Page 1 YAMAHA SY85 Music Synthesizer Owner’s Manual 2 - Feature Reference -...
Page 2 GENERAL EDITING PROCEDURE PERFORMANCE EDIT MODE VOICE EDIT MODE DRUM VOICE EDIT MODE SONG EDIT MODE PATTERN EDIT MODE UTILITY MODE WAVE EDIT MODE APPENDIX...
Page 3 CONTENTS GENERAL EDITING PROCEDURE Performance Edit Mode Voice Edit Mode...
Page 4 Drum Voice Edit Mode...
Page 5 Song Edit Mode Pattern Edit Mode Utility Mode...
Page 6 APPENDIX Wave Edit Mode...
Page 8 GENERAL EDITING PROCEDURE Mode Selection ... 8 Selecting Specific Edit Functions ... 8 Selecting & Editing Parameters ... 10 Controller Assignment Display ... 11...
Page 9: Mode Selection
The SY85 makes editing easy by providing a consistent, logical control interface via which parameters can be located and edited. Once you’ve learned the general procedure, you can locate and edit any of the SY85’s many param- eters quickly and easily.
Page 10 From this display you can use either the data entry dial or the [-1] and [+1] keys to directly select any of the 8 available functions, then press the [ENTER/ YES] key to actually select the specified function. The illustrations here are not available. In some cases the PAGE [ another entry screen.
Page 11: Selecting & Editing Parameters
Selecting & Editing Parameters Most SY85 edit screens contain several parameters that can be selected and edited. In most cases you can simply operate the continuous slider immediately below the parameter you want to edit on the display. Operating a slider auto- matically moves the underline cursor to the corresponding parameter.
Page 12: Controller Assignment Display
[CS1] through [CS4] sliders when playing in the VOICE or PERFORMANCE PLAY modes. Since it is easy to forget what parameters have been assigned to which sliders, the SY85 features a controller assignment display that can be selected temporarily by pressing the [SHIFT] key in the VOICE or PERFORM- ANCE PLAY mode.
Page 14 PERFORMANCE EDIT MODE...
Page 15 SY85 performance combinations can have up to four voices assigned to different “layers” — A, B, C and D. This screen lets you assign voices to the layers. LAYER`Voice`Number````````<InitVce`>ABCD ````A=¡A1`````B=¡A1`````C=¡A1`````D=¡A1 Voice Number A, B, C, D After moving the cursor to the layer you want to edit by pressing the [F2],...
Page 16 2: VOLUME For optimum balance between the voices in a performance combination, this screen allows the volume of each voice to be adjusted individually. LAYER`Volume``````````````<InitVce`>ABCD ``````127ƒ``````127ƒ``````127ƒ``````127ƒ The name of the currently selected voice/layer is shown in the upper right corner of the display. The characters “ABCD” to the right of the voice name indicate the status of each voice: a capital letter if the voice is on, a lower-case letter if the voice is muted, and a dash if the voice is off.
Page 17 In multi-layer performance combinations, interesting stereo effects can be pro- duced by placing the output from different layers at different locations in the stereo sound field. The parameters in this screen determine the position in the stereo sound field in which the sound from each active layer will be heard (left to right). LAYER`Pan`L¯¯Æ¯¯R`````````<InitVce`>ABCD ```````+0````````+0````````+0````````+0` The name of the currently selected voice/layer is shown in the upper right...
Page 18 4: TUNE More than just simple tuning, the note shift and fine tune parameters make it possible to create harmony and voice-thickening detune effects between layers. LAYER`Tune`)NtShft(```````<InitVce`>ABCD ``+0```+0```+0```+0```+0```+0```+0```+0` The name of the currently selected voice/layer is shown in the upper right corner of the display.
Page 19 The low and high note limit parameters make it possible to create a range of split keyboard effects using the performance layers. You could have two layers on either side of a single split point, a four-way split keyboard, or any other possible combina- tion.
Page 20 Hi (High note limit) Individually sets the high note limit for each active layer (the highest note that each layer will produce). Use the [CS2], [CS4], [CS6], and [CS8] sliders to set the high note limits of the A, B, C, and D layer voices, respectively. It is also possible to press the desired note on the keyboard while holding the [SHIFT] key.
Page 21 The high and low velocity limit parameters make it possible to produce a range of “velocity switching” effects in which different layers of a performance combination are set up to produce sound only when the keyboard is played at a certain velocity. You could, for example, produce a flute sound by playing softly, and a horn sound by playing harder.
Page 22 Hi (High velocity limit) Sets the highest velocity value for a range of velocity values over which each active layer will produce output. Use the [CS2], [CS4], [CS6], and [CS8] sliders to set the high velocity limits of the A, B, C, and D layer voices, respectively. It is also possible to play any note on the keyboard at the desired velocity while holding the [SHIFT] key.
Page 23 The CS3 and CS4 sliders can be used to control the level of individual layers or specified groups of layers in the performance play mode. This screen specifies which slider controls which layers. LAYER`CS`Enable`)CS4(`````<InitVce`>ABCD `off``off``off``off``off``off``off``off The name of the currently selected voice/layer is shown in the upper right corner of the display.
Page 24 LAYER DATA COPY This function facilitates performance editing by allowing the layer parameters from any layer in any other performance (the “source” performance) to be copied to the current layer. You can copy a layer setup that is close to the type you want, then edit it to produce the required sound.
Page 25: Total Level
PERFORMANCE TOTAL LEVEL This parameter sets the overall volume of the current performance combination in relation to the others, making it possible to match levels for smooth transition when switching between performance combinations. PERFORMANCE`Total`Level`` `````````````````80ß Total Level Adjusts the volume of the current performance. A setting of “0”...
Page 26: Performance Name
PERFORMANCE NAME Your original performance combinations should naturally have original names. This function can be used to assign a name of up to 8 characters to the current performance. PERFORMANCE`Name``````````````"InitPerf" [CLR][UPR][LWR][SPC]````````````[†]``[¥] Name Assigns a name of up to 8 characters to the current performance. Use the [F7] function key to move the character cursor to the left, and the [F8] function key to move the cursor to the right.
Page 27 LAYER VOICE EDIT MENU The Layer Voice Edit menu allows you to access any of the voice edit parameters for the voice assigned to the currently selected performance layer, without having to leave the performance edit mode. LAYER`VOICE` `````````````````````````````Hit`[ENTER] Press [ENTER/YES] from the entry display (above) to access the layer voice edit menu.
Page 28 1: AMPLITUDE EG OFFSET These parameters allow the amplitude envelopes of the voices assigned to each layer to be modified to some degree. The actual amplitude EG of the voices are not affected, these “offset” values are only effective in the performance mode. QED`AEG)````R1``R2,3``R4```RR``Vel `ALL[Lyr:A]`+0```+0```+0```+0```+0 Use PROGRAM keys [1] through [4] (LAYER SELECT A, B, C, and D) to...
Page 29 RR (Release rate) Modifies the “RR” parameter of the voice amplitude EG — see page 60. Plus (+) values produce a faster release rate while minus (-) values produce a slower release rate. No matter how much offset is applied, the minimum and maximum EG release rates cannot be exceeded.
Page 30 2: LFO & FILTER OFFSET These parameters allow the main LFO and filter parameters of the voices assigned to each layer to be modified to some degree. The actual LFO and filter parameters of the voices are not affected, these “offset” values are only effective in the performance mode.
Page 31 Coff (Filter cutoff frequency) Modifies the filter cutoff frequency (this corresponds to the voice filter “CutOff” parameter — see page 65). Plus (+) values increase the cutoff fre- quency while minus (-) values lower the cutoff frequency. This parameter cannot be used if the filter is set to “Thru”. In this case “----” appears in place of the parameter value.
Page 32 3: CONTROLLER CONDITIONS These parameters determine how the performance layers are affected by keyboard aftertouch response, the modulation wheel, and the foot controller. QED`CTRL)Use`AT``MW```FC`````AT>MW`MW>AT `ALL[Lyr:A]LyrA`LyrA`LyrA``````off``off Use PROGRAM keys [1] through [4] (LAYER SELECT A, B, C, and D) to select the layer to be edited. Hold the [F1] function key (“ALL”) while editing any of the following parameters to change its value by the same amount for all layers simultane- ously.
Page 33 AT>MW (Aftertouch When this parameter is turned “on,” aftertouch can be used to prouce the same effect as the modulation wheel, in addition to any parameters assigned to aftertouch. MW>AT (Modulation wheel When this parameter is turned “on,” the modulation wheel can be used to produce the same effect as aftertouch, in addition to any parameters assigned to the modulation wheel.
Page 34 4: OTHER CONDITIONS Other parameters that can be individually set for each performance layer are provided in this screen: sustain enable, pitch envelope generator enable, oscillator fixed note mode and note number. QED`OTHER)``Sustain``PEG``Fix`FixNote `ALL[Lyr:A]``````on```on``off``--- Use PROGRAM keys [1] through [4] (LAYER SELECT A, B, C, and D) to select the layer to be edited.
Page 35 FixNote (Oscillator fix note number) Sets the frequency (note) at which the selected layer will be played when the “fix” mode is turned on (“---” is displayed in place of the note when the “fix” mode is turned off). The C-2 to G8 range of this parameter covers a full 10-1/2 octaves. “C3” corresponds to “middle C”...
Page 36 ``06:Rev.Stage1``57:EQ`->`Sym```50%``50% Effect Type 1/2 [CS1] selects any of the SY85’s 90 effect types for the EFFECT 1 proces- sor, and [CS4] does the same for the EFFECT 2 processor. See page 254 for more details on the SY85 effect system.
Page 37 6: EFFECT PARAMETER QED`EF`PARAM)`<`1:Stge>``)Rev.Time``[s]( `2.5``1.0```45`12.0```+0```+0``0.8``100 This screen provides access to the four main parameters each for the current selected effect 1 and effect 2. The four effect 1 parameters are edited via [CS1] through [CS4], while the four effect 2 parameters are edited via [CS5] through [CS8]. The parameters are different for each effect (refer to page 274 for details).
Page 38 (“0:off”). EF1 Type Selects any of the SY85’s 90 effect types for the EFFECT 1 processor. See page 254 for more details on the SY85 effect system, and page 274 for a complete list of the available effects. EF2 Type Selects any of the SY85’s 90 effect types for the EFFECT 2 processor.
Page 39 2: SEND SELECT & LEVEL The parameters provided here determine to which of the SY85 effect stages the output from the voice assigned to each layer is sent, and at what level. It is also possible to control the effect send level via keyboard dynamics and key scaling.
Page 40 Send (Send level) This parameter adjusts the amount of direct voice signal that is sent to the effect processors, determining the strength of the final effect sound. A setting of “0” results in no effect, leaving only the “dry” sound of the voice. The maximum setting of “127”...
Page 41 3: LAYER DRY OUTPUT SELECT These parameters determine turn the “dry lines” (i.e. the signal paths which by- passes each effect processor) on or off, determining whether any dry signal output can occur at OUTPUT 1 and OUTPUT 2. OUTPUT`Select`<InitVce`>`Dry1`Dry2` ``Layer=A(¡A1)`````````````on```on Layer Selects the layer to be edited.
Page 42 4: OUTPUT LEVEL Depending on the selected effects the SY85 effect system can have up to four separate output levels that are adjusted by the parameters provided in this screen. EF`OutLevel`1a```1b`````````````2a```2b` `EF1(sngl)=100%``--`EF2(casc)=``--``100% 1a, 1b, 2a, and 2b (Effect output levels) The [CS3] and [CS4] sliders adjust the output levels of the effect 1 “1a”...
Page 43 5: WET:DRY BALANCE The balance between the direct sound of the voice and the effect sound is a delicate thing. Even slight changes can make a big difference to the final sound. The parameters provided in this screen provide precise balance control. EF`Wet:Dry`Balance````` `````Out1=``50`:`50``````Out2=``50`:`50 Out1 Wet/Out2 Wet...
Page 44 6: SEND & EFFECT 2 MIX LEVEL These parameters determine the mix level between each effect send and the output of the preceding effect stage. Refer to the section beginning on page 254 for details on the overall SY85 effect system. EF`Mix`Level```EF2``Insert`1b```2a```2b` ````````````````--`````````--```--````0%...
