s Data Card and Wave Card
Never attempt to force a voice card into the waveform slot, or vice versa. Doing so can cause serious damage to the card connectors.
s Service and Modification
The SY85 contains no user serviceable parts. Opening it or tampering with it in anyway can lead to irreparable damage and possibly electric shock. Refer all servicing to qualified YAMAHA personnel.

s 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.
YAMAHA is not responsible for damage caused by improper handling or operation.

About the Manuals

The SY85 comes with two manuals Getting Started and Feature Reference.
s The Getting Started Manual (this manual)
In addition to an overview of the SY85 controls and connectors (page 10), the Getting Started manual contains six chapters that take you through the main procedures you will need to know to become familiar with your SY85:
1. Setting Up Your System [Page 17]
Basic system connections, powering up, loading and playing the demo, and loading the pre-programmed voice and performance data.
2. Selecting And Playing Voices [Page 21]
Selecting and playing voices from the INTERNAL 1, INTERNAL 2 and CARD memories, and using the real-time controls.
3. The Performance Mode [Page 30]
Selecting and playing performance combinations from the INTERNAL 1, INTERNAL 2 and CARD memories, and programming original performance combinations.
4. Voice Editing & Effects [Page 40]
Fast, easy voice editing and effect setup using the VOICE QUICK EDIT mode.
5. The Sequencer [Page 47]
Recording and playing sequences and patterns.
6. Data Management [Page 64]
Some ideas on how to efficiently manage your SY85 data. We recommend that you go through the tutorials in sequence while actually carrying out procedures on your SY85. Once youve gone through the entire TUTORIALS section in this way, you should be familiar enough with the SY85 to need only the Feature Reference manual in future.

s Icons

The following simple icons are used throughout the Getting Started manual to draw attention to important points and information where necessary. The icons also make it easier to differentiate between information that you should read immediately and information that can be skipped until later, hopefully helping you to become familiar with the SY85 in the quickest, most efficient manner possible.
This icon warns of possible hardware damage, software malfunction, or any other serious problem that may occur due to improper operation or set up. This icon marks information that you must read i.e. important steps or procedures that are essential for proper, efficient, or easy operation. The magnifying-glass icon indicates information that may not be essential for general operation, but is a more detailed explanation of a feature, a description of the principle involved, etc. You can skip this information if full details are not required immediately. Hints or ideas that are not specifically musical but may make operation easier or more interesting are marked by the lightbulb icon.

CAUTION

IMPORTANT

DETAIL

s The Feature Reference Manual
The Feature Reference manual is the nuts and bolts reference for the SY85, individually describing its many functions in detail. The Feature Reference manual is divided into 7 main sections, each describing the various functions within a particular SY85 edit or utility mode.
1. 2. 3. 4. 5. 6. 7. Performance Edit Mode. [Page Voice Edit Mode. [Page Drum Voice Edit Mode. [Page Song Edit Mode.. [Page Pattern Edit Mode. [Page Utility Mode.. [Page Wave Edit Mode.. [Page 13] 57] 119] 147] 201] 209] 237]
Once you have become familiar with the way the SY85 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.
5 OUTPUT 1 and OUTPUT 2 Controls
Adjust the volume of the sound delivered via the rear-panel OUTPUT1 and OUTPUT 2 jacks as well as the PHONES jack.

6 SEQUENCER Keys

Control the recording and playback functions of the internal sequencer.
Getting Started: page 51.
7 Liquid Crystal Display Panel
This 40-character x 2-line backlit liquid crystal display panel shows all essential information for easy operation and programming.
Getting Started: page 21.
8 [F1] through [F8] Function Keys
The functions of these keys depend on the selected mode. They are used to engage a function indicated on the display immediately above the key, or select a parameter immediately above the key for editing.
Getting Started: page 19. Feature Reference: page 10.
9 [CS1] through [CS8] Continuous Sliders
In the voice and performance play modes these controls are used for realtime expressive control. In the edit and utility modes, however, they are used to edit the parameters that appear immediately above each continuous slider on the display.
Getting Started: page 28. Feature Reference: page 10.

0 [SHIFT] Key

The [SHIFT] key is sometimes used to access secondary functions, parameters, or displays. It is also used in conjunction with the [STORE] key to call the edit compare function.
Getting Started: page 35. Feature Reference: page 14.

! [STORE] Key

Used to store edited data to an internal or card memory location. It is also used in conjunction with the [SHIFT] key to call the edit compare function.
Getting Started: page 38. Feature Reference: page 55.
@ [EF BYPASS] Key & Indicator

This key is used to bypass the SY85s internal digital effect system, turning all effects off. Effects are off when the [EF BYPASS] key indicator is lit.
# [EXIT/NO] and [ENTER/YES] Keys
The [EXIT/NO] key can generally be used to exit from any sub-mode or function, while the [ENTER/YES] key is used to engage a variety of sub-modes and functions. These keys are also used to respond to the Are you sure? confirmation prompt when saving or initializing data.
Getting Started: page 27. Feature Reference: page 9.

$ [-1] and [+1] Keys

Can be used to select voices, performance combinations, sequencer songs, and patterns. These keys can also be used to edit parameter values in any of the SY85 edit modes. Either key can be pressed briefly for single stepping in the specified direction, or held for continuous scrolling.
Getting Started: page 23. Feature Reference: page 9.

