Yamaha | SY.22 | Owner's Manual | Yamaha SY22 Owner's manual

Yamaha SY22 Owner's manual
YAMAHA
MUSIC SYNTHESIZER
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OPERATING MANUAL
Congratulations!
You're about to enter an exciting new world of vector synthesis combining
Yamaha's advanced AWM sample playback technology with high-performance
FM tone generation. Vector synthesis allows you to create and control synthe-
sized sound with unprecedented ease — in a very intimate, “human” way,
putting you more closely in touch with your instrument and music. The vector
control lets you blend sounds manually in real time, and dynamic vectors let you
“record” dynamic vector sweeps that will play automatically whenever you play
a note. For even more expressive capability, the SY22 keyboard features both
velocity sensitivity and after-touch response that can be assigned to a number of
musical parameters, The more you play the SY22, the more you’ll find that
“vectors” will become an indispensable part of your musical repertoire.
Yamaha AWM and FM tone generators for superior sound and tonal
versatility.
2-element or 4-element voice architecture brings AWM and FM waveforms
together.
Vector control for 2-axis control of element level and detuning.
Dynamic level and detune vectors can be recorded easily in real time.
128 preset AWM waveforms and 256 preset FM waveforms provide an
extensive library of sonic “building blocks” from which to create new voices.
64 preset voices and 64 user voice memory locations.
External memory cards provide limitless backup and storage capability.
Easy-edit features make creating new voices quick and virtually program -
ming-free.
Detailed programming parameters for in-depth programming when necessary.
Fully programmable 8-part multi-play mode is perfect for sequencer-driven
applications and layered multi-voice performance.
16 internal digital effects including reverb, delay and distortion.
Overlapping voice selection capability for seamless voice transitions.
Velocity and after-touch sensitive keyboard.
Pitch bend and modulation wheels.
Stereo output.
CONTENTS
HOW TO USE THIS OPERATING PRECAUTIONS 2
MANUA Loeoeooonocouconooooacosecasanoenrane .. — | THE CONTROLS 8 CONNECTORS...ennencconrcecoscane 3
TUTORIALS SECTION
1. SETTING UP YOUR SYSTEM..........onevoconosccanone 9 3 VECTORS ……evrsverrersssonvasense vo... 14
CONNECHIONS ..…….…rerrienenmascarorasaessassrcas vers sera nene 9 Voice CONfIgUFAtIONS ……srerrareosarasrarerseraraasssauses 14
Power-on PrOCedUre .….…..…...….….…..…………eerareaeesneneniasarnanee 9 Two Types of Vectors: Manual & Dynamic ........ 14
Enjoy the Demos ............——e.-.-.eemerreccan neon 10 Manual Vector Control! ...........—..—————...eene..nenicanncon 15
2. SELECTING AND PLAYING VOICES.......... 11 An Exercise ..............eemmmnenernocenenna recaen aooconoorenaeneces 16
The PRESET, INTERNAL and CARD Voice Recording an Original Dynamic Vector........... 20
Memories .........—...em=ecaccaneoconernacaooaoconeneonconreanene 11 The STORE Key... 23
Selecting the VOICE PLAY Mode, a Voice Conclusion............ e. eeceriescicenoraorane error e neones 24
Memory, and Voice ..............e.ecevceonrennen GREEN 12 4. INSTANT VOICE PROGRAMMING ............. 25
Overlapping Voice Selection... nr 13 Conclusioón................e.e..eneo nena ne enanna no neon ereneane. 26
REFERENCE SECTION
VOICE COMMON cenevenonanoncoacas 29 ELEMENT TONE recocococonencanzanes 0... 41
NAME …..…….…......+csssscasrasreneareccrenesianeeraonaens ana senras eue 31 WAVE TYPE .....….....….raseesccsecrcererrerssencenaenanaeus 43
CONFIGURATION .…..…revesrrreementeanenssensrarraseacuee 31 ELEMENT COPY .....…..vsrrenrecerecsennerenrecererecneneues 45
EFFECT (Type & Вер)... 31 FREQUENCY SHIFT ….......…overecorrernransacensasss 45
PITCH BEND ...….….….…….rerrarrenvarenmennentensarassasarenses 32 VOLUME -..............erremenonenarroococeoneneanor ecanoceneiacenas 46
WHEEL (Amplitude & Pitch Modulation) .......... 32 PAN enana encon nen eneenernea 46
AFTER TOUCH (Amplitude & Pitch Modulation, VELOCITY SENSITIVITY civic 46
Pitch 8 Level Control) ...............—..—e.. e... 33 AFTER TOUCH SENSITIVITY .......................... 47
ENVELOPE (Attack & Release Rates)............. 33 TONE (FM Elements B and D Only) ................. 47
RANDOM (Element, Level & Detune) .............. 34 LFO (Low Frequency Oscillator) AM Depth,
PM Depth, Type, Delay, Rate & Speed ......... 48
VOICE VECTOR........... ceoocenovoecocconccnancanocaanas 35
LEVEL SPEED (Vector Rate)... 37 ELEMENT ENVELOPE svvosomsaueus 51
LEVEL RECORD.............e...re=rcernncanoneccococaceoreonee 37 TYPE... eer eects ree necee 53
LEVEL EDIT (Step, X-axis, Y-axis & Time})..... 37 ENVELOPE COPY ..............-mr0m.enennimarniconenonanen 54
DETUNE SPEED (Vector Rate)... 39 DELAY (Delay Rate & Element ON/OFF)....... 54
DETUNE RECORD ..............rr0rcocecacorornacanneenenecenes 39 INITIAL LEVEL ....................eemnmernenenaco oo 54
DETUNE EDIT ATTACK (Level & Rate)... nern nenn 55
(Step, X-axis, Y-ax1s éz Time)...............eme.... 39 DECAY 1 (Level € Rate)................memmececmmiioncoce0s 55
Al
DECAY 2 (Level d Rate).................eoncrccoonieccnnros 35 UTILITY RECALL ............. ‘
RELEASE RATE ……….……..….....…………recsereererrenrensrnnes 56
LEVEL SCALING..............-.—men EEE 56 UTILITY MIDI .........encoceceos oe
RATE SCALING...........ereeerereneneroninne nee 57 MIDI ON/OFF ............rreeceeenenon nene eee
BASIC RECEIVE CHANNEL...
МОТ ..аааноооооооооносооонононоонооочочнние ons … 59 TRANSMIT CHANNEL ooo
NAME..........e einer reine eee eee. 62 LOCAL CONTROL ON/OFF
EFFECT (Type & Depth).…..…..………seeers 62 MIDI PROGRAM CHANGE res.
VOICE NUMBER ….….….….….…………rcrerreerereresncrersencees 62 MIDI CONTROL CHANGE reverse
MIDI RECEIVE CHANNEL ………….………veerererrerres 63 AFTER TOUCH ON/OFE..............e...rerernenemenacos
VOLUME retten EEE EEE 63 PITCH BEND ON/OFE..............—.—.eiecinoneao neos
DETUNE rer 64 EXCLUSIVE ON/OFF ……………….…………cererscserearere
NOTE LIMIT (Low & Hi.) essen 64 ALL V/M TRANSMIT ……….…..……crerrscsrecsrceneneee
NOTE SET erraten EEE EEE 64 1 VOICE TRANSMIT ..............c.erercrererneen eee
UTILITY SETUP воаовьваввонавасявнавававое 67 APPENDIX ............ pecocooeoucoooenececenaneenernes
MASTER TUNE..........e.e.e.emrinaier are 69 SPECIFICATIONS ...............reeceneienieinr nee
TRANSPOSE -........ereeeeeeemereredecere reee 69 ERROR MESSAGES ............e..ceerercicierece eee
MEMORY CARD INDEX AD
(Save, Load, Format, & Bank)... 69 MIDI DATA FORMAT …………….…….……vrrerereerenreuvsss
VOICE INITIALIZE o.oo een nen 71 MIDI IMPLEMENTATION CHART ..................
MULTI INITIALIZE.............eecececerecoe e 72
MEMORY PROTECT (Internal & Card)............ 73
HOW TO USE THIS OPERATING MANUAL
This operation manual is broadly divided into two main sections — TUTORIALS and REFERENCE.
What’s In the
TUTORIALS Section
What’s In the
REFERENCE Section
The TUTORIALS section contains four separate tutorials that take you step-by -
step through the main procedures you will need to know to become familiar with
your SY22:
1. SETTING UP YOUR SYSTEM [Page 9]
Basic system connections.
2. SELECTING AND PLAYING VOICES [Page 11]
Selecting and playing voices from the PRESET, INTERNAL and CARD
voice banks.
3. VECTORS [Page 14]
Understanding and using manual and dynamic vectors.
4. INSTANT VOICE PROGRAMMING [Page 25]
The fast way to create an unlimited range of new voices for the SY22.
We recommend that you go through the tutorials in sequence while actually
carrying out procedures on your SY22. Once you've gone through the entire
TUTORIALS section in this way, you should be familiar enough with the SY22
to need only the REFERENCE section in future.
The REFERENCE section 1s the “nuts and bolts” section of the manual,
individually describing each of the SY22’s many functions in detail. The
REFERENCE section is divided into eight sub-sections, each describing the
various functions within a particular SY22 edit or utility mode.
VOICE COMMON [Page 29]
VOICE VECTOR: [Page 33]
ELEMENT TONE [Page 41]
ELEMENT ENVELOPE [Page 51]
MULTI [Page 59]
UTILITY SETUP [Page 67]
UTILITY RECALL [Page 75]
UTILITY MIDI [Page 79]
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Once you have become familiar with the way the SY22 works by going
through the TUTORIALS section, you should only need to refer to the
REFERENCE section from time to time to get details on functions you’ve never
used before, or refresh your memory about functions that you don’t use very
often.
Each sub-section of the REFERENCE section has 1ts own table of contents,
50 you should be able to locate any particular function quickly and easily. Func-
tions and references can also be located by referring to the INDEX at the back of
the manual.
PRECAUTIONS
!! PLEASE READ THIS BEFORE PROCEEDING !!
. Avoid Excessive Heat,
Humidity, Dust and
Vibration
. Avoid Physical Shocks
. Do Not Open The Case
Or Attempt Repairs Or
Modifications Yourself
. Make Sure Power Is Off
Before Making Or
Removing Connections
. Handle Cables Carefully
. Clean With a Soft Dry
Cloth
. Always Use the Correct
Power Supply
. Electrical Interference
. Memory Backup
Keep the unit away from locations where it is likely to be exposed to high tem-
peratures or humidity — such as near radiators, stoves, etc. Also avoid loca-
tions which are subject to excessive dust accumulation or vibration which could
cause mechanical damage.
Strong physical shocks to the unit can cause damage. Handle it with care.
This product contains no user-serviceable parts. Refer all maintenance to
qualified Yamaha service personnel. Opening the case and/or tampering with the
internal circuitry will void the warranty.
Always turn the power OFF prior to connecting or disconnecting cables.
Always plug and unplug cables by gripping the connector, not the cord.
Never use solvents such as benzine or thinner to clean the unit. Wipe clean with
a soft, dry cloth.
Always use the supplied AC Adaptor to power your SY22 or, if the original -
adaptor is lost or broken, a replacement or equivalent type obtained from your
Yamaha dealer. Also, make sure that the adaptor you have is appropriate for the
AC mains supply voltage in the area where you intend to use the SY22 (the
correct INPUT voltage 1s marked on the adaptor).
Since the SY22 contains digital circuitry, it may cause interference and noise if
placed too close to TV sets, radios or similar equipment. If such a problem does
occur, move the SY22 further away from the affected equipment.
The SY22 contains a special backup power system that will retain the contents
of the internal RAM memory for up to approximately one month even when the
power is turned off! If the power is left off continuously for longer periods, the
contents of the internal memory may be lost. Be sure to turn the SY22 on for a
short period at least once a month if you wish to retain data in the internal
memory.
THE CONTROLS & CONNECTORS
E FRONT PANEL
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(1) (5) ea o PHOMES LONG я Foi PTT
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(D [VECTOR CONTROL] & VOLUME Control
This is the key to SY22’s remarkable vector Adjusts the volume of the sound delivered via
synthesis system. The [VECTOR CONTROL] the rear-panel OUTPUT and PHONES jack.
allows manual control of level or detune for 2 or 4
voice “elements” simultaneously. It also allows © VECTOR PLAY [ON/OFF] and
realtime recording of dynamic level and detune [LEVEL/DETUNE] Keys & Indicators
vectors. The [ON/OFF] key turns manual vector control
on or off, while the [LEVEL/DETUNE] key
2 [PITCH BEND] Wheel selects level or detune control.
This self-centering pitch wheel allows smooth |
upward and downward pitch bends. 7 [1] and [>] Cursor Keys
Move the screen cursor from parameter to
3 [IMODULATION] Wheel parameter in many of the SY?22 editing functions.
Can be assigned to apply pitch and/or amplitude
modulation for a range of expressive effects.
@ Keyboard
The SY22 keyboard is both velocity and after-
touch sensitive for broad, intimate expressive
control.
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[-1/NO] and [+1/YES] Keys
Can be used to select voices and multi-play
setups, and are used to edit parameter values 1n
any of the SY22 edit modes. Either key can be
pressed briefly for single stepping in the
specified direction, or held for continuous
scrolling. These keys are also used to answer
the “Are you sure?” confirmation prompt when
saving or initializing data.
9) [VOICE] Key & Indicator
Selects the normal voice play mode in which any
of the SY22’s preset, internal or card voices can
be played via the keyboard or other controller
connected to the MIDI IN connector.
19 [MULTI] Key £ Indicator
Selects the multi-play mode in which up to 8
voices can be played via simultaneously via the
keyboard or controlled on different MIDI chan-
nels via an external MID] sequencer.
10
12
13
[EDIT/UTILITY/COMPARE] Key
Accesses the SY22’s voice edit, multi-play edit
and utility modes. Also activates the compare
function when in any edit mode, allowing quick
comparison of the original and edited voice or
multi-play setup.
[STORE] Key
Used to store the selected voice on multi-play
setup to an internal or card memory location.
LED Display
This 2-digit 7-segment LED numeric display
shows the bank and number of the currently
selected voice or multi-play setup in the VOICE
PLAY or MULTI PLAY mode. It also indicates
when an edit or utility mode is active, and shows
the character — A, B, C or D — of the currently
selected element in one of the element edit
modes.
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ELÉMENT SELECT ® ELEMENT ON/OFF
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(à Liquid Crystal Display Panel
This 16-character x 2-line backlit liquid crystal
display panel shows the selected voice or multi -
play setup name in the voice or multi-play
modes, as well as function names and
parameters in the utility and edit modes.
15 [INTERNAL], [CARD], and [PRESET] Keys
& Indicators
Select the data bank — preset, internal or card
— from which voices or multi-play setups will be
selected.
(9 [BANK] Select and Edit/Utility Mode Access
keys
In the VOICE PLAY or MULTI PLAY mode,
these keys — [1] through [8] — are used to
select the bank of the voice or multi-play setup to
be selected.
In an edit or utility mode, or immediately after
the [EDIT/UTILITY] key has been pressed to
access these modes, these keys are used to
selected the desired edit or utility function group
(green labels below the keys).
17 [NUMBER/MULTI PART SELECT] and
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Element Control Keys
In the VOICE PLAY or MULTI PLAY mode,
these keys — [1] through [8] — are used to
select the number of the voice or multi-play setup
to be selected.
In the MULTI edit mode they select the multi-
play part to be edited, and in the ELEMENT
TONE or ELEMENT ENVELOPE edit mode
they are used to select individual elements and
tum individual elements on and off for editing
(green labels below the keys).
[DEMO] Key
Activates the SY22 built-in demonstration — a
great way to hear what the SY22 can do after
you set up your system.
Ш REAR PANEL
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DC 10V-12V IN Jack
[POWER] Switch
PHONES Jack
OUTPUT R and
L/MONO Jacks
FOOT VOLUME Jack
SUSTAIN Jack
CARD Slot
MIDI IN, OUT and
THRU Connectors
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The DC output cable from the supplied AC Adaptor should be connected here.
When connecting the power supply, make sure that the SY22 POWER switch is
in the OFF position (extended), then plug the AC adaptor output cable into the
DC 10V-12V IN jack, and finally the adaptor’s AC plug into a convenient AC
wall outlet. The cable clip located immediately below the DC 10V-12V IN jack
helps to prevent accidental unplugging of the power supply during use. Wrap the
DC cable firmly around the clip a few centimeters from the plug end.
CAUTION!
Do not attempt to use a different AC adaptor to power the SY22. The use of an
mcompatible adaptor may cause irreparable damage to the SY?22, and might
pose a serious shock hazard!
Shde to the “ON” position to turn power ON.
Accepts a standard pair of stereo headphones (1/4" stereo phone plug) for head-
phone monitoring of the SY22 sound without the need for external amplification
equipment.
These are the main stereo outputs from the SY22. If a plug is inserted only into
the L/MONO jack, the left and right-channel signals are combined and delivered
via this jack (for connection to a monaural sound system).
An optional Yamaha FC-7 foot controller connected here can be used for volume
control.
An optional Yamaha FC-4 or FC-5 footswitch can be connected here for press-
on/release-off sustain control.
The CARD slot accepts Yamaha MCD64 or MCD32 Memory Cards for storage
and retrieval of SY22 voices.
The MIDI IN connector receives the data from a sequencer or other MIDI con-
troller which is to control the SY22. The MIDI THRU connector simply re-
transmits the data received at the MIDI IN connector, allowing convenient
chaining of MIDI devices. The MIDI OUT connector transmits data correspond -
ing to ali SY22 performance operations, or bulk data when one of the MIDI voice
data transmission functions are activated.
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1. SETTING UP YOUR SYSTEM
Connections
Power-on Procedure
To AC
wall
outlet.
The diagram below shows the basic connections in a setup using only the SY22
and a stereo sound system.
CAUTION!!: Make sure that both the SY22 and your sound system are turned
OFF when making connections.
PA-3 AC FOOT
ADAPTER VOLUME
Optional
FC-7 foot
e controller
tor volume
control.
Optional
FC-4 or
FC-5 foot
; switch for
; sustain.
L/MONO R
OUTPUT OUTPUT
STEREO SOUND
SYSTEM
|. Make sure your sound system's volume control and the SY22 volume con-
trol are turned all the way down prior to turning power on.
2. Turn on the SY22.
3. Turn on the sound system.
4. Raise the sound system volume to a reasonable level.
5. Gradually raise the SY22 VOLUME control while playing the keyboard to
set the desired listening level.
Caution: The SY22 automatically transmits MIDI control change data corre-
sponding to its control status when its power switch is turned ON or OFF.
This can interfere with operation of other MIDI equipment connected to the
SY22 MIDI OUT connector. If the SY22 1s connected to other MIDI equip -
ment, the SY22 power switch should be ON first, and turned OFF last.
Enjoy the Demo
10
The SY?22 is programmed with a demonstration sequence that you might enjoy
listening to after setting up your system. Take a short break and enjoy the demo:
1.
2.
Press the [DEMO] key. “Yes to Start” will appear on the LCD display.
Press the [+1/YES] key to start demo playback. “No to Stop” will appear
on the LCD display.
Press the [-1/NO] key when you want to stop demo playback.
2. SELECTING AND PLAYING VOICES
The PRESET,
INTERNAL and CARD
Voice Memories
Here’s a global view of the SY22 system:
—
fm
| SY22
VOICE & VECTOR CONTROL
CARD
MEMOR Y Elementi | ,
A (AWM) E PANNING
PRESET Е 1 = ' Y
MEMORY = =
= 5
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7 EFFECTS
INTERNAL Element
MEMORY B (FM)
STEREO OUTPUT
Plcase note that the voices played by the SY22 can come from three different
sources: the PRESET voice memory, the INTERNAL voice memory, or a CARD
voice memory:
PRESET The PRESET voice memory contains 64 pre-programmed voices in ROM (Read
Only Memory) that cannot be overwritten or changed ın any way. The PRESET
voice memory 15 represented on the display by the letter “P”.
