM element data
AFM ELEMENT DATA
AFM element job directory
Summary: This job directory shows the editing jobs for an AFM element.
Procedure:
From: voice edit mode (JUMP #200 or #201)
When: editing a normal voice that contains AFM elements
Select: an AFM element F3-F6 (JUMP #230)
(E1-E4).
This area shows the number (1-4) and type
(AFM or AWM) of elements in the selected voice mode.
Move the cursor in this area to select a job and press ENTER to go to the selected job.
01:Algrthm (Algorithm):
F1; The algorithm determines how the six operators are connected. Three feedback sources can be selected and sent to other operators.
F2; Each operator can be modulated from an external source such as an AWM waveform or the noise generator.
F3; Each operator has two inputs In1 and In2 with input levels settings for each input.
02:Osclltr (AFM oscillator): The frequency produced by each operator can either be fixed or made to change according to the note played.
03:EG (AFM operator EG):
Fl; Make operator EG settings for an individual operator while viewing a graphic display.
F2; Make operator EG settings for all operators.
JUMP #230
04:0utput (AFM operator output):
F1; The output level of each operator can be made to vary across the keyboard.
F2; The output level of each operator can be set.
05:Sensitv (AFM sensitivity): The output level and frequency of each operator can be affected by key-on velocity or the LFO, and the EG rates of each operator can also be affected by key-on velocity.
06:LFO (AFM LFO):
Fl; The Main LFO is used to create tremolo
(amplitude modulation), vibrato (pitch modulation), or wah-wah (filter modulation).
F2; The Sub LFO is used to create vibrato (pitch modulation).
07:PitchEG (AFM pitch EG): The pitch EG creates a fixed shape of pitch change over time for each note, and can be switched on/off for each operator.
08:Filter (AFM filter): The two filters of each element can be used to control the tone in various ways. The filter EG creates a fixed pattern of tonal change over time, and a cyclically repeating signal from the LFO can be applied to the filter to create wah-wah.
15:Initlz (Initialize AFM element): The AFM element data being edited can be set to the minimum or simplest possible setting as a convenience when creating an element from scratch.
16: Recall (Recall voice): All data of the previously edited voice.
1 1 6
VOICE EDIT MODE
AFM ELEMENT DATA
Operator on/off
Summary: Any time while editing an AFM element, you can turn the output of each operator off/on.
This is useful when you want to hear how each operator affects the others, or when you want to hear only certain operators.
Procedure:
From: any job in the AFM job directory
Press: the OPERATOR ON/OFF buttons (memory select buttons 9-14) to turn operators 1-
6 on/off.
The on/off condition of each operator is shown in the upper right of the LCD when editing an AFM element, and also indicated by the OPERATOR ON/OFF
LEDs. Operators that are on are displayed in inverse. In the following LCD all operators are on.
Remarks: If you turn off all the carrier operators there will be no sound.
This function is provided as a help in editing.
Operator on/off settings are not stored as part of voice data.
When you select a different AFM or AWM element or exit element editing, all operators you turned off will be turned back on.
AFM ELEMENT DATA
AFM algorithm
Summary: You can view a graphic display of the current algorithm at any time while editing an
AFM element and select a different algorithm if you wish. Since the algorithm determines how each operator functions, you should always be aware of the algorithm when editing AFM operator data.
Procedure:
From: any job in the AFM (JUMP #231-#255) job directory
Press: F8 (Alg) (JUMP #234)
To exit: to the previous editing job press EXIT
JUMP #234
To return to the previous display, press EXIT.
Note: When you select an algorithm, all settings which modify the routings in the algorithm
(feedback, input, etc.) will be cleared to their initial settings.
AFM ELEMENT DATA
Copy element
Summary: While editing AFM element parameters other than EG, Output, Filter, or Effect, you can copy data from an element of another voice to the element you are now editing.
Procedure:
From: AFM element job 1, 2, 6, or 7
Press: COPY
Press: F1 (Src) and select the source voice
Press: F2 (Elem) and select the source element
To execute: the copy operation press F8 (Go)
1 1 7
VOICE EDIT MODE
Source Voice Select: Specify the memory
(internal, card, preset 1 or preset 2), the bank
A-D, and the number 1-16 of the voice from which you want to copy element data.
Source Voice: The number and name of the selected source voice is displayed.
Source Element Type: The type (AWM or
AFM) of each element in the selected voice is displayed.
AFM ELEMENT DATA
Copy operator
Destination Element Number: Specify the element 1-4 of the selected Source Voice which you want to copy into the currently edited element.
The type (AWM or AFM) of the selected element will be displayed in the Element Type line above. The selected source element must be the same type as the currently edited element. If not, the bottom line will show "Element type mismatch!"
After specifying the source voice and element, press
F8 (Go). The display will ask "Are you sure?". If you are sure you want to copy the element data then press YES, and the data will be copied.
Summary: While editing the parameters for operator EG or Output, you can copy EG and Output data from one operator to another.
Procedure:
From: AFM element job 3 or 4
(JUMP #236-242)
Press: COPY
Select: the data type, source operator, and destination operator
To execute: the copy operation press F8 (Go)
Data Type: Select one of the following types of data to be copied.
EG&OUTPUT: Envelope generator, output level and scaling
EG: Envelope generator
OUTPUT: Output level and scaling
Source: The specified data will be copied from this operator.
Destination: The specified data will be copied to this operator.
Remarks: It is often the case that many or all operators in a voice have similar settings, especially for EG parameters. In such cases you can save time by setting the average EG for the voice on one operator, and then copying it to the others.
AFM ELEMENT DATA
1. (F1) AFM algorithm (Form)
Summary: Select the Algorithm and specify feedback routings between operators.
Procedure:
From: AFM Element job directory (JUMP #230)
Select: job 01:Algrthm., and press (JUMP #231)
F1 (Form)
Specify: the algorithm number, and feedback sources and destinations
JUMP #231
1 1 8
or the result of feedback routing has no influence on the sound.
VOICE EDIT MODE
Algorithm Number (1...45): Select the algorithm to determine the "arrangement" of the six operators in an AFM element. Refer to the following chart of the 45 algorithms. When you change the Algorithm, the Src and Dst settings explained below and the external input settings explained in the following section will be initialized.
FB1-FB3: Feedback can be drawn from three of the operators in the algorithm and applied to any operator that has an unused input.
Src 1-3 (OP1...OP6): Select the source of feedback for the three feedback routings. Any operator can be selected as the source of feedback.
(In some algorithms, one or more feedback sources may be fixed by the choice of algorithm, and cannot be changed. In such cases, an "F" will be displayed after the Source (e.g., OP3F) and the Destination operator explained in 0 will be displayed in uppercase characters (e.g., IN1)
Dst OP1...OP6 (in1, in2): Select the destination of each feedback source. Each feedback source can be sent to as many destinations as you like.
Each operator has two inputs, and an operator can be selected as a feedback destination only if at least one of its inputs is free. It makes no difference whether in1 or in2 is used, but remember that the input levels of each operator are set independently for in1 and in2. Refer to the following section 1.3 Algorithm Input.
If both inputs of an operator are already used by the algorithm connection, "-" will be displayed. If both inputs are already used because of a feedback assignment, "use" will be displayed. If the algorithm has a fixed feedback loop, the feedback destination operator will be displayed in uppercase characters (e.g., IN1).
The cursor cannot be moved to the Dst setting for such operators.
Having three selectable feedback sources which can be sent to any or all other operators allows you to connect the operators in very complex ways. The following diagrams show how the operators would be connected for algorithm 40 when feedback sources and destinations are set as shown in the following table. Thin lines indicate the connections defined by the algorithm, and heavy lines indicate the feedback connections. Whether a connection between two operators is the result of the algorithm
Note: If a carrier operator is used as a feedback source, the amount of feedback will vary depending on the number of carriers, since carrier output levels are automatically adjusted according to the number of carriers.
Remarks: In previous Yamaha 6-operator FM synthesizers, you had a choice of 32 algorithms each of which included one feedback loop. The
SY77 provides broader possibilities with 45 algorithms, and three feedback loops that can be sent to more than one operator. In addition, operators can be modulated by external waveforms.
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VOICE EDIT MODE
AFM ELEMENT DATA
1. (F2) AFM algorithm (External input)
Summary: Modulate an operator from an external source such as AWM waveform or the noise generator.
Procedure:
From: AFM Element job (JUMP #230) directory
Select: job 01:Algrthm., and press (JUMP #232)
F2 (Extn)
Specify: noise and/or AWM input for each operator
JUMP #232
10:2AFM&2AWM, the waveform of AWM element 3 will be used to modulate AFM element 1, and the waveform of AWM element 4 will be used to modulate AFM element 2.
and : If both inputs of an operator are already used by the algorithm connection, "-" will be displayed. If both inputs are already used because of a feedback assignment, "use" will be displayed. The cursor cannot be moved to the
Dst setting for such operators.
Noise (off, in1, in2): The SY77 contains a noise generator which produces a type of white noise.
This can be sent to any free operator input to modulate the operator.
AWM (off, in1, in2): If the voice contains both
AFM and AWM elements (ie., if the voice mode is e i t h e r 9 : 1 A F M & 1 A W M or
10:2AFM&2AWM), an AWM waveform can be received at any free operator input to modulate the operator.
For voice mode 9:1AFM&1AWM, the waveform of AWM element 2 will be used to modulate AFM element 1. For voice mode
Remarks: Noise modulation makes it possible to create sounds that were difficult for previous FM synthesizers.
By using an AWM waveform to modulate one or more AFM operators, new harmonics can be added to the AWM sample. A simple example of this is given in Using RCM Hybrid
Synthesis in the appendix.
AFM ELEMENT DATA
1. (F3) AFM algorithm (Input level)
Summary: Set input levels In1 and In2 for each operator.
Procedure:
From: AFM Element job (JUMP #230) directory
Select: job 01:Algrthm. and press (JUMP #233)
F3 (Inpt)
Specify: the input level for each operator input
JUMP #233
IN1 Src, In2 Src: This displays the input sources for input Inl and In2 of each operator, as determined by Algorithm and Feedback settings (Fl) and External input settings (F2). The input sources cannot be changed from this job.
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Inl Level, In2 Level (0...7): Adjust the input level of Inl and In2 for each operator.
If an operator input is not used, the Src will display "off and the "Level will display "-". The cursor cannot be moved to the Level setting for such operators.
Remarks: Previous FM synthesizers allowed you to set only the output level of each operator,
VOICE EDIT MODE
However on the SY77, the input levels in1 and in 2 of each operator can also be set. If the input source is the feedback from another operator, the input level setting functions as the feedback level.
Correct adjustment of input levels is especially important when bringing in AWM to
AFM as a modulator.
AFM ELEMENT DATA
2. AFM oscillator
Summary: Set frequency-related parameters for each operator.
Procedure:
From: AFM Element job (JUMP #230) directory
Select: job 02:Osclltr (JUMP #235)
JUMP #235
Waveform (1...16): Each operator can produce sixteen different waveforms; a sine wave with no harmonics, and fifteen other more complex waveforms containing additional harmonics. This allows you to create complex waveforms using fewer operators. A graphic display of the selected waveform is shown below the waveform number. The table below shows the harmonic content of each waveform.
Phase Sync (on, off): When phase sync is on, the selected waveform will be re-started each time a key is pressed.
Init Phase (0...127): This determines the initial phase position from which the selected waveform will be re-started when phase sync is on.
The ink phase range of 0...127 corresponds to a range of 0...360 degree starting phase. This setting is effective only when Phase Sync is on.
Operator (1-6): This displays the operator being edited. To move to another operator, use the
OPERATOR SELECT buttons OP1...OP6.
Freq Mode (fixed, ratio): When "fixed" is selected the operator will produce the same pitch regardless of what note is played. When
"ratio" is selected the operator pitch will depend on the note that is played
Coarse/Fine (0 Hz...9762 Hz in Fixed Frequency mode, 0.5...61.69 in Ratio Frequency mode): This setting specifies the pitch produced by the operator. By moving the cursor to coarse or fine you can adjust the pitch in large steps or in small steps. When the Freq Mode is set to
"fixed" the range is 0 Hz...9762 Hz. When the
Freq Mode is set to "ratio" the range is
0.5...61.69. (In "ratio" mode with a Coarse/Fine setting of 1.0 the A3 key will produce the standard pitch of 440 Hz.)
Detune (-15...+15): The pitch of each operator can be adjusted in fine steps of 1.171875 cents.
Waveform: The sixteen waveforms that can be produced by each operator are not modeled after any "real" instrument but are mathematical transformations of sinewaves. The following chart shows the harmonic content of each waveform. The amplitude of each harmonic partial is given as a percentage of the fundamental.
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VOICE EDIT MODE
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AFM ELEMENT DATA
3. (F1) AFM operator EG (Each operator)
Summary: Make EG settings for a single operator while viewing a graphic display of the operator envelope.
Procedure:
From: AFM Element job (JUMP #230) directory
Select: job 03:EG and press F1 (Each)
EG rates press F3 (Rate) (JUMP#236)
EG levels press F4 (Lvl) (JUMP#237)
Specify: envelope parameters for the selected operator
JUMP #236
The number of the currently selected operator is displayed. To move to another operator, use the
OPERATOR SELECT buttons OP1...OP6.
This indicates the time range of the EG graphic display. A range of "x1" shows the shortest time and gives the greatest detail. To change the range, hold SHIFT and press F1-F6 (x1, x2, x5, x10,x20,x50).
This indicates the segment from which the EG graphic display begins. To shift the display to a different segment, hold SHIFT and press F7 or F8 to select Seg0-Seg4 or Rel1.
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VOICE EDIT MODE
Press F3 (Rate) to set EG rates. Press F4 (Lvl) to set EG levels.
To change the range of the EG graphic display, hold SHIFT and press F1-F6 (x1, x2, x5, x10, x20, x50).
To shift the EG graphic display to a different segment, hold SHIFT and press F7 or F8.
HT (Keyon Delay Time 63...0): When this is set to 0, the operator EG will begin immediately after a key is pressed. For higher settings, there will be an increasingly longer delay before the operator EG begins.
R1-R4, RR1-RR2 (Keyon Rates, Release Rates
0...63): Keyon Rates 1—4 and Release Rates 1-
2 determine the speed of the operator EG.
Higher settings result in faster change.
RS (Rate Scaling -7...+7): Rate Scaling allows the operator EG rates to be increased or decreased depending on the key that is played. For positive settings the EG rates will increase as you play higher notes, resulting in shorter envelopes. For negative settings the EG rates will decrease as you play higher notes, resulting in longer envelopes.
L0-L4, RL1-2 (Keyon Levels, Release Levels
0...63): Keyon Levels 0-4 and Release Levels
1-2 determine the levels of the operator EG.
SLP (Segment Loop Point S1...S4): This specifies the segment from which the EG will continue looping if a key remains depressed after the EG has arrived at level L4.
Rates and Levels: When you press a key, the operator output will be at the level of L0. When the specified hold time (HT) has elapsed, the level will change at the rate of R1 to level L1.
When the level reaches L1, it will change at the rate of R2 to the level of L2. When the level reaches L2, it will change at the rate of R3 to the level of L3. When the level reaches L3, it will change at the rate of R4 to the level of L4. When the level reaches L4, the EG will begin looping from the specified segment.
When you release the key, the level will change at the rate of RR1 to the level of RL1.
When the level reaches L5, it will change at the rate of RR2 to the level of RL2.
Remember that Hold Time (HT) is a time setting, but the various Rates are speed settings. Higher settings for Hold Time will result in a longer delay before the operator EG begins,
124 but higher settings for Rates will result in faster change.
Segment Loop Point: The SLP setting determines the Level from which the EG will loop. If you continue holding a note after Level 4 is reached, when SLP is set to
SLP=S1 the level will change L4 L1
L3 L4 L1
SLP=S2 the level will change L4 L2
L4 L2
SLP=S3 the level will change L4 L3
L3
SLP=S4 the level will remain at L4
L2
L3
L4
The following diagram shows how EG levels would change when SLP=S3
Rate Scaling: On most acoustic instruments, high notes have a naturally shorter attack and decay.
This can be simulated by setting rate scaling to a positive value (+1...+7). The following diagram shows how higher notes will have faster rates (shorter EGs). Negative settings will have the opposite effect.
VOICE EDIT MODE
AFM ELEMENT DATA
3. (F2) AFM operator EG (All operators)
Summary: Make operator EG settings for all operators while viewing the data for all operator EGs in a single screen.
Procedure:
From: AFM Element job directory (JUMP #230)
Select: job 03:EG and press F2 (All)
Specify: EG key-on rates (R1-R4) (JUMP #238)
EG key-on levels (L1-L4) (JUMP #239)
EG key-off rates and (JUMP #240) levels (RR1-2, RL1-2)
JUMP #238
HT (Keyon Delay Time 63...0): This specifies the time by which the beginning of the EG will be delayed after a key is pressed.
R1-R4 (Keyon Rates 0...63): Keyon Rates 1-4 determine the speed of the operator EG while a key is being pressed.
RS (Rate Scaling -7...+7): Rate Scaling determines how the key position will affect the operator EG rates.
L0-L4 (Keyon Levels 0...63): These determine the levels to which the operator EG will move while a key is being pressed.
LP (Segment Loop Point S1...S4): This specifies the segment from which the EG will continue looping if a key remains depressed after the EG has arrived at level L4.
R1, R2 (KeyOff Rates 0...63): These determine the speed with which the operator EG will change levels after a key is released.
L1, L2 (KeyOff Levels 0...63): These determine the levels to which the operator EG will change after a key is released.
The meaning of these EG parameters is explained in the previous section 3.1 Operator EG.
In this AFM operator EG (All) display, the
OPERATOR SELECT buttons cannot be used to select operators.
AFM ELEMENT DATA
4. (F1) Operator output (Each)
Summary: Set output level and scaling for a single operator while viewing a graphic display of the scaling.
Procedure:
From: AFM Element job directory (JUMP #230)
Select: job 04:0utput and press (JUMP #241)
F1 (Each)
Specify: the output level and scaling for the selected operator
JUMP #241
Output Level (0...127): The output level of the operator
BP1-4 (Breakpoint 1-4): Note (C-2...G-8) and
Offset (-127...#127) of each Break Point determine how the output level of each operator will
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VOICE EDIT MODE vary across the keyboard. When the cursor is located at note, you can press F7 (Kbd) and press a key to enter the new note setting.
Output Level: This sets the output level of each operator. The output level of a carrier operator will affect the volume, and the output level of a modulator operator will affect the tone. Remember that the input levels of each operator input
In1 and In2 can also be adjusted as explained in
1. ( F 3 ) Algorithm (Input level) (JUMP #233).
Even if the output level of an operator is raised, it will have no effect on another operator to which it is connected if the corresponding input level of the operator is set at 0.
Break Point: The operator output level can be made to vary depending on the note that is played. On most acoustic instruments, notes differ in volume and tone depending on the range in which they are played. For example the low notes of a piano are more tonally complex and louder than the high notes.
Use the four break points to specify how the operator output level will be adjusted across the keyboard.
Offset (-127...+127) determines the output level adjustment for each of the four points specified by Note.
The four note settings must be in ascending order. It is not possible to set a break point to a note lower or higher than the note settings of the neighboring break points.
The following diagram shows how the operator output level would be adjusted across the keyboard for the settings shown in the above
LCD.
Each offset is added to the overall operator output level of 80. For example the offset at break point 1 (E1) is -4, so the resulting operator output level at E1 is 76. The resulting operator output level is limited to the range of 0... 127.
AFM ELEMENT DATA
4. (F2) AFM operator output (All)
Summary: Set operator output level while viewing output levels for all operators. (Output scaling cannot be set in this job.)
Procedure:
From: AFM Element job directory (JUMP #230)
Select: job 04:Output and press (JUMP #242)
F2 (All)
Specify: the output level of each operator
JUMP #242
Output Level OP1-OP6 (0...127): Set the output level of each operator. This is the same setting as explained in of the previous section
4. (F1) AFM operator output. The difference is that here you can view and set the output level for all six operators at once. However break point Levels and Offsets cannot be set here.
Remarks: Refer to 4. ( F 1 ) AFM operator output for details.
Note: In algorithms with two or more carriers, some
Velocity Sensitivity settings may cause distortion. In this case, reduce carrier levels.
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VOICE EDIT MODE
AFM ELEMENT DATA
5. AFM sensitivity
JUMP #243
Summary: These settings determine how each operator will be affected by key-on velocity and by the LFO.
Procedure:
From: AFM Element job directory (JUMP #230)
Select: job 05:Sensitv (JUMP #243)
Specify: the sensitivity of each operator
Velocity (-7...+7): This determines how the output level of each operator will be affected by key-on velocity. For positive settings (+1...+7) the output level will increase as you play more strongly. For negative settings (-1...-7) the output level will decrease as you play more strongly.
Rate Velocity (on/off): When the Rate Velocity switch is "on", key-on velocity will affect the operator EG R1. The result will depend on the
Velocity setting.
Velocity = +1...+7: If Rate Velocity is on, strongly played notes will cause the operator
EG R1 to increase, resulting in a faster attack.
For notes played with maximum velocity, R1 will be at the value specified by the EG settings.
Velocity = -1...-7: If Rate Velocity is on, strongly played notes will cause the operator
EG R1 to decrease, resulting in a slower attack.
To hear the effect of negative settings you will need to lower the operator output level.
When the Rate Velocity switch is "off, the operator EG R1 will not be affected by key-on velocity.
AFM ELEMENT DATA
6. (F1) AFM LFO (Main)
AModSens (0...7): Amplitude Modulation
Sensitivity determines how greatly the output level of each operator will be affected by Amplitude Modulation from the LFO.
PModSens (0...7): Pitch Modulation Sensitivity determines how greatly the pitch of each operator will be affected by Pitch Modulation from the LFO.
Pressing F1 (KVS), F2 (Rate), F3 (AMS), or F4
(PMS) will move the cursor to Velocity, Rate
Vel, AModSens, or PModSens.
AModSens and PModSens: These settings determine the sensitivity of each operator to the Amplitude Modulation Depth (AMD) and/or Pitch Modulation Depth (PMD) produced by the LFO. Refer to
6.(F1) AFM LFO (Main) (JUMP #244). If the LFO settings for AMD and/or PMD are set to 0, these
AModSens and PModSens settings will have no effect.
PModSens determines the sensitivity of each operator to PMD from the Main LFO.
Independently of this, the pitch of an AFM element can also be affected by the Sub LFO. Refer to
6. (F2) AFM LFO (Sub) (JUMP #245).
In this AFM sensitivity display, the OPERATOR
SELECT buttons cannot be used to select operators.
JUMP #244
Summary: The Main LFO creates a cyclically changing control signal that can be used to create tremolo (amplitude modulation), vibrato
(pitch modulation), and wah-wah (filter modulation).
Procedure:
From: AFM Element job directory (JUMP #230)
Select: job 06:LFO and press (JUMP #244)
F1 (Main)
Specify: parameters for the main LFO
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VOICE EDIT MODE
P Mod Depth (0...127): Pitch Modulation Depth determines how much the LFO will affect the pitch of the operators. For this setting to have an effect, the PModSens (pitch modulation sensitivity) of an operator must be set above 0.
Refer to 5. AFM sensitivity.
Wave (triangle, saw down, saw up, square, sine, sample&hold): This selects the wave
(shape of modulation) produced by the Main
LFO. The selected wave is graphically displayed in the LCD. When sample&hold is selected, the
LFO will produce a control signal whose level will change randomly at intervals of time determined by the Speed setting.
Speed (0...99): The speed of the LFO modulation. Higher settings result in faster modulation.
Delay (0...99): The time delay before the LFO modulation begins.
Init Phase (0...99): Initial Phase determines the point of the waveform from which the LFO will begin when a key is pressed. The LFO waveform always starts over again from this initial phase point when each note is played. An initial phase setting of 0...99 corresponds to a phase of
0...360 degrees.
A Mod Depth (0...127): Amplitude Modulation
Depth determines how much the LFO will affect the output level (amplitude) of the operators.
For this setting to have an effect, the
AModSens (amplitude modulation sensitivity) of an operator must be set above 0. Refer to 5.
AFM sensitivity.
AFM ELEMENT DATA
F Mod Depth (0...127): Filter Modulation
Depth determines how much the LFO will affect the cutoff frequency of the filter. For this setting to have an effect, the Ctrl setting of a filter must be set to "LFO", and the LFO Cutoff Sens setting must not be 0. Refer to 8. ( F 1 ) AFM filter
(Cutoff frequency).
6. (F2) AFM LFO (Sub)
JUMP #245
Summary: The Sub LFO is completely independent of the Main LFO, but can be used only to create vibrato (pitch modulation). This will apply equally to all operators, and is not affected by pitch modulation sensitivity.
Procedure:
From: AFM Element job directory (JUMP #230)
Select: job 06:LFO and press (JUMP #245)
F2 (Sub)
Specify: parameters for the sub LFO
Mode (delay, decay): When this is is set to
"delay", the Sub LFO will begin after the time delay specified by Time. When this is set to
"decay", the Sub LFO will begin fading out after the time specified by Time.
Wave (triangle, saw down, square, sample& hold): The wave produced by the Sub LFO.
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Speed (0...99): The speed of the LFO modulation. Higher settings result in faster modulation.
The speed of the sample&hold wave will be faster than the other waves.
Time (0...99): The time length used for Sub LFO delay or decay.
P Mod Depth (0...127): The depth of pitch modulation produced by the Sub LFO.
Wave: The following four waveforms can be selected for the Sub LFO.
VOICE EDIT MODE
Mode and Time: The mode and time settings work together to determine how the Sub LFO will begin or end. When Mode=delay the Sub LFO will begin after the time delay specified by
Time. When Mode=decay the Sub LFO will affect the sound beginning immediately from when the key is pressed, but will gradually die out after the time delay specified by Time.
AFM ELEMENT DATA
7. (F1) AFM pitch EG (Switch)
Summary: The pitch change over time created by the pitch EG can be switched on/off for each operator. To set the shape of the pitch EG, see
7. (F2) AFM pitch EG (EG settings).
Procedure:
From: AFM Element job directory (JUMP #230)
Select: job 07:PitchEG and press (JUMP #246)
F1 (Sw)
Specify: pitch EG switches, scaling, and range
PEG Sw (off, on): When the Pitch EG Switch is
"off for an operator, it will not be affected by the pitch EG.
Rate Scaling (-7...+7): Pitch EG Rate Scaling determines how pitch EG rates will change according to the note played. When this is set to
+1...+7, the pitch EG will be faster for higher notes. When this is set to -1...-7, the pitch EG will be slower for higher notes. When this is set to 0, the pitch EG will be the same rate for all notes.
Velocity Sw (off, on): When this is on, strongly played notes will cause the pitch EG to change over a greater range.
Range (1/2 oct, 1 oct, 2 oct, 8 oct): This determines the maximum range of the AFM pitch EG, from 1/2 octave to 8 octaves.
PEG Sw: When using the Pitch EG to make the pitch of a sound change over time, you will normally turn the PEG switch on for all operators. If the pitch of a modulator operator changes while the pitch of another operator it is modulating remains constant (or vice versa), the
carrier modulator ratio will shift during the duration of the sound, changing the overtone structure. This can be an interesting effect in its own right.
Rate Scaling: This setting determines how Pitch
EG Rates (the speed of pitch change) will be affected by the key number of each note. The following diagram shows the result when Pitch
EG Rate Scaling is set to +7. Notice that high notes have a shorter pitch EG (faster EG rates) than lower notes.
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VOICE EDIT MODE
Velocity Sw (velocity switch): When this is "on", strongly played notes will cause the pitch EG to change over a greater range.
AFM ELEMENT DATA
7. (F2) AFM pitch EG (EG settings)
Summary: The pitch EG creates a fixed shape of pitch change over time for each note. To switch the pitch EG on/off for each operator, see 7. (F1)
AFM pitch EG (Switch).
Procedure:
From: AFM Element job directory (JUMP #230)
Select: job 07:PitchEG and press (JUMP #247)
F2 (EG)
Specify: pitch EG parameters
L0-L3, RL (-64...+63): Keyon Levels 0-3 and the Release Level determine the levels of the pitch EG. Positive settings raise the pitch and negative settings lower the pitch.
Rates and Levels: When you press a key, the pitch will begin at the level of L0, and will change at the rate of R1 to level L1. When the level reaches L1, the pitch will change at the rate of R2 to the level of L2. When the pitch reaches L2, it will change at the rate of R3 to the level of L3 and will stay at L3 as long as the key is pressed.
When the key is released, the pitch will change at the rate of RR to the level of RL.
This indicates the EG segment ("seg1-3" or
"rel1") from which the pitch EG graphic display begins. If the EG is too long to be fully shown in the LCD, hold SHIFT and press F7 or F8 to move the pitch EG graphic display to a different segment.
This indicates the time length shown by the graphic display. To change this, hold SHIFT and press F1-F6 (x1, x2, x5, x10, x20, x50). The exact length of time will depend on the range.
When the pitch EG range is 1 octave, the graphic display will cover approximately 0.5
seconds at "x1" and approximately 5 seconds at
"x50".
The pitch EG is graphically displayed.
R1-R3, RR1 (0...63): Keyon Rates 1-3 and the
Release Rate determine the speed of the pitch
EG. Higher settings result in faster change. A rate of 63 will make the pitch jump instantly to the next level.
Note: Even if the AFM pitch EG and the AWM pitch
EG have identical Rate settings, there will be slight differences in the timing of the pitch chance.
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VOICE EDIT MODE
AFM ELEMENT DATA
8. AFM filter
Summary: The two filters of each element can be used to control the tone in various ways.
Procedure:
From: AFM Element job directory (JUMP #230)
Select: job 08:Filter (JUMP #248)
Specify: the desired job and press ENTER
Move the cursor in this area to select a job and press ENTER to move to the selected job.
01: Cutoff Frequency: Make overall settings for the filters.
02: Cutoff Scaling: Specify how each filter will be adjusted across the keyboard.
03: Cutoff EG: Specify how each filter will change over time.
Pressing F1-F3 will select the corresponding job.
AFM ELEMENT DATA / AFM FILTER
8.0 Copy filter
Summary: Any time while editing a filter, you can copy the data from one filter to the other filter.
