Yamaha QY70 Owner's Manual
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Yamaha QY70 Owner's Manual

Yamaha music sequencer owner's manual
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  • 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 in- strument contains no user-serviceable parts. If it should appear to be malfunctioning, discontinue use immedi- ately and have it inspected by qualified Yamaha ser- vice 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 If this should happen, consult a physician im- mediately. SAVING USER DATA • Save all data to an external device such as the Yamaha MIDI Data Filer MDF2, in order to help prevent the loss of important data due to a malfunction or user operat- ing error.

  • Page 5: Table Of Contents

    1: The QY70 — An Overview ... 5 Sequencer Functions ... 6 Accompaniment Sequencing ... 7 Voices & Effects ... 8 2: Power & Connections ... 9 Power Supply ... 9 Using Batteries ... 9 When to Replace the Batteries ... 10 Using a Power Adaptor ...
  • Page 6 10: Creating Original Accompaniment Patterns ... 137 The Preset Phrases ... 137 Combining Phrases In the Pattern Mode ... 139 Recording Original Phrases ... 144 Realtime Phrase Recording ... 144 Step Phrase Recording ... 150 Pattern Voice mode ... 151 The Effect Send Display ...

  • Page 7: 1: The Qy70 - An Overview

    T h e Q Y 7 0 — A n O v e r v i e w T h e Q Y 7 0 — A n O v e r v i e w The QY70 is a sophisticated music production system with a 16-track sequencer, a high-quality tone generator that provides 519 voices and 20 drum kits, and advanced auto-accompaniment capabil- ity all integrated in a compact, easy-to-handle package.

  • Page 8: Sequencer Functions

    The QY70 sequencer has 16 “normal” sequencer tracks to which you can individually assign any of the internal voices and record either via the QY70’s own micro keyboard or an external keyboard connected to the QY70 MIDI IN connector. In the “replace” real-time record mode the QY70 records exactly what you play as you play it;...

  • Page 9: Accompaniment Sequencing

    Accompa- niments are produced by specifying a sequence of “patterns” to be played rather than by recording individual notes or chords. The QY70 provides 128 preset accompaniment “styles”, and memory for up to 64 original user “styles”...

  • Page 10: Voices & Effects

    MIDI controller via the MIDI interface, or directly from a personal computer. The QY70 also features a high-quality internal DSP (Digital Signal Processor) system which provides a...

  • Page 11: 2: Power & Connections

    P o w e r & C o n n e c t i o n s Your QY70 will run either from batteries or an optional AC adaptor. Follow the instructions below according to the power source you intend to use.

  • Page 12: When To Replace The Batteries

    Replace the compartment cover, making sure that it locks firmly in place. When the batteries run down and are no longer able to operate the QY70, the sound may become distorted and the following display will appear: When this display appears, replace the batteries with a complete set of six new batteries.

  • Page 13: Using A Power Adaptor

    Using a Power Adaptor Plug the DC output cable from a Yamaha PA-3B AC Adaptor (avail- able 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 14: Setting Up

    What you will connect the QY70 to, and what you will connect to the QY70, will depend entirely on your individual requirements, and it would be impossible to cover all possibilities here. A few examples are provided below to help you get started.
  • Page 15 LINE OUT/PHONES Jack This miniature stereo phone jack can be used to connect the output of the QY70 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 16: Audio Connections

    The simplest way to monitor the QY70 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, however, 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 17: Midi Connections

    Connect the MIDI OUT connector of the keyboard to the MIDI IN connec- tor of the QY70, and make sure that the QY70 HOST SELECT switch is set to MIDI. The connected MIDI keyboard will play the voice assigned to the currently selected sequencer track.

  • Page 18: Connecting To A Personal Computer

    IMPORTANT! • If the QY70 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) function 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 QY70 and any subsequent devices connected to the QY70 MIDI OUT connector.

  • Page 19: 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 QY70 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 20 Connecting to an NEC PC-9801/9821 Series Computer The NEC PC-9801/9821 computers are widely used in Japan. Connect the TO HOST connector of the QY70 to the RS- 232C port on your NEC computer, using a standard 8-pin MINI 25-pin D-SUB cross cable. Set the HOST SELECT switch to the “PC-1”...

  • Page 21: About The Midi Driver

    If you use Windows95 or Windows3.1 in your computer, the appro- priate “MIDI driver” needs to be installed. First connect your QY70 to the computer via the TO HOST jack as shown above, and install the Yamaha CBX Driver for Windows95 (if you use Windows95) or the Yamaha CBX-T3 Driver (if you use Windows3.1)
  • Page 22 This completes installation of the MIDI driver. Remember to set the Host Select switch to PC-2 when you connect your QY70 to an IBM-PC/AT series or NEC PC-9801/ 9821 series computer. Installing the Yamaha CBX-T3 Driver (for Windows3.1) Z Insert the floppy disk labelled “QY Data Filer for Windows”...
  • Page 23 This completes installation of the MIDI driver. Remember to set the Host Select switch to PC-2 when you connect your QY70 to an IBM-PC/AT series, or PC-1 when you connect to an NEC PC-9801/9821 series. C o n n e c t i o n s...

  • Page 24: 3: 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 QY70’s many advanced features. Left Side Panel...

