MUSIC SEQUENCER

OWNER’S MANUAL
Contents

Z The QY22: What It Is & V The VOICE Mode: Selecting,

Playing, & Assigning the
N Creating Original Patterns .. 77
What It Can Do ....................... 7 Recording an Original
What It Is .................................... 8 QY22 Voices & Drums ....... 35 ABC Pattern ............................. 78
Voice Mode ............................ 9 Try Out the Voices ................... 37 Realtime Pattern Recording ... 78
Song Mode ............................ 9 Making Voice-to-Track Step Pattern Recording ....... 86
Pattern Mode ....................... 11 Assignments ............................. 38 Playback In the Pattern Mode .. 94
The Mute Buttons ..................... 38 Accompaniment Without the
What It Can Do ........................ 12
The Pan Pots ........................... 39 Limitations of ABC .................... 95
About General MIDI ................. 14
The Faders ............................... 40 The Pattern Jobs ...................... 96
1: Copy Pattern .................... 98
X Setting Up: Power & B Easy Accompaniment for 2: Quantize .......................... 99
Connections ......................... 15
Other Instruments ............... 41 3: Transpose ...................... 100
Power Supply ........................... 16
Selecting & Playing the Preset 4: Modify Velocity .............. 101
Using Batteries .................... 16
Patterns .................................... 42 5: Modify Gate Time .......... 102
When to Replace the Batteries . 17
Changing Chords ................. 47 6: Pattern Name ................ 103
Using a Power Adaptor ....... 18
Muting Tracks ...................... 51 7: Clear Track .................... 104
Setting Up Your System ........... 19
Record a Complete 8: Clear Pattern ................. 105
The Connectors ................... 19 Accompaniment ........................ 52
Audio Connections .............. 21 Realtime Accompaniment
MIDI Connections ................ 22 Recording ............................ 52 M Creating a Complete Song
Step Accompaniment ........................................... 107
Recording ............................ 59 Recording the Sequencer
C Getting to Know the QY22: Using the QY22 As a Drum Tracks ..................................... 108
How the Controls Work ..... 23 Machine .................................... 75 Preparing to Record —
The Controls ............................. 24 Voice Assignments ............ 108
Play the Demo .......................... 34
 Contents

Realtime Sequencer Track

Recording .......................... 109 > Utility Functions ................ 157
Accessing the Utility Mode ..... 158
Step Sequencer Track
Recording .......................... 115 System Parameters ................ 160
The Song Jobs ....................... 122 Bulk Dump .............................. 163
1: Mix Track ....................... 124 ABC Zone ............................... 165
2: Copy Measure ............... 125 Memory Initialize .................... 166 Z .........
3: Create Measure ............. 126
X .........
4: Quantize ........................ 127 ? The QY22 As A Tone
5: Delete Measure ............. 128 Generator/ABC Expander . 167
As a Tone generator Module . 168
C .........
6: Erase Measure .............. 129
7: Transpose ...................... 130 As an ABC Expander ............. 170 V .........
8: Move Clock .................... 131
9: Remove Event ............... 132 [ Appendix ............................. 171 B .........
10: Modify Velocity ............ 133
11: Modify Gate Time ........ 134
Voice List ................................
Drum Kit List ...........................
172
176
N .........
12: Song Name .................. 135 Preset Pattern List .................. 180 M .........
13: Clear Track .................. 136 ABC Fingering Chart .............. 182
14: Clear Song ................... 137 Troubleshooting ...................... 184 < .........
Error Messages ...................... 186
< Editing Songs & Patterns . 139 Specifications ......................... 188 > .........
Engaging the Edit Mode ......... 140
? .........
Change Mode Editing ............ 143
Insert Mode Editing ................ 146 Index ..................................... 190 [ .........
Index ......
Precautions

Your QY22 will give you years of reliable service if you follow the simple rules given below:

■ Location • Avoid plugging an AC power adaptor used with

Do not expose the instrument to the following the QY22 into the same AC outlet as appli-
conditions to avoid deformation, discoloration, ances with high power consumption, such as
or more serious damage. electric heaters or ovens. Also avoid using
• Direct sunlight (e.g. near a window). multi-plug adaptors since these can result in
• High temperatures (e.g. near a heat source, reduced sound quality and possibly damage.
outside, or in a car during the daytime).
• Excessive humidity. ■ Turn Power OFF When Making Connections
• Excessive dust. • To avoid damage to the instrument and other
• Strong vibration. devices to which it is connected (a sound sys-
tem, for example), turn the power switches of all
■ Power Supply related devices OFF prior to connecting or dis-
• Turn the power switch OFF when the instru- connecting audio and MIDI cables.
ment is not in use.
• If you use an AC power adaptor, unplug the ■ Handling and Transport
adaptor from the AC outlet if the instrument is • Never apply excessive force to the controls,
not to be used for an extended period of time. connectors or other parts of the instrument.
• Unplug the AC power adaptor during electric • Always unplug cables by gripping the plug
storms. firmly, not by pulling on the cable.
• Disconnect all cables before moving the instru-
ment.

4 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 Precautions

• Physical shocks caused by dropping, bumping, The backup battery should last for several
or placing heavy objects on the instrument can years. When the backup battery needs to be
result in scratches and more serious damage. replaced “Backup Batt. Low!” will appear on the
display when the power is turned on. When this
■ Cleaning happens, have the backup battery replaced by
• Clean the cabinet and panel with a dry soft qualified Yamaha service personnel. DO NOT
cloth. ATTEMPT TO REPLACE THE BACKUP BAT-
• A slightly damp cloth may be used to remove TERY YOURSELF!
stubborn grime and dirt. • Internal memory data can be corrupted due to
• Never use cleaners such as alcohol or thinner. incorrect operation. We recommend that you
• Avoid placing vinyl objects on top of the instru- use the QY22 MIDI bulk dump utility (see page
ment (vinyl can stick to and discolor the sur- 163 for details) to transfer important data to a
face). MIDI data recorder such as the Yamaha MDF2
for safe long-term storage. Yamaha cannot be
■ Electrical Interference held responsible for data loss caused by battery
• This instrument contains digital circuitry and failure or improper operation of the QY22!
may cause interference if placed too close to
radio or television receivers. If this occurs, ■ Service and Modification
move the instrument further away from the af- • The QY22 contains no user serviceable parts.
fected equipment. Opening it or tampering with it in anyway can
lead to irreparable damage and possibly electric
■ Data Backup shock. Refer all servicing to qualified YAMAHA
• The QY22 contains a special long-life battery personnel.
that retains the contents of its internal RAM
memory even when the power is turned OFF. YAMAHA is not responsible for damage caused by
improper handling or operation.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 5
About This Manual

The following simple icons are used throughout this manual to draw attention to important
points and information where necessary. The icons also make it easier to differentiate be-
tween information that you should read immediately and information that can be skipped
until later, hopefully helping you to become familiar with the QY22 in the quickest, most effi-
cient manner possible.

This icon warns of possible hardware Suggestions as to how a feature or func-

damage, software malfunction, or any other tion can be applied musically are identified
MUSICAL
CAUTION serious problem that may occur due to im- NOTE by this icon.
proper operation or set up.

This icon marks information that you Hints or ideas that are not specifically
must read — i.e. important steps or proce- musical but may make operation easier or
IMPORTANT dures that are essential for proper, efficient, HINT more interesting are marked by the light-
or easy operation. bulb icon.

The magnifying-glass icon indicates in-

formation that may not be essential for gen-
DETAIL eral operation, but is a more detailed expla-
nation of a feature, a description of the
principle involved, etc. You can skip this
information if full details are not required
immediately.

6 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
The QY22:
What It Is & What It Can Do
1
What It Is ..................................................................... 8
Voice Mode .............................................................. 9

Song Mode ............................................................... 9

Pattern Mode ......................................................... 11

What It Can Do ......................................................... 12

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 7
1 The QY22: What It Is & What It Can Do

What It Is …
The QY22 is a complete music production system with tone generator, sequencer, and auto-
accompaniment capability all integrated with a sophisticated control interface. It has 3
modes that provide access to its 3 main functional blocks: the VOICE mode, the SONG
mode, and the PATTERN mode.

QY22 Modes

SONG MODE VOICE MODE

8 tracks: 4 sequencer tracks AWM tone generator with
+ 4 accompaniment tracks. 128 voices & 8 drum kits.

PATTERN MODE
Patterns for SONG mode SOUND
accompaniment tracks + OUTPUT
ABC auto-accompaniment.

8 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 1 The QY22: What It Is & What It Can Do

VOICE Mode ————————————————————————————

The QY22’s internal AWM tone generator provides full General
MIDI Level 1 compatibility with 128 top-quality General MIDI
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 di-
rectly 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 QY22 voices.
DETAIL

SONG Mode ————————————————————————————

Think of the QY22 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 fine-
tune the overall sound. The QY22 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 re-
maining 4 tracks are the accompaniment tracks. The difference is
described below.
•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 9
1 The QY22: What It Is & What It Can Do

● The Sequencer Tracks The QY22 sequencer has 4 “normal” sequencer tracks to
which you can individually assign any of the 128 internal
SONG Mode Tracks
voices (or 8 drum kits if desired), and record just about any-
Sequencer track 1 (“TR1”) thing you like either via the QY22’s own micro keyboard or
Sequencer Sequencer track 2 (“TR2”) an external keyboard connected to the QY22 MIDI IN connec-
tracks. Sequencer track 3 (“TR3”) tor. You can use the real-time record mode (➪ page 109) so
Sequencer track 4 (“TR4”) that the QY22 records exactly what you play as you play it, or
the 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-
Accomp. Accompaniment chord 2 (“C2”) tremely fast or complex passages that would be impossible to
tracks Accompaniment bass (“Ba”) play in real time.
Accompaniment drums (“Dr”)

● The Accompaniment The remaining four tracks are dedicated to producing accompani-
Tracks ment: the chord 1 and chord 2 tracks, a bass track, and a drum
track. The accompaniment tracks differ from the sequencer tracks in
2 ways:

1. Accompaniments are produced by specifying a sequence of pat-

terns to be played rather than by recording individual notes or
chords (➪ page 52). The QY22 has 100 preset patterns that you
can simply select and use, and can store up to 100 original pat-
terns you create in the PATTERN mode (➪ page 78).

10 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 1 The QY22: What It Is & What It Can Do

2. 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 QY22 PATTERN mode produces the accompaniment patterns
that are used by the SONG mode accompaniment tracks. The best of
the QY20’s preset patterns have been incorporated into the QY22’s
preset patterns as well as some powerfully new patterns created espe-
cially for the QY22. 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-accompaniment feature can be applied to your
own patterns. The QY22 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 stor-
age capacity (➪ page 163).

See the Appendix (page 180) for a complete list of the preset patterns.
DETAIL

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 11
1 The QY22: What It Is & What It Can Do

What It Can Do …
Here are a few ideas on how you can use the QY22. There’s no way we can cover all pos-
sibilities, but the ideas presented might help to spark some new and interesting applications.

● A Super Practice Tool Create accompaniments that you can practice with on your guitar,
keyboard, or any other instrument (vocals too, of course). That way
you have the advantage of practicing with a bass line and chords in-
stead of just a metronome or drum machine (➪ page 52).

● Use It As A Drum Machine Use the drum kit voices to record on the sequencer tracks, or record
drum-only patterns in the PATTERN mode that you can later string
together in the SONG mode. You can also use the drum tracks from
the preset patterns (➪ page 75).

12 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 1 The QY22: What It Is & What It Can Do

● Compose & Arrange The QY22’s outstanding voices, versatile sequencing capability,
and in-depth editing features make it a perfect tool for trying out mu-
sical ideas and arrangements. It’s also a great way to present your
ideas to others (➪ page 108).

● Serious Music Production Use the QY22 as an adjunct to serious music recording and pro-
duction. It can, for example, be MIDI-clock synchronized to other
MIDI equipment in order to add extra tracks to an arrangement (➪
page 160).

● Use It As a Tone Generator

The QY22’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 QY22 voices
remotely from just about any MIDI keyboard, computer, or other con-
troller (➪ page 168).

● Add ABC Capability to Your

MIDI Keyboard Use the QY22 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).

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 13
1 The QY22: What It Is & What It Can Do

GENERAL

About General MIDI

The QY22 is fully compatible with the General MIDI System Level 1 Standard.
As you probably know, MIDI (Musical Instrument Digital Interface) makes it possi-
ble for various electronic musical instruments and other devices to “communicate” with
each other. For example, by connecting a sequencer to a synthesizer, you can play back
a songs data on the sequencer using the voices of the synthesizer.
But until General MIDI came along, the problem has been that voice assignments
had never been standardized. So, if you were to create a song using tone generator A’s
piano voice and then play it back on tone generator B, it might be played back as an
organ voice. This is because each company has used it’s own voice assignments in it’s
products.
The General MIDI Level 1 Standard was developed to solve this problem. The most
important feature of General MIDI is the standardization of voices. This means that a
song recorded in the General MIDI format can be played back on any General MIDI
compatible tone generator and sound just as the composer had intended.

14 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
Setting Up:
Power & Connections
2
Power Supply .......................................................... 16
Using Batteries ...................................................... 16

When to Replace the Batteries ..................................... 17

Using a Power Adaptor ......................................... 18

Setting Up Your System ....................................... 19

The Connectors .................................................... 19

Audio Connections ................................................ 21

MIDI Connections ................................................. 22

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 15
2 Setting Up: Power & Connections

Power Supply
Your QY22 will run either from batteries or an optional AC adaptor. Follow the instructions
below according to the power source you intend to use.

Using Batteries ——————————————————————————

Six 1.5V AA size (SUM-3 or R6P) or equivalent alkaline batteries
must first be installed in the battery compartment.

Z Open Battery Open the battery compartment cover — located on the instrument’s
Compartment Cover bottom panel — by pressing down on the grooved section of the cover
and sliding in the direction of the arrow, as shown in the illustration.

16 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 2 Setting Up: Power & Connections

XInsert Batteries Insert the six batteries, being careful to follow the polar-
ity markings on the bottom panel.

CReplace Cover Replace the compartment cover, making sure that it locks firmly in
place.

When to Replace the Batteries ————————————————————

When the batteries run down and are no longer able to operate the
QY22, 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 batteries

from the instrument if it is not to be used for an extended period of time.
CAUTION

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 17
2 Setting Up: Power & Connections

Using a Power Adaptor ———————————————————————

Plug the DC output cable from a Yamaha PA-3, PA-4, or PA-40
AC Adaptor (available from your Yamaha dealer) into the DC IN jack
on the rear panel, then plug the adaptor into a convenient wall AC
power socket.
DC IN

PA-3 AC power socket.

PA-4
PA-40

Do not attempt to use an AC adaptor other than the specified unit or an

appropriate replacement provided by your Yamaha dealer to power the
CAUTION
QY22. The use of an incompatible adaptor may cause irreparable dam-
age to the QY22, and might pose a serious shock hazard!
Be sure to unplug the AC adaptor from the AC mains socket when the
QY22 is not in use.

18 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 2 Setting Up: Power & Connections

Setting Up Your System

What you will connect the QY22 to, and what you will connect to the QY22, will depend en-
tirely 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.

The Connectors ——————————————————————————

Rear Panel Right Side Panel

LINE OUT OUT —— MIDI —— IN CONTRAST DC IN MIN VOLUME MAX PHONES

3 2 1 4

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 19
2 Setting Up: Power & Connections

1 DC IN Jack This jack is only used when you are powering the QY22 from an
optional AC adaptor instead of batteries. The DC output cable from
an optional Yamaha PA-3, PA-4, or PA-40 AC Power Adaptor is
plugged in here.

The batteries are automatically disconnected when a plug is inserted into

DETAIL
the DC IN jack.

2 MIDI IN & OUT Connectors If you plan to use a MIDI keyboard or other instrument to play and
program the QY22, it should be connected to QY22 MIDI IN connec-
tor (see “MIDI Connections,” below). The MIDI OUT connector can
be connected to an external tone generator if you want to drive exter-
nal voices from the QY22 sequencer, or a MIDI data recorder such as
the Yamaha MDF2 if you want to store your songs and patterns to
floppy disk (➪ page 163).

3 LINE OUT Jack This miniature stereo phone plug delivers a line-level stereo output
signal from the QY22 for connection to a stereo sound system (see
“Audio Connections,” below). The output level is adjusted via the
VOLUME control on the right side panel.

4 PHONES Jack Any pair of stereo headphones with the miniature stereo phone plug
can be plugged in here for convenient monitoring. The PHONES out-
put level is adjusted via the VOLUME control on the right side panel.
20 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 2 Setting Up: Power & Connections

Audio Connections —————————————————————————

LINE OUT The simplest way to monitor the QY22 sound is via a pair of stereo
headphones (miniature stereo phone plug type) plugged into the
PHONES jack. If you want to use an external stereo sound system,
however, use the LINE OUT jack and the supplied “Y” cable (minia-
ture stereo phone plug to dual RCA pin plugs). The white RCA pin
plug goes to the left-channel input of your stereo sound system and
the red plug goes to the right-channel input.

Make sure that both the QY22 and your sound system are turned OFF
L R
when making connections.
CAUTION

Stereo sound system

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 21
2 Setting Up: Power & Connections

MIDI Connections —————————————————————————

OUT —— MIDI —— IN Although the QY22 can be played and programmed from the built-in micro
keyboard, it can also be connected to an external keyboard or computer for added
benefits. An external MIDI keyboard connected to the MIDI IN connector pro-
vides the added advantages of standard keyboard size and key velocity sensitivity
(if your keyboard has a velocity-sensitive keyboard). Connected to a computer
with sequencing software, the QY22’s high quality Voices and Multi-timbral
capabilities can easily expand your home studio setup. Connect the MIDI OUT
MIDI OUT connector of the keyboard, or other control device, to the MIDI IN connector of
the QY22, and make sure that your keyboard is set to transmit on the appropriate
MIDI channel. The QY22 MIDI assignments are as follows:
MIDI Channel Voice
1 ........................ Sequencer track TR1
OUT —— MIDI —— IN
2 ........................ Sequencer track TR2
3 ........................ Sequencer track TR3
4 ........................ Sequencer track TR4
5 ........................ 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 con-
trol the QY22 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 produce sound,
with according to the received MIDI program change messages (see the “MIDI Data
MIDI Interface DETAIL
Format” booklet). Also, if the QY22 is to be used as a General MIDI tone generator,
the MIDI Ctl (MIDI Control) parameter should be set to “Off” (See page 160)
22 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
Getting to Know the QY22:
How the Controls Work
3
The Controls ............................................................... 24

Play the Demo ............................................................ 34

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 23
3 Getting to Know the QY22: How the Controls Work

The QY22 has fairly simple, consistent control interface that, once understood, makes op-
eration 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 QY22’s many advanced features.

The Controls ————————————————————————————

Rear Panel

LINE OUT OUT —— MIDI —— IN CONTRAST DC IN

2
Left Side Panel Right Side Panel

MIN VOLUME MAX PHONES

ON OFF POWER

1 !

24 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 3 Getting to Know the QY22: How the Controls Work

2 6 3 7
Front Panel

GENERAL

MUSIC SEQUENCER

MODE ENTER

MENU 4
–1 +1
NO YES
5
8

0 7(#9) 7( 13) 7(
F G A C D 11) 7sus4 –––
OCT OCT
DOWN UP
G A B D E 7(b9) 7( 13 ) 7( 5) sus4 dim
BASS
C C
9
add9 M9 aug 9 add9 m9 mM7 m7(11)
E F G A B C D
M M7 6 7 m m7 m6 m7(b5)

INTRO NORMAL VARI. FILL1 FILL2 ENDING

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 25
3 Getting to Know the QY22: How the Controls Work

1 POWER Switch Slide to the “ON” position to turn the QY22 on, and to the “OFF”
position to turn it off.
ON OFF POWER

Always turn the power switch off when not using your QY22.
IMPORTANT

2 LCD Display & This large multi-function liquid crystal display panel shows all pa-
CONTRAST Control rameters and prompts you need to operate the QY22 with optimum
ease and efficiency.
CONTRAST
Use the CONTRAST control on the rear panel to achieve the best
display visibility (LCD visibility varies greatly with viewing angle
and lighting).