Procedure:
From: 8.1 Cutoff Frequency (JUMP #249)
8.2 Cutoff Scaling (JUMP #250)
8.3.CutoffEG (JUMP #252-#255)
Press: COPY
Select: the copy direction (1 2 or 2 1)
To execute: the copy operation press P8 (Go)
To quit: without copying press EXIT
Specify whether to copy the data from filter 1 to filter
2 (1->2) or from filter 2 to filter 1 (2->1). Press F8
(Go) and the data will be copied. If you decide not to copy the data, press EXIT to exit without copying.
The filter type (HPF/LPF/THRU) will not be copied.
AFM ELEMENT DATA / AFM FILTER
8.1 Cutoff frequency
JUMP #249
Summary: Each filter can be set to a different type, cutoff frequency, and control source. Overall resonance, velocity sensitivity, and LFO Cutoff
Sensitivity can also be specified.
Procedure:
From: AFM Element job (JUMP #248) directory 8. AFM filter
Select: 01:Cutoff Frequency (JUMP #249)
Specify: parameters for filters 1 and 2
Filter 1 Type (Thru, LPF, HPF): Filter 1 can be used either as a Low Pass Filter (LPF) or as a
High Pass Filter (HPF). When "Thru" is selected the filter will have no effect.
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VOICE EDIT MODE
Filter 2 Type (Thru, LPF): Filter 2 can be used only as a LPF.
Cutoff Freq (HPF = 0 Hz ... 11.66kHz
(0...114); LPF = 0 Hz ... 22.43 kHz (0...127)):
The cutoff frequency of each filter can be adjusted independently. The number 0...127
displayed in parentheses indicates the data value input when using the numeric keypad.
Note that the highest HPF setting is 11.66 kHz.
Ctrl (EG, LFO, EG-VA): Each of the two filters can be controlled in a different way. For details, see the explanations below for Ctrl = EG, Ctrl =
LFO, Ctrl = EG-VA.
Resonance (0...99): Higher settings of resonance will result in a more pronounced peak of emphasis at the cutoff frequency. This setting will apply to both filters 1 and 2.
Velocity Sens (-7...+7): This determines how the cutoff frequency of both filters will be affected by key-on velocity. For positive settings
(+1...+7) the cutoff frequency will increase as you play more strongly, resulting in a brighter sound. For negative settings (-1...-7) the cutoff frequency will decrease as you play more strongly, resulting in a darker sound.
LFO Cutoff Sens (-7...+7): This determines how Filter Modulation from the Main LFO will affect the filters. This setting also determines how sensitive the filters will be to the controller assigned to Filter Bias in Voice common data
12. (F4) Controller (JUMP #228). Negative settings will reverse the effect of the assigned controller.
Type and Cutoff Freq: Filter 1 can be used either as a Low Pass Filter (LPF) or as a High Pass
Filter (HPF), and filter 2 can be used only as a
LPF.
When set to LPF, filters 1 and 2 will allow sound lower than the cutoff frequency to pass unchanged, and will diminish the sound above the cutoff frequency. When set to HPF, filter 1 will allow sound higher than the cutoff frequency to pass, and will diminish the sound below the cutoff frequency.
By setting filter 1 to HPF and filter 2 to LPF, you can create a Band Pass Filter that passes only a central band of frequencies.
Each of the SY77's filters has a slope of
12 dB/octave. This means that if the cutoff frequency of a LPF is 1 kHz, frequencies at
2 kHz will be reduced by 12 dB and frequencies at 4 kHz will be reduced by 24 dB. If you set both filters 1 and 2 to LPF, set both to the same cutoff frequency, and set both filter EGs in the same way, the result will be the equivalent of a single 24 dB/octave filter. The filter copy function explained in 5.0 Copy filter is a quick way to give both filters the same settings.
24 dB/octave filtering creates a sharp cutoff which is quite obvious, while 12 dB/octave filtering is a more subtle effect. Analog synthesizers of the past have used both types. 12 dB/octave filtering was considered especially suitable for strings, and 24 dB/octave filtering was for brass or synth bass sounds.
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Resonance: Resonance lowers the level of the sound below (for HPF) or above (for LPF) the cutoff frequency, creating an increased peak of emphasis. (This may reduce the overall volume.)
High settings of resonance will make changes in cutoff frequency quite easy to notice. When the two filters are being used in tandem as a Band
Pass Filter (i.e., when filter 1 is set to HPF), resonance will not have a significant effect.
Extremely high settings of filter resonance will make the filter oscillate so that it produces a pitch of its own. This is a technique often used on analog synthesizers of the past.
Ctrl = LFO: When Ctrl is set to LFO, the filter will be controlled both by the Main LFO and by the controller which has been assigned to Filter
Cutoff Depth. (Refer to Voice common data
12. (F4) Controller.) Key velocity will shift the cutoff frequency.
VOICE EDIT MODE
Ctrl = EG: When Ctrl is set to EG, the filter will be controlled by its own filter EG as explained in the following section 8.3 Filter EG. If Velocity
Sense is set to a value other than 0, key velocity will shift the overall offset of the EG. The position of the controllers assigned to Filter Modulation Depth and Filter Cutoff Depth will be sampled at the beginning of the note (key on), but will have no effect during the note.
Ctrl = EG-VA: When Ctrl is set to EG-VA (EG voice attack), the filter will be controlled by its own filter EG as explained in the following section 8.3 Filter EG. If Velocity Sense is set to a value other than 0, key velocity will modify L1
(level 1) and Rl (rate 1) of the filter EG.
Note: When Ctrl=EG or Ctrl=EG-VA, the effect of the controller on the cutoff frequency will be fixed when the note is played. Moving the controller after playing the note will have no effect.
APM ELEMENT DATA / AFM FILTER
8.2 Cutoff scaling
Summary: The cutoff frequency of each filter can be adjusted across the keyboard.
Procedure:
From: APM element job (JUMP #248) directory 8. AFM filter
Select: 02:Cutoff Scaling filter 1 press Fl (Fitl) (JUMP #250) filter 2 press F2 (Filt2) (JUMP #251)
Specify: filter scaling parameters
133
VOICE EDIT MODE
This indicates the type of the filter being edited, and its cutoff frequency. The cutoff frequency can be modified from this job, but to modify the type of filter you must use job 8.1 Filter cutoff.
BP1-4 (Break Point): Note (C-2...G-8) and Offset (-127...+127) of each Break Point determine how the cutoff frequency level of the filter will vary across the keyboard. When the cursor is located at note, you can press F7 (Kbd) and press a key to enter the new note setting.
Break Point: The filter cutoff frequency can be made to vary depending on the note that is played. On most acoustic instruments, notes differ in tone depending on the range in which they are played.
Use the four break points to specify how the filter cutoff frequency will be adjusted across the keyboard. Offset (-127...+127) determines how the cutoff frequency will be adjusted at each of the four points specified by Note (C-2...G-8).
The four note settings must be in ascending order. It is not possible to set a break point to a note lower or higher than the note settings of the neighboring break points.
The following diagram shows how the filter cutoff frequency would be adjusted across the keyboard.
The offset at each break point is added to the cutoff frequency of 80. For example the offset at break point 1 (El) is -4, so the resulting cutoff frequency at E1 is 76. The resulting cutoff frequency is limited to the range of 0...127.
AFM ELEMENT DATA / AFM FILTER
8.3 Cutoff EG
Summary: The cutoff frequency of each filter can be moved over time by its own EG to make the tone change.
Procedure:
From: AFM element job directory (JUMP #248)
8. AFM filter
Select: 03:CutoffEG filter 1 rates press (JUMP #252)
Fl (Fitl), F3 (Rate) filter 1 levels press (JUMP #253)
Fl (Pitl), F4 (Lvl) filter 2 rates press (JUMP #254)
F2 (Flt2), F3 (Rate) filter 2 levels press (JUMP #255)
F2 (Flt2), F4 (Lvl)
Specify: filter EG parameters
This indicates whether you are editing the EG of filter 1 or 2.
This indicates the displayed segment and range of the EG graphic display. To change the display range, hold SHIFT and press F1-F6 (xl, x2, x5, x10, x20, x50). To shift the display to a different segment, hold SHIFT and press F7 or F8
(Segl...Seg4, Rel1).
The filter EG is graphically displayed.
R1-R4, RR1-RR2 (Keyon Rates, Release Rates
0...63): Keyon Rates 1-4 and Release Rates 1-
2 determine the speed of the filter EG. Higher settings result in faster change.
134
RS (Rate Scaling -7...+7): Rate Scaling allows the filter EG rates to be increased or decreased depending on the key that is played. For positive settings the EG rates will increase as you play higher notes, resulting in shorter envelopes. For negative settings the EG rates will decrease as you play higher notes, resulting in longer envelopes.
L0-L4, RL1-2 (Keyon Levels, Release Levels
-64...+63): Keyon Levels 0-4 and Release
Levels 1-2 determine how the filter EG will increase or decrease the cutoff frequency specified for the filter.
Rates and Levels: The levels of the filter EG do not directly determine the cutoff frequency of the filter, but rather adjust the filter cutoff frequency you set in 5.7 Filter cutoff.
When a note is played, the filter cutoff will be adjusted by the amount of L0, and will change at the rate of Rl to level L1. When the level reaches L1, it will change at the rate of R2 to the level of L2. When the level reaches L2, it will change at the rate of R3 to the level of L3. When the level reaches L3, it will change at the rate of
R4 to the level of L4. The filter cutoff frequency will remain at the level ofL4 as long as you continue pressing the key.
AFM ELEMENT DATA
VOICE EDIT MODE
When you release the key, the filter cutoff frequency will change at the rate of RR1 to the level of RL1. When the level reaches RL1, it will change at the rate of RR2 to the level of RL2.
Rate Scaling: On most acoustic instruments, high notes have a naturally shorter attack and decay.
This can be simulated by setting rate scaling to a positive value (+1...+7). The following diagram shows how higher notes will have faster rates (shorter EGs). Negative settings will have the opposite effect.
15. Initialize AFM element
Summary: Initialize the AFM element data being edited to a set of basic values.
Procedure:
From: APM Element job (JUMP #230) directory
Select: job 15:Initlz
To execute: the initialize operation press YES
To quit: without executing press NO or EXIT
This function sets all AFM element data values to the minimum or simplest possible setting. When creating your own new voices it is usually best to begin by editing an existing voice. However if you want to start from scratch, this Initialize function can be helpful.
If you are sure you want to initialize the AFM element data, press YES. The AFM element data being edited will be set to the values shown below.
If you decide not to initialize, press NO or EXIT.
This function initializes only AFM element data.
Other initialize functions are provided for initializing
Voice Common data and AWM element data. Refer to Voice Common 15. Initialize voice or AWM ele- ment 15. Initialize AWM. element.
135
VOICE EDIT MODE
Initialized settings for AFM element data
01 Algorithm Set
Algorithm number = 30
Feedback 1 = none (free)
Feedback 2 = none (free)
Feedback 3 = none (free)
Input Level 1 = 7 (operator 1-5)
Input Level 1 = 0 (operator 6)
Input Level 2 = 0 (all operators)
Noise = Off (all operators)
AWM Wave = Off (all operators)
02 Operator Oscillator (all operators)
Freq.Mode = Ratio
Freq = 1.00
Detune = ±0
Waveform = 1 (sine)
Phase Sync = On
Init Phase = 0
03 Operator EG (all operators)
Keyon Hold Time = 0
Keyon Rates 1-4 = 63
Keyoff Rates 1-2 = 63
Rate Scaling = ±0
Keyon Level 0 = 0
Keyon Levels 1-4 = 63
Keyoff Levels 1-2 = 0
Loop Point = S4
04 Operator Output
Output Level = 127 (operator 1)
Output Level = 0 (operators 2-6)
Break Point 1 Note = C1
Break Point 2 Note = G2
Break Point 3 Note = E4
Break Point 4 Note = 06
Break Point Levels = 0 (break points 1-4)
05 Operator Sensitivity (all operators)
Keyon Velocity Sens = 0
Rate Velocity Switch = off
AMS =0
PMS = 3
06 LFO
Main LFO
Wave = triangle
Speed = 35
:
Delay Time = 0
AMD, PMD. FMD = 0
Init Phase = 0
Sub LFO
Mode = delay
Wave = triangle
Speed = 80
Time = 0
PMD = 0
07 Pitch EG
Operator On/Off = on (all operators)
Rate Scaling = ±0
Velocity Switch = off
Range = 8 oct
Keyon Rates 1-3 = 63
Keyoff Rate 1 = 63
Keyon Levels 1-3 = ±0
Keyoff Level 1 = ±0
08 Filter
Resonance = 0
Cutoff Mod Sens = ±0
Keyon Velocity Seals = ±0
*** following data is same for both filters ***
Filter Type = thru
Filter Control = LFO
Cutoff Frequency = 127
Break Point 1 Note = Cl
Break Point 2 Note = G2
Break Point 3 Note = E4
Break Point 4 Note = 06
Break Point Offset = 0 (BP 1-4)
Keyon Rates 1-4 = 63
Keyoff Rates 1-2 = 63
Rate Scaling = ±0
Keyon Levels 0-4 = ±0
Keyoff Levels 1-2 = ±0
136
VOICE EDIT MODE
AFM ELEMENT DATA
16. Recall voice
Summary: Recall all data of the previously edited voice.
Procedure:
From: AFM Element job (JUMP #230) directory
Select: job 16:Recall voice
To execute: the recall operation press YES
To quit: without executing press NO or EXIT.
Note: This operation recalls all voice data, not just
AFM element data, and is also available while editing Common data, AWM Element data, or
Drum Set data. For details refer to Voice Common 16. Recall.
137
VOICE EDIT MODE
AWM element data
AWM ELEMENT DATA
AWM element job directory
Summary: This directory shows the jobs which edit
AWM element data.
Procedure:
From: voice edit mode (JUMP #200 or #201)
When: editing a normal voice that contains
AWM elements
Select: an AWM element F3-F6 (JUMP #256)
(E1-E4)
This area shows the number (E1-E4) and type
(AFM or AWM) of elements in the selected voice mode.
Move the cursor in this area to select a job and press ENTER to go to the selected job.
01:WaveSet (AWM waveform set): Select an
AWM sampled waveform from internal memory or a WAVEFORM card, and specify the pitch at which it will sound.
02:EG (AWM EG): The AWM Amplitude EG determines how the volume of each note will change over time.
JUMP #256
03:Output (AWM output): The output level of an
AWM element can be adjusted across the keyboard.
04:Sensitv (AWM sensitivity): Key-on velocity can affect the volume or the speed of attack and decay. The control signal from the AWM LFO can create vibrato, tremolo, or wah-wah.
05:LFO (AWM LFO): The AWM element LFO creates a cyclically changing control signal that can be used for tremolo, vibrato, or wah-wah.
06:PitchEG (AWM pitch EG): The pitch of each note can be made to change in a fixed way over time.
07:Filter (AWM filter): The tone of an AWM element can be made to change in a fixed way over time, or can be controlled by a controller or the
LFO.
15:lnitlz (Initialize AWM element): When you are creating a voice from scratch, it is sometimes convenient to set all AWM element data to the basic or minimum values.
16:RecaIl (Recall voice): All data of the previously edited voice can be recalled.
AWM ELEMENT DATA
Copy element
Summary: While editing any AWM parameter
(except for 7. AWM filter), you can copy data from an AWM element of another voice into the
AWM element you are now editing.
Procedure:
From: AWM element job 1,2,3,4,5, or 6
Press: COPY
Press: Fl (Src) and select the source voice
Press: F2 (Elem) and select the source element
To execute: the copy operation press F8 (Go).
138
VOICE EDIT MODE
This copy operation is identical to the operation explained in AFM element data. Copy element
(page 117). Please refer to that section for details.
This copy operation is possible only while inside one of the AWM editing jobs. It is not available from the AWM job directory.
Pressing COPY while editing 7. AWM filter will access the Copy Filter operation. For details, refer to AFM element data, 8.0 Copy filter, page
131.
AWM ELEMENT DATA
1. AWM waveform set
#256
Summary: Select an AWM waveform and specify the pitch at which it will sound.
Procedure:
From: AWM Element job (JUMP #256) directory
Select: job 01:WaveSet (JUMP #257)
Specify: the waveform and frequency
Waveform (Preset 1...112, Card 1...??, AFM):
Select an AWM waveform from internal presets
1...112. Refer to Preset waveforms below. If a waveform card is inserted into the WAVEFORM slot, you will also be able to select Card waveforms. The number of card waveforms will depend on each card. If the voice mode includes both AWM and AFM elements, you will be able to select AFM as well. For details see Wave-
form = AFM below.
Frequency Mode (normal, fixed): When this is set to "normal", each note of the keyboard will play the selected waveform at a different pitch.
When this is set to "fixed" the waveform will be played back at the pitch specified by Note
Number regardless or which note was played.
Frequency Fine (-64...+63): For both normal and fixed modes, this adjusts the fine pitch of the waveform.
Note Number (C-2...G8): The note number setting will appear only if frequency mode is set to
"fixed". This determines the pitch at which the selected waveform will be played back. When the cursor is located at Note Number, you can press F8 (Kbd) and then press a key to specify the note number.
Pressing F1 (Pre) will select preset waveforms,
F2 (Card) will select card waveforms, and pressing F3 (AFM) will select the sound from the AFM element if the voice includes an AFM element.
Note when using card waveforms: Remember that it is not possible to use two waveform cards at once. If the same Multi uses two or more AWM voices which use AWM waveforms from different cards, at least one AWM voice will be using the wrong waveform. In the same way, it is not possible for two AWM elements in a single voice to use AWM waveforms from different cards.
Waveform = AFM: For voice modes
09:1AFM&1AWM and 10:2AFM&2AWM, you have the option of setting "Waveform = AFM".
When this is selected, the output from the AFM element will be used instead of a AWM waveform. This means that the AFM sound will be processed through the two filters of the AFM element and also through the two filters of the
AWM element, allowing you to create complex filtering effects.
When "Waveform = AFM" is selected, the AWM element common data (note shift, etc.) and AWM pitch-related data such as pitch EG and LFO pitch modulation will be ignored. The result is essentially a single AFM element processed through two pairs of filters.
139
VOICE EDIT MODE
Preset waveforms: The preset waveforms in ROM can be broadly divided into the following six categories.
Multi-sampled Acoustic instruments sampled at two or more points across the keyboard to preserve the realism of the original sound.
Piano
Trumpet
Mute Tp
Horn
Flugel
Trombone
Brass
Flute
Clarinet
Tenor Sax
Alto Sax
GtrSteel
EG SngI
EG Humbk
EG Harmo
EG mute
E.Bass
1
6
7
8
4
5
2
3
15
16
17
12
13
14
9
10
1 1
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
Thumping
Popping
Fretless
Wood Bass
Shamisen
Koto
Violin
Pizz
Strings
AnIgBass
Anlg Brs
Chorus
Itopia
Vib
Marimba
Tubular
Waves Fairly short samples, especially useful when used with an AFM element. Most are sampled at one point.
37
38
39
34
35
36
40
41
42
43
44
45
CeleWv
HarpsiWv
E.P. Wv
PipeWv
Organ Wv
TubaWv
Picco Wv
S.Sax Wv
BassonWv
Reco Wv
MuteTpWv
GutWv
46
47
48
49
50
51
52
53
54
55
56
12StrWv
Bass Wv
Cello Wv
ContraWv
Xylo Wv
GlockWv
Harp Wv
Sitar Wv
StIDrmWv
MtReedWv
OhAttack
Oscillator Basic waveforms such as the sawtooth or square waves used in analog synthesizers.
57
58
59
60
61
AnIgSaw1
AnlgSaw2
Digital1
Digital2
Digital3
62
63
64
65
Pulse 10
Pulse 25
Pulse 50
Tri
Transients Short samples that are especially useful when used as the attack of a sound.
66
67
68
69
70
71
Piano Np
E.P. Np
Vibe Np
DmpPiano
Bottle 1
Bottle 2
72
73
74
75
76
77
Bottle 3
Tube
Vocal Ga
Vocal Ba
Sax trans
Bow trans
Other Various waveforms usable as sound effects or as part of other sounds.
97
98
99
100
101
102
93
94
95
96
82
83
84
85
78
79
80
81
Bulb
Tear
Bamboo
Cup Echo
Digi Atk
Temp Ra
Giri
Water
86
87
88
89
90
91
92
Steam
Narrow
Airy
Styroll
Noise
Bell mix
Haaa
Drumset Drums and other rhythm instruments. These can be used not only in a Drum Set voice, but also as the waveform for an AWM element of a normal voice.
BD1
BD2
BD3
BD4
SD1
SD2
SD3
SD roll
Rim
Tom 1
107
108
109
1 1 0
1 1 1
1 1 2
103
104
105
106
Tom 2
HHclosed
HH open
Crash
Ride
Claps
Cowbell
Tambrn
Shaker
Analg Perc
140
VOICE EDIT MODE
AWM ELEMENT DATA
2. AWM EG
Summary: This determines how the volume of an
AWM element will change over time.
Procedure:
From: AWM Element job (JUMP #256) directory
Select: job 02:EG. (JUMP #258)
Specify: volume EG parameters
JUMP #258
Keyon Levels 2-3 (L2-L3 = 0...63): These determine the levels of the AWM EG. There is no L1 setting since the AWM EG either begins from 0 and moves toward maximum level (in attack mode), or begins at maximum level and stays there until the hold time has elapsed (hold mode). Nor is there a L4 setting since the level of the AWM EG immediately begins to move toward 0 after reaching L3. If you want the sound to continue sustaining as long as you press a key, set R4 to 0. However some AWM waveforms naturally decay to zero, so setting
R4 to 0 will not make these waveforms sustain.
Rates and Levels: The AWM EG will function in two ways depending on the Mode setting.
EG Mode (Mode = hold, attack): This setting determines whether the first segment of the
AWM EG will begin from level 0 (attack mode) or from from maximum level (hold mode).
The AWM EG is graphically displayed.
This indicates the time range of the EG graphic display; "x1" displays the shortest time with the greatest detail. To change the time range, press F1-F6 (x1, x2, x5, x10, x20, x50).
This indicates the segment from which the EG is displayed. To begin the graphic display from a different segment, press F7 or F8 to select
Seg1...Seg4orRel1.
Hold Time or Rate 1 (HT=63...0 or R1=0...63):
If the EG Mode is set to "hold" this will determine the Hold Time for which the level of the waveform is held at maximum. A setting of
HT=63 results in the longest time. If the EG
Mode is set to "attack" this will determine Rate
1 of the EG. A R1 setting of 63 results in the fastest attack.
Keyon Rate 2-4, Release Rate (R2-R4 = 0...63,
RR = 0...63): These settings determine the speed of the operator EG. Higher values result in faster change.
Rate Scaling (RS = -7...+7): Rate Scaling allows the operator EG rates to be increased or decreased depending on the key that is played.
For positive settings the EG rates will increase as you play higher notes, resulting in shorter envelopes. For negative settings the EG rates will decrease as you play higher notes, resulting in longer envelopes.
In normal mode the AWM EG level will begin from 0 and rise at the rate of R1 to maximum level. When maximum level is reached it will move at the rate of R2 to level L2. When level
L2 is reached it will move at the rate of R3 to level L3. When level L3 is reached it will begin moving at the rate of R4 to 0. (If rate R4 is 0, the sound will move at an infinitely slow rate toward zero; i.e., it will sustain at level L3 as long as the key is pressed.)
When you release the key, the level will move at the rate of RR to a level of 0.
1 4 1
VOICE EDIT MODE
In hold mode the AWM EG level will begin at maximum and stay mere for the duration of the specified hold time HT. When the hold time has elapsed, the level will change at the rate of R2 to level L2. The rest of the EG is the same as for normal mode.
Using the AWM EG in hold mode is especially effective when you are using an AWM waveform which includes a definite attack.
Keeping the level at maximum for a while allows the natural attack of the AWM sample to be heard. After the natural sampled attack is over the AWM waveform will continue sustaining, and you can use the remaining AWM EG parameters to create an appropriate decay and release.
Rate 4 and Release Rate: Rate 4 (R4) and
Release Rate (RR) can be used in conjunction to create a variety of AWM EG shapes.
If R4 is greater than 0 and you continue holding a note, after me level reaches L3 it will decrease at the rate R4 and will move to 0 even though you continue holding the note.
After reaching L3 the level will decrease at the rate R4, but when you release the note the level will begin decreasing at me rate RR.
Rate Scaling: On most acoustic instruments, high
notes have a naturally shorter attack and decay.
This can be simulated by setting rate scaling to a positive value (+1...+7). The following diagram shows how higher notes will have faster rates (shorter EGs). Negative settings will have the opposite effect.
If R4=0 and you continue holding a note, after the level reaches L3 it will stay at L3 as long as you hold the note. When you release the note, the level will decrease at the rate of RR to a level of 0.
AWM ELEMENT DATA
3. AWM output
Summary: The Element Level of an AWM element
can be adjusted across the keyboard.
Procedure;
From: AWM Element job (JUMP #256) directory
Select: job 03:0utput. (JUMP #259)
Specify: the output level scaling
142
Break Point 1-4 (BP1-4): Note (C-2...G8) and
Offset (-127...+127) of each break point determine how the level specified in Voice common
data, 1. AWM element level (JUMP #202) will be adjusted across the keyboard. When the cursor is located at note, you can press F7 (Kbd) and press a key to enter it as the new note setting.
The keyboard level scaling is graphically displayed.
Break Point: The AWM Element Level can be adjusted according to the note that is played. On most acoustic instruments, notes differ in volume and tone depending on the range in which they are played. For example the low notes of a piano are louder than the high notes.
Use the four break points to specify how the
AWM element level will be adjusted across the keyboard. Offset (-127...+127) determines the output level adjustment for each of the four points specified by Note (C-2...G8).
VOICE EDIT MODE
The four note settings must be in ascending order. It is not possible to set a break point to a note lower or higher than the note settings of the neighboring break points.
The following diagram shows how the AWM element level would be adjusted across the keyboard for the settings shown in the above LCD.
Each offset is added to the element level (80 in this example). For example the offset at break point 1 (El) is -4, so the resulting element level at El is 76. The resulting element level is limited to the range of 0... 127.
AWM ELEMENT DATA
4. AWM sensitivity
#260
Summary: These settings determine how the AWM element will be affected by key-on velocity and by the LFO.
Procedure:
From: AWM Element job (JUMP #256) directory
Select: job 04:Sensitv (JUMP #260)
Specify: sensitivity to velocity and modulation
Velocity Sensitivity (-7...+7): This determines how the output level of the AWM element will be affected by key-on velocity. For positive settings (+1...+7) the output level will increase as you play more strongly. For negative settings
(-1...-7) the output level will decrease as you play more strongly. For negative settings to have an effect the element level must be lowered.
Rate Velocity Switch (on, off): When the Rate
Velocity switch is on, key-on velocity will affect the AWM EG attack rate (Rl). The effect will depend on the Velocity Sensitivity setting.
Velocity =+1...+7: If Rate Velocity is on, strongly played notes will cause the AWM Rl to increase, resulting in a faster attack. For the strongest possible velocity, the EG attack will change at the speed specified by the EG Rl setting.
Velocity =-1...-7: If Rate Velocity is on, strongly played notes will cause the AWM Rl to decrease, resulting in a slower attack.
When the Rate Velocity switch is off, the AWM
EG attack rate will not be affected by key-on velocity.
Amplitude Modulation Sensitivity (Amp Mod
Sens =-7...+7): Amplitude Modulation Sensitivity determines how greatly the output level of the AWM element will be affected by Amplitude
Modulation from the LFO. Increasingly higher positive settings (+1...+7) will allow the LFO to have a greater effect.
143
VOICE EDIT MODE
Negative settings (-1...-7) are effective only for
EG Bias. When Amplitude Modulation Sensitivity is set to a negative value, the controller assigned to EG Bias by the setting in Voice
common data, 12. ( F 4 ) Controller set (JUMP
#228) will decrease the amplitude of the AWM element, and the LFO will have no effect. For example, two AWM elements in a voice might be given opposite Amplitude Modulation Sensitivity settings, so that the controller assigned to
EGbiasDepth would crossfade between the two elements.
Pitch Modulation Sensitivity (Pitch Mod Sens =
0...7): Pitch Modulation Sensitivity determines how greatly the pitch of the AWM element will be affected by Pitch Modulation from the LFO.
Amplitude Modulation Sensitivity and Pitch
Modulation Sensitivity: These settings determine the sensitivity of the AWM element to the
Amplitude Modulation Depth (AMD) and/or
Pitch Modulation Depth (PMD) produced by the
AWM element LFO. If the LFO settings for
AMD and/or PMD are set to 0, these settings will have no effect.
AWM ELEMENT DATA
5. AWM LFO
Summary: The AWM element LFO creates a cyclically changing control signal that can be used to create tremolo (Amplitude modulation), vibrato
(pitch modulation), and. wah-wah (filter modulation).
Procedure:
From: AWM Element job (JUMP #256) directory
Select: job 05:LFO (JUMP #261)
Specify: the LFO parameters
Wave (triangle, saw down, saw up, square, sine, sample&hold): This selects the wave
(shape of modulation) produced by the AWM
LFO. The selected wave is graphically displayed in the LCD. When sample&hold is selected, the
LFO will produce a control signal whose level will change randomly at intervals of time determined by the Speed setting.
Speed (0...99): The speed of the LFO modulation. Higher settings result in faster modulation.
Delay (0...99): The time delay before the LFO modulation begins.
Amplitude Modulation Depth (0...127): This determines how greatly the LFO will affect the output level (amplitude) of the operators.
Pitch Modulation Depth (0...127): This determines how greatly the LFO will affect the pitch of the operators.
Filter Modulation Depth (0...127): This determines how greatly the LFO will affect the cutoff frequency of the filter.
Initial Phase (0...99): This determines the point of the LFO waveform from which the LFO will start each time a key is pressed.
Wave, Speed, Delay, Initial Phase: Detailed explanations and diagrams of these parameters are given in AFM element job 6.1 LFO (Main).
Amplitude Modulation Depth and Pitch Modula-
tion Depth: For these setting to have an effect, the AModSens (amplitude modulation sensitivity) or PModSens (pitch modulation sensitivity) of the AWM element must be set above
0. Make these settings in AWM element job
4. AWM sensitivity (JUMP #260).
144
VOICE EDIT MODE
Filter Modulation Depth: For this setting to have an effect, the Ctrl setting of a filter must be set to "LFO", and the LFO Cutoff Sens setting must not be 0. Make these settings in A W M e l e -
AWM ele-ment data, 7.1 Cutoff frequency (JUMP #265).
