Yamaha QX5 Owner's manual

Yamaha QX5 Owner's manual
YAMAHA
= = В
DIGITAL SEQUENCE RECORDER
OWNERS MANUAL
ABOUT THIS MANUAL
Thank you for purchasing the OX5 Digital Sequence Recorder. The OX5 is an 8 track
MIDI sequencer with extensive editing functions and superb fiexibility, yet easy to learn
and simple to use. In order to understand the QX5 and take full advantage of its capa-
bilities, please read through this manual and try out the examples.
CONTENTS
ABOUT THIS MANUAL NER ELEKTR 1 LOAD/SAVE (TAPE/MIDI/SET UP)... 34
HOW DOES THE QX5 WORK Pe 2 SETUP aan, 38
FEATURES reer 4 A se ere see eee ere ea ee een ee ee eee ae e are seras 41
PRECAUTIONS... RR RER EKRKRK RER RK KR KEE 5 MID 2 REEL KKRRRENRRENKRARARERRKAL FAR EEREREERERRERERE EEE 44
OPERATION GUIDE ......................-.e...._e.eeieemecree eee 6 OTHER FUNCTIONS...............00..0.. 00000 RKE RK R KERLE se 46
FRONT/REAR PANEL...........................re000ierercaceneacionee ns 7 TAPE SYNC e ener. 47
SIMPLE RECORDING EXAMPLE............................_.__.... 9 IDEAS AND SUGGESTIONS ........... 00m. 48
MESSAGES ces rence nca 49
MAIN FUNCTIONS... ean 12
DISPLAY Loe cinerea 12 SYSTEM EXCLUSIVE DATA FORMAT .......................... 50
TEMPO EN 12 SPECIFICATIONS... een 51
MEASURE ....... ce, 13 MIDI IMPLEMENTATION CHART... 52
TRACK ena 13
CLOCK reer ser ra reer 14 WHAT'S HEXADECIMAL? ........oo 2... 53
WHAT'S MIDI?...... ccc eee 55
RECORDING ..........o cee, 15
REALTIME RECORDING .........c EEE ner racer 15
PUNCH IN RECORDING ....................e2.. 00. .eneinninenare 16
STEP RECORDING .................-revererercacerinec are rece. 17
EVENT EDIT... rere, 20
MEASURE EDIT ...................v..e.e.rereriecenceerirereceneececaren ee. . 25
TRACK EDIT... eee eee 30
1
a.
HOW DOES THE QX5 WORK?
This section will give you a quick overview of the QX5. When you play a MIDI keyboard, it sends messages indicating
which note was played and how strongly, sustain pedal on/off, etc. The QX5 digitally records these messages and
can “play” them back, causing a MIDI tone generator to produce sound. To use the QX5, you need a MIDI keyboard
and at least one MIDI tone generator or synthesizer.
Record
{
MIDI OUT
MIDI Keyboard
For example you can use a Yamaha DX7 as MIDI keyboard, a Yamaha TX816 as tone generator and add a Yamaha
RX11 for drum tracks.
f
MIDI OUT
DX7
| |
MIDI IN MIDI QUT
Play back
|
MIDI IN
Qxb
MIDI Tone
Generator
ОХ5
! y
MIDIIN MIDI OUT
RECORDING
Realtime
Punch In
Step
1
MIDI IN
TX816
T
MIDI THRU
RX11
MIDI IN
The QX5 can record MIDI data in three ways.
Notes are recorded in the timing that you play them.
The same as realtime recording, but you can set the point at which recording will
begin and end.
You can use a MID! keyboard to enter notes and specify their timing and gate time
using the QX5 panel switches.
EIGHT TRACKS
track can be turned on or off for playback.
8 tracks of MIDI data can be stored, edited, saved and loaded independently.
Recording is always done on track 1. When you have finished recording a track,
you can exchange track 1 with an empty track (2-8) and record again. Channel
information is recorded, and each track can contain independent MIDI data of up
to 16 channels. Tracks can be joined, mixed, cut, deleted, exchanged, etc. Each
THIRTY-TWO
MACROS
EDITING
Event Edit
Measure Edit
Track Edit
Think of a macro as a “floating track.” A macro contains the same data as a track,
and tracks and macros can be freely exchanged. A macro number can be inserted
at any point in a track. When playback comes to that point in the track, the data
in the macro will begin playing along with the data in the tracks. Up to 4 macros
can be playing at once.
Measure 1 | 2 i 3 | 4
|
| | | |
| t |
Track 1 MACRO 03 MACRO 05 MACRO 10
* # w
y
M10 [ _ 1
MOS 3
MO3 ]
Track 2 MACRO 02 | MACRO 21
|
M02 [ ] M21 |
Macros are handy for repeated phrases, or as temporary storage. There is no limit
to the capacity of a track or macro, but the total number of recorded notes (tracks
+ macros) must be less than 20,000. (If Note On Velocity data is recorded, capacity
is about 15,000 notes.)
Since the QX5 “records” data, not sound, you have complete freedom to change
a performance after it has been recorded. There are three ways to edit what you
have recorded.
Edit individual MIDI “events”. You can go in and change, insert, delete, or change
the timing of individual notes or data such as Program Change messages.
Edit individual measures. You can delete, insert and copy measures, and selectively
remove or change certain data from specified measures.
Edit whole tracks. You can exchange, copy, mix, erase, and connect tracks, and
transfer specified data to another track or macro. a
Tracks & Macros
Memory Capacity
Relative Tempo
3 Position Memories
Auto Locate
Punch In/Out Record-
ing
Step Recording
Unlimited Editing
4 Setup Memories
MIDI re-channelizing
Tape Sync
Backlit LCD
Tape or MIDI Save/-
Load
STOP!
FEATURES
The QX5 offers an unprecedented array of features in a compact unit, just the right size for placing on top of a
keyboard, and is the same width as the TX7 Tone Generator and RX21 Rhythm Programmer for easy stacking.
8 tracks (p. 2) and 32 macros (p. 3) give you great versatility in your composing
and arranging.
You can record approximately 20,000 notes (15,000 when recording velocity data).
Recording controller data (Aftertouch, etc.) will also use memory.
Tempo changes can be inserted at any point.
Three measure positions can be stored and jumped to at the touch of a switch.
Recording can be set to automatically begin from a certain measure.
You can set recording to begin and end at specified measures.
A MID! keyboard and the OX5 pane! switches can be used to enter complex phrases
note by note.
Recorded data can be edited by track, measure or event (p. 3).
MIDI reception and transmission conditions and QXb settings can be set and stored
in 4 memories for instant recall.
Each incoming and outgoing channel of MIDI messages can be independently
re-assigned to a different channel.
An FSK tape sync signal can be recorded on tape to synchronize the QX5 with a
multitrack recording.
The two-line 16-character LCD is backlit for easy visiblity even in dim lighting.
Sequence data can be saved to and loaded from a data cassette tape or a MIDI
data managing device.
If you are a little unsure about your understanding of MIDI, go and read p. 53 What's
Hexadecimal” and p. 55 “What's MIDI?”
LOCATION
HANDLING
POWER CABLE
CLEANING
ELECTRICAL STORMS
(LIGHTNING)
ELECTROMAGNETIC
FIELDS
PRECAUTIONS
Avoid placing the QX5 in direct sunlight or close to a source of heat. Also, avoid
locations in which the device is likely to be subjected to vibration, excessive dust,
cold or moisture.
Avoid applying excessive force to the switches, dropping or rough handling. While
the circuitry is of reliable integrated circuit design, the QX5 should be treated with
care.
Always grip the plug directly when removing it from an AC receptacle. Removing
the plug from the AC receptacle by pulling the cable can result in damage to the
cable, and possibly a short circuit. It is also a good idea to disconnect the QX5 from
the AC receptacle if you don’t plan to use it for an extended period of time.
Use only a mild detergent on a cloth, and dry with a soft cloth. Never use solvents
(such as benzine or thinner) since they can melt or discolor the finish.
Computer circuitry, including that in the OX5, is sensitive to voltage spikes. For
this reason, the QX5 should be turned off and unplugged from the AC receptacle
in the event of an electrical storm. This precaution will avoid the chance that a
high voltage spike caused by lightning will damage the device.
Computer circuitry is also sensitive to electromagnetic radiation. Television sets,
radio receivers, transmitters and transceivers, and wireless microphone or intercom
systems are all potential sources of such radiation. The QX5 should not be placed
too close to such devices.
q
—
OPERATION GUIDE
The OX5 Top Panel contains a JOB TABLE to show how to enter job groups and quick guides of EVENT EDIT
and STEP RECORD. It is for your reference when you operate the QX5.
YAMAHA <>< =
STEP RECORD EVENT EDIT JOB TABLE
FREE MEMORY MEASURE BEAT CLOCK E [measure | | TRACK |
STEP 250 M=0001-01-00/96 Press un v v v v
1/04 080% 064 NOTE (1) C..3 064 SHIFT № EVENT EDIT MEAS EDIT TRACK EDIT LOAD/SAVE
| ] ' ; SEARCH COPY EXCHANGE TAPE SAVE
STEP TIME GATE TIME vELoCITY EVENT DATA CHANGE DELETE COPY TAPE LOAD
REMOVE TR.DOWN TAPE VERIFY
DISPLAY SHIFT CLEAR MIDI TRANSMIT
QUANTIZE CUT MIDI RECEIVE
M=0001-01-00796 | AFTER TOUCH EXCLUSWVE NE er SEE NON,
CONTROL TEMPO GATE TIME CLOCK MOV
1/04 080% 064 MODE MEASURE CRESCENDO THIN OUT
STEP TIME CLOCK STEP TIME CLOCK SEARCH —— FI CHANGE Press Twice » SETUP MONITOR MIDI MIDI 2
ма a Leu Rue comm AE INPUT NORTON INPUT ASSIGN REMOTE
1/03 128 1/24 16 F4 FWD F3 -1 REPEAT VELOCITY ECHO
1/04 96 1/32 17 Fa +1 MEM PROTECT AFTER TOUCH DEVICE NUMBER
FOOT SWITCH PITCH BENC
1/08 64 1/48 8 SHIFT + RECORD DELETE LOCATE DELAY CONTROL CHNG
1/08 48 1/64 6 SHIFT + STOP INSERT ; SYS.EXCLUSIVE
1/12 32 1/86 4 SHIFT + START REPLACE
EE The four main function switches (Tempo, Measure, Track and Clock) each access
JOB TABLE two job groups, one group when double-clicked, and one group when pressed
while holding (SHIFT). To exit from the Job mode, press one of these function
switches or {SHIFT| + [RESET].
This guide contains an illustration of the LCD, a list of events and a diagram of
EVENT EDIT EDIT operations. For details see EVENT EDIT (p. 20).
Search When the cursor is hidden, use (=), (>) to move through track 1
searching for events you want to change. Press (JOB) to switch from Search
to Change. The cursor will start blinking.
Change Use (CURSOR) to select what you will change (Position, Event, Data), and
use (a), (=) to change the value.
Then, you need to Delete, Insert or Replace the event using [SHIFT] and
[RECORD]/[STOP]/[START].
== ————— This guide contains illustrations of the LCD and a table showing the number of
STEP RECORD clocks per step. For details see STEP RECORDING (p. 17).
Step Time Time value of the note (1/2 —1/96).
Gate Time Length the note is held, displayed as a percentage of the Step Time.
Velocity Force with which the note is played (1 — 127).
Free Memory
Unused memory in blocks of 80 notes.
By pressing ¡DISPLAY |, you can display the current position; measure, beat, clock.
FRONT/REAR PANEL
FRONT PANEL
YAMAHA DELETE STEP BACK TIE REST
PK (= TÉMPO MEASURE TRACK CLOCK DISPLAY AUTO LOCATE RECORD CONTINUE fort
. са 0 ea ea ser | |
mM FE pa [J] Ca] С C— AEC MODE ENTER
LCD A two-row 16-character Liquid Crystal Display, backlit for high visibility.
* The Job Guide on p. 6 describes the functions of the following 4
switches when pressed with |SHIFT| and when double-clicked.
TEMPO Disptay and change the current tempo. The LED blinks to indicate the current tempo.
While [SHIFT] is pressed, you can recall and set the Tempo Memories.
MEASURE Move through the measures of a song (fast forward and rewind). White [SHIFT |
is pressed, you can recall and set the Measure Memories. |
TRACK Each track can be switched on or off. [F1]-[F4] switch tracks 1-4. While
SHIFT] is pressed, [F1]-[F4] switch tracks 5-8.
CLOCK The QX5 can be controlled by its own internal clock, MIDI clock, or tape (FSK) m
DISPLAY (CLICK)
clock. While [SHIFT] is pressed, the Clock Output can be turned on or off.
*
Select display mode. Tempo, Measure, Track and Clock can each have their own
display (with help message) or all be shown in one display (no help messages).
When pressed with |SHIFT!, the click is turned on or off.
AUTO LOCATE (RESET) When this is on, pressing [START] will begin recording or playback from the measure
RECORD (REC MODE)
STOP/CONTINUE
in the first (left) Measure Memory. The LED indicates Autolocator On. You can
loop between the current measure and the first Measure Memory by pressing |
SHIFT} + [START]. By pressing | SHIFT] with this switch, you can abort the current
operation.
