Yamaha QS300 Owner's Manual
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Yamaha QS300 Owner's Manual

Yamaha music production synthesizer
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  • Page 5 Congratulations and thank you for purchasing the Yamaha QS300 Music Pro- duction Synthesizer. As its name indicates, the QS300 Music Production Synthesizer provides all you need to create and perform fully orchestrated and professional-sounding music. The QS300 features an advanced tone generator, plus a comprehensive sequencer for recording and editing your performances.

  • Page 6: Table Of Contents

    How to Use This Manual ..... . . 6 The QS300 — What It Is and What It Can Do ..7 Panel Controls and Terminals .
  • Page 7 Pattern Playback Effects Per Track ....... . . 113 Quantize ........114 Swing .

  • Page 8: Precautions

    MIDI CABLES When connecting the QS300 to other MIDI equipment, be sure to use only high- quality cables made especially for MIDI data transmission. Also, avoid using cables longer than 15 meters, since long cables can result in data errors.
  • Page 9 Refer all servicing to qualified Yamaha service personnel. Third-party Software Yamaha cannot take any responsibility for software produced for this product by third-party manufacturers. Please direct any questions or comments about such software to the manufacturer or their agents.

  • Page 10: How To Use This Manual

    However, to get the most out of your QS300, we strongly suggest that you read the following sections in the order given:...

  • Page 11: The Qs300 - What It Is And What It Can Do

    How to Use This Manual / The QS300 — What It Is and What It Can Do The QS300 — What It Is and What It Can Do As its name indicates, the QS300 Music Production Synthesizer is more than just a synthesizer —...
  • Page 12 Automatic Accompaniment What sets the QS300’s sequencer apart is its versatile automatic accompaniment functions, which give you complete backing band parts in a wide variety of musical styles (page 33). Plus, these backing parts change harmonically according to the chords you specify.
  • Page 13 Here are a few ideas on how you can use the QS300. This section is not comprehensive, but gives you a good general guide to the overall possibilities and provides a starting point or springboard for your own creative ideas and explorations.

  • Page 14: Panel Controls And Terminals

    Panel Controls and Terminals The QS300 is exceptionally easy to use and features a simple, consistent and highly intuitive control interface. Even so, we recommend that you take the time to look through this section and familiarize yourself with the controls and terminals of the instrument.

  • Page 15: Volume Slider

    VOLUME Slider ... MODE Buttons ... These buttons call up the main operating modes of the QS300. When the Song, Voice, Pattern, or Phrase mode is selected, the lamp of the corresponding button lights. Calls up the Song mode, for se- quencer recording &...
  • Page 16 Data Entry Controls: ... • Numeric Keypad These controls are used to move the cursor (highlight) in the display and change • E Button or set values (e.g., Voice numbers, parameter settings, etc.). • Rotary Dial The numeric keypad is generally used for typing in specific values. The E •...
  • Page 17 ( Button / Function Buttons (! - *) / ) Button ... The ( button is used with some buttons (in certain situations) to access some secondary or alternate functions. The function buttons — ! through * — are special “soft” keys that change in function depending on the current display.

  • Page 18: Rear Panel

    MONO jack is connected, a mono mix of the stereo signal is output though the jack. CAUTION To avoid possible damage to your equipment (and ears!), make sure that both the QS300 and your sound system are turned off when making connections. PHONES Jack ...

  • Page 19: Guided Tour

    Q S 3 0 0 GUIDED TOUR This short but important part of the manual will guide you through the basics of operating your QS300. In the sections that follow, you’ll learn how to: • Properly set up the QS300.

  • Page 20: Setting Up

    Setting Up Here, you’ll learn how to set up the QS300 — either by itself or as part of your current system. We strongly recommend that you follow the instructions to the letter to avoid damaging any of your equipment.
  • Page 21 If the amplifier has only one input, use the L/MONO jack on the QS300. If you are using stereo headphones, connect them to the rear panel PHONES jack. Connect the power cord to the AC INLET terminal on the QS300 and plug the other end of the cord into an appropriate electrical outlet.

  • Page 22: Playing The Demo Song

    Playing the Demo Song Now that you’ve set everything up properly, try playing the built-in Demo Song. This showcases the high-quality Voices and the AWM2 tone generation system of the QS300. Operation Insert the included Demo Disk into the disk drive.

  • Page 23: Auto Load

    To use Auto Load: ... With the power off, insert an appropriate disk into the disk drive, then turn on the power of the QS300. An “Auto Loading...” message appears in the display, along with a moving bar CAUTION: graph that indicates the progress of the operation.

  • Page 24: Selecting And Playing Voices

    Selecting and Playing Voices The QS300 features a total of 954 high-quality Voices, created by the AWM2 (Advanced Wave Memory 2) tone generation system. Press the v button. This calls up the normal Voice display. Use the rotary dial, D/I buttons or numeric keypad to select the desired Voice.

  • Page 25: Changing The Voice Bank

    Changing the Voice Bank You can also change the Voice Bank of the QS300. Each Bank can contain up to 128 different Voices. There are a total of 47 Banks: XG 001-101, SFX (sound effects), Pre (Preset) and Usr (User). Though not all of the Banks have a completely different set of Voices, there are 954 Voices available in the 105 Banks.

  • Page 26: Quick Selection Of Voice Variations In Different Banks - Variation Voice Auto-Search

    Select the desired program number, then press and hold down either ^ or &, depending on whether you want to skip backward or forward through the Banks. The QS300 searches through successive Banks at the selected program number, and automatically stops at the first Voice it finds that is different (from preceding ones in the search).

  • Page 27: Editing A Voice

    Editing a Voice This short section introduces you to some of the Voice editing functions of the QS300. These allow you to change the sound of a Voice, or “customize” it for your own purposes. The QS300 packs a huge variety of editable settings (also referred to as “param- eters”).

  • Page 28: Changing The Amount Of Chorus

    Now, use the rotary dial to turn Reverb Send up to about 110. Play the Voice again and hear the difference in the Reverb sound. The Chorus effects of the QS300 modulate the sound, and are capable either of adding subtle enhancement or creating wild, special effects.

  • Page 29: Selecting A Variation Effect

    Selecting a Variation Effect The third set of effects on the QS300 are the Variation effects. Variation pro- vides all of the effects found in Reverb and Chorus, plus many additional effects such as Distortion, Delay, Rotary Speaker, and others. In this short section, you’ll learn how to change the Variation effect.

  • Page 30: Setting The Pitch Bend

    The PITCH wheel at the left of the keyboard lets you bend the pitch of a Voice up or down as you play. With the Pitch Bend controls, you can change how the wheel affects the sound in a variety of ways. In this short section, we’ll explore two of them.

  • Page 31: Comparing The Edited Voice With The Original

    Comparing the Edited Voice with the Original The QS300 has a convenient Compare function that allows you to hear the changes you’ve made to a Voice and instantly compare them with the sound of the original Voice.

  • Page 32: Changing The Envelope Generator Setting

    From a Voice display in which “V” is shown at the top, simply press the e button to use Compare. When in the Compare condition, the VOICE lamp flashes and the letter “C” (Compare) appears at the top of the display, replacing “V”.
  • Page 33 Then, press @ (Amp). The following display appears: From the above page (Element Amp), select the first Rate dial for Ele- ment 1 (EG Attack Rate), and change the value to around 15. Element 1, Rate dial 1 (EG Attack Rate). Use the cursor buttons to select the fourth Rate dial of Element 1 (EG Release Rate), and also change this value to around 15.