  • Page 25: Power Switch

    Front Panel q POWER Switch Slide to the “ON” position to turn the QY70 on, or to the “OFF” 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 QY70 with optimum ease and efficiency.
  • Page 26 [SONG] key while holding the [SHIFT] key. r [PATT] Key The [PATT] key selects the QY70 PATTERN mode from any other mode, and switches between the PATTERN, PATTERN VOICE, and PATTERN EFFECT displays. t [SHIFT] Key The [SHIFT] key modifies the the function of certain other keys in certain situations (e.g.
  • Page 27 C o n t r o l s y [EXIT] Key No matter where you are in the QY70 display hierarchy, the [EXIT] key will take to the next highest level (effectively “backing up” one step — unless you’re already at the top display).
  • Page 28 [MENU] and Function Keys The [MENU] key calls a menu of functions or sub-modes that can be accessed from the current QY70 mode, and the function keys (the four small keys to the right of the display) select the corresponding item from the menu that appears on the display.
  • Page 29 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 QY70 screen. Use the cursor keys (up and down only) to select job number 02 “Modify Velocity”.
  • Page 30 !2 Micro Keyboard This tiny 2-octave keyboard makes it possible to program the QY70 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 31 T h e C o n t r o l s 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 specify chords).

  • Page 32: Volume Control

    CAUTION! • Set the VOLUME control to “MIN.” when connecting the QY70 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 33: 4: Play The Demo Songs

    P l a y t h e D e m o S o n g s After you’ve set up and made all necessary connections, you might like to play back the QY70 demo songs to hear a few examples of what it can do:...
  • Page 34 C Start Playback Press the sequencer [ W ] key to start playback. Use the VOLUME control to set the optimum listening level. V Stop Playback Although playback will stop automatically when the current song is finished, you can stop playback at any time by pressing the sequencer [ A ] key to stop playback.

  • Page 35: 5: Easy Accompaniment

    NOTE • In addition to the preset patterns, the QY70 has memory for 384 original patterns (i.e., 64 user accompaniment “styles” x 6 variation patterns) which you can create as described in “Creating Original Accompaniment Patterns”, beginning on page 137.
  • Page 36 The SHIFT-Number Entry Method Numeric values can be directly entered by using the black micro-keyboard keys (numbered 1 through 0) while holding the shift key. To enter the number “16”, for example, press the “1” and then the “6” keys (“F#/Gb” and “7 (b9) key.
  • Page 37 E a s y A c c o m p a n i m e n t In cases in which a negative number needs to be entered (a TRANSPOSE value, for example) press the leftmost micro-keyboard key — the lowest “E” key — to switch between “+”...
  • Page 38 V Listen to the Style’s Variation Patterns Each preset style has 6 variation patterns or “sections” — INTRO, MAIN A, MAIN B, FILL AB, FILL BA, and ENDING. There’s also a “BLANK” section that can be used to create breaks. INTRO ...
  • Page 39 E a s y A c c o m p a n i m e n t You can change sections directly by pressing the appropri- ate key on the micro-keyboard while the cursor is located at either the style number or the section name on the display. The newly selected section will begin playing from the top of the next measure.
  • Page 40 B Select Different Styles & Patterns (Sections) With the cursor positioned over the style number you can use the [-1] and [+1] keys to select different styles, and use the micro-keyboard section keys to select different patterns (sec- tions) during playback. In all cases the newly selected style or pattern (section) will begin playing from the top of the next measure.

  • Page 41: Changing Chords

    E a s y The QY70 features a sophisticated ABC (Auto Bass Chord) system that automatically re-harmonizes the accompaniment to match chords you specify. This makes creating complete accompaniment tracks fast and easy … just select a pattern, then specify the required chord changes (details in the next section).
  • Page 42 C Enter a Chord Note that the lower octave of the micro-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. 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 …...
  • Page 43 E a s y A c c o m p a n i m e n t 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. NOTE •...
  • Page 44 V Try Out the Various Chords with Different Patterns During playback you can move the cursor up to the style number, select a different pattern (section), then move the cursor back to the chord symbol and try different chords with the new pattern.

  • Page 45: Fingered Chord Function

    You do not need to press [ENTER] for the newly entered chord using this procedure. Preset Chord Templates The QY70 also features preset chord progression templates that can re-harmonize the accompaniment patterns to match preset chord progres- sions. This is useful when you practice playing along with or studying the “typical”chord progressions for a variety of musical genres.

  • Page 46: Record A Complete Accompaniment

    Record a Complete Accompaniment The QY70 provides two ways to record an accompaniment by specifying patterns and chords: “realtime” and “step” recording. The realtime method is the fastest and easiest, letting you record pattern and chord changes “on the fly.” The step method gives you more detailed control, and is an excellent way to add the finishing touches to an accom- paniment recorded in real time.
  • Page 47 E a s y A c c o m p a n i m e n t “Pt” track C Engage the Record Ready Mode Press the [ S ] key to engage the record ready mode. The red LED above the [ S ] key will light. The record mode selectors 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 48 Selected record mode button B Select the Starting Pattern, Chord, & Tempo Move the cursor to the style number, section, chord, and tempo parameters, and set as required. NOTE • It’s sometimes easier to set a slow tempo for realtime recording, so you have plenty of time to enter pattern and chord changes.
  • Page 49 FILL BA will automatically switch to the MAIN A pattern. You should end your accompaniment track by entering either the ENDING section or the QY70 “End Pattern” (style number 129), otherwise your accompaniment will play back indefinitely. M Stop Recording Stop recording by pressing the [ A ] key.
  • Page 50 < Engage Record Ready Again and Select “Cd” Press the [ S ] key to engage the record ready mode again (the “REPL” mode will still be selected), then move the cursor to the track section of the display and select “Cd” in order to record chord changes.