Enter record mode. When |RECORD| is pressed with [SHIFT], the Record Mode
will change.
Stop recording or play. If pressed again, play will continue from that point. If pressed
after | RECORD], recording wilt begin from that point.
START (ENTER) Start recording or play from the beginning of the song. When editing, executes the
selected function.
* Switches [F1]-[F4] perform the function indicated in the LCD above
the corresponding numbers [F1]-[F4].
F1 (JOB) When performing a Setup, Edit or Load/Save function, [F1] steps through the jobs.
F2 (CURSOR) When performing a Setup, Edit or Load/Save function, moves the cursor.
ЕЗ ( < ) When performing a Setup, Edit or Load/Save function, decrements the data
indicated by the cursor.
F4 ( >) When performing a Setup, Edit or Load/Save function, increments the data
indicated by the cursor.
SHIFT Used to access the functions printed in purple below the keys. Holding down
SHIFT] reverses the movement of the and [CURSOR] keys.
REAR PANEL
TAPE
FOOT $w CLICK OUT
POWER
© = Sr я o
[TO ® ооо
ый К)
MIDI THRU All messages received at MIDI IN are sent unchanged from this terminal.
MIDI QUT Sequence playback and other MIDI messages are sent from here. You may set the
MIDI OUT to echo back messages received at MIDI IN.
MIDI IN MIDI messages coming in to this terminal can be recorded by the QX5.
TAPE OUT In play and record mode, this sends an FSK tape sync signal. In load/save mode,
it sends sequence data to tape.
TAPE IN In play and record mode, this receives an FSK tape sync signal. in load/save mode,
It receives sequence data from tape.
FOOT SW An optional footswitch such as the FC4 or FC5 can be used to start, stop or continue
playback or recording.
CLICK OUT The metronome signal is output from this jack to an external mixer or amp. The
internal click tone will go off if this is connected.
SIMPLE RECORDING EXAMPLE
To give you a general idea of how to use the QX5, we will show you how to record in real time.
CONNECTIONS
SETTINGS
Memory Protect
Echo
Channel Assign
Connect the QX5 to your keyboard and tone generator as shown on p. 2. If you
are using the OX5 with a single MIDI synthesizer, connect the synthesizer MiDl
OUT to OQX5 MIDI IN, and OX5 MIDI QUT to the synthesizer MiDI IN.
Recording on the QX5 is usually very simple; just press |RECORD| and then
START]. But in order to make this example absolutely foolproof, we will make
sure all settings are correct. We will give detailed explanations of each function
later.
For us to record, memory protect must be off. Double-click the [TEMPO] switch
(quickly press it twice). Press three times to get the Memory Protect display, -
and press < to make it read “MEM.PROTECT OFF.”
—_
(Press three times)
(Press twice) |
TEMPO (FU LES] = 4>МЕМ. РЕОТЕСТ
1 — LL OFF
EVENT EDIT
We need to hear ourselves play, so we will set the OX5 to transmit ali messages
received at MIDI IN directly from MIDI QUT. (This is called Echo Back.) Dou-
ble-click the |¡CLOCK| switch. Press twice to get the Echo display, and
press «3 or с> to make it read “DIRECT”.
(Press twice) (Press twice)
CLOCK
3>ECHO
LJ II» DIRECT
JOB < >
LOAD/SAVE
We want to record MIDI messages coming in on channel 1, and play them back
on the same channel. Check to make sure that your keyboard is transmitting on —
channel 1 and that your tone generator is receiving channel 1 (see the owner's
manual for each device).
Double-click the switch. The display will show “INPUT ASSIGN”, with
a blinking cursor at the lower far left. The number at the cursor should be “1”. If
not, use < or E to change it to “1”.
(Press twice) (Press if needed)
[Fa]
Track EE — up| I> INPUT ASSIGN
LJ o — = 2345678910 11 1213 1415 16
Clock
Track 1 On
Realtime Record
Metronome
Press and the display will show “OUTPUT ASSIGN.” In the same way you
did with Input Assign, make sure the far left number is “1”.
С = 2>0UTPUT ASSIGN
TOR 23456789 1011 12 13 1415 16
We will set the QX5 clock to [INTERNAL]. Press [CLOCK] and then [F4]. The
display will show "CLOCK IN=INT" or “C=INT.”
CLOCK
START RECORDING
| || Je CLOCK IN=INT ,|r=120 M=0001-01
LOAD/SAVE > Tape Midi Int P=¥%,...... C=INT
[F2]
For us to record on track 1, it must be turned on. Press [TRACK] and then
to make “1” or "*” appear. (Each time you press [F1], “1” or “*” will alternate
with “.")
TRACK [FT]
T5=120 M=0001-01
C=INT
PLAY TR=*.......
= or
ed LL] Trl Tr2 Tr3 Tr4 p=x.......
While holding down ¡SHIFT), press |REC MODE). Each time you press
IREC MODE], the display will move between “REALTIME”, “PUNCH IN", and
“STEP.” Make it read "REALTIME."
RECORD
SHIFT REALTIME 250
+
| Je "220 m=o001201
REC MODE
While holding down |SHIFT|, press |CLICK]| to turn the metronome on or off. (If
it's too fast, or sounding in a strange time signature, just leave it off. We will explain
how to set this later.)
SHIFT DISPLAY
LL
CLICK
When you selected the recording mode, the Record LED came on. Pressing
START] will begin recording. After a two-measure countdown, anything you play
will be recorded. Play 20 or 30 measures so that we have something to work with.
Ready to record
RECORD
| = REALTIME 250
T=120 M=0001-01
REC MODE
Countdown Begin recording
START
my REALTIME 250 => REALTIME 243
T=120 COUNT=08 T=120 M=0001-01
ENTER
When you have played enough, press [STOP/CONTINUE]|. Both LEDs will go off.
10
Pressing [START] will playback what you have just recorded. Press | MEASURE
PLAYBACK and use <a> to “rewind” or “fast-forward.”
Start/Stop/Continue The [STOP/CONTINUE] key is dual-function. Pressing [STOP/CONTINUE] during
playback or recording will stop. Press it again to continue playback or recording
from that point. For example, you can stop playback (press [STOP]), use <I> to
find the measure you want, and continue from that point.
When stopped, pressing |ISTART| will playback or record from the beginning.
Working through the above should give you an idea of what MIDI recording is like. To fully understand the pos-
sibilities and freedom the QX5 gives you, go on and read the rest of this manual, taking time to try out each function.
A
11
MAIN FUNCTIONS
The four main functions (Tempo, Measure, Track and Clock) can be accessed by pressing one of the four switches
and using [F1]-[F4] to change the setting. You have a choice of displays for these 4 functions.
DISPLAY
TEMPO
Tempo Memory
Recall Tempo Memory
Save Tempo Memory
You may choose to display all four function settings together, or separately. To
switch display modes, press [DISPLAY]. When displayed separately, the lower line
of the LCD will remind you what [F1]-[F4] do (ie. a “help” message) for each
function. Whichever display is selected, [TEMPO], | MEASURE], |TRACK]| and
will select the function, and [F1]-{F4] will change the settings. In the
“together” display, the blinking cursor indicates which function is selected. Once
vou are familiar with the OX5, the “together” display may be more convenient, but
in this manual the illustrations will always be the “separate” display.
|CLOCK IN=INT
|PLAY TR=1.......
| MEASURE=0001-01
TEMPO=120
Fast
DISPLAY
I=
CLICK
T=120 M=0001-01
C=INT
a a А ФФ п и
Down Up
Press and use and to change the tempo between 40 and 300,
indicating the number of quarter notes per minute. While you hold down [F1], the
tempo will be multiplied by 4. This is useful when you want to quickly find a certain
section while playing back. has no effect in Tempo mode.
TEMPO=120
Fast Down Up
You can preset 3 different tempo for instant recall. Press and the display
will show the three preset tempo. Pressing [F2]-[F4] while holding |SHIFT| will
set the tempo to the selected value. To change a tempo preset, continue holding
and press [F1]. The cursor will start blinking on the “S” of “Save.” Now
press [F2]- to save the current tempo in a preset.
(Hold down) (Continue holding) Preset tempo is recalled.
| |
С 3» TEMPO=120 E [F2] TEMPO= 096
Save 096 100 075 CURSOR Save 098 100 075
(Hold down) (Continue holding) Current tempo is saved
|
SHIFT (F1 ]
TEMPO=120 SHIFT [ES] TEMPO=120
+ | зад
106 » Save 096 100 0785 FL + Save 096 120 075
[F2] [F3]
12
MEASURE
Measure Memory
13
TRACK
NOTE
If Clock is set to MID! or TAPE (see p. 14), you will not be able to change
the tempo. It will only be displayed. If there is no MIDI clock producing device
connected, or if the tape is stopped, the displayed tempo will be O.
TEMPO=000 TEMPO=000
* MIDI CLOCK x * TAPE CLOCK x
Press [MEASURE] and use [F3] and to move backward or forward. will
take you to measure 1 (the beginning of the song) and will move to the be-
ginning of the current measure (beat 1).
Beat
Measure
MEASURE=0027-01
0001-01 Back Fwd
If you are at beat 100 or beyond, the display will show the last two places. (It is
possible, though unusual, to have more than 100 beats in a measure.) If more than
one track is on, the measure marks of the lowest-numbered track will be used.
(It is possible to have different time signatures for different points in each track.
see Beat/Measure, p.38.)
You can preset three different measure numbers and jump to them instantly. Press
and the display will show the three preset measures. Press [F2]-[F4] to
jump to the preset measure, To change the measure memories, move to the measure
you want to save using and [F4], then press while holding [SHIFT].
The “S” of “Save” will begin blinking. Press [F2]-[F4] to save the current measure
position in a preset. If the measure position is 999 or above, it will be displayed
as 999.
MEASURE=0027-01
Save 121 015 105
SHIFT
С в в в @
The measure memory is used in Auto Locate (p. 16), and and measure
memories are used in Punch In (p. 16).
Each of the 8 tracks can be set to Off, Muted, or On. Press |ITRACK| and use
[F1]-[F4] to switch tracks 1-4. Pressing [F1]- [F4] while holding [SHIFT] will switch
tracks 5-8. |
PLAY TR=1....... PLAY TR=1
Tri Tr2 Tr3 Trad 5 Tr Tre Tr7 Tr8
HIFT
CJ: El в ав @
(4
“wi
— Track On/Off
Track Mute
CLOCK
Internal Clock
MIDI Clock
Tape Clock
Clock Out
While stopped, you can switch tracks 1-8 On or Off. (This will automatically return
you to measure 1.) When a track that contains data is turned on, its number will
be displayed. When a track that has no data (or has come to the end of it) is switched
on, a “*” is displayed. As you near the end of a multi-track composition, the track
numbers will change to “*” as they run out of data. In the example below, tracks
1-5 are on, but tracks 3 and 5 have no more data.
PLAY TR=12x4%...
Trl Tr2 Tr3 Tr4
During playback, you can switch tracks between On and Mute (indicated by
"_—"). A Muted track will not send data. When is pressed or the data in
the track ends, Muted tracks are reset to On. In the example below (during playback),
tracks 1,2,3 and 8 still have data, but only 3 and 8 are playing.
PLAY TR= 3xx..8
Trl TrZ Tr3 Tr4
Press [CLOCK] and use [F7]-[F4] to select the master timing clock for the QXS.
CLOCK IN=INT
Tape Midi Int
F2 FB) [FE]
The QX5 internal clock determines the tempo. When [INT] is selected, you can
change the tempo from the QX5 panel keys (p. 7).
A MIDI ciock-producing device (rhythm programmer, sequencer, etc.) connected
to the OX5 MIDI IN will determine the tempo.
An FSK tape sync signal received at the Tape In ¡ack wiil determine the tempo.
(See Tape Sync, p. 47.)
You can choose whether or not to transmit clock (timing) data from MIDI QUT
and Tape Out. Hold down [SHIFT] and use and to turn Clock Out off
and on.
CLOCK OUT=OFF
Of f On
SHIFT
— 7:
If you switch this during playback, the display will change immediately, but the
clock signals will begin on the next beat. Tape Out will not send clock data while
the OX5 is stopped.
14
RECORDING
E
All recording is done on track 1. In order to record, track 1 must be on (p. 13) and Memory Protect must be off
(p. 39). When you press | RECORD, the Record LED will light, the display will show the currently selected Record
Mode (Realtime, Punch In, Step), and the measure counter will move to the beginning of the current measure.
When the Record LED is lit, you will not be able to enter other modes. Press [RECORD] again to exit record mode.
Recording Mode
You can change the Record Mode by pressing [REC MODE; while holding
SHIFT]. (When power is first turned on, Realtime Record is selected.)
RECORD
SHIFT
REC MODE
T=120
REALTIME
250
064
250
=
STEP
1/04 080%
IN
M=0001-01
PUNCH
T=120
250
M=0001-01
=
REALTIME
RECORDING
Countdown
Realtime recording is where the OX5 records your performance just as you play
it. The number in the upper right indicates the size of free memory in blocks of about
80 notes (without velocity). In Record mode, holding down will speed the
tempo up x4, and will decrease and increase tempo just as in Tempo
mode. Tempo memories (p. 12) can be recalled, but not saved.
