Page 1 Owner’s Manual...
Page 2: Special Message Section
This product should be used only with the components supplied or; a cart, rack, or stand that is recommended by Yamaha. If a cart, etc., is used, please observe all safety markings and instructions that accompany the accessory product.
Page 3 The instru- ment contains no user-serviceable parts. If it should appear to be malfunctioning, discontinue use immedi- ately and have it inspected by qualiﬁed Yamaha service personnel. • Do not expose the instrument to rain, use it near water or in damp or wet conditions, or place containers on it containing liquids which might spill into any openings.
Page 4 "Backup Batt.Low" will display in the LCD display. When this happens, immediately back up your data, then have qualiﬁed Yamaha service personnel replace the backup battery. • Do not attempt to replace the backup battery yourself, in order to prevent the possible serious hazards.
Page 5: Table Of Contents
Meet the QY100 ... 7 Power & Connections ... 8 Power Supply...8 Using a Power Adaptor ...8 Using Batteries ...9 When to Replace the Batteries ...10 Setting Up ...11 The Connectors ...11 Audio Connections ...14 MIDI Connections ...15 Connecting to a Personal Computer ...16...
Page 6 04 : Crescendo...155 05 : Transpose ...157 06 : Shift Clock...158 07 : Chord Sort...160 08 : Chord Separate ...161 09 : Copy Event ...162 10 : Erase Event...164 11 : Extract Event...165 12 : Create Continuous ...167 13 : Thin Out ...169 14 : Time Stretch ...170 15 : Create Measure ...171 16 : Delete Measure ...172...
Page 7: Meet The Qy100
Guitarists! The practice and accompaniment tool you’ve been wait- ing for is here! Use the QY100 as your private “band” to reﬁne and display your talents to the max. Singers! Think of it as a fully programmable, very versatile accompa- niment and “karaoke”...
Page 8: Power & Connections
Plug the DC output cable from a Yamaha PA-3B AC Adaptor (available from your Yamaha dealer) into the DC IN jack on the rear panel, then plug the adaptor into a convenient wall AC power socket.
Page 9: Using Batteries
Six 1.5V AA size (LR6) or equivalent batteries must ﬁrst be installed in the battery compartment. Alkaline batteries are recommended for longer life. Never mix battery types, such as alkaline batteries with manga- nese batteries or batteries from different makers. z Open Battery Compartment Cover Open the battery compartment cover —...
Page 10: When To Replace The Batteries
When the batteries run down, the following display will appear: When the batteries run down more seriously, “Power Batt.End” message will appear. In this case, memory card functions are no longer accessible. When this display appears, replace the batteries with a complete set of six new batteries.
Page 11: Setting Up
What you will connect the QY100 to, and what you will connect to the QY100, will depend entirely on your individual requirements, and it would be impossible to cover all possibilities here. A few examples are pro- vided below to help you get started.
Page 12 LINE OUT/PHONES Jack This miniature stereo phone jack can be used to connect the output of the QY100 to a stereo sound system, or a pair of stereo headphones with a miniature stereo phone plug can be plugged in here for convenient monitoring (see “Audio Connec- tions,”...
Page 13 Power & Connections Amp Simulator Switching: The footswitch can be used to switch the speciﬁed sections of the QY100 amp simulator in or out. The foot switch can be used to bypass the preamp sec- tion only (delay when a microphone setup is selected), the reverb effect only, the chorus effect only, or all three simulta- neously (pages 44 and 52).
Page 14: Audio Connections
The simplest way to monitor the QY100 sound is via a pair of stereo headphones (miniature stereo phone plug type) plugged into the LINE OUT/ PHONES jack. If you want to use an external stereo sound system, how- ever, use the supplied “Y” cable (miniature stereo phone plug to dual RCA pin plugs) to connect the LINE OUT/PHONES jack to the inputs of a stereo sound system.
Page 15: Midi Connections
Connect the MIDI OUT connector of the keyboard to the MIDI IN connec- tor of the QY100, and make sure that the QY100 HOST SELECT switch is set to MIDI. The connected MIDI keyboard will play the voice assigned to the currently selected sequencer track.
Page 16: Connecting To A Personal Computer
IMPORTANT! • If the QY100 is to be connected to a computer via the TO HOST connector and a MIDI controller via the MIDI IN connector, the “echo back”(or “MIDI Thru” etc) func- tion of the music software or sequencer you are using must be turned “on” so that the MIDI note data from the controller is returned to the QY100 and any subsequent devices connected to the QY100 MIDI OUT connector.
Page 17: Connecting To An Apple Macintosh Series Computer
Data transfer rate: 31,250 bps. Connecting to an IBM-PC/AT Series Computer Connect the TO HOST connector of the QY100 to the RS- 232C port on your IBM computer, using a standard 8-pin MINI 9-pin D-SUB cross cable. Set the HOST SELECT switch to the “PC-2”...
Page 18 (the driver soft- ware should be supplied with the USB interface. Connect the TO HOST connector or MIDI IN/OUT connector of the QY100 to your USB interface. For detailed information, refer to the owner’s man- ual that came with your USB interface.
Page 19: The Controls
If you read through this section care- fully, and try out the procedures in the ”TRY THIS” sections, you should have no problem accessing and operating the QY100’s many advanced features. Left Side Panel...
Page 20: Power Switch
Front Panel q POWER Switch Slide to the “ON” position to turn the QY100 on, or to the “STANDBY” position to turn it off. w LCD Display & CONTRAST Control This large multi-function liquid crystal display panel shows all parameters and prompts you need to operate the QY100 with optimum ease and efﬁciency.
Page 21 [SONG] button while holding the [SHIFT] button. r [PATTERN] Button The [PATTERN] button selects the QY100 PATTERN mode from any other mode, and switches between the PATTERN, PAT- TERN VOICE, and PATTERN EFFECT displays. t [SHIFT] Button The [SHIFT] button modiﬁes the function of certain other...
Page 22: Cursor Buttons
Cursor Buttons These 4 buttons move the “cursor” around the display screen, highlighting the various parameters that are available for editing (the QY100 cursor appears as a dark block with inverse characters). TRY THIS: Select the SONG mode display (use the [SONG] button, as described above), then try using the cursor buttons to move the cursor around the screen.
Page 23 [MENU] and Function Buttons The [MENU] button calls a menu of functions or sub-modes that can be accessed from the current QY100 mode, and the function buttons (the four small buttons to the right of the display) select the corresponding item from the menu that appears on the display.
Page 24 [MENU] and Func- tion buttons, above, you should now have the SONG mode Job List on your QY100 screen. Use the cursor buttons (up and down only) to select job number 02 “Modify Velocity”. Now press the [ENTER] button to actu- ally engage the Modify Velocity job —...
Page 25 !2 Micro Keyboard This tiny 2-octave keyboard makes it possible to program the QY100 anywhere, anytime, without having to connect an external MIDI keyboard. It’s even polyphonic, so you can directly enter chords as well as single notes. The only thing it lacks is velocity sensitivity.
Page 26 Now play the micro keyboard. You should hear the voice that is currently assigned to sequencer track 1. In the SONG mode, the micro keyboard plays the voice assigned to the currently selected track (unless you’re recording the chord track, in which case it is used to spec- ify chords).
Page 27: Volume Control
CAUTION • Set the VOLUME control to “MIN.” when connecting the QY100 to a sound system for the ﬁrst time, then gradually raise the volume level until the required listening level is reached. This simple precaution can prevent unexpectedly high volume levels from damaging your speaker system (and maybe even your ears!).
Page 28 FC-4 or FC-5 footswitch connected to the rear panel FOOT SW jack (page 12). !8 [PARAMETER] Button pages 38, 47) Accesses the QY100 amp simulator setups and parameters for guitar and microphone input. See pages 38 and 47 for details.
Page 29: Qy100 System Overview: What It Is And What It Does
• built-in micro keyboard 16 Sequencer Tracks You can individually assign any of the QY100’s 525 normal voices or 22 drum kits to the sequencer tracks and record anything you like via the micro-keyboard or a MIDI keyboard or other type of MIDI controller con- nected to the MIDI IN connector.
Page 30 Finally, there’s a “multi” record mode in which all 16 sequencer tracks tracks can be recorded simulta- neously — a great feature for transferring MIDI data to the QY100 from another sequencer. 8 Accompaniment Tracks The QY100 accompaniment tracks are what make it a versatile but surprisingly easy-to-use accompaniment machine.
Page 31: Tone Generator
MIDI music system. The QY100 even provides a range of editing controls for the voices and drum kits so you can customize the sound to suit your music. A complete list of the QY100 voices is provided in the separate Data List booklet.
Page 32: Effects
With the QY100’s own micro keyboard you can create sequences anywhere. But you can connect just about any type of the MIDI controller — keyboard, MIDI wind controller, MIDI guitar, etc. — to the QY100 to give you the type of control that best suits your style and talents.
Page 33: Guided Tour
— Your Step-by-Step Guide to the QY100’s Basic Features and Functions OK, here we go. Get comfortable with the QY100, the manual, and a good cup of whatever strikes your fancy and we’ll get right down to making the QY100 do what it does best — make music.
Page 34 number should appear in inverse characters — i.e. light characters on a dark background), then use the [-1] and [+1] buttons to select song number 21, 22, or 23. The SHIFT-Number Data Entry Method: You can also use the SHIFT-Number method to enter song numbers or other data values.
Page 35 Once you’ve selected a song, you can start playback simply by pressing the sequencer [>] button. Use the VOLUME control on the left side of the QY100 to set the most comfortable listen- ing level. When the current song is ﬁnished, the next song will start automatically.
Page 36: For Guitarists: Outstanding Amp Simulation & Effects
Whether you want a better way to practice, top-quality accom- paniment for live performances, or a convenient means to create full- blown compositions, the QY100 is an ideal musical tool for the guitar- ist who wants to get ahead. In addition to its sophisticated pattern and song sequencer features, the QY100 also offers a complete guitar amp simulator and effects system so you won’t need lots of extra...
Page 37 For Guitarists: Outstanding Amp Simulation & Effects x Adjust the input gain. Use the GAIN control on the rear panel to adjust the QY100 input gain to match your guitar. If the PEAK indicator LED next to the [PARAMETER] button light more than just occasionally as you play, the GAIN setting is too high.
Page 38: Try Out The Preset Guitar Setups
Use the [-1] and [+1] buttons to select the desired setup (G01 through G18). Go ahead and try out the setups as they are. You can make adjustments later. Make sure that the QY100 VOL- UME control is set to an appropriate level, and adjust the rear- panel GAIN control as necessary to optimize the overall level and sound quality.