Page 45 7: EFFECT 1 PARAMETERS 8: EFFECT 2 PARAMETERS Each of the SY85’s 90 effects has 8 parameters that can be edited via the param- eters in this screen to fine-tune the effect. EF1`PARAM`<Rev.Stage1>```)ER/Rev`Bal[%]( `2.5``1.0```10```32```16````4````0`12.0 Each parameter is controlled by the corresponding slider (i.e. the slider immediately below each parameter).
Page 46 9: CONTROL PARAMETERS The SY85 [CS1] and [CS2] sliders can be assigned to control different effect parameters in real time while playing in the voice or performance modes. The param- eters provided in this screen determine which effect parameters are to be controlled by the [CS1] and [CS2] sliders, the minimum and maximum parameter values, and assign MIDI control numbers to the same parameters for MIDI effect control.
Page 47 Additional (Additional MIDI control) This parameter allows MIDI control change numbers to be assigned to the selected effect parameters, so that they can be controlled from the SY85 con- trollers (modulation wheel, foot controller, etc) or an external MIDI device that is capable of transmitting control change messages.
Page 48 10: CONTROL LFO All of the modulation-type effects — chorus, flanging, etc. — require LFO con- trol. The SY85 has an independent effect LFO that is set up by the following param- eters. EF`CTRL`LFO``Waveform````Speed````Delay` `````````````` ˚ Wave (LFO waveform) Determines the waveform of the effect LFO.
Page 49 EFFECT DATA COPY This function facilitates performance effect editing by allowing the effect param- eters from any other song, voice, or performance combination to be copied to the current performance combination. You can copy an effect setup that is close to the type you want, then edit it to produce the required sound.
Page 50 EFFECT SIGNAL FLOW DISPLAY This function provides a graphic indication of the current effect system configura- tion while in the effect edit mode. EFFECT`FLOW`Ú` `Mode=`para`Ú`ØØØØØËÔÁ `Ú`EF2=EQ`->`Sym EF1`Send1a>---[Stge˜]------------ ->OUT1 `````````````````````````````````’-<DRY1 EF2`Send2a>---[EQ```]-Ÿ-[Sym`˜]-- ->OUT2 ````Send2b>-----------Û``````````’-<DRY2 Press [SHIFT] + [F1] to see the overall effect system signal flow. Press [SHIFT] + [F2] to see the effect 1 section configuration, and [SHIFT] + [F3] for the effect 2 section configuration.
Page 51 1: LAYER CONTROLLER SYNC This function changes the controller parameters of all voices in the selected perfomance combination to match those of the voice assigned to the specified “source” layer. PERFORMANCE`JOB`Layer`Controller`Sync``` ``````````````````````````Source`LayerA Use the [CS8] slider to select the source layer (A, B, C, or D) from which the controller data is to be copied, then press [ENTER/YES] to begin the layer controller sync procedure.
Page 52 2: LAYER EXCHANGE This function can be used to eliminate the audible effects of slight note delays that can occur in the performance play mode. The notes played by layers A, B, C, and D are sounded in sequence in the performance play mode. Normally the delay is so slight that it is not audible.
Page 53 If you’re dissatisfied with the results of edits you’ve made to a performance combination, or have accidentally lost track of changes made, use the PERFORM- ANCE EDIT RECALL function to recall the pre-edit performance data from the SY85’s backup buffer memory. PERFORMANCE`JOB`Recall````````<InitPerf> Press [ENTER/YES] to begin the recall procedure. The following confirma- tion display will appear: PERFORMANCE`JOB`Recall````````<InitPerf>...
Page 54 4: PERFORMANCE INITIALIZE When you want to program a totally new performance combination “from scratch,” rather than editing an existing combination, use this function to initialize all performance parameters. PERFORMANCE`JOB`Initialize`` `````````````````````````[EDIT]`LYR Press [F6] if you want to initialize the entire performance combination currently in the edit buffer, or [F7] if you only want to initialize one specific layer.
Page 55 PERFORMANCE COMPARE The performance compare function makes it possible to compare the sound of a performance combination being edited with the same performance combination prior to editing. The illustrations here are not available. To temporarily recall the original performance data while editing, press the [STORE] key while holding the [SHIFT] key.
Page 56: Performance Store
PERFORMANCE STORE When you’re satsfied with a new performance combination you’ve created in the performance edit mode, use the store function described below to store the new performance combination to an internal or card memory location. PERFORMANCE`STORE`````Layer-:<--------> ``To``¡A1:InitPerf```¡A1u`¡A1u`¡A1u`¡A1u When you’ve finished editing, return to the normal performance play mode (press the [PERFORMANCE] key), and before selecting a different mode or performance combination press the [STORE] key.
Page 58 VOICE EDIT MODE...
Page 59 This screen contains 6 parameters that determine the fundamental sound of the voice being edited — including the number of the waveform on which the voice will be based. OSC``Wave``````Mode`Fine`Note`Rndm``Rvs` P244`Sin```````norm```+0```+0````0``off` Wave Selects the wave (AWM waveform) to be used in the current voice. Use the [INTERNAL 1], [INTERNAL 2], and [CARD] keys to select the memory area from which the wave is to be selected.
Page 60 Please note that this parameter is used to individually tune the current voice. Overall tuning control is provided by the MASTER TUNE function available in the UTILITY mode. Note When the “fix” mode is selected this parameters sets the frequency (note) at which the selected wave will be played.
Page 61 1: AEG LEVEL & RATE The SY85’s main AEG (Amplitude Envelope generator) has five individually programmable rates and two levels for exceptional envelope programming flexibility. Next to the fundamental waveform used, the amplitude envelope is one of the most important factors determining the overall sound of a voice.
Page 62 The envelope begins at zero level, reaches maximum level at the rate deter- mined by the R1 parameter, moves to L2 (Level 2) at R2 (Rate 2), moves on to L3 (Level 3) at R3 (Rate 3), and finally decays to zero level at R4 (Rate 4) if the note is held the entire time.
Page 63 Level scaling produces natural level variations across the range of the keyboard by allowing different level “offset” values to be applied to each of four “breakpoints” set at appropriate keys. LEVEL`SCALING`)POINT1`(````````````````` ``C1```G2```E4```F4```+0```+0```+0```+0 Point 1 … 4 Allows four separate amplitude envelope generator level-scaling breakpoints to be set at any notes between C-2 and G8 for the selected element.
Page 64 3: SENSITIVITY The parameters provided here determine how the amplitude envelope generator responds to changes in keyboard velocity and range. AMP```Vel```AtkRateVel`````RateScaling`` Sens.``+0````````-7`````````````+0`````` Vel (Velocity sensitivity) Determines how the output level of the current voice changes in response to velocity changes (e.g. keyboard dynamics). Plus “+”...
Page 65 This function facilitates voice editing by allowing the amplitude EG data from any other voice (the “source” voice) to be copied to the current voice. You can copy an envelope that is close to the type you want, then edit it to produce the required sound.
Page 66 1:TYPE, CUTOFF FREQUENCY The SY85 features a sophisticated digital filter system that can be used to shape the timbre of the voice being edited in a number of ways. Changes in the response and cutoff frequency can be used to define the basic timbre of the voice, while EG- controlled filter sweeps can produce a virtually unlimited range of time-based timbre variations.
Page 67 Type (Filter type) Determines the type of filter response used. The “THRU” (THROUGH) setting turns the filter OFF. The “LPF” (Low Pass Filter) and “LPF12” settings produces a filter re- sponse that allows only frequencies below the cutoff frequency (See “Cutoff” above) to pass.
Page 68 The “BPF” (Band Pass Filter) setting produces a filter response that allows only a band of frequencies centered at the cutoff frequency (See “Cutoff” above) to pass. The “Band” parameter (below) determines the width of the pass band. The illustrations here are not available. The “BEF”...
Page 69 Reso (Resonance) Determines the degree of filter resonance when the “LPF” filter type is selected (“--” appears in place of the resonance parameter when any other filter type is selected). This parameter has a similar effect to the “resonance” settings on traditional analog synthesizer filters —...
Page 70 2: CUTOFF SCALING Cutoff scaling produces natural timbre variations across the range of the keyboard by allowing different filter cutoff frequency “offset” values to be applied to each of four “breakpoints” set at appropriate keys. CUTOFF`SCALING``````)POINT1`(``````````` ``C1```G2```E4```F4```+0```+0```+0```+0 POINT 1 … 4 Allows four separate cutoff envelope generator level-scaling breakpoints to be set at any notes between C-2 and G8 for the selected filter.
Page 71 3: FEG LEVEL & RATE The filter envelope generator is entirely separate from the amplitude EG, and is used specifically to create time-based timbre variations. It can be used to simulate the natural timbre variations produced by acoustic instruments, or to create more pro- nounced electronic effects.
Page 72 values produce lower cutoff frequencies. “0” level values produce the normal cutoff frequency as determined by the cutoff parameter (See “Cutoff” on page 65). RS (Rate scaling) Allows the overall cutoff envelope generator rate for the selected filter to be varied across the entire pitch range (i.e. keyboard range). This function is only available if the “CTRL”...
Page 73 4: FILTER SENSITIVITY These parameters determine how the filter envelope generator is affected by keyboard dynamics. FILTER`SENS.```Type``Vel`````AtkRateVel` ```````````EG»attack``+0`````````````+0` Type (Velocity sensitivity type) Determines whether changes in key velocity (keyboard dynamics) affect the attack level of the filter EG or its cutoff frequency. When set to “EG_attack”, velocity affects filter EG attack level, and when set to “EG_shift”, velocity affects the filter cutoff frequency.
Page 74 FILTER DATA COPY This function facilitates voice editing by allowing the filter parameters from any other voice (the “source” voice) to be copied to the current voice. You can copy a filter setup that is close to the type you want, then edit it to produce the required sound.
Page 75 In addition to the amplitude and filter envelope generators, the SY85 has an independent pitch EG that can be used to produce subtle or pronounced time-based pitch variations. The pitch EG has 5 programmable levels and 4 rates for extended flexibility.
Page 76 Loop When the Loop parameter is set to “on” the pitch EG cycle repeats from the beginning (L0) to the L3 level until the keys being played are released. When set to “off,” the L3 level is maintained until the keys being played are released.
Page 77 2: RANGE, SENSITIVITY These parameters determined the overall range of the pitch EG, and how it is affected by variations in keyboard velocity. PEG`SENS.``Range`````Vel`RateVel```````` `````````````1oct`````+0```+0`````` Range Sets the maximum range of pitch envelope generator pitch variation. This parameter determines the total maximum range of the pitch envelope generator, so a setting of “2oct”...
Page 78 PITCH EG DATA COPY This function facilitates voice editing by allowing the pitch EG parameters from any other voice (the “source” voice) to be copied to the current voice. You can copy a pitch EG setup that is close to the type you want, then edit it to produce the re- quired sound.
Page 79 These parameters define the operation of the SY85’s main LFO (Low Frequency Oscillator). The main LFO controls amplitude, pitch, frequency, and filter cutoff modulation applied via the modulation wheel, the foot controller, and keyboard aftertouch response. LFO``Wave`Sped`Pmod`Amod`Fmod`Dely`Phase ` ˚ Wave (LFO waveform) Determines the waveform of the LFO.
Page 80 Amod (Amplitude modulation depth) Sets the maximum amount of amplitude modulation that can be applied to the current voice. A “0” setting produces no modulation while a setting of “127” produces maximum modulation. Amplitude modulation produces a periodic variation in the volume of the sound, thus creating a tremolo effect.
Page 81 2: LFO SPEED SENSITIVITY The speed of the SY85 LFO can be varied randomly, and according to variations in keyboard velocity and range. Such variations can produce more natural, musical effects. LFO`SPEED`SENS.`Random`Velocity`KeyScale ``````````````````0````````+0````````+0` Random Sets the amount of random LFO speed variation produced each time a note is played.
Page 82 LFO DATA COPY This function facilitates voice editing by allowing the LFO parameters from any other voice (the “source” voice) to be copied to the current voice. You can copy an LFO setup that is close to the type you want, then edit it to produce the required sound.
