Yamaha QY10 Owner's manual

Yamaha QY10 Owner's manual
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YAMAHA
MUSIC SEQUENCER
CAY CI
OPERATION MANUAL
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Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620
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The solder used in the manufacture of this product contains LEAD. In addition, the electrical/electronic and/or plastic (where applicable) components may
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TUTORIAL SECTION
Congratulations!
You are the proud owner of a Yamaha QY 10 Music Sequencer! In a package no larger
than a video cassette, your QY 10 has everything you need to program complete compositions
or accompaniments: 8-track sequencer, 28-note polyphonic/30-voice tone generator, and
26-voice rhythm machine. You can record each track in real time or note-by-note, either
using the micro-keyboard on the QY10 panel or an external MIDI instrument. The QY 10
even provides a range of preset backing “patterns” in a variety of styles including rhythm,
bass, and two chord parts that you can use as a basis for your compositions. You can use
the patterns in whole or in part ... or program new ones of your own. Once you've recorded
the basic parts, the QY10 gives you a range of important editing functions so you can
reshape and refine your work until it sounds exactly the way you want it to.
In order to take full advantage of the many features and powerful capabilities of your
QY10, we urge you read through the manual carefully — the Tutorials section first, then
the Reference section — while trying out the features described. Also be sure to keep the
manuals in a safe place for later reference.
MAIN FEATURES
8-song memory with 8 sequencer tracks each: 4 for melody and chord lines; 4 for
backing including chords, bass, and rhythm.
30 PCM voices and 26 drum instruments provide a diverse and colorful “palette” of
sound.
32-note sequencer polyphony; 28-note tone-generator polyphony.
Enter notes and chords via the QY10 “micro-keyboard,” or via a full-size external
instrument connected to the MIDI interface.
Real-time and step-write programming capability.
Exclusive chord entry system makes programming even complex chords quick and
easy.
76 preset patterns provide a convenient foundation for backing tracks, while 24 memory
locations can be programmed with your own, totally original patterns.
MIDI bulk dump capability lets you transfer QY10 sequence data to compatible
sequencers and instruments.
Versatile editing functions.
CONTENTS
H TUTORIALS
ABOUT THE MANUAL i 7
PRECAUTIONS dei 8
POWER SUPPLY 110111111214 a LL a Aa da a ad ra da a a a aan 10
THE CONTROLS & CONNECTORS ....... ae a a aa Le 12
GETTING STARTED... enredo ear enoedooroconaa 18
Play the Demo ............. 8.000 0red0recaa0neaonreaa 18
Listen to the Preset Patterns ........... e... 2.0.0.0 20
Try Out the Voices ............. e. ieee 0 23
CREATING AN ACCOMPANIMENT ..... 0 0000recaea, 26
Track MUting oe 31
RECORDING THE SEQUENCER TRACKS ....................... 32
OTHER IMPORTANT FACTS ..... iin. 34
Important Facts About the Backing Tracks .................. 34
Creating Original Patterns ................................ 34
Chords and Automatic Harmonization ...................... 36
How Much Free Memory Do You Have? .................... 37
Driving External Tone Generators ............ 2.0.0.0. 00000 38
Conclusion ........ eee recodo rerendarao0noonenoaoaoro, 38
H REFERENCE
SONG MODE i eee a ea 4 06 41*
SONG EDIT 111102244444 a 4 4e a ee arena raarenenrercareasa: E
SONG JOBS 2er ee 0 69 *
VOICE MODE eK RR 4 A Aa a 44 ae A a a a a ae a a an 63 *
UTILITY MODE eee ee ieee 89 *
PATTERN MODE .......240402 02044 4e Le 4 a ae eee ee eee 4e ea ea 00 97 *
PATTERN EDIT eee 105 *
PATTERN JOBS «ie 109 *
E ERROR MESSAGES ee 120
Ш SPECIFICATIONS eee 124
HINDEX TEE 127
* Local tables of contents provided on these pages.
ABOUT THE MANUAL
The QY 10 manual is divided into two sections: “Tuto-
ls” (this section), and “Reference.”
MN The “Tutorials” Section
This 1s the section you should start with. The “Tutori-
als” section provides step-by-instructions covering a few of
the most basic OY10 operations, and is designed to get you
familiar with the QY 10 in the shortest possible time.
The Tutorials section will teach you how to:
Play back the demonstration songs.
Select the pattern mode and listen to the preset
patterns.
Select the voice mode and try out the voices.
Program a simple accompaniment.
Add a lead line to the accompaniment,
Create a simple backing pattern.
* *
* OX X +
Go through the Tutorials section first, and actually try
out the procedures on your QY 10.
M The “Reference” Section (pages 41 through 117)
The Reference section is the part of the manual you'll
want to refer to after you gain initial familiarity with the
QY10 — i.c. after you’ve carefully gone through the Tuto-
rials. The Reference section provides full details of the
QY10’s many functions and features. Unlike the Tutorials
section which is designed to be read through from beginning
to end, the Reference section allows you to directly reference
information on individual functions. So if you're recording
a sequence and you want to know how to “quantize” a
track, the Reference section is where you’ll find the an-
swer.
PRECATIONS (PLEASE READ THIS BEFORE PROCEEDING!)
© — ————— " " " "—-—"—"_"_"_" " " " " " " " " "=
1. AVOID EXCESSIVE HEAT, HUMIDITY, DUST
AND VIBRATION
Kcep the unit away from locations where it is likely to
be exposed to high temperatures or humidity — such as
near radiators, stoves, etc. Also avoid locations which are
subject to excessive dust accumulation or vibration which
could cause mechanical damage.
2. AVOID PHYSICAL SHOCKS
Strong physical shocks to the unit can cause damage.
Handle 1t with care.
3. DO NOT OPEN THE CASE OR ATTEMPT
REPAIRS OR MODIFICATIONS YOURSELF
This product contains no user-serviceable parts. Refer
all maintenance to qualified Yamaha service personnel. Opening
the case and/or tampering with the internal circuitry will
void the warranty.
4. MAKE SURE POWER IS OFF BEFORE MAK-
ING OR REMOYING CONNECTIONS
Always turn the power OFF prior to connecting or
disconnecting cables.
8
5. HANDLE CABLES CAREFULLY
Always plug and unplug cables by gripping the connect
not the cord.
6. CLEAN WITH A SOFT DRY CLOTH
Never use solvents such as benzine or thinner to clean
the unit. Wipe clean with a soft, dry cloth.
7. ALWAYS USE THE CORRECT POWER SUPPLY
The QY10 should only be powered using the specified
batteries or Yamaha AC Adapter. The use of other batteries
or adapters can cause serious damage to the QY10.
8. ELECTRICAL INTERFERENCE
Since the QY 10 contains digital circuitry, it may cause
interference and noise if placed too close to TV sets, radios
or similar equipment. If such a problem does occur, move
the QY 10 further away from the affected equipment.
9. MIDI CABLES
When connecting to QY 10 to MIDI equipment, be sure
to use high-quality cables made especially for MIDI data
transmission. Also avoid cables longer than about 15 meters,
—
as longer cables can pick up electrical noise that can causes
data errors.
10. MEMORY BACKUP
The QY10 contains a special long-life battery that re-
ns the contents of its internal RAM memory even when
the power is turned OFF. The backup battery should last for
approximately 5 years. When the backup battery finally
fails the contents of the QY 10 memory will be lost. When
this happens, have the backup battery replaced by qualified
Yamaha service personnel. DO NOT ATTEMPT TO REPLACE
THE BACKUP BATTERY YOURSELF!
IMPORTANT!: We recommend that you use the QY10
MIDI Bulk Dump function to transfer important data to
a MIDI data recorder or other storage device for safe
long-term storage. Yamaha cannot be held responsible
for data loss caused by battery failure or improper operation
of the OY 10.
POWER SUPPLY
Your QY10 Music Sequencer will run either from bat-
teries or an AC adapter — both sold separately. Follow the
instructions below according to the power source you intend
to use.
e Using Batteries
Six 1.5V AA size (SUM-3 or R6P) or equivalent alka-
line batteries (sold separately) must first be installed in the
battery compartment.
1. Open the battery compartment cover — located on the
instrument’s bottom panel — by sliding it in the direc-
tion of the arrow.
O
т
2. Insert the six batteries, being careful to follow the polarity
markings inside the compartment. ‘
3. Replace the compartment cover, making sure that it
locks firmly in place.
When to Replace the Batteries
When the batteries run down and are no longer able to
operate the QY 10, the following display will appear:
Pa Det
н
When this display appears, replace the batteries with a
complete set of six new batteries. NEVER mix old and new
batteries!
To prevent possible damage due to battery leakage,
remove the batteries from the instrument if it 1s not to be
used for an extended period of time. '
® Using An Optional Power Adapter
Plug the DC output cable from an optional Yamaha
PA-1B or PA-3 AC Adapter into the DC IN 12V 300mA
jack on the rear panel, then plug the adapter into a conven-
4" wall AC power socket.
Do not attempt to use an AC adapter other than the
Yamaha PA-1B or PA-3 to power the QY 10. The use of an
incompatible adapter may cause irreparable damage to the
QY10, and might pose a serious shock hazard!
Be sure to unplug the AC adapter from the AC mains
socket when the QY 10 is not in use.
11
THE CONTROLS & CONNECTORS
HB SIDE PANELS / REAR PANEL
==" |
ON ST OFF POWER
| |
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O POWER Switch
Slide to the ÓN position to turn the power on. Always
turn the POWER switch OFF when the OY10 is not in use
to prevent unnecessary wear on the batteries.
ARDC IN 12V 300mA Connector
The DC output cable from an optional Yamaha PA-1B
or PA-3 AC Adapter can be connected here to power the
QY10 when the batteries are depleted, or simply to reduce
wear on the batteries when an AC outlet is handy. When the
AC Adapter 1s used the batteries are automatically discon-
nected.
[Details on page 11]
© MIDI IN and OUT Connectors
In addition to allowing input from an external MIDI
keyboard or other MIDI instrument via the MIDI IN con-
nector (Reference, page 49), the QY 10 outputs all sequence
playback in real time via the MIDI OUT connector so that
external tone generators and rhythm machines can be driven
il required. The QY10 also allows sequence data to be
“bulk dumped” to other MIDI sequencers or keyboards
with built-in sequencer functions, as well as to a sccond
0 (Reference, page 93). You can, for example, do the
basic programming for a composition on the portable QY 10,
then dump the data to your computer before finishing it off.
You can also dump the data to a MIDI data recorder for
long-term high-capacity storage.
O LINE OUT Connector
This stereo mini-jack delivers the audio output of the
QY10 at line level for direct connection to a stereo sound
system, mixing console, or similar equipment.
O PHONES Jack
Just about any pair of stereo headphones with a stereo
mini-plug can be plugged in here for easy, convenient
monitoring anywhere, anytime.
® VOLUME Control
The VOLUME control adjusts the volume of the sound
delivered via the PHONES and LINE OUT jacks.
13
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O Liquid Crystal Display
This l6-character LCD panel displays all necessary
information when playing or programming the QY10.
@ [MENU] Key & Function Keys
PTic [MENU] key can be used in most situations to call
a menu of functions related to the current mode or function
being performed. The four small function buttons immedi-
ately below the LCD panel are then used to select the
desired item from the displayed menu.
O [SONG] and [PATT] Keys
These keys select the QY10’s song and pattern modes,
respectively. The song mode is the QY10’s main operating
mode, allowing recording, editing, and playback of any of
its 8 possible songs. The pattern mode allows recording and
editing of backing patterns to be used in songs.
O [EXIT] Key
As its name implies, the [EXIT] key allows you to exit
from just about any function and return to the previous
mode or display.
CURSOR [=] and [|] Keys
— These move the underline cursor around on the display,
so you can select specific functions or parameters for pro-
gramming, If an arrow (—) appears at either end of the dis-
play, it mean that another display “page” can be accessed
by moving the cursor beyond the end of the current display
in the direction indicated by the arrow.
O [-] and [+] Keys
These are the QY 10's decrement and increment keys,
allowing step-wise or continuous decrementing or incrementing
of the value of the the selected parameter. Press either key
briefly to decrement or increment the value by one, or hold
either key for continuous decrementing or incrementing in
the specified direction. For parameters that have values in
the tens or hundreds, it is possible to increment or decrement
by tens by pressing the [SHIFT] key and then the [+] or [-]
key.
The [-] and [+] keys also function as [NO] and [YES]
keys when the QY 10 requests confirmation of an operation.
O Sequencer Keys — [0], [44], [<<], [8], [>], and [>]
The sequencer keys are similar to the transport controls
on a tape recorder, providing stop, playback, record, “fast
wind,” and return-to-top functions (Reference, page 42).
[8] ..... Record standby.
[4] ... .Return to top of song (measure 1).
(««] , Skip backward. Press briefly to skip one
measure, or hold for continuous scrolling.
[»] ....Play from current measure.
[»»] ...Skip forward. Press briefly to skip one meas-
ure, or hold for continuous scrolling.
O Numeric/Chord Keys
These keys have three separate functions, depending
on the current operation.
When entering numeric parameters such as a tempo or
pattern number, they usually act as a numeric keypad (refer
to the numbers at the upper left corner of each key). In this
case the newly entered number will flash on the display,
and will be actually entered only when the [ENTER] key 1s
pressed.
In the step record mode these same keys allow direct
entry of a range of important musical elements including
rests, dynamics, and phrasing (Reference, page 46 ... 48).
The two symbols directly above each key indicate the element
that can be entered by simply pressing the key (left symbol)
and by pressing the key after pressing the [SHIFT] key
(right symbol).
When entering chords these 10 keys provide easy ac-
cess to 20 different chord types (Reference, page 51). If
you want a B-flat minor seventh chord, for example, just
press the B-flat key on the micro-keyboard (see below) and
then the [m7/m9] key. The left chord type on each key is
entered simply by pressing the key, and the right chord type
is entered by first pressing the [SHIFT] key (or by pressing
the key twice).
16
O [ENTER] Key
After you enter a new parameter value, chord, note, or
other musical element, the [ENTER] key will normally
have to be pressed to actually enter the new value.
O [SHIFT] Key co
As already mentioned in “@ Numeric/Chord Keys,” above,
the QY 10 keys often provide access to two different functions.
In these cases the second function can be accessed by first
pressing the [SHIFT] key (an “S” will appear at the left of
the display) and then the appropriate function key (the “$” will
then disappear).
O Micro-keyboard and [4] and [Y] Keys
If you're on the road or away from it all, all you need is
the QY 10 and a pair of headphones. The micro-keyboard
and transpose keys let you record and edit sequences with-
out any other equipment. The micro-keyboard corresponds
to a one-octave span of a conventional keyboard (note the
white and black keys), and the [4] and [Y] transpose keys
shift the pitch of the micro-keyboard up or down in semi-
tone increments. The white keys can also be used for track
selection when the track display 1s selected (Reference,
page 43) — note the track numbers a backing track nar” >
(C1, C2, BASS, RHYTHM) below the white keys.
If you prefer to use a full-size keyboard or other MIDI
instrument, just plug into the QY10 MIDI interface and
play.
® [TRACK/TRANS] Key
This key accesses the QY10 track display including
track selection and track mute functions (Reference, page
43), as well as the main transpose function (Reference,
e 44). The track display and transpose displays are se-
Li alternately each time the [TRACK/TRANS] key is
pressed. Press the [EXIT] key to return to the previous
display.
17
GETTING STARTED
In this section we’ll look at a few of the most basic 3. If it’s not already there, use the CURSOR [M-] key to
QY10 operations to give you an idea of how it sounds, and move the underline cursor to the rightmost param
how some of the controls operate. on the screen (the song number, “S1” through “S8”),
then press and hold the [+] key until “DM” appears
E Play the Demo (you could also press the [9] key and then the [ENTER]
The QY10 is programmed with three demonstration key).
songs that will give you an idea of its vast creative poten-
tial. Here's how you can play and listen to the demonstration i:DERO SONG CA
songs.
1. Plug a pair of stereo headphones into the QY 10 PHONES 4. Press the sequencer [»] to start playback, and adjust
jack — a pair of “portable headphone stereo” type the VOLUME contro! for the most comfortable listen-
headphones will do nicely — and turn the POWER ing level. |
switch ON.
2. If the song mode display is not showing (see below), 1+ DEMO SOHEL DH
press the [SONG] key to select 11 (Reference, page 42).
E:DEMO SONGZ DH
Gal T178 4-4 Ei EDER SHH | <
[3:0EMD SOHGEZ DM
5. The three demo songs will play one after another, and
the cycle will continue until the sequencer [WM] key is
pressed.
Note: Before pressing the [>] key to start playback, it is
@ possible to select the demonstration song from which
“ to begin playback by using the CURSOR [-«] key to move
the cursor to the number at the left of the display, and
then the [-] and [+] keys to select a demonstration song
number.