  • Page 34: Naming And Storing The New Voice

    Now that you’ve created a new Voice, you’ll want to give it a different name and store it to internal memory, so that you can call it up again when you want it. Naming the Voice From the last display page (Element), press * (Common). This returns you to the Common page.
  • Page 35 Storing the Voice Once you’ve named the Voice, press S. EDIT COMPARE STORE You can select another number here (by using the rotary dial or the D/ I buttons); for this example, however, let’s store the Voice to User (Usr) number 001.

  • Page 36: Recording A Song

    Recording a Song This section guides you through the basic steps of recording a song using the sequencer and accompaniment functions of the QS300. These extremely versa- tile features let you quickly and easily record complete songs and compositions using the high-quality Voices of the QS300.

  • Page 37: Record The Accompaniment Patterns

    Record the Accompaniment Patterns Select the Pattern (Pat) track for recording. Move the highlight to the Pattern (Pat) track with the cursor buttons. The NOTE: Using patterns in a recording is optional — track name is shown just below the Song number and name. you can record your own performance to any of the 16 numbered tracks...
  • Page 38 Select the section of the style (Intro, Main, Fill or Ending). We’ll select Intro here, since this is to be the beginning of the song. Move the highlight to the bracketed section in the Pattern window and select [Intro]. Now you’re ready to record the patterns. Press r. (The lamp lights.) Then, press R to start recording.
  • Page 39 Change to other sections as the sequencer records. The selected section starts playing at the start of the next measure. During recording, move the highlight to the section parameter, and then select the other sections. The Fill sections (AA, BB, AB and BA) are used as one-measure transitions between the Main A and B sections.

  • Page 40: Record The Accompaniment Chords

    Erasing Song Data If you make a mistake in recording the patterns and want to start over, you’ll have to clear (erase) the song first. To do this: Press j. Use the cursor buttons to select Job number 22 (Clear Song). (If you want to clear only one recorded track, you can use Job number 17, Clear Track.) Press E once to call up the Job, and press it again to actually execute the function.
  • Page 41 HINT — Using Fingering You can play the full chords yourself (in the Fingered Zone at lower part of the keyboard) by turning Fingering to on. Or turn Fingering off and enter the chords by “typing” them in — as described in the steps below. (For more about the Fingering function and Fingered Zone, see page 193.) Select the root note for the first chord of the song.

  • Page 42: Record Your Own Keyboard Performance

    If you make a mistake or want to record a different chord progression, simply press t to go back to the beginning, and then start recording the Chord track again. If you want to make minor changes to the recorded track without having to record the entire track over again, use Step Recording (page 101) to edit the track manually, or use Punch-in Recording (page 99) to selectively record a certain section of the song.

  • Page 43: Naming And Saving The New Song

    Start recording. Play the keyboard along with the backing tracks. Recording begins at the first beat of the first measure (001:1) — after the two-measure lead-in. Keep recording until the end of the song, or press T to stop recording. IMPORTANT Recording with the method above —...

  • Page 44: Other Sequencer Features

    Once you’ve had some experience in recording your own songs, you may want to explore some of the convenient features of the QS300’s sequencer, briefly mentioned below. Also, be sure to look through the Reference section for details on all the sequencer functions.
  • Page 45 Muting/Unmuting Tracks During playback, you can selectively mute or unmute specific tracks. This is useful since it allows you to “isolate” certain tracks for playback. Keep in mind that it can also be used in recording, letting you monitor the tracks that you most want to hear (and shutting off the ones you don’t) when recording a new track.

  • Page 47: Reference

    The Voice Edit mode provides a wide range of controls and parameters for changing the sound and performance response of the Voices. These controls allow you to either subtly enhance a Voice, or com- pletely alter its character. Voice Edit Voice Common Voice Element R E F E R E N C E...

  • Page 48: Voice Common

    Voice Common Overall Parameters Voice Common Path: * Press this only if the page shown below is not currently selected. Voice Category Voice Category Settings: (No assignment) Piano Chromatic percussion Organ Guitar Bass Strings/Orchestra Ensemble instruments Brass Reed Pipe (Woodwinds) Synth lead Synth pad Synth sound effects...

  • Page 49: Velocity Offset

    Effect Send Parameters (Send) L Reverb Send Range: 0 — 127 This determines the level of the selected Voice that is sent to the Reverb effect. A value of 0 results in a completely “dry” Voice sound (no Reverb effect). NOTE: Keep in mind that the Reverb effect must be properly enabled and set for this parameter to work as intended.

  • Page 50: Controller Parameters

    Controller Parameters Voice Common Path: * Press this only if the page shown below is not currently selected. The Controller parameters determine how the various performance controllers affect the sound. The four control- lers are: MODULATION wheel, PITCH wheel (PitchBend), After Touch (AfterToch), and Foot Controller (FootCntrl).

  • Page 51: Variation Effect Parameters

    Variation Effect Parameters Voice Common Path: * Press this only if the page shown below is not currently selected. Wet/Dry (Available depending on selected effect.) MODULATION Wheel Depth The Variation effects are separate from the Reverb and Chorus effects, and provide a wealth of additional and unusual ways to change the sound of a Voice.

  • Page 52: Voice Element

    Voice Element About Elements Elements are the basic building blocks of the Voices. An Element is a basic waveform of a certain sound (such as an acoustic piano or violin), and there are a total of 205 different waveforms available. Up to four different Ele- ments can be used to create a single Voice.
  • Page 53 Wave Group (Grp.) Settings: Acoustic pianos Electric pianos Misc. keyboards Chromatic percussion Acoustic organs Electric organs Acoustic guitars Electric guitars Acoustic basses Electric basses Misc. basses Bowed strings Orchestra ensemble Choir Acoustic brass Synthesizer brass Reeds Pipes (woodwinds) Ethnic instruments Percussive instruments Musical sound effects Natural sound effects...

  • Page 54: Wave Parameters Element Copy

    Wave Parameters Element Copy Voice Element Path: * Pressing this may not be necessary if the appropriate page has already been called up. Selects XG Voice Bank. The Element Copy function allows you to copy an Element from an existing Voice to the Voice currently being edited. To use Element Copy: ...

  • Page 55: Amplitude Parameters

    Amplitude Parameters Voice Element Path: * Pressing this may not be necessary if the appropriate page has already been called up. Amplitude EG Rate Velocity Limit Low/High Velocity Curve Amplitude EG Rate Parameters (Rate) The Amplitude EG (envelope generator) parameters allow you to shape how the level of the Voice changes over time.
  • Page 56 Velocity Curve (Vel.Crv) Settings: normal, hard 1, hard 2, soft 1, soft 2, cross 1, cross 2 This determines how the strength of your playing affects the volume of the selected Element. The various curves let you tailor the velocity response to your particular needs or technique.

  • Page 57: Filter Eg Parameters

    Filter EG Parameters Voice Element Path: * Pressing this may not be necessary if the appropriate page has already been called up. Filter EG Rate Resonance Rate Velocity Sensitivity Level Velocity Sensitivity Filter EG Rate Parameters (Rate) The Filter EG (envelope generator) parameters allow you to shape how the tone or timbre of the Voice changes over time.

  • Page 58: Pitch Eg Parameters

    Pitch EG Parameters Voice Element Path: * Pressing this may not be necessary if the appropriate page has already been called up. Pitch EG Rate Rate Velocity Sensitivity Level Velocity Sensitivity Pitch EG Rate Parameters (Rate) The Pitch EG (envelope generator) parameters allow you to shape how the pitch of the Voice changes over time.