Page 39: Customizing The Setups Via The Amp Simulator Parameters
“tweak” them a bit to create your own sound. Here’s how: The QY100 guitar amp simulator section is made up of three main blocks: the Preamp block, the Chorus block, and the Reverb block, as shown in the diagram.
Page 40 Any changes you make to the parameters will be retained for each setup even if you select a different preset or turn the QY100 off. You can indi- vidually restore the initial settings for each setup by using the “INITIAL- IZE”...
Page 41 For Guitarists: Outstanding Amp Simulation & Effects The Volume Parameter A “Volume” parameter which affects the overall volume of the setup is located at the top of the parameter list. This parame- ter is most useful for matching the levels of the setups to suit your musical needs.
Page 42 For Guitarists: Outstanding Amp Simulation & Effects EQ LowGain EQ Hi Gain The Chorus Block The Chorus effect can give your guitar sound added life and sparkle. The Chorus block is not engaged on all setups. If you select a setup which does not use the Chorus block the Chorus parameter values will all appear as dashed lines.
Page 43 For Guitarists: Outstanding Amp Simulation & Effects The Reverb Block The Reverb block has only one parameter — “Reverb Lvl” — which adjusts the depth of the reverb sound. The Reverb Lvl range is from “000” to “127”, with higher values producing deeper reverb.
Page 44 For Guitarists: Outstanding Amp Simulation & Effects The “On/Off” Parameter At the very bottom of the parameter list is the “On/Off” parameter. This parameter allows you to select a speciﬁc block to be turned on and off by the [AMP SIMULATOR] button on the top panel, or a footswitch connected to the rear-panel FOOT SW jack (when the footswitch is assigned to amp simulator section switching via the UTILITY parameter described on page 245).
Page 45: For Singers: Cool Vocal Processing
Plug your microphone into the GUITAR/MIC INPUT on the rear panel. CAUTION • When connecting a microphone to the QY100 GUITAR/MIC input, be sure that a microphone amp simulator setup is selected ﬁrst (page 48). Loud feedback may occur if one of the guitar setups is selected.
Page 46 For Singers: Cool Vocal Processing x Adjust the input gain. Use the GAIN control on the rear panel to adjust the QY100 input gain to match your microphone. If the PEAK indicator LED next to the [PARAMETER] button light more than just occasionally as you sing, the GAIN setting is too high.
Page 47: Try Out The Preset Microphone Setups
G01 through G18 to reach the microphone setups ). Go ahead and try out the setups as they are. You can make adjust- ments later. Make sure that the QY100 VOLUME control is set to an appropriate level, and adjust the rear-panel GAIN control as necessary to optimize the overall level and sound quality.
Page 48: Customizing The Setups Via The Microphone Effect Parameters
Customizing the Setups via the Microphone Effect Parameters The QY100 microphone amp simulator section is has three main effect blocks: the Delay block, the Chorus block, and the Reverb block, as shown in the diagram. GUITAR/MIC INPUT All of the available parameters for each setup are located below the setup number and name in the GTR/MIC EDIT display.
Page 49 Any changes you make to the parameters will be retained for each setup even if you select a different preset or turn the QY100 off. You can indi- vidually restore the initial settings for each setup by using the “INITIAL- IZE”...
Page 50 The Volume Parameter A “Volume” parameter which affects the overall volume of the setup is located at the top of the parameter list. This parame- ter is most useful for matching the levels of the setups to suit your musical needs. You might, want all of your setups to have about the same level, or you might want certain effects to have a higher level than the rest.
Page 51 For Singers: Cool Vocal Processing The Chorus Block The Chorus effect can give your vocal sound added life and sparkle. The Chorus block is not engaged on all setups. If you select a setup which does not use the Chorus block the Chorus parameter values will all appear as dashed lines.
Page 52 Reverb block parameter The “On/Off” Parameter At the very bottom of the parameter list is the “On/Off” parameter. This parameter allows you to select a speciﬁc block to be turned on and off by the [AMP SIMULATOR] button on the top panel, or a footswitch connected to the rear-panel FOOT SW jack (when the footswitch is assigned to amp simulator section switching via the UTILITY parameter described on page 245).
Page 53: Instant Accompaniment
Instant Accompaniment In this section we’ll learn how to use the QY100 to create a vast range of accompaniments without having to do any programming at all. By combining the 768 preset patterns provided (128 styles x 6 sec- tions) with 99 preset chord templates we can create … let’s see, um …...
Page 54 When you select the “BLANK” section no sound is produced by the QY100 until you select another sec- tion, but the QY100 keeps counting time so that when you do select another section that section will come in with the proper timing.
Page 55: Check Out The Preset Styles
Check Out the Preset Styles The QY100’s preset styles can be selected and played in the SONG mode. z Select the SONG mode & an Empty Song Press the [SONG] button to select the SONG mode then, if necessary, make sure the cursor is located at the song number at the top of the display and use the [+1] and [-1] buttons to select an “empty”...
Page 56 Style number To select a style, ﬁrst move the cursor to the style number on the display. c Select a Style Use the [-1] and [+1] buttons or the SHIFT-Number entry method (page 34) to select the style you want to play (refer to the “Style List”...
Page 57 Instant Accompaniment Two Methods To Select Sections There are two ways to select the section you want to play: Method 1: Move the cursor to the section name at the bottom of the display and use the [-1] and [+1] buttons or SHIFT-Num- ber entry method (page 34) to select a section.
Page 58 followed by MAIN A, FILL AB is followed by MAIN B, and FILL BA is followed by MAIN A. If you selected the ENDING section, play- back will stop automatically once the ENDING section has played all the way through. •...
Page 59: Add Chords & Play Along
NOTE • The fact that the QY100 displays the chord names as it plays can be a great learning tool! Watching the chord names as the progressions plays — you can play along, too — allows you to associate the chords with the overall sound they produce in each progression.
Page 60 Instant Accompaniment Some of the chord templates are standard progressions — such as the basic I – VI – II – V7 progression of the POPS- M01 template (P01). Others may be a little more unusual, but none the less interesting or useful. See the “Chord Template List”...
Page 61: Record Your Own Chord Progression & Pattern Changes
Record Your Own Chord Progression & Pattern Changes Record Your Own Chord Progression & Pattern Changes Now that you’re familiar with the QY100’s styles, patterns, and preset chord templates, let’s try recording a short accompaniment with pattern changes and an original chord progression.
Page 62 Record Your Own Chord Progression & Pattern Changes z Select the SONG mode & an Empty Song Press the [SONG] button to select the SONG mode then, if necessary, make sure the cursor is located at the song number at the top of the display and use the [+1] and [-1] buttons to select an “empty”...
Page 63 Record Your Own Chord Progression & Pattern Changes c Engage the Record Ready Mode Press the [ ] button to engage the record ready mode. The red LED above the [ ] button will light. The record mode selec- tors will apear in the central area of the display, and the name of the current record mode will appear at the top of the display.
Page 64 Record the Pattern Changes Press the [>] button to begin recording the pattern changes to the QY100’s pattern track. The metronome will sound and you’ll be given a one-measure count-in before recording actu- ally begins (the number of count-in measures can be changed via the Utility mode —...
Page 65 Record Your Own Chord Progression & Pattern Changes tons or the SHIFT-Number entry method (page 34) to select the desired styles. For our example, however, you’ll only be selecting sections with the HipHop2 style, so there’s no need to change style numbers. The easiest way to enter section changes is to simply press the appropriate micro- keyboard keys at the appropriate times during recording.
Page 66: Stop Recording
Record Your Own Chord Progression & Pattern Changes ENDING (measures 29 … 32): “- -END- -“ will appear in place of the style name when the ENDING pattern has ﬁn- ished playing. NOTE • The ENDING pattern repeats the playback in the realtime record mode. But it will ﬁnish the song automatically when playing back the song in step 11.
Page 67 Entering Chord Changes Chords are entered via the QY100 micro-keyboard. Note that the lower octave of the keyboard has chord root names “E” through “D#/Eb” marked on the keys, and the upper octave keys are marked with a variety of chord types.
Page 68 Record Your Own Chord Progression & Pattern Changes The chord is actually entered only when the [ENTER] but- ton is pressed (until then, the chord root and type will ﬂash on the display). Note that chord changes actually occur on quarter-note divisions, so try to press the [ENTER] button to record each chord change either precisely on the beat or just slightly before the beat on which you want the change...
Page 69: Fingered Chords
Play Your Accompaniment Press the [>] to play back your accompaniment. The QY100 also has a “Fingered Chord” mode which allows chords to played as required on the micro-keyboard, rather than by specifying the chord root and type as described above. To turn this function on move the cursor to the “FNGR”...
Page 70: Tempo Changes, Too
Record Your Own Chord Progression & Pattern Changes Tempo changes can be recorded to the QY100 “Tm” (Tempo) track in much the same way that pattern changes are recorded to the pattern track and chord changes to the chord track.
Page 71: Add Some Details To Complete The Accompaniment
You can easily take the procedures we cover in this section and apply them to creating complete songs on the QY100. Voice Assignments Before actually beginning to record the sequencer tracks, switch to the SONG VOICE mode and assign the voices you plan to use to the appro- priate SONG MODE sequencer tracks.
Page 72 x Select the Voices Move the cursor to the voice selector for track 1, and use the [+1/YES] and [-1/NO] buttons or the SHIFT-Number entry method (page 34) to select “Ld 081 SquareLd” (the full voice name appears at the top of the display). Next, Move the cursor to the track-2 voice selector, and select “En 056+Bass Hit”.
Page 73: Realtime Recording On The Sequencer Tracks
Add Some Details to Complete the Accompaniment Realtime Recording on the Sequencer Tracks Here’s the score for the parts we’ll record on tracks 1 and 2. The upper (treble) staff goes on track 1 and the lower (bass) staff goes on track 2.
Page 74 Add Some Details to Complete the Accompaniment 056+ 056+ 056+ 056+...
Page 75 Track NOTE • If you will be recording via the QY100’s own micro-keyboard, you can set the keyboard velocity via the “VELO” parameter. The veloc- ity can be set in 10 levels — the more bars the higher the velocity.