% Data Entry Dial

The data entry dial provides a fast, efficient way to cover a broad range of voice or performance numbers when, for example, youre looking for a voice but dont know the voice number. Its also handy for making large value changes in any of the edit modes.
Getting Started: page 23. Feature Reference: page 9, 10.
^ PAGE [ ], [ ], and [MENU] Keys
In any of the edit and utility modes these keys are used to select the various edit screens. The [ ] and [ ] are used to scroll backward or forward through the available screens one at a time, while the [MENU] key calls a menu that allows the desired screen to be directly specified and accessed by number.
Getting Started: page 19. Feature Reference: page 8.
& MEMORY [INTERNAL1], [INTERNAL2], & [Card] Keys
Select the memory area internal 1, internal 2, or card from which voices or performance combinations will be selected.
Getting Started: page 21. Feature Reference: page 14.
* GROUP [A] Through [H] Keys
In addition to their function in selecting voice or performance numbers, the GROUP keys are used to enter characters for voice, performance, song, and pattern names. They are also used to enter note lengths when recording with the internal sequencer.

Note that the voices are arranged in categories for easier access. The category of each voice is identified by a two-character prefix, as follows:
AP.. Acoustic Piano OR.. Organ KY.. Keyboard BR.. Brass ST. Strings BA.. Bass GT.. Guitar WN. Wind FI.. Folk Instrument CH.. Chorus TP. Tuned Percussion SP.. Synth Pad SC.. Synth Comp SL. Synth Lead ME.. Musical Effect SE.. Sound Effect DR.. Drums MI. Miscellaneous Instrument AT.. After Touch MW. Modulation Wheel
A more detailed voice list is provided in the Feature Reference manual appendix (page 306 through 309).
If you dont get any sound at this point: Make sure your sound system is turned ON and the volume is turned up to a reasonable level, make sure that the SY85 OUTPUT 1 and OUTPUT 2 controls are turned up to a reasonable level, and check all connections carefully.

s CARD Voice Memory

The CARD memory is an optional Yamaha MCD64 Memory Card (or preprogrammed voice card) plugged into the SY85 DATA slot. Memory cards are convenient for external storage and transportation of voices you or others create. You can also store sets of related voices on different memory cards. An MCD64 Memory Card holds four banks of 64 voices each a total of 256 voices per card. CARD voice numbers are preceded by the letter C. The four voice banks are selected in sequence by repeatedly pressing the [CARD] key:

CI CII C III CIV C I

Individual voices are then selected by using the GROUP and PROGRAM keys (or the [-1]/[+1] keys or data dial) in exactly the same way as the INTERNAL voices.
A properly formatted Yamaha MCD64 memory card (or an appropriate pre-programmed voice card) must be inserted in the CARD slot before the CARD memory can be selected. If no memory card is present, the Data Card not ready! display will appear when you attempt to select the card voice memory. If this happens, press the [EXIT/NO] key to return to the voice play mode.

s Real-time Control

The SY85 provides a number of controllers that can be used for real-time musical control. Some, such as the pitch bend wheel, have a fixed function, while others can be set to control a wide range of parameters including amplitude and pitch modulation, filter modulation, and direct control of effect parameters. Each voice has its own completely independent set of controller assignments, so any assignments you make using the appropriate VOICE EDIT mode functions (described in the Features Reference manual) will apply only to the current voice. q PITCH BEND WHEEL Rolling the PITCH wheel upward (away from you) will raise the pitch of notes played on the keyboard, while rolling the wheel in the opposite direction will lower the pitch. The PITCH wheel is self-centering and will always return to center position (normal pitch) when released.

The maximum range of the PITCH wheel can be set using the PITCH function described on page 82 of the Feature Reference manual.
q MODULATION WHEEL Rolling the MODULATION wheel upward (away from you) will increase the depth of the type of modulation set for the currently selected voice. The MODULATION wheel stays wherever it is set, so you can set it and leave it at any position that produces the desired modulation effect.
The MODULATION wheel can control pitch, amplitude, and frequency modulation, as well as envelope generator bias and filter cutoff frequency. The type of control applied can be independently programmed for each voice using the parameters described on page 83 of the Feature Reference manual.
q FOOT CONTROLLER An optional Yamaha FC7 or FC9 Foot Controller plugged into the rearpanel FOOT CONTROLLER jack can be assigned to amplitude modulation, pitch modulation, frequency modulation, envelope generator bias depth, and filter cutoff frequency depth control via the VOICE EDIT mode FOOT CONTROLLER DEPTH functions described on page 85 of the Feature Reference manual. q KEYBOARD AFTERTOUCH Keyboard aftertouch response is most frequently used for vibrato control: the harder you press the keys the more vibrato is applied. This makes it possible to control vibrato without having to remove one hand from the keyboard to use the MODULATION wheel. For the same reason, aftertouch is also often used for pitch control. Many of the internal voices provided with the SY85 have preset aftertouch functions (see the voice list on page 306 through 309), but you can assign aftertouch to a number of different functions by using the VOICE EDIT mode AFTER TOUCH DEPTH functions described on page 87 of the Feature Reference manual.
The SY85 PERFORMANCE mode makes it possible to combine up to four voices in performance combinations that significantly enhance the instruments performance capabilities. 128 performance combinations can be stored in internal memory and recalled in the same way as the voices. Before we look at how you can create your own performance combinations, try selecting and playing some of the combinations provided with the SY85.
s Play the Internal Performance Combinations
The SY85 can access three different performance memories INTERNAL 1, INTERNAL 2, and CARD.