6 When youre finished with the demonstration, make
sure the cursor is positioned under “DM” to the right of
the display, then press and hold the [-] key to go back
to song number 1 (“S1”). A faster way to do this is
simply to press the [EXIT] key.
19
NM Listen to the Preset Patterns
The QY 10 has 76 basic backing patterns (pattern num-
bers 24 through 99) that let you make great music fast. The
patterns — each including rhythm, bass, and 2 chord tracks
corresponding to the QY10 sequencer’s backing tracks —
® QY10 Preset Patterns
No. | Name Tempo
24 FU4Buzz 126
25 FU4Jammy | 102
Description
Up-tempo dance.
Heavy pop funk.
26 FU4LAPop 106 Pop funk.
27 FU4Slam 120 Heavy dance funk.
28 FU4NYPop | 121 R&B funk.
29 FU4KickA 121 Kick funk.
30 FU2Power 130 Rock funk.
31 FU4HiTec 117
32 FUSLAFun 117
33 FU4Brass 116
34 EU4Eurol 126
35 EU4Euro2 114
36 EU4Floor 129
37 EU4ELPop 124
38 EU4House 120
39 EU2Go 2 117
40 FS4Easy 92
41 FS4S Beat 96
42 FS4Carib 98
Electro funk.
Brassy funk rock.
Brass rock funk.
Euro beat.
Euro beat.
Balearic beat.
Electronic pop.
Euro house music.
British house reggae.
Laid-back west coast.
Euro swing-beat.
Carribean electronic.
20
cover a wide variety of styles. Here’s how you can listen to
the patterns — perhaps to decide which one to use 1n your
first original sequence.
Fay
‘
Y
No. | Name Tempo | Description
43 FSAN Y Fun 100 New York 90's funk.
44 FS4Strut 94 90's funk.
45 FS4Funq 102 West coast 90’s funk.
46 FS4 Hip 93 Heavy funk.
47 BAZ Dark 84 Dark electronic ballad.
48 BA1Slowl 72 Country ballad.
49 BAlSlow2 68 Electric-piano ballad.
50 BAS 6/8 70 6/8 ballad.
51 BA4Soul2 90 Swing beat ballad,
52 BA4Funkl 80 Funk ballad.
53 BA4Funk2 91 Funk ballad.
54 BA4NuAge | 80 New-age ballad.
55 CR2Lyin 140 Light rock shuffle.
56 CR4Drops 130 Light country rock shuffle.
57 SA?2Sals1 117 Salsa. <
58 SA4Sals2 120 Salsa. -
59 SAASals3 110 Salsa.
60 SA4Bosal 138 Bossa-nova.
61 SA2Bosa2 134 Bossa-nova.
No. | Name Tempo | Description
62 ET4Bali 104 Ethnic 3/4.
63 SW4Jazzl 160 Jazz swing.
64 SW4Jazz2 130 Jazz swing.
« SW2BeBop | 148 Be-bop.
36 SWEWaltz 132 Jazz waltz.
67 RE8Drop1 144 1-drop reggae shuffle.
68 RE4Jamca 145 1-drop reggae shuffle.
69 RP4 Brass 120 Brassy rock pop.
70 RP4Cloth 132 Bright rock pop.
71 RP4Rinse 120 Funky rock pop.
72 RP2Royal 117 Heavy rock pop.
73 HR2Heavy 120 Hard rock.
74 HR2Metal 147 Hard rock.
75 HR4Prock 111 Progressive 6/8 rock.
76 RR4Fire 158 Rock & roll.
77 RR4Zero 200 Rock & roll.
78 RR2One 154 Rock & roil.
79 RR2Two 180 Rock & roll.
80 RR4Three 132 Rock & roll.
No. | Name Tempo | Description
81 RR4Four 150 Rock & roll.
82 RS2Bgyl 144 Boogie.
83 RS2Bgy2 120 Rock boogie.
84 RS2Steal 128 Rock shuffle.
85 RS2Heavy 147 Heavy metal boogie.
86 BL4 Jaml 120 8-beat blues.
87 BL2 Jam2 68 12-beat blues.
88 RB4Brass 125 Rhythm & blues.
89 RB4FGood 120 Rhythm & blues.
90 RB4Groov 120 Rhythm & blues.
91 RB4MCity 108 Detroit style rhythm & blues.
92 GO8Spell 120 3/4 gospel.
93 CWá4Grass 134 Blue grass.
94 BK1One 111 Break — rhythm & blues.
95 BKITwo 120 Break — rhythm & blues.
96 BK1Three 103 Break — shuffle.
97 BK1Four 100 Break — pop shuffle.
98 BK2Five 120 Break — heavy.
99 BK2Drums 100 Break — drum break.
22
Press the [PATT] key to go to the pattern mode (Refer-
ence, page 98).
Select a pattern number between 24 and 99. This can be
done in two ways:
1: Use the [+] and [-] keys to increment and decrement
the pattern number, respectively. Press either key
briefly to increment or decrement the pattern number
by one, or hold either key for continuous incrementing
or decrementing.
2: Use the numeric and [ENTER] keys. To select pat-
tern number 35, for example, press [3], [5], and then
[ENTER].
Press the sequencer [»] key to play the selected pat-
tern.
You can select a different pattern number while the
pattern is playing, and the new pattern will begin play-
back as soon as the current pattern has finished. The
“P” normally preceding the pattern number will be re-
placed by an asterisk ( s) until the new pattern begins
playing.
Note: The 3rd character in each pattern name indicates tha,
number of measures in the pattern. Pattern :
(“EU4Euro2”), for example, is a 4-measure pattern.
5. Press the sequencer [Ш] Кеу to stop pattern playback.
H Try Out the Voices
Advanced PCM tone generator technology gives the
QY10 a range of 30 vibrant voices and 26 realistic drum
sequencer, chord and bass tracks to give vour music the
“texture” it requires. Here’s how you can try out the QY10
and percussion sounds. Any of these can be assigned to the voices.
e The QY 10 Voices
No. | Name Description No. | Name Description
YO1 | RekPiano Solid-sounding rock piano. V17 | Syn Bass Synthesizer bass.
Y02 | E.Piano Electric piano. V18 | Moogy Analog synthesizer type sound.
Y03 | Tine Pno Electric piano with tine sound. V19 | Marimba A rich marimba simulation.
V04 | Clavinet Funky clavi. V20 | Vibes Vibraphone.
VOS | RckOrgan Rock organ. Y21 | Xylophne Xylophone with a short decay.
V06 | Organ À more orthodox organ sound. V22 | SynBraPd Synth brass pad.
YO7 | HiStrEns High string ensemble. V23 | SynStrPd Synth string pad with slow attack.
V08 | LoStrEns Low string ensemble. Y24 | SynComp A powerful sustained synthesizer sound.
V09 | BrassEns Brass ensemble. V25 | BowedBel Bowed bell.
V10 | ElecGuit Electric guitar. V26 | PercComp À percussive synthesizer effect.
V11 | DistGuit Electric guitar with distortion. Y27 | Trumpet A realistic trumpet simulation.
V12 | MuteGuit Muted electric guitar. V28 | Breathy Breathy flute-like wind instrument.
Y13 | ElecFolk Electric steel-string folk guitar. V29 | SynLead1 Synthesizer lead 1.
V14 | JazzBass Electric jazz bass guitar. V30 | SynLead2 Synthesizer lead 2.
V15 | PickBass Hard picked bass guitar. V31 | Drum Set 26-voice drum and percussion kit.
SlapBass Punchy slap bass guitar.
4
23
From the song or pattern mode press the [MENU] key.
The following menu should appear on the display.
Press the function key corresponding to “Voic” on the
display (Reference, page 84).
Press any of the micro-keyboard keys to hear the cur-
rent voice.
The underline cursor should be positioned below the
voice number, so you can use the [-] and [+] keys or
the numeric and [ENTER] keys to select a new voice
number.
Note: When you select voice number 31 (Drum Set) each
24
key on the micro-keyboard will play a different instru-
ment. The [Y] and [4] keys can be used to shift down
or up to two different sets of instruments — Corre-
sponding to the lower and upper markings on the keys,
as follows:
Lower Drum Set
BDI ..... Bass Drum 1
BD2 ..... Bass Drum 2
SD1 ..... Snare Drum 1
SD2 ..... Snare Drum 2 <
TomL ....Low Tom-tom
TomM ...Medium Tom-tom
TomH ...High Tom-tom
Claps ....Hand Claps
Crash ....Crash Cymbal
Rim ..... Snare Rim Shot
Ride ..... Ride Cymbal
HH-C ....Hi-Hat Cymbal Closed
HH-O ....Hi-Hat Cymbal Open
Upper Drum Set
BD3 ..... Bass Drum 3
Cwbl ....Cow Bell
SD3 ..... Snare Drum 3
SD4 ..... Snare Drum 4
CngL ....Low Conga
CngH ....High Conga
CngM ...Medium Conga
AggL ....Low Agogo Bell <
AggH ....High Agogo Bell
TmblL ...Low Timbale
TmblH ...High Timbale
HH2 ..... Hi-Hat Cymbal 2
Shkr ..... Shaker
$. When youre finished with the voice mode, press the
[SONG] key to return to the song mode.
25
CREATING AN ACCOMPANIMENT
The first step in programming any sequence will usu-
ally be to create an appropriate accompaniment using the
QY 10 BACKING tracks. If you simply want to create an
accompaniment to play your guitar or other instrument along
with, this may be all you’ll need to do.
To get you started, let's create a short 6-measure example
consisting of a 2-measure introduction and a 4-measure
pattern with a simple I-Im7-V7-I (C - Dm7 - G7 - C) pro-
gression,
Two-measure
introduction 4-measure pattern
{pattern 98). (pattern 89).
| |
| | |
le 1218314 [305
Dm7 G7
1. Make sure you're in the song mode (press the [SONG]
key if you aren't).
arb
}
»
=
LI
mn
Ft
pa
[e
Te
+
11
[rs
26
Select a song number to record — make sure the cursor
is located under the song number (S1 through S8), (he
use the [-] and [+] keys to select the one you want to
record.
Press the sequencer [®] key to activate the record standby
mode (Reference, page 45). When this 1s done the song
number on the display will change to a track number.
i
i
=
I
e
-
= a Г]
mada
Le
ale
fado
La
=P
ag
pads
jr
The track numbers are displayed as follows:
TRI ....... Sequencer track 1.
TR2 ....... Sequencer track 2.
TR3 ....... Sequencer track 3.
TRA ....... Sequencer track 4.
BK ....... All backing tracks.
Cl........ Backing chord 1 track. >
CH ....... Backing chord 2 track.
BS ....... Backing bass track.
RT ....... Backing rhythm track.
6.
Use the [-] and [+] keys to select “BK” for all backing
tracks.
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= Fe
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=
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pd:
+
prds
fi
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Es
Fit,
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Press the sequencer [>] key to activate the step record
mode (Reference, page 46). The QY10 will now be
ready to record the chord progression for the accompa-
niment.
Current clock
Current baat (24 per 1/4-note).
(1... 4 in 4/4 time).
ma Nm la
BEl-1~00 —-
7 > \
Current measure Chord displayed here.
The first chord in our progression is a C major, so press
the C key on the micro-keyboard (a “C” will flash on
the display), and then press the [ENTER] key. You'll
hear a “click” in the headphones confirming that the C
chord has been entered, and the display will automati-
cally advance to the second beat of the first measure.
Cwbl SD4 CngM| | AggH| |TmbH
BD? $02 TomHj [Crash| | Ride
Cngl | | CngH| | AggL E | TmbiL Shkr
TomL | |TomM| tCiaps HH-C f | HH-O
(C1)
L—— Backing — —
1 (C2)
Press the C key.
(BASS)(RHYTHM)
[ENTER]
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a]
i
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=
aqui
Лы
prat
EF
i
1
Now skip ahead to the top of the 5th measure by press-
ing the sequencer [>>] key four times (the [<<] and [»»]
keys allow you skip backward to the top of the previ-
ous measure and forward to the top of the next measure
in the step record mode).
Eh
I
FOI
|
Bod
17,3
}
i
Нем.
27
8. Enter the Dm7 (D minor-seventh) chord by pressing
the D key on the micro-keyboard, then the [m7/m9]
chord key, and finally the [ENTER] key.
Cwbl SD4 CngM| | AggH| |TmbH
BD2 502 TomH | | Crash Ride
Cngl. | | CngH! | Aggl | | TmbiL Shkr
TomL | jTomM| |¡Claps HH-C| {HH-O
L — BAckInNo —
(C1) (C2) (BASS)(RHYTHM)
Ш the D key.
gus-i-86 D
[m7/m9]
[ENTER]
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т.
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sl
28
10.
The underline cursor should be under the beat param-
eter (if it isn’t use the CURSOR [«] and/or [»] keys to
locate it under the “2” on the display). Press the [+] key
once to move ahead to the 3rd beat of the Sth measure.
<
i
I
i
N
1 HP
de
ro
ap
а
ir
"=
wee fe
e
lt.
"pue
Now enter the G7 (G seventh) chord by pressing the G
key on the micro-keyboard, the [7/9] key, and then the
[ENTER] key.
CngMi | AggH| | Тон
TomH | | Crash Ride
Cwbl SD4
BD2 SD2
BD3 SD3 Спа! | | CngH| | Aggl | | Tmblt Shkr
BD1 SD1 Toml. | |TomM| | Claps HH-C | | HH-O
1 2 L — BACKING -——
(C1) (С2) (BASS)(RHYTHM
Press the G key. <
[7/9]
1
—
Le
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med
pe
LN
Le a
Low
fr
pr
1
a.
WA Press the sequencer [>] key to go to the top of the 6th
12.
9
and last measure, then enter the final C chord by pressing
the C key and [ENTER] key.
That completes the chord progression. If you try to
play the sequence back at this point however, you'll get
no sound because we haven't yet assigned appropriate
backing patterns to our accompaniment — the next
step. Entering the chords first is a good idea, however,
since it automatically “creates” (Reference, page 74)
the appropriate number of measures for the sequence to
be recorded.
Press the [HM] key to go back to the beginning of the
track, then press the [MENU] key.
Note that the cursor is currently under “cho” (chord),
which is the default BK track step write mode (Refer-
ence, page 51), and the mode we just used to record out
chord progression. Now that we want to record the
necessary patterns, however, we need to press the round,
yellow function key which points to “pat” (pattern) on
the display (Reference, page 53).
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E a" E mm!
7 X
pa
==
=
|
i
Measure number N
Pattern number displayed here.
13. Enter pattern number 98 (BK2Five) via the numeric
keys by pressing [9], [8], and then [ENTER].
[9], [8]
Note that the QY 10 automatically advances to measure
2 after the pattern for measure 1 has been entered.
29
14. Pattern 98 is a 2-measure pattern — and we want to use
15.
16.
17.
30
the whole pattern — so press the seguencer [>> ] once to
move to measure 3.
=
3
pre
=.
a”
“ый
Ti
Now enter pattern number 89 (RB4FGood) by pressing
[8], [9], and then [ENTER].
[8], [9]
[ENTER]
Press the sequencer [M] key to stop recording and return
to the song mode.
Press the sequencer [»] key to hear the accompaniment.
Note that the measure parameter at the left of the
display advances as each measure is played. You can
use the [<<] and [>>] keys to pick a specific measure
from which to begin playback before pressing the [>] key.
The [M] key will stop playback at any time, leaving the
measure counter at its current position. Press the [4] key
to go back to the first measure.
^^
y.
16
E Track Muting
There are a number of reasons why you might want to
be able to listen to specific tracks in a sequence. If you are
a bass player, for example, you might want to turn off
чо the bass track so you can play along with the accom-
p_>iment on your own bass. You could mute all tracks
except the rhythm track and use the QY10 as a rhythm
machine — let's actually try that.
1. From the song mode display, press the [TRACK/TRANS]
key once.
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afm
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i
“ЕН
НИ
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id
This is the QY 10 track display (Reference, page
43). The four sequencer tracks have nothing recorded
on them yet so they appear as asterisks. We have just
recorded the CHORD 1, CHORD 2, BASS, and RHYTHM
tracks, so they appear on the display as CI, CII, B and R
(if they don’t, press the sequencer [PP ] key once to move
to a different measure — no data shows at the very
qe of a song).
2, Press the white micro-keyboard keys with BACKING
track names (C1), (C2), and (BASS). The correspond-
ing tracks will be muted, and will appear on the display
as dashes.
Cwbl | | 504 CngM | | AggH! |TmbH
BD2 SD2 TomH| |Crash| | Ride
BD3 SD3 CngL | |CngH} | AgaL | }TmbiL| | HH2 Shkr
BDH 501 Toml | [TomM| | Claps Rim HH-C| |HH-O
1 2 3 4 L—— BACKING —
(C1) (C2) (BASS)(RHYTHM)
"AE
These three keys.
