This sucks!

Source: http://newsgroups.derkeiler.com/Archive/Rec/rec.audio.pro/200703/msg02745.html
From: "Marcello Mastroiani" <dadoka22@xxxxxxxxxxx> Date: Wed, 28 Mar 2007 01:04:59 +0200 This is the setup in my studio: MIXERS: AKAI 800 midi mixer 3x FOSTEX DCM100 + mixtab BEHRINGER Eurorack 2642 x2 BEHRINGER DX1000 pro (DJ studio mixer, for "scratching") DYNACORD MC 1640 (for playing live in the rehearsal room) MICROPHONES: BEHRINGER B2 Pro + Shure popper stopper BEHRINGER C1 x2 AUDIOTECHNICA AT 818 II GRUNDIG 3060 stereo mic SHURE Unisphere I 565SD (1974. "speaker" mic, for vocoding) PHILIPS HiFi N8404 stereo electret microphone (for tape recording) MBUNITRA MDU 27 COMPUTERS: P4 Willamette 1.7GHz; 1Gb SDRAM; 40 Gb IBM 7200 x2 RAID, 80 Gb MAXTOR x2; 2x15" monitors; LAN 100; VST system link; Evolution MK361C; MPU 401 Athlon XP 3200+ 3.2 GHz 64bit; 1Gb DDRAM; Seagate Barracuda 60+120Gb; Hitachi 40Gb; 2x17" monitors; LAN 100; VST system link; Evolution MK249C; 2xMPU 401 EGOSYS WaMi rack 24 (24bit/120dBS/N ratio) 4 audio in, 8 out, 4 midi in/out interface x2 24port network switch with 6 other DOS/windows computers Apple/Macintosh PowerPC 8200 + 20" Apple monitor MIDI INTERFACES/MIDI GEAR: MOTU Miditimepiece AV x2 This sucks! 1
This sucks! MOTU Miditimepiece II x2 (networked) MOTU Miditimepiece (for the MAC) DYNACORD MCC1 midi computer KAHLER Human Midi Clock SOFTWARE: Fruityloops Studio Producer Edition v7 licensed; Native Instruments Battery + 6 sample CD, Kontakt + 5 sample CD, IK Sampletank 2 + 8 sample CD. Soundquest MIDI Quest, Translator, Extreme sample converter. SAMPLERS: AKAI S3000i + 302D digital interface + over 300 sample CD's AKAI S950 EMU E64 + CD's ENSONIQ EPS16+ (rack) + factory samples YAMAHA TX16W + factory floppy disks YAMAHA A4000 + ZIP100 drive SYNTHESIZING SAMPLERS: CASIO FZ10M (rack) ENSONIQ MIRAGE DSK8 (S. No002271) SCSI: 2x SYNTEC SQ44 twin (2x hard disk Seagate Barracuda 2.1Gb, 2x CD rom) SYNTHESIZER KEYBOARDS: CASIO CZ3000 KAWAI K1 KORG 01/W + Ethno ram card KORG 01/Wfd KORG DS8 KORG DW8000 KORG EA1 ELECTRIBE + sysex KORG Poly 800 reverse (black and white) keys + filter mod KORG Poly 800 + Slayer mod KORG Poly 61 NOVATION SUPERNOVA II QUASIMIDI RAVEN ROLAND D70 ROLAND JUNO (alpha) ROLAND JUNO6 ROLAND JX305 ROLAND JX3P SIEL OPERA 6 YAMAHA DX7 IID + 3 CD sysex YAMAHA DJX This sucks! 2
This sucks! YAMAHA SY22 + 3 CD sysex YAMAHA SK20 GROOVEBOXES: KORG EM1 ELECTRIBE + sysex YAMAHA DJX IIB SOUND MODULES: CLAVIA NordRack III EMU Orbit 9090 V2 dance planet EMU Proteus 2XR ROLAND MT32 x2 ROLAND D110 YAMAHA MU5 DRUM COMPUTERS: BOSS DR55 KORG DDD1 OBERHEIM DX ROLAND R8 YAMAHA RX5 YAMAHA RX7 YAMAHA RX8 YAMAHA RX11 YAMAHA RX21 YAMAHA RY8 ELECTRONIC DRUMS: ALESIS D4 CLAVIA Ddrum electronic bassdrum x2 KORG DRM1 ROLAND PD31x3, PD5 x7, PD7, PD9, rack DIXON ROLAND FD8 ROLAND SPD11 ACOUSTIC DRUMS + PERCUSSION: PEARL Vintage Custom set: 12"x11", 13"x12", 14"x13", 15"x14", 16"x15" TT, 18"X16" FT, 2x22" BD, 14"x 6.5" SD; Pearl hardware; Cymbals 2x14" Zildjian HH; 12" Zildjian SC, Zildjian 16" CC, 18" Zildjian C/RC, 20" Zildjian RC; 18" Zildjian CH; DIXON cowbells 4", 6"; DIXON Bongos; DJEMBE (traditional Senegal); other percussion PEARL Vintage Custom set: 8"x8", 10"x10", 12"x10" TT, 14"x14", 16"x16" FT, 2x20" BD, 14"x5" SD This sucks! 3
This sucks! Cymbals 13" Zildjian HH, 12" Zildjian SC, Zildjian 16" CC, 18" Zildjian C/RC, 20" Zildjian RC; 18" Zildjian CH; LUDWIG Vintage set: 12"x8", 13"x9" TT, 16" FT, 18" BD, 14"x5" SD Cymbals paper thin 14" Spitz HH, 16" Spitz CC, 18" Spitz C/RC, 20" Paiste RC GUITARS: BAVARIA Classic (nylon strings) CHARVELJACKSON serie 5 EPIPHONE Les Paul Junior yellow FENDER Stratocaster american standard IBANEZ Electroacoustic YAMAHA Pacifica 2x Humbucker + Extra Seymour Duncan single coil (.9); YAMAHA Acoustic (metal strings) + Dimarzio pickup YAMAHA RBX 300 bass EFFECTS: AKAI PEQ6 ALESIS Midiverb II ALESIS Microverb II ALESIS Mod FX: Ampliton Faze Metavox vocoder Philtre Phlngr Smashup Bitrman ALESIS CLX440 ALESIS PEQ450 APHEX Aural Exciter type C ART Multiverb Alpha 2.0 Studio Edition BEHRINGER Supressor (Deesser/feedback processor) BEHRINGER Ultrafex EX 3200 BEHRINGER Composer Pro MDX 2200 BEHRINGER Edison ED1 stereo imager BEHRINGER SNR208 8channel denoiser DR modules 6x param equalizer, 2x noise gate IBANEZ DM1000 delay KORG SDD1000 delay LEXICON MPX100 NOIZ Compressor ROLAND SRV2000 STUDIOMASTER IDP1 compressor PREAMPS: BEHRINGER Tube Ultragain 2200 mic preamp This sucks! 4

