Congratulations!

Your SY35 Music Synthesizer offers extraordinary musical versatility and control with a vector synthesis system than combines Yamahas advanced AWM sample playback technology with high-performance FM tone generation. Vector synthesis allows you to create and control synthesized sound with unprecedented ease in a very intimate, human way, putting you more closely in touch with your instrument and music. The vector control lets you blend sounds manually in real time, and dynamic vectors let you r e c o r d dynamic vector sweeps that will play automatically whenever you play a note. For even more expressive capability, the SY35 keyboard features both velocity sensitivity and after-touch response that can be assigned to a number of musical parameters. The more you play the SY35, the more youll find that vectors will become an indispensable part of your musical repertoire.

q q q q q

Yamaha AWM and FM tone generators for superior sound and tonal versatility. 2-element or 4-element voice architecture brings AWM and FM waveforms together. Vector control for 2-axis control of element level and detuning. Dynamic level and detune vectors can be recorded easily in real time. 128 preset AWM waveforms and 256 preset FM waveforms all in an extended waveform ROM for superior sound quality provide an extensive library of sonic building blocks from which to create new voices. 64 preset voices plus 64 editable internal voice memory locations containing an additional 64 voices. External memory cards provide limitless backup and storage capability. Easy-edit features make creating new voices quick and virtually programming-free. Detailed programming parameters for in-depth programming when necessary. Fully programmable 8-part multi-play mode is perfect for sequencer-driven applications, layered multi-voice performance, and split keyboard effects. 16 preset multi-play setups plus 16 editable internal multi-play memory locations containing an additional 16 multi-play setups. 16 internal digital effects including reverb and delay and distortion. Overlapping voice selection capability for seamless voice transitions. Velocity and after-touch sensitive keyboard. Pitch bend and modulation wheels. Stereo output.

CONTENTS

Getting Started Manual
Precautions..3 About the Manuals..5 The Getting Started Manual..5 Icons...6 The Feature Reference Manual.7 The Controls & Connectors..8 Front Panel..8 Rear Panel..12 1. Setting Up Your System..14 Connections..14 Power-on Procedure..14 Play the Demo..15 2. Selecting And Playing Voices.16 Play the Presets..16 The PRESET, INTERNAL, and CARD Voice Memories..19 Overlapping Voice Selection..20 3. Vectors...21 Manual Vector Control..21 How the VECTOR CONTROL Works.22 Advanced Control: Dynamic Vectors.24 Try Out the SE*Elect Dynamic Vector.24 Recording An Original Dynamic Vector.25 Store Your Voice & Vector In INTERNAL Memory.28 For More Detailed Vector Control .30 4. Instant Voice Programming.. 31 For Serious Voice Editing. 33 5. The Multi Mode.. 34 Try Out the Preset Multi Setups.. 34 When You Want To Create an Original Multi.. 37 The INTERNAL and CARD Memories. 37 Multi Polyphony & Dynamic Voice Allocation... 37 Using the [STORE] Key to Store Voices and Multi Setups in INTERNAL or CARD Memory.. 38 Conclusion... 40 Glossary.. 41 Index... 44

Precautions

!! PLEASE READ THIS BEFORE PROCEEDING !!
1. AVOID EXCESSIVE HEAT, HUMIDITY, DUST AND VIBRATION Keep the SY35 away from locations where it is likely to be exposed to high temperatures or humidity such as near radiators, stoves, etc. Also avoid locations which are subject to excessive dust accumulation or vibration which could cause mechanical damage. Strong physical shocks to the SY35 can cause damage. Handle it with care.
2. AVOID PHYSICAL SHOCKS 3. DO NOT OPEN THE CASE OR ATTEMPT REPAIRS OR MODIFICATIONS YOURSELF 4. MAKE SURE POWER IS OFF BEFORE MAKING OR REMOVING CONNECTIONS 5. HANDLE CABLES CAREFULLY 6. CLEAN WITH A SOFT DRY CLOTH 7. ALWAYS USE THE CORRECT POWER SUPPLY
This product contains no user-serviceable parts. Refer all maintenance to qualified Yamaha service personnel. Opening the case and/or tampering with the internal circuitry will void the warranty.
Always turn the power OFF prior to connecting or disconnecting cables.
Always plug and unplug cables by gripping the connector, not the cord.
Never use solvents such as benzine or thinner to clean the unit. Wipe clean with a soft, dry cloth. Always use the supplied AC Adaptor to power your SY35 or, if the original adaptor is lost or broken, a replacement or equivalent type obtained from your Yamaha dealer. Also, make sure that the adaptor you have is appropriate for the AC mains supply voltage in the area where you intend to use the SY35 (the correct INPUT voltage is marked on the adaptor). Since the SY35 contains digital circuitry, it may cause interference and noise if placed too close to TV sets, radios or similar equipment. If such a problem does occur, move the SY35 further away from the affected equipment. When connecting the SY35 to MIDI equipment, be sure to use high-quality cables made especially for MIDI data transmission. Also avoid cables longer than about 15 meters, as longer cables can pick up electrical noise that can causes data errors.

8. ELECTRICAL INTERFERENCE

9. MIDI CABLES

10. MEMORY BACKUP
The SY35 contains a special backup battery that will retain the contents of the internal RAM memory for up to approximately five years from the date of manufacture. When the battery finally fails the contents of the RAM memory will be lost, so we recommend that you make regular backup copies of important data by transferring the data to external memory cards (see page 41 of the Feature Reference manual for information on card data storage). For even greater security (memory card data can be lost due to battery failure, accidental erasure, etc.) save your data to floppy disk via a MIDI data filer unit such as the Yamaha MDF2. Have the backup battery replaced by qualified Yamaha service personnel (see your Yamaha dealer) after approximately 5 years. IMPORTANT!: Yamaha cannot be held responsible for data loss caused by backup failure or improper operation of the SY35!

11. THIRD-PARTY SOFTWARE

Yamaha can not 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.

About the Manuals

The SY35 comes with two manuals Getting Started and Feature Reference.
The Getting Started Manual (this manual)
In addition to an overview of the SY35 controls and connectors (page 8), the Getting Started manual contains five separate tutorials that take you step-by-step through the main procedures you will need to know to become familiar with your SY35: 1. Setting Up Your System [Page 14] Basic system connections. 2. Selecting And Playing Voices [Page 16] Selecting and playing voices from the PRESET, INTERNAL and CARD voice banks. 3. Vectors [Page 21] Using and understanding manual and dynamic vectors. 4. Instant Voice Programming [Page 31] The fast way to create an unlimited range of new voices for the SY35. 5. The Multi Mode [Page 34] Play several voices simultaneously, or control multiple SY35 voices from an external MIDI sequencer. We recommend that you go through the tutorials in sequence while actually carrying out procedures on your SY35. Once youve gone through the entire TUTORIALS section in this way, you should be familiar enough with the SY35 to need only the Feature Reference manual in future.
The Feature Reference Manual
The Feature Reference manual is the nuts and bolts reference for the SY35, individually describing its many functions in detail. The Feature Reference manual is divided into eight main sections, each describing the various functions within a particular SY35 edit or utility mode. 1. 2. 3. 4. 5. 6. 7. 8. VOICE COMMON [Page 3] VOICE VECTOR [Page 9] ELEMENT TONE [Page 15] ELEMENT ENVELOPE [Page 25] MULTI [Page 33] UTILITY SETUP [Page 39] UTILITY RECALL [Page 47] UTILITY MIDI [Page 51]
Once you have become familiar with the way the SY35 works by going through the Getting Started manual, you should only need to refer to the Feature Reference manual from time to time to get details on functions youve never used before, or refresh your memory about functions that you dont use very often. Each section of the Feature Reference manual has its own table of contents, so you should be able to locate any particular function quickly and easily. Functions and references can also be located by referring to the index at the back of the manual.