Free memory Tempo x 4 Slower Faster
REALTIME 250 a
T=120 M=0001-01 — — E | Ня
| )
| |
Tempo Position
To record from the beginning, press | START!. To record from the current measure,
press [CONTINUE]. If Clock=internal, you will get a 2-measure countdown (me- ~
tronome and display) before recording begins. You can send a Program Change
message during the countdown, and it will automatically be recorded at the top
of the measure you begin recording on. If Clock=MIDI or Tape, there is no
countdown. Also, if you have set Click to Manual (see p. 38) and turned it off, there
will be no countdown.
Ready to record
Press Start
Countdown begins Recording begins
RECORD
START
REALTIME
250
REALTIME
249
=
REC MODE
ENTER
T=120
COUNT=08
T=120
M=0001-01
Measure Marks
Auto Locate
PUNCH IN
RECORDING
Enter Punch In Record
mode
Punch In/Out Points
Whether or not the metronome automatically comes on during recording will depend
on the Click setting (p. 38), but you can always turn it on/off by pressing
while holding [SHIFT]. The metronome is accented on the first beat of
each measure. If tracks 2-8 are playing, the measure marks (p. 24) in those tracks
will determine how the measure marks are recorded. If no other tracks are playing,
the Beat/Measure setting (p. 38) will determine the measures. (You can take ad-
vantage of this to produce some interesting polyrythms!) If track 1 is shorter than
other tracks and the current measure is past the end of track 1 when you continue
recording, empty measures will be filled in appropriately.
To stop recording, press ¡STOP!. The Record and Start LEDs will go off, and the
display will show “Executing”, then return to the previous mode.
in Realtime Record, you can use the Auto Locate function to start recording from
a specified measure. If you press when Auto Locate is off, you will begin
recording (or playback) from measure 1. But if you press when the Auto
Locate is on, recording (or playback) will begin from the measure memory
(see p. 13). If you press during recording, you will begin recording from
the measure memory, and data already recorded will be lost.
A Start message received via MIDI will make the QX5 start play or record from
measure 1, regardless of Auto Locate. See also Loop Playback, (p. 46).
Punch In recording is much like Realtime recording. However, even though both
the Record and Start LEDs will be on, actual recording will be done only between
specified measures.
Set the Punch In/Qut points using the Measure Memory function (p.13). IS
the Punch In point, is the Punch Out point.
Press | DISPLAY] to show either the current position or the beginning (punch in)
and end (punch out) of recording.
PUNCH IN 199 el» PUNCH IN 199
T=120 M=0024-01 T=120 0030. . 0051
CLICK
| — | |
Current measure and beat Punch in/out points
When you press [CONTINUE] or ¡START], the QX5 will playback normally until
it reaches the Punch In point, when recording will begin. When it reaches the
Punch Out point, playback will resume. There is no countdown for Punch In re-
cording.
Suppose you wanted to rerecord a few measures in the middle of a song. Set the
Punch In/Out points, move to a spot a few measures before the section, and
Continue recording. Play along with the already recorded performance. When you
reach the Punch In point, the recorded part will drop out, and your new performance
will be recorded. When you come to the Punch Out point, the old performance
will reappear.
Playback Begin recording Resume piayback
7777777477776 GI
Punch In Punch Out
16
When you press [STOP], the measure counter will return to the point where you
started or continued playback before punch in. This is very handy when making
repeated tries over the same section. You can set a footswitch (p. 39) to
CONTINUE/STOP, and if you make a mistake, press the footswitch and have another
try!
NOTE
In Punch In Record, you can use the Auto Locate function to start playback
from a specified measure. See p. 16.
This is where you use the OX5 keys and a MIDI keyboard to enter data step by
STEP RECORDING step, making it possible to create phrases that would be difficult to play in real time.
Measure marks are created according to the Beat/Measure setting, and are not
affected by measure marks of other tracks.
To speed up data entry, Gate Time, Velocity, Ties, and Rests can be entered using
MIDI controllers such as Modulation Wheel, Data Entry Slider etc. (Quick Input
Via MIDI, p. 19.)
Step Recording By pressing |DISPLAY[|, you can choose between displaying the amount of free mi
Display memory, or displaying your current position (measure, beat, clock). You will -
probably want to display the position most of the time.
Free memory Measure Beat Clock
| | ||
STEP 170 DISPLAY M=0001-01-00/96
ec»
1/04 080% 064 = = 1/04 080% 064
Clock Рог the OX5, the smallest subdivision of time is the “clock”. One OX5 internal clock
Is 1/384th of a whole note. Thus, a whole note is 384 ciocks, and a quarter note
Is 96 clocks. In the case of 4/4 time, each beat will have 96 clocks. You can see
that the number of clocks per beat will differ according to the Beat/Measure setting
(p. 38). For x/4 time, 96 clocks per beat; for x/8 time, 48 clocks per beat; and for
x/16 time, 24 clocks per beat.
Begin Recording When you press or [CONTINUE], Step Recording will begin. Notes you
play on the MIDI keyboard will be recorded at intervals of the step time. The actual
timing with which you press the keys does not matter. For example if the Step Time Ni
is 1/16, each note will be a sixteenth note. To enter chords, press several notes
together. To record single notes, each note must be released before the next is
pressed. You can send Program Changes from the keyboard as usual, and they
will be recorded along with the notes, but without a time interval.
As usual, | CURSOR! moves the blinking cursor, and «ir» change the data at the
STEP RECORDING cursor.
PARAMETERS
Step Time Step Time is the time value of the note. Each time you enter a note or chord, the
position will advance by one of these steps, Step Time is variable from 1/2 to 1/96.
M=0001-01-00/96
1/08 080% KBD
Step Time 1/2 - 1/96
17
Gate Time
Velocity
STEP RECORDING
EXAMPLE
STEP RECORDING
SWITCHES
Tempo (Delete)
Measure (Step Back)
Track (Tie)
Clock (Rest)
Auto Locate (Protect)
Gate Time is the percentage of the Step Time the note will sound. If gate time is
100%, a quarter note will last exactly 96 clocks. A gate time of 10% would be the
same as playing staccato. Use to move the blinking cursor to Gate Time,
and use => to set it between 10% and 300% in steps of 5%. (Also see Quick
Input Via MIDI, p.19).
M=0001-01-00/96
1/08 080% KBD
Gate time 10% - 300%
Velocity can be set to a fixed value (1-127) or set to KBD, when the velocity
produced by the keyboard will be used. (Also see Quick Input p.19).
M=0001-01-00/96
1/08 080% KBD
|
Velocity, KBD 1-127
As an example, enter Step Recording mode and press [START]. Press
to select the position display. Press to move the blinking
cursor to Step Time and use <p> to make it read 1/8. Notes we enter now will
be eighth notes. Press and release a note on the MIDI keyboard. Notice that our
position is now M=0001-01- 48/96. Each beat is 96 clocks (assuming
Beat/Measure is 4/4), and an eighth note is half a beat. Press and release another
note. The position is now M=0001-02- 00/96, indicating the second beat of the
first measure.
No notes yet After the first note
M=0001-01-00/96 M=0001-01-48/96
1/08 080% 064 1/08 080% 064
After the second note
M=0001-02-00/96
1/08 080% 064
In Step Recording mode, the [TEMPO], [MEASURE], [TRACK], [CLOCK] and
[AUTO LOCATE| switches have the following functions.
Erase the previous event (Note or Program Change). If more than one event had
the same timing, all will be erased.
Move back one step time interval without deleting anything.
This is valid only immediately after inputting a note. It extends the timing of that
note by one Step Time. (Also see Quick Input p. 19.)
This inputs a rest corresponding to the Step Time. (Also see Quick Input P. 19.)
This will protect data that has already been Step Recorded. After pressing this, you
will not be able to Delete data.
18
Shift + Tempo
(Delete Measure)
Shift + Track
(Insert Measure Mark)
Shift + Clock
(Fill Rests)
QUICK INPUT VIA
19
MIDI
Delete one measure.
Insert a Measure mark (p. 24) at the current position. This function can be used
to input complex time signatures.
Fill the remaining part of the measure with rests.
For quick input of Gate Time, Velocity, Tie and Rest, you can specify a MIDI
controller to input the data from a DX or KX keyboard. Press to get the display
you want, and use <at> to select the MIDI control number that you will use to
input the data. When “Off” is selected, the data can be set only from the QX5.
For example, if you select control number 6 for Gate Time, moving a DX7 Data
Entry Slider will adjust Gate Time. You might set Modulation Wheel (control number
1) to adjust Velocity, Data Entry —1/No (control number 97) to input a Tie, and
Data Entry +1/Yes (control number 96) to input a Rest. You will see the QX5 Gate
Time and Velocity display change as you move the controller.
SHIFT [F1]
e _ LA
1>GATE TIME 2>VELOCITY
006 001
OFF, 0-63 OFF,0-63
3>TIE 4>REST
097 | 096
OFF, 64-121 OFF, 64-121
There is a table of MIDI control numbers оп р. 22.
NOTE
Gate Time can be adjusted via MIDI over a range of 10% to 95%. To set Gate
Times of 100%-300%, use the QX5 front panel switches.
®t
EVENT EDIT
This is where you perform operations in track 1 on individual notes or other messages such as Sustain On/Off,
etc. (These are called “events”.) The upper line of the display will show the position of the event, and the lower
line wili show the event. To enter this mode, make sure that track 1 is on, and press ¡SHIFT| + [EVENT EDIT].
Position
|
' | 1
SHIFT TEMPO
M=0002-01-24/96
EVENT EDIT tor
|
|
Event
You can step through track 1 searching for events, and then change them or move them back and forward in time.
Select between Search and Change by pressing JOB].
Search
Beginning of track < > End of track
M=0001-01-00/96 M=0002-01-24/936 M=0095-01-00/96
TOP NOTE (1) E.. 2 051 END
1
[F1]
|
JOB
Change
| < >
| M=0002-01-24/796
NOTE (1) E..2 051
The cursor is hidden. Pressing <at> will move to the next event. By pressing
1. SEARCH [START], you can advance to the next event hearing each note. Pressing
+ <I> will jump one measure. The upper line of the display indicates
the current position (Measure, Beat, Clock) as explained on p. 17. When you find
the event, press [JOB], and the cursor will start blinking.
-
The cursor is blinking. Press [CURSOR] to move the blinking cursor, selecting
2. CHANGE what you will change ( [SHIFT] + to move back), and <> to change
it. (Each type of event will have different categories of data.) By pressing
START], you can transmit the currently displayed note.
Move the event back and forth in time
|
M=0002-01-24/96
NOTE (1) E..2 025
|
Change the event, channel and data
When you want to change the position (timing) of an event, put the cursor on “M”
and use <1r to move back and forth by individual clocks. [SHIFT
+ <> moves the event by beat.
Execute
EVENTS
Note
Aftertouch
Pitch Bend
Control Change
Changes you make are not permanent until you Delete, Insert or Replace. To Delete
the selected event, press [SHIFT] + [RECORD]. To Insert the modified event at
the current timing, press + [STOP]. To Replace the selected event with
the modified event, press |SHIFT| + |START|. (None of these operations will affect
the timing of other events.)
Delete Insert Replace
| STOP; START
RECORD CONTINUE
SHIFT SHIFT SHIFT ;
+ + +
REC MODE - ENTER
You will encounter 10 types of events in Event Edit.
Note events are displayed as follows. Notice that the cursor has an “extra space
to move” to change Gate time.
M=0002-01-24/96 M=0002-01-24/936
NOTE (1) E. .2 025 NOTE (1) 00016
| | | ]
Channel 1-16 Note Velocity 1-127 Gate time 0 -16380
C-2 - D#7
Gate time is the length of the note in “clocks” or 1/384 notes. It can be modified
in steps of 4. Pressing <ae= while holding [SHIFT] will move in steps of 100.
Aftertouch (Common and Individual) events are displayed as follows.
Common Aftertouch Individual Aftertouch
M=0002-01-24/96 M=0002-01-24/96
A. T. (1) COM 127 A. T. (1) C.-2 127
| | | | | |
Channel 1-16 Common Data Channel 1-16 Note Data
The Aftertouch on the DX7, KX88, etc. is Common Aftertouch, where a single
Aftertouch valve is sent for the whole keyboard.
æ
Pitch Bend events are displayed as foilows. -
M=0002-01-24/96
P. BEND (1) —- 8192
| |
Channel 1-16 Data —8192 - 8191 =
The above display indicates that the Pitch Bender has reached the lowest position. e
By pressing <> + [SHIFT], you can change the Pitch Bend data in steps of
100.
Control Change events are displayed as follows.
M=0002-01-24/96
CNTL (1) 001 127
1 | Т
|
Channel 1-16 Control no. 0 - 121 Data 0-127
Mode Change
Program Change
The example above would indicate that Modulation Wheet {Control #1) had reached
its maximum position (127).
À list (in hexadecimal) of MIDI Control Changes is on p. 56, but here it is in decimal
numbers.
Continuous Controllers Switch Controllers
(data is 0-127) (0 is Off, 127 is On)
1 Modulation Wheel 64 Sustain
2 Breath Controller 65 Portamento
4 Foot Controller 66 Sostenuto
5 Portamento Time 67 Soft
6 Data Entry Slider 96 Data Increment
7 Main Volume 97 Data Decrement
Mode Change events are displayed as follows.