=
+
a
}
|
|
Now press [>] to play the accompaniment. You should
hear only the rhythm track. You can return to the song
mode (by pressing the [SONG] key) and perform other
operations, and the mute settings will remain in effect.
Press the (C1), (C2), (BASS) keys again to restore
those tracks to the normal playback mode, then press
the [SONG] key to return to the song mode.
31
RECORDING THE SEQUENCER TRACKS
In the previous section we created a short example of
an accompaniment. In this section we’ll record a lead line
to go along with the accompaniment on one of the QY10’s
32
Marimba
sequencer tracks.
Here's the lead line:
Start by assigning the marimba voice to track 1. From
the song mode press the [MENU] key and then the
“Voic” function key to select the voice mode (Reference,
page 84). If “TR1” is not already showing at the left of
the display, move the cursor to the track parameter and
select “TR1” using the [-] and [+] keys. Then, with the
cursor under the voice number, use the [-] and [+] keys
to select “V19 Marimba.”
When this is done press the [SONG] key.
Press the sequencer [®] to activate the record standby
mode, and make sure the record track parameter (the
rightmost parameter on the display) is set to “TR1.”
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Press the [MENU] key and then the “Stp” function key
to select step record, then press the sequencer [> ] key to
actually enter the step record mode (Reference, page
46).
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9
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Emma
Press the sequencer [>>] key twice to go to the top of
the 3rd measure, then press the [Rest] key twice to
write two quarter-note rests and move to the 3rd beat of
the 3rd measure,
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Li]
pa.
Hos
Now press the following keys in the following sequence.
The bold measure and beat location numbers are pro-
vided as a reference so you won't lose your place. It's a
lot of key-presses, but it won't take long nearly as long
as it looks.
003-3-00
[ ] - [Rest] - [Eb3] [ENTER] - [E3] [ENTER] - [F3]
[ENTER] - [F#3] [ENTER] - [G3] [ENTER] - [Ab3]
[ENTER] - [A3] [ENTER] - [ /]
004-1-00
{C4] [ENTER] - [C4] [ENTER] - {G3] [ENTER] - [Rest]
- [3]
005-1-00
[B3] [ENTER] - [Rest] - [A3] [ENTER] - [G3] [ENTER]
- [B3] [ENTER] - [G3] [ENTER] - [A3] [ENTER] -
[G3] [ENTER]
005-3-00
[B3] [ENTER] - [Rest] - [A3] [ENTER] - [G3] [ENTER]
- [B3] [ENTER] - [Rest] - [G3] [ENTER] - [F3] [ENTER]
- [51
006-1-00
(E3] [ENTER] - [C3] [ENTER]
That's it! Now press the sequencer [B] key to stop re-
cording, then press the [>] key to hear the sequence.
Note: If you make a mistake while entering the above part,
use the Clear Track function to clear the entire track, as
follows, then start again (there are actually more efficient
ways to do this listed in the Reference section):
Press [NM] to stop recording; press [MENU]; press
the “Job” function key; press [1] - [0] - [ENTER] to
select the Clear Track function; use the [-] and [+]
keys to select TR1 if it is not already selected; press
[ENTER]; press [+/YES] in response to the “Sure?”
prompt on the display; finally, press [SONG] to return
to the song mode.
33
OTHER IMPORTANT FACTS
EM Important Facts About the Backing Tracks
In the “CREATING AN ACCOMPANIMENT?” section
we learned how to record an accompaniment on all four
backing tracks with the record track parameter set to “BK.”
This is the normal way to proceed and is the simplest and
fastest way to crcate accompaniments. You can, however,
independently record pattern numbers and velocity (volume)
values on the chord 1 (C1), chord 2 (C2), bass (BS), and
rhythm (RT) tracks. This capability is provided so that you
can add fill-ins and variations to the basic accompaniment.
After recording the basic accompaniment on all backing
tracks, you can “plug in” the required fill and variation
patterns or volume changes on the individual backing tracks.
Details are given under “CBR STEP RECORD” on pages
54 and 55 of the Reference section.
34
E Creating Original Patterns <
The OY 10's pattern record mode (Reference, page lu!
through 103) can be used to create complete accompani-
ments or variations and fill-ins to be plugged into accompa-
niments as described above.
Here's a simple example of how you can create original
patterns.
1. Press the [PATT] key to select the pattern mode.
2. Select a pattern number between P00 and P23 (the user
patterns).
3. Press [®] to enter the pattern record standby mode
(Reference, page 101).
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po
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ве!
S
4. Use the [+] and [-] keys to sclect the rhythm track
(“RT”).
To
$, Press [P] to enter the pattern step record mode (Refer-
ence, page 101).
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sida
E
E
I
—
phan
da
-
Fr
E
6. Enter the rhythm part by pressing the following keys:
[)] - [BD1] [ENTER] - [HHC] [ENTER] - [$1]
[ENTER] - [BD1] [ENTER] - [BD1] [ENTER] [HHC]
[ENTER] - [SD1] [ENTER] - [HHC] [ENTER]
7. Press [M] to stop recording.
8. Press [>] to hear the pattern you just created.
9, Want to add a bass line? Press [e] for rec standby, use
the [+] and [=] keys to select the bass track (“BS”),
press the [>] key to start recording, then enter the fol-
lowing (use the [4] and [Y] keys to transpose up or down
in octave steps):
Y [) ] - [C2] [ENTER] - [C2] [ENTER] - [E2] [ENTER]
- 1G2] [ENTER] - [Bb2] [ENTER] - [C2] [ENTER] -
[E2] [ENTER] - [G2] [ENTER]
10. Press [mM] to stop recording, then [»] to hear the pat-
tern.
Recording the chord 1 and chord 2 parts 1s Just as easy.
See page 115 of the Reference section for a way to give
your pattern an original name.
35
E Chords and Automatic Harmonization
The QY10 allows you to specify 20 different chord
types in all 12 keys for your accompaniments. The QY10
patterns (preset or user) arc all originally in the key of C,
but arc automatically re-harmonized to fit the specified
chords. Because of this, the following two simple rules
should be followed when creating original patterns to en-
sure optimum re-harmonization when chord changes are
specified for the pattern in an accompaniment.
1: Always create original patterns in the key of C.
2: Use the major 3rd, Sth, and flat 7th degrees (E, G,
and Bb) for the chord parts, and the root (C) for the
bass. This actually produces a C7 chord.
The chords you specify when creating accompaniments
will determine how the original pattern is re-harmonized.
Here are some of the most important examples:
3-note Chords (Triads)
The flat 7th degree is re-harmonized to the root.
4-note Chords
The flat 7th degree is left as it is, or is re-harmonized
to the major 7th. If the root is not included in the
original pattern data it will not be played.
36
5-note Chords
As with 4-note chords, the root will not sound if it
is not included in the original pattern data. The 5th
degree will also be omitted from the chord parts, 14
will be played by the bass. -
11th Chords
For a C11 chord, for example, the chord-part notès
will be F (the 11th), Bb (the flat 7th), and D (the 9th).
The bass will play the Sth degree, so the overall sound
of the pattern will be that of Bb/C or Gm7/C.
13th Chords
For a C13 chord, for example, the chord-part notes
will be E (the 3rd), A (the 13th), and Bb (the flat 7th).
This produces a true C13 sound.
Most of the preset patterns are programmed to respond
to chord changes as described above. In some patterns,
however, certain notes have been omitted in order to created
a particular “feel.” This means that some patterns may not
change at all when certain chords are specified. For exam-
ple, some hard rock patterns sound best when only the rog
and Sth are used — adding the 3rd completely changes 1.
overall feel of the pattern. Such patterns are not capable of
producing a minor sound even if a minor chord is specified,
because there is no 3rd degree to bc flatted (the minor
sound depends on the flatted 3rd degree). Also, patterns
including the 6th degree sometimes don’t sound right when
used with minor chords, but some presets of this type are
qq because they are very effective with major chords.
A Here are some examples:
+ Patterns without a 3rd degree do not sound any dif-
ferent with major, minor, or suspended-4th chords.
* Patterns without a 5th degree cannot produce aug-
mented or 7+5 chords.
» Patterns without a 7th degree cannot produce 7th,
9th, and other dominant chords.
H How Much Free Memory Do You Have?
The QY 10 has enough memory to handle approximately
6,000 notes (both patterns and songs). You can find out
about how much memory capacity you have left by pressing
the [A] and [Y] transpose keys simultaneously. À display
similar to the following will appear as long as you hold
both keys.
Ed.
=
Lt
Lal
El
1
r
3:1
x.
il
=
iis
pan!
[Ll
[Le
If the display says “100%” like the example above,
then nothing has been recorded yet and you have the whole
memory to work with. A free area of “50%” would mean
that you’ve used up about half the available memory. If the
free area gets dangerously close to “0%”, you will have to
erase some data to make room for the new material. Data
you want to keep can be transferred to a separate MIDI data
storage device by using the MID] BULK DUMP function
described on page 93.
37
E Driving External Tone Generators
When you play back a pattern or a song, the QY10
outputs the corresponding data in real time via its MIDI
OUT connector. The QY10 can therefore drive external
tone generators or a multi-timbre tone generator as long as
the various “instruments” are set to receive on the appropri-
ate MIDI channels. The QY 10 transmits the sequence data
on the following channels:
Sequencer track 1 (TR1) = channel 1
Sequencer track 2 (TR2) = channel 2
Sequencer track 3 (TR3) = channel 3
Sequencer track 4 (TR4) = channel 4
Chord 1 track (C1) = channel 5
Chord 2 track (C2) = channel 6
Bass track (BS) = channel 7
Rhythm track (RT) = channel 8
38
Ш Conclusion
In this short tutorial we’ve covered only the most basic
capabilities of the remarkable QY10. If you want to get
serious about creating music with this unique tool, we rec-
ommend that you go through the Reference section of Ta
manual while trying out the many features and functions
described. You'll learn how to program and edit the music
in much more detail, and will discover a wealth of functions
that make seemingly complex tasks quick and easy to perform.
The more you master the QY10, the more 1t will give
you in return.
REFERENCE SECTION
The QY10 FUNCTION MAP card accompanying this manual
provides an easy way to access information about individual
functions. Find the desired function on the function map, then
simply refer to the indicated page of the manual.
~ 9
SONG MODE 9
ET
o BS
RE 1000-88
— UTILITY MODE
_PATTERN MODE
— PATTERNEDIT
PATTERN JOBS
SONG VIODE
E
SONG PLAY ii 42
Track Mode Display € Track Mute ........... 43
Transpose ovo RR 44
SONG RECORD STANDBY .................... 45
STEP RECORD ......... 2... .0000000acooa... 46
Programming via MIDI ..................... 49
BACKING STEP RECORD ..................... 50
СВЕ STEP RECORD .......................... 54
REPLACE & OVERDUB RECORD .............. 56
AUTO CHORD RECORD ...................... 57
SONG PLAY
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Song Number
Time Signature
Tempo
Measure
Access:
[SONG] or [EXIT] > [SONG]
Summary: Allows playback of any of the QY10's 8 songs
or the demo song. The display parameters allow selec-
tion of the measure from which to begin playback, the
playback tempo, and the song number to be played (or
recorded).
Settings:
Measure: 001 ... 299
Tempo: T030 … T250 (beats per minute), > sk (external
clock)
Time Signature: 1/4 ... 8/4, 1/8 ... 16/8, 1/16 ... 16/16
Song Number: S1 ... S8 (S9 is pre-programmed demo
song)
Procedure: Use the CURSOR keys or function keys to
move the underline cursor to the desired parameter,
then use the [-] and [+] keys, or the numeric and [EN-
42
TER] keys to set as required.
The time signature parameter can only be accessed,
in the one of the record modes. .
Use the sequencer keys to start playback and move
around within the song:
[4] ... Return to top of song (measure 1).
[<<]... Skip backward. Press briefly to skip one measure,
or hold for continuous scrolling.
[M].... Stop.
[>].... Play from current measure.
[>>]... Skip forward. Press briefly to skip one meas-
ure, or hold for continuous scrolling.
Details: Song number 9 actually accesses 3 pre-programmed
demonstration songs that will give you an idea of some
of the QY10’s capabilities while letting you try out
some of the playback features. Instructions on playing
the demo are given on page 18 in the Tutorial Section.
р
SONG MODE
MN Track Mode Display 8: Track Mute If an asterisk ( * ) appears in place of the track number
or character, the track contains no data and is not available
Track 2 for playback.
A Track Press the [EXIT] key to return to the SONG mode.
Rhythm Track Details: The position of the block cursor, adjusted by the
, CURSOR keys, determines which voice will be played
Let, —|
A
bl
HR |
— 11
EME
— ET
via the micro-keyboard (i.e. the voice currently assigned
Bass Track to the selected track — see page 84). The position of
Chord 1 Track the cursor also determines the MIDI transmit channel
Track 1 Track 3 of the micro-keyboard: channels 1 through 8, from left
to right.
Access: Press the [TRACK/TRANSPOSE] key while play-
back 1s stopped or during playback.
Summary: The track mode display shows whether or not
each of the sequencer’s 8 tracks contains data and is
available for playback, and whether tracks are muted or
not. Track mute can be independently engaged and
disengaged for each track.
Procedure: When a track number or character is showing,
that track contains data and is available for playback.
Any available track can be muted by pressing the
corresponding track key (the white keys labelled 1, 2,
9 3, 4, C1, C2, BASS and RHYTHM). When a track is
muted its number or character is replaced by a dash (-).
À muted track can be restored to normal playback by
pressing the corresponding track key again.
43
E Transpose
Access: Press the [TRACK/TRANS] key twice from the
SONG mode or once from the Track Mode Display to
select the Transpose function:
Summary: Transposes the overall pitch of the QY10 up or
down in semitone steps.
Settings:
Transpose: —12 ... 0... +12
Procedure: Use the [-] and [+] or numeric and [ENTER]
keys to set the desired degree of transposition. The [Y]
and [A] keys can be used to enter “—” or “+” transposi-
tion, respectively.
Details: A setting of “—12,” for example, transposes down
by one octave; a setting of “+4” transposes up by a
major third.
44
SONG MODE
SONG RECORD STANDBY
зн
— { г
pea!
Fr
md
E
Is
fr
>
241
| -
|
Record Track
Time Signature
Tempo
Measure
Access:
Song Play Mode > [e]
Summary: Allows access of any of the QY10's record
modes to record a new song or add new material to an
existing song.
The display parameters allow selection of the measure
from which to begin recording, the tempo at which to
record, the time signature of a new track to be recorded,
and the track to be recorded.
Settings:
Measure: 001 ... 299
Tempo: TO30 ... T250 (beats per minute), ext (external
+ clock)
™ Time Signature: 1/4 ... 8/4, 1/8 ... 16/8, 1/16 ... 16/16
Record Track: TR1 ... TR4, BK (all backing tracks),
CI (chord 1), CH (chord 2), BS (bass), RT (rhythm)
Procedure: Use the CURSOR keys or function keys to
move the underline cursor to the desired parameter,
then use the [-] and [+] keys, or the numeric and [EN-
TER] keys to set as required.
The time signature parameter can only be accessed
when nothing has yet been recorded to the currently
selected song. The time signature numerator and de-
nominator can be selected separately using the CUR-
SOR keys.
You can return to the Song Play mode by pressing
the [EXIT] key or the sequencer [M] or [e] key.
Alternate Record Track Selection Method: Press the
[TRACK/TRANS] key to call the track mode display,
then use the track keys (the white keys labelled 1, 2, 3,
4, C1, C2, BASS and RHYTHM) to select the desired
track for recording. If you press the C1, C2, BASS or
Rhythm key, all four backing tracks will be selected
(BK). A single backing track can be sclected by first
pressing the [SHIFT] key (an “S” will appear to the left
of the display) and then the desired backing track key.
The selected track will displayed in reverse (white number
or character on a black background).
Press the [EXIT] key to return to the record standby
mode.
45
STEP RECORD
Step Time
Clock
td use
|
| Velocity
Gate Time
Access:
Song Play Mode — [e] > Select TRI... TR4 > [MENU]
—> “stp”
If all backing tracks are selected for step recording
(BK), refer to “Backing Step Record” on page 50.
If an individual chord, bass, or rhythm track is
selected for step recording, refer to “CBR Step Record”
on page 54.
The arrows at the right and left of the above dis-
plays indicate that another display “page” is available
and can be accessed by moving the cursor past the end
of the current page in the indicated direction.
Summary: The step record mode allows a track or a por-
tion of a track to be recorded note-by-note, with pre-
cise control over the timing, length, and velocity of
each note as well as many other musical parameters.
Settings:
Measure: 001 ... 299
Beat: 1... 16
Clock: 00... 23
Step Time: SO1 ... S96 (standard note displays replace
numbers where applicable — see Step Time Values
chart, below)
Event: --- (no event), C-2 ... G8, @- (note event)
Gate Time: GO1 ... G99
Velocity: kb (keyboard), VO1 ... V127
Procedure: Press the sequencer [»] key to start recording.