This sucks! BEHRINGER Ultravoice digital 24/96 GALLIEN & KRUEGER 2000cpl guitar preamp/chorus/reverb/noise red/compressor + footcontroler IBANEZ UE400 analog guitar preamp/multieffect (TS808) MARSHALL 9004 guitar preamp TRACEELLIOT GP7R SM bass preamp ZOOM 9030 preamp/multieffect ZOOM 9150 tube preamp/multieffect ANALOG VINTAGE STUDIO EFFECTS: MIREX EC500 analog echo ROLAND RE201 Space Echo YAMAHA E1010 analog delay EFFECT PEDALS: BESPECO Volume Pedal BOSS DM2 MIJ vintage BOSS BF2 MIJ vintage '70. BOSS CE2 MIJ vintage BOSS CS2 MIJ vintage BOSS GE7 MIJ BOSS OC2 MIJ BOSS NS2 MIJ BOSS PW1 Rocker wah BOSS SYB3 synthesizer bass DOD FX65 stereo chorus DOD FX70 stereo flanger ELECTRO HARMONIX Small stone IBANEZ SB7 synthesizer bass IBANEZ BP10 bass compressor KORG 301dl echo MXR Dynacomp PEARL CP01 vintage chorus PRO CO Turbo Rat distorsion WAILER wah CUSTOM MADE Pedalboard case + daisy chain AMPLIFIER BOXES: 12" Altec Lansing (+ center horn) x2 box Marshall style 12" Monacor (+ center horn) x2 box AMPS: CUSTOM MADE bass amp, 100W FENDER Blues Deluxe, reissue '95, yellow version ROLAND JC50 Jazz Chorus ROLAND 100W guitar amp This sucks! 5
This sucks! METERS: SensitiVU's Analog VUmeter DOD Spectrum Analyzer ANALOG RECORDING: FOSTEX Model 80 8channel tape recorder FISHER studio standard tape recorder PHILIPS 4407 SANKYO STD 1510 stereo cassette deck STUDIO OPERATION CONTROL: ROLAND SP 808ex ROLAND MC 500MkII sequenzer MONITORS: DUKElab (custom design) 140W + Technics SUV A650 Maudio BX5 active studio monitors TANNOY Reveal + SONY TAF110 Source Direct TECHNICS SBM500M2 (ebony, selfsupported, used for mastering) 160W + Technics SUV A700 MK3 amplifier
BUT! I don't have a place for all of that, and, I have a problem with electricity. :(