PRESET VOICE LIST
Take Name TEL] | NE] vokeName | EC]. Ne] VarsName | EST] da Vesna TE
Genesis 4 |17| 34 Piano 2 [33] 51 | Oboe 2 [48] 71 Inca 4
DXlegend |4 148 32 | PinPiano 4 [84] 52 | Sax 2 ['88] 72 Voyager 4
: Full Str | 4 || 33 | Elekroad : 2 138) 5.37 12String 4 5%] 7.3 ! Crystals 4
Dist Gir 14 1:20| 3.4 | MailetEP 4 (36) 54 MuteGrr 4 SA) 74 | VCO Sync 4
› Норза ‘4 211 3.5 ; Clavi 2 37; 5.5 WoodBass 2 1531 7.5 ¡ VCO Lead 4
: PowerBrs “4 | 22! 36 ThinClav 2 138] 56 PlukBass 2 154! 7.6 : MiniLead 2
RainNite 4 23: 37 RokOrgan 2 39] 5.7 FunkBass 2 | 88] 7.7 ' Groover 2
Nostromo 4 24: 38 JazOrgan 4 40; 58 SlapBass 4 56| 78 Digicord 2
Matrix22 4 25! 41 PipeCrgn 2 41: 6.1 Fretless 2 1757] 8.1 SuperPad 4
; Arpegi8 : 4 26 | 4.2 Trumpet 2 42| 6.2 . Syn Bass 1 2 158] 82 | Prophecy 4
: SadAngel i 4 | 27] 43 Trombone 4 | 43] 63. Strings | 4 1159| 83 | Industry 4
DynaPad 4 | 28| 44 FrHom 2 |44/ 64: Chamber | 2 [680] 8.4 ! Evolver 4
. lceField 4 [29] 45 BrasSect 4 | 48 65 | SynSir 4 |8t| 85 VectaEko 4
| Nautilus 4 306 46 Fanfare 4 46 6.6 ; BoyChoir - 4 82 8.6 Zombie 4
| VectaSeq 4 31| 4.7 FatBrass 4 [47| 6.7 | Marimba 2 1888| 87 RapPerc | 4
: Thriller 4 | 32] 48 Fiute 2 148 C8 - Bell Wah 4 [$64] 88 Dr.Ki | 2
11
INTERNAL
CARD
Selecting the VOICE
PLAY Mode, a Voice
Memory, and Voice
12
The INTERNAL voice memory 1s a RAM (Random Access Memory) area into
which you can store up to 64 voices that you create or load from an external
memory card. The INTERNAL voice memory is represented on the display by
the letter “I”.
The CARD memory bank is a Yamaha MCD64 or MCD32 Memory Card (or
pre-programmed voice card) plugged into the SY22 CARD slot on the rear panel.
Memory cards are convenient for external storage and transportation of voices
that you or others create. You can also store sets of related voices on different
memory cards. An MCD32 Memory Card allows storage of up to 64 voices. An
MCD64 Memory Card holds two banks of 64 voices each — a total of 128 voices
per card (REFERENCE SECTION, page 70). The CARD voice memory is
represented on the display by the letter “C”.
Note: No warning is given on the SY22 displays when a memory card backup
battery 15 about to fail. See your memory card owner’s manual for details.
Any voice in any of these voice memories can be selected and played while
the SY22 1s in the VOICE PLAY mode.
1. If the VOICE PLAY mode is not already selected — as indicated by a lit
[VOICE] key LED and “VOICE PLAY” across the top of the LCD —
press the [VOICE] key to select it.
VOICE PLOY.
Pll Genesis
2. The [INTERNAL], [CARD], and [PRESET] keys are used to select the
desired voice memory. If no memory card is inserted in the CARD slot, the
“Card not ready!” display will appear if you attempt to select the card voice
memory.
3. The 64 voices in each voice memory are organized into 8 banks of 8 voices
each (8 x 8 = 64). Any voice can be selected by specifying its bank using the
BANK keys, and its number using the NUMBER/MULTI PART SELECT
keys.
Voice numbers are displayed on the LCD in the same way. “ ,” for example,
1s not preset voice number 25, but rather preset voice bank 2, number 5. On
the large LED display, this would be shown as “2.5”. The 64th preset voice,
therefore, 1s displayed as “P88” on the LCD or “8.8” on the LED display.
To select voice bank 4 number 7, for example, press the BANK [4] key and
NUMBER/MULTI PART SELECT [7] key — in any order.
Overlapping Voice
Selection
BANK
NUMBER/MULT! PART SELECT
2 3 4 5 6 7 8
О ILL. | L
To select a different number within the same bank it is only necessary to
press the appropriate NUMBER key. In the same way, to select the same
number in a different bank all you have to do is press the appropriate BANK
key.
The [-1/NO] and [+1/YES] keys can also be used to select a voice in the
VOICE PLAY mode. Holding the [-1/NO] or [+1/YES] key causes con-
tinuous scrolling in the specified direction.
Play the keyboard.
If you don't get any sound at this pont:
Make sure your sound system 1s turned ON and the volume 1s turned up to a
reasonable level.
Make sure that the SY22 VOLUME control is turned up to a reasonable
level.
Check all connections carefully.
The SY22 has been designed to allow overlapping voice selection. That 1s, if you
select a new voice while holding notes on the keyboard (or by using a sustain
footswitch), the held notes will continue playing the previous voice while
subsequently played notes will use the new voice. Although the primary reason
for this feature is to allow smooth switching between voices without unnatural
sound cutoff or gaps, it is actually possible to play several voices at once by
holding a note or two, selecting a new voice, holding a couple more notes,
selecting a second new voice, and so on. Please note, however, that if different
voices selected using this method have different effects, a corresponding change
in effect will be heard.
13
3. VECTORS
Voice Configurations
Two Types of Vectors:
Manual & Dynamic
14
SY22 voices can have either a 2-element or 4-element configuration
(REFERENCE SECTION, page 31). Each “element” 1s actually an indepen-
dent sound or “waveform,” and vector control allows the 2 or 4 different wave-
forms in a voice to be blended and detuned mn a variety of ways — manually or
automatically.
VECTOR CONTROL
B
For the sake of clarity, we'll represent the SY22 vector control by a simple
graph like the one shown to the right for the rest of the tutorial.
The “A,” “B,” “C,” and “D” markings around the [VECTOR CONTROL]
correspond to the voice elements. A 2-element voice uses only elements A and
B, while a 4-element voice uses all four elements — A, B, C and D.
Elements A and C are always AWM elements, while B and D are always
FM elements. When you start programming your own voices you can assign any
of 128 preset AWM waveforms to elements A and C, and any of 256 preset FM
waveforms to elements B and D (REFERENCE SECTION, page 43).
AWM & FM: AWM stands for “Advanced Wave Memory,” Yamaha's sophis-
ticated sampling technology that allows high-fidelity reproduction of digitally
recorded “live” sound. FM is Yamaha’s proven Frequency Modulation
synthesis technology which is capable of creating extraordinarily warm,
vibrant simulations of actual instruments, as well as an infinite variety of
original sounds.
Vector control can be accomplished in two ways: manually by operating the
[VECTOR CONTROL] while playing, or automatically. Automatic vectors are
called “dynamic vectors” in the SY22, and these play automatically whenever
you play a note on the keyboard. Dynamic vectors can be recorded in real time
via the [VECTOR CONTROL] by using the procedure described in the
“Recording an Original Dynamic Vector” section on page 20. Dynamic vectors
function whenever the VECTOR PLAY mode is OFF — i.e. when both the
VECTOR PLAY [LEVEL] and [DETUNE] indicators are out.
Manual vector control is possible whenever the VECTOR PLAY mode 1s
ON — i.e. when either the VECTOR PLAY [LEVEL] or [DETUNE] indicator
is lit.
Manual Vector Control
Manual vector control while playing can be accomplished by turning the vector
play mode on — press the VECTOR PLLAY [ON/OFF] key so that either the
[LEVEL] or [DETUNE] indicator lights, and then select either level or detune
control by pressing the VECTOR PLAY [LEVEL/DETUNE] key.
VECTOR PLAY
ON/OFF O LEVEL
o DETUNE
The [VECTOR CONTROL] can then be used to control the selected
parameter — level or detune — along the vertical axis only if a 2-element voice
is selected, or along both the vertical and horizontal axes if a 4-element voice is
selected.
2-ELEMENT VOICE 4-ELEMENT VOICE
A (AWM) A (AWM)
(AWM)
B (FM) B (FM)
When level vector control 1s selected, moving the control towards one ele-
ment (À, B, C or D) increases the level of that element while decreasing the
level of the others proportionally. The [VECTOR CONTROL] works in a similar
way when detune vector control is selected — moving the control towards one
clement increases the pitch of that element while decreasing the pitch of the
others.
If the selected voice has a dynamic detune vector, the detune vector will
play while manual level vector control is selected, and vice versa.
The following diagrams should give you a rough idea of how the level or
pitch of each element in a 4-element voice is affected by [VECTOR CONTROL]
motion,
15
VECTOR CONTROL
MOTION
An Exercise
HOLId HO 13A37
TIME
The best way to discover what vector control can do for you is to listen and
experiment. Here's a list of the preset voices including the configuration of each
(2 or 4-element) and the names of the waveforms assigned to each element.
PRESET VOICE Performance Note
ef Nes pages vr Wave UE EE ло сб бете =
y 1.1] 1.1 | Genesis Yes/No 043 Choir | Rev Hall Play long notes. Switch on VECTOR PLAY LEVEL,
>. | | 103 Sus. 6 turn VECTOR CONTROL to ©, hear SEQ 8 wave
: 126 SEQ 8 (Sequence wave)
a 111 Sus. 14
Ш DXlegend 4 No/Yes 001 E.Piano Rev Hail Electronic piano
a” 072 Vibes 3
E 001 E.Piano
E. 072 Vibes 3
ВоВ Full Str 4 No/Yes | 039 Vn.Ens. : Rev Hali i Light touch for small, heavy for large string section.
Фо - 068 Str 6 |
‘ом 038 Strings | | After-touch volume.
4 069 Str 7 |
4 | 14 Dist Gtr 4 Yes/No 022 E.Gtr 1 Dist&Rev Heavy guitar. Slow fade to feedback.
К es 157 Square Switch on VECTOR PLAY LEVEL, turn VECTOR
mA 098 Digital2 CONTROL from À to D, B, C for manual feedback.
a 193 Wave8-1
e ltopia 4 | Yes/Yes | 044 Нора : Rev Hall Breathy choir
“RE | | 103 Sus.6 | , After-touch volume.
LE ; ‚ 044 Нора | |
4 | — 233 Wave21-2 | |
654 PowerBrs 4 | No/Yes 102 Saw 1 Rev Hall Powerful analog brass pad.
nt 095 Lead 5 After-touch vibrato.
o 102 Saw 1
E. 095 Lead 5
vo 7e 1.7 RainNite 4 Yes/Yes 085 Str. Body Rev Metal Best with long chords.
a | 235 Wave22-1 |
e | | 068 Coin |
© | 1 220 Wave17-1 |
8% 18 | Nostromo 4 | Yes/No 055 Hit Rev Hall Best with long chords.
2 061 Bass 8 Aîter-touch vibrato.
wd 049 Timpani
Es | 122 Move 5
*EL = No. of elements.
"2 — Vector Yes/Yes
T 7
LEVEL VECTOR DETUNE VECTOR
16
TEN SEE ET NEE LT NE Mate TINO TEMPE DN e CIAT 2 о СОВЫ |
2297/21 Matrix22 4 | Yes/Yes 039 Vn.Ens. — Rev Hall Big orchestra with sweeping brass.
ree x | 121 Move 4
e... | 038 Strings
ree. | 122Mo0ves —_.
+30 *| 2.2 | Arpegis 4 Yes/Yes | 044 Itopia Rev Metal Play broken chords (arpeggios) and hold down each
MN | 061 Bass 8 note of the arpeggio. The late envelope will echo what
3555 | 038 Strings you play.
o } 043 Clavi 2
| 23 SadAngel . 4 : No/Yes | 044 ltopia | Pan Ref Best with long notes. Pitch bending by LFO.
pere [ | : 122 Move 5
ona | — 044 itopia
tie, dd 122 Move 5
$38851 2.4 | DynaPad | 4 | Yes/Yes 044 ltopia Pan Ref Best with long notes.
heno da | | 111 Sys. 14 |
us | 080 Slam |
es | | 077 Bells 1 LL
x Aa >| 2.5 IceField ı 4 Yes/Yes 043 Choir Rev Metal Best with long chords.
Chev a | | 121 Move 4
ados 043 Choir
ire — 122 Move 5 Ш
A 26 | Nautilus 4 | Yes/Yes : 067 Stream ‚ Pan Ref Best with tong chords.
ey | 115 Attack 3
Ave. | 038 Strings
Bue | | 016 Brass 3 —
heii) = 2.7 | VectaSeq 4 Yes/No 942 SynStr. Rev Hall 4 note seguence voice by Vector.
wares | | 023 Brass 10 . Switch on VECTOR PLAY LEVEL, turn VECTOR
NE | 093 Gtr wv | CONTROL for manual sequence.
mem 1,067 Str5
Bo :1 2.8 f Thriller 4 Yes/Yes 055 Hit | Pan Ref Best with long notes.
fara | 123 Moveb
paques | | 068 Coin |
figs | | 166 Digi 6 |
ad Li 31 | Piano 2 _ No/No ; 000 Piano Rev Club Orthodox acoustic piano
way | ; | 005 E.Piano6
0. 32 | PinPiano | 4 NofYes 030 EP wv Rev Hall i Electric piano with brifliant attack like “Prepared piano”
a | | 188 Wave6-2 |
Hany | 000 Piano |
des | _. | 095 Е-Ралов | e
: | i . .
Elekroad 2 No/No 004 Celesta ; Rev Room: Dark Electronic piano.
| a | 002 E.Piano3 |
MalletEP | 4 No/Yes 001 E.Piano Rev Hall Electric piano with sharp attack.
. | 071 Vibes 2
001 E.Piano
i 071 Vibes 2
Clavi 2 Yes/Yes 002 Clavi : Early Ref Fat, funky clavi.
042 Clavi 1 |
ThinClav 2 No/No 058 Sync | Early Ref Funky clavi with wide touch range.
: 043 Clavr 2
- RokOrgan 2 Yes/No ‚ 006 Е.Огдап1 Pan Ref Rock Organ.
a 007 E.Organ2 : After-touch vibrato.
© 3.8 JazOrgan 4 No/Yes 007 E.Organ2 Delay 1 Fuil, rich organ with rotating speaker effect.
007 E.Organ2 - Add more effect by using VECTOR PLAY.
N 007 E.Organ2
E ha Nn 007 E.Organ2 — |
>. 41 PipeOrgn 2 No/Yes - 005 P.Organ . Rev Hall : Big Church Crgan
aie 008 E.Organ3 |
: 008 E.Organ3
4.2 Trumpet ; 2 No/No 009 Trumpet Rev Hall Solo trumpet.
017 Brass 4 — After-touch vibrato.
4.3 Trombone 4 Yes/Yes 011 Trombone Solo trombone
BEES 4
¡ 017 Brass 4
011 Trombone
024 Brass 11
+ Rev Room
After-touch vibrato.
*EL = No. of elements.
*2 = Vector
Yes/Yes
TT
LEVEL VECTOR DETUNE VECTOR
17
No. | Voice Name: EL? [“%Veclor® © |: "Wave ~~ ‘os Effect | ea a3 «20 = “Comments 7. zs
28 | 44 Fr Horn i 2 No/No 013 Fr Horn | Rev Hall "French Horn ensemble
| ‚ 236 Wave22-2 ¡ After-touch vibrato.
29 | 45 BrasSect 4 No/No 009 Trumpet Early Ref Pop brass section.
016 Brass 3 Switch on VECTOR PLAY LEVEL, turn VECTOR
011 Trombone CONTROL for various brass color.
017 Brass 4
30 | 46 Fanfare 4 No/Yes 082 Tb.Body : Rev Hall Classicai brass section.
016 Brass 3 After-touch vibrato.
011 Trombone
017 Brass 4
31 ¡47 FatBrass 4 No/Yes 015 SynBrass Early Ref Fat synthClub brass pad.
026 Brass 13
015 SynBrass
026 Brass 13
32 148 Flute 2 ¡ No/No 016 Fiute Rev Room | Solo flute
| 062 Bass 9* |
33 | 51 | Oboe 2 No/Yes 018 Oboe Rev Hall Solo oboe
036 Reed 1 After-touch vibrato.
34 | 5.2 Sax 2 Yes/No ; 019 Sax Eariy Ref Solo sax
| 041 Reed 6* | After-touch vibrato.
35 | 53 12String 4 Yes/Yes 021 Steel Pan Ref Full 12 strings quitar
044 Clavi 3
021 Steel
196 Wave9-1
36 54 = Mute Gtr 4 No/Yes 023 E.Gtr 2 Rev Hall Light touch for muted, heavy for normal electric guitar.
: 052 Gtr 7 |
024 Mute Gtr After-teuch vibrato.
SE 050 Gtr 5
37 | 55 WoodBass 2 No/No 028 Wood B 1 Rev Room Wood bass
20 055 Bass 2 After-touch vibrato.
38 | 5.6 PlukBass 2 -— Yes/Yes 032 E.Bass 3 Rev Club i Picked bass
a | 056 Bass 3 |
‚39 | 5,7 FunkBass 2 Yes/Yes 031 E.Bass 2 Delay 1 Punchy picked bass
40.158 StapBass 4 Yes/Yes | 031 E.Bass 2 Gate Rev i Play hard for siap bass sound.
НТ | 057 Bass 4
| 034 Slap
o o ' 056 Bass 3
44 | 6.1 | Fretless 2 | No/No 035 Fretless Rev Room Fretless bass
e 055 Bass 2 Aîter-touch vibrato.
42 62 Syn Bass 2 No/No 037 SynBass2 Delay 1 Funky synth bass.
De 138 Decay 14
“43 | 63 | Strings 4 | NofYes 038 Strings Rev Hall Large string section
Lo 064 Str 2
о 038 Strings
о 064 Str 2
44 | 6.4 . Chamber 2 Yes/Yes 039 Vn.Ens. Rev Room | Small violin section
Lo 063 Sir 1
_45 | 65 | Syn Str 4 | No/Yes 042 Syn Str Rev Hall Analog synth strings.
DO, 063 Str 1 Switch on VECTOR PLAY LEVEL, turn VECTOR
а 042 Syn Str CONTROL for various strings voice color.
Lo 063 Str 1
“46. | 6.6 BoyChoir 4 No/Yes 043 Choir Rev Hall Choir
| 073 Vibes 4*
043 Choir
PEE 000 E.Piano1"
47 | 6.7 | Marimba 2 | No/No 047 Marimba Early Ref Traditional marimba
RC 059 Bass 6
“EL = No. of elements.
*2 — Vector
18
Yes/Yes
TT
LEVEL VECTOR DETUNE VECTOR
TTT NG, LT, Volos Name: | (ELS +5 4 Veoldr FEE dE Es IE ER IE EEE
8 48: | 68 Bell Wah Yes/No * 044 ltopia Rev Hall Percussive bell with comig up choir.
Cee ; 143 SFX 1 Best with long notes.
La: 043 Choir After-touch choir volume
1541 071 Vibes 2
188-171 Inca Yes/Yes 070 Bottle Pan Ref
ad 093 Lead 3
(253 015 SynBrass
EE 239 Wave23-2
; 507 7.2 Voyager No/No 044 Itopia Rev Plate Choir with “sizzle.” Play long chords.
a 106 Sus.9
eds 059 Bell Mix
hh 056 Bass 3
11617 73 | Crystals No/No 068 Coin Rev Plate
fetes 073 Vibes 4
eos 056 Harmonic
Ei 102 Sus. 5
TEL 7.4 VCO Sync Yes/Yes 036 SynBass1 | Pan Ref i Fat analog synth lead voice.
Pn 6-0 058 Bass 5 After-touch vibrato.
FE 106 Square 1
E." 093 Lead 3
58-41 75 | VCO Lead Yes/Yes 042 Syn Str Delay 2 Powerful synth lead voice.
vas yan 092 Lead 2 After-touch vibrato.
Tens 100 Digital4
A 097 Lead 7
EA 76 ‘ MiniLead Yes/Yes 108 Square 3 Rev Club Analog square lead voice.
aten 157 Square After-touch vibrato.
88 77 Groover No/Yes 036 SynBass1 Gate Rev Funky synth pad.
BA 062 Bass 9
560 4 7.8 Digicord Yes/Yes 101 Digital Rev Plate Useful synth harpsichord voice for pad.
Ema 045 Clavi 4
182%] 8.1 | SuperPad — Yes/Yes 102 Saw 1 Pan Ref Powerful fat synth pad.
anna 4 061 Bass 8 Use VECTOR CONTROL for various color of voice.
vez. 015 SynBrass
Hea gan 061 Bass 8
o. 8.2 Prophecy Yes/Yes 083 HornBody Rev Hall Warm sweeping synth voice.
121 Move 4 Best with long chords.
096 Pad wv
; 121 Move 4
Industry Yes/Yes 125 SEQ 7 Rev Hall Strings with sequence wave.
104 Sus. 7 Best with long chords.
038 Strings
122 Move 5
Evolver Yes/No 056 Harmonic Rev Hall Dynamic moving voice.
054 Bass 1 Best with iong notes.
038 Strings
118 Move 1
21 85 VectaEko Yes/Yes 113 Pulse 4 Rev Hail
193 Waved-1 Best with long notes.
111 Pulse 2
190 Wave7-1
8.6 Zombie Yes/Yes 122 SEQ 4 | Rev Hall Sound effects voice.
144 SFX 2 Best with long notes.
123 SEQ 5
145 SFX 3
8.7 Rap Perc No/Yes 087 Reverse i Early Ref Rap Percussion.
143 SFX 1
088 Reverse?
143 SFX 1
| 8.8 Dr.Kit No/No 127 Drum set | Rev Plate Drum set including sound effects.
000 E.Pianol*
*2 = Vector
“EL = No. of elements.
Yes/Yes
T 7
LEVEL VECTOR DETUNE VECTOR
19
Voice number P88 provides a complete drum kit plus a range of valuable
percussion sounds. The voice is set up so that each key on the keyboard pro-
duces a different drum sound, as shown in the list below. The Dr.Kit voice can be
used on its own, or as a source of drums and percussion in a multi-play setup
(REFERENCE section, page 39).