.
AWM ELEMENT DATA
6. (F1) AWM pitch EG (Data)
Summary: The pitch change over time created by the pitch EG can be affected by key-on velocity and the speed of pitch change can be adjusted across the keyboard. To set the shape of the pitch EG, see 6. (F2) AWM pitch EG (EG).
Procedure:
From: AWM Element job (JUMP #256) directory
Select: job 06:PitchEG and press (JUMP #262)
F1 (Data)
Specify: pitch EG scaling, velocity, and range
Range (1/2 oct, 1 oct, 2 oct): This determines the maximum range of the AWM pitch EG, from
1/2 octave to 2 octaves. (Note that the 8 octave range of the AFM pitch EG is not available for the AWM pitch EG.)
Rate Scaling: This setting determines how Pitch
EG Rates (the speed of pitch change) will be affected by the key number of each note. The following diagram shows the result when Pitch
EG Rate Scaling is set to +7. Notice that high notes have a shorter pitch EG (faster EG rates) than lower notes.
Rate Scaling (-7...+7): Pitch EG Rate Scaling determines how pitch EG rates will change according to the note played. When this is set to
+1...+7, the pitch EG will be faster for higher notes. When this is set to -1...-7, the pitch EG will be slower for higher notes. When this is set to 0, the pitch EG will be the same rate for all notes.
Velocity Sw (off, on): When this is on, strongly played notes will change in pitch more than softly played notes.
AWM ELEMENT DATA
Velocity Sw (velocity switch): When this is on, strongly played notes will change in pitch more than softly played notes.
6. (F2) AWM pitch EG (EG settings)
Summary: The pitch EG creates a fixed shape of pitch change over time for each note. To adjust speed of pitch change across the keyboard, see
6. (F1) AWM pitch EG (Data).
Procedure:
From: AWM Element job (JUMP #256) directory
Select: job 06:PitchEG and press (JUMP #263)
F2 (EG)
Specify: pitch EG parameters
145
VOICE EDIT MODE
This indicates the EG segment ("seg1-3" or
"rel1") from which the pitch EG graphic display begins. If the EG is too long to be fully shown in the LCD, hold SHIFT and press F7 or F8 to change the segment from which the display begins.
This indicates the time length shown by the graphic display. To change this, hold SHIFT and press F1-F6 (x1, x2, x5, x10, x20, x50). The exact length of time will depend on the range.
When the pitch EG range is 1 octave, the graphic display will cover approximately 0.5 seconds at "x1" and approximately 5 seconds at
"x50".
The pitch EG is graphically displayed.
R1-R3, RR1 (0...63): Keyon Rates 1-3 and the
Release Rate determine the speed of the pitch
EG. Higher settings result in faster change. A rate of 63 will jump immediately to the following level.
L0-L3, RL (-64...+63): Keyon Levels 0-3 and the Release Level determine the levels of the pitch EG. Positive settings raise the pitch and negative settings lower the pitch.
Rates and Levels; When you press a key, the pitch will begin at the level of L0, and will change at the rate of R1 to level L1. When the level reaches L1, the pitch will change at the rate of R2 to the level of L2. When the pitch reaches L2, it will change at the rate of R3 to the level of L3 and will stay at L3 as long as the key is pressed.
When the key is released, the pitch will change at the rate of RR to the level of RL.
Note: Even if the AWM pitch EG and the AFM pitch
EG have identical Rate settings, there will be slight differences in the timing of the pitch change.
AWM ELEMENT DATA
7. A W Mf i l t e r
Summary: The two filters of each element can be used to control the tone in various ways.
Procedure:
From: AWM Element job (JUMP #256) directory
Select: job 07:Filter (JUMP #264)
Specify: the desired filter edit job and press
ENTER
JUMP #254
Move the cursor in this area to select a job and press ENTER to move to the selected job.
01: Cutoff Frequency: Make overall settings for the filters. (JUMP #265)
02: Cutoff Scaling: Specify how each filter will be adjusted across the keyboard. (JUMP #266,
#267)
03: Cutoff EG: Specify how each filter will change over time. (JUMP #268, #269, #270,
#271)
Pressing F1-F3 will select the corresponding job.
Note: Filter settings for an AWM element are exactly the same as for an AFM element. For details, refer to AFM element job 8. AFM filter.
146
VOICE EDIT MODE
AWM ELEMENT DATA
15. Initialize AWM element
Summary: Initialize the AWM Element data being edited to a set of basic values.
Procedure:
From: AWM Element job (JUMP #256) directory
Select: job 15:Initlz
To execute: the initialize operation press YES
To quit: without initializing press NO or EXIT
This function sets all AWM element data values to the minimum or simplest possible setting. When creating your own new voices it is usually best to begin by editing an existing voice. However if you want to start from scratch, it is often useful to start from an initialized setting rather than having to reset all the parameters.
If you are sure you want to initialize the AWM element data, press YES. The AWM element data being edited will be set to the values shown below.
If you decide not to initialize, press NO.
This function initializes only AWM element data.
Other initialize functions are provided for initializing
Voice Common data and AFM element data. Refer to Voice Common 15. Initialize or AFM Element
15. Initialize.
Initialized settings for AWM Element data
01 AWM Waveform Select
Waveform = Preset 65
(triangle wave)
Frequency Mode = normal
Fixed Mode Note # = C3
Frequency Fine = ±0
02 AWM Amplitude EG
Mode = normal
Keyon Rates 1, 2, 3 = 6 3
KeyonRate4 = 0
KeyoffRatel = 63
Rate Scaling = ±0
Keyon Level 2, 3 = 63
03 AWM Output
Break Point 1 Note = C1
Break Point 2 Note = G2
Break Point 3 Note = E4
Break Pomt 4 Note = C6
BP1-4 Offset = +0
04 AWM Sensitivity
Velocity Sens = ±0
Rate Velocity Switch = off
AMS = 0
PMS = 3
05 AWM LFO
Wave = Triangle
Speed = 65
Delay Time = 0
AMD, PMD, FMD = 0
Init Phase = 0
06 AWM Pitch EG
Rate Scaling = ±0
Velocity Switch = off
Range = 2 octaves
Keyon Rates 1-3 = 63
Keyon Levels 0-3 = ±0
KeyoffRate 1 = 63
Keyoff Level 1 = ±0
147
VOICE EDIT MODE
07 AWM Filter
Resonance = 0
Cutoff Mod Sens = + 0
Keyon Velocity Sens = ±0
*** following data is same for both filters ***
Filter Type = thru
Filter Control = LFO
Cutoff Frequency = 127
Break Point 1 Note = C1
Break Point 2 Note = G2
Break Point 3 Note = E4
Break Point 4 Note = 05
Break Point Offset = 0 (BP 1-4)
Keyon Rates 1-4 = 63
Keyoff Rates 1-2 = 63
Rate Scaling = ±0
Keyon Levels 0-4 = ±0
Keyoff Levels 1-2 = +0
AWM ELEMENT DATA
16. Recall voice
Summary: Recall all data of the previously edited voice.
Procedure:
From: AWM Element job (JUMP #256) directory
Select: job 16:Recall
To execute: the recall operation press YES
To quit: without executing press NO or EXIT.
Note: This operation recalls all voice data, not just
AWM element data, and is also available while editing Common data, AFM element data, or
Drum Set data. For details refer to Voice common data, 16. Recall voice.
148
VOICE EDIT MODE
Drum set data
DRUM SET DATA
Drum set job directory
Summary: This job directory shows the jobs containing data for a drum voice.
Procedure:
From: voice edit mode (JUMP #200)
When: the Voice Mode is set to 11:Drum Set
Select: the drum set job directory (JUMP #272)
P2 (Corn)
This area indicates that "Drum Set" is the selected voice mode.
Move the cursor in this area to select a job and press ENTER to go to the selected job.
01: Voice Volume: Adjust the overall volume of the entire drum voice.
02: Wave Data Set: Select a waveform for each key of the SY77's 61-note keyboard, and specify tuning and pan for each.
03: Effect Set: Specify how the four DSP effect units will be connected, select an effect type for each unit, and make settings for each effect.
04: Controller Set: The overall volume of a drum set voice can be adjusted using a specified controller.
05: Name: Specify a ten-character name for the voice being edited.
07: Initialize: Initialize the drum set data being edited to the basic or minimum settings.
08: Recall: Recall the previously edited voice into the editing buffer.
DRUM SET DATA
1. Voice volume
JUMP #273
Summary: Adjust the overall volume of the entire drum voice.
Procedure:
From: drum set job directory (JUMP #272)
Select: 01:Voice Volume (JUMP #273)
Specify: the volume of the entire drum set
Voice Volume (0...127): This determines the overall volume of the entire drum voice.
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VOICE EDIT MODE
DRUM SET DATA
2. Wave data set
Summary: Select a waveform for each key of the
SY77's 61-note keyboard, and specify tuning and pan for each.
Procedure:
From: drum set job directory (JUMP #272)
Select: 02:Wave Data Set (JUMP #274)
Specify: parameters for each key note number
Key .Note .Number (C1...C6): Press a key on the
SY77 keyboard to select a key note number, and it will be displayed here. (It is not possible to move the cursor here.)
Waveform (Preset 1...112, Card 1...??): Select the AWM sample that will be played by the corresponding Key Note Number. A list of the
112 preset waveforms is given in AWM element
edit, 1. AWM Waveform Set (page 00).
Level (0...127): This determines the volume of the waveform.
Alternate (on, off): When this is "on" for two or more key note numbers, the last-played key will take priority and the waveform of the previously played key will be turned off.
Output Group (off, grp1, grp2, both): Select the output group from which the waveform selected for this key note number will be output.
Note Shift (-48...+36 in half steps): Adjust the tuning of the waveform in half steps.
Pine Tuning (-64...+63 in units of 1.171875
cents): Adjust the tuning of the waveform in fine steps.
Static Pan (-31...+31 = Left...Right): Specify the stereo position for each key note number.
Use the following two steps to make settings for each note of the keyboard. Repeat the two steps as necessary.
1. Press a key on the SY77 keyboard to select a key note number. The selected key note number will be displayed in
2. Make settings for the selected key note number.
150
Alternate: If two or more waveforms would sound unnatural if they were played at the same time, select alternate "on" for each of these waveforms. For example it is impossible for a real drum set to sound the closed hi-hat and open hihat at the same time. By selecting alternate
"on" for the two key note numbers that play the closed hi-hat and open hi-hat waveforms, playing the closed hi-hat will make the open hi-hat stop, and vice versa.
There is only one alternate group for the entire drum voice; i.e., it is not possible to specify two or more pairs of key note numbers to play alternately. You may select alternate "on" for as many key note numbers as you like but they will all be in the same alternate group, and only the one of them will sound at any time.
Static Pan: The stereo position of the waveform played by each key note number is determined by the static pan setting. The "dynamic" pan of
AFM or AWM element can be moved over time by an EG or LFO, but the "static" pan for each key note number of a drum voice cannot be moved over time.
When using a drum set voice in a Multi, these static pan settings will be used if the multi static pan is set to "VC" (voice). Refer to Multi edit, 5. Voice static pan.
Output Group: The stereo signal from the static pan of each key note number is sent to output group
1, 2, or both. If output group is set "off" the waveform for that key note number will not be heard. The selected output group will determine how each waveform of the drum voice will be processed through the effect units.
VOICE EDIT MODE
DRUM SET DATA
3. Effect set
Summary: Specify how the four DSP effect units will be connected, select an effect type for each unit, and make settings for each effect.
Procedure:
From: drum set job directory (JUMP #272)
Select: 03:EffectSet (JUMP #211)
Specify: the effect job you wish to edit and press
ENTER
Move the cursor in this area to select a job.
01: Effect Mode Select: Specify how the four effect units will be connected. (JUMP #212)
02: Modulation Effect 1 Set: Select an effect type and set parameters for modulation effect 1. (JUMP #213, #214)
03: Modulation Effect 2 Set: Select an effect type and set parameters for modulation effect 2. This is set in exactly the same way as explained for Modulation Effect 1. (JUMP
#215,#216)
04: Reverb Effect 1 Set: Select an effect type and set parameters for reverb effect 1.
(JUMP #217, #218)
05: Reverb Effect 2 Set: Select an effect type and set parameters for reverb effect 2. This is set in exactly the same way as Reverb
Effect 1. (JUMP #219, #220)
Pressing F1-F5 will select the corresponding job.
Note: Effect settings for a drum set voice are made in exactly the same way as for a normal voice.
For details on effect settings, refer to Common
Data job 10. Effect set.
DRUM SET DATA
4. Controller set
JUMP #275
Summary: The overall volume of a drum set voice can be adjusted using a specified controller.
Procedure:
From: drum set job directory (JUMP #272)
Select: 04:Controller Set (JUMP #275)
Specify: the minimum level and controller for drum voice volume
Vol Low Limit (Value 0...127): This determines the lowest volume that can be set by the selected controller. For example when this is set to 80, the lowest position of the Controller will set the volume of the drum voice to 80. When this is set to 0 the lowest position of the controller will reduce the volume of the drum voice to silence. When this is set to 127 the controller will have no effect on the volume.
Remarks: In addition to the controller specified here, the volume of the entire SY77 can always be controlled over its full range by an optional foot controller connected to the rear panel
VOLUME jack.
Device (MIDI Control #): Select a controller number 0-120 or aftertouch. For example when
"001 Modulation" is selected, the MODULATION
1 wheel will regulate the volume of the drum voice. For a detailed explanation of controller numbers, refer to Voice Common job 12. (F2)
Controllers.
151
VOICE EDIT MODE
DRUM SET DATA
5. Voice name
Summary: Specify a ten-character name for the voice being edited. In voice play mode this voice name will be displayed in large characters.
Procedure:
From: drum set job directory (JUMP #272)
Select: 05:Drum Set Name (JUMP #229)
Specify: the drum voice name
Enter a ten-character name for the drum voice.
To clear the currently entered name press F1
(Clr). To switch to upper-case characters press
F2 (Uppr). To switch to lower-case characters press F3 (Lowr).
For a detailed explanation of how to enter character data, refer to How to enter data of the Introductory manual.
DRUM SET DATA
7. Initialize voice
Summary: Initialize the drum set data being edited to the basic or minimum settings.
Procedure:
From: drum set job directory (JUMP #271)
Select: 07:Initialize
To execute: the initialize operation press YES
To quit: without executing press NO or EXIT
This function sets all drum set data to the basic or minimum settings. If you are creating an entirely new voice, using this initialize function may be faster than resetting all the parameters by hand.
If you are sure you want to initialize the drum set data press YES and the data will be set to the values shown below. If you decide not to initialize, press
NO.
This function initializes only Drum Set data.
Other initialize functions are provided for initializing
Voice Common data, AFM Element data, or AWM
Element data.
Initialized settings for Drum Set data
01 Voice volume
Voice volume = 127
02 Wave data set (for each Key Note Number)
Level = 127
(all key note numbers)
Output Group = both
(all key note numbers)
Fine tuning = ±0
(all key note numbers)
Alternate = off (all key note numbers except A2 HI-HAT
CLOSED and B2 HI-
HAT OPEN)
152
Key note number
C1
C#1
D1
D#1
E 1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#
2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
Waveform
(preset)
96 BASS DRUM 4
96 BASS DRUM 4
95 BASS DRUM 3
95 BASS DRUM 3
103 TOM 2
103 TOM 2
103 TOM 2
103 TOM 2
94 BASS DRUM 2
93 BASS DRUM 1
99 SNARE DRUM 3
102 TOM 1
102 TOM 1
98 SNARE DRUM 2
102 TOM 1
101 RIM SHOT
97 SNARE DRUM 1
102 TOM 1
108 CLAPS
109 COWBELL
1 1 1 SHAKER
104 HI-HAT CLOSED
1 1 0 TAMBOURINE
105 HI-HAT OPEN
106 CRASH
100 SNARE DRUM ROLL
107 RIDE
107 RIDE
73 TUBE
73 TUBE
73 TUBE
82 DIGITAL ATTACK
82 DIGITAL ATTACK
1 1 2 ANALOG PERCUSSION
1 1 2 ANALOG PERCUSSION
77BOWTRAN
77BOWTRAN
80 BAMBOO
Note shift
-3
+3
+9
±0
±0
±0
-9
-3
±0
-5
+5
-5
+5
-9
+3
±0
±0
+9
±0
±0
±0
-4
+4
-10
-5
+5
-7
+7
-5
+5
-5
+5
±0
±0
±0
±0
±0
Static pan
-8
+12
±0
+24
-12
-20
+20
±0
-10
+24
+10
±0
-24
-24
-26
-20
-14
±0
±0
±0
±0
±0
±0
+20
+24
±0
±0
±0
-24
-8
±0
±0
±0
±0
±0
+24
-8
+8
Keynote number
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
Waveform
(preset)
75 VOCAL "Ba"
7S VOCAL "Ba"
83 TEMP-RA
71 BOTTLE 2
70 BOTTLE 1
72 BOTTLE 3
81 CUP ECHO
74 VOCAL "Ga"
74 VOCVAL "Ga"
79 TEAR
59 OH ATTACK C
59 OH ATTACK C#
59 OH ATTACK D
59 OH ATTACK D#
59 OH ATTACK E
59 OH ATTACK F
59 OH ATTACK F#
59 OH ATTACK G
59 OH ATTACK G#
59 OH ATTACK
59 OH ATTACK A #
59 OH ATTACK B
59 OH ATTACK C high
VOICE EDIT MODE
Static pan
+24
+24
±0
±0
±0
±0
±0
-24
-24
±0
±0
±0
±0
±0
±0
±0
±0
±0
±0
±0
±0
±0
±0
Note shift
±0
-12
-11
-10
-9
-8
-7
-6
-5
-4
-3
-2
-1
±0
±0
±0
-5
+5
-5
+5
±0
±0
±0
03 Effect set
*** same as normal voice initial data ***
04 Controller set
Volume Low Limit = 0
Device = 14
05 Drum set name
Name = INIT VOICE
DRUM SET DATA
8. Recall voice
Summary: Recall all data of me previously edited
voice.
Procedure:
From: drum set job directory (JUMP #271)
Select: 08:Recall
To execute: the recall operation press YES
To quit: without executing press NO or EXTT.
If after editing a voice you exit voice edit mode without storing, me edited voice data will be lost. In such cases you can use this function to recall the previously edited data into the editing buffer.
Note: This operation recalls voice data, not just
Drum Voice data, and is also available while editing Common data, AFM Element data, or
AWM Element data. For details refer to Voice
Common 16. Recall.
153
154
MULTI PLAY MODE
MULTI PLAY MODE
Multi mode allows the SY77 to function as sixteen completely independent synthesizers.
In multi play mode you can do the following things.
Select multis from preset, internal, or card memory.
View a directory of the 16 multis in an internal, card, or preset memory.
Copy the currently selected multi to any internal or card memory.
Send a program change to an external device.
1 5 5
MULTI PLAY MODE
Multi mode allows the SY77 to function as sixteen completely independent synthesizers, each being controlled on its own MIDI channel. Since the keyboard of the SY77 transmits only on one MIDI channel at a time, multi mode is meaningful only when you are using a sequencer (either the SY77's built-in sequencer or an external MIDI sequencer) to play the SY77's tone generator.
156
MULTI PLAY MODE
Multi select
Press MULTI to enter multi play mode. The following
LCD will appear.
MULTI: This indicates that you are in Multi Play mode.
Multi memory (I, C, P): This indicates the multi memory; Internal, Card, or Preset. Preset memory contains only a single bank of 16 Multis.
It makes no difference whether you press
PRESET 1 or PRESET 2.
Multi number (1-16): This indicates the number of the multi.
Transmit channel (1-16): This indicates the
MIDI transmit channel you selected in MIDI
Utility 1. Channel set. The SY77 keyboard will transmit from MIDI OUT on this channel, and will play the corresponding channel of the Multi.
The Multi name is displayed in large characters.
Effect settings: The effect mode is indicated as
"MD=", and the type of effect selected by this multi is shown for each of the four DSP units;
Modulation 1 and 2, and Reverb 1 and 2. For details refer to Multi Edit Reference, job
7. Effect set.
Refer to the following section Send Program
Change.
Refer to the following section Multi Directory,
To select a multi use the following procedure. The multi does not actually change until you specify the number 1-16. If you want to play a different multi from the same multi memory, simply specify a different number 1-16.
1. Select the multi memory; INTERNAL, CARD (only if a card is inserted into the DATA slot), PRESET
1, or PRESET 2. The selected LED will blink.
2. Select a multi 1-16. The selected LED will light, and the LCD display will show the newly selected multi name.
Multi directory
#301
Summary: While in multi play mode you can press
F8 (Dir) to view a directory of the sixteen multis in the currently selected multi memory. The following display will appear.
The first seven characters of each twentycharacter multi name will be displayed. When you select a different multi memory (internal, card, or preset) the sixteen multis in the newly selected memory will be displayed. In addition to the usual methods of selecting a multi, you can also use the arrow keys to select a multi. When the multi directory is displayed, pressing a memory select button will immediately select a multi.
Pressing F1-F8 (01)-(08) will select a multi 1-8 from the displayed multi directory. Holding SHIFT and pressing F1-F8 (09)-(16) will select a multi
9-16.
To return to the multi play display with the name of the selected multi displayed in large characters press EXIT.
157
MULTI PLAY MODE
Copy multi
Summary: Anytime in multi play mode you can copy the currently selected multi to another multi memory.
Procedure:
From: multi play mode (JUMP #300, #301)
Press: COPY
Specify: the destination to which the multi will be copied.
To execute: the copy operation press F8 (Go).
To quit: without executing press EXIT.
The names of the sixteen multis in Internal or Card memory are displayed as explained in Multi Direc-
tory. Press INTERNAL or CARD, and press a memory select button 1-16 to specify the copy destination.
After specifying the copy destination press F8
(Go). You will be asked "Are you sure?" If you are sure you want to copy the multi, press YES and the data will be copied. To quit without copying press
NO.
Note: If you copy a multi from internal memory to card memory, all internal voice numbers used by that multi will be converted into card voice numbers. In the same way, if you copy a multi from card memory to internal memory, all card voice numbers used by that multi will be converted into internal voice numbers.
Send program change
Summary: While in multi play mode you can transmit a program change message from MIDI
OUT without affecting the SY77's own tone generator. This allows you to switch a tone generator module connected to the SY77 MIDI
OUT to another program without changing the
SY77's own program. An identical function is available in voice play mode.
Procedure:
From: multi play mode (JUMP #300)
Select: Fl (Send)
Specify: a program change number 1-128
To transmit: the program change press ENTER.
To quit: without sending a program change press EXIT
Use the numeric key pad to enter a one two or three
.digit number 1-128. Press ENTER and a program change message of the specified number will be transmitted on the Kbd Trans Ch (keyboard transmit channel) specified in MIDI Utility job 1. Channel set
(JUMP #807).
If you enter a number below 1 it will be transmitted as 1. If you enter a number above 128 it will be transmitted as 128.
In addition to the program change transmitted by this function, a program change message will be transmitted each time you select a voice or multi unless the Utility mode setting MIDI Utility
2. Program change is turned off.
158
MULTI EDIT MODE
This section explains the details of all Multi Edit parameters.
MULTI EDIT MODE
159
MULTI EDIT MODE
From multi play mode press EDIT to enter multi edit mode. Unlike voice edit mode, multi edit mode has only a single job directory.
You can use the SEQUENCER control keys to playback sequencer song or sequencer pattern data while editing a multi. It is especially helpful to play a sequencer song back while editing a multi, since you will be able to hear the effect your modifications are having on each of the voices. For example you can edit multi parameters to modify the "mix", or even edit a voice, all while the song is playing.
160
MULTI EDIT MODE
Compare
When you are in edit mode but have have not yet modified the data, a small square is displayed at the left of the multi number to indicate that the voice has not yet been edited. If the data is edited in any way, this will change to a inverse "E".
If you want to see and hear the original data press
EDIT (COMPARE) and the inverse "E" will change to a "C" indicating that you are in compare mode.
Note: While comparing, EXIT, mode select, page, cursor, JUMP, COPY, and some of F1-F8 will not function.
Store multi
When you press EXIT or use the JUMP button to exit
Multi Edit mode after editing the data, the top line of the display will ask "AUTO-STORE MUILTI?"
The LCD will show the first seven characters of the multi names in the currently selected internal or card multi memory. The multi name displayed in inverse indicates the multi memory into which the edited data will be stored.
1. Use INTERNAL or CARD to specify the multi memory, and select the multi memory 1-16 in which you want to store your newly edited multi.
2. Press F8 (Go), and the bottom line will ask "Are you sure !" (Yes or No)".
3. If you are sure you want to store the edited multi, press +1/YES and the bottom line of the
LCD will show "Store completed". If you decide not to store, press -1/NO and the bottom line of the LCD will show "Store cancelled".
4. You will then return to multi play mode or the jump destination.
Multi edit job directory
#400
Summary: The parameters of Multi Edit mode are divided into the jobs shown in this job directory.
Procedure:
From: multi play mode (JUMP #300)
Select: EDIT (JUMP #400)
Specify: the desired multi edit job and press
ENTER.
This area shows the number and name of the selected multi.
Move the cursor in this area to select a job and press ENTER to go to the selected job.
161
MULTI EDIT MODE
Pressing F1-F8 will select the corresponding job
1-8. Holding SHIFT and pressing F7 or F8 will select job 15 or 16.
01: Voice (Voice Select): A multi consist of sixteen voices which are controlled by MIDI channels 1-16. A different voice can be selected for each of the sixteen channels in the multi.
02: Volume (Voice Volume): The volume of the voice played by each channel of the multi can be adjusted.
03: Tuning (Voice Tuning): The fine tuning of the voice played by each channel of the multi can be adjusted in steps of 1.1718875 cents.
04: Shift (Voice Note Shift): The pitch of the voice played by each channel of the multi can be adjusted in half steps.
05: St-Pan (Voice Static Pan): A fixed stereo position can be specified for the voice played by each channel of the multi, or a voice can use its own pan settings.
06: OutSel (Voice Output Select): All voices played by the multi are sent from output groups 1 and/or 2 to the effect unit. The selected output group determines how the voice will be processed through the effect unit.
07: Effect (Effect Set): The four effects in the effect unit can be arranged in various ways to add modulation and reverb to the sound.
08: Name (Name Multi): The multi being edited can be given a twenty-character name. In multi play mode this name will be displayed in large characters.
15: Initlz (Initialize Multi): The multi data being edited can be initialized to a set of standard values.
16: Recall (Recall Multi): The previously edited
Multi data can be recalled for additional editing.
1. Voice select
Summary: A multi consists of sixteen voices which are controlled by MIDI channels 1-16. A different voice can be selected for each of the sixteen channels in the multi.
Procedure:
From: multi job directory (JUMP #400)
Select: job 01:Voice (JUMP #401)
Specify: the voice for each channel of the multi
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This displays the number and name of the multi you are editing.
This displays the number and name of the voice where the cursor is located.
Move the cursor in this area and select a voice for each of the sixteen channels in the multi. This area displays only the first seven characters of the selected voice name, but the voice number and name are fully displayed in Each channel of the multi can use any voice from internal, card, or preset memories, or can be set to an "off voice. See Off Voice below for details.
A multi in card memory can use only card or preset voices. A multi in internal memory can use only internal or preset voices.
If a selected voice contains an AWM element which uses card waveform data, and if the correct card is not inserted into the WAVEFORM slot, a x mark will be displayed instead of the number 1-16, and that voice will not sound.
(Each AWM waveform card has a unique ID number which is stored as part of the data for an
AWM element.)
To edit the voice selected by the cursor, press F8
(Edit). You will enter voice edit mode. Details are the same as explained in Voice edit mode, but when you press EXIT to exit voice edit mode you will return to this Multi edit 1. Voice select job. However you will not be able to edit effect settings of the voice, and depending on the
Voice static Pan setting of the multi, modifying the output select settings or dynamic pan settings of the voice may have no effect.
Since the SY77's sequencer can be used at any time even while editing a voice or multi, you can use this function to edit one of the voices in a multi while
that multi is being played from the sequencer. This capability is very useful, since it allows you to edit a voice while it is being played in a musical context with other instruments.
Off Voice: Each channel of the multi can use any voice from internal, card, or preset memories, or can be turned "off". When turned off, the multi will not play a voice in response to data on that channel.
This allows you to play an external MIDI tone generator from certain channels of the
SY77's built-in sequencer without sounding the
SY77's own tone generator for those channels.
If you set the output level of an unwanted channel of the multi to 0 (see Multi edit 2. Voice
volume) it will not be heard, but will still use the
MULTI EDIT MODE
SY77's tone generator whenever notes on that
MIDI channel are received, and will therefore reduce the simultaneous notes available for the other voices. This is why you should turn unneeded channels of the multi "off".
To turn a channel off, hold the SHIFT button and press a memory select button 1-16. To restore the previous voice selection for that channel, hold SHIFT and press the corresponding memory select button 1-16 once again.
Remarks: In multi play mode the SY77 keyboard will normally play only the channel of the multi which matches the Keyboard MIDI Transmit
Channel setting made in MIDI utility 1. Channel
set. However in multi edit mode, the SY77 keyboard will play the voice where the cursor is located in this Voice Select job. This will remain in effect as long as you are in multi edit mode.
2. Voice volume
Summary: Set the volume of the voice played by each channel of the multi.
Procedure:
From: multi job directory (JUMP #400)
Select: job 02: Volume
Specify: the volume for each channel for channels 1-8 press (JUMP #402)
Fl (1-8) for channels 9-16 press (JUMP #403)
F2 (9-16)
Selected Voice: This displays the number and name of the voice played by the multi channel where the cursor is located.
Voice Volume (0...127): Set the volume for each voice played by the sixteen channels of the multi. The volume for each voice is displayed as a vertical bar graph.
Holding SHIFT and pressing F1-F8 will move the cursor to voices 1-8 or to voices 9-16, depending on whether F1 or F2 has been pressed.
3. Voice tuning
Summary: Adjust the fine tuning of the voice played by each channel of the multi.
Procedure:
From: multi job directory (JUMP #400)
Select: job03:Tuning
Specify: the tuning for each channel for channels 1-8 press (JUMP #404)
F1 (1-8) for channels 9-16 press (JUMP #405)
F2 (9-16)
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MULTI EDIT MODE
Selected Voice: This displays the number and name of the voice played by the multi channel where the cursor is located.