The easiest way to record is directly via the QY10
micro-keyboard and numeric keys as described below
(refer to the labels below the numeric keys).
It 1s also possible to use the CURSOR keys to
move the cursor to the desired parameter, then use the
[-] and [+] key to set as required. After selecting a ste
time, event, gate time, or velocity value, the [ENTEF
key must be pressed to actually enter the selected value
in the sequence and move ahead to the next step.
1
Notes:
Enter notes directly via the QY 10 micro-keyboard.
The [A] and [Y] transpose keys can be used to shift the
pitch of the entire keyboard up or down in octave steps
before pressing the [ENTER] key. Repeatedly pressing
Que same note key will shift that note up in octave steps
“without affecting the overall pitch of the keyboard.
Repeatedly press [SHIFT] and then the same note key
to shift the note down in octave steps.
Rests:
The [1] key enters a rest of duration corresponding
to the current step time.
Triplets;
[SHIFT] + [1] changes the current step time to 2/
3rds of its normal value, thereby creating a triplet-
length note. This function will not work if the current
step time can not be evenly divided to 2/3rds.
Ties:
Pressing the [2] key immediately after entering a
note extends that note by one step time.
Dot Note:
9 [SHIFT] + (2) multiplies the current step time by
1.5, thereby effectively adding a dot to the current note
length (step time). This function will not work if the
current step time can not be lengthened by the required
amount,
SONG MODE
set Step Time:
[3], [4], [5], [8], [9], and [0] can be used to directly
enter the step times indicated by the note symbols be-
low the keys. If the same key 1s pressed several times,
the same step time will be added each time it is pressed.
Back Delete:
Press the [6] key to delete the preceding event and
move the current location back accordingly.
Delete:
[SHIFT] + [6] deletes the current event.
Chord:
The [7] key activates the chord entry mode. When
this is done the step time display will alternately flash
between “S” and “C” and it is possible to enter several
different notes on the same step, thus producing a chord.
Press the [EXIT] key to return to normal step-write
operation.
Velocity (p. mf. f):
Press [SHIFT] + [3], [SHIFT] + [4], or [SHIFT] +
[5] to change the velocity value to p (Y56), mf (V88),
or f (V120), respectively.
Tim normal, slur);
Press [SHIFT] + [8], [SHIFT] + [9], or [SHIFT] +
[0] to change the gate time value to staccato (G50%),
normal (G80%), or slur (G99%), respectively.
47
48
M r rch:
Use the sequencer [<<] and [>>] keys to move
backward or forward a measure at a time.
Step Search:
Use the [SHIFT] key plus the [«<] and [»»>] keys to
move backward or forward a step at a time.
Stop Recording:
Press the sequencer [WM] key to stop recording and
return to the song play mode.
E Programming via MIDI
An external MIDI keyboard or other MIDI instru-
ment can be used to program the QY10 in the step-
record mode. Set the required gate time, step time, and
Y velocity values via the QY10 panel, and then enter
notes and chords via the keyboard. If the velocity parameter
is sct to “kb” (increment the velocity value past “V1277),
the keyboard velocity values will be received and recorded
as well. While recording via MIDI, the [6] and [SHIFT]
+ [6] keys can be used to “Back Delete” and “Delete”
entered events as described above,
The MIDI receive channel is set to OMNI when
recording via MIDI, so your keyboard or other instrument
can be set to transmit on any channel.
O Step time values chart
SONG MODE
Step SEE Step
time Note time Note
value | value
S02 | FZ 1/32 triple s24 | i 1/4
$03 | # 182 $32 | 4% 1/2 triplet
S04 | FE 1/16 triplet $36 | 4. dotted 1/4
$06 | # 116 S42 | J double dotted 1/4
S08 | JE 1/8 triplet sas | 1 12
$09 | #. dotted 1/16 S64 | m: whole triplet
Ss12 | F 18 $72 | 4. dotted 172
S16 | 4% 1/4 triplet S84 | ... double dotted 1/2
S18 | $. dotted 1/8 $96 | = whole note
S21 J *, double dotted 1/8
49
BACKING STEP RECORD
Access:
Song Play Mode — [®] > Select BK
Summary: The Backing Step Record mode has three sub-
modes — “cho”, “bas”, and “pat” — that allow recording
chord changes to be automatically harmonized for the
selected backing pattern, a bass offset to modify the
backing pattern bass line, and backing pattern numbers,
respectively,
Procedure: After pressing the sequencer [>] key to begin
recording, press the [MENU] key and then the function
key for the “cho”, “bas”, or “pat” sub-mode (“cho” 1s
the default).
50
vv
| 8 “cho” — CHORD CHANGES
A
Beat
Measure
Settings:
Measure: 001 ... 299
Beat: 1... 16
Clock: 01... 24
Chord: Chord root x 20 chord types
Procedure: Use the CURSOR keys to select the measure,
beat, or clock parameter, then the [-] and [+] keys to
set.
| Chords can be entered by first selecting the root
| via the micro-keyboard, and then the chord type via the
| numeric keys. Each numeric key has two chord types
printed on the key — the left type is entered directly by
pressing the key and right type is entered by pressing
[SHIFT] plus the key or by pressing the same key
Q ice. Once the root and type have been selected, press
the [ENTER] key to enter the chord and move ahead to
the next beat.
Press the sequencer [M] key to stop recording and
SONG MODE
return to the song play mode, or the [MENU] key to
select a different Backing Step Record sub-mode.
Details:
The 20 available chord types are as follows:
M ..
ad9 ..
m....
ad9 ..
Tone.
9....
m7 ..
m9 ..
M7 ..
M9 ..
6...
6.9 ..
sus4 .
7...
dim. .
BG...
aug ..
7+5..
il...
13...
. Major
Major add 9th
Minor
Minor add 9th
‘7th
Oth
Minor 7th
Minor 9th
Major 7th
Major 9th
6th
6th 9th
Suspended 4th
. 7th suspended 4th
Diminished
. Minor 7th minus 5
Augmented
7th plus 5
11th
13th
51
® “bas” — BASS OFFSET
E”
La
En
|
-
==!
i
!
|
Clock Bass Offset
Measure
Settings:
Measure: 001 ... 299
Beat: 1... 16
Clock: 01... 24
Bass Offset: C, CH, D, Eb, E, F, F#, G, Ab, A, Bb, В
Procedure: Use the CURSOR keys to select the measure,
beat, or clock parameter, then the [-] and [+] or numeric
keys to set.
Enter the desired bass note via the micro-keyboard,
then press the [ENTER] key to actually enter the note
and move ahead to the next step.
Press the sequencer [WM] key to stop recording and
return to the song play mode, or the [MENU] key to
select a different Backing Step Record sub-mode.
52
Details: When a bass offset note 1s entered, that note will
continue to play until the next chord change. If a chord
change and bass offset are to be entered at the same
location, enter the chord change first and then the bass
offset. ~
e “pat” — PATTERN NUMBERS
EE
LA
per
“Fl
|
Pattern Name
Pattern Number
*
Measure
Settings:
Measure: 001 ... 299
Pattern Number: POO ... P99
Pattern Name: 8 characters
Procedure: Use the CURSOR keys to move the cursor to
the pattern number parameter. Use the [-] and {+] or
numeric keys to select the desired pattern number and
then press the [ENTER] key to enter the selected pattern
and move ahead to the next measure.
Press the sequencer [WM] key to stop recording and
return to the song play mode, or the [MENU] key to
select a different Backing Step Record sub-mode.
Details: Pattern numbers can only be entered at the top of
each measure.
* Take care when entering a pattern that has a differ-
ent time signature to that of the song. If, for example,
you intend to enter a 6/8 pattern in the middle of a 4/4
song, it is necessary to use the CREATE MEASURE
SONG MODE
Job (see page 74) to create a 6/8 measure in the appro-
priate location prior to entering the 6/8 pattern.
53
CBR STEP RECORD
Access:
Song Play Mode — [®] — Select CI, CII, BS, or RT
Summary: The CBR Step Record mode has two sub-modes
— “pat” and “vel” — that allow recording backing
pattern numbers and velocity values for the selected
backing track, respectively.
Procedure: After pressing the sequencer [>] key to begin
recording, press the [MENU] key and then the function
key for the “pat” or “vel” sub-mode (“pat” is the default).
54
6 “pat” — PATTERN NUMBERS
1
"E
—
+.
da
-
Pr |
fms
1
|
Pattern Name
Pattern Number
| Measure
Settings:
Measure: 001 ... 299
Pattern Number: POO ... P99
Pattern Name: 8 characters
Procedure: Use the CURSOR keys to move the cursor to
the pattern number parameter. Use the numeric keys to
select the desired pattern number and then press the
[ENTER] key to enter the selected pattern and move
ahead to the next measure.
Press the sequencer [®] key to stop recording and
return to the song play mode, or the [MENU] key to
select a different CBR Step Record sub-mode.
SONG MODE
e “vel” — VELOCITY
| |
ре
ES
1:
т
_—
"
La
Г
E
Lect
poa
i
a
i
—
Ti
i
—
=
|
Velocity
Clock
Beal
Measure
Settings:
Measure: 001 ... 299
Beat: 1... 16
Clock: 01... 24
Velocity: —99 ... +00... +99
Procedure: Use the CURSOR keys to select the measure,
beat, clock, or velocity parameter, then the numeric
and [ENTER] keys to set. A negative velocity value
can be selected by pressing the transpose [ Y ] key. The
transpose [A] kcy will make the value positive again.
Press the sequencer [M] key to stop recording and
return to the song play mode, or the [MENU] key to
select a different CBR Step Record sub-mode.
55
REPLACE & OVERDUB RECORD
a TY
E I Г. «в
|
| Record Track
Time Signature
e
DC
=
fn
—]
fewest
— E ь
[e
i
Tempo
Measure
Access:
Song Play Mode — [®] — [MENU] — “rpl” or “ovr”
Please note that the “rep” and “ovr” record modes
are only available for the four sequencer tracks (TR1 ...
TRA).
Summary: Replace and overdub are both real-time record
56
modes in which the music is entered by actually playing
the QY 10 micro-keyboard or a MIDI instrument connected
to the QY 10 MIDI IN connector in time with the inter-
nal metronome or previously-recorded tracks. If “rpl”
(replace) is selected, any previous data on the track
being recorded will be erased and replaced by the new
material. If “ovr” (overdub) is selected, previous material
on that track will be retained and the new material will
be added lo it.
Settings:
Measure: 001 ... 299 «
Tempo: T030 … T250 (beats per minute), ext (extern...
clock)
Time Signature: 1/4 … 8/4, 1/8 … 16/8, 1/16 … 16/16
Record Track: TR1 … TR4, BK (all backing tracks),
CI (chord 1), CII (chord 2), BS (bass), RT (rhythm)
Procedure: Press the sequencer [»] key to begin recording.
Recording will actually begin after a two-measure count-
down indicated by minus numbers at the left of the
display. Recording can be started from any measure if
the desired measure is selected prior to pressing the
[>] key.
Record the required material via either the QY10
micro-keyboard or a MIDI instrument connected to the
MIDI IN connector.
When done, press the [mM] key to stop recording.
SONG MODE
AUTO CHORD RECORD
Procedure: Press the sequencer [™] key to begin record-
ing. Recording will actually begin after a two-measure
count-down indicated by minus numbers at the left of
the display. Recording can be started from any measure
el
i
"E,
a
— I
past
Ел
e
r
"Fr
ar
mf
|
Record Track
Time Signature
Tempo if the desired measure is selected prior to pressing the
Measure [>] key.
Access: Enter the chords at the required timing via the
Song Play Mode — [®] — [MENU] — “cho” QY10 micro-keyboard. The white keys produce differ-
ent inversions of the chord.
Please note that the “cho” record mode 1s not avail- When done, press the [M] key to stop recording.
able if one or all of the backing tracks are selected.
5 NOTE: If the backing tracks contain no chords, a C major
Summary: Auto Chord Record is a real-time record mode chord will be recorded.
that allows chords — based on the chords in the back-
ing tracks — to be automatically recorded on sequencer
tracks 1, 2, 3, or 4.
Settings:
Measure: 001 ... 299
Tempo: TO30 ... T250 (beats per minute), ext (external
clock)
@ Time Signature: 1/4 … 8/4, 1/8 … 16/8, 1/16 … 16/16
Record Track: TR1 ... TrR4
57
CHANGE EDIT ........... i, 60
INSERT EDIT .......... iii, 62
BACKING INSERT EDIT ...................... 64
CBR INSERTEDIT ......... oo ee ea ae aan 06 66
CHANGE EDIT
|
- |
Event
Clock
Beat
Measure
+ Rs BATA Lim
— — CL т
|
Velocity
Gate Time
Access:
Song Play Mode > [MENU] — “Edt”
The arrows at the right and left of the above dis-
plays indicate that another display “page” is available
and can be accessed by moving the cursor past the end
of the current page in the indicated direction.
Summary: Change edit (chg) allows note, program change,
pitch bend, and sustain data to be changed or deleted as
required.
60
Settings:
Measure: 001 ... 299 ©
Beat: 1... 16
Clock: 00 ... 23
Event: C—2 ... G8, PC, PB, SUS, TOP*, END
Gate Time: 01 ... 99
Velocity: 01 ,.. 128
* When the TOP event (the beginning of the sequence)
is showing, the track number also appears as in the
display shown below:
Beal
Measure
ня
ond
pa —
ol
"|
de
——
1
1
t
==
чай
"чт
Ч
1 —-—
e
e.
——
=
Track Number
TOP (Top of Sequence)
Clock
Procedure: Use the [<4] and [»»] keys to step through the
events on the selected track. When the event to lbs
changed is located, use the CURSOR keys to move the
cursor to the desired parameter, then use the [-] and [+]
key to set as required. After changing a value the [EN-
TER] key must be pressed to actually enter the new
value.
Notes and chord roots can be changed via the micro-
keyboard or the [+] and [-] keys. Chord types can be
Mchanged via the chord-entry keys. PC (program change)
and PB (pitch bend) values can be change via the [+]
and [=] or numeric keys. SUS (sustain) events can be
set to ON or OFF via the [+] and [-] keys.
The selected event can be deleted by pressing the
[SHIFT] and [6] keys (TOP and END can not be deleted).
When done, press [EXIT] to return to the song
mode menu.
Edit Track Selection: Press the [TRACK/TRANS] key to
call the track mode display, then use the track keys (the
white keys labelled 1, 2, 3, 4, CI, C2, BASS and
RHYTHM) to select the desired track for editing. If
you press the C1, C2, BASS or Rhythm key, all four
backing tracks will be sclected (BK). A single backing
track can be selected by first pressing the [SHIFT] key
(an “$” will appear to the left of the display) and then
the desired backing track key. The selected track will
displayed in reverse (white number or character on a
Noack background).
Press the [EXIT] key to return to the edit mode.
SONG EDIT
61
Access:
Song Play Mode > [MENU] > “Edt” > [MENU] >
ter 77
105
This insert edit mode will be selected if one of the
four sequencer tracks — TRI … TR4 — is selected (see
“Edit Track Selection” on page 61).
The second display page is only available when a
note event is to be inserted.
Summary: Insert edit (ins) allows note, program change,
pitch bend, and sustain data to be inserted at any point
in the sequencer tracks (TR1 ... TR4).
Settings:
Measure: 001 ... 299
Beat: 1... 16
Clock: 00... 23
Event: C-2 ... G8*, PC, PB, SUS
* The following are only available when inserting a
note event:
Gate Time: 01 ... 99
Velocity: 01 ... 128
Procedure: After selecting the insert (ins) edit mode, > Press
the IMENU] key and then the “note”, “pb”, “sus”, or
“pc” function key according to the type of event you
62
INSERT EDIT
want to insert. When done editing, press [EXIT] to
return to the song mode menu or the [MENU] Key
select a different type of event for insertion.
Oe “note” — NOTE
a81-1-68 CZ 7
| 1 | |
|
Note
Clock
Beat
Measure
rw Fe ЧР fea re Fie:
wo Бе ‘3 Li 1 EI PRE ses
| |
|
Velocity
Gate Time
Use the CURSOR keys to select the measure, beat,
or clock parameter, then the {-] and [+] keys or nu-
meric and [ENTER] keys to set the measure-beat- clock
to the location at which you want to insert a new not.
The [<<] and [>>] keys can be used to move backw*
or forward a measure at a time. Then use the micro
keyboard or the [+] and [-] keys to select the required
note. After selecting a note the [ENTER] key must be
pressed to actually insert it into the sequence.
Г
® “pb” — PITCH BEND
da
e ISA PER +
yr
—
4 Pitch Bend Value
Use the CURSOR keys to select the measure, beat,
or clock parameter, then the [—] and [+] keys or nu-
meric and [ENTER] keys to set the measure-beat-clock
to the location at which you want to insert a new pitch
bend event. The [44] and [>>] keys can be used to move
backward or forward a measure at a time. Then use the
numeric or [+] and [+] keys to select the required pitch
bend value (—63 … +00 … +63 — the actual amount of
pitch shift produced will depend on the setting of the
voice-mode PITCH RANGE function). After selecting
a value the [ENTER] key must be pressed to actually
insert the pitch bend event into the sequence.