Drum-set Voice
Voice Number P88 Dr.Kit:
Key _— Wave Name Key -...-1- “Маме Мате.
C1 BD 1 C3 Crash2 7
— C#1 Triangle closed — C#3 | Splash = _
; SD 1 D3 Cup
0 Triangle open | |088 сс). | Ride: 7 7 ick
Ei E.Tom 1 E3 Low Conga ES Reverse Cymbal
Fi E. Tom 2 F3 High Conga F5 Slam 1
—— F# ETom3 — | Fi. | Mute Conga | H——{—©&F#5 eb Goin > eo
G1 E Tom 4 G3 DigiAtack Gs “Slam 2
—— | A BD2 — | GB . | Ooo!" — 65 “| Wéter Drop >: =
Al BD 3 A3 Low Timbales AS Low Mu
— AH | Cross Sticks o — A#3 - High Timbales; Ne —— — # + EA Crackers: + wn
B1 Tom 1 B3 Tambourine B5 High Timpani
Ca Tom2 C4 Finger snaps C6 Metal Hit
[Cx sD2 ——— 084 | Claves + 7°
D2 | Tom 3 D4 | Low Agogo
E? ; SD3 E4 Low Cuica
F2 Tom 4 F4 High Cuica
| Fe | Clabs "= € F#a.. - | LowWhistle 7.
G2 Cowbell 1_ | High Whistle
т Gi Shaker. — na уу | Bamboa TT
A? HH closed Bottie
1 A#2 = Crash 1°, 11 A457} 77 Cowbell 2: 755
B2 | HH open B4 Crash
Recording an Original
Dynamic Vector
20
Select the “Evolver” voice, turn the VECTOR PLAY mode ON, select level
control, and use the [VECTOR CONTROL] to listen carefully to the sound of
the various elements and how they interact when the [VECTOR CONTROL] 15
moved. Repeat this process with a number of different voices and you'll quickly
begin to hear how powerful and versatile vector synthesis can be.
Before you begin recording your own dynamic vector, select the “Evolver” voice
(P84), make sure the manual VECTOR PLAY mode is turned OFF (neither the
[LEVEL] or [DETUNE] indicators should be lit), and play a nice long note or
chord. Notice how the various elements are gradually brought in and blended
automatically — this is the result of a dynamic vector. Now press the VECTOR
PLAY [ON/OFF] key to turn the VECTOR PLAY mode ON, and select
[LEVEL] control. Now set the [VECTOR CONTROL] to center position and
play another note or chord. You should hear all 4 elements at the same time, in
approximately equal proportions. Play with the [VECTOR CONTROL] a bit to
get a feel for this particular combination of elements.
Now we'll go ahead and record an original dynamic level vector for the
“Evolver” voice ...
1. The first step is to enter the VOICE VECTOR edit mode, which we do by
pressing the [EDIT/UTILITY] key and then the [VOICE VECTOR] key
(REFERENCE SECTION, page 36).
EDIT/UTILITY TETE AN
Tr “Select auibek! o
В > В - Edit % a Ta Ne DE y . — COMMON VECTOR
COMPARE Lc Bead et Bd Pl Sue deu STE | VOICE
Please note that although the display directs you to the “Edit or Utility”
switches after pressing the [EDIT/UTILITY] key, this refers to the VOICE,
ELEMENT, MULTI, and UTILITY key groups located at the upper right-
hand corner of the control panel. Pressing the [EDIT/UTILITY] key a second
time has no effect.
2. If the LEVEL SPEED function does not appear immediately when you enter
the VOICE VECTOR edit mode, press the [VOICE VECTOR] key a few
times until it does appear (REFERENCE SECTION, page 37).
1 tt
АЙ
Ka
pea pr что, ре
FLEUEL SPEED
dar ale ам:
Vectors are recorded by “sampling” the position of the [VECTOR CON-
TROL] at evenly-spaced steps. This function allows you to set the time
between each sample step — i.e. the “Vector rate”. Quite logically, short
vector rates are best for quick control movements while longer vector rates
are better for slow control movements. If you set the vector rate to too long a
value for a rapid control movement, you may end up with a “jerky” sounding
vector. The diagrams below show the same control movement recorded at
10-millisecond and 160-millisecond vector rates.
Step 1
Step 2
B B
Move the cursor to the lower display line by pressing the [>] cursor key,
then use the [—-1/NO] and [+1/YES] keys to set the vector rate parameter to
“30ms.” This 15 a fairly “average” vector rate, and 1s a good place to start
experimenting with dynamic vectors.
Lf urn, gam geen
A 3, dis “E E EL SPEED: A ;
Climbed Rats Ti"
Please note that the LEVEL SPEED parameter can also be used to change
the playback speed of pre-recorded vectors.
21
22
3.
Press the [VOICE VECTOR] key once to move ahead to the LEVEL REC
display (REFERENCE SECTION, page 37).
+
MPLENEL REL
=TBY REC PLE
Use the [<] and [>] cursor keys to move the cursor to the STBY (standby)
parameter. At this point the [VECTOR CONTROL] will be active in the
level control mode, and you can rehearse the level vector you are about to
record.
Move the cursor to the REC parameter. Vector recording will begin the
instant you play a note on the keyboard. A rectangular block will flash at the
cursor position while recording. Recording will end automatically when the
maximum of 50 sampling steps has been reached — how long this takes
depends both on the vector rate setting and how fast you move the
[VECTOR CONTROL]. When recording finishes, the cursor will move
automatically to the PLAY parameter position. At the same time the VEC-
TOR PLAY mode will automatically be turned OFF so that the dynamic
vector just recorded 1s active.
Now you can play on the keyboard to hear how your dynamic level vector
turned out. If you don’t like the results, simply move the cursor back to REC
and record again.
Detune Vectors: Although you’ve just recorded a dynamic level vector,
dynamic detune vectors can be recorded in exactly the same way using the
DETUNE SPEED and DETUNE REC functions which are also accessible in
the VOICE VECTOR edit mode (REFERENCE SECTION, page 39).
When you're satisfied with your first vector masterpiece, you can return to
the VOICE PLAY mode with the option of storing the voice you have just
edited into one of the SY22’s INTERNAL memory locations.
There is, however, a slight catch. If you simply go ahead and attempt to
store the voice at this point the SY22 will inform you that the internal
memory is protected with a “Memory Protected” display, preventing the
store operation. If this happens, you'll have to press the [-1/NO] key to exit
from the “Memory Protected” display. Both INTERNAL and CARD
memory protect functions are automatically activated whenever the SY22 15
turned on, to prevent accidental erasure of important voices.
To turn the memory protect function off, press the [UTILITY SETUP] key a
few times until the MEM. PROTECT function appears (REFERENCE SEC-
TION, page 73).
1
SUMEN. PROTECT —
HTson: LARDSon
Move the cursor to the INT parameter and press the [-1/NO] or [+1/Y ES]
key to turn the internal memory protection off.
The STORE Key
6. Now press the [VOICE] key to return to the VOICE PLAY mode. Before
actually returning you to the VOICE PLAY mode, however, the SY22 will
ask you whether you want to store the voice you have just edited into one of
the INTERNAL memory locations.
Alora UE E #2 |
You can skip this step and go straight to the VOICE PLAY mode by press-
ing the [-1/NO] Key, or you can press [+1/YES] to initiate the voice storage
procedure.
It you press [+1/YES], a display similar to the following will appear:
The number of the voice you edited will be shown to the left of the lower
display line, and the cursor will be placed to the right of the arrow. Select the
memory location to which you want to store the new voice using the stan-
dard voice selection procedure.
When the target memory location has been selected, press the [D>] cursor
key. “Are you sure?” will appear on the display.
ay 1 E ET
44; Las? E
ET | A y bf do
Confirm your intention to store the new voice by pressing the [+1/YES] key,
and the store operation will begin. “>>Completed!!<<” will appear on the
display briefly when the store operation is finished, and the SY22 will retum
to the VOICE PLAY mode.
As we've just seen, the SY22 automatically gives you the option to store a
voice you’ve just edited when you switch back to the VOICE play mode. You
can also activate the store function to store the currently selected voice to a
different INTERNAL or CARD memory location by pressing the [STORE] key
while in the VOICE play mode. Likewise, the selected multi-play setup
(REFERENCE section, page 59-61) can be stored to a different INTERNAL or
CARD memory location by pressing the [STORE] key while in the MULTT play
mode. In either case, the memory protect function for the memory to which you
intend to store the voice or multi-play setup — INTERNAL or CARD — must
first be turned OFF via the UTILITY mode MEMORY PROTECT function
(REFERENCE section, page 73).
1. Turn the memory protect function for the INTERNAL or CARD memory off.
2. Select the VOICE or MULTI play mode, and select the voice or multi-play
setup you want to store to a different memory location (P11 for this
example).
23
Conclusion
24
3. Press the [STORE] key.
MEMORY STORE
Pils]
4. If necessary, select the destination memory by pressing the [INTERNAL]
or [CARD] key, then enter the bank and number of the destination memory
location (I36 for this example).
5. Press the PAGE [>] key and the “Are you sure?” display will appear.
RAM TIME
MEME БОВЕ >
=
SPS ‘GO SUPE
6. Press [+1/YES] to execute the store operation, or [-1/NO] to cancel. The
store procedure can be exited at any time by pressing the [—-1/NO] key.
You now have a edited version of “Evolver” featuring your own original dynamic
level vector. You could use the VOICE COMMON edit mode NAME function
(REFERENCE SECTION, page 31) to give the voice a new name —
“Evolver?” for example. Using the same procedure you could create an infinite
range of variations on the preset voices,
The method of dynamic vector recording just described is quick and easy —
all you have to do is operate the [VECTOR CONTROL] and use your ears. This
quick-and-easy method is recommended for most applications. If you want really
fine control, however, the SY22 offers a number of level and detune vector edit -
ing functions that allow the position and length of each vector step to be pre-
cisely programmed as required. See pages 37 through 40 of the REFERENCE
SECTION for details.
4. INSTANT VOICE PROGRAMMING
Although the SY?2 allows you to program voices in considerable detail, in this
section we'll present a simple way to create an unlimited range of new and use -
ful voices.
Detailed parameters for programming individual elements are available in
the ELEMENT TONE and ELEMENT ENVELOPE edit modes described in the
REFERENCE SECTION, beginning on pages 41 and 51, respectively. Every-
thing we need to have loads of fun — and to create some very serious voices —
is available in the VOICE COMMON edit mode.
1. Select any preset voice while in the VOICE PLAY mode to serve as a
“platform” for your new voice. “Evolver” (P84) is a good choice to start
with.
2. Enter the VOICE COMMON edit mode by pressing the [EDIT/UTILITY]
key and then the [VOICE COMMON] key (REFERENCE SECTION, page
30).
RN ear : ;
о =) 5 fod it, AF y HE i A4 45 + = COMMON VECTOR
COMPARE TEE a O eth dhe dhe
VOICE
The VOICE COMMON edit mode provides access to the following func-
tions, of which we're going to use just one!
NAME
CONFIGURATION
EFFECT TYPE
EFFECT DEPTH
PITCH BEND
WHEEL AMPLITUDE MODULATION
WHEEL PITCH MODULATION
AFTER TOUCH AMPLITUDE MODULATION
AFTER TOUCH PITCH MODULATION
AFTER TOUCH PITCH CONTROL
AFTER TOUCH LEVEL CONTROL
ENVELOPE ATTACK
ENVELOPE RELEASE
RANDOM ELEMENT
RANDOM LEVEL
RANDOM DETUNE
3. Press the [VOICE COMMON] key a few times until “RANDOM” appears
on the top display line (REFERENCE SECTION, page 34). As long as the
cursor 1s on the top display line next to the function name, it is also possible
to scroll backward and forward through the function list by using the [—1/NO]
and [+1/YES] key.
25
Conclusion
26
4. Use the [<] and/or [>] keys to move the cursor to the left-hand parameter on
the lower display line (this will either be ELEMENT, LEVEL VEC, or
DETUNE VEC) and, if necessary, select “ELEMENT” using the [-1/NO]
and/or [+1/YES] keys.
5. Press the [>] key once so that the cursor appears as a flashing block to the
right of the “Y/N?” parameter.
= RAHDOM
ELEMENT Ye
"paa
wm qe ’
malena
6. Now, each time you press the [+1/YES] key the SY22 will randomly assign
different waveforms to the four elements in what used to be the Fanfare
VOICE.
Try it a few times: press [+1/YES] then play on the keyboard to hear a
totally new voice. Since the element combinations are generated randomly,
some are not particularly useful ... but others will surprise you. Every few
tries you'll probably come up with a combination which, if not ready to use
without further modification, can be turned into a very fine voice with a httle
“prushing up” in the various SY22 editing modes.
Please note that the RANDOM ELEMENT function only replaces the ele-
ment waveforms and LFO settings in the voice you started with, so, unless
you go into further programming, the voice you choose as your platform will
determine how controllers like the pitch and modulation wheels function
(REFERENCE SECTION, page 32), the shape of the amplitude envelopes
used for each element (REFERENCE SECTION, page 53), the type of effect
(reverb, delay, etc.) applied to the voice (REFERENCE SECTION, page
31), and more.
7. While trying out the new voices you create, you can turn the VECTOR
PLAY mode ON and experiment manually with different vectors. You can
also enter the VOICE VECTOR mode by pressing the [VOICE VECTOR]
key and record a dynamic vector as described. in the previous section.
8. If you come up with something you want to keep, use the same voice store
procedure as described on page 22 when returning the the VOICE PLAY
mode.
You're now equipped to create a world of vibrant and very useful new voices
with very little actual programming indeed. If you do want to get deep into the
details and fine tune your voices until they are perfect, please take the time to
read through the REFERENCE SECTION of this manual. In it, each editing
function is described individually, often with a few helpful hints that will help you
use 1t most effectively.
VOICE COMMON
27
VOICE COMMON
VOICE COMMON
VOICE COMMON
The VOICE COMMON mode provides access to a range of parameters that affect the
selected voice as a whole. Detailed programming of individual elements is provided by the
ELEMENT TONE and ELEMENT ENVELOPE edit modes.
NAME. RFO EE EE ssexvorvusss .. 31
CONFIGURATION ....eeecamnacononacaccas 31
EFFECT (Type & Depth) 31
PITCH BEND Œ.……..…rrarerrenrermereavevensensen escenerversrseensecsraesacesmennesseneecuses .. 32
WHEEL (Amplitude 8 Pitch Modulation)................... anenenaaneanana 32
AFTER TOUCH (Amplitude & Pitch Modulation, Pitch & Level Control)................... 33
ENVELOPE (Attack € Release Rates) .............concorccoocccocecccoreanenorrece score erre 33
RANDOM (Element, Level 8 Detune) .............enccancavancavona veuves | ‚ 34
29
VOICE COMMON
Selecting the VOICE COMMON Edit Mode
From the VOICE or MULTI mode:
EDIT/UTILITY = ok ан В +
TINO eN Se 1 me, + e. => Ta } 15 A
о ve aa a a
_ | 2 | Edit or Utility
VECTOR
VOICE
From another edit or utility mode simply press
[VOICE COMMON].
An “E” will appear on the LED display, indicat-
ing that an edit mode has been selected. The dot
to the right of the “E” will appear as soon as
any parameter 1s edited.
30
Selecting the VOICE COMMON Edit Mode
Functions
The various VOICE COMMON edit mode func-
tions can be selected in sequence by pressing
the [VOICE COMMON] key, or by using the
{—1/NO] and [+1/YES] keys when the cursor
(Dis located immediately before the function
name on the upper display line.
The COMPARE Function
You can compare the sound of the edited voice
with the sound of the voice before 1t was edited
by pressing the [EDIT/COMPARE] key to acti -
vate the COMPARE function. À “C” will appear
on the LED display while the COMPARE func-
tion is active, and the sound of the voice prior to
editing wili be heard when you play the key-
board. Press the [EDIT/COMPARE] key again
to return to the edit mode.
= EDIT/UTILITY
ss |
Е. Les = a a =
COMPARE
EDITUTILITY —
aa a a a aan + » ;
COMPARE
VOICE COMMON
DRUG TORE HSA Procedure: Use the [<] and [>] cursor keys to
Ts Find place the underline cursor under the character to
be changed. Use the [—-1/NO] and {+1/YES|
keys to select the desired character. Continue
until the entire voice name has been pro-
grammed.
Summary: Assigns a name of up to 8 characters to
the current voice.
Settings; The following characters are available for ‚
use in voice names: Details: It's a good idea to give your voices names
that make them casilv identifiable. If you’ve
(Space) ! BENET C Mb. —, EN IIASE7ES: 0570 created 8 new voice that compines рано ane
: ни ne . organ elements, for example, you could call it
RECDEFGHI JELMHOPORSTLIURRSWPE # 75_* gan elements, € пре, У
зе Ca something like “PianOrg”.
abcde anil lvmorarstianneazt | Hs . . .
When selecting characters, scrolling will pause
at the beginning of each character group
(capitals, lower case, numbers, and symbols).
Refer to: Tutorial, page 24.
— CONFIGURATION
VU ECO TIQUE à TR Details: In the 2-eliement “A-B” configuration, ele-
feted | ment A is AWM and element B is FM. In the 4-
element “A-B-C-D” configuration elements A
Summary: Selects the two-element (A-B) or four - and B are the same as 1 the “A-B” configura
element (A-B-C-D) voice configuration. non while clement C 1s AWM and clement D 1s
Settings: A-B, A-B-C-D
A-B: À = AWM, B = FM.
Procedure: Use the [>] key to move the cursor to A-B-C-D: A = AWM, B = FM, C = AWM, D =
the lower display line. Use the [-1/NO] and FM.
[+1/YES] keys to select the desired
Refer to: Tutorial, page 14.
configuration.
E Summary: Selects one of sixteen digital effects, and
EE sets the depth of the selected effect for the cur-
rent voice.
one “1 O
tira
fad и
pt) +
31
VOICE COMMON
Settings: Effect type:
Depth: 0... 7
Rev Hall Reverb Hall
Rev Room (over Room) Procedure: Use the [<] and [>] cursor keys to
Rev Plate (Reverb Plate) place the underline cursor under the effect type
Rev Club {Reverb Ciub) | _ . .
Rev Metal (Reverb Metal) or depth parameter. Use the [-1/NO] and
Delay 1 (Short Single Delay) [+1/YES] keys to select the desired effect or
Delay 2 (Long Delay) ffect deptl
Delay 3 (Long Delay) ciiect depth.
Doubler (Doubler)
Ping-Pong (Ping Pong Delay) Details: Setting the depth parameter to “07 1s
Pan Ref (Panned Reflections) A, а
Early Ref (Early Reflections) equivalent to turning the effect OFF. A depth
Gate Rev (Gated Reverb) setting of 7” produces the greatest effect.
Diy&Rev 1 (Delay & Reverb 1}
Dly&Rev 2 (Delay & Reverb 2) to: T Je лс
Dist&Rev (Distortion & Reverb) Refer to: Tutorial, page 13, 16—19.
PITCH BEND
mm
TT
Summary: Sets the range of the pitch bend wheel.
Settings: 0 ... 12 max.*
Procedure: Use the f>] key to move the cursor to
the lower display line. Use the [-1/NO] and
[+1/YES] keys to select the desired pitch bend
range.
Details: Each increment from “0” to “12” repre-
sents a semitone. A setting of 0 produces no
pitch bend. A setting of “12” allows a maximum
pitch bend of plus or minus one octave, while a
setting of “47 allows a maximum pitch bend of
plus or minus a major third.
Refer to: Page 3.
* This range may be more limited m some cases.
An exclamation mark (!) will appear after the
range value when the limit 1s reached.
В WHEEL (Amplitude & paire Modulation)
Summary: Assigns the modulation wheel to ampli-
tude and/or pitch modulation.
Settings: AM (Amplitude Modulation): off, on
PM (Pitch Modulation): off, on
Procedure: Use the [«] and [p>] cursor keys to
place the underline cursor under the AM or PM
parameter. Use the [-1/NO] and [+1/YES] keys
to turn the selected parameter on or off.
Details: Amplitude modulation produces a tremolo
effect while pitch modulation produced a vibrato
effect. This function allows the modulation wheel
32
to be assigned to produce either or both. This 1s
only an “off/on” switch, however, and the
maximum depth of modulation to be applied must
be set using the LFO AM Depth and PM Depth
parameters in the ELEMENT TONE edit mode.
When the modulation wheel 1s assigned to
amplitude or pitch modulation, LFO modulation
can only be applied via the wheel.
If both WHEEL and AFTER TOUCH are
assigned to modulation control, the controller via
which the highest modulation level 1s applied
will take priority when both are used simul-
taneously.
Refer to: Page 3.
VOICE COMMON
$V Rm en Fabienne :
LAs: Pin! FER webs
IE I aa TI —"L +
Summary: Assigns keyboard after-touch to ampli-
tude modulation, pitch modulation, pitch control,
or level control — or any combination of the
above.
Settings: AM (Amplitude Modulation): oft, on
PM (Pitch Modulation): off, on
Pit (Pitch Control): —12 ... 0... +12 max.”