  • Page 51: Stop Recording

    E a s y A c c o m p a n i m e n t NOTE • Chord changes actually occur on quarter-note divisions, so try to press the [ENTER] key to enter each chord either exactly on the beat or a fraction of a section before the beat on which you want the chord change to occur.

  • Page 52: Recording Tempo Changes

    If you want your accompaniment to include tempo changes, they can easily be added after the pattern and chord changes have been re- corded: Select the “Tm” (Tempo) track, press the [ S ] button to engage the record ready mode (only realtime replace recording can be selected for the tempo track), press [ W ] to start recording (the cursor will automatically move to the tempo parameter), then use the [-1/NO] and [+1/YES] keys or the SHIFT-Number entry method to make the required tempo changes in...

  • Page 53: Step Accompaniment Recording

    E a s y 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 pattern 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 54: 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] key to select the step record mode. An inverse “R” will appear in the selected record mode button.
  • Page 55 E a s y A c c o m p a n i m e n t 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] key to call the menu shown below, and...

  • Page 56: 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 Style number area Moving Around &...
  • Page 57 E a s y A c c o m p a n i m e n t 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.

  • Page 58: 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 signa- tures are: 1/16 … 16/16 1/8 … 16/8 1/4 … 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.

  • Page 59: Cd" - Step Record Chord Changes

    E a s y “Cd” — Step Record Chord Changes Here’s how the STEP record chord display will look if you’ve se- lected an empty song (the appropriate chord data will appear if the se- lected song contains data). Measure number Time signature Place cursor at beat on which chord is to be...
  • Page 60 E a s y A c c o m p a n i m e n t Specifying the Bass Note For a Chord You can specify the bass note to be used with any chord by using the [OCT DOWN] key (note the “BASS” marking above the key).
  • Page 61 E a s y A c c o m p a n i m e n t 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] key to specify the bass note.
  • Page 62 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] key. Syncopation can be removed from a chord by placing the cursor at the chord and pressing the [OCT UP] once or twice so that the syncopation symbol disappears.

  • Page 63: 6: The Song Voice Mode

    T h e S o n g V o i c e M o d e The QY70 has 519 voices and 20 drum kits that can be se- lected, played, and assigned to the 16 SONG mode sequencer tracks via the SONG VOICE mode.
  • Page 64 Mute/Solo The Mute/Solo (“M/S”) parameters below each track number in the VOICE mode mixer display can be used to mute (turn off) or solo (only that track will be monitored) the corre- sponding track. Move the cursor to the appropriate M/S param- eter, then use the [-1] key to alternately mute or un-mute that track, or use the [+1] key to alternately solo or un-solo the track.
  • Page 65 T h e S o n g The Voices Due to the large number of voices provided in the QY70, they are organized into 21 categories, as follows: Prefix Category Piano Chromatic Percussion Organ Guitar Bass Strings Ensemble Brass Reed...
  • Page 66 NOTE • In any QY70 mode, the micro keyboard or an external MIDI keyboard plays the voice assigned to the currently selected track. A MIDI keyboard will also play the voice assigned to a track with the same number as the external keyboard’s MIDI transmit channel unless the “ECHO BACK”...
  • Page 67 T h e S o n g V o i c e M o d e 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 parameters (change voices, mute tracks, pan, and change volume    settings) while listening to the results in real time!

  • Page 68: The Effect Send Display

    V o i c e M o d e The Effect Send Display The QY70 features a high-performance internal digital signal process- ing system which provides a range of effects including reverb, delay, modulation, distortion, and more. Three independent effect blocks are provided —...
  • Page 69 You can return to the SONG VOICE mixer display by pressing the [EXIT] key. NOTE • The effect settings apply only to the QY70’s internal voices — i.e. they will not affect the sound of an external tone generator or synthesizer being driven by the QY70. •...

  • Page 70: Voice Editing

    M o d e Voice Editing The QY70 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 key next to “Voice Edit”...
  • Page 71 T h e 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. 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 72 Filter Controls The filter controls affect the basic “timbre” of the sound. CUT (Cutoff Frequency) Sets the cutoff frequency of the low-pass filter from “-64” through “0” to “+63”. Negative values lower the cutoff frequency, producing a “darker” sound. Positive values raise the cutoff frequency, producing a brighter sound.
  • Page 73 T h e S o n g 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...

  • Page 74: 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 T h e S o n g V o i c e Drum Edit M o d e “Ds1”...
  • Page 75 T h e Select the specific drum set to be edited by placing the cursor on the drum set number and selecting via the [-1] and [+1] keys 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 keyboard display at the top of the display panel.
  • Page 76 CUT (Cutoff Frequency) Sets the cutoff frequency of the low-pass filter from “-64” through “0” to “+63”. Negative values lower the cutoff frequency, 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 77: 7: Creating A Complete Song

    C r e a t i n g A C o m p l e t e S o n g C r e a t i n g A C o m p l e t e S o n g In chapter 5, “Easy Accompaniment”, we learned how to record the accompaniment tracks in the SONG mode.