Step Recording

Step recording allows you to input parts note by note, rest by rest, without having to actually play the part on the keyboard. This is ideal for entering difficult parts from written music, or for extremely complex or fast passages that would be impossible to play in real time. The step recording mode can also be used to edit tracks previously recorded using one of the realtime record modes, allowing you to add or erase notes where necessary. 1. The sequencer and record standby modes are entered in the same was as described in the "REALTIME RECORDING" section, above. 2. Instead of choosing the "repl" or "over" record mode, select "step." You can also select a time signature at this point if nothing has been recorded yet. 3. Press the [RUN] key, to call the step record edit display.
Step write input display line. Each dash represents a 32nd beat. Plus signs mark the beginning of each beat specified by the selected time signature. The example below corresponds to a 1/4. 4/4 time signature. If an 8-beat time signature (1/8. 8/8) were selected, plus signs would
appear every 4 32nd beats. The cursor is placed under the appropriate
beat of the display line by using the and cursor keys or the sequencer and keys to enter notes or rests. The position of the cursor is also reflected by the measure and beat number displays below.
4. Select the note length for the first note by pressing the corresponding numeric key (standard notes are displayed in white above the keys), or by incrementing/decrementing using the [-1/NO] and [+1/YES] keys. The number of 32nd-note segments corresponding to the selected note length will be emphasized on the display. If you select 8th notes in 4/4 time, for example, the display will look something like this:
Dotted Notes Pressing the dot key (numeric key ) adds half the value of the currently displayed note length. If this results in a standard note length, it is displayed as a dotted note. Otherwise it is displayed as a numeric value. Triplets Triplet-length notes are entered by first selecting the basic note length e.g. 8th notes if YOU want 8th-note triolets, 16th notes if you want 16note triplets, etc. and then the key (numeric key ). When a note is being displayed appears to the right of the note, while numeric values are divided by two-thirds (since triplets squeeze three notes in the space normally occupied by two, triplet notes are two-thirds the length of their standard counterparts). You should normally enter triplet notes in groups of 3, 6, 9, 12 or other multiples of 3, in order to end up with standard note lengths. Ties Press the [TIE] key (numeric key ) immediately after entering a note to tie that note to the next note entered. The tie function is cancelled if you move the cursor between pressing the [TIE] key and entering the second note. 5. When you've selected the required note length, play the note to be entered on the keyboard. The entered note will appear as a diamond on the step record input display line. The cursor will move to the beginning of the next note.

AMPLITUDE ENVELOPE GENERATOR (AEG) RATE SCALING

JOB 14

Summary: Allows the overall amplitude envelope generator decay rate for the selected element to be varied across the entire pitch range. Settings: -7. +7 Procedure: Use the [DATA ENTRY] control, [-1/ NO] and [+1/YES] keys, or numeric and [ENTER] keys to set the desired degree of rate scaling. Details: Plus ("+") settings produce a longer overall envelope time for the low notes and a shorter en-
velope time for the high notes. This is useful for simulating instruments such as piano, in which the low notes take much longer to decay than the high notes. The maximum "+7" setting produces the greatest envelope length variation across the pitch range. Minus ("-") settings produce the opposite effect short low notes and long high notes. A setting of "+0" results in no envelope length variation. Refer to: "AMPLITUDE ENVELOPE GENERATOR (AEG) MODE/LEVEL/RATE," page 64.
AMPLITUDE ENVELOPE GENERATOR (AEG) LEVEL SCALE BREAKPOINT

JOB 1 5

The breakpoint can also be set by pressing the [ENTER] key "KBD" will flash on the display and then the key on the keyboard corresponding to the desired breakpoint. Summary: Allows four separate amplitude envelope generator level-scaling breakpoints to be set at any notes between C-2 and G8 for the selected element. Settings: C-2. G8 Procedure: Use the and cursor keys to select the desired breakpoint (BP1, BP2, BP3 and BP4, from left to right), then use the [DATA ENTRY] control or [+1/YES] and [-1/NO] keys to set the breakpoint note. Details: Level scale offset values arc applied to each of the breakpoints using the LEVEL SCALE OFFSET function described below. Natural level variations can thereby be produced across the range of the controlling keyboard. No breakpoint can be set to a key lower than the breakpoint to its left. Refer to: "AMPLITUDE ENVELOPE GENERATOR (AEG) LEVEL SCALE OFFSET" below.
AMPLITUDE ENVELOPE GENERATOR (AEG) LEVEL SCALE OFFSET

JOB 16

Summary: Sets the amount of level offset for each of the four level-scaling breakpoints set in the "AMPLITUDE ENVELOPE GENERATOR
(AEG) LEVEL SCALE BREAKPOINT" function described above. Settings: -127. +127 Procedure: Use the and cursor keys to select the desired offset parameter (OFS1, OFS2, OFS3 and OFS4, from left lo right), then use the
[DATA ENTRY] control, [-1/NO] and [+1/YES] keys/or numeric and [ENTER] keys to set the level-scaling offset for the corresponding breakpoint. Details: Negative values reduce the level, and positive values increase the level at the corresponding breakpoint. No matter what value is chosen, the EG level will never exceed its maximum of 63. When different offsets are set for adjacent breakpoints, the level varies accordingly and smoothly between the breakpoints.

Refer to: "AMPLITUDE ENVELOPE GENERA-
TOR (AEG) LEVEL SCALE BREAKPOINT" on page 66.
SENSITIVITY (VELOCITY, AMPLITUDE & PITCH MODULATION)