3 [MODE] Key Use this key to switch between the QY22’s SONG, VOICE, and
PATTERN modes.
MODE

Try This: Turn your QY22 on (the power switch is on the left
side), then press the [MODE] key a few times and
watch how the display changes. The [MODE] key calls
the SONG, VOICE, and PATTERN mode displays in
sequence.

26 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 3 Getting to Know the QY22: How the Controls Work

MODE MODE

MODE

4 Cursor Keys These 4 keys move the “cursor” around the display screen, high-
Up lighting the various parameters that are available for editing (the
QY22 cursor appears as a dark block with inverse characters).

Left Right Try This: Select the SONG mode display (use the [MODE] key,
as described above), then try using the cursor keys to
move the cursor around the screen.
Down

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 27
3 Getting to Know the QY22: How the Controls Work

5 [−1/NO] and [+1/YES] These keys are used to edit (change the value of) the parameter at
Keys which the cursor is currently located. The [−1/NO] key decrements
(decreases stepwise) the value of the selected parameter, while the
–1 +1 [+1/YES] key increments (increases stepwise) the parameter. Press
NO YES
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 incre-

ment/decrement key while holding the key corresponding to the direction
HINT
you 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.
m
This is the transpose
parameter.

Use –1 +1 to set.
NO YES

28 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 3 Getting to Know the QY22: How the Controls Work

6 [MENU] and Function The [MENU] key calls a menu of functions or sub-modes that can
Keys be accessed from the current QY22 mode, and the function keys (the
MENU
small round yellow keys) select the corresponding item from the
menu that appears on the display.

Try This: Select the SONG mode display (use the [MODE] key,
as described above), then press the [MENU] key. You
should see the menu shown to the left.

m
Press to see Next press the top function key (the one immediately
job list. to the right of “Job” on the menu) to call the SONG
mode Job List:

Move cursor up.

You can now use the cursor keys (up and down only)
m
to select the various items in the Job List. Leave the
display as it is for now, and read about the [ENTER]
key, below.
m

Move cursor down.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 29
3 Getting to Know the QY22: How the Controls Work

7 [ENTER] Key In addition to “entering” chords in SONG and PATTERN modes

(which we’ll learn about later), the [ENTER] key is used to “enter” a
ENTER
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
QY22 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.

8 Sequencer Keys 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.

30 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 3 Getting to Know the QY22: How the Controls Work

RECORD READY MOVE BACK MOVE FORWARD

Press this key to engage the Press briefly to move back one measure, Press briefly to move forward
record ready mode. You have to or hold for continuous scrolling. one measure, or hold for
press START/STOP to actually continuous scrolling.
start recording.

GO TO TOP START/STOP
This key takes you straight to the Press to start or stop recording
first measure ("top") of the current or playback.
song or pattern.

9 Micro Keyboard This tiny 2-octave keyboard makes it possible to program the QY22
anywhere, anytime, without having to connect an external MIDI key-
board. It’s even polyphonic, so you can directly enter chords as well
as single notes. The only thing it lacks is velocity sensitivity. The
QY22 does, however, accept velocity information from an external
MIDI keyboard.

F G A C D 7( 9) 7( 13) 7( 11) 7sus4 –––

When programming the
G A B
C
D E 7( 9) 7( 13 ) 7( 5)
C
sus4 dim accompaniment tracks the
micro-keyboard is also used
m7(11)
E F G A B C D
add9 M9 aug 9 add9 m9 mM7 to specify the chord roots and
M M7 6 7 m m7 m6 m7( 5)

INTRO NORMAL VARI. FILL1 FILL2 ENDING

types to be entered.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 31
3 Getting to Know the QY22: How the Controls Work

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

Sequencer
track 1. m 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 cur-
rently 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).

0 Octave Keys Since the 2-octave range of the micro-keyboard is not enough for
serious music programming, the [OCT DOWN] and [OCT UP] keys
OCT OCT
allow the pitch of the keyboard to be shifted up or down in octave
DOWN UP
steps, over a range of 8 octaves. Each time the [OCT DOWN] key is
BASS
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.

32 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 3 Getting to Know the QY22: How the Controls Work

When 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.

! VOLUME Control The VOLUME control adjusts the volume of the sound delivered
via both the LINE OUT and PHONES jacks. Slide the control toward
MIN VOLUME MAX
“MAX.” to increase the volume or toward “MIN.” to decrease the
volume.

Set the VOLUME control to “MIN.” when connecting the QY22 to a sound
system for the first time, then gradually raise the volume level until the
CAUTION
required listening level is reached. This simple precaution can prevent
unexpectedly high volume levels from damaging your speaker system
(and maybe even your ears!).

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 33
3 Getting to Know the QY22: How the Controls Work

Play the Demo ———————————————————————————

Once you’ve set up your QY22 and become familiar with the con-
trols, you might like to play back the pre-programmed demonstration
to hear what the QY22 can do.

MENU
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.

34 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
The VOICE Mode:
Selecting, Playing, & Assigning
the QY22 Voices & Drums
4
Try Out the Voices ...................................................... 37

Making Voice-to-Track Assignments .......................... 38

The Mute Buttons ........................................................ 38

The Pan Pots .............................................................. 39

The Faders .................................................................. 40

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 35
4 The VOICE Mode: Selecting, Playing, & Assigning the QY22 Voices & Drums

The QY22 has 128 voices and 8 drum kits that can be selected, played, and assigned to the
SONG mode tracks in the VOICE mode. The voice mode also features a graphic on-screen
“mixer” that has mute buttons, pan pots, and faders for each track.
Use the [MODE] key to select the VOICE mode display.

MODE

Current track. Voice assigned to current track.

m
m SONG mode tracks.
Voice numbers. m m Mute buttons.
Pan pots. m m Faders.

36 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 4 The VOICE Mode: Selecting, Playing, & Assigning the QY22 Voices & Drums

Try Out the Voices —————————————————————————

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 QY22 mode, the micro keyboard plays the voice assigned to the
currently 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
Use –1 +1 to select to which a drum voice (“Dr1” through “Dr8”) is assigned.
NO YES

voice numbers. Use the [+1/YES] key to step through the QY22’s 128 voices (you
can use the [−1/NO] key to step backward, too), trying out each voice
on the keyboard.
Keep incrementing past voice number 128 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 176) 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 the
full range of instruments in each drum kit.
HINT

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 37
4 The VOICE Mode: Selecting, Playing, & Assigning the QY22 Voices & Drums

Making 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 voice assignments
DETAIL
made in the VOICE mode (the pan and volume settings are not changed).
In the VOICE mode, any of the Normal voices (001...128) or Drum voices
(Dr1...Dr8) can be assigned to any of the sequence tracks. However, in the
SONG EDIT mode, only the Normal voices (001...128) can be assigned to
sequencer tracks using the Program Change function. If you want to use a
Drum voice in a sequencer track, use the VOICE mode to assign a Drum voice
to the desired track.

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 exam-
ple, TR1 through TR4 contain no data and are therefore white. The Ba track
has been muted, and the cursor is currently over the C2 track mute button.

38 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 4 The VOICE Mode: Selecting, Playing, & Assigning the QY22 Voices & Drums

Note that the status of the mute button over which the cursor is located is
–1 +1 also indicated in the upper right corner of the display (in this example,
NO YES
“Mute = off” for the C2 track).

m
m
Mute off. Mute on. The mute buttons are a handy way to simply turn tracks that you don’t
MUSICAL
want to hear off. When recording songs or patterns, they also make it
NOTE
possible to mute a “busy” track that might make it difficult to hear an im-
portant accompaniment track.

The Pan Pots ———————————————————————————

Like the pan pots on a mixing console, the VOICE mode pan pots
can be used to position the sound of the corresponding track any-
where 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 posi-
tion. 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”).
–1 +1
NO YES
m
m

Pan left. Pan right.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 39
4 The VOICE Mode: Selecting, Playing, & Assigning the QY22 Voices & Drums

The Faders ————————————————————————————

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.”
–1 +1
NO YES
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 param-
m
m

HINT
eters (change voices, mute tracks, pan, and change volume settings)
Lower volume. Raise volume. while listening to the results in real time!

40 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
Easy Accompaniment for
Other Instruments
5
Selecting & Playing the Preset Patterns .......... 42
Changing Chords .................................................. 47

Muting Tracks ....................................................... 51

Record a Complete Accompaniment ................ 52

Realtime Accompaniment Recording ................... 52
Step Accompaniment Recording .......................... 59

Using the QY22 As a Drum Machine ................ 75

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 41
5 Easy Accompaniment for Other Instruments

Selecting & Playing the Preset Patterns

Using the QY22 preset patterns you can easily create accompaniments that you can play or
sing along with.
The QY22 has 100 preset accompaniment patterns covering a wide variety of musical
styles. Here’s how you can select and play the patterns while in the SONG mode.

Z Select the SONG mode In order to select and play the patterns as de-
and an “empty” song. scribed in this section you must select an empty song
(i.e. one in which nothing has been recorded). Empty
Song number (1 … 20). Asterisks (*) indicate an songs are indicated by a row of asterisks
Use –1 +1 to set. empty song. (“********”) following the song number. Different
NO YES song numbers (1 through 20) are selected simply by
m

moving the cursor to the song number and using the

[−1] and [+1] keys.

42 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 5 Easy Accompaniment for Other Instruments

XSelect a pattern number. Use the cursor keys to move the cursor to the accompaniment pat-
tern number, then use the [−1] and [+1] buttons to select the pattern
you want to play. The preset patterns are numbers 001 through 100.

Place the cursor here (this is the

accompaniment pattern number).

CStart playback. Press the [ ] key to start playback of the selected accompani-
ment pattern. The play indicator will appear in the display and the
green LED above the [ ] key will flash at the current playback
tempo.

Note that the “Meas” (measure) number

on the display advances as each meas-
Play indicator. m DETAIL
ure is played. In this mode playback will
continue up to measure “999” and then
repeat from measure “001”.

Measure number. m

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 43
5 Easy Accompaniment for Other Instruments

V Listen to the pattern’s Each preset pattern has 6 variations or “sections” — INTRO, NOR-
variations. MAL, VARI., FILL1, FILL2, and ENDING.
INTRO ........ introduction
NORMAL .... 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 a
pattern in the SONG mode, the section plays through once and is auto-
IMPORTANT
matically followed by either the NORMAL or VARI. pattern. INTRO is
followed 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. sections. 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.

44 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 5 Easy Accompaniment for Other Instruments

You can change patterns directly by pressing the appropriate key on

E F G A B C
the micro-keyboard while the cursor is located at either the pattern
INTRO NORMAL VARI. FILL1 FILL2 ENDING number or the section name on the display.

The micro-keyboard section keys do not produce any sound when used to
switch sections.
DETAIL

The 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 section
name and using the [−1] and [+1] keys.
DETAIL

–1 +1 to select sections.
NO YES

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 45
5 Easy Accompaniment for Other Instruments

B Select different patterns & With the cursor positioned over the pattern number you can use the
sections. [−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 sym-
bol and a number in the upper right corner of the display), you can use
the [−1] and [+1] buttons to set the playback tempo to anywhere from 30
HINT

to 250 beats per minute. Please note, however, that if you play a pattern
that 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.

NO YES

N Stop playback when done. Stop playback at any time by pressing the [ ] key. For a more
musical ending, select the ENDING section. Playback will stop auto-
matically after the ENDING section.

Depending on the selected pattern, some voices may not sound if a pat-
tern is started from a point in the middle of the pattern rather than at the
DETAIL
beginning.

46 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 5 Easy Accompaniment for Other Instruments

Changing Chords —————————————————————————

The QY22 features a sophisticated ABC (Auto Bass Chord) system that automatically re-harmonizes
the chord and bass tracks 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). Here’s how you use the micro-keyboard to specify chord changes.

Z Play a pattern. Select and play one of the preset patterns, as described in the pre-
ceding section.

X Move the cursor to the The micro-keyboard can be used to enter chords only when the cur-
chord symbol. sor is located over the chord symbol on the display. Use the cursor
keys to move the cursor to the chord symbol at the bottom of the dis-
play.
m

Chord symbol.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 47
5 Easy Accompaniment for Other Instruments

C Enter a chord. Note that the lower octave of the micro-keyboard has chord root
names “E” through “D” marked on the keys, and the upper octave
keys are marked with a variety of chord types.

F G A C D 7( 9) 7( 13) 7( 11) 7sus4 –––

G A B D E 7( 9) 7( 13 ) 7( 5) sus4 dim
C C

add9 M9 aug 9 add9 m9 mM7 m7(11)

E F G A B C D
M M7 6 7 m m7 m6 m7( 5)

INTRO NORMAL VARI. FILL1 FILL2 ENDING

Example: Enter a G7 chord. To enter a chord, press the key corresponding to the desired chord
root, then the key corresponding to the desired chord type (the chord
G
9
ENTER type keys alternately select the lower and upper chord types marked
7
… 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, the
order doesn’t matter.
DETAIL

48 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 5 Easy Accompaniment for Other Instruments

The Chord Types

add9 ...... major added ninth. m7(11) .. minor seven eleven.
M ........... major. m7(b5) .. minor seven flat five.
M9 ......... major ninth. 7(#9) ..... seventh sharp nine.
M7 ......... major seventh. 7(b9) ..... seventh flat nine.
aug ........ augmented. 7(b13) ... seventh flat thirteen.
6 ............ sixth. 7(13) ..... seventh thirteen.
9 ............ ninth. 7(#11) ... seventh sharp eleven.
7 ............ seventh. 7(#5) ..... seventh sharp five.
add9 ...... minor added ninth. 7sus4 .... seventh suspended four.
m ........... minor sus4 ...... suspended four.
m9 ......... minor ninth. - - - ........
non-ABC (see “DETAIL”
m7 ......... minor seventh. below).
mM7 ...... minor major seventh. dim ........ diminished.
m6 ......... minor sixth.

The “- - -” chord type marking is a special “non-ABC” type that can be

used to create accompaniment patterns without the harmonic limitations
DETAIL
of the ABC system. See page 95 for details.

If you enter only the chord root without a chord type, the result will be a
major chord.
HINT

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 49
5 Easy Accompaniment for Other Instruments

V Try out the various chords During playback you can move the cursor up to the pattern number,
with different patterns. select a different pattern, then move the cursor back to the chord sym-
bol and try different chords with the new pattern.

If you move the cursor to the “Trns” (transpose) parameter, you can use
then [−1] and [+1] buttons to transpose the pitch of the entire pattern up
HINT
or down in semitone increments over a range of two octaves. A transpose
setting of “+00” produces normal pitch.

B Stop playback when done. Stop playback by pressing the [ ] key. You can also stop play-
back after an appropriate ending by selecting the ENDING section
(the cursor must be on the pattern number or section name to do this).

50 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 5 Easy Accompaniment for Other Instruments

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 +1
NO YES

m
m
Mute 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 but-
tons 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.

The mute buttons are a handy way to turn tracks that you don’t want to
MUSICAL
hear off. In the example above, for example, the C1 and C2 tracks have
NOTE
been turned off, leaving only the bass and drum accompaniment. You
could also mute the bass track if you just want drums.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 51
5 Easy Accompaniment for Other Instruments

Record a Complete Accompaniment

The QY22 provides two ways to record an accompaniment by specifying patterns and
chords: “realtime” and “step” recording. The realtime method is the fastest and easiest, let-
ting 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 accompaniment
recorded in real time.

Realtime Accompaniment Recording —————————————————

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).

Z Select the SONG mode & Use the [MODE] key to select the SONG mode and, with the cur-
an empty song. sor 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 (“********”) follow-
ing the song number.

52 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 5 Easy Accompaniment for Other Instruments

MODE

Song number (1 … 20). Asterisks (*) indicate an empty song.

If for some reason all 20 songs contain data, use the

“Clear Song” function described on page 137 to clear a
DETAIL
song for recording.

X Engage the record ready Press the [●] key to engage the record ready mode. The red LED
mode. above the [●] key will light.

“REC” appears when the

record mode is engaged.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 53
5 Easy Accompaniment for Other Instruments

C Select the realtime Move the cursor to the “REC REAL STEP” area of the display,
record mode. then press the left cursor key to select the “REAL” mode (if it isn’t
Place cursor here to select already selected). The selected record mode is indicated by a pair of
the realtime record mode.
m arrows on either side of the mode name — i.e. “>REAL<”. Once
selected, move the cursor vertically to move to other areas of the
screen. The arrows will remain positioned at the selected mode no
matter where you move the cursor.

V Select the starting pat- Move the cursor to the pattern number, section, chord, and tempo
tern, section, chord, & parameters, and set as required.
tempo.
It’s sometimes easier to set a slow tempo for realtime recording, so you
have plenty of time to enter pattern and chord changes.
HINT

54 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 5 Easy Accompaniment for Other Instruments

B Select the “Pat” track to Move the cursor to the track area of the display, and then shift the
record pattern & section cursor sideways to select “Pat.” Once selected, move the cursor verti-
changes. cally to move to other areas of the screen. An underline will remain
below the selected track no matter where you move the cursor.

Select “Pat” to record pattern changes.

N Record. Press the [ ] key to begin recording pattern changes. The met-
ronome will sound and you’ll be given a two-measure count-in prior
to the first measure actually recorded. The count-in is also indicated
by negative numbers in the “Meas”
parameter. If a 4/4 pattern is se-
lected, for example, the count-in will
run from measure “−08” to “−01”,
Realtime recording in progress. then recording will begin from
measure “001”.
Minus measure numbers during
count-in.
m

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 55
5 Easy Accompaniment for Other Instruments

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 pat-
tern numbers via the [−1] and [+1] keys, and section changes via the
appropriate micro-keyboard keys. Remember that all pattern and sec-
tion 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 NOR-
MAL pattern.

The sequencer tracks (TR1 through TR4) will not sound during accompa-
DETAIL
niment track recording even if they contain data.

M Stop recording. Stop recording either by pressing the [ ] key or by selecting the
ENDING section. The normal SONG play mode is automatically re-
selected when you stop recording.

56 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 5 Easy Accompaniment for Other Instruments

< Engage record ready Press the [●] key to engage the record ready mode again (the
again and select “Chd”. “REAL” mode will still be selected), then move the cursor to the
track section of the display and select “Chd” in order to record chord
changes.

Select “Chd” to record

Asterisks have disappeared chord changes.
because the song now con-
tains data. Use the “Song
Name” job (page 135) to enter
an original name.

>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 press
the [ENTER] key to enter each chord either exactly on the beat or a frac-
HINT
tion of a section before the beat on which you want the chord change to
occur.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 57
5 Easy Accompaniment for Other Instruments

?Stop recording. Press the [ ] key to stop recording when all the required chord
changes have been entered. The normal SONG play mode is automati-
cally re-selected when you stop recording.

[Listen to the results. 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 the
DETAIL
same chord continues for more than 2 measures, however, the next chord
is not shown.

Don’t worry if you’ve made a few mistakes. Simple slip-ups made in the
realtime record mode can usually be corrected in the step record mode …
HINT
described next.
m

“Am7” currently The next chord is

playing. “G7”.

58 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 5 Easy Accompaniment for Other Instruments

Step Accompaniment Recording ———————————————————

The STEP record mode provides four different accompaniment-
track 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.

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.

X Engage the record ready Press the [●] key to engage the record ready mode. The red LED
mode. above the [●] key will light.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 59
5 Easy Accompaniment for Other Instruments

C Select the step record Move the cursor to the “REC REAL STEP” area of the display,
mode. then press the right cursor key to select the “STEP” mode (if it isn’t
Cursor here to select the step already selected). The selected record mode is indicated by a pair of
record mode. arrows on either side of the mode name — i.e. “>STEP<”. Once
selected, move the cursor vertically to move to other areas of the
screen. The arrows will remain positioned at the selected mode no
matter where you move the cursor.

