This product utilizes batteries or an external power supply (adapter). DO NOT connect this product to any power supply or adapter other than one described in the manual, on the name plate, or specifically recommended by Yamaha.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.SPECIFICATIONS SUBJECT TO CHANGE:The information contained in this manual is believed to be correct at the time of printing. However, Yamaha reserves the right to change or modify any of the specifications without notice or obligation to update existing units.This product, either alone or in combination with an amplifier and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. DO NOT operate for long periods of time at a high volume level or at a level that is uncomfortable. Lf you experience any hearing loss or ringing in the ears, you should consult an audiologist. IMPORTANT: The louder the sound, the shorter the time period before damage occurs.NOTICE:Service charges incurred due to lack of knowledge relating to how a function or effect works (when the unit is operating as designed) are not covered by the manufacturer’s warranty, and are therefore the owners responsibility.
Please study this manual carefully and consult your dealer before requesting service.ENVIRONMENTAL ISSUES:Yamaha strives to produce products that are both user safe and environmentally friendly. We sincerely believe that our products and the production methods used to produce them, meet these goals.
In keeping with both the letter and the spirit of the law, we want you to be aware of the following. Battery Notice: This product MAY contain a small non-rechargeable battery which (if applicable) is soldered in place. The average life span of this type of battery is approximately five years. When replacement becomes necessary, contact a qualified service representative to perform the replacement.This product may also use “household” type batteries. Some of these may be rechargeable. Make sure that the battery being charged is a rechargeable type and that the charger is intended for the battery being charged.When installing batteries, do not mix old batteries with new, or with batteries of a different type. Batteries MUST be installed correctly.Mismatches or incorrect installation may result in overheating and battery case rupture.Warning: Do not attempt to disassemble, or incinerate any battery.
Keep all batteries away from children. Dispose of used batteries promptly and as regulated by the laws in your area. Note: Check with any retailer of household type batteries in your area for battery disposal information.Disposal Notice: Should this product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of products that contain lead, batteries, plastics, etc. If your dealer is unable to assist you, please contact Yamaha directly.NAME PLATE LOCATION:The name plate is located on the bottom of the product. The model number, serial number, power requirements, etc., are located on this plate. You should record the model number, serial number, and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase.Model Serial No.
Purchase Date. ContentsZThe QY20: What It Is &What It Can Do.7What It Is.8Voice Mode.9Song Mode.9Pattern Mode.11What It Can Do.12XSetting Up: Power &Connections.15Power Supply.16Using Batteries.16When to Replace the Batteries. 17Using a Power Adaptor.18Setting Up Your System.19The Connectors.19Audio Connections.21MIDI Connections.22CGetting to Know the QY20:How the Controls Work.23The Controls.24Play the Demo.34. VThe VOICE Mode: Selecting,Playing, & Assigning theQY20 Voices & Drums.35Try Out the Voices.37Making Voice-to-TrackAssignments.38The Mute Buttons.38The Pan Pots.39The Faders.40BEasy Accompaniment forOther Instruments.41Selecting & Playing the PresetPatterns.42Changing Chords.47Muting Tracks.51Record a CompleteAccompaniment.52Realtime AccompanimentRecording.52Step AccompanimentRecording.59Using the QY20 As a DrumMachine.75. NCreating Original Patterns. 77Recording an OriginalABC Pattern.78Realtime Pattern Recording.78Step Pattern Recording.86Playback In the Pattern Mode.94Accompaniment Without theLimitations of ABC.95The Pattern Jobs.961: Copy Pattern.982: Quantize.993: Transpose.1004: Modify Velocity.1015: Modify Gate Time.1026: Pattern Name.1037: Clear Track.1048: Clear Pattern.105MCreating a Complete Song.107Recording the SequencerTracks.108Preparing to Record —Voice Assignments.108.
Realtime Sequencer TrackRecording.109Step Sequencer TrackRecording.115The Song Jobs.1221: Mix Track.1242: Copy Measure.1253: Create Measure.1264: Quantize.1275: Delete Measure.1286: Erase Measure.1297: Transpose.1308: Move Clock.1319: Remove Event.13210: Modify Velocity.13311: Modify Gate Time.13412: Song Name.13513: Clear Track.13614: Clear Song.137. Utility Functions.157Accessing the Utility Mode.158System Parameters.160Bulk Dump.163ABC Zone.165Memory Initialize.166? The QY20 As A Tone Generator/ABC Expander. 167As a Tone generator Module.
168As an ABC Expander.170 Appendix.171Voice List.172Drum Kit List.174Preset Pattern List.178ABC Fingering Chart.179Troubleshooting.181Error Messages.183Specifications.185Index.186. ■ LocationDo not expose the instrument to the following conditions to avoid deformation, discoloration, or more serious damage.
Direct sunlight (e.g. Near a window). High temperatures (e.g.
Near a heat source, outside, or in a car during the daytime). Excessive humidity. Excessive dust. Strong vibration.■ Power Supply. Turn the power switch OFF when the instrument is not in use. If you use an AC power adaptor, unplug the adaptor from the AC outlet if the instrument is not to be used for an extended period of time. Unplug the AC power adaptor during electric storms.