Page 76 x Engage the Record Ready Mode Press the [ ] button to engage the record ready mode. The red LED above the [ ] button will light. The record mode selec- tors will appear in the central area of the display, and the name of the current record mode will appear at the top of the display.
Page 77 Add Some Details to Complete the Accompaniment NOTE • There are other record modes other than “REPL” and “OVER”. For details about “STEP”, see page 91. For details about “MULTI”, see page 80. v Set the Tempo and Time Signature For this example we’ll use the default tempo of 120 beats per minute and the default 4/4 time signature, so you shouldn’t need to make any changes.
Page 78 If you make a mistake (or two, or three …) while recording, you can always go back and record the entire track again. But if only a few minor adjustments are needed, you might prefer to use the QY100 EDIT mode (page 216) to edit the track as required.
Page 79 NOTE • To extend this process to record a complete song on the QY100 sequencer tracks, simply assign the voices for your tracks and record as many as your song needs (up to 16, of course) one after the other.
Page 80: About The "Multi" Recording
About the “MULTI” Recording If you select the “MULTI” mode in step c on page 76, the QY100 will simultaneously record data received over MIDI channels 1 to 16 onto the corresponding sequencer tracks (1 to 16). This is useful...
Page 81: Step Accompaniment Recording
Step Accompaniment Recording Step Accompaniment Recording The STEP record mode can be used with the “Pt” (Pattern) and “Cd” (Chord) tracks, making it easy to individually enter or delete pat- tern and chord changes at precisely the required locations. z Select a Song to Record Select an empty song if you want to record a new song in the step record mode, or select a song that already contains data if you want to make changes or additions.
Page 82: Start Recording
v Select the Step Record Mode Move the cursor to the record mode selector area of the display (the area with the “REPL”, “OVER”, “STEP”, and “MULTI” buttons), and move it to the “STEP” button, then press the [+1/YES] button to select the step record mode. An inverse “R”...
Page 83 Step Accompaniment Recording n Enter the Required Pattern and/or Chord Data Refer to the following sections for details on how to use each of the step-record mode data-entry displays. You can switch directly between the pattern and chord data-entry displays while the step record mode is engaged simply pressing the [MENU] button to call the menu shown below, and then the function button corresponding to the display you want to go to.
Page 84: Pt" - Step Record Pattern Changes
“Pt” — Step Record Pattern Changes Here’s how the STEP record pattern display will look if you’ve selected an empty song (the appropriate pattern data will appear if the selected song contains data). Measure number Time signature Moving Around & Entering Data As usual, the cursor buttons are used to move the cursor to the location at which you want to enter data, and the [-1] and [+1] buttons are used to actually enter or change data.
Page 85 Step Accompaniment Recording Style Number and Section Any preset style number from 001 through 128, the “end pattern” (number 129), or any user style number from U1 through U64 can be entered for each measure. The style name appears to the right of the style number.
Page 86: Time Signature
Time Signature Although the default time signature for the selected song is automatically selected, the time signature value for each measure can be changed as required. The available time signatures are: 1/16 … 16/16 1/8 … 16/8 1/4 … 8/4 If a time signature is selected that results in shorter mea- sures than the pattern default, the pattern will be truncated (cut short) accordingly.
Page 87: Cd" - Step Record Chord Changes
“Cd” — Step Record Chord Changes Here’s how the STEP record chord display will look if you’ve selected an empty song (the appropriate chord data will appear if the selected song contains data). Measure number Time signature Place cursor at beat on which chord is to be entered Chords...
Page 88 Step Accompaniment Recording Specifying the Bass Note For a Chord You can specify the bass note to be used with any chord by using the [OCT DOWN] button (note the “BASS” marking above the button). Enter the chord by specifying the root and type, then press the key on the micro-keyboard corresponding to the desired bass note while holding the [OCT DOWN/BASS] button.
Page 89 Step Accompaniment Recording NOTE • You can add bass notes to existing chords without having to re-enter the entire chord by simply moving the cursor to the chord and using the [OCT DOWN/BASS] button to specify the bass note. A bass note can be removed from a chord by placing the cursor at the chord and re-entering the chord.
Page 90 NOTE • You can add syncopation to existing chords without having to re-enter the entire chord by simply moving the cursor to the chord and pressing the [OCT UP] button. Syncopation can be removed from a chord by plac- ing the cursor at the chord and pressing the [OCT UP] once or twice so that the syncopation symbol disappears.
Page 91: Step Sequencer Track Recording
Step Sequencer Track Recording Step Sequencer Track Recording The step record mode lets you enter each track note-by-note, with precise control over the timing, length, and loudness of each note. You can record entire tracks using the step mode, or use it to brush-up and add data to an existing track.
Page 92 cally to move to other areas of the screen. The selected track will remain highlighted. Track c Engage the Record Ready Mode Press the [ ] button to engage the record ready mode. The red LED above the [ ] button will light. v Select the Step Record Mode Move the cursor to the record mode selector area of the display (the area with the “REPL”, “OVER”, “STEP”, and...
Page 93 Step Sequencer Track Recording b Engage the Record Mode Press the [>] button to engage the step record mode. The step record display shown below will appear. Measure/beat/clock display Time signature Note parameters Note display n Set the Note Parameters as Required Move the cursor to the note, velocity, and gate time param- eters and set as required using the [-1] and [+1] buttons for the ﬁrst (or next) note to be entered.
Page 94 8th notes have been entered. NOTE • If you use an external MIDI keyboard for step recording, the QY100 always accepts velocity from the external keyboard regardless of the “VELO” setting. Step Sequencer Track Recording...
Page 95 Step Sequencer Track Recording The Note Display The note display shows up to four 1/4-notes worth of data at once (that’s one measure in 4/4 time). If the selected time signature results in more than four 1/4 notes per mea- sure, then the display will scroll to show the extra notes.
Page 96 Step Sequencer Track Recording The Step Mode Function buttons The four function buttons immediately to the right of the display provide acces to a number of handy functions in the step record mode. The “del” (delete) button deletes the note or chord at the note pointer. The “Bdl” (back delete) button moves the note pointer backward by the currently selected note length and deletes the note at that position.
Page 97 Step Sequencer Track Recording Measure number (001 ... 999) , Complete the Song Repeat steps n and m until the current track is complete, then press [ ] to stop recording and select the next track for recording, as necessary. NOTE •...
Page 98: Creating Original Accompaniment Patterns
You can also see phrase components of the preset patterns in the PATTERN mode. The QY100 has a total of 4,285 preset phrases that can be combined to create a virtually endless variety of accompaniment patterns. The preset phrase numbers have three sections, as shown below. The cursor can be placed at any of these three sections to select as required.
Page 99 Creating Original Accompaniment Patterns Category Drum-a (Pop&Rock) Drum-b (Speciﬁc) Drum Fill-a (Pop&Rock) Drum Fill-b (Speciﬁc) Percussion Bass-a (Pop&Rock) Bass-b (Speciﬁc) Guitar Chord-a (Pop&Rock) Guitar Chord-b (Speciﬁc) Guitar Riff Keyboard Chord Keyboard Riff Brass Sound Effects NOTE • For details on the phrase category, beat and number, refer to the Preset Phrase List of the separate Data List booklet.
Page 100: Combining Phrases In The Pattern Mode
Combining Phrases In the Pattern Mode The phrases are combined to create patterns which can be used in accompaniments in the PATTERN mode. z Select the PATTERN Mode, a User Style, & a Section Press the [PATTERN] button to select the PATTERN mode then, with the cursor located at the style number, select a “user”...
Page 101 Creating Original Accompaniment Patterns NOTE • The default pattern length for the INTRO, MAIN A, MAIN B, and END- ING sections is 2 measures, while the default length for the FILL AB and FILLBA sections is 1 measure. c Select a Pattern Track Phrases can be assigned to any of 8 “tracks”...
Page 102 SHIFT-Number entry method (page 34) to select the desired phrase for that track. Monitoring the Pattern If you press the [>] button while entering phrases you can hear how the pattern sounds as the various phrases are added. Press [ ] to stop playback. Muting &...
Page 103 Creating Original Accompaniment Patterns The letter “M” appears next to tracks that are muted, and the letter “S” appears when a track is soloed. Mute Solo Clearing Phrases Phrases can be cleared by placing the cursor at the appro- priate phrase number, catgory, or beat and pressing the function button next to “cler”...
Page 104 Repeat the above procedure to complete the remaining sections of the style, as required. NOTE • See “The Pattern Jobs” on page 181 for details on the QY100's pattern jobs which allow considerable versatility in creating and modifying pat- terns. •...
Page 105: Recording Original Phrases
Creating Original Accompaniment Patterns Recording Original Phrases The QY100 makes it easy to create original accompaniment phrases. The PATTERN mode provides two ways to create original phrases: realtime and step recording. Realtime Phrase Recording In the realtime record mode you select the track you want to record, the voice you want to record with, and then play the part on the micro-key- board or an external MIDI keyboard in real time.
Page 106 c Select a Pattern Track and its “User” Phrase Move the cursor to the track you want to create an original phrase for. To create a bass phrase, for example, select the “BA” (Bass) track. Then use the [+1] button to select the user phrase for that track (“Us- -001”...
Page 107 Creating Original Accompaniment Patterns v Engage the Phrase Record Ready Mode Press the [ ] button to engage the phrase record ready mode. The red LED will light, and the display will appear some- thing like this: b Select the Realtime Overdub Record Mode Move the cursor to the record mode selector area of the display (the area with the “OVER”...
Page 108 Type Track D1 (Drum 1) D2 (Drum 2) PC (Percussion) BA (Bass) C1 (Chord 1) C2 (Chord 2) C3 (Chord 3) C4 (Chord 4) The Phrase Types Bypass Bass Chord 1 Chord 2 Parallel Creating Original Accompaniment Patterns Default Type Bypass Bypass Bypass...
Page 109 NOTE • Since your original phrase will be automatically re-harmonized as required by the QY100 ABC system, there are a few rules you should follow to ensure the best results: 1: Stick to the harmonic environment of your source chord.