V Select “Pat”, “Chd”, Move the cursor to the track area of the display, and then shift the
“Rpt”, or “Tmp”. cursor sideways to select “Pat”, “Chd”, “Rpt”, or “Tmp”. Once se-
lected, move the cursor vertically if you want to move to other areas
of the screen. An underline will remain below the selected track no
matter where you move the cursor.
Select “Pat” to record pattern changes, “Chd” to
record chord changes, “Rpt” to record repeats,
or “Tmp” to record tempo changes.

60 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 5 Easy Accompaniment for Other Instruments

B Start recording. Press the [ ] key to call the selected step record display.

N Enter the required pat- Refer to the following sections for details on how to use each of the
tern, chord, repeat, and step-record mode data-entry displays.
tempo data.
m You can switch directly between the
Go to “Pat” screen. pattern, chord, repeat, and tempo
HINT
data-entry displays while the record
mode is engaged by simply pressing
m Go to “Chd” screen.
the [MENU] key to call the menu
m shown here, and then the function
Go to “Rpt” screen.
key corresponding to the display you
m want to go to.
Go to “Tmp” screen.

M Stop recording. Press the [ ] key to exit from the step record mode and return to
the normal SONG play mode.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 61
5 Easy Accompaniment for Other Instruments

“Pat” — Step Record Pattern Changes

Here’s how the STEP record pattern display will look if you’ve selected an empty song (the appro-
priate pattern data will appear if the selected song contains data).

Measure number. m 1st measure.

Time signature. m

2nd measure.

m
Subsequent measures follow.
Cursor here to set Cursor here to
pattern number. set section.

62 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 5 Easy Accompaniment for Other Instruments

● Moving Around & As usual, the cursor keys are used to move the cursor to the loca-
Entering Data tion at which you want to enter data, and the [−1] and [+1] keys are
Scroll up (see lower used to actually enter or change data.
measure numbers).

m
The cursor keys also move you forward or backward through the
song: moving the cursor past the bottom of the screen accesses subse-
quent measures, while moving it above the top of the screen accesses
the preceding measures (if there are any). In the pattern display mov-
ing sideways takes you to the time signature, pattern number, and
section parameters.
m

In all of the STEP record displays the sequencer keys can also be
Scroll down (see higher used to move forward or backward through the song. The [p] key
measure numbers). takes you directly to the first measure.

Scroll up (see lower

measure numbers).
m

m
m

Go to first measure. Scroll down (see higher

measure numbers).

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 63
5 Easy Accompaniment for Other Instruments

● Pattern Number and Any pattern number from 001 through 200 (presets and user pat-
Section terns) can be entered for each measure. Only the preset patterns, how-
ever, have sections. The pattern name appears to the right of the pat-
tern 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 pat-
tern 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.

● Time Signature Although the default time signature for the selected pattern is auto-
matically selected, the time signature value for each measure can be
changed as required. The available time signatures are:
1/16 ....... 16/16
1/8 ......... 16/8
1/4 ......... 8/4

64 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 5 Easy Accompaniment for Other Instruments

If a time signature is selected that results in shorter measures than

the pattern default, the pattern will be truncated (cut short) accord-
ingly. 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.
m Press to erase pattern, section, or time
signature change at cursor location.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 65
5 Easy Accompaniment for Other Instruments

“Chd” — Step Record Chord Changes

Here’s how the STEP record chord display will look if you’ve selected an empty song (the appropri-
ate chord data will appear if the selected song contains data).

Measure number. m 1st measure.

Time signature. m

2nd measure.

m
Subsequent measures follow.
Place cursor at beat One beat.
on which chord is to
be entered.

66 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 5 Easy Accompaniment for Other Instruments

● Chords One chord can be entered per quarter note. Place the cursor at the
required quarter-note division on the display and enter the chord via
the micro-keyboard in the normal way (see page 48). In the example
display to the left, an A major chord is entered on the first beat of the
first measure, a B minor seventh on the third beat of the first measure,
and a D major on the first beat of the second measure.

● Specifying the Bass Note You can specify the bass note to be used with any chord by using
For a Chord the [OCT DOWN] key (note the “BASS” marking below the key).
Example: Enter a Bm7 chord with Enter the chord in the normal way, press the [OCT DOWN/BASS]
E in the bass. key (a slash will appear below the chord name), then press the key on
B
m9 OCT
DOWN E
the micro-keyboard corresponding to the desired bass note (the bass
m7
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 [OCT
HINT
DOWN/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.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 67
5 Easy Accompaniment for Other Instruments

● Syncopated Chords Chords can be syncopated (i.e. the chord actually begins an eighth-
Example: Enter a syncopated note before the beat on which it is entered) by using the [OCT UP]
D chord. 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
OCT
D UP 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 the
HINT
[OCT UP] key. Syncopation can be removed from a chord by placing the
cursor at the chord and pressing the [OCT UP] key.

● Erasing Chords 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.

68 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 5 Easy Accompaniment for Other Instruments

● The Chord Display Chord bass notes and syncopation marks appear on the display as
During Playback shown in the SONG playback mode.

Half-note indicates
length of chord. m m “/E” indicates that Bm7
is played with E bass.

Syncopation mark.
Chord actually be-
gins 1/8-note earlier.
m

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 69
5 Easy Accompaniment for Other Instruments

“Rpt” — Step Record Repeats

The STEP record “Rpt” display allows three different types of repeats to be entered at appropriate
points during the song: start repeat, end/number of repeats, and end song.

Cursor here to enter repeat Cursor here to enter repeat

at top of measure. at end of measure.

● Repeats The start repeat ( ) or end of song mark ( ) can

be selected via the [−1] and [+1] keys when the cur-
sor is located at the top of the measure, and the end
End repeat mark ( ) can be selected when the cursor is
m
Start
m repeat. placed at the end of the measure. When the end of
repeat. m Number of repeat mark is selected the [−1] and [+1] keys are
m repeats. also used to select any number of repeats from 02 to
End of song. 99. When “X02” is selected, for example, the sec-

70 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 5 Easy Accompaniment for Other Instruments

tion of the song between the “ ” and “ ” marks is played twice (re-
peated 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”
HINT
repeats). Up to 10 repeats can be nested.

● Erasing Repeats The function key immediately to the right of “ers” on the
display can be used to erase the repeat at which the cursor is
located.

Press to erase repeat at

cursor location.

Any material recorded to the accompaniment tracks in the

realtime record mode after insertion of repeats will not be af-
DETAIL
fected by those repeats.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 71
5 Easy Accompaniment for Other Instruments

“Tmp” — Step Record Tempo Changes

The STEP record mode “Tmp” display can be used to enter instantaneous tempo changes as well as
gradual ritardando and accelerando tempo changes.

Measure number. m 1st measure.

Time signature. m

2nd measure.

m
Subsequent measures follow.
Place cursor at beat at One beat.
which tempo change is
to occur or begin.

72 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 5 Easy Accompaniment for Other Instruments

● Tempo Changes 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
“accel” or “rit”. [+1] key to enter an “accel” (tempo in-
Amount of tempo change. crease) value. The amount of tempo
Number of beats over which
change is specified in beats per minute, so
tempo change occurs.
if the starting tempo is 120 and you enter
an “accel” value of 10, the tempo will in-
crease 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.

To enter gradual accelerando or ritardando changes, first set the

amount of “accel” or “rit” change required, as described above, then
move the cursor to the lower number and use the [−1] and [+1] keys
to enter the number of beats over which you want the tempo change
to occur. In the sample display to the left, the tempo will increase by
12 over two beats (the wiggly arrow extends for the specified number
of beats).

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 73
5 Easy Accompaniment for Other Instruments

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 enter
DETAIL
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 subse-
quent 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.
m Press to erase tempo
change at cursor location.

74 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 5 Easy Accompaniment for Other Instruments

Using the QY22 As a Drum Machine

Although 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 QY22 functions as a drum machine. You can create drum-only accompani-
ments 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 “Cre-
ating a Complete Song” chapter (page 108).

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 75
76 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
Creating Original Patterns 6
Recording an Original The Pattern Jobs ........................... 96
ABC Pattern .................................... 78
1: Copy Pattern ............................ 98
Realtime Pattern Recording ......... 78
2: Quantize ................................... 99
Step Pattern Recording ............... 86
3: Transpose .............................. 100
Playback In the Pattern Mode .... 94
4: Modify Velocity ....................... 101
Accompaniment Without the
Limitations of ABC ....................... 95 5: Modify Gate Time .................. 102
6: Pattern Name ......................... 103
7: Clear Track ............................ 104
8: Clear Pattern .......................... 105

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 77
6 Creating Original Patterns

Recording an Original ABC Pattern

The QY22 makes it easy to create original accompaniment patterns. In addition to the pre-
set patterns residing in pattern memory locations 001 through 100, the QY22 has 100 more
pattern memory locations (101 through 200) which can be used to store your own creations.
Like the SONG mode, the PATTERN mode provides two ways to create original patterns:
realtime and step recording.

Realtime Pattern Recording —————————————————————

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.

Z Select the PATTERN Use the [MODE] key to select the PAT (pattern) mode and, with
mode & an empty user the cursor located over the pattern number at the top of the display,
pattern. 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.

78 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 6 Creating Original Patterns

–1 +1
MODE NO YES

Select user pattern Asterisks (*) indicate

number (101 … 200). an empty pattern.

If for some reason all 100 user patterns contain data, use the “Clear Pat-
tern” function described on page 105 to clear a pattern for recording.
DETAIL

X Engage the record ready Press the [●] key to engage the record ready mode. The red LED
mode. above the [●] key will light.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 79
6 Creating Original Patterns

“REC” appears when the

record mode is engaged. m

C Select the realtime Move the cursor to the “REC REAL STEP” area of the display,
record mode. 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
Place cursor here to select arrows on either side of the mode name — i.e. “>REAL<”. Once
the realtime record mode.
selected, move the cursor vertically to move to other areas of the
m

screen. The arrows will remain positioned at the selected mode.

80 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 6 Creating Original Patterns

V Select the record tempo, Move the cursor to the tempo, time signature, and pattern length
time signature, and parameters and set as required using the [−1] and [+1] keys.
pattern length.
m Record tempo.
m Time signature: 1/16 … 16/16,
1/8 … 16/8,
1/4 … 8/4.
m Length of pattern: “1of1” … “1 of 8”
(max. length 8 measures).

It’s sometimes easier to set a slow tempo for realtime recording, so you
have plenty of time to enter the data.
HINT

B Select the track to Move the cursor to the track area of the display, and then shift the
record and the voice for cursor sideways to select the track you want to record: “C1” = chord
that track. 1, “C2” = chord 2, “Ba” = bass, “Dr” = drums. Once the track has
been selected use the [−1] and [+1] keys to select the voice you want
to use for that track. 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.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 81
6 Creating Original Patterns

Number & name of voice

Cursor here to select the C1 (Chord 1) track. assigned to current track
shown here.
–1 +1
NO YES
to select C1 voice (001 …
128, Dr1 … Dr8, OFF). The same applies to
m
the C2, Ba, and Dr tracks, except that only
the Dr1 … Dr8 voices and “OFF” can be
assigned to the Dr track.
In the PATTERN PLAY or PATTERN RECORD modes, with the excep-
tion of the Drum Track, it is possible to assign any of the Normal voices
DETAIL
(001 ... 128) or Drum voices (Dr1 ... Dr8) to any of the sequencer tracks.
However, in the PATTERN EDIT mode, with the exception of the DRUM
track, only Normal voices (001 ... 128) can be assigned to the other tracks
using the Program Change function. Use the PATTERN PLAY or PAT-
TERN RECORD modes to assign Drum voices to sequencer tracks.
You can also change the voice assignments later in the same way.
HINT

N Record.
Press the [ ] key to begin recording. The metronome will sound
and you’ll be given a two-measure count-in prior to the first measure
actually recorded. The count-in is also indicated by negative numbers
in the “Meas” parameter. If a 4/4 time signature is selected, for exam-
ple, the count-in will run from measure “−08” to “−01”, then record-
ing will begin from measure “001”.

82 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 6 Creating Original Patterns

Realtime recording
in progress. m
m Minus measure numbers
during count-in.

Patterns can only be recorded in the key of C. Play the required

part either on the micro-keyboard or via an external MIDI keyboard
transmitting on the appropriate MIDI channel:

MIDI Channel Track

5 ....................... C1 (Chord 1)
6 ....................... C2 (Chord 2)
7 ....................... Ba (Bass)
10 ....................... Dr (Drums)

The pattern will continue to repeat from the first to last measure, so
you can continue to add notes until the current part is complete.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 83
6 Creating Original Patterns

Since your original ABC pattern will be automatically re-harmonized as

MUSICAL
required by the QY22 ABC system, there are a few rules you should fol-
NOTE
low to ensure the best results:
1: 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.

M Delete mistakes as To delete mistakes, simply play the note to be deleted on the micro-
required. keyboard 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-

m keyboard to delete all occurrences of that
note for as long as the note is held.

< Stop recording. Press the [ ] key to stop recording. The normal PAT play mode
is automatically re-selected when you stop recording.

84 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 6 Creating Original Patterns

Note that when you return to the PAT play mode the block below
each track that contains data will be filled (dark) while the blocks
below empty tracks are empty (outline only).

Track empty.

Track contains data.

>Record the remaining Complete the pattern by selecting the remaining tracks, assigning
tracks. the required voices, and recording as described in steps 5 through 8,
above.

Hold MENU and press MODE As long as the record mode is not engaged you
The pitch of the lowest can press the [MODE] key while holding the
HINT
micro-keyboard key [MENU] key to see the current pitch of the micro-
(changes when the keyboard as determined by the [OCT DOWN] and
octave keys are used). m [OCT UP] keys, and a list of the drum instruments
currently played by the micro-keyboard keys.
Micro-keyboard. m

Drum instruments m See the “Editing Songs & Patterns” section , page
currently played by 140, for information on how to edit recorded pat-
DETAIL
the corresponding tern data.
micro-keyboard keys.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 85
6 Creating Original Patterns

Step Pattern Recording ———————————————————————

The step pattern 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.

Z Select the PATTERN Use the [MODE] key to select the PAT (pattern) mode
mode & a user pattern. and, with the cursor located over the pattern number at the
MODE top of the display, use the [−1] and [+1] keys to select the
pattern you want to record (the programmable user patterns
–1 +1 are numbered 101 through 200). You can select an empty
NO YES
pattern if you want to record a new pattern using the STEP
Select user pattern Asterisks (*) indicate mode, or a pattern that already contains data if you want to
number (101 … 200). an empty pattern.
edit or add new data to the pattern.
m
m

86 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 6 Creating Original Patterns

X Engage the record ready Press the [●] key to engage the record ready mode. The red LED
mode. above the [●] key will light.

“REC” appears when the

record mode is engaged. m

C Select the step record Move the cursor to the “REC REAL STEP” area of the display,
mode. then press the right cursor key to select the “STEP” mode (if it isn’t
Place cursor here to select the step already selected). The selected record mode is indicated by a pair of
record mode. arrows on either side of the mode name — i.e. “>STEP<”. Once
selected, move the cursor vertically to move to other areas of the
screen. The arrows will remain positioned at the selected mode.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 87
6 Creating Original Patterns

V Set time signature and If you are recording a new pattern, move the cursor to the time sig-
pattern length (new nature and pattern length parameters and set as required.
patterns only).
The time signature and pattern
m length parameters can not be
Time signature: 1/16 … 16/16, DETAIL
changed if the selected pattern
1/8 … 16/8,
already contains data.
1/4 … 8/4.
m Length of pattern: “1of1” … “1 of 8”
(max. length 8 measures).

B Select the track to Move the cursor to the track area of the display, and then shift the
record and the voice for cursor sideways to select the track you want to record: “C1” = chord
that track. 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.

88 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 6 Creating Original Patterns

Cursor here to select the C1

(Chord 1) track.
–1 +1 Number & name of voice assigned
to select C1 voice
NO YES to current track shown here.
(001 … 128, Dr1 … Dr8, OFF).
The same applies to the C2, Ba,
and Dr tracks, except that only the
m
Dr1 … Dr8 voices and “OFF” can You can also change the voice as-
be assigned to the Dr track. signments later in the same way.
HINT

N Record. Press the [ ] key to begin recording. The step record display
shown below will appear.

Time signature.
Measure/beat/clock display. m
Note parameters. m
Note display. m

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 89
6 Creating Original Patterns

MSet the note parameters Move the cursor to the note, velocity, and gate time parameters and
as required. 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 record

display correspond to the following numeric values in

m
DETAIL
the edit displays (to be described later):
Note (32nd, 16th triplet, Velocity Gate time Velocity “p” = 56
16th, 8th triplet, 8th, (p = soft, (Staccato, “mf” = 88
1/4 triplet, 1/4, mf = medium, Normal, Slur). “f” = 120
1/2 triplet, 1/2). f = loud). Gate Time “Staccato” = 50% normal note length.
“Normal” = 90% normal note length.
“Slur” = 99% normal note length.

<Enter a note. Once the note parameter have been specified, the note can be en-
tered simply by playing the appropriate key on the micro-keyboard
(or on your external MIDI keyboard). A note symbol appears on the
note display and the note pointer advances to the next note position.
The note symbol always appears as a 1/4-note, regardless of the actual
note entered (chords are also indicated by the 1/4-note symbol).
Here’s how the display will look after two 8th notes have been en-
tered.

90 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 6 Creating Original Patterns

1st beat. 2nd beat. The Note Display

The note display shows up to four 1/4-notes worth
Note of data at once (that’s one measure in 4/4 time). If the
pointer. Each dash selected time signature results in more than four 1/4
represents a
32nd note
notes per measure, then the display will scroll to show
(12 clocks). the extra notes. On the other hand, if the time signa-
3rd beat. 4th beat. ture is 3/4, then the 4th beat is not used and appears as
double dashes on the display (“========”).

Moving Around In the Note Display

You 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
Cursor moved to note pointer (pointer filled). move past the last measure in the pattern, the first
Note that the pointer points up to notes in the measure of the pattern will appear.
upper row and down to notes in the lower row.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 91
6 Creating Original Patterns

The Step Mode Function Keys

The four function keys immediately to the right of the dis-
play provide access to a number of handy functions in the step
record mode. The “del” key deletes the note or chord at the
note pointer. The “Bdl” key moves
m Delete note at note the note pointer backward by the
pointer. currently selected note length and
m Step back by current deletes any notes that exist at that
note length and delete. location. The “rst” key enters a rest
m Enter rest of current of the currently selected note length
note length. at the note pointer position. And the
Enter a note of the same
m “tie” key lengthens the previously
length as the last note,
entered note by “tying” another note
tied to the last note (this
effectively lengthens the of the same length and pitch to it
last note). (the “tie” key only works immedi-
ately after entering a note).

The Measure/Beat/Clock Display

The “Meas” area of the step record display shows the cur-
m

rent position of the note pointer in measures, 1/4-note beats,

Measure (1 of 4, 1/4-note beat Clock (96 and clocks (there are 96 clocks per 1/4 note). If you’re not sure
2 of 4, 3 of 4, 4 (01, 02, 03, 04 clocks per what measure you’re seeing on the note display while record-
of 4 if 4/4 time). if 4/4 time). 1/4 note).
ing, check the measure/beat/clock display.

92 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 6 Creating Original Patterns

>Complete the pattern. Repeat steps 7 and 8 until the current track of the pattern is com-
plete, then press [ ] to stop recording and go back to step 5 to
record the next track, as necessary.

See the “Editing Songs & Patterns” section , page 140, for information on
how to edit recorded pattern data.
DETAIL

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 93
6 Creating Original Patterns

Playback In the Pattern Mode

Patterns can be played in the PATTERN mode in much the same way as they are in the
SONG mode.