Velocity Sensitivity

JOB 17
Summary: Determines how the output level of the selected element changes in response to velocity changes (e.g. keyboard dynamics). Settings: -7. +7 Procedure: If the Velocity Sensitivity ("Vel." on upper LCD line) parameter is not already selected, use the and cursor keys to select it. Use the [DATA ENTRY] control, [-1/NO] and
[+1/YES] keys, or numeric and [ENTER] keys to select the required degree of velocity sensitivity. Details: Plus "+" settings produce higher output level in response to higher velocity values i.e. the harder a key is played, the louder the sound. The maximum setting of "+7" produces the maximum level variation in response to velocity changes. Minus "-" settings produce the opposite effect: lower level in response to higher velocity. A setting of "+0" results in no level variation. Make sure that the volume is turned down when making "-" settings, or you may not be able to hear the full effect.
Velocity Rate Sensitivity ON/OFF
("V.Rate"). Use the [DATA ENTRY] control or [+1/YES] and [-1/NO] keys to select "on" or "off." Details: When this parameter is turned "on," higher velocity values produce a faster attack rate. When "off no envelope rate variation is produced. Refer to: "AMPLITUDE ENVELOPE GENERATOR (AEG) MODE/LEVEL/RATE," page 64.
Summary: Determines whether overall envelope length of the amplitude envelope generator for the selected element will or will not be controlled by velocity information. Settings: on, off Procedure: Use the and cursor keys to select the Velocity Rate Sensitivity parameter
Amplitude Modulation Sensitivity
Summary: Determines the sensitivity of the selected element to amplitude modulation (tremolo effect) applied via the low-frequency oscillator (LFO) and appropriate controllers. Settings: -7. +7 Procedure: Use the and cursor keys to select the Amplitude Modulation Sensitivity parameter ("AMS"). Use the [DATA ENTRY] control, [-1/NO] and [+1/YES] keys, or numeric and [ENTER] keys to set the required degree of amplitude modulation sensitivity.

Details: A setting of "0" allows no amplitude modulation by any means, while a setting of "+7" results in maximum sensitivity to amplitude modulation. Minus settings produce reverse EG bias i.e. a higher modulation value produces lower level. When setting up the low-frequency oscillator or a controller to apply amplitude modulation, this parameter must be set to a value other than "0" for amplitude modulation to take place. Refer to: "LOW FREQUENCY OSCILLATOR (LFO) WAVEFORM/SPEED/DELAY/PHASE" on page 69. "LOW FREQUENCY OSCILLATOR MODULATION DEPTH, AMPLITUDE/ PITCH/CUTOFF" on page 70. "CONTROLLER" functions from page 81 to page 84.
Pitch Modulation Sensitivity
Summary: Determines the sensitivity of the selected element to pitch modulation (vibrato effects) applied via appropriate controllers. Settings: 0. 7 Procedure: Use the and cursor keys to select the Pitch Modulation Sensitivity parameter ("PMS"). Use the [DATA ENTRY] control, [-1/NO] and [+1/YES] keys, or numeric and [ENTER] keys to set the required degree of pitch modulation sensitivity.
Details: A setting of "0" allows no pitch modulation by any means, while a setting of 7 results in maximum sensitivity to amplitude modulation. When setting up the low-frequency oscillator or a controller to apply pitch modulation, this parameter must be set to a value other than "0" for pitch modulation to take place. Refer to: "LOW FREQUENCY OSCILLATOR (LFO) WAVEFORM/SPEED/DELAY/PHASE" on page 69. "LOW FREQUENCY OSCILLATOR MODULATION DEPTH, AMPLITUDE/ PITCH/CUTOFF" on page 70. "CONTROLLER" functions from page 81 to page 84.
LOW FREQUENCY OSCILLATOR (LFO) WAVEFORM/SPEED/DELAY/PHASE
Wave Details: "tri" = Triangle. "dwn" = Downward sawtooth. "up" = Upward sawtooth. "squ" = Square.

"sin" = Sine.

JOB 1 8
Summary: Determines the waveform of the LFO for the selected element. Settings: tri, dwn, up, squ, sin, S/H Procedure: If the Wave parameter is not already cursor keys to seselected, use the and lect it. Use the [DATA ENTRY] control or [+1/ YES] and [-1/NO] keys to select the desired LFO waveform.
"S/H" = Sample and hold. Refer to: "SENSITIVITY (VELOCITY, AMPLITUDE & PITCH MODULATION," page 67.
TRY] control, [-1/NO] and [+1/YES] keys, or numeric and [ENTER] keys to set the desired LFO speed. Details: "0" produces the slowest LFO speed, and "99" produces the fastest LFO speed. Refer to: "SENSITIVITY (VELOCITY, AMPLITUDE & PITCH MODULATION," page 67.

PEG Velocity Switch

Details: When this parameter is turned "on," higher velocity values produce a longer pitch envelope i.e. the harder a key is played the longer the pitch variation. When "off" no envelope rate variation is produced. Refer to: "PITCH ENVELOPE GENERATOR (PEG) LEVEL/RATE," page 71.
Summary: Determines whether overall envelope length of the pitch envelope generator for the selected element will or will not be controlled by velocity information. Settings: on, off Procedure: Use the and cursor keys to select the Velocity. Switch ("Vel.SW") parameter. Use the [DATA ENTRY] control or [+1/YES] and [-1/NO] keys to turn the velocity switch "on" or "off."