CO Gospl OR Cheap SP Pluto SC Clank ME Ecko GT Harm SE Zoom BR Reeds CO Ethos KY PnoMW SP Synth FI Santo ME Alien GT El12 SE Delay BR Lips CO Kings KY Calio SP Anlog SC Wind ME Spark GT 12Str SE Flies BR Miles CO Happi KY Digi3 SP Arpeg TP Bells ME Hit GT Acstc SE Hero BR Fanfr
* In addition to the voice categories described on page 26, the performance mode has a CO (combination) category.
s CARD Performance Memory
Any Yamaha MCD64 Memory Card used for voice storage can be used for performance storage as well. An MCD64 Memory Card holds two banks of 64 performance combinations each a total of 128 performance combinations in addition to 256 voices per card. CARD performance numbers are preceded by the letter C. The two performance banks are selected in sequence by repeatedly pressing the [CARD] key:

CI CII C I

Individual performance combinations are then selected by using the GROUP and PROGRAM keys (or the [-1]/[+1] keys or data dial) in exactly the same way as the INTERNAL voices and performance combinations.
A properly formatted Yamaha MCD64 memory card (or an appropriate pre-programmed voice card) must be inserted in the CARD slot before the CARD memory can be selected. If no memory card is present, the Data Card not ready! display will appear when you attempt to select the card memory. If this happens, press the [EXIT/NO] key to return to the performance play mode.
Respond to Are you sure? on the display by pressing the [ENTER/YES] key again. Completed will appear for a few seconds when the initialization job has finished.
PERFORMANCE`JOB`Initialize`````````````` ```Completed`!```````````[EDIT]`LYR`````
3. Select the Performance Edit LAYER Mode
Press the SUB MODE [EDIT] key. This selects the performance edit mode. Use the PAGE [ ] and [ ] keys to select the LAYER entry screen (if it doesnt appear immediately).
LAYER``````````````````````````````````` `````````````````````````````Hit`[ENTER]
When youve located this screen, press [ENTER/YES] to engage the performance edit LAYER mode.

1: Piano 2: Key 3: Brass 4: Wind 5: Strings 6: A.Guitar 7: E.Guitar 8: Bass 9: Folk 10: Synth 11: Choir 12: TPerc 13: Drum 14: Perc 15: SE 16: Osc Acoustic pianos. Other keyboards. Brass instruments. Wind instruments. Strings. Acoustic guitars. Electric guitars. Acoustic & electric bass. Folk & ethnic instruments. Synthesizer sounds. Choir & human voice. Tuned percussion. Drums. Percussion instruments. Sound effects. Basic oscillator waveforms.
Once the desired group has been selected, use [CS5] to select the wave to be used in the current voice. The [INTERNAL 1], [INTERNAL 2], and [CARD] keys can also be used to select the memory area from which the wave is to be selected. A complete listing of the internal waves is given in the Feature Reference manual appendix (page 310).
4. Select and Set the Amplitude Envelope Generator Parameters

Use the PAGE [

k] and [l] keys to locate the QED AEG Type screen.
QED`AEG)Type`````````Atk``Sus``Rel``Vel` ```1:Piano````````````63```--```27```+3`
Rather than having to set numerous level and rate values via the full-edit amplitude envelope generator parameters, these parameters let you select from a range of preset envelope types, and then modify the overall attack, sustain, and release characteristics as required. [CS1] selects either the envelope defined by the current amplitude envelope parameter settings, or one of 21 preset amplitude envelope types for the current voice. The envelope types are:
Quick Edit Envelope Types
0: -------1: Piano 2: Brass 3: SfzBrass 4: SynBrass 5: StFast 6: StSlw/Pd 7: E.Bass 8: SynBass1 9: SynBass2 10: Organ 11: Guitar 12: Pluck1 13: Pluck2 14: SynPad 15: SynComp 16: Percusiv 17: S.Ideal1 18: S.Ideal2 19: S.Ideal3 20: S.Ideal4 21: Init Full-edit envelope. Acoustic piano. Brass. Sforzando brass. Synthesizer brass. Fast-attack strings. Slow-attack strings (pad). Electric bass. Synthesizer bass 1. Synthesizer bass 2. Organ. Guitar. Plucked instrument 1. Plucked instrument 2. Synthesizer pad. Synthesizer comping (backing). Percussive. Sound envelope 1. Sound envelope 2. Sound envelope 3. Sound envelope 4. Initialized envelope.