Pattern number. Sections can be Pattern name.

changed via micro-keyboard when
cursor here or on section name.* Tempo
Section name.*

Voice numbers.

Mute buttons. Operation is the

same as in the SONG mode. * Only preset patterns have sections. No
Chords can be changed via micro- section name appears when a user pat-
keyboard when cursor here. tern is selected.

Use the [ ] key to start and stop playback. The main different
between playback in the PATTERN mode and playback in the SONG
mode is that in the PATTERN mode the sections don’t switch auto-
matically. If you select “Fill1”, for example, “Fill1” will play repeat-
edly until a different section is selected (in the SONG mode “Vari.” is
automatically selected after “Fill1” plays through once). Also, only
the accompaniment tracks are available for playback in the PAT-
TERN mode.

94 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 6 Creating Original Patterns

Accompaniment Without the Limitations of ABC

If 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 accompani-
ment 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.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 95
6 Creating Original Patterns

The Pattern Jobs

The pattern mode includes 8 pattern “jobs” that perform a variety of important functions. To
access and use the pattern jobs, press the [MENU] key while in the normal PATTERN play
mode, and then press the function key next to “Job” on the display.

MENU This calls the pattern job list. You can select any job on the list
simply by moving the cursor to the required job and pressing
[ENTER].
m
Pattern jobs 1 … 6 Pattern jobs 3 … 8
Press for (cursor at top of list). (cursor at bottom of list).
pattern
job list.

96 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 6 Creating Original Patterns

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 Mode

The 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
m you to the normal pattern play mode.

m
Press to exit Press to exit to pattern
to job list. play mode.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 97
6 Creating Original Patterns

1: Copy Pattern Copies a specified track (C1, C2, Ba, Dr, or

All) from one pattern to the specified track in a
Source pattern user pattern. The section to be copied can also
number (001 … 200). be specified when a preset pattern is the source.

Section (only available Source track

in preset patterns). (C1, C2, Ba, Dr, or All).
Destination pattern Destination track
number (101 … 200). (C1, C2, Ba, Dr, or All).

After setting the parameters as required, press

ENTER [ENTER]. “Are you sure?” will appear on the
display. Press [+1/YES] to confirm that you
want to go ahead with the copy operation
Press [−1/NO] –1 +1 (which will overwrite data in the destination
to cancel. NO YES
track), or press [−1/NO] to cancel.
The Copy Pattern job makes it possible to use tracks from other patterns as
MUSICAL
“building blocks” to create new patterns. You can, for example, combine differ-
NOTE
ent tracks from different preset patterns to create a completely new “hybrid”
pattern. Of course, you can also copy just one or two existing tracks and record
the remaining tracks yourself. Copied tracks can be edited using the edit mode
(page 140) to fit them to the pattern you are creating.

Depending on the selected pattern, some voices may not sound if a preset
DETAIL
pattern is copied to a user pattern.

98 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 6 Creating Original Patterns

2: Quantize Aligns notes in the specified track to the nearest specified beat.

Track to be quantized (C1, C2, Ba, or Dr).

Quantize note length (32nd note, 16th

note triplet, 16th note, 8th note triplet, 8th
note, 1/4-note triplet, 1/4-note, 1/2-note
triplet, 1/2-note).

After setting the parameters as required, press

[ENTER]. “Are you sure?” will appear on the
ENTER
display. Press [+1/YES] to confirm that you
want to go ahead with the quantize operation
Press [−1/NO] –1 +1
(which will irreversibly modify the data in the
to cancel. NO YES specified track), or press [−1/NO] to cancel.

One measure of 8th notes before Quantization is generally used to tighten up sloppy timing. Use it judi-
quantization. MUSICAL
ciously, however, because timing that is too perfect can sound cold and
NOTE
mechanical — unless, of course, you’re specifically aiming for a cold,
mechanical feel. Always use a quantize value that is at least as “short” as
the shortest notes in the track to be quantized. If you quantize a track
After quantization. containing 16th notes to 1/8 (8th notes), for example, some of the 16th
notes will be aligned with 8th note beats, thus ruining the track.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 99
6 Creating Original Patterns

3: Transpose Transposes all notes in the specified track up or down by the speci-
fied number of semitones. Minus (−) values transpose down while
plus (+) values transpose up.

Track to be transposed
(C1, C2 or Ba).
Amount or transposition in
semitones (−12 … +00 … +12).

After setting the parameters as required, press

ENTER
[ENTER]. “Are you sure?” will appear on the
display. Press [+1/YES] to confirm that you
Press [−1/NO] want to go ahead with the transpose operation,
or press [−1/NO] to cancel.
–1 +1
to cancel. NO YES

Of course, you can transpose all tracks as required to shift the entire pat-
MUSICAL
tern to a different key, but you could also transpose only the C2 track, for
NOTE
example, to produce an interval (and therefore harmony) between the C1
and C2 tracks.

100 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 6 Creating Original Patterns

4: Modify Velocity Increases or decreases the velocity values of all notes in the speci-
fied track and range of measures.

Track to be modified
The “rate” parameter sets the ratio between
(C1, C2, Ba, or Dr). the lower and higher velocity values. A setting
of “100%” maintains the original relationship
between the notes, lower values produce a nar-
Velocity ratio rower dynamic range, and higher values produce
(000% … 200%). a broader dynamic range.
Amount of velocity The “offset” parameters determines the
change amount of velocity change. “−” settings reduce
(−99 … +00 … +99). the velocity while “+” settings increase the ve-
locity.

After setting the parameters as required, press

ENTER
[ENTER]. “Are you sure?” will appear on the
display. Press [+1/YES] to confirm that you
Press [−1/NO] want to go ahead with the modify velocity op-
–1 +1
to cancel. NO YES
eration, or press [−1/NO] to cancel.

The Modify Velocity job is a great way to “soften” the sound of a pattern
MUSICAL
that has too great a variation between the softest and loudest notes, or,
NOTE
conversely, to add extra punch to a dull-sounding pattern. Experiment
with the parameters to get a feel for what they do.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 101
6 Creating Original Patterns

5: Modify Gate Time Increases or decreases the gate times (length) of all notes in the
specified track and range of measures.

The “rate” parameter sets the ratio between

Track to be modified the shorter and longer gate time values. A setting
(C1, C2, Ba, or Dr). of “100%” maintains the original relationship
between the notes, lower values produce a nar-
Gate time ratio rower gate time range, and higher values pro-
(000% … 200%). duce a broader gate time range.
Amount of gate time The “offset” parameter determines the amount
change of gate time modification. “−” settings shorten
(−99 … +00 … +99). the gate time while “+” settings increase the gate
time.

ENTER
After setting the parameters as required, press
[ENTER]. “Are you sure?” will appear on the
display. Press [+1/YES] to confirm that you
Press [−1/NO] –1 +1
want to go ahead with the modify gate time op-
to cancel. NO YES eration, or press [−1/NO] to cancel.

The Modify Gate Time job can be used to give the entire pattern a more
MUSICAL
staccato or legato feel, as required. Experiment with the parameters to
NOTE
get a feel for what they do.

102 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 6 Creating Original Patterns

6: Pattern Name Allows an original name of up to 8 characters to be assigned to the

current pattern.
Character cursor. Moves forward
as each character is entered, or To enter a character, use the cursor keys to
backward when a character is move the cursor to the character to be entered,
deleted.
Name area. then press the [ENTER] key. The character
will appear at the character cursor location and
the character cursor will advance to the next
character position.
To delete the last character entered place the
cursor over “DEL” at the bottom of the display
Characters and and press [ENTER]. The character will be
DEL function. deleted and character cursor will move back to
the last character position.

When the entire name has been entered, press the top function but-
ton next to “Exit” on the display. The new name will appear next to
the pattern number at the top of the PATTERN mode display.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 103
6 Creating Original Patterns

7: Clear Track Completely clears the specified track from the currently selected
pattern.

Track to be cleared (C1, C2, Ba, or Dr).

Select the track to be cleared and press

ENTER [ENTER]. “Are you sure?” will appear on
the display. Press [+1/YES] to confirm that
you want to go ahead with the Clear Track
Press [−1/NO] –1 +1
to cancel.
operation (Clear Track is irreversible), or
press [−1/NO] to cancel.
NO YES

104 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 6 Creating Original Patterns

8: Clear Pattern Completely clears the currently selected user pattern.

After selecting the Clear Pattern job, press

ENTER [ENTER]. “Are you sure?” will appear on the
display. Press [+1/YES] to confirm that you
want to go ahead with the Clear Pattern op-
Press [−1/NO] –1 +1
to cancel. eration (Clear Pattern is irreversible), or press
NO YES
[−1/NO] to cancel.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 105
106 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
Creating a Complete Song 7
Recording the Sequencer Tracks . 108 5: Delete Measure ........................ 128
Preparing to Record — 6: Erase Measure ......................... 129
Voice Assignments ....................... 108
7: Transpose ................................. 130
Realtime Sequencer Track
Recording ...................................... 109 8: Move Clock ............................... 131

Step Sequencer Track Recording . 115 9: Remove Event .......................... 132

The Song Jobs ................................ 122 10: Modify Velocity ........................ 133

1: Mix Track .................................. 124 11: Modify Gate Time ................... 134

2: Copy Measure .......................... 125 12: Song Name ............................. 135

3: Create Measure ........................ 126 13: Clear Track ............................. 136

4: Quantize .................................... 127 14: Clear Song .............................. 137

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 107
7 Creating a Complete Song

Recording the Sequencer Tracks

After recording the accompaniment tracks in the SONG mode using either the preset pat-
terns (chapter 5, page 52) or original patterns you have created in the PATTERN mode
(chapter 6, page 78), record melody lines, harmony parts, counter-melodies, or any other
parts required to complete your composition on the SONG mode sequencer tracks (TR1,
TR2, TR3, and TR4). The SONG mode provides realtime and step recording modes for the
sequencer tracks as well as the accompaniment tracks.

Preparing to Record — Voice Assignments ——————————————

MODE
Before actually beginning to record
you should switch to the VOICE mode
Current track. Voice assigned to and assign the desired voices to the
current track. SONG mode sequencer tracks (page 38).
Of course, you can make these assign-
m SONG mode ments later but it’s better to record with
Voice
numbers.
m m tracks. the voices you actually intend to use in
the song.
Mute buttons.
Pan pots. m m Faders.

108 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 7 Creating a Complete Song

Realtime Sequencer Track Recording ————————————————

In the realtime record mode you select the track you want to record
(TR1, TR2, TR3, or TR4), and then play the part on the micro-key-
board or an external MIDI keyboard in real time.

Z Select the SONG mode & Use the [MODE] key to select the SONG mode and, with the cur-
the song to be recorded sor located over the song number at the top of the display, use the
[−1] and [+1] keys to select the song you intend to record.
MODE

–1 +1
NO YES

Select song number (01 … 20).

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 109
7 Creating a Complete Song

X Engage the record ready Press the [●] key to engage the record ready mode. The red LED
mode. above the [●] key will light.

“REC” appears when the

record mode is engaged. m

C Select the realtime Move the cursor to the “REC REAL STEP” area of the display,
record mode. then press the left cursor key to select the “REAL” mode (if it isn’t
Place cursor here to select the already selected). The selected record mode is indicated by a pair of
realtime record mode. arrows on either side of the mode name — i.e. “>REAL<”. Once
selected, move the cursor vertically to move to other areas of the
screen. The arrows will remain positioned at the selected mode.

110 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 7 Creating a Complete Song

V Select tempo and trans- Move the cursor to the tempo and transpose parameters and set as
pose parameters as re- required using the [−1] and [+1] keys (since you’ve probably already
quired. recorded the accompaniment tracks, the time signature can’t be
changed).

Record tempo.

Transpose.
It’s sometimes easier to set a slow tempo for realtime
recording, so you have plenty of time to enter the data.
HINT

B Select the track to Move the cursor to the track area of the display, and
record. then shift the cursor sideways to select the track you
want to record: TR1, TR2, TR3, or TR4. Move the cur-
Cursor here
sor vertically to move to other areas of the screen. An
to select TR1
for recording.
m underline will remain below the selected track.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 111
7 Creating a Complete Song

N Record. Press the [ ] key to begin recording. The metronome will sound
and you’ll be given a two-measure count-in prior to the first measure
actually recorded. The count-in is also indicated by negative numbers
in the “Meas” parameter. If a 4/4 time signature is selected, for exam-
ple, the count-in will run from measure “−08” to “−01”, then record-
ing will begin from measure “001”.

Play the required part either on the micro-keyboard

Realtime record-
ing in progress. m or via an external MIDI keyboard transmitting on the
appropriate MIDI channel:

Minus measure MIDI Channel Track

numbers during
count-in.
m 1 ......................... TR1
2 ......................... TR2
3 ......................... TR3
4 ......................... TR4

If the track selected for recording contains previously-recorded data, the

old data will be erased and replaced by the new data. If you want to
HINT
record several separate parts to the same track (using the same voice, of
course), use the “Mix Track” song job (page 124) to combine separately
recorded tracks.

112 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 7 Creating a Complete Song

M Stop recording. Press the [ ] key to stop recording. The normal SONG play
mode is automatically re-selected when you stop recording.

Track empty.
Note that when you return to the SONG play mode
the block below each track that contains data will be
filled (dark) while the blocks below empty tracks are
Track contains
data.
m empty (outline only).

< Record the remaining Complete the song by re-engaging the record mode, selecting the
tracks. next track to be recorded, and recording as described in steps 2 and 5
through 7, above.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 113
7 Creating a Complete Song

Hold MENU and press MODE As long as the record mode is not engaged you
The pitch of the low- can press the [MODE] key while holding the
est micro-keyboard HINT
[MENU] key to see the current pitch of the micro-
key (changes when keyboard as determined by the [OCT DOWN] and
the octave keys are
used). m [OCT UP] keys, and a list of the drum instruments
currently played by the micro-keyboard keys.
Micro-keyboard. m See the “Editing Songs & Patterns” section , page
Drum instruments
140, for information on how to edit recorded song
currently played by
the corresponding
m DETAIL
data.
micro-keyboard keys.

● The “Used Memory” Display Press the [OCT DOWN] and [OCT UP] keys simultaneously at
OCT OCT
any time when the record mode is not engaged to see how much of
DOWN UP
the QY22’s memory has been used.
When the bar reaches “100%” the QY22 memory is full (or almost
full) and further recording may not be possible unless you delete
some unwanted data or transfer some data to an external data storage
device using the MIDI bulk dump function (see page 163).

If the memory becomes full during realtime recording the “Memory Full”
error message will appear and recording will stop automatically. Although
DETAIL
the used memory display may not show “100%” at this point, further re-
cording will not be possible until some data is deleted.

114 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 7 Creating a Complete Song

Step Sequencer Track Recording ——————————————————

The step pattern 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.

Z Select the SONG mode & Use the [MODE] key to select the SONG mode and, with the cur-
the song to be recorded sor located over the song number at the top of the display, use the
[−1] and [+1] keys to select the song you intend to record.
MODE

–1 +1
NO YES

Select song number (01 … 20).

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 115
7 Creating a Complete Song

X Engage the record ready Press the [●] key to engage the record ready mode. The red LED
mode. above the [●] key will light.

“REC” appears when the

record mode is engaged. m

C Select the step record Move the cursor to the “REC REAL STEP” area of the display,
mode. then press the right cursor key to select the “STEP” mode (if it isn’t
Place cursor here to select the already selected). The selected record mode is indicated by a pair of
step record mode. arrows on either side of the mode name — i.e. “>STEP<”. Once
selected, move the cursor vertically to move to other areas of the
screen. The arrows will remain positioned at the selected mode.

116 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 7 Creating a Complete Song

V Select the track to Move the cursor to the track area of the display,
record. and then shift the cursor sideways to select the track
you want to record: TR1, TR2, TR3, or TR4. Move
the cursor vertically to move to other areas of the
screen. An underline will remain below the selected
TR2 selected for
track.
step recording.

B Record. Press the [ ] key to begin recording. The step record display
shown below will appear.

Current record track.

Measure/beat/clock display. Time signature.

Note parameters.

Note display.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 117
7 Creating a Complete Song

N Set the note parameters Move the cursor to the note, velocity, and gate time parameters and
as required. 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 record

display correspond to the following numeric values in

m
DETAIL
the edit displays (to be described later):
Note (32nd, 16th triplet, Velocity Gate time Velocity “p” = 56
16th, 8th triplet, 8th, (p = soft, (Staccato, “mf” = 88
1/4 triplet, 1/4, mf = medium, Normal, Slur). “f” = 120
1/2 triplet, 1/2). f = loud). Gate Time “Staccato” = 50% normal note length.
“Normal” = 90% normal note length.
“Slur” = 99% normal note length.

M Enter a note. Once the note parameter have been specified, the note can be en-
tered simply by playing the appropriate key on the micro-keyboard
(or on your external MIDI keyboard). A note symbol appears on the
note display an the note pointer advances to the next note position.
The note symbol always appears as a 1/4-note, regardless of the actual
note entered (chords are also indicated by the 1/4-note symbol).
Here’s how the display will look after two 8th notes have been en-
tered.

118 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 7 Creating a Complete Song

1st beat. 2nd beat. The Note Display

The note display shows up to four 1/4-notes worth of
Note data at once (that’s one measure in 4/4 time). If the se-
pointer. Each dash lected time signature results in more than four 1/4 notes
represents a
32nd note
per measure, then the display will scroll to show the ex-
(12 clocks). tra notes. On the other hand, if the time signature is 3/4,
3rd beat. 4th beat. then the 4th beat is not used and appears as double
dashes on the display (“========”).

Moving Around In the Note Display

You 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.
Cursor moved to note pointer (pointer filled).
Note that the pointer points up to notes in the
upper row and down to notes in the lower row.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 119
7 Creating a Complete Song

The Step Mode Function Keys

The four function keys immediately to the right of the dis-
play provide access to a number of handy functions in the step
record mode. The “del” key deletes the note or chord at the
note pointer. The “Bdl” key moves
m Delete note at note the note pointer backward by the
pointer. currently selected note length and
m Step back by current deletes any notes that exist at that
note length and delete. location. The “rst” key enters a rest
m Enter rest of current of the currently selected note length
note length. at the note pointer position. And the
Enter a note of the same
m “tie” key lengthens the previously
length as the last note, entered note by “tying” another note
tied to the last note (this
effectively lengthens the of the same length and pitch to it
last note). (the “tie” key only works immedi-
ately after entering a note).

The Measure/Beat/Clock Display

m

The “Meas” area of the step record display shows the current
position of the note pointer in measures, 1/4-note beats, and
Measure number 1/4-note beat Clock (96
clocks (there are 96 clocks per 1/4 note). If you’re not sure
(001 … 999). (01, 02, 03, 04 clocks per
if 4/4 time). 1/4 note). what measure you’re seeing on the note display while record-
ing, check the measure/beat/clock display.

120 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 7 Creating a Complete Song

< Complete the song. Repeat steps 7 and 8 until the current track of the
song is complete, then press [ ] to stop recording
and go back to step 5 to record the next track, as nec-
essary.

See the “Editing Songs & Patterns” section , page 140,

for information on how to edit recorded song data.
DETAIL

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 121
7 Creating a Complete Song

The Song Jobs

The song mode includes 14 song “jobs” that perform a variety of important functions. To ac-
cess and use the song jobs, press the [MENU] key while in the normal SONG play mode,
and then press the function key next to “Job” on the display.

MODE This calls the song job list. You can select any job on the list
simply by moving the cursor to the required job and pressing
[ENTER].
m
Press for song job list.

122 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 7 Creating a Complete Song

Song jobs 1 … 6. Song jobs 7 … 12. Song jobs 9 … 14.