2. Selecting And Playing Voices
The first thing youll want to do with your SY35 is select and play some of its outstanding voices this section will show you how to do just that. Well also look at the overall SY35 voice memory configuration.

Play the Presets

Although the SY35 can access three different voice memories PRESET, INTERNAL, and CARD lets begin by selecting and playing some of the preset voices.
Select the Voice Play Mode If the MODE [VOICE] key indicator is lit, then the Voice Play mode is already selected and you can go directly to the next step. If it isnt, press the [VOICE] key to select it.
The words VOICE PLAY also appear on the top line of the LCD panel when the Voice Play mode is selected.

VOICE PLAY P11 AP:Rock 2

Select the PRESET Voice Memory If the MEMORY [PRESET] key indicator is already lit, then the PRESET voice memory is already selected and you can go straight to the next step. If it isnt, press the [PRESET] key to select it.
PRESET VOICE LIST No. Voice Name AP:Rock AP:Clsic AP*Chors AP:HTonk AP:Soft AP*Pf&St AP:Blend AP*Bell EP*Tine EP:Light EP:Old EP*Malet KY*Clav1 KY:Clav2 KY:Celst KY:Hrpsi No. Voice Name BR:Trmpt BR:Mute BR:Tromb BR:Flugl BR:FrHrn BR*Sect1 BR*Sect2 BR*Fanfr ST*Arco1 ST:Arco2 ST:Cello ST*SlwAt ST*Pizz ST*Treml ST*OrchB ST*OrchS No. Voice Name BA:Wood BA:Frtls BA*Slap BA:Fingr BA:Pick BA:Synth BA:Tchno BA:Groov WN:Sax WN:Flute WN:Clari WN:Oboe WN *PanFl WN *SaxEm WN *Ensmb WN *Orch No. Voice Name PL:Gypsy PL:Folk PL*Wide PL*Mute PL:Rock PL*Dist PL:Chrng PL:Sitar CH *Pure CH *Itopy CH *Uhh-CH *Angel CH *Bell CH *Snow CH *Vcodr CH *Marin
INTERNAL VOICE LIST No. Voice Name SP*Warm SP*Resnc SP*Full! SP*Bell SP*Filtr SP*Deep SP*Fog SP*Dyna SC*Dgcrd SC*Elgnt SC*sFz< SC*Coin SC*Brash SC:Water SC*Sand SC*Reso No. Voice Name SL*Saw SL:Squar SL*Sync SL*Power SL*Whstl SL*2VCO SL*Fat SL*AnaSy OR:Tango OR:Paris OR*Rock1 OR*Rock2 OR*Rock3 OR*Cat OR*Big OR*Combo No. Voice Name BR*Punch BR*Power BR*Fat BR:Lite ST*Modrn ST*Soft ST*Mild ST:Lite SE*Hit SE*Start SE*Who? SE*Open SE*Emgsy SE*Elect SE*GoUp! SE*and>? No. Voice Name ME*Wide! ME*Drama ME*SlwSg ME*Grand ME*Typhn ME*Tzone ME*Space ME*Memry PC:Vibe PC*Marim PC:M.Box PC:Timp PC*Batl PC*Human DR *Auto DR:Kit

Note that the voices are arranged in categories for easier access. For example, preset bank 1 contains acoustic piano voices, preset bank 2 contains electric piano and other keyboards, bank 3 is all brass, bank 4 is strings, and so on. The category of each voice is identified by a two-character prefix, as follows: AP = Acoustic Piano EP = Electric Piano KY = Keyboard BR = Brass ST = Strings BA = Bass WN = Wind PL = Plucked CH = Chorus SP = Synth Pad SC = Synth Comp SL = Synth Lead OR = Organ SE = Sound Effect ME = Musical Effect PC = Percussive DR = Drums
Also note that the delimiter which separates the category prefix from the voice name indicates whether the voice is a 2-element or 4-element type: colon (:) = 2-element voice, asterisk (*) = 4-element voice. A more detailed voice list is provided in the Feature Reference manual appendix, on page 59.

3. Vectors

Vectors are a versatile musical tool. You can simply use the VECTOR CONTROL as an expressive controller while playing, or spend some time programming sophisticated dynamic vectors that play automatically.

Manual Vector Control

Before we get into the details of vector synthesis, try using the VECTOR CONTROL with some of the preset voices to get a feel for what this versatile feature can do.
Select the Vector Play LEVEL Mode While in the Voice Play mode (see the preceding section if you dont know how to select the Voice Play mode), turn the Vector Play mode ON by pressing the VECTOR PLAY [ON/OFF] key so that either the [LEVEL] or [DETUNE] indicator lights, then press the [LEVEL/DETUNE] key to select the [LEVEL] indicator (the [LEVEL] and [DETUNE] indicators are selected alternately when the key is pressed).
Select the SP* Bell Voice The SP* Bell voice (INTERNAL bank 1, number 4) is a good choice to experiment with the VECTOR CONTROL.

VOICE PLAY I14 SP*Bell 3

Move the Vector Control While Playing Try moving the VECTOR CONTROL vertically, sideways, and in circles while you play on the keyboard, and listen carefully to how the sound changes.

VECTOR CONTROL A A

Try DETUNE Vector Control Press the VECTOR PLAY [LEVEL/DETUNE] key so that the [DETUNE] indicator lights, move the VECTOR CONTROL while playing, and listen for the difference in sound.
Also Try the Vector Control With These Voices The following voices also effectively demonstrate the power of the VECTOR CONTROL. Select them and apply LEVEL and DETUNE vector control as you play:
P68 WN* Orch I74 ME * Grand I78 ME * Memry
How the VECTOR CONTROL Works
SY35 voices can have either a 2-element or 4-element configuration. Each element is actually an independent sound or waveform, and vector control allows the 2 or 4 different waveforms in a voice to be blended and detuned in a variety of ways manually or automatically. The A , B, C, and D markings around the VECTOR CONTROL correspond to the voice elements. A 2-element voice uses only elements A and B, while a 4-element voice uses all four elements A, B, C and D.

For the sake of clarity, we'll represent the SY35 vector control by asimple graph like the one shown to the right for the rest of the tutorial.
LEVEL OR PITCH CHANGE VECTOR CONTROL MOTION A

LEVEL OR PITCH

Advanced Control: Dynamic Vectors
In addition to the manual vector control capability described so far, the SY35 features advanced automatic vector recording and playback capability. Automatic vectors are called dynamic vectors in the SY35, and these play automatically whenever you play a note on the keyboard. Dynamic vectors can be recorded in real time via the VECTOR CONTROL by using the procedure described in the Recording an Original Dynamic Vector section, below. While manual vector control is possible whenever the VECTOR PLAY mode is ON i.e. when either the VECTOR PLAY [LEVEL] or [DETUNE] indicator is lit, dynamic vectors operate only when the VECTOR PLAY mode is OFF i.e. when both the VECTOR PLAY [LEVEL] and [DETUNE] indicators are out. Before we dive in and record an original dynamic vector, spend a few minutes familiarizing yourself with the SE* Elect voice and its preset dynamic vector.
Try Out the SE* Elect Dynamic Vector
Select the SE* Elect Voice The SE* Elect voice (I66) features a distinct dynamic vector that will serve as an ideal foundation for a few initial experiments.
VOICE PLAY I66 SE*Elect 2
Turn Vector Play OFF and Play the Voice Make sure the manual VECTOR PLAY mode is turned OFF, using the VECTOR PLAY [ON/OFF] key to turn it off if necessary (neither the [LEVEL] or [DETUNE] indicators should be lit).
Play a nice long note or chord. Notice how the various elements are gradually brought in and blended automatically this is the result of a dynamic vector.
Turn Vector Play ON Now press the VECTOR PLAY [ON/OFF] key to turn the VECTOR PLAY mode ON, and select [LEVEL] control.
Since Vector Play is ON, the dynamic vector will not play. Set the VECTOR CONTROL to center position and play another note or chord. You should hear all 4 elements at the same time, in approximately equal proportions. Play with the VECTOR CONTROL a bit to get a feel for this particular combination of elements.
Recording An Original Dynamic Vector
Now well go ahead and record an original dynamic level vector for the SP* Bell voice.
Select the VOICE VECTOR Edit Mode The first step is to enter the VOICE VECTOR edit mode, which we do by pressing the [EDIT/UTILITY] key and then the [VOICE VECTOR] key.