M=0002-01-24/96
MODE (1) 122 127
Г —
Channel 1-16 Control no. 122-127 Data 0-127
Mode Changes are a special group within Control Changes. Notice that most of
them must have a certain data value. When editing, be careful not to set an un-
expected data value.
# Function Data
122 Local 00: Off, 127: On
123 All Note Off | 00
124 Omni Off 00
125 Omni On 00
126 Mono On 00-16
127 Poly On 00
NOTE
The QX5 will not record All Note Off, but when it is received, will check the
Key Assign Table (p. 45 NOTE) and generate Note Off messages for whatever
notes are currently on. Also, Mono On will be accepted only if the data is 1.
Program Change events are displayed as follows.
M=0002-01-24/96
PROGRAM (1) 127
Channel 1-16 Program no. 0-127
The response to a Program Change message will differ for each device. Yamaha
products start with program #1, so when a DX7 receives Program Change #31, it
will switch to Internal Voice 32. (DX7 Internal voices are 1-32, Cartridge voices
are 33-64.) When a DX7 receives Program Change 64, it will “wrap around” and
switch to Internal Voice 1. Consult the owner's manual for your device.
22
Exclusive Dump - Exclusive is used to send a System Exclusive message from the QX5 during playback.
Data is displayed simultaneously in Decimal and Hexadecimal form (see “What's
Hexadecimal, p. 53).
M=0002-01-24/936
EXCL 001 240 (FO)
|
|
Byte no. 1-999 Decimal 0-127, 240, 247 Hex 0-7F, FO, F7
The first byte of the message will always be 240(F0), indicating the beginning of
a System Exclusive, and the last byte will always be 247(F7), indicating the end ”
of a System Exclusive. (These two bytes cannot be changed.) Step through the
message by moving the cursor to Byte no. and using <at> . If the Byte number
is 1000 or above, 999 will be displayed. When the cursor is at the byte number,
delete the data by pressing [SHIFT]+ [F3]. Insert one byte of O by pressing
+
For example if you wanted to send a Bulk Dump Request during playback, you
could enter the appropriate MIDI bytes here. A Bulk Voice Dump Request on channel 2
1 for the TX7 would be |
240(F0), 067(43), 032(20), 009(09), 247(F7)
See the System Exclusive Data Format for your device.
Macro A Macro is a sort of “floating track” (p. 3) that can be called at any point in a track.
When called, the Macro will play along with the other tracks until it ends. You
may have up to 4 Macros playing at once.
M=0002-01-24/96
MACRO 32
|
Масго по. 1-32
Relative Tempo When Clock=INT, Relative Tempo will change the actual tempo in relation to the
Tempo. For instance, if the Tempo is 120 and we come to a Relative Tempo mark 4
of 50%, the playback tempo will slow down to 60. However, the Tempo display —
will not change.
M=0002-01-24/96
TEMPO 122. 0%
|
Relative Tempo 25%-398%
Relative Tempo can be set from 25% to 398% in 127 exponential steps. When
Clock=Tape or MIDI, Relative Tempo marks will be ignored.
23
Measure This mark is at the end of each measure. It can be moved back and forward in time.
For 4/4 time, the first Measure mark would be as follows (the end of each measure
is the hypothetical “bth” beat).
M=0001-05-00/96
MEASURE
Moving a Measure mark a little toward the beginning (ie. slightly shortening the
length of one measure) is great for simulating a skipping record. (l)
24
MEASURE EDIT
This is where you perform operations on specified measures of track 1. In each job, the upper right corner will
display the amount of free memory (in 80 note blocks), max 250 blocks. The lower line of the display will show
which measures will be affected by the operation. To enter this mode, press |ISHIFT| + [MEAS EDIT].
Free memory
1
SHIFT MEASURE
+ =) 1>COPY 193 .
MEAS EDIT 0001... 0001
Measure
Measure Edit has 10 jobs.
Select the job you want by pressing |JOB!. [SHIFT] + will step backwards.
SHIFT (F1]
ro
e JJ | |= -
JOB
| 1>copy | 2>DELETE HH 3>REMOVE |— 4>sHiFT | 5> QUANTIZE |
| 10 > СВЕАТЕ — 9 > CRESCENDO — 8 > GATETIME — 7 > VELOCITY H 6 > TRANSPOSE |
Set Parameters Press [CURSOR] to move the blinking cursor to the data you want to change, and
use <a> to change the data. Pressing ¡CURSOR! + ¡SHIFT will move back-
wards.
1>COPY 193
0007. .0016
Execute Once you have specified the operation, you need to Execute by pressing
ENTER|. The display will show “Executing” for a few seconds. +
START _
1>COPY 193 1>COPY 193
= => De
0007... 00186 Executing
ENTER
1>COPY 191
=>
ООО”. . 0016 >
As the above example shows, some operations will affect the amount of Free
Memory.
a
7 Copy the specified measures to the end of the track. You cannot set the second
1. COPY measure before the first.
1>COPY 191
0001..0006
25
2. DELETE
3. REMOVE
Remove Channel
If you executed the above example, the track would change as follows.
Measure 1 7 16 1 7 16
Track 1 ИИ NAN
Delete the specified measures. Later measures are moved forward.
2>DELETE 191
0007. .0016
If you executed the above example, the track would change as follows.
Measure 1 7 17
1 7
Remove a selected type of data from the specified measures.
3>REMOVE 191
P. BENDOOO6. . 0015
You can Remove the following data. Use <r to select the type of data you
want to Remove.
CH Messages of a certain MIDI channel (See below)
NOTE Notes in a certain range (See next page)
VEL Velocity data (all notes will be given a velocity of 64).
А.Т. Aftertouch data (Individual and Common).
P.BEND Pitch Bend data.
CNTL Control Changes in a certain range (see next page).
MODE Mode messages.
PROG Program Changes
EXCL System Exclusive messages
MACRO Macro numbers
TEMPO Relative Tempo changes
ALL Everything (blank measures will remain)
Fr
When you select Channel data to be Removed, the cursor will move two “additional
spaces, allowing you to select the range of channel data to be deleted.
3> REMOVE 192 3> REMOVE 192
CH OOO1.. 0015 CH 02 04
Channel 1-16
If you executed the example above, all data on MIDI channels 2-4 would be deleted
from measures 1-15 of track 1.
26
Remove Note
Remove Control
When you select Note data to be Removed, the cursor will move two “additional”
spaces, allowing you to select the range of notes to be deleted.
4. SHIFT
Shift Channel
Shift Note
27
3> REMOVE 192 3> REMOVE 192
NOTE 0001. .0015 NOTE C..2 C.. 4
Note C-2 - D#7
If you executed the example above, all notes between C2 and C4 would be deleted
from measures 1 through 15 of track 1.
When you select Control data to be Removed, the cursor will move two “additional”
spaces, allowing you to select the range of Control data to be deleted.
3>REMOVE 192 3>REMOVE 192
CNTL 0001. .00156 CNTL 001 002
Control no. 0 - 121
If you executed the example above, all Modulation Wheel and Breath Controiler
data (control changes 1 and 2) would be deleted from measures 1 through 15 of
track 1. See the table of Control Change numbers on p. 22.
You can change all data of a certain type in specified measures. (For shifting all
specified data in an entire track, see Track Edit, Shift p. 33.) You can shift Channel,
Note, Control or Macro data.
Shift all data of a specified MIDI channel to another channel.
4>SHIFT 143
CH 06 ог
4>SHIFT 143
CH 0001. .0015
Channel 1-16 +
If you executed the above example, all data on MIDI channel 6 would be shifted
to MIDI channel 2 for measures 1-15.
Shift a specified note to another note.
4>SHIFT 143
D#.2 F#. 2 .
IT
Note C-2 - D#7
4>SHIFT 143
NOTE 0001... 0016 NOTE
If vou executed the above example, all D#2 notes would be shifted to F#2 for
measures 1-15. This function is especially useful when using Note On messages
to trigger an RX rhythm programmer. The example above would shift all Rim Shots
(D#2) to Claps (F#2). See your RX manual for the instrument Note Numbers.
Shift Control
Shift Macro
5. QUANTIZE
6. TRANSPOSE
Shift a specified contro! change to another contro! change.
4> SHIFT 143 4>SHIFT 143
CNTL 0001... 0015 CNTL 001 004
—
Control no. 0-121
If you executed the example above, all Modulation Wheel messages (control #1)
would be Shifted to Foot Controller messages (control #4) for measures 1-15.
See the table of Control Changes on p. 22.
Shift a specified Macro number to another Macro number.
4> SHIFT 143 4> SHIFT 143
MACRO 0001..0015 MACRO 05 32
Macro 1-32
If you executed the above example, Macro 5 would be shifted to Macro 32 for
measures 1-15. For example, suppose Macro 5 was a drum roll and Macro 32
was a harp glissando. A certain track calis Macro 5 in several places, but you want
to change each drum roll to a harp glissando. Simply specify "MACRO 05 32."
Use this to adjust the timing of each event to the nearest specified step. This lets
you “tighten up” performances you recorded in Realtime.
S>QUANTIZE 143
1/8 0005. . 0020
Timing precision 1/2 - 1/96
If you executed the above example, all events in measures 5-20 would be moved
to the nearest eighth note. If you want to Quantize only notes, Extract the notes
(p. 32), Quantize them, and re-combine the two tracks (Track Down, p. 31).
Use this to move all note numbers up or down by a specified interval of up to 2
octaves. Notes are limited C-2—D#7.
6>TRANSPOSE 143
+07 0005. .0020
Interval —24 - +24
If you executed the above example, all notes in measures 5-20 would be transposed
up a fifth.
28
Use this to add or subtract a specified value to the velocity of all notes.
7. VELOCITY
7?>VELOCITY 143
+20 0005. . 0020
Velocity offset —99 - +99
If you executed the above example, all notes in measures 5-20 would be played |
somewhat more strongly. However, velocity is limited to 1-127.
Use this to adjust the gate time (how long the note is held) for all notes. The original
8. GATE TIME gate time is multiplied by the number you enter (10%-300% in steps of 5%).
8>GATE TIME 143
120% 0005..0020
Gate Time 10%-300%. a
If you executed the above example, all notes in measures 5-20 would be held
somewhat longer. Gate Time is limited to 16380 clocks.
— Use this to gradually change the velocity. Over the measures that you specify, an
9. CRESCENDO increasing number is added to (or subtracted from) the velocity until the velocity
bias you specify is reached on the last measure.
9>CRESCENDO 143
+50 000b..0020
Final velocity bias —99 - +99
If you executed the above example, the notes would be played with increasing force
from measure 5, and when the end of measure 20 is reached, the velocity would
be 50 higher than originally recorded. (However, the velocity is limited to 1-127.) 7"
— Use this to insert empty measures of a specified time signature. Following measures
10. CREATE are pushed back.
10>CREATE 143
4/4 0003..0005
Time signature 1/4 - 32/16
If you executed the example above, the track would change as follows.
Measure 1 3 1 3 6
29
TRACK EDIT
iI
This is where you perform operations on whole tracks and macros. To enter this mode, press +
I TRACK EDIT]. In each job, the upper right corner will display the amount of free memory (in 80 note blocks),
and the amount of memory occupied by each track or macro is displayed in parentheses “( )”. If the memory size
is greater than 99, 99 is displayed.
Free memory
SHIFT TRACK !
1>EXCHANGE 199
| TRACK EDIT TR1 (01) TR1 (01)
|
Size of track
Track Edit has 10 jobs.
Select the job you want by pressing |JOB|. Pressing |SHIFT| + will step backwards.
ne SHIFT (FT)
e IU] Cl»
JOB JOB
| 1> EXCHANGE 4 2>CoPy E 3>TRDOWN H 4>CLEAR HH s>eur |
| 10> SHIFT H 9 > THIN OUT H 8>cLock moy H 7 > EXTRACT H 6 > INSERT |
Set Parameters and As explained in Measure Edit (p. 25), press | CURSOR! to move the blinking cursor
Execute to the data you want to change, use «dr» to change the data, and press
ENTER| to execute the operation.
You can freely swap the contents of tracks 1-8 and macros 1-32. Use the
1. EXCHANGE CURSOR] and <at> keys to select what you will exchange.
1>EXCHANGE 191
-
TR4 (00) TR1 (25)
When you have finished recording, you will usually want to Exchange track 1 (the
newly recorded track) with an empty track.
— Copy the contents of a track or macro to another track or macro. The old data in
2. COPY the copy destination will be lost.
e>COPY 191
TR4 (05) MOS6 (00)
| |
Original Track Destination
or Macro
30
3. TR. DOWN
4. CLEAR
5. CUT
6. INSERT
31
Track Down (mix) the contents of two tracks. The contents of both tracks will be
put into the second track. If the measure markings of the two tracks are different
(eg. one is in 3/4 time and the other is in 4/4 time), the measure markings of the
lower numbered track will be used.
3>TR. DOWN 191
TR1 (05) TRZ (08)
Erase the contents of a track or macro.
4>CLEAR 191
TR4 (25)
This cuts track 1 at the beginning of the specified measure, and puts the deleted «a
part in another track (2-8). If DELETE is selected instead of track 2-8, the deleted ~
part will be discarded. The old data in the specified track (2-8) is lost.