Lev (Leve] Control): off, on
Procedure: Use the [«] and [>] cursor keys to
place the underline cursor under the AM, PM,
Pit, or Lev parameter. The arrows at either end
of the display mean that more parameters can be
accessed by scrolling in the indicated direction.
Use the [-1/NO] and |+1/Y ES] keys to tum the
AM, PM, and/or Lev parameter on or off, or to
select the desired Pit control range.
Details: As with the modulation wheel, amplitude
modulation produces a tremolo effect while pitch
modulation produced a vibrato effect. The harder
you press a key, the deeper the modulation. This
is only an “off/on” switch, however, and the
maximum depth of modulation to be applied must
be set using the LFO AM Depth and PM Depth
parameters in the ELEMENT TONE edit mode.
When after touch is assigned to amplitude or
pitch modulation, LFO modulation can only be
applied via after touch.
The Pit parameter allows keyboard after touch to
be used for note bending. The greater the key
pressure the greater the amount of pitch bend.
Positive values produce an upward bend when
key pressure 1s applied, and minus values pro-
duce a downward bend. Each increment from
represents a semitone. A setting of “07 pro-
duces no pitch bend. A setting of “127 allows a
maximum upward pitch bend of one octave,
while a setting of “—4” allows a maximum
downward pitch bend of a major third.
When the Lev parameter is turned on it becomes
possible to control the level of the sound over a
limited range by Keyboard after touch. The
amount and direction (i.e. an increase or de-
crease) of level change depends on the setting of
the AFTER TOUCH SENSITIVITY parameter
in the ELEMENT TONE edit mode.
If both WHEEL and AFTER TOUCH are
assigned to modulation control, the controller via
which the highest modulation level is applied
will take priority when both are used simul-
taneously.
* This range may be more limited in some cases.
An exclamation mark (!) will appear after the
range value when the limit 1s reached.
5 ENVELOPE (Attack & Release Rates)
TUCFEHUELDF
ot Im a DN Tame Fit
HS da Rem E
"a
-
=
a
=
=
=
Summary: Sets the overall attack and relcase rates
for the current voice.
Settings: AR (Attack Rate): -99 ... 0 ... +99 max.*
RR (Release Rate): —99 ... 0... +99 max.*
Procedure: Use the |<] and |>] cursor keys to
place the underline cursor under the AR or RR
parameter. Use the [-1/NO] and [+1/YES] keys
to set the selected parameter as required.
Details: Although much more detailed envelope
programming capability is available for individual
elements (see the ELEMENT ENVELOPE edit
mode), these functions provide an easy way to
adjust the most important envelope parameters
for the overall voice. Positive values produce a
faster attack or release time, while negative
values produce a slower attack or release time.
You might want to lengthen the release time of a
voice, for example, to produce a lingering sustain
effect after you release the keys.
33
VOICE COMMON
Please note that the AR parameter will have no
effect on elements in which the INITIAL LEVEL
parameter (page 54) is set to 99.
Faster Slower
attack. RA attack.
: Key OFF
—99 i
J
tJ
>
u
Envelope
‘ Te.
TIME he в |
+39 0 —89
Faster Slower
release, release
Refer to: ELEMENT ENVELOPE section page
53-57.
This range may be more limited in some cases.
An exclamation mark (!) will appear after the
range value when the limit 1s reached.
RANDOM (Element, Level & Detune)
LHL RAND
ELEMENTO.
Summary: Automatically produces random combi-
nations of elements, level vectors, or detune
vectors.
Settings: None.
Procedure: Use the [<] and [>] cursor keys to
place the underline cursor under the left
parameter on the lower display line, then use the
{—1/NO] and [+1/YES] keys to select ELE-
MENT, LEVEL or DETUNE. Press the [>] to
move the cursor to “Y/N,” then press the
[+1/YES] key to generate random values of the
select type. A new set of random values is
generated each time the [+1/YES] key 1s
pressed while the cursor is in this position.
Pressing the [—-1/NO] returns the cursor to the
left parameter.
34
Details: This function is actually a very useful
programming aid. It allows you try out a virtually
unlimited variety of element combinations or
level/detune vectors by simply pressing a single
key. The random element combinations, in par-
ticular, can produce some very surprising and
often pleasant results.
When the “A-B” voice configuration is selected
(see CONFIGURATION on page 31), random
element combinations will always consist of only
two elements. When the “A-B-C-D” voice con-
figuration 1s selected, random element genera-
tion will produce combinations of four elements.
Refer to: Tutorial, page 25.
VOICE VECTOR
VOICE VECTOR
The VOICE VECTOR edit mode allows recording and fine editing of dynamic level and
detune vectors.
LEVEL SPEED (Vector Rate) 37
LEVEL RECORD .....cscrcrsono eocanonvencenenenoeneeorocronencacanas cocicencencaneaneno 37
LEVEL EDIT (Step, X-axis, Y-axis & Time). enconcarenccccoroeeo 37
DETUNE SPEED (Vector Rate) sovocueccnccones 39
DETUNE RECORD roounanencaaanraracncen pésuenneanes sens sons eb... 39
DETUNE EDIT (Step, X-axis, Y-axis & Time)....ccccereveerererscncissacascrssosnans 39
35
VOICE VECTOR
Selecting the VOICE VECTOR Edit Mode
From the VOICE or MULTI mode:
Selecting the VOICE VECTOR Edit Mode
Functions
= COMMON
36
COMPARE
pd E
+.
“VECTOR
VOICE
From another edit or utility mode simply press
[VOICE VECTOR].
An “E” will appear on the LED display, indicat-
ing that an edit mode has been selected. The dot
to the right of the “EF” will appear as soon as
any parameter is edited.
The various VOICE VECTOR edit mode func-
tions can be selected in sequence by pressing
the [VOICE VECTOR] key, or by usmg the
[-1/NO] and [+1/YES] keys when the cursor
(Dis located immediately before the function
name on the upper display line.
The COMPARE Function
You can compare the sound of the edited voice
with the sound of the voice before 1t was edited
by pressing the [EDIT/COMPARE] key to acti -
vate the COMPARE function. A “C” will appear
on the LED display while the COMPARE func-
tion is active, and the sound of the voice prior to
editing will be heard when you play the key-
board. Press the [EDIT/COMPARE] key again
to return to the edit mode.
EDIT/UTILITY
. $ Fe
== >» |
een +. :
COMPARE
EDIT/UTILITY
; 3
= =
COMPARE
VOICE VECTOR
Ft td
Summary: Sets the time between level vector
steps.
Settings: 10 ... 160 milliseconds (in 10-millisecond
steps)
Procedure: Use the [>] key to move the cursor to
the lower display line. Use the [-1/NO] and
[+1/YES] keys to select the desired vector rate.
Details: Each dynamic vector is composed of up to
50 “steps” corresponding to points along the
path followed by the vector control. This function
sets the initial time between each step. The
Time parameter in the LEVEL EDIT function,
described later, allows the length of individual
steps to be edited. The vector rate parameter
can be changed even after recording a vector,
producing a corresponding change in the spacing
between the steps.
The LEVEL SPEED parameter can also be used
to change the playback speed of a pre-recorded
vector.
Refer to: Tutorial, page 21.
- PRE Pei Ra ey po gin,
TE SHE pe Iw: ie
AE
:
:
"== Fat Eg pr tal Ara
Summary: Allows recording of a dynamic level
vector.
Settings: STBY, REC, PLAY
Procedure: Use the [<] and [>] cursor keys to
place the underline cursor under STBY. The vec-
tor control LEVEL mode will be automatically
selected and you can rehearse the vector sweep
you wish to record.
Move the cursor to REC. Recording will actually
begin as soon as you play a key on the key-
board. When you release the key or when 50
steps have been recorded (See “LEVEL
SPEED” above), recording will end and the
cursor will move to the PLAY position. You can
now play the keyboard to hear how the vector
sweep you just recorded sounds.
Details: The amount of time available for recording
depends both on the vector rate setting and how
much the vector control is moved.
Refer to: Tutorial, page 22.
Summary: Selects any of the 50 steps in a recorded
level vector for editing.
Settings: 1... 50
Procedure: Use the [<] and [>] cursor keys to
place the underline cursor under the leftmost
value on the lower display line (Step). Use the
[-1/NO] and [+1/YES] keys to select the step
to be edited.
37
VOICE VECTOR
Details: Step 1 is the first step recorded and step
50 1s the last. Experience will give you a feel for
relating specific points in a dynamic vector to the
corresponding steps.
Refer to: Tutorial, page 21-24.
® X-axis & Y-axis
ay LL ED Eee al;
Fais E 1 ry
Summary: These parameters define the position of
the currently selected step on the X and Y axes
of the level vector control range.
Settings: —31 ... 0... +31
Procedure: After selecting the step to be recorded
as described in the previous function, use the [<]
and [>] cursor keys to place the underline cursor
under the X or Y parameter, Use the [-1/NO]
and [+1/YES] keys to set the value as required.
Details: On the X (D-C) axis, a setting of —31
places the step as far as possible toward the D
element while a setting of +31 places it as far as
possible toward the C element. The Y (A-B)
axis values work in the same way: a setting of
—31 places the step as far as possible toward
the B element while a setting of +31 places it as
far as possible toward the A element. In both
axes a setting of O places the step at center
position,
X axis —m» pp
Y axis
Refer to: Tutorial, page 21-24,
38
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LLL ED Наснеслегие
Ла +" } au um med
IA Boy HW Br
Summary: Multiplies the vector rate setting of the
current level vector step only. Also allows vec-
tors to be looped or ended at the current step.
Settings: 1 ... 254, Repeat, End
Procedure: Use the [<] and [>] cursor keys to
place the underline cursor under the rightmost
value on the lower display line (Time). Use the
[-1/NO] and [+1/YES] keys to select the re-
quired time value, repeat, or end.
Details: Time values multiply the vector rate set-
ting for the current step. If the vector rate
parameter is set to 30ms, for example, setting
the time parameter to 2 results in a step length
of 60ms, setting 1t to 3 results in a step length of
90ms, and so on. Since the maximum time value
18 254, extremely long steps can be created.
If you select the “End” setting, the vector will
end at the current step.
The “Repeat” setting causes the vector to loop
back to the first step from the current step, re-
peating continuously.
Refer to: Tutorial, page 21-24.
VOICE VECTOR
— DETUNE SPEED (Vector rate) ~~
Summary: Sets the time between detune vector
steps.
Settings: 10 ... 160 milliseconds
Procedure: Use the [>] key to move the cursor to
the lower display lime. Use the [-1/NO] and
[+1/YES] keys to select the desired vector rate.
Details: Each automatic vector sweep is composed
of up to 30 “steps,” corresponding to equally-
spaced points along the path followed by the
vector control. This function sets the initial time
between cach step.
Refer to: Tutorial, page 22.
DETUNE RECORD
RTE Raa
LAL Bed dee EE
Summary: Allows recording of a dynamic detune
vector.
Settings: STBY, REC, PLAY
Procedure: Use the [<] and [>] cursor keys to
place the underline cursor under STBY. The vec-
tor control DETUNE mode will be automatically
selected and you can rehearse the vector sweep
you wish to record.
Move the cursor to REC. Recording will actually
begin as soon as you play a key on the key
board. When you release the key or when all 50
steps have been recorded (See “DETUNE
SPEED” above), recording will end and the
cursor will move to the PLAY position. You can
now play the keyboard to hear how the vector
sweep you just recorded sounds,
Details: The amount of time available for recording
depends both on the vector rate setting and how
much the vector control 1s moved.
Moving the vector control towards an clement
raises the pitch of that element while lowering
the pitch of the others.
Refer to: Tutorial, page 22.
DETUNE EDIT (Step, X-axis, Y-axis & Time)
Summary: Selects any of the 50 steps in a recorded
detune vector for editing.
Settings: 1 ... 50
Procedure: Use the [<] and [>] cursor keys to
place the underline cursor under the leftmost
value on the lower display line (Step). Use the
[-1/NO] and |+1/YES] keys to select the step
to be edited.
Details: Step 1 1s the first step recorded and step
30 15 the last. Experience will give you a feel for
relating specific points in a dynamic vector to the
corresponding steps.
Refer to: Tutorial, page 21-24.
39
VOICE VECTOR
® X-axis & Y-axis
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Summary: These parameters define the position of
the currently selected step on the X and Y axes
of the detune vector control range.
Settings: —31 ... 0... +31
Procedure: Use the [|<] and [>] cursor keys to
place the underline cursor under the X or Y
parameter. Use the [—-1/NO] and [+1/Y ES] keys
to set the value as required.
Details: On the X (D-C) axis, a setting of —31
places the step as far as possible toward the D
element while a setting of +31 places it as far as
possible toward the C element. The Y (A-B)
axis values work in the same way: a setting of
—31 places the step as far as possible toward
the B element while a setting of +31 places 1t as
far as possible toward the À element. In both
axes a setting of O places the step at center
position.
Y axis
Refer to: Tutorial, page 21—24.
40
RE DED Fabela
Ё
+ a = E A El. + Er id
Summary: Multiplies the vector rate setting of the
current detune vector step only. Also allows
vectors to be looped or ended at the current
step.
Settings: 1 ... 254, Repeat, End
Procedure: Use the [«] and {>} cursor keys to
place the underline cursor under the rightmost
value on the lower display line (Time). Use the
[—1/NO] and [+1/YES] keys to select the re-
quired time value.
Details: Time values multiply the vector rate set-
ting for the current step. If the vector rate
parameter is set to 30ms, for example, setting
the time parameter to 2 results in a step length
of 60ms, setting it to 3 results in a step length of
90ms, and so on. Since the maximum time value
is 254, extremely long steps can be created.
If you select the “End” setting, the vector will
end at the current step.
The “Repeat” setting causes the vector to loop
back to the first step from the current step,
repeating continuously.
Refer to: Tutorial, page 21-24.
ELEMENT TONE
ELEMENT TONE
The ELEMENT TONE edit mode allows editing many of the most important sound-deter-
mining parameters of each individual element — A and B in a 2-element voice; A, B, C and
D in a 4-element voice.
WAVE TYPE .a...e.cercenenccocenococenracccreneesas recocecnaneaneeoenoenentanoces 43
ELEMENT COPY ere pecocenoccaroacoonenoononeorceneneone. 45
FREQUENCY SHIFT ee 45*
VOLUME...... pecconaooaceneaeenoea career ocercecere eee eee reee en ee een . 46
PAN. nesonvecscunecooucaccanoanennnencaenecon. cecurcccanacocaneacarecaneanes 46*
VELOCITY SENSITIVITY .. voeresssrsarersasaners vorsensenssrense 46
AFTER TOUCH SENSITIVITY ...............2es0ssesconccaoa 47
TONE (FM Elements B and D Only) pecooneneoceneocaaneneacacenvenenres 47*
LFO (Low Frequency Oscillator) AM Depth, PM Depth, Type,
Delay, Rate & Speed... eoreuunoooanoocncecenacocaneesrorerteneoceacaoanceaooucaa „ее. 48%
* These four parameters are not available for an AWM element in which wave number 127
(Drum Set) 1s selected — “Cannot edit” display appears.
41
ELEMENT TONE
Selecting the ELEMENT TONE Edit Mode
EDIT/UTILITY Emart
COMPARE
Ly TONE
42
From the VOICE or MULTI mode:
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ENVELOPE
ELEMENT
From another edit or utility mode simply press
(CLEMENT TONE].
An “E” will appear to the left of the LED dis-
play to indicate that an edit mode 1s selected,
and the element selected for editing will be dis-
played to the right of the display — “A”, “b”,
С”, ог “а”. А dot will appear to the right of the
element character as soon as any parameter has
been edited.
Different elements can be selected for editing by
pressing the appropriate (ELEMENT SELECT]
key — - [A], [B], [C] or [D]. If a 2-element voice
1s being edited, only elements À and B can be
selected.
Any of the available elements can also be turned
on or off by pressing the appropriate
[ELEMENT ON/OFF] key. Each key alter-
nately turns the associated element on and off,
and the on/off status of the elements 1s shown to
the right of the upper LCD line. If the element
character is showing, the associated element 1s
ON, if a dash appears in place of the element
character, that element is OFF. The ability to
turn elements on or off while editing makes 1t
easier to hear the effect of parameter changes on
a single element. The currently selected element
1s also shown on the LCD as a reversed (white
on black) character.
In this example elements A, B and D are ON, while
element Cis OFF. Element A is currently selected
for editing. |
Ea
Selecting the ELEMENT TONE Edit Mode
Functions
The various ELEMENT TONE edit mode func-
tions can be selected in sequence by pressing
the [ELEMENT TONE] key, or by using the
[1/NO] and [+1/YES] keys when the cursor
(bis located immediately before the function
name on the upper display line.
The COMPARE Function
You can compare the sound of the edited voice
with the sound of the voice before it was edited
by pressing the [EDIT/COMPARE] key to acti-
vate the COMPARE function. À “C” will appear
on the LED display while the COMPARE tunc-
tion 1s active, and the sound of the voice prior to
editing will be heard when you play the key-
board. Press the [EDIT/COMPARE] key again
to return to the edit mode.
EDIT/UTILITY
E > Lu
COMPARE
EDIT/UTILITY
= > E.
COMPARE
ELEMENT TONE
WAVE TYPE
Summary: Assigns a preset wave to the selected
element.
Settings: Elements A and C (AWM): 0 ... 127
Elements B and D (FM): 0 ... 255
Procedure: Use the [<] and [>] cursor keys to
place the underline cursor under the left
AWM WAVEFORM LIST
parameter on the lower display line to directly
select the different wave categories, or under the
right parameter to select individual waves. Use
the [-1/NO] and [+1/YES] keys to select the
desired wave (refer to the wave list, below).
Details: The number of waves available depends on
whether the currently selected element 1s an
AWM element (A ог С) ог an FM element (C or
D). The SY22 has 128 preset AWM waves (0
... 127) and 256 preset FM waves (0 ... 255).
Category | No. Name Category | No. | Name | Category | No. Name Category | No. Name
Piano 0 | Piano Bass 32 : E.Bass 3 ; Synth 64 | OhHit OSC 96 | Pad wv
1 | E.piano 33 | E.Bass 4 97 ; Digital!
2 | Clavi 34 | Siap eS Wee 98 | Digital?
3 | Cembaio 35 ; Fretless 67 | Stream 99 | Digital3
Ш 4 | Celesta 36 | SynBass1 68 : Coin 100 | Digital4
Organ 5 | P.organ 37 | SynBass2 89 f Crash 101 | Digital5
6 | E.organt Str. 38 : Strings 70 : Bottle 102 | Saw 1
7 | E.organ2 39 | Vn.Ens, 71 : Tear 103 | Saw2
| 8 | Reed 40 | Cello 72 | Cracker 104 | Saw3
Brass 5 | Trumpet 41 | Pizz. 73 | Scratch 109 Saw 4
| 10 | Mute Tp 42 | Syn Str 74 | Metal 1 107 | Saar 5
11 | Trombone Vocal 43 | Choir 75 | Metal 2 108 Square 3
12 | Flugel 44 | ltopia 76 | Metal 3 109 | Square 4
13 | Fr Horn 45 | Qoo! 77 | Metal 4 110 | Pulse 1
1 ras ak Perc. 46 | Vibes 78 1 Wood 111 | Pulse 2
ynorass 47 | Marimba 79 ; Bamboo 112 | Pulse 3
Wood 16 | Flute 48 | Bells 80 | Slam 113 | Pulse 4
17 | Clarinet 49 | Timpani 81 | Tp. Body 114 | Pulse 5
18 | Oboe 50 | Tom 82 | Th. Body 115 | Pulse 6
19 | Sax 51 | Е. Тот 83 | HornBody 116 | Tri
Gtr 20 | Gut 52 | Cuica 84 | Fi. Body 117 | Sing
21 | Steel 53 | Whistle 85 | Str.Body 118 | Sin8+4
22 | E.Gtr1 54 | Claps 86 | AirBlown SEQ 119 | SEQ 1
23 ; EGtr2 "Synth 55 | Hit 57 | Reverse] | 120 | SEQ 2
24 | Mute Gtr 56 | Harmonic 88 | Reverse2 [ 121 | SEQ3
25 | Sitar | 57 | Mix 89 | Reversed 122 | SEQ 4
26 | Pluck 1 58 | Sync OSC 90 | EP wv ; 123 | SEQS
27 | Pluck 2 99 | Bell Mix 91 | Organ wv í 124 | SEG 6
Bass 28 | Wood B1 | 60 | Styrol 92 | M.Tp wv | 125 | SEQ7
29 | Wood B 2 | 61 | DigiAtak 93 | Gir wv | 126 | SEQ 8
30 | E Bass 1 | 62 | Noise 1 94 | Str wv 1 |
91 | E Bass? | 63 | Noise 2 95 | Str wv 2 Drum | 127 | Drum set
AWM Waveform Category Descriptions
Piano, clavi, and other decay-type keyboard sounds.
Pipe, electric and reed organs.
+ Acoustic and synthesized brass sounds.
Flute, sax and other woodwind sounds.
Acoustic and electric guitars.
EZ] Acoustic, electric, and synth bass.
24 Violin ensemble and other strings.
A “% Choir and other vocal-type sounds.
E Vibes, tympani, etc.