Select the LEVEL SPEED Function If the LEVEL SPEED function does not appear immediately when you enter the VOICE VECTOR edit mode, press the [VOICE VECTOR] key a few times until it does appear (Feature Reference manual, page 11).
VV>LEVEL SPEED Vector Rate 30ms
Select the LEVEL REC Function Press the [VOICE VECTOR] key once to move ahead to the LEVEL REC display.
Use the [4] and [6] cursor keys to move the cursor to the STBY (standby) parameter. (The VECTOR PLAY LEVEL LED will light.)
At this point the VECTOR CONTROL will be active in the level control mode, and you can rehearse the level vector you are about to record.
Select REC Move the cursor to the REC parameter (press the CURSOR [6] key).
Record the Dynamic Vector Vector recording will begin the instant you play a note on the keyboard. Play a note (or chord), and begin moving the VECTOR CONTROL.

VECTOR CONTROL A

Turn Memory Protect OFF To turn the memory protect function off, press the [UTILITY SETUP] key a few times until the MEM. PROTECT function appears.
Move the cursor to the INT parameter and press the [1/NO] or [+1/YES] key to turn the internal memory protection off.
Press [VOICE] Now press the [VOICE] key to return to the VOICE PLAY mode. Before actually returning you to the VOICE PLAY mode, however, the SY35 will ask you whether you want to store the voice you have just edited into one of the INTERNAL memory locations.
You can skip this step and go straight to the VOICE PLAY mode by pressing the [1/NO] key, or you can press [+1/YES] to initiate the voice storage procedure.
Press [+1/YES] If You Want to Store the Voice If you press [+1/YES], a display similar to the following will appear:
The number of the voice you edited will be shown to the left of the lower display line, and the cursor will be placed to the right of the arrow.
4. Instant Voice Programming
Although the SY35 allows you to program voices in considerable detail, in this section well present a simple way to create an unlimited range of new and useful voices. Detailed parameters for programming individual elements are available in the ELEMENT TONE and ELEMENT ENVELOPE edit modes described in the Feature Reference manual, beginning on pages 15 and 25, respectively. Everything we need to have loads of fun and to create some very serious voices is available in the VOICE COMMON edit mode.

Select a Preset Voice To Start With Select any preset voice while in the VOICE PLAY mode to serve as a platform for your new voice. ST * Arco1 (P41) is a good choice to start with.
VOICE PLAY P41 ST*Arco1 2
Select the VOICE COMMON Edit Mode Select the VOICE COMMON edit mode by pressing the [EDIT/UTILITY] key and then the [VOICE COMMON] key.
Select the RANDOM Function Press the [VOICE COMMON] key a few times until RANDOM appears on the top display line. As long as the cursor is on the top display line next to the function name, it is also possible to scroll backward and forward through the function list by using the [1/NO] and [+1/YES] keys.
If the ELEMENT parameter does not appear in the RANDOM display, as pictured above, use the CURSOR [4] and/or [6] keys to move the cursor to the left-hand parameter on the lower display line (this will either be ELEMENT, LEVEL VEC, or DETUNE VEC) and, if necessary, select ELEMENT using the [1/NO] and [+1/YES] keys.
For Serious Voice Editing
Youre now equipped to create a world of vibrant and very useful new voices with very little actual programming indeed. If you do want to get deep into the details and fine tune your voices until they are perfect, please take the time to read through the Feature Reference manual. In it, each editing function is described individually, often with a few helpful hints that will help you use it most effectively.

Conclusion

In the preceding tutorials weve covered quite a lot of ground, and by now you should be quite familiar with the SY35. You know how to select and play the voices, how to use manual vector control, how to record dynamic vectors and store the results in memory, how to quickly create new voices, and how to use the multi mode. When you get the urge to go further, please take the time to read through the Feature Reference manual or at least the section or sections that pertain directly to what you want to do. The more you program and play, the easier it will be!

Glossary

If youre relatively new to electronic music, you might be confused by some of the jargon you run across in the literature you read (such as this manual). The following is a very brief glossary of some terms that are unique to this field. Aftertouch Aftertouch response refers to the capability to vary the sound of a note after the note has been struck on the keyboard. This is normally accomplished by varying finger pressure on the key. Depending on the synthesizer, aftertouch can be used to bend the pitch of a note, apply modulation, or apply just about any other effect. In the SY35 aftertouch can be assigned to pitch bend, level control, pitch modulation, or amplitude modulation. AWM stands for Advanced Wave Memory, Yamahas sophisticated sampling technology that allows high-fidelity reproduction of digitally recorded live sound. Just as a cent coin is one-hundredth of a dollar, a cent in musical lingo is onehundredth of a semitone. The cent is a useful unit when dealing with very small changes in pitch such as in synthesizer tuning or detuning functions. Normally the word element refers to a part of something larger. The same applies in synthesizers. In Yamaha synthesizers, an element is an individually controllable part of a voice. In the SY35, each voice can have two or four elements. Each element is actually an independent waveform, so you could have a 4-element voice that is made up of a piano element, a brass element, a strings element, and a wind element. Youll hear the terms envelope and envelope generator quite a lot in synthesizer talk. Like the envelope that encloses a letter, a synthesizer envelope encloses the sound, mainly in one of two ways. An amplitude envelope determines the overall shape of the sound i.e. the speed and shape of the attack, how fast the sound decays, etc. A pitch envelope determines how the pitch of a note changes over time. Next to the basic waveform, the amplitude and pitch envelopes are the most important factors in determining how a voice sounds. FM is Yamahas proven Frequency Modulation synthesis technology which is capable of creating extraordinarily warm, vibrant simulations of actual instruments, as well as an infinite variety of original sounds. The reason for the F M name is that this tone generator system employs a number of independent oscillator blocks known as operators, that are arranged in a variety of configurations known as algorithms. Depending on their positions in the algorithm, each operator functions either as a modulator, or a carrier that is modulated by a modulator. Since modulators modulate the frequency of carriers, the system is a form of frequency modulation therefore, FM Synthesis.