® “sus” — SUSTAIN
4
ры
—
ый
1
| — "1
——
pd
a
—
LT
i-i-
E
Sustain
Use the CURSOR keys to select the measure, beat,
or clock parameter, then the [-] and [+] keys or nu-
meric and [ENTER] keys to set the measure-beat-clock
SONG EDIT
to the location at which you want to insert a new sus-
tain event. The [«<] and [>>] keys can be used to move
backward or forward a measure at a time. Then use the
[+] and [-] keys to select SUS ON or SUS OFF, After
selecting a value the [ENTER] key must be pressed to
actually insert the sustain event into the sequence.
e “pc” — PROGRAM CHANGE
ZE 1 ME
=
pr
amas
“Ч
pr
ui
—
I
i
f
—
a
——
— i
ЗЫ,
a
+
ae.
Program Change Number
Use the CURSOR keys to select the measure, beat,
or clock parameter, then the [-] and [+] keys or nu-
meric and [ENTER] keys to set the measure-beat-clock
to the location at which you want to insert a new pro-
gram change event. The [<<] and [>»] keys can be used
to move backward or forward a measure at a time, Then
use the numeric or [+] and [-] keys to select the required
program change number (000 ... 127). After selecting a
value the [ENTER] key must be pressed to actually
insert the program change event into the sequence.
63
BACKING INSERT EDIT
Access:
Song Play Mode — [MENU] — “Edt” — [MENU] >
cr 23
INS
The backing insert edit mode will be selected if all
of the backing tracks are selected (see “Edit Track
Selection” on page 61).
Summary: Backing insert edit (ins) allows chords, bass
offsets, and pattern numbers to be inserted at any point
in the backing tracks if all backing tracks are selected
for editing.
Settings:
Measure: 001 ... 299
Beat: 1... 16
Clock: 00... 23
Event: Chord: Chord root x 20 chord types
Bass offset: C, C#, D, Eb, E, F, F#, G, Ab, A, Bb, B
Pattern number; 00 ... 99
Procedure; After selecting the insert edit mode and select-
ing all backing tracks for editing, press the [MENU]
key and press the “cho”, “bas”, or “pat” function key
according to whether you want to insert chords, bass
offsets, or pattern numbers.
64
When done editing, press [EXIT] to return to the
song mode menu or the [MENU] key to select a differ-
ent type of even for insertion.
e “cho” — CHORD CHANGES
“ll
4
те
pe
==
Зы
— 1, 3
=
| . Chord
Clock
Beat
Measure
Use the CURSOR keys to select the measure, beat,
or clock parameter, then the [-} and [+] keys or numeric
and [ENTER] keys to set the measure-beat-clock to the
location at which you want to insert a new chord. The
[+«] and [»#1 keys can be used to move backward or
forward a measure at a time, or press [SHIFT] and then
[<<] or [>>] to move backward or forward by one beat.
Chords can be entered by first selecting the root
via the micro-keyboard, and then the chord type vía “
numeric keys. Each numeric key has two chord types
printed on the key — the left type is entered directly by
pressing the key and right type is entered by pressing
[SHIFT] plus the key, or by pressing the same key
twice. Once the root and type have been selected, press
the [ENTER] key to enter the chord.
q — BASS OFFSET
Ms 4 eR] " rm
rt aman 1 ma ki bl I
feu |
pul
—
|
Bass Note
Use the CURSOR keys to select the measure, beat,
or clock parameter, then the [-] and [+] keys or nu-
meric and [ENTER] keys to set the measure-beat-clock
to the location at which you want to insert a new bass
offset. The [+4] and [>>] keys can be used to move
backward or forward a measure at a time.
Enter the desired bass note via the micro-keyboard,
then press the [ENTER] key to actually enter the note.
® “ра!” — PATTERN NUMBERS
Of
:
Lo)
1 #1
me
phe
Le
ne
----
т
La?
4 Pattern Number
Use the [<<] and [PP] keys to move to the top of
the measure at which you want to insert a new pattern
number, Use the numeric keys to select the desired
SONG EDIT
pattern number and then press the [ENTER] key to
enter the selected pattern number.
Refer to: “BACKING STEP RECORD”, page 50.
65
CBR INSERT EDIT
Access:
Song Play Mode > [MENU] > “Edt” — [MENU] >
ce. »
11S
The CBR insert edit mode will be selected if a
single backing track — CI, CII, BS, or RT — is selected
(see “Edit Track Selection” on page 61).
Summary: The CBR insert edit mode allows pattern num-
bers, velocity values, and program change numbers to
be inserted at any point in the selected track when a
single backing track — CI, CII, BS, or RT — is selected
for editing.
Settings:
Measure: 001 ... 299
Beat: 1... 16
Clock: 00 ... 23
Event: Pattern Number: 00 ... 99
Velocity Value: -99 ... +0... +99
Program Change Number: 001 ... 121
Procedure: After selecting the insert edit mode and select-
ing one backing track for editing, press the [MENU]
key and press the “pat”, “vel”, or “pc” function key
according to whether you want to insert pattern numbers,
velocity values, or program change numbers.
66
When done editing, press [EXIT] to return to the
song mode menu or the [MENU] key to select a diff”
ent type of even for insertion.
e “pat”? — PATTERN NUMBER
Pattern Number
Measure
next
Tp
Lal
„=
pr
pn.
—
pata
!
Tl
Use the [<<] and [>>] keys to move to the top of
the measure at which you want to insert a new pattern
number. Use the numcric keys to select the desired
pattern number and then press the [ENTER] key to
enter the selected pattern number.
® “vel” — VELOCITY
Beat
Measure
SONG EDIT
Use the CURSOR keys Lo select the measure, beat, Refer to: “CBR Step Record”, page 54.
or clock parameter, then the [+] and [+] keys or nu-
meric and [ENTER] keys to set the measure-beat-clock
to the location at which you want to insert a new veloc-
ity valuc. The [<<] and [»»] keys can be uscd to move
N backward or forward a measure at a time. Move the
cursor to the velocity parameter and use the [—] and [+]
keys or numeric and [ENTER] keys to set. À negative
velocity value can be selected by pressing the trans-
pose [Y ] key. The transpose [A] key will make the value
positive again.
e “pc” — PROGRAM CHANGE
|
| Li
i nT EET
" ene] LE "tt
т
К 3
à
E
E
=
3
pra
т I
pe à vi
1 “a? Tent "
— 1 _3
Program Chaange Number
Use the CURSOR keys to select the measure, beat,
or clock parameter, then the [-] and [+] keys or nu-
meric and [ENTER] keys to set the measure-beat-clock
to the location at which you want to insert a new pro-
gram change number. The [«+«<] and [>] keys can be
A used to move backward or forward a measure at a time,
— Move the cursor to the program change number and use
the [-] and [+] keys or numcric and [ENTER] keys to
SCL.
67
CL
SONG JOBS
1: Mix Track .... coi ee ee eae 70
2: Quantize Measure .........eeoeeecnorrorere. 72
3: Create Measure ........o.oerweoogcocrevreneercoa 74
4: Copy Measure .........erecereoeorererece.. 75
5: Insert Measure ..........eoreosereroerarere e 77
6. Delete Measure o.oo tiie ities 78
7: Erase Меавиге ................. 5... коллек, 79
8: Transpose vivre ite A. 80
9: Combine Track ..........oe0e0esmerervorec... 81
A 10: Clear Track ...........eeericiererieeeeeaes 82
1: MIX TRACK
|
===
jul a |
me
pet
ml
PE.
ft
Ps
Ft
Destinalion track
Second source track
First source track
Access:
Song Play Mode — [MENU] > “Job” > [1] > [ENTER]
—> [ENTER]
Summary: Combines the data from two different tracks
and copies the result to a third track.
Settings:
First source track: TR1 … TRA
Second source track: TR1 ... TR4
Destination track: TR1 ... TR4
Procedure: Use the CURSOR keys to select the first source
70
track, the second source track, or the destination track.
Use the [-] and [+] keys to select the track numbers.
After selecting the desired source and destination
tracks, press the [ENTER] key. “Sure?” will blink on
the display (any previous data will be overwritten and
erased when the mix operation is performed). Press [+/
YES] to mix or [-/NO] or [EXIT] to cancel the opera-
tion.
“Executing!” will appear on the display during mix,
and “Completed!” will appear bricfly when the rr
operation is finished.
Details: The mixdown function is most uscful when you
want to record more than 4 individual parts on the
HQ10’s four sequencer tracks. Successfully recorded
parts can be combined using this function, thus opening
up more tracks for further recording. The data in the
source tracks is not erased during a mixdown opera-
tion,
Please note that if both source tracks arc set to the
same track number, the data from that track will simply
be copied to the destination track. Also note that if both
the specified source tracks arc empty, the “ERR No
Data!” error message will appear and the mix operation
will be aborted.
Eee ee ds rs ml
Qu RU
ource trac
777777,
|
ack (mixdown r
EZ
SONG JOBS
7]
2: QUANTIZE MEASURE
1
e
=i
+
нет
o!
DE
=r,
Ent
pr
pee
zt
==
„о!
pde
" *F LI
. “ =
| |
—
End Measure
Start measure
Track
1 =
te,
—k
re
WJ
I
!
'
E
"=
же К,
=}
I
MECA
фе
Tn
—_
Lon
Ed
— E.
—
ча
Resolution
Access:
Song Play Mode > [MENU] > “Job” -> [2] > [ENTER]
— [ENTER]!
Summary: Aligns notes in the specified measures of the
specified track to the nearest specified beat.
Settings:
Track number: TR1 .., TR4
Start measure: 001 ... 299
End measure: 000 ... 299
Resolution: 1/4 note, 1/4 note triplet, 1/8 note,
1/8 note triplet, 1/16 note, 1/16 note triplet,
1/32 note, 1/32 note triplet
Procedure: Use the [<€] and [™] cursor keys to select the
track, start measure, end measure, or resolution parameter.
72
Use the [-] and [+] keys, or numeric and [ENTER]
keys to select the desired track number, measure range
and resolution.
After selecting the desired values, press the [EN-
TER] key. “Sure?” will blink on the display. Press [+/
YES] to quantize or [-/NO] or [EXIT] to cancel the
operation,
“Executing!” will appear on the display during
quantization, and “Completed!” will appear when
quantization is finished.
Details: Quantization is generally used to tighten up sloppy
timing. Use it judiciously, however, because timing
that is too perfect can sound cold and mechanical —
unless, of course, you're specifically aiming for a cold,
mechanical feel, Always use a quantize value that 1s at
least as “short” as the shortest notes in the track to be
quantized. If you quantize a track containing 16th notes
to 1/8 (8th notes), for example, some of the 16th notes
will be aligned with 8th note bcats, thus ruining the
track. “<
The various quantize values correspond to note lengths
as follows:
F4 Fd М”
Lv
® Quantize/note correspondences
QUANTIZE QUANTIZE
VALUE BEAT VALUE BEAT
1/4 J 1/16 Л
m3 man
1/6 1/24
1/8 | 1/32 Л
r37 37
1/12 1/48
One measure of 8th notes before quantization.
After quantization. |
SONG JOBS
73
3: CREATE MEASURE
E E
i 1
=n
E
E
go
o
Et
1,0
pt
Es
«}
r
Eat
fra
Number of measures
Time signature
Star! measure
Access:
Song Play Mode > [MENU] — “Job” > [3] > [ENTER]
— [ENTER]
Summary: Creates the specified number of blank (rest)
measures on all tracks starting at the specified measure
number. The time signature of the created measures
can also be specified.
Settings:
Start measure: 001 ... 299
Time signature: 1... 8/4, 1... 16/8, 1... 16/16
Number of measures: x01 ... x99 |
Procedure: Use the [<] and [>] cursor keys to select the
various parameters. Use the [-] and [+] keys, or numeric
and [ENTER] keys to set the value of the selected
parameter.
After selecting the desired start measure, time sig-
nature, and number of measures, press the [ENTER]
74
key. “Sure?” will blink on the display. Press {+/YES]
to create the specified measures or [-/NO] or [EXIT] 4
cancel the operation,
“Executing!” will appear on the display during
creation, and “Completed!” will appear when the create
operation is finished.
Details: the last specified pattern and chord will continue
to play through created measures.
SONG JOBS
4: COPY MEASURE
Destination track: TR1 … TR4
Destination measure: 001 ... 299
Number of copies: 01... 99
LE 1 MER ME
A bone
Source end measure
Source start measure Procedure: Usc the [<] and [»] cursor keys to select the
Source track . ;
various parameters. Use the [-] and [+] keys, or numeric
| Сеы + PCS and [ENTER] keys to set the value of the selected
| | | parameter.
Destination measure After selecting the desired source track, source measure |
Destination track range, destination track, destination measure range, and
FE ma L number of copies, press the [ENTER] key. “Sure?” will |
mE ed PER blink on the display (any previous data will be overwritten
Number of copies and erased when the copy operation is performed). Press
[+/YES] to copy or [-/NO] or [EXIT] to cancel the
Access: operation. |
Song Play Mode > [MENU] — “Job” > [4] > [ENTER] “Executing!” will appear on the display during copy, *
— [ENTER] | and “Completed!” will appear when the copy operation
qu | 1s finished.
Summary: Copics a specified measure or range of measures
from one track to the specified measure in another Details: A copy operation overwrites the data from the
track. beginning of the specified destination measure with the
Minos: data from the source measure(s). Previous data in the
overwritten measures is therefore lost.
If the specified source measure range is only parily
filled with data, only the existing data will be copied.
Source track: TR1 ... TR4, BK
Source start measure: 001 ... 299
Source end measure: 001 ... 299
75
76
If no data exists in the specified source measure
range, the “Data Empty!” error message will appear
and the copy operation will be aborted.
If the data in the destination track ends before the
specified destination measure, the measures between
the end of the existing data and the specified destina-
tion measure will automatically be filled with rests.
To Li MAR Maa
me" $ — Fo ak IF Ten” Tamm“ "nm Tran” emt a
pu + TE MMe
ro dem 4 db me, ¡e
LE di times
L_—
® TRACK 1
ENE
e TRACK 2 (Result with new measure numbers.)
[+ Гг | з [4 [5 [6 |7 | в | 9 |
SONG JOBS
5: INSERT MEASURE
Destination measure
Source end measure
Source start measure
Access:
Song Play Mode > [MENU] > “Job” — [5] > [ENTER]
— [ENTER]
Summary: Inserts a specified measure or range of meas-
ures from all tracks before any other specified measure.
Settings:
Source start measure: 001 ... 299
Source end measure: 001 … 299
Destination measure: 001 ... 299
Procedure: Usc the [«] and [»] cursor keys to select the
various parameters. Use the [-] and [+] keys, or numeric
and [ENTER] keys to set the value of the selected
parameter.
A After selecting the desired source measure range
and destination measure, press the [ENTER] key. “Sure?”
will blink on the display. Press [+/YES] to insert or [-/
NO] or [EXIT] to cancel the operation.
“Executing!” will appear on the display during in-
sert, and “Completed!” will appear when the insert
operation is finished.
Details: Insert affects all tracks simultaneously. The source
measure or range of measures is inserted before the
existing data beginning at the specified destination measure.
If the specified source measure range 1s only partly
filled with data, the empty measures will automatically
be filled with rests.
If no data exists in the specified source measure
range, the “Data Empty!” error message will appear
and the insert operation will be aborted.
If the existing data ends before the specified desti-
nation measure, the measures between the end of the
existing data and the specified destination measure will
automatically be filled with rests.
Insert M002 — 004 — 006
| 1 Roo PS pal 5 | 6 |
Measure 6 moved up; measures 2, 3 and 4 inserted.
| 1 | 2 |3 | 4 | 5 | 313 |4 | 6 -
Result with new measure numbers.
| |2|al|alsje)|7|s|o |
77
6: DELETE MEASURE
2
Li
sl
го я
L* 1
LI) " ala
End measure
Start measure
Бе
——
=I
=
pap о
ии
e!
e
Access:
Song Play Mode — [MENU] — “Job” — [6] > [ENTER]
— [ENTER]
Summary: Deletes the specified measure or range of measures
from all tracks.
Settings:
Start measure: 001 ... 299
End measure: 001 … 299
Procedure: Use the [<] and [»] cursor keys to select the
various parameters. Use the [-] and [+] keys, or nu-
meric and [ENTER] keys to set the value of the se-
lected parameter.
After selecting the desired start and end measures,
press the [ENTER] key. “Sure?” will blink on the display.
Press [+/YES] to delete or [-/NO] or [EXIT] to cancel
the operation.