Page 110 NOTE • See “The Pattern Jobs” on page 181 for details on the QY100’s pattern jobs which allow considerable versatility in creating and modifying pat- terns. Creating Original Accompaniment Patterns...
Page 111: Step Phrase Recording
Creating Original Accompaniment Patterns The step phrase record mode lets you enter phrases note-by-note, with precise control over the timing, length, and loudness of each note. You can record complete phrases using the step mode, or use it to brush-up and add data to an existing phrase.
Page 112: Pattern Voice Mode
(The user phrase voice is speciﬁed in the phrase record ready mode described on page 106). However, you can also assign any of the QY100’s 525 voices and 22 drum kits to the 8 pattern phrase tracks(D1, D2, PC, BA, C1...C4) via the PATTERN VOICE mode.
Page 113: The Effect Send Display
Creating Original Accompaniment Patterns The Effect Send Display The QY100 features a high-performance internal digital signal pro- cessing system which provides a range of effects including reverb, delay, modulation, distortion, and more. Three independent effect blocks are pro- vided — Reverb, Chorus, and Variation. The individual effects are selected and modiﬁed via the EFFECT mode, described in detail on page 236.
Page 114 The Effect Send display looks almost the same as that of the SONG VOICE mode’s Effect Send display except for track numbers and the assigned voice (“- -” means the phrase has its own voice). For details on each parameter of the Effect Send display, see “The Effect Send Display”...
Page 115: Voice Editing
Creating Original Accompaniment Patterns The QY100’s VOICE EDIT mode allows you to modify the sound of the voices assigned to each track to best suit your particular musical requirements. The VOICE EDIT mode can be accessed from the PATTERN VOICE mode by pressing the [MENU] button, and then the function button next to “Voice Edit”...
Page 116: Play Effects
The QY100’s “Play Effects” can also affect pattern playback in real time as well as song playback, and are not actually recorded with the phrase data. The Play Effects include Swing and Drum Table Remapping. To access the Play Effects press the [MENU] button while in the PAT- TERN play mode and press the function button next to “Play Fx”...
Page 117 Creating Original Accompaniment Patterns “Swing” and “Drum Table” displays are exactly the same as those in the SONG mode except track numbers (D1, D2, PC, BA, C1...C4). See “Play Effects” of the SONG mode on page 124 for details. Swing display Drum Table display...
Page 118: Reference Section
Reference Section Playback Control The normal SONG mode display includes all the parameters and controls you need for song playback. Press the [SONG] button to go to the SONG play mode (depending on the current mode, you may need to press the [SONG] button more than once). Micro-keyboard octave indicator Tempo...
Page 119 Playback Control Selecting a Song The QY100 can retain up to 20 different songs in memory at the same time: song numbers 01 through 20 (three demo songs are recorded as song numbers 21 through 23). To select a song for playback use the cursor buttons to move the cursor to...
Page 120 If the current measure number is lower than the speciﬁed jump location the QY100 will jump to the top of the song (measure 001). [- -] The jump function is OFF.
Page 121 Playback Control The jump modes can be selected by moving the cursor to the jump mode symbol and selecting via the [-1] and [+1] buttons, or by using the following button combinations: Mode Button Combination Stop Jump [SHIFT] + [ ] Top Jump [SHIFT] + [p] Jump Off...
Page 122 The Velocity Meters The area below each sequencer track number is a 5-seg- ment “velocity” meter that shows approximate MIDI velocity in the corresponding track during playback. When playback is stopped, the lowest segment of the velocity meter appears only below tracks which contain data.
Page 123 This parameter can either be turned “OFF” or “ON”. When “ON” chords played in the speciﬁed “ﬁngered zone” of the micro-keyboard or an external MIDI keyboard are recognized by the QY100 and the chord accompaniment track is reharmonized accordingly. See page 252 for details.
Page 124: Play Effects
The QY100 “Play Effects” affect sequence playback in real time, and are not actually recorded with the sequence data. The Play Effects include Swing and Drum Table Remapping. To access the Play Effects press the [MENU] button while in the SONG mode and press the function button next to “Play Fx”...
Page 125 Playback Control Swing display Drum Table display...
Page 126: Swing
By shifting the timing of certain notes according to a pre-deﬁned pat- tern, this function makes it easy to add a “swing” feel to data which has already been recorded. If the Swing display shown below does not appear when “Play Fx” is selected, press the [MENU] button again and press the function button next to “Swing”...
Page 127 Playback Control M/S (Mute/Solo) The Mute/Solo (“M/S”) parameters below each track num- ber in the Swing display can be used to mute (turn off) or solo (only that track will be monitored) the corresponding track. Move the cursor to the appropriate M/S parameter, then use the [-1] but- ton to alternately mute or un-mute that track, or use the [+1] but- ton to alternately solo or un-solo the track.
Page 128: Drum Table Remapping
TIMING Determines the degree to which the original notes are shifted toward the timing speciﬁed by the Swing Type parameter. The range is from 0% to 200%. At 100% the notes are shifted to the note timing speciﬁed by the Swing Type parameter (see illus- tration, below), while at 200% the amount of shift is doubled.
Page 129 Playback Control M/S (Mute/Solo) The Mute/Solo (“M/S”) parameters below each track num- ber in the Drum Table display can be used to mute (turn off) or solo (only that track will be monitored) the corresponding track. Move the cursor to the appropriate M/S parameter, then use the [- 1] button to alternately mute or un-mute that track, or use the [+1] button to alternately solo or un-solo the track.
Page 130: Drum Table
DRUM TABLE This parameter speciﬁes the drum instrument to be remapped for the selected track. 24 choices are available (in addi- tion to “- -” or “OFF”), spanning 6 remapping categories, as shown in the chart below. A selected instrument will replace any other instrument in the same category.
Page 131: The Song Voice Mode
The Song Voice Mode The QY100 has 525 voices and 22 drum kits that can be selected, played, and assigned to the 16 SONG mode sequencer tracks via the SONG VOICE mode. The VOICE mode features a graphic on-screen “mixer” that has mute/solo controls, pan pots, and faders for each track.
Page 132 Mute/Solo The Mute/Solo (“M/S”) parameters below each track num- ber in the VOICE mode mixer display can be used to mute (turn off) or solo (only that track will be monitored) the corresponding track. Move the cursor to the appropriate M/S parameter, then use the [-1] button to alternately mute or un-mute that track, or use the [+1] button to alternately solo or un-solo the track.
Page 133 The Song Voice Mode The Voices Due to the large number of voices provided in the QY100, they are organized into 21 categories, as follows: Preﬁx Category Piano Chromatic Percussion Organ Guitar Bass Strings Ensemble Brass Reed Pipe Lead Synth...
Page 134 NOTE • In any QY100 mode, the micro keyboard or an external MIDI keyboard plays the voice assigned to the currently selected track. A MIDI key- board will also play the voice assigned to a track with the same number as the external keyboard’s MIDI transmit channel unless the “ECHO...
Page 135 The Song Voice Mode NOTE • You can switch back and forth between the SONG and VOICE modes even while a song is playing, so you can adjust all VOICE mode parame- ters (change voices, mute tracks, pan, and change volume settings) while listening to the results in real time!
Page 136: The Effect Send Display
The Song Voice Mode The Effect Send Display The QY100 features a high-performance internal digital signal pro- cessing system which provides a range of effects including reverb, delay, modulation, distortion, and more. Three independent effect blocks are pro- vided — Reverb, Chorus, and Variation. The individual effects are selected and modiﬁed via the EFFECT mode, described in detail on page 236.
Page 137 You can return to the SONG VOICE mixer display by pressing the [EXIT] button. NOTE • The effect settings apply only to the QY100’s internal voices — i.e. they will not affect the sound of an external tone generator or synthesizer being driven by the QY100. •...
Page 138: Voice Editing
The Song Voice Mode Voice Editing The QY100 VOICE EDIT mode makes it possible to modify the sound of the voices assigned to each track to best suit your particular musical requirements. The VOICE EDIT mode can be accessed from the SONG VOICE mode by pressing the [MENU] button, and then the function button next to “Voice Edit”...
Page 139 VOICE EDIT display To edit a voice parameter, move the cursor to the parameter and edit using either the [-1] and [+1] buttons or the SHIFT-Number entry method (page 34). NOTE • The Mute/Solo and Voice selectors in the VOICE EDIT display duplicate those in the VOICE mode mixer display, and have exactly the same functions.
Page 140 The Song Voice Mode Filter Controls The ﬁlter controls affect the basic “timbre” of the sound. Resonance Cutoff Frequency CUT (Cutoff Frequency) Sets the cutoff frequency of the low-pass ﬁlter from “-64” through “0” to “+63”. Negative values lower the cutoff fre- quency, producing a “darker”...
Page 141 The Song Voice Mode EG (Envelope Generator) Controls The envelope generator controls affect the level “enve- lope” of the sound — i.e. its attack, decay, and release times. Plotted against time, the level envelope looks something like this. Attack A (Attack Time) Adjusts the attack portion of the envelope generator curve from “-64”...
Page 142: Drum Edit
When a Drum Set is selected (“Ds1” or “Ds2”) the “Drum Voice Edit” mode can be selected via the SONG VOICE menu. Editable drum instrument PITCH The Song Voice Mode Drum Edit DECAY “Ds1” or “Ds2” Selected drum kit Current selected drum instrument...
Page 143 Select the speciﬁc drum set to be edited by placing the cursor on the drum set number and selecting via the [-1] and [+1] buttons or by using the SHIFT-Number entry method. Only certain drum instruments can be edited, and these are indicated by dots on the appropriate keys in the graphic key- board display at the top of the display panel.
Page 144 The Song Voice Mode CUT (Cutoff Frequency) Sets the cutoff frequency of the low-pass ﬁlter from “-64” through “0” to “+63”. Negative values lower the cutoff fre- quency, producing a “darker” sound. Positive values raise the cutoff frequency, producing a brighter sound. The graphic ﬁlter response curve will shift to indicate the current setting (the heavy default setting curve will also remain on the display).
Page 145: The Song Jobs
The Song Jobs The Song Jobs The SONG mode includes 25 song “jobs” that perform a vari- ety of important functions. To access and use the song jobs, press the [MENU] button while in the main SONG play mode, then press the “Job”...
Page 146 Undo/Redo “Event” category Quantize Modify Velocity Modify Gate Time Crescendo Transpose Shift Clock Chord Sort Chord Separate Copy Event Erase Event Extract Event Create Continuous Thin Out Time Stretch Returning to the SONG Mode The [EXIT] button can be used to exit from any song job, and then from the job list thereby returning you to the normal song play mode.