FILTER: TYPE/CUTOFF/MODE

Type LPF Filter Response

JOB 22

Summary: Determines the response of the selected filter. Settings: Filter 1 (FL1): THU, LPF, HPF Filter 2 (FL2): THU, LPF Procedure: If the Type parameter is not already selected, use the and cursor keys to select it. Use the [DATA ENTRY] control or [+1/ YES] and [-1/NO] keys to select the desired filter response. Filter 1 or Filter 2 can be selected by holding the [SELECT] key and pressing the numeric [9] or [6] key, respectively. Details: The "THU" (THROUGH) setting turns the filter OFF. The "LPF" (Low Pass Filter) setting produces a filter response that allows only frequencies below the cutoff frequency (See "Cutoff" below) to pass. The "HPF" (High Pass Filter available only on filter 1) setting produces a filter response that allows only frequencies above the cutoff frequency (See "Cutoff" below) to pass.

HPF Filter Response

By combine the HPF setting of filter 1 with the LPF setting of filter 2, it is possible to create a BPF (Band Pass Filter) response that allows only frequencies that fall between the cutoff of the HPF and LPF to pass. In this case the cutoff of the LPF must be set at a higher frequency than that of the HPF. It is also possible to set both filters to "LPF" and the same cutoff frequency, resulting in a steep 24-dB per octave filter slope. Refer to: Tutorial, page 37, 45. "FILTER: CUTOFF ENVELOPE GENERATOR," page 75.
Bandpass Filter (HPF + LPF) Response

Cutoff

Summary: Sets the cutoff frequency of the selected filter. Settings: 0.127 (LPF) 0.114 (HPF) Procedure: Use the and cursor keys to select the Cutoff parameter. Use the [DATA ENTRY] control, [-1/NO] and [+1/YES] keys, or numeric and [ENTER] keys to select the desired cutoff frequency. Filter 1 or Filter 2 can be selected by holding the [SELECT] key and pressing the numeric [9] or [6] key, respectively. Details: Lower cutoff values produce a lower cutoff frequency and higher values produce a higher cutoff frequency.

Summary: Initializes all parameters of the active element. Settings: None Procedure: After selecting the "ELEMENT Initialize" display, press the [ENTER] key. "Sure?" will appear on the upper 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 Element Initialize is executed, the element parameters are initialized to the following values: The element initialize function is useful if you want to begin programming an element "from scratch." Refer to: "VOICE INITIALIZE," page 90.
Jobs AWM wave selection Volume Note shift Detune Low note limit High note limit Low velocity limit High velocity limit Panning Effect balance Oscillator mode/note/tune AEG mode/level/rate
Initialized Values P46 (Tri) 127 +0 +0 C-2 G127 +Mode norm Mode nrm R+0 BP1 C1 OFS1 +0 Velocity +0 Wave tri AMOD 0
Note -RLBP2 G2 OFS2 +0 V. rate off Speed 65 PMOD 0
Tune +0 RRBP3 E4 OFS3 +0 AMS +0 Delay 0 CutoffMOD 0
LRR 63 BP4 C6 OFS4 +0 PMS 3 Phase 0
AEG rate scaling AEG level scale breakpoint AEG level scale offset Sensitivity LFO waveform/speed/delay/phase LFO modulation depth, amplitude/ pitch/cutoff

Jobs PEG level/rate

Initialized Values L0 +0 RRR 63 Range 2oct Type THU L0 +0 RRRR+0 BP1 C1 OFS1 +0 Resonance 0 RL2 +0 RL +0 R. scale +0 Cutoff 127 RL2 +0 L4 +0 RL2 +0 BP2 G2 OFS2 +0 Vel. sens +0 L1 +0 R3 63
PEG sensitivity, range/rate scaling/ velocity Filter: type/cutoff/mode Filter: cutoff envelope generator
Vel. SW off Mode LFO L1 +0 RRR1 0

L3 +0 RL1 +0

Filler: rate scaling Filter: level scaling breakpoint Filter: level scaling offset Filter: resonance/velocity sensitivity/ modulation sensitivity
BP3 E4 OFS3 +0 Mod.sens +0

BP4 C6 OFS4 +0

CONTROLLER: PITCH BEND RANGE

JOB 29

Summary: Sets the maximum pitch bend range. Settings: 0. 12 Procedure: Use the [DATA ENTRY] control, [-1/NO] and [+1/YES] keys, or numeric and [ENTER] keys to set the required pitch bend range. Details: Each increment from "0" to "12" represents a semitone. A setting of "0" produces no pitch
bend. A setting of "12" allows a maximum pitch bend of plus or minus one octave, while a setting of "4" allows a maximum pitch bend of plus or minus a major third. If the MIDI controller used is a keyboard, pitch bend is normally controlled via its pitch bend wheel.