  • Page 78: Realtime Sequencer Track Recording

    C r e a t i n g A C o m p l e t e S o n g Realtime Sequencer Track Recording In the realtime record mode you select the track you want to record (1 through 16), and then play the part on the micro-keyboard or an external MIDI keyboard in real time.
  • Page 79 C r e a t i n g A C o m p l e t e S o n g Track NOTE • Before engaging the record mode you can also set the micro-keyboard “velocity” via the “VELO” param- eter.
  • Page 80 C r e a t i n g A C o m p l e t e S o n g V Select the Realtime Replace or Overdub Record Mode To select the realtime replace record mode — the mode you’ll want to use when recording a new song —...
  • Page 81 Although the default count-in is one measure, you can set the QY70 to provide anywhere from one to eight count-in measures via the utility mode (page 220). The current count-in measure number is indicated by a negative number in the measure number section of the display.
  • Page 82 If you select the “MULTI” mode in step V on page 78, the QY70 will simultaneously record data received over MIDI channels 1 to 16 onto the corresponding sequencer tracks (1 to 16). This is useful...

  • Page 83: Step Sequencer Track Recording

    C r e a t i n g A C o m p l e t e S o n g 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 84 C r e a t i n g A C o m p l e t e S o n g Track C Engage the Record Ready Mode Press the [ S ] key to engage the record ready mode. The red LED above the [ S ] key will light.
  • Page 85 C r e a t i n g A C o m p l e t e S o n g B Engage the Record Mode Press the [ W ] key to engage the step record mode. The step record display shown below will appear. Measure/beat/clock display.
  • Page 86 Chords are also indicated by a dot. Here’s how the display will look after two 8th notes have been entered. NOTE • If you use an external MIDI keyboard for step recording, the QY70 always accepts velocity from the external keyboard regardless of the “VELO” setting. (Note length) 32nd, 16th, 16th triplet, 8th, 8th triplet, quarter, quarter triplet, half, whole.
  • Page 87 C r e a t i n g A C o m p l e t e S o n g 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 measure, then the display will scroll to show the extra notes.
  • Page 88 C r e a t i n g A C o m p l e t e S o n g The Step Mode Function Keys The four function keys immediately to the right of the display provide acces to a number of handy functions in the step record mode.
  • Page 89 C r e a t i n g A C o m p l e t e S o n g Measure number (001 ... 999) < Complete the Song Repeat steps N and M until the current track is complete, then press [ A ] to stop recording and select the next track for recording, as necessary.

  • Page 90: 8: Playback Control

    P l a y b a c k C o n t r o l The normal SONG mode display includes all the parameters and controls you need for song playback. Press the [SONG] key to go to the SONG play mode (depending on the current mode, you may need to press the [SONG] key more than once).
  • Page 91 P l a y b a c k Selecting a Song The QY70 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...
  • Page 92 [ E ] and [ R ] keys can be used to step or scroll forward or backward through the song’s measures no matter where the cursor is located. Jump Functions For convenient navigation the QY70 has two “jump” modes that let you jump to a specified measure number. Jump Mode Stop Jump...
  • Page 93 P l a y b a c k The jump modes can be selected by moving the cursor to the jump mode symbol and selecting via the [-1] and [+1] keys, or by using the following key combinations: Mode Key Combination Stop Jump [SHIFT] + [ A ] Top Jump...
  • Page 94 The Velocity Meters The area below each sequencer track number is a 5- segment “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 95 When “ON” chords played in the specified “fingered zone” of the micro-keyboard or an external MIDI keyboard are recognized by the QY70 and the chord accompaniment track is reharmonized accordingly. See page 227 for details. C o n t r o l...

  • Page 96: Play Effects

    The QY70 “Play Effects” affect sequence playback in real time, and are not actually recorded with the sequence data. The Play Effects include Groove Quantization and Drum Table Remapping. To access the Play Effects press the [MENU] key while in the SONG mode and press the function key next to “Play Fx”...
  • Page 97 P l a y b a c k C o n t r o l Groove Quantization display    Drum Table display...

  • Page 98: Groove Quantization

    If the Groove display shown below does not appear when “Play Fx” is selected, press the [MENU] key again and press the function key next to “Groove” on the display. “Groove Quantization” is different from standard quantization in that specific beats within a track are shifted away from precise on-the-beat timing to create a natural “groove”.
  • Page 99 P l a y b a c k M/S (Mute/Solo) The Mute/Solo (“M/S”) parameters below each track number in the Groove 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] key to alternately mute or un-mute that track, or use the [+1] key to alternately solo or un-solo the track.

  • Page 100: Drum Table Remapping

    method to select the desired template. No groove template is selected when “- -” appears in the GROOVE TEMPLT parameter location. TIMING The TIMING controls determine to what degree the timing of the notes in the corresponding track is affected by the se- lected groove template.
  • Page 101 P l a y b a c k M/S (Mute/Solo) The Mute/Solo (“M/S”) parameters below each track number 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] key to alternately mute or un-mute that track, or use the [+1] key to alternately solo or un-solo the track.