s Real-time Recording (Tracks 1 8)
Realtime recording allows you to directly record anything you play on the keyboard, capturing the spontaneous timing, keyboard dynamics and controller operations of the performance. Using the realtime recording mode is, in fact, very much like using a conventional tape recorder. Realtime recording is best for parts you can play easily on the keyboard, and for passages in which you want to retain the human feel of naturally varying timing and other musical factors.
1. Engage the Song Mode and Select a Song Number
Press the [SONG] key to engage the song mode.
SONG`PLAY``````Meas``Tempo`Time````(TR1) `02:InitSong````001```120``4/`4````[Tch]
The SY85 can hold up to 10 different songs in memory at the same time. Use [CS1] to select a song number from 1 to 10. If this is the first song youve recorded, 1 is a logical choice. Optional Set the Transmit Channel For Each Track.
This step is only necessary if you want to change the default track transmit channel settings: tracks 1 through 8 normally transmit on MIDI channels 1 through 8, respectively. Press [F8] to call the Track Transmit Channel display.
Track`Transmit`Channel`````````````````` ```1````2````3````4````5````6````7````8`
Here you can specify which MIDI channel (1 16) each of the sequencers 8 main tracks will transmit on. Functions keys [F1] through [F8] correspond to tracks 1 through 8. Press a function key to move the underline cursor to the MIDI channel parameter for that track, then use the corresponding control slider (e.g. [CS3] for track 3) to set the MIDI transmit channel for that track. The MIDI transmit channel for the rhythm track (track 9) can be set by holding the [SHIFT] key and using the [CS8] control slider (note that RH9 appears above [CS8] while the [SHIFT] key is held). The rhythm track is normally set to transmit on channel 16.
This function is obviously important if you will be using the SY85 sequencer to drive an external tone generator that has specific channel requirements.
2. Program the MULTI Setup For the Selected Song
Each SY85 song has an independent multi setup that can have up to 16 voices assigned to instruments 1 through 16. Each instrument is controlled via the correspondingly numbered MIDI channel. Press the SUB MODE [MULTI EDIT] key, and then use the PAGE [k ] and [l ] keys to locate the MULTI Voice Select screen shown below. This screen lets you select the voices that are to be played via the various multisetup channels.

MULTI`Voice`Select`1-`8```````<SP`Makro> PA1`PA1`PA1`PA1`PA1`PA1`PA1`PA1`
Only eight voice numbers are shown on the display at one time. Use the PAGE [k ] and [l ] keys while holding the [SHIFT] key to switch between multi instruments and 9 16. The currenty selected group of voices is indicated on the upper display line. After moving the cursor to the instrument you want to edit by pressing the appropriate function key, use the same function key to toggle between PERFORMANCE or VOICE memory (P or V at the beginning of the voice number). Then use the [INTERNAL 1], [INTERNAL 2], and [CARD] keys to select the memory area from which the voice is to be selected, and finally the GROUP and PROGRAM keys to select the voice. Voices within the selected memory bank can also be selected directy for each channel by the appropriate CS sliders. Internal and card voices cannot be mixed. The voices can individually turned on or off by using the [-] (off) and [+] (on) keys while holding the [SHIFT] key. The name of the currently selected voice is shown in the upper right corner of the display.
To make locating voices for multi assignment faster and easier, a voice search function can be accessed from the MULTI Voice Select screen by pressing the SUB MODE [COPY] key.
q STEP The STEP record mode will be described in STEP RECORDING beginning on page 52. q PUNC (Real-time Punch-in) Punch-in recording makes it possible to re-record (replace) a section of a previously-recorded track without affecting the data before and after the punch-in section. All operations are the same as for replace recording, except that you must specify the measure numbers for the beginning and end of the punch-in segment. If you select punc instead of over or repl, (see step 3, above) the display will appear as follows:
SONG`RECORD````Meas`Tempo`Time`--------` PUNC``001`001``001``120``4/`4``````````
Use the [CS2] and [CS3] control sliders to set the punch-in and punchout measures, respectively, prior to recording. Other parameters within this display can be set in the same way as for replace or overdub recording. Once recording is started the sequence will play back until the punch-in point is reached, then the replace record mode will be activated until the punch-out point is reached, allowing you to record the new material. If recorded material exists following the punch-out point, playback will continue until the end of the sequence. 3-4 Set the Record Tempo.
Use [CS5] to set the tempo you want to record at (shown in beats per minute on the display). The tempo can be set from 30 to 240 beats per minute. 3-5 Set the Time Signature.
Use [CS6] to set the time signature of the song to be recorded. The time signature can only be set if the song selected for recording is clear and does not contain any previous data. See CLEAR SONG on page 179 of the Feature Reference manual for instructions on how to clear one or all songs.

Program`Change`````````````````````````` ````````````````PFM``A1:SP`Makro``[GO]`
Use [CS4] to select PFM if you want to switch to a performance combination or VCE if you want to switch to a voice, select the performance combination or voice in the normal way, the press [F8] (under [GO] on the display) to enter the specified program change (or [EXIT] to quit and return directly to the step-record display). The display will return to the step record edit display, and a p will occur at the point at which the program change command was entered. Program change commands can be erased in the same was as notes by using the [ERASE] key.

7. Press [STOP]

When the track is finished, press [STOP] to return to the SONG play mode. Now you can press [RUN] and hear how the sequence sounds.
s Creating A Rhythm Track
SY85 rhythm tracks are most easily and efficiently created by creating a sequence of rhythm patterns. The SY85 has memory for 100 internal patterns, initially containing 100 pre-programmed patterns covering a wide variety of musical styles. You can use these patterns as they are, edit them, or record totally new ones as required (the pre-programmed patterns can be re-loaded from the disk supplied with the SY85 at any time). q LISTEN TO THE INTERNAL PATTERNS

1. Press [PATTERN]

Press the [PATTERN] key to engage the pattern mode.
PATTERN`PLAY```Meas`Tempo`Time`````````` I00w:Funk```V`````1``120``4/`4``````````