Voice Tuning (-63...+63 in steps of 1.1718875
cents): Set the tuning for each voice played by the sixteen channels of the multi. The tuning for each voice is displayed as a horizontal bar graph.
Holding SHIFT and pressing F1-F8 will move the cursor to voices 1-8 or to voices 9-16, depending on whether F1 or F2 has been pressed.
Note: The actual pitch at which a voice will sound, is affected by many other factors; System utility settings 1. Master tuning. Voice common data
2. Element detune, 3. Element note shift,
11. Micro tuning, AFM element data 2.AFM
oscillator, 7. AFM pitch EG, and AWM element data 1. AWM waveform set, 6. AWM pitch EG.
4. Voice note shift
JUMP #405
Summary: Adjust the note shift (transposition) of the voice played by each channel of the multi.
Procedure:
From: multi job directory (JUMP #400)
Select: job 04:Shift
Specify: the note shift for each channel for channels 1-8 press (JUMP #406)
Fl (1-8) for channels 9-16 press (JUMP #407)
F2 (9-16)
Selected Voice: This displays the number and name of the voice played by the multi channel where the cursor is located.
Voice Note Shift (-64...+63 in half steps): Set the note shift (transposition) for each voice played by the sixteen channels of the multi. The note shift setting for each voice is displayed as a horizontal bar graph.
Holding SHIFT and pressing F1-F8 will move the cursor to voices 1-8 or to voices 9-16, depending on whether F1 or F2 has been pressed.
Note: This setting determines how note numbers received from the keyboard or MIDI IN are sounded, and has no effect on the data transmitted from MIDI OUT.
5. Voice static pan
Summary: Specify the stereo position for the voice played by each channel of the multi.
Procedure:
From: multi job directory (JUMP #400)
Select: job 05:St-Pan
Specify: the static pan position for each channel for channels 1-8 press (JUMP #408)
Fl (1-8) for channels 9-16 press (JUMP #409)
F2 (9-16)
Selected Voice: This displays the number and name of the voice played by the multi channel where the cursor is located.
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Voice Static Pan (VC or -31...+31 = left...right): Set the static pan position for each voice played by the sixteen channels of the multi. The static pan setting for each voice is displayed as a horizontal bar graph.
It is also possible to select "VC", when the voice will use its own pan data. If "VC" is not selected, the pan data of the voice will be
MULTI EDIT MODE ignored and the static pan setting you specify here will be used. If "VC" is not selected for a drum voice, all the drum sounds will be panned to the same pan position -31...+31 you specify here.
Holding SHIFT and pressing F1-F8 will move the cursor to voices 1-8 or to voices 9-16, depending on whether F1 or F2 has been pressed.
6. Voice output group select
Summary: Each voice can be sent from either or both output groups, to determine how the voice will be processed through the effect units.
Procedure:
From: multi job directory (JUMP #400)
Select: job 06:OutSel
Specify: the output group for each channel for channels 1-8 press (JUMP #410)
Fl (1-8) for channels 9-16 press (JUMP #411)
F2 (9-16)
Selected Voice: This displays the number and name of the voice played by the multi channel where the cursor is located.
Output (off, grp1, grp2, both): Each voice played by a multi is independently panned according to the setting of 5. Voice static pan, and this stereo output of each voice is sent to the DSP effects unit via Output Group 1 or 2. The output group setting of the voice itself will be ignored unless this is set "off".
Multi edit settings cannot determine the output group for a multi channel that plays a drum voice, and the cursor cannot be moved to these voices. The display will show
"Output = drum", and the drum voice data will determine which output group is used by each drum sound. Refer to Drum set data, 2. Wave
data set (JUMP #274).
Holding SHIFT and pressing P1-F8 will move the cursor to voices 1-8 or to voices 9-16, depending on whether Fl or F2 has been pressed.
Output: The selected Output Group(s) will determine how the voice is processed by the effect units as you specify in 7. Effect set. If the output group is "Off" the voice will not be processed through the effect units. The unprocessed sound of the voice will be heard if the Stereo Mix of the effect unit is turned on.
Channel
1
2
3
1 6
Voice
P1 - C03 BigBand
P1 - D 1 0
Thumb Bass
P1 - A01
GrandPiano
Static
Pan
-15
VOICE
Output
Select both
1
+31 2
P1 -C15 Clarinet +04 2
7. Effect set
#412
Summary: The four effects in the effect unit can be arranged in various ways to add modulation and reverb to the sound.
Procedure:
From: multi job directory (JUMP #400)
Select: job 07:Effect (JUMP #412)
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MULTI EDIT MODE
Move the cursor in this area to select a job.
01: Effect Mode Select: Specify how the four effect units will be connected. (JUMP #413)
02: Modulation Effect 1 Set: Select an effect type and set parameters for modulation effect 1. (JUMP #414, #415)
03: Modulation Effect 2 Set: Select an effect type and set parameters for modulation effect 2. (JUMP #416, #417)
04: Reverb Effect 1 Set: Select an effect type and set parameters for reverb effect 1.
(JUMP #418, #419)
05: Reverb Effect 2 Set: Select an effect type and set parameters for reverb effect 2.
(JUMP #420, #421)
Pressing F1-F5 will select the corresponding job.
The sixteen voices played by a multi are processed through the effect units as determined by the output group selected for each voice. Refer to the previous section, 6. Voice output group select.
Job 1.Effect Mode Select determines how the two input groups are routed through the four effect units, and jobs 2-5 determine how each effect unit will process the sound.
Effect settings in multi mode are exactly the same as explained in voice mode. For details, refer to Voice common data 10.1-10.5.
8. Multi name
Summary: The multi being edited can be given a twenty-character name. In multi play mode, this multi name will be displayed in large characters.
Procedure:
From: multi job directory (JUMP #400)
Select: job 08:Name (JUMP #422)
Specify: the name for the multi
Enter a twenty-character name for the multi.
To clear the currently entered name press Fl
(Clr). To switch to upper-case characters press
P2 (Uppr). To switch to lower case characters press F3 (Lowr).
Remarks: Methods of entering character data are explained in Introducing the SY77, How to use
the numeric key pad, on page 30.
15. Initialize multi
Summary: The multi data being edited can be initialized to a set of standard values.
Procedure:
From: multi job directory (JUMP #400)
Select: job 15:Initlz
To execute: the initialize operation press YES.
To quit: without executing press NO or EXIT.
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This function sets all multi data values to the minimum or simplest possible setting. When you are creating a new multi it is often convenient to start with the initial settings.
If you are sure you want to initialize the multi data, press YES and the data of the multi being edited will be set to the values shown below. If you decide not to initialize, press NO.
Initialized settings for Multi data
01 Voice select
Preset 1 A0l(0l) GrandPiano (all channels)
02 Voice volume
Volume =127 (maximum) (all channels)
MULTI EDIT MODE
03 Voice tuning
Tuning = ±0 (all channels)
04 Voice note shift
Note Shift = ±0 (all channels)
05 Voice static pan
Pan = ±0 (= center) (all channels)
06 Voice output group select
Output = both (all channels)
07 Effect set
*** same as for normal voice ***
08 Name multi
Name = INIT MULTI VOICE
16. Recall multi
Summary: The previously edited Multi data can be recalled for additional editing.
Procedure:
From: multi job directory (JUMP #400)
Select: job 16:Recall
To execute: the recall operation press YES.
To quit: without executing press NO or EXIT.
If after editing a multi you exit multi edit mode without storing, the edited multi data will be lost. In such cases, you can use this function to recall the previously edited multi data into the editing buffer.
If you are sure you want to recall, press YES and the previously edited multi data will be recalled into the editing buffer. If you decide not to recall, press
NO.
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168
SONG MODE
SONG MODE
Song mode allows you to record up to 15 tracks, with each track containing an independent musical part. These tracks can be edited in different ways, and the musical data of each track can be transmitted on its own MIDI channel to play a different voice in a Multi or an external synthesizer.
Contents of this section page
169
SONG MODE
In song mode you can play back and record Tracks. Each track contains an independent musical part. The
SY77's sequencer has 16 tracks and each track extends the entire length of the song.
As shown in the following diagram, Song Setup job 2. Output Channel allows you to specify the channel on which each sequencer track will transmit its data. All data from the sequencer will be sent to the Multi as well as transmitted from the SY77's MIDI OUT, allowing you to play other synthesizers or tone generators from the SY77's sequencer.
A Multi consists of a voice selection and other settings for each of the 16 channels. If you want to use a sequencer track only to play an external tone generator via MIDI OUT, you must select an "off" voice for the corresponding channel of the multi.
In the diagram above, sequencer track 2 is transmitting on channel 3. Channel 3 of the multi is set to the
"off" voice, so sequencer track 2 will not play the multi. The sequence data will be transmitted from MIDI
OUT, however, and can be played by am external tone generator set to the appropriate channel.
170
SONG MODE
How song play mode and song edit mode are organized
09:MvClok Move clock
10:CpMeas Copy measure
11:ErMeas Erase measure
12:DelMeas Delete measure
13:CrMeas Create measure
14:MixTrk Mix track
15:ErsTrck Erase track
16:ClrSong Clear song
From the Song Play display you can press P6 to enter the Song Edit Job job directory, F7 to enter the
Song Setup job directory, or F8 to set the song name.
01: Receive Event
02: Output Channel
03: MIDI Control
04: Accent Level
05: Clock/Beat
01:Quantz Quantize
02:MdfGat Modify gate time
03:MdfVel Modify velocity
04:Cresc Crescendo
05:Transp Transpose
06:ThinOt Thin out
07:ErEvnt Erase event
08:NtShft Note shift
171
SONG MODE
Song play
Summary: This is where you will playback the song.
You can also make settings for the metronome and synchronization.
Procedure:
From: any mode
Press: SONG to enter song play mode. The SONG
LED will light red.
Measure (001...999): This determines the measure from which the song will begin playback.
You can modify this by moving the cursor here and specify the measure, or by using the sequencer location buttons LOCATE, or
Time (1/4...32/16): This displays the time signature you specified in song record mode. This cannot be modified in song play mode.
(30...250): This determines the tempo in quarter notes per minute.
This area displays the song name you assigned in Song name (JUMP #623).
Used (0...100%): This displays the amount of used sequencer memory.
Click (off, rec, rec/play, always): This determines when the click (metronome) will sound.
off: The metronome will not sound.
rec: The metronome will sound only during recording.
rec/play: The metronome will sound during recording or playback.
always: The metronome will sound constantly.
Click Beat (1/4, 1/6, 1/8, 1/12, 1/16, 1/24); This determines the beat on which the click will sound.
Sync (internal, MIDI): This determines the timing source which will control the sequencer.
Normally you will leave this set to internal so that the SY77's own clock will determine the tempo.
If you are using an external MIDI sequencer and want the SY77's sequencer to play in synchronization with it, set this to MIDI so that MIDI clock messages received at MIDI IN will determine the tempo.
Pressing F1 (Mute) will mute all tracks so that you will hear no sound even during playback.
Notes which are already sounding when you press F1 will continue sounding for their original duration. Press F1 once again to un-mute the tracks.
To move to the Song Edit Job job directory press
P6 (Job). To move to the Song Setup job directory (Stup). To set the song name press F8
(Name).
Select tracks for playback: Use the sixteen memory select buttons to select the tracks for playback. Each track LED will light green to indicate a track which contains data. Pressing a button will alternately turn the track on (the
LED is lit) or muted (the LED is blinking). You can also press Fl (Mute) to mute all the tracks.
Start and stop playback: Press RUN and the song will begin playback from the point specified by the measure setting. To stop playback press
STOP.
During playback: During playback you can move the cursor and modify tempo, click, and click beat settings.
Locate: Any time while in song play mode (even during playback), you can hold SHIFT and press
LOCATE to mark the current measure. While the sequencer is stopped, you can press LOCATE to instantly move to this measure.
172
In addition to LOCATE, the following keys can be used while the sequencer is stopped to move backwards and forwards in the song.
Move to the beginning of the song
Move backward one measure (continue pressing to move rapidly)
LOCATE Move to a previously set location
Move forward one measure (continue pressing to move rapidly)
Song edit: Any time in song play mode while the sequencer is not playing back, you can press
EDIT to edit the song. For details refer to Song
Edit Mode.
SONG MODE
Simultaneous note capacity: The SY77 sequencer can playback up to 32 notes at once. During playback, any new notes which would exceed this number will be ignored.
Timing priority: Since track 16 (the pattern track) will often be used to play rhythm parts, highest priority is given to playing it on time. Timing priority is then given to tracks 1,2, ... 15.
173
SONG MODE
Summary: This is where you make settings in preparation for recording a song. You can specify the mode and type of recording, set the time signature, and make other settings as in the Song
Play display.
Procedure:
From: song play display press RECORD. The
RECORD LED will light.
Specify: the recording mode and make recording settings.
To start: recording press RUN.
To stop: recording press STOP.
The song record display will differ according to whether or not punch-in recording has been selected.
If Realtime or Step recording has been selected
If Punch-in recording has been selected
Measure (001...999): This determines the measure from which the song will begin playback.
You can modify this by moving the cursor here and specifying the measure, or by using the sequencer location buttons LOCATE, or
Time (01-08/4, 01-16/08, 01-32/16): This determines the time signature of measures that will be recorded. (A song may contain measures of differing time signatures.)
(30...250): This determines the tempo in quarter notes per minute.
Song record
This area displays the song name you assigned
(refer to Song Name).
Used (0...100%): This displays the amount of sequencer memory already used. Since recording and editing operations require some memory for processing, it may not always be possible to continue recording until this displays 100%.
Quantize (off, 1/32, 1/24, 1/16, 1/12, 1/8, 1/4,
1/2): This determines the timing accuracy to which the notes you play will be corrected.
When quantization is turned off the notes you play will be recorded at the exact timing they occur. When a quantization of 1/32... 1/2 is selected, all notes you play will be moved to the nearest timing at the specified interval.
Receive Channel (1-16, omni, kbd): This determines the channel that will be recorded by the sequencer.
1-16: The sequencer will record only the data received on the specified channel from MIDI
IN.
omni: The sequencer will record all data of any channel from MIDI IN.
kbd: The sequencer will record the notes played on the SY77 keyboard, regardless of the Kbd Transmit channel setting.
Click (off, rec, rec/play, always): This determines when the click (metronome) will sound.
off: The metronome will not sound.
rec: The metronome will sound only during recording.
rec/play: The metronome will sound during recording or playback.
always: The metronome will sound constantly,
Click Beat (1/4, 1/6, 1/8, 1/12, 1/16, 1/24): This determines the beat on which the click will sound.
Sync (internal, MIDI): This determines the timing source which will control the sequencer.
Normally you will leave this set to internal so that the SY77's own clock will determine the tempo.
174
If you are using an external MIDI sequencer and want the SY77's sequencer to play in synchronization with it, set this to MIDI so that
MIDI clock messages received at MIDI IN will determine the tempo.
Recording mode (Real, Step, Pnch): Press Fl,F2 or F3 to select the recording mode.
Realtime recording (press F1): Notes will be recorded at the exact time you play them.
Step recording (press F2): Notes will be recorded one by one with the specified time value, regardless of the actual timing with which you play.
Punch-in recording (press F3): The same as realtime recording except that recording will take place only over the measures specified by
From Meas and To Meas.
Overdub/Replace (Over, Rplc): This determines how newly recorded data will be added to the track.
Overdub recording: If you select overdub recording by pressing F3, notes you record will added to the data already in the track. The track will then contain both the old and new data. If step recording has been selected in overdub recording will automatically be selected. In punch record mode, overdub recording can not be selected.
Replace recording: If you select replace.
recording by pressing F4, notes you record will replace the data previously in the track. The track will contain only the new data, and the old data will be lost. If step recording has been selected in , replace recording cannot be selected.
SONG MODE
Press F6-F8 to move to the Song Edit Job job directory, the Song Setup job directory, or to set the song name.
From Meas (001...999), To Meas (001...999):
If F3 (Pnch) has been pressed to select punch-in recording, you will be able to specify the range of measures over which recording will take place.
Recording procedure:
1. If necessary, specify the measure at which recording will begin, and modify the settings for time, tempo, quantize, receive channel, click, click beat, and sync.
2. Specify the recording mode; realtime (F1), step
(F2), or punch-in (F3).
3. If you specified punch-in recording in step 2, set the beginning (From Meas) and end (To Meas) of the recorded area.
4. Specify overdub (F3) or replace (F4).
5. Press a memory select button 1-16 to select the track on which to record. The LED of the selected track will light red. The LEDs of tracks which already contain data are lit green.
6. Press RUN and recording will begin. The recording display will depend on the recording mode selected in step 2. For details see the following sections; Realtime Recording, Punch-in Record-
ing, and Step Recording.
1. When you are finished recording press STOP and you will return to the song play display.
Song edit: Any time while in song record mode
(except while recording) you can press EDIT to edit the song. For details refer to Song Edit
Mode.
SONG RECORD
Realtime recording
Summary: In realtime recording the notes you play will be recorded in the exact timing with which you play them
Procedure:
From: song record display
Press: Fl (Real) to select realtime recording
To begin: recording press RUN. The RUN LED will blink to the tempo.
To stop: recording and return to the song play display press STOP.
Measure (001...999): As you record this will advance to show the number of the measure currently being recorded.
175
SONG MODE
(30...250): While recording you can move the cursor here to modify the tempo.
Used (0...100%): As you record this will increase to show the amount of sequencer memory that has been used.
Click (off, rec, rec/play, always): While recording you can move the cursor here and specify when the click (metronome) will sound.
off: The metronome will not sound.
rec: The metronome will sound only during recording.
rec/play: The metronome will sound during recording or playback.
always: The metronome will sound constantly.
Click Beat (1/4, 1/6, 1/8, 1/12, 1/16, 1/24): While recording you can move the cursor here and specify the beat on which the click will sound.
While recording or playing back, the RUN LED will blink green on each beat and blink red on the first beat of each measure.
Remarks: While recording you can modify the settings for tempo, click, and click beat. To modify the other parameters you must return to the song record display.
SONG RECORD
Punch-in recording
Summary: In punch-in recording the notes you play will be recorded in the exact timing with with you play them, but only over the measures you specify.
Procedure:
From: song record display
Press: F3 (Pnch) to select punch-in recording
Specify: the measures over which recording will take place.
To begin: recording select the track to be recorded and press R U N . The RUN
LED will blink to the tempo.
To stop: recording and return to the song play display press STOP.
Measure (001... 999): As you record this will advance to show the number of the measure currently being recorded.
(30...250): While recording you can move the cursor here to moony the tempo.
Used (0...100%): As you record this will increase to show the amount of sequencer memory that has been used.
From Measure (001...999): When the beginning of this measure is reached, recording will begin.
The notes you play will replace the previous data in the track.
To Measure (001...999): When the end of this measure is reached recording will end, but the song will continue playing back.
Click (off, rec, rec/play, always): While recording you can move the cursor here and specify when the click (metronome) will sound.
off: The metronome will not sound.
rec: The metronome will sound only during recording.
rec/play: The metronome will sound during recording or playback.
always: The metronome will sound constantly.
Click Beat (1/4,1/6, 1/8, 1/12, 1/16, 1/24): While recording you can move the cursor here and specify the beat on which the click will sound.
Remarks: While recording you can modify the settings for tempo, click, and click beat. To modify the other parameters you must return to the song record display.
It is a good idea to set the location to a few measures before the punch-in point specified by
From Measure. This will give you a chance to get the feel of the section you are going to rerecord.
When the punch-out point specified by To
Measure is reached, recording will end and the
RECORD LED will go out, but playback will continue.
176
SONG MODE
SONG RECORD
Step recording
Summary: In song step record mode, notes will be recorded one by one with the specified time value, regardless of the actual timing at which you play. This makes it possible to input very complex passages which would be difficult to play in realtime.
Procedure:
From: song record display
Press: F2 (Step) to select step recording.
To begin: recording specify the track to be recorded and press R U N . The RUN
LED will light green.
Record: data as explained in the Recording
Procedure below.
To stop: recording and return to the song play display press STOP.
Measure (001...999): To move to another measure, place the cursor here and modify the data.
Time (01-08/4, 01-16/08, 01-32/16): The time signature is only displayed, and cannot be modified.
The tempo is only displayed, and has no effect in step recording.
Used (0...100%): This displays the amount of sequencer memory already used.
This area indicates the currently selected note value. At any time in step recording you can use the numeric keypad to enter note values. You can also move the cursor to this area and modify the note values. If possible, the note values in this area will be displayed as graphic symbols for a whole note, quarter note, etc. Otherwise the note value will displayed as a number of clocks (l/384th notes).
When the cursor is located in this area you can move backwards and forwards through the data in time. If the current measure is longer than four quarter notes (e.g., a time signature of 10/8), a number will be displayed here to indicate the section of the measure now being displayed.
The measure bar represents one measure, and vertical divisions represent one beat. A dot will be displayed on the bar to indicate a 32nd note area which contains data.
As you move backward or forward through the data in time, an arrow pointing downward will move in 32nd note steps to indicate the current position in the measure.
If the currently selected 32nd note area contains data, the notes in that area will be displayed on the keyboard diagram.
To select an accent value, press F1-F4.
Subsequently entered notes will be given the selected accent value. With the initial settings,
Accl=24, Acc2=56, Acc3=88, and Acc4=120. To change the accent value assigned to F1-F4 refer to Song setup job 4. Accent level.
To delete all data in the 32nd note area where the cursor is located, press F5 (Del). The cursor location will not change.
This function, P6 (BDel) depends on the current note length. If the currently selected note length is 1/4 then data at the location 1/4 note previous to the current position will be deleted. The cursor will move back 1 /4 note.
Note duration: To specify how long the note will be held in relation to its note value hold SHIFT and press F1-F3. To record normal notes which sound for 80% of their note values press F1
(Norm). To record staccato notes which sound for 50% of their note values press F2 (Stac). To record slurred notes which sound for 99% of their note value press F3 (Slur).
Numeric keypad:
Note value (numeric keys 1-8): Use the numeric keys 1-8 to specify the note value to be recorded. Pressing each key will select the note value printed above it, from a whole note (key 1) to a 16th note triplet (key 8). This also determines the step time by which the cursor will automatically advance after each note has been entered.
177
SONG MODE
Dot (numeric key 9): To dot the current note value press numeric key 9. The current note value will be extended by 50%.
Tie (numeric key "-"): To extend the duration of the previously entered note, press TIE. The duration of the note will be extended by the current note value, and the cursor will advance accordingly.
Rest (numeric key 0): To advance one step without entering data press REST.
Recording procedure:
Enter notes: Each time you press and release a key it will be recorded, and the position will move ahead one step as specified by the step time. The note will not be entered until all keys have been released. This allows you to enter more than one note at the same location by pressing more than one note before releasing the first.
Scroll through the data: When the cursor is located at you can also use the cursor keys to move back and forth in the track and enter notes wherever you like. When you come to note data, it will be displayed on the keyboard diagram below and sounded on the synthesizer.
To stop recording: When you are finished recording the song press STOP. You will return to the song play display, where you can press
RUN and hear the song you just recorded.
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SONG MODE
Song edit
Summary: In song edit mode you can edit individual events that have been recorded in tracks 1-15.
Procedure:
From: song mode when the SONG LED is lit red
Press: EDIT
Select: the track to edit
Edit: the data as explained in the following sections.
To exit: song edit mode and return to song play mode press EXIT.
The song edit display will differ according to whether graphic or data editing has been selected, and whether tracks 1-15 or track 16 has been selected.
If graphic editing has been selected (tracks 1-15)
If data editing has been selected (tracks 1-15)
If track 16 has been selected for editing
Select the track to edit: Press a memory select button 1-16 to select the track to edit. Tracks 1-
15 contain sequence data and track 16 contains pattern data.
Song graphic editing (tracks 1-15): To select graphic editing when a track 1-15 is selected, press F7 (Grph). A horizontal line will be displayed with dots indicating the position of note data in the measure. A keyboard diagram below will indicate the notes at the currently selected
32nd note area. For details refer to the following section Song edit (graphic mode).
Song data editing (tracks 1-15): To select data editing when a track 1-15 is selected, press F8
(Data). The display will show the type and numerical values for each event. Data editing is divided into two modes; insert and change. For details refer to the following sections Song edit
(data insert) and Song edit (data change).
Chain pattern editing (track 16): When track 16 is selected, the display will show the pattern number assigned to each part. For details refer to the following section Chain pattern.
SONG EDIT
Song edit (graph)
Summary: In song editing graph mode, the notes in the selected track 1-15 will be graphically displayed on a keyboard diagram. Data can only be viewed, not edited in graph mode.
Procedure:
From: song mode when the SONG LED is lit red
Press: EDIT
Select: a track 1-15
Press: F7 (Grap).
View: the data as explained below.
To exit: song edit mode and return to song play mode press EXIT.
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SONG MODE
Measure (001...999): This indicates the measure that is displayed. You can move the cursor here and select another measure, or use the sequencer location keys LOCATE, or
You can use the dial, -1 +1, or the slider to move within the step area in 32nd note steps by placing the cursor here. As you come to note data, it will be displayed on the keyboard diagram below and sounded on the synthesizer.
If the currently selected 32nd note step contains note data, the notes will be displayed on this keyboard diagram.
Select the track to view: While in song edit graph mode you can press a memory select button 1-
15 to select the track to view. If you select track
16 the display will be as explained in the following section. Chain pattern.
Remarks: Graph edit mode only displays the data in the track. To edit data you must use either data change mode or data insert mode.
SONG EDIT
Song edit (data change)
Summary: In song editing data change mode, all data in the selected track 1-15 will be displayed numerically. You can change the values of existing data, or delete the currently displayed data.
Procedure:
From: song mode when the SONG LED is lit red
Press: EDIT
Select: a-track 1-15
Press: F8 (Data) and then press F2 (Chng).
Select: the data you wish to edit
Specify: the data parameters and location.
To change: the data press ENTER
To exit: song edit mode and return to song play mode press EXIT.
Song Name: This displays the name of the song.
Measure (001...999): To move to another measure in the track, place the cursor here and modify the data.
Time (01-08/4, 01-16/08, 01-32/16): This displays the time signature of the current measure in the track.
Tempo is only displayed, and has no effect in song edit mode.
Used (0...100%): This displays the amount of sequencer memory already used.
When the cursor is located in this area you can use -l +l or the dial to move backwards and forwards through the data in time. If the current measure is longer than four quarter notes (e.g., a time signature of 10/8), a number will be displayed here to indicate the section of the measure now being displayed.
The horizontal line represents one measure, and vertical divisions represent one beat. A dot will be displayed on. the bar to indicate a 32nd note area which contains data.
As you move backward or forward through the data in time, an arrow pointing downward will move in 32nd note steps to indicate the current position in the measure.
This area numerically shows the data at the cursor location. Move the cursor to the data you wish to modify, modify the data, and press
ENTER.
To delete the currently displayed data press F3
(Del).
To move to Insert mode press F1 (Ins).
Move through the data: As mentioned above, when the cursor is located at you can use -1
+1 or the dial to move backwards and forwards through the data. You can also move through the data regardless of the location of the cursor by holding SHIFT and using -l +l or the dial.
Change the location of the data: In addition to the data values for each type of data, you can also modify the location (measure, beat, clock) to move the data in time.
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Change the data values: The following section
Song edit (data insert) explains the values which can be modified for each type of data. After modifying the data values and/or location, be sure to press ENTER if you wish to finalize the change.
SONG MODE
Top/end of Track: To indicate the beginning or end of the track, the display will show "Top of
Track" or "End of Track". This data cannot be changed.
SONG EDIT
Song edit (data insert)
Summary: In song editing data insert mode, you can insert any type of data into any location in the selected track 1-15.
Procedure:
From: song mode (when the SONG LED is lit red)
Press: EDIT
Select: a track 1-15
Press: P8 (Data) and then press F1 (Ins).
Specify: the type, parameters, and location of the data you wish to insert.
To insert: the data press ENTER.
To exit: song edit mode and return to song play mode press EXIT.
As you move backward or forward through the data in time, an arrow pointing downward will move in 32nd note steps to indicate the current position in the measure.
This area numerically shows the data that will be inserted at the cursor location. To specify the type of data to be inserted, hold SHIFT and press
F1-F6 to enter one of the types of data explained below. Move the cursor and modify the parameters as desired, and press ENTER to insert the data at the current location.
To move to Change mode press F2 (Chng).
To move to Graph mode press F7 (Grap).
Note: The following display will appear, and you can move the cursor to specify the following data; location ("001-01-00/96", etc.), note number (Note 0...127), gate time (Gate 1...8188) in multiples of 4, and note-on velocity (Velocity
1...127).
Gate time is displayed as the number of clocks (l/96th of a beat) that the note will be held, but can be specified only in multiples of 4.
Step time (Step 0...9999) is displayed to indicate the time until the next event, but cannot be edited.
Measure (001...999): To move to another measure in the track, place the cursor here and modify the data.
Time (01-08/4, 01-16/08, 01-32/16): This displays the time signature of the measure in the track being edited.
Tempo is only displayed, and has no effect in
Step record mode.
Used (0...100%): This displays the amount of sequencer memory already used.
When the cursor is located in this area you can move backwards and forwards through the data in time. If the current measure is longer than four quarter notes (e.g., a time signature of 10/8), a number will be displayed here to indicate the section of the measure now being displayed.
The measure bar represents one measure, and vertical divisions represent one beat. A dot will be displayed on the bar to indicate a 32nd note area which contains data.
Program change: To enter program change data hold SHIFT and press F2 (Prog). The following display will appear, and you can move the cursor to specify the the program change number
(Value 0...127). A program change of 0 will select the first program; A01 in the case of the
SY77.
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SONG MODE
After touch: To enter after touch data hold SHIFT and press F5 (AT). The following display will appear, and you can move the cursor to specify the aftertouch data (Value 0...127).
Pitch bend: To enter pitch bend data hold SHIFT and press F3 (PB). The following display will appear, and you can move the cursor to specify the pitch bend data (Value -8192...8191).
Relative tempo; To enter relative tempo data hold
SHIFT and press F6 (Temp). The following display will appear, and you can move the cursor to specify the relative tempo change data (Value
10%...200%).