Avoid plugging an AC power adaptor used with the QY20 into the same AC outlet as appliances with high power consumption, such as electric heaters or ovens. Physical shocks caused by dropping, bumping, or placing heavy objects on the instrument can result in scratches and more serious damage.■ Cleaning. Clean the cabinet and panel with a dry soft cloth. A slightly damp cloth may be used to remove stubborn grime and dirt. Never use cleaners such as alcohol or thinner.
Avoid placing vinyl objects on top of the instrument (vinyl can stick to and discolor the surface).■ Electrical Interference. This instrument contains digital circuitry and may cause interference if placed too close to radio or television receivers. If this occurs, move the instrument further away from the affected equipment.■ Data Backup. The QY20 contains a special long-life battery that retains the contents of its internal RAM memory even when the power is turned OFF. PrecautionsThe backup battery should last for several years. When the backup battery needs to be replaced “Backup Batt. Low!” will appear on the display when the power is turned on.
When this happens, have the backup battery replaced by qualified Yamaha service personnel. DO NOT ATTEMPT TO REPLACE THE BACKUP BATTERY YOURSELF!. Internal memory data can be corrupted due to incorrect operation. We recommend that you use the QY20 MIDI bulk dump utility (see page 163 for details) to transfer important data to a MIDI data recorder such as the Yamaha MDF2 for safe long-term storage. Yamaha cannot be held responsible for data loss caused by battery failure or improper operation of the QY20!■ Service and Modification. The QY20 contains no user serviceable parts.
Opening it or tampering with it in anyway can lead to irreparable damage and possibly electric shock. Refer all servicing to qualified YAMAHA personnel.YAMAHA is not responsible for damage caused by improper handling or operation.
This icon warns of possible hardware damage, software malfunction, or any other serious problem that may occur due to improper operation or set up.This icon marks information that you must read — i.e. Important steps or procedures that are essential for proper, efficient, or easy operation.The magnifying-glass icon indicates information that may not be essential for general operation, but is a more detailed explanation of a feature, a description of the principle involved, etc. You can skip this information if full details are not required immediately. VOICE Mode ————————————————————————————The QY20’s internal AWM tone generator provides 100 top-quality voices plus 8 complete drum kits with different drum and percussion instruments assigned to different notes.
You can assign any of these voices to the internal sequencer tracks ( page 38), or play them directly from an external keyboard or other MIDI controller via the MIDI interface ( page 168).See the Appendix (page 172) for a complete list of the QY20 voices.DETAILSONG Mode ————————————————————————————Think of the QY20 SONG mode as an 8-track tape recorder or 8- part score that lets you record different parts of a musical composition one at a time, and then play them back all together. You can even edit certain parts after they’ve been recorded to correct mistakes and finetune the overall sound. The QY20 has an internal memory that will hold up to 20 complete songs. For extra storage capacity you can use the MIDI bulk dump utility to transmit the song data to a MIDI data recorder such as the Yamaha MDF2 ( page 163).The SONG mode’s 8 tracks are actually divided into 2 4-track groups: tracks 1 through 4 are the sequencer tracks, while the remaining 4 tracks are the accompaniment tracks. The difference is described below. ● The Sequencer TracksThe QY20 sequencer has 4 “normal” sequencer tracks toSONG Mode Trackswhich you can individually assign any of the 100 internalvoices (or 8 drum kits if desired), and record just about any-Sequencer track 1 (“TR1”)thing you like either via the QY20’s own micro keyboard orSequencerSequencer track 2 (“TR2”)an external keyboard connected to the QY20 MIDI IN connec-tracks.Sequencer track 3 (“TR3”)tor.
You can use the real-time record mode ( page 109) soSequencer track 4 (“TR4”)that the QY20 records exactly what you play as you play it, orthe step record mode ( page 115) in which notes can be en-Accompaniment chord 1 (“C1”)tered one at a time. The step record mode lets you record ex-tremely fast or complex passages that would be impossible toAccomp.Accompaniment chord 2 (“C2”)tracksAccompaniment bass (“Ba”)play in real time.Accompaniment drums (“Dr”). The accompaniment tracks feature Yamaha’s advanced ABC (Auto Bass Chord) auto-accompaniment system ( page 47). Of course, you can create accompaniments without using ABC if you like.PATTERN Mode ——————————————————————————The QY20 PATTERN mode produces the accompaniment patterns that are used by the SONG mode accompaniment tracks. 100 preset patterns are provided (each with 6 variations: Intro, Normal, Variation, Fill-in 1, Fill-in 2, and Ending) that you can simply select and use to create accompaniments in a wide variety of styles ( page 42). In the PATTERN mode you can also record entirely original patterns that you’ll later string together in the SONG mode to create a complete accompaniment track ( page 52).
The ABC auto-accompani- ment feature can be applied to your own patterns. The QY20 can store up to 100 original patterns, and you can use the MIDI bulk dump utility to transmit pattern data to a MIDI data recorder such as the Yamaha MDF2 if you want extra storage capacity ( page 163).See the Appendix (page 178) for a complete list of the preset patterns.DETAIL. Use the QY20 as an adjunct to serious music recording and production.