Page 83 1: PITCH BEND RANGE This screen includes parameters that set the SY85’s pitch bend range, the mini- mum volume attainable with the foot volume controller, and the sustain switch en- able/disable mode. CTRL`````PB»Range`VolLowLimit``SustainSw `````````````2`````````0````````enable`` PB Range (Pitch bend range) Sets the maximum pitch bend range.
Page 84 2: MODULATION WHEEL DEPTH The modulation wheel can be used to control a wide range of modulation effects. The parameters provided in this screen set the depth of each effect type. CTRL`MW````````Amod`Pmod`Fmod`EGBs`Coff` ``````````````````0````0````0```+0```+0` Amod (Amplitude modulation depth) Sets the maximum depth of amplitude modulation (tremolo effects) applied via the modulation wheel.
Page 85 Fmod (Frequency modulation depth) Sets the maximum depth of filter cutoff frequency modulation (wah-wah type effects) applied via the modulation wheel. A setting of “0” allows no frequency modulation, while a setting of 127 results in maximum frequency modulation. When setting up the LFO (low-frequency oscillator) to apply cutoff modula- tion, this parameter must be set to a value other than “0”...
Page 86 3: FOOT CONTROLLER DEPTH The SY85 allows modulation control via a foot controller connected to th rear- panel FOOT CONTROLLER jack as well as the modulation wheel. This allows modulation effects to be applied while playing with both hands. The parameters in this screen set the depth of the foot controller modulation effects.
Page 87 Fmod (Frequency modulation depth) Sets the maximum depth of filter cutoff frequency modulation (wah-wah type effects) applied via the foot controller. A setting of “0” allows no frequency modulation, while a setting of 127 results in maximum frequency modulation. When setting up the LFO (low-frequency oscillator) to apply cutoff modula- tion, this parameter must be set to a value other than “0”...
Page 88 4: AFTER TOUCH DEPTH For truly “intimate” modulation control, the SY85 allows a number of modulation effects to be controlled via keyboard aftertouch response. The parameters in this screen set the depth of the aftertouch modulation effects. CTRL`AT````Amod`Pmod`Fmod`EGBs`Coff`PtBs ``````````````0````0````0```+0```+0```+0 Amod (Amplitude modulation depth) Sets the maximum depth of amplitude modulation (tremolo effects) applied via keyboard aftertouch.
Page 89 Fmod (Frequency modulation depth) Sets the maximum depth of filter cutoff frequency modulation (wah-wah type effects) applied via keyboard aftertouch. A setting of “0” allows no frequency modulation, while a setting of 127 results in maximum frequency modulation. When setting up the LFO (low-frequency oscillator) to apply cutoff modula- tion, this parameter must be set to a value other than “0”...
Page 90 The [CS3] and [CS4] sliders can be assigned to control a wide range of voice parameters in real time while playing the SY85. These parameters assign a voice parameter to the [CS3] slider, and set the maximum and minimum limits of the control range.
Page 91 CS3 PARAMETER LIST (40 … 75) The parameter assigned to [CS3] can also be controlled from an external MIDI controller via MIDI control number 18. Operation of the [CS3] slider in the VOICE or PERFORMANCE mode also transmits corresponding MIDI control change data using control number 18.
Page 92 The [CS3] and [CS4] sliders can be assigned to control a wide range of voice parameters in real time while playing the SY85. These parameters assign a voice parameter to the [CS4] slider, and set the maximum and minimum limits of the control range.
Page 93 CS4 PARAMETER LIST (40 … 75) The parameter assigned to [CS4] can also be controlled from an external MIDI controller via MIDI control number 19. Operation of the [CS4] slider in the VOICE or PERFORMANCE mode also transmits corresponding MIDI control change data using control number 19.
Page 94 CONTROLLER DATA COPY This function allows the controller parameters from any other voice (the “source” voice) to be copied to the current voice. You can copy a controller setup that is close to the type you want, then edit it to produce the required sound. CONTROLLER`COPY`From`Voice`````````````` `````````````````````¡A1:InitVce From Voice...
Page 95 VOICE TOTAL LEVEL The ability to independently adjust the volume of each voice makes it possible to match levels for smooth transition when switching between voices. VOICE`Total`Level`` ````````````````127ƒ`` Total Level Adjusts the volume of the current voice. A setting of “0” produces no sound while a setting of “127” produces maximum volume.
Page 96: Voice Name
VOICE NAME Your original voices should naturally have original names. This function can be used to assign a name of up to 8 characters to the current voice. VOICE`Name````````````````````"InitVce`" [CLR][UPR][LWR][SPC]````````````[†]``[¥] Name Assigns a name of up to 8 characters to the current voice. Use the [F7] function key to move the character cursor to the left, and the [F8] function key to move the cursor to the right.
Page 97 QED`WAVE)Group``````Number`` ```````16:Osc```````P244:Sin Group For fast, easy selection of the preset SY85 waves this parameter selects 16 different wave categories or “groups”, each containing a number of waves that can be individually selected by using the “Number” parameter, below. Quick Edit Wave Groups...
Page 98 Number Selects the wave (AWM waveform) to be used in the current voice. Use the “Group” parameter, above, to select the group containing the wave that is to be selected. The [INTERNAL 1], [INTERNAL 2], and [CARD] keys can also be used to select the memory area from which the wave is to be selected.
Page 99 Rather than having to set numerous level and rate values via the full-edit ampli- tude EG parameters, these parameters let you select from a range of preset envelope types, and then modify the overall attack, sustain, and release characteristics as re- quired.
Page 100 Atk (Attack rate) Sets the attack rate for the selected envelope. “63” produces the fastest attack, while “0” produces the slowest attack. Sus (Sustain level) Sets the sustain level for the selected envelope. Rel (Release rate) Sets the release rate for the selected envelope. Velo (Velocity sensitivity) Determines how the output level of the current voice changes in response to velocity changes (e.g.
Page 101 The simplified filter parameters provided here have been specifically created for fast, efficient filter programming. For full filter parameters see page 65. QED`FILTER)Type```````````Coff`Reso``Vel `````````````0:--------```---```--```+0` Type (Filter type) Selects either the filter defined by the current filter parameter settings (page 65), or one of 15 preset filter types for the current voice. The filter types are: Quick Edit Filter Types Coff (Cutoff frequency) Sets the cutoff frequency of the selected filter.
Page 102 Reso (Resonance) Determines the degree of filter resonance. This parameter has a similar effect to the “resonance” settings on traditional analog synthesizer filters — i.e. it determines the height of a peak in the filter response at the cutoff frequency. If a filter type other than “LPF” is selected, no resonance can be produced and “---”...
Page 103 Here, the main LFO parameters are simplified and concentrated in a single screen for quick, easy programming. For full LFO parameters see page 78. QED`LFO)```Type`````Speed``Depth`` ```````````--------```64```---`` Type (LFO modulation type) Determines whether the LFO will produce vibrato (pitch modulation), tremolo (amplitude modulation), or wahwah (filter cutoff modulation) effects. The current LFO parameter settings (page 78) are selected when this parameter is set to “--------”.
Page 104: Wet Balance
``06:Rev.Stage1``00:Through``````````50% Effect Type 1/2 [CS1] selects any of the SY85’s 90 effect types for the EFFECT 1 proces- sor, and [CS4] does the same for the EFFECT 2 processor. See page 254 for more details on the SY85 effect system.
Page 105 6: EFFECT PARAMETER QED`EF`PARAM)`<```Stge>``)LPF`````[kHz]( `2.5``1.0```45``1.0``---``---``---``--- This screen provides access to the four main parameters each for the current selected effect 1 and effect 2. The four effect 1 parameters are edited via [CS1] through [CS4], while the four effect 2 parameters are edited via [CS5] through [CS8]. The parameters are different for each effect (refer to page 274 for details).
Page 106 (“0:off”). EF1 Type Selects any of the SY85’s 90 effect types for the EFFECT 1 processor. See page 254 for more details on the SY85 effect system, and page 274 for a complete list of the available effects. EF2 Type Selects any of the SY85’s 90 effect types for the EFFECT 2 processor.
Page 107 2: SEND, MIX, WET:DRY The balance between the direct sound of the voice and the effect sound is a delicate thing. Even slight changes can make a big different to the final sound. The parameters provided in this screen provide precise balance control. EF`Level``Send```EF2`Mix```Out1`Wet:Dry` ```````````127```````---````````50`:`50` Send (Send level)
Page 108 Out1 Dry This parameter and the “Out1 Wet” parameter, above, work together to balance the effect (“wet”) and direct (“dry”) signals delivered via the OUTPUT 1 jacks. Higher “Out1 Dry” values produce more direct, dry sound in relation to the effect sound. Although the “Wet”...
Page 109 Depending on the selected effects the SY85 effect system can have up to four separate output levels that are adjusted by the parameters provided in this screen. EF`OutLevel`1a```1b`````````````2a```2b` `EF1(sngl)=100%``--``EF2(sngl)=100%``--` 1a, 1b, 2a, and 2b (Effect output levels) The [CS3] and [CS4] sliders adjust the output levels of the effect 1 “1a”...
Page 110 4: EFFECT 1 PARAMETERS 5: EFFECT 2 PARAMETERS Each of the SY85’s 90 effects has 8 parameters that can be edited via the param- eters in this screen to fine-tune the effect. EF1`PARAM`<Rev.Stage1>```)Init`Dly`[ms]( `2.5``1.0```10````0```16````4```45``1.0 Each parameter is controlled by the corresponding slider (i.e. the slider immedi- ately below each parameter).
Page 111 6: CONTROL PARAMETERS The SY85 [CS1] and [CS2] sliders can be assigned to control different effect parameters in real time while playing in the voice or performance modes. The param- eters provided in this screen determine which effect parameters are to be controlled by the [CS1] and [CS2] sliders, the minimum and maximum parameter values, and assign MIDI control numbers to the same parameters for MIDI effect control.
Page 112 Additional (Additional MIDI control) This parameter allows MIDI control change numbers to be assigned to the selected effect parameters, so that they can be controlled from the SY85 con- trollers (modulation wheel, foot controller, etc) or an external MIDI device that is capable of transmitting control change messages.
Page 113 All of the modulation-type effects — chorus, flanging, etc. — require LFO con- trol. The SY85 has an independent effect LFO that is set up by the following param- eters. EF`CTRL`LFO``Waveform````Speed````Delay` `````````````` ˚ `tri````````0````````0` Wave (LFO waveform) Determines the waveform of the effect LFO.
Page 114 EFFECT DATA COPY This function facilitates voice effect editing by allowing the effect parameters from any other song, voice, or performance combination to be copied to the current voice. You can copy an effect setup that is close to the type you want, then edit it to produce the required sound.
Page 115 EFFECT SIGNAL FLOW DISPLAY This function provides a graphic indication of the current effect system configura- tion while in the effect edit mode. EFFECT`FLOW`Ú` Á `Mode=`para`Ú` EF1`Send1a>---[R.SPÙ]------------Ç->OUT1 `````````````````````````````````’-<DRY1 EF2`Send2a>---[Dist`]-Ÿ-[Rev`Ç]-- ->OUT2 ````Send2b>-----------Û``````````’-<DRY2 Press [SHIFT] + [F1] to see the overall effect system signal flow. Press [SHIFT] + [F2] to see the effect 1 section configuration, and [SHIFT] + [F3] for the effect 2 section configuration.
Page 116 If you’re dissatisfied with the results of edits you’ve made to a voice, or have accidentally lost track of changes made, use the VOICE EDIT RECALL function to recall the pre-edit voice data from the SY85’s voice backup buffer memory. VOICE`JOB`Recall``````````````<InitVce`>...
Page 117 2: VOICE INITIALIZE When you want to program a totally new voice “from scratch,” rather than editing an existing voice, use this function to initialize all voice parameters. VOICE`JOB`Initialize` Press [ENTER/YES] to begin the initialize procedure. The following confir- mation display will appear: VOICE`JOB`Initialize` Are`you`sure`? Press [ENTER/YES] again to confirm that you want to go ahead with the...
Page 118: Voice Compare