AWM Synthesis

Element

Envelope

FM Synthesis
LFO stands for Low Frequency Oscillator. This is the oscillator, usually with a frequency variable from about 0.1 to 20 hertz, that is responsible for creating the periodic variation in tremolo, vibrato, chorus, phasing, and other modulation type effects. MIDI is an acronym standing for Musical Instrument Digital Interface. MIDI allows musical instruments, sequencers, signal processing devices, computers, and other devices to communicate and control each other via a simple cable connection. The introduction of MIDI has revolutionized the music field, making control of the music production process easier and more efficient than ever before. In synthesizers, the term modulation usually means to vary the amplitude or frequency of a sound in accordance with some other signal. This other signal is most commonly the output from the synthesizers LFO (described above), although in Yamaha FM synthesis (also see above) it can also be the signal from a modulator operator in an FM algorithm. Although normally a prefix, as in multi-talented, the term multi on its own has come to refer to multi-timbre setups in the synthesizer world. A multi is usually a group of 8 or 16 voices that can be played simultaneously either from the instruments keyboard, sometimes in split-keyboard configurations, or via MIDI. For MIDI control each voice receives on a different MIDI channel number, allowing multi to be handled as multiple tone generators by the controlling sequencer or computer. Multis also allow a number of parameters to be programmed individually for each voice: volume, pitch, effects, etc. The word pan is derived from the pan pot controls found on mixing consoles, which is in turn derived from panoramic potentiometer. A pan control or parameter determines the position of a specific sound e.g. an element of a voice or a drum instrument within the output stereo sound field. Panning to the left means that more of the corresponding sound is delivered via the left channel than the right channel, and vice versa. The listener then hears the sound at the appropriate position between the stereo speakers or headphones. A preset can be any unit of data a voice or multi (see above), for example that is pre-programmed by the manufacturer and provided with a synthesizer. Presets make life easier for beginning synthesizer users as well as performance-oriented players who simply want to select a sound and play without having to do any programming of their own. The quality of the presets included with an instrument is therefore critical to the value of the instrument. Mathematically speaking, a vector is a physical quantity with both magnitude and direction. This applies in a similar way to vector synthesis in that the vector control controls the magnitude and direction of a quantity that can be pitch or level.

Modulation

Preset

Vector

Velocity
Normally, velocity is simply defined as speed. In a synthesizer, however, it generally refers specifically to the speed with which the keys are played. When we think of playing a keyboard we normally think of playing the keys softer or harder to produce softer and louder notes with the attendant timbre variations. In reality, however, the instrument is responding to how fast the keys are played therefore the term velocity response. A synthesizer that has velocity response lets the player produce expressive dynamics and timbre variations according to the way he or she plays the keys. Although this term is used in slightly different ways by different manufacturers, at Yamaha a voice is any basic sound that can be selected and played on a synthesizer. This is in contrast to a performance which is a combination of two or more voices, and a multi (see above) which is a group of several voices that can be controlled independently via the MIDI interface.
1/NO and +1/YES keys 9, 17 Keyboard

AWM 23, 41

LED display Level rec function Level speed function Level vectors Liquid crystal display 10

Bank keys 11, 17

Card key Card multi memory Card slot Card voice memory Connections Cursor keys Manual vector control Memory backup Memory protect MIDI cables MIDI conectors Modulation wheel Multi key Multi list Multi play mode Multi polyphony

29, 13 8, 37

DC 10V-12V in jack Demo Demo key Detune vectors Dynamic vectors Dynamic voice allocation 24 37
Number/multi part select keys 11, 17
Edit/utility/compare key Element envelope edit mode Element parameter Element tone edit mode Elements 22, 41
Output jacks Overlapping voice selection 12 20
Phones jack Pitch bend wheel Power supply Power switch Power-on procedure Preset key Preset multi memory Preset voice memory 12 8, 10 34, 37 16, 19
FM Foot volume jack 23, 41 12
Icons Internal key Internal multi memory Internal voice memory 34, 37 17, 20

Random function 31

Store Store key Sustain jack 28 10, 38 13
Vector control Vector play keys Vector rate Vectors Voice categories Voice common edit mode Voice key Voice list Voice play mode Voice vector edit mode Volume control 8, 21 8, 21, 21, 25 8

CONTENTS

VOICE COMMON...3 NAME...5 CONFIGURATION..5 EFFECT (Type & Depth).5 PITCH BEND...6 WHEEL (Amplitude & Pitch Modulation).6 AFTER TOUCH (Amplitude & Pitch Modulation, Pitch & Level Control).7 ENVELOPE (Attack & Release Rates)..7 RANDOM (Element, Level & Detune).8 VOICE VECTOR...9 LEVEL SPEED (Vector Rate)..11 LEVEL RECORD..11 LEVEL EDIT (Step, X-axis, Y-axis & Time)..11 DETUNE SPEED (Vector Rate).13 DETUNE RECORD..13 DETUNE EDIT (Step, X-axis, Y-axis & Time)..13 ELEMENT TONE..15 WAVE TYPE..17 ELEMENT COPY..19 FREQUENCY SHIFT..19 VOLUME..20 PAN...20 VELOCITY SENSITIVITY.20 AFTER TOUCH SENSITIVITY.21 TONE (FM Elements B and D Only)..21 LFO (Low Frequency Oscillator) AM Depth, PM Depth, Type, Delay, Rate & Speed..22 ELEMENT ENVELOPE..25 TYPE...27 ENVELOPE COPY..28 DELAY (Delay Rate & Element ON/OFF).28 INITIAL LEVEL...28 ATTACK (Level & Rate)..29 DECAY 1 (Level & Rate)..29 DECAY 2 (Level & Rate)..29 RELEASE RATE...30 LEVEL SCALING..30 RATE SCALING...31 MULTI...33 NAME..35 EFFECT (Type & Depth)..35 VOICE NUMBER..35 MIDI RECEIVE CHANNEL..36 VOLUME..36 DETUNE...37 NOTE LIMIT (Low & High)..37 NOTE SHIFT..37 UTILITY SETUP..39 MASTER TUNE..41 TRANSPOSE..41 MEMORY CARD (Save, Load, Format, & Bank)..41 VOICE INITIALIZE...43 MULTI INITIALIZE..44 MEMORY PROTECT (Internal & Card).45 FACTORY VOICE & MULTI RESTORE..45 UTILITY RECALL..47 VOICE RECALL (Voice or Multi)..49 UTILITY MIDI..51 MIDI ON/OFF...53 BASIC RECEIVE CHANNEL..53 TRANSMIT CHANNEL..53 LOCAL CONTROL ON/OFF..54 MIDI PROGRAM CHANGE..54 MIDI CONTROL CHANGE..54 AFTER TOUCH ON/OFF..55 PITCH BEND ON/OFF..55 EXCLUSIVE ON/OFF..55 ALL V/M TRANSMIT..VOICE TRANSMIT..56 APPENDIX...57 VOICE LIST...59 MULTI LIST..66 WAVEFORM LIST..67 SPECIFICATIONS..69 ERROR MESSAGES...70 INDEX...71 MIDI DATA FORMAT..73 MIDI IMPLEMENTATION CHART.76

About This Manual

The SY35 Feature Reference manual individually describes the SY35 functions in detail, providing a summary, operating procedure, and additional details for each function. It is divided into eight main sections, each describing the various functions within a particular SY35 edit or utility mode. 1. 2. 3. 4. 5. 6. 7. 8. VOICE COMMON [Page 3] VOICE VECTOR [Page 9] ELEMENT TONE [Page 15] ELEMENT ENVELOPE [Page 25] MULTI [Page 33] UTILITY SETUP [Page 39] UTILITY RECALL [Page 47] UTILITY MIDI [Page 51]
We recommend that you start by going through the Getting Started manual in order to become familiar with the SY35 and the way it works, then you can refer to the Feature Reference manual from time to time to get details on functions youve never used before, or refresh your memory about functions that you dont use very often. Each section of this manual has its own table of contents, so you should be able to locate any particular function quickly and easily. Functions and references can also be located by referring to the index at the back of the manual.

VOICE COMMON

Feature Reference Manual
The VOICE COMMON mode provides access to a range of parameters that affect the selected voice as a whole. Detailed programming of individual elements is provided by the ELEMENT TONE and ELEMENT ENVELOPE edit modes.
NAME.... CONFIGURATION.... EFFECT (Type & Depth).... PITCH BEND..... WHEEL (Amplitude & Pitch Modulation)... AFTER TOUCH (Amplitude & Pitch Modulation, Pitch & Level Control).. ENVELOPE (Attack & Release Rates)... RANDOM (Element, Level & Detune)...