5>CUT 191
0007 TR2 (03)
Measure
Executing the above example would Cut track 1 at measure 7 and put the “tail”
in track 2.
Measure 1 7 10
1 7
Track 1 V1 ПИ
1 4
Insert track 1 into another track (2-8) in front of the specified measure. Track 1 4
remains the same. =
E> INSERT 191
0007 TR2 (03)
Measure
Executing the above example would change the tracks as follows.
=
=
*
жеж реа Фо
Measure 1 4 7 10 1 4 7 10
Track 1 17/// ЛА
Track 2 |
REAR
7. EXTRACT
8. CLOCK MOVE
Extract specified data from track 1 and put it in another track (2-8). If DELETE is
selected instead of track 2-8, the extracted data will be discarded. The extracted
data is removed from track 1. Use the <tt> key to specify Channel, Note, Pressure,
Pitch Bend, Control Change, Mode Message, Program Change, Data, Macro, Tempo
or Measure.
?>EXTRACT 191
P. BEND TR8 (02)
Executing the example above would remove Pitch Bend data from track 1 and put
it in track 8. (Track 8 now contains only Pitch Bend data.)
You can Extract the following data. Use <at> to select the type of data you want
to Extract.
CH Messages of a certain MIDI channel (see Note 1).
NOTE Notes in a certain range (see Note 1).
AT. — Aftertouch data (Individual and Common).
P.BEND Pitch Bend data.
CNTL Control Changes in a certain range (see Note 1).
MODE Mode messages.
PROG Program Changes
EXCL System Exclusive messages
MACRO Macro numbers
TEMPO Relative Tempo changes
MEASURE Copy measure marks to other track (see Note 2).
NOTE 1
When Extracting Channel, Note or Control, the cursor has two “additional”
spaces to move as explained in Measure Edit (p. 26).
CH 01 - 16 Channels to be extracted
NOTE C.-2- D#7 Note range to be extracted
CNTL 000 - 121 Controls to be extracted
(see control number table on p. 22)
NOTE 2
When Extracting Measure, track 1 Measure Marks are not erased. The selected
track will contain an empty framework of Measure Marks from track 1. This
is useful when you have built up a complex rhythmic part in track 1 with
changing time signatures, and wish to copy only the measure framework. (For
more about changing time signatures, see Measure (p. 24) and Beat/Measure
(p.38).
Move the timing of one track (1-8) forward or backward by up to 999 clocks.
8>CLOCK MOV 191
+048 TR3 (07)
If you executed the above example, the entire track 3 would move forward an eighth
note (48 clocks).
If you moved the track backwards (-048), the data within the first 48 clocks would
be deleted. 39
9. THIN OUT
10. SHIFT
Shift Channel
Shift Note
Shift Control
Shift Macro
33
Delete about half of the selected Continous Control message from a selected track
(1-8). You can select Aftertouch (individual and Common), Pitch Bend or Control
Change (continuous controls).
9>THIN OUT 191
A. T. TR2 (17)
If the above example were executed, about half the Aftertouch messages in track
2 would be deleted.
Especially when you move a controller slowly, many messages with very similar
data will be sent. You can usually delete half of them without any audible difference.
If you are running low on available space, this can help. Repeating this operation
several times will eventually produce “rough” change (which can be an interesting
effect).
Shift all specified data in a track (1-8). You can specify Channel, Note, Control
Change or Macro. Set parameters and Execute in the same way as explained in
Measure Edit Shift, p. 27.
10> SHIFT 191 10>SHIFT 191
CH TRE (09) CH 01 14
If you executed the above example, all MIDI channel 1 messages in track 5 would
be shifted to channel 14.
10>SHIFT 191 10>SHIFT 191
NOTE TRB (09) NOTE DH. 2 Ft. 2
10>SHIFT 143 10>SHIFT 143
CNT "TR5 (09) CNTL 001 004
10>SHIFT 143 10>SHIFT 143
MACRO TRS (09) | | MACRO 05 32
{
3
LOAD / SAVE
This is where you load and save sequence data, and store and recall QX5 setups. To enter this mode, press
SHIFT] + [LOAD/SAVE].
Load/Save has 7 jobs.
SHIFT CLOCK
| )+[ j= 1>TAPE SAVE
LOAD/SAVE TR1.. TR1 (001)
Press to select the function you want. ¡SHIFT| + will step backwards.
1. TAPE SAVE
Save Which Tracks and
Macros?
SHIFT [F1]
[F1]
«нор |»
| 1>TAPESAVE [—| 2>TAPELOAD | 3>TAPEVERIFY | 4> MIDI TRANSMIT]
——~———— 7> SETUP RECALL || 6> SETUP STORE [— 53> MIDI RECEIVE |
As shown below, using the included cable, connect the QX5 Tape In to the earphone
jack of a cassette recorder. Connect Tape Out to the microphone jack. It is best
to use a cassette recorder and tape especially designed for personal computer data
storage.
TAPE IN EARPHONE
В Г TAPE OUT MC
QX5 CASSETTE
Press |LOAD/SAVE| while pressing [SHIFT|. Use [CURSOR]| and <at> to select
which tracks and macros you are going to save. To save all tracks and macros you
would select “TR1..M32". The number at the right indicates the size (in blocks of
80 notes) of the data you are saving. If empty tracks or macros are specified, they
are simply skipped.
1>TAPE SAVE
TR?..MOS 041
Save from ..to Total size of memory to be saved
34
Execute Save
2. TAPE LOAD
Load All
Load Floating
Load TR1.. M32
Execute Load
35
The above display would save tracks 7 and 8, and macros 1-3. Start the cassette
record and press (STARTI. The display will show “Executing” for a few seconds
while it sends a header. Then the display will snow the track or macro currently
being saved. When saving is complete, the display will show “Completed” for a
second. (While saving, you can abort by pressing |SHIFT| + |RESET].)
START
1>TAPE SAVE
=
= 1>TAPE SAVE
Executing. Tr? 009/041
= | m
Now saving Already saved size/Total save size
=)
1>TAPE SAVE
Completed
To load data that has been saved to tape, connect the cassette recorder and QX5
as described above. Use <1> to specify how the data will be loaded.
2>TAPE LOAD
ALL
Load what? (All, Floating, TR1 .. M32)
All data in OX5 memory will be erased, and whatever is on tape will be loaded into
the track or macro it came from. (Saved data includes this information.)
Tracks and macros that did not receive data from tape are cleared.
If possible, received data is loaded into the track or macro it came from. However,
if the original track or macro already contains data, the tape data will be loaded
into whatever empty track or macro is available. Tracks and macros that did not
receive data from tape retain their old data. If there are no more empty tracks or
macros, the data will be ignored.
Here you can specify what part of the incoming data you will receive. (Track 1 to
Macro 32.) All other data will be ignored. Use |JCURSOR| and <a to select
start and end. If data is not received for a track or macro, the original data is preserved.
When you have specified how you will load the data, press [START]. The display ._.
will show “Executing”. Start the tape playback. When the QX5 finds the beginning
of the data, it will display the current track or macro being loaded, and the total
size of data loaded so far. When loading is complete, the display will show
“Completed” for a second
START
2>TAPE LOAD
Executing.
=
ENTER
Start | 2>TAPE LOAD
tape TR? to TR7 027
2> TAPE LOAD
Completed
=)
Now loading Total loaded size
If you have specified certain tracks and macros to be loaded, the display will show
“Ignored” while skipping over the unwanted data.
3. TAPE VERIFY
4. MIDI TRANSMIT
This is where you can check that data was correctly saved to tape. Press
START|. The display will show “Executing.” Rewind the tape to the beginning
of the saved data, and play it back. When data is found, the display will show the
found track or macro, and the total data size so far. When finished, the display
will show “Completed” for a second.
START
3>TAPE VERIFY
= +
Executing.
ENTER
Start = 3>TAPE VERIFY = 3>TAPE VERIFY
Tape TR? 027 Completed
Found Total found size
NOTE
Tape Verify does not compare the internal memory with the data from tape.
It only checks to see that the tape contains readable data, and that the
checksum is correct.
This is where you can transmit OX5 sequence data in the form of a System Exclusive
message to an external data managing device or another OX5. (See p. 50 for the
data format.) MIDI transmit is much faster than saving to tape, and it takes about
50 seconds to transmit the entire contents of a QX5 when itis full (0 free memory).
You can specify the MIDI channel on which the data will be sent. (Strictly speaking,
a System Exclusive message has no channel, but this is a channel or Device Number
within Yamaha System Exclusive format.) The Device Number of the QX5 (see p.
45) will initially be set as the Transmit Channel, but you are free to change this.
Select the tracks and macros to be sent in the same way as with Tape Save (p.
34). The total size of the data to be sent is displayed in the lower right. You can
transfer sequence data from a QX7/21 to a QX5, but not vice versa.
4>MIDI TRANSMIT
CHOI1 TR7. MO3 041
L_— Total size to be transmitted
Transmit what? TR1-M32
Channel 1-16
When you press [START], the display will show “Executing”, and then show the
track or macro currently being sent, just as in Tape Save. When finished, the display
will show “Completed” for a second. (While Transmitting, you can abort by pressing
SHIFT] + [RESET].
START
4>MIDI TRANSMIT 4>MIDI TRANSMIT
nxocutins. TR?
ENTER |
Start = 4>MIDI TRANSMIT Now transmitting
tape Completed
049/081
- * 1 x
Transmitted size/Total size to be transmitted
36
5. MIDI RECEIVE
6. SETUP STORE
7. SETUP RECALL
37
This is where you can receive QX5 sequence data in the form of a MIDI System
Exclusive message from an external data managing device or another QX5/7/21.
As with MIDI Save, you can specify the channel. (The transmission and receiption
channels must match, or the data will not be received.) As with Tape Load, you
can specify how the data is to be loaded (see p. 35).
E>MIDI RECEIVE
CHO1 ALL
Channel 1-16 All, Floating, TR1 .. M32
When you press [START], the QX5 will send a Dump Request message and wait
for Sequence Bulk data to come. When the data begins arriving, the display will
show the track or macro being received, just as in Tape Load (p. 35).
You can store most of the OX5 settings in one of 4 memories for quick recall. А
Setup Memory contains all settings in Setup (p. 38), MIDI 1 (p. 41) and MIDI 2
(p. 44). In addition, it contains the Clock In and Out settings (Int, MIDI or Tape).
It does not contain Tempo and Measure Memories or Track On/Off settings. To ip,
store the current settings in a Setup Memory, use <at> to select the memory
number (1-4) and press [START]. After briefly displaying “Executing”, the current
setup will be saved in the specified memory. There is a Setup Memory chart on
p. 40.
6> SETUP STORE
4
Setup Memory 1-4
Use this to recall a setup you have saved in Setup Store. Use <at> to select the
setup you want (1-4) and press [START]. The setup will be recalled into memory.
7T>SETUP RECALL
—
+
SETUP
This is where you change various settings of the QX5. Settings you make are remembered even when the power
is turned off, and four different setups can be stored and recalled {see p. 37). To enter this mode, double-click
TEMPO.
(Press twice)
TEMPO
1>BEAT/MEASURE
=
EVENT EDIT 04/04
There are 6 jobs in Setup. Move through them by pressing [JOB], or [SHIFT] + [JOB] to move back.
SHIFT
en I=
| 1>BEAT/MEAS | 2>CLICK HF] 3>REPEAT |
| 6 > LOCATE DELAY Hs > FOOT SWITCH — 4 > PROTECT |
This is where you set the time signature. If you are recording with no other tracks
1. BEAT/MEASURE playing back, this time signature is what determines how Measure Marks are re-
corded. Beat/Measure also will determine how the metronome sounds (see Click,
below).
1>BEAT/MEASURE
04/04
|
1-32 4, 8, 16
You can set the metronome to sound during recording and playback, only during
2. CLICK recording, or to be turned on and off manually (by pressing [SHIFT] + [CLICK]).
In any setting, you can always turn it on/off by pressing |SHIFT| + [CLICK|. There
will be an accent on the first beat of the measure.
2>CLICK
REC/PLAY
Manual, Record, Rec/Play
When Repeat is on and the song reaches the end during playback, it will start again
3. REPEAT from the beginning.
3>REPEAT
OFF
Off/On
38
4. MEM.PROTECT
5. FOOT SWITCH
6. LOCATE DELAY
39
When Memory Protect is on, you will not be able to edit or record. Turning the
power on will not set Memory Protect on.
4>MEM. PROTECT
OFF
Off/On
You can select the function that a foot switch connected to the rear panel jack
will have. It will function exactly like the front panel [STOP/CONTINUE|] and
START] switches
E>FOOT SWITCH
CONTINUE/STOP
Start, Start/Stop, Continue/Stop
When Auto Locate (p. 16) is on and you Start, or if you move during playback
using Measure (p. 13), the QX5 will send a MID! Song Position message from
MIDI OUT. This tells other devices (sequencers, rhythm machines etc.) where we
are in the song. (le. how many beats from the beginning.) Then the QX5 sends
a MIDI Continue message. However, the other device wiil require a bit of time (a
fraction of a second) to move to the specified point in the song before it can
Continue. Locate Delay is the time between the Song Position message and the
Continue message. Some devices will require a longer Locate Delay than others.