VOICE COMPARE The voice compare function makes it possible to compare the sound of a voice being edited with the same voice prior to editing. The illustrations here are not available. To temporarily recall the original voice while editing, press the [STORE] key while holding the [SHIFT] key.
Page 119: Voice Store
When you’re satsfied with a new voice you’ve created in the voice edit mode, use the store function described below to store the new voice to an internal or card memory location. VOICE`STORE``````````To `````````````````````¡A1:InitVce When you’ve finished editing, return to the normal voice play mode (press the [VOICE] key), and before selecting a different voice press the [STORE] key.
Page 120 DRUM VOICE EDIT MODE...
Page 121 1: KEY PARAMETERS 1 DRUM`KEY`<BD6`````>``Vol``Nsft`Tune`Pan` ``C1``````Wave`P156``120ƒ``+0```+0```+0` Key Number Selects the the drum key to be edited. In addition to using the [CS1] slider, data entry dial, and [-1] and [+1] keys, the drum key can be selected by simply pressing the appropriate key on the keyboard. Wave Selects the wave (AWM waveform) to be played by the current drum key.
Page 122 Tune Allows upward or downward pitch adjustment of the current drum key in approximately 1.7-cent steps (a “cent” is 1/100th of a semitone). The maximum minus setting of “-63” produces a downward pitch shift of approximately three quarters of a semitone, and the maximum plus setting of “+63”...
Page 123 2: KEY PARAMETERS 2 DRUM`KEY`<BD6`````>AltGrp`GateTime``Rvs` ``C1`````````````````off``normal````off` Key Number Selects the the drum key to be edited. In addition to using the [CS1] slider, data entry dial, and [-1] and [+1] keys, the drum key can be selected by simply pressing the appropriate key on the keyboard. AltGrp Assigns the selected drum key to an “alternate group”...
Page 124 3: TOTAL LEVEL This parameter sets the overall volume of the current drum voice in relation to the others, making it possible to match levels for smooth transition when switching between voices. DRUM````````TotalLevel`VolLowLimit` ````````````````127ƒ````````0`` Total Level Adjusts the volume of the current drum voice. A setting of “0”...
Page 125 4: DRUM VOICE NAME Your original drum voices should naturally have original names. This function can be used to assign a name of up to 8 characters to the current drum voice. DRUM`VOICE`Name```````````````"DR`PTN``" [CLR][UPR][LWR][SPC]````````````[†]``[¥] Name Assigns a name of up to 8 characters to the current drum voice. Use the [F7] function key to move the character cursor to the left, and the [F8] function key to move the cursor to the right.
Page 126 DRUM KEY DATA COPY This function facilitates drum voice editing by allowing the data from one drum key (the “source” key) to be copied to any other drum key. You can copy the data from a key that is close to the sound you want, then edit it as required. DRUM`KEY`COPY`From<BD6`````>To<BD6`````>...
Page 127 ``03:Rev.Room1```12:Rev.Basmnt``40%``10% Effect Type 1/2 [CS1] selects any of the SY85’s 90 effect types for the EFFECT 1 proces- sor, and [CS4] does the same for the EFFECT 2 processor. See page 254 for more details on the SY85 effect system.
Page 128: Send Level
2: EFFECT SEND LEVEL The ability to set different effect send levels for each drum key provides ex- tremely fine control over the drum effect sound. QED`EFFECT)Send`Level`````````<BD6`````> ````Key=`C1`````127 Selects the drum key (C1 … C5) for which the send level is to be adjusted. Use either the [CS2] slider or the keyboard to enter the key number.
Page 129 (“0:off”). EF1 Type Selects any of the SY85’s 90 effect types for the EFFECT 1 processor. See page 254 for more details on the SY85 effect system, and page 274 for a complete list of the available effects. EF2 Type Selects any of the SY85’s 90 effect types for the EFFECT 2 processor.
Page 130 2: KEY SEND SELECT & LEVEL The parameters provided here determine to which of the SY85 effect stages the output from each drum key is sent, and at what level. It is also possible to control the effect send level via keyboard dynamics.
Page 131 Send (Send level) This parameter adjusts the amount of direct voice signal that is sent to the effect processors, determining the strength of the final effect sound. A setting of “0” results in no effect, leaving only the “dry” sound of the voice. The maximum setting of “127”...
Page 132 3: KEY DRY OUTPUT SELECT These parameters determine turn the “dry lines” (i.e. the signal paths which by- passes each effect processor) on or off, determining whether any dry signal output can occur at OUTPUT 1 and OUTPUT 2. OUTPUT`Select`<BD6`````>`Dry1`Dry2``` ``Key=`C1``````````````````on```on`` Selects the key to be edited.
Page 133 Depending on the selected effects the SY85 effect system can have up to four separate output levels that are adjusted by the parameters provided in this screen. EF`OutLevel`1a```1b`````````````2a```2b` `EF1(sngl)=100%``--``EF2(sngl)=`98%``-- 1a, 1b, 2a, and 2b (Effect output levels) The [CS3] and [CS4] sliders adjust the output levels of the effect 1 “1a”...
Page 134 5: WET:DRY BALANCE The balance between the direct sound of the voice and the effect sound is a delicate thing. Even slight changes can make a big difference to the final sound. The parameters provided in this screen provide precise balance control. EF`Wet:Dry`Balance`````````` `````Out1=``40®:`60``````Out2=``16`:`84` Out1 Wet/Out2 Wet...
Page 135 6: SEND & EFFECT 2 MIX LEVEL These parameters determine the mix level between each effect send and the output of the preceding effect stage. Refer to the section beginning on page 254 for details on the overall SY85 effect system. EF`Mix`Level```EF2``Insert`1b```2a```2b` ````````````````--`````````--```--```--`...
Page 136 7: EFFECT 1 PARAMETERS 8: EFFECT 2 PARAMETERS Each of the SY85’s 90 effects has 8 parameters that can be edited via the param- eters in this screen to fine-tune the effect. EF1`PARAM`<Rev.Room1`>```)Rev.Time``[s]( `1.2``0.8````8````0```50````4```68``5.6 Each parameter is controlled by the corresponding slider (i.e. the slider immediately below each parameter).
Page 137 9: CONTROL PARAMETERS The SY85 [CS1] and [CS2] sliders can be assigned to control different effect parameters in real time while playing in the voice or performance modes. The param- eters provided in this screen determine which effect parameters are to be controlled by the [CS1] and [CS2] sliders, the minimum and maximum parameter values, and assign MIDI control numbers to the same parameters for MIDI effect control.
Page 138 Additional (Additional MIDI control) This parameter allows MIDI control change numbers to be assigned to the selected effect parameters, so that they can be controlled from the SY85 con- trollers (modulation wheel, foot controller, etc) or an external MIDI device that is capable of transmitting control change messages.
Page 139 All of the modulation-type effects — chorus, flanging, etc. — require LFO con- trol. The SY85 has an independent effect LFO that is set up by the following param- eters. EF`CTRL`LFO``Waveform````Speed````Delay` `````````````` Wave (LFO waveform) Determines the waveform of the effect LFO.
Page 140 EFFECT DATA COPY This function facilitates drum voice effect editing by allowing the effect param- eters from any other song, voice, or performance combination to be copied to the current drum voice. You can copy an effect setup that is close to the type you want, then edit it to produce the required sound.
Page 141 EFFECT SIGNAL FLOW DISPLAY This function provides a graphic indication of the current effect system configura- tion while in the effect edit mode. EFFECT`FLOW`Ú` `Mode=`para`Ú` EF1`Send1a>---[Room˜]------------ ->OUT1 `````````````````````````````````’-<DRY1 EF2`Send2a>---[Baseˆ]------------Ù->OUT2 `````````````````````````````````’-<DRY2 Press [SHIFT] + [F1] to see the overall effect system signal flow. Press [SHIFT] + [F2] to see the effect 1 section configuration, and [SHIFT] + [F3] for the effect 2 section configuration.
Page 142 1: KEY DATA INITIALIZE When you want to program a single drum key “from scratch,” rather than editing an existing key, use this function to initialize all data for the specified drum key. DRUM`JOB`Key`Initialize````````Key `````````````````````<BD6`````>``C1`` Use the [CS7] slider or the keyboard to enter the drum key you want to initialize (C1 …...
Page 143 2: KEY DATA EXCHANGE This function makes it simple to re-arrange you drum key layout by directly exchanging the data between any two specifed drum keys. DRUM`JOB`Exchange```<BD6`````><BD6`````> ``````````````````````C1```†¥```C1`` Use the [CS5] and [CS7] sliders to select the drum keys to be exchanged (C1 …...
Page 144 If you’re dissatisfied with the results of edits you’ve made to a drum voice, or have accidentally lost track of changes made, use the DRUM VOICE EDIT RECALL function to recall the pre-edit drum voice data from the SY85’s backup buffer memory.
Page 145 4: DRUM VOICE INITIALIZE When you want to program a totally new drum voice “from scratch,” rather than editing an existing voice, use this function to initialize all drum voice parameters. DRUM`JOB`Initialize```````Type ````````````````````````````1 Use [CS6] to select the type of drum voice to be initialized. Press [ENTER/ YES] to begin the initialize procedure.
Page 146 DRUM VOICE COMPARE The drum voice compare function makes it possible to compare the sound of a drum voice being edited with the same drum voice prior to editing. The illustrations here are not available. To temporarily recall the original drum voice data while editing, press the [STORE] key while holding the [SHIFT] key.
Page 147 DRUM VOICE STORE When you’re satisfied with a new drum voice you’ve created in the drum voice edit mode, use the store function described below to store the new voice to an inter- nal or card memory location. VOICE`STORE`(DRUM)```To `````````````````````¡H8:DR`PTN When you’ve finished editing, return to the normal play mode (press the [VOICE] key), and before selecting a different voice press the [STORE] key.
Page 148 SONG EDIT MODE...
Page 149: Voice Select
Each SY85 “song” has an independent “multi setup” that can have up to 16 voices assigned to “instruments” 1 through 16. Each instrument is controlled via the correspondingly numbered MIDI channel. This screen lets you select the voices that are to be played via the various multi-setup channels.
Page 150 2: VOLUME For optimum balance between the instruments in a multi setup, this screen allows the volume of each voice to be adjusted individually. MULTI`Volume```````1-`8```````<InitPerf> `127ƒ`127ƒ`127ƒ`127ƒ`127ƒ`127ƒ`127ƒ`127ƒ Volume Only eight voice numbers are shown on the display at one time. Use the PAGE [ ] and [ ] keys while holding the [SHIFT] key to switch between...
Page 151 In a multi setup, interesting stereo effects can be produced by placing the output from different voices at different locations in the stereo sound field. The parameters in this screen determine the position in the stereo sound field in which the sound from each active voice will be heard (left to right).
Page 152 4: EFFECT SEND LEVEL The ability to individually adjust the effect send level for each voice in a multi setup allows the optimum amount of effect to be applied to each voice. MULTI`EF`SendLevel`1-`8```````<InitPerf> `127ƒ`127ƒ`127ƒ`127ƒ`127ƒ`127ƒ`127ƒ`127ƒ SendLevel Only eight voice numbers are shown on the display at one time. Use the PAGE [ ] and [ ] keys while holding the [SHIFT] key to switch between...
Page 153: Note Shift
Individually shifts the pitch of each active voice up or down in semitone steps. MULTI`Note`Shift```1-`8```````<InitPerf> ``+0```+0```+0```+0```+0```+0```+0```+0` Note Shift Only eight voice numbers are shown on the display at one time. Use the PAGE [ multi instruments “1 … 8” and “9 … 16”. The currenty selected group of voices is indicated on the upper display line.
Page 154 6: TUNE Allows slight upward or downward pitch adjustment of each active voice. More than just simple tuning, the tune parameters make it possible to create sound-thicken- ing detune effects between voices. MULTI`Tune`````````1-`8```````<InitPerf> ``+0```+0```+0```+0```+0```+0```+0```+0` Tune (Fine tuning) Only eight voice numbers are shown on the display at one time. Use the PAGE [ ] and [ ] keys while holding the [SHIFT] key to switch between...
Page 155 ``06:Rev.Stagel``57:EQ`->`Sym```50%``50% Effect Type 1/2 [CS1] selects any of the SY85’s 90 effect types for the EFFECT 1 proces- sor, and [CS4] does the same for the EFFECT 2 processor. See page 254 for more details on the SY85 effect system.
Page 156 8: SONG NAME Your original songs should naturally have original names. This function can be used to assign a name of up to 8 characters to the current song. MULTI`Song`Name```````````````"InitSong" [CLR][UPR][LWR][SPC]````````````[†]``[¥] Name Assigns a name of up to 8 characters to the current performance. Use the [F7] function key to move the character cursor to the left, and the [F8] function key to move the cursor to the right.