Control change: To enter control change data hold
SHIFT and press F4 (Ctrl). The following display will appear, and you can move the cursor to specify the control change number (Control
0...127) and control change data (Value
0...127). Control change number 123 cannot be selected.
When playback reaches relative tempo data, the playback tempo will change by the specified percentage. Relative tempo data will have an effect only if the SY77 sequencer is synchronized to its own internal clock. Refer to Song Setup job 2.MIDI
Control.
SONG EDIT
Chain pattern
Summary: Track 16 of the sequencer contains pattern numbers and repeat data. Chain pattern allows you to arrange the pattern and repeat data in this track.
Procedure:
From: song mode (when the SONG LED is lit red)
Press: EDIT
Select: track 16
Specify: the pattern played by each part, and search, copy, insert, or delete parts.
To enter: the specified data for each part press
ENTER.
To exit: chain pattern mode and return to song play press EXIT.
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Track 16 can consist of up to 999 Parts. When the cursor is located at Part, select an existing part 001-999. It is not possible to select a part which contains no data. When you press ENTER to enter the specified data for a part, this number will automatically advance to the next part.
SONG MODE
Each part in track 16 can be either a pattern number, a begin repeat mark or an end repeat mark With the cursor located here, specify the data that will occupy the selected part. To specify a pattern press F1 (Ptn) and specify the pattern number 01-99. To enter a begin repeat mark press F2 To enter an end repeat mark press F3 and specify the number of times to repeat. When you press ENTER to enter the specified data for each part, the part number will automatically advance.
To search for the next occurrence of a begin repeat, end repeat, or specified pattern number, press F5 (Srch). Details are given below.
To copy a specified range of parts to another range of parts, press F6 (Copy). Details are given below.
To insert a new part into the track, press F7
(Ins). Details are given below.
To delete a specified part from the track, press
F8 (Del). Details are given below.
Repeat marks: The parts surrounded by repeat begin and repeat end marks will repeat for the specified number of times. For example, if track
16 consists of the following data, it will repeat pattern 01 for 200 times.
1. Specify the data you wish to search for. To search for a specific pattern press F1 (Ptn) and specify the number 1-99 for which you are searching. To search for the next begin repeat mark press F2 To search for the next end repeat mark press F3
2. Specify the direction in which you want to search. Each time you press F4 the display will alternate between "forward" and
"backward".
3. To begin searching press ENTER. To cancel without searching press EXIT.
Copy part: To copy a specified range of parts to another range of parts, press F6 (Copy). The lower lines of the display will change as follows.
Repeat marks can be nested if desired. For example, the data in the diagram below will play parts as follows: [05,12, 05, 12, 05, 12, 07] x 3.
1. Specify the copy source as "From Part" and "To
Part".
2. Specify the copy destination as "Destination
Part".
3. To copy the specified parts press ENTER. To cancel without copying press EXIT. For example if you have specified "From Part=002", "To
Part=003", and "Destination Part=005", the contents of track 16 will change as follows.
Search: To search for the next occurrence of a begin repeat, end repeat, or specified pattern number, press F5 (Srch). The lower lines of the display will change as follows.
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SONG MODE
Insert part: To insert a new part into the track, press F7 (Ins). The lower lines of the display will change as follows.
Delete part: To delete a specified part from the track, press F8 (Del). The lower lines of the display will change as follows.
1. Specify the number of the part to be inserted.
2. To insert the specified part press ENTER. To cancel without inserting press EXIT. When a part is inserted the following parts will be moved to make room for it. For example if you have specified "Insert Part=003" the contents of track 16 will change as follows.
1. Specify the number of the part to be deleted.
2. To delete the specified part press ENTER. To cancel without deleting press EXIT. When a part is deleted the following parts will be moved to fill the gap. For example if you have specified
"Delete Part=003" the contents of track 16 will change as follows.
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SONG MODE
Summary: The song edit job job directory contains various operations which allow you to edit the data in specified measures of traces 1-15 in various ways. Unless otherwise specified, the operation will affect only the track currently selected for editing. These edit jobs can be used only on tracks 1-15. Track 16 contains Part data not sequence data.
Procedure:
From: song play or song record mode
Press: F6 (Job) (JUMP #600)
Select: the desired song edit job
Move the cursor in this area and press ENTER to select the specified job.
Pressing F1-F8 will select the corresponding job
1-8. Holding SHIFT and pressing F1-F8 will select the corresponding job 9-16.
01: Quantz (Quantize): Adjust the timing of each event in the specified measures of the track to the nearest interval of the specified value.
02: MdfGate (Modify gate time): Modify the gate times (durations) of all notes in specified measures of the selected track.
03: MdfVel (Modify velocity): Modify the noteon velocity values for all note events in specified measures of the selected track.
04: Cresc (Crescendo): Create a gradual change in note-on velocity over the specified measures of the selected track to create an effect of crescendo or diminuendo.
Song edit jobs
JUMP #600
05: Transps (Transpose): Transpose all notes in specified measures of the track by a specified interval.
06: ThinOut (Thin out): Conserve sequencer memory by deleting approximately every other occurrence of a specified type of continuous controller from specified measures of the track.
07: ErsEvnt (Erase event): Erase all data of a specified type from specified measures of the track.
08: NtShift (Note shift): Shift all notes of a specified note number to another note number.
09: MovClck (Move clock): Move events in the specified measures forwards or backward in time.
10: CpyMeas (Copy measure): Copy a specified range of measures in the track to another location in the same track.
11: ErsMeas (Erase measure): Erase all data from specified measures of the track, leaving the measures empty.
12: DelMeas (Delete measure): Delete the specified measures from the track, and move the following measures up to fill the gap.
13: CreMeas (Create measure): Insert empty measures of the specified time signature into the track over the specified range of measures.
14: MixTrck (Mix track): Combine the data of specified measures from a specified track with the data of another track.
15: ErsTrck (Erase track): Erase all data from the specified track(s).
16: ClrSong (Clear song): Erase all data of the entire song.
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SONG MODE
SONG EDIT JOBS
1. Quantize
Summary: This operation adjusts the timing of each event in the specified measures of the track to the nearest interval of the specified value. This can be used to move inaccurately played notes precisely onto the beat
Procedure:
From: song edit job directory (JUMP #600)
Select: 01:Quantz (JUMP #601)
Specify: the area of track measures you wish to quantize and set the parameters.
To execute: the operation press ENTER.
To quit: without executing press EXIT.
Gate Time (on, off): Specify whether or not the gate time (duration of the note) should be quantized. If you set this "on", the gate time of each note will also be adjusted to the nearest quantize value you specify.
Quantize: The following diagram shows how a track recorded in realtime and played with inaccurate timing would change as a result of quantized at
1/04 and at 1/08.
Top Measure (001...999): Specify the first measure to be affected.
Last Measure (001...999): Specify the last measure to be affected.
Quantize (1/04, 1/06, 1/08, 1/12, 1/16, 1/24,
1/32): Specify the timing interval to which the notes will be quantized. For example if the shortest note value should be a 16th note, specify 1/16. If the music contains triplets, you should use a quantization of 1/06, 1/12, 1/23, or
1/48.
Gate time: The following diagram shows how the
Gate Time setting will affect the quantized results.
SONG EDIT JOBS
2. Modify gate time
#502
Summary: This operation modifies the gate times
(durations) of all notes in specified measures of the selected track. Gate times can be modified by a ratio or by an absolute value.
Procedure:
From: song edit job directory (JUMP #600)
Select: 02:MdfGate . (JUMP #602)
Specify: the area of track measures for which you wish to modify gate time and set the parameters.
To execute: the operation press ENTER.
To quit: without executing press EXIT.
Top Measure (001...999): Specify the first measure to be affected.
Last Measure (001...999): Specify the last measure to be affected.
Rate (000%... 200%): All gate times will be multiplied by the specified percentage. A rate of
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100% will result in no change. A rate of 200% will make all gate times twice as long. A rate of
0% will set a gate time of 1.
Offset (-99...+99): The specified offset will be added to all gate times.
Remarks; Each note event in a track has a gate time which determines the duration of the note.
The gate time is indicated in units of a l/384th note (l/96th of a quarter note), and has a range of 0-8188. The modify gate time operation will not increase or decrease the gate time beyond these values.
Rate and Offset: These two settings can be used separately or together. First the value is multiplied by the rate, and then the offset is added. The following diagram shows how Rate settings modify the gate time by the specified percentage.
SONG MODE
The following diagram shows how Offset settings add the specified value to the original gate time.
If you want only to add an absolute value to each gate time, leave rate at 100% so it will have no effect.
If you want only to multiply each gate time by the same percentage, then leave offset at 0 so it will have no effect.
If the resulting gate time is 0, the note may be inaudible.
The gate time is always a multiple of 4.
SONG EDIT JOBS
3. Modify velocity
JUMP
Summary: This operation modifies the note-on velocity values for all note events in specified measures of the selected track.
Procedure:
From: song edit job directory (JUMP #600)
Select: 03:MdfVel (JUMP #603)
Specify: the area of track measures for which you wish to modify velocity and set the parameters.
To execute: the operation press ENTER.
To quit: without executing press EXIT.
Top Measure (001...999): Specify the first measure to be affected.
Last Measure (001...999): Specify the last measure to be affected.
Rate (000%...200%): All note-on velocity values will be multiplied around the central value of 64 by the specified percentage. A rate of 100% will result in no change. A rate of 200% will move all velocity values further away from 64; i.e., expand the dynamic range. A rate of 0% will set all velocities to the central value of 64; i.e., com-
press the dynamic range.
Offset (-99...+99): The specified offset will be added to all note-on velocity values.
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SONG MODE
Remarks: Each note event in a track has a note-on velocity which determines the force with which the note is played. The velocity has a range of 1-
127. This modify velocity operation cannot increase or decrease the velocity beyond these values.
Rate and Offset: These two settings can be used separately or together. First the value is multiplied by the specified rate, and then the offset is added.
If you want only to add an absolute value to each velocity, leave rate at 100% so it will have no effect.
If you want only to modify each velocity around the central value of 64, then leave offset at 0 so it will have no effect.
SONG EDIT JOBS
4. Crescendo
JUMP #604
Summary: This operation creates a gradual change in note-on velocity over the specified measures of the selected track to create an effect of crescendo or diminuendo.
Procedure:
From: song edit job directory (JUMP #600)
Select: 04:Cresc (JUMP #604)
Specify: the area of track measures over which you wish to create a crescendo, and specify the range.
To execute: the operation press ENTER.
To quit: without executing press EXIT.
Remarks: Each note event in a track has a note-on velocity which indicates the force with which the note is played. The velocity value of each note is limited to a range of 1-127, and the velocity values resulting from this operation will not exceed these limits.
If a voice has not been programmed with velocity sensitivity, the velocity value of the note-on message will have no effect on the sound.
Range: This specifies the final change in velocity which will be reached at the end of the crescendo or diminuendo. The following diagram shows the result of the Range setting.
Top Measure (001...999): Specify the first measure to be affected.
Last Measure (001...999): Specify the last measure to be affected.
Range (-99...+99): Starting at the beginning of the first measure you specify, note-on velocity will gradually be modified until the increase or decrease specified by the range is reached at the end of the last measure. Settings of +1...+99 will result in a crescendo. Settings of -1...-99 will result in a diminuendo.
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SONG MODE
SONG EDIT JOBS
5. Transpose
Summary: This operation transposes all notes in specified measures of the track by a specified interval.
Procedure:
From: song edit job directory (JUMP #600)
Select: 05:Transps (JUMP #605)
Specify: the area of track measures which you wish to transpose and set the interval.
To execute: the operation press ENTER.
To quit: without executing press EXIT.
Top Measure (001...999): Specify the first measure to be affected.
Last Measure (001...999): Specify the last measure to be affected.
Interval (-99...+99): The note number of all notes will be transposed by the specified interval. Settings of +1...+99 will transpose upwards, and settings of -1...-99 will transpose downwards. The note number is limited to a range of 0 (C-2) to 127 (G8), and the note numbers resulting from this operation will not exceed these limits.
SONG EDIT JOBS
6. Thin out
Summary: This operation conserves sequencer memory by deleting approximately every other occurrence of a specified type of continuous controller from specified measures of the track.
Procedure:
From: song edit job directory (JUMP #600)
Select: 06:ThinOut (JUMP #606)
Specify: the area of track measures which you wish to thin out and specify the type of data to be thinned out.
To execute: the operation press ENTER.
To quit: without executing press EXIT.
Top Measure (001...999): Specify the first measure to be affected.
Last Measure (001...999): Specify the last measure to be affected.
After Touch (on, off): When this is set "on", channel aftertouch data will be thinned out.
(Polyphonic aftertouch is not received or recorded by the SY77.)
Pitch Bend (on, off): When this is set "on", pitch bend data will be thinned out.
Control Change (on, off): When this is set "on", all continuous control change data will be thinned out. Switch-type controllers such as sustain on/off will not be affected.
Parameters: You may thin out more than one type of data at once.
When you move a continuous controller slowly, many messages with closely spaced data will be transmitted. You can usually delete half of them without any audible difference. If you are running low on sequencer memory, thinning out some continuous data can help. Repeating the thin out operation several times will eventually produce rough changes in controller data, which can be an interesting effect in itself.
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SONG MODE
SONG EDIT JOBS
7. Erase event
Summary: This operation erases all data of a specified type from specified measures of the track.
Procedure:
From: song edit job directory (JUMP #600)
Select: 07:ErsEvnt (JUMP #607)
Specify: the area of track measures from which you wish to erase data, and specify the type of data to be erased.
To execute: the operation press ENTER.
To quit: without executing press EXIT.
Top Measure (001...999): Specify the first measure to be affected.
Last Measure (001...999): Specify the last measure to be affected.
Parameter (Aftertouch, Pitch Bend, Control
Change, System Exclusive): Set this to "on" for each type of data you wish to erase.
When you press ENTER all data of the specified types will be erased from the specified range of measures.
SONG EDIT JOBS
8. Note shift
Summary: This operation shifts all notes of a specified note number to another note number.
Procedure:
From: song edit job directory (JUMP #600)
Select: 08:NtShift (JUMP #608)
Specify: the area of track measures for which you shift notes, and specify the original and new note numbers.
To execute: the operation press ENTER.
To quit: without executing press EXIT.
Last Measure (001...999): Specify the last measure to be affected.
Note (C-2...G8 = 000...127): Specify the original note number.
To (C-2...G8 = 000...127): Specify the new note number.
When you press ENTER all notes of the number specified by "Note" will be shifted to the note number specified by "To".
Remarks: This operation is often useful when controlling a drum machine from the SY77's sequencer. Most drum machines play specific sounds for each note. For example, shifting all
D#2 notes to F#2 might change all snare hits to hi-hat hits. Consult the instrument/note table for your drum machine.
Top Measure (001...999): Specify the first measure to be affected.
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SONG MODE
SONG EDIT JOBS
9. Move clock
Summary: This operation moves the specified mea-
sures of the track forward or backward in time.
Procedure:
From: song edit job directory (JUMP #600)
Select: 09:MovClck (JUMP #609)
Specify: the track which you wish to move in time and set the number of clocks by which to move it.
To execute: the operation press ENTER.
To quit: without executing press EXIT.
Clock (-99...+99): Specify the number of clocks
(units of l/96th of a quarter note) by which the track is to be moved. Positive settings will move the track forward in time so that it plays later.
Negative settings will move the track backward in time so that it plays earlier.
Remarks: It is often effective to use clock move to
compensate for voices that have a slow attack.
For example strings often have a slower attack than other voices, and will appear to be lagging behind the other voices even if the note on messages are actually simultaneous. In such cases you can use move clock to move the strings track earlier in time so that the string voices begin playing a bit before than the other voices, giving the impression of perfect timing.
Area (001...999): The measures beginning with the specified Top Measure and ending with the specified Last Measure will be moved in time.
SONG EDIT JOBS
10. Copy measure
JUMP #510
Summary: This operation copies a specified range of
measures in the track to another location in any number of tracks.
Procedure:
From: song edit job directory (JUMP #600)
Select: 10:CpyMeas (JUMP #610)
Specify: the area of source measures from which you wish to copy, the destination measure to which the data will be copied, and the number of times that the data will be copied. Press the memory keys 1-15 to specify one or more destination tracks. The memory
LEDs 1-15 will light red to indicate the selected destinations.
To execute: the operation press ENTER.
To quit: without executing press EXIT.
Source (001...999): The measures beginning with the specified Top Measure and ending with the specified Last Measure will be copied.
Destination (001...999): The data will be copied into the same track starting at the specified Top
Measure.
Copy (1...99): The specified source measures will be copied as many times as specified here.
Example: For track data as shown in the following
diagram,
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SONG MODE using the Copy Measure operation with settings of "Source = 002...004", "Destmation=006", and "Copy=l" would change the track data as follows.
If "Copy=2", the track data would change as follows.
SONG EDIT JOBS
11. Erase measure
Summary: This operation erases all data from specified measures of one or more selected tracks, leaving the measures empty.
Procedure:
From: song edit job directory (JUMP #600)
Select: 11:ErsMeas (JUMP #611)
Specify: the area of track measures which you wish to erase.
To execute: the operation press ENTER.
To quit: without executing press EXIT.
using the Erase Measure operation with settings of "Area = 002...004" would change the track data as shown in the following diagram.
Area (001...999): The measures beginning with the specified Top Measure and ending with the specified Last Measure will be erased.
Example: For track data as shown in the following diagram,
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SONG MODE
SONG EDIT JOBS
12. Delete measure
JUMP #612
Summary: This operation deletes the specified measures from one or more selected tracks, and moves the following measures up to fill the gap.
Procedure:
From: song edit job directory (JUMP #600)
Select: 12:DelMeas (JUMP #612)
Specify: the area of measures which you wish to delete. Press the memory keys 1-
15 to specify one or more tracks. The memory LEDs will light red to indicate selected tracks.
To execute: the operation press ENTER.
To quit: without executing press EXIT.
Example: For track data as shown in the following diagram, using the Delete Measure operation with settings of "Area = 002...004" would change the track data as follows.
Area (001... 999): The measures beginning with the specified Top Measure and ending with the specified Last Measure will be deleted.
SONG EDIT JOBS
13. Create measure
JUMP
Summary: This operation inserts empty measures of the specified time signature into one or more selected tracks over the specified range of measures. The following measures will be pushed back to make room.
Procedure:
From: song edit job directory (JUMP #600)
Select: 13:CreMeas (JUMP #613)
Specify: the area of measures to be created and set the time signature. Press the memory keys 1-15 to specify one or more tracks. The memory key LEDs will light to indicate selected tracks.
To execute: the operation press ENTER.
To quit: without executing press EXIT.
Area (001... 999): New measures beginning with the specified Top Measure and ending with the specified Last Measure will be created and inserted.
Time (1-8/4, 1-16/8, 1-32/16): Specify the time signature of the measures you wish to create.
193
SONG MODE
Example: For track data as shown in the following diagram, using the Create Measure operation with settings of "Area = 002...004" would change the track data as follows.
SONG EDIT JOBS
14. Mix track
Summary: This operation combines the data of specified measures from a specified track with the data of another track.
Procedure:
From: song edit job directory (JUMP #600)
Select: 14:MixTrck (JUMP #614)
Specify: the source track and the measures which you wish to mix into the destination track, and specify the destination track.
To execute: the operation press ENTER.
To quit: without executing press EXIT.
Example: For track data as shown in the following diagram, using the Mix Track operation with settings of
"Source Track = 01", "Source Measures =
002...004", and "Destination Track = 02" would change the data as follows.
Source (Track 01...15, Measures 001...999):
Specify the source track and area of measures.
Destination (Track 01...15): Specify the destination track into which the measures specified by will be mixed.
SONG EDIT JOBS
15. Erase track
Summary: This operation erases all data from the specified track(s).
Procedure:
From: song edit job directory (JUMP #600)
Select: 15:ErsTrck (JUMP #615)
Specify: the track(s) to be erased
To execute: the operation press ENTER.
To quit: without executing press EXIT.
194
SONG MODE
There are no parameters to set for this operation.
Use the memory select 1-16 buttons to specify the track(s) to be erased. The LEDs of selected track will light red. When you press ENTER the data will be erased from the selected tracks.
SONG EDIT JOBS
16. Clear song
Summary: This operation erases all data from the
entire song.
Procedure:
From: song edit job directory (JUMP #600)
Select: 16:ClrSong (JUMP #616)
To execute: the operation press ENTER.
To quit: without executing press EXIT.
There are no parameters to set for this operation. If you are sure you want to clear the song, press
ENTER and the song will be cleared.
195
SONG MODE
Song setup jobs
Summary: Song setup parameters affect the overall functioning of the sequencer.
Procedure:
From: song play mode or song record mode
Press: F7 (Stup) (JUMP #617)
Select: the desired song setup job.
Move the cursor in this area and press ENTER to select the specified job.
Pressing F1-F5 will select the corresponding job
1-5.
JUMP #617
01: Receive Event: To conserve sequencer memory, you can specify that unwanted types of data not be recorded.
02: Output Channel: Specify the MIDI channel on which each track of the sequencer will transmit its data.
03: MIDI Control: Specify whether the SY77's sequencer will be controlled by its own timing source or by an external sequencer.
04: Accent Level: Specify the accent level for each of the four function keys F1-F4 used to specify the accent of a note in song step record mode.
05: Clock/Beat: Set the number of clocks per beat that will be displayed in editing.
SONG SETUP JOBS
1. Receive event
Summary: You can specify that unwanted types of data not be recorded, so as to conserve sequencer memory.
Procedure:
From: song setup job directory (JUMP #617)
Select: 01:Receive Event (JUMP #618)
Specify: reception on/off for each type of data.
To exit: to the song setup job directory press
EXIT.
Velocity (on, off): Specify whether the velocity value of note-on messages will be recorded by the sequencer. When this is set "off", all notes will be recorded with a velocity of 64 regardless of their original velocity.
Control Change (on, off): Specify whether or not control change messages will be recorded by the sequencer.
Pitch Bend (on, off): Specify whether or not pitch end messages will be recorded by the sequencer.
Program Change (on, off): Specify whether or not program change messages will be recorded by the sequencer.
After Touch (on, off): Specify whether or not after touch messages will be recorded by the sequencer.
System Exclusive (on, off): Specify whether or not system exclusive messages will be recorded by the sequencer.
Remarks: In order to conserve sequencer memory, turn off the reception for types of data that do not affect the voices you are using. For example if the voices have not been programmed with aftertouch sensitivity, turn aftertouch reception off so that the sequencer memory does not fill up with meaningless data.
196
SONG MODE
SONG SETUP JOBS
2. Output channel
Summary: Specify the MIDI channel on which each track of the sequencer will transmit its data.
Procedure:
From: song setup job directory (JUMP #617)
Select: 02:0utput Channel (JUMP #619)
Specify: the MIDI transmission channel for each track.
To exit: to the song setup job directory press
EXIT.
Tracks 1-16 (1...16): Specify the channel 1-16 on which each track will transmit data from the rear panel MIDI OUT.
SONG SETUP JOBS
3. MIDI control
Summary: Specify whether the SY77's sequencer will be controlled by its own timing source or by an external sequencer.
Procedure:
From: song setup job directory (JUMP #617)
Select: 03:MIDI Control (JUMP #620)
Specify: MIDI Control on or off.
To exit: to the song setup job directory press
EXIT.
MIDI Control (on, off): Normally you will leave this set off so that the SY77 sequencer will be controlled by its own timing clock and the front panel sequencer control buttons.
If you want to use an external sequencer connected to the SY77's MIDI IN to control the
SY77 sequencer, set this to on so that the SY77 sequencer will be controlled by MIDI start/continue/stop messages and the tempo will be determined by MIDI clock messages.
Remarks: When MIDI control is on, the SY77 sequencer will not run unless MIDI clock messages are being received.
SONG SETUP JOBS
4. Accent level
Summary: Specify the accent level for each of the four function keys F1-F4 used to specify the accent of a note in song step record mode.
Procedure:
From: song setup job directory (JUMP #617)
Select: 04:Accent Level (JUMP #621)
Specify: each of the four accent levels.
To exit: to the song setup job directory press
EXIT.
Accent 1 - Accent 4 (1...127): These determine the accent levels that will be selected when a function key F1-F4 (Accl-Acc4) is pressed while in song step record mode.
197
SONG MODE
SONG SETUP JOBS
5. Clock/Beat
Summary: Set the number of clocks per beat that
will be displayed in editing.
Procedure:
From: song setup job directory (JUMP #617)
Select: 05:Clock/Beat (JUMP #622)
Quantize (1/6, 1/8, 1/12, 1/16, 1/24, 1/32, 1/48,
1/64, 1/96): Specify the time value of one displayed beat.
This sets the number of clocks per beat that will be displayed in editing. This has no effect on the time signature, but is simply a convenience for editing.
198
SONG MODE
Summary: The sequencer song can be given an
eight-character name, which will be displayed in song play or song record mode.
Procedure:
From: song play or song record mode
Press: F8 (Name) (JUMP #623)
Specify: the song name.
To exit: to the previous display press EXIT.
Song name
JUMP #623
Enter a eight-character name for the sequencer song.
To clear the currently entered name press F1
(Clr). To switch to upper-case characters press
F2 (Uppr). To switch to lower-case characters press P3 (Lowr).
Remarks: Methods of entering character data are
explained in Introducing the SY77, How to use
the numeric key pad.
199
200
PATTERN MODE
PATTERN MODE
Pattern mode allows you to record and playback Patterns of 1 to 32 measures. These patterns can be edited in various ways, and a different pattern can be placed in each Part of track 16 (the pattern track) to play frequently repeating phrases or rhythm patterns.
Contents of this section page
201
PATTERN MODE
In pattern mode you can record and playback Patterns of 1 to 32 measures. Editing functions in song mode allow you to place these patterns in track 16 (the pattern track). Since the same pattern can be placed in more than one part of track 16, you can save time and sequencer memory by creating a pattern for each frequently appearing motif and assigning it to the appropriate location every time you want it to playback.
Patterns are often used to play a drum-type voice from track 16 of the sequencer, as shown in the following diagram.
Since the transmission channel of each sequencer track can be modified, make sure that track 16 is transmitting its data on a channel that will be received by the voice in the multi which you want the patterns to be played by.
For details of how to place parts in track 16, refer to Song edit, Chain pattern.
202
PATTERN MODE
How pattern play mode and pattern edit mode are organized
01:Copy Pattern
02:Get Pattern
03:Put Pattern
From the Pattern Play display you can press F6 to enter the Pattern Edit Job job directory, F7 to enter the Pattern Setup job directory, or F8 to clear a selected pattern or all patterns.
01:Receive Event
02:0utput Channel
03:MIDI Control
04:Accent Level
05:Clock/Beat
203
PATTERN MODE
Pattern play
Summary: In pattern play mode you can select and playback any pattern 01-99. You can also make settings for the click (metronome) and synchronization.
Procedure:
Press: PATTERN to enter pattern play mode. The
PATTERN LED will light red.
Select: the pattern to playback.
To start: playback press RUN.
To stop: playback press STOP.
Pattern (01...99): This selects the pattern to playback.
Measure (001...032): This determines the measure from which the pattern will begin playback.
Move the cursor here and specify the measure, or by using the sequencer location buttons
LOCATE, or
Time (1/4...32/16): This displays the time signature for this pattern as you specified in pattern record mode. This cannot be modified in pattern play mode.
(30...250): This determines the tempo in quarter notes per minute.
Used (0...100%): This displays the amount of used sequencer memory.
Length (1...32): This displays the length of the pattern.
Click (off, rec, rec/play, always): This determines when the click (metronome) will sound.
off: The metronome will not sound.
rec: The metronome will sound only during recording.
rec/play: The metronome will sound during recording or playback.
always: The metronome will sound constantly.
Click Beat (1/4, 1/6, 1/8, 1/12, 1/16, 1/24); This determines the beat on which the click will sound.
Sync (internal, MIDI): This determines the timing source which will control the sequencer.
Normally you will leave this set to internal so that the SY77's own clock will determine the tempo.
If you are using an external MIDI sequencer and want the SY77's sequencer to play in synchronization with it, set this to MIDI so that
MIDI clock messages received at MIDI IN will determine the tempo.
Press F6 to move to the Pattern Edit Job job directory, F8 to move to the Pattern Setup job directory, or F8 to clear the selected pattern or all patterns.
Start and stop playback: Press RUN and the pattern will begin playback from the point specified by the measure setting. Press STOP and playback will stop.
During playback: During playback you can select another pattern, and modify the tempo, click, and click beat settings.
Patterns which contain no data cannot be selected. When you change the pattern number during playback, the currently playing pattern will finish before the newly selected pattern begins.
Pattern edit: Any time while in pattern play mode you can press EDIT to edit the pattern. For details refer to Pattern edit mode.
204
PATTERN MODE
Summary: In pattern record mode you can make settings in preparation to recording a pattern.
You can specify either realtime or step recording, set the time signature and length of the pattern, and make other settings for click and sync as in the Pattern Play display.
Procedure:
From: pattern play display
Press: RECORD and the RECORD LED will light.
Select: the recording mode.
To begin: recording press RUN.
To end: recordine oress STOP.
PATTERN (01...99): Select the pattern you wish to record.
Measure (01...32): This determines the measure from which the pattern will begin playback.
You can modify this by moving the cursor here and specifying the measure, or by using the sequencer location buttons LOCATE, or
Time (01-08/4, 01-16/08, 01-32/16): This determines the time signature of the pattern to be recorded. It can be modified only for patterns which have not yet been recorded.
(30...250): This determines the tempo in quarter notes per minute.
Used (0...100%): This displays the amount of unused sequencer memory.
Length (1...32): This indicates the length of the pattern. It can be modified only if the pattern has not yet been recorded.
Quantize (off, 1/32, 1/16, 1/8, 1/4, 1/2): This determines the timing accuracy to which the notes you play will be corrected. When quantization is turned off the notes you play will be recorded at the exact timing they occur. When a quantization of 1/32... 1/2 is selected, all notes you play will be moved to the nearest timing at the specified interval.
Pattern record
Receive Channel (1-16, omni, kbd): This determines the source of data that will be recorded by the sequencer. Normally you will set this to
"kbd" so that data from the SY77's keyboard will be recorded.
If you want to record data from an external
MIDI device on a specific channel, set this to 1-
16 so that data received at MIDI IN on the specified channel will be recorded.