E>LOCATE DELAY
100ms
100ms-990ms
All settings in Setup (p. 38), MIDI 1 (p. 41) and MIDI 2 (p. 44) can be stored in
QX5 SETUP one of the 4 satup memories. For instance you could have differant setups for re-
MEMORY CHART — “coding and performing.
py this chart and use it as a note of esch setup memory. Page 37 tells how to
Store and Recall setup memories.
Setup Mo. Serup No.
Мо
Deat/bnasure / | Boat/Moasure | f
Click Manual Hacord Roo Play Click Manual WA Rec; Play
Hopænt on On Rapeni Qf ón
Mam. Protect on on | Mem Protec On On
| Foot Switch Start Stari/Stop — Continua/Stop Foot Switch Start Start/Stop | Continue/Stop
Locate Delay Locate Delay
Input Assign 1234886780 101112131416 18 Input Asskgr 1234587881011 172132141518
Qutpaut Assign | 12345676891011 1215141616 Output Assign 1234587801011 17213141516
Velocity on Оп | Velceity Off a men
Afertouch | Cf ón Aftertouch Or ‘ Cri
Peich Bernd ON On Pitch Bend cn | On
Contra! Change On On | Control Change Gif On
System Exclusive on On tem Exciualve | or ón
Remote In OH On Remote In On On
Remota Dut Of | On Remote Out pm O On
| Echo CH Direct , Rec. Monitor Echo | re oft Direct Age. Monitor
Dévité dt | | E Nada A see
Clock In | Int MIDI Taps |
Clook Oui Off Оп
MIDI 1
These settings determine what the QX5 will record, and how it will be played back. To enter this mode, double-click
the |TRACK! switch.
There are 7 jobs in this mode.
1. INPUT ASSIGN
41
Multi-channel
recording
(Press twice)
TRACK 1>INPUT ASSIGN
So eon | 1234567891011 1213 1415 16
SHIET
En
ee] —”
JOB
| 1> INPUT ASSIGN [—{2 > OUTPUT ASSIGN 3>VELOCITY | 4>AFTERTOUCH |
— 7 > SYS.EXCLUSIVE He > CONTROL CHNG 5 > PITCH BEND |
This determines which channels the OX5 will accept, and on which channels they
will be recorded on. Each place from left to right represents incoming MIDI channels
1-16. Each incoming MIDI channel can be turned off (indicated by a period), or
“re-channelized” and recorded on another channel. Use to move to the
channel you want, and <dt> to change the assignment. By pressing
+ <> , all channels to the right of the cursor will change together.
1>INPUT ASSIGN
1234567891011 1213141518
Recorded MIDI Channel, 1-16
When set as shown above, each incoming MIDI channel will be recorded on its
original channel. If you can change the output channel of your MID! keyboard, it
15 easiest to leave Input Assign set as above, and switch output channels before
recording each part.
1> INPUT ASSIGN
7. . .5678910111213 141516
When set as shown above, incoming messages on channel 1 wilf be re-channelized
to channel 7. Messages on channels 2-4 will be ignored, and messages on channels
5-16 will be accepted on their original channel.
When using the QX5 with more than one tone generator, the usual method is to
set each tone generator to a different reception channel, so it can play a different
part. Obviously, each part must be on a different MIDI channel. There are three
ways to do this.
-
1
—
>
2. OUTPUT ASSIGN
3. VELOCITY
4. AFTERTOUCH
3. PITCH BEND
1. Send the messages from the keyboard on a different channel for each part
using a keyboard with selectable output channel (such as the KX88). This is
easiest and best.
2. After recording each part, use Shift Channel (Track Edit, p. 33) to change the
channel. However, this will mean that you record listening to one tone gen-
erator, and playback listening to another tone generator, which can get con-
fusing if each tone generator contains different voices.
3. Before recording each part, set Input Assign to re-channelize the incoming
channel. If you have selected Echo Rec Monitor (p. 43), you will hear the
same tone generator during recording and playback. When using a keyboard
with fixed output channel, this is best.
This determines the channels that the QX5 will transmit during playback. Make
settings in the same way as for Input Assign.
2>0UTPUT ASSIGN
12345678910111213141516
As set above, recorded data will be played back on the original channel. As an
example of how you might use this function, suppose you had a bass part recorded
on channel 3, and wanted to hear how it would sound played back on different
tone generators. Changing the Qutput Assign would let you do this without af-
fecting the recorded data. (You could do the same thing by changing the reception
channel of the tone generators, but this might be easier.) When a channel is turned
off (indicated by a period “.”), data on that channe! will not be played back.
This determines whether the OX5 will record velocity data. 1f turned off, all velocity
will be recorded with a fixed value of 64. If you really don't need velocity, turning
it off will increase the memory capacity. (About 15,000 notes with velocity, 20,000
without velocity.)
3>VELOCITY
ON
This determines whether the OX5 will record Aftertouch messages (Common and
Individual Aftertouch). On an instrument where Aftertouch cannot be switched
off, it is a good idea to turn this off if you don’t need to record Aftertouch. Otherwise,
the QX5 memory will quickly be filled up with Aftertouch messages. (The least
bit of pressure on the keyboard will send an Aftertouch message.)
4>AFTERTOUCH
ON
This determines whether the QX5 will record Pitch Bend messages. As with Aft-
ertouch, Pitch Bend messages can take up a lot of memory. One way to use this
might be to record without Pitch Bend, and add the Pitch Bend later, perhaps to
another track (but same MIDI channel).
S>PITCH BEND
ON
42
6. CONTROL
CHANGE
43
7. SYSTEM
EXCLUSIVE
This determines whether the QX5 will record Continuous Control Changes (control
numbers 0-63) such as Modulation Wheel, Foot Controller, Breath Controller,
Volume, Portamento Time and Data Entry Slider. {See the list of Control changes
on p. 22.)
E>CONTROL CHNG
ON
This determines whether the OX5 will receive and record System Exclusive mes-
sages.
?>5YS. EXCLUSIVE
ON
System Exclusive messages will be recorded in the same way as Note and Controller
messages. This means that if Sys.Exclusive is on, you can record Voice Parameter
changes (such as EG Rate or Algorithm) sent from a KX88.
NOTE
System Exclusive messages beginning with “FO, 43, Оп ...” ог "РО, 43, 1п ...”
or “FO, 43, 2n ...” are for the QX5 itself (bulk sequence memory). They will
be loaded into QX5 sequence memory if the Device Number “n” matches the
OX5 device number (p. 44). If the QX5 device number is OFF, all System
Exclusive messages will be recorded in the usual way.
(>
MIDI 2
These settings determine how the QX5 will react to and re-transmit (Echo) MIDI messages, and set the OX5's
Device Number. To enter this mode, double-click the [CLOCK switch.
(Press twice)
CLOCK
1> REMOTE IN
=
LOAD/SAVE ON
There are 4 jobs in this mode.
SHIFT
ZI CJ»
| 1> REMOTE IN H 2 > REMOTE OUT + 3 > ECHO a> DEVICE NUMBER
This determines whether the QX5 will receive Song Position, Song Select, Start,
1. REMOTE IN Continue and Stop. (MIDI Clock reception depends on the Clock setting, p. 14.)
1>REMOTE IN
ON
You will usually want to leave this ON. (Some reasons for turning it off might be
to let the QX5 keep on playing even after another sequencer had stopped, etc.
but this will not occur in most uses.)
This determines whether the QX5 will transmit Song Position, Song Select, Start,
2. REMOTE OUT Continue and Stop.
2>REMOTE OUT
ON
As with Remote In, you will usually want to leave this ON, so that other sequencers
or rhythm machines can be synchronized with the QX5.
This determines whether Channel messages and System Exclusive messages re-
3. ECHO ceived at MID! IN are sent from MIDI OUT. System Exclusive messages for the
QX5 itself (System Exclusive Bulk Sequence Data with sub-status 0,1 or 2) are
not Echoed back. Also, System Common messages and System Realtime messages
are not Echoed back.
3>ECHO
REC MONITOR
Off, Direct, Rec Monitor
4. DEVICE NUMBER
45
Echo Off:
* Echo Direct:
* Echo Rec Monitor:
NOTE
Messages received at MIDI IN are not sent from MIDI
OUT.
Messages received at MIDI IN are sent unchanged from
MIDI QUT. (MIDI OUT acts as MIDI THRU.) However,
received messages are passed through the Key Assign
Table (see note). When an All Note Off message is
received, the Key Assign Table is searched to see if any
notes are still on. If there are, Note Off messages are sent
for each of them.
Messages received at MIDI IN are passed through
Input/Output Assign to be re-channelized or ignored
(p. 41) and through the Status Filters (p. 41, Velocity,
Aftertouch, Pitch Bend, Control Change, System Ex-
clusive). In this way, you can hear exactly what you are
recording.
The QX5 has a 32 note
notes are currently on. This means that there can be no more than 32 notes
simultaneously on during playback. Likewise, there is a 16 note Record Key
Assign Table.
Playback Key Assign Table that keeps track of which
This is the “System Exclusive MIDI reception channel” for the QX5 itself. When
incoming Sequence Bulk
Data has a matching device number and a sub-status
of 0, 1 or 2, it will be received into QXS system memory. All other incoming System
Exclusive messages will be recorded as usual, The QX5 itself receives two types
of System Exclusive message; Sequence Bulk data, and Dump Request.
4>DEVICE NUMBER
O
1
OFF 1
-16
OTHER FUNCTIONS
|
Pressing [SHIFT] + [CLICK] will turn the metronome on or off at any time. Using
CLICK the Setup function (p. 38), you can have the metronome automatically
sound during record and playback. By connecting the back panel Click Out to an
amp/speaker or mixer, you can hear the click through your monitor system or
headphones. When the back panel Click Out is used, the internal click will not
sound.
— —— — Pressing [SHIFT] + [RESET] will do the following.
RESET * If pressed during playback, play will stop (just as if you had pressed [STOP]).
* |f pressed while transmitting or receiving data (tape or MIDI), transmission or
reception will stop.
mp * If pressed in Setup, Edit or Load/Save modes, it will return to Tempo, Measure,
Track or Clock mode.
* |f pressed while in Tempo, Measure, Track or Clock modes, Song Position will
be reset.
—— This lets you see on what MIDI channel messages are being received and trans-
MIDI MONITOR mitted. Double-click [MEASURE]. When a message is received or transmitted, the
channel number will be displayed for 0.5 seconds. Press to select Input
or Output monitor.
1>INPUT MONITOR 2>0UTPUT MONITOR
ol «C= a
A message is being Messages are being transmitted
received on ch. 3. on channeis 4 and 7.
= When Auto Locate is on, press [SHIFT] + [START] during playback. Playback
LOOP PLAYBACK will continue in a loop between the Auto Locate measure memory (p. 13) and the
7 point at which you pressed |SHIFT| + [START].
46
TAPE SYNC
The QX5 can be synchronized with a multi-track tape recorder such as the MT1X. One track of tape is used to record
and play back an FSK (Frequency Shift Keying) sync signal. When you playback the OX5, an FSK sync signal is
sent to the tape recorder. When the OX5 is set to Tape Clock and you playback the tape, the OX5 receives this
FSK sync signal, and plays the sequence back in synchronization with the tape.
In the same way, you can record on the OX5 while synchronized to tape. Press [RECORD], then or
[CONTINUE], before you start the tape. When you start the tape, recording will begin.
Connections Connect the tape recorder to the QX5 Tape In/Qut jacks as shown.
Tape track 1 playback (output) -«K———— OX5 Tape in
Tape track 1 record (input) -«E— — ————» OX5 Tape Out -
Recording the Sync Setthe OX5 to Internal Clock.
Track Begin recording on tape track 1.
Start OX5 playback.
When the QX5 playback is over, stop the tape.
Synchronized Set the QX5 to Tape Clock.
Playback Press |START! or [CONTINUE].
Rewind the tape to a point before the sync starts, and playback track 1.
The QX5 will start playing in synchronization with the tape.
NOTE
* Before playback, be sure to rewind the tape to a bit before the point where
the sync signal starts.
* The FSK signal contains only Timing Clock data. You must press
[START]or [CONTINUE] and [STOP] on the OX5.
* If you are experiencing difficulty, check the recorded level of the FSK signal
Example Yamaha MT1X has SYNC IN/OUT terminals for FSK recording and playback.
1. Record the FSK signal via the SYNC
IN of MT1X. (It will be recorded on
track 1.)
OX5 MT1X 2. Atthe same time, record the DX audio
signal played back by the QX5 on
MIDI OUT MT1X track 2.
3. Change the DX voice. Syncronizing
MIDI'IN OUTPUT the QX5 to the tape, record another
sequence playback on MT1X track
3.
4. In the same way, record MT1X track
4.
TAPE QUT TAPE IN SYNC OUT SYNC IN
DX7
EEE EE.
IDEAS AND SUGGESTIONS
* Since the QX5 requires so little power, you may want to leave it on whenever
you practice, to serve as a quick notebook to capture your musical ideas. A riff
or motif can be stored in a macro, to leave the tracks free for recording.