  • Page 59: Graphic Eg Edit Parameters - Amp, Filter And Pitch

    Graphic EG Edit Parameters Voice Element Path: (Parm) * Pressing this may not be necessary if the appropriate page has already been called up. **Press one of these — Amp, Filter, or Pitch — to select the desired corresponding set of EG controls. These parameters give you fine control over the EG param- eters.
  • Page 60 Release Rate (Rl Rate) Range: 0 — 63 For the Amplitude EG, this determines the Release rate of the EG, or how long the level of the sound sustains after a note is released. For the Filter and Pitch EGs, this deter- mines how long it takes the tone/pitch to reach the EG Release Level setting.

  • Page 61: Template Copy - Amp, Filter And Pitch

    Template Copy Voice Element Path: (Temp) * Pressing this may not be necessary if the appropriate page has already been called up. **Press one of these — Amp, Filter, or Pitch — to select the desired corresponding set of EG controls. Selects EG parameter page.

  • Page 62: Tuning Parameters

    Tuning Parameters Voice Element Path: * Pressing this may not be necessary if the appropriate page has already been called up. Note Shift Pitch Scaling Center Note Pitch Scaling Depth Note Shift (Shift) Range: -32 — +32 (semitones) This determines the coarse pitch setting for the Element in semitones.

  • Page 63: Lfo Parameters

    LFO Parameters Voice Element Path: * Pressing this may not be necessary if the appropriate page has already been called up. LFO Delay Time LFO Speed About LFO The LFO (low frequency oscillator) is a low frequency waveform that is used to modulate, or regularly waver, some aspect of the sound.

  • Page 64: Other Voice Functions

    Other Voice Functions Drum Set Voice Volume (Pan, Volume) Note Number Drum Map Selected instrument name. The Drum Set controls allow you to change a wide variety of settings of the drum/percussion sounds in the User Drum Kit. These settings include pitch, level, panning, Reverb send, filter controls and EG (Envelope Generator), among others.
  • Page 65 Note Number/Instrument (Inst) Range: C0 — C5 This determines the Note Number in the Kit, and hence, the specific drum/percussion instrument assigned to the note. You can also select the desired note number by simply pressing the appropriate key on the keyboard. NOTE: You should avoid playing the keyboard while editing an instrument sound, since doing so will automatically select a different Note Number/Instrument, depending on the key you...
  • Page 66 Note Shift (Tuning Shft) Range: -64 — +63 This determines the coarse pitch setting of the selected drum sound. Detune (Tuning Detn) Range: -64 — +63 This determines the fine pitch setting of the selected drum sound. Note On Receive Filter (Note RcvOn) Settings: off, on This determines how the selected drum sound responds to MIDI Note On messages.

  • Page 67: Voice Name

    Name Voice Path: * Pressing this may not be necessary if the appropriate page has already been called up. Operation ... Move the highlight in the name to the desired posi- tion with the left/right cursor buttons (,/.). Change the character at the highlight by using the rotary dial.

  • Page 68: Voice Compare

    Compare Voice The Compare function allows you to hear the changes you’ve made to a Voice and instantly compare them with the sound of the original Voice. To use Compare, you must be in the Edit mode and have made at least one change to a parameter.

  • Page 69: Song Mode

    R E F E R E N C E Song Mode Song Song Playback Loop Playback ... 67 Transport/Location Controls ... 67 Measure/Beat Parameter ... 68 Mark/Jump Function ... 68 Tempo ... 69 Mute ... 69 Play Effect Bypass ... 70 Multi Controls pages...

  • Page 70: Loading A Song

    Song loading is done from the Disk mode (page 198). However, Songs also be loaded directly from within the Song mode, without having to enter the Disk mode. Operation ... Make sure a proper floppy disk (with Song data) is in the disk drive.

  • Page 71: Song Playback

    Song Playback Song Playback involves much more than simply starting and stopping the Song. The Song mode contains a wide variety of parameters that give you extensive control over playback, allowing you to dramatically change the final sound. Loop playback allows you to continuously “loop” or repeat playback of the Song.

  • Page 72: Measure/Beat Parameter

    To use the Measure/Beat parameter for location: ... Highlight the measure number (in the main Song Play display shown above), and use the following controls: D/I buttons — to step through the measures. • • Rotary dial — to quickly move through the mea- sures.

  • Page 73: Tempo

    The QS300 allows precise tempo settings from 25 to 300 beats per minute in fine one-tenth of a quarter-note incre- ments. Tenths of a beat/minute. Tempo (in beats/minute) Recorded tracks can be muted (turned off) during playback or recording, allowing you to selectively hear individual tracks.

  • Page 74: Play Effect Bypass

    Play Effect Bypass allows you to turn play effects on and off for indivdual recorded tracks during playback or record- ing. Minus sign (_) in mute dots indicates Play Effect Bypass is on for the track. To use Play Effect Bypass on a recorded track: ... Move the highlight to the desired mute dot in the display.

  • Page 75: Multi Controls

    Multi Controls The Multi controls give you extensive control over a wide variety of parameters for the Voices of all of the individual tracks. These parameters include Voice Bank and Voice, volume, panning, tuning, filter, velocity, EG (for Ampli- tude), and vibrato — plus all effect settings, including Send, Type and all effect parameters.

  • Page 76: Storing The Multi Control Parameter Values

    Storing the Multi Control Parameter Values The settings for all Multi control parameters (listed in the chart on the previous page) are automatically saved as you make changes to them. However, many of these settings may change during playback of a Song, such as when the Song contains different Program Change or Control Change settings.

  • Page 77: Volume

    Volume Song Multi Path: (Multi) * Pressing this may not be necessary if the appropriate page has already been called up. Master Volume Voice Range: 1 — 128, D1 — D12 (129 — 140), off (141) This determines the Voice for the individual channel/track. (To set the bank, use the Mixer Voice page below.) Only the Voice category is displayed at the channel number;...

  • Page 78: Voice

    Voice Song Multi Path: (Multi) * Pressing this may not be necessary if the appropriate page has already been called up. Voice Range: 1 — 128, D1 — D12 (129 — 140), off (141) This determines the Voice for the individual channel/track. Bank Range: Normal (XG) mode: XG 0 —...

  • Page 79: Search

    Search Song Multi Path: (Multi) * Pressing this may not be necessary if the appropriate page has already been called up. The Search pages provide an easy and quick way to browse through and select different Voice banks and Voices. From the page shown above, you can: Use !, @ and # to directly select the XG, •...

  • Page 80: Send

    Send Song Multi Path: (Multi) * Pressing this may not be necessary if the appropriate page has already been called up. When Variation Mode is set to Insertion: When Variation Mode is set to System: Variation Mode Dry Level Range: 0 — 127 This determines the level of the direct or unprocessed sound for the individual channel/track.

  • Page 81: Type

    Type Song Multi Path: (Multi) * Pressing this may not be necessary if the appropriate page has already been called up. Reverb Type Reverb Pan Reverb Return Chorus Pan Reverb Type Settings: No Effect, Rev Hall 1 & 2, Rev Room 1 - 3, Rev Stage 1 &...
  • Page 82 Variation Type Settings: No Effect; Reverb (Rev) Hall 1 & 2; Reverb (Rev) Room 1 - 3; Reverb (Rev) Stage 1 & 2; Reverb (Rev) Plate; Delay L-C-R; Delay L,R; Echo; Cross Delay; Early Reflection (Ref.) 1 & 2; Gate Reverb; Reverse Gate (ReversGate);...