6. Press the [+1/YES] key to confirm and actually execute the copy operation, or [-1/NO] to cancel. "Executing!" will appear briefly on the display while the data is being copied, then "Completed!" will appear for a few seconds when the copy operation has been successfully completed.
cursor keys to move to the and 3. Use the Multi/Voice parameter and select "multi" if you want to copy effect parameters from a multitimbral setup, or "voice" if you want to copy the effect parameters from a preset or internal voice. 4. Next, the cursor to the multi or voice number key, and select parameter by pressing the the multi-timbral setup or voice from which the parameter data is to be copied by using the [DATA ENTRY] control, [-1/NO].and [+1/YES] keys, or numeric and [ENTER] keys. The [INTERNAL], [CARD],or [PRESET] key can be used to select the "P" (preset) or "I" (internal) voice bank if necessary or, if a properly formatted memory card is inserted in the DATA card slot, the "C" or" " card bank.
Once the desired drum element has been selected, move the cursor to the wave name position (if it is not already there) by pressing the cursor key, then use the [DATA ENTRY] control, [-1/NO] and [+1/YES] keys, or numeric and [ENTER] keys to assign the desired wave to the selected drum element. The [PRESET] or [CARD] key can be used to select the "P" (PRESET) or "C" (CARD) memory bank. Details: Note that in addition to drum sounds any other waves may be assigned to the drum elements. This makes it possible to include other non-drum waves in your original drum sets. Drum elements can also be turned "off (unassigned). The "off setting can be selected by decrementing below the lowest-numbered wave. Refer to: Tutorial, page 18, 35.
Summary: Assigns a preset or cartridge wave to each key (drum element) between C1 and C6. Settings: off, P01. P58 (preset voices) P59. P74 (preset drums) off, C01. max. C99 (cartridge voices) Procedure: Select the drum clement to which the new wave will be assigned (C1. C6) by pressing the appropriate key on the keyboard. It is also possible to select the drum element to be edited by moving the cursor to the key key and then name position by pressing the using the [DATA ENTRY] control or [+1/YES] and [-1/NO] keys.
Summary: Allows the volume of individual drum elements to be adjusted, as well as the overall volume of the current drum voice. Settings: 0. 127 Procedure: Select the drum element to be edited (C1. C6) by pressing the appropriate key on the keyboard. It is also possible to select the drum element to be edited by moving the cursor to the key key and then name position by pressing the

Jobs Voice selection Volume Note shift Tune Reserved note Panning Effect: level Effect: source Effect: type/output level Effect: effect parameters Multi name
Initialized Values P01 127

+0 ++0 0

multi Type Output level 1 100% Time LPF Delay 2.6 sec 8.0 KHz 29 ms INIT MULTI
GENERAL OPERATION Selecting the Sequencer Play, Record, & Edit Mode Jobs JOBS & PARAMETERS SEQUENCER PLAY & RECORD MODES MEASURE, TEMPO & TIME SIGNATURE CLICK SELECT SYNC SELECT TRACK TRANSMIT CHANNEL RECORD CHANNEL RECORD FILTER MIDI CONTROL SEQUENCER EDIT MODE MIXDOWN QUANTIZE DELETE INSERT COPY ERASE REMOVE EVENT SONG NAME SONG PROGRAM SONG CLEAR 117
Selecting the Sequencer Play, Record, & Edit Mode Jobs
All basic sequencer record and playback operations have been described in detail in "RECORDING & PLAYBACK WITH THE SEQUENCER" in the tutorial section of this manual. The play and record mode jobs listed in the following pages can be accessed from either the sequencer play or record standby modes by using the standard page access or job number entry methods (see page 52). The sequencer edit mode is accessed by pressing the [EDIT/ COMPARE] key while in the sequencer play mode, and the sequencer edit mode jobs are selected by using the standard page access or job number entry methods. The sequencer edit mode can be exited at any time by pressing the [EXIT] key.
SEQUENCER PLAY & RECORD MODES MEASURE, TEMPO & TIME SIGNATURE

Play Mode Display

Record Mode Display
Summary: Allows selection of the measure from which to begin playback or recording, the tempo at which to play or record, and the time signature of a new track to be recorded. Settings: Measure: M001 M999 (max. is last measure in sequence). Tempo: T030 T240 (beats per minute). Time Signature: 1/4. 4/4, 1/8. 8/8, 1/16. 16/16.
Procedure: Use the[ ] and [ ] cursor keys to move the underline cursor to the desired parameter, then use the [DATA ENTRY] control, the [-1/ NO] and [+1/YES] keys, or the numeric and [ENTER] keys to set as required. The time signature parameter can only be accessed in the record mode when nothing has yet been recorded to the currently selected song. Further, the time signature numerator and denominator can be selected separately using the [ ] and [ ] keys. Details: Although the upper line of this display is different in the play and record modes (song number in play mode, record mode and record track in record mode see "RECORDING & PLAYBACK WITH THE SEQUENCER" in the tutorial section), the parameters on the lower line are the same in both modes. Refer to: Tutorial, page 28.

CLICK SELECT

Summary: Determines when the sequencer's metronome click sounds. Settings: off, rec, play/rec, always Procedure: Use the [DATA ENTRY] control or [-1/ NO] and [+1/YES] keys to select the desired click mode. Details: The "off" setting means that the metronome never sounds. This setting is useful for recording free-tempo passages. The "rec" setting

will appear on the upper line of the display. Press the [+1/YES] to insert or [-1/NO] to cancel the operation. "Executing!" will appear on the display during insert, and "Completed!" will appear briefly when the insert operation is finished. Details: Insert affects all tracks simultaneously. The source measure or range of measures in inserted before the specified destination measure.