It can, for example, be MIDI-clock synchronized to other MIDI equipment in order to add extra tracks to an arrangement ( page 160).The QY20’s AWM tone generator is in no way a compromise. You get outstanding AWM sound quality that’s on a par with some of the finest full-size synthesizers.
You can select and play the QY20 voices remotely from just about any MIDI keyboard, computer, or other controller ( page 168).Use the QY20 as an “ABC expander” for your MIDI keyboard. Auto-accompaniment can make playing at home more fun, and it can be a tremendous sound-booster at 1-performer live gigs ( page 170).
Setting Up:2Power & ConnectionsPower Supply.16Using Batteries.16When to Replace the Batteries.17Using a Power Adaptor.18Setting Up Your System.19The Connectors.19Audio Connections.21MIDI Connections.22. When to Replace the Batteries ————————————————————When the batteries run down and are no longer able to operate the QY20, the sound may become distorted and the display shown to the left will appear.When this display appears, replace the batteries with a complete set of six new batteries. NEVER mix old and new, or different types of batteries (e.g. Alkaline and manganese)!To prevent possible damage due to battery leakage, remove the batteriesfrom the instrument if it is not to be used for an extended period of time.CAUTION. 1 DC IN JackThis jack is only used when you are powering the QY20 from anoptional AC adaptor instead of batteries. The DC output cable froman optional Yamaha PA-3, PA-4, or PA-40 AC Power Adaptor isplugged in here.The batteries are automatically disconnected when a plug is inserted intothe DC IN jack.DETAIL2 MIDI IN & OUT ConnectorsIf you plan to use a MIDI keyboard or other instrument to play andprogram the QY20, it should be connected to QY20 MIDI IN connec-tor (see “MIDI Connections,” below).
The MIDI OUT connector canbe connected to an external tone generator if you want to drive exter-nal voices from the QY20 sequencer, or a MIDI data recorder such asthe Yamaha MDF2 if you want to store your songs and patterns tofloppy disk ( page 163).3 LINE OUT JackThis miniature stereo phone plug delivers a line-level stereo outputsignal from the QY20 for connection to a stereo sound system (see“Audio Connections,” below). The output level is adjusted via theVOLUME control on the right side panel.4 PHONES JackAny pair of stereo headphones with the miniature stereo phone plugcan be plugged in here for convenient monitoring. The PHONES out-put level is adjusted via the VOLUME control on the right side panel. —————————————————————————Although the QY20 can be played and programmed from the built-in micro keyboard, an external MIDI keyboard connected to the MIDI IN connector provides the added advantages of standard keyboard size and key velocity sensitivity (if your keyboard has a velocity-sensitive keyboard).
Connect the MIDI OUT connector of the keyboard to the MIDI IN connector of the QY20, and make sure that your keyboard is set to transmit on the appropriate MIDI channel. The QY20 MIDI channel assignments are as follows.
MIDI ChannelVoice1Sequencer track TR12.Sequencer track TR23.Sequencer track TR34.Sequencer track TR45.Accompaniment track C1 (Chord 1)6.Accompaniment track C2 (Chord 2)7.Accompaniment track Ba (Bass)10.Accompaniment track Dr (Drums)This simply means that if your keyboard transmits on MIDI channel 1, it will control the QY20 voice that is currently assigned to sequencer track 1, and so on. See page 38 for instructions on how to assign different voices to the SONG mode tracks.Data received on MIDI channels other than those listed above also producesound, according to the selected “Pgc Mode” (page 162) and received MIDI DETAIL program change messages (see the “MIDI Data Format” booklet). 3 Getting to Know the QY20: How the Controls WorkThe QY20 has fairly simple, consistent control interface that, once understood, makes operation fast and easy, no matter what operation you are performing. If you read through this section carefully, and try out the procedures in the Try This: sections, you should have no problem accessing and operating the QY20’s many advanced features.The Controls ————————————————————————————Rear PanelMUSIC SEQUENCERLINE OUTOUT —— MIDI —— INCONTRASTDC INLeft Side Panel2Right Side PanelMIN VOLUME MAX PHONESONOFF POWER1!
These keys are used to edit (change the value of) the parameter at which the cursor is currently located. The − 1/NO key decrements (decreases stepwise) the value of the selected parameter, while the +1/YES key increments (increases stepwise) the parameter.
Press either key briefly to decrement or increment the parameter by one, or hold the key for continuous decrementing of incrementing in the specified direction.The − 1/NO and +1/YES keys are also used to respond to “Are you sure?” prompts when they appear. Press +1/YES to go ahead with the operation, or − 1/NO to cancel.For even faster decrementing or incrementing, press the opposite increment/decrement key while holding the key corresponding to the directionHINTyou want to increment/decrement in.Try This: Select the SONG mode display (use the MODE key, as described above), use the cursor keys to select the transpose parameter (“Trns” on the display), then try using the − 1/NO and +1/YES keys to change its value. Set it back to “+00” before continuing.mThis is the transposeparameter.Use–1+1to set.NOYES. In addition to “entering” chords in SONG and PATTERN modes (which we’ll learn about later), the ENTER key is used to “enter” a selected menu function.Try This: Assuming that you’ve gone through the “Try this:” procedure for the MENU and Function keys, above, you should now have the SONG mode Job List on your QY20 screen. Use the cursor keys (up and down only) to select job number 2 “Copy Meas”. Now press the ENTER key to actually engage the copy measure job— the display should appear as shown to the left.Since we don’t really want to use the copy measure job, press the MODE key to go back to the SONG mode.