2. Select a Pattern

Use [CS1] (or any of the other data entry controls as long as the cursor is below the pattern number) to select a pattern number (00 99). The name of the pattern appears to the right of the number. The letter to the right of the pattern name indicates whether it is a verse (V), fill-in (F), or chorus (C) pattern. The number below Meas on the display indicates how many measures long the patterns is (1 4). [CS5] can be used to adjust the tempo, below Tempo on the display. The number below Time is the patterns time signature.
Three variations are provided for most of the pre-programmed patterns (verse, fill-in, and chorus) so you can create complete songs with minimum editing.
3. Play the Selected Pattern
Press the SEQUENCER [RUN] key to play the selected pattern. The pattern will repeat continuously unil the [STOP] key is pressed. You can select a different pattern while a pattern is playing, and the new pattern will only begin playing as soon as the current pattern finishes (the new pattern number will flash in the meantime).
q RECORDING AN ORIGINAL PATTERN REAL TIME
1. Select a Pattern Number
In the PATTERN mode, select the number of the pattern you want to edit or record.
Clear the Current Pattern.
If you want to record a totally new pattern from scratch, clear the existing pattern: press the SUB MODE [JOB] key, use the PAGE [ ] and [ ] keys to locate the PTN JOB Clear Pattern screen.

PTN`JOB`Clear`Pattern`````ptn``````````` [PTN]`ALL``KEY`<Funk```V>`I00w``````````
Press [F1] so that the square brackets appear around PTN on the display. This means that you want to clear a single pattern. If necessary, use [CS6]. to select the pattern you want to clear, then press [ENTER/YES].
PTN`JOB`Clear`Pattern`````Are`you`sure`? [PTN]`ALL``KEY`<Funk```V>`I00w``````````
Respond to this Are you sure ? display by pressing [ENTER/YES] again if you want to go ahead and clear the pattern, or press [EXIT/NO] to cancel the operation.
2. Set the Pattern Record Parameters
2-1 Engage the Record Mode. Press the sequencer [RECORD] key to engage the record standby mode. The red [RECORD] indicator will light.
PATTERN`RECORD`Meas`Tempo`Time`Qntz`Vel` `REAL``PTN=I00````1``120``4/`4``1/4`norm
2-2 Select a Record Mode.
Use [CS1] to select the desired record mode. The different record modes are: q REAL (Real-time Overdub) Material recorded in the overdub mode is recorded over any previous material, so you end up with a combination of the previous and newlyrecorded data.
q STEP The STEP record mode will be described in Recording an Orignal Pattern Step Record beginning on page 58. 2-3 Select the Pattern Number to Be Recorded.
If necessary, use [CS3] to select the pattern number to be recorded. 2-4 Set the Number of Measures.
Use [CS4] to set the length of the pattern in measures (1 4). 2-5 Set the Record Tempo.
Use [CS5] to set the tempo you want to record at (shown in beats per minute on the display). The tempo can be set from 30 to 240 beats per minute. 2-6 Set the Time Signature.
Use [CS6] to set the time signature of the pattern to be recorded. The time signature can only be set if the pattern selected for recording is clear and does not contain any previous data. 2-7 Set the Quantize Value.
Use [CS7] to set the quantize value at which you want to enter the pattern data. The available quantize values are 1/4, 1/6, 1/8, 1/12, 1/16, 1/ 24, and 1/32. Quantization can also be turned off if you want maximum note resolution. 2-8 Set the Velocity Value.
The velocity of the notes to be entered is set via the NORM (PROGRAM [4]), ACC1 through ACC3" (PROGRAM [5] through [7]), and FIX (PROGRAM [8]) keys. The actual velocity values of the accents ACC1 through ACC3 - can be set via the UTILITY SEQ SETUP mode SEQUENCER Accent screen, described on page 220 of the Feature Reference manual. If the Fix parameter is set to kbd, then kbd will appear on the display when you press the FIX (PROGRAM [8]) key, and the notes will be entered at the velocity with which they are played on the keyboard.
3. Press [RUN] To Start Recording
Press the [RUN] key and start recording. The [RUN] key indicator flashes to indicate the tempo red on the first beat of every measure and green on all other beats.

When youve selected the required note length, play the key corresponding to the instrument to be entered on the keyboard. The cursor will move to the beginning of the next note.
Instrument Display Selection Only one instrument is shown on the step write display line at a time. The name of the instrument (and the key via which it is played) is displayed following INST= on the lower display line. To change the displayed instrument, press the key corresponding to the desired instrument on the keyboard while holding the [F4] key. Entered notes appear as a dot (q) if they fall precisely on a beat, or as a cross (X) if slightly off the beat.
Repeat steps 3 through 5 until the required material is entered. You can move the cursor back and forth using the data entry dial, adding notes wherever you like even on top of other notes.
Erasing Notes To erase a note at the current cursor position, hold the [SHIFT] key (ERASE will flash on the display) and press the key on the keyboard correpsonding to the instrument to be erased.
When the pattern is finished, press [STOP] to return to the PATTERN play mode. Now you can press [RUN] and hear how the pattern sounds. q BUILDING A RHYTHM TRACK A rhythm track is built up as a sequence or parts, each part corresponding to a single pattern. The part sequence is specified in the SONG EDIT mode. When the track edit mode is engaged while the rhythm track (track 9) is selected, or when the rhythm track is selected while the track edit mode is engaged, the following display will appear:
SONG`EDIT``````````````````````````````` Part:`001``ptn``***`[INS][DEL][CPY][SCH]
This initial display allows any existing rhythm part to be selected via [CS2] (001 999), the event located at that part to be changed via [CS3], and the parameter associated with the event to be changed via [CS4]. The various event types and their parameters are as follows: q ptn (Pattern number) Use [CS4] to select a different pattern number as required (I00 I99).
q ||: (Begin repeat) This symbol indicates the beginning of a range of rhythm parts to be repeated. The begin repeat event has no other parameter. q :|| (End repeat) A ||: must always be followed at some point by a :|| symbol signifying the end of the range of parts to be repeated. Use [CS4] to set the number of times the specified section is to be repeated (x 0 x99). q vol (Volume change) This event produces a volume change at the selected part. The [CS4] slider sets the new volume level (0 127). q tmp (Tempo change) This event indicates a tempo change to occur over a specified number of beats. The numbers above the [CS4] slider define the tempo change: the number to the left of the slash (-+99, or atmp for a tempo) sets the number of beats per minute by which the tempo will decrease or increase, and the number to the right of the slash (0 99) sets the number of beats from the tmp mark over which the change will occur. A setting of +20/8, for example, would increase the tempo by 20 beats per minute over 8 beats (2 measures of 4/4 time). The [F4] function key is used to toggle the cursor between the left and right numbers, and [CS4] is used to change the selected number. q mark (Search mark) This sets one of 16 markers to be used by the rhythm track search function described on page 63. [CS4] is used to specify the marker (A P). The [F5] through [F8] function keys are used to access the rhythm track edit functions described below:

q [F5]: INS = Rhythm Track Insert
SONG`EDIT`Insert`Part``````````````````` `Part:001=`ptn``***`````````````````````
This function is used to insert a new part at any point in an existing rhythm track. Press [F5] to engage the rhythm track insert function after locating the desired insert point via the main rhythm track edit screen, described above. Then use [CS3] and [CS4] to specify the event to be inserted. The event types that can be inserted and their parameters are exactly the same as those described for the main rhythm track edit screen, above. Once the event to be inserted has been specified, press [ENTER/YES] to begin the insert procedure. Are you sure? will appear on the display. Press [ENTER/YES] again to confirm that you want to go ahead with the insert operation, or press [EXIT/ NO] to cancel. When the event has been inserted, Completed! will appear briefly on the display, then the display will return to the main rhythm track edit mode. q [F6]: DEL = Rhythm Track Delete
SONG`EDIT`Delete`Part``````````````````` `Part:001=`ptn``***`````````````````````
This function is used to delete a part from an existing rhythm track. Press [F6] to engage the rhythm track delete function after locating the part to be deleted via the main rhythm track edit screen, described above, the press [ENTER/YES]. Press [ENTER/YES] again to confirm that you want to go ahead with the delete operation, or press [EXIT/NO] to cancel. When the part has been deleted, Completed! will appear briefly on the display, then the display will return to the main rhythm track edit mode.
q [F7]: CPY = Rhythm Track Copy
SONG`EDIT`Copy`Part```````from``````To`` `Part:001=`ptn``***```````001`001``001`
This function is used to copy a part or a range of parts to any other point in a rhythm track. Press [F7] to engage the rhythm track copy function. Then use [CS6] to select the number of the first part in the range of parts to be copied (001 999), [CS7] to select the number of the last part in the range of parts to be copied (001 999), and [CS8] to select the part number to which the source parts will be copied (001 999). Press [ENTER/YES] to begin the copy procedure. Are you sure? will appear on the display. Press [ENTER/ YES] again to confirm that you want to go ahead with the copy operation (which will overwite existing parts from the destination part number), or press [EXIT/NO] to cancel. When the parts have been copied, Completed! will appear briefly on the display, then the display will return to the main rhythm track edit mode. q [F8]: SCH = Rhythm Track Search
SONG`EDIT`Search`Mark``````````````````` ```A````B````C````D````E````F````G````H`
This function makes it possible to directly locate marks entered in the track using the mark event in the main rhythm track edit screen. The [SHIFT] key is used to toggle between marks A through H and I through P. Square brackets appear around marks that exist within the rhythm track. To go directly to a marked location, simply press the function key immediately below the desired mark. The main rhythm track edit screen will appear with the marked part selected.