Page 147: Undo/Redo
This job will “undo” any other song/pattern job, edit, or record func- tion if it is executed before any other operation is performed. In all cases the affected data is restored to the state it was in before performing the job, edit, or record operation.
Page 148: Quantize
Aligns notes in the speciﬁed track to or close to the nearest speciﬁed beat. The “TR” parameter selects the track to be affected by the Quantize job: “01” … “16” for individual tracks, or “All” to quantize all 16 tracks simultaneously.
Page 149 Value Effect Aligns to the nearest 16th note + 16th note triplet. Aligns to the nearest 8th note + 8th note triplet. The “Strength” parameter determines how “strongly” the notes are attracted to the speciﬁed quantize value. The strength range is from 0% to 100%.
Page 150 Original timing Quantizing value = , Swing rate 50% (no delay) Quantizing value = , Swing rate 60% (delay applied) The “ Gate Time ” parameter increases or decreases the gate times (length) of all notes affected by the swing parameter. The range is from 0% to 200%.
Page 151: Modify Velocity
02 : Modify Velocity Increases or decreases the velocity values of all notes in the speci- ﬁed track and range of measures. The “ TR ” parameter selects the track to be affected by the Modify Velocity job: “01” … “16”. The “...
Page 152 The “ Offset ” parameter allows you to change all velocity values by an absolute amount. “-” settings will decrease the velocity of each note by the corresponding amount, “+” settings will increase the velocity accord- ingly. The range is from “-99” through “0” to “+99”. Original velocities Offset = -20...
Page 153: Modify Gate Time
03 : Modify Gate Time Increases or decreases the gate times (length) of all notes in the speciﬁed track and range of measures. The “ TR ” parameter selects the track to be affected by the Modify Gate Time job: “01” … “16”. The “...
Page 154 The “ Offset ” parameter allows you to change all gate time values by an absolute amount. “-” settings will decrease the gate time of each note by the corresponding amount, “+” settings will increase the gate time accordingly. The range is from “-9999” through “0” to “+9999”. Original gate time Offset = -20...
Page 155: Crescendo
Produces a gradual crescendo (increase in note velocity) or decre- scendo (decrease in note velocity) in the speciﬁed track over the speciﬁed range of measures. The “ TR ” parameter selects the track to be affected by the Cre- scendo job: “01” … “16”. The “...
Page 156 The Song Jobs After setting the parameters as required press [ENTER] to execute the Crescendo job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear brieﬂy when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode.
Page 157: Transpose
Transposes all notes in the speciﬁed part up or down by the speciﬁed number of semitones. The “ TR ” parameter selects the track to be affected by the Trans- pose job: “01” … “16” for the sequncer tracks, or “Cd” for the accompani- ment chord track.
Page 158: Shift Clock
Moves all notes and events in the speciﬁed track and range of mea- sures forward or backward by the speciﬁed number of clocks (480 clocks per 1/4 note). The “ TR ” parameter selects the track to be affected by the Shift Clock job: “01”...
Page 159 NOTE • The Shift Clock job will not shift data beyond the speciﬁed measure range. Events near the beginning and end of the speciﬁed range may therefore sound “bunched” together in some cases. • Since the Shift Clock job actually shifts the timing of all notes and other events in the speciﬁed measures forward or backward, it can signiﬁcantly alter the “feel”...
Page 160: Chord Sort
Sorts all notes in the speciﬁed measure range which fall on the same beat (i.e. chords) so that the notes are arranged in order from lowest to highest or from highest to lowest. The “ TR ” parameter selects the track to be affected by the Chord Sort job: “01”...
Page 161: Chord Separate
08 : Chord Separate Shifts each note in the speciﬁed measure range which falls on the same beat (i.e. chords) forward in order from lowest to highest or vice versa according to the Chord Sort settings, by the speciﬁed number of clocks, thus “separating”...
Page 162: Copy Event
Copies all data from a speciﬁed range of measures from one track to the speciﬁed measure in the speciﬁed destination track. The copied data can also be transposed as required. This operation overwrites the data from the beginning of the speciﬁed destination measure with the data from the source measures.
Page 163 The “M” parameters below the lower graphic bar speciﬁy the desti- nation measure:beat to which the data will be copied, as well as the num- ber of times the data is to be copied. Destination measure The “Transpose” parameter sets a transpose value for the copied data in semitone increments from “-24”...
Page 164: Erase Event
Erases all note and event data from the speciﬁed measure or range of measures in the speciﬁed track. An erase operation leaves the speciﬁed measures intact but blank. The “TR” parameter selects the track to be affected by the Erase Event job: “01”...
Page 165: Extract Event
Allows a speciﬁed type of event — note, program change, pitch bend, control change, channel aftertouch, polyphonic aftertouch, or system exclusive — to be extracted (removed) from a speciﬁed range of measures in a speciﬁed track. The extracted data can be moved to the same range of measures in any other speciﬁed track.
Page 166 After setting the parameters as required press [ENTER] to execute the Extract Event job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear brieﬂy when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode.
Page 167: Create Continuous
12 : Create Continuous This job makes it possible to create continuous data of the speciﬁed type in order to produce smooth pitch bends, tempo changes, etc. Data type parameter The “TR” parameter selects the track to be affected by the Create Continuous job: “01”...
Page 168 The “Curve” parameter sets the degree of positive or negative “cur- vature” that will be applied to the continuous data: “-16” … “00” … “+16”. After setting the parameters as required press [ENTER] to execute the Create Continuous job. The metronome icon will appear on the display while the data is being processed, then “Completed !”...
Page 169: Thin Out
“Thins out” speciﬁed types of data by removing every other event of the speciﬁed type. This is particularly useful for reducing the volume of data required for pitch bends, aftertouch and other control change operations, thus making more efﬁcient use of the available memory. Data type parameter The “TR”...
Page 170: Time Stretch
Lenghtens or shortens the speciﬁed track by a speciﬁed percentage without affecting tempo or pitch. The “TR” parameter selects the track to be affected by the Time Stretch job: “01” … “16” for the sequencer tracks, or “Al” for all sequencer tracks.
Page 171: Create Measure
15 : Create Measure Creates a speciﬁed number of blank measures having the speciﬁed time signature for all tracks. The created measures are inserted at a speci- ﬁed measure number, and all subsequent measures are moved forward to make room. The “M”...
Page 172: Delete Measure
Deletes the speciﬁed range of measures from all tracks simulta- neously. The “M” parameters above the graphic bar are used to specify the ﬁrst measure and last measure of the range to be deleted. After setting the parameters as required press [ENTER] to execute the Delete Measure job.
Page 173: Copy Track
Copies all data from the speciﬁed track to any other speciﬁed track. The upper “TR” parameter selects the source track — i.e. the track from which the data is to be copied: “01” … “16”. The lower “TR” parameter selects the destination track — i.e. the track to which the data is to be copied: “01”...
Page 174: Mix Track
Combines the data contained in two speciﬁed tracks and places the result in a third track (which can be the same as the second track). The upper and center “TR” parameters select the ﬁrst and second source tracks — i.e. the tracks which are to be mixed: “01” … “16”. The lower “TR”...
Page 175: Clear Track
Completely clears the specifed track from the currently selected song (including all Play Effect parameters). The “TR” parameter selects the track(s) to be cleared: “01” … “16” for the sequencer tracks, the accompaniment “Pt” track, the accompani- ment “Cd” track, the “Tm” track, or “Al” (All) tracks. The “Event”, “Play Effect”, and “Voice”...
Page 176: Expand Backing
“Expands” the accompaniment track data — i.e. the pattern and chord data — and places the results in the normal sequencer tracks after converting the data to standard MIDI format. The expanded data is placed in sequencer tracks 9 through 16 (see chart below). Any previous data in those tracks will be erased! Press [ENTER] to execute the Expand Backing job.
Page 177: Normalize
Actually applies the Play Effect settings to the sequence data, modi- fying the sequence data accordingly. The Play Effect settings are initialized after execution. The “TR” parameter selects the track(s) to be affected by the Nor- malize job: “01” … “16” for the sequencer tracks, or “Al” (All) for all sequencer tracks.
Page 178: Copy Song
Copies all data from all tracks of the speciﬁed song to any other speciﬁed song (including song name, play effect and voice assignment set- tings). The upper “Song” parameter selects the source song — i.e. the song from which the data is to be copied: “01” … “20”. The lower “Song”...
Page 179: Clear Song
Completely clears all data from all tracks of the currently selected song. Also initializes the play effect and voice settings. The “Song” parameter selects the song to be cleared: “01” … “20” or “Al”(All) After setting the parameter as required press [ENTER] to execute the Clear Song job.
Page 180: Song Name
Allows an original name of up to 8 characters to be assigned to the current song. To enter a character, use the cursor buttons to move the cursor to the character to be entered, then press the [ENTER] button. The character will appear at the character cursor location and the character cursor will advance to the next character position.
Page 181: The Pattern Jobs
The Pattern Jobs The Pattern Jobs The PATTERN mode includes 24 pattern “jobs” that perform a variety of important functions. To access and use the pattern jobs, press the [MENU] button while in the main PATTERN mode, then press the “Job” function button. This calls the pattern job list. You can select any job on the list simply by moving the cursor to the required job and pressing [ENTER].
Page 182 Undo/Redo “Event” category Quantize Modify Velocity Modify Gate Time Crescendo Transpose Shift Clock Chord Sort Chord Separate Copy Event Erase Event Extract Event Create Continuous Thin Out Returning to the PATTERN Mode The [EXIT] button can be used to exit from any pattern job, and then from the job list thereby returning you to the normal PATTERN mode.
Page 183: Undo/Redo
This job will “undo” any other pattern/song job, edit, or record func- tion if it is executed before any other operation is performed. In all cases the affected data is restored to the state it was in before performing the job, edit, or record operation.
Page 184: Quantize