Returning to the Song Play Mode

The function button next to “Exit” on the display can be used to
exit from any song job, and then from the job list thereby returning
you to the normal song play mode.

m
m

Press to exit Press to exit to

to job list. song play mode.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 123
7 Creating a Complete Song

1: Mix Track Combines the data contained in two specified

source tracks and places the result in a third des-
tination track. The destination track can be the
same as either of the source tracks.
First source track
(TR1 … TR4). m
Second source track
(TR1 … TR4). m
Destination track
(TR1 … TR4). m
After setting the parameters as required, press
ENTER [ENTER]. “Are you sure?” will appear on the
display. Press [+1/YES] to confirm that you
want to go ahead with the Mix Track operation
Press [−1/NO] –1 +1 (which will overwrite data in the destination
to cancel. NO YES
track), or press [−1/NO] to cancel.
In many situations you may want to “overdub,” or add new material to a single track without
MUSICAL
deleting the previous material. This is dangerous, however, since you can ruin one or more
NOTE
layers of good material by making a mistake during a later overdub. The QY22 eliminates
this possibility by allowing only “replace” recording (i.e. all material recorded to a track
erases and replaces any previous material on that track). In order to record more than one
layer of material to a single track (using the same voice, of course), first record the layers
on separate tracks, then after ensuring that there are no mistakes, use the Mix Track job to
combine these separate tracks onto a single track.
Please note that if both source tracks are set to the same track number, the data from
that track will simply be copied to the destination track.

124 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 7 Creating a Complete Song

2: Copy Measure Copies a specified range of measures from

one track to the specified measure in another
First measure in range to Last measure in range to track. This operation overwrites the data from
be copied (001 … 999). be copied (001 … 999).
the beginning of the specified destination
measure with the data from the source meas-
ure. Previous data in the overwritten measures
is therefore lost. If the “Chd” track is se-
Source track lected, the corresponding chord progression is
(TR1 … TR4, Chd). m copied.
Destination track
(TR1 … TR4, Chd). m
Measure to which source measures Number of times specified range of
are to be copied (001 … 999). measures is to be copied (01 … 99).

After setting the parameters as required,

ENTER press [ENTER]. “Are you sure?” will appear
on the display. Press [+1/YES] to confirm
that you want to go ahead with the Copy
Press [−1/NO] –1 +1 Measure operation (Copy Measure is irrevers-
to cancel. NO YES
ible), or press [−1/NO] to cancel.
The Copy Measure job makes it easy to use phrases or even complete sections (an entire cho-
MUSICAL rus, for example) in more that one place in a song. You can copy a phrase played by one voice,
NOTE
and have it repeated by a different voice later in the song. You can always edit the copied sec-
tions to create variations.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 125
7 Creating a Complete Song

3: Create Measure Creates a specified number of blank measures

having the specified time signature for all
sequencer tracks (TR1 ... TR4). The accompani-
ment tracks are not affected. The created meas-
ures are inserted at a specified measure number,
Measure at which
and all subsequent measures are moved forward
created measures
are to be inserted to make room. Always set the time signature pa-
(001 … 999). rameter to the same time signature as the song,
otherwise the difference between the specified
time signature and that of the accompaniment
tracks makes it impossible to prop-
Time signature of measures to be created Number of measures to erly create the specified measures.
(1/4 … 8/4, 1/8 … 16/8, 1/16 … 16/16). be created (01 … 99).

After setting the parameters as required, press

ENTER
[ENTER]. “Are you sure?” will appear on the
display. Press [+1/YES] to confirm that you want
Press [−1/NO] –1 +1
to go ahead with the Create Measure operation,
to cancel. NO YES or press [−1/NO] to cancel.

Use create measure when you want to add new material somewhere in
MUSICAL the middle of data you’ve already recorded, without erasing the existing
NOTE
data. First create the required measures, then either copy the data from
existing measures using the Copy Measure function, or record new data
as required.

126 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 7 Creating a Complete Song

4: Quantize Aligns notes in the specified track to the near-

est specified beat.

First measure in range to

Last measure in range to be modified
be modified (001 … 999).
(001 … 999).
Track (TR1 … TR4).
Quantize note length (32nd note, 16th
note triplet, 16th note, 8th note triplet, 8th
note, 1/4-note triplet, 1/4-note, 1/2-note
triplet, 1/2-note).

After setting the parameters as required, press

ENTER [ENTER]. “Are you sure?” will appear on the
display. Press [+1/YES] to confirm that you want
to go ahead with the quantize operation (which
Press [−1/NO] –1 +1
to cancel. will irreversibly modify the data in the specified
NO YES
track), or press [−1/NO] to cancel.
One measure of 8th notes before Quantization is generally used to tighten up sloppy timing. Use it judi-
quantization. MUSICAL
ciously, however, because timing that is too perfect can sound cold and
NOTE
mechanical — unless, of course, you’re specifically aiming for a cold,
mechanical feel. Always use a quantize value that is at least as “short” as
the shortest notes in the track to be quantized. If you quantize a track
After quantization. containing 16th notes to 1/8 (8th notes), for example, some of the 16th
notes will be aligned with 8th note beats, thus ruining the track.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 127
7 Creating a Complete Song

5: Delete Measure Deletes the specified range of measures from all

sequencer tracks (TR1 ... TR4) simultaneously.
The accompaniment tracks are not affected. Please
note that if the Delete Measure job is used to de-
lete a measure or measures that have a different
First measure in range to time signature from the rest of the song, the speci-
be deleted (001 … 999). fied measure or measures may not be properly
deleted due to the resulting difference between the
time signatures of the
Last measure in range to sequencer and accom-
be deleted (001 … 999). paniment tracks.

After setting the parameters as required, press

ENTER [ENTER]. “Are you sure?” will appear on the
display. Press [+1/YES] to confirm that you want
to go ahead with the Delete Measure operation
Press [−1/NO] –1 +1 (Delete Measure is irreversible), or press [−1/
to cancel. NO YES
NO] to cancel.

Delete Measure is a great way to completely cut out unwanted data from
MUSICAL the song. It’s important to remember , however, that a delete operation
NOTE
affects all tracks simultaneously, and that measures following the deleted
range are moved back to take the place of the deleted measures.

128 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 7 Creating a Complete Song

6: Erase Measure Erases all note and event data from the speci-
fied measure or range of measures in the speci-
fied track. An erase operation leaves the speci-
fied measures intact but blank.
First measure in range to
be erased (001 … 999).
Track (TR1 … TR4). Last measure in range to
be erased (001 … 999).

After setting the parameters as required, press

ENTER [ENTER]. “Are you sure?” will appear on the
display. Press [+1/YES] to confirm that you want
to go ahead with the Erase Measure operation
Press [−1/NO]
to cancel.
–1 +1 (Erase Measure is irreversible), or press [−1/NO]
NO YES
to cancel.

Unlike the Delete Measure job, the Erase Measure job erases the data
MUSICAL
from the specified measures only in the specified track. Also, the data is
NOTE
erased but the measures remain intact (i.e. the subsequent measures are
not moved back). After an erase operation you can record new material in
the resulting blank measures as required.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 129
7 Creating a Complete Song

7: Transpose Transposes all notes in the specified part up or

down by the specified number of semitones. Mi-
nus (−) values transpose down while plus (+)
values transpose up.
First measure in range to Last measure in range to be modified
be modified (001 … 999). (001 … 999).
Track (TR1 … TR4).

Amount of transposition in semitones

(−12 … +00 … +12).

ENTER
After setting the parameters as required, press
[ENTER]. “Are you sure?” will appear on the
display. Press [+1/YES] to confirm that you
Press [−1/NO] –1 +1
want to go ahead with the transpose operation,
to cancel. NO YES or press [−1/NO] to cancel.

Of course, you can transpose all tracks as required to shift the entire song
MUSICAL
to a different key, but the Transpose job is actually more suited to chang-
NOTE
ing the pitch of a section of a single track. This can be done to produce
temporary “modulations” to another key, or to create harmony with an-
other track.

130 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 7 Creating a Complete Song

8: Move Clock Moves all notes and events in the specified

track and range of measures forward or backward
by the specified number of clocks (96 clocks per
1/4 note).
First measure in range to Last measure in range to be modified
be modified (001 … 999). (001 … 999).
Track (TR1 … TR4).
Number of clocks by which data in
specified range are to be moved
(−99 … +00 … +99).

After setting the parameters as required, press

ENTER
[ENTER]. “Are you sure?” will appear on the
display. Press [+1/YES] to confirm that you want
Press [−1/NO] –1 +1
to go ahead with the Move Clock operation, or
to cancel. NO YES press [−1/NO] to cancel.

Since the Move Clock job actually shifts the timing of all notes and other
MUSICAL
events in the specified measures forward or backward, it can significantly
NOTE
alter the “feel” of the song. You could move the notes forward (“+” set-
tings) to create a more “laid back” feel, or backward (“−” settings) to pro-
duce a more “driving” feel. Of course, you can also use Clock Move to
correct timing that is off in the first place.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 131
7 Creating a Complete Song

9: Remove Event Allows pitch bend, program change, or control

change events (data) to be removed from a speci-
fied measure or range of measures in a specified
track.
First measure in range to Last measure in range to be modified
be modified (001 … 999). (001 … 999).
Track (TR1 … TR4).
Type of event to be removed from the specified range
of measures (Note, Program Change, Sustain, Pitch
Bend, Modulation, Pan, Volume, Expression, Data
Entry LSB, Data Entry MSB, RPN LSB, RPN MSB).

After setting the parameters as required, press

ENTER
[ENTER]. “Are you sure?” will appear on the
display. Press [+1/YES] to confirm that you
Press [−1/NO] want to go ahead with the Remove Event opera-
–1 +1
to cancel. NO YES
tion (Remove Event is irreversible), or press
[−1/NO] to cancel.

Although you can remove events individually in the edit mode (page 145),
MUSICAL
the Remove Event job makes it simple to remove all occurrences of the
NOTE
specified event within the specified measure range in one operation. This
is particularly convenient when removing slow pitch bends or volume
changes that may employ many individual events to create a single effect.

132 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 7 Creating a Complete Song

10: Modify Velocity Increases or decreases the velocity values of

Last measure in range to all notes in the specified track and range of
be modified (001 … 999). measures.
First measure in range to The “rate” parameter sets the ratio between
be modified (001 … 999).
the lower and higher velocity values. A setting
Track (TR1 … TR4). of “100%” maintains the original relationship
between the notes, lower values produce a nar-
Velocity ratio rower dynamic range, and higher values produce
(000% … 200%).
a broader dynamic range.
Amount of velocity change The “offset” parameters determines the
(−99 … +00 … +99). amount of velocity change. “−” settings reduce
the velocity while “+” settings increase the ve-
locity.

ENTER
After setting the parameters as required, press
[ENTER]. “Are you sure?” will appear on the
display. Press [+1/YES] to confirm that you
Press [−1/NO] –1 +1 want to go ahead with the modify velocity opera-
to cancel. NO YES tion, or press [−1/NO] to cancel.

The Modify Velocity job is a great way to “soften” the sound of material
MUSICAL that has too great a variation between the softest and loudest notes, or,
NOTE
conversely, to add extra punch to dull-sounding material. Experiment with
the parameters to get a feel for what they do.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 133
7 Creating a Complete Song

11: Modify Gate Time Increases or decreases the gate times (length)
Last measure in range to of all notes in the specified track and range of
be modified (001 … 999). measures.
First measure in range to
The “rate” parameter sets the ratio between
be modified (001 … 999).
the shorter and longer gate time values. A setting
Track (TR1 … TR4). of “100%” maintains the original relationship
between the notes, lower values produce a nar-
Gate time ratio rower gate time range, and higher values produce
(000% … 200%). a broader gate time range.
Amount of gate time
The “offset” parameter determines the amount
change of gate time modification. “−” settings shorten
(−99 … +00 … +99). the gate time while “+” settings increase the gate
time.

ENTER
After setting the parameters as required, press
[ENTER]. “Are you sure?” will appear on the
display. Press [+1/YES] to confirm that you want
Press [−1/NO] –1 +1 to go ahead with the modify gate time operation,
to cancel. NO YES or press [−1/NO] to cancel.

The Modify Gate Time job can be used to produce a more staccato or
MUSICAL
legato feel, as required. Experiment with the parameters to get a feel for
NOTE
what they do.

134 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 7 Creating a Complete Song

12: Song Name Allows an original name of up to 8 characters to be assigned to the

current song.
Character cursor. Moves forward
as each character is entered, or To enter a character, use the cursor keys to
backward when a character is move the cursor to the character to be entered,
deleted.
Name area. then press the [ENTER] key. The character will
appear at the character cursor location and the
character cursor will advance to the next charac-
ter position.
To delete the last character entered place the
cursor over “DEL” at the bottom of the display
Characters and and press [ENTER]. The character will be de-
DEL function. leted and character cursor will move back to the
last character position.

When the entire name has been entered, press the top function but-
ton next to “Exit” on the display. The new name will appear next to
the song number at the top of the SONG mode display.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 135
7 Creating a Complete Song

13: Clear Track Completely clears the specified track from the currently selected
song. If “BK” is selected, all accompaniment tracks are cleared.

Track to be cleared
(TR1 … TR4, BK).

Select the track to be cleared and press [EN-

ENTER TER]. “Are you sure?” will appear on the dis-
play. Press [+1/YES] to confirm that you want to
go ahead with the Clear Track operation (Clear
Press [−1/NO] –1 +1 Track is irreversible), or press [−1/NO] to can-
to cancel. NO YES
cel.

136 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 7 Creating a Complete Song

14: Clear Song Completely clears the currently selected song.

After selecting the Clear Song job, press [EN-

ENTER
TER]. “Are you sure?” will appear on the dis-
play. Press [+1/YES] to confirm that you want
to go ahead with the Clear Song operation
Press [−1/NO]
to cancel.
–1 +1
(Clear Song is irreversible), or press [−1/NO] to
NO YES
cancel.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 137
138 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
Editing Songs & Patterns 8
Engaging the Edit Mode ........................................... 140
Change Mode Editing ............................................... 143

Insert Mode Editing ................................................... 146

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 139
8 Editing Songs & Patterns

The QY22’s editing capability makes it easy to correct mistakes made when recording song
or pattern data, and to generally refine your sound.
The song and pattern edit “change” mode lets you individually modify the timing, pitch, gate
time (length) and velocity (loudness) of each note in the pattern. There’s also an edit “insert”
mode that allows insertion of note, program change, sustain on/off, pitch bend, modulation,
pan, volume, expression, and other events at any point in the pattern.

Engaging the Edit Mode———————————————————————

To engage the edit mode, place the cursor at the track you want to
edit in the normal SONG or PATTERN play mode, press the
[MENU] key, and then the function key next to “Edit” on the display.

From the MENU From the MENU

SONG mode: PATTERN
mode:

m
m

Press to enter Press to enter

song edit mode pattern edit mode
for current track. for current track.

140 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 8 Editing Songs & Patterns

Track being edited. The edit display will look something like this

m
(of course, the note data will be different).

Edit “change” mode

(this is the default m
mode). m Top of song.
m One note per line.

m
m

m
m
Beat-clock. Note Gate time Velocity.
(pitch). (beat-clock).

The pattern edit display is almost exactly the same. The only differ-
ence is that the part being edited (C1, C2, Ba, or Dr) is displayed in
the upper right corner instead of the track.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 141
8 Editing Songs & Patterns

● Moving Around The timing, 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 pattern by sim-
ply moving the cursor. Move below the bottom of the display and the
note data will scroll up, moving towards the end of the pattern. The
opposite occurs when you move up above the top of the display.
In addition to the lines of note data, there are markers for the top of
the song, measure lines, and the end of the song.

Cursor currently
in measure 002. m
Measure line. m
m End of song.

142 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 8 Editing Songs & Patterns

Change Mode Editing ————————————————————————

The “Change” edit mode is initially selected when the edit mode is
engaged. To edit any note in the song or pattern, simply move the
cursor to the appropriate line, and then to the required parameter
within that line. The [−1] and [+1] keys can then be used to select a
new value for the selected parameter. The edited line will flash when
any parameter within it is changed. This indicates that a change has
been made but has not yet been entered. Press the [ENTER] key to
actually enter the changes, or move the cursor to another line to can-
cel the changes.
m

For example, you would place the

cursor here if you wanted to
change the pitch of the second
note in the second measure.

Beat-clock
The first column contains the note timing data. The left number is
the 1/4-note beat within the current measure (1 through 4 in a 4/4
measure), and the right number is the clock within that beat (00
through 95). The beat and clock values can be selected and edited
independently.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 143
8 Editing Songs & Patterns

Pitch
This is the actual pitch of the note. The range is from C-2 to G8.

Gate Time
Gate time is the length of the note in clocks. A normal 1/4 note, for
example, is 86 clocks long. This is about 90% of the actual length of
a 1/4-note division, which is 96 clocks. The “normal” length of the
note is slightly shortened to prevent notes from running into each
other and sounding slurred (a slur is produced by setting the full note
length). The left number is 1/4-note beats (96-clock units) and the
right number is clocks. The range is from 00-01 to 99-95.

Velocity
This parameter controls the velocity (loudness) of the note. The
range is from 001 to 127.

144 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 8 Editing Songs & Patterns

● Deleting Events Notes and other events (sustain on/off, pitch bend, etc.) can be de-
leted by placing the cursor at the line corresponding to the event to be
deleted, and then pressing the function key next to “Del” on the dis-
play.

m Press to delete line at cursor location

(note or other event).

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 145
8 Editing Songs & Patterns

Insert Mode Editing —————————————————————————

The edit insert mode is used to insert new notes and other events at
a specified location in the pattern.

Z Place the cursor at the Move the cursor to the edit line corresponding to (or near to) the
insert location. location at which you want to insert the new data.

Place cursor at
insert location. m

X Engage the insert edit Press the [MENU] key and then the function key next to “Insert”
mode. on the display to switch to the insert edit mode.

146 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 8 Editing Songs & Patterns

MENU

m Press to engage
insert edit mode.

C Call the event list. If the display corresponding to the type of

event you want to insert does not appear immedi-
m Press for ately (the last selected event type will appear),
event list. press the function key next to “evt” on the display
to call the insert edit mode event list.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 147
8 Editing Songs & Patterns

V Select the type of event Move the cursor to the type of event you want to insert (see de-
to be inserted. scriptions below), then press the [ENTER] key to call the display for
the selected event.

Top half of event list. Bottom half of event list.

B Set the event param- All events have at least two parameters — usually the location of
eters. the event (Beat-clock) and the event value. Move the cursor to the
event parameters and set as required by using the [−1] and [+1] keys.
Note that the measure number above the event line will change to
indicate the event locations as you change the beat-clock location
value (M001 … M999).

148 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 8 Editing Songs & Patterns

Note
New notes can be inserted at any specified location. The note range
is from “C-2” to “G8”. Gate time and velocity can also be specified.

Location. Pitch. Gate Velocity.

time.

Program Change
In the SONG mode, Program Change events can be used to switch
voices at any point in the track. You can select voices “001” through
“128”. The QY22’s Normal voice names are fully compatible with the
General MIDI System Level 1.

In the PATTERN mode it is possible to assign voices to tracks as

follows:
C1, C2, Ba Track .................. Normal voice
Location. Voice Voice name Dr Track ................................ Drum voice
number. (changes accord- Both Normal voice and Drum voice names are fully compatible
ing to voice with General MIDI System Level 1.
number selected).

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 149
8 Editing Songs & Patterns

Sustain
Inserting a sustain ON event has the same effect as pressing the
sustain pedal on a keyboard. All subsequent notes will be sustained
(applicable voices only) until a sustain OFF event is encountered. Be
sure to select “ON” or “OFF”, as required, before entering a sustain
event.

Location. ON or OFF.

Pitch Bend
Pitch bend events can be used to produce pitch bend effects. The
amount of pitch bend produced by each event can be set from “−64”
through “+00” to “+63”. To produce smooth pitch bends, you’ll need
to insert several appropriately-spaced small pitch bend events. Re-
member to use more pitch bend effects to return the pitch to normal
after a bend.

Location. Amount of pitch

change.