  • Page 83: Effect Parameters

    Effect Parameters Song Multi Path: (Multi) * Pressing this may not be necessary if the appropriate page has already been called up. Reverb Type This parameter is the same as that in the Effect Type page above (page 77). Chorus Type This parameter is the same as that in the Effect Type page above (page 77).
  • Page 84 Wet/Dry MODULATION Wheel Depth Variation Type This parameter is the same as that in the Effect Type page above (page 77). Wet/Dry Range: W<D63 (0)* — W=D (64) — W63>D (127) * Values in parentheses can be entered from the numeric keypad. This determines the balance between the original sound (dry, or D) and the processed sound (wet, or W).
  • Page 85 * — Copy (Variation Effect Data) From Voice (CpyVc) This copies the Variation effect type and parameters from the Voice to the channels for which Variation Send is set to on. This function is only available when: • The Variation Mode is set to Insertion. (See page 76.) •...

  • Page 86: Tuning/Filter

    Song Multi Path: (Multi) * Pressing this may not be necessary if the appropriate page has already been called up. Note Shift (Shift) Range: -24 — +24 semitones (+/- 2 octaves) This determines the coarse pitch setting for the selected channel’s Voice in semitones.

  • Page 87: Mode/Velocity

    Mode/Velocity Song Multi Path: (Multi) * Pressing this may not be necessary if the appropriate page has already been called up. Mono Mode Settings: off, on This determines whether the selected channel’s Voice is played monophonically (only one note at a time) or poly- phonically (up to 32 notes at a time).

  • Page 88: Eg Time

    Song Multi Path: (Multi) * Pressing this may not be necessary if the appropriate page has already been called up. Amplitude EG Attack Time (Attack) Range: -64 — +63 This determines the Attack Time of the level EG, or how long it takes for the Voice of the selected channel to reach full volume when a note is played.

  • Page 89: Vibrato

    Vibrato Song Multi Path: (Multi) * Pressing this may not be necessary if the appropriate page has already been called up. Vibrato Rate Range: -64 — +63 This determines the speed of the Vibrato effect. Higher values result in a faster Vibrato sound. Vibrato Delay Range: -64 —...

  • Page 90: Controller Edit

    Controller Edit The Controller Edit pages allow you to independently set various controller parameters for each channel/track. Settings can be made for Portamento and the four real-time performance controllers: MODULATION wheel, PITCH wheel, after touch, and Foot Controller. Portamento Song Controller Path: (Contrl) * Pressing this may not be necessary if the appropriate page has already been called up.

  • Page 91: Pitch Wheel / After Touch / Foot Controller

    (Mod) * Pressing this may not be necessary if the appropriate page has already been called up. The four real-time controllers of the QS300 let you dynami- cally change virtually any aspect of the sound as you play. These pages let you determine: •...
  • Page 92 Pitch Modulation Depth (Pch Mod) Range: 0 — 127 This determines how widely the pitch is modulated by the LFO (low frequency oscillator), producing a vibrato effect. The higher the value, the deeper the pitch modulation, and hence, the more pronounced the vibrato effect. Filter Cutoff Modulation Depth (Flt Mod) Range: 0 —...

  • Page 93: Song Playback Effects

    Song Playback Effects The QS300 provides a number of playback-only effects which allow the playback data to be modified in a number of ways. The actual data in memory is not changed — the only thing modified is the way the data is played back.

  • Page 94: Quantize

    Quantize Song Playback Effect Path: (P.Efct) * Pressing this may not be necessary if the appropriate page has already been called up. The Quantize function aligns notes in the specified track to the nearest specified beat — usually to tighten up sloppy timing.

  • Page 95: Swing

    Swing Song Playback Effect Path: (P.Efct) * Pressing this may not be necessary if the appropriate page has already been called up. The Swing effect can only be used when Quantize (above) is set to a value other than off. This effect produces a “swing”...

  • Page 96: Transpose/Clock Shift

    Transpose/Clock Shift Song Playback Effect Path: (P.Efct) * Pressing this may not be necessary if the appropriate page has already been called up. Transpose (Trans) Range: -99 — +99 semitones This determines the pitch transposition of the track’s Voice, up or down in semitone increments. To set all tracks to the same value, simultaneously hold down ( and change the value.

  • Page 97: Gate Time/Velocity

    Gate Time/Velocity Song Playback Effect Path: (P.Efct) * Pressing this may not be necessary if the appropriate page has already been called up. Gate Time Rate (G. Rat) Range: 0 — 200% This determines the ratio between the shorter and longer gate time values.

  • Page 98: Other Song Functions

    Other Song Functions Track Transmit Channel Song Path: (TxCh) The Track Transmit Channel page allows you to set the track-to-channel assignments for a recorded song. Tone Generator Channel Range: off, 1 — 16 This determines which internal tone generator channel (this is unrelated to the MIDI channel) will be controlled by the corresponding sequencer track.

  • Page 99: Song Chain

    Song Chain Song Path: (Chain) By using the Song Chain function, you can specify a sequence of up to 10 songs to play back automatically. Each song within the chain can be repeated up to 99 times. Operation ... From the main Song display, press ^ (Chain) to call up the Chain function.

  • Page 101: Song Mode: Recording Operations

    Song Mode: Recording Operations The sequencer of the QS300 features two record modes: Realtime and Step Recording. Realtime Recording is similar to using a multitrack tape recorder; whatever you play on the keyboard is recorded in real time as you play it. Also, when you record subsequent parts to other tracks, you can hear the previously recorded parts as you record new ones.

  • Page 102: Realtime Recording

    In the Realtime record mode you select the track you want to record, then play the part on the keyboard in real time. To use Realtime Recording: ... Select a Song for recording. A series of asterisks (“ name indicates the selected Song is empty (has no recorded data).

  • Page 103: Punch-In Recording

    Record other tracks as desired, repeating steps 3 , 4 , 5 and 7 . NOTE: Selecting the Realtime Recording (in step 6) will not be necessary here, as long as you haven’t changed to a different method. NOTE: If you wish to change the data you’ve recorded, refer to the section Editing Songs &...

  • Page 104: All-Track Recording (Realtime And Punch-In)

    (or punch-in) recording of all 16 sequencer tracks. This can be useful when you want to record complete sequences from another sequencer or music computer which is not data-compatible with the QS300. To use All-track Recording: ... Select a Song for recording.

  • Page 105: Step Recording

    The Step Recording mode lets you enter data note-by-note, with precise control over the timing, length, and loudness of each note. You can record complete tracks using Step Recording, or use it to brush-up and add data to existing tracks. To use Step Recording: ...

  • Page 106: Measure/Beat/Clock Display

    Set the desired note parameters: Note Length, Velocity, and Gate Time. Highlight the desired parameter and change the value. For Note Length and Velocity, you can use the numeric keypad to quickly and easily enter the desired values. The note values and dynamic indications are printed directly above the buttons: Note Length Velocity...

  • Page 107: The Note And Keyboard Displays

    The Note & Keyboard Displays The note display shows up to four 1/4 notes worth of data at once (a single measure in 4/4 time). If the selected time signature results in more than four 1/4 notes per measure, then the display will scroll to show the extra notes.