Sara | A range of synth sounds (including noise).
#4 “Special effects — water, bottles, etc.
X Struck metal and woods.
«1 Transient attack waves and some reverse sounds.
Standard synth waveforms and the basic waveforms from
some actual instruments.
Sequences of sampled sounds.
Drum set waves.
43
ELEMENT TONE
FM VOICE LIST
Category | No. Name Category | No. Name Category ; No. Name Category | No. Name
Piano © | E-Pianot Pluck 49 | Guitar 4 Syn.S 98 | Sus. 1 SFX 147 | SFX5
1 | E.Piano2 50 : Guitar 5 99 | Sus. 2 148 | SFX6
2 | E.Piano3 51 | Guitar 6 100 us : 149 | SEX 7
3 | E.Piano4 52 | Guitar 7 us. i ; ›
4 | E.Piano5 53 | Guitar 8 102 | Sus.5 0861 120 Sin м
5 | E-Pianos Bass 54 | Bass 1 103 | Sus. 6 152 | Sin4
Organ 6 | E.organt 55 | Bass? 104 | Sus. 7 153 ‘ Sin2 2/3
7 | Е.огдап? | 56 | Bass 3 105 ¡ Sus. 8 154 | Sin2'
8 | E.organ3 57 | Bass 4 106 | Sus. 9 155 | Saw 1
9 | E.organ4 58 | Bass 5 107 | Sus. 10 | 156 | Saw 2
10 | E.organ5 | 59 | Bass6 108 | Sus. 11 | 157 | Square
11 | E.organe 60 | Bass 7 109 | Sus. 12 158 | LFOnoise
12 | E.organ7 | 61 | Bass 8 110 | Sus. 13 159 | Noise 1
13 | E.organ8 62 : Bass 9 111 | Sus. 14 160 | Noise 2
112 | Sus. 15 161 | Diai 1
Brass 14 | Brass 1 Sir. 63 | Str 1 gl
15 | Brass 2 64 | Str2 113 | Attack 1 ‚ 162 | Digi 2
16 | Brass 3 65 | Str3 114 | Attack 2 163 | Digi 3
17 | Brass 4 86 | Str 4 115 | Attack 3 164 | Digi 4
18 : Brass 5 67 | Str5 116 : Attack 4 165 : Digi 5
| 117 : Attack 5 166 : Digi 6
19 | Brass 6 68 | Str 6 9
20 | Brass 7 69 | Str7 Syn.M 118 | Move 1 16 = :
21 | Brass 8 ; 119 | Move 2 | gl
22 | Brass 9 : Perc. 7 pes 5 120 | Move 3 169 Digi 9
23 | Brass 10 121 | Move4 170 | Digi 10
72 | Vibes 3 171 | Digi 11
24 Brass 11 73 Vibes 4 122 Move 5 g
25 | Brass 12 74 | Marimbal 123 | Move 6 OSC 2 172 | wavel-1
26 | Brass 13 75 | Marimba? 124 | Move 7 : 173 | wavel-2
27 | Brass 14 76 | Marimba3 Syn.D | 125 | Decay 1 174 | wavel-3
Wood 28 | Wood 1 77 | Bells 1 126 | Decay 2 175 | wave2-1
29 | Wood 2 78 | Bells 2 127 : Decay 3 176 : wave2z-2
30 | Wood 3 79 | Bells 3 128 | Decay 4 177; wave2-3
31 | Wood 4 80 | Bells 4 ‚ 129 | Оесау 5 :
; 32 | Wood 5 81 | Bells 5 : 130 | Decay © -
‚ 33 | Wood 6 82 | Bells 6 131 | Decay 7 220 | wavel7-1
34 | Wood7 83 | Belis7 132 | Decay 8 221 | wavei7-2
35 | Wood8 84 | Bells 8 133 | Decay 9 202 | wavel/-3
85 | Metal 1 134 | Decay 10 OSC 3 223 | wave18-1
Reed a Ragga 86 | Metal 2 135 | Decay 11 | 224 | wave18-2
38 | Reed 3 87 | Metal 3 136 | Decay 12 | 225 | wave18-3
39 | Reed 4 88 | Metal 4 137 : Decay 13 ;
40 Reed 5 83 | Metal 5 138 Decay 14 :
41 | Reed 6 90 | Metal 6 139 | Decay 15 250 | wave?7-1
- | Syn 5 91 Lead 1 i 140 Decay 16 251 wave27-2
Pluck a2 | Clavi 1 7 92 | Lead 2 ; 141 | Decay 17 252 : wave27-3
43 | Clavi 2 142 | Decay 18 253 . wave28
44 | Clavi3 93 | Lead3 | о | 20
45 | Clavi4 94 | Lead 4 SFX 143 | SFX 1 255 | AVEO
46 | Guitar 1 95 | Lead 5 144 | SFX2 wave
47 : Guitar 2 96 | Lead 6 145 | SFX3
Electric pianos.
{ Electric organs.
A variety of brass sounds.
Woodwind instrument sounds.
Sax, oboe and other reed instruments.
Guitar, clavi, and other plucked instrument sounds.
а Bass sounds.
Е ; Strings.
Vibes, marimba, bells and other percussion sounds.
Sustained lead synth sounds.
2 Synth sounds that vary with time.
| Decay-type synth sounds.
æ| À range of sound-effect type synth sounds.
1 Sine, sawtooth, and other standard synth waveforms.
Basic FM timbres, group 1.
Basic FM timbres, group 2.
If the TYPE parameter in the ELEMENT
ENVELOPE edit mode (page 53) is set to
PRESET, selecting a WAVE TYPE also selects
the corresponding preset envelope. If a different
envelope type is selected, the preset envelope is
not selected together with the wave.
Refer to: Tutorial, page 14, 16-19.
44
ELEMENT TONE
ELEMENT COPY
Summary: Copies all element parameters from an
element of the same type (AWM or FM) in
another voice to the current element of the cur-
rent voice,
Settings: Source: 1, C, P
Bank: 1... 8
Number: 1... 8
Element: A/C or B/D
Procedure: Use the [<] and [>] cursor keys to
move the cursor to the source, bank, or number
of the source voice (the voice from which the
element parameters are to be copied) to the left
of the lower display line, Use the 1-1/NO] and
I+1/YES] keys to set the selected parameter as
necessary,
Next move the cursor to the element type
parameter to the right of the lower display line,
and select the element from which the data is to
be copied using the [-1/NO] and [+1/YES]
keys.
Press the [>] cursor key one more time and the
“Are you sure?” display will appear. Press
[+1/YES] to execute the element copy operation
or [-1/NO] to cancel. “>>Completed!!<<” will
appear briefly when the copy operation has
finished.
Details: In this display the source, bank and num-
ber parameters are shown in the standard SY22
voice number format. “P12,” for example, 1s
preset bank 1, number 2; “135” ıs internal bank
3, number 5, etc. |
Data can only be copied between elements of
the same type. If the element currentiy being
edited 1s an AWM element (A or C), only ele-
ment A or C of the source voice can be copied
from. the same applies to FM elements.
The data for all parameters contained in the
ELEMENT TONE mode will be copied.
FREQUENCY SHIFT
ETRFREG. — GECD
shift= a 7
Summary: Shifts the frequency (pitch) of the
selected element up or down in semitone steps.
Settings: —12 ...0... +12.
Procedure: Use the [>] Кеу to move the cursor to
the lower display line. Use the [—-1/NO] and
[+1/YES] keys to select the desired amount of
frequency shift.
Details: A setting of “—12,” for example, shifts the
pitch of the selected element down by one
octave; a setting of “+47 shifts the pitch up by a
major third.
The Frequency Shift function can be used to
transpose an element to its most useful range,
or to create harmony (intervals) between dif-
ferent elements.
45
ELEMENT TONE
VOLUME
Summary: Adjusts the volume of the selected
element,
Settings: 0 ... 99
Procedure: Use the [>] key to move the cursor to
the lower display line. Use the [—1/NO] and
[+1/YES] keys to select the desired volume
level.
Details: A setting of “0” produces no sound while
a setting of “99” produces maximum volume.
The ability to independently adjust the volume of
each element makes 1t simple to set up the
optimum balance or “mix” between elements.
ETEFON ECO
LIE
Summary: Determines the position 1n the stereo
sound field in which the sound from selected
element will be heard (left to right).
Settings: Graphic Display: L--+--R, 5 positions from
left to right.
Procedure: Use the [D>] key to move the cursor to
the lower display line. Use the [—-1/NO] and
[+1/YES] keys to select the desired pan
position.
Details: The lower line of the display shows a
graphic representation of the stereo sound field
with “L” representing “left” and “К”
representing “right.” As you edit the pan
parameter the position indicator will appear at
the corresponding position on the graphic dis-
play. A total of five different positions are
available, corresponding to left, left-center,
center, right-center, and right.
Interesting stereo effects can be produced by
placing the output from different elements at
different locations in the stereo sound field.
VELOCITY SENSITIVITY
Summary: Determines how the output level of the
selected element changes in response to veloc-
lty changes (keyboard initial touch response).
Settings: -5 ... 0... +5
Procedure: Use the [>] key to move the cursor to
the lower display line, Use the [-1/NO] and
[+1/YES] keys to select the desired velocity
sensitivity.
46
Details: Plus “+” settings produce higher output
level in response to higher velocity values — Le.
the harder a key 1s played, the louder the sound.
Mmus “— settings produce the opposite effect:
lower level in response to higher velocity. A
setting of “0” results in no level variation.
О No response.
+1 Narrow change between medium-hard and
hard velocity.
+2 Broader change between medium and hard
velocity.
+3 Smooth change all the way from soft to hard
velocity.
+4 Large change over small velocity range.
+5 Sudden change from no sound to maximum
level at about medium velocity.
ELEMENT TONE
“—” Settings have the same effect, but the
sound level decreases rather than increasing
with increased key velocity. A graphic display to
the right of the sensitivity value provides a
visual indication as to the type of change
produced by each setting.
AFTER TOUCH SENSITIVITY
Summary: Determines how the output level of the
selected element changes in response to key -
board after touch pressure changes when the
Lev (Level) parameter of the AFTER TOUCH
function in the VOICE COMMON mode is set
to “on” (see page 33).
Settings: —3 ... 0... +3
Procedure: Use the [>] key to move the cursor to
the lower display line. Use the [-1/NO] and
[+1/YES] keys to select the desired after touch
sensitivity.
Details: Plus “+” settings produce higher output
level in response to higher after touch pressure.
Minus “-—” settings produce the opposite effect:
lower level in response to higher pressure. A
setting of “0” results in no level variation.
О No response.
+1 Narrow change between medium-high and
high pressure.
+2 Broader change between medium and high
pressure.
+3 Smooth change all the way from low to high
pressure.
“— Settings have the same effect, but the
sound level decreases rather than increasing
with increased after touch pressure. A graphic
display to the right of the sensitivity value
provides a visual clue as to the type of change
produced by each setting.
Refer to: AFTER TOUCH, page 33.
TONE (FM Elements B and D Only)
ETRTONE CECE
Less 5 FEED.
Summary: Adjusts the tone of the selected FM
element — B or D.
Settings: Lev (Level): 0... 99
FB (Feedback): 0 ... 7
Procedure: Use the |<] and |>] cursor keys to
place the underline cursor under the Lev or FB
parameter, Use the [-1/NO] and [+1/YES] keys
to set the level or feedback as required.
Details: The Lev parameter adjusts the modulation
level of the select FM element, so higher values
produce a brighter, sharper tone while lower
values produce a rounder, more mellow tone.
The effect of the feedback parameter varies from
element to element, but in general higher values
make the sound more brassy or noisy, while
lower values make the sound smoother.
Refer to: WAVE TYPE, page 43,
47
ELEMENT TONE
LFO (Low Frequency Elly AM Depth, PM Depth, Type, Delay, Rate & Speed
® АМ (Amplitude Modulation Depth)
+
=
=
+
foe
UT
Lo
- Ex
"FF
a
„Г“.
" 13
er
Summary: Determines the maximum amount of
amplitude modulation that can be applied to the
selected element by the modulation wheel or
keyboard after touch.
Settings: 0... 15
Procedure: Use the [<] and [>] cursor keys to
select the AM parameter, Use the [-1/NO] and
[+1/YES] keys to set the desired degree of
amplitude modulation.
Details: A “0” setting produces no modulation
while a setting of “15” produces maximum
modulation. Amplitude modulation produces a
periodic variation in the volume of the sound,
thus creating a tremolo effect.
Please note that the AM parameter of the
WHEEL and/or AFTER TOUCH function in the
VOICE COMMON edit mode must be set to
“on” before amplitude modulation can be applied
manually (see page 33). Amplitude modulation
1s applied automatically when these parameters
are off.
Refer to: WHEEL, page 32. AFTER TOUCH, page
33.
® PM (Pitch Modulation Depth)
EI LEO REO
TER à 4 т Fria ESE Fe
ra р. Ee F ! — ! ESE SN WTF
EL
Summary: Determines the maximum amount of
pitch modulation that can be applied to the
selected element by the modulation wheel or
keyboard after touch.
Settings: 0 ... 31
Procedure: Use the [<] and [>] cursor keys to
select the PM parameter, Use the [-1/NO] and
[+1/YES] keys to set the desired degree of pitch
modulation.
Details: A “0” setting produces no modulation
while a setting of “31” produces maximum
modulation. Pitch modulation produces a periodic
pitch variation, thereby creating a vibrato effect.
Please note that the PM parameter of the
WHEEL and/or AFTER TOUCH function in the
VOICE COMMON edit mode must be set to
“on” before pitch modulation can be applied
manually. Pitch modulation is applied auto-
matically when these parameters are off.
Refer to: WHEEL, page 32. AFTER TOUCH, page
33.
e Type
ET LEO HELD
AM= 6 PM= @ Му
Summary: Determines the waveform of the LFO for
the selected element.
Settings:
SAW UP SAW DOWN TRIANGLE
A fo Fo N би
SQUARE SAMPLE&HOLD
Ji FN e
Procedure: Use the [<] and [>] cursor keys to
select the waveform parameter. Use the
[-1/NO] and [+1/YES] keys to select the
desired LFO waveform.
Details:
Arie} = Upward sawtooth.
Pi = Downward sawtooth.
>.” = Triangle.
AH = Square.
‘тете = Sample and hold.
e Dly (Delay)
a EEN РЭР,
ET LFÜ BE
<Dius 6 Rates De
drin. OA
Summary: Sets the delay time between the begin -
ning of a note and the beginning of LFO opera-
tion for the selected element when the WHEEL
and AFTER TOUCH parameters in the VOICE
COMMON edit mode are both turned off.
Settings: 0 ... 99
Procedure: Use the {<] and [D>] cursor keys to
select the Dly parameter. Use the [-1/NO] and
[+1/YES] keys to set the desired LFO delay.
Details: The minimum setting “0” results in no
delay, while the maximum setting of “99” pro-
duces maximum delay before the LFO begins
operation.
Refer to: WHEEL, page 32. AFTER TOUCH, page
33.
e Rate
yr
pr
LU
alan
TT a $7 mer Fa
i t fiend 1d
i jue A Pi.
г Or
черн
La"
В Rates De
i
tons
of .
Pal Ir
+... a EL
Summary: Sets the rate of LFO “fade in” for the
selected element when the WHEEL and
AFTER TOUCH parameters in the VOICE
COMMON edit mode are both turned off.
Settings: O... 99
ELEMENT TONE
Procedure: Use the [<] and [>] cursor keys to
select the Rate parameter. Use the [-1/NO] and
[+1/YES] keys to set the desired LFO fade-in
rate.
Details: “0” is the fastest rate, causing the LFO to
start operation at full depth immediately. A set-
ting of 99 produces the longest LFO fade m.
Refer to: WHEEL, page 32. AFTER TOUCH, page
33.
® Spd (Speed)
Lp
mi
= 1 Зы” Teja me? a" dan
г
За “ее
y Eee
ean 3
blir ma, : Sh, fh
pi ; THE
i
ma
LA
" En
min a
a.
а
Summary: Sets the speed of the LFO for the
selected element.
Settings: 0... 31
Procedure: Use the [<] and [>] cursor keys to
select the Spd parameter. Use the [-1/NO] and
[+1/YES] keys to set the desired LFO speed.
Details: “0” is slowest LFO speed setting; “31”
is the fastest.
The speed parameter can not be edited when the
sample-and-hold (-7—-) LFO TYPE is selected.
49
ELEMENT ENVELOPE
ELEMENT ENVELOPE
The ELEMENT ENVELOPE edit mode allows detailed programming of the amplitude
envelopes for each element in the selected voice.
TYPE 53
ENVELOPE COPY Sa
DELAY (Delay Rate & ON/OFF) vereessnsnsessensas .... 34
INITIAL LEVEL.....rcercacoccrocnosroeoocoonenca rear coccenrcanenencancerocon rene reareoroeenaeorenecencenrenerenceneocorca. 54
ATTACK (Level & Rate) 55
DECAY 1 (Level € Rate) ..ccooe.recoocooooosoroccacscearoreacoacanevearoccacocovenarareneracaroaecanocororacereeroOee e 55
DECAY 2 (Level & RAE) wivrrereircrrrrorssrorsorsersoressssnrensasensessssssosessossssossosesssssssnnensonsarsarsassasssssss 55
RELEASE RATE ….…esousensensesennensenennententeneenenvenens eeonenuenaanoeoeaneoosaocanoonactaccantornonTencne.. 56
LEVEL SCALING.............. enevecooenonotacoaorconco none ncaneaeene acer eUneoarco recae 56
RATE SCALING.......... berecencorentencenencaneanenaaaeeaceneenceneneenastartaoeerecece 57
51
ELEMENT ENVELOPE
Selecting the ELEMENT ENVELOPE Edit Mode
EDIT/UTILITY
COMPARE
= TONE
52
From the VOICE or MULTI mode:
ENVELOPE
ELEMENT
From another edit or utility mode simply press
[ELEMENT ENVELOPE].
An “E” will appear to the left of the LED dis-
play to indicate that an edit mode is selected,
and the element selected for editing will be dis-
played to the right of the display — “A”, “b”,
“C”, or “d”. À dot will appear to the right of the
element character as soon as any parameter has
been edited.
Different elements can be selected for editing by
pressing the appropriate [ELEMENT SELECT]
key — [A], [B], [Cl or [D]. If a 2-element voice
is being edited, only elements A and B can be
selected.
Any of the available elements can also be turned
on or off by pressing the appropriate
[ELEMENT ON/OFF] key. Each key alter-
nately turns the associated element on and off,
and the on/off status of the elements 1s shown to
the right of the upper LCD line. If the element
character is showing, the associated element 1s
ON, if a dash appears in place of the element
character, that element is OFF. The ability to
turn elements on or off while editing makes 1t
easier to hear the effect of parameter changes on
a single element. The currently selected element
is also shown on the LCD as a reversed (white
on black) character.
In this example elements A, B and D are ON, while
element C is OFF.
Element A is currently selected for editing.
ET
Mi
a
TE
!
Selecting the ELEMENT ENVELOPE Edit Mode
Functions
The various ELEMENT ENVELOPE edit mode
functions can be selected in sequence by press-
ing the [ELEMENT ENVELOPE] key, or by
using the [-1/NO] and [+1/YES] keys when the
cursor (Dis located immediately before the
function name on the upper display line.
The COMPARE Function
You can compare the sound of the edited voice
with the sound of the voice before it was edited
by pressing the [EDIT/COMPARE] key to acti -
vate the COMPARE function. A “C” will appear
on the LED display while the COMPARE func-
tion is active, and the sound of the voice prior to
editing will be heard when you play the key-
board. Press the [EDIT/COMPARE] key again
to return to the edit mode.
EDIT/UTILITY
= L
ED
COMPARE
EDIT/UTILITY
= = Ek
COMPARE
ELEMENT ENVELOPE
Bb "IL NIT PE Pa, STRINGS
ЕВ ГУБ. НД 7
LSER
io" Mo
LEVEL
Summary: Selects a user or preset amplitude enve-
lope for the selected element.
Settings: PRESET, PIANO, GUITAR, PLUCK,
BRASS, STRINGS, ORGAN, USER
Procedure: Use the [P] key to move the cursor to
the lower display line. Use the [-1/NO] and
[+1/YES] keys to select the destred envelope.
LEVEL
Details: When “PRESET” 1s selected, the original
envelope of the wave selected for the current
element is used. For example, if the current uses TIME
a guitar wave corresponding guitar envelope will
be selected.
When “PIANO,” “GUITAR,” “PLUCK,” y
“BRASS,” “STRINGS,” or “ORGAN” 15 Li
selected, a generic envelope of the appropriate 3
type is used. Then piano, organ and strings
envelopes are roughly as shown below:
PIANO
ORGAN
Ш
> Ш
- т
—
TIME
TIME
Editing any of the envelope parameters for one
o of the above types turns the envelope into a
> is *
Lu USER” type.
When “USER” is selected, an original envelope
can be programmed using the attack, decay, and
TIME release parameters described on pages 33, 56.
Refer to: Tutorial, page 25. ENVELOPE, page 33.
53
ELEMENT ENVELOPE
ENVELOPE COPY
EE Adan a
RERCUP Yom HELD
авы Еее то
Summary: Copies envelope parameters from a
selected element to the current element.