“Executing!” will appear on the display during de-
lete, and “Completed!” will appear when the delete
78 operation is finished.
Details: It's important to remember that a delete operation
affects all tracks simultancously, and that mcasurg=
following the deleted range are moved back to take the
place of the deleted measures. This differentiates the
delete job from the erase job (described next), which
replaces data in the specified range with rests.
If no data exists in the specified measure range, the
“Data Empty!” error message will appear and the delete
operation will be aborted.
Delete M004 — 006
4. ВЕ | 7 | 8 | 9 |
Ta
Measure 4 through 6 deleted.
ENEE A AECE
| —
[1 | г | з | 4 | 5 | 6 |
Subsequent measures moved back.
SONG JOBS
7: ERASE MEASURE
-.
pa
mi
maya
ir
4
¡SE ECTS Я рая
Ta" da Me! a
9
End measure
Start measure
Track
Access:
Song Play Mode — [MENU] — “Job” — [7] — [ENTER]
— [ENTER]
Summary: Erases all note and event data from the speci-
fied measure or range of measures in the specified
track.
Settings:
Track: TRI! ... TR4, BK (all backing tracks), CI (chord
1), CH (chord 2), BS (bass), RT (rhythm)
Start measure: 001 ... 299
End measure: 001 ... 299
Procedure: Use the [<] and [>] cursor keys to select the
various parameters. Use the [-] and [+] keys, or numeric
and [ENTER] keys to set the value of the selected
parameter.
After selecting the desired track, start measure,
and end measure, press the [ENTER] key. “Sure?” will
blink on the display. Press [+/YES] to erasc or [-/NO]
or [EXIT] to cancel the operation.
“Exccuting!” will appear on the display during erase,
and “Completed!” will appear when the erase operation
is finished.
Details: An erase operation leaves the specified measures
intact but blank.
If no data exists in the specified measure range, the
“Data Empty!” error message will appear and the erase
operation will be aborted.
=
if
Measures 4 — 6
“blank,” containing
only rests.
79
8: TRANSPOSE
Tre +1 HEE1-861
| | |
|
End measure
Start measure
Track
Pr de Prive TEA Y ta
rr SPEED RIE TES
|
|
Shift value
Access:
Song play mode — [MENU] — “Job” — [8] > [ENTER]
— [ENTER]
Summary: Shifts the pitch of notes in the specified mcas-
ures of the specified track up or down by a maximum
of one octave, in semitone increments,
Settings:
Track: TR1 ... TR4
Start measure: 001 ... 299
End measure: 001 … 299
Shift value: —12 ... +00... +12
80
Procedure: Use the [4] and [>] cursor keys to select the
various parameters. Use the [-] and [+] keys, or ny
meric and [ENTER] keys to set the value of the sc
lected parameter.
The octave keys [Y] [4] are used to enter the +/-
sign.
After selecting the desired track, measure range,
and shift value, press the [ENTER] key. “Sure?” will
blink on the display. Press [+/YES] to execute the note
shift operation or [-/NO] or [EXIT] to cancel.
“Executing!” will appear on the display during note
shift, and “Completed!” will appear when the note shift
operation 1s finished.
Details: The ability to selectively shift the pitch of specified
measures and tracks makes it simple to create “modula-
tions” without having to reprogram entire passages,
and to create simple harmonies.
If no data exists in the specified measure range, the
“Data Empty!” error message will appear and the crase
operation will be aborted. и
SONG JOBS
9: COMBINE TRACK
“ u T ae
nt=kri>
CT
"ar
Г
E
И
|
|
|
Note data source track
Time data source track
7
[O
— a = =
TN | я в 1 == I я
ri LU 1 5 "Mf
"— OT hem” "." we Fo ude
|
Destination track
Velocity data source track
Access:
Song Play Mode — [MENU] > “Job” > [9] > [ENTER]
— [ENTER]
Summary: Combines the time, note, and velocity data from
different tracks and places the result on a specified
track.
Settings:
Time data source track: TRI ... TR4
Note data source track: TRI... TR4
a Velocity data source track: TRi ... Тк4
Y Destination track: TR1 ... TR4
Procedure: Use the [«<] and [>] cursor keys to select the
source and destination tracks. Use the [-] and [+] keys
to select the track numbers.
After selecting the desired source and destination
tracks, press the [ENTER] key. “Sure?” will appear on
the upper line of the display, Press the [+/YES] to copy
or [-/NO] or [EXIT] to cancel the operation.
“Executing!” will appear on the display during copy,
and “Completed!” will appear when the copy operation
is finished.
Details: The ability to isolate and combine these types of
data makes it possible to create new tracks with a minimum
amount of programming. You could, for example, com-
bine note data from a harmony track with the timing
data from a melody track, thus producing a harmony
track with timing that is perfectly matched to the melody
track.
81
10: CLEAR TRACK
anand
="
E
wi
pute
—
Track
Access:
Song Play Mode — [MENU] — “Job” — [1] — [0] —
[ENTER] > [ENTER]
Summary: Deletes all data from the specified track.
Settings:
Track: TR1 … TR4, BK (all backing tracks), CI (chord
1), CH (chord 2), BS (bass), RT (rhythm), all
Procedure: Use the [-] and [+] keys to select the desired
track.
After selecting the desired track, press the [EN-
TER] key. “Sure?” will blink on the display. Press [+/
YES] to execute the clear track operation or [-/NO] or
[EXIT] to cancel.
“Executing!” will appear on the display during clear,
and “Completed!” will appear when the clear track
operation is finished.
82
Details: If the specified track contains no data, the “No
Data” error message will appear and the clear operation
will be aborted. |
j
VOICE ASSIGN oa 84
VOLUME .... se aa a ae eee Lee 85
PITCH BEND RANGE .................... .... 86
OUTPUT ASSIGN ... i 87
VOICE ASSIGN
- Ea MM
" E 0 91 |
— 1" 1 == md ET Ci
Voice Name
Voice Number
Track
Song Play Mode > [MENU] > “Voic”
Track: TR1 ... TR4, CI (chord 1), CII (chord 2), BS (bass),
RT (rhythm)
Voice Number: VO1 ... V32
Voice Name: Max. 8-character voice name
Procedure: Use the CURSOR keys to locate the cursor
under the track or voice number parameter, then use the
[+] and [-] keys to set as required. The numeric and
[ENTER] keys can also be used to enter the voice
Details: The selected voice can be monitored by playing
the micro-keyboard.
VOICE MODE
VOLUME
| + 1 LE 1 me = Sa
„| [Наше то
Volume
Access:
Song Play Mode > [MENU] > “Voic” > [MENU] >
“vol”
Summary: Adjusts the volume of the selected voice.
Settings:
Volume: 6 … 99
Procedure: Use the [-] and [+] or numeric and [ENTER]
keys to select the desired volume level.
Details: A setting of “0” produces no sound while a setting
of “99” produces maximum volume.
The ability to independently adjust the volume of
each voice makes it simple to set up the optimum balance
or “mix” between parts.
”
85
PITCH BEND RANGE
.
Fa | — rare
"ul vo. kE.
—" "— Lies
atl
Petr
Ei
TI
%
a)
|
Pitch Bend Range
Access:
Song Play Mode > [MENU] > “Voic” — [MENU] —>
“pb”
Summary: Sets the available pitch bend range.
Settings:
Pitch Bend Range: 0... 12
Procedure: Use the [-] and [+] or numeric and [ENTER]
keys to select the desired pitch bend range.
Details: Each increment from “0” to “12” represents a
semitone. À setting of “0” produces no pitch bend. À
setting of “12” allows a maximum pitch bend of plus or
minus one octave, while a setting of “4” allows a maximum
pitch bend of plus or minus a major third.
86
VOICE MODE
OUTPUT ASSIGN
| Bl Lun = center
Output
Access:
Song Play Mode — [MENU] — “Voic” — [MENU] >
“out”
Summary: Assigns the currently selected voice to the left,
right, or both (center) output channels.
Settings:
Output: left, center, right
Procedure: Use the [-] and [+] keys to select the desired
output assign setting.
Details: Interesting stereo effects can be produced by plac-
ing the output from different voices at different locations
in the stereo sound field.
A
87
SYNC SELECT
Sync Mode
Access:
Song Play Mode — [MENU] — “Uy” > “MIDI” >
“Syc”
Summary: Determines whether the QY10 sequencer tim-
ing is synchronized by its own internal clock or an
external MIDI clock.
Settings:
Sync Mode: int, ext
Procedure: Use the [=] and [+] keys to select the desired
sync setting.
Details: “int” is the normal setting when the QY10 is being
used alone. If you are using the QY 10 with an external
sequencer, MIDI computer, or other MIDI device, and
you want the QY 10 to be synchronized to the external
device, set this function to ext. In the latter case, the
external device must be connected to the QY 10 MIDI
IN connector, and must be transmitting an appropriate
MIDI clock signal.
70
UTILITY MODE
— MIDI CONTROL
A —
Access:
Song Play Mode — [MENU] > “Utl” — “MIDI” —
“Cnt”
Summary: Turns the sequencer MIDI control functions on
or off.
Settings:
MIDI Control: on, off
Procedure: Use the [-] and [+] keys to select the desired
MIDI Control setting.
Details: When this parameter is turned “off,” the following
MIDI functions are de-activated:
1. Transmission and reception of MIDI start, stop and
continue messages.
2. MIDI clock transmission.
2 MIDI control can be turned “off” to prevent un-
— wanted interference from external MIDI devices con-
nected to the QY 10, and/or to prevent the QY 10 sequencer
from affecting operation of the external equipment.
9]
MIDI DEVICE NUMBER
devices Ho, = off
Access:
Song Play Mode > [MENU] — “Utl” — “MIDI” —
“Dve”
Summary: Sets the QY 10 MIDI device number — i.e. the
MIDI channel on which all system exclusive data will
be reccived and transmitted.
Settings:
Device No: off, 1 ... 16, all
Procedure: Use the [-] and [+] or numeric and [ENTER]
keys to select the desired device number setting.
Details: The device number is important for transfer of
system exclusive data between the QY10 and other
Yamaha MIDI devices — e.g. another QY10 or other
sequencer. System exclusive data is transmitted and
received on the channel specified by the device number
(see the MIDI BULK DUMP functions, described below).
Make sure that the QY 10 device number is matched to
that of other devices in your system with which such
data transfers will take place.
92
Si
Se
Pi
UTILITY MODE
MIDI BULK DUMP
BEAK iit
il ud
q onst out
Song Number
pd
с
Access:
Song Play Mode — [MENU] > “Utl” — “Blk” >
“ОУ” or “Nsq”
Summary: Initiates MIDI bulk transmission of song data.
Settings:
Song Number: songl ... song8, all (*all” available in
OY dump oniy)
Procedure: After selecting the QY or Nsq dump format,
use the [+] and [+] keys or numeric and [ENTER] to
select the song number to be dumped, or “all” to dump
all songs when the QY dump 1s selected. Press [EN-
TER] and “Sure?” will appear to the right of the display.
Press [+/YES] to dump or [-/INO] to cancel. “Transmitting”
will appear during transmission, and “Completed!” will
«тгрреаг briefly when the transmission has finished.
Details: The QY dump format is a special format used only
by the QY10, and should be selected when dumping
data to another QY 10 or a MIDI data recorder. When
the QY format is selected, all data in the sequencer and
backing tracks of the selected song is dumped. When
“all” is selected, all sequencer, backing, and pattern
data is dumped. The Nsq (N-SEQ) dump allows QY10
data to be dumped to other Yamaha products that are
compatible with the N-SEQ bulk dump format. The N-
SEQ format dumps only the data from the sequencer
tracks — the backing tracks are not dumped.
The BULK DUMP function will not work if the
QY 10 MIDI device number 1s set to “off.”
Another way to externally store QY10 sequencer
and backing track data 1s to simply record the MIDI
output from the QY 10 on a sequencer (record tracks 1
through 8) while the song is playing.
93
METRONOME
Metrononesrecord
Access:
Song Play Mode > [MENU] > “Ut!” — “Mtr”
Summary: Determines when the sequencer’s metronome
click sounds.
Settings:
Metronome: always, play, record, off
Procedure: Use the [-] and [+] or numeric and [ENTER]
keys to select the desired metronome setting.
Details: The “off” setting means that the metronome never
sounds. This setting is useful for recording free-tempo
passages. The “record” setting causes the metronome
to sound only during recording, the “play” setting causes
the metronome to sound during playback and recording,
and the “always” setting causes the metronome to sound
all the time — even when the sequencer is not running.
94
Far - Pe
"ar
UTILITY MODE
STORE VOICE
Access:
Song Play Mode > [MENU] — “Utl” > “Str”
Summary: Stores the voice assignments (including vol-
ume, pitch bend range, and pan settings) for the current
song.
Settings:
None.
Procedure: The store function is executed as soon as the
“Str” item 15 selected from the menu display. After the
data 1s stored, the QY 10 automatically returns to the
song or pattern mode,
Details: If you change voice assignments or other voice
settings for a song and then select a different song, the
new settings will bc lost unless the Store Voice func-
tion 1s executed first.
95
PAT TERN MODE
PATTERN PLAYBACK .......... ee 98
PATTERN RECORD STANDBY ............... 101
STEP RECORD ........... co iit, 102
OVERDUB RECORD .............. ia... 103
PATTERN PLAYBACK
Meas ure
DE
Ч
|
i
——
|
Pattern Name
Pattern Number
7
Fog+
=
(=
===
fla
— [4
кА,
Chord
Access:
Song Play Mode > [PATT]
Summary: Allows playback of any of the QY 10's 99 patterns.
Settings:
Measure: 1... 8
Pattern Number: 00 ... 99
Pattern Name: 8 characters
Chord: Chord root x 20 chord types
Tempo: T030 ... T250
Procedure: Use the CURSOR keys or function keys to
move the underline cursor to the desired parameter,
then use the [-] and [+] keys, or the numcric and [EN-
78
TER] keys to set as required.
Press the sequencer [>] key to start playback, ar
the sequencer [M] key to stop playback.
The micro-keyboard and chord type keys can be
used to change the chord of the pattern: enter the chord
root and type, then press the [ENTER] key.
Tracks can be muted or activated in the same way
as in the song playback mode (see “Track Mode Display
& Track Mute” on page 43). The transpose function
described on page 44 can also be used to change the
pitch of pattern playback.
Details: Pattern numbers 00 through 23 are “user” patterns
that you can create yourself using the “Pattern Record”
function described next. Patterns 24 through 99 are
preset patterns, listed below:
® Preset Pattern List
PATTERN MODE
No. | Name Tempo | Description
24 FU4Buzz 126 Up-tempo dance.
FU4Jammy | 102 Heavy pop funk.
7 FU4LAPop 106 Pop funk.
27 FU4Slam 120 Heavy dance funk.
28 FU4NYPop | 121 R&B funk.
29 FU4KickA 121 Kick funk,
30 FU2Power 130 Rock funk,
31 FU4HiTec 117 Electro funk.
32 FUSLAFun 117 Brassy funk rock.
33 FU4Brass 116 Brass rock funk,
34 EU4Eurol 126 Euro beat.
35 EU4Euro2 114 Euro beat.
36 EU4Floor 129 Balearic beat.
37 EU4ELPop | 124 Electronic pop.
38 EU4House 120 Euro house music,
39 EU2Go 2 117 British house reggae.
40 FS4Easy 92 Laid-back west coast.
41 FS4S Beat 96 Euro swing-beat.
42 FS4Carib 98 Carribean electronic.
43 FS4NYFun 100 New York 90's funk.
44 FS4Strut 94 90s funk.
45 FS4Funq 102 West coast 90's funk.
A FS4 Hip | 93 Heavy funk.
DO BA2 Dark 84 Dark electronic ballad.
48 BA1Slowl 72 Country ballad.
49 BAISIow2 68 Electric-piano ballad.
No. | Name Tempo | Description
50 BAS 6/8 70 6/8 ballad.
51 BA4Soul2 90 Swing beat ballad.
52 BA4Funk1 80 Funk ballad.
53 BA4Funk2 91 Funk ballad.
54 BA4NuAge | 80 New-age ballad.
55 CR2Lyin 140 Light rock shuffle,
56 CR4Drops 130 Light country rock shuffle,
57 SA2Sals1 117 Salsa.
58 SA4Sals2 120 Salsa.
59 SA4Sals3 110 Salsa.
60 SA4Bosal 138 Bossa-nova.
61 SA2Bosa2 134 Bossa-nova.
62 ET4Bali 104 Ethnic 3/4.
63 SWaJazz1 160 Jazz swing,
64 SW4Jazz2 130 Jazz swing.
65 SW2BeBop | 148 Be-bop.
66 SWEWaltz 132 Jazz waltz.
67 RE8Drop1 144 l-drop reggae shuffle,
68 kKE4Jamca 145 1-drop reggae shuffle.