150 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 8 Editing Songs & Patterns

Modulation
Modulation events apply pitch modulation (vibrato) to the voice.
The amount of modulation applied can be set from “000” (no modula-
tion) to “127” (maximum modulation). Modulation remains in effect
until a “000” modulation event is encountered.

Location. Amount of modulation.

Pan
Pan events can be used to pan the current voice to a specified posi-
tion in the output stereo sound field (drum voices cannot be panned).
The pan position can be set from “L7” (full left) through “C” (center)
to “R7” (full right).

Location. Pan position.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 151
8 Editing Songs & Patterns

Volume
Volume events can be used to produce sudden volume changes or
gradual crescendos and decrescendos. The volume range is from
“000” (minimum volume) to “127” (maximum volume). Use a
number of small volume events spaced at appropriate intervals to cre-
ate gradual volume changes.

Location. Volume level.

Expression
Expression events function in much the same way as volume
events, but can be used to produce “finer” volume variations. The
expression range is from “000” (lower volume) to “127” (higher vol-
ume). Use a number of small expression events spaced at appropriate
intervals to create gradual expression “swells” and other volume
changes.

Location. Expression level.

152 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 8 Editing Songs & Patterns

Data Entry LSB & Data Entry MSB

Data entry events can be used in conjunction with RPN events (de-
scribed below) to control a wide variety of parameters. An RPN event
is used to specify the parameter to be controlled, then a data entry
event supplies the control value. A single data entry event consists of
two bytes of data — the LSB (Least Significant Byte) and the MSB
(Most Significant Byte). See the “MIDI Data Format” booklet for
technical details.
Location. Data entry LSB
value.

Location. Data entry MSB

value.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 153
8 Editing Songs & Patterns

RPN LSB & RPN MSB

RPN (Registered Parameter Number) events can be used in con-
junction with data entry events (described above) to control pitch
bend sensitivity, tuning, and other basic tone generator settings. An
RPN event is used to specify the parameter to be controlled, then a
data entry event supplies the control value. A single RPN event con-
sists of two bytes of data — the LSB (Least Significant Byte) and the
MSB (Most Significant Byte). See the “MIDI Data Format” booklet
for technical details.
Location. RPN LSB value.

Location. RPN MSB value.

154 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 8 Editing Songs & Patterns

N Enter the specified Press the [ENTER] key to enter the event as specified. A click will
event. be heard as the event is entered. Please note that the click sound will
not be heard if no drum voice is assigned to the drum track, or if the
ENTER CLICK! volume is set to “0”.

M Return to the change Press the [MENU] key and then the function key next to “Change”
edit mode. on the display to return to the change edit display, and continue edit-
MENU ing as required.

m
Press to return
to change edit Pitch bend event inserted.
mode. Once inserted, you can edit
the event’s location and
value in the change mode.

< Exit from the edit mode. Press the [MODE] key to exit from either the change or insert edit
MODE
mode and return to the normal SONG or PATTERN play mode.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 155
156 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
Utility Functions 9
Accessing the Utility Mode ........................................ 158
System Parameters .................................................. 160

Bulk Dump ................................................................ 163

ABC Zone ................................................................. 165

Memory Initialize ....................................................... 166

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 157
9 Utility Functions

The QY22 utility mode includes a number of functions that are important for general opera-
tion — e.g. MIDI data handling, interfacing with external equipment, saving song and pattern
data to an external storage device, ABC system operation, etc.

Accessing the Utility Mode —————————————————————

The utility mode can be accessed from the SONG, VOICE, or PAT-
TERN mode. Simply press the [MENU] key and then the function
MENU
key next to “Utility” on the display.

m Press to engage
utility mode.

158 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 9 Utility Functions

Once the utility mode has been selected, any of the three utility
MENU
displays can be called by pressing the [MENU] key and then the ap-
propriate function key, as shown below.
m Press for utility mode
system parameters.
m Press for MIDI bulk
dump.
m Press to set ABC
When the utility mode is first engaged
keyboard zone.
from the SONG, PATTERN, or VOICE
DETAIL
mode, the last utility display selected will
initially appear.

● Exiting From the Utility The function key next to “Exit” on the
Mode display can be used to exit from any util-
m Press to exit from ity display and return to the SONG,
utility mode. VOICE, or PATTERN mode.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 159
9 Utility Functions

System Parameters —————————————————————————

The “System” display includes 6 parameters that affect the basic op-
eration of the QY22. Move the cursor to the parameter to be adjusted and
set as required by using the [−1] and [+1] keys.

MIDI Sync When this parameter is set to “Int” the QY22 is controlled by its own
(MIDI synchronization mode) internal clock.
When set to “Ext” the QY22 is controlled by a MIDI clock signal re-
Settings: Int, Ext ceived from an external device such as a sequencer or music computer.
Please note that the QY22 will not run on its own when this parameter is
set to “Ext.”

MIDI Ctl This parameter simply turns MIDI control of the QY22 on or off.
(MIDI control) “On” is the normal setting, and with this setting the QY22 receives note,
program change, and control change data from an external MIDI key-
Settings: On, Off board or other controlling device. Transmission of start, stop, and con-
tinue commands is also active, as is MIDI clock transmission.
When set to “Off” the QY22 will not respond to external MIDI control
(start, stop, and continue commands only).
If the QY22 is to be used as a General MIDI tone generator, the MIDI
control parameter should be set to “Off”.
160 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 9 Utility Functions

Device No. The Device Number setting determines the MIDI channel via which
(MIDI device number) MIDI exclusive data will be transmitted when a Bulk Dump operation
is executed (page 163) or received when bulk data is received from an
Settings: Off, 1 … 16, All
external device.
When set to “Off” no bulk data transfer occurs.
When set to a channel number between 1 and 16 the bulk data
transfers occur via the specified channel.
When set to “All” bulk data is transmitted and received on all
channels.

Master Tune Tunes the overall pitch of the QY22 sound. The Master Tune range
is from “−64” through “+00” to “+63”. Each increment corresponds
Settings: −64 … +00 … +63 to approximately 2 cents (a cent is 1/100th of a semitone). A setting
of “+00” produces normal pitch: A4 = 440 Hz.

Metronome Determines when the QY22 metronome will sound. Normally the
QY22 metronome sounds only during realtime recording — the
Settings: Off, Record, “Record” setting. With this parameter, however, you can turn the
Rec/Ply, Always metronome “Off” so that it never sounds, set it to “Rec/Ply” so that
it sounds during realtime recording and playback, or set it to “Al-
ways” so that the metronome sounds at all times.

Internal data may be corrupted if the power is turned off while the metro-
nome display is showing!
CAUTION

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 161
9 Utility Functions

Master Vol The Master Volume controls the overall volume of the QY22. It is
(Master Volume) recommended to use the default setting of 127.
Settings: 0 ... 127
When the QY22 is used as a General MIDI tone generator, it will receive
DETAIL
Master Volume System Exclusive messages from other MIDI controllers.

162 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 9 Utility Functions

Bulk Dump ————————————————————————————

OUT —— MIDI —— IN
Although the QY22 has memory for 20 songs and 100 user pat-
terns, you might want to save your song and pattern data to an exter-
nal device to allow greater storage capacity or simply to protect your
data from accidental erasure or corruption. An ideal storage device for
use with the QY22 is the Yamaha MDF2 MIDI Data Filer.

MIDI IN To save data from the QY22 to the MDF2, first connect the QY22
MIDI OUT to the MDF2 MIDI IN via a MIDI cable, and prepare the
MDF2 MDF2 for reception (refer to the MDF2 operation manual). Also
make sure that the Device Number parameter in the utility System
screen is set to the appropriate device number or “All.”

Next, select the utility mode Bulk Dump screen,

select “Song” if you want to save the data for one
song or all songs, “Pattern” if you want to save
the data for one pattern or all patterns, or “All” if
Type of data to be
transmitted (Song,
you want to save all song and pattern data.
Pattern, or All) If you select “Song”, move the cursor to the
song number parameter and select a song number
Song or pattern (01 … 20), or “All” to save all songs.
number (no number If you select “Pattern”, move the cursor to the
available when “All” pattern number parameter and select a pattern
is selected above)
number (101 … 200), or “All” to save all patterns.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 163
9 Utility Functions

When the parameters have been set as re-

quired, press [ENTER]. “Are you sure?” will
appear on the display. Press [+1/YES] to go
ENTER
ahead with the bulk dump operation, or [−1/NO]
to cancel. “Transmitting” will appear on the dis-
play while the data is being transmitted, and
Press [−1/NO] –1 +1
to cancel. NO YES
“Completed!” will appear when the transmission
is complete. Press any key (other than the micro-
keyboard) to return to the Bulk Dump display.

● Bulk Reception of Song If no other operation is currently in progress (recording, for exam-
& Pattern Data ple) the QY22 will automatically receive bulk song and pattern data
OUT —— MIDI —— IN
transmitted from the MDF2. Make sure the QY22 song play mode is
selected when receiving song data, and that the pattern play mode is
selected when receiving pattern data. “ALL” data files including both
song and pattern data can be received in the song play, pattern play,
or voice mode.
To receive bulk data make sure that the MIDI OUT of the MDF2
(or other device) is connected to the MIDI IN of the QY22. Also
MIDI OUT
make sure that the Device Number parameter in the utility System
MDF2 screen is set to the appropriate device number or “All.”

164 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 9 Utility Functions

ABC Zone —————————————————————————————

This utility function sets the range of notes
in which chords played will be recognized by
Turns ABC On or OFF. m the QY22 ABC system (see “10: The QY22
As a Tone Generator/ABC Expander”, page
170).
Graphic range markers
Use then “ABC” parameter to turn the
(arrows appear if the
markers are moved out- m QY22 ABC system “On” or “Off” as required.
side the screen area). The “Low” and “High” parameters at the

m
m
bottom of the display set the ABC range. The
Lowest note in Highest note in maximum range is from C-2 to G8 (the
ABC range. ABC range. “High” parameter cannot be set lower than the
“Low” parameter). When ABC is turned
“On”, chords played within the specified ABC range will be recognized by the
ABC system and the accompaniment chord will change accordingly during song
playback or chord-track recording. To ensure reliable chord detection and recog-
nition use an external MIDI keyboard to play the ABC system. The built-in mi-
cro-keyboard can be used, but because of its small size and necessarily simpli-
fied construction, chord detection is less reliable. Notes played below the low
limit are interpreted as “on bass” notes. A chart of the chords recognized by the
QY22 is provided in the Appendix (page 182).

When ABC is ON, notes played below the specified high limit are not played, or re-
DETAIL
corded in the realtime or step record modes.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 165
9 Utility Functions

Memory Initialize ——————————————————————————

Although not on the utility mode job list, this function makes it
possible to clear and initialize all internal song and pattern memory
F G A
OCT
DOWN
OCT
UP
G A B
and reset all parameters in one single operation.
To initialize the QY22 memory, turn the power switch on while
holding the [OCT DOWN], [OCT UP] and [A#/Bb] keys simultane-
ously — then release the keys as soon as the initial power-on display
appears.
ON OFF POWER
Since all data in the internal memory will be erased, make sure any
data you want to keep has been saved to an external data storage de-
vice (page 163) before initializing the memory.

166 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
The QY22 As A Tone Generator/
ABC Expander
10
As a Tone generator Module .................................... 168

As an ABC Expander ................................................ 170

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 167
10 The QY22 As A Tone Generator/ABC Expander

In addition to being played from its own keyboard and internal sequencer, the QY22 can be
controlled from an external keyboard, sequencer, or music computer.

As a Tone generator Module —————————————————————

Used as a tone generator module, the QY22 allows 8 different
voices (7 normal voices and one drum voice) to be played via differ-
–1 +1
Use to select ent MIDI channels. The MIDI channel/voice assignments are nor-
NO YES

voice numbers. mally determined by the voice-to-track voice assignments made in the
VOICE mode.

Each of the QY22 tracks is controlled by a different MIDI channel,

as listed below.
MIDI Channel Voice
1 ..................... Sequencer track TR1
2 ..................... Sequencer track TR2
3 ..................... Sequencer track TR3
4 ..................... Sequencer track TR4
5 ..................... Accompaniment track C1 (Chord 1)
6 ..................... Accompaniment track C2 (Chord 2)
7 ..................... Accompaniment track Ba (Bass)
10 ..................... Accompaniment track Dr (Drums)

168 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 10 The QY22 As A Tone Generator/ABC Expander

Data received on MIDI channels other than those listed above also pro-
duce sound, according to the received MIDI program change messages
DETAIL
(see the “MIDI Data Format” booklet).

You can assign any of the QY22’s 128 voices and 8 drum kits to
the tracks controlled via MIDI channels 1 through 7, but only drum
kit voices can be assigned to the “Dr” track, controlled via MIDI
channel 10.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 169
10 The QY22 As A Tone Generator/ABC Expander

As an ABC Expander ————————————————————————

The QY22’s advanced ABC system can
also be controlled from an external keyboard,
Turns ABC On or OFF. m making it useful as an ABC expander mod-
ule. Use the utility mode “ABC Zone” func-
tion (page 165) to specify the range of notes
Graphic range markers in which you want the QY22 ABC system to
(arrows appear if the
markers are moved out- m recognize chords. Then you can change ac-
companiment chords during song playback
side the screen area).
simply by playing the appropriate chord in

m
m
the specified section of the keyboard. See the
Lowest note in Highest note in “ABC Fingering Chart” in the Appendix
ABC range. ABC range.
(page 182) for a list of the chords that can be
recognized by the QY22 ABC system.

GENERAL
If you place the cursor at the pattern number
MUSIC SEQUENCER

or section name during song playback, you

HINT
can use the micro-keyboard section keys to
change sections as you play.

ABC section.

170 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
Appendix 11
Voice List .................................................................. 172
Drum Kit List ............................................................. 176

Preset Pattern List .................................................... 180

ABC Fingering Chart ................................................. 182

Troubleshooting ........................................................ 184

Error Messages ......................................................... 186

Specifications ............................................................ 188

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 171
11 Appendix

Voice List (Voice# 001 — 096) ———————————————————————

Voice # LCD Voice Name Element Pgm# Voice # LCD Voice Name Element Pgm#
Piano Guitar
001 GrandPno Acoustic Grand Piano 1 001 025 NylonGtr Acoustic Guitar (nylon) 1 025
002 BritePno Bright Acoustic Piano 1 002 026 SteelGtr Acoustic Guitar (steel) 1 026
003 E.Grand Electric Grand Piano 2 003 027 Jazz Gtr Electric Guitar (jazz) 1 027
004 HnkyTonk Honky-tonk Piano 2 004 028 CleanGtr Electric Guitar (clean) 2 028
005 E.Piano1 Electric Piano 1 2 005 029 Mute.Gtr Electric Guitar (muted) 1 029
006 E.Piano2 Electric Piano 2 2 006 030 Ovrdrive Overdriven Guitar 1 030
007 Harpsi. Harpsichord 1 007 031 Dist.Gtr Distortion Guitar 1 031
008 Clavi. Clavi 1 008 032 GtrHarmo Guitar Harmonics 1 032
Chromatic Percussion Bass
009 Celesta Celesta 1 009 033 Aco.Bass Acoustic Bass 1 033
010 Glocken Glockenspiel 1 010 034 FngrBass Electric Bass (finger) 1 034
011 MusicBox Music Box 2 011 035 PickBass Electric Bass (pick) 1 035
012 Vibes Vibraphone 1 012 036 Fretless Fretless Bass 1 036
013 Marimba Marimba 1 013 037 SlapBas1 Slap Bass 1 1 037
014 Xylophon Xylophone 1 014 038 SlapBas2 Slap Bass 2 1 038
015 TubulBel Tubular Bells 1 015 039 SynBass1 Synth Bass 1 1 039
016 Dulcimer Dulcimer 2 016 040 SynBass2 Synth Bass 2 1 040
Organ Strings
017 DrawOrgn Drawbar Organ 1 017 041 Violin Violin 1 041
018 PercOrgn Percussive Organ 1 018 042 Viola Viola 1 042
019 RockOrgn Rock Organ 1 019 043 Cello Cello 1 043
020 ChrchOrg Church Organ 2 020 044 ContraBs Contrabass 1 044
021 ReedOrgn Reed Organ 1 021 045 Trem.Str Tremolo Strings 1 045
022 Acordion Accordion 2 022 046 Pizz.Str Pizzicato Strings 2 046
023 Harmnica Hamonica 1 023 047 Harp Orchestral Harp 1 047
024 TangoAcd Tango Accordion 2 024 048 Timpani Timpani 1 048

172 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 11 Appendix

Voice # LCD Voice Name Element Pgm# Voice # LCD Voice Name Element Pgm#
Ensemble Pipe
049 Strings1 String Ensemble 1 1 049 073 Piccolo Piccolo 1 073
050 Strings2 String Ensemble 2 1 050 074 Flute Flute 1 074
051 Syn.Str1 Synth Strings 1 2 051 075 Recorder Recorder 1 075
052 Syn.Str2 Synth Strings 2 2 052 076 PanFlute Pan Flute 1 076
053 ChoirAah Choir Aahs 1 053 077 Bottle Blown Bottle 2 077
054 VoiceOoh Voice Oohs 1 054 078 Shakhchi Shakuhachi 2 078
055 SynVoice Synth Voice 1 055 079 Whistle Whistle 1 079
056 Orch.Hit Orchestra Hit 1 056 080 Ocarina Ocarina 1 080
Brass Synth Lead
057 Trumpet Trumpet 1 057 081 SquareLd Lead 1 (square) 2 081
058 Trombone Trombone 1 058 082 Saw.Lead Lead 2 (sawtooth) 2 082
059 Tuba Tuba 1 059 083 CaliopLd Lead 3 (calliope) 2 083
060 Mute.Trp Muted Trumpet 1 060 084 Chiff Ld Lead 4 (chiff) 2 084
061 Fr.Horn French Horn 1 061 085 CharanLd Lead 5 (charang) 2 085
062 BrasSect Brass Section 1 062 086 Voice Ld Lead 6 (voice) 2 086
063 SynBras1 Synth Brass 1 2 063 087 Fifth Ld Lead 7 (fifths) 2 087
064 SynBras2 Synth Brass 2 2 064 088 Bass &Ld Lead 8 (bass+lead) 2 088
Reed Synth Pad
065 SprnoSax Soprano Sax 1 065 089 NewAgePd Pad 1 (new age) 2 089
066 Alto Sax Alto Sax 1 066 090 Warm Pad Pad 2 (warm) 2 090
067 TenorSax Tenor Sax 1 067 091 PolySyPd Pad 3 (polysynth) 2 091
068 Bari.Sax Baritone Sax 1 068 092 ChoirPad Pad 4 (choir) 2 092
069 Oboe Oboe 1 069 093 BowedPad Pad 5 (bowed) 2 093
070 Eng.Horn English Horn 1 070 094 MetalPad Pad 6 (metallic) 2 094
071 Bassoon Bassoon 1 071 095 Halo Pad Pad 7 (halo) 2 095
072 Clarinet Clarinet 1 072 096 SweepPad Pad 8 (sweep) 2 096

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 173
11 Appendix

Voice List (Voice# 097 — 128, Dr1 — Dr8)