Page 157 When you want to program a totally new multi setup “from scratch,” rather than editing an existing setup, use this function to initialize all multi parameters. MULTI`Initialize``````````````"InitSong" ```````````````````````````````````````` Press [ENTER/YES] to begin the initialize procedure. The following confir- mation display will appear: MULTI`Initialize``````````````"InitSong"...
Page 158: Track Edit
TRACK EDIT The track edit mode is used to edit material already recorded on the sequencer tracks. Individual notes and other events can be deleted, changed, or inserted as required, providing precise musical control. `````Meas`Beat`Clock`C#3```(›)``mf``````` `CHG``001`-`01`-`24```61`0018```64`ERASE The track edit mode has two sub-modes — change and insert — which will be described below.
Page 159 THE CHANGE MODE (Tracks 1 … 8) Change edit (“CHG”) allows note, control change, program change, pitch bend, and aftertouch data to be changed or erased as required. Use the GROUP [A] through [H] keys to select the track you want to edit (A = track1, B = track 2, etc.).
Page 160 `````Meas`Beat`Clock`C#3```(›`)`mf``````` `CHG``001`-`01`-`24```61`0018```64`ERASE Note events appear with three parameters: • The note itself, edited by [CS5]. Range: 0 (C-2) … 111 (D#7). The note name appears on the upper display line while the corresponding MIDI note number appears on then lower line. In addition to using [CS5] or the [-1] and [+1] keys, note events can be change by pressing the desired key on the keyboard while holding the [SHIFT] key.
Page 161 `````Meas`Beat`Clock``=`Program`Change`= `CHG``001`-`01`-`24```````001``````ERASE Program change events have a single parameter: the program change number itself, edited via [CS6]. Range: 000 … 127. Program change numbers normally specify a voice change. `````Meas`Beat`Clock``=`Pitch`Bend`=```` `CHG``001`-`01`-`24```````+07``````ERASE Pitch change events appear with a single parameter: the new pitch bend value, edited via [CS6].
Page 162 These three parameters are common to all the displays described above. In addition to indicating the location of the current event, they can be edited to move the event as required: • The “Meas” parameter, edited via [CS2], indicates the number of the cur- rent measure.
Page 163: Rhythm Track Edit
RHYTHM TRACK EDIT When the track edit mode is engaged while the rhythm track (track 9) is selected, or when the rhythm track is selected while the track edit mode is engaged, the fol- lowing display will appear: SONG`EDIT``````````````````````````````` Part:`001=`ptn``***`[INS][DEL][CPY][SCH] This initial display allows any existing rhythm part to be selected via [CS2] (001 …...
Page 164 This event indicates a tempo change to occur over a specified number of beats. The numbers above the [CS4] slider define the tempo change: the number to the left of the slash (-99 … 0 … +99, or atmp for “a tempo”) sets the number of beats per minute by which the tempo will decrease or increase, and the number to the right of the slash (0 …...
Page 165 SONG`EDIT`Delete`Part``````````````````` `Part:001=`ptn``***````````````````````` This function is used to delete a part from an existing rhythm track. Press [F6] to engage the rhythm track delete function after locating the part to be deleted via the main rhythm track edit screen, described above. The following confirmation display will appear: SONG`EDIT`Delete`Part`````Are`you`sure`? `Part:001=`ptn``***`````````````````````...
Page 166 SONG`EDIT`Copy`Part```````Are`you`sure`? `Part:001=`ptn``***```````001ø`001``001` Press [ENTER/YES] again to confirm that you want to go ahead with the copy operation (which will overwite existing parts from the destination part number), or press [EXIT/NO] to cancel. When the parts have been copied, “Completed!” will appear briefly on the display, then the display will return to the main rhythm track edit mode.
Page 167 (“0:off”). EF1 Type Selects any of the SY85’s 90 effect types for the EFFECT 1 processor. See page 254 for more details on the SY85 effect system, and page 274 for a complete list of the available effects. EF2 Type Selects any of the SY85’s 90 effect types for the EFFECT 2 processor.
Page 168 2: SEND SELECT & LEVEL The parameters provided here determine to which of the SY85 effect stages the output from the voice assigned to each layer is sent, and at what level. It is also possible to control the effect send level via keyboard dynamics and key scaling.
Page 169 CS6 (EFFECT 1) If a “single” type effect is selected then only stage “a” can be selected. If a “cascade” type effect is selected, then only stage “b” can be selected. If a “dual” type effect is selected, then both stages “a” and “b” can be selected. An effect stage that cannot be selected is represented by “-”...
Page 170 3: INST DRY OUTPUT SELECT OUTPUT`Select`<InitSong>`Dry1`Dry2`````` ``Inst=`1(P¡A1)````````````on```on`````` Inst (Instrument) Selects the multi instrument to be edited. The name of the voice assigned to the selected instrument is shown between parentheses on the upper line of the display. Dry1 Turns the “dry line” bypassing the EFFECT 1 signal processor on or off. When this parameter is turned “off,”...
Page 171 Depending on the selected effects the SY85 effect system can have up to four separate output levels that are adjusted by the parameters provided in this screen. EF`OutLevel`1a```1b`````````````2a```2b` `EF1(sngl)=100%``--``EF2(casc)=`--``100% 1a, 1b, 2a, and 2b (Effect output levels) The [CS3] and [CS4] sliders adjust the output levels of the effect 1 “1a”...
Page 172 5: WET:DRY BALANCE The balance between the direct sound of the voice and the effect sound is a delicate thing. Even slight changes can make a big difference to the final sound. The parameters provided in this screen provide precise balance control. EF`Wet:Dry`Balance`````````````````````` `````Out1=``50`:`50``````Out2=``50`:`50` Out1 Wet/Out2 Wet...
Page 173 6: SEND & EFFECT 2 MIX LEVEL These parameters determine the mix level between each effect send and the output of the preceding effect stage. Refer to the section beginning on page 254 for details on the overall SY85 effect system. EF`Mix`Level```EF2``Insert`1b```2a```2b` ````````````````--`````````--```--````0%...
Page 174 7: EFFECT 1 PARAMETERS 8: EFFECT 2 PARAMETERS Each of the SY85’s 90 effects has 8 parameters that can be edited via the param- eters in this screen to fine-tune the effect. EF1`PARAM`<Rev.Stagel>```)Rev.Time``[S]( `2.5``1.0```10```32```16````4```45`12.0` Each parameter is controlled by the corresponding slider (i.e. the slider immediately below each parameter).
Page 175 9: CONTROL PARAMETERS The parameters provided in this screen determine which effect parameters are to be controlled by the minimum and maximum parameter values and assign MIDI control numbers to the same parameters for MIDI effect control. EF`CTRL)````````(`Min``Max``Controller`` ````1`:`off````````0%`100%`000:off`````` CTRL1/CTRL2 (CTRL1/CTRL2 switch) Selects CTRL1 or CTRL2 for assignment.
Page 176 Controller (Control device number) This parameter allows MIDI control change numbers to be assigned to the selected effect parameters, so that they can be controlled from the SY85 con- trollers (modulation wheel, foot controller, etc) or an external MIDI device that is capable of transmitting control change messages.
Page 177 All of the modulation-type effects — chorus, flanging, etc. — require LFO con- trol. The SY85 has an independent effect LFO that is set up by the following param- eters. EF`CTRL`LFO``Waveform````Speed````Daley` `````````````` Wave (LFO waveform) Determines the waveform of the effect LFO.
Page 178 EFFECT DATA COPY This function facilitates song editing by allowing the effect parameters from any other song, voice, or performance combination to be copied to the current song. You can copy an effect setup that is close to the type you want, then edit it to produce the required sound.
Page 179 EFFECT SIGNAL FLOW DISPLAY This function provides a graphic indication of the current effect system configura- tion while in the effect edit mode. EFFECT`FLOW`Ú` `Mode=`para`Ú`ØØØØØËÔÁ `Ú`EF2`EQ`->`Sym EF1`Send1a>---[Stge˜]------------ ->OUT1 `````````````````````````````````’-<DRY1 EF2`Send2a>---[EQ```]-Ÿ-[Sym`˜]-- ->OUT2 ````Send2b>-----------Û``````````’-<DRY2 Press [SHIFT] + [F1] to see the overall effect system signal flow. Press [SHIFT] + [F2] to see the effect 1 section configuration, and [SHIFT] + [F3] for the effect 2 section configuration.
Page 180 1: CLEAR SONG Entirely clears all songs or just the currently selected song (one song) from memory. SONG`JOB`Clear`Song````````````````````` [ONE]`ALL````<InitSong>````````````````` ONE, ALL Press [F1] if you want to clear the currently selected song, or [F2] if you want to clear all songs in memory. If you select “ONE” song, the current song name is shown between parentheses on the lower display line.
Page 181 Copies all song data from one song to any other. This can be handy if you want to make minor changes to an existing song while retaining a copy of the original song data. SONG`JOB`Copy`Song`````````````From`To`` `````````````<InitSong>````````S01``S01` From Use the [CS7] slider to select the “From” or source song number (1 … 10), and the [CS8] slider to select the “To”...
Page 182 3: MEMORY STATUS Indicates the amount of memory available for song recording. This job is not available when the rhythm track (track 9) is selected. The “CLEAR RHYTHM TRACK” job described on page 182 appears in its place. SONG`JOB`Memory`Status`````````Free=100% ```````````````````````````````````````` A display of “Free=80%”, for example, means that approximately 20% of the available memory has been used, and approximately 80% is available for further recording.
Page 183 3: CLEAR RHYTHM TRACK Deletes all data from the rhythm track. This job appears in place of the “MEMORY STATUS” job, described on the previous page, when the rhtyhm track (track 9) is selected. SONG`JOB`Clear`Rhythm`Track Press [ENTER/YES] to begin the delete procedure. The following confirma- tion display will appear: SONG`JOB`Clear`Rhythm`Track Are`you`sure`?
Page 184 4: TRACK MIXDOWN Combines the data from two different tracks and copies the result to a third track. This job is not available when the rhythm track (track 9) is selected. SONG`JOB`Track`Mixdown````From``````To`` ``````````````````````````TR1+`TR1¥`TR1` From (From track 1 + track 2) Use the [CS6] slider to select the first “From”...
Page 185 The illustrations here are not available. SONG JOB SONG EDIT MODE /...
Page 186 5: DELETE TRACK Deletes all data from the specified track. This job is not available when the rhythm track (track 9) is selected. SONG`JOB`Delete`Track``````````````````` ```````````````````````````````````````` Use the GROUP [A] through [H] keys to select the track you want to delete (A = track1, B = track 2, and so on).
Page 187 Aligns notes in the specified track to the nearest specified beat. This job is not available when the rhythm track (track 9) is selected. SONG`JOB`Quantize`````````Meas`````Size` ``````````````````````````001ø`001`1/48` Meas (First & last measure numbers) Size Use the GROUP [A] through [H] keys to select the track you want to quantize (A = track1, B = track 2, and so on).
Page 188 Quantization is generally used to tighten up sloppy timing. Use it judi- ciously, however, because timing that is too perfect can sound cold and me- chanical — 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.
Page 189 Copies a specified measure or range of measures from one track to the specified measure in another track. This job is not available when the rhythm track (track 9) is selected. SONG`JOB`Copy```From`Meas``````To`Meas`` `````````````1Ê(TR1``001ø`001)`TR1``001` From Meas (Source measure range, track, copy count) To Meas (Destination track &...
Page 190 The illustrations here are not available. SONG JOB SONG EDIT MODE /...
Page 191 8: DELETE MEASURE Deletes the specified measure or range of measures from all tracks. This job is not available when the rhythm track (track 9) is selected. SONG`JOB`Delete`Measure````````Meas````` `````````(`TR1ø8`All`)`````````001ø`001` Meas (First & last measure numbers) Use the [CS7] and [CS8] sliders to select the numbers of the first and last measures in the range of measures you want to delete.
Page 192 9: INSERT MEASURE Inserts a specified measure or range of measures from all tracks before any other specified measure. This job is not available when the rhythm track (track 9) is selected. SONG`JOB`Insert`Measure```From``````To`` `````````(`TR1ø8`All`)````001`ø001``001` From (Source measure range) To (Destination measure) Use [CS6] and [CS7] to specify the first and last measures in the range to be copied, and [CS8] to select the destination measure number at which the source data will be inserted.