VC>VOICE NAME I23 Initial
Summary: Assigns a name of up to 8 characters to the current voice. Settings: The following characters are available for use in voice names:
(Space) !"#%&'()*+,-./0123456789:;<=>? ABCDEFGHIJKLMNOPQRSTUVWXYZ[]^_ abcdefghijklmnopqrstuvwxyz|
Procedure: Use the [4] and [6] cursor keys to place the underline cursor under the character to be changed. Use the [1/NO] and [+1/YES] keys to select the desired character. Continue until the entire voice name has been programmed. Details: Its a good idea to give your voices names that make them easily identifiable. If youve created a new voice that combines piano and organ elements, for example, you could call it something like PianOrg. When selecting characters, scrolling will pause at the beginning of each character group (capitals, lower case, numbers, and symbols).

CONFIGURATION

VC>CONFIGURATION A-B-C-D
Summary: Selects the two-element (A-B) or fourelement (A-B-C-D) voice configuration. Settings: A-B, A-B-C-D Procedure: Use the [ 6] key to move the cursor to the lower display line. Use the [1/NO] and [+1/YES] keys to select the desired configuration. Details: In the 2-element A-B configuration, element A is AWM and element B is FM. In the 4element A-B-C-D configuration elements A and B are the same as in the A-B configuration, while element C is AWM and element D is FM. A-B: A = AWM, B = FM. A-B-C-D: A = AWM, B = FM, C = AWM, D = FM.
EFFECT (Type & Depth)
VC>VOICE EFFECT Rev Hall Dep=1
Summary: Selects one of sixteen digital effects, and sets the depth of the selected effect for the current voice.
VOICE COMMON Settings: Effect type:
Rev Hall Rev Room Rev Plate Rev Club Rev Metal Delay 1 Delay 2 Delay 3 Doubler Ping-Pong Pan Ref Early Ref Gate Rev Dly&Rev 1 Dly&Rev 2 Dist&Rev (Reverb Hall) (Reverb Room) (Reverb Plate) (Reverb Club) (Reverb Metal) (Short Single Delay) (Long Delay) (Long Delay) (Doubler) (Ping Pong Delay) (Panned Reflections) (Early Reflections) (Gated Reverb) (Delay & Reverb 1) (Delay & Reverb 2) (Distortion & Reverb)
Depth: Procedure: Use the [4] and [6] cursor keys to place the underline cursor under the effect type or depth parameter. Use the [1/NO] and [+1/YES] keys to select the desired effect or effect depth. Details: Setting the depth parameter to 0 is equivalent to turning the effect OFF. A depth setting of 7 produces the greatest effect.

ENVELOPE (Attack & Release Rates)
VC>ENVELOPE AR= 0 RR= 0
programming capability is available for individual elements (see the ELEMENT ENVELOPE edit mode), these functions provide an easy way to adjust the most important envelope parameters for the overall voice. Positive values produce a faster attack or release time, while negative values produce a slower attack or release time. You might want to lengthen the release time of a voice, for example, to produce a lingering sustain effect after you release the keys.
Summary: Sets the overall attack and release rates for the current voice. Settings: AR (Attack Rate): +99 max.* RR (Release Rate): +99 max.* Procedure: Use the [4] and [6] cursor keys to place the underline cursor under the AR or RR parameter. Use the [1/NO] and [+1/YES] keys to set the selected parameter as required. Details: Although much more detailed envelope
VOICE COMMON Please note that the AR parameter will have no effect on elements in which the INITIAL LEVEL parameter (page 28) is set to 99.

Faster attack. +99

This range may be more limited in some cases. An exclamation mark (!) will appear after the range value when the limit is reached.
Slower attack. Key OFF 99

Envelope

TIME Key ON +99 Faster release. 0 RR 99 Slower release
RANDOM (Element, Level & Detune)

VC>RANDOM ELEMENT

Summary: Automatically produces random combinations of elements, level vectors, or detune vectors. Settings: None. Procedure: Use the [4] and [6] cursor keys to place the left parameter on the lower display line, then use the [1/NO] and [+1/YES] keys to select ELEMENT, LEVEL or DETUNE. Press the [ 6] to move the cursor to Y/N, then press the [+1/YES] key to generate random values of the select type. A new set of random values is generated each time the [+1/YES] key is pressed while the cursor is in this position. Pressing the [1/NO] returns the cursor to the left parameter. Details: This function is actually a very useful programming aid. It allows you try out a virtually unlimited variety of element combinations or level/detune vectors by simply pressing a single key. The random element combinations, in particular, can produce some very surprising and often pleasant results. When the A-B voice configuration is selected (see CONFIGURATION on page 5), random element combinations will always consist of only two elements. When the A-B-C-D voice configuration is selected, random element generation will produce combinations of four elements.

VOICE VECTOR

The VOICE VECTOR edit mode allows recording and fine editing of dynamic level and detune vectors.
LEVEL SPEED (Vector Rate).... LEVEL RECORD... LEVEL EDIT (Step, X-axis, Y-axis & Time)... DETUNE SPEED (Vector Rate)... DETUNE RECORD.... DETUNE EDIT (Step, X-axis, Y-axis & Time)..
LEVEL SPEED (Vector Rate)
VV>LEVEL SPEED Vector Rate 30ms
Summary: Sets the time between level vector steps. Settings: milliseconds (in 10-millisecond steps) Procedure: Use the [ 6] key to move the cursor to the lower display line. Use the [1/NO] and [+1/YES] keys to select the desired vector rate. Details: Each dynamic vector is composed of up to 50 steps corresponding to points along the path followed by the vector control. This function sets the initial time between each step. The Time parameter in the LEVEL EDIT function, described later, allows the length of individual steps to be edited. The vector rate parameter can be changed even after recording a vector, producing a corresponding change in the spacing between the steps. The LEVEL SPEED parameter can also be used to change the playback speed of a pre-recorded vector.

LEVEL RECORD

VV>LEVEL REC STBY REC PLAY
Summary: Allows recording of a dynamic level vector. Settings: STBY, REC, PLAY Procedure: Use the [4] and [6] cursor keys to place the underline cursor under STBY. The vector control LEVEL mode will be automatically selected and you can rehearse the vector sweep you wish to record. Move the cursor to REC. Recording will actually begin as soon as you play a key on the keyboard. When you release the key or when 50 steps have been recorded (See LEVEL SPEED above), recording will end and the cursor will move to the PLAY position. You can now play the keyboard to hear how the vector sweep you just recorded sounds. Details: The amount of time available for recording depends both on the vector rate setting and how much the vector control is moved.
LEVEL EDIT (Step, X-axis, Y-axis & Time)
Settings: Procedure: Use the [4] and [6] cursor keys to place the underline cursor under the leftmost value on the lower display line (Step). Use the [1/NO] and [+1/YES] keys to select the step to be edited.
VV L.ED A B C D 1 X 0 Y 0 End
Summary: Selects any of the 50 steps in a recorded level vector for editing.
VOICE VECTOR Details: Step 1 is the first step recorded and step 50 is the last. Experience will give you a feel for relating specific points in a dynamic vector to the corresponding steps.
Summary: Multiplies the vector rate setting of the current level vector step only. Also allows vectors to be looped or ended at the current step. Settings: 1 254, Rep, End