If you want to record data from an external
MIDI device on all channels then set this to
"omni" so that all data received at MIDI IN will be recorded.
Click (off, rec, rec/play, always): This determines when the click (metronome) will sound.
off: The metronome will not sound.
rec: The metronome will sound only during recording.
rec/play: The metronome will sound during recording or playback.
always: The metronome will sound constantly.
Click Beat (1/4, 1/6, 1/8, 1/12, 1/16, 1/24): This determines the beat on which the click will sound.
Sync (internal, MIDI): This determines the timing source which will control the sequencer. Normally you will leave this set to internal so that the SY77's own clock will determine the tempo.
If you are using an external MIDI sequencer and want the SY77's sequencer to play in synchronization with it, set this to MIDI so that
MIDI clock messages received at MIDI IN will determine the tempo.
Recording mode (Real, Step): Press F1 or F2 to select the recording mode.
Realtime recording (press Pi): Notes will be recorded at the exact time you play them.
Step recording (press F2): Notes will be recorded one by one with the specified time value, regardless of the actual timing at which you play.
To move to the Pattern Edit Job job directory press F6.
To move to the Pattern Setup job directory press
F7.
To clear a pattern or all patterns press F8.
205
PATTERN MODE
Pattern recording procedure:
1. Select the pattern to record.
2. If the selected pattern has not yet been recorded, specify the time signature and length.
3. Make setting for tempo, quantize, receive channel, click, click beat, and sync.
4. Specify the recording mode; realtime (F1) or step
(F2).
5. Press RUN and pattern recording will begin. The recording display will depend on the recording mode selected in step 2. For details see the following sections; Pattern realtime record or
pattern step record.
6. When you are finished recording press STOP and
you will return to the pattern play display.
Pattern edit: Any time while in pattern record mode
you can press EDIT to edit the pattern. For details refer to Pattern edit mode.
PATTERN RECORD
Pattern realtime record
Summary: In realtime recording the notes you play
will be recorded in the exact timing with which you play them. Newly recorded notes will be added to the previous data in the pattern.
Procedure:
From: pattern record display
Press: F1 (Real) to select realtime recording.
To begin: recording press RUN. The RUN LED will blink at tempo.
To stop: recording and return to the song play display press STOP.
Measure (01...32): As you record this will advance to show me currently recorded measure number of the nattern.
(30...250): While recording you can move the cursor Here to mod:ity the tempo.
Used (0...100%): As you record this will increase to show the amount of sequencer memory that has been used.
Click (off, rec, rec/play, always): While recording you can move the cursor here and specify when the click (metronome) will sound.
off: The metronome will not sound.
rec: The metronome will sound only during recording.
rec/play: The metronome will sound during recording or playback.
always: The metronome will sound constantly.
Click Beat (1/4,1/6, 1/8, 1/12, 1/16, 1/24); While recording you can move the cursor here and specify the beat on which the click will sound.
Remarks: While recording you can modify the set-
tings for tempo, click, and click beat. To modify the other parameters you must return to the pattern record display.
Unlike song realtime recording, pattern realtime recording gives you no choice of overdub or replace recording modes. Pattern recording is always in overdub mode, meaning that newly recorded notes will be added to the previous data in the pattern.
In realtime pattern recording the pattern will continue to repeat from beginning to end until you press STOP. This allows you to build up complex rhythmic parts one note at a time.
To delete: During realtime recording, you can
delete any given note from the pattern by pressing SHIFT while holding down the key of the unwanted note.
Allow the pattern to run through the section you wish to erase.
206
PATTERN MODE
PATTERN RECORD
Pattern step record
Summary: In step recording the notes you play will be recorded at intervals of the specified step, regardless of the actual exact timing with which you play them. Newly recorded notes will be added to the previous data in the pattern.
Procedure:
From: the pattern record display
Press: F2 (Step) to select step recording.
To begin: recording press RUN. The RUN LED will light green.
To stop: recording and return to the song play display press STOP.
Pattern (01..99): Select the pattern to record.
Measure (01...32): To move to another measure in the pattern, place the cursor here and modify the data.
Time (01-08/4, 01-16/08, 01-32/16): The time signature is only displayed and cannot be modified.
The tempo is only displayed and cannot be modified.
Used (0...100%): This displays the amount of sequencer memory already used.
This area indicates the currently selected note value. At any time in step recording you can use the numeric keypad to enter note values. You can also move the cursor to this area and modify the note values. If possible, the note values in this area will be displayed as graphic symbols for a whole note, quarter note, etc. Otherwise the note value will displayed as a number of clocks (l/384th notes).
When the cursor is located in this area you can move backwards and forwards through the data in time. If the current measure is longer than four quarter notes (e.g., a time signature of 10/8), a number will be displayed here to indicate the section of the measure now being displayed.
This bar represents one measure, and vertical divisions represent one beat. A dot will be displayed on the bar to indicate a 32nd note area which contains data.
As you move backward or forward through the data in time, an arrow pointing downward will move in 32nd note steps to indicate the current position in the measure.
if the currently selected 32nd note area contains data, the notes in that area will be displayed on the keyboard diagram.
To select an accent value, press F1-F4.
Subsequently entered notes will be given the selected accent value. To change the accent value assigned to F1-F4 refer to Pattern setup job 4. accent level.
To delete all data in the 32nd note area where the cursor is located, press F5 (Del). The cursor location will not change.
To delete all data in the 32nd note area before the cursor, press F6 (BDel). The cursor will move back one 32nd note.
Note duration: To specify how long the note will be held in relation to its note value hold SHIFT and press F1-F3. To record normal notes which sound for 80% of their note values press F1
(Norm). To record staccato notes which sound for 50% of their note values press F2 (Stac). To record slurred notes which sound for 99% of their note value press F3 (Slur).
Numeric keypad:
Note value (numeric keys 1-8): Use the numeric keys 1-8 to specify the note value to be recorded. Pressing each key will select the note value printed above it, from a whole note
(key 1) to a 8th note triplet (key 8). This also determines the step time by which the cursor will automatically advance after each note has been entered.
Dot (numeric key 9): To dot the current note value press numeric key 9. The current note value will be extended by 50%.
207
PATTERN MODE
Tie (numeric key "-"): To extend the duration of the previously entered note, press TIE. The duration of the note will be extended by the current note value, and the cursor will advance accordingly.
Rest (numeric key 0): To advance one step without entering data press REST.
Recording procedure:
Entering notes: Each time you press and release a key it will be recorded, and the position will move ahead one step as specified by the step time. The note will not be entered until all keys have been released. This allows you to enter more than one note at the same location by pressing more than one note before releasing the first.
Move through the data: When the cursor is located at you can also use the cursor keys to move back and forth in the pattern, and enter notes wherever you like. When you come to note data, it will be displayed on the keyboard diagram below and sounded on the synthesizer.
To stop recording: When you are finished recording the pattern press STOP. You will return to the pattern play display, where you can press RUN and hear the pattern you just recorded.
208
PATTERN MODE
Summary: This is where you edit individual events that have been recorded in a pattern.
Procedure:
From: pattern play or pattern record mode
Press: EDIT.
To exit: edit mode and return to pattern play mode press EXIT.
The pattern edit display will differ according to whether graph or data editing has been selected.
Pattern graph editing: To select graphic editing press F7 (Grap). The display will show a horizontal bar to indicate the position in the measure, and a keyboard diagram to indicate the notes that have been recorded at each step.
Pattern edit
Pattern data editing: To select data editing press
F8 (Data). The display will show the type and numerical values for each event. Data editing is divided into two modes; graph mode and data mode. In data mode you can either Change or
Insert data. When you enter data mode, change will automatically selected.
Pattern data editing is exactly the same as song data editing, except that the pattern number is displayed instead of the song name, and that the maximum measure number is 32 instead of 999.
For details, please refer to Song edit (data
insert) on page 181 or Song edit (data change) on page 180.
Pattern graph editing is exactly the same as song graph editing, except that the pattern number is displayed instead of the song name, and that the maximum measure number is 32 instead of 999. For details, please refer to Song edit
(graph) on page 179.
209
PATTERN MODE
Pattern edit jobs
Summary: Pattern edit jobs allow you to copy a pattern to another pattern, copy data from a track into a pattern, copy data from a pattern into a track, or copy the pattern data of all parts into a track.
Procedure:
From: the pattern play or pattern record display
Press: F6 (Job).
JUMP #700
Move the cursor in this area and press ENTER to select the specified job.
Pressing F1-F4 will select the corresponding job
1-4.
01: Copy Pattern: Copy a pattern to another pattern.
02: Get Pattern: Copy data from specified measures of a track into a pattern.
03: Put Pattern: Copy data from a pattern into specified measures of a track.
04: Put Chain Pattern: Copy the pattern data of all parts into a specified track 1-15.
PATTERN EDIT JOBS
Summary: This operation copies a pattern to another pattern. This is useful when you want to create a new pattern that is similar to an already existing pattern.
Procedure:
From: the pattern edit job (JUMP #700) directory
Select: 01:Copy Pattern (JUMP #701)
Specify: the Source pattern and the Destination pattern.
To execute: the operation press ENTER.
To quit: without executing press EXIT.
1. Copy pattern
JUMP #701
Source pattern (01...99): Specify the pattern you wish to copy.
Destination pattern (01...99): Specify the pattern into which you wish to copy the source pattern. The previous data in the destination pattern will be lost.
Example: For settings of Source = pattern 3, Destination = pattern 5, the result would be as follows.
Before
Measure
Pattern 3
Pattern 5
After
Measure
Pattern 3
Pattern 5
210
PATTERN MODE
PATTERN EDIT JOBS
2. Get pattern
Summary: Copy data from specified measures of a track 1-15 into a pattern.
Procedure:
From: the pattern edit job (JUMP #700) directory
Select: 02:Get Pattern. (JUMP #702)
Specify: the source track and the measures from which to copy the data, and specify the destination pattern into which to copy the data.
To execute: the operation press ENTER.
To quit: without executing press EXIT.
Source (Track 01...15, Top Measure 001...???,
Last Measure 001...???): Specify the track and measures from which to copy the data. Since the
JUMP #702 maximum length of a pattern is 32 measures, the last measure can be no more than 32 measures after than the top measure. Also, it is not possible to select measures which contain differing time signatures.
Destination (Pattern 01...99): Specify the pattern into which the data will be copied.
The previous data in the destination pattern will be lost.
Example: For settings of "Source = track 2 measures 2-3, Destination = pattern 5", the result would be as follows.
Before
Measure
Track 2
Pattern 5
After
Measure
Track 2
Pattern 5
PATTERN EDIT JOBS
Summary: Copy data from a pattern into specified measures of a track.
Procedure:
From: the pattern edit job (JUMP #700) directory
Select: 03:Put Pattern. (JUMP #703)
Specify: the source pattern, and specify the destination track and measure at which to copy the data from the pattern.
To execute: the operation press ENTER.
To quit: without executing press EXIT.
3. Put pattern
JUMP #703
Source (Pattern 01...99): Specify the pattern from which the data will be copied.
Destination (Track 01...15, Top Measure
001...???): Specify the track and measures to which the data will be copied.
Put (1...99): Specify the number of times that the data will be copied from the pattern.
Example: For settings of "Source = pattern 5,
Destination = track 2, measure 4, Put Time = 2" the result would be as follows.
Before
Measure
Track 2
Pattern 5
After
Measure
Track 2
Pattern 5
2 1 1
PATTERN MODE
PATTERN EDIT JOBS
4. Put chain pattern
Summary: Copy the data of all patterns used by track 16 (the pattern track) into a specified track
1-15.
Procedure:
From: the pattern edit job (JUMP #700) directory
Select: 04:Put Chain Pattern (JUMP #704)
Specify: the destination track
To execute: the operation press ENTER.
To quit: without executing press EXIT.
JUMP #704
Destination (Track 01...15): Specify the track to which the data will be copied. The previous data in the destination track will be lost.
Remarks: If the amount of data is large, some time may be required for the data to be copied. Since this operation copies the actual data of each pattern as many times as it is used in a pattern, the resulting destination track will occupy more memory than original pattern data.
2 1 2
PATTERN MODE
Pattern setup jobs
Summary: Setup parameters affect the overall functioning of the sequencer.
Procedure:
From: the pattern play or pattern record display
Press: F7 (Stup) (JUMP #705)
Select: the desired pattern setup job
Move the cursor in this area and press ENTER to select the specified job.
Pressing F1-F5 will select the corresponding job
1-5.
01: Receive Event: To conserve sequencer memory, you can specify that unwanted types of data not be recorded.
JUMP #705
02: Output Channel: Specify the MIDI channel on which each track of the sequencer will transmit its data.
03: MIDI Control: Specify whether the SY77's sequencer will be controlled by its own timing source or by an external sequencer.
04: Accent Level: Specify the accent level for each of the four function keys F1-F4 used to specify the accent of a note in song step record mode.
05: Clock/Beat: Set the number of clocks per beat that will be displayed in editing.
Note: These Setup parameters can also be set from
Song play or Song record mode. The result is exactly the same whether you set them from
Pattern or from Song mode. For details refer to
Song setup jobs.
213
PATTERN MODE
Summary: All data can be cleared from any
specified pattern or from all patterns 01-99.
Procedure:
From: the pattern play or pattern record display
Press: F8(Clr) (JUMP #711)
Specify: whether to clear a single pattern or all patterns.
To execute: the operation press ENTER.
To quit: without executing press EXIT.
Clear pattern
JUMP #711
Pattern (01...99): If you have pressed Fl (One), specify the pattern to be cleared.
To clear a single pattern press Fl (One) and specify the pattern.
To clear all patterns press F2 (All).
Remarks: If you clear one pattern or all patterns,
the data will be lost forever. There is no way of recalling a pattern.
2 1 4
UTILITY MODE
UTILITY MODE
In utility mode you can make settings that affect the SY77's overall system, make settings for MIDI transmission and reception, transmit bulk data via MIDI, and save or load on card or disk.
Contents of this section page
2 1 5
UTILITY MODE
In Utility mode you can make settings that affect the
SY77's overall system, make settings for MIDI transmission and reception, transmit bulk data via
MIDI, and save or load data on card or disk. The functions of utility mode are divided into four job directories; System Utility, MIDI Utility, Card
Utility, and Disk Utility. When you press UTILITY the last-selected of these directories will appear.
Select a job directory by pressing F1-F4.
System Utility job directory
02:Program Change: MIDI program change messages will be received and transmitted as specified here.
03:Bulk Dump: Various types of SY77 data can be transmitted via MIDI to another SY77 or other device.
Card Utility job directory
01:Master Tuning: The overall tuning of the SY77 can be adjusted both in half steps and fine tuning.
02: Velocity Set: The SY77 keyboard and internal tone generator can be set to respond to your playing velocity in various ways.
03: Controllers: The MODULATION 2 wheel and an optional footswitch connected to the FOOT
SWITCH jack will transmit data using the MIDI control number you specify.
04:Edit Confirm: The "Are you sure?" message that appears when you store, recall, or initialize data can be turned on/off.
05:Greeting Message: Edit the two-line message that is briefly displayed when the SY77 power is turned on.
MIDI Utility job directory
01:Channel Set: The SY77 will receive and transmit
MIDI data as determined by the MIDI channels and settings specified here.
01:Save To Card: Synthesizer data can be saved to a RAM card.
02:Load From Card: Synthesizer data can be loaded from a RAM or ROM card.
03:Format Card: Before a RAM card can be used it must be formatted to accept SY77 data.
Disk Utility job directory
01:Save To Disk: Synthesizer or sequencer data can be saved to disk.
02:Load From Disk: Synthesizer or sequencer data can be loaded from disk.
03:Format Disk: Before a disk can be used it must be formatted to accept SY77 data.
04:Back Up Disk: Use this operation to make backup disks for important data.
05:Rename File: An already existing disk file can be given a different name.
06:Delete File: An unwanted file can be deleted from disk.
07:Disk Status: This allows you to check the number of disk files and the remaining free area on the disk.
216
UTILITY MODE
System utility
Summary: System utility settings affect the entire
SY77 system.
Procedure:
From: MIDI Utility, Card Utility, or Disk Utility
(JUMP #806, #812, #816)
Press: Fl (Sys) (JUMP #800)
Select: the desired system utility job and press
ENTER.
Move the cursor in this area to select one of the following jobs and then press ENTER.
JUMP #800
01: Master Tuning: The overall tuning of the
SY77 can be adjusted both in half steps and fine tuning.
02: Velocity Set: The SY77 keyboard and internal tone generator can be set to respond to your playing velocity in various ways
03: Controllers: The MODULATION 2 wheel and an optional footswitch connected to the FOOT
SWITCH jack will transmit data using the
MIDI control number you specify.
04: Edit Confirm: The "Are you sure?" message that appears when you store, recall, or initialize data can be turned on/off.
05: Greeting Message: The two-line message that is briefly displayed when the SY77 power is turned on can be edited.
SYSTEM UTILITY
1. Master tuning
Summary: The overall tuning of the SY77 can be
adjusted both in half steps and fine tuning.
Procedure:
From: system utility job directory (JUMP #800)
Select: 01 :Master Tuning (JUMP #801)
Specify: the overall tuning in half steps and fine steps
JUMP #801
Note Shift (-64...+63): This adjusts the pitch of the of the entire SY77 in half steps.
Fine Tuning (-64...+63): This adjusts the pitch of the entire SY77 in steps of 1.171875 cents.
Remarks: To adjust the pitch of only specific
voices, refer to Voice Common job 2. Element
Detune and 3. Note Shift.
This setting affects only the SY77's internal tone generator. It has no effect on the note numbers transmitted from MIDI OUT.
SYSTEM UTILITY
2. Velocity set
Summary: The SY77 keyboard can be set to
respond to your playing velocity in various ways.
JUMP #802
Procedure:
From: system utility job directory (JUMP #800)
Select: 02:Velocity Set (JUMP #802)
Specify: the fixed velocity value and the velocity curve
217
UTILITY MODE
3. Easy
Output
Key velocity
- - - is the Normal velocity curve
Fixed Velocity (off, 1...127): When this is set
"off", the SY77 tone generator will respond to your playing velocity according to the velocity curve specified in When this is set to a value
0...127, all notes will be given the same specified velocity value regardless of your playing velocity.
Velocity Curve (0...7): This determines the way in which the SY77 tone generator will respond to your playing velocity as shown in the following diagrams.
Velocity curves 6 (cross-1) and 7 (cross-2) allow you to crossfade between two voices using key velocity. Set one voice to positive key velocity sensitivity and the other to negative key velocity sensitivity. Refer to AFM element data
5. AFM sensitivity (JUMP #243) and AWM ele-
ment data 4. AWM sensitivity (JUMP #260).
FIXED VELOCITY =1~127
Output
Fixed value
Key velocity
FIXED VELOCITY = Off
Output
Key velocity
0. Normal
Output
Key velocity
1. Soft-1
Output
2. Soft-2
Output
Key velocity Key velocity
- - - is the Normal velocity curve
218
4. Wide
Output
Key velocity
- - - is the Normal velocity curve
5.Hand
Output
Key velocity
- - - is the Normal velocity curve
6. Cross -1
Output
Key velocity
7. Cross - 2
Output
Key velocity
Remarks: When playing the sound of an instrument such as organ or harpsichord that normally does not respond to key velocity, it may be effective to use a fixed velocity value. A similar result could be achieved by setting all velocity sensitivity parameters of the voice to 0. In fact this is preferable since it will leave all other voices at their normal velocity settings.
The velocity curve setting affects only the
SY77's internal tone generator, and will be effective for notes received from MIDI IN as well as notes played on the SY77 keyboard.
This setting has no effect on the note messages transmitted from MIDI OUT.
UTILITY MODE
SYSTEM UTILITY
3. Controllers
Summary: The MODULATION 2 wheel and an optional footswitch connected to the FOOT SWITCH jack will transmit data using the MIDI control number you specify.
Procedure:
From: system utility job directory (JUMP #800)
Select: 03 Controllers (JUMP #803)
Specify: the MIDI control number for each assignable controller
JUMP #803
If you want to assign the MODULATION 2 wheel or the FOOT SWITCH to control external
MIDI equipment and not affect the SY77's tone generator, use a MIDI control number that is not used in Voice Common job 12. Controllers
(JUMP #226, #227, #228). Refer to the MIDI implementation chart in the manuals for your other devices to learn how each device reacts to incoming MIDI control data. The official MIDI standard defines the use of the following control change messages. The control change messages listed in parenthesis in the following table
(portamento time, sostenuto, etc.) do not correspond to functions of the SY77. They are listed for your convenience when using the SY77 to control other MIDI devices which have these functions.
Assignable Foot Switch (0...120): An optional foot switch connected to the rear panel FOOT
SWITCH jack will transmit control messages of the type you specify here.
Assignable Wheel (0..120): The MODULATION 2 wheel located at the left of the SY77 keyboard will transmit control messages of the type you specify here.
Press F1 (Foot) or F2 (Wh1) to move the cursor to or
Remarks: The settings in Voice Common job
12. Controllers (JUMP #226, #227, #228) determine the type of control message by which each parameter will be controlled. If you want to use an assignable controller to control the SY77's voices, make sure that the MIDI control number you assign matches the MIDI control number selected for the parameter you want to control.
006
007
008
010
011
001
002
004
005
Continuous type
Modulation wheel
Breath controller
Foot controller
(Portamento time)
Data entry
Main volume
Balance control
Panpot
Expression
064
065
066
067
069
091
092
093
094
095
On/off type
Sustain
Portamento
(Sostenuto)
(Soft pedal)
(Hold 2)
(Ex effect depth)
(Tremolo depth)
(Chorus depth)
(Celeste depth)
(Phaser depth)
219
UTILITY MODE
SYSTEM UTILITY
4. Edit confirm
Summary: The "Are you sure?" message that appears when you store, recall, or initialize data can be turned on/off.
Procedure:
From: system utility job directory (JUMP #800)
Select: 04:Edit Confirm (JUMP #804)
Specify: whether or not the confirm message will appear
JUMP #804
Edit Confirm (on, off): When this is on you will be asked "Are you sure?" whenever an operation that erases or replaces data is about to be performed. When this is off the operation will be executed without asking for confirmation.
Remarks: Until you are familiar with the SY77 we recommend that you leave this on.
SYSTEM UTILITY
5. Greeting message
Summary: Edit the two-line message that is briefly displayed when the SY77 power is turned on.
Procedure:
From: system utility job directory (JUMP #800)
Select: 05:Greeting Message (JUMP #805)
Specify: the greeting message
JUMP #805
Enter the two-line x 20 character greeting message.
To clear the currently entered message press F1
(Clr). To switch to upper-case characters press
F2 (Uppr). To switch to lower-case characters press F3 (Lowr).
Remarks: Methods of entering character data are explained in How to enter data of Introducing the
SY77.
220
UTILITY MODE
Summary: MIDI utility settings determine how
MIDI data is transmitted and received.
Procedure:
From: System Utility, Card Utility, or Disk
Utility (JUMP #800, #812, #816)
Press: F2 (MIDI) (JUMP #806)
Select: the desired MIDI utility job and press
ENTER.
MIDI utility
JUMP #806
Move the cursor in this area to select one of the following jobs and then press ENTER.
01: Channel Set: The SY77 will receive and transmit MIDI data as determined by the
MIDI channels and settings specified here,
02: Program Change: MIDI program change messages will be received and transmitted as specified here.
03: Bulk Dump: Various types of SY77 data can be transmitted via MIDI to another SY77 or other device.
MIDI UTILITY
1. Channel set
Summary: The SY77 will receive and transmit
MIDI data as determined by the MIDI channels and settings specified here.
Procedure:
From: MIDI utility job directory (JUMP #806)
Select: 01 :Channel Set (JUMP #807)
Specify: MIDI transmit and receive channels and settings
Keyboard Transmit Channel (1... 16): This determines the channel on which data will be transmitted from MIDI OUT when you play the keyboard or move the various controllers. In multi mode, this also determines which of the sixteen voices will be played by the keyboard.
Voice Receive Channel (1...16, omni): This determines the channel on which the SY77 can be played when in voice play mode. When
"omni" is selected the SY77 will respond to any channel. In multi play mode, program changes received on this channel will select multis.
JUMP #807
Local on/off (off, on): This determines whether or not the SY77 keyboard will play the SY77 tone generator. Usually you will leave this on so that the SY77 keyboard will play the SY77 tone generator.
When set off the SY77 tone generator will produce sound only in response to messages from MIDI IN, but messages will be transmitted from MIDI OUT when you play the keyboard or move the various controllers.
Note on/off (all, odd, even): When set to "all" the SY77 tone generator will produce sound in response to all notes received at MIDI IN.
When set to "odd" or "even", the SY77 tone generator will respond only to odd or even notes.
This affects only the notes received at MIDI IN, and will have no effect on the notes played by the SY77 keyboard.
Device Number (off, I... 16, all): This determines the channel on which the SY77 will receive
MIDI system exclusive messages such as parameter changes and bulk data. When off is selected system exclusive messages will not be received. When "all" is selected system exclusive messages will be received on any channel
1...16.
221
UTILITY MODE
Bulk Protect (off, on): The SY77 is able to receive system exclusive bulk data at any time, and the newly received data will replace the data in memory. By setting bulk protect on you can prevent unexpectedly arriving bulk data from overwriting important data.
Pressing F1-F6 will move the cursor to the corresponding item in the display.
Local: If you are using the SY77 by itself, you should usually leave local on. However local off can be useful in the following situations.
Some commercially available MIDI processing devices are able to receive a stream of MIDI note and controller data and process it to create parallel harmony or other musical effects. If you have this type of MIDI processing unit, it may be interesting to set the SY77 local off and make
MIDI connections so that the note and controller data transmitted from the SY77's MIDI OUT is processed by the MIDI processing unit and then transmitted back to the SY77's MIDI IN.
If you use an external sequencer with the
SY77, you will probably record from the SY77's
MIDI OUT to the sequencer, and playback from the sequencer's MIDI OUT to the SY77's MIDI
IN. If the external sequencer is able to echo back
(retransmit) the data being recorded, you can turn local off for the SY77 so that it produces sound only in response to data from the external sequencer.
Note on/off: This setting can be used to increase the number of simultaneous notes. Each SY77 is able to produce up to 16 notes of AFM sound and 16 notes of AWM sound at once. By sending the same MIDI data to two SY77s and setting one to note "odd" and the other to note
"even", you can double the number of simultaneous notes that can be produced.
MIDI UTILITY
2. Program change
Summary: MIDI program change messages will be received and transmitted as specified here.
Procedure:
From: MIDI utility job directory (JUMP #806)
Select: 02:Program Change (JUMP #808)
Specify: how program changes will be received and transmitted
Program Change (off, normal, direct): This determines what the SY77 does when a program change message is received at MIDI IN, and how program change messages are transmitted from MIDI OUT. Usually you will leave this set at "normal". If you wish to use program change messages to select memories, set this to
"direct".
JUMP #808
Program Change = off: Incoming program change messages will be ignored. Program change messages will not be transmitted.
Program Change = normal: When in voice mode, incoming program changes 0-63 will select voices 1-64. Program changes 64-127 will be ignored. Regardless of the memory (internal, card, preset 1 or preset 2) that is selected, a
MIDI program change 0-63 will be transmitted when you select a voice 1-64.
When in multi mode, incoming program changes 0-63 will select voices 1-64 for the corresponding channel of the multi. Program changes 64-79 on the voice receive channel will select multis 1-16. Program changes 80-127 will be ignored. Regardless of the memory (internal, card, preset 1 or preset 2) that is selected, a
MIDI program change 0-63 will be transmitted when you select a voice 1-64. A program change
64-79 will be transmitted when you select a multi 1-16.
222
Program change = direct: This allows any voice or multi memory to be selected using program changes. Program changes 0-116 will be received and transmitted just as in "normal".
Transmission: If you select a voice or multi after changing the memory (internal, card, preset 1, or preset 2) or mode (voice or multi), one of the following program changes 117-127 will be transmitted to indicate the newly selected memory or mode. Immediately following this will be the program change of 0-63 or 64-79 to indicate the newly selected voice or multi.
Reception: Incoming program changes 117-124 will select a voice memory, and must be immediately followed by a program change 0-63 to select the voice number. Incoming program changes 125-127 will select a multi memory, and must be immediately followed by a program change 64—79 to select the multi number.
Incoming program changes 119 and 120 are not distinguished, since a internal multi is not allowed to use card voices, nor vice versa.
121
122
123
124
125
126
127
No.
1 1 7
1 1 8
1 1 9
120
Mode
Voice mode
Multi mode
Multi mode
Multi mode
Multi mode
Voice mode
Voice mode
Voice mode
Multi mode
Multi mode
Multi mode
Voice
Voice
Voice
Voice
Multi
Multi
Multi
Type
Voice
Voice
Voice
Voice
UTILITY MODE
Memory
Preset 2
Preset 2
Internal
Card
Preset 1
Internal
Card
Preset 1
Internal
Card
Preset
MIDI UTILITY
3. Bulk dump
Summary: Various types of SY77 data can be transmitted via MIDI to another SY77 or other device.
Procedure:
From: MIDI utility job (JUMP #806) directory
Select: 03:Bulk D u m p (JUMP #809)
Specify: the type of data to be transmitted
To execute: data transmission press F8 (Go).
To quit: without executing press EXIT.
Move the cursor in the area to select the type of data you wish to transmit. Then press F8 (Go).
JUMP #809
01: Vc & Mlt: All internal voice, multi, pan, and micro tuning data
02: Syn Setup: System setup data for the synthesizer section
03: Pan: All internal pan data
04: McrTuning: All internal micro tuning data
05: 64 voices: All internal voices
06: 16 Multis: All internal multis
07: 1 Voice: A single specified voice
08: 1 Multi: A single specified multi
09: Seq All: All data of the sequencer section
10: Song&Ptn: Song and pattern data
11: Seq Setup: Setup data of the sequencer section
12: NSEQ: Sequencer data in N-Seq format
Go: When you press F8 (Go) transmission will begin and the bottom line of the LCD will display
"Now transmitting !" When transmission ends the bottom line will display "Complete !"
223
UTILITY MODE
1 Voice: If you select 07:1 Voice and press F8 (Dir) a directory of the sixteen voices in the currently selected bank will appear. Select a bank A-D, and select a voice 1-16. Then press F8 (Go) and the data of the selected voice will be transmitted. Only internal voices can be dumped.