* You can use the QX5 to save and load voice bulk data to and from tape. Set the
QX5 to accept System Exclusive messages. Start realtime recording and dump
the data. (See the owner's manual for the other device.) When the data has been
completely sent, stop recording and save track 1 to tape.
* By setting the DX7 to Sys Info Avail, you can store voice data as part of a se-
quence. Set the QX5 device number OFF, and Voice Data Bulk Dump will be
recorded along with other messages. Set the DX7 to Sys Info Avail. Every time
you select a DX voice, instead of a Program Change, the voice data wiil be sent
out. This means you can play back a sequence without using any of the voices
originally in a tone generator. (le. not Program Changes, but the actual voice
data is sent into the tone generator edit buffer during playback.)
* Recursive macros! You can call a macro from another macro, and even call it
from itself (at the end). This could be used for a repeating phrase. (It will continue
playing till all playing tracks ends.)
* The KX88 or MCS2 have front panel sliders that can be assigned to send MIDI
Tempo Clock. This is quicker than using the OX5 <a> switches to change
tempo.
* Set aside Track 1 for recording and editing. As soon as you have finished working
on a track, Exchange it with an empty Track or Macro. This will avoid accidents,
and help you keep track of what data is where.
* You may have to go through a few steps, but if you stop to figure it out, almost
any imaginable editing operation is possible. For instance, Bass, Piano and Strings
are all in one track (on different channels, of course), but you decide to re-do
the Bass. Extract the channel the Bass is on. Re-record the Bass, and Track Down
to combine the three parts back into one track.
* A song in each track. If you are performing live and need to have instant access
to 8 different songs, put one in each track. Play back each song with the other
tracks turned off.
* Quantize only notes. The Quantize function affects all events, which sometimes
can have unwanted side effects. For instance, if a Program Change comes at
the same moment as a Note On, the Note On will not have time to sound cor-
rectly.To avoid problems, Extract the Note data, Quantize it, and Track Down
to put it back in the original track.
* Allow for mistakes. when performing a potentially dangerous function (such
as Quantize or Remove), Copy the original data to a Macro. That way if you
make a mistake, you still have the original data.
48
MESSAGES
When there has been an error or some unexpected condition. the QX5 will display
ERROR MESSAGES the error numbers and messages as follows.
%* ERROR-083 X
MIDI buffer over
Error No. Message Meaning
01 Clock too-fast The buffer for realtime messages (Clock, Start, etc.)
has overflowed.
02 Out of sync Unable to STOP normally, (Too much data, or
tempo too fast).
03 MIDI buffer over The input buffer has overflowed.
04 MIDI data error Input data error.
05 Memory full During record, edit or data loading, the memory
has overflowed.
06 Memory Protected You tried to record, edit or load when Memory
Protect was on.
07 TR1 not ready You tried to record or enter Event Edit when track
1 was off.
08 Memory error The battery backed-up data 1s incorrect.
09 Ilegal format Data loaded from MID! or tape has incorrect format.
(Wrong number of bytes or check sum error).
10 Bad tape level Unable to load from tape.
During recording, if free memory goes below 009, this message will be displayed.
WARNING MESSAGE Press any switch to go back to the previous display.
WARNING
Memory near full
== If Sequence Bulk data is transmitted (in response to a dump request) or received
DATA MESSAGES while not in Load/Save mode, the following messages will be displayed. When
finished, the display will show “Completed” for 1 second. You can press
+ to abort, in which case the display will show “Aborted”. The displayed
numbers are explained in Tape Save and Tape Load (p.34-p.35).
%* TRANSMIT x * RECEIVE x
TRI 018/134 TRS5.. TRH 042
49
SYSTEM EXCLUSIVE DATA FORMAT
In addition to System Exclusive messages recorded as sequence data, the QX5 transmits and receives the following
data.
1. When MIDI Transmit (p. 36) is executed, Sequence Bulk data is sent as
TRANSMISSION
MIDI Status byte FO (System Exclusive)
DATA ID 43 (Yamaha)
Sub-status/Device no. On (0=Bulk dump, n=device number O-F)
Format no. OA (Sequence data)
Data blocks (see below) ;
EOX F7 (End of Exclusive)
The sequence data has been converted into ASCII format by sending the upper
and lower nibbles separately. When a large amount of data is sent, it is divided
up so that the byte count is 4096 or less, and sent in blocks as described below.
Each block has its own byte count, header and check sum. There must be an
interval of 100 msec at the end of each block to allow the QX5 to process the
data. After all blocks have been sent, F7 (EOX) is sent. Each data block has
the following format.
Byte count ?? (High; 00-7F) Byte count of header + sequence data
Byte count ?? (Low; 00-7F)
Header LM NSEQ1' (ASCII "LM NSEQ1 “)
Sequence data ... Number of bytes indicated in Byte Count
Check sum ??2 (00-7F) Check sum of Header + Sequence data
100 msec interval (to allow the QX5 to process the data)
2. When MIDI Receive (p. 37) is executed, a dump request is sent as follows.
MIDI Status byte FO (System Exclusive)
ID 43 Yamaha)
Sub-status/ Device no. 2n (2=Bulk data, n=device number 0-F)
Format no. OA (Sequence data)
EOX F7
= When the QX5 receives a dump request as above with the appropriate device
RECEPTION DATA — number, it will transmit Sequence Bulk data in the same format described in 1.
NOTE
This is how sequence data is stored in the QX5 internal memory. When sending
it as part of a bulk dump, each byte is converted into ASCII format by sending
the upper and lower bytes separately.
FO Top of record
nn Record number 0: TR1, 1: TR2,... 8: M01, 9: M02... 39: M32
dd Sequence data
dd
F2 End of record
90
The data for one track or macro begins with FO and ends with F2. The byte after
FO is the track number. If there is more than one track being sent, the above data
is sent successively. The track beginning and end has no relation to the beginning
and end of data blocks.
The OX5 does not have to be in Save/Load mode to receive or transmit Sequence
A,
RECEPTION/ Bulk data.
TRANSMISSION e When a Dump Request is received, the QX5 transmits all data TR1-M32.
CONDITIONS ® When Sequence Bulk data is received, it is loaded into TR1-M32. Track and
macros not receiving data preserve their original data.
® Data is received only if the device number matches.
® During playback, recording or editing, incoming Dump Requests and Sequence
Bulk data are ignored.
CAPACITY cerner esracarareenner ere ana ane nana trame sara encens Approximately 20,000 notes (15,000 notes with velocity)
SWITCHES eee etter eres saner sense re cs scan TEMPO, MEASURE, TRACK, CLOCK, DISPLAY, AUTO
LOCATE, F1, F2, F3, F4, SHIFT, RECORD,
STOP/CONTINUE, START
LE Deere er r rer REF EETEREEELKRRREEKKERELKRARKERKKERDEKEERERKKEEEEKKEEREN TEMPO, AUTO LOCATE, RECORD, START
DISPLAY orotate 16 Character 2 Line Backlit LCD
TERMINALS ….…............iscccrsssnrenersrrnare asser er anses a seen en een MIDI IN, MIDI OUT, MIDI THRU, TAPE IN, TAPE OUT,
POWER CONSUMPTION.........
DIMENSIONS (W x D x H)
WEIGHT ooo,
INCLUDED ITEMS ..................
51
CLICK, FOOT SWITCH
nirrariaaanee reee reneerecenees 5 W
penenencinreneereennenanerecanee 350 x 240 x 49 mm (13-3/4" x 9-3/8" x 1-7/8")
Gens rerrisananareceene sense sante 2.9 kg (6 Ibs 6 ozs)
anarananateanae sa asee sr scene MIDI cable (1m) x 2
Cassette cable x 1 (for Data recorder)
Pin cable x 1 with Plug adapters (for Tape sync.)
[ Digital Sequence Recorder 1 Date : 6/24, 1986
Model QX5 MIDI Implementation Chart Version : 1.0
+ nT A a a = Da A ADO NU A ED O A GU NS E ен O CS ES US A UN O те те еже кн E E E UA A UD E MS UD “re A o O ее = = жа = че бл бей Mi PL NA E DM сы
ı Transmitted Recognized ; Remarks
Function
|= = тен +--------------- +------------
Basic Default 1 X5
Channel Changed
pra me тот ее +
Default :
¡Mode Messages 1 POLY,MONOCM=1) : POLY, MONOCM=1) 1X1
Altered ED 0 9 9090000000000
om eee тете +--------------- фе
‚Note » 0-111 › 0-111 Xl
Number : True voice: XXXXXXXXXXXXXXXX | 0-111
| a ee ee Fo a a неее не a m
‚Velocity Note ON 1 O OnH,v=1-127 1 O X2<VELOCITY) Xl
Note OFF | x OnH,v=0 ox
| mmm +--------smssss ss ee + +=
‚After Key's O : O X2CAFTER TOUCH) :X1
: Touch Ch's 1 C 1 O X2CAFTER TOUCH): X1
NO r ern $+------ фене неее +
‘Pitch Bender O 1 O X2(PITCH BEND) 1X1
р-ты +------------------ не +------------
0-63 | © « © X2(CONTROL CH.)>:X13
64-121 : o O X1
Control :
‚Change ; ) |
paa E fmm то = еее +------------
Prog ‚ © 0-127 1.0 0-127 Xl
Change : True # 199979909090 0 80-127
le +-------- +----- +--------————
System Exclusive 1 GO / O 1 0 7 6 X2SYS.EX.):X3 / X1
pra a m vn en —————— +----------------- ее
System : Song Pos | o X2CREMOTE OUT) | © Х2‹КЕМОТЕ IN) |
: Song Sel | о X2(REMOTE OUT) : o X2(REMOTE IN) 1X4
Common : Tune ı X ı X |
| mmm mmm mm $m mmm $------ ee mm
System ¡Clock К © X2CCLOCK OUT) | о X2(CLOCK IN)
Real Time Commands: o XZ2(REMOTE OUT) | o X2CREMOTE IN) |
| === +----------------- не +
:Aux Local ON/OFF | © O XI
All Notes OFF! x 1 O 123 ,
:Mes- ¡Active Sense | o O
sages Reset | Хх ; X
| ет еее ee +--------------- +------------------ Фе
‚Notes - X1 Recognized as record data.
(received during echo switch is on.
:13 Sequence data.
X4 Reset song position.
Transmitted when (l)playback (2)
X2 Enabled or disabled by setup.
Transmit only when received.
+ ¥5 Channel of record data is memorized. (INPUT ASSIGN, OUTPUT ASSIGN)
Mode 1
Mode 3
: OMNI ON, PO
LY Mode 2 : OMNI ON, MONO
: OMNI OFF, POLY Mode 4 : OMNI OFF, MONO
о дн PE wip ЧАР
== оно
Ar amen TX" a AE mi EE aE ME pe eR a EE
EE ты wip mp ple owe be mie me we
=P CF ann AE cde WY mE om a RE WE OEE a EE wl AF mR O DE RT CES
— EE OWE ule EEE EE di
REFERENCE PT
WHAT'S HEXADECIMAL?
THE HEXADECIMAL
SYSTEM
HEXADECIMAL |
53
DECIMAL
CONVERSIÓN
When dealing with computers, it is often convenient to use the Hexadecimal
numbering system (often abbreviated “Hex"). The way of counting that we use
everyday is called the decimal system, because it has ten numerals, 0 through 9,
and is based on the number ten. The Hexadecimal system uses sixteen numerals.
This is a number system based on the number sixteen, with sixteen numerals. Since
we only have numerals 0 to 9, we will use letters of the alphabet, like this.
0, 1,2, 3, 4, 5, 6, 7, 8, 9, A, B, C, D, E, F_ (Hex “F” = Decimal “157)
Then, when we want to go beyond F, we move one place to the left and start with
0 again.
8, 9, A, B, C, E, D, F, 10, 11, ... 19, 1A, 1B, 1C, 1D, 1E, 1F, 20, 21, ...
(So as not to confuse hexadecimal and decimal numbers, a dollar sign “$” is often «
put in front of hex numbers. Eg. SAD)
Here is an example of how to convert a hex number into decimal.
HEX | 3 D
DECIMAL 16" x3 + 16° x 13 = 61
For your convenience, a Decimal / Hexadecimal / Binary conversion table is included
on the next page. (Binary numbers represent the actual electronic on/off pulses
inside the computer.)
The next sections "What's MIDI!” and “MIDI Format Table” will use Hexadecimal
numbers.