  • Page 102: Drum Table

    DRUM TABLE This parameter specifies the drum instrument to be remapped for the selected track. 24 choices are available (in addition 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 103: 9: The Song Jobs

    T h e T h e S o n g J o b s The SONG mode includes 25 song “jobs” that perform a variety of important functions. To access and use the song jobs, press the [MENU] key while in the main SONG play mode, then press the “Job”...
  • Page 104 00: Undo/Redo “Event” category 01: Quantize 02: Modify Velocity 03: Modify Gate Time 04: Crescendo 05: Transpose 06: Shift Clock 07: Chord Sort 08: Chord Separate 09: Copy Event 10: Erase Event 11: Extract Event 12: Create Continuous 13: Thin Out 14: Time Stretch Returning to the SONG Mode The [EXIT] key can be used to exit from any song job, and then from the job list thereby...

  • Page 105: Undo/Redo

    This job will “undo” any other song/pattern job, edit, or record function 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. This job will also undo the last undo operation (redo).

  • Page 106: Quantize

    Aligns notes in the specified track to or close to the nearest speci- fied 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 107 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 108 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 109: 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 “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 110 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 111: 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 “M”...
  • Page 112 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 113: 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 “M”...
  • Page 114 T h e S o n g J o b s 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.

  • Page 115: Transpose

    Transposes all notes in the specified part up or down by the speci- fied 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 accompa- niment chord track.

  • Page 116: Shift Clock

    Moves all notes and events in the specified track and range of measures 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” … “16” for the sequencer tracks, or “Tm” for the tempo track.
  • Page 117 T h e 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 118: 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 119: 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 120: 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 121 The “M” parameters below the lower graphic bar specifiy the destination measure:beat to which the data will be copied, as well as the number 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 122: 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 123: 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 124 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] key to return to the job list, or a mode key to go directly to the selected mode.

  • Page 125: 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 126 The “Curve” parameter sets the degree of positive or negative “curvature” 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 127: 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 opera- tions, thus making more efficient use of the available memory. Data type parameter The “TR”...

  • Page 128: 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 se- quencer tracks.

  • Page 129: 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 specified measure number, and all subsequent measures are moved forward to make room. The “M” parameter above the graphic bar specifies the measure at which the newly created measures will be inserted.

  • Page 130: 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 131: 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 132: 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 133: 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 134: 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 135: Normalize

    Actually applies the Play Effect settings to the sequence data, modifying the sequence data accordingly. The Play Effect settings are initialized after execution. The “TR” parameter selects the track(s) to be affected by the Normalize job: “01” … “16” for the sequencer tracks, or “Al” (All) for all sequencer tracks.

  • Page 136: 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 settings). 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 137: 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 138: 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 keys to move the cursor to the character to be entered, then press the [ENTER] key. The character will appear at the character cursor location and the character cursor will ad- vance to the next character position.

  • Page 139: Patterns

    PATTERN mode. The Preset Phrases The QY70 has a total of 4,167 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 140 C r e a t i n g Category NOTE • For details on the phrase category, beat and number, refer to the Preset Phrase List. O r i g i n a l A c c o m p a n i m e n t Drum-a (Pop&Rock) Drum-b (Specific) Drum Fill-a (Pop&Rock)

  • Page 141: Combining Phrases In The Pattern Mode

    C r e a t i n g O r i g i n a l 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 [PATT] key to select the PATTERN mode then, with the cursor located at the style number, select a “user”...
  • Page 142 C r e a t i n g NOTE • The default pattern length for the INTRO, MAIN A, MAIN B, and ENDING 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 143 C r e a t i n g O r i g i n a l Monitoring the Pattern If you press the [ W ] button while entering phrases you can hear how the pattern sounds as the various phrases are added.
  • Page 144 C r e a t i n g The letter “M” appears next to tracks that are muted, and the letter “S” appears when a track is soloed. Clearing Phrases Phrases can be cleared by placing the cursor at the appro- priate phrase number, catgory, or beat and pressing the function key next to “Cler”...
  • Page 145 Repeat the above procedure to complete the remaining sections of the style, as required. NOTE • See “The Pattern Jobs” on page 157 for details on the QY70's pattern jobs which allow considerable versatility in creating and modifying patterns. •...

  • Page 146: Recording Original Phrases

    C r e a t i n g The QY70 makes it easy to create original accompaniment phrases. The PATTERN mode provides two ways to create original phrases: realtime and step 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- keyboard or an external MIDI keyboard in real time.
  • Page 147 C r e a t i n g O r i g i n a l 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.
  • Page 148 C r e a t i n g V Engage the Phrase Record Ready Mode Press the [ S ] key to engage the phrase record ready mode. The red LED will light, and the display will appear something like this: B Select the Realtime Overdub Record Mode Move the cursor to the record mode selector area of the...
  • Page 149 C r e a t i n g O r i g i n a l 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 The phrase is not re-harmonized —...
  • Page 150 NOTE • Since your original phrase will be automatically re-harmonized as required by the QY70 ABC system, there are a few rules you should follow to ensure the best results: O r i g i n a l A c c o m p a n i m e n t 1: Stick to the harmonic environment of your source chord.
  • Page 151 NOTE • See “The Pattern Jobs” on page 157 for details on the QY70’s pattern jobs which allow considerable versatility in creating and modifying patterns. A c c o m p a n i m e n t...