You could also press the top function key (next to “Exit ” on the display) to first move back to the Job List, and then again to return to the SONG mode.The sequencer keys control recording and playback in the SONG and PATTERN modes, and allow you to locate a specific measure within a song or pattern. Their layout and functions are similar to the transport controls on a tape recorder. Try This: In the SONG mode, use the cursor keys to place the cursor at the sequencer track 1 position (“TR1” on the display).Now play the micro keyboard. You should hear the voice that is currently assigned to sequencer track 1. Also try moving the cursor to the accompaniment bass (“Ba”) and drum (“Dr”) tracks and playing the currently assigned bass and drum voices.
In the SONG mode, the micro keyboard plays the voice assigned to the currently selected track (unless you’re recording the accompaniment chord tracks, in which case it is used to specify chords).Since the 2-octave range of the micro-keyboard is not enough for serious music programming, the OCT DOWN and OCT UP keys allow the pitch of the keyboard to be shifted up or down in octave steps, over a range of 8 octaves. Each time the OCT DOWN key is pressed the pitch of the keyboard is shifted down by one octave, until the lower limit is reached. The OCT UP key shifts the pitch of the keyboard up in the same way. 3 Getting to Know the QY20: How the Controls WorkWhen recording the accompaniment chord tracks in the step mode, the OCT DOWN key is used to specify the bass note for chords, while the OCT UP key is used to enter syncopated chords.The VOLUME control adjusts the volume of the sound delivered via both the LINE OUT and PHONES jacks. Slide the control toward “MAX.” to increase the volume or toward “MIN.” to decrease the volume.Set the VOLUME control to “MIN.” when connecting the QY20 to a sound system for the first time, then gradually raise the volume level until theCAUTION required listening level is reached.
This simple precaution can prevent unexpectedly high volume levels from damaging your speaker system (and maybe even your ears!). Once you’ve set up your QY20 and become familiar with the controls, you might like to play back the pre-programmed demonstration to hear what the QY20 can do.Z From the SONG or VOICE mode display (use the MODE key to select) press the MENU key.X Press the function key immediately next to “DEMO” on the display. The initial demo display should appear.C Press the / key to start demo playback. The demo will play repeatedly until stopped.V Press the / key to stop the demo, then press the MODE key to return to the mode from which the demo was engaged. —————————————————————————Move the cursor to the voice number immediately below “TR1” on the display (as in the display shown to the left). Note that the name of the voice currently assigned to TR1 appears in the upper right corner of the display.
Play the micro keyboard and you’ll hear that voice.In any QY20 mode, the micro keyboard plays the voice assigned to thecurrently selected track. A MIDI keyboard connected to the MIDI IN con- DETAIL nector, however, will only play the voice assigned to the track that re-ceives on the MIDI channel that the external keyboard is transmitting on: MIDI channel 1 plays TR1, channel 2 plays TR2, channel 3 plays TR3, channel 4 plays TR4, channel 5 plays C1, channel 6 plays C2, channel 7 plays Ba, and channel 10 plays Dr. Channel 10 also plays any other track to which a drum voice (“Dr1” through “Dr8”) is assigned.Use the +1/YES key to step through the QY20’s 100 voices (you can use the − 1/NO key to step backward, too), trying out each voice on the keyboard.Keep incrementing past voice number 100 and you’ll select drum kits 1 through 8 (“Dr1” through “Dr8” on the display).
Try these out on the keyboard, too.See the Appendix (page 174) for a complete list of note assignments (i.e. DETAIL which drum instruments are assigned to which notes) for all 8 drum kits.If you’re playing the micro keyboard, use the octave keys to access thefull range of instruments in each drum kit.HINT. 4 The VOICE Mode: Selecting, Playing, & Assigning the QY20 Voices & DrumsMaking Voice-to-Track Assignments —————————————————When you record accompaniments ( page 52) or complete songs ( page 108) in the SONG mode, you’ll need to specify which voices are to be played by which tracks. These assignments are made in the VOICE mode.
To assign voices to the sequencer and accompaniment tracks, simply move the cursor to the voice number of the desired track, then use the − 1/NO and +1/YES keys to select the voice (or drum kit) for that track.When a different pattern is selected in the SONG mode, the voice assignments for that pattern are automatically recalled, overriding any voiceDETAIL assignments made in the VOICE mode (the pan and volume settings are not changed).The Mute Buttons —————————————————————————The mute “buttons” below the voice number for each track can be used to mute (turn off) the corresponding track. Move the cursor to the appropriate mute button, then press +1/YES to mute that track, or press − 1/NO to turn a muted track back on.The letter “M” appears in the mute buttons of tracks that are muted. Tracks that do not contain data cannot be muted, and their mute buttons appear as white rather than dark blocks. In the display to the left, for example, TR1 through TR4 contain no data and are therefore white. The Ba track has been muted, and the cursor is currently over.