Aligns notes in the speciﬁed track to or close to the nearest speciﬁed beat. The “TR” parameter selects the track to be affected by the Quantize job: D1, D2, PC, BA, C1, C2, C3, C4. The “M” parameters above the graphic bar are used to specify the ﬁrst measure:beat and last measure:beat of the range to be quantized.
Page 185 Value Effect Aligns to the nearest 16th note + 16th note triplet. Aligns to the nearest 8th note + 8th note triplet. The “Strength” parameter determines how “strongly” the notes are attracted to the speciﬁed quantize value. The strength range is from 0% to 100%.
Page 186 Original timing Quantizing value = Quantizing value = The “Gate Time” parameter increases or decreases the gate times (length) of all notes affected by the swing parameter. The range is from 0% to 200%. The “Gate Time” parameter sets the ratio between the shorter and longer gate time values.
Page 187: Modify Velocity
02 : Modify Velocity Increases or decreases the velocity values of all notes in the speci- ﬁed track and range of measures. The “TR” parameter selects the track to be affected by the Modify Velocity job: D1, D2, PC, BA, C1, C2, C3, C4. The “M”...
Page 188 The “Offset” parameter allows you to change all velocity values by an absolute amount. “-” settings will decrease the velocity of each note by the corresponding amount, “+” settings will increase the velocity accord- ingly. The range is from “-99” through “0” to “+99”. Original velocities Offset = -20...
Page 189: Modify Gate Time
03 : Modify Gate Time Increases or decreases the gate times (length) of all notes in the speciﬁed track and range of measures. The “TR” parameter selects the track to be affected by the Modify Gate Time job: D1, D2, PC, BA, C1, C2, C3, C4. The “M”...
Page 190 The “Offset” parameter allows you to change all gate time values by an absolute amount. “-” settings will decrease the gate time of each note by the corresponding amount, “+” settings will increase the gate time accordingly. The range is from “-9999” through “0” to “+9999”. Original gate time Offset = -20...
Page 191: Crescendo
Produces a gradual crescendo (increase in note velocity) or decre- scendo (decrease in note velocity) in the speciﬁed track over the speciﬁed range of measures. The “TR” parameter selects the track to be affected by the Cre- scendo job: D1, D2, PC, BA, C1, C2, C3, C4. The “M”...
Page 192 The Pattern Jobs After setting the parameters as required press [ENTER] to execute the Crescendo job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear brieﬂy when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode.
Page 193: Transpose
Transposes all notes in the speciﬁed part up or down by the speciﬁed number of semitones. The “TR” parameter selects the track to be affected by the Trans- pose job: D1, D2, PC, BA, C1, C2, C3, C4. The “M” parameters above the graphic bar are used to specify the ﬁrst measure:beat and last measure:beat of the range to be modiﬁed.
Page 194: Shift Clock
Moves all notes and events in the speciﬁed track and range of mea- sures forward or backward by the speciﬁed number of clocks (480 clocks per 1/4 note). The “TR” parameter selects the track to be affected by the Shift Clock job: D1, D2, PC, BA, C1, C2, C3, C4.
Page 195 NOTE • The Shift Clock job will not shift data beyond the speciﬁed measure range. There- fore, events near the beginning of the speciﬁed range may sound “bunched” together and events near the end of the speciﬁed range may be “cut off” in some cases.
Page 196: Chord Sort
Sorts all notes in the speciﬁed measure range which fall on the same beat (i.e. chords) so that the notes are arranged in order from lowest to highest or from highest to lowest. The “TR” parameter selects the track to be affected by the Chord Sort job: D1, D2, PC, BA, C1, C2, C3, C4.
Page 197: Chord Separate
08 : Chord Separate Shifts each note in the speciﬁed measure range which falls on the same beat (i.e. chords) forward in order from lowest to highest or vice versa according to the Chord Sort settings, by the speciﬁed number of clocks, thus “separating”...
Page 198: Copy Event
Copies all data from a speciﬁed range of measures to the selected place in the same track. The copied data can also be transposed as required. This operation overwrites the data from the beginning of the speciﬁed destination measure with the data from the source measures. Previous data in the overwritten measures is therefore lost.
Page 199 The “M” parameters below the lower graphic bar speciﬁy the desti- nation measure:beat to which the data will be copied, as well as the num- ber of times the data is to be copied. Destination measure The “Transpose” parameter sets a transpose value for the copied data in semitone increments from “-24”...
Page 200: Erase Event
Erases all note and event data from the speciﬁed measure or range of measures in the speciﬁed track. An erase operation leaves the speciﬁed measures intact but blank. The “TR” parameter selects the track to be affected by the Erase Event job: D1, D2, PC, BA, C1, C2, C3, C4.
Page 201: Extract Event
Allows a speciﬁed type of event — note, program change, pitch bend, control change, channel aftertouch, polyphonic aftertouch, or system exclusive — to be extracted (removed) from a speciﬁed range of measures in a speciﬁed track. The extracted data can be moved to the same range of measures in any other speciﬁed track.
Page 202 NOTE After setting the parameters as required press [ENTER] to execute the Extract Event job. The metronome icon will appear on the display while the data is being processed, then “Completed !” will appear brieﬂy when the job is done. Press the [EXIT] button to return to the job list, or a mode button to go directly to the selected mode.
Page 203: Create Continuous
12 : Create Continuous This job makes it possible to create continuous data of the speciﬁed type in order to produce smooth pitch bends, aftertouch, etc. Data type parameter The “TR” parameter selects the track to be affected by the Create Continuous job: D1, D2, PC, BA, C1, C2, C3, C4.
Page 204 The “Curve” parameter sets the degree of positive or negative “cur- vature” that will be applied to the continuous data: “-16” … “00” … “+16”. Start point After setting the parameters as required press [ENTER] to execute the Create Continuous job. The metronome icon will appear on the display while the data is being processed, then “Completed !”...
Page 205: Thin Out
“Thins out” speciﬁed types of data by removing every other event of the speciﬁed type. This is particularly useful for reducing the volume of data required for pitch bends, aftertouch and other control change operations, thus making more efﬁcient use of the available memory. Data type parameter The “TR”...
Page 206: Time Stretch
Lenghtens or shortens the speciﬁed track by a speciﬁed percentage without affecting tempo or pitch. The “TR” parameter selects the track to be affected by the Time Stretch job: D1, D2, PC, BA, C1, C2, C3, C4. The “M” parameters above the graphic bar are used to specify the ﬁrst measure:beat and last measure:beat of the range to be modiﬁed.
Page 207: Copy Phrase
Copies the speciﬁed preset phrase to a speciﬁed PATTERN mode track as a user phrase. The “Phrase” parameter selects the source phrase — i.e. the preset phrase to be copied (preset phrase numbers have three sections which can be speciﬁed: category, beat, and number — page 98). The “TR”...
Page 208: Get Phrase
Copies the data from the speciﬁed range of measures in the speci- ﬁed track of a speciﬁed song to the speciﬁed phrase. The “Song” parameter selects the source song — i.e. the song from which the data is to be copied: “01” … “20”. The “TR”...
Page 209: 17: Put Phrase
Copies the phrase data from a speciﬁed pattern track to the speciﬁed measures in the speciﬁed track of a speciﬁed song. The “Pattern TR” parameter speciﬁed the source pattern track: D1, D2, PC, BA, C1, C2, C3, C4. The “Song” parameter selects the destination song — i.e. the song to which the phrase data is to be copied: “01”...
Page 210: Copy Track
Copies all data from the speciﬁed track in the speciﬁed section of the speciﬁed style to any other speciﬁed track in the speciﬁed section of the speciﬁed style. The upper “Style” parameter speciﬁes the source style: “001” … “128”, “U01” … “U64”. The upper “Section”...
Page 211: Mix Track
Combines the data contained in two speciﬁed tracks and places the result in a third track (which can be the same as the second track). The upper and center “TR” parameters select the ﬁrst and second source tracks — i.e. the tracks which are to be mixed: D1, D2, PC, BA, C1, C2, C3, C4.
Page 212: Clear Track
Completely clears the specifed track in the speciﬁed section. The “Section” parameter speciﬁes the section to be cleared: “Intro”, “MainA”, “MainB”, “FillAB”, “FillBA”, “Ending”. The “TR” parameter selects the track to be cleared: D1, D2, PC, BA, C1, C2, C3, C4. The “Event”, “Play Effect”, and “Voice”...
Page 213: Copy Pattern
Copies all data from the speciﬁed section of the speciﬁed style to any other speciﬁed section of the speciﬁed style. The upper “Style” parameter speciﬁes the source style: “001” … “128”, “U01” … “U64”. The upper “Section” parameter speciﬁes the source section: “Intro”, “MainA”, “MainB”, “FillAB”, “FillBA”, “Ending”...
Page 214: Clear Pattern
Completely clears all data from the speciﬁed section of the speciﬁed style. The “Style” parameter speciﬁes the style: “U01” … “U64” and “All”. The “Section” parameter speciﬁes the section of the style to be cleared: “Intro”, “MainA”, “MainB”, “FillAB”, “FillBA”, “Ending” and “All”.
Page 215: Style Name
Allows an original name of up to 8 characters to be assigned to the current style. To enter a character, use the cursor buttons to move the cursor to the character to be entered, then press the [ENTER] button. The character will appear at the character cursor location and the character cursor will advance to the next character position.
Page 216: Editing Songs & Patterns
Editing Songs & Patterns The QY100’s editing capability makes it easy to correct mis- takes made when recording song or pattern phrase data, and to gener- ally reﬁne your sound. The song and pattern edit “change” mode lets you individually modify the timing, pitch, gate time (length) and velocity (loudness) of each note or other events in the song or pattern.
Page 217 Editing Songs & Patterns The edit display will look something like this (of course, the note data will be different). Song Edit Display Track being edited Current measure number Top of song One note per line Velocity Gate time (beat-clock) Note (pitch) Location (beat-clock)
Page 218 The pattern edit display is almost exactly the same. The only differ- ences are the name of the track being edited and the current measure dis- play. Pattern Edit Display Current measure number Top of pattern One note per line If you place the cursor at the “Pt”(pattern) or “Cd”(chord) track in the SONG mode and engage the edit mode, the edit display will be exactly the same as the step recording display described on page 84.
Page 219: Moving Around
The location, pitch, gate time, and velocity values for each note are shown on a single line of the display. The notes are arranged in order from top to bottom. You can move around within the song or pattern by simply moving the cursor.
Page 220: Change Mode Editing
The “Change” edit mode is initially selected when the edit mode is engaged. To edit any note or other event in the song or pattern, simply move the cursor to the appropriate line, and then to the required parameter within that line. The [-1] and [+1] buttons can then be used to select a new value for the selected parameter.