Insert M002 004

Measure 6 moved up; measures 2,3 and 4 inserted.
Result with new measure numbers.
Summary: Copies a specified measure or range of measures from one track to the specified measure in another track. Settings: Source and destination track numbers: 1. 8 Beginning and end source measure numbers. Destination measure number. Procedure: Use the [ ] and [ ] cursor keys to select the source track (leftmost parameter, upper line), destination track (rightmost parame-
ter, upper line), beginning source measure (leftmost parameter, lower line), end source measure (center parameter, lower line), or destination measure (rightmost parameter, lower line). Use the [DATA ENTRY] control, [-1/NO] and [+1/ YES] keys, or numeric and [ENTER] keys to select the track and measure numbers. After selecting the desired source and destination tracks/measures, press the [ENTER] key. "Sure?" will appear on the upper line of the display. Press the [+1/YES] to copy or [-1/NO] to cancel the operation. "Executing!" will appear on the display during copy, and "Completed!" will appear briefly when the copy operation is finished.

TRACK1

Details: A copy operation overwrites the data from the beginning of the specified destination measure with the data from the source measure(s). Previous data in the overwritten measures is therefore lost.

TRACK 2

TRACK 2 (Result with new measure numbers.)
Details: An erase operation leaves the specified measures intact but blank.
Summary: Erases all note and event data from the specified measure or range of measures in the specified track. Settings: Track number: 1. 8. Beginning and end measure numbers. Procedure: Use the [ ] and [ ] cursor keys to select the track (leftmost parameter), beginning measure (center parameter), or end measure (rightmost parameter). Use the [DATA ENTRY] control, [-1/NO] and [+1/YES] keys, or numeric and [ENTER] keys to select the track and measure numbers. After selecting the desired track and measures, press the [ENTER] key. "Sure?" will appear on the upper line of the display. Press the [+1/ YES] to erase or [-1/NO] to cancel the operation. "Executing!" will appear on the display during erase, and "Completed!" will appear briefly when the erase operation is finished.

Velocity Curve Velocity Limit High Low Voice Architecture Edit Mode & Function Selection Key Mode Parameter Chart, Blank Parameter Chart, VeloChorus Preset List Selection Volume Drum-set Voice Multi-play Voice Volume Control 11, 17 35

Wave List

Utility Key 5
IMPORTANT SAFETY AND INSTALLATION INSTRUCTIONS
INFORMATION RELATING TO POSSIBLE PERSONAL INJURY, ELECTRIC SHOCK AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST.
WARNING When using electronic products, basic precautions should always be followed, including the following: 1. Read all Safety and Installation Instructions, Supplemental Marking and Special Message Section data, and any applicable assembly instructions BEFORE using this product. 2. Check unit weight specifications BEFORE you attempt to move this product. 3. Main power supply verification. YAMAHA Digital Musical Instrument products are manufactured specifically for use with the main supply voltage used in the area where they are to be sold. The main supply voltage required by these products is printed on the name plate. For name plate location please refer to the graphic in the Special Message section. If any doubt exists please contact the nearest YAMAHA Digital Musical Instrument retailer. 4. Some YAMAHA Digital Musical Instrument products utilize external power supplies or adapters. Do NOT connect products of this type to any power supply or adapter other than the type described in the owners manual or as marked on the unit. 5. This product may be equipped with a plug having three prongs or a polarized line plug (one blade wider than the other). If you are unable to insert the plug into the outlet, contact an electrician to have the obsolete outlet replaced. Do NOT defeat the safety purpose of the plug. YAMAHA products not having three prong or polarized line plugs incorporate construction methods and designs that do not require line plug polarization. 6. WARNING Do NOT place objects on the power cord or place the unit in a position where anyone could walk on, trip over, or roll anything over cords of any kind. An improper installation of this type can create the possibility of a fire hazard and/or personal injury. 7. Environment: Your YAMAHA Digital Musical Instrument should be installed away from heat sources such as heat registers and/or other products that produce heat. 8. Ventilation: This product should be installed or positioned in a way that its placement or location does not interfere with proper ventilation. 9. YAMAHA Digital Musical Instrument products are frequently incorporated into "Systems" which are assembled on carts, stands or in racks. Utilize only those carts, stands, or racks that have been designed for this purpose and observe all safety precautions supplied with the products. Pay special attention to cautions that relate to proper assembly, heavier units being mounted at the lower levels, load limits, moving instructions, maximum usable height and ventilation. 10. YAMAHA Digital Musical Instrument products, either alone or in combination with amplification, headphones, or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do NOT operate at high volume levels or at a level that is uncomfortable. If you experience any discomfort, ringing in the ears, or suspect any hearing loss, you should consult an audiologist. 11. Do NOT use this product near water or in wet environments. For example, near a swimming pool, spa, in the rain, or in a wet basement. 12. Care should be taken so that objects do not fall, and liquids are not spilled into the enclosure. 13. YAMAHA Digital Musical Instrument products should be serviced by a qualified service person when: a. The power supply/power adapter cord or plug has been dam aged; or b. Objects have fallen, or liquid has been spilled into the products; or c. The unit has been exposed to rain; or d. The product does not operate, exhibits a marked change in performance; or e. The product has been dropped, or the enclosure of the product has been damaged. 14. When not in use, always turn your YAMAHA Digital Musical Instrument equipment "OFF". The power supply cord should be unplugged from the outlet when the equipment is to be left unused for a long period of time. NOTE: In this case, some units may lose some user programmed data. Factory programmed memories will not be affected. 15. Electromagnetic Interference (RFI). YAMAHA Digital Musical Instruments utilize digital (high frequency pulse) technology that may adversely affect Radio/TV reception. Please read FCC information (inside cover) for additional information. 16. Do NOT attempt to service this product beyond that described in the user maintenance section of the owners manual. All other servicing should be referred to qualified service personnel.