Like the pan pots on a mixing console, the VOICE mode pan pots can be used to position the sound of the corresponding track anywhere from left to right in the stereo sound field. Position the cursor at the pan pot, then use the − 1/NO and +1/YES keys to set the pan position. The graphic pan pot will rotate to the corresponding position.
The pan positions also have numeric values (1 through 7) that appear in the upper right corner of the display: “Left 7” is full left and “Right 7” is full right. In the display to the left, TR3 is panned about half way to the left (“Left 4”).The Dr track doesn’t have a pan pot because the drum kit voices consist of a number of instruments, each of which has a preset stereo position.DETAIL These have been set to produce an appropriate “stereo image” of the drum kit. Each track has a graphic “fader” that can be set to produce the best “mix” (balance) between the various voices. Position the cursor at a fader, then use the − 1/NO and +1/YES keys to set the fader level. The graphic fader will move to the corresponding position (higher for higher volume, and lower for lower volume). The fader positions also have numeric values (000 through 127) that appear in the upper right corner of the display: “000” is minimum volume (no sound) and “127” is maximum volume. The default setting is “100” for all tracks.
In the display to the left, the TR2 fader has been set to a quiet “50.”You can switch back and forth between the SONG and VOICE modeseven while a song is playing, so you can adjust all VOICE mode param-HINTeters (change voices, mute tracks, pan, and change volume settings)while listening to the results in real time! Each preset pattern has 6 variations or “sections” — INTRO, NORMAL, VARI., FILL1, FILL2, and ENDING.INTRO.introductionNORMAL.normal pattern, used for the “verse” of a song.VARI.variation, normally used as a chorus or bridge.FILL1.fill-in 1, transition from normal to variation.FILL2.fill-in 2, transition from variation to normal.ENDING.ending pattern.When the INTRO, FILL1, and FILL2 sections are selected while playing apattern in the SONG mode, the section plays through once and is auto- IMPORTANT matically followed by either the NORMAL or VARI. INTRO isfollowed by NORMAL, FILL1 is followed by VARI. And FILL2 is followed by NORM. The FILL1 and FILL2 patterns automatically provide smooth, “musical” transitions between the NORMAL and VARI. Playback stops automatically after the ENDING section.The currently selected section is shown between square brackets below the pattern number and name.The “Normal” selection is currently playing.
You can change patterns directly by pressing the appropriate key on the micro-keyboard while the cursor is located at either the pattern number or the section name on the display.The micro-keyboard section keys do not produce any sound when used toswitch sections.DETAILThe newly selected section will begin playing from the top of the next measure. “next” will appear below the pattern number until the new section actually begins playing.“Fill1” has been selected and will begin playing from the top of the next measure.You can also change sections by placing the cursor over the sectionname and using the − 1 and +1 keys.DETAIL–1+1to select sections.NOYES. With the cursor positioned over the pattern number you can use the − 1 and +1 keys to select different patterns, and use the micro-key- board section keys to select different sections during playback. In all cases the newly selected pattern or section will begin playing from the top of the next measure.
“next” will appear below the pattern number until the new pattern or section actually begins playing.If you move the cursor to the tempo parameter (indicated by a note symbol and a number in the upper right corner of the display), you can useHINTthe − 1 and +1 buttons to set the playback tempo to anywhere from 30to 250 beats per minute. Please note, however, that if you play a patternthat has a slow default tempo at a fast tempo, some notes may be un-naturally cut off.–1+1 to set tempo from 30 to 250 beats per minute.NOYES. To enter a chord, press the key corresponding to the desired chord root, then the key corresponding to the desired chord type (the chord type keys alternately select the lower and upper chord types marked watch the display), and finally the ENTER key.The chord is actually entered only when the ENTER key is pressed. Until the ENTER key is pressed, the newly specified chord root and type will flash on the display.Actually, you can press the chord type key and then the root key, theorder doesn’t matter.DETAIL. Muting Tracks ———————————————————————————The mute “buttons” below each track name can be used to mute (turn off) the corresponding track, either while playback is stopped or running.
Move the cursor to the appropriate mute button, then press +1/YES to mute that track, or press − 1/NO to turn a muted track back on.–1+1NOYESm mMute off.Mute on.The letter “M” appears in the mute buttons of tracks that are muted. Tracks that do not contain data cannot be muted, and their mute buttons appear as white rather than dark blocks. Please note that a dark mute button will appear reversed when the cursor is placed over it (white against the dark cursor). In the display to the left, for example, TR1 through TR4 contain no data and are therefore white. The C1 and C2 tracks have been muted, and the cursor is currently over the C2 track mute button. Once you know how to select patterns, sections, and enter chords in the SONG mode (see the preceding sections), recording a basic accompaniment in real time is easy. Repeats and tempo changes can be added later using the step record method (page 59).Use the MODE key to select the SONG mode and, with the cursor located over the song number at the top of the display, use the − 1 and +1 keys to select an empty song number if necessary.