Voice # LCD Voice Name Element Pgm# Voice # LCD Voice Name Element Pgm#
Synth Effects Sound Effects
097 Rain FX 1 (rain) 2 097 121 FretNoiz Guitar Fret Noise 1 121
098 SoundTrk FX 2 (soundtrack) 2 098 122 BrthNoiz Breath Noise 1 122
099 Crystal FX 3 (crystal) 2 099 123 Seashore Seashore 2 123
100 Atmosphr FX 4 (atmosphere) 2 100 124 Tweet Bird Tweet 2 124
101 Bright FX 5 (brightness) 2 101 125 Telphone Telephone Ring 1 125
102 Goblins FX 6 (goblins) 2 102 126 Helicptr Helicopter 2 126
103 Echoes FX 7 (echoes) 2 103 127 Applause Applause 2 127
104 SF FX 8 (sci-fi) 2 104 128 Gunshot Gunshot 1 128
Ethnic
105 Sitar Sitar 1 105 Drum Kit
106 Banjo Banjo 1 106 Dr1 Standard Standard Kit 001
107 Shamisen Shamisen 1 107 Dr2 Room Room Kit 009
108 Koto Koto 1 108 Dr3 Rock Rock Kit 017
109 Kalimba Kalimba 1 109 Dr4 Elctrnic Electronic Kit 025
110 Bagpipe Bagpipe 2 110 Dr5 Analog Analog Kit 026
111 Fiddle Fiddle 1 111 Dr6 Jazz Jazz Kit 033
112 Shanai Shanai 1 112 Dr7 Brush Brush Kit 041
Percussive Dr8 Classic Classic Kit 049
113 TnklBell Tinkle Bell 2 113
114 Agogo Agogo 1 114
115 SteelDrm Steel Drums 2 115
116 WoodBlok Woodblock 1 116
117 TaikoDrm Taiko Drum 1 117
118 MelodTom Melodic Tom 1 118
119 Syn.Drum Synth Drum 1 119
120 RevCymbl Reverse Cymbal 1 120

174 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 11 Appendix

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 175
11 Appendix

Drum Kit List (Note# 23 — 54) ——————————————————————

Program# 1 9 17 25
Note# Note Key Off Alternate Dr1/Standard Kit Dr2/Room Kit Dr3/Rock Kit Dr4/Electronic Kit
23 B -1 Click L <— <— <—
24 C 0 Click H <— <— <—
25 C# 0 Brush Tap <— <— <—
26 D 0 O Brush Swirl L <— <— <—
27 D# 0 Brush Slap <— <—
28 E 0 O Brush Swirl H <— <— Reverse Cymbal
29 F 0 O Snare Roll <— <— <—
30 F# 0 Castanet <— <— Hi Q
31 G 0 Snare L <— SD Power M Snare M
32 G# 0 Sticks <— <— <—
33 A 0 Bass Drum L <— Bass Drum M Bass Drum H
34 A# 0 Open Rim Shot <— <— <—
35 B 0 Bass Drum M <— Bass Drum H BD Power
36 C 1 Bass Drum H <— BD Power BD Gate
37 C# 1 Side Stick <— <— <—
38 D 1 Snare M <— SD Rock SD Power L
39 D# 1 Hand Clap <— <— <—
40 E 1 Snare H <— SD Power Rim SD Power H
41 F 1 Floor Tom L Room Tom 1 Power Tom 1 E Tom 1
42 F# 1 1 Closed Hi Hat <— <— <—
43 G 1 Floor Tom H Room Tom 2 Power Tom 2 E Tom 2
44 G# 1 1 Pedal Hi-Hat <— <— <—
45 A 1 Low Tom Room Tom 3 Power Tom 3 E Tom 3
46 A# 1 1 Hi-Hat Open <— <— <—
47 B 1 Mid Tom L Room Tom 4 Power Tom 4 E Tom 4
48 C 2 Mid Tom H Room Tom 5 Power Tom 5 E Tom 5
49 C# 2 Crash Cymbal 1 <— <— <—
50 D 2 High Tom Room Tom 6 Power Tom 6 E Tom 6
51 D# 2 Ride Cymbal 1 <— <— <—
52 E 2 Chinese Cymbal <— <— <—
53 F 2 Ride Cymbal Cup <— <— <—
54 F# 2 Tambourine <— <— <—

176 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 11 Appendix

pgm# 1 26 33 41 49
Note# Note Dr1/Standard Kit Dr5/Analog Kit Dr6/Jazz Kit Dr7/Brush Kit Dr8/Classic Kit
23 B -1 Click L <— <— <— <—
24 C 0 Click H <— <— <— <—
25 C# 0 Brush Tap <— <— <— <—
26 D 0 Brush Swirl L <— <— <— <—
27 D# 0 Brush Slap <— <— <— <—
28 E 0 Brush Swirl H Reverse Cymbal <— <— <—
29 F 0 Snare Roll <— <— <— <—
30 F# 0 Castanet Hi Q <— <— <—
31 G 0 Snare L SD Power H <— Brush Slap L <—
32 G# 0 Sticks <— <— <— <—
33 A 0 Bass Drum L Bass Drum M <— <— <—
34 A# 0 Open Rim Shot <— <— <— <—
35 B 0 Bass Drum M BD Analog L <— <— <—
36 C 1 Bass Drum H BD Analog H <— <— Gran Cassa
37 C# 1 Side Stick Analog Side Stick <— <— <—
38 D 1 Snare M Analog Snare L <— Brush Slap <—
39 D# 1 Hand Clap <— <— <— <—
40 E 1 Snare H Analog Snare H <— Brush Tap <—
41 F 1 Floor Tom L Analog Tom 1 Jazz Tom 1 Brush Tom 1 Jazz Tom 1
42 F# 1 Closed Hi Hat Analog HH Closed 1 <— <— <—
43 G 1 Floor Tom H Analog Tom 2 Jazz Tom 2 Brush Tom 2 Jazz Tom 2
44 G# 1 Pedal Hi-Hat Analog HH Closed 2 <— <— <—
45 A 1 Low Tom Analog Tom 3 Jazz Tom 3 Brush Tom 3 Jazz Tom 3
46 A# 1 Hi-Hat Open Analog HH Open <— <— <—
47 B 1 Mid Tom L Analog Tom 4 Jazz Tom 4 Brush Tom 4 Jazz Tom 4
48 C 2 Mid Tom H Analog Tom 5 Jazz Tom 5 Brush Tom 5 Jazz Tom 5
49 C# 2 Crash Cymbal 1 <— <— <— Hand Cym.Open L
50 D 2 High Tom Analog Tom 6 Jazz Tom 6 Brush Tom 6 Jazz Tom 6
51 D# 2 Ride Cymbal 1 <— <— <— Hand Cym.Closed L
52 E 2 Chinese Cymbal <— <— <— <—
53 F 2 Ride Cymbal Cup <— <— <— <—
54 F# 2 Tambourine <— <— <— <—

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 177
11 Appendix

Drum Kit List (Note# 55 — 85)

Program# 1 9 17 25
Note# Note Key Off Alternate Dr1/Standard Kit Dr2/Room Kit Dr3/Rock Kit Dr4/Electronic Kit
55 G 2 Splash Cymbal <— <— <—
56 G# 2 Cowbell <— <— <—
57 A 2 Crash Cymbal 2 <— <— <—
58 A# 2 Vibraslap <— <— <—
59 B 2 Ride Cymbal 2 <— <— <—
60 C 3 Bongo H <— <— <—
61 C# 3 Bongo L <— <— <—
62 D 3 Conga H Mute <— <— <—
63 D# 3 Conga H Open <— <— <—
64 E 3 Conga L <— <— <—
65 F 3 Timbale H <— <— <—
66 F# 3 Timbale L <— <— <—
67 G 3 High Agogo <— <— <—
68 G# 3 Low Agogo <— <— <—
69 A 3 Cabassa <— <— <—
70 A# 3 Maracas <— <— <—
71 B 3 O Samba Whistle H <— <— <—
72 C 4 O Samba Whistle L <— <— <—
73 C# 4 Guiro Short <— <— <—
74 D 4 O Guiro Long <— <— <—
75 D# 4 Claves <— <— <—
76 E 4 Wood Block H <— <— <—
77 F 4 Wood Block L <— <— <—
78 F# 4 Cuica Mute <— <— Scratch Push
79 G 4 Cuica Open <— <— Scratch Pull
80 G# 4 2 Triangle Mute <— <— <—
81 A 4 2 Triangle Open <— <— <—
82 A# 4 Shaker <— <— <—
83 B 4 Jingle Bell <— <— <—
84 C 5 Bell Tree <— <— <—
85 C# 5 Hi Q <— <— <—

178 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 11 Appendix

pgm# 1 26 33 41 49
Note# Note Dr1/Standard Kit Dr5/Analog Kit Dr6/Jazz Kit Dr7/Brush Kit Dr8/Classic Kit
55 G 2 Splash Cymbal <— <— <— <—
56 G# 2 Cowbell <— <— <— <—
57 A 2 Crash Cymbal 2 <— <— <— Hand Cym.Open H
58 A# 2 Vibraslap <— <— <— <—
59 B 2 Ride Cymbal 2 <— <— <— Hand Cym.Closed H
60 C 3 Bongo H <— <— <— <—
61 C# 3 Bongo L <— <— <— <—
62 D 3 Conga H Mute Analog Conga H <— <— <—
63 D# 3 Conga H Open Analog Conga M <— <— <—
64 E 3 Conga L Analog Conga L <— <— <—
65 F 3 Timbale H <— <— <— <—
66 F# 3 Timbale L <— <— <— <—
67 G 3 High Agogo <— <— <— <—
68 G# 3 Low Agogo <— <— <— <—
69 A 3 Cabassa <— <— <— <—
70 A# 3 Maracas <— <— <— <—
71 B 3 Samba Whistle H <— <— <— <—
72 C 4 Samba Whistle L <— <— <— <—
73 C# 4 Guiro Short <— <— <— <—
74 D 4 Guiro Long <— <— <— <—
75 D# 4 Claves <— <— <— <—
76 E 4 Wood Block H <— <— <— <—
77 F 4 Wood Block L <— <— <— <—
78 F# 4 Cuica Mute Scratch Push <— <— <—
79 G 4 Cuica Open Scratch Pull <— <— <—
80 G# 4 Triangle Mute <— <— <— <—
81 A 4 Triangle Open <— <— <— <—
82 A# 4 Shaker <— <— <— <—
83 B 4 Jingle Bell <— <— <— <—
84 C 5 Bell Tree <— <— <— <—
85 C# 5 Hi Q <— <— <— <—

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 179
11 Appendix

Preset Pattern List —————————————————————————

Time QY20's Time QY20's
No. Style Name Signature No. Style Name
No. Signature No.
Dance 027 BA RioDJ Latin Ballad 4/4 027
001 DA RaveQ Rave 4/4 028 BA Witby 6/8 Pop Ballad 4/4 029
002 DA Tekno Techno 4/4 007 029 BA RWalz 6/4 Soul Ballad 6/4 030
003 DA Jazzy Acid Jazz 4/4 030 BA CWalz Country Ballad Waltz 3/4 031
004 DA AcidJ Cool Acid Jazz 4/4 031 BA EWalz Slow Ballad Waltz 3/4 032
005 DA Light Techno House 4/4 010 Rock & Pop
006 DA Craze House Pop Dance 4/4 008 032 RP Mouth Country Rock 4/4 033
007 DA Grand Groundbeat 4/4 028 033 RP Party ’70s 8-Beat Pop 4/4
008 DA Rappr Rap 4/4 034 RP GetUp Glam Rock 4/4 034
009 DA Dark? Dark Rap 4/4 016 035 RP Stone ’70s Mid-Tempo Rock 4/4
010 DA Mitch Rap Shuffle 4/4 017 036 RP Rozza ’80s Mid-Tempo Pop 4/4 035
011 DA JackS New Jack Swing 4/4 037 RP Faces ’80s Synth Pop 4/4 036
012 DA Mage! Heavy Dance 4/4 002 038 RP Urple ’80s Dance Pop 4/4 037
013 DA Frame German Dance 4/4 003 039 RP Rhino 16-Beat Pop 4/4 038
014 DA EuroB Eurobeat 4/4 040 RP N.Y.! New York Pop 4/4 039
015 DA ABCDE ’80s Pop Dance 4/4 004 041 RP Start Country Rock Shuffle 4/4 041
016 DA Disco Disco 4/4 005 042 RP Troll Detroit Pop Shuffle 4/4 042
017 DA Train ’70s Disco Funk 4/4 006 043 RP Earth ’80s Mid-Tempo Pop Shuffle 4/4 044
018 DA Coast Dance Funk 4/4 044 RP Candy Jazzy Pop Shuffle 4/4 045
Ballad 045 RP RkBgy Rock Boogie 4/4
019 BA Llade 8-Beat Ballad 4/4 019 046 RP SeeYa Rock Shuffle 4/4 046
020 BA Group 8-Beat Pop Ballad 4/4 020 047 RP River Southern Rock Shuffle 4/4 047
021 BA Gofer Blue-eyed Soul Ballad 4/4 021 048 RP Judge ’80s Dance Pop Shuffle 4/4 048
022 BA Quiet Folk Ballad 4/4 022 Rhythm&Bules
023 BA LovIt Country Ballad 4/4 023 049 RB Good! ’60s Rhythm & Blues 4/4
024 BA Magma Ambient House Ballad 4/4 024 050 RB Shore Mid-Tempo R&B 4/4 051
025 BA Venus 16-beat Ballad 4/4 025 051 RB Motor Detroit R&B 4/4 052
026 BA Human Dark Electronic Pop Ballad 4/4 026 052 RB Going Light Soul 4/4 053

180 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 11 Appendix

Time QY20's Time QY20's

No. Style Name No. Style Name
Signature No. Signature No.
053 RB Funky ’60s Funk Shuffle 4/4 013 077 JA Bebop Bebop 4/4
054 RB Brass West Coast R&B Funk 4/4 054 078 JA Dixie Dixie 4/4 077
055 RB NFunk Modern Funk 4/4 055 079 JA Zzz.. Jazz Ballad 4/4 078
056 RB JFunk Jazz Funk 4/4 080 JA Foxy! Slow Fox 4/4 079
057 RB CFS01 Blues Shuffle 4/4 057 081 JA Vince Jazz Waltz 3/4 080
058 RB Blues 6/8 Blues 4/4 082 JA WFuse West Coast Fusion 4/4
059 RB SBlus Slow Blues 4/4 083 JA EFuse ’80s Fusion 4/4 082
060 RB Lucky Bluesy R&B 4/4 058 Latin
061 RB South Southern Gospel 6/8 060
084 LA Salsa Salsa 4/4 083
062 RB Free! R&B Gospel 4/4
085 LA Samba Jazz Samba 4/4 086
Hard Rock 086 LA Bossa Pop Bossa Nova 4/4 087
063 HR Speed Hi-Tempo Hard Rock 4/4 061 087 LA TinRk Latin Rock 4/4
064 HR Drive Mid-Tempo American Hard Rock 4/4 062 088 LA Rumba Rumba 4/4 089
065 HR HurtN Hard Rock Ballad 4/4 063 089 LA Tango Tango 4/4 090
066 HR Piles Slash Metal 4/4 065 090 LA Espag Rumba Espagnole 4/4
067 HR BoogE Hard Rock Shuffle 4/4 066 Reggae
068 HR Help! 6/8 Progressive Rock 6/8 067
091 RE Cycle Traditional Reggae 4/4 091
Rock & Roll 092 RE Tired Pop Reggae Shuffle 4/4 092
069 RR Twist Twist 4/4 093 RE Gular 16-Beat Pop Reggae 4/4 093
070 RR Crock ’50s Rock &Roll 4/4 094 RE SkyBt Ska 4/4
071 RR BgWgy Boogie Woogie 4/4 World
072 RR Billy Rockabilly 4/4 072
095 WO Grass Bluegrass 4/4 095
073 RR Gravy ’60s British Rock & Roll 4/4 069
096 WO Polka Polka 4/4 096
074 RR Jngle 16-Beat Rock & Roll 4/4
097 WO Mrch1 March 4/4 097
Jazz 098 WO Mrch2 6/8 March 4/4
075 JA Dook! ’40s Jazz 4/4 074 099 WO Waltz Vienna Waltz 3/4 099
076 JA Swing Big Band Swing 4/4 075 100 WO RCade Game Music 4/4 100

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 181
11 Appendix

ABC Fingering Chart ————————————————————————

This chart shows the chord fingerings recognized by the QY22 ABC system. 3-, 4-, and 5-note
fingerings can be used, depending on the inversion and tensions required. In the fingerings “1” is the root,
“3” is the 3rd, “7” is the seventh, and so on. The “Comments” column indicates inversions that should be
avoided because they produce a different chord.

Chord Type 3-note Chord 4-note Chord 5-note Chord Comments (for C chords)
1+3+7 Amadd9 when E is the lowest note.
Maj7 1+5+7
1+3+5+7
Maj 1+3+5
6 3+5+6
1+3+5+6 Am7 when lowest note is not C.
Maj9 1+3+7+9
1+3+5+7+9
add9 1+3+5+9
3+5+9 Em7 when E is the lowest note.
min 1+b3+5
min6 1+b3+5+6 F9 when Eb is the lowest note, Am7(b5) when G or A is the lowest note.
1+b3+6
1+b3+b7 Abadd9 when Eb or Bb is the lowest note.
min7
1+b3+5+b7 Eb6 when Eb is the lowest note.
min7(b5) 1+b3+b5+b7 Ebm6 when Eb is the lowest note, Ab9 when Gb is the lowest note.
mMaj7 1+b3+7
1+b3+5+7
min9 1+b3+b7+9
1+b3+5+b7+9
minadd9 1+b3+5+9
b3+5+9 EbMaj7 when Eb or D is the lowest note.

182 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 11 Appendix

ABC Fingering Chart

Chord Type 3-note Chord 4-note Chord 5-note Chord Comments (for C chords)
min7(11) 1+b3+b7+11 F7sus4 when F or Bb is the lowest note.
1+b3+5+b7+11
7 1+3+b7
1+3+5+b7
3+#5+b7
7(#5)
1+3+#5+b7
7(b9) 1+3+b7+b9
1+3+5+b7+b9
1+3+b7+9
9 3+5+b7+9 Em7(b5) when E or D is the lowest note, Gm6 when G is the lowest note.
1+3+5+b7+9
3+b7+#9
7(#9) 1+3+b7+#9
3+5+b7+#9
1+3+5+b7+#9
7(#11) 1+3+b7+#11 F#7(#11) when F# or E is the lowest note.
1+3+5+b7+#11
3+5+b7+b13
1+3+5+b7+b13
7(b13) 1+3+b7+b9+b13
1+3+b7+9+b13
1+3+b7+#9+b13
1+3+b7+13
3+5+b7+13
7(13) 3+b7+9+13
1+3+5+b7+13
1+3+b7+b9+13
1+3+b7+9+13
1+4+b7 Fsus4 when lowest note is not C.
7sus4
1+4+5+b7 Gm7(11) when G or Bb is the lowest note.
sus4 1+4+5 G7sus4 when G is the lowest note.
dim 1+b3+b5+6 Only C (root) accepted as lowest note.
aug 1+3+#5 Only C (root) accepted as lowest note.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 183
11 Appendix

Troubleshooting ——————————————————————————
If something doesn’t seem to be working right, please check the following points before assuming that
your QY22 is faulty.

Symptom Possible Causes

If you are using an AC adaptor, is the adaptor properly plugged into
both the AC outlet and the QY22? See page 18.
Power won’t turn on.
If you are using batteries, is a fresh set of batteries properly installed
in the battery compartment? See page 16.
Is the volume control set to an appropriate level? See page 33.
No sound. Are the volume parameters for each track set to appropriate levels?
See page 40.
Is the transpose parameter set to the normal value (“0”)? See page
Wrong pitch.
111.

Notes are cut off or omitted. Is the maximum polyphony of the QY22 being exceeded? The QY22
can play no more than 28 notes at once.
You may have selected a song or pattern that contains no data? See
Playback doesn’t begin page 42.
when the [ ] key is
pressed. Playback can not be controlled from the QY22 panel when the MIDI
Sync parameter is set to “Ext”. See page 160.

184 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 11 Appendix

Troubleshooting
Symptom Possible Causes
The time signature cannot The time signature cannot be changed for songs or patterns that already
be changed. contain data.
Have you inserted an end marker in the song? See page 70.
Playback stops in the
middle of a song. Have you inserted an ending section of a preset pattern in the middle of
the song? See page 62.
The ABC Zone function may be turned OFF. See page 165.
Are the ABC Zone high and low limits set to appropriate notes? See
ABC doesn’t work. page 165.
Is the cursor placed at a location other than the chord display? See page
47.
The time signature and/
or pattern changes when Most likely the time signature and pattern changes have been recorded
the song is started. onto the accompaniment tracks. See page 62.