Settings: Element: À, B, C, D
Procedure: Use the [<] and [>] cursor keys to
move the cursor to the “from” element
parameter. Use the [-1/NO] and [+1/YES] keys
to select the element from which the envelope
data is to be copied.
Press the [>] cursor key one more time and the
“Are you sure?” display will appear. Press
[+1/YES] to execute the copy operation or
[1/NO] to cancel. “>>Completed!!<<” will
appear briefly when the copy operation has
finished.
Details: This function can save a lot of programming
time by allowing easy copying of complex USER
type envelope data between elements.
DELAY (Delay Rate & ON/OFF)
Summary: Sets a delay before the envelopes of all
elements begin.
Settings: Delay: 0 ... 99
Mode: on/off
Procedure: Use the [<] and [D>] cursor keys to
move the cursor to the “Rate” parameter. Use
=>
iTIA ERC
Leval=
Fu
Summary: Sets the starting level of the amplitude
envelope for the current element.
Settings: 0... 99
Procedure: Use the [>] cursor key to move the cur-
sor to the lower display line. Use the [-1/NO]
and [+1/YES] keys to set the initial level.
Details: A setting of “0” means that the envelope
will begin from zero (minimum) level, while a
setting of “99”causes the envelope to begin
54
the [-1/NO] and [+1/YES] keys to select the
desired delay rate.
Press the [>] cursor key one more time to move
to the on/off mode parameter, and use the
[-1/NO] and [+1/YES] keys to set as required.
Details: The envelope delay rate parameter affects
all envelopes simultaneously. A setting of “0”
produces almost no delay while a setting of
“09” produces maximum delay.
INITIAL LEVEL
immediately from maximum level. The highest
setting produces the sharpest attack.
Attack
rata
Attack
leve
LEVEL
i
;
$ : Release
1 rate Zral * 7
rate
Initial _.....l....
level
; TIME
Key ON (Delay off) Key OFF
Refer to: ENVELOPE, page 33.
ELEMENT ENVELOPE
ATTACK (Level & Rate)
EEFATTACK Bech
* 9 nA Hann” Pa! “а
ce, Fax “IX > bes E
+” RE Er EE
Summary: Sets the rate and peak level of the attack
of the amplitude envelope for the current ele-
ment.
Settings: AL (Attack Level): 0... 99
AR (Attack Rate): 0 ... 99
Procedure: Use the [<] and [>] cursor keys to
move the cursor to the “AL” or “AR”
parameter. Use the [-1/NO] and [+1/YES] keys
to set the selected level or rate parameter.
DECAY 1
Details: Refer to the INITIAL LEVEL function for a
complete envelope diagram.
A rate setting of “0” produces the slowest
attack, and a setting of “99” produces the
fastest attack.
A level setting of “0” produces the lowest
attack level, while a setting of “99” produces
the highest level.
Please note that the attack may be “biased” by
the ENVELOPE Attack Rate parameter in the
VOICE COMMON edit mode.
Refer to: ENVELOPE, page 33.
(Level & Rate)
Summary: Sets the rate and final level of the first
decay of the amplitude envelope for the current
element.
Settings: DIL (Decay 1 Level): 0... 99
DIR (Decay 1 Rate): O .., 99
Procedure: Use the [<] and [PD] cursor keys to
move the cursor to the “DiL” or “DIR”
parameter.
Use the [-1/NO] and [+1/YES!] keys to set the
selected level or rate parameter.
Details: Refer to the INITIAL LEVEL function for a
complete envelope diagram.
A rate setting of “0” produces the slowest
decay, and a setting of “99” produces the
fastest decay.
A level setting of “0” produces the lowest de-
cay level, while a setting of “99” produces the
highest level.
DECAY 2 (Level & Rate)
Summary: Sets the rate and final level of the second
decay of the amplitude envelope for the current
element.
Settings: D2L (Decay 2 Level): 0 … 99
D2R (Decay 2 Rate): 0 ... 99
Procedure: Use the [<] and [>] cursor keys to
move the cursor to the “D2L” or “D2R”
parameter, Use the [-1/NO] and [+1/YES] keys
to set the selected level or rate parameter.
Details: Refer to the INITIAL LEVEL function for a
complete envelope diagram.
A rate setting of “0” produces the slowest de-
cay, and a setting of “99” produces the fastest
decay.
55
ELEMENT ENVELOPE
A level setting of “0” produces the lowest The decay 2 level parameter also sets the hold
decay level, while a setting of “99” produces the level at which the note is sustained until
highest level. released.
RELEASE RATE
FERRED FOOSE MET Details: Refer to the INITIAL LEVEL function for a
базе 8 complete envelope diagram.
A release rate setting of “0” produces the
Summary: Sets the release rate of the amplitude slowest release, and a setting of 99” produces
envelope for the current element. the fastest release.
Please note that the release note may be
Settings: 0 … 99 “biased” by the ENVELOPE Release Rate
parameter in the VOICE COMMON edit mode.
Procedure: Use the [>] cursor key to move the cur-
sor to the lower display line. Use the [—1/NO] Refer to: ENVELOPE, page 33.
and [+1/YES] keys to set the release rate.
LEVEL SCALING
ERRSLAL IAE MEE | ® Level Scaling LCD Graphic
Leu Tupes l —
Type 1 Type 2 Type 3 Type 4
Summary: Determines how the level of the current mo - > %
element changes across the range of the key- Type 5 Type 6 Type 7 T ype 8
board. , me rr
Type 9 Type 10 Type 11 Type e
Settings: 1... 16 u. N Le”
Type 13 Type 14 Type 15 Type 16
Procedure: Use the [>] cursor key to move the cur- wma ee vn À | Lo
sor to the lower display line. Use the [-1/NO]
and [+1/YES] keys to set the desired level
scaling curve.
Details: Most acoustic instruments do not produce
a uniform sound level throughout their pitch
range. This results in a level curve that can be
simulated by appropriate settings of the level
scaling parameter. Often, for example, the level
decreases slightly as the pitch increases.
Each of the 16 available level scaling curves is
shown in graphic form on the LCD when
selected, making 1t easy to locate and select the
optimum curve for each application.
56
ELEMENT ENVELOPE
RATE SCALING
IMG EBCD ® Rate Scaling LCD Graphic
Type 1 Type 2 Type 3 Type 4
Summary: Determines how the overall rate of the — - "om
amplitude envelope for the current element Type 5 Type 6 Type 7 Type 8
changes across the range of the keyboard.
Settings: 1... 8
Procedure: Use the [>] cursor key to move the cur-
sor to the lower display line. Use the [-1/NO]
and [+1/YES] keys to set the desired rate scal-
ing curve.
Details: Many acoustic instruments do not produce
uniform note length throughout their pitch range.
This results in a rate curve that can be simulated
by appropriate settings of the rate scaling
parameter. Often, for example, the overall note
length decreases slightly as the pitch increases.
Each of the 8 available rate scaling curves is
shown in graphic form on the LCD when
selected, making it easy to locate and select the
optimum curve for each application.
57
ELEMENT ENVELOPE
58
MULT!
The MULTI edit mode allows 8 different voices to be assigned to different MIDI channels.
The assigned voices can then be individually controlled over the appropriate channels from
an external MIDI sequence recorder or other controller. If a number of these channel/voice
“parts” are assigned to the MIDI transmit channel of the SY22, they can ali be played
simultaneously from the SY22 keyboard. Individual characteristics of each voice, such as
volume and detune, can also be programmed.
NAME -........——-ennannoneanvanooavascansancaneeceneccenanecranenecacenerreccarnecco rece corren cero encon. . 62
EFFECT (Type & Depth) ES OZ
VOICE NUMBER.........cenorcccrorococerncooenoenecocencerenoeoo cenas „неее 62
MIDI RECEIVE CHANNEL .......... ennenoannaneaenos 63
VOLUME ………sessevsssee ‚ ceceaorocenencoceaooooocaconocacececrocoocacecenrencanes . 63
DETUNE EN ..... 64
NOTE LIMIT (Low & High) . ..... 64
NOTE SHIFT ...... cenemaanacenoocaunecaorenoranoaneeooreneo enano ncenenracrerecr sore crecen nera 64
MULT!
59
MULTI
A Basic MULTI PLAY System
60
The SY22 MULTI PLAY (multi-timbre) mode
allows up to 8 different voices to be individual
assigned to any of 16 different MIDI channels.
Each voice/channel assignment is known as a
multi-play “part,” just like the various parts in a
e # a *
MIDI OUT
JBL
band or orchestra. You can then record multi-
voice compositions on a MIDI sequence recorder
and play them back using only the sequencer and
SY22.
Here’s an example of a sequencer recording and
playback setup:
PART-1 VOICE
PART-2 VOICE
MEMORY an [|
PART-8 VOICE
INTERNAL
MEMORY
In addition to 16 PRESET multi-play setups, 16 Other Possibilities
INTERNAL memory locations are provided for
complete multi-play setups including voice-to-
channel assignments, voice volume, note shift,
detune, note limits, and effects for each part.
This allows you to create up to 16 origmal
“orchestras” with different combinations of
voices that can be recalled whenever needed.
The MULTI mode 1s useful even when a
sequencer is not used. If you set the MIDI
RECEIVE CHANNEL parameter (page 63) of
several multi-play parts to the same channel
that the SY22 is set to transmit on (TRANSMIT
CHANNEL parameter, page 81), those parts
can all be played simultaneously via the SY22
keyboard. By setting the low and high NOTE
LIMIT parameters (page 64) of parts set to the
keyboard channel to limit them to specific "te
regions of the keyboard, it is also possible to ©
create a range of split keyboard effects — e.g.
play bass with the left hand and piano with the Different parts can be selected for editing by
right. pressing the appropriate [NUMBER/MULTI
PART SELECT! key — [1] through 18].
MULTI PLAY Mode, Bank and Setup Selection
The MULTI mode, memory banks and individual Selecting the MULTI Edit Mode Functions
multi-play setups are selected in the same way The various MULTI edit mode functions can be
as the SY22 voices: selected in sequence by pressing the [MULTI]
key, or by using the [-1/NO] and {+1/YES]
e [MULTI] to select the multi-play mode. keys when the cursor (>)is located immediately
® [PRESET] or [INTERNAL] to select the de- before the function name on the upper display
sired memory. line.
e [BANK] and [NUMBER/MULTI PLAY PART]
keys or |-1/NO] and [+1/YES] keys to select The COMPARE Function
the desired multi-play setup. You can compare the sound of the edited multi -
play setup with the sound of the setup before 1t
Selecting the MULTI Edit Mode was edited by pressing the [EDIT/COMPARE]
From the VOICE or MULTI mode: key to activate the COMPARE function. À “C”
EDITOUTILITY — | pe will appear on the LED display while the COM -
тт ES à EST ET, TT | PARE function is active, and the sound of the
y Ei, me PH 4 14 dus setup prior to editing will be heard when you
COMPARE play the keyboard. Press the [EDIT/
COMPARE] key again to return to the edu
: mode.
MULTI
EDIT/UTILITY
From another edit or utility mode simply press > — | DD Г
[MULTI]. : COMPARE
An “E” will appear to the left of the LED dis-
play to indicate that an edit mode is selected, EDITUTILITY
and the multi-setup part selected for editing will —y | о > =
be displayed to the right of the display — “1” COMPARE
through “8.7 A dot will appear to the right of the
part number as soon as any parameter has been
edited.
SY22 PRESET MULTI Performance Note
No. | MultiName | Type | Comments No. | ‘MultiName | Type “| Comments
e 1.1 Orchstra 2 layer Big Orchestra. Brass and strings. | 9 | 2.1 FitCncrt Split : Split flute and strings
e | 1.2 SuperBrs 2 layer -— Powerful brass. 10 | 2.2 Wb/Piano Split Split wood bass and piano.
287. | 1.3 StrPiano | 2layer | Piano with strings. 11 | 2.3 Fb/E.Pno | Split Split fretless bass and E,Piano.
4:1 1.4 MonoLeadi 8iayer Fat monora! synth lead. 12 | 2.4 RytmSect Split | Split drum set and funky bass.
Re 1.5 PinPad | 3 layer Synth decay pad. 13° 2.5 <Pop> | MIDI multi | For Pop music.
601 1.6 SyncPad - 4 layer | Fat synth pad. 14.2 26 <Rock= | MIDI multi | For Rock music.
ET] 1.7 PanPad 2 layer — Breathy synth Pan flute. 15,1 2.7 <Jazz> © MIDI multi | For Jazz music.
8 | 1.8 Haunted + Split . Image of haunted mansion. 16. 28 <Demo> * MIDI multi Used for SY22 Demo song.
61
MULTI
MUFNEME
Pili Initial
Summary: Assigns a name of up to 8 characters to
the current multi-play setup.
Settings: The following characters are available for
use in multi-play names:
(Space) ! "#$4E" Cet, —, “B1IITASEPOS: 1 C=779
AECDEFGHI JE MNOPRRS TOURS ST 3 10
abcdetdhidk Imnoearstbopsiinoaz] | e
Procedure: Use the [<] and [>] cursor keys to
place the underline cursor under the character to
be changed. Use the [-1/NO] and [+1/YES]
keys to select the desired character. Continue
until the entire multi-play name has been
programmed.
Details: It's a good idea to give your multi-play se-
tups names that make them easily identifiable.
If you've created a new setup using three voices
intended for rock music, you could call it some-
thing like “Rock Trio”,
EFFECT (Type & Depth)
MUREFFECT . 5
mes Hall Dep=i
Summary: Selects one of sixteen digital effects, and
sets the depth of the selected effect for the cur-
rent muiti-play setup.
Settings: Effect type:
Rev Hall (Reverb Hall)
Rev Room (Reverb Room)
Rev Plate (Reverb Plate)
Rev Club (Reverb Club)
Rev Metal (Reverb Metal)
Delay 1 (Short Single Delay)
Delay 2 (Long Delay)
Delay 3 (Long Delay)
Doubler (Doubler)
Ping-Pong (Ping Pong Delay)
Pan Ref (Panned Reflections)
Early Ref (Early Reflections)
Gate Rev (Gated Reverb)
Diy&Rev 1 (Delay & Reverb 1)
Diy&Rev 2 {Delay & Reverb 2)
DistáRev (Distortion & Reverb)
Depth: 0... 7
Procedure: Use the [«] and [>] cursor keys to
place the underline cursor under the effect type
or depth parameter. Use the [-1/NO] and
[+1/YES] keys to select the desired effect or
effect depth.
Details: Setting the depth parameter to “0” is
equivalent to turning the effect OFF. A depth
setting of “7” produces the greatest effect.
Refer to: MULTI INITIALIZE, page 72.
VOICE NUMBER
MUENSICE NUMBER.
111 Initial ©
62
Summary: Assigns a preset, card or internal voice
to the selected multi-play part.
Settings: Source: 1, C, P
Bank: 1... 8
Number: 1... 8
Procedure: Press the [NUMBER/MULTI PART
SELECT] key corresponding to the desired
multi-play part.
Use the [<] and [>] cursor keys to move the cur-
sor to the source, bank, or number parameter,
Use the [-1/NO] and [+1/YES] keys to set the
selected parameter as necessary,
MULTI
Details: In this display the source, bank and num-
ber parameters are shown in the standard SY22
voice number format. “P12,” for example, is
preset bank 1, number 2; “135” 1s internal bank
3, number 5, etc.
Refer to: MULTI INITIALIZE, page 72.
MIDI RECEIVE CHANNEL
Summary: Sets the MIDI receive channel for the
selected multi-play part to any channel between
1 and 16, or off.
Settings: 0 ... 16, off
Procedure: Press the [NUMBER/MULTI PART
SELECT] key corresponding to the desired
multi-play part.
Use the [>] cursor key to move the cursor to the
lower display line. The [-1/NO] and [+1/YES]
keys are used to select the destred MIDI chan-
nel or turn MIDI reception for that part off.
Details: The most logical and easy-to-follow set-
tings for multi-play parts 1 through 8 are,
naturally, MIDI channels 1 through 8. Tum MIDI
reception “off” for parts you do not intend to
use.
Refer to: MULTI INITIALIZE, page 72.
VOLUME
Summary: Adjusts the volume of the selected multi -
play part.
Settings: O … 99
Procedure: Press the [NUMBER/MULTI PART
SELECT] key corresponding to the desired
multi-play part.
Use the [>] cursor key to move the cursor to the
lower display line. Use the [-1/NO] and
[+1/YES] keys to select the desired volume
level.
Details: A setting of “0” produces no sound while
a setting of “99” produces maximum volume.
The ability to independently adjust the volume of
cach multi-play part makes it simple to set up
the optimum balance or “mix” between parts.
Refer to: MULTI INITIALIZE, page 72.
63
MULTI
DETUNE
Details: The Detune function allows different parts
in a multi-play setup to be slightly detuned in
relation to each other, thereby “thickening” the
overall sound.
Detuning occurs 10 3 or 4-cent steps. Since 100
cents equals one semitone, the overall detune
range 1s approximately one semitone. Plus set-
tings tune upward from normal pitch, and minus
settings tune downward. A setting of “0” pro-
duces normal pitch.
= =. = =
E FU тт но + тт
Summary: Allows slight upward or downward pitch
adjustment of the selected multi-play part.
Settings: —50 ...0... +50
Procedure: Press the [NUMBER/MULTI PART
SELECT] key corresponding to the desired
multi-piay part,
Use the [>] cursor key to move the cursor to the
lower display line. Use the 1-1/NO] and
[+1/YES] keys to select the desired amount of
detuning.
Refer to: MULTI INITIALIZE, page 72.
NOTE LIMIT (Low & High)
This function allows the sound from a multi-play
part to be limited to a specific region of the key-
board. If the Low Note Limit is set to C3 and the
High Note Limit is set to C4, for example, the
sound from that part will only be produced be-
tween C3 and C4 — the octave immediately
above middle C. This makes it simple to produce
split voices.
If the High Note Limit is set to a note that is
MUBHITTE | TT
Lous C2 High 6
Summary: Sets the low and high note limits for the
selected multi-play part.
Settings: C-2 ... G8
Procedure: Press the [NUMBER/MULTI PART
SELECT] key corresponding to the desired
multi-play part.
Use the [<] and [>] cursor keys to select the
lower than the Low Note Limit, the keys be -
tween the limits will produce no sound while all
others will operate normally.
Low or High parameter. The [-1/NO] and
[+1/YES] keys are used to set the low or high
note limit.
Refer to: MULTI INITIALIZE, page 72.
Details: The C-2 to G8 range of this function covers
a full 10-1/2 octaves. “C3” corresponds to
“middle C” on a keyboard.
NOTE SHIFT
F ; Summary: Shifts the pitch of the selected multi-play
{Я Ш | part up or down In semitone steps.
64
Settings: —24 ...0... +24,
Procedure: Press the [NUMBER/MULTI PART
SELECT] key corresponding to the desired
multi-play part.
Use the [>] cursor key to move the cursor to the
lower display line. Use the [-1/NO] and
[+1/YES] keys to select the desired degree of
note shift,
Details: A setting of “—12,” for example, shifts the
pitch of the selected voice down by one octave; a
setting of “+4” shifts the pitch up by a major
third. The maximum range is plus or minus two
octaves.
MULTI
The Note Shift function can be used to transpose
a voice to its most useful range, or to create
harmony (intervals) between different parts in a
multi-play setup.
Refer to: MULTI INTTIALIZE, page 72.
65
UTILITY SETUP
UTILITY SETUP
The UTILITY SETUP mode provides access to a range of basic utility functions that are
essential for general operation of the SY22.
TRANSPOSE ............. inonooonenonas econenooacancancancenenrentecccreeso 09
MEMORY CARD (Save, Load, Format, & Bank) pouces , 69
VOICE INITIALIZE nencanos eooooooononoonococuccoocanconcaneenecnene eocococenccacacanan 0 11
MULTI INITIALIZE...... assconsoaseessonvenseensenncau mess : snn0.0.....nnn 72
MEMORY PROTECT (Internal & Card) , cevconaneenone 73
67
UTILITY SETUP
Selecting the UTILITY SETUP Mode
From the VOICE or MULTI mode:
UTILITY
== Select sultch!
SHE лова 5 5 A em нЕ
: Fait or Utility
EDIT/
COMPARE
RECALL — SETUP MIDI
UTILITY
From another edit or utility mode simply press
[UTILITY SETUP].
A “U” will appear on the LED display to indi-
cate that a utility mode has been selected
+ { og '
Fo
= 3
68
Selecting the UTILITY SETUP Mode Functions
The various UTILITY SETUP mode functions
can be selected in sequence by pressing the
[UTILITY SETUP] key, or by using the [-1/NO]
and [+1/YES] keys when the cursor (Dis
located immediately before the function name on
the upper display line.
E: IA Lod
et PIT:
3 5
ELIE
3
Ln
1
1
*]
1
Mm
i
|
I
La
лы.
Summary: Tunes the overall pitch of the SY22 over
approximately a 100-cent range.
Settings: —50...0 ... +50
Procedure: Use the [>] key to move the cursor to
the lower display line. Use the [-1/NO] and
[+1/YES] keys to set the desired degree of
tuning.