  • Page 109: Pattern Mode

    Using the sophisticated pre-programmed style data of the QS300, you can quickly and easily create com- plete accompaniment to play/sing along with, or to use as the basis for complete compositions. The Pattern mode lets you work with accompaniment patterns, which contain up to eight tracks of drum/ percussion parts, bass, chordal and other backing parts —...

  • Page 110: About Phrases, Sections, Patterns And Styles

    Before delving deeper into the Pattern mode, let’s take a look at how Patterns and other aspects of the accompani- ment fit into the general scheme of the QS300. At the top of the accompaniment hierarchy are musical “Styles.” When you select one of the Preset Styles, you are actually selecting a Style (for example: Ska, Slow Blues or Country Ballad).

  • Page 111: Selecting And Playing Patterns

    Although you’ll normally use the Pattern mode when creating new patterns, the Pattern mode is also useful when you want to listen to individual phrases and experiment with chord changes using the QS300’s advanced ABC capability. To select and play Patterns in the Pattern mode:...

  • Page 112: Changing Chords

    The QS300 features a sophisticated ABC (Auto Bass Chord) system that automatically re-harmonizes the patterns to match chords you specify. This makes creating complete accompaniment tracks exceptionally fast and easy — just select a pattern, then specify the required chord changes.

  • Page 113: Specifying The Bass Note For A Chord

    Specifying the Bass Note For a Chord This function allows you to specify the bass note (other than the normal root) to be used with the current chord. For example, you could have a Bb bass play under a Cm7 chord. To specify the bass note: ...

  • Page 114: Multi Controls

    Multi Controls As with the Multi controls of the Song mode, the Multi controls in the Pattern mode give you extensive and easy- to-use control over a wide variety of parameters for the Voices of all Pattern tracks. These parameters include Voice Bank and Voice, volume, panning, and effect sends.

  • Page 115: Voice

    Voice Pattern Multi Path: (Multi) * Pressing this may not be necessary if the appropriate page has already been called up. Voice Range: 1 — 128, D1 — D12 (129 — 140)*, off (141) * Values in parentheses can be entered from the numeric keypad. Same as the corresponding parameter in the Song mode.

  • Page 116: Send

    Send Pattern Multi Path: (Multi) * Pressing this may not be necessary if the appropriate page has already been called up. The Effect Send page in the Pattern mode provides effect level controls for the Patterns. These are the same as the corresponding pages in the Song mode.

  • Page 117: Pattern Playback Effects

    Pattern Playback Effects As with the Song Playback Effects (page 89), the Pattern Playback Effects allow you to modify the playback data in a number of ways, without changing the actual data in memory. The Playback Effects include: • Quantization — for cleaning up the timing of recorded tracks.

  • Page 118: Quantize

    Quantize Pattern Playback Effect Path: (P.Efct) * Pressing this may not be necessary if the appropriate page has already been called up. The Quantize function aligns notes in the specified track to the nearest specified beat. For more details on the Quantize page, see the corresponding section in the Song mode (page 90).

  • Page 119: Swing

    Swing Pattern Playback Effect Path: (P.Efct) * Pressing this may not be necessary if the appropriate page has already been called up. The Swing effect can only be used when Quantize (above) is set to a value other than off. This effect produces a “swing”...

  • Page 120: Transpose/Clock Shift

    Transpose/Clock Shift Pattern Playback Effect Path: (P.Efct) * Pressing this may not be necessary if the appropriate page has already been called up. Transpose (Trans) Range: -99 — +99 semitones Same as the corresponding parameter in the Song mode. (See page 92.) Gate Time/Velocity Pattern Playback Effect Path:...

  • Page 121: Other Pattern Functions

    Other Pattern Functions Track Transmit Channel Pattern Path: (TxCh) The Track Transmit Channel page allows you to set the MIDI channel output assignments for the selected Pattern’s tracks. This makes it possible to play the accompaniment sounds on external MIDI tone generators. Simply match the channel settings here to the appropriate receive channels on the tone generators.

  • Page 122: Track Mute

    Track Mute Pattern Path: (TrMut) The Track Mute page allows you to quickly and easily mute/un-mute the Pattern tracks by using the function buttons (! - *). Press the appropriate button to alternately mute or un-mute the corresponding Pattern track. Pressing one of these mutes (or un-mutes) the corresponding track.

  • Page 123: Accompaniment Recording

    Accompaniment Recording The sequencer of the QS300 not only gives you sixteen tracks for recording Songs, but also allows you to record accompaniment, using the Patterns and automatic accompaniment features. This is done with the special Pattern and Chord tracks. Accompaniment...

  • Page 124: Realtime Accompaniment Recording

    Realtime Accompaniment Recording In Realtime Accompaniment Recording, you select the appropriate track for recording (first Pattern, then Chord), then enter the Pattern/Chord changes in real time. Once you know how to select styles, sections, and enter chords in the Pattern mode (page 108), recording a basic accompaniment in real time is easy.
  • Page 125 Since you selected Pattern recording (with the “Pat” track), the cursor will automatically move to the Pattern number when you start recording. All you have to do to record Pattern and Section changes is to select the desired Pattern or Section. Remember that all changes occur from the top of the next measure after the change is entered.

  • Page 126: Step Accompaniment Recording

    Step Accompaniment Recording In Step Accompaniment Recording, there are two separate displays for recording, depending on the track you select: Pattern or Chord. In each of these you can individually enter or delete Pattern and chord changes at precisely the desired locations.

  • Page 127: Pattern Entry

    Pattern Entry Select a measure. Enter an End-of-Song Use the k/l marker, if desired. buttons or the cursor Highlight the End-of-Song ,/. buttons to block, and press the I move through the button to enter a marker. Press the D button to measures.

  • Page 128: Chord Entry

    Chord Entry Select a chord block and enter a chord. Use the designated keys on the keyboard to enter the root note and chord type. (See page 108.) You can also specify a bass note and a bass phrase chord (see below). Select a In Step Recording, there is no need to measure.

  • Page 129: Phrase Mode

    “Phrases.” A Phrase is simply an indi- vidual “part” of a pattern — for example, a drum Phrase, a bass Phrase, a keyboard Phrase, etc. — using a single Voice. The QS300 has 3,093 Preset Phrase Selecting and Playing Phrases ... 126 Combining Phrases (in the Pattern Mode) ...

  • Page 130: Selecting And Playing Phrases

    Selecting and Playing Phrases Although you’ll normally use the Phrase mode when creating new Phrases (see below), you can also simply listen to or audition the Preset Phrases (as well as any User Phrases you’ve created) in the Phrase mode. To select and play Phrases in the Phrase mode: ...

  • Page 131: Combining Phrases (In The Pattern Mode)

    Combining Phrases (in the Pattern Mode) In the Pattern mode, you can combine Phrases to create Patterns, which can then be used in Song recording with the automatic accompaniment features. Call up the Pattern mode by pressing p. Select a User Pattern. First, select the User bank, then select a Pattern number.

  • Page 132: Other Functions

    In the example display shown above, six different Phrases are used in four tracks: • Track 1 — A drum Phrase (DR08M007) plays for four measures. • Track 2 — A bass Phrase (BA08M006) plays for three measures. • Track 3 — Three different percussion Phrases (PC08M005, PC08M015, and PC16M005) fill out the four measures.