Out1 Dry/Out2 Dry

Range: Controls: [CS4]/[CS8], [-1] [+1], Dial These parameters and the corresponding Out1 Wet and Out2 Wet parameters, above, work together to balance the effect (wet) and direct (dry) signals delivered via the EFFECT 1 and EFFECT 2 processors, respectively. Higher Dry values produce more direct, dry sound in relation to the effect sound. Although the Wet and Dry parameters can be set independently, adjusting one will cause the other to change so that their total is always 100(%). If a controller is assigned to the Out1 Dry or Out2 Dry parameter (page 45), an inverse c will appear to the right of the parameter.
6: SEND & EFFECT 2 MIX LEVEL
[PERFORMANCE] [EFFECT EDIT] [MENU] 6:Mix Level [ENTER/YES]
These parameters determine the mix level between each effect send and the output of the preceding effect stage. Refer to the section beginning on page 254 for details on the overall SY85 effect system.
EF`Mix`Level```EF2``Insert`1b```2a```2b` ````````````````--`````````--```--````0%
EF2 Mix (Effect 2 mix level)
Range: Controls: [CS4], [-1] [+1], Dial Mixes the output of the EFFECT 2 processor with that of the EFFECT 1 processor. This parameter can only be used with the serial effect mode is selected. If any other mode is selected (off or para), --- appears on the display in place of the value. If a controller is assigned to the EF2 Mix parameter (page 45), an inverse c will appear to the right of the parameter.
Insert 1b, 2a, 2b (Insert level)
Range: Controls: [CS6], [CS7], [CS8], [-1] [+1], Dial These parameters mix the dry signal sent to the corresponding effect stage with the output of the preceding effect stage. The higher the value the greater mix level. If the current effect configuration does not allow one of these mix parameters, -- will appear in place of the mix level parameter. If a controller is assigned to the one of these parameters (page 45), an inverse c will appear to the right of the parameter.
7: EFFECT 1 PARAMETERS 8: EFFECT 2 PARAMETERS
[PERFORMANCE] [EFFECT EDIT] [MENU] 7:EF1 Parameter [ENTER/YES] 8:EF2 Parameter [ENTER/YES]
Each of the SY85s 90 effects has 8 parameters that can be edited via the parameters in this screen to fine-tune the effect.
EF1`PARAM`<Rev.Stage1>```)ER/Rev`Bal[%]( `2.5``1.0```10```32```16````4````0`12.0
Each parameter is controlled by the corresponding slider (i.e. the slider immediately below each parameter). The [-1]/[+1] keys and data entry dial can also be used to edit the parameter at which the cursor is currently located. Refer to page 274 for a complete listing of the parameters provided for each effect.

Range: -63. +63 Controls: [CS5], [-1] [+1], Dial Determines how the filter cutoff frequency changes in response to velocity changes (e.g. keyboard dynamics). Plus + settings produce higher cutoff frequencies in response to higher velocity values i.e. the harder a key is played, the higher the cutoff frequency. The maximum setting of +63 produces the maximum level variation in response to velocity changes. Minus - settings produce the opposite effect: lower cutoff in response to higher velocity. A setting of +0 results in no cutoff variation.
Range: -63. +63 Controls: [CS8], [-1] [+1], Dial Determines how key velocity (keyboard dynamics) affect the attack portion of the filter EG envelope. Plus (+) settings produce an increase in attack time in proportion to key velocity, while minus (-) settings produce a decrease in attack time in proportion to key velocity. The greater the value the greater the change in attack time.

FILTER DATA COPY

[VOICE] [EDIT] [MENU] 3:Filter [ENTER/YES] [ENTER/YES] [COPY]
This function facilitates voice editing by allowing the filter parameters from any other voice (the source voice) to be copied to the current voice. You can copy a filter setup that is close to the type you want, then edit it to produce the required sound.
FILTER`COPY`````From`Voice`````````````` `````````````````````A1:InitVce
Range: Any INTERNAL or CARD voice Controls: MEMORY, GROUP, PROGRAM, [CS5], [-1] [+1], Dial Use the [INTERNAL 1], [INTERNAL 2], and [CARD] MEMORY keys to select the memory area from which the source voice is to be selected. Use the GROUP keys to select the source voice bank, then use the PROGRAM keys to select the source voice number. The [CS5] slider and other data entry controls can also be used to select the source voice number. Once the source voice has been selected, press the [ENTER/YES] key. Are you sure? will appear on the display.
FILTER`COPY`````From`Voice`````````````` Are`you`sure`?```````A1:InitVce
Press the [ENTER/YES] key again to copy the filter data, or press [EXIT/ NO] to cancel the copy operation. Once the copy operation has finished, Completed! will appear on the display briefly, then the display will return to the filter edit mode.

1: LEVEL & RATE

[VOICE] [EDIT] [MENU] 4:Pitch EG [ENTER/YES] [ENTER/YES] [MENU] 1:Level&Rate [ENTER/YES]
In addition to the amplitude and filter envelope generators, the SY85 has an independent pitch EG that can be used to produce subtle or pronounced time-based pitch variations. The pitch EG has 5 programmable levels and 4 rates for extended flexibility.

Number

Range: P001 P244, I00 I63, C00 C63 Controls: MEMORY, [CS5], [-1] [+1], Dial Selects the wave (AWM waveform) to be used in the current voice. Use the Group parameter, above, to select the group containing the wave that is to be selected. The [INTERNAL 1], [INTERNAL 2], and [CARD] keys can also be used to select the memory area from which the wave is to be selected. A complete listing of the internal waves is given in the Appendix, on page 310.

2: AMPLITUDE EG

[VOICE] [QUICK EDIT] [MENU] 2:AEG [ENTER/YES]
Rather than having to set numerous level and rate values via the full-edit amplitude EG parameters, these parameters let you select from a range of preset envelope types, and then modify the overall attack, sustain, and release characteristics as required. For full amplitude EG parameters see page 60.
QED`AEG)Type`````````Atk``Sus``Rel``Vel` ``0:--------``````````63```63```50```+0`

Type (Envelope type)

Range: Controls: [CS1], [-1] [+1], Dial Selects either the envelope defined by the current amplitude envelope parameter settings (page 60), or one of 21 preset amplitude envelope types for the current voice. The envelope types are: Quick Edit Envelope Types
00:-------01:Piano 02:Brass 03:SfzBrass 04:SynBrass 05:StFast 06:StSlw/Pd 07:E.Bass 08:SynBass1 09:SynBass2 10:Organ 11:Guitar 12:Pluck1 13:Pluck2 14:SynPad 15:SynComp 16:Percusiv 17:S.Ideal1 18:S.Ideal2 19:S.Ideal3 20:S.Ideal4 21:Init Full-edit envelope Acoustic piano Brass Sforzando brass Synthesizer brass Fast-attack strings Slow-attack strings (pad) Electric bass Synthesizer bass 1 Synthesizer bass 2 Organ Guitar Plucked instrument 1 Pluched instrument 2 Synthesizer pad Synthesizer comping (backing) Percussive Sound envelope 1 Sound envelope 2 Sound envelope 3 Sound envelope 4 Initialized envelope

Atk (Attack rate)

Range: Controls: [CS5], [-1] [+1], Dial Sets the attack rate for the selected envelope. 63 produces the fastest attack, while 0 produces the slowest attack.