PLEASE KEEP THIS MANUAL FOR FUTURE REFERENCE!

SPECIAL MESSAGE SECTION

ELECTROMAGNETIC INTERFERENCE (RFI): Your YAMAHA Digital Musical Instrument Product has been type tested and found to comply with all applicable regulations. However, if it is installed in the immediate proximity of other electronic devices, some form of interference may occur. For additional RFI information see the FCC information section located in this manual. IMPORTANT NOTICE: This product has been tested and approved by independent safety testing laboratories in order that you may be sure that when it is properly installed and used in its normal and customary manner, all foreseeable risks have been eliminated. DO NOT modify this unit or commission others to do so unless specifically authorized by YAMAHA. Product performance and /or safety standards may be diminished. Claims filled under the expressed warranty may be denied if the unit is/has been modified. Implied warranties may also be affected. SPECIFICATIONS SUBJECT TO CHANGE: The information contained in this manual is believed to be correct at the time of printing. YAMAHA reserves the right to change or modify specifications at any time without notice or obligation to update existing units. NOTICE: Service charges incurred due to a lack of knowledge relating to how a function or effect works (when the unit is operating as designed), arc not covered by the manufacturer's warranty. Please study this manual carefully before requesting service. NAME PLATE LOCATION: The graphic below indicates the location of the Name Plate on your YAMAHA Digital Musical Instrument. The Model, Serial Number, Power requirements, etc., arc indicated on this plate. You should note the model, serial number and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase.
STATIC ELECTRICITY CAUTION: Some YAMAHA Digital Musical Instrument products have modules that plug into the unit to perform various functions. The contents of a plug-in module can be altered/damaged by static electricity discharges. Static electricity build-ups are more likely to occur during cold winter months (or in areas with very dry climates ) when the natural humidity is low. To avoid possible damage to the plug-in module, touch any metal object (a metal desk lamp, a door knob, etc.) before handling the module. If static electricity is a problem in your area, you may want to have your carpet treated with a substance that reduces static electricity build-up. See your local carpet retailer for professional advice that relates to your specific situation.

No. n00

function Voice on/off Output Select (only TG55) Voice Memory Select Voice Number Volume Tuning Note Shift Multi Static PAN
07 Effect Level 08 Reserve Note

v2 : 0-100 v2 : 0-16

* The SY55 transmits parameter change when output select b0,1,2 = 7. When the TG55 receives this value, the current output select value does not change. * The SY55 transmits bulk dump when output select b0,1,2 = 0. Thus, when the TG55 receives a bulk dump from the SY55, output select becomes stereo L , R.
* When n2 = 00, n1 is used to display the edit screen shown during reception. n1=1 Output select n1=2 Voice on/off When n1 is a value other than 1, the voice on/off edit screen is displayed. The value changes with output select and voice on/off regardless of n1. * When voice on/off is set to "off", the LCD changes to the edit screen when a volume - reserve note parameter change is received, but the value does not change. Voice on/off is forced on when a voice number is received. [CHART (1) 2] Parameter Header Table (VOICE)
MIDI Parameter Change Format F0H 43H 1nH 35H 02H 00H 00H n2H 00H v2H F7H note) n ; device number n2 ; parameter number v2 ; parameter value value v2 : 5-7,10 note 5:1AWM_poly 6:2AWM_poly 7:4AWM_poly 10:DRUM_SET
function --- Element Select Mode --Mode
--- Voice Name --"* " " " * " * " " * " " " " " * * * * " " " "
v2 v2 v2 v2 v2 v2 v2 v2 v2 v2
20-127 20-127 20-127 20-127 20-127 20-127 20-127 20-127 20-127 20-127
* Element select mode 5 - 7 can be selected for voice number 1 - 62. The element select mode is fixed at 10 for voice number 63 and 64. Common
MIDI Parameter Change Format F0H 43H 1nH 35H 02H 00H 00H n2H 00H v2H F7H note) n ; device number n2 ; parameter number v2 ; parameter value value v2 : 0-12 v2 : 0-12,16-28 0-12:0~+12 16-28;0~-12A ( bit4 = sign bit ) note

No. n10

function ---Pitch Bend Wheel --Range --- After Touch Pitch Bend --Pitch Bend Range

No. n13 1C ID 18 19

function

note 0-120:0-120, 121:AT

--- Pitch Modulation --Device Assign ( MIDI Control# ) v2 : 0-121 Modulation Range v2 : 0-127 --- Amplitude Modulation --Device Assign ( MIDI Control# ) v2 : 0-121 Modulation Range v2 : 0-127 --- Filter Modulation --Device Assign ( MIDI Control# ) v2 : 0-121 Modulation Range v2 : 0-127 --- Filter Cut_off --Device Assign ( MIDI control# ) v2 : 0-121 Cut_off Range v2 : 0-127 Reserve Reserve 0 0