DETUNE EDIT (Step, X-axis, Y-axis & Time)
VV D.ED A B C D 1 X 0 Y 0 End
Details: Step 1 is the first step recorded and step 50 is the last. Experience will give you a feel for relating specific points in a dynamic vector to the corresponding steps.
Summary: Selects any of the 50 steps in a recorded detune vector for editing. Settings: Procedure: Use the [4] and [6] cursor keys to place the underline cursor under the leftmost value on the lower display line (Step). Use the [1/NO] and [+1/YES] keys to select the step to be edited.
Summary: These parameters define the position of the currently selected step on the X and Y axes of the detune vector control range. Settings: +31 Procedure: Use the [4] and [6] cursor keys to place the underline cursor under the X or Y parameter. Use the [1/NO] and [+1/YES] keys to set the value as required. Details: On the X (D-C) axis, a setting of 31 places the step as far as possible toward the D element while a setting of +31 places it as far as possible toward the C element. The Y (A-B) axis values work in the same way: a setting of 31 places the step as far as possible toward the B element while a setting of +31 places it as far as possible toward the A element. In both axes a setting of 0 places the step at center position.
Summary: Multiplies the vector rate setting of the current detune vector step only. Also allows vectors to be looped or ended at the current step. Settings: 1 254, Rep, End Procedure: Use the [4] and [6] cursor keys to place the underline cursor under the rightmost value on the lower display line (Time). Use the [1/NO] and [+1/YES] keys to select the required time value. Details: Time values multiply the vector rate setting for the current step. If the vector rate parameter is set to 30ms, for example, setting the time parameter to 2 results in a step length of 60ms, setting it to 3 results in a step length of 90ms, and so on. Since the maximum time value is 254, extremely long steps can be created. If you select the End setting, the vector will end at the current step. The R e p setting causes the vector to loop back to the first step from the current step, repeating continuously.

ELEMENT TONE

The ELEMENT TONE edit mode allows editing many of the most important sound-determining parameters of each individual element A and B in a 2-element voice; A, B, C and D in a 4-element voice.
WAVE TYPE..... ELEMENT COPY.... FREQUENCY SHIFT.... VOLUME.... PAN.... VELOCITY SENSITIVITY... AFTER TOUCH SENSITIVITY... TONE (FM Elements B and D Only)... LFO (Low Frequency Oscillator) AM Depth, PM Depth, Type, Delay, Rate & Speed...

19* 20 20* 21* 22*

* These four parameters are not available for an AWM element in which wave number 127 (Drum Set) is selected Cannot edit display appears.
ELEMENT TONE Selecting the ELEMENT TONE Edit Mode From the VOICE or MULTI mode: ON, if a dash appears in place of the element character, that element is OFF. The ability to turn elements on or off while editing makes it easier to hear the effect of parameter changes on a single element. The currently selected element is also shown on the LCD as a reversed (white on black) character.
In this example elements A, B and D are ON, while element C is OFF. Element A is currently selected for editing.
From another edit or utility mode simply press [ELEMENT TONE]. An E will appear to the left of the LED display to indicate that an edit mode is selected, and the element selected for editing will be displayed to the right of the display A, b, C, or d. A dot will appear to the right of the element character as soon as any parameter has been edited.
ET>WAVE 000 B-D Piano:Piano
Selecting the ELEMENT TONE Edit Mode Functions The various ELEMENT TONE edit mode functions can be selected in sequence by pressing the [ELEMENT TONE] key, or by using the [1/NO] and [+1/YES] keys when the cursor ( 6)is located immediately before the function name on the upper display line. The COMPARE Function You can compare the sound of the edited voice with the sound of the voice before it was edited by pressing the [EDIT/COMPARE] key to activate the COMPARE function. A C will appear on the LED display while the COMPARE function is active, and the sound of the voice prior to editing will be heard when you play the keyboard. Press the [EDIT/COMPARE] key again to return to the edit mode.
Different elements can be selected for editing by pressing the appropriate [ELEMENT SELECT] key [A], [B], [C] or [D]. If a 2-element voice is being edited, only elements A and B can be selected. Any of the available elements can also be turned on or off by pressing the appropriate [ELEMENT ON/OFF] key. Each key alternately turns the associated element on and off, and the on/off status of the elements is shown to the right of the upper LCD line. If the element character is showing, the associated element is

WAVE TYPE

ET>WAVE 000 !BCD Piano:Piano
Summary: Assigns a preset wave to the selected element. Settings: Elements A and C (AWM): Elements B and D (FM): Procedure: Use the [4] and [6] cursor keys to place the underline cursor under the left

Spd (Speed)

ET LFO Spd= 0
Summary: Sets the speed of the LFO for the selected element. Settings: 0. 31 Procedure: Use the [4] and [6] cursor keys to select the Spd parameter. Use the [1/NO] and [+1/YES] keys to set the desired LFO speed. Details: 0 is slowest LFO speed setting; 31 is the fastest. The speed parameter can not be edited when the sample-and-hold () LFO TYPE is selected.
ET LFO BCD Dly= 0 Rate= 0->
Summary: Sets the rate of LFO fade in for the selected element when the WHEEL and AFTER TOUCH parameters in the VOICE COMMON edit mode are both turned off. Settings: 0. 99

ELEMENT ENVELOPE

The ELEMENT ENVELOPE edit mode allows detailed programming of the amplitude envelopes for each element in the selected voice.
TYPE..... ENVELOPE COPY.... DELAY (Delay Rate & ON/OFF)... INITIAL LEVEL... ATTACK (Level & Rate).... DECAY 1 (Level & Rate).... DECAY 2 (Level & Rate).... RELEASE RATE... LEVEL SCALING.... RATE SCALING....
ELEMENT ENVELOPE Selecting the ELEMENT ENVELOPE Edit Mode From the VOICE or MULTI mode: ON, if a dash appears in place of the element character, that element is OFF. The ability to turn elements on or off while editing makes it easier to hear the effect of parameter changes on a single element. The currently selected element is also shown on the LCD as a reversed (white on black) character.
From another edit or utility mode simply press [ELEMENT ENVELOPE]. An E will appear to the left of the LED display to indicate that an edit mode is selected, and the element selected for editing will be displayed to the right of the display A, b, C, or d. A dot will appear to the right of the element character as soon as any parameter has been edited.

ET@TYPE USER

Selecting the ELEMENT ENVELOPE Edit Mode Functions The various ELEMENT ENVELOPE edit mode functions can be selected in sequence by pressing the [ELEMENT ENVELOPE] key, or by using the [1/NO] and [+1/YES] keys when the cursor ( 6)is located immediately before the function name on the upper display line. The COMPARE Function You can compare the sound of the edited voice with the sound of the voice before it was edited by pressing the [EDIT/COMPARE] key to activate the COMPARE function. A C will appear on the LED display while the COMPARE function is active, and the sound of the voice prior to editing will be heard when you play the keyboard. Press the [EDIT/COMPARE] key again to return to the edit mode.

EE>TYPE USER BCD

LEVEL PLUCK
Summary: Selects a user or preset amplitude envelope for the selected element. Settings: PRESET, PIANO, GUITAR, PLUCK, BRASS, STRINGS, ORGAN, USER

TIME BRASS

Details: When PRESET is selected, the original envelope of the wave selected for the current element is used. For example, if the current uses a guitar wave corresponding guitar envelope will be selected. When PIANO, GUITAR, PLUCK, BRASS, STRINGS, or ORGAN is selected, a generic envelope of the appropriate type is used. Then piano, organ and strings envelopes are roughly as shown below:
Procedure: Use the [ 6] key to move the cursor to the lower display line. Use the [1/NO] and [+1/YES] keys to select the desired envelope.