1 Multi: If you select 08:1 Multi and press F8 (Dir) a directory of the sixteen multis in the currently selected memory will appear. Select a multi 1-
16. Then press F8 (Go) and the data of the selected multi will be transmitted. Only internal multis can be dumped.
Remarks: For the data to be received by another
SY77, the device number settings of the two units must match.
Data transmitted by 07:1 Voice or 08:1 Multi will be received into the editing buffer of the receiving device. If you select another memory before storing it into a memory, the newly received data will be lost.
224
UTILITY MODE
Summary: Card utility jobs allow you to transfer data to and from a card, and to format a card to accept SY77 data.
Procedure:
From: System Utility, MIDI Utility, or Disk
Utility (JUMP #800, #806, #816)
Press: F3 (Card) (JUMP #812)
Select: the desired card utility job and press
ENTER.
Card utility
JUMP #812
Move the cursor in this area to select one of the following jobs and then press ENTER.
01: Save To Card: Synthesizer data can be saved to a RAM card.
02: Load From Card: Synthesizer data can be loaded from a RAM or ROM card.
03: Card Format: Before you use a new RAM card, you must use this operation to format it so that the card can be used by the SY77.
CARD UTILITY
1. Save to card
Summary: Synthesizer data can be saved to a RAM card.
Procedure:
From: card utility job directory (JUMP #812)
Select: 01:Save To Card (JUMP #813)
To execute: the operation press F8 (Go).
To quit: without executing press EXIT.
JUMP #813
Press F8 (Go) to save the synthesizer data to card. The display will ask "Are you sure?" so if you are sure you want to save the data press YES.
If the card inserted in the DATA card slot has not been formatted for the SY77 the LCD will show
"Warning: Format Error !" Press EXIT to exit from the error message.
This function saves the following data to RAM card.
Setup data (system data, pan data, micro tuning data)
Internal voices 1-64
Internal multis 1-16
This job saves all synthesizer data to a RAM card inserted in the DATA card slot. Before a newly purchased RAM card can be used by the SY77 it must be formatted using the 3. Format card function explained later in this section.
225
UTILITY MODE
CARD UTILITY
2. Load from card
Summary: Synthesizer data can be loaded from a
RAM or ROM card.
Procedure:
From: card utility job directory (JUMP #812)
Select: 02:Load From Card (JUMP #814)
Specify: the type of data to be loaded.
To execute: the load operation press F8 (Go).
To quit: without executing press EXIT.
JUMP #814
Data Type (synth all, multi&voice (pan, mct), synth setup): You can load all or part of the data from card. When "synth all" is selected all the data will be loaded. When "multi&voice (pan, mct)" is selected multi, voice, pan, and microtuning data will be loaded. When "synth setup" is selected the system data will be loaded.
This function loads the specified type of synthesizer data from a RAM or ROM card inserted in the DATA card slot. After selecting the data type to load, press F8 (Go) to load the data from card. The display will ask "Are you sure?" so if you are sure you want to load the data press YES.
If the card inserted in the DATA card slot has not been formatted for the SY77 the LCD will show
"Warning: Format Error !" Press EXIT to exit from the error message.
CARD UTILITY
3. Format card
Summary: Before you use a new RAM card, you must format it so that the card can be used by the SY77.
Procedure:
From: card utility job directory (JUMP #812)
Select: 03:Card Format (JUMP #815)
To execute: the operation press F8 (Go).
To quit: without executing press EXIT.
JUMP #815
This function prepares a MCD64 RAM card (sold separately) for use by the SY77.
Insert the card into the DATA card slot and press
F8 (Go). The display will ask "Are you sure?" so if you are sure you want to format the card press YES.
If the card is a type that cannot be used by the
SY77 or if it is faulty the LCD will show an error message. Press EXIT to exit from the error message.
226
UTILITY MODE
Disk utility
JUMP #816
Summary: Disk utility operations allow you to
transfer data to and from a disk, and to format a disk to accept SY77 data.
Procedure:
From: System Utility, MIDI Utility, or Card
Utility (JUMP #800, #806, #812)
Press: F4 (Disk) (JUMP #816)
Select: the desired disk utility job and press
ENTER
02: Load From Disk: Synthesizer or sequencer data can be loaded from disk.
03: Format Disk: Before a disk can be used it must be formatted to accept SY77 data.
04: Backup Disk: Use this operation to make backup disks for important data.
05: Rename File: An already existing disk file can be given a different name.
06: Delete File: An unwanted file can be deleted from disk.
07: Disk Status: This allows you to check the number of disk files and the remaining free area on the disk.
Important: Before using a newly purchased disk or
a disk that has been used by other devices, you must format the disk using the 03:Disk Format command.
Move the cursor in this area to select one of the following jobs and then press ENTER.
01: Save To Disk: Synthesizer or sequencer data can be saved to disk.
DISK UTILITY
1. Save to disk
Summary: Synthesizer and sequencer data can be
saved to disk.
Procedure:
From: disk utility job directory (JUMP #816)
Select: 01:Save To Disk and press ENTER
Specify: the type of data to be saved.
Press: ENTER
Specify: the file into which the data will be saved
To execute: the operation press F8 (Go).
To quit: without executing press EXIT.
This shows the amount of free area remaining on the disk inserted in the disk drive.
Move the cursor in this area to select the type of data you wish to save to disk and then press
ENTER
01: All Data: All data of the SY77
02: Synthesizer All: All data of the synthesizer section
03: Sequencer All: All data of the sequencer section
04: Song KSEQ: Sequencer song data in K-Seq format (SY77 sequence data format without the setup data)
05: Song ESEQ: Sequencer song data in E-Seq format (Yamaha QX3, electones, player pianos, etc.)
06: Song NSEQ: Sequencer song data in N-Seq format (Yamaha V50, QX5FD, etc.)
E-Seq and N-Seq: The SY77 can save its sequence
data in E-Seq or N-Seq format, and this data can be loaded into other Yamaha sequencers.
However, data which the other device is not able to use will be ignored.
227
UTILITY MODE
1. Move the cursor to the type of data you wish to save and then press ENTER to get the following display.
If you want to save the data to the selected file without modifying the name, press F8 (Go).
2. Data is stored on disk in files. Move the cursor to select a disk file to which the selected data will be saved.
3. To save the data from SY77 memory to the selected file, press F8 (Go).
This indicates the type of data you selected in the previous display.
This area will display the names of all disk files of the type you selected. Move the cursor in this area or use the numeric keys to select a disk file
1-99 to which the data will be saved. Unused files are indicated by a "*" mark. If you save the data without changing the name, the "*" will disappear.
The LCD can show only ten filenames at once.
To see the rest of the filenames press F1 or
F2 to scroll the filename display up or down.
If you want to change the name of the selected file then press F7 (Name) and you will enter the job explained in the following section 1.1 Save to disk filename.
DISK UTILITY
4. If data already exists in the selected file, the bottom line of the display will ask "Overwrite ?
(Yes or No)". If you do not need to keep the old data in the file then press YES and the old data will be overwritten. If the old data is important then press NO and select a different file.
Filename: Since the SY77 recognizes each disk file by its number not by its filename it is possible for two or more files to be given the same name.
However it is a good idea to name each file as a reminder of the contents.
1.1 Save to disk filename
Summary: Each file on disk can be given an eightcharacter name as a reminder of the contents.
Procedure:
From: the Save to disk filename job in 1. Save to disk
Press: F7 (Name)
Specify: an 8-character filename.
To execute: the Save To Disk operation press F8
(Go).
To quit: without executing press EXIT.
Enter an eight-character name for the file.
To clear the currently entered name press Fl
(Clr). To switch to upper-case characters press
F2 (Uppr). To switch to lower-case characters press F3 (Lowr).
After entering a name for the disk file press F8
(Go). The bottom line of the display will ask
"Are you sure ?" If you are sure that you want to save the data then press YES and the data will be saved to the specified disk file.
Remarks: Methods of entering character data are explained in How to enter data of the Intro-
ductory manual.
Note that the actual disk save operation can be executed either from this 1.1 Save to disk file-
name job or from the 1. Save to disk job.
228
UTILITY MODE
DISK UTILITY
2. Load from disk
Summary: Synthesizer and sequencer data can be loaded from disk.
Procedure:
From: disk utility job directory (JUMP #816)
Select: 02:Load From Disk (JUMP #817)
Specify: the type of data to be loaded.
Press: ENTER
Select: the file from which to load the data.
To execute: the loading operation press F8 (Go).
To quit: without loading press EXIT.
JUMP #817
Data that was saved by 1 . Save to disk...
1.All Data
2.Synthesizer All
3.Sequencer All
4.KSEQ, 5. ESQ, 6. NSEQ
... can be loaded by 2. Load from disk
Any type of data 1,4-11
2.Synth All
3.Seq All
12.Other Sequence
Individual types of data 4-11 can be loaded only from a file saved as "All Data".
After selecting the desired type of data, press
ENTER to select the disk file from which to load the data.
Move the cursor in this area to select the type of data you wish to load from disk.
01: All Data: All data of the SY77
02: Synth All: 64 voices, 64 multis, 32 pan, 2 micro tuning, and system setup
03: Seq All: K-Seq data and setup data of the sequencer section
04: Syn Setup: Synthesizer system setup data from a disk file that was saved as "All
Data"
05: Vc & Mlt: 64 voices, 64 multis, 32 pan, and
2 micro tuning data from a disk file that was saved as "All Data"
06: Pan: 32 pan data from a disk file that was saved as "All Data"
07: McrTuning: 2 micro tuning data from a disk file that was saved as "All Data"
08: Seq Setup: Setup data of the sequencer section
09: Song & Ptn: Song and pattern data of the sequencer section
10: 1 Voice: A single selected voice from a disk file that was saved as "All Data"
11: 1 Multi: A single selected multi from a disk file that was saved as "All Data"
12: Other Seq: Sequencer data in K-Seq, E-Seq, or N-Seq format
The data that can be loaded will depend on the type of data that was saved in 1. Save to disk.
The names of all disk files of the selected type will be displayed. Files that contain no data are displayed as "----". Move the cursor in this area to select a file 1-99. You may also use the numeric keys to directly specify a file number.
The LCD can show only ten filenames at once. To see the rest of the filenames press Fl orF2 to scroll the filename display up or down.
Load from disk (types 1-9): After selecting a file press F8 (Go). The display will ask "Are you sure ?" If you are sure that you want to load the data then press YES and the data will be loaded from disk file into the SY77.
Load from disk (types 10, 11): Selecting data types 10. 1 Voice or 11. 1 Multi allows you to load a single specified voice (or multi) from a disk file that was saved as "All Data". The procedure is exactly the same for voices and multis.
1. After selecting a file press F8 (Dir) to view a list of the voices (multis) in the selected file.
2. The display will show ten voices (multis) at once. Use F3 and F4 to scroll the display up or down, and move the cursor to select the desired voice (multi).
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UTILITY MODE
3. To select the destination into which the selected voice (multi) will be loaded, press F2 (Dst) the bank A-D (only when loading voices), and the memory select buttons 1-16 to specify the loading destination. Voice saved from bank A-C can be loaded only into bank A-C.
4. When you have selected the destination voice
(multi), press F8 (Go) and the selected voice
(multi) will be loaded from disk into internal memory.
Load from disk (type 12): Selecting data type 12.
Other sequence allows you to load sequence data that was saved in E-Seq or N-Seq format into the SY77 sequencer. This allows you to load sequence data into the SY77 sequencer from a disk that was saved by another Yamaha device.
1. When data type 12. Other sequence is selected, the display will show all files on the disk, whether or not they were created by the SY77.
The three character extension of each filename is also displayed. "K" indicates K-Seq data, "E" indicates E-Seq data, and "N" indicates N-Seq data. Files that contain no data are displayed as
"----". Move the cursor in this area to select a file.
2. The LCD can show only ten filenames at once.
To see the rest of the filenames press Fl or
F2 to scroll the filename display up or down,
3. After selecting a file which contains sequence data, press F8 (Go) to load the file into the
SY77's sequencer memory. If you select and attempt to load a file which does not contain sequencer data readable by the SY77, an error message will be displayed.
When loading E-Seq or N-Seq data, any data specific to the device which created the file will be ignored. For example when loading N-Seq data saved by the QX5FD, macro data will be ignored, and when loading K-Seq data saved by the V50 sequencer only song 1 will be loaded.
DISK UTILITY
3. Format disk
Summary: Before a disk can be used it must be formatted to accept SY77 data.
Procedure:
From: disk utility job directory (JUMP #816)
Select: 03:Disk Format (JUMP #818)
To execute: the formatting operation press F8
(Go).
To quit: without executing press EXIT.
JUMP #818
Newly purchased disks must be formatted by the
SY77 before they can be used to store data.
Formatting a disk will erase all the data on the disk.
Be careful not to accidentally format a disk which contains valuable data.
The display will ask you to "Please insert a blank disk". Make sure that the write protect slider of the disk is in the write enabled position with the slider covering the hold, insert the disk into the disk drive, and press F8 (Go). You will be asked "Are you sure?" If you are sure you want to format the disk press YES and formatting will begin.
While the disk is being formatted the display will show "xx% Formatted". When the number reaches
100% the display will show "Completed !" until a switch is pressed.
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UTILITY MODE
DISK UTILITY
Summary: Use this operation to make backup disks for important data.
Procedure:
From: disk utility job directory (JUMP #816)
Select: 04:Back Up Disk (JUMP #819)
To execute: the backup operation press F8 (Go).
To quit: without executing press EXIT.
Floppy disks are generally quite reliable, but it is always a good idea to make backup copies of important data.
Important: When this 4. Backup disk operation is used, all data in the SY77 sequencer memory will be lost.
4. Backup disk
JUMP #819
1. Insert the source disk (the original data) into the disk drive and press F8 (Go). The display will show "Now Loading" and the data will be loaded into the SY77's memory. The "xx%
Loaded" display indicates the percentage of the backup data that has been loaded.
2. When the SY77 has loaded as much data as possible, the display will ask you to "Please insert DUPLICATE into drive."
3. Make sure that the backup disk is correctly formatted for the SY77 and that its write protect slider is in the write enabled position (covering the hole). Insert the backup disk into the disk drive and press F8 (Go).
4. The display will show "Now Saving" and the data will be saved onto the backup disk. The
"xx% Saved" display indicates the percentage of the data that has been saved.
5. Repeat steps 1-4 until 100% of the source data has been loaded and saved. When the backup process is complete the display will show
"Completed !".
DISK UTILITY
5. Rename file
Summary: An already existing disk file can be given a different name.
Procedure:
From: disk utility job directory (JUMP #816)
Select: 05:Rename File
Specify: the type of file you wish to rename.
Press: ENTER
Specify: the file you wish to rename.
Press: ENTER
Specify: the new filename.
To execute: the rename operation press F8 (Go).
To quit: without executing press EXIT.
This shows the amount of remaining free memory for the currently inserted disk.
Move the cursor in this area to select the type of file you wish to rename.
01: All Data: All data of the SY77
02: Synthesizer All: All data of the synthesizer section
03: Sequencer All: All data of the sequencer section
04: Song KSEQ: Sequencer song data in K-Seq format (SY77 sequence data format without the setup data)
05: Song ESEQ: Sequencer song data in E-Seq format (Yamaha QX3, electones, player pianos, etc.)
06: Song NSEQ: Sequencer song data in N-Seq format (Yamaha V50, QX5FD, etc.)
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UTILITY MODE
1. After selecting the type of file you wish to rename, press ENTER and the names of all files of the selected type will be displayed.
2. Move the cursor or use the numeric keys to select the file 1-99 you wish to rename. If necessary press F1 or F2 to scroll the list of filenames.
3. After selecting the file you wish to rename press
F8 (Name).
4. Enter an eight-character name for the file. To
DISK UTILITY
6. Delete file
clear the currently entered name press F1 (Clr).
To switch to upper-case characters press F2
(Uppr). To switch to lower-case characters press F3 (Lowr).
After entering a new name for the disk file press
F8 (Go). The bottom line of the display will ask
"Are you sure ?" If you are sure that you want to rename the file then press YES and the disk file will be renamed.
Summary: You can delete an unwanted file from disk.
Procedure:
From: disk utility job directory (JUMP #816)
Select: 06:Delete File
Specify: the type of file you wish to delete.
Press: ENTER
Specify: the file you wish to delete.
To execute: the delete file operation press F8 (Go).
To quit: without executing press EXIT.
This shows the amount of remaining free memory for the currently inserted disk.
Move the cursor in this area to select the type of file you wish to delete.
01: All Data: All data of the SY77
02: Synthesizer All: All data of the synthesizer section
03: Sequencer All: All data of the sequencer section
04: Song KSEQ: Sequencer song data in K-Seq format (SY77 sequence data format without the setup data)
05: Song ESEQ: Sequencer song data in E-Seq format (Yamaha QX3, electones, player pianos, etc.)
06: Song NSEQ: Sequencer song data in N-Seq format (Yamaha V50, QX5FD, etc.)
1. After selecting the type of file you wish to delete, press ENTER and the names of all files of the selected type will be displayed.
2. Move the cursor or use the numeric keys to select the file 1-99 you wish to delete. If necessary press F1 orF2 to scroll the list of filenames.
3. After selecting the file you wish to delete press
F8 (Go). The bottom line of the display will ask
"Are you sure ?" If you are sure that you want to delete the file then press YES and the disk file will be deleted.
DISK UTILITY
7. Disk status
Summary: You can check the number of disk files and the remaining free area on the disk.
Procedure:
From: disk utility job directory (JUMP #816)
When: the disk you want to check is inserted
Select: 07:Disk Status
To exit: the disk status display press EXIT.
232
Total: The total number of files on the disk
Used: The amount of disk space occupied by files
Free: The amount of unused disk space
All: The number of files saved as "All Data".
Syn all: The number of files saved as
"Synthesizer All".
Seq all: The number of files saved as
"Sequencer All".
Misc.: The number of all other types of files.
UTILITY MODE
Remarks: When this job is selected the currently
inserted disk will be checked immediately, so be sure to insert the disk before you select the job.
There are no settings to make in this job.
233
234
APPENDIX
235
236
APPENDIX
APPENDIX
This section contains various supplementary information that may be useful to advanced users or programmers.
Contents of this section page
237
APPENDIX
Explanation of the preset voices
Preset 1
A-1 GrandPiano: Standard grand piano.
A-2 Arianne: Warm synth and sample hybrid pad.
MW1 = vibrato.
A-3 Dyno E.Pno: A pretty tine piano, very expressive and most suitable for solo improvisation. MW1 = vibrato, aftertouch = tremolo.
A-4 Alto Sax: Bright alto sax with a wide dynamic range.
A-5 BrasChoral: Very expressive "piano style brass" which expands into full brass with a heavy touch. Aftertouch = vibrato.
A-6 Folk 1 Gtr: Steel string folk guitar.
A-7 Triton: Synth sound using sharp digital filters, suggesting a satellite observed from the spacecraft Voyager.
A-8 FrenchHorn: Standard orchestral horn. Aftertouch = vibrato, MW2 = panning.
A-9 MW2TackPno: Tack piano, simulating the rinky tink sound of a piano with thumbtacks stuck into the hammers. MW2 = tone
A-10 Wood Bass: Plucked upright bass. Raise
MW1 to the maximum position for a pulling-off effect. Aftertouch = vibrato.
A-11 ChamberStr: Violin quartet. Aftertouch = vibrato.
A-12 Jazz Organ: Electric organ with fast rotary speaker.
A-13 Nasty Saw: Bright, fat analog synth. MW1 adds vibrato, MW2 = brightness.
A-14 Metamonics: Similar to electric guitar harmonics, nice for broad arpeggios.
A-15 Itopia: Rich, chorused synth choir. Velocity and MW2 dynamically control brightness over a wide range. MW1 = vibrato.
A-16 Wild Sing: Chords must be sustained to hear this sitar-like instrument get into its rhythm.
Aftertouch = pitch bend, MW1 = vibrato.
B-1 Dyna Grand: Acoustic piano with a broad dynamic range.
B-2 MW2Grand: Full bodied piano with a resonant cabinet quality in the bass register.
MW2 = timbre from dark to bright.
B-3 8ba Piano: A bright double piano in a low octave. Play hard sustained rock chords with a heavy bass. Aftertouch = chorus.
B-4 Rock Pno: Rock piano, good for powerful chord backing.
B-5 Chorus Pno: Chorused CP70-type electric piano.
B-6 BigChordEP: Microtuning scales this mix of electric and acoustic pianos so that the
E.Piano moves from above to below the octave of the acoustic piano according to the pitch region.
B-7 Ice Piano: Synth piano, good for slow songs.
B-8 Dark E.Pno: A dark fat comping electric piano.
B-9 Wet Clavi: A long sustaining, heavy bass clavinet. Aftertouch = vibrato.
B-10 TightClavi: Slightly fatter sound than B09 and with a a shorter decay, good for rhythmical backing.
B-11 Celesta: MW 1 adds a slow rolling chorus effect to this standard celesta.
B-12 Harpsichrd: A mixed harpsichord of two registers.
B-l3 Full Organ: A full organ which can be heard in any loud band. Aftertouch = vibrato.
B-14 Pipe Organ: Classical pipe organ. MW1 = 16' pipe volume, MW2 = brightness in the upper ranks.
B-15 Solo Trmpt: Tight solo trumpet.
B-16 DualTrmpt: Dual solo trumpets; one left and one right. Aftertouch = vibrato.
C-1 Mute Trmpt: Muted trumpet sound. Aftertouch = vibrato.
C-2 RugelHorn: Dynamic flugelhorn. Aftertouch = vibrato, and MW2 dynamically = timbre from mellow to bright.
C-3 Big Band: A breathy light touchy, screaming heavy touchy big band. Aftertouch = vibrato.
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C-4 Brass 1 Sct: Bright brass trumpet section.
C-5 1980 Brass: Analog synth brass sound popular from the end of the 70's through the beginning of the 80's. Also good for powerful leads.
C-6 Star Brass: Synthetic analog style brass sound. Aftertouch = vibrato.
C-7 Anna Brass: Analog synth brass with broad dynamic range by velocity.
C-8 BrashBrass: Powerful brass sound that will not be overpowered by any rock band.
C-9 Soft Brass: Soft synth brass.
C-10 DigiSwpBrs: AWM brass waveform swept by a digital filter.
C-11 Brass2 Sct: Analog brass section.
C-12 Soft Sax: A warmer sax sound. Aftertouch = vibrato.
C-13 Tenor Sax: Normal tenor sax.
C-14 Flute: Warm and classical flute. Aftertouch = vibrato.
C-15 Clarinet: Clarinet, responsive to key velocity.
C-16 Reed Piper: A "general purpose" double reed instrument. Aftertouch = vibrato.
D-1 Tutti Orch: Orchestra sound, mainly strings.
Play strongly to add timpani.
D-2 Trad E.Pno: Warm, rich electric piano. MW1 = stereo tremolo, MW2 = panning.
D-3 Full E.Pno: Electric piano, good for ballads.
APPENDIX
D-4 Bop Organ: Percussive organ.
D-5 Warm Organ: Electric organ for pop or rock.
D-6 Deep Organ: Bright organ, good for rock backing.
D-7 Pan Flute: Breathy, husky pan flute
D-8 MW2Feedbck: Bright distortion lead guitar sound. MW1 = vibrato. MW2 acts as a dynamic timbre control. At the low position the sound the sound is full and thick. At the middle position the tone is less distorted and warmer in the treble register. At the high position, the bass register become fuzz guitar and the treble register above G3 becomes harmonic feedback.
D-9 Distort5th: Distorted guitar in fifths.
D-10 Thumb Bass: Playing dynamics switch between thumping and popping bass.
D-11 Sync Bass: Analog synth bass with synced oscillators. Aftertouch = vibrato.
D-12 FullString: Large string section
D-13 WideString: A mix of basses/cellos and violas/violins in two separate octaves. Aftertouch = vibrato
D-14 ConvoStrgs: Sharp synth strings.
D-15 Oh Choir: Split male and female choir "Oh".
MW1 = vibrato.
D-16 Orchestra: Full string and brass orchestra.
MW1 = vibrato.
Preset 2
A-1 SaxSection: Sax section with tenor and alto.
A-2 Folk 2 Gtr: Clear folk or steel guitar. MW1 to select a file.
A-3 Humbucker: Electric guitar with humbucking pickups, slightly chorused.
A-4 SingleCoil: Electric guitar with single coil pickups.
A-5 12stGuitar: Twelve string guitar, with AFM used to simulate the different tunings of the second set of strings. Aftertouch = pitch bend,
MW1 = vibrato.
A-6 Gut Guitar: Gut (nylon) string guitar. MW1 = vibrato.
A-7 Mute E.Gtr: Muted electric guitar. Play strongly to pop the strings.
A-8 JazzGuitar: Electric jazz guitar with harmonics in the top octave. MW1 = vibrato.
A-9 Pick Bass: Bright picked electric bass.
Velocity = dynamics over a wide range. MW1
= vibrato, MW2 = panning.
A-10 Fretless B: Warm, fretless bass. Aftertouch = vibrato.
A-11 FingerBass: Warm, fingered electric bass.
MW1 = vibrato, MW2 control panning.
A-12 Syn Bass: Tight, punchy synth bass. MW2 = panning.
A-13 Plastic Bs: Synth bass in two octaves. Aftertouch = vibrato.
A-14 Mini Bass: Synth bass, milder than A13.
A-15 Boppa Bass: Staccato notes in the left hand give a speaking effect to this bass. Aftertouch
= vibrato.
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APPENDIX
A-16 BreathBass: Bass with superimposed breathy chorus, good for slow exposed bass lines.
This voice will also play well in higher octaves. Aftertouch = vibrato.
B-l Violin: Solo violin. MW1 = bow "bite", aftertouch = vibrato.
B-2 Pizzicato: Pizzicato strings.
B-3 Contrabass: Solo contrabass. Velocity = dynamics over a wide range. Aftertouch = vibrato.
B-4 Air Cello: These cellos almost become a choir in the lower register. Aftertouch = vibrato.
B-5 SilkString: Warm string ensemble swell.
MW1 = vibrato, MW2 = brightness.
B-6 Obie Strgs: Warm, fat analog strings. MW1 = vibrato, MW2 control brightness.
B-7 SizleStrgs: Synth strings, with mixed noise.
MW1 = vibrato.
B-8 Ah Choir: Split male and female chorus. MW2
= filter cutoff.
B-9 Spirits: Gentle female choir sound. Aftertouch
= vibrato.
B-10 Chor Meist: Two choirs tuned 1/5 octave apart. Aftertouch = vibrato.
B-11 Vibes: Vibes played with a hard mallet. MW1
= stereo tremolo.
B-12 Marimba: Normal marimba.
B-13 Pluck Echo: Bright synthetic kalimba with subtle harmonic echo effect. MW1 = vibrato.
B-14 Bah Mallet: Be sure to hold low notes to hear this speak. A 'woody' mallet percussion in the right hand. MW1 = vibrato, MW2 = pan
LFO.
B-15 Oz Hammer: Hold notes to hear the rhythm made with automatic EG looping. Aftertouch = vibrato.
B-16 Ice Chime: Mixture of bell and wind chime, nice for glissando.
C-l Shamisen: Japanese banjo-like instrument,
C-2 Koto: Japanese harp-like instrument.
C-3 Sitar: Indian traditional instrument. Aftertouch
= pitch bend up.
C-4 Steel Drum: Steel drum. MW1 = fast tremolo,
MW2 = brightness.
C-5 Harp: Harp with AFM element used in the attack.
C-6 Accordion: MW1 adds a slow chorus vibrato.
MW2 = brightness.
240
C-7 Harmonica: Bright harmonica. Aftertouch = pitch bend down.
C-8 Harpomatic: Play sustained notes to hear the
AWM harp echoed in different pitches by the
AFM. MW1 = vibrato
C-9 Ravi Clavi: Sitar-like clavinet. Aftertouch = pitch bend, MW1 = vibrato.
C-10 Forest: Deep synth sound with distinctive lows.
C-11 Satin Bell: FM piano sound accompanied by filtered strings. MW1 = vibrato.
C-l2 Mr.Lucky: Fat analog square lead. MW1 = vibrato, MW2 = brightness, aftertouch = dynamic left/right panning.
C-13 Mini Lead!: Monophonic analog lead with lingered portamento. MW1 = vibrato.
C-14 Keytar: Synth lead, with tone change for sustained notes. Aftertouch = vibrato.
C-15 SoloFlight: Lead "analog" synth with filter attack. Aftertouch = vibrato.
C-16 Wayfarer: Play sustained chords. MW1 = deep vibrato.
D-1 Brass Orch: Full orchestra sound. Brass enters for strong notes, bell sounds for staccato. Aftertouch = vibrato.
D-2 Millenium!: Synth orchestra with percussive effect and slow ambient noise crescendo.
MW1 = vibrato.
D-3 Catharsis: Synth pluck and choir with wind chimes and evolving crescendo effect. MW1 = vibrato.
D-4 MethylMist: Atmospheric strings and effects from the moons of Jupiter. MW1 = vibrato.
D-5 Voyager: Traveling outward into deep space, with slow attacking and decaying high component. MW1 = vibrato.
D-6 Inferno: Percussive synth vocal, with looped noise, drum, and wind chime effect. Hold keys and wait for effect. MW1 = vibrato.
D-7 Valkyrie: Synth orchestra with velocity control of synthetic cymbal burst. Hold notes in bass register for evolving harmonic effects. MW1 = vibrato.
D-8 Syren Song: The lost souls and sea sounds can be found in the left with the syren's voice in the upper octaves. Aftertouch = vibrato.
D-9 Anna Sweep: Analog synth with filter sweep.
D-10 SyncanSyn: Analog synth sound of the 70's for solo or chords, with slight portamento.
D-11 AnnaPad: Spacious, soft pad.
D-12 Gosh!: Steamy comping sound with filter sweep. The two elements pan in opposite directions. Aftertouch = vibrato.
D-13 Debonair: Smooth comping synth sound with filter sweep sound. Aftertouch = vibrato.
D-14 HiddenRing: Hard staccato playing will produce the sound of the harmonics on the bass accompaniment sound.
APPENDIX
D-15 Drum 1: Drums assigned to the keyboard similar to the Yamaha RX series rhythm machines.
D-16 Drum 2: Similar to Drum 2, but with different types of BD, SD, and TT.