  • Page 152: Step Phrase Recording

    C r e a t i n g 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 153: Pattern Voice Mode

    (The user phrase voice is specified in the phrase record ready mode described on page 146). However, you can also assign any of the QY70’s 519 voices and 20 drum kits to the 8 pattern phrase tracks(D1, D2, PC, BA, C1...C4) via the PATTERN VOICE mode.

  • Page 154: The Effect Send Display

    P a t t e r n s The Effect Send Display The QY70 features a high-performance internal digital signal process- ing system which provides a range of effects including reverb, delay, modulation, distortion, and more. Three independent effect blocks are provided —...
  • Page 155 C r e a t i n g O r i g i n a l 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 (“- -”...

  • Page 156: Voice Editing

    C r e a t i n g The QY70’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 key next to “Voice Edit”...

  • Page 157: Play Effects

    C r e a t i n g O r i g i n a l The QY70’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.
  • Page 158 C r e a t i n g O r i g i n a l A c c o m p a n i m e n t P a t t e r n s Groove Quantization display Drum Table display “Groove”...

  • Page 159: 11: The Pattern Jobs

                       T h e P a t t e r n J o b s T h e P a t t e r n J o b s The PATTERN mode includes 24 pattern “jobs”...
  • Page 160 00: Undo/Redo “Event” category 01: Quantize 02: Modify Velocity 03: Modify Gate Time 04: Crescendo 05: Transpose 06: Shift Clock 07: Chord Sort 08: Chord Separate 09: Copy Event 10: Erase Event 11 : Extract Event 12: Create Continuous 13: Thin Out Returning to the PATTERN Mode The [EXIT] key can be used to exit from any pattern job, and then from the job list thereby returning you to the normal PATTERN mode.

  • Page 161: Undo/Redo

    T h e This job will “undo” any other pattern/song job, edit, or record function 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 162: Quantize

    Aligns notes in the specified track to or close to the nearest speci- fied 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 163 T h e 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 164 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 165: Modify Velocity

    T h e 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 166 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 167: Modify Gate Time

    T h e 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 168 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 169: Crescendo

    T h e 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.
  • Page 170 T h e P a t t e r n J o b s 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.

  • Page 171: Transpose

    T h e Transposes all notes in the specified part up or down by the speci- fied 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”...

  • Page 172: Shift Clock

    Moves all notes and events in the specified track and range of measures 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. The “M”...
  • Page 173 T h e NOTE • The Shift Clock job will not shift data beyond the specified measure range. Therefore, 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 174: 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 175: Chord Separate

    T h e 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 176: 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 re- quired. 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 177 T h e The “M” parameters below the lower graphic bar specifiy the destination measure:beat to which the data will be copied, as well as the number 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 178: 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 179: 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 180 NOTE Note events. Program change events. Pitch bend events. Control change events. When this event type is selected a control change number parameter appears to the right of the even type. The control change parameter determines the MIDI control change number(s) to be extracted: “000” … “127” or “All”. Channel aftertouch events.

  • Page 181: 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 182 The “Curve” parameter sets the degree of positive or negative “curvature” 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 183: 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 opera- tions, thus making more efficient use of the available memory. Data type parameter The “TR”...

  • Page 184: 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 185: Copy Phrase

    T h e 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 186: 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 187: 17: Put Phrase

    T h e Copies the phrase data from a specified pattern track to the speci- fied 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”...

  • Page 188: 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 189: Mix Track

    T h e 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 190: 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 191: Copy Pattern

    T h e 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 192: 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 193: Style Name

    T h e Allows an original name of up to 8 characters to be assigned to the current style. To enter a character, use the cursor keys to move the cursor to the character to be entered, then press the [ENTER] key. The character will appear at the character cursor location and the character cursor will ad- vance to the next character position.

  • Page 194: 12: Editing Songs & Patterns

    E d i t i n g E d i t i n g S o n g s The QY70’s editing capability makes it easy to correct mis- takes made when recording song or pattern phrase data, and to generally refine your sound.
  • Page 195 E d i t i n g The edit display will look something like this (of course, the note data will be different). Song Edit Display Current measure number Top of song One note per line Location (beat-clock) S o n g s &...
  • Page 196 E d i t i n g 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 display. 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...

  • Page 197: Moving Around

    E d i t i n g 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 198: Change Mode Editing

    E d i t i n g 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.