Page 193 10: ERASE MEASURE Erases all note and event data from the specified measure or range of measures in the specified track. This job is not available when the rhythm track (track 9) is selected. SONG`JOB`Erase`Measure`````````Meas````` ```````````````````````````````001ø`001` Meas (First & last measure numbers) Use the GROUP [A] through [H] keys to select the track containing the measures you want to erase (A = track1, B = track 2, and so on).
Page 194 11: REMOVE EVENT Allows pitch bend, after touch, program change, or control change events (data) to be removed from a specified measure or range of measures in a specified track. This job is not available when the rhythm track (track 9) is selected. SONG`JOB`Remove`````Event``````Meas````` ``````````````````````PB```````001ø`001` Event (Event type &...
Page 195 If you choose to remove control change events — modulation wheel, breath controller, volume, etc. — you must also specify the control change number corre- sponding to the specific event you want to remove. For your reference, the following is a list of assigned controllers: MIDI CONTROL CHANGE NUMBER SONG JOB SONG EDIT MODE /...
Page 196 12: CLOCK MOVE Moves all notes and events in the specified track and range of measures forward or backward by the specified number of “clocks.” This job is not available when the rhythm track (track 9) is selected. SONG`JOB`Clock`Move```````Meas`````Clock ``````````````````````````001ø`001`+000` Meas (First &...
Page 197 Transposes all notes in the specified track and range of measures up or down by the specified “offset” in semitones. This job is not available when the rhythm track (track 9) is selected. SONG`JOB`Transpose````````Meas``````Ofst ``````````````````````````001ø`001```+0` Meas (First & last measure numbers) Ofst (Offset) Use the GROUP [A] through [H] keys to select the track on which the transpose operation is to be performed (A = track1, B = track 2, and so on).
Page 198 14: NOTE SHIFT Shifts all occurences of the specified note in the specified track and range of measures to any other note. This job is not available when the rhythm track (track 9) is selected. SONG`JOB`Note`Shift``Meas``````From`To`` `````````````````````001ø`001```C ```C Meas (First & last measure numbers) From (Original note) To (New note) Use the GROUP [A] through [H] keys to select the track on which the note...
Page 199 15: VELOCITY MODIFY Increases or decreases the velocity values of all notes in the specified track and range of measures. This job is not available when the rhythm track (track 9) is selected. SONG`JOB`Vel.Modify``Meas``````Rate`Ofst `````````````````````001ø`001``000%``+0` Meas (First & last measure numbers) Rate (Velocity ratio) Ofst (Offset) Use the GROUP [A] through [H] keys to select the track on which the...
Page 200 16: GATE TIME MODIFY Increases or decreases the gate times (length) of all notes in the specified track and range of measures. This job is not available when the rhythm track (track 9) is selected. SONG`JOB`Gate`Modify`Meas``````Rate`Ofst `````````````````````001ø`001``000%``+0` Meas (First & last measure numbers) Rate (Gate time ratio) Ofst (Offset) Use the GROUP [A] through [H] keys to select the track on which the gate...
Page 201 Produces a crescendo or decrescendo across the specified range of measures in the selected track by gradually increasing or decreasing the note velocity values. This job is not available when the rhythm track (track 9) is selected. SONG`JOB`Crescendo````````Meas``````Rng` ``````````````````````````001ø`001```+0` Meas (First & last measure numbers) Rng (Range) Use the GROUP [A] through [H] keys to select the track on which the crescendo operation is to be performed (A = track1, B = track 2, and so on).
Page 202 PATTERN EDIT MODE...
Page 203 Copies all pattern data from one pattern to any other. This can be handy if you want to make minor changes to an existing pattern while retaining a copy of the original pattern data. It is also possible to append one pattern to another, and copy the result to a new pattern number.
Page 204 2: CLEAR PATTERN Entirely clears all patterns, a single pattern, or one instrument (key) from a se- lected pattern. PTN`JOB`Clear`Pattern`````Ptn``````````` [PTN]`ALL``KEY`<Funk1``V>`I00w`````````` PTN, ALL, KEY Ptn (Pattern number) Press [F1] if you want to clear one pattern, [F2] if you want to clear all patterns in memory, or [F3] if you want to clear a specified instrument (key) from a selected pattern.
Page 205 3: INSTRUMENT CHANGE Allows a specified instrument (key) in one or all patterns to be changed to any other. This makes it possible to change all occurences of one instrument to a different instrument in one easy step. PTN`JOB`Inst`Change```````Ptn``From``To` [PTN]`ALL``````<Funk1``V>`I00```C1```C1` PTN, ALL Ptn (Pattern number) From...
Page 206 4: VELOCITY MODIFY Inceases or decreases the velocity values of all occurences of the specified instru- ment (key) in the specified pattern or all patterns. PTN`JOB`Velocity`````Ptn``Key``Rate`Ofst [PTN]`ALL`<Funk1``V>`I00```C1``000%``+0` PTN, ALL Ptn (Pattern number) Rate (Velocity ratio) PATTERN JOB PATTERN EDIT MODE /...
Page 207 Ofst (Offset) Press [F1] if you want to modify the velocity values of an instrument in one pattern, or [F2] if you want to modify the velocity values of an instrument in all patterns. If you select “PTN”, the current pattern name is shown between parentheses on the lower display line and [CS5] can be used to select the pattern in which the velocity values are to be modified.
Page 208: Pattern Name
PATTERN NAME This function can be used to assign a name of up to 8 characters to the current pattern. Pattern`Name`````````````I00`:"Funk1``V" [CLR][UPR][LWR][SPC]````````````[†]``[¥] Name Assigns a name of up to 8 characters to the current pattern. Use the [F7] function key to move the character cursor to the left, and the [F8] function key to move the cursor to the right.
Page 210 UTILITY MODE...
Page 211 `````````````````+0````+0``````off```on NtShft (Note shift) Shifts the overall pitch of the SY85 up or down in semitone steps. A setting of “-12,” for example, shifts the pitch down by one octave; a setting of “+4” shifts the pitch up by a major third.
Page 212 Local “Local control” refers to the fact that, normally, the SY85 keyboard con- trols its internal tone generator, allowing the internal voices to be played di- rectly from the keyboard. This situation is “Local Control ON” since the inter- nal tone generator is controlled locally by its own keyboard. Local control can...
Page 213 DevNo (Device number) Sets the SY85 MIDI device number — i.e. the MIDI channel on which all system exclusive data will be received and transmitted. The device number is important for transfer of voice data and other system exclusive data between the SY85 and other Yamaha MIDI devices —...
Page 214 SYNTH`MIDI`2`VolCtrl`PC``Bulkprot``````` ``````(Main`Vol)007`drct```on VolCtrl (Volume control device) Sets a MIDI control number via which the overall volume of the SY85 can be controlled. PC (Program change type) Determines whether the SY85 will respond to MIDI program change mes- sages for remote voice/performance selection.
Page 215 Bulkprot (Bulk receive protect) Enables or disables bulk data reception. When this function is set to “off,” the SY85 will automatically receive a bulk dump of voice, multi-play or system data from an external device connected to its MIDI IN terminal when the appropriate bulk dump data is received (assuming that the SY85 and transmit- ting device are both set to the same device number).
Page 216 Source Specifies the source voice number (GROUP and PROGRAM) which, when selected on the SY85, will cause the bank and program change numbers speci- fied by the “MSB”, “LSB”, and “PGM” parameters, described below, to be transmitted via the MIDI OUT connector.
Page 217 Thge SY85 offers a range of keyboard velocity curves that produce subtly differ- ent responses to keyboard dynamics. Choose the velocity curve that best suits your personal style of expression. SYNTH`OTHER`Vel)Crv``Fix```````````````` ``````````(normal)0``off```````````````` Crv (Velocity curve) Selects one of eight different velocity curves.
Page 218 Determines whether the SY85 sequencer timing is synchronized by its own internal clock or an external MIDI clock. “int” (internal) is the normal setting when the SY85 is being used alone. If you are using the SY85 with an external sequencer, MIDI computer, or other MIDI device, and you want the SY85 to be synchronized to the external device, set this function to MIDI.
Page 219 MIDI Ctrl Enables or disables reception and transmission of MIDI start, stop, and continue messages; enables or disables MIDI clock transmission; and enables or disables MIDI song position pointer reception. SEQUENCER SETUP UTILITY MODE /...
Page 220 MIDI device. This function must be set to “kbd” if you will be recording from the SY85 keyboard. If you will be recording from an external MIDI controller such as a master keyboard or wind controller, however, select the appropriate MIDI channel or the “omni”...
Page 221 3: ACCENT VELOCITY Determine the velocity values of three accent types that can be entered in the song/pattern step record mode and in the pattern real-time record mode, and of the fixed velocity value for all record modes. SEQUENCER`Accent`````ACC1`ACC2`ACC3`FIX` ``````````````````````56```88``120``kbd` ACC1, ACC2, ACC3 (Accents 1 …...
Page 222 4: SONG CHAIN These parameters allow repeat playback of a single song, sequential playback of several songs, or repeat playback of a sequence of songs. SEQUENCER`Song```````Loop: `````````````````````off```````off`````` Loop When this parameter is turned “on”, a song (or chain of songs — see below) played back in the song play mode will repeat continuously until stopped manually.
Page 223: Bulk Dump
This function is useful for transferring synthesizer, sequencer, and/or system data from one SY85 to another. If the MIDI OUT of the transmitting SY85 is connected to the MIDI IN of the receiving SY85 via a MIDI cable, the receiv- ing unit will automatically receive and load the data as long as its BULK RECEIVE PROTECT (page 214) function is turned “off”...
Page 224 SY85. Also make sure that the card write protect switch (see MCD64 Memory Card operation manual) is set to the “OFF”...
Page 225 New memory cards, or cards that have been formatted for use with a different instrument or device, will have to be formatted specifically for use with the SY85. Note that this operation will erase any existing data on the card.
Page 226 These 5 disk utilities allow different types of data to be saved to or loaded from a 3.5" floppy disk inserted in the SY85 disk drive. Since the operation of all five utilities is almost identical, they will be described here in a single section.
Page 227 DISK`Seq`All```<--NEW--*>``````````````` [LOAD]SAVE```````Disk=01``¥`Internal```` DISK`NSEQ``````<--NEW--*>```<InitSong>`` [LOAD]SAVE```````Disk=01``¥`Internal:01` DISK`Other`````<--NEW--*>```<InitSong>`` [LOAD]SAVE```````Disk=01``¥`Internal:01` DISK UTILITY MODE /...
Page 228 Press the [F1] key to highlight “LOAD” on the display if you want to load data from the disk into the SY85 internal memory, or press the [F2] key to highlight “SAVE” on the display if you want to save data from the internal memory to the disk.
Page 229 Engaging the MDR utilities required an extra confirmation step since all sequencer data in the SY85 song memory is erased when the MDR functions are used. This is because the sequencer memory is used as temporary storage for MDR data handled by the SY85.
Page 230 This utility allows MIDI bulk data to be received from an external device and stored in the SY85 internal memory, after which it can be saved to disk by using the MDR SAVE utility, described next. In the same way, MIDI bulk data that has been loaded into the SY85 memory from disk using the MDR LOAD utility can be trans- mitted to an external device.
Page 231 Press the [F1] key to highlight “LOAD” on the display if you want to load MDR data from the disk into the SY85 internal memory, or press the [F2] key to highlight “SAVE” on the display if you want to save MDR data from the internal memory to the disk.
Page 232 7: RENAME/DELETE These utilities allow disk files to be renamed or deleted. DISK`Rename/Del<````````>```Type```````` [REN]`DEL````````Disk=01````1:All,Sy,Seq Press the [F1] key to highlight “REN” on the display if you want to rename a file, or press the [F2] key to highlight “DEL” on the display if you want to delete a file.
Page 233 Engaging the disk backup utility required an extra confirmation step since all sequencer data in the SY85 song memory is erased when the disk backup function is used. This is because the sequencer memory is used as temporary storage for the data copied from the source disk to the backup disk.