Empty songs are indicated by a row of asterisks (“.”) following the song number. Move the cursor to the “REC REAL STEP” area of the display, then press the left cursor key to select the “REAL” mode (if it isn’t already selected). The selected record mode is indicated by a pair of arrows on either side of the mode name — i.e. Select “Pat” to record pattern changes.NRecord.Press the / key to begin recording pattern changes.
The met-ronome will sound and you’ll be given a two-measure count-in priorto the first measure actually recorded. The count-in is also indicatedby negative numbers in the “Meas”parameter. If a 4/4 pattern is se-lected, for example, the count-in willrun from measure “ − 08” to “ − 01”,Realtime recording in progress.then recording will begin frommmeasure “001”.Minus measure numbers duringcount-in. Since you selected “Pat” recording, the cursor will automatically move to the pattern number when you start recording. All you have to do to record pattern and section changes is to select the required pattern numbers via the − 1 and +1 keys, and section changes via the appropriate micro-keyboard keys. Remember that all pattern and section changes occur from the top of the next measure after the change is entered. Also keep in mind that the INTRO will automatically switch to the NORMAL pattern, FILL1 will automatically switch to the VARI.
Pattern, and FILL2 will automatically switch to the NORMAL pattern.The sequencer tracks (TR1 through TR4) will not sound during accompa-niment track recording even if they contain data.DETAILMStop recording.Stop recording either by pressing the / key or by selecting theENDING section. The normal SONG play mode is automatically re-selected when you stop recording. Record.Press the / key to begin recording chord changes. The metro-nome will sound and you’ll be given a two-measure count-in.Since you selected “Chd” recording, the cursor will automatically move to the chord when you start recording. All you have to do to record chord changes is to enter the required chords as described in the “Changing Chords” section (page 47).Chord changes actually occur on quarter-note divisions, so try to pressthe ENTER key to enter each chord either exactly on the beat or a frac-HINTtion of a section before the beat on which you want the chord change tooccur. Press the / key to stop recording when all the required chord changes have been entered.
The normal SONG play mode is automatically re-selected when you stop recording.Press the / key to play back and check out the accompaniment you’ve just recorded.Note that the chord currently playing is shown in the normal chord symbol location on the display, while the next chord is shown to its right. If theDETAIL same chord continues for more than 2 measures, however, the next chordis not shown.Don’t worry if you’ve made a few mistakes. Simple slip-ups made in therealtime record mode can usually be corrected in the step record mode HINTdescribed next. The STEP record mode provides four different accompanimenttrack data-entry displays: “Pat” (pattern changes), “Chd” (chord changes), “Rpt” (repeats), and “Tmp” (tempo changes). In each of these you can individually enter or delete pattern, chord, repeat, and tempo changes at precisely the required locations.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.Press the ● key to engage the record ready mode. The red LED above the ● key will light. Move the cursor to the “REC REAL STEP” area of the display, then press the right cursor key to select the “STEP” mode (if it isn’t already selected).
The selected record mode is indicated by a pair of arrows on either side of the mode name — i.e. Any pattern number from 001 through 200 (presets and user patterns) can be entered for each measure. Only the preset patterns, however, have sections. The pattern name appears to the right of the pattern number. Only one pattern & section can be entered per measure, and that pattern will begin playing from the beginning of the measure at which it is entered.A pattern entered once will continue to play until a different pattern is entered. If you want to change sections without changing the pattern number, only the section need be entered.In the example display to the left the intro section of pattern 006 plays for the first measure, the normal section of the same pattern is selected in measure 2.Although the default time signature for the selected pattern is automatically selected, the time signature value for each measure can be changed as required.
Yamaha Qy20 Sequencer Manual Free
The available time signatures are:1/16.16/161/8.16/81/4.8/4. If a time signature is selected that results in shorter measures than the pattern default, the pattern will be truncated (cut short) accordingly. If the selected time signature results in longer measures than the pattern default, the pattern will be repeated to fill the specified measure length.● Erasing Pattern Changes The function key immediately to the right of “ers” on the display can be used to erase the time signature, pattern number, or section data at which the cursor is located. If you erase a time signature change, the default time signature value for the current pattern will be automatically re-selected. You can specify the bass note to be used with any chord by using the OCT DOWN key (note the “BASS” marking below the key).
Enter the chord in the normal way, press the OCT DOWN/BASS key (a slash will appear below the chord name), then press the key on the micro-keyboard corresponding to the desired bass note (the bass note will appear to the right of the slash).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 OCTHINTDOWN/BASS key to specify the bass note. A bass note can be removed from a chord by placing the cursor at the chord and either re-entering the chord or pressing the OCT DOWN/BASS key twice. Chords can be syncopated (i.e.