  • Page 199: Insert Mode Editing

    E d i t i n g 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 key next to “del”...
  • Page 200 E d i t i n g C Select an Event Type to Insert, and Set the Event Pa- rameters If the display corresponding to the type of event you want to insert does not appear immediately, use the [-1] and [+1] keys to select the desired event type.
  • Page 201 E d i t i n g S o n g s 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”...
  • Page 202 E d i t i n g bank selection when selecting XG voices. Refer to the XG Normal/Drum voice list in the List Book for details. Note that the program number in the XG Normal/Drum voice list (refer to the List Book) and the MIDI program change number is different: i.e., the program number for “Grand Piano”...
  • Page 203 E d i t i n g S o n g s CAT (Channel Aftertouch) Inserts a channel aftertouch message with the specified aftertouch value. Location 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 204 E d i t i n g 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 manual (refer to the List Book) for details.
  • Page 205 E d i t i n g S o n g s Exc (Exclusive) Inserts a System Exclusive message in hexadecimal format. Refer to the “MIDI Data Format” section of the manual (refer to the List Book) for details. Location Hexadecimal Number Entry Use the [SHIFT] and the micro-keyboard to enter hexadecimal values.
  • Page 206 E d i t i n g 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 manual (refer to the List Book) for details. XG NRPN Inserts NRPN (Non Registered Parameter Number) data using an XG parameter name (“NRPN”, above, needs to...
  • Page 207 E d i t i n g S o n g s 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 Format”...
  • Page 208 E d i t i n g 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 Format” section of the manual (refer to the List Book) for details.
  • Page 209 E d i t i n g S o n g s V Enter the Specified Event Press the [ENTER] key to enter the event as specified. B Return to the Change Edit Mode Press the [EXIT] key to return to the change edit display, and continue editing as required.

  • Page 210: Xg View

    E d i t i n g The XG View function displays XG-related events (RPN, NRPN, System Exclusive, etc.) using the name defined by the XG format. To engage the XG View function press the [MENU] key while in the EDIT mode, then press the function button next to “XG View”...

  • Page 211: View Filter

    E d i t i n g 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] key while in the EDIT mode, then press the function button next to “View Filter”...

  • Page 212: Phrase Table (Pattern Edit Only)

    E d i t i n g Phrase Table (Pattern Edit Only) Phrase Table lets you edit phrase settings for the pattern track currently being edited. To access the Phrase Table function press the [MENU] key while in the EDIT mode, then press the function button next to “Phrase Table” on the display.
  • Page 213 E d i t i n g S o n g s 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.

  • Page 214: 13: Effects & Effect Editing

    E f f e c t s & E f f e c t E d i t i n g The QY70 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...
  • Page 215 E f f e c t s (Variation effect: INSERTION) Reverb effect Chorus effect Variation effect 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”...
  • Page 216 Effect Signal Flow The following diagrams should help you to understand how the QY70 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 217 E f f e c t s & E f f e c t 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”...

  • Page 218: Effect Editing

    E f f e c t s The Reverb Edit, Chorus Edit, and Variation Edit displays can be accessed from the Effect Connection display by pressing the [MENU] key and then the function key next to “Reverb Edit”, “Chorus Edit”, or “Vari. Edit”...
  • Page 219 (Refer to the “Effect Parameter List” in the List Book.) To edit the effect in detail, send the appropriate system exclusive message to the QY70’s tone generator section. How the Variation Effect works in the SONG mode...

  • Page 220: 14: Utility Functions

    U t i l i t y F u n c t i o n s The QY70 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 221 U t i l i t y Once the utility mode has been selected, any of the four utility displays can be called by pressing the [MENU] key and then the appropri- ate function key, 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 222: System Parameters

    The “System” display includes 5 parameters that affect the basic operation of the QY70. Move the cursor to the parameter to be adjusted and set as required by using the [-1] and [+1] keys. CLICK MODE Settings: Off, Record, Rec/Play, Always Determines when the QY70 metronome will sound.
  • Page 223 MASTER TUNE Settings: -102.4 … +000.0 … +102.3 Tunes the overall pitch of the QY70 sound. The Master Tune range is from “-102.4” through “+000” to “+102.3”. Each increment corre- sponds to aproximately 1 cent (a cent is 1/100th of a semitone). A setting of “+000”...

  • Page 224: Midi Parameters

    (i.e., playback of the QY70 is synchro- nized to that of an external sequencer or other device). Please note that the QY70 will not run on its own when this parameter is set to “External”. The QY70 can also control playback of an external MIDI sequencer when this parameter is set to “Internal”.
  • Page 225 MIDI FILTER settings described below. LOCAL CONTROL Settings: Off, On Determines whether or not the QY70’s internal tone generator will be controlled by its own micro-keyboard. When LOCAL CONTROL is “On”, the micro-keyboard controls the internal tone generator.
  • Page 226 PATT OUT CH Settings: Off, 1~8, 9~16 This parameter specifies the MIDI channels on which QY70 pattern playback data will be transmitted. When “Off” pattern playback data is not transmitted. When set to “1~8” pattern playback data is transmitted on MIDI channels 1 through 8, and when set to “9~16”...

  • Page 227: Bulk Dump

    Be sure to properly connect the QY70 to a MIDI data recorder(such as the Yamaha MDF2 MIDI Data Filer) or a computer and set the HOST SELECT switch to the appropriate position before executing the Bulk Dump transmission/reception.
  • Page 228 If you are using the QY70’s MIDI connectors rather than the TO HOST connector, make sure that the MIDI OUT of the external device is connected to the MIDI IN of the QY70. Select the QY70 SONG play mode when receiving one or all song bulk data, and select the PATTERN play mode when receiving one or all style bulk data.