Is the QY22 device number set to match that of the transmitting device?
See page 161.
Is the song play or pattern play display showing? See page 164.
Bulk data not received. If you are receiving a 1-song or 1-pattern bulk dump, is the currently se-
lect song or pattern empty and therefore available to receive the data?
Bulk data cannot be received during song or pattern playback.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 185
11 Appendix

Error Messages ——————————————————————————

Errors do occur from time to time, and when they do the QY22 will usually display a message that indicates
what type of problem has occurred so you can rectify it and return to normal operation as quickly as possible.

Illegal Input Now Working

This error appears if you attempt to enter a value This error may appear if a data error is detected
that is out of range or otherwise unacceptable in the when the QY22 power is turned on. The “Now Work-
current situation. ing” display indicates that the data is being repaired
... wait a few moments until the error message dis-
Memory Full appears.
The QY22 memory is full or almost full and the
specified operation cannot be performed. Delete Preset Pattern
unwanted song and/or pattern data to make more Since the preset patterns cannot be changed in
memory available. any way, this error message will appear if you at-
tempt to execute any operation that is intended to
Battery Low alter the pattern data while a preset pattern is se-
The battery voltage is too low for proper opera- lected.
tion. The sound may also become distorted when
this display appears. Replace the old batteries with Repeat Exist
a set of new ones as soon as possible. Internal data This error message will appear if you copy a
will be retained while the batteries are replaced. chord part using the song job copy measure function
while one or more repeats exist in the accompani-
Backup Batt. Low ment tracks. Delete all repeats in the step record
Appears when the power is turned on if the inter- mode and then execute the copy measure function
nal memory backup battery is too low to maintain as required.
the internal memory data. Have the backup battery
replaced by qualified Yamaha service personnel.

186 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 11 Appendix

MIDI Data Device# Mismatch

An error has been detected in the MIDI data re- Bulk data could not be received because the de-
ceived by the QY22. Check all relevant settings, vice number of the QY22 does not match that of the
then try receiving the data again. data. Set the QY22 device number parameter to the
appropriate number (or “All”), then try receiving the
Check Sum data again.
An error has been detected in a MIDI bulk dump
received by the QY22. Check all relevant settings, Now Running
then try receiving the data again. A MIDI bulk dump has been received during song
or pattern playback (in this case the bulk data is
Buffer Full lost). Stop playback and try receiving the bulk data
Too much MIDI data is being received by the again.
QY22 at one time. Reduce the amount of data that
is being sent to the QY22. Data Exist
A 1-song or 1-pattern bulk dump has been re-
Illegal Data ceived but the currently selected song or pattern
Unrecognizable bulk data has been received by already contains data so the received data was not
the QY22. Make sure that all bulk data sent to the loaded. Make sure an empty song or pattern is se-
QY22 conforms with QY22 MIDI specifications. lected when receiving this type of data.

Device# Off Bulk Ignored

Bulk data could not be transmitted or received Bulk data was transmitted to the QY22 while it
because the device number parameter is set to was in a mode in which bulk data reception is not
“Off”. Set an appropriate device number before possible. The QY22 can only receive bulk data while
transmitting or receiving bulk data. the song or pattern play display is showing.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 187
11 Appendix

Specifications ———————————————————————————
Sequencer Display 128 x 64 dot graphic liquid crystal
No. of Tracks Song mode: 8 display
(TR1 … TR4, Accompaniment x 4) Connectors Output (mini stereo phone jack)
Pattern mode: 4 Headphone (mini stereo phone jack)
(C1, C2, Ba, Dr) DC IN
Record Modes Realtime, Step MIDI IN
Data Capacity Approximately 28,000 notes MIDI OUT
20 songs Power Supply Six 1.5V AA size (SUM-3 or R6P) or
100 user patterns equivalent alkaline batteries
Preset Patterns 600 (100 patterns x 6 sections: Optional PA-3, PA-4, or PA-40
intro, normal, variation, fill 1, fill 2, AC Adaptor
ending) Dimensions 188 x 37 x 104 mm
Preset Chords 25 types (W x H x D) 7-3/8" x 1-1/2" x 4-1/8"
Note Resolution 96 clocks per quarter note Weight Approx. 400 g (14 oz) without
Polyphony 32 notes batteries

Tone Generator
Type AWM (Advanced Wave Memory)
Max. Polyphony 28 notes
Multi-timbre Parts 16 (with dynamic voice allocation)
Preset Voices 128 pitched voices
8 drum kits

188 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 11 Appendix

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 189
Index
A Clear Song ..................................................................... 137
ABC expander, the QY22 as an .................................... 170 Clear Track, pattern ....................................................... 104
ABC fingering chart ....................................................... 182 Clear Track, song .......................................................... 136
ABC zone ...................................................................... 165 Clock ................................................................................ 92
Accompaniment recording, realtime ................................ 52 Contrast control ............................................................... 26
Accompaniment recording, step ...................................... 59 Copy Measure ............................................................... 125
Accompaniment tracks, description ................................. 10 Copy Pattern .................................................................... 98
Audio connections ........................................................... 21 Count-in ........................................................................... 55
Create Measure ............................................................. 126
B Cursor keys ..................................................................... 27
Backup battery ................................................................... 5
Bass note, specifying for a chord .................................... 67 D
Batteries, using ................................................................ 16 Data entry LSB & MSB events, insert edit .................... 153
Beat-clock data, edit mode ............................................ 143 DC IN jack ....................................................................... 20
Delete during pattern record ............................................ 84
C Delete Measure ............................................................. 128
Change edit ................................................................... 143
Deleting events .............................................................. 145
“Chd” track ....................................................................... 57
Demo, playing the ............................................................ 34
Chord changes, step record ............................................ 66
Drum instrument display .................................................. 85
Chord display ................................................................... 69
Drum kit list .................................................................... 176
Chord symbol .................................................................. 47
Drum machine, using the QY22 as ................................. 75
Chord types ..................................................................... 49
Chords, changing ............................................................ 47 E
Chords, erasing ............................................................... 68 Edit mode, engaging ..................................................... 140
Chords, step recording .................................................... 67 Edit mode, moving around ............................................ 142
Clear Pattern ................................................................. 105 Empty pattern .................................................................. 78

190 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 Index

Empty song ...................................................................... 42 MDF2 MIDI Data Filer ................................................... 163

Enter key ......................................................................... 30 Measure number ............................................................. 43
Erase Measure .............................................................. 129 Measure/beat/clock display ..................................... 92, 120
Error messages ............................................................. 186 Memory initialize ............................................................ 166
Event list, insert edit mode ............................................ 147 Menu key ......................................................................... 29
Expression events, insert edit ....................................... 152 Metronome parameter ................................................... 161
Micro keyboard ................................................................ 31
F
Micro-keyboard chord entry ............................................. 48
Faders .............................................................................. 40
Micro-keyboard variation selection .................................. 45
Function keys .................................................................. 29
MIDI bulk dump ............................................................. 163
Function keys, step record mode ........................... 92, 120
MIDI channel/QY22 track relationship ............................. 22
G MIDI connections .......................................................20, 22
Gate time ................................................................. 90, 118 MIDI control parameter .................................................. 160
Gate time data, edit mode ............................................. 144 MIDI device number parameter ..................................... 161
GM(General MIDI) System Level 1 ................................. 14 MIDI synchronization mode parameter ......................... 160
I Mix Track ....................................................................... 124
Icons .................................................................................. 6 Mode diagram .................................................................... 8
Insert edit ....................................................................... 146 Mode key ......................................................................... 26
Modify Gate Time, pattern ............................................. 102
L Modify Gate Time, song ................................................ 134
LCD display ..................................................................... 26
Modify Velocity, pattern ................................................. 101
Line out jack .................................................................... 20
Modify Velocity, song ..................................................... 133
M Modulation events, insert edit ........................................ 151
Master tune parameter .................................................. 161 Move Clock .................................................................... 131
Master Volume .............................................................. 162 Mute buttons .................................................................... 38

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 191
Index

N Pattern track & voice selection ................................. 81, 88

Non-ABC patterns ........................................................... 95 Pattern variations (“sections”) .......................................... 44
Note display .............................................................91, 119 Phones jack ..................................................................... 20
Note events, insert edit .................................................. 149 Pitch bend events, insert edit ........................................ 150
Note parameters ...................................................... 90, 118 Pitch data, edit mode ..................................................... 144
Playback, starting ............................................................ 43
O Playback, stopping .......................................................... 46
Octave keys ..................................................................... 32
Power adaptor ................................................................. 18
P Power supply ...............................................................4, 16
Pan events, insert edit ................................................... 151 Power switch ................................................................... 26
Pan pots .......................................................................... 39 Precautions ........................................................................ 4
“Pat” track ........................................................................ 55 Preset pattern list ........................................................... 180
Pattern changes, erasing ................................................ 65 Program change events, insert edit .............................. 149
Pattern changes, step record .......................................... 62
Pattern jobs ..................................................................... 96
Q
Quantize, pattern ............................................................. 99
Pattern length ............................................................ 81, 88
Quantize, song .............................................................. 127
Pattern mode playback .................................................... 94
Pattern mode, description ................................................ 11
Pattern Name ................................................................ 103
R
Record tempo .................................................................. 81
Pattern number, selecting ................................................ 43
Remove Event ............................................................... 132
Pattern number, step record ............................................ 64
Repeats, erasing ............................................................. 71
Pattern record, realtime ................................................... 78
Repeats, step record ....................................................... 70
Pattern record, step ......................................................... 86
RPN LSB & MSB events, insert edit ............................. 154
Pattern selection .............................................................. 78

192 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 Index

S Transpose parameter .................................................... 111

Section ............................................................................. 64 Troubleshooting ............................................................. 181
Sequencer keys ............................................................... 30 U
Sequencer record track selection .................................. 111 Used memory display .................................................... 114
Sequencer track recording, realtime ............................. 109 Utility mode, accessing .................................................. 158
Sequencer track recording, step ................................... 115
Sequencer tracks, description ......................................... 10 V
Song jobs ....................................................................... 122 Velocity .................................................................... 90, 118
Song mode, description ..................................................... 9 Velocity data, edit mode ................................................ 144
Song Name .................................................................... 135 Voice assignments .................................................. 38, 108
Song, selecting ................................................................ 42 Voice list ........................................................................ 172
Specifications ................................................................. 185 Voice mode display ......................................................... 36
Sustain events, insert edit ............................................. 150 Voice mode, description .................................................... 9
Syncopated chords .......................................................... 68 Voices, selecting .............................................................. 37
System parameters ....................................................... 160 Volume control ................................................................. 33
Volume events, insert edit ............................................. 152
T
Tempo changes, erasing ................................................. 74
Tempo changes, step record ........................................... 72 −1/NO and +1/YES keys ................................................. 28
Tempo parameter .................................................... 46, 111
Time signature .................................................... 64, 81, 88
Tone generator, the QY22 as a ..................................... 168
Track muting .................................................................... 51
Transpose job, pattern ................................................... 100
Transpose job, song ...................................................... 130

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 193
 FCC INFORMATION (U.S.A.)
1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!
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. Cable/
s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC
authorization to use this product in the USA.

3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B”
digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a
residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio
frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful
to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur
in all installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and
“ON”, please try to eliminate the problem by using one of the following measures:

Relocate either this product or the device that is being affected by the interference.

Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s.

In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the
lead-in to co-axial type cable.

If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type
of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Divi-
sion, 6600 Orangethorpe Ave, Buena Park, CA90620

The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.

194 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
 CANADA
THIS DIGITAL APPARATUS DOES NOT EXCEED THE “CLASS B”
LIMITS FOR RADIO NOISE EMISSIONS FROM DIGITAL APPARATUS
SET OUT IN THE RADIO INTERFERENCE REGULATION OF THE
CANADIAN DEPARTMENT OF COMMUNICATIONS.
LE PRESENT APPAREIL NUMERIQUE N’EMET PAS DE BRUITS
RADIOELECTRIQUES DEPASSANT LES LIMITES APPLICABLES AUX
APPAREILS NUMERIQUES DE LA “CLASSE B” PRESCRITES DANS
LE REGLEMENT SUR LE BROUILLAGE RADIOELECTRIQUE EDICTE
PAR LE MINISTERE DES COMMUNICATIONS DU CANADA.

• This applies only to products distributed by Yamaha Canada Music Ltd.

• Ceci ne s’applique qu’aux produits distribués par Yamaha Canada Music Ltd.

ADVARSEL!
Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering. Udskiftning
må kun ske med batteri af samme fabrikat og type. Levér det brugte
batteri tilbage til leverandoren.

VARNING
Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller
en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera
använt batteri enligt fabrikantens instruktion.

VAROITUS
Paristo voi räjähtää, jos se on virheellisesti asennttu. Vaihda paristo
ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty
paristo valmistajan ohjeiden mukaisesti.

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 195
For details of products, please contact your nearest Yamaha or the Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten Nie-
authorized distributor listed below. derlassung und bei Yamaha Vertragshändlern in den jeweiligen
Bestimmungsländern erhältlich.
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. Para detalles sobre productos, contacte su tienda Yamaha más cercana
o el distribuidor autorizado que se lista debajo.

NORTH AMERICA EUROPE ITALY

Yamaha Musica Italia S.P.A.,
CANADA THE UNITED KINGDOM Combo Division
Yamaha Canada Music Ltd. Yamaha-Kemble Music (U.K.) Ltd. Viale Italia 88, 20020 Lainate (Milano), Italy
135 Milner Avenue, Scarborough, Ontario, Sherbourne Drive, Tilbrook, Milton Keynes, Tel: 02-935-771
M1S 3R1, Canada MK7 8BL, England
Tel: 416-298-1311 Tel: 01908-366700 SPAIN
Yamaha-Hazen Electronica Musical, S.A.
U.S.A. IRELAND Jorge Juan 30, 28001, Madrid, Spain
Yamaha Corporation of America Danfay Ltd. Tel: 91-577-7270
6600 Orangethorpe Ave., Buena Park, Calif. 90620, 61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin
U.S.A. Tel: 01-2859177 PORTUGAL
Tel: 714-522-9011 Valentim de Carvalho CI SA
GERMANY/SWITZERLAND Estrada de Porto Salvo, Paço de Arcos 2780 Oeiras,
Yamaha Europa GmbH. Portugal
MIDDLE & SOUTH AMERICA Siemensstraße 22-34, D-2084 Rellingen, F.R. of Tel: 01-443-3398/4030/1823
MEXICO Germany
Tel: 04101-3030 GREECE
Yamaha De Mexico S.A. De C.V., Philippe Nakas S.A.
Departamento de ventas AUSTRIA/HUNGARY/SLOVENIA/ Navarinou Street 13, P.Code 10680, Athens, Greece
Javier Rojo Gomez No.1149, Col. Gpe Del ROMANIA/BULGARIA Tel: 01-364-7111
Moral, Deleg. Iztapalapa, 09300 Mexico, D.F. Yamaha Music Austria Ges m b H.
Tel: 686-00-33 Schleiergasse 20, A-1100 Wien Austria
SWEDEN
Tel: 0222-60203900 Yamaha Scandinavia AB
BRASIL J. A. Wettergrens Gata 1
Yamaha Musical Do Brasil LTDA. THE NETHERLANDS Box 30053
Ave. Reboucas 2636, São Paulo, Brasil Yamaha Music Benelux B.V., S-400 43 Göteborg, Sweden
Tel: 011-853-1377 Verkoop Administratie Tel: 031 89 34 00
PANAMA Kanaalweg 18G, 3526KL, Utrecht, The Netherlands
Tel: 030-828411
DENMARK
Yamaha De Panama S.A. YS Copenhagen Liaison Office
Edificio Interseco, Calle Elvira Mendez no.10, BELGIUM/LUXEMBOURG Generatorvej 8B
Piso 3, Oficina #105, Ciudad de Panama, Panama Yamaha Music Benelux B.V., DK-2730 Herlev, Denmark
Tel: 507-69-5311 Brussels-office Tel: 44 92 49 00
OTHER LATIN AMERICAN COUNTRIES Keiberg Imperiastraat 8, 1930 Zaventem, Belgium
Tel: 02-7258220
FINLAND
AND CARIBBEAN COUNTRIES Warner Music Finland OY/Fazer Music
Yamaha Music Latin America Corp. FRANCE Aleksanterinkatu 11, P.O. Box 260
6101 Blue Lagoon Drive, Miami, Florida 33126, Yamaha Musique France, SF-00101 Helsinki, Finland
U.S.A. Division Professionnelle Tel: 0435 011
Tel: 305-261-4111 BP 70-77312 Marne-la-Valée Cedex 2, France
Tel: 01-64-61-4000
NORWAY ASIA TAIWAN
Narud Yamaha AS Kung Hsue She Trading Co., Ltd.
Grini Næringspark 17 HONG KONG No. 322, Section 1, Fu Hsing S. Road,
N-1345 Østerås, Norway Tom Lee Music Co., Ltd. Taipei 106, Taiwan. R.O.C.
Tel: 67 14 47 90 11/F., Silvercord Tower 1, 30 Canton Road, Tel: 02-709-1266
Tsimshatsui, Kowloon, Hong Kong
ICELAND Tel: 730-1098 THAILAND
Skifan HF Siam Music Yamaha Co., Ltd.
Skeifan 17 P.O. Box 8120 INDONESIA 865 Phornprapha Building, Rama I Road,
IS-128 Reykjavik, Iceland PT. Yamaha Music Indonesia (Distributor) Patumwan, Bangkok 10330, Thailand
Tel: 525 5000 PT. Nusantik Tel: 2-215-3443
Gedung Yamaha Music Center, Jalan Jend. Gatot
EAST EUROPEAN COUNTRIES Subroto Kav. 4, Jakarta 12930, Indonesia THE PEOPLE’S REPUBLIC OF CHINA
(Except HUNGARY) Tel: 21-520-2577 AND OTHER ASIAN COUNTRIES
Yamaha Europa GmbH. Yamaha Corporation,
Siemensstraße 22-34, D-2084 Rellingen, F.R. of KOREA International Marketing Division
Germany Cosmos Corporation Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 04101-3030 #131-31, Neung-Dong, Sungdong-Ku, Seoul Tel: 053-460-2317
Korea
Tel: 02-466-0021~5
AFRICA OCEANIA
MALAYSIA
Yamaha Corporation, Yamaha Music Malaysia, Sdn., Bhd. AUSTRALIA
International Marketing Division 16-28, Jalan SS 2/72, Petaling Jaya, Selangor, Yamaha Music Australia Pty. Ltd.
Nakazawa-cho 10-1, Hamamatsu, Japan 430 Malaysia 17-33 Market Street, South Melbourne, Vic. 3205,
Tel: 053-460-2312 Tel: 3-717-8977 Australia
Tel: 3-699-2388
PHILIPPINES
MIDDLE EAST Yupangco Music Corporation NEW ZEALAND
339 Gil J. Puyat Avenue, P.O. Box 885 MCPO, Music Houses of N.Z. Ltd.
TURKEY/CYPRUS Makati, Metro Manila, Philippines 146/148 Captain Springs Road, Te Papapa,
Yamaha Musique France, Division Export Tel: 819-7551 Auckland, New Zealand
BP 70-77312 Marne-la-Valée Cedex 2, France Tel: 9-634-0099
Tel: 01-64-61-4000 SINGAPORE
Yamaha Music Asia Pte., Ltd. COUNTRIES AND TRUST
OTHER COUNTRIES Blk 17A Toa Payoh #01-190 Lorong 7 TERRITORIES IN PACIFIC OCEAN
Yamaha Corporation, Singapore 1231 Yamaha Corporation,
International Marketing Division Tel: 354-0133 International Marketing Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430 Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 053-460-2312 Tel: 053-460-2317

HEAD OFFICE Yamaha Corporation, Electronic Musical Instrument Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 053-460-2445
SY08