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APPENDIX
Using RCM hybrid synthesis
Suggestions for using AWM + AFM (Voice modes 9 & 10)
The ability to use an AWM voice as an input to an operator is one of the radical innovations of the
SY77. Since the architecture is so flexible it will be a long time before this capability can be fully explored. This section will suggest one possible starting point for experimentation.
1. Select the voice mode
From: Voice edit mode
Select: Voice mode (F1) (JUMP #200)
Select: Voice Mode 9 (1AFM&1AWM)
Press: F2 (Com)
2. Initialize the voice common data
From: Voice edit (JUMP #201)
Select: 15:Initialz (Initialize voice)
Press: ENTER
Press: YES at the "Are You sure?" prompt
Press: EXIT at the "Completed" prompt
3. Initialize the AFM element
From: Voice edit (JUMP #201)
Press: F3 (El) AFM Element (JUMP #230)
Select: 15:Initialz (Initialize AFM element)
Press: ENTER
Press: YES at the "Are You sure?" prompt
Press: EXIT at the "Completed" prompt
4. Initialize the AWM element
From: Voice edit (JUMP #230)
Press: F4 (E2) AWM element (JUMP #256)
Select: 15:Initialz (Initialize AWM element)
Press: ENTER
Press: YES at the "Are You sure?" prompt
Press: EXIT at the "Completed" prompt
5. Select an AWM wave
Press: F4 (E2) to edit the (JUMP #256)
AWM element
Select: l:WaveSet (JUMP #257)
(AWM waveform set)
Press: the -1 +l buttons or use the data wheel or slider to select the wave you wish to use.
When you play the keyboard you will notice that all waves will sound with the initialized "organ type"
EG, and no velocity or filtering. You will probably want to add final touches later. EG filtering and dynamic information are carried over into the FM operator. However for now we will use only a raw wave in order to explain the mechanics of RCM hybrid voicing.
Before trying to use an AWM wave in an AFM algorithm it is useful to turn off the AWM direct output. This is not necessary for final voicing since many voices use both the direct AWM sound and the hybrid AWM/AFM combination. However it is easier to understand the effect of the hybrid system if the direct output of the AWM element is temporarily turned off.
6. To turn off the AWM:
From: Voice Edit (JUMP #201)
Select: 7:OutSel (JUMP #208)
Press: F2 (E2) to select element 2.
Press: -1 three times to turn element output off.
Press: EXIT to return to the voice edit job directory
7. Select Algorithm 30 (default in INIT AFM voice)
Note: Any algorithm will work with hybrid voicing.
However we will use the default algorithm 30 in this demonstration, so this step is not necessary.
8. Set operators 1 and 2 to fixed frequency, zero frequency.
Press: F3 to select the AFM (JUMP #230) job directory
Select: 2:0sclltr (JUMP #235)
Press: Operator Select button 1 to choose operator 1
242
Select: Freq Mode and use -1+1 to change
"ratio" to "fixed"
Select: Coarse and use -1 +1 to change 1.0 to
0.00
Press: Operator select button to choose OP2 and repeat the above operation.
Press: EXIT to return to the AFM job directory
9. Introduce the AWM wave into operator 2 of the
FM algorithm
From: Voice Edit
Press: F3 (E1) to select the (JUMP #246)
AFM element for editing
Select: l:Algrthm (JUMP #232)
(AFM algorithm)
Press: F2 (Extn) This page selects the external inputs to each operator.
Use the cursor keys to position the cursor over the
"off" on the AWM line under OP2. Press YES to change the "off" to In1.
Press: EXIT to return to the AFM job directory
10. Raise the output level of operator 2.
From: AFM job directory
Select: 4:0utput and press (JUMP #242)
F2 (All)
Move: the cursor to OP2 and use the data slider to gradually raise the level until you hear the AWM wave.
Important note: Depending on the harmonic content of the selected wave, the sound may become distorted as you increase the output level of OP2. If it does, exit to the AFM job directory, select l:Algrthm and press F3 (Inpt) (JUMP
#233). Note that under the AWM indicator beneath OP2 there is a number 7. Lower this value to 4 and then return to 4:0utput (JUMP
#242) and adjust the OP2 output level again.
The level set for each operator in the Algorithm
Input acts as a multiplier for the value specified in Output. To avoid distorting the sound appearing at Op2, you must set the correct gain values.
Of course, distortion can be an interesting effect in its own right. By adjusting the operator output and operator input, a wide range of AWM input levels can be used.
APPENDIX
The steps outlined so far may not result in a very interesting sound, but the following points will illustrate some of the possibilities of RCM hybrid synthesis.
The AFM operator into which the AWM waveform was introduced can be modulated by other operators, or can modulate other operators.
The same AWM waveform can be introduced into two or more AFM operators, perhaps with each operator set to a different pitch.
Since the AWM waveform is routed through the filter of the AWM element before being introduced into the AFM operator, its filter settings can be continuously varied, resulting in a realtime filtered waveform which can be modulated by and can modulate other operators (waveforms); i.e.,
Realtime Convolution and Modulation — RCM hybrid synthesis. ("Convolution" refers to proprietary Yamaha digital filtering technology.)
It is beyond the scope of this manual to provide detailed instruction in the use of this new hybrid system although additional programming guides will be forthcoming. The only steps required for using
RCM hybrid synthesis are to turn on the AWM in the Inpt page and select voice mode 9 or 10. The rest is up to you. This is simply a very basic guide which you may use as a starting point.
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APPENDIX
Error messages
MIDI buffer full !
When the SY77 attempted to receive or transmit a large amount of MIDI data, its handling capacity was exceeded.
MIDI data error!
An error occurred when receiving MIDI data.
MIDI checksum err!
An error occurred when receiving bulk data.
Data empty !
Sequence data (bulk) was received, but the message contained no data.
Bulk rejected; song exist!
Since data for the selected song already exists in sequencer memory, the sequence data (bulk) was not received. Select an unused song.
MIDI
Song memory full!
When receiving sequence data (bulk), the internal memory capacity was exceeded, and not all the data was received.
Device number is off!
Since the device number is off, bulk data cannot be transmitted or received.
Device number mismatch !
Since the device numbers did not match, the bulk data was not received.
Bulk canceled by EXIT !
While receiving or transmitting bulk data, EXIT was pressed to abort the operation.
Data card
Data card not ready !
The data card is not correctly inserted into the slot.
Card protected !
Since the memory protect switch of the card is on, data cannot be saved to the card.
Illegal format!
The card is the wrong format.
Verify error!
The data was not correctly saved.
Wave card
Wave card not ready !
The wave card is not correctly inserted into the slot.
Different wave card (ID= ) !
The wave card which is inserted is not the one used by the voice or multi.
ID Number mismatch !
A multi includes voices which use two or more wave cards.
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APPENDIX
Disk not ready !
The disk is not correctly inserted into the disk drive.
Illegal change!
During the backup operation, the Original and back up disks were inserted in the wrong order.
Illegal disk!
The data in the disk is faulty.
Bad disk!
The disk is faulty.
File not found!
The file was not found.
Write protected !
The disk is write protected.
Disk
Disk full!
There is no more memory available on the disk.
Directory full !
The directory area on the disk is full, and new files cannot be created.
Media type error!
The disk is the wrong type.
Illegal file!
The file is not for the SY77.
Sequencer memory full !
The sequencer memory is full.
Sequencer and display
Please stop sequencer!
The sequencer cannot play during disk or card loading or saving or during bulk data transmission.
Illegal time !
You attempted to execute the Get Pattern operation, but the time signature was incorrect.
Range is exceeded !
The parameter you specified in an edit job is beyond the valid range.
Data not Found!
When you executed the Search Part operation in
Chain Pattern, the specified data was not found.
Illegal input!
You attempted to enter an invalid data value in
Edit Insert mode.
Internal buffer full!
More sequence data was played back than could be sounded.
Change internal battery !
The internal backup battery needs to be replaced.
Battery
Change card battery !
The card backup battery needs to be replaced.
245
APPENDIX
Use bank D!
4 element voices can be stored (or copied) only to bank D.
Please stop sequencer!
Please stop the sequencer and try the operation once again.
Other
Illegal mark!
You attempted to mark a display which does not allow marking.
Use bank A-C!
The voice must be stored in bank A, B, or C.
246
APPENDIX
Multi data blank chart
MULT I DATA
Voice Name 01
05
09
13
Voioce Volume
Voioce T u n i n g
Voioce Note S h i f t
Voioce Static Pan
Voioce O u t p u t Select
E f f e c t Mode
Mu-lti Name
01 02
02
06
03
10
14
04 05
Stereo M i x 1
Mod.Effect 1
06 07
M o d . E f f e c t 2
03
07
11
15
08 09
Date
10 11 12
Stereo M i x 2
Rev.Effect 1
04
08
12
16
13 14 15 16
R e v . E f f e c t 2
Effect Type
Effect Balance
O u t p u t Level
Parameter 1
Parameter 2
Parameter 3
Parameter 4
247
APPENDIX
Specifications
Tone generator: Realtime Convolution and Modulation (RCM)
AWM2: 16 bit linear waveform data, maximum
48 kHz sampling frequency
AFM: 6 operators, 45 algorithms, 3 feedback loops, 16 waveforms, modulation from AWM output
Filter: Time variant IIR (infinite impulse response) digital filters, 2 filters for each element (maximum of 8 filters per voice)
Maximum simultaneous notes: 16 notes
AWM +16 notes AFM
Maximum simultaneous timbres: 16
Note assignment: Last note priority, DVA
(dynamic voice allocation)
Keyboard: 61 notes, key velocity sensitivity, channel aftertouch
DSP effects: (reverb effect + modulation effect) x 2
Reverb effects: 40 types
Modulation effects: 4 types
Sequencer:
Tracks: 16 (15 tracks + 1 pattern track)
Songs: 1
Resolution: 1/96 of a quarter note (for internal clock)
Maximum simultaneous notes: 32
Capacity: approximately 16,000 notes
Patterns: 99
Recording: realtime/step/punch in
Memory:
Preset memory: 128 voices, 16 multis
Internal memory: 64 voices, 16 multis
Waveform memory: 2 Mwords (4 Mbytes), 112 sounds
Card slots: synthesizer data x 1, waveform data x l
Disk: 3.5" floppy disk drive
(720 kbyte formatted)
Controllers:
Wheels: PITCH, MODULATION 1, MODU-
LATION 2
Slider: OUTPUT 1, OUTPUT 2, DATA ENTRY
Knobs: LCD contrast, click volume
Dial: data entry dial
Panel switches; MODE x 5, EDIT/COMPARE,
COPY/SAVE, EF.BYPASS, SEQUENCER x 7,
SHIFT, function X 8, EXIT, PAGE
JUMP/MARK, cursor -1/NO, +1/YES, numeric keypad 0-9, MEMORY x 4, BANK x 4, voice select x 16,
Display:
LCD: 240 x 64 pixels (with backlight)
LED: red x 11, red/green x 21
Terminals:
Audio output: OUTPUT 1 (L/MIX, L/MONO,
R/MIX R), OUTPUT 2 (L, R), PHONES
Controller: BREATH, FOOT VOLUME, FOOT
CONTROLLER, SUSTAIN, FOOT SWITCH
MIDI: IN, OUT, THRU
Power requirements:
UL, CSA: 120V
Europe, WG, Australia, BS: 220-240V
Power consumption:
UL, CSA: 28W
Europe, WG, Australia, BS: 28W
Dimensions:
1046(W) x 407(D) x 119(H) mm
Weight: 17kg
248
APPENDIX
-1/+1 keys 21, 28
AFM, block diagram of element 60, edit jobs 116, filter 131, in RCM hybrid synthesis 10, initialize element 135, LFO (main) 127, LFO (sub) 128, oscillator 121, pitch EG 129, sixteen types of
AFM waveform 121, voices 12, used as AWM waveform 139
AWM, block diagram of element 56, copy 138, edit jobs 138, EG 141, filter 146, LFO 144, list of waveforms 139, output 142, sensitivity 143, pitch EG 145, initialize element 147, as part of
RCM hybrid synthesis 10, voices 12, input to an
AFM algorithm 120
Absolute data, how to enter 30
Accent level, of F1-F4 in step record mode 197
Advanced Frequency Modulation, see AFM
Advanced Wave Memory, see AWM
Algorithm, an arrangement of six operators 59, form
118, external input 120, input level 120, select
117
Alternate on/off in a Drum voice 79
Appendix 237
Attack, adjusting the 74
Auto-store, see Store
Backup disk 213
BANK keys 21
Beat/Clock, see Clock/Beat
BPF (Band Pass Filter) 132
Break point, see Scaling
BREATH jack 22
Bulk data, receiving 222, 224, transmitting 223
Card, format 226, load from 226, save to 225, utility jobs 225
Chain pattern 40, 182
Change, data in song edit mode 46, 180
Channel, settings 221, of a multi, how to select 36
Character data, how to enter 30
Clear, pattern 214, song 195
Click 204
CLICK VOLUME knob 22
Clock, move 191
Clock/Beat, displayed when editing 198
Index
Common data, job directory 92
Compare, voice 62, 89, multi 161
Complex waveforms, produced by FM 58
Confirm, edit 220
Connections, audio 4
CONTRAST knob 22
Controller, how to use a 72, set (voice common data) 110-113, specify the control number transmitted by the assignable 219, view 85
COPY key 18
Copy, AFM element 117, AWM element 138, filter
131, measure 191, multi 158, operator 118, pattern 210, part in the pattern track
183, voice 85
Correct the timing of recorded data, see Quantize
Create measure 193
Crescendo 188
Cursor keys 21, 28
Curve, velocity, see Velocity set
Cutoff, EG 134, filter frequency 131, scaling 133
Data, how to enter 28
DATA card slot 18
Data change and insert modes, song edit 46
DATA ENTRY slider 21, 29
Data entry wheel 21, 29
Delete, file 232, measure 193, part from the pattern track 183
Demo disk songs, how to load and play 6
Detune, element 93
Device number 221
Directory, job 24, multi 157, voice 84
Disk drive 18
Disk, status 232, how to load and play the demo 6
Disk utility jobs 227, save to 227, load from 229, format 230, backup 213
Drum voice 55, controller 151, consists of 61 percussive sounds 13, edit 78, edit job directories
64, 149, effect 151, voice mode 91, voice name
152, voice volume 149, wave data set initialize
152, wave data set 150
DSP, see Effects
Dynamic pan, see Pan
EDIT/COMPARE key 18
249
APPENDIX
Edit, confirm on/off 220, modes 24, pattern 209, pattern jobs 210, sequence editing jobs 17, song
46, 179, song job 48, song graph 179, song data change 180, song data insert 181, voice 53
EFFECT BYPASS key 18
Effect, copy from another voice 102, four DSP units
14, mode select 101, modulation 102, reverb 103, set 100, settings for a multi 37, 165
EG, AFM operator 123, 125, AFM pitch 129, AWM
141, AWM pitch 145, filter cutoff 134
Element, copy AFM 117, copy AWM 138, detune
93, level 92, note shift 93, pan 95, select 90, turn off unwanted 68, 90, voice consists of one two or four 12,
Entering data 28
Erase, event 190, measure 192, track 194
Error messages 244
Event, erase 190, turn reception on/off for each type of 196
EXIT key 19
External input, into an AFM algorithm 120
FM, synthesis, the basics of 58,
FOOT CONTROLLER jack 22
FOOT SWITCH jack 23
FOOT VOLUME jack 22
Feedback, algorithm 118
File (disk), delete 232, name for saving 228, rename
231, status 232
Filter, AFM 131, AWM 146, copy 131, cutoff scaling 133, two provided for each element 14, ways to control 69,133, what is a 68
Fixed velocity transmitted by keyboard 217
Form, algorithm 118
Format, card 226, disk 50, 230
Frequency, filter cutoff 131, mode of AFM oscillator
121
Front panel 18-21
Function keys 19, to select jobs 25
Gate time, modify 186
Get pattern from a track 211
Graph song editing mode 46, 179
Greeting message 220
Group, output of each element 99
HPF (High Pass Filter) 132
Hybrid synthesis, about RCM 10, tutorial in using
RCM 242
Initialize, AFM element 135, AWM element 147, drum set 152, multi 166, voice 113
Input level, algorithm 120
Insert, data in song edit mode 46, 181, a part in the pattern track 183
Introducing the SY77 3
Job directories 24, AFM element edit 116, AWM element edit 138, common data edit 92, drum set edit 149, multi edit 161, pattern edit 210, pattern setup 213, song edit 185, song setup 196
JUMP/MARK key 21
Jump function 26
Keyboard 18, transmit channel of 221, velocity transmitted by 217
LCD (Liquid Crystal Display) 18
Level, element 92
LFO (Low Frequency Oscillator), AFM main 127,
AFM sub 128, AWM 144, used to create vibrato
70
Limit, note 94, velocity 94
Load, demo disk songs 6, from card 226, from disk
229
Local on/off 221
LOCATE key 19
Locate, marked position in song 172
Loop, AFM EG 124, 125
LPF (Low Pass Filter) 132
MEMORY keys 21
MIDI IN, OUT, THRU terminals 22
MIDI control, of sequencer timing 197
MIDI utility jobs 221
Main modes, five 24
Marked pages, jumping between two 26
Master tuning 217
Measure, copy 191, create 193, delete 193, erase
192
Message, greeting 220
Metronome, see Click
Micro tuning 106, copy 108, edit 108, name 109
Mix track 194
Mode select keys 18
Mode, effect 66, five main 24, voice 54
Modify, gate time 186, velocity 187
Modulation, effect 102, controller set 110, wheels 18
Mono voice modes 91
250
Move around the SY77, how to 24
Move clock 191
Multi, compare 161, copy 158, directory 157, edit job directory 161, effect 37, 165, explanation of 16, how to set up 36, initialize 166, list of preset 8, mode 159, name 166, note shift 164, pan 164, play mode 155, recall 167, select 157, store 161, voice select 162, voice volume 163, voice tuning
163, voice output group 165,
Mute, playback tracks 172
Name, drum set 152, multi 166, song 199, voice 113
Noise, input to an algorithm 120
Normal voice, see Voice
Note capacity of sequencer 173
Note on/off (all, odd, or even) 221
Note shift, song edit job 190, voice common data 93, voice in multi 164
Note limit 94
Numeric key pad 21, 30
Operator, EG 123, on/off 117, waveform and frequency 121-123
Oscillator, AFM 121
Other, controller set 112
OUTPUT jacks 23
Output channel of sequencer 197
Output group select, voice common data 99, voice in multi 165
Output, AWM 142, level of AFM operator 125, 126
PAGE keys 21, to move between jobs 25
PHONES jack 23
POWER switch 23
Pan, controller set 111, copy 97, edit 96, EG 98, independent for each element 14, name 99, select for each element 95, source 97, static pan of voice in multi 164
Pattern recording, two methods of 17
Pattern, chain 182, clear 214, copy 210, edit 209, edit jobs 210, get 211, mode 201, how play and edit modes are organized 203, placed in the pattern track 40, play 204, put 211, put chain 212, record
205, setup jobs 213, used in a song 17, used to record rhythm sounds 38
Pitch EG, AFM 129, 130, AWM 145
Pitch bend, controller set 110
Pitch wheel 18
Pitch, random 99
Play modes and edit modes 24
Play pattern 204
APPENDIX
Playback, select and mute tracks for 172
Polyphonic voice modes 91
Polyphony, of AFM and AWM tone generators 13
Portamento 100
Power cable 23
Preset, list of multis 8, list of voices 5, explanation of voices 238
Program change, reception and transmission 222, send while in voice play or multi play modes 86,
158
Program select keys 21
Punch-in recording 16, 44, song 176
Put, chain pattern 212, pattern 211
Quantize 186
Random pitch 99
Rate scaling, AFM EG 124, AWM EG 141
RCM hybrid synthesis 10, a tutorial in using 242
Realtime digital filter, see Filter
Realtime recording 16, 42, pattern 17, song 175, pattern 206
Rear panel 22
Recall, multi 167, voice 115,137
Receive, channel for voice mode 221, event 196
RECORD key 19
Record, pattern 205, pattern realtime 206, pattern step 207, song 8, 174, song realtime 175, song punch-in 176, song step 177, three ways to 16
Relative tempo data 182
Rename disk file 231
Repeat marks, in a pattern 40
Reverb, effect 103, simple editing of 66
Rhythm pattern, see Pattern
RUN key 19
Save, to card 225, to disk 227
Scaling, AFM rate 124, 125, AFM output 125, filter cutoff 133, AWM rate 142, AWM output 142
Select and play voices, how to 4
Send program change 86, 158
Sensitivity, AFM 127, AWM 143
Sequence, editing jobs 17, loading other types of data 229, saving other types of data 227,
Sequencer, control keys 18, controls the tone generator 34, how to use the 33, multi-timbral
16, output channel 197, simultaneous note capacity of 173, timing control 197
Setup and play, how to 4
Setup jobs, pattern 213, song 196
SHIFT key 19
251
APPENDIX
Simultaneous note capacity of sequencer 173
Slider, data entry, see Data entry slider
Song edit job, directory 185, using a 48
Song, clear 195, edit 46, 179, how to record 8, mode
169, name 199, play 172, record 174, setup jobs
196, song play and song edit modes 171
Status, of disk 232
Step record 16, pattern 17, song 177, specify F1-F4 accent levels for 197
STOP key 19
Store, multi 161, voice 63,76, 89
SUSTAIN jack 23
Synthesis methods using RCM 10
System utility jobs 217
Temperament, see Micro tuning
Tempo, relative (sequence data) 182
Thin out 189
Timing, correct for recorded data, see Quantize
Tone, simple ways to modify the 68
Tone generator and sequencer 34
Track, erase 194, mix 194, sequencer 16, 35, select for playback 172
Transmit channel for keyboard 221
Transpose 189
Tuning, master 217, micro 106, of voice in multi 163
Tutorial, how to use the sequencer 35, how to edit a voice 53, using RCM hybrid synthesis 242
Utility, card 225, disk 227, MIDI 221, mode 215, system 217
Velocity, limit 94, modify (of recorded song data)
187, set (curve) 217
Velocity sensitivity, see Sensitivity
Vibrato, how to add 70
Voice, copy 85, directory 84, drum 13, explanation of presets 238, initialize 113, list of presets 5, mode select 91, name 113, play mode 83, recall
115, 137, select 84, what is a 54
Voice (in a multi), select 162, volume 163, tuning
163, Voice common data, see Common data
Voice edit, jobs 64, mode 87, process of 62
VOLUME sliders 18
Volume, overall voice 92, drum set voice 151, voice in multi 163
WAVEFORM card slot 18
Waveform, list of AWM 139-140, sixteen types usable in an AFM algorithm 121-123
Wheel, data entry, see Data entry wheel
252
253
IMPORTANT
SAFETY AND INSTALLATION INSTRUCTIONS
INFORMATION RELATING TO POSSIBLE PERSONAL INJURY, ELECTRIC SHOCK, AND
FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST.
WARNING — When using electronic products, basic precautions should always be followed, including the following:
1. Read all Safety and Installation Instructions, Supplemental Marking and Special Message Section data, and any applicable assembly instructions BEFORE using this product.
2. Check unit weight specifications BEFORE you attempt to move this product.
3. Main power supply verification. Yamaha Digital
Musical Instrument products are manufactured specifically for use with the main supply voltage used in the area where they are to be sold. The main supply voltage required by these products is printed on the name plate. For name plate location please refer to the graphic in the Special Message section. If any doubt exists please contact the nearest Yamaha Digital
Musical Instrument retailer.
4. Some Yamaha Digital Musical Instrument products utilize external power supplies or adapters. Do NOT connect products of this type to any power supply or adapter other than the type described in the owners manual or as marked on the unit.
5. This product may be equipped with a plug having three prongs or a polarized line plug (one blade wider than the other). If you are unable to insert the plug into the outlet, contact an electrician to have the absolete outlet replaced. Do NOT defeat the safety purpose of the plug. Yamaha products not having three prong or polarized line plugs incorporate construction methods and designs that do not require line plug polarization.
6. WARNING — Do NOT place objects on the power cord or place the unit in a position where any one could walk on, trip over, or roll anything over cords of any kind. An improper installation of this type can create the possibility of a fire hazard and/or personal injury.
7. Environment: Your Yamaha Digital Musical Instrument should be installed away from heat sources such as heat registers and/or other products that produce heat.
8. Ventilation: This product should be installed or positioned in a way that its placement or location does not interfere with proper ventilation.
9. Yamaha Digital Musical Instrument products are frequently incorporated into "Systems" which are assembled on carts, stands, or in racks. Utilize only those carts, stands, or racks that have been designed for this purpose and observe all safety precautions supplied with the products. Pay special attention to cautions that relate to proper assembly, heavier units being mounted at the lower levels, load limits, moving instructions, maximum usable height and ventilation.
10. Yamaha Digital Musical Instrument products, either alone or in combination with amplification, headphones, or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do
NOT operate at high volume levels or at a level that is uncomfortable. If you experience any discomfort, ringing in the ears, or suspect any hearing loss, you should consult an audiologist.
11. Do NOT use this product near water or in wet environments. For example, near a swimming pool, spa, in the rain, or in a wet basement.
12. Care should be taken so that objects do not fall, and liquids are not spilled into the enclosure.
13. Yamaha Digital Musical Instrument products should be serviced by a qualified service person when: a. The power supply/power adapter cord or plug has been damaged; or b. Objects have fallen, or liquid has been spilled into the product; or c. The unit has been exposed to rain; or d. The product does not operate, exhibits a marked change in performance; or e. The product has been dropped, or the enclosure of the product has been damaged.
14. When not in use, always turn your Yamaha Digital
Musical Instrument equipment "OFF". The power supply cord should be unplugged from the outlet when the equipment is to be left unused for a long period of time. NOTE: In this case, some units may lose some user programmed data. Factory programmed memories will not be affected.
15. Electromagnetic Interference (RFI). Yamaha Digital
Musical Instruments utilize digital (high frequency pulse) technology that may adversely affect Radio/TV reception. Please read FCC Information (rear cover) for additional information.
16. Do NOT attempt to service this product beyond that described in the user maintenance section of the owners manual. All other servicing should be referred to qualified service personnel.
PLEASE KEEP THIS MANUAL
FOR FUTURE REFERENCE!
This information on safety is provided to comply with U.S.A. laws, but should be observed by users in all countries.
SPECIAL MESSAGE SECTION
ELECTROMAGNETIC INTERFERENCE (RFI): Your
Yamaha Digital Musical Instrument Proapplicable regulations. However, if it is Installed in the immediate proximity of other electronic devices, some form of interference may occur. For additional RFI information see
FCC Information section located in this manual.
IMPORTANT NOTICE: This product has been tested and approved by independent safety testing laboratories in order that you may be sure that when it is properly installed and used in its normal and customary manner, all foreseeable risks have been eliminated. DO NOT modify this unit or commission others to do so unless specifically authorized by Yamaha. Product performance and/or safety standards may be diminished. Claims filed under the expressed warranty may be denied if the unit is/has been modified. Implied warranties may also be affected.
SPECIFICATIONS SUBJECT TO CHANGE: The information contained in this manual is believed to be correct at the time of printing. Yamaha reserves the right to change or modify specifications at any time without notice or obligation to update existing units.
NOTICE: Service charges incurred due to a lack of knowledge relating to how a function or effect works (when the unit is operating as designed), are not covered by the manufacturer's warranty. Please study this manual carefully before requesting service.
NAMEPLATE LOCATION: The graphic below indicates the location of the Name Plate on your Yamaha Digital
Musical Instrument. The Model, Serial Number, Power requirements, etc., are Indicated on this plate.
You should note the model, serial number and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase.
STATIC ELECTRICITY CAUTION: Some Yamaha
Digital Musical Instrument products have modules that plug into the unit to perform various function. The contents of a plug-in module can be altered/damaged by static electricity discharges. Static electricity build-ups are more likely to occur during cold winter months (or in areas with very dry climates) when the natural humidity is low.
To avoid possible damage to the plug-in module, touch any metal object (a metal desk lamp, a door knob, etc.) before handling the module, If static electricity is a problem in your area, you may want to have your carpet treated with a substance that reduces static electricity build-up. See your local carpet retailer for professional advice that relates to your specific situation.
Model
Serial No.
Purchase Date
This information on safety is provided to comply with U.S.A. laws, but should be observed by users in all countries.
FCC INFORMATION
While the following statements are provided to comply with FCC Regulations in the United States, the corrective measures listed below are applicable worldwide.
This series of Yamaha professional music equipment uses frequencies that appear in the radio frequency range and if installed in the immediate proximity of some types of audio or video devices (within three meters), interference may occur. This series of Yamaha professional music equipment has been type tested and found to comply with the specifications set for a class B computing device in accordance with those specifications listed in subpart J of part 15 of the FCC rules. These rules are designed to provide a reasonable measure of protection against such interference. However, this does not guarantee that interference will not occur. If your professional music equipment should be suspected of causing interference with other electronic devices, verification can be made by turning your professional music equipment off and on. If the interference continues when your equipment is off, the equipment is not the source of interference. If your equipment does appear to be the source of the interference, you should try to correct the situation by using one or more of the following measures:
Relocate either the equipment or the electronic device that is being affected by the interference. Utilize power outlets for the professional music equipment and the device being affected that are on different branch (circuit breaker of fuse) circuits, or install AC line filters.
In the case of radio or TV interference, relocate the antenna or, if the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable.
If these corrective measures do not produce satisfactory results, please contact your authorized Yamaha professional products dealer for suggestions and/or corrective measures.
If you cannot locate a franchised Yamaha professional products dealer in your general area contact the Electronic Service Division, Yamaha
Corporation of America, 6600 Orangethorpe Ave., Buena Park, CA 90620, U.S.A.
If for any reason, you should need additional information relating to radio or TV interference, you may find a booklet prepared by the
Federal Communications Commission helpful: "How to Identify and Resolve Radio-TV Interference Problems". This booklet is available from the U.S. Government Printing Office, Washington D.C. 20402 - Stock No. 004-000-00345-4.
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Table of contents
- 216 Pattern play
- 217 Pattern record
- 221 Pattern edit
- 222 Pattern edit jobs
- 225 Pattern setup jobs
- 226 Clear pattern
- 250 Explanation of the preset voices
- 254 Using RCM hybrid synthesis
- 256 Error messages
- 259 Multi data blank chart
- 260 Specifications
- 261 Index