Page 234 DISK`Backup`***`Now`saving`destination`* ```````**`BUSY`**`Now`executing`! This display appears while the data is being saved to the destination disk, then “Completed!” will appear briefly when the data has been saved. See page 321 for information on disk error messages. DISK UTILITY MODE /...
Page 235 9: DISK STATUS This display shows the amount of remaining disk space in kilobytes. A newly formatted disk has a free area of approximately 713 kilobytes. DISK`Status````````````````````````````` ```````````````Free`area=``0`Kbyte`````` DISK UTILITY MODE /...
Page 236 10: DISK FORMAT The disk format utility must be used to format new floppy disks, or disks that have been formatted for use with other equipment, before they can be used with the SY85. DISK`Format````````````````````````````` ```````````````````````````````````````` Press [ENTER/YES] to begin the format operation. Note that formatting a...
Page 238 WAVE EDIT MODE...
Page 239 Unlike the other SY85 modes, the WAVE mode is not directly accessed via the mode matrix. To access the WAVE mode, press the [UTILITY] key while holding the [SHIFT] key. This takes you directly to the WAVEFORM NUMBER SELECT screen, described on the following page.
Page 240: Wave Number Select
WAVE NUMBER SELECT Specifies the number of the waveform to be edited using the WAVE EDIT func- tions, and the number of the waveform to which a sample loaded from disk will be assigned. Waveform`Number`Select````````<InitWave> ````````````````````````````Waveform=00` Waveform Use [CS8] to select the number of the waveform to be edited. The name of the selected waveform appears between parentheses on the upper display line.
Page 241 After pressing the [SYNTH SETUP] SUB MODE key (actually the [EDIT] key in the WAVE mode), the PAGE [ display for the WAVEFORM EDIT or SAMPLE EDIT functions. Select “WAVE- FORM EDIT”. WAVEFORM`EDIT``````````````````````````` `````````````````````````````Hit`[ENTER] From this entry display press [ENTER/YES]. Press [EXIT/NO] when you’re ready to exit from the WAVEFORM EDIT mode.
Page 242 From/To Press [F1] to turn wave assignment on. If wave assignment is turned off, “- --” appears in place of the “From” and “To” parameters. Use [CS4] and [CS5] to specify the range of samples to be assigned to the waveform. [CS4] specifies the first sample (“From”) and [CS5] specifies the last sample (“To”) in the range to be assigned.
Page 243 GROUP key PROGRAM key EDIT WAVE EDIT MODE /...
Page 244 1: SAMPLE KEY MAP 2: SAMPLE DATA After pressing the [SYNTH SETUP] SUB MODE key (actually the [EDIT] key in the WAVE mode), the PAGE [ display for the WAVEFORM EDIT or SAMPLE EDIT functions. Select “SAMPLE EDIT”. ``SAMPLE`EDIT``````````````````````````` `````````````````````````````Hit`[ENTER] From this entry display press [ENTER/YES].
Page 245 Org (Original note) This parameter specifies the “original note” to which the pitch of the raw waveform will be assigned. In addition to the [CS3] slider, the original note can be specified by pressing the appropriate key on the keyboard if the cursor is located below the “Org”...
Page 246 If not already selected, press the PAGE [ These functions allow the volume, pitch, and loop characteristics of each sample assigned to the waveform to be set individually. If more than one sample is assigned, start by selecting the sample you want to edit via the “Sample”...
Page 247 Loop Selects the type of loop to be used for playback of the selected sample. The settings are: Typ (Loop type) This parameter is only available when either the “FLp” or “BLp” loop type is selected (see “Loop”, above). When set to “Nrm” (normal), the sample is repeatedly looped in either the forward or reverse direction, as specified by the Loop parameter.
Page 248: Wave Initialize
WAVE INITIALIZE This function erases and initializes all wave memory, the specified type of wave memory, or a single specified sample. WAVE`Initialize`````Wave`Mem`Allocation` `Volatile`Mem.````````NonÒvol.``Mem`=off Mem (Memory type) Use [CS2] to select either the volatile wave memory (“Volatile Mem.”), non-volatile wave memory (Non-vol. Mem.”), or all wave memory to be cleared.
Page 249 This function initiates reception of MIDI Sample Dump data from an external MIDI device. Both the MIDI IN and OUT terminals must be connected to the exter- nal MIDI device, since the SY85 transmits a sample dump request message to initiate transmission by the external device.
Page 250 2: SAMPLE DUMP TRANSMIT This function initiates transmission of MIDI Sample Dump data to an external MIDI device. MIDI`SAMPLE`DUMP`Transmit``````````````` `````Sample=--`````````````````````````` Sample Use [CS3] to select the number of the sample to be transmitted (“--” ap- pears on the display if no samples are available). When ready to transmit the data, press the [ENTER/YES] key.
Page 251: Wave Card Load
Loads all samples from a pre-programmed card plugged into the WAVEFORM card slot. WAVE`Card`Load`````````````````````````` `````````````````Card````¥`Volatile`Mem. Use [CS7] to select the type of memory to which the data is to be stored (see “Wave Memory Expansion” on page 285 for additional information about the memory types).
Page 252 These utilities allow sample data to be saved to or loaded from a 3.5" floppy disk inserted in the SY85 disk drive. Use only 2DD type disks that have been formatted for use with the SY85 via the DISK FORMAT function described on page 235.
Page 253: Wave Memory Status Display
WAVE MEMORY STATUS DISPLAY Press and hold the [SHIFT] key at any time while in the WAVE mode to call the wave memory status display. This display shows the amount of free volatile and non- volatile memory in approximate kilobytes. See “Wave Memory Expansion”...
Page 254: Table Of Contents
APPENDIX Effects ... 254 Wave memory expansion ... 285 Initial data & Blank chart ... 289 Specifications ... 319 Error messages ... 320 Trouble shooting ... 324 Index ... 326...
Page 255: Effects
The illustrations here are not available. The SY85 has 90 different effects including reverb, early reflections, delay, pitch change, modulation and more. Any of these can be assigned to the EFFECT 1 and EFFECT 2 processors via the “EF1 Type” and “EF2 Type”...
Page 256 The “Cascade” effects actually include two effects connected in a cascade configuration. Effect number 33 (Flg flanger and reverb. The illustrations here are not available. The “Dual” effects include two effects connected in parallel. The illustrations here are not available. Clearly, the possibilities for combining effect modes with effect types allows a large variety of effect system configurations.
Page 257 Effect Signal Flow Diagrams — Voice Mode The following diagrams illustrate effect signal flow with different effect mode and effect type combinations in the normal voice mode. In the diagrams a diamond ( ) indicates an on/off switch parameter, and a block ( ) indicates a continuously variable level or mix parameter.
Page 258 EFFECT MODE = serial. EFFECT 1 = single. EFFECT 2 = dual. The illustrations here are not available. EFFECT MODE = serial. EFFECT 1 = cascade. EFFECT 2 = single. = effect parameter number 8) The illustrations here are not available. EFFECT MODE = serial.
Page 259 EFFECT MODE = serial. EFFECT 1 = cascade. EFFECT 2 = cascade. = effect parameter number 8) The illustrations here are not available. EFFECT MODE = serial. EFFECT 1 = cascade. EFFECT 2 = dual. = effect parameter number 8) The illustrations here are not available.
Page 260 EFFECT MODE = serial. EFFECT 1 = dual. EFFECT 2 = cascade. = effect parameter number 8) The illustrations here are not available. EFFECT MODE = serial. EFFECT 1 = dual. EFFECT 2 = dual. The illustrations here are not available. EFFECTS APPENDIX /...
Page 261 EFFECT MODE = parallel. EFFECT 1 = single. EFFECT 2 = single. The illustrations here are not available. EFFECT MODE = parallel. EFFECT 1 = single. EFFECT 2 = cascade. = effect parameter number 8) The illustrations here are not available. EFFECT MODE = parallel.
Page 262 EFFECT MODE = parallel. EFFECT 1 = cascade. EFFECT 2 = single. = effect parameter number 8) The illustrations here are not available. EFFECT MODE = parallel. EFFECT 1 = dual. EFFECT 2 = single. The illustrations here are not available. EFFECT MODE = parallel.
Page 263 EFFECT MODE = parallel. EFFECT 1 = cascade. EFFECT 2 = dual. = effect parameter number 8) The illustrations here are not available. EFFECT MODE = parallel. EFFECT 1 = dual. EFFECT 2 = cascade. = effect parameter number 8) The illustrations here are not available.
Page 264 EFFECT MODE = parallel. EFFECT 1 = dual. EFFECT 2 = dual. The illustrations here are not available. EFFECTS APPENDIX /...
Page 265 Effect Signal Flow Diagrams — Drum Voice, Performance, and Song Modes The following diagrams illustrate effect signal flow with different effect mode and effect type combinations in the drum voice, performance, and song modes. The “Tone Generator” block has slightly different meanings in each of these modes: In the diagrams a diamond ( ) indicates an on/off switch parameter, and a block ( ) indicates a continuously variable level or mix parameter.
Page 266 EFFECT MODE = serial. EFFECT 1 = single. EFFECT 2 = single. The illustrations here are not available. EFFECT MODE = serial. EFFECT 1 = single. EFFECT 2 = cascade. = effect parameter number 8) The illustrations here are not available. EFFECTS APPENDIX /...
Page 267 EFFECT MODE = serial. EFFECT 1 = single. EFFECT 2 = dual. The illustrations here are not available. EFFECT MODE = serial. EFFECT 1 = cascade. EFFECT 2 = single. = effect parameter number 8) The illustrations here are not available. EFFECTS APPENDIX /...
Page 268 EFFECT MODE = serial. EFFECT 1 = dual. EFFECT 2 = single. The illustrations here are not available. EFFECT MODE = serial. EFFECT 1 = cascade. EFFECT 2 = cascade. = effect parameter number 8) The illustrations here are not available. EFFECTS APPENDIX /...
Page 269 EFFECT MODE = serial. EFFECT 1 = cascade. EFFECT 2 = dual. = effect parameter number 8) The illustrations here are not available. EFFECT MODE = serial. EFFECT 1 = dual. EFFECT 2 = cascade. = effect parameter number 8) The illustrations here are not available.
Page 270 EFFECT MODE = serial. EFFECT 1 = dual. EFFECT 2 = dual. The illustrations here are not available. EFFECT MODE = parallel. EFFECT 1 = single. EFFECT 2 = single. The illustrations here are not available. EFFECTS APPENDIX /...
Page 271 EFFECT MODE = parallel. EFFECT 1 = single. EFFECT 2 = cascade. = effect parameter number 8) The illustrations here are not available. EFFECT MODE = parallel. EFFECT 1 = single. EFFECT 2 = dual. The illustrations here are not available. EFFECTS APPENDIX /...
Page 272 EFFECT MODE = parallel. EFFECT 1 = cascade. EFFECT 2 = single. = effect parameter number 8) The illustrations here are not available. EFFECT MODE = parallel. EFFECT 1 = dual. EFFECT 2 = single. The illustrations here are not available. EFFECTS APPENDIX /...
Page 273 EFFECT MODE = parallel. EFFECT 1 = cascade. EFFECT 2 = cascade. = effect parameter number 8) The illustrations here are not available. EFFECT MODE = parallel. EFFECT 1 = cascade. EFFECT 2 = dual. = effect parameter number 8) The illustrations here are not available.
Page 274 EFFECT MODE = parallel. EFFECT 1 = dual. EFFECT 2 = cascade. = effect parameter number 8) The illustrations here are not available. EFFECT MODE = parallel. EFFECT 1 = dual. EFFECT 2 = dual. The illustrations here are not available. EFFECTS APPENDIX /...
Page 275 The Effects & Their Parameters “Single” Effects • 00 : Through PARAMETER • 01 : Rev. Hall1 PARAMETER • 03 : Rev. Room1, 04 : Rev. Room2, 05 : Rev. Room3 PARAMETER • 08 : Rev. Plate PARAMETER EFFECTS APPENDIX / RANGE •...
Page 276 • 13 : Early Ref1, 14 : Early Ref2 PARAMETER • 17 : Dly L, R PARAMETER • 19 : St. Echo PARAMETER • 21 : Pit Chnge2 PARAMETER • 15 : Gate Rev., 16 : Revrs Gate RANGE • 18 : Dly L, C, R RANGE •...
Page 277 • 23 : Aural Exc. (Aural Exciter®*) PARAMETER * Aural Exciter® is a registered trademark and is manufactured under license from APHEX Systems Ltd. • 25: EG Chorus PARAMETER • 27 : EG Phaser PARAMETER • 29 : Ring Mod. PARAMETER EFFECTS APPENDIX /...
Page 278 “Cascade” Effects • 31 : Dly PARAMETER • 33 : Flg PARAMETER • 35 : Sym PARAMETER • 32 : Echo RANGE • 34 : Cho RANGE • 36 : Pha RANGE PARAMETER RANGE PARAMETER RANGE PARAMETER RANGE EFFECTS APPENDIX /...
Page 279 • 37 : Pit PARAMETER • 39 : Dist PARAMETER • 41 : Flg PARAMETER • 43 : Sym PARAMETER EFFECTS APPENDIX / • 38 : Exc RANGE * Aural Exciter® is a registered trademark and is manufactured under license from APHEX Systems Ltd. •...
Page 280 • 45 : Pit PARAMETER • 47 : Dist PARAMETER • 49 : Dist Echo PARAMETER • 51 : EQ Rev2 PARAMETER • 46 : Exc RANGE * Aural Exciter® is a registered trademark and is manufactured under license from APHEX Systems Ltd. •...
Page 281 • 53 : EQ PARAMETER • 55 : EQ PARAMETER • 57 : EQ PARAMETER • 59 : EQ PARAMETER EFFECTS APPENDIX / • 54 : EQ RANGE • 56 : EQ RANGE • 58 : EQ RANGE • 60 : EQ RANGE Echo PARAMETER...