Page 221: Insert Mode Editing
Velocity This parameter controls the velocity (loudness) of the note. The range is from 001 to 127. Deleting Events Notes and other events (sustain on/off, pitch bend, etc.) can be deleted by placing the cursor at the line corresponding to the event to be deleted, and then pressing the function button next to “del”...
Page 222 c Select an Event Type to Insert, and Set the Event Param- eters If the display corresponding to the type of event you want to insert does not appear immediately, use the [-1] and [+1] but- tons to select the desired event type. All events have at least two parameters —...
Page 223 Editing Songs & Patterns Velocity Gate time Pitch Location PB (Pitch Bend) Pitch bend events can be used to produce pitch bend effects. The pitch bend values correspond to pitch bend wheel positions from “-8192” (lowest position) through “+0000” (center) to “+8191” (highest position). To produce smooth pitch bends you’ll need to insert several small pitch bend events at appropriate intervals.
Page 224 Note that the program number in the XG Normal/Drum voice list (refer to the Data List) and the MIDI program change number is different: i.e., the program number for “Grand Piano” is “1” while its MIDI program change num- ber is”0”. (Program numbers, which are deﬁned in General MIDI, range 1 - 128, while MIDI program change numbers range 0 - 127.) CC (Control Change)
Page 225 Editing Songs & Patterns CAT (Channel Aftertouch) Inserts a channel aftertouch message with the speciﬁed aftertouch value. Location Aftertouch value PAT (Polyphonic Aftertouch) Inserts a polyphonic aftertouch message for the speciﬁed note with the speciﬁed aftertouch value. PAT aftertouch events affect a single speciﬁed note, as opposed to CAT aftertouch events which affect all notes on the same channel (track) simultaneously.
Page 226 Editing Songs & Patterns Inserts RPN data. RPN is an abbreviation for “Registered Parameter Number”, which is a MIDI message used to control part settings such as pitch bend sensitivity, tuning, etc. Refer to the “MIDI Data Format” section of the Data List for details.
Page 227 Editing Songs & Patterns Exc (Exclusive) Inserts a System Exclusive message in hexadecimal for- mat. Refer to the “MIDI Data Format” section of the Data List for details. Location Hexadecimal Number Entry Use the [SHIFT] and the micro-keyboard to enter hexadecimal val- ues.
Page 228 Editing Songs & Patterns XG RPN Inserts RPN (Registered Parameter Number) data using an XG parameter name (“RPN”, above, needs to be entered using numbers). Refer to the “MIDI Data Format” section of the Data List for details. Data RPN parameter name Location XG NRPN Inserts NRPN (Non Registered Parameter Number) data...
Page 229 Editing Songs & Patterns XG Exc System Inserts a System Exclusive (XG System) message using an XG parameter name (“Exc”, above, needs to be entered using hexadecimal values). Refer to the “MIDI Data For- mat” section of the Data List for details. Data XG System parameter name Location...
Page 230 XG Exc Multi Inserts a System Exclusive (XG Multi part) message using an XG parameter name (“Exc”, above, needs to be entered using hexadecimal values). Refer to the “MIDI Data For- mat” section of the Data List for details. XG Exc Drum Inserts a System Exclusive (XG Drum setup) message using an XG parameter name (“Exc”, above, needs to be entered using hexadecimal values).
Page 231 Editing Songs & Patterns v Enter the Speciﬁed Event Press the [ENTER] button to enter the event as speciﬁed. b Return to the Change Edit Mode Press the [EXIT] button to return to the change edit display, and continue editing as required. n Exit From the Edit Mode Press the [SONG] or [PATTERN] button to exit from the EDIT mode and return to the normal SONG or PATTERN play...
Page 232: Xg View
The XG View function displays XG-related events (RPN, NRPN, Sys- tem Exclusive, etc.) using the name deﬁned by the XG format. To engage the XG View function press the [MENU] button while in the EDIT mode, then press the function button next to “XG View” on the display. When the box to the left of “XG View”...
Page 233: View Filter
The View Filter lets you “ﬁlter out” speciﬁed types of events so that they don’t appear in the EDIT mode display. To access the View Filter press the [MENU] button while in the EDIT mode, then press the function button next to “View Filter”...
Page 234: Phrase Table (Pattern Edit Only)
Phrase Table (Pattern Edit Only) Phrase Table lets you edit phrase settings for the pattern track cur- rently being edited. To access the Phrase Table function press the [MENU] button while in the EDIT mode, then press the function button next to “Phrase Table” on the display.
Page 235 Editing Songs & Patterns SOURCE CHORD Sets the source chord for the phrase (i.e. the chord on which the phrase is based). Note that you can not enter an “on-bass” chord for the source chord. LO LIMIT HI LIMIT Sets the note range over which the re-harmonized phrase will be played (C-2 through G8).
Page 236: Effects & Effect Editing
Effects & Effect Editing The QY100 features a versatile internal effects system which consists of three independent effect stages: REVERB, CHORUS, and VARIATION. Of these the REVERB and CHORUS stages function as “system effects”, and the VARIATION stage can be used either as a system or “insertion”...
Page 237 (Variation effect: INSERTION) Reverb effect Chorus effect Variation effect Variation effect INSERTION/ SYSTEM selector Pattern Mode Effect Connection Display Note that in the PATTERN mode effect connection display only the variation stage has accessible controls. The reverb type for the PATTERN mode effect is always “HALL 1” and the chorus type is always “CHORUS 1”.
Page 238 Effect Signal Flow The following diagrams should help you to understand how the QY100 effect stages relate to overall signal ﬂow. The signal from each part (track) of the tone generator is sent to the reverb, chorus and variation stages. The reverb and chorus effects are always connected as “System”...
Page 239 Effects & Effect Editing When the Variation Stage is an Insertion Effect Track 1 VARIATION Track 2 Track 3 Track 16 In this case the variation effect is applied to one speciﬁc part (track) with “Dry/Wet” mixing capability available in “Vari.
Page 240: Effect Editing
The Reverb Edit, Chorus Edit, and Variation Edit displays can be accessed from the Effect Connection display by pressing the [MENU] but- ton and then the function button next to “Reverb Edit”, “Chorus Edit”, or “Vari. Edit” on the display. Note that only “Vari. Edit” is available from the PATTERN mode Effect Connection display.
Page 241 (Refer to the “Effect Parameter List” in the Data List.) To edit the effect in detail, send the appropriate system exclusive mes- sage to the QY100’s tone generator section. How the Variation Effect works in the SONG mode...
Page 242: Utility Functions
Utility Functions The QY100 utility mode includes a number of functions that are important for general operation — e.g. MIDI data handling, interfacing with external equipment, saving song and pattern data to an external storage device, ABC system operation, etc.
Page 243 Once the utility mode has been selected, any of the four utility dis- plays can be called by pressing the [MENU] button and then the appropriate function button, as shown below. NOTE • When the utility mode is ﬁrst engaged from the SONG or PATTERN mode, the last utility display selected will initially appear.
Page 244: System Parameters
The “System” display includes 6 parameters that affect the basic operation of the QY100. Move the cursor to the parameter to be adjusted and set as required by using the [-1] and [+1] buttons. CLICK MODE Settings: Off, Record, Rec/Play, Always Determines when the QY100 metronome will sound.
Page 245 MASTER TUNE Settings: -102.4 … +000.0 … +102.3 Tunes the overall pitch of the QY100 sound. The Master Tune range is from “-102.4” through “+000” to “+102.3”. Each increment cor- responds to aproximately 1 cent (a cent is 1/100th of a semitone). A setting of “+000”...
Page 246 Section AmpSim Utility Functions The footswitch switches sections during song or pattern play- back. When the footswitch is pressed during SONG playback, play- back will jump to the next programmed section change after playback of the current measure has ﬁnished. If the footswitch is pressed while the ENDING section is playing, playback will jump back to and continue from the INTRO section.
Page 247: Midi Parameters
(i.e., playback of the QY100 is synchronized to that of an external sequencer or other device). Please note that the QY100 will not run on its own when this param- eter is set to “External”. The QY100 can also control playback of an external MIDI sequencer when this parameter is set to “Internal”.
Page 248 MIDI FILTER settings described below. LOCAL ON/OFF Settings: Off, On Determines whether or not the QY100’s internal tone generator will be controlled by its own micro-keyboard. When LOCAL ON/OFF is “On”, the micro-keyboard controls the internal tone generator. When “Off” the micro-keyboard does not control the internal tone genera- tor and will produce no sound.
Page 249 PATT OUT CH Settings: Off, 1~8, 9~16 This parameter speciﬁes the MIDI channels on which QY100 pattern playback data will be transmitted. When “Off” pattern playback data is not transmitted. When set to “1~8” pattern playback data is trans- mitted on MIDI channels 1 through 8, and when set to “9~16” pat- tern playback data is transmitted on MIDI channels 9 through 16.
Page 250: Bulk Dump
Depending on the type of equipment or sequence software used, bulk data trans- mitted to the QY100 may not be properly recognized. To ensure reliable data trans- fer we recommend that you use the supplied “QY100 Data Filer” application for bulk data transmission and reception.
Page 251 If no other operation is currently in progress (recording, for example) the QY100 will automatically receive bulk song and pattern data transmitted from a compatible external device. If you are using the QY100’s MIDI con- nectors rather than the TO HOST connector, make sure that the MIDI OUT of the external device is connected to the MIDI IN of the QY100.
Page 252: Fingered Zone
QY100’s memory will be overwritten when “All” data is received. NOTE • See the QY100 Data Filer’s installation guide if you use the QY100 Data Filer for bulk dump reception/transmission. The QY100’s advanced ABC system can be controlled from the QY100 micro-keyboard or an external keyboard.
Page 253 Chords played within the speciﬁed range of either the QY100 micro-keyboard or an external MIDI keyboard are recog- nized. A chart of the chords recognized by the QY100 is provided on the Data List. If you play a note lower than the speciﬁed “LOW” note while holding a chord, it will be recognized as a bass note for the on-bass chord.
Page 254: Memory Card Functions
Memory Card Functions The QY100 CARD slot and CARD mode allow you to use stan- dard SmartMedia™ memory cards — available at many electronics and computer stores — to conveniently save and load data as required. About SmartMedia™ Memory cards must be handled with care to prevent possible dam- age and/or data corruption.
Page 255: Compatible Memory Cards