TRANSPOSE
Summary: Transposes the overall pitch of the SY22
up or down in semitone steps.
Settings: —12 ... 0... +12
MASTER TUNE
UTILITY SETUP
Details: Tuning occurs in 3 or 4-cent steps. Since
100 cents equals one semitone, the overall tun-
Ing range 1s approximately one semitone — 1.e.
plus or minus a quarter tone. Plus settings tune
upward from normal pitch, and minus settings
tune downward. A setting of “0” produces nor-
mal pitch.
Procedure: Use the [>] key to move the cursor to
the lower display line. Use the [-1/NO] and
[+1/YES] keys to set the desired degree of
transposition.
Details: A setting of “—12,” for example, trans-
poses down by one octave; a setting of “+4”
transposes up by a major third.
MEMORY CARD (Save, Load, Format, & Bank)
Summary: Saves all internal voice and multi-play
data to a memory card.
Settings: SAVE
Procedure: Use the [>] key to move the cursor to
the lower display line, then use the [-1/NO] and
[+1/YES] keys to select “SAVE.” Now press
the [>] key again and the “SAVE TO CARD?”
display will appear. Press the [+/YES] key to
start the save operation, or the [-1/NO] key to
cancel. “****SAVE NOW****" will appear on
the display while the operation is in progress,
and “>>Completed!!<<” will appear briefly
when the save operation has finished.
Details: The SAVE operation can only be executed
if the CARD parameter of the MEMORY
PROTECT function described on page 73 is
turned “off,” and the WRITE PROTECT switch
of the MCD32 or MCD64 Memory Card loaded
in into the CARD slot 1s turned “off.”
When an MCD64 Memory Card is used, the
bank to which the data 1s to be save can be
selected using the BANK function described on
page 70.
69
UTILITY SETUP
Exercise caution when saving data to a memory
card — the previous card data will be erased and
completely replaced by the saved data.
Refer to: Tutorial, page 12.
e Load
A 7 > * 3 + Ve WE тР йо & GR # #10 5 &
4 5 4 Pis “= Fr LÉ à BOF oR ER Re oor
wo Tow кой ri Ex A» а: æ . ao
Summary: Loads voice and multi-play data from a
memory card into the SY22 internal memory.
Settings: LOAD
Procedure: Use the [>] key to move the cursor to
the lower display line, then use the [-1/NO] and
[+1/YES] keys to select “LOAD.” Now press
the [>] key again and the “LOAD from CARD?”
display will appear. Press the [+1/YES] key to
start the load operation, or the [-1/NO] key to
cancel. “****L LOAD NOW****” will appear on
the display while the operation 1s in progress,
and “>>Completed!!<<” will appear briefly
when the load operation has finished.
Details: The LOAD operation can only be executed
if the INTERNAL parameter of the MEMORY
PROTECT function described on page 73 18
turned “off.”
When an MCD64 Memory Card 1s used, the
bank from which the data is to be loaded can be
selected using the BANK function described on
page 70.
Exercise caution when loading data from a
memory card — the corresponding internal S Y 22
data will be erased and completely replaced by
the loaded data.
Refer to: Tutorial, page 12.
e Format
70
Summary: Formats MCD64 or MCD32 Memory
Cards so that they can be used by the SY22 to
save and load voice and multi-play data.
Settings: FORMAT
Procedure: Use the [>] key to move the cursor to
the lower display line, then use the [-1/NO] and
[+1/YES] keys to select “FORMAT.” Now
press the [>] key again and the “FORMAT ?”
display wiil appear. Press the [+1/YES] key to
start the format operation, or the [-1/NO] key to
cancel. “>>Completed!!<<” will appear brieíly
when the format operation has finished.
Details: Formatting can only be carried out 1f the
memory card WRITE PROTECT switch 1s
turned OFF (refer to your MCD64 or MCD32
Memory Card instructions for details).
Refer to: Tutorial, page 12.
e Bank
Summary: Selects bank 1 or bank 2 of a Yamaha
MCD64 type memory card prior to formatting or
load/save operations.
Settings: 1, 2
Procedure: Use the [>] key to move the cursor to
the lower display line, then use the [-1/NO] and
[+1/YES] keys to select “BANK.” Now press
the [>] key again to move the cursor to the bank
number. Use the [-1/NO] and [+1/YES] keys to
select the desired bank.
Details: MCD32 memory cards only have a single
bank, so bank 2 cannot be selected if this type of
card is used. MCD64 memory cards allow
selection of bank 1 or 2. Each bank holds 64
voices and 16 multi-play setups.
Refer to: Tutorial, page 12.
UTILITY SETUP
VOICE INITIALIZE
appear on the lower line of the display. Press the
[+1/YES] to initialize or [-1/NO] to cancel the
initialize operation.
“>>Completed!!<<” will appear briefly when
the initialization 1s finished.
Summary: Initializes all parameters of the current
VOICE,
Details: When Voice Initialize 1s executed, the
voice parameters are initialized to the following
values:
Settings: None.
Procedure: After selecting the “INIT. VOICE”
display, press the [>] key. “Are you sure?” will
Initial
A-B-C-D
Rev. Hall
3
2
off
on
off
off
0
off
Q
0
30 ms
1 0 0 End \
2 50 STEP
50 J
30 ms
1 0 0 End
2 \ 50 STEP
50
OCO:PIANO:PIANO 151:08C1:sin8' 039:Str:Vn.Ens 152:0SC1 sind’
0 О 0 0
99 99 99 99
L-—--R L----R L--5--R L--5--R
2 2 2 2
0 O O 0
— 92 am 92
— O | — 0
O 0 : 0 0
16 16 16 16
0 0 0 0
99 99 99 99
20 20 20 20
71
UTILITY SETUP
ww HOW
НИНА
ale PRESET PRESET PRESET PRESET
Y rate: ema: 0 ' 0 0 0
oe Y ELE." | DS A off | off off off
"© INITIAL Level: - fo rE 67 | 0 90 | 0
ATTACK AL- LE 99 92 97 92
- ATTACK AR: . 111 21100 99 99 64 99
> DECAY1:DIL”* * < e TEN 99 92 95 92
DECAY1 DIR - +: e A 0 0 32 0
CDECAY2D2L ©". 0 92 95 92
— DECAY2D2R "7 26 0 0 0
| SENO ap A 60 76 | 52 76
| № Lev Type. > cu ` 2 | 1 | 4 1
- . Räte Typé En © 3 ) 1 | 5 | 1
The voice initialize function 1s useful if you want
to begin programming a voice “from scratch.”
_ MULTIINITIALIZE
SPRINT BHH TT appear on the lower line of the display. Press the
[+1/YES] to initialize or [--1/NO] to cancel the
initialize operation.
“>>Completed!!<<” will appear briefly when
the initialization 1s finished.
Summary: Initializes all parameters of the current
multi-play setup.
Details: When multi-play Initialize is executed, the
multi-play setup parameters are initialized to the
Procedure: After selecting the “INIT. MULTI” following values:
display, press the [>] key. “Are you sure?” will
Settings: None.
SY22 MULTI INITIAL
initial
Rev Hall
i
P12 DXlegend ; P37 P45 BrasSect | P63 Strings P15 ltopia | P87 Marimba | P62 Syn Bass| P88 Dr.Kit
1 3 4 5 6 7 16
99 99 99 99 99 99
0 О 0 0 O 0
C-2 C-2 - C-2 C-2
G8 G8 G8 G8
0 0 о 0
The multi initialize function is useful if you want
to begin programming a voice “from scratch.”
12
SY22 Parameter
MASTER TUNE
TRANSPOSE
CARD BANK
MIDI
BASIC Rev.CH
TRANSMIT CH
LOCAL
PROG.CHANGE
CTRL.CHANGE
AFTER TOUCH
PITCH BEND
EXCLUSIVE
UTILITY SETUP
MEMORY PROTECT (Internal & Card)
ВЕ sue E E a nú “Sa
4 IF Sof : - CAR LATE =
Summary: Turns internal or card memory protection
on or off.
Settings: INT: on, off
CARD: on, off
Procedure: Use the [«] and [>] cursor keys to
select the INT or CARD parameter, Use
[-1/NO] and [+1/YES] keys to turn memory
protection on or off.
Details: When INT memory protection 1s “on,” the
internal memory is protected and voice store
operations to the internal memory cannot be
carried out. The same applies to card memory:
when protection is “on” memory card save
operations will be blocked even if the memory
card WRITE PROTECT switch is turned OFF.
Refer to: Tutonal, page 22.
73
UTILITY SETUP
74
UTILITY RECALL
UTILITY RECALL
The UTILITY RECALL mode accesses the VOICE or MULTI recall function, depending on
whether the VOICE or MULTI play mode is selected when the RECALL function is called.
RECALL makes 1t possible to recover a voice or multi-play setup that has been “lost”
through failure to store the voice or multi-play setup prior to selecting a different voice or
multi-play setup.
75
UTILITY RECALL
Selecting the UTILITY RECALL Mode From another edit or utility mode simply press
From the VOICE or MULTI mode: [UTILITY RECALL].
A “U” will appear on the LED display to indi-
= = Select amiLéh! — cate that a utility mode has been selected
= Edit nr till
COMPARE EE PULA
10
Li
Y RECALL — SETUP MIDI
UTILITY
76
UTILITY RECALL
VOICE RECALL (Voice or Multi)
; RE ВЕСНЫ, AOTCE - Details: Even if you’ve exited the edit mode and
“Era Bry Se A called a different voice or multi-play setup, this
a Pa BT бей E
function will recall the last voice or multi-play
Summary: Recalls the last voice or multi-play setup setup edited with all parameters as they were at
edited from the SY22 edit buffer memory. the time the edit mode was exited.
Settings: None
Procedure: The “RECALL VOICE” function is
selected 1f called from the VOICE play mode,
while “RECALL MULTI” function is selected if
called from the MULTI play mode. “Are you
sure?” appears on the lower display line. Press
the [+1/YES] key to recall or [-1/NO! to cancel
the recall operation.
A
UTILITY RECALL
78
UTILITY MIDI
UTILITY MIDI
The UTILITY MIDI mode provides access to all of the SY22’s MIDI control functions.
MIDI ON/OFEF................... rccceonereacacececeneeraccaccantancannacanenanancancana — BL
BASIC RECEIVE CHANNEL ...e.....eveonnenennano enenenonecos 81
TRANSMIT CHANNEL , 81
LOCAL CONTROL ON/OFE ........esresorcorncorcorccrococacorcoreocaroccoraceaarevavecacravonteencacccrevaececencaneraa 82
MIDI PROGRAM CHANGE ….essossersenserservenses ‚ 82
MIDI CONTROL CHANGE auvonenseusanseneuneanencenensanensneuess. 32
AFTER TOUCH ON/OFF ..........ercorcarrocove 83
PITCH BEND ON/OFF crossonveseeressesnecuers 83
EXCLUSIVE ON/OFV........ pencancoueeas 83
ALL V/M TRANSMIT ........ eucerencansacanrearencanvenvene ... 84
1 VOICE TRANSMIT ................emeerccconoccoccacccocccconencaneanauco nen re ene. 84
79
UTILITY
MIDI
Selecting the UTILITY MIDI Mode
From the VOICE or MULTI mode:
ee
eee =
pq ПХ x
OMPARE
i : 3 =>
и rte
a
=
RECALL
SETUP
UTILITY
From another edit or utility mode simply press
[UTILITY MIDI].
A “U” will appear on the LED display to
indicate that a utility mode has been selected.
80
||
LS
Selecting the UTILITY MIDI Mode Functions
The various UTILITY MIDI mode functions can
be selected in sequence by pressing the
[UTILITY MIDI] key, or by using the [-1/NO]
and [+1/YES] keys when the cursor (Dis
located immediately before the function name on
the upper display line.
UTILITY MIDI
MIDI ON/OFF
НИНЕ Details: MIDI control can be turned “off” to
midis prevent unwanted interference from external
MIDI devices connected to the SY22, and/or to
Summary: Turns all MIDI control functions on or off. prevent the SY22 from affecting operation of the
external equipment.
Settings: on, off
Procedure: Use the [>] cursor key to move the cur-
sor to the lower display line. Use the [-1/NO]
and [+1/YES] keys to turn MIDI control on or
off.
BASIC RECEIVE CHANNEL
FMD EBHS IE How, CH. and [+1/YES] keys are used to select the
сан ро — desired MIDI channel or the omni mode.
Summary: Sets the SY22 MIDI receive channel to Details: When the SY22 is to receive data from an
any channel between 1 and 16, or the “omni” external MIDI device such as a sequencer, make
mode for reception on all channels. sure that the SY22 MIDI receive channel is
either set to the channel that the external device
Settings: 1 ... 16, omni is transmitting on, or the omni mode.
Procedure: Use the [>] cursor key to move the
cursor to the lower display line. The [-1/NO]
TRANSMIT CHANNEL
NDPRTRONSMIT CH 7 Details: The MIDI transmit channel job is used
es сане ро primarily to match the transmit channel of the
a | SY22 with the receive channel of an external
Summary: Sets the MIDI transmit channel for the MIDI device being driven by the 5Y22. When a
SY22. multi-play setup 1s selected, however, the MIDI
transmit channel setting also determines which
Settings: 1 … 16. of the setup’s voices is played via the SY22
keyboard.
Procedure: Use the [>] cursor key to move the cur-
sor to the lower display line. Use the [-1/NO]
and [+1/YES] keys to select the desired MIDI
transmit channel number.
81
UTILITY MIDI
LOCAL CONTROL ON/OFF
Summary: Determines whether the SY22 keyboard
controls the internal tone generator system or
not.
Settings: on, off.
Procedure: Use the [>] cursor key to move the cur-
sor to the lower display lime. Use the [-1/NO]
and [+1/YES] keys to turn local control on or off.
MDRPROG. CHANGE —
scott . _
Summary: Determines how the SY22 will respond
to MIDI program change messages for remote
voice/multi selection.
Settings: off, common, individual
Procedure: Use the [>] cursor key to move the
cursor to the lower display line. The [-1/NO]
and [+1/YES] keys are used to select the
desired MIDI program change mode.
Details: The “off” setting turns MIDI program
change reception and transmission off, so MIDI
program change messages received from exter-
nal equipment will not cause the corresponding
SY22 voice to be selected, and no program
Sa
MOECTRL . CHAMGE ©
82
Details: Normally, local control will be turned “on”
so that the SY22 keyboard plays its own inter-
nal tone generator system. If you want to control
an external MIDI tone generator or other device
from the SY22 keyboard without playing the
internal tone generator, turn local control “off.”
One possibility is to drive the SY22 tone
generator system from an external sequencer
while independently playing a separate external
tone generator from the SY22 keyboard.
MIDI PROGRAM CHANGE
В
*.
change messages will be transmitted by the
SY22 when one of its voices are selected.
In the “common” mode, program change num-
bers Ô through 63 received from external equip-
ment will select SY22 voices 1.1 through 8.8,
and program change numbers 64 through 79
select multi-play setups 1.1 through 2.8. The
card, internal or preset voice banks cannot be
selected via MIDI control. The corresponding
program change number will also be transmitted
by the SY22 when one of its voices are selected.
The “individual” mode allows individual voice
selection for each multi-play part when the
MULTI play mode is active. Program change
between 0 and 63 received in a specific MIDI
channel will change only the voice for the multi-
play part assigned to that channel.
MIDI CONTROL CHANGE
Summary: Determines whether or not the SY22 will
receive and transmit MIDI control change
messages.
Settings: off, on
UTILITY MIDI
Procedure: Use the [>] cursor key to move the control change messages corresponding to
cursor to the lower display line. The [-1/NO] modulation, pitch, volume and other functions
and [+1/YES] keys are used to turn control will be ignored by the SY22 when received, and
change reception/transmission on or off. the SY22 will not transmit any control change
messages.
Details: The “off” setting turns MIDI control
change reception and transmission off so that
AFTER TOUCH ON/OFF
LEERY ER В. TULL Но Details: When after touch is turned “off,” internal
EP ST SY22 after touch will function normally but no
MIDI after touch data will be transmitted or
Summary: Turns keyboard after touch on or off. received.
| Keyboard after touch generates a tremendous
Settings: on, off. amount of MIDI data, so you might want to turn
after touch “off” when recording to a MIDI
Procedure: Use the [>] cursor key to move the cur- sequencer in order to preserve memory capacity.
sor to the lower display line. Use the |-1/NO]
and [+1/YES] keys to turn after touch on or off.
PITCH BEND ON/OFF
and [+1/YES] keys to turn pitch bend control on
or off.
Details: When pitch bend control is turned “off,”
the SY22 pitch bend wheel will function normally
but no MIDI pitch bend wheel data will be trans-
mitted or received.
Summary: Turns pitch bend control on or off.
Settings: on, off.
Procedure: Use the [>] cursor key to move the cur-
sor to the lower display line. Use the [-1/NO]
EXCLUSIVE ON/OFF
SELL pL, bo BE AE
EZ RS ETE
3 > “> © Procedure: Use the [>] cursor key to move the cur-
SARE e = x sen sor to the lower display line. Use the [-1/NO]
| No and [+1/YES] keys to exclusive transmis-
sion/reception on or off.
Summary: Turns transmission/reception of MIDI
system exclusive data on or off.
Settings: on, off.
33
UTILITY MIDI
Details: MIDI system exclusive data is transmitted
by the SY22 when one of the voice transmit
functions described below 1s used. The same
type of data will also be automatically loaded
into the SY22 memory when received from a
second SY22 or other MIDI device, thus erasing
previous data. This function can be turned “off”
to prevent accidental erasure of the internal
memory, or the memory of external equipment,
do to mistaken data reception or transmission.
ALL V/M TRANSMIT
Summary: Initiates MIDI bulk transmission of ail
voice and multi-play data.
Settings: None
Procedure; Use the [>] key to move the cursor to
the lower display line. “Are you sure?” will
appear on the display. Press the [+1/YES] key
to begin transmission, or the [-1/NO] key to
cancel. “Transmitting!!” will appear on the dis-
play during transmission, and
“>>Completed!!<<” will appear briefly when
transmission has finished.
Details: This function is useful for transferring all
the voice and multi-play data from one SY22 to
another. If the MIDI OUT of the transmitting
SY22 is connected to the MIDI IN of the receiv-
ing SY22 via a MIDI cable, the receiving unit
will automatically receive and load the data as
long as its internal memory protect function is
turned “off” and EXCLUSIVE ON/OFF is
turned “on.” Another possibility is to transfer
the data to a MIDI bulk data storage device for
long-term storage.
1 VOICE TRANSMIT
МО! VOICE TRANS
111 ec to 7
Summary: Initiates bulk transmission of the data for
a specified SY22 voice.
Settings: Source: I, C, P
Bank: 1... 8
Number: 1 … 8
Procedure: Use the [<] and [b] cursor keys are
used to move the cursor to the source, bank, or
number parameter. Use the [-1/NO] and
[+1/YES] keys to set the selected parameter as
necessary. When the desired voice number’ has
been selected, move the cursor to the Yes/No?
parameter and press the [+1/YES] key to begin
transmission.
84
“Transmitting!!” will appear on the display dur-
ing transmission, and “>>Completed!!<<” will
appear briefly when transmission has finished.
Details: Like the ALL V/M TRANSMIT function
described above, the 1 VOICE TRANSMIT
function is ideal for transferring voice from one
SY22 to another, or to a MIDI bulk storage
device for long-term storage.
In this display the source, bank and number
parameters are shown in the standard SY22
voice number format. “P12,” for example, is
preset bank 1, number 2; “I35” is internal bank
3, number 5, etc.
APPENDIX
FAT bd
85
Keyboard: 61 keys, initial and after-touch
response.
Tone Generator Systems: AWM (Advanced
Wave Memory) & FM (Frequency Modulation).
Internal Memory:
Wave ROM; 128 preset AWM & 256 preset
FM waveforms.
Preset ROM; 64 preset voices.
Internal RAM; 64 user voices.
External Memory: Voice & Multi data; MCD64 or
MCD32 memory cards + write & read.
Displays:
16-character x 2-line backlit LCD.
7-segment 2-digit LED display.
Controls: VOLUME. VECTOR CONTROL, PITCH
BEND, MODULATION.
Key & Switches: POWER; VECTOR PLAY ON/
OFF, LEVEL/DETUNE; CURSOR <« and pb;
MODE VOICE and MULTI, —1/NO and
+1/YES; EDIT/ UTILITY/COMPARE; STORE;
INTERNAL, CARD, PRESET; BANK 1-8
(VOICE COMMON and VECTOR; ELEMENT
TONE and ENVELOPE; MULTI; UTILITY
RECALL, SETUP and MIDI); NUMBER/
MULTI PART SELECT 1-8 (ELEMENT
SELECT A-D, ELEMENT ON/OFF A-D);
DEMO.
SPECIFICATIONS
APPENDIX
Connectors: DC 10V-12V IN; PHONES; OUTPUT
R & L/MONO, FOOT VOLUME, SUSTAIN.
MIDI Connectors:
IN, QUT, THRU.