The chord actually begins an eighthnote before the beat on which it is entered) by using the OCT UP key (note the “ e c” marking below the key). Enter the chord in the normal way, then press the OCT UP key (a syncopation symbol will appear below the chord name).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 theHINTOCT UP key. Syncopation can be removed from a chord by placing thecursor at the chord and pressing the OCT UP key.The function key immediately to the right of “ers” on the display can be used to erase the chord at which the cursor is located.Press to erase chord at cursor location. Tion of the song between the “ B” and “ N” marks is played twice (repeated once), then the song continues until the next repeat section or the end of the song.You can even enter repeats within repeats (this is known as “nesting”repeats). Up to 10 repeats can be nested.HINT● Erasing RepeatsThe function key immediately to the right of “ers” on thedisplay can be used to erase the repeat at which the cursor islocated.Press to erase repeat atcursor location.Any material recorded to the accompaniment tracks in therealtime record mode after insertion of repeats will not be af-DETAIL fected by those repeats.
Place the cursor in the center of the measure/beat at which you want the tempo change to begin, then use the − 1 key to enter a “rit” (tempo decrease) value or the +1 key to enter an “accel” (tempo increase) value. The amount of tempo change is specified in beats per minute, so if the starting tempo is 120 and you enter an “accel” value of 10, the tempo will increase by 10 beats per minute to 130. The only limitation is that you can’t enter tempo changes that result in a tempo slower than 30 or higher than 250. In the next sample display a ritardando of 25 beats per minute is set to occur over six beats.The wiggly arrow that represents the duration of the tempo change only appears within the two measures shown on the display. You can enterDETAIL much longer tempo change lengths (up to a maximum of 99 measures), but the arrow will not appear when you scroll the screen to see subsequent measures.● Erasing Tempo Changes The function key immediately to the right of “ers” on the display can be used to erase the tempo change at which the cursor is located.
Using the QY20 As a Drum MachineAlthough you can create complete accompaniments using the preset patterns as described in the preceding section, you can also mute the C1, C2, and Ba tracks, leaving only the Dr track, so the QY20 functions as a drum machine. You can create drum-only accompaniments using the drum tracks from the preset patterns, or record original drum tracks for your own patterns, as described in the following chapter.It’s also possible to record drum voices to the sequencer tracks as described in the “Creating a Complete Song” chapter (page 108). Creating Original Patterns6Recording an OriginalThe Pattern Jobs.96ABC Pattern.781: Copy Pattern98Realtime Pattern Recording782: Quantize99Step Pattern Recording863: Transpose.100Playback In the Pattern Mode.944: Modify Velocity101Accompaniment Without the5: Modify Gate Time102. Limitations of ABC95.6: Pattern Name1037: Clear Track.1048: Clear Pattern.105. In the realtime record mode you select the track you want to record (C1, C2, Ba, or Dr), and then play the part on the micro-key- board or an external MIDI keyboard in real time.Use the MODE key to select the PAT (pattern) mode and, with the cursor located over the pattern number at the top of the display, use the − 1 and +1 keys to select an empty user pattern number (the programmable user patterns are numbered 101 through 200).
Empty patterns are indicated by a row of asterisks (“.”) following the pattern number. Since your original ABC pattern will be automatically re-harmonized as required by the QY20 ABC system, there are a few rules you should fol-MUSICALlow to ensure the best results:NOTE1: You’re recording in C, so think in C.2: Use primarily the root, 3rd, 5th, and major 7th.3: Keep it rhythmic avoid melodic lines.To delete mistakes, simply play the note to be deleted on the microkeyboard while holding the function key next to “Del” on the display. All corresponding notes that occur while the micro-keyboard key is held will be deleted.Press while holding a note on the micro-mkeyboard to delete all occurrences of thatnote for as long as the note is held.Press the / key to stop recording. The normal PAT play mode is automatically re-selected when you stop recording.
Press the ● key to engage the record ready mode. The red LED above the ● key will light.“REC” appears when the m record mode is engaged.Move the cursor to the “REC REAL STEP” area of the display, then press the right cursor key to select the “STEP” mode (if it isn’t already selected). The selected record mode is indicated by a pair of arrows on either side of the mode name — i.e. Move the cursor to the track area of the display, and then shift the cursor sideways to select the track you want to record: “C1” = chord 1, “C2” = chord 2, “Ba” = bass, “Dr” = drums.
If you are recording a new pattern or track, use the − 1 and +1 keys to select the voice you want to use for that track once the track has been selected. If you don’t intend to use a track, set the voice number to “OFF.”Move the cursor vertically to move to other areas of the screen. An underline will remain below the selected track. Move the cursor to the note, velocity, and gate time parameters and set as required using the − 1 and +1 keys for the first (or next) note to be entered.The velocity and gate time settings in the step recordDETAILdisplay correspond to the following numeric values inthe edit displays (to be described later):VelocityGate time“p”=56(Staccato,“mf”=88Normal, Slur).“f”=120Gate Time“Staccato”=50% normal note length.“Normal”=90% normal note length.“Slur”= 99% normal note length. The Note DisplayThe 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 measure, then the display will scroll to show the extra notes.