Carefully insert the card as far as it will go into the CARD slot (with- out using excessive force) with the gold connectors on the card facing upward (i.e. toward the top panel of the QY100). The connector end of the card goes into the slot.
Page 256: Format New Memory Cards Before Use
CAUTION • Never remove the memory card or turn the QY100 power off while a card-access operation is in progress! Doing so can damage the card itself and/or corrupt the data on the card as well as the data in the unit itself.
Page 257: Write-Protecting Memory Cards
• Avoid directly touching the card’s electrical contacts (the gold section in the card’s upper surface), and do not allow metal objects to come into contact with the card’s contacts. • Keep memory cards away from strong magnetic ﬁelds such as those produced by loudspeakers and television receivers.
Page 258: Save
NOTE • If you insert a memory card that has not been formatted by the QY100, the “Format? Yes/No” message will appear on the display. Press the [+1/YES] button to format the card for use with the QY100, or the [-1/ NO] button to cancel the format operation.
Page 259 Memory Card Functions All user styles, all songs, all amp simulators settings, and all system data. SONG Saves the data for a single selected song. (only SONG mode) STYLE Saves the data for a single selected user style. (only PATTERN mode) Saves the data for a single selected song in SMF (Standard MIDI File) format.
Page 260 NOTE • Preset styles cannot be saved. • If the selected Song or Style number already contains data, an asterisk (*) will appear before the number. • You can always go back to the previous display by pressing the [EXIT] button.
Page 261 Memory Card Functions , Done When the save operation has ﬁnished the memory card ﬁle list will appear. RENAME To rename a ﬁle on the list, select (move the cursor to) the ﬁle and press the function button next to “RENAME” to go to the name-entry display.
Page 262: Load
Make Sure a Memory Card Is In the CARD Slot Make sure that a compatible memory card containing the data you want to load is properly inserted in the QY100 CARD slot (page 13). x Select the Appropriate Mode To load song data the SONG mode must be selected.
Page 263 Memory Card Functions SONG Loads the data for a single song. (only SONG mode) STYLE Loads the data for a single user style. (only PATTERN mode) SMF, SMF+XG Loads a ﬁle saved using the SMF or SMF+XG data (same function) options: a single song in SMF (Standard MIDI File) for- mat, or a single song in SMF format with XG header information.
Page 264 m Select a Song or Style Name and Load the File From the memory card ﬁle list which appears (the list will only show ﬁles of the type selected in step 4, above), select (move the cursor to) the ﬁle you want to load and press the [ENTER] button.
Page 265: Mk Dir (Make Directory)
ﬁles. z Make Sure a Memory Card Is In the CARD Slot Make sure that a compatible memory card which is not write-protected is properly inserted in the QY100 CARD slot (page 13). x Select the CARD Mode Press the [CARD] button to select the QY100 CARD mode, while song and style data is not running.
Page 266 Current directory Directory(s) File(s) To Move to a Lower Directory Move the cursor to a directory name and press the [ENTER] button to enter that directory. In the new ﬁle list which appears, the current directory name (path) will appear at the top of the list.
Page 267 Memory Card Functions ﬁle, or the [-1/NO] button to cancel the delete operation. Please note that a directory must be empty (i.e. it must con- tain no ﬁles) before it can be deleted. b Enter a Directory Name and Create the Directory The name-entry display will automatically be selected when you press the [ENTER] button after selecting a level for the new directory.
Page 268: Format
Make Sure a Memory Card Is In the CARD Slot Make sure that a compatible memory card which is not write-protected is properly inserted in the QY100 CARD slot (page 13). x Select the CARD Mode Press the [CARD] button to select the QY100 CARD mode, while song and style data is not running.
Page 269 Memory Card Functions v Format the Memory Card From the format-standby display, press the [ENTER] but- ton. When the “Are You Sure?” conﬁrmation prompt appears, press the [+1/YES] button to execute the format operation, or the [-1/NO] button to cancel the format operation. b Done When the format operation has ﬁnished the memory card ﬁle list display will appear.
Page 270: Appendix
Sequencer block Data capacity Note resolution Polyphony Tempo Modes Record modes Tracks Songs Patterns Phrases Chord types Chord templates Play effect Foot switch functions Tone generator block Type Maximum Polyphony Multi-timbral capability 24 timbres (last note priority with element reserve, DVA) Preset voices Effects Amp Simulator...
Page 271: Memory Card
* Speciﬁcations and descriptions in this owner’s manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or speciﬁcations at any time without prior notice. Since speciﬁcations, equipment or options may not be the same in every locale, please check with your Yamaha dealer.
Page 272: Troubleshooting
In many cases, checking these points will help you solve the problem. If this does not solve the problem, contact your nearest Yamaha dealer or the authorized distributor for your country.
Page 273 The QY100’s memory capacity (approximately 32,000 notes) is for the total data of all songs and phrases. This means that if there are songs or phrases that contain large amounts of data, the memory may be full even though there are still unused songs or patterns.
Page 274: Error Messages
Now Bulk Mode System Memory Full NotEnough Memory A song ﬁle or style ﬁle could not be loaded because the QY100's inter- Backup Batt.Low This will appear when the internal backup battery of the QY100 has run Power Batt.Low Power Batt.End...
Page 275 No Card This message will appear if you press the [CARD] button when no memory card is in the QY100 CARD slot (or a card has not been prop- erly inserted). Make sure a memory card is properly inserted in the CARD slot before pressing the [CARD] button.
Page 276 QY100. The speciﬁed ﬁle cannot be loaded. You have attempted to load a ﬁle that was not saved using the QY100 format. You have attempted to load an SMF ﬁle but the ﬁle to be loaded does not have the proper SMF format.
Page 277: Glossary
System Messages to external MIDI devices. Appendix Glossary Chord root: An alphabetical letter which indicates the root of a chord. The QY100 lets you indicate 12 different chord roots. Chord template: A collection of preset models for chord pro- gressions. The collection includes generic chord progressions for Popular styles as well as Blues and Tension styles.
Page 278 Delay: An effect that delays an audio signal. The QY100’s Variation effect allows a delay to be applied. Depth: The amount or degree of a setting or effect. Drum table remapping: One of the play effect functions.
Page 279 Memory Card: Wafer-thin, high-volume memory cards pro- vide a convenient way to store and retrieve QY100 song and style data. Memory cards that can be used with the QY100 are available at many electronics and computer stores. Also see “SmartMedia”.
Page 280 An example is the Yamaha MDF3 MIDI data ﬁler. Mixer: On the QY100, the display page in which you can make settings such as, pan, volume, etc. for the voice of each song or pattern track, when playing back.
Page 281 A type of MIDI message that smoothly changes the pitch. Pitch bend wheel: A controller that smoothly changes the pitch. On the QY100, pitch bend can be applied by holding the [OCT DOWN] button while play- ing a note on the micro keyboard. Portamento: An effect that smoothly changes the pitch from one note to another note.
Page 282 ﬁes, and plays back a musical performance in the form of MIDI messages. Sequencer tracks: Tracks which record and playback normal MIDI sequence data. The QY100 has 16 sequencer tracks. SmartMedia: SmartMedia (a trademark of Toshiba Corpora- tion) refers to memory cards conforming to SSFDC Forum speciﬁcations (SSFDC stands...
Page 283 JOB, EDIT, and RECORDING operations. See the entry for Redo. Utility: On the QY100, the display in which MIDI set- tings and system settings can be made. Variation effect: One of the QY100’s effects which can func-...
Page 284: Index
AC Adaptor ...3, 8, 11, 271 Aftertouch ...225, 277 Alkaline Batteries...3, 9, 271 Amp Simulator...32, 36, 45, 277 Amp Simulator Setup ...38, 47, Attack Time ...141, 277 Auto Bass Chord (ABC) ...252, 277 Back Delete ...96 Backup Battery ...4, 274 Bdl ...96 Beat ...96, 277 Bulk Dump ...250, 277...
Page 285 Erase Event ...164, 200 Error Message...274 ers ...90 Exc ...227 Exclusive ...227, 278 Exclusive Interval...245 Expand Backing ...176 Expression...224, 278 Extract Event ...165, 201 Filter Cutoff Frequency...140, 144, 278 Filter Resonance ...140, 144, 281 FINGERED...69, 123, 252 Fingered Chord...69, 123, 235, 278, Fingered Zone ...252 FNGR...69, 235 Foot Switch ...12, 245...
Page 286 Put Phrase...209 Quantize ...148, 184, 281 Gate Time...150, 186 Quantize Value ...148, 184 Strength ...149, 185 Swing Rate...149, 185 QY100 Data Filer ...250, 271 Realtime Recording...73, 281 Chord Track ...66 Overdub ...76, 107, 280 Pattern Track ...62 Phrase ...105 Replace ...63, 76, 281 Sequencer Track ...73...
Page 287 Section ...53, 282 Sequencer Button ...25 Sequencer Track...71, 91, 282 Shift Clock ...158, 194 Slur ...94 SmartMedia...254, 282 Solo ...102, 122, 127, 129, 132, 282 Song ...118, 282 Clear Song...179 Copy Song...178 Edit...216 Edit Insert...221 Effect Mode ...236 Job ...145 Mode...118 Name ...180 Number ...33, 55, 118...
Page 288 Appendix XG Exc Drum...230 XG Exc Effect ...229 XG Exc Multi...230 XG Exc System...229 XG NRPN...228 XG PARM OUT ...249 XG RPN ...228 XG View...232 ZONE...252 Buttons & Display Symbols [p] ...25 [r] ...25 [f]...25 [ ] ...25 [ ]...25 [>] ...25 [-1(NO)]/[+1(YES)] ...22 [AMP SIMULATOR]...27...
Page 289 * This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations.
Page 290 Kanaalweg 18-G, 3526 KL UTRECHT Tel. 030-2828425 • For the removal of the battery at the moment of the disposal at the end of the service life please consult your retailer or Yamaha Ser- vice Center as follows: Yamaha Music Nederland Service Center...
Page 291 For details of products, please contact your nearest Yamaha representative or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous ﬁgurant dans la liste suivante.
Page 292 This document is printed on chlorine free (ECF) paper with soy ink. Yamaha Web Site (English only) http://www.yamahasynth.com Yamaha Manual Library http://www2.yamaha.co.jp/manual/english/ U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation © 2000 Yamaha Corporation V675760 311POCP1.3-03C0 Printed in Japan...

Yamaha QY100 Owner's Manual

Meet the QY100

Power & Connections

The Controls

QY100 System Overview: What It Is and What It Does

Listen to the Demo

For Guitarists: Outstanding Amp Simulation & Effects

For Singers: Cool Vocal Processing

Instant Accompaniment

Record Your Own Chord Progression & Pattern Changes

Add some Details to Complete the Accompaniment

Step Accompaniment Recording

Step Sequencer Track Recording

Creating Original Accompaniment Patterns

Playback Control

The Song Voice Mode

The Song Jobs

The Pattern Jobs

Editing Songs & Patterns

Effects & Effect Editing

Utility Functions

Memory Card Functions

Appendix

Quick Links

Related Manuals for Yamaha QY100

Summary of Contents for Yamaha QY100