Power requirements:
DC10-12V, S00mA
Dimensions (W x H x D):
976 x 285 x 93 mm (37-7/8" x 11-1/4" x 3-5/8")
Weight: 6.8 kg (14 lbs 16 oz)
87
ERROR MESSAGES
ERROR MESSAGES
Things do go wrong from time to time, and people do make mistakes. When an error occurs, the SY22 will usually
display a message that describes the type of error so you can easily take steps to rectify the problem. The follow -
ing are quick summaries of the SY22 error displays.
LITLE Fgh VOICE PLAY
315,98, 4 MUA XXX=MEMORY,
Ser in DATA ANI NUMBER)
MULTI ND DRTR!
MULTI PLAY
EDIT
PA en ps | EDIT
HU BETH
MER TÜR E STORE
MUS DATAN
SCHED SET UP
HO DATA! (CARD LOAD)
The currently loaded memory contains no data or
data that 1s not recognizable by the SY22.
VTE PLEY
Card not ready! | OSEA
MULTI ARMAR MULTI PLAY
m AXXXXXXX=
Lard hot read!‘ MULTI NAME)
Lard not ready! STORE
"MOT to Exit
“CRED | SET UP
- roo : CARD SAVE/LOAD/
Card hot reads! | FORMAT)
You have attempted to execute a memory card-
related operation but no card is inserted in the
CARD slot.
88
VOILE FLHY
Card not format! | VOCE FLA!
MULTI RARASAAS ey
Card rot format! MULTI NAME)
Card not format!
"HO" to Exit STORE
“ii CRED SET UP
Carod not, Format, | (CARD SAVE)
The currently loaded memory card 1s not properly
formatted for use with the SY22.
Memos proteciec
"HI +. г Ех {+ STORE
ZU CORD PE) SET Up
CARD SAVE/LOAD/
Memory Protected] Forman
bat
You have attempted to execute an operation that
will after the card or internal memory, but the v=card
and/or internal memory protect function 1s turned
ON.
VOILE DE un
Charge - Card Bari:
ULTRA MULTI PLAY
XXXXXÉX =
Change Card Baik MULTI NAME)
VOICE PLAY
Change Card Bank
TOY de Ew it ; | STORE
SI! Car So. | SET UP
SAVE/LOAD/
Charge Caro Bar de CORMAT)
An MCD32 type memory card is loaded but card
bank 2 is selected (MCD32 cards only have a single
bank — BANK 1 — so it 1s necessary to select
bank 1 if this display appears).
+ERRORakHit "MO 4
[llegal Data
Unrecognizable MIDI bulk data has been received
by the SY22.
—1/NO and +1/YES Keys
3, 13, 30, 36, 42, 52, 61, 68, 80
A
After Touch
Amplitude Modulation 33
Level Control 33
Pitch Modulation 33
Pitch Control 33
Amplitude Modulation 32
AWM (Advanced Wave Memory) 14
B
Bank Select & Edit/Utility Mode Keys 4, 12-13
C
Card Slot 6, 12, 69
Compare Function 30, 36, 42, 52, 61
Cursor Keys 3
D
DC 10V—12V in Jack 5,9
Demo Key 4, 10
Drum Kit Voice 19
E
Edit/Utility/Compare Key
3, 20, 24, 30, 36, 42, 52, 61, 68, 80
Envelope
Attack (Level & Rate) 33, 55
Copy 54
Delay (Delay Rate & Element On/Off) 54
Decay 1 (Level & Rate) 55
Decay 2 (Level & Rate) 55
Global Attack 33
Global Release 33
Initial Level 33, 54
Level Scaling 56
Release Rate 33, 56
Rate Scaling 57
Type 25, 33, 53
Element
After Touch Sensitivity
Copy
Frequency Shift
Pan
Tone
Velocity Sensitivity
Volume
F
FM Synthesis
Foot Volume Jack
К
Keyboard
L
LED Display
LFO (Low Frequency Oscillator)
AM Depth
PM Depth
Type
Delay
Rate
Speed
Liquid Crystal Display
M
Master Tune
Memory Card
Memory Keys (Internal, Card, Preset)
Memory Protect
MIDI
1 Voice Transmit
After Touch On/Off
All Voice & Multi Transmit
Basic Receive Channel
Control Change
Exclusive On/Off
In, Out and Thru Connectors
Local Control On/Off
On/Off
Program Change
Pitch Bend On/Off
33,47
45
45
47
46
46
4
32, 33, 48
32, 33, 48
48
32, 33, 49
32, 33, 49
49
4
69
6, 12, 69
4, 11-12
22,73
84
83
34
51
82
83
6
82
81
82
83
89
Transmit Channel
Modulation Wheel
Multi Key & Indicator
Multi Play Mode
Detune
Effect Type & Depth
Initialize
MIDI Receive Channel
Name
Note Limit
Note Shift
Recall
Sequencer System
Split Keyboard Setups
Voice Number Assignments
Volume
N
Number/Multi Part Select Keys
О
Output R & L/Mono Jacks
P
Phones Jack
Pitch Bend Wheel
Pitch Modulation
Power Switch
Precautions
Random
Detune
Element
Level
Reference Section, What's In the
90
81
3, 32, 48, 49, 83
3, 60-61
59-61
64
62
72
63
62
64
64
75-77
60
60
62
63
4, 12--13, 61
>
3,32, 83
32
5
2
24, 34
24, 34
24, 34
Store Key 4,23
Sustain Jack 6
T
Transpose 69
Tutorial Section, What's In the 1
V
Vector
Control 3, 11, 14-21
Detune Speed 21,39
Detune Record 21,39
Detune Edit (Step, X-Axis, Y-axis & Time)
21-23, 39
Level Speed 20, 37
Level Record 21,37
Level Edit (Step, X-Axis, Y-axis & Time)
21-23, 37
Play Keys & Indicators 3, 15
Voice
Configuration 14, 31
Effect Depth 31
Effect Type 13, 16-19, 31
Initialize 71
Key & Indicator 3, 12,22
Name 23,31
Preset List 11, 16-19
Volume Control 3,9
W
Wave
AWM List 43
FM List 44
Type 14, 16-19, 43
APPENDIX
O DATA FORMAT
(1) MIDI reception conditions
MIDI DATA FORMAT
SFE ACTIVE SENSING
VOICE
—«Bch? — $8n NOTE OFF
won| — $Bn,$40 SUSTAIN SWITCH
MIDI Г [| 380810 VECTOR CONTROL X-axis
MIDI o— CONTROL VOICE $Вп,$11 VECTOR CONTROL Y-axis
ON | CHANGE о «Всп? $Вп, $01 MODULATION WHEEL
[© О MULTI $Bn, $07 VOLUME
ON Rch?s—
PITCH VOICE
BENDER SB —— $En PITCH BENDER
— О
MULT!
ON po MULTE menos
AFTER VOICE
TOUCH aun J $Dn AFTER TOUCH
Г С —
MULTI |
ON o0———— «Rech?
VOICE 2
o—— Bch? $Bn,$7B ALL NOTE OFF
PT MULTI
AA? $Bn,$79 RESET ALL CONTROLLER
{psn
PROGRAM common
CHANGE © <Bch? $Cn PROGRAM CHANGE
O— individual VOICE
OC MULTI
O————«<Rch?>
EXCLUSIVE MEM.PROTECT
—o O———————«Bch?>——o 0-—————— $F0,$43.$0n,$7E ALL V/M BULK
ON OFF (PK__2203VM)
$F0,$43,$0n,$7E 1 VOICE BULK
(PK. _2203AE)
Bch - Basic channel $F0,$43,$2n,$7E ALL V/M BULK REQ.
Rch == Receive channel (PK_ _2203VM)
$FO,$43,$21,$7£ 1 VOICE BULK REO.
(2) MIDI transmission conditions (PK__2203AE)
ACTIVE SENSE $FE —
NOTE ON/OFF Son —
VOICE VECTOR PLAY
VECTOR CONTROL Y-axis $Bn $11 ON | CONTROL
| CHANGE
MODULATION WHEEL $Bn,$01 o O ——
ON
SUSTAIN SWITCH $Bn,$40
PITCH BENDER
PITCH BENDER sEn o Cc
ON
AFTER TOUCH
AFTER TOUCH $Dn — 5 Oo |
ON oft MIDI |
O— —<Ich>——0 0—— MIDI
Transmit
PROGRAM CHANGE $Cn — > *omman channel
FLAY — individual
MODE Ца
EXCLUSIVE
ALL V/M BULK $FO0,$43,$0n,$7E о о— ——
(PK_ _2203VM) | ON
1 VOICE BULK $F0,$43,$01,47E ———
(PK__2203AE)
91
APPENDIX
(3) Channel Messages
3.1 Note On/Off
Transmission: |
e Note range = Cl1($24)-C6($60)
e Velocity range = 0~$7F (0: note off)
e i9n, note, $00 for note off and $8n is not transmitted.
Reception:
e Note range = C-2($00)-G8($7F)
® Velocity range = 0-$7F
3.2 Control Change
MODULATION WHEEL and VECTOR CONTROL is possible
to set transmission/reception on/off by the utility control change
on/off.
Transmission:
e Output to MIDI through the transmit channel when the follow-
ing controller is operated irrespective of the play, edit, etc.
mode.
$Bn, $01, $vv Tw = 0-$7F |
$Bn, $40, $vv | off:vv=0, on: =$7F
$Bn, $10, $vv | vw=0-$7F
$Bn, $11, vv | vw=0-$7F
® VECTOR CONTROL is transmitted only if the VECTOR
PLAY ON/OFF switch on the panel is on.
Reception:
e The following parameters are accepted by MIDI.
= “OO de. 4 2 == Joso
1 $Bn,$01,5vv WHEEL MING
$7F(WHEEL:MAX)
Sos IN SNA $Bn,$40,5vv | vw=0-$3F:SUS OFF,
eat EE v=$40-$7F:SUS ON
VOLUME. >. | $Bn$07 $vv
VECTOR SF CONTROL $8n,$10,%vv | Depends on the panel
ue za $Bn,$11,5vv | [VECTOR PLAY ON/
- - Vans. o и OFF] and (LEVEL,
o DETUNE] status.
3.3 Program Change
e It is possible to set transmit/receive on/off by the utility pro-
gram change on/off.
Transmission:
e The voice and multi Nos. and the program change Nos. corre-
spond to each other as shown below,
92
fh Es e я
> $08 $00 SOA $08 $00 $00 $0E HOF
а 1 $10 $11 $12 $13 $14 $15 $16 $17
4: | $18 $19 SIA $18 $10 $ID HIE $F
$20 $21 $22 $23 $24 $25 $26 $27
7.) $30 $31 $32 $33 $34 $35 $36 $37
3 | $38 $39 $34 $3B $C $30 $3E $
1940 $41 $42 $43 $44 $45 $46 $47
“3
+
- 6528 $29 $28 $28 $20 $20 $2£ $e
7
8
1
P| $48 $49 $1A $48 $C $D HE HF
MULTI | 7
%
Reception:
® The above program change Nos. are accepted. Other Nos. are
ignored.
3.4 Pitch Bend
e It is possible to set transmission/reception on/off by the
utility pitch bend on/off.
Transmission:
e Transmitted at 7-BIT resolution.
Reception:
e Operates by 7 BIT on the MSB side only. The LSB side 15
Ignored.
3.5 After Touch
e It is possible to set transmission/reception on/off by the
utility after touch on/off.
Channel mode message
Reception:
e With the following codes, receive is possible in each of the
voice and multi modes and the corresponding channel process
is performed.
Not accepted if OMNI ON, however.
The NOTE OFF process is restricted to the MIDI input NOTE
only.
ALL NOTE OFF $Bn, $7B, $00
RESET ALL CONTROLLER $Bn, $79, $00
(4) System Common Message
® At staluses $F1-$F6, nothing is done.
e At status $F7, “END OF SYSTEM EXCLUSIVE”,
(5) System Realtime Message
Transmission:
e 3FE is transmitted about every 270 msec.
Reception:
e If no signal comes from MIDI for about 300 msec or more after
once receiving $FE, the MIDI receive buffer is cleared and the
MIDI KEY ON is turned OFF,
(6) System Exclusive Messages
4.1 1 VOICE BULK DUMP
Transmission:
The voice data set by input is transmitted.
The received data is saved in the voice edit buffer.
Reception:
Format:
£FO 211110000
$43 $01000011
$0n 20000nnnn
$7E “01111110
$06 0nnnnnnn
$71 “Unnnnnnn
$50 201010000
$48 201001011
$20 200100000
$70 %00100000
$32 200110010
$32 #00110010
$30 200110000
$33 200110011
$41 501000001
$45 201000101
tad %0ddddddd
| |
$dd *0ddddddd
bee %“Oeeppeopp
$F7 11110111
Status
Yamaha
n=Receive or Transmit channei
BYTE Count (MSB)
BYTE Count {LSB}
ASCII CF
ASCII "К a
ASCII "-
ASCII 7
ASCII "
ASCII *
ASCII
ASCII
ASCII
АЗС”
| 1 VOICE DATA
CHECK SUM
EOX
Byte count shows this area.
ME On]
4.2 ALL V/M BULK DUMP
Transmission:
All the intemal voice and multi data is transmitted.
The received data is internally saved.
Status
Yamaha
n=Receive or Transmit channel
BYTE Count (MSB)
BYTE Count (LSB)
ASCII 'P —
ASCIT 'К
ASCII *-
ASCII ”
ASCII
ASCII
ASCII
ASCII
ASCII
ASCII
| VOICE DATA
(00-03)
CHECK SUM
Byte count shows this area.
E< vom ml
- + + + м
100 м5ес WATT------vmmim ee ско
Reception:
Format:
$F0 ¥11110000
$43 01000011
$0n *0000n nan
$7E 01111110
$18 *0Onnnnnnn
$66 *ûnnnnnnn
$50 501010000
$48 *01001011
$20 200100000
$20 00100000
$37 500110010
532 %00110010
$30 400110000
$33 200110011
$56 201010110
$40 201001101
$dd Züddddddd
|
$00 ¥0ddddddd
tee tleeeeceee
$18 *Onnnnann
$5C EGnnnnnnn
$dd #0ddddddd
|
$dd ¿Dddddda
tec Aleececes
BYTE Count CMSB)
BYTE Count (LSB)
|| VOICE DATA
= (04-07)
CHECK SUM
100 msec WAIT---------mmmmrrm Renee
Voice data 7s transmitted as divided per 4 timbres as shown above.
A time interval of a minimum of 190 msec is always allocated
between them.
100 msec WAIT------------- TESEO
kOnnanrinn
*Onnnnnnn
road dede
#0ddddddé
*0eeepeee
#11110111
BYTE Count (MSE)
BYTE Count (LSB)
| MULTI DATA
(00-15)
CHECK SUM
EOX
APPENDIX
4.3.1 YOICE BULK REQUEST
Reception:
The request signal of the above Item 4.1. However, the data
transmitted by this request is the timbre No. sounded at VOICE
instead of being the one set as specified in Item 4.1.
Format:
$0 211110000 Status
$43 01000011 Yamaha
$Zn *0010nnnn
$7E $01111110
$50 201010000 ASCII CP
n=Receive channel
14B 401001011 ASCII "K
$20 Z00100000 ASCII "1
$20 A00100000 ASCII "1
$32 200110010 ASCII Г
$32 %00110010 ASCII "2
$30 %00110000 ASCII "O
$33 200110011 ASCII "3
$41 01000001 ASCII "A
$45 401000101 ASCII "Е
#F7 %11110111 EOX
44 ALL V/M BULK REQUEST
Reception:
The request signal of the above Item 4.2.
Format:
$FO 11110000 Status
$43 01000011 Yamaha
$2n 5001 0nnmr
$7E 401111110
$50 #01010000 ASCII CP
$4B #0100101 — ASCII °K
$20 200100000 ASCII *-
$20 200100000 ASCII
$32 00110010 ASCII
$32 200110010 — ASCII
$30 200110000 ASCII
$33 00110011 ASCII
$56 01010110 ASCII
140 01001101 ASCII
$F7 11110111 EOX
n=Receive channel
= <a Sr ro]
93
YAMAHA |: Digital synthesizer | Date 1/07 1990
Model 5Y22 MIDI Implementation Chart Version : 1.0
+A A hm +
: : Transmitted Recognized : Remarks :
Function : : :
неее не Fm AA; +
:Basic Default : 1-16 1-16 > memorized :
Channel Changed : 1-16 1-16 : :
== ее = = a = но = aa Ja em me AA+
Default : 3 1, 3 : memorized :
Mode Messages . X Xx : :
Altered A XX AAA Erkki kkk X . :
a rm = = = fm rc drm mr re me item +
Note : 36-96 0 -127 : :
Number True voice: *XXXXXXXXEXXXKXKX 19-114 : :
неее неее еее неее ak $ eee +
Velocity Note on : O 9nfl,v=1-127 O v=1-127 : ,
Note off : X 9nH,v=0 X : :
=== ен неее неее неее ен неее фене оное ноте тнт но
After Keys . X X : :
: Touch Ch’s : O x 3 O ¥3 :
a tm mn фона om mm tt wt me em Fr ae rm mm mm ee te er mf ee mm = — = — —
:Pitch Bender : O x 2 O 0-12 semi x2:7bit resolution :
En FELL ALLA +
1 O X 1 O *1 :Modulation wheel:
: 7 X x] O *1 : Volume
‘Control : :
: 16 O *1 O *1 : Vector contro) X:
:Change : :
: 17 O * 1 O *1 :Vector control Y:
64 O X 1 O *1 :Sustain
AAA + JA fa —
Program : O 0-79 O 0-79 : :
Change True # ° AXXXXXXXXXKXX 0-79 :
e a e ma mm mm ie E E оу == — — -— 4+ = ен == == — — == == = шо — == — == = — re ен оны оне ое же ое = ен =е же ен о — — == = == == == == — == — ны он == == —
System Exclusive : O * 4 O x4 : .
AA aaa LAA; mm +
:System Song Pos : X X : :
: Song Sel . X X ;
: Common Tune : X X : .
nr AE daa ak Ai +
:System Clock : X X : :
‘Real Time:Commands : X X : :
aa AL A +
Aux iLocal ON/OFF : X X : :
All Notes OFF: X O (123) :
Mes- :Active Sense ; O O :
sages:Reset : X X : :
= еее неее do aaa JAJA +
Notes *1 = transmit/recive if control change sw is on. :
*2 = transmit/recive if pitch bend sw 1s on. :
: x3 = transmit/recive if after touch sw is on. :
: *4 = transmit/recive if exclusive sw 18 on. :
om ee butte belle +
Mode 1 OMNI ON, POLY Mode 2 OMNI ON, MONO O Yes
Mode 3 OMNI OFF, POLY Mode 4 OMNI OFF, MONO X No
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 pre-
cautions should always be followed, including the
following:
В
ho
tnd
Read all Safety and Installation Instructions, Supple-
mental Marking and Special Message Section data, and
any applicable assembly instructions BEFORE using
this product.
Check unit weight specitications BEFORE you
atiempt to move this product,
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,
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.
This product may be equipped with a plug having three
prongs or a polarized line plug (one blade wider than
the other). Tf you are unable to insert the plug into the
outlet, contact an electrician to have the absolete out-
let 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.
WARNING — Do NOT place objects on the power
cord or place the unit m 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.
Environment: Your Yamaha Digital Musical Instru-
ment should be installed away from heat sources such
as heat registers and/or other products that produce
heat.
Ventilation: This product should be installed or posi-
tioned in a way that its placement or location does not
interfere with proper ventilation.
. Yamaha Digital Musical Instrument products are
frequently incorporated into “Systems” which are
assembled oncarts, stands, or in racks. Utilize only
those carts, stands, or racks that have been designed for
10.
Li.
12.
13.
14.
15,
16.
this purpose and observe all safety precautions sup-
plied with the products. Pay special attention to cau-
tions that relate to proper assembly, heavier units
being mounted at the lower levels, load Hmits, mov-
ing instructions, maximum usable height and
ventilation.
Yamaha Digital Musical Instrument products, either
alone or in combination with amplification, head-
phones, 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, ring-
ing in the ears, or suspect any hearing loss, you should
consult an audiologist.
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.
Care should be taken so that objects do not fall, and
liquids are not spilled into the enclosure,
Yamaha Digital Musical Instrument products should
be serviced by a qualified service person when:
The power supply/power adapter cord or plug has been
damaged; or
Objects have fallen, or liquid has been spilled into the
product; or
The unit has been exposed to rain; or
The product does not operate, exhibits a marked change
in performance; or
The product has been dropped, or the enclosure of the
product has been damaged.
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.
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.
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 alt countries.
SPECIAL MESSAGE SECTION
ELECTROMAGNETIC INTERFERENCE (RFI): Your
Yamaha Digital Musical Instrument Proapplicable regu-
lations. However, if it is Installed in the immediate
proximity of other electronic devices, some form of inter-
ference 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 infor-
mation 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 knowl-
edge relating to how a function or effect works (when the
unit is operating as designed), are not covered by the manu-
facturer’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 con-
tents 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 imme-
diate 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.
SERVICE
This product is supported by YAMAHA's worldwide network
of factory trained and qualified dealer service personnel. In
the event of a problem, contact your nearest YAMAHA
dealer,
YAMAHA
YAMAHA CORPORATION
PO Box 1, Hamamatsu, Japan
\193520| 9042 R4 ITP Printed Japan.
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