  • Page 229: Fingered Zone

    U t i l i t y The QY70’s advanced ABC system can be controlled from the QY70 micro-keyboard or an external keyboard. The Fingered Zone utility function sets the range of notes in which chords played will be recognized by the QY70 ABC system.
  • Page 230 Chords played within the specified range of either the QY70 micro-keyboard or an external MIDI keyboard are recog- nized. A chart of the chords recognized by the QY70 is provided on the List Book. 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 231: 15: Appendix

    A p p e n d i x Sequencer block Data capacity Note resolution Polyphony Tempo Modes Record modes Tracks Songs Patterns Phrases Chord types Chord templates Play effect Tone generator block Type Maximum Polyphony Multi-timbral capability 24 timbres (last note priority with element reserve, DVA) Preset voices Effects A p p e n d i x...

  • Page 232: Included Items

    Creepers * 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 233: 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 autho- rized distributor for your country.
  • Page 234 The “Memory Full” message appears yet there are still unused songs. The QY70 (tone generator) is slaved to an external sequencer but, there is no sound when the performance is played back from the external sequencer.

  • Page 235: Error Messages

    Power Batt. Low This will appear when the batteries (Size AA x6) powering the QY70 has run down. Replace the entire set of old batteries with a new set of batteries as soon as possible. Factory Set After the power is switched ON, a system diagnosis is run on the QY70’s system.
  • Page 236 This will appear when the received QY bulk data contains an error. This will appear when the QY70 is receiving bulk data. Other MIDI signals cannot be received at this time. This will appear when the MIDI reception buffer of the QY70 has filled up, and processing was not possible.

  • Page 237: Glossary

    A p p e n d i x Glossary Chord root: An alphabetical letter which indicates the root of a chord. The QY70 lets you indicate 12 different chord roots. Chord template: A collection of preset models for chord progressions. The collection includes generic chord progressions for Popular styles as well as Blues and Tension styles.
  • Page 238 Element: A block within the AWM2 tone generator that generates a sound. The voices of the QY70 consist of 1 or 2 elements. Voices that use 2 elements generally have a thicker sound that cannot be achieved when using 1 element.
  • Page 239 Fingered chord: A function that automatically detects chords based on the combination of notes that are played on the keyboard, and converts the playback of patterns to the chords that are detected. Gate Time: The length of time that a note actually sounds.
  • Page 240 An example is the Yamaha MDF2 MIDI data filer. Mixer: On the QY70, 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 241 A type of MIDI message that smoothly changes the pitch. Pitch bend wheel: A controller that smoothly changes the pitch. On the QY70, pitch bend can be applied by holding the [OCT DOWN] key while playing a note on the micro keyboard. Portamento: An effect that smoothly changes the pitch from one note to another note.
  • Page 242 MIDI messages. A p p e n d i x Sequencer tracks: Tracks which record and playback normal MIDI sequence data. The QY70 has 16 sequencer tracks. SMF: See the entry for Standard MIDI File.
  • Page 243 A p p e n d i x RECORDING operations. See the entry for Redo. Utility: On the QY70, the display in which MIDI settings and system settings can be made. Variation effect: One of the QY70’s effects which can...

  • Page 244: Index

    AC Adaptor ... 1, 11, 12, 230 Aftertouch ... 201, 235 Alkaline Batteries ... 1, 9, 230 Attack Time ... 71, 235 Auto Bass Chord (ABC) ... 235 ... 140 Back Delete ... 86 Backup Battery ... 2, 233 ... 86 Beat ...
  • Page 245 Exclusive ... 203, 241 Expand Backing ... 132 Expression ... 236 Extract Event ... 121, 177 Filter Cutoff Frequency ... 70, 74, 236 Filter Resonance ... 70, 74, 240 FINGERED ... 227 Fingered Chord ... 43, 93, 211, 227, 237, Fingered Zone ...
  • Page 246 ... 64, 73, 238 ... 64 ... 201 Pattern ... 7, 137, 239 Clear Pattern ... 190 Copy Pattern ... 189 Effect Mode ... 212 Job ... 157 Mode ... 137 Output Channel ... 224 Play ... 33 Play Effect ... 155 Phrase Track ...
  • Page 247 Effect Mode ... 212 Job ... 101 Mode ... 88 Name ... 136 Number ... 88 Playback ... 89 Play Effect ... 94 Recording ... 44, 75 Song Name ... 136 Voice Mode ... 61 Sound on/off ... 60 SOURCE CHORD ... 144, 211 Specifications ...
  • Page 248 Buttons & Display Symbols [ U ] ... 28 [ E ] ... 28 [ R ] ... 28 [ S ] ... 28 [ A ] ... 28 [ W ] ... 28 [-1(NO)]/[+1(YES)] ... 25 [ENTER] ... 27 [EXIT] ...
  • Page 249 This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables.
  • Page 250 • This apparatus contains a lithium battery for memory back-up. • Raadpleeg uw leverancier over de verwijdering van de batterij op het moment dat u het apparaat ann het einde van de levensduur afdankt of de volgende Yamaha Service Afdeiing:...
  • Page 251 For details of products, please contact your nearest Yamaha 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. NORTH AMERICA CANADA Yamaha Canada Music Ltd.
  • Page 252 M.D.G., EMI Division Yamaha Corporation 1997 VZ24250 708POCP3.3-02B0 Printed in Japan...

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