TIME STRINGS

TIME ORGAN

TIME GUITAR TIME

Editing any of the envelope parameters for one of the above types turns the envelope into a USER type. When USER is selected, an original envelope can be programmed using the attack, decay, and release parameters described on pages 29, 30.

ENVELOPE COPY

EE>COPYfrom BCD any Element? ->
Summary: Copies envelope parameters from a selected element to the current element. Settings: Element: A, B, C, D Procedure: Use the [4] and [6] cursor keys to move the cursor to the f r o m element parameter. Use the [1/NO] and [+1/YES] keys to select the element from which the envelope data is to be copied. Press the [6] cursor key one more time and the Are you sure? display will appear. Press [+1/YES] to execute the copy operation or [1/NO] to cancel. >>Completed!!<< will appear briefly when the copy operation has finished. Details: This function can save a lot of programming time by allowing easy copying of complex USER type envelope data between elements.
DELAY (Delay Rate & ON/OFF)
EE>DELAY BCD Rate= 0 off
Summary: Sets a delay before the envelopes of all elements begin. Settings: Delay: Mode: on/off Procedure: Use the [4] and [6] cursor keys to move the cursor to the Rate parameter. Use the [1/NO] and [+1/YES] keys to select the desired delay rate. Press the [6] cursor key one more time to move to the on/off mode parameter, and use the [1/NO] and [+1/YES] keys to set as required. Details: The envelope delay rate parameter affects all envelopes simultaneously. A setting of 0 produces almost no delay while a setting of 99 produces maximum delay.

INITIAL LEVEL

EE>INITIAL Level= 0 BCD
immediately from maximum level. The highest setting produces the sharpest attack.

Attack rate

Summary: Sets the starting level of the amplitude envelope for the current element.

Attack level

Settings: Procedure: Use the [6] cursor key to move the cursor to the lower display line. Use the [1/NO] and [+1/YES] keys to set the initial level. Details: A setting of 0 means that the envelope will begin from zero (minimum) level, while a setting of 99causes the envelope to begin

Initial level

Decay 1 rate

NAME.... EFFECT (Type & Depth).... VOICE NUMBER.... MIDI RECEIVE CHANNEL... VOLUME.... DETUNE.... NOTE LIMIT (Low & High)... NOTE SHIFT.....

MU>NAME P11 Initial

Summary: Assigns a name of up to 8 characters to the current multi-play setup. Settings: The following characters are available for use in multi-play names:
Procedure: Use the [4] and [6] cursor keys to place the underline cursor under the character to be changed. Use the [1/NO] and [+1/YES] keys to select the desired character. Continue until the entire multi-play name has been programmed. Details: Its a good idea to give your multi-play setups names that make them easily identifiable. If youve created a new setup using three voices intended for rock music, you could call it something like RockTrio.
MU>EFFECT Rev Hall Dep=1
Summary: Selects one of sixteen digital effects, and sets the depth of the selected effect for the current multi-play setup. Settings: Effect type:

VOICE NUMBER

MU>VOICE NUMBER I11 Initial
Summary: Assigns a preset, card or internal voice to the selected multi-play part.
MULTI Settings: Source: I, C, P Bank: Number: Procedure: Press the [NUMBER/MULTI PART SELECT] key corresponding to the desired multi-play part. Use the [4] and [6] cursor keys to move the cursor to the source, bank, or number parameter. Use the [1/NO] and [+1/YES] keys to set the selected parameter as necessary. Details: In this display the source, bank and number parameters are shown in the standard SY35 voice number format. P12, for example, is preset bank 1, number 2; I35 is internal bank 3, number 5, etc.

MIDI RECEIVE CHANNEL

MU>MIDI Rcv.ch channel= 1
Summary: Sets the MIDI receive channel for the selected multi-play part to any channel between 1 and 16, or off. Settings: 0. 16, off Procedure: Press the [NUMBER/MULTI PART SELECT] key corresponding to the desired multi-play part. Use the [6] cursor key to move the cursor to the lower display line. The [1/NO] and [+1/YES] keys are used to select the desired MIDI channel or turn MIDI reception for that part off. Details: The most logical and easy-to-follow settings for multi-play parts 1 through 8 are, naturally, MIDI channels 1 through 8. Turn MIDI reception off for parts you do not intend to use.

MU>VOLUME Level= 0

Summary: Adjusts the volume of the selected multi-play part. Settings: 0. 99 Procedure: Press the [NUMBER/MULTI PART SELECT] key corresponding to the desired multi-play part. Use the [6] cursor key to move the cursor to the lower display line. Use the [1/NO] and [+1/YES] keys to select the desired volume level. Details: A setting of 0 produces no sound while a setting of 99 produces maximum volume. The ability to independently adjust the volume of each multi-play part makes it simple to set up the optimum balance or mix between parts.

DETUNE

MU>DETUNE 0cent
Summary: Allows slight upward or downward pitch adjustment of the selected multi-play part. Settings: 50. 0 +50 Procedure: Press the [NUMBER/MULTI PART SELECT] key corresponding to the desired multi-play part. Use the [6] cursor key to move the cursor to the lower display line. Use the [1/NO] and [+1/YES] keys to select the desired amount of detuning. Details: The Detune function allows different parts in a multi-play setup to be slightly detuned in relation to each other, thereby thickening the overall sound. Detuning occurs in 3 or 4-cent steps. Since 100 cents equals one semitone, the overall detune range is approximately one semitone. Plus settings tune upward from normal pitch, and minus settings tune downward. A setting of 0 produces normal pitch.
NOTE LIMIT (Low & High)
MU>NOTE LIMIT Low= C-2 High= G8
Summary: Sets the low and high note limits for the selected multi-play part. Settings: C-2. G8 Procedure: Press the [NUMBER/MULTI PART SELECT] key corresponding to the desired multi-play part. Use the [4] and [6] cursor keys to select the Low or High parameter. The [1/NO] and [+1/YES] keys are used to set the low or high note limit. Details: The C-2 to G8 range of this function covers a full 10-1/2 octaves. C 3 corresponds to middle C on a keyboard. This function allows the sound from a multiplay part to be limited to a specific region of the keyboard. If the Low Note Limit is set to C3 and the High Note Limit is set to C4, for example, the sound from that part will only be produced between C3 and C4 the octave immediately above middle C. This makes it simple to produce split voices. If the High Note Limit is set to a note that is lower than the Low Note Limit, the keys between the limits will produce no sound while all others will operate normally.

Format

SU CARD >FORMAT

VOICE INITIALIZE

SU>INIT. VOICE
Summary: Initializes all parameters of the current voice. Settings: None. Procedure: Select the UTILITY SETUP mode from the VOICE play mode. Then, after selecting the INIT. VOICE display, press the [ 6] key.
INITIAL VOICE COMMON VOICE NAME CONFIGURATION EFFECT Dep PITCH BEND WHEEL AFTER TOUCH AM PM AM PM Pit Lev AR RR Initial ABCD Rev. Hall off on off off 0 off 30 ms 0 End
Are you sure? will appear on the lower line of the display. Press the [+1/YES] to initialize or [1/NO] to cancel the initialize operation. >>Completed!!<< will appear briefly when the initialization is finished. Details: When Voice Initialize is executed, the voice parameters are initialized to the following values:

ENVELOPE

VECTOR VECTOR LEVEL SPEED STEP/X/Y/TIME
VECTOR DETUNE SPEED STEP/X/Y/TIME

30 ms 0 End

A ELEMENT TONE WAVE FREQ. shift VOLUME PAN VELOCITY Sense AFTER Sense TONE Lev TONE FB LFO AM LFO PM LFO TYPE LFO Dly LFO Rate LFO Spd 000:PIANO:PIANO L--+ --R 20
B 151:OSC1:sin99 L--+ --R 20
C 039:Str:Vn.Ens L--+ --R 20
D 152:OSC1:sin99 L--+ --R 20
A ELEMENT ENV TYPE DELAY Rate DELAY ELE. INITIAL Level ATTACK AL ATTACK AR DECAY1 D1L DECAY1 D1R DECAY2 D2L DECAY2 D2R RELEASE Rate SCALING Lev Type Rate Type PRESET 99 off B PRESET 99 off C PRESET 99 off D PRESET 99 off 1 1
The voice initialize function is useful if you want to begin programming a voice from scratch.