69 RP4Brass 120 Brassy rock pop.
70 RP4Cloth 132 Bright rock pop.
71 RP4Rinse 120 Funky rock pop.
72 RP2Royal 117 Heavy rock pop.
73 HR2Heavy 120 Hard rock.
74 HR2Metal 147 Hard rock.
75 HR4Prock 111 Progressive 6/8 rock.
99
No. | Name Tempo | Description
76 RR4Fire 158 Rock & roll.
77 RR4Zero 200 Rock & roll.
78 КК2Опе 154 Rock & roll.
79 RR2Two 180 Rock & roll.
80 RR4Three 132 Rock & roll.
81 RR4Four 150 Rock & roll.
82 RS2Bgy1 144 Boogie.
83 RS2Bgy2 120 Rock boogie.
84 RS2Steal 128 Rock shuffle.
85 RS2Heavy 147 Heavy metal boogie.
86 BL4 Jaml 120 8-beat blues.
87 BL2 Jam2 68 12-beat blues.
88 RB4Brass 125 Rhythm & blues.
89 RB4FGood 120 Rhythm & blues.
90 RB4Groov 120 Rhythm & blues.
91 RB4MCity 108 Detroit style rhythm & blues.
92 GO8Spell 120 3/4 gospel.
93 CW4Grass 134 Blue grass.
94 BK1One 111 Break — rhythm & blues.
95 BK1Two 120 Break — rhythm & blues.
96 BK1Three 103 Break — shuffle.
97 BK 1Four 100 Break — pop shuffle.
98 BK2Five 120 Break — heavy.
99 BK2Drums 100 Break — drum break.
100
PATTERN MODE
PATTERN RECORD STANDBY
Current Measure
y Tempo
É |
| _ ИЕ _ ,
1 iz 4-4 LI=
| |
|
Record Track
Time Signature
Ti dd TT ike
Number of Measures
Access:
Song Play Mode > [PATT] — [e]
Summary: Allows the step or overdub record mode to be
used to record a new pattern or add new material to an
existing pattern,
The display parameters allow selection of the measure
from which to begin recording, the tempo at which to
record, the time signature of a new track to be recorded,
the track to be recorded, and the total number of meas-
№ ures to be recorded.
Settings:
Current Measure: 1... 8
Tempo: T030 ... T250, xx» (external clock).
E Li
Time Signature: 1/4 ... 8/4, 1/8 ... 16/8, 1/16 ... 16/16.
Record Track: CI (chord 1), CI (chord 2), BS (bass),
RT (rhythm)
Number of Measures: 1... 8
Procedure: Use the CURSOR keys or function keys to
move the underline cursor to the desired parameter,
then use the [-] and [+] keys, or the numeric and [EN-
TER] keys to set as required.
The time signature parameter can only be accessed
in one of the record modes when nothing has yet been
recorded to the currently selected pattern. Further, the
time signature numerator and denominator can be selected
separately using the CURSOR keys.
You can return to the pattern mode by pressing
either the [EXIT] key or the sequencer [HW] key.
Alternate Record Track Selection Method: Press the
[TRACK/TRANS] key to call the track mode display,
then use the track keys (the white keys labelled C1, C2,
BASS and RHYTHM) to select the desired track for
recording. The selected track will displayed in reverse
(white number or character on a black background).
Press the [EXIT] key to return to the pattern record
standby mode.
101
STEP RECORD
Measure
Beal Event
| ! Го но | .
| 1 TT TE
Do
Step Time
Clock
Pe A E
a
o
Velocity
Gate Time
Access:
Pattern Record Standby — [MENU] — “stp”
Settings:
Measure: 001 ... 299
Beat: 1... 16
Clock: 00... 23
Step Time: SO1 ... S96 (standard note displays replace
numbers where applicable — sec Step Time Values
chart, below)
Event: --- (no event), C-2 ... G8&, Instrument names
when recording the RT track.
Gate Time: C01 ... G99
Velocity: kb (keyboard), VO1 ... Y127
102
Procedure: The pattern step recording procedure 1s the
same as the song step record procedure described =~
page 46. À maximum of 8 measures can be recorded.
PATTERN MODE
OVERDUB RECORD
-
len
" A т
; 4, т
“Е: AA E
N ] | | |
|
| Record Track
Time Signature
Ë
ры,
ru
pa
fm
o
I
Tempo
Measure
Access:
Pattern Record Standby > [MENU] -> “ovr”
Settings:
Measure: 001 ... 008 (max. is last measure in sequence).
Tempo: TO30 ... T250 (beats per minute), ext (external
clock).
Time Signature: 1/4 … 8/4, 1/8 … 16/8, 1/16 … 16/16.
Record Track: CI (chord 1), CII (chord 2), BS (bass),
RT (rhythm)
Procedure: The pattern overdub record procedure is the
same as the song overdub record procedure described
on page 56.
CHANGE EDIT ....... i... 106
INSERT EDIT 112020000414 a a aa ee ae a a aa ee 107
CHANGE EDIT
Access:
Pattern Play Mode > [MENU] > “Edt” =» [MENU] —
“chg”
Procedure: The pattern change edit procedure 1s essen-
tially the same as the song change edit procedure de-
scribed on page 60.
106
PATTERN EDIT
INSERT EDIT
Access:
% Pattern Play Mode — [MENU] — “Edt” —> [MENU] —
| ins”
LL
Procedure: The pattern insert edit procedure 1s essentially
the same as the song insert edit procedure described on
page 62. The only difference 1s that program change
data can not be entered in the pattern insert edit mode.
107
PATTERN JOBS
1: Quantize Parts ......12000000 000000 0 aa sea 00 110
2: Copy Parts ....... a 4e 0 ae a ee ea 0e 0 111
3: Transpose «oi ee 112
4: Get Parts oo. a eee 113
5: Put Parts ......2220 eee 114
6: Pattern Name .......oeoroeeorerororereocrev. 115
7: Clear Parts coi 116
1: QUANTIZE PARTS
+
1
-
=i
"I
sa"
F==i
— 17
=
i=
I
— if
pr
Resolution
Track
Pattern Number
Access:
Pattern Play Mode — [MENU] — “Job” -» [1] >
[ENTER]
Summary: Aligns notes on the specified track to the near-
est specified beat.
Settings:
Pattern number: 00 ... 23
Track: CI, CII, BS, RT
Resolution: 1/4 note, 1/4 note triplet, 1/8 note,
1/8 note triplet, 1/16 note, 1/16 note triplet,
1/32 note, 1/32 note triplet
Procedure: Use the [4] and [>] cursor keys to select the
pattern number, track, or resolution parameter. Use the
[-] and [+] keys, or numeric and [ENTER] keys to set
as required.
After selecting the desired values, press the [ENTER]
key. “Sure?” will blink on the display. Press [+/YES]
110
to quantize or [-/NO] or [EXIT] to cancel the opera-
tion. |
“Executing!” will appear on the display dur. _
quantization, and “Completed!” will appear when
quantization is finished.
Refer to: “2: Quantize Measure” on page 72.
PATTERN JOBS
2: COPY PARTS
out
ym
i
wal
Ti
-
[o
—
Destination Pattern
Source Part
Source Pattern
Access:
Pattern Play Mode > [MENU] > “Job” — [2] —
[ENTER]
Summary: Copies a specified part from one pattern to
another pattern.
Settings:
Source Pattern: 00 ... 99
Source Part: CI, CIL BS, RT, all
Destination Pattern: 00... 23
Procedure: Use the [<] and [>] cursor keys to select the
various parameters. Use the [-] and [+] keys, or numeric
and [ENTER] keys to set the value of the selected
parameter.
? After selecting the desired source pattern, source
part (or “all” parts), and destination pattern, press the
[ENTER] key. “Sure?” will blink on the display (any
previous data will be overwritten and erased when the
copy operation is performed). Press [+/YES] to copy or
[-/NO] or [EXIT] to cancel the operation.
“Executing!” will appear on the display during copy,
and “Completed!” will appear when the copy operation
is finished.
Details: The Copy Part job is a great way to use parts from
already-recorded patterns (even from the preset patterns)
to create new patterns. You can copy single parts or all
parts and then edit them as necessary.
A copy operation overwrites the data in the specified
part(s) of the destination pattern with the data from the
source pattern. Previous data in the overwritten part(s)
1s therefore lost.
PTI
3: TRANSPOSE
==
=
In
mp
ok
1
b=}
a:
1
-
a
[ |
=
kL.
Transpose Value
Part
Pattern Number
Access:
Pattern Play Mode > [MENU] > “Job” > [3] >
[ENTER]
Summary: Shifts the pitch of the specified part of the
specified pattern up or down by a maximum of one
octave, in semitone increments.
Settings:
Pattern Number: 00 ... 23
Part: CI, CII, BS
Transpose value: —12 ... +00... +12
Procedure: Use the [<] and [>] cursor keys to select the
various parameters. Use the [-] and [+] keys, or numeric
and [ENTER] keys to set the value of the selected
parameter. The [4] and [Y] keys can be used to change
the sign of the transpose value — [4] for “+” and [Y] for
ces #9
Aîter selecting the desired pattern number, part,
112
and transpose value, press the [ENTER] key. “Sure?”
will blink on the display. Press [+/YES] to execute as
transpose operation or [-/NO or [EXIT] to cancel,
“Executing!” will appear on the display during
transposition, and “Completed!” will appear when the
transpose operation is finished.
Details: If no data exists in the specified part, the “No
Data!” error message will appear and the erase operation
will be aborted.
PATTERN JOBS
4: GET PARTS
Procedure: Use the [<] and [>] cursor keys to select the
various parameters. Use the [-] and [+] keys, or nu-
|. | |
N meric and [ENTER] keys to set the value of the se-
Source End Measure
—
К
д
ok
Anl
La
ii
EE
oa
==
=
pe
i !
— уж
pod
as
paa
re
i
Source Start Measure lected parameter . |
Source Track After sclecting the desired source track, source measure
Ge a aa 7 range, destination pattern and track, press the [EN-
E wh E TER] key. “Sure?” will blink on the display. Press [+/
YES] to get the part or [-/NO] or [EXIT] to cancel the
operation.
“Executing!” will appear on the display during the
Destination Track
Destination Pattern Number
Access: : .
| G P i 1 Le | ]
[ENTER] p
Details: The Get Part function allows you use the sequencer
tracks to create parts for patterns, thus providing an
extra measure of recording versatility. Itis also convenient
Summary: “Gets” the specified range of data from a sequencer
track and places it in the the specified track of a pat-
tern. way to use parts from a recorded sequence to build
Settings: patterns.
Source Track: TR1 ... TR4 If no data exists in the specified source track, the
Source start measure: 001 ... 299 “No Data!” error message will appcar and the opera-
Ma, Source end measure: 001 … 299 tion will be aborted. If the specified destination pattern
¥ Destination Pattern Number: 00 — 23 already contains data, the “Data Exist!” error message
Destination Track: CI, CII, BS, RT will appear and the operation will be aborted.
113
S: PUT PARTS
- LJ
TI
"Fr
et
=
нь
r
|
TT Eee
Track
Pattern Number
|
|
Chord
Lt, 14 bus T + Earara Y i
id РЕНТЫ
| |
Destination Measure
Destination Track
Access:
Pattern Play Mode > [MENU] > “Job” > [5] >
[ENTER]
Summary: “Puts” the data from the specified track of a
pattern to the specified measure of a sequencer track.
Settings:
Pattern Number: 00 ... 99
Track: CI, CII, BS, RT
Chord: Chord root x 20 chord typcs
Destination Track: TR1 ... TR4
Destination Measure: 001... 299
114
Procedure: Use the [«] and [>] cursor keys to select the
various parameters. Use the [-] and [+] keys, or np
meric and [ENTER] keys to set the value of the select.
parameter.
After selecting the desired source pattern and track,
the chord with which the pattern data is to bc moved,
and the destination track and measure, press the [EN-
TER] key. “Sure?” will blink on the display. Press [+/
YES] to execute or [-/NO] or [EXIT] to cancel the
operation,
“Exccuting!” will appear on the display during the
Put Part operation, and “Completed!” will appcar when
the operation is finished.
Details: Put Part is esscntially the revers of the Get Part
job. It allows you to use parts from a backing pattern in
your sequences. Of course, the parts you “put” in the
sequencer tracks can be edited as required.
If no data exists in the specified source track, the
“No Data!” error message will appear and the opcra-
tion will be aborted. a
Any previous data in the destination area will
erased.
PATTERN JOBS
6: PATTERN NAME
Pattern Name
Pattern Number
Access:
Pattern Play Mode — [MENU] — “Job” > [6] >
[ENTER]
Summary: Allows a name of up to 8 characters in length to
be assigned to original patterns.
Settings:
Pattern Number: 00 ... 23
Pattern Name: 8 characters
Procedure: Use the CURSOR keys to move the cursor to
the desired character position, then use the [-] and [+]
keys to select the character for that position. A space
can be entered by pressing the [ENTER] key. Repeat
until the entire name has been entered. Pattern Names
can have a maximum of 8 characters.
| Details: The characters available for creating pattern names
arc as follows:
[space] | НЕМО DE m AALEN a = a
AECDEFGHI JELHMHOFORS TI SYS Dy I
abcdefali dk macarra AE |
115
7: CLEAR PARTS
Details: If the specified track contains no data, the “No
Data” error message will appear and the clear operatige~
will be aborted.
!
Г
bk
po!
=
TI
Track
pe
Pel
pr
+
A 3%
i а
+
po ===
Pattern Number
Access:
Pattern Play Mode > [MENU] > “Job” > [7] >
[ENTER]
Summary: Deletes all data from the specified backing track.
Settings:
Pattern Number: 00... 23
Track: CI, CIL BS, RT, all
Procedure: Use the CURSOR keys to select the pattern
number or track parameter, then the [-] and [+] keys to
set as required. Select “all” to clear all four backing
tracks.
After selecting the desired track, press the [EN-
TER] key. “Sure?” will blink on the display. Press [+/
YES] to execute the clear track operation or [-/NO] or A
[EXIT] to cancel. |
“Executing!” will appear on the display during clear,
and “Completed!” will appcar when the clear track
operation is finished.
116
PATTERN JOBS
' ERROR MESSAGES
SPECIFICATIONS
120
ERROR MESSAGES
Things do go wrong from time to time, and people do make mistakes. When
an error occurs, the QY 10 will usually display a message that describes the и“
of error so you can take steps to rectify the problem. The following are quick
summaries of the QY 10 error displays.
MIDI receive buffer overflow. Too much MIDI data being received too
quickly.
Unrecognizable MIDI data.
A checksum error occurred during MIDI reception.
System exclusive data received that can not be used by the QY 10.
„
You have attempted to transmit or receive bulk data while the MIDI device
number is set to “off.”
i
1
[El
к!
PR
114
НИ
Е
ERROR MESSAGES / SPECIFICATIONS /INDEX
The batteries are running low and must be replaced. You can also use an
optional Yamaha PA-1B or PA-3 AC Adapter in place of batteries.
Recording or editing has caused the sequencer memory to become full.
Further recording or editing may bc possible if unwanted tracks or song data are
erased.
You have attempted to perform a song or pattern job, or MIDI bulk trans-
mission, on a song or track that contains no data.
A MIDI bulk transmission was received while the QY10 was in a mode
other than song or pattern play. In such a case the received data is ignored.
MIDI bulk data reception to a song that already contains data was at-
tempted. Bulk data can only be received to an empty song (either clear the
existing song data or chose an empty song).
Erroneous song data was detected at power-on, and the song has been
cleared. This could indicate a battery problem. Have the internal backup battery
checked by qualified Yamaha service personnel.
You have attempted 10 record to or edit a preset pattern.
ii tom ve um ee ob i
Е Preset ||
не moa FE You have entered an illegal parameter value for one of the QY 10 song oe
Lee LiIiSTai NFL pattern jobs.
AA Ni bo The device number of received MIDI data does not match the currently set
| CAR DEU MISMELCRA device number of the QY10.
You have attempted to execute a job, or access one of the following modes
while the seguencer is running.
— pattern or song edit modes.
— Bulk out modes.
— MIDI sync, control, or device number screens.