On the other hand, if the time signature is 3/4, then the 4th beat is not used and appears as double dashes on the display (“”).Moving Around In the Note DisplayYou can move the cursor down to the note display (the note pointer will appear filled) and move the note pointer to any position at which you want to enter a note, or to any note that you want to delete. You will actually hear the appropriate note or chord when the note pointer is moved to an existing note symbol. When you move the note pointer past the end of the note display, the next measure will appear. If you move past the last measure in the pattern, the first measure of the pattern will appear.
The four function keys immediately to the right of the display provide access to a number of handy functions in the step record mode. The “del” key deletes the note or chord at thenote pointer. The “Bdl” key moves the note pointer backward by the currently selected note length and deletes any notes that exist at that location. The “rst” key enters a rest of the currently selected note length at the note pointer position. And the “tie” key lengthens the previously entered note by “tying” another note of the same length and pitch to it (the “tie” key only works immediately after entering a note).
Accompaniment Without the Limitations of ABCIf you want total harmonic freedom in your accompaniment tracks, unrestrained by the limits of the ABC system, simply record the accompaniment for your song in sections, recording the required chord/harmonic changes directly into as many patterns as your song requires(remember, patterns can be up to 8 measures long). Then, when recording the accompaniment tracks in the SONG mode, use the “-” chord type so that the pattern data is played back unmodified.
You might need to record several patterns containing the various chord changes you need for your song, but you don’t have to worry about how the ABC system might alter your accompaniment when it is played back. User Patterns Only!Since all of the pattern jobs modify the pattern data in some way, they can only be used on user patterns (numbers 101 through 200). If you attempt to use a pattern job while a preset pattern is selected, the error display shown to the left will appear. Press any key (except the micro-keyboard) to return to the job list.Returning to the Pattern Play ModeThe function button next to “Exit” on the display can be used to exit from any pattern job, and then from the job list thereby returning you to the normal pattern play mode.mmPress to exitPress to exit to patternto job list.play mode.
Contents.HistoryReleased by Yamaha in 1990, the QY10 was the first device offering the facilities of a music workstation in a portable package. In response to its design, the music technology press the term ', a portemanteau of the words ' and 'workstation'. The QY10 sold well, indicating that there was a market for these devices, so Yamaha followed it up in 1992 with the more powerful. Subsequently, both Yamaha (most Yamaha QY sequencers) and (the ) have produced walkstations, although neither officially use the term for their products. A QY10 docked in a Novation MM10In 1992, took advantage of the QY10's success by releasing a companion keyboard, the. The top of the keyboard has a slot which securely accommodates a QY10, and short cables connect the two units together.
With two octaves of full size velocity-sensitive keys, the MM10 overcomes a significant limitation of the QY10: its lack of a proper keyboard. Combined, they constitute a complete, if basic, music workstation.During the 1990s, electronic musical equipment became more dependent on large and sophisticated graphical. However, the QY10's display is a small panel which accommodates only 16 characters of text. This made it feasible for the Kentucky LCD Interface Project to modify the QY10 with a as an for the.The QY10 was discontinued in the mid 1990s.SequencerThe main feature of the QY10 is its eight track sequencer. With its 'pattern'-based design, it was more suited to supporting song writing rather than creating full musical compositions.A pattern is a short sequence of backing music played on, and two other. Patterns for various musical styles are built into the QY10, for example European,.
Users may also write their own patterns, which must be written in the of C. When playing a song, the QY10 automatically rescales patterns to match a selected.The eight tracks of the sequencer are thus divided into two groups: four standard sequencer tracks and four tracks dedicated to pattern playback. The latter are typically programmed as one 'backing track' which stores a sequence of pattern numbers and chord changes.The QY10's sequencer data is maintained by an internal back-up battery, but it may be also be stored externally by transferring it to a suitable device (e.g. A equipped ).Tone generatorThe QY10's tone generator is a -based utilising Yamaha's 12- Advanced Wave Memory synthesis technology. The tone generator is eight part multi-timbral (i.e. Eight instruments may sound at once) and 28 note (i.e.
28 notes may sound at once), which provides adequate support for sequences written on the unit. In other respects, however, the tone generator is quite limited. Only 30 instruments and one drum kit with 26 sounds are available. Furthermore, instruments can only be centred or completely left or right. These limitations can be understood in the context of the QY10's primary role as a composition tool, rather than as a musical instrument.ApplicationsAlthough the primary use of the QY10 is as a portable composing tool, it has other applications.With its pattern-based sequencing system, it is particularly suited for use as an device. Unlike other sequencers in the QY series, however, the QY10 cannot auto-harmonise its backing tracks to chords played on an external MIDI keyboard.Another application is as a general purpose MIDI sequencer, controlling instruments with far superior sounds than those available from its own tone generator. For this use, however, it has several disadvantages, including fixed MIDI channel assignments and limited support for MIDI control information.
The pattern-based design of its sequencer might also be considered a disadvantage in this context.LegacyThe QY10's legacy is the introduction of the walkstation and the QY sequencer. It has also influenced the physical design of many of Yamaha's subsequent devices, for example the, the and the sampler.
The, and have a small lip on the right hand end of the keyboard to accommodate a QY or SU sized module.References.