MULTI INITIALIZE

SU>INIT. MULTI
Summary: Initializes all parameters of the current multi-play setup. Settings: None. Procedure: Select the UTILITY SETUP mode from the MULTI play mode. Then, after selecting the INIT. MULTI display, press the [ 6] key.
INITIAL MULTI PART1 NAME EFFECT EFFECT Dep VOICE NUMBER MIDI Rcv.ch VOLUME DETUNE NOTE LIMIT Low NOTE LIMIT High NOTE SHIFT P11 AP:Rock 0 c-2 GP11 AP:Rock 0 c-2 GP11 AP:Rock 0 c-2 GP11 AP:Rock 0 c-2 GPART2 PART3 PART4 Initial Rev Hall 1 P11 AP:Rock 0 c-2 GP11 AP:Rock 0 c-2 GP11 AP:Rock 0 c-2 GP11 AP:Rock 0 c-2 GPART5 PART6 PART7 PART8

Are you sure? will appear on the lower line of the display. Press the [+1/YES] to initialize or [1/NO] to cancel the initialize operation. >>Completed!!<< will appear briefly when the initialization is finished. Details: When multi-play Initialize is executed, the multi-play setup parameters are initialized to the following values:
The multi initialize function is useful if you want to begin programming a voice from

scratch.

MEMORY PROTECT (Internal & Card)
SU>MEM.PROTECT INT=on CARD=on
Summary: Turns internal protection on or off. Settings: INT: on, off CARD: on, off Procedure: Use the [4] and [6] cursor keys to select the INT or CARD parameter. Use [1/NO] and [+1/YES] keys to turn memory protection on or off. or card memory Details: When INT memory protection is on, the internal memory is protected and voice store operations to the internal memory cannot be carried out. The same applies to card memory: when protection is o n memory card save operations will be blocked even if the memory card WRITE PROTECT switch is turned OFF.
FACTORY VOICE & MULTI RESTORE

SU>FACTORY V&M

Summary: Restores the factory-preset voices and multi-play setups in the INTERNAL VOICE and MULTI memory areas. Procedure: Make sure the internal memory protect function is turned OFF before using this function (see MEMORY PROTECT above). From the initial SU>FACTORY V&M display press [6] cursor key. Are you sure? will appear on the display. Press the [+1/YES] key if you want to go ahead with the factory voice and multi restore operation, or press [1/NO] to cancel. If you press [+1/YES], >>Completed!!<< will appear on the display when the restore operation has finished. Details: When the factory voice and multi restore operation is executed, all data in the SY35 internal voice and multi memory areas is overwritten by the factory preset data. Make sure you save important voice and multi data to memory card or an external MIDI data filer prior to restoring the factory preset data. If you attempt to execute the factory voice and multi restore operation when internal memory protect is turned ON, Memory Protected will appear on the display and the restore operation will be aborted.

UTILITY RECALL

The UTILITY RECALL mode accesses the VOICE or MULTI recall function, depending on whether the VOICE or MULTI play mode is selected when the RECALL function is called. RECALL makes it possible to recover a voice or multi-play setup that has been lost through failure to store the voice or multi-play setup prior to selecting a different voice or multi-play setup.

P65 P76

P65 P76 P76 P76 P76 P76

P74 P74 P71 P61

P36 P37 P32 P58

P61 P61 P61 P12

P42 P41 P42 I35

P54 P55 P51 I64

I88 I88 I88 I88

INTERNAL MULTI LIST

No. MULTI Name SyncLead SuperSaw BellPad SunBeam WideDcy AnaPad1 AnaPad2 AnaPad3 FatBrass HyuhPad Reggae Mikado Prologue Epilogue SolidSet RytmSec. Type Layer Layer Layer Layer Layer Layer Layer Layer Layer Layer Layer Layer Layer Layer Split Split I33 I31 I11 I22 I25 I13 I15 I13 I51 I71 I46 I67 I62 I64 I37 I87 I33 I31 I14 I24 I27 I51 I23 I55 I53 I76 I82 I18 I18 I72 I31 I36 I33 I31 Voice Numbers I33 I31 I31 I31 I31 I31 Comments Fat sync lead. Extra-fat sawtooth lead. Filter sweep synth pad. Sunny sound for backing. Bright backing layer. Analog synth pad 1. Analog synth pad 2. Analog synth pad 3. Fat analog synth brass. Synth pad with wind effect. Ideal for Reggae music. Musical effect. Musical effect. Musical effect. Bass and synth lead split. Auto drum and bass pattern.
PRESET Multi setups 25 through 28 (labelled MIDI in the above list) are designed for use with an external
MIDI sequencer. Each has 8 voices assigned to different MIDI channels as shown in the chart below.
PRESET MULTI MIDI CHANNEL ASSIGNMENTS
No. MULTI Name <Pop> <Rock> <Jazz> <Demo> Ch1 P12 P11 P15 P72 Ch2 P22 I43 I46 P42 Ch3 P74 P74 P71 P61 Ch4 P36 P37 P32 P58 Ch5 P61 P61 P61 P12 Ch6 P42 P41 P42 I35 Ch7 P54 P55 P51 I64 Ch8 I88 Ch16 I88 I88 I88

WAVEFORM LIST

AWM WAVEFORM LIST
Category Piano No. Name Piano E.Piano Clavi Cembalo Celesta P.Organ E.Organ1 E.Organ2 Bandneon Trumpet Mute Trp Trombone Flugel Fr Horn BrasEns SynBrass Flute Clarinet Oboe Sax Gut Steel E.Gtr 1 E.Gtr 2 Mute Gtr Sitar Pluck 1 Pluck 2 Wood B 1 Wood B 2 E.Bass 1 E.Bass 2 Category Bass No. Name E.Bass 3 E.Bass 4 Slap Fretless SynBass1 SynBass2 Strings Vn.Ens. Cello Pizz. Syn Str Choir Itopia Choir pa Vibes Marimba Bells Timpani Tom E. Tom Cuica Whistle ThumbStr SynPad Harmonic SynLead1 SynLead2 Bell Mix Sweep HumanAtk Noise 1 Noise 2 Category Synth SFX No. Name PopsHit NoisPad1 NoisPad2 NoisPad3 Coin Crash Bottle BotleOpn Cracker Scratch Metal 1 Metal 2 Metal 3 Metal 4 Wood Bamboo Slam Tp. Body Tb. Body HornBody Fl. Body Str.Body AirBlown Reverse1 Reverse2 Reverse3 EP wv Organ wv M.Tp wv Gtr wv Str wv 1 Str wv 2 Category OSC No. Name Pad wv Digital1 Digital2 Digital3 Digital4 Digital5 Saw 1 Saw 2 Saw 3 Saw 4 Square 1 Square 2 Square 3 Square 4 Pulse 1 Pulse 2 Pulse 3 Pulse 4 Pulse 5 Pulse 6 Tri Sin8 Sin8+4 SEQ 1 SEQ 2 SEQ 3 SEQ 4 SEQ 5 SEQ 6 SEQ 7 SEQ 8 Drum set
AWM Wavefor m Ca tegor y Descr ip tion s