HH я в -
i [2 x a Ife osm sm em |
Ко НЫ Running! |
122
ERROR MESSAGES / SPECIFICATIONS / INDEX
123
EH Sequencer
Songs
Tracks
Maximum Polyphony
Record Modes
Maximum Recordable Notes
Note Resolution
Backing Patterns
Demo Songs
H Tone Generator
Voices
Maximum Polyphony
SPECIFICATIONS
E Controls & Display
8 Switches
4 sequencer ; 4 backing Volume Control
32 Display
Real-time and Step
NM Connectors
Approx. 6,000 Line Output
09 lus 24 Headphones
preset plus user memory MIDI IN/MIDI OUT
locations
3
46
1
1 line X 16 char. LCD
Stereo mini-jack x 1
Stereo mini-jack x 1
5-pin DIN connector
H Song Mode Functions
Song Record
30 pitched voices plus 26 drum
& percussion instruments
28
Max. Simultaneous Voices
Note Assignment
124
8
Dynamic Voice Allocation
Song Edit
Sequence track step record
Sequence track overdub record
Sequence track replace record
Auto chord record
All backing tracks step record
Individual backing track step
record
ak
Change 6
Insert
Song Jobs
9
Voice Mode
Utility Mode
Mix track
Quantize measure
Create measure
Copy measure
Insert measure
Delete measure
Erase measure
Transpose
Combine track
Clear track
Voice assign
Volume
Pitch bend range
Output assign
Sync select
MIDI control
MIDI Device number
MIDI bulk dump
Metronome
Store voice
ERROR MESSAGES / SPECIFICATIONS / INDEX
H Pattern Mode
Pattern Record
Pattern Edit
Pattern Jobs
Voice Mode
Utility Mode
M General
Power Supply
Dimensions
(W x H x D)
Weight
Part step record
Part overdub record
Change
Insert
Quantize parts
Copy parts
Transpose
Get parts
Put parts
Pattern name
Clear parts
Same as Song Mode
Same as Song Mode
SUM-3 batteries or AC adapter
187 x 25 x 104 mm
(7-3/8” x 1” x 4-1/8”)
Approx. 300g (11 oz) without
batteries
125
INDEX
Symbols
— and + Keys ....... iii 15
A
Accompaniment, example ........................ 26
Auto chord record ............. iii, 57
B
Backing
insert edit 0000000000000 RK eae 64
steprecord «o.oo. KERN 0 6 50
tracks, important facts ............ iia, 34
Bass offset
backing insert edit .............. 0 iii. 65
backing steprecord .......... iii, 52
Batteries
installing .......coeeorerrrerororrorecar ene. 10
failure display ..........eessrecoorccororeecox. 10
C
CBR
insert edit ......12042200 000400 aa eee a aa ee 00006 66
step record .........rreecececorecrrorrecec e. 34
126
Change edit .........ce.ecocrerooogrecer nene 60
Chord changes ~
backing insertedit ..........oeeeerevoesrvoreno. 64
backing step record ..........2244100 0000000000 51
Chord Keys ,........eeeooreororrecirerrerecrere.. 16
| 69 T5) 6 LS 47,51, 57
Cleaning .........o.oereowreseorerorocooocecrroor ee 8
Clear
122) arecene ena. 116
track .....oeeoeoceecuocseosrenrrearerecar. 82,33
Combine tracks ........r_—r—reoewecrcooresrocsocereo.. 81
Copy
MeasUre ....re.wcocooceeroooreearerarrvrcrerero, 75
Parts .......oecocroreocororrcsrere recrea 111
Create measure ......ocoeoeecomoccccacrscererecerarc. 74
CURSOR keys ........Ñ.....oe—..0oo0ccacorerreonea. 15
D
DC IN 12V 300 mA connector .................... 13
Delete 112202220000 000 0 00 0 460 0 4 aa a a ea sa a an 6 y
Delete measure .......er—roeeworxrororeereerereoenen. To
Demonstration 100020000000 aa aa a a a aa aa 400000 18
Dotted notes 120200000000 0 404 a 0 440480 as 0» 47
Drum set 112222000211 eee ee ee eee eee aa ee eee 0 25
E
Edit track selection ............. iii iin. 61
ENTER key .......22242000 00e aa ae een a ae 0000000 16
Erase measure ......202020002 4000000 0 04 aa a se a 00000 79
ror Messages 2.122.200 00000 0 a 0 aa 0 ae nee 010000 121
Event 120022222044 a a a 4 4 a a 4 8 eee 1e 8e 0 ea ea a 00 0 46
EXIT key .........resciccrorerecreorerer eee... 15
External tone generators ......................... 36
F
Function
KEYS trite i eae ae 15
Map + ov eee emia seit eee 41
G
Gate time LL... ti iii ei aaa 46, 47
Get part eK KEN 112
|
Insert
1 | EEE AAA 62
n measure 1101102404 114 1 44 6 eu 4 a 0 0 0 4 0 000 008 77
ERROR MESSAGES / SPECIFICATIONS / INDEX
L
Lead line, example .......... iii, 32
LINE OUT connector ............eerccorecooraen. 13
Liquid Crystal Display (LCD) .................... 15
M
Main features 00.0000 it iii rei a ae san 0 00 3
Measure search ....... iii i i aa 48
Memory backup ......... 5..5. ка вк вк вен нковекевое о 9
Memory, free ............ к.кв ково воно н анна ноне 36
MENU key ......22 00000 se sea ea eee ae ea a вне 15
Metronome 122000000000 2 ee 0 a a a ee 144 0 a ea 000 94
Micro-keyboard ............... iii, 16
MIDI
bulkdump ...... ee 93
cables 12012200 48400 0 a 0 eee 4 4 0 40 0 a a eee 8
e703 119 xo ) APR 00 0 91
device number . «oii eee 92
IN connector .........oec_erccorerecororereo.. 13,46
OUT connector ........eoeoeonocoredocano. 13,36
transmit channels ........oeooreeoreecocorever. 36
programming via .....rereeewrrrerereorcervror. 49
Mix track 1222000200 0 0 0 a 0 a 0 0 0 6 a ea aa sea 000 70
127
N
Note
CNY eee eee, 47
insertedit ........ aa aa aa aa aa anne 62
Numeric Keys ............... 0 0r0r0racooeaeoeo, 16
O
Output assignment .............................. 87
Overdub record ................................. 56
P
PATT key RK вуки векек., 15
Pattern
change edit ............ a aa ae aa aa a ana 106
insert edit... 2 ee 107
mode ....... ea aa a aa aan 99, 23
Name ........omecereerreocooocacereroroaooeo 115
NUmber..........oeonereeceie.orcacoraaaaio 99, 23
numbers, backing inscrt edil ................... 65
numbers, backing steprecord .................. 53
numbers, CBR insert edit ..................... 66
numbers, CBR step record .................... 55
overdub record ........ 2. recoaaoane, 103
playback ......... rereroronoorereea ea 98
record standby ............. 2. aa a La LL 101
128
step record ............... 2.00. aaooreca 102
creating an original .......................... 34
preset ...........omreradeeee. 20... 21,99... 100
PHONES jack ............................... 13, 18
Pitch bend ~~
msert edit... reno. 6.
TANGE RER a ae ea ee aa a a a a ae a aa a aa a 86
Power
SUpply ........... aan 10... 11,8, 13
SWILCA .............r0roeadecececeracaroo0, 13
Program change
insert edit ........ recronereaoreniao 63
CBR insert edit .................... e... aro. 67
Put parts .......... e eeerrereooaaererercereo, 114
Q
Quantization .,................ a aan aa aa 72
Quantize parts .................. La 110
Quantize/note correspondences ................... 73
R
Record track .............. .... aa ea aa LA 45
Refence section, about the .................. ... .. .. xa
Replace record .................... ........ .... .. 5
Rests ................e.0ooeoc0cieriaeaonoaaeo.. 47
ERROR MESSAGES / SPECIFICATIONS /INDEX
5 Track
Sequencer keys ........... iii. 15,42 mode display ..........ooooc eee 43
SHIFT key roves eee ee eee ana aa aan 16 MUNG «oe о 31,43
SONG key itt ieee eee eee ee 15 NUMbers .......esrrcecrrrorrereveccrororereax 26
TRACK/TRANS key .......... a... 17, 31, 43
Nos LL 42.18 Transpose ........_.eeeeverovrororsceccercarerves 44, 80
play .......oeonecoccociaraarerarrecac recae, 42 pattern -.....e.eoeerrerrrerererereorecere.. 112
record standby ............e.....e.0rereeraae. 45 Triplets ..........e—.o—.rrooevvererererecrceeor ren. 47
Specifications ............eeecxeecorererer er ere 125 Tutorials section, about the ....................... 7
Step
TCCOId «tii i KR 0 6 46 Vv
Search i ie 0 a sa 0000 6 48 Velocity ern KERN 46, 47
time tit tte eee eee 0 0 47 CBR insert edit .........e.eewewerwcoocacorocreame. 66
Store voice .......erescorrrareooececarrrereor em 95 CBR step record ...........ee en reee receroee.. 55
Sustain insert edit ............... .. iia. 63 Voice
Sync select ....... Lee 0 90 assignment.......?.ooeererevrrceorerererecaoreo: 84
| LiSt.....oeeresoeoceorerarecaacrarerrorrrere_ 23
T à 40) [111 CA A 85
Tempo VOLUME control ................ cial, 13
play ........... A ee ee 6 4 8 6 4 0 a Aa 01 aa 0 6 42
record TE 45
129
For information, please contact our nearest subsidiary or the au-
thorized distributor listed below.
Informationen erhalten Sie bei unseren unten aufgeführten Nieder-
lassungen und Vertragshändlern in den jeweiligen Bestimmungsländern
erhältlich.
Pour plus de détails, veuillez vous adresser au concessionnaire ou
distributeur pris dans la liste suivante le plus proche de chez vous.
NORTH AMERICA
CANADA
Yamaha Canada Music Ltd.
135 Milner Avenue, Scarborough, Ontario,
M1S 3R1, Canada
Tel: 416-298-1311
U.S.A.
Yamaha Corporation of America,
Audio, Guitar, and Synthesizer Division
6600 Orangethorpe Ave., Buena Park, Calif. 90620,
U.S.A.
Tel: 1-800-443-2232
| MIDDLE & SOUTH AMERICA |
MEXICO
Yamaha De Mexico S.A. De C.V.,
Departamento de ventas
Javier Rojo Gomez No.1149, Col. Gpe Del
Moral, Deleg. Iztapalapa, 09300 Mexico, D.F.
Tel: 686-00-33
BRASIL
Yamaha Musical Do Brasil LTDA.
Ave. Reboucas 2636, Säo Paulo, Brasil
Tel: 55-11 853-1377
Para más informaciones, póngase en contacto con nuestra subsidi-
aria o distribuidor autorizado enumerados a continuación.
PANAMA
Yamaha De Panama S.A.
Edificio Interseco, Calle Elvira Mendez no.10,
Piso 3, Oficina #105, Ciudad de Panama, Panama
Tel: 507-69-5311
OTHER LATIN AMERICAN COUNTRIES
AND CARIBBEAN COUNTRIES
Yamaha Music Latin America Corp.
6101 Blue Lagoon Drive, Miami, Florida 33126,
U.S.A.
Tel: 305-261-4111
| | EUROPE |
THE UNITED KINGDOM/IRELAND
Yamaha-Kemble Music(U.K.) Ltd.
Sherbourne Drive, Tilbrook, Milion Keynes
MK7 8BL, England
Tel: 0908-366700
GERMANY/SWITZERLAND
Yamaha Europa GmbH.
Siemenssiralle 22-34, D-2084 Rellingen, F.R. of
Germany
Tel: 04101-3030
AUSTRIA/HUNGARY
Yamaha Music Austria Gmbll.
Schleiergasse 20, A-1100 Wien Austria
Tel: 0222-60203900
~
THE NETHERLANDS
Yamaha Music Benelux B.Y.,
Verkoop Administratie
Kanaalweg 18G , 3526KL, Utrecht, The Netherlands
Tel: 030-828411
BELGIUM/LUXEMBOURG
Yamaha Music Benelux B.Y.,
Administration des Ventes
Rue de Bosnie 22, 1060 Brusseles, Belgium
Tel: 02-5374480
FRANCE
Yamaha Musique France, Division Produits
Professionels
BP 70-77312 Marne-la-Valée Cedex 2, France
Tel: 01-64-61-4000
ITALY
Yamaha Musica Italia S.P.A., Combo Division
Viale Italia 88, 20020 Lainate(Milano}, Italy
Tel: 02-937-4081
SPAIN
Yamaha-Iazen Electronica Musical, S.À.
Jorge Juan 30, 28001, Madrid, Spain
Tel: 91-577-7270
PORTUGAL
Valentim de Carvalho CI SA
Estrada de Porto Salvo, Paço de Arcos 2780 Oeiras,
Portugal
Tel: 01-443-3398/4030/1 823
~
GREECE
Philippe Nakas S.A.
Navarinou Street 13, P.Code 10680, Athens, Greece
Tel: 01-364-7111
SWEDEN
Yamaha Scandinavia AB
Wettergrens gata 1, Box 30053, 400 43
6 Sweden
E: 031-496090
DENMARK
Yamaha Scandinavia Filial Danmark
Finsensvej 86, DK-2000 Frederiksberg, Denmark
Tel; 31-87 30 88
FINLAND
Fazer Music Inc.
Linsituulentie 1A, SF-02100 Espoo, Finland
Tel: 90-435 011
NORWAY
Narud Yamaha AS
@stemdalen 29, 1345 Osteräs
Tel: 02-24 47 90
ICELAND
Páll H, Pálsson
P.O. Box 85, Reykjavik, Iceland
Tel: 01-19440
EAST EUROPEAN COUNTRIES
(Except HUNGARY)
Yamaha Europa GmbH.
SiemensstraBe 22-34, D-2084 Rellingen, F.R. of
Germany
Tel: 04101-3030
N OF SOVIET SOCIALIST
PUBLICS
Yamaha Corporation, Asia Oceania Group
Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 81(Country Code)-534-60-2311
| AFRICA |
MOROCCO
Yamaha-Hazen Electronica Musical, S.A.
Jorge Juan 30, 28001, Madrid, Spain
Tel: 91-577-7270
OTHER COUNTRIES
Yamaha Musique France, Division Export
BP 70-77312 Marne-la-Vallée Cedex 2, France
Tel: 01-64-61-4000
MIDDLE EAST ASIA |
ISRAEL
R.B.X. International Co., Ltd.
P.O. Box 11136, Tel-Aviv 61111, Israel
Tel: 3-298-251
OTHER COUNTRIES
Yamaha Musique France, Division Export
BP 70-77312 Marne-la-Valée Cedex 2, France
Tel: 01-64-61-4000
| ASIA
HONG KONG
Tom Lee Music Co., Ltd.
15/F., World Shipping Centre, Habour City,
7 Canton Road, Kowloon, Hong Kong
Tel: 3-722-1098
INDONESIA
PT. Nusantik
Gedung Yamaha Music Center, Jalan Jend. Gatot
Subroto Kav. 4, Jakarta 12930, Indonesia
Tel: 21-520-2577
KOREA
Cosmos Corporation
131-31 Neung-dong, Sungdong-ku, Seoul, Korea
Tel: 2-466-0021-5
MALAYSIA
Yamaha Music Malaysia Sdn., Bhd.
16-28, Jalan SS 2/72, Petaling Jaya, Selangor,
Malaysia
Tel: 3-717-8977
PHILIPPINES
Yupangco Music Corporation
339 Gil J. Puyat Avenue, Makati, Metro Manila
1200, Philippines
Tel: 2-85-7070
SINGAPORE
Yamaha Music Asia Pte., Ltd.
80 Tannery Lane, Singapore 1334, Singapore
Tel: 747-4374
TAIWAN
Kung Hsue She Trading Co., Ltd.
KHS Fu Hsing Building, 322, Section 1, Fu-Hsing
$. Road, Taipei 10640, Taiwan. R.O.C.
Tel: 2-709-1266
THAILAND
Siam Music Yamaha Co., Ltd.
933/1-7 Rama I Road, Patumwan, Bangkok, Thailand
Tel: 2-215-0030
THE PEOPLE’S REPUBLIC OF CHINA
AND OTHER ASIAN COUNTRIES
Yamaha Corporation, Asia Oceania Group
Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 81 {Country Code)-53-460-2311
OCEANIA
AUSTRALIA NEW ZEALAND
Yamaha Music Australia Pty, Ltd. Music Houses of N.Z. Ltd.
17-33 Market Street, South Melbome, Vic. 3205, 146/148 Captain Springs Road, Te Papapa, Auckland
Australia New Zealand
Tel: 3-699-2388 Tel: 9-640-099
HEAD OFFICE Yamaha Corporation, Electronic Musical Instrument Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 81(Couniy Code)-53-460-2445
COUNTRIES AND TRUST
TERRITORIES IN PACIFIC OCEAN
Yamaha Corporation, Asia Oceania Group
Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 81 (County Code)-53-460-2311
~
Litiumbatteri!
Bór endast bytas av servicepersonal.
Explosionsfara vid felaktig hantering.
VAROITUSI
Lithiumparisto, Rájáhdysvaara.
Pariston saa vaihtaa aincastaan alan
ammattimies.
ADVARSEL!
Lithiumbatteri!
Eksplosionsfare, Udskiftning má kun foretages
af en sagkyndig, — og som beskrevet |
servicemanualen.
SERVICE
This product is supported by YAMAHA's worldwide network
of factory trained and qualified dealer service personnel. In
the event of a problem, contact your nearest YAMAHA dealer.
YAMAHA
9105 R4 @ Printed in Japan
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