  • Page 133: Recording Original Phrases

    From the Phrase mode, you can quickly and easily record your own original accompaniment Phrases. In addition to the preset Phrases, the QS300 has 100 User Phrase memory locations (US---001 through US---100) which can be used to store your original Phrases. The Phrases you record can then be combined to make Patterns, which can then be used with the automatic accompaniment features.
  • Page 134 Set the desired Phrase Length, Tempo and Time Signature. The Time Signature and Phrase Length cannot be changed if the Phrase already contains data. Select a Voice. Select both the desired Voice Bank and Voice number. Select the Source Chord (Src Chord). Use the designated keys on the keyboard to specify the chord root and type.

  • Page 135: Retrigger And Type Parameters

    Retrigger and Type Parameters These two parameter settings are recorded as part of the Phrase data, and they determine how the Phrase re- sponds to chord changes when used with the automatic accompaniment. Retrigger Retrigger (Rtg) Settings: On, Off When this is set to Off, any notes playing when a chord change occurs will be immediately muted.

  • Page 136: Step Phrase Recording

    Step Phrase Recording lets you enter data note-by-note, with precise control over the timing, length, and loudness of each note. You can record complete Phrases using Step Recording, or use it to brush-up and add data to existing Phrases. To use Step Phrase Recording: ... Select a User Phrase.

  • Page 137: Measure/Beat/Clock Display

    Set the desired note parameters: Note Length, Velocity, and Gate Time. Highlight the desired parameter and change the value. For Note Length and Velocity, you can use the numeric keypad to quickly and easily enter the desired values. The note values and dynamic indications are printed directly above the buttons: Note Length Velocity...

  • Page 138: The Note And Keyboard Displays

    The Note & Keyboard Displays The note display shows up to four 1/4 notes worth of data at once (a single measure in 4/4 time). If the selected time signature results in more than four 1/4 notes per measure, then the display will scroll to show the extra notes.

  • Page 139: Disk Operations

    3.5-inch floppy disks. When formatted, a single disk provides a total data capacity of about 713 kilobytes. • Any new disk you intend to use with the QS300 must be formatted first. The format operation is described on page 202.

  • Page 140: Direct Load And Save Operations

    Direct Load and Save Operations Loading and saving of songs can also be done directly from within the Song, Pattern, or Phrase mode, without having to enter the Disk mode. The Load and Save operations are contained in the main display of each mode, and are called up by pressing &...

  • Page 141: Save Operation

    — From Song, Pattern, and Phrase Modes Save Operation Disk Path: Source data To save the desired data: ... Enter the appropriate mode — Song, Pattern or Phrase — by pressing the corresponding MODE button. Press * to call up the Save operation. Select the specific data you wish to save.

  • Page 143: Song Jobs

    The Song mode includes 24 different “jobs” (or operations) that perform a variety of important and useful functions. Song Jobs 00: Undo/Redo ...140 01: Quantize ... 141 02: Modify Velocity ...143 03: Modify Gate Time ...144 04: Crescendo ...145 05: Transpose ... 146 06: Shift Note ...147 07: Shift Clock ...148 08: Chord Sort ...149...

  • Page 144: 00: Undo/Redo

    To use the Song Jobs: ... Enter the Song mode by pressing s. Press j to call up the Song Jobs page. Select the desired Job number/title. Enter the Job number directly from the numeric keypad, or select the Job by moving the highlight in the normal manner.

  • Page 145: 01: Quantize

    Quantize Value Strength Sensitivity Aligns notes in the specified track to or close to the nearest specified beat. Track Range: 01 — 16, All This determines the track to be affected by the Quantize Job. A setting of All quantizes all 16 tracks simultaneously. Quantize Range Quantize Range is actually four separate settings (as shown below).
  • Page 146 Sensitivity Range: -100 — 0 — +100% This determines the range over which notes will be quan- tized. At 0% no quantization will occur. A setting of either -100% or +100% will cause all notes to be quantized. Refer to the graph below for an idea of how the quantize range is determined by other settings.

  • Page 147: 02: Modify Velocity

    This operation increases or decreases the velocity values of all notes in the specified track and range of measures. Track Range: 01 — 16 This determines the track to be affected by the Modify Velocity Job. Measure Range Measure Range is actually four separate settings (as shown below).

  • Page 148: 03: Modify Gate Time

    This operation increases or decreases the gate times (dura- tion) of all notes in the specified track and range of mea- sures. Track Range: 01 — 16 This determines the track to be affected by the Modify Gate Time Job. Measure Range Measure Range is actually four separate settings (as shown below).

  • Page 149: 04: Crescendo

    This operation produces a gradual crescendo (increase in note velocity) or decrescendo (decrease in note velocity) in the specified track over the specified range of measures. Track Range: 01 — 16 This determines the track to be affected by the Crescendo Job.

  • Page 150: 05: Transpose

    This operation transposes all notes in the specified part up or down by the specified number of semitones. Track Range: 01 — 16, Chd (Chord track) This determines the track to be affected by the Transpose Job: sequencer tracks 1 - 16, or the accompaniment Chord track (Chd).

  • Page 151: 06: Shift Note

    This operation changes the pitch of all specified notes within the specified range of measures in the specified track. Track Range: 01 — 16 This determines the track to be affected by the Shift Note Job. Measure Range Measure Range is actually four separate settings (as shown below).

  • Page 152: 07: Shift Clock

    This operation moves all notes and events in the specified track and range of measures forward or backward by the specified number of clocks (96 clocks = 1/4 note). Track Range: 01 — 16, Tmp (Tempo track) This determines the track to be affected by the Shift Clock Job: sequencer tracks 1 - 16, or the Tempo track (Tmp).

  • Page 153: 08: Chord Sort

    This operation sorts all notes in the specified measure range which fall on the same beat (i.e., chords) so that the notes are arranged in order from lowest to highest or from highest to lowest. Track Range: 01 — 16 This determines the track to be affected by the Chord Sort Job.

  • Page 154: 09: Copy Event

    Source Song and Track Destination Song and Track This operation copies all data from a specified range of measures from one track of a specified song to the specified measure in the specified track of the specified song. Be careful when using this operation, since it overwrites the data from the beginning of the specified destination mea- sure with the data from the source measures, erasing all previous data in the overwritten measures.

  • Page 155: 10: Erase Event

    This operation erases all note and event data from the specified measure or range of measures in the specified track. Erase Event creates a space of blank measures in the track, leaving all subsequent measures intact; in other words, the subsequent measures are not moved back to fill the blank space.

  • Page 156: 11: Extract Event

    Source Track Destination Track This operation removes (or extracts) a specified type of event — note, program change, pitch bend, control change, channel aftertouch, polyphonic aftertouch, or exclusive message — from a specified range of measures in a speci- fied track. The extracted data can be moved to the same range of measures in any other specified track.

  • Page 157: 12: Thin Out

    This operation “thins out” data on a track by removing every other recorded event of the specified type. This is particularly useful for reducing the volume of data required for pitch bends, aftertouch and other control change opera- tions, thus making more efficient use of the available memory.

  • Page 158: 13: Create Measure

    This operation creates a specified number of blank mea- sures having the specified time signature for all tracks. The created measures are inserted at a specified measure number, and all subsequent measures are moved forward to make room. Location This determines the measure at which the newly created measures will be inserted.

  • Page 159: 14: Delete Measure

    This operation deletes the specified range of measures from all tracks of a song simultaneously. Measure Range Measure Range is actually two separate settings (as shown below). These determine the range of the play data that is to be affected. First measure.

  • Page 160: 15: Copy Track

    Source Song and Track Destination Song and Track This operation copies all data from the specified track of a specified song to any other specified track of a specified song. Use this operation (instead of Copy Event above) when you want to copy an entire track or tracks. Source Song/Track Settings: Song: 01 —...