Er ais e EN EEE N EC
BINARY, DECIMAL AND HEXADECIMAL CONVERSION
S
SS DD DOE ERRE = О О ООО О О © e В «= = «= = = = == = = = = = = = = =
свое воввовооооо соо СООО О = = тете ее ее еее ————— aw em Ч че о
Harr OS т К) Orr DOr rr 2) СН тот ВОЛ = жи КС} КС} же ож {С} К} че ж= В Е == т С Е же == oS rer EAS rer = 3 5 == т 5 5 к == ©) 25 == == СЭ С) == ==
DD OO = = не С) КЗ ЕВ С) че оч = = Е) КЗ Е Е = «= == == БЛ 69 0 62 E SID во ВОК) НЕ EE и (СВО) СО С} == a a a СВ) КЗ Е = ч= = ==
=> E SES CCC 53 БЫ КО 62 ©) 6 CCC TES mr DOOD OD = == ч= = = = == = СВ БОБЫ В Е Е 5 5 == == т= == == те от ==
р) СВ ©) С) ВО) СВ OD EE E DES rr mere ema EEE EE EE син e a
0
0
0
0
T
0
0
0
0
@
@
@
0
0
q
0
@
@
0
0
0
О
0
О
0
0
0
0
0
a
0
a
0
Ú
0
Ú
0
D
Ú
0
0
0
0
Ö
0
0
0
0
D
Ö
0
0
0
T
ü
D1
D1
Di
Di
D
0
0
©
©
81
ña
83
fé
5
dé
67
da
ti |
«В
60
GE
BF
mu
M
72
73
iL
16
76
EL
a
ra
TA
a
TC
TO
TE
TF
ERECT A ET
BF
e E E A E 68 6 Я 6 тоже око SA o ID E rrr D0 DOr em em DDD Demme sD DDD Ore SE
Кр р 8 С) КР К) КР К} шт me emma san a ra OO © = = == = = = == += К О) В Об) ЕВ ОЕ 23 Е же от ож ож ож == т == SS ESSE SS ож т = = == == —
Юэ Е) С» ОСЬ OO DD ODD Des = оч же же же ж= те ож те отеоке от ож = = SESS NSN SO SOO SEES Se oe eo == «= on que qu qu qu e pn
— EE E E E E E E E 0000 Oe mm am a sos os a a a pa a a
EE щи EE EE EES OE OE EO OA A A LOL AA E LL LLL E A o E LL o тт оч o чт ен A т отт o pe pe O OS O E щи E ET
E y E E NE SES ES СЫ СВ ES SS ES LS ES ES ES ES ES ÉS ÉS ES ES ÉS ES TIT ooo Do O OI IO
AA a > Se U0 0wi SrrMmeoo RDI 00 MLO ddd ~3m a BO Dull © = © 28 SERE
CC CC MC CC COC FA ESE YY СЧ AY AY Y MA Y AY A A MY A MA MA ma
LL.
de fr
== E SES ES e те e тен те оте ож a e E EL ZE == == == == == == == o | e e = = e = С} СО) СОС) ОС) ОСЬ С) КС == ча оо 5 = ==
О © © io a SO SS en =…=rs== mmm OOOO SOO ODD OO Der rrr rr ra rr r——
59506068 с» О) С С) Е ЕЕ С) СВ Е ОСЬ Е Е Е ЕВ Е Е Е 25 Е СБ ен ке ож ож к ож e же же тж == тож ож ож = очи о ни ин E
со с
EEE HH OOOO OOO E
Selo OD OOo O SÓ SL GS GS GS GIO BDO DOSSIERS
“ ¢
REFERENCE: 2:22 ——
WHAT'S MIDI?
55
Musical Instrument Digital Interface (MIDI) is a way for keyboards, synthesizers,
sequencers, rhythm machines, and computers to communicate with each other.
Devices that have a MIDI jack can be connected together to send and receive in-
formation. Since most musical instrument manufacturers have agreed on MIDI,
vou can connect devices of various manufacturers.
Each piece of information is called a MIDI MESSAGE. Each MIDI message is made
up of 1 to 3 bytes (numbers); a Status Byte and 0,1 or 2 Data Bytes.
The typical MIDI message is in the following form.
Sn. xx. yy
S = Status (8-E) <a,
n = Channel number (0-F indicates channel 1-16)
xx = First data byte (00-7F)
vy = Second data byte (00-7F)
Let's look at a sample 3-byte MID! message.
‚83. 8С. 15
T | |
Status (Note On) Channel #4 Note # Velocity
For example, if a DX7 synthesizer receives this message, it does the following.
1. Checks the channel number to see if it is acceptable. if the DX7 has been set
to receive that channel, it goes on to the next step. lf not, the message is ignored.
In the example above, the channel number is 4. (We count 0-F as 1 to 16.)
2. Checks the status. In this case, the status is Note On, so the DX7 knows to
expect two more data bytes; note number (what note) and velocity (how hard
it was hit). a
3. Reads the data bytes and produces the correct note with the correct velocity.
(Keep in mind that all this takes a very short time. It takes about 1/1000 of
a second to send a MIDI message. To us, it seems as though sound is produced
at the same time the key is pressed.)
Some MIDI messages have only two bytes; a status byte and a data byte.
For example,
C3. 05
is a Program Change message on channel 4, telling the receiving device to switch
to program number 6.
MIDI messages with a status byte from FO to FF have no channel number. They
are called System Messages, and are received by all devices regardless of their
channel setting.
For an explanation of each type of message, see the MIDI Format Table on the
next page.
MIDI FORMAT TABLE
A REFERENCE
Message Status Byte First Data Byte (xx) Second Data Byte (yy)
Note off 8n Note Number Velocity
Note on 9n Note Number Velocity
Polyphonic
Aftertouch An Note Number Pressure
Control Change Bn
(Control Number)
01 Modulation Wheel
02 Breath Controller
04 Foot Controller
05 Portamento Time Data
a 06 Data Entry Slider
= 07 Main Volume
oD
wo 40 Sustain
= 41 Portamento Data
> 42 Sostenuto
< 43 Soft
: © 60 Data Increment 7F
| 61 Data Decrement 7F
| 7A Local 00: Off, 7F: On
a 78 All Note Off 00
7C Omni Off 00
4 7D Omni On 00
; 7E Mono On 00-OF (Number of channels)
5 7F Poly On 00
E Program Change Cn Program number
Channel Aftertouch Dn Pressure
i Pitch Wheel En LSB MSB
E System Exclusive FO Mfgr. ID code (???)
a p=
< El
; © | Song Position F2 LSB MSB
| = Pointer
' 5 | Song Select F3 Song number
; w = F4, F5
; < S | Tune Request F6
ul End of Exclusive F7
= Timing Clock F8
LJ
58 F9
> <q
a и Start FA
= Continue FB
= | Stop FC
= FD
<
te | Active Sensing FE
System Reset FF
NOTE:
Explanations of each message are on the following pages. See the MIDI Implementation chart
on p.59 for the messages that the QX5 receives and transmits. All numbers are in Hexadecimal.
The QX5 displays Decimal numbers, so use the conversion table on p. 53 when making settings.
56
REFERENCE lll ООН
MIDI MESSAGES
8n Note Off: The note number indicates which key was released, and velocity indicates how
quickly it was released. Very few keyboards have Release Velocity Sensitivity.
9n Note On: The note number indicates which key was pressed, and velocity indicates how
hard it was hit. On keyboards which do not have a velocity sensitive keyboard, a
medium value of 40 is sent. A Note On message with a velocity of O is the same
as a Note Off message.
An The note number indicates which key is being pressed, and pressure indicates how
Polyphonic Aftertouch: hard that key is being pressed. (le. each key can send independent aftertouch
messages.)
Bn Control Change: The control number indicates which controller is being moved, and the data indicates
the position of the controller. In this chart, control changes 01-07 are “continuous
controllers.” (Slider or wheel-type controllers) They carry data in the range of 00-7 4%
Control changes 40-43 are on/off switch-type controllers. Data O is off, data 7F
is on.
Control changes 7A-7F are a special type of control change called Mode Messages,
and usually carry a fixed data byte. They tell the receiving tone generator how to
behave. The way in which these message are interpreted will depend on the device.
(See the MIDI Implementation Chart for your tone generator or synthesizer.)
Cn Program Change: This tells the receiving device to switch programs (memories).
Dn Channel Aftertouch: Also called “Common Aftertouch”, this is found on the DX7. It indicates the
strongest pressure on any part of the keyboard, ie, the “common” value.
En Pitch Wheel : To provide finer resolution, this data is sent in two bytes, first the Least Significant
Byte (LSB) and then the Most Significant Byte (MSB). Yamaha tone generators
and synthesizers ignore the LSB.
FO System Exclusive: After FO must come an identification number which has been assigned to each
manufacturer. Yamaha's number is 43. What comes between this message and F7
(End of Exclusive )is completely up to each manufacturer (but each byte must be
between O and 7F). Yamaha uses System Exclusive messages to transmit voice ay
data, seguence data, rhythm pattern data, bulk memory data of all kinds, and many
other useful things. See the System Exclusive format chart for your device.
F7 End Of Exclusive This marks the end of a System Exclusive message.
(EOX):
F2,F3,F8,FA,FB,FC,FF: Song Position Pointer, Song Select, Timing Clock, Start, Stop, Continue, System
Reset are all for controlling sequencers and rhythm machines. See the MIDI im-
plementation Chart for your device.
FE Active Sensing: If there are no MIDI messages that have to be sent, one of these is sent just to let
the receiving devices know that there is still someone out there. If there have not
been any MIDI messages for longer than 300 msec, the receiving device assumes
that some error has taken place (eg. a MIDI cable was pulled out by mistake) and
will stop all notes.
F1, F4, F5, F9, FD: These are unused, and reserved for future expansion.
57
OX5 QUICK REFERENCE MANUAL
RECORD
* Recording is always on Track 1.
* Track 1 must be on.
* Memory Protect must be off.
* To record, press
RECORD! then [START or CONTINUE
(From measure 1) (From current measure)
RECORD MODE
* There are three modes.
Realtime
Punch In
[SHIFT] + RECORD! >
Step
* When Auto Locate is on, recording starts from the left
Measure Memory.
“о”
=
AUTO LOCATE] =
MEASURE=0027-01
Save 010 015 024
( from this measure)
PUNCH IN RECORD
* Set Punch In/Out points to the current measure.
Select measure ( «q >)
MEASURE! =» KH 02 |
Save 010 015 024
SHIFT] +
HIFT] + Punch In
SHIFT] + Punch Qut
STEP RECORD
* Press DISPLAY to show Free Memory or Position.
Free Memory Measure Beat Clock
|
STEP 170 M=0001-01-00/96
1/04 080% 5e] DISPLAY + 1/04 080% 064
Step Time
Gate Time
Velocity
[CURSOR]
[=] [>|
* Input notes from a MIDI instrument.
Select parameter (Position, Step
Time, Gate Time, Velocity)
Change parameter
TEMPO Erase the previous event.
MEASURE. Move back one event.
[RACK Extend timing of previous note.
Input rest.
[SHIFT] +ITEMPQ] Delete one measure.
[SHIFT}+ [TRACK] Insert a Measure End mark.
[SHIFT] +[CLOCK] Rest until end of measure.
[AUTO LOCATE] Protect Step Recorded data.
EDIT
* All operations are done on track 1.
* There are three levels of editing.
EVENT EDIT
* Search for the event you want to change.
* Use CURSOR to select data, <1 > to change data.
* Execute the change. (Replace, Insert or Delete)
Select data
Change data <1 >
(Cursor blinking)
Search «< >
(Cursor hidden)
M=0002-01-24/96 M=0002-01-24/96
e JOB»
NOTE (1) E.. 2 051 NOTE (1) E.. 2 061
ISHIFT|+ START] Replace with modified
event.
ISHIFTI+ [STOP] Insert modified event.
[SHIFT] +[RECORD] Delete selected event.
MEASURE EDIT
* Select JOB, select measures to be affected.
* Execute by pressing START.
Job Free memory
Ba vos |
0006. . 0008
=
Measures
COPY Copy measures to the end of track.
DELETE Delete measures.
REMOVE Remove specified data.
SHIFT Change data value of specified messages.
QUANTIZE Adjust timing of all messages.
TRANSPOSE Move all notes up or down.
VELOCITY Move all velocity up or down.
GATE TIME Adjust gate time of all notes.
CRESCENDO Gradually change velocity.
CREATE Insert blank measures.
TRACK EDIT
* Select JOB, select tracks to be affected.
* Execute by pressing START.
Job Free memory
1>EXCHANGE
TR1 (04)
199
TR8 (06)
Гог
Size of tracks
EXCHANGE Swap tracks/macros.
COPY Copy track/macro to track/macro.
TR.DOWN Combine both tracks into second track.
CLEAR Erase track/macro.
CUT Cut track 1 at specified measure and put
the “tail” in another track.
INSERT Insert track 1 in front of the specified
measure of another track.
EXTRACT Extract specified data from track 1 and
put it in another track.
CLOCK MOV Move timing of entire track.
THIN OUT Delete approximately half of all selected
continuous controller messages.
SHIFT Change data value of specified messages.
PLAYBACK
TRACK] PLAY TR=1.......
Trl Tr2 Tr3 Tr4
[F3] [F4] Switch tracks 1-4
HIFT)+ [F1] [F2] [F3] [F4]
Switch tracks 5-8
* While Stopped
1-8 (*)
m
1-8
On
(End of data)
Off
* While Playing
On
Mute
FCC INFORMATION (USA)
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 fre-
quency range and if installed in the immediate proximity of some types of audio or video devices
(within three meters), interference may occur. This series of Yamaha combo equipment have been
type tested and found to comply with the specifications set for a class 8 computing device in ac-
cordance 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 combo 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 or 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 the 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 professional products Service Department, Yamaha International, 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
The ОХ5 15 supported by Yamaha's worldwide net-
work of factory trained and qualified dealer service
personnel. In the event of a problem, contact your
nearest Yamaha dealer.
= @ УАМАНА
HAMAMATSU, JAPAN
VD68620 | 87 6 1.0 R2 CR Printed in Japan
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