Page 282 “Dual” Effects • 61 : Hall & Plate PARAMETER • 63 : Flg & Rev PARAMETER • 65 : Sym & Rev PARAMETER • 62 : Echo & Rev RANGE • 64 : Cho & Rev RANGE • 66 : Pha & Rev RANGE PARAMETER RANGE...
Page 283 • 67 : Pit & Rev PARAMETER • 69 : Dist & Rev PARAMETER • 71 : Dly & Rev PARAMETER • 73 : Flg & Dly PARAMETER EFFECTS APPENDIX / • 68 : Exc & Rev (Aural Exciter®*) RANGE * Aural Exciter®...
Page 284 • 75 : Sym & Dly PARAMETER • 77 : Pit & Dly PARAMETER • 79 : Dist & Dly PARAMETER • 81 : Flg & Flg PARAMETER • 76 : Pha & Dly RANGE • 78 : Exc & Dly (Aural Exciter®*) RANGE * Aural Exciter®...
Page 285 • 83 : Flg & Sym PARAMETER • 85 : Cho & Cho PARAMETER • 87 : Cho & Pha PARAMETER • 89 : Sym & Pha PARAMETER EFFECTS APPENDIX / • 84 : Flg & Pha RANGE • 86 : Cho & Sym RANGE •...
Page 286: Wave Memory Expansion
SIMM memory modules (the type used in popular personal com- puters: 8-bit, 1-megabyte, 80-nanosecond or faster types only). SIMM memory is volatile, so its contents will be lost whenever the SY85 power is turned off. Please note that when SIMM memory is wave memory installed, wave data can not be loaded into memory from a waveform card.
Page 287 Be sure to safe all internal data to disk or card before installing memory. Turn the SY85 power switch OFF, and disconnect the AC power cord Place the SY85 face down on a stable, padded surface. Locate the small cover on the bottom panel, and remove the six screws...
Page 288 INSTALLING SYEMB06 MODULES: A RAM card adapter (provided) is required to install SYEMB06 modules. Assemble the SYEMB06 and adapter as shown in figure 3. The illustrations here are not available. When installing a single SYEMB06 use slot number 1 (figure 4). Install a second SYEMB06 in slot number 2.
Page 289 Replace the expansion slot cover and attach with the six screws removed Once installed, SYEMB06 memory expansion modules cannot be removed (the plastic rivets lock the boards in place). Have your Yamaha dealer remove installed modules to avoid possible damage.
Page 290: Initial Data & Blank Chart
INITIAL DATA & BLANK CHART INITIAL PERFORMANCE “InitPerf” Performance Name InitPerf Voice Number Layer Volume Note Shift Fine Tune Note Limit C-2~G8 C-2~G8 Vel. Limit 1~127 1~127 CS3 Enable CS4 Enable Effect Send Switch Level Vel.Sense Key.Scale Dry Output Select Effect Mode off / serial / parallel...
Page 291 INITIAL NORMAL VOICE “InitVce” Voice Name InitVce Oscillator Mode normal / fixed Waveform P244 Sin Fine Tune Fixed Note Random Reverse Amplitude EG Mode atk / hold R1 / HT Scaling Note Offset Filter Cutoff freq Scaling Note Offset Pitch Range Controller PB Range...
Page 292 Effect Mode off / serial / parallel Effect 1 Type: Output Level a Param. Effect 2 Type: Output Level a Param. Control 1 Parameter Control 2 Parameter Effect LFO Waveform Send Rev.Stage1 Output Level b Output Level b Speed INITIAL DATA & BLANK CHART APPENDIX / EF2 Mix Wet :Dry...
Page 293 INITIAL DRUM VOICE “DR PTN” Voice Name DR PTN Note Waveform Vol. P156 BD6 P155 BD5 P154 BD4 P153 BD3 P170 Tom2 P170 Tom2 P170 Tom2 P170 Tom2 P152 BD2 P151 BD1 P162 SD4 P169 Tom1 P169 Tom1 P160 SD2 P169 Tom1 P168 SDside P161 SD3...
Page 294 Key Parameters Note Waveform Vol. P190 CongaMt P191 CongaSlp P187 Bongo P187 Bongo P201 Timbale P201 Timbale P198 Tmbrine P194 Clave P200 Temp1B1K P186 AgogoHi P186 AgogoHi P204 Whistle P157 BD7 P195 AnaCwbl P158 BD8 P181 HHclAnlg P166 SD8 P180 HHopAnlg P167 SD9 P116 SynBs6 Effect...
Page 295 INITIAL DRUM VOICE “DR Zones” Voice Name DR Zones Note Waveform Vol. P151 BD1 P152 BD2 P153 BD3 P154 BD4 P155 BD5 P156 BD6 P157 BD7 P158 BD8 P159 SD1 P160 SD2 P161 SD3 P162 SD4 P163 SD5 P164 SD6 P165 SD7 P166 SD8 P167 SD9...
Page 296 Key Parameters Note Waveform Vol. P174 HH mid P175 HH heavy P180 HHopAnlg P181 HHclAnlg P176 Crash P177 Ride P178 RideBell P179 AnlgTom P179 AnlgTom P179 AnlgTom P179 AnlgTom P179 AnlgTom P192 AnaConga P192 AnaConga P193 Clap P195 AnaCwbl P194 Clave P183 RezClick P198 Tmbrine P122 SynBs9...
Page 297 INITIAL DRUM VOICE “DR GMIDI” Voice Name DR GMIDI Note Waveform Vol. P151 BD1 P168 SDside P160 SD2 P193 Clap P166 SD8 P169 Tom1 P174 HH mid P169 Tom1 P172 HH Pedal P169 Tom1 P171 HH Open P169 Tom1 P169 Tom1 P176 Crash P169 Tom1 P177 Ride...
Page 298 Key Parameters Note Waveform Vol. P201 Timbale P183 P201 Timbale R e z C l i c k P186 P218 AgogoHi O r c h H i t 2 P186 AgogoHi P188 Cabaso P197 Maracas P204 Whistle P204 Whistle P195 AnaCwbl P179 AnlgTom P194 Clave P192 AnaConga...
Page 299 INITIAL DRUM VOICE “DR Efect” Voice Name DR Efect Note Waveform Vol. P145 Marimba P152 BD2 P150 Xylophon P159 SD1 P160 SD2 P161 SD3 P162 SD4 P163 SD5 P169 Tom1 P169 Tom1 P169 Tom1 P018 PrcOrgl P170 Tom2 P170 Tom2 P170 Tom2 P164 SD6 P172 HH Pedal...
Page 300 Key Parameters Note Waveform Vol. P197 Maracas P189 CongaLo P191 CongaSlp P190 CongaMt P213 Mellow P216 Seq2 P201 Timbale P206 E.P. Np P136 DistWvLp P200 Temp1BIK P194 Clave P186 AgogoHi P184 VcDrmBD P217 OrchHit1 P178 RideBell P185 VcDrmSD P094 Kalimba P207 Bamboo P205 Bottle P208 Temp Ra...
Page 301 INITIAL MULTI “InitSong” Multi Song Name InitSong Inst Number 13 : Inst Volume Note Shift Tune Effect Send Source Switch Level Dry Output Select Effect Mode Effect 1 Type Output Level a Param. Effect 2 Type Output Level a Param. Mix Level Control 1 Parameter...
Page 302 SYSTEM SETUP Synth Note shift MIDI T.Ch R.Ch Velocity Curve Sequencer Click Beat Recording R.Ch Song Loop Program Change off / normal / direct / table Source Bank(MSB) Bank(LSB) Program Source Bank(MSB) Bank(LSB) Program Source Bank(MSB) Bank(LSB) Program Source Bank(MSB) Bank(LSB) Program Tune...
Page 303 INITIAL PERFORMANCE LIST (1) The illustrations here are not available. INITIAL DATA & BLANK CHART APPENDIX /...
Page 304 The illustrations here are not available. INITIAL DATA & BLANK CHART APPENDIX /...
Page 305 INITIAL PERFORMANCE LIST (2) The illustrations here are not available. INITIAL DATA & BLANK CHART APPENDIX /...
Page 306 The illustrations here are not available. INITIAL DATA & BLANK CHART APPENDIX /...
Page 307 INITIAL VOICE LIST (1) The illustrations here are not available. INITIAL DATA & BLANK CHART APPENDIX /...
Page 308 INITIAL VOICE LIST (2) The illustrations here are not available. INITIAL DATA & BLANK CHART APPENDIX /...
Page 309 INITIAL VOICE LIST (3) The illustrations here are not available. INITIAL DATA & BLANK CHART APPENDIX /...
Page 310 INITIAL VOICE LIST (4) The illustrations here are not available. INITIAL DATA & BLANK CHART APPENDIX /...
Page 311: Wave List
WAVE LIST Wave No. Group Wave Name Wave No. Group Wave Name Wave No. Group Wave Name Wave No. Group Wave Name INITIAL DATA & BLANK CHART APPENDIX /...
Page 312 BLANK CHART — PERFORMANCE Performance Name Voice Number Layer Volume Note Shift Fine Tune Note Limit Vel. Limit CS3 Enable CS4 Enable Effect Send Switch Level Vel.Sense Key.Scale Dry Output Select Effect Mode off / serial / parallel Effect 1 Type Output Level a Param.
Page 313 BLANK CHART — VOICE Voice Name Oscillator Mode normal / fixed Waveform Fine Tune Fixed Note Random Reverse Amplitude EG Mode atk / hold R1 / HT Scaling Note Offset Filter Cutoff freq Scaling Note Offset Pitch Range Controller PB Range Amod Amod Amod...
Page 314 Effect Mode off / serial / parallel Effect 1 Type: Output Level a Param. Effect 2 Type: Output Level a Param. Control 1 Parameter Control 2 Parameter Effect LFO Waveform Send Output Level b Output Level b Speed INITIAL DATA & BLANK CHART APPENDIX / EF2 Mix Wet :Dry...
Page 315 BLANK CHART — DRUM VOICE Voice Name Note Waveform Vol. INITIAL DATA & BLANK CHART APPENDIX / Total Level Key Parameters Nsft Tune AltG Gate Vol Lo Limit Effect Send VelS DryOut Lvel...
Page 316 Key Parameters Note Waveform Vol. Effect Mode off / serial / parallel Effect 1 Type: Output Level a Param. Effect 2 Type: Output Level a Param. Mix Level Control 1 Parameter Control 2 Parameter Waveform Effect LFO Nsft Tune AltG Gate Output Level b Output Level b...
Page 317 BLANK CHART — MULTI Multi Song Name Inst Number 13 : Inst Volume Note Shift Tune Effect Send Source Switch Level Dry Output Select Effect Mode Effect 1 Type Output Level a Param. Effect 2 Type Output Level a Param. Mix Level Control 1 Parameter...
Page 318 BLANK CHART — SYSTEM SETUP Synth Note shift MIDI T.Ch R.Ch Velocity Curve Sequencer Click Beat Recording R.Ch Song Loop Program Change off / normal / direct / table Source Bank(MSB) Bank(LSB) Program Source Bank(MSB) Bank(LSB) Program Source Bank(MSB) Bank(LSB) Program Source Bank(MSB)
Page 319 All data loaded to a single track in this way will be transmitted by the SY85 on a single channel. For this reason, even if one track of a format 1 file contains data for two or more MIDI channels, all this data will be played back by the SY85 using a single channel.
Page 320: Specifications
SPECIFICATIONS Keyboard Tone Generator Systems Internal Memory External Memory Sequencer Effects Displays Controllers Panel Switches Connectors Power Requirements Dimensions (W x D x H) Weight * Specifications and appearance subject to change without notice. SPECIFICATIONS APPENDIX /...
Page 321: Error Messages
ERROR MESSAGE MIDI DISPLAY MIDI`buffer`full`! MIDI`data`error`! MIDI`checksum`err`! MIDI`Bulk`canceled`! Bulk`protected`! Device`number`is`off`! Device`number`mismatch`! Data card DISPLAY Data`card`not`ready`! Card`protected`! Illegal`format`! Verify`NG`! Wave card DISPLAY Wave`card`not`ready`! ID`Number`mismatch`! ERROR MESSAGES APPENDIX / COMMENTS COMMENTS COMMENTS...
Page 322 Disk DISPLAY Disk`not`ready`! Illegal`change`! Illegal`disk`! Bad`disk`! File`not`found`! Write`protected`! Disk`full`! Media`type`error`! Illegal`file`! Sequencer DISPLAY Please`stop`sequencer`! Mark`not`used`! Internal`buffer`full`! Data`Empty`! Song`Memory`full`! Battery DISPLAY Change`internal`battery`! Change`card`battery`! COMMENTS COMMENTS COMMENTS ERROR MESSAGES APPENDIX /...
Page 323 Sample DISPLAY Sample`memory`full`! Not`enough`memory`for`Volatie`! Not`enough`memory`for`Non_Vol.`! Sample`data`not`exists`! Sample`data`protected`! Over`internal`waveform`number`! Over`Sample`number`! DISPLAY MDR`memory`full`! MDR`data`already`exists`! MDR`data`not`found`! ERROR MESSAGES APPENDIX / COMMENTS COMMENTS...
Page 324 ERROR MESSAGES APPENDIX /...
Page 325: Trouble Shooting
The SY85 is a very versatile instrument with many features and functions that affect operation. In many cases, what appears to be a fault with the SY85 can actually be traced to an improperly set param- eter or, at the most fundamental level, to something as simple as a bad connection.
Page 326 Voice Mode Problems Symptom Song Mode Problems Symptom Other Problems Symptom Possible Cause Possible Cause Possible Cause TROUBLE SHOOTING APPENDIX /...
Page 327: Index
Accent velocity ... 220 Additional MIDI control ... 46, 111, 137 AEG data copy ... 64 Aftertouch ... 31, 219 Aftertouch depth ... 87 Aftertouch events ... 160 Alternate group ... 122 Amplitude EG ... 98 Amplitude EG offset ... 27 Amplitude envelope generator ...
Page 328 Effect parameter ...36, 45, 104, 110, 136, 174 Effect send level ... 151 Effect signal flow diagrams ... 256, 264 Effect signal flow display ... 49, 114, 140, 178 Effect source ... 167 Effect type ... 35, 37, 103, 105, 126, ...
Page 329 Low and high limits ... 246 Low note limit ... 18 Low velocity limit ... 20 LPF filter response ... 66 Master tuning ... 210 Max..90, 92 Maximum parameter value ... 46, 111, 137, 175 MDR ... 228 Measure dividers ... 158 Memory expansion modules ...
Page 330 Reverse ... 59, 122 Rhythm track copy ... 164 Rhythm track delete ... 164 Rhythm track edit ... 162 Rhythm track search ... 165 Rhythm track insert ... 163 Sample ... 244, 246 Sample data ... 245 Sample dump receive ... 248 Sample dump transmit ...
Page 331 Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario,...

Yamaha SY85 Owner's Manual

General Editing Procedure

Appendix

Quick Links

Chapters

Summary of Contents for Yamaha SY85

Page 9: Mode Selection

Page 11: Selecting & Editing Parameters

Page 12: Controller Assignment Display

Page 25: Total Level

Page 26: Performance Name

Page 56: Performance Store

Page 96: Voice Name

Page 104: Wet Balance

Page 118: Voice Compare

Page 119: Voice Store

Page 128: Send Level

Page 149: Voice Select

Page 153: Note Shift

Page 158: Track Edit

Page 163: Rhythm Track Edit

Page 208: Pattern Name

Page 223: Bulk Dump

Page 240: Wave Number Select

Page 248: Wave Initialize

Page 251: Wave Card Load

Page 253: Wave Memory Status Display

Page 254: Table Of Contents

Page 255: Effects

Page 286: Wave Memory Expansion

Page 290: Initial Data & Blank Chart

Page 311: Wave List

Page 320: Specifications

Page 321: Error Messages

Page 325: Trouble Shooting

Page 327: Index

Yamaha SY85 Owner's Manual

General Editing Procedure

Appendix

Quick Links

Chapters

Related Manuals for Yamaha SY85

Summary of Contents for Yamaha SY85

Table of Contents