  • Page 161: 16: Mix Track

    This is dangerous, however, since you can ruin one or more layers of good material by making a mistake during a later overdub. The QS300 eliminates this possibility by allowing only “replace” recording (i.e.. all material recorded to a track erases and replaces any previous material on that track).

  • Page 162: 17: Clear Track

    Track This operation completely clears the specifed track from the currently selected song (including all Play Effect param- eters). Track Settings: Track: 01 — 16, Pattern (Pat), Chord (Chd), Tempo (Tmp), All This determines the track (or tracks) which is to be cleared. In the Track parameter, Pat is for the accompaniment This operation converts or “expands”...

  • Page 163: 19: Init (Initialize) Play Effect

    19: Init (Initialize) Play Effect Track This operation resets all playback effect settings for the specified track to their default (or initial) values. Track Range: 01 — 16, All This determines the track (or tracks) for which the settings are to be initialized. The setting of All selects all tracks in the selected song for initializing.

  • Page 164: 21: Copy Song

    Source Song Destination Song This operation copies all data from all tracks of the speci- fied song to any other specified song (including song name, play effect, voice assignment, and output assignment settings). Source Song Range: 01 — 10 This determines the song from which the data is to be copied.

  • Page 165: 23: Song Name

    This operation allows an original name of up to eight characters to be assigned to the current song. You should always use this operation after recording a song, then use the Save operation (page 137) to save the song to memory. Song Number Range: 01 —...

  • Page 167: Pattern Jobs

    The Pattern mode includes seven different “jobs” (or operations) that perform a variety of important and useful functions. Pattern Jobs R E F E R E N C E Pattern Jobs CAUTION: Keep in mind that the Pattern Jobs permanently alter the data of the selected Patterns. 00: Undo/Redo...

  • Page 168: 00: Undo/Redo

    To use the Pattern Jobs: ... Enter the Pattern mode by pressing p. Press j to call up the Pattern Jobs page. Select the desired Job number/title. Enter the Job number directly from the numeric keypad, or select the Job by moving the highlight in the normal manner.

  • Page 169: 01: Copy Pattern

    Source Pattern parameters: • Style • Section • Track Destination Pattern parameters: • Style • Section • Track This operation copies all data from a specified track from one section of a specified style to the specified track of the specified section of any other specified style.

  • Page 170: 02: Append Pattern

    Source Pattern parameters: • Style • Section Destination Pattern parameters: • Style • Section This operation appends the specified section of one style to the end of the specified section of a second style. Source Style Range: 001 — 100 This determines the style from which the data is to be copied.

  • Page 171: 03: Split Pattern

    Source Pattern parameters: • Style • Section Destination Pattern parameters: • Style • Section This operation splits a specified section of a specified style into two parts at the specified measure, and moves the latter half to the specified section of a specified style. Source Style Range: 001 —...

  • Page 172: 04: Init (Initialize) Play Effect

    04: Init (Initialize) Play Effect Same as the corresponding Job in the Song Jobs. (See page 159.) This operation clears all data from the specified section of the specified style. Style Range: 001 — 100 This determines the style in which the specified section is to be cleared.

  • Page 173: Phrase Jobs

    The Phrase mode includes fifteen different “jobs” (or operations) that perform a variety of important and useful functions. Phrase Jobs R E F E R E N C E Phrase Jobs CAUTION: Keep in mind that the Phrase Jobs permanently alter the data of the Phrase. 00: Undo/Redo ...

  • Page 174: 00: Undo/Redo

    To use the Phrase Jobs: ... Enter the Phrase mode by pressing P. Press j to call up the Phrase Jobs page. Select the desired Job number/title. Enter the Job number directly from the numeric keypad, or select the Job by moving the highlight in the normal manner.

  • Page 175: 01: Quantize

    This operation aligns notes in the specified user phrase to or close to the nearest specified beat. The basic parameters, This operation increases or decreases the velocity values of all notes in the specified user phrase. The basic parameters, This operation increases or decreases the gate times (dura- tion) of all notes in the specified user phrase.

  • Page 176: 04: Crescendo

    This operation produces a gradual crescendo (increase in note velocity) or decrescendo (decrease in note velocity) in the specified user phrase over the specified range of This operation transposes all notes in the specified user phrase up or down by the specified number of semitones. The basic parameters, functions and operations are the same This operation changes the pitch of all specified notes within the specified user phrase.

  • Page 177: 07: Shift Clock

    This operation moves all notes and events in the specified track and range of measures forward or backward by the specified number of clocks (96 clocks = 1/4 note). The Source Phrase: • Instrument Category • Beat • Type • Number/Name Source Chord Destination Phrase This operation copies the specified preset or user phrase to...

  • Page 178: 09: Append Phrase

    This operation appends the specified user phrase to the end of a second specified user phrase. Source Phrase Range: 001 — 100 This determines the user phrase from which the data is to be copied. Source Phrase Destination Phrase This operation splits a specified user phrase into two parts at the specified measure, and moves the latter half to another specified user phrase.

  • Page 179: 11: Get Phrase

    Source Song Source Track Destination Phrase This operation copies the data from a specified range of measures in a certain track of a certain song to the specified user phrase. Get Phrase is the reverse operation of Put Phrase (Job 12): It allows you to take recorded data from a song and make a phrase from it, which you can then use with the automatic accompaniment features.

  • Page 180: 12: Put Phrase

    Source Phrase Destination Song Destination Track This operation copies the data from a specified user phrase to the specified range of measures in the specified track of a specified song. Put Phrase is the reverse operation of Get Phrase (Job 11): It allows you to take a user phrase and put it into a song as normal recorded data.

  • Page 181: 13: Clear Phrase

    13: Clear Phrase This operation completely clears all data from the specified user phrase. The basic parameters, functions and operations are the same as for the corresponding Job in the Song mode; see page 160 for details. 14: Phrase Name This operation allows an original name of up to eight characters to be assigned to the specified user phrase.

  • Page 183: Editing Songs And Phrases

    Editing Songs and Phrases The QS300 features comprehensive and flexible editing controls that make it easy to correct mistakes or unwanted Song or Phrase data, and generally help you to refine your sound. The Edit functions for both Song and Phrase are actually divided into two different modes: Edit Change and Edit Insert.

  • Page 184: Edit Change Mode

    In the Edit Change mode, you can modify various param- eters for each individual note or event. From the Song or Phrase mode, press e to enter the corresponding Edit mode. Song Edit Mode Display (Edit Change): Measure Top (beginning) number of song.
  • Page 185 • To enter a new pitch for the note: ... Highlight the Note parameter and play the desired note on the keyboard, or use the D/I buttons or rotary dial. The note range is from C-2 to G8. • To enter a new note duration: ... Highlight the Gate Time (Gate) parameter value, and change as desired;...
  • Page 186 Controller List Number Display Controller Name (Ctl) Indication 000, 002, 003, Control change. (This is shown 008, 009, for all controller numbers that do 012-037, etc. not have commonly recognized names.) Modulation. Foot Controller 1. PrtT Portamento time. DatM Data entry MSB. Volume.

  • Page 187: Other Functions

    Other Functions ! — Delete This deletes the event (note or controller data) at the highlight position. @ — Insert (Insrt) This calls up the Edit Insert mode for inserting an event (note or controller data) at the highlight position. (See Edit Insert Mode below.) # —...

  • Page 188: Edit Insert Mode

    001 to 128. The bank select parameters make it possible to select any Voice in any of the banks of the QS300 (or any other MIDI instrument that has more than 128 programs). Generally, the MSB should be set to 000, and the LSB to the corre- sponding bank number.
  • Page 189 Control Change (CC) Control change events can be used to apply modulation, sustain, volume, and other types of control according to the standard MIDI control change controller assignments. (Refer to the list on page 182.) The left parameter is the control change number (the type of control), and the right parameter is the control change value (the amount of control).

  • Page 190: Editing Tempo Track

    Editing the Tempo Track The Edit Insert mode can also be used for the Tempo track. From the Edit Change mode display, press # (ChngTr) and select the Tempo track. Press @ (Insrt) to call up the Edit Insert mode for the Tempo track.

  • Page 191: Utility Mode

    The Utility mode includes a number of functions that are important for general operation. These functions include MIDI data handling, interfacing with external equipment, global sequencer settings and controls, ABC system operation, and more. Utility R E F E R E N C E Utility Mode Synthesizer Setup ...

  • Page 192: Synthesizer Setup

    To use the Utility mode: ... Enter the Utility mode by pressing u. Press the appropriate function button (! - ^) to call up the desired page of functions. Refer to the explanations below for help in using specific pages and their functions. To exit from the Utility mode, press the ) button or any of the other MODE buttons.
  • Page 193 System Mode Settings: norm (normal), TG-B (TG300B) This determines the basic tone generation mode of the QS300. The norm setting provides compatibility with GM and XG song data, while the TG-B setting provides semi- compatibility with popular computer music software. The TG-B setting is indicated in the display by a “B”...

  • Page 194: Midi Setup

    QS300. When this is set to on (normal condition), the Voices respond to notes played from the keyboard of the QS300. When this is set to off, the Voices respond only to incoming MIDI data or the recorded data of the sequencer.

  • Page 195: Midi Input Filter

    The MIDI Filter page has one function: MIDI Filter. The MIDI Filter allows you to set whether or not the tone generator and sequencer of the QS300 respond to certain types of MIDI data. This can be useful especially in recording, since you can filter out data types that you don’t...

  • Page 196: Sequencer Setup

    Settings: int (internal), MIDI This determines whether the sequencer tempo is controlled by the QS300’s internal clock (int) or by MIDI clock data from an external sequencer or computer (MIDI). You should set this to MIDI when you want to “slave” the QS300 to an external sequencer;...

  • Page 197: Fingered Chord Zone

    Fingered Chord Zone Utility Path: (FngZon) In the Fingered Zone page, you can turn the ABC (Auto Bass Chord) automatic accompaniment system on or off, and set the range (or “zone”) over which ABC chords will be recognized. Fingered Chord Switch Settings: off, on This determines whether the ABC automatic accompani- ment feature is off or on.

  • Page 198: Others Setup

    Others Setup Utility Path: (Others) In the Others Setup page, you can: • Enter a custom “greeting” message. • Set the LCD (display) contrast. Greeting Message Press & to insert a blank space at the highlight position. Press * to delete the character at the highlight position.

  • Page 199: Disk Mode

    In addition to save and load operations, the Disk mode allows you to format new disks as well as delete and rename existing files. Disk R E F E R E N C E Disk Mode Save Operation ...197 Load Operation ...198 Delete Operation ...200 Rename Operation ...201 Format Operation ...202...
  • Page 200 NOTE: The file extensions listed in the chart are used by the QS300 operating system to identify and organize the different types of data. When a file of each type is saved, the QS300 automatically assigns an appropriate file extension to the end of the file name.

  • Page 201: Save Operation

    Save Operation Disk Path: (Save) The Save operation allows you to store files to floppy disk for future recall. Select the desired data type from the above display (by any data entry method), and press IMPORTANT: The disk write-protect slide must be in the write- enable position to perform a Save operation.

  • Page 202: Load Operation

    (Load) The Load operation allows you to retrieve files on floppy disk and load them to the QS300 so that you can play/use them. Select the desired data type from the above display (by any data entry method), and press E.
  • Page 203 To load a Voice from disk: ... Select Voice as the data type from the initial Load display, and press E. Number of files (on disk). Source data. From the above display, select the desired set of Voices, and press E. After the Voice directory is loaded, the following display appears.

  • Page 204: Delete Operation

    Delete Operation Disk Path: (Delete) The Delete operation completely erases the specified file from the current disk. Select the desired data type from the above display (by any data entry method), and press IMPORTANT: The disk write-protect slide must be in the write- enable position to perform a Delete operation.

  • Page 205: Rename Operation

    Rename Operation Disk Path: (Rename) The Rename operation makes it easy to directly change the name of a file on disk. Select the desired data type from the above display (by any data entry method), and press IMPORTANT: The disk write-protect slide must be in the write- enable position to perform a Rename operation.

  • Page 206: Format Operation

    (Format) This operation formats new (blank) 2DD or 2HD 3.5-inch floppy disks for use with the QS300. (2DD disks are formatted to MS-DOS, 720 kBytes; 2HD disks to MS-DOS 1.44 MBytes.) It can also be used to format disks previ- ously used with other equipment for use with the QS300.

  • Page 207: Appendix

    Q S 3 0 0 APPENDIX Troubleshooting ... 204 Warning and Error Messages ... 206 Specifications... 208 Index ... 209...

  • Page 208: Troubleshooting

    Troubleshooting The following table provides troubleshooting hints and page references for some com- mon problems. Since the QS300 is a complicated device with many function, most problems are simply the result of incorrect settings. Before calling for professional service, refer to the troubleshooting advice below to see if you can find and correct the cause of the problem.
  • Page 209 Problem Possible Cause Cannot set the time Does the Song or Phrase already contain data? signature. The pitch of the Voice Are the tuning-related parameters set to 0? Check the Voice Element Tuning Param- or Voices is off. eters (page 58), Instrument Tuning/Filter (Multi controls, page 82), and Master Tuning (Utility, page 188).

  • Page 210: Warning And Error Messages

    The checksum of the received System Exclusive message is incorrect. Check the message and try transmitting again. Buffer Full Too much MIDI data is being received by the QS300 at one time. Reduce the amount of data being transmitted. DvNum Cannot receive MIDI bulk data, due to improper Device Number setting (page 190).
  • Page 211 Delete unnecessary files from the disk and attempt the operation again, or use another blank disk. Illegal File Type Attempted to read a file type not supported by the QS300. (The QS300 supports SMF and ESEQ files only.) Can’t Change File Name Attempted to change an existing file name.

  • Page 212: Specifications

    Specifications Tone Generator Type AWM2 (Advanced Wave Memory 2) Maximum Polyphony 32 notes System Module Normal (XG), TG-B (TG300B) Multi-timbral Capacity Song mode: Pattern mode: 8 Voices TG300B: 579 and 10 drum kits Preset: User: Sequencer Tracks Song mode: Pattern mode: 8 (Tracks 1 — 8) Phrase mode: 1 Data Capacity Approx.

  • Page 213: Index

    Index k/l buttons ......40 Accompaniment recording, Realtime ... 33, 120 Step .
  • Page 214 LCD Contrast ........194 LFO (Voice Edit) ....... . 59 Load (direct from Song/Pattern/Phrase modes) .
  • Page 215 Shift Clock (Phrase Job) ......173 (Song Job) ......148 Shift Note (Phrase Job) .
  • Page 216 For details of products, please contact your nearest Yamaha or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd.

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