Sus (Sustain level)

Range: Controls: [CS6], [-1] [+1], Dial Sets the sustain level for the selected envelope.

Rel (Release rate)

Range: Controls: [CS7], [-1] [+1], Dial Sets the release rate for the selected envelope.
Velo (Velocity sensitivity)
Range: -7 +7 Controls: [CS8], [-1] [+1], Dial Determines how the output level of the current voice changes in response to velocity changes (e.g. keyboard dynamics). 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.

3: FILTER

[VOICE] [QUICK EDIT] [MENU] 3:Filter [ENTER/YES]
The simplified filter parameters provided here have been specifically created for fast, efficient filter programming. For full filter parameters see page 65.
QED`FILTER)Type```````````Coff`Reso``Vel `````````````0:--------```---```--```+0`
Range: Controls: [CS3], [-1] [+1], Dial Selects either the filter defined by the current filter parameter settings (page 65), or one of 15 preset filter types for the current voice. The filter types are: Quick Edit Filter Types
0:-------1:VeloSoft 2:VeloWide 3:VeloHard 4:VeloReso 5:SynBass1 6:SynBass2 7:SynBras1 8:SynBras2 9:Sweep 10:SlowAtak 11:LPF_Init 12:HPF_Init 13:BPF_Init 14:BEF_Init 15:Thru Full-edit filter Velocity sensitive, soft response Velocity sensitive, wide response Velocity sensitive, hard response Velocity sensitive, resonant Synthesizer bass 1 Synthesizer bass 2 Synthesizer brass 1 Synthesizer brass 2 Sweep-frequency filter Slow-attack filter Initialized LPF Initialized HPF Initialized BP Initialized BEF No filter

Coff (Cutoff frequency)

Range: Controls: [CS6], [-1] [+1], Dial Sets the cutoff frequency of the selected filter. Lower cutoff values produce a lower cutoff frequency and higher values produce a higher cutoff frequency. If the Thru filter type is selected, no cutoff frequency can be set and --- appears on the display in place of the parameter.
Range: Controls: [CS7], [-1] [+1], Dial Determines the degree of filter resonance. This parameter has a similar effect to the resonance settings on traditional analog synthesizer filters i.e. it determines the height of a peak in the filter response at the cutoff frequency. If a filter type other than LPF is selected, no resonance can be produced and --- appears on the display in place of the parameter.
Range: -63 +63 Controls: [CS8], [-1] [+1], Dial Determines how the filter cutoff frequency changes in response to velocity changes (e.g. keyboard dynamics). Plus + settings produce higher cutoff frequencies in response to higher velocity values i.e. the harder a key is played, the higher the cutoff frequency. The maximum setting of +63 produces the maximum level variation in response to velocity changes. Minus - settings produce the opposite effect: lower cutoff in response to higher velocity. A setting of +0 results in no cutoff variation.

4: LFO

[VOICE] [QUICK EDIT] [MENU] 4:LFO [ENTER/YES]
Here, the main LFO parameters are simplified and concentrated in a single screen for quick, easy programming. For full LFO parameters see page 78.

QED`LFO)```Type`````Speed``Depth`` ```````````--------```64```---``
Type (LFO modulation type)
Range: --------, vibrato, tremolo, wahwah Controls: [CS3], [-1] [+1], Dial Determines whether the LFO will produce vibrato (pitch modulation), tremolo (amplitude modulation), or wahwah (filter cutoff modulation) effects. The current LFO parameter settings (page 78) are selected when this parameter is set to --------.
Range: Controls: [CS5], [-1] [+1], Dial Sets the speed of the LFO. 0 is the slowest speed setting, producing an LFO speed of approximately 0 Hertz. The fastest setting of 99 produces an LFO speed of approximately 25 Hertz.
Range: Controls: [CS6], [-1] [+1], Dial Sets the maximum amount of amplitude (tremolo), pitch (vibrato), or filter cutoff (wahwah) modulation that can be applied to the current voice. A 0 setting produces no modulation while a setting of 127 produces maximum modulation.
[VOICE] [QUICK EDIT] [MENU] 5:Effect Type [ENTER/YES]
QED`EFFECT)```Type```````````Wet`Balance ``06:Rev.Stage1``00:Through``````````50%

Wet Balance

Range: Controls: [CS8], [-1] [+1], Dial [CS8] controls the balance between the direct no-effect sound and the effect sound delivered via the OUTPUT 1 jacks. The maximum setting of 100 produces maximum effect depth.
[VOICE] [QUICK EDIT] [MENU] 6:Effect Param [ENTER/YES]
QED`EF`PARAM)`<```Stge>``)LPF`````[kHz]( `2.5``1.0```45``1.0``---``---``---``--F1 F2 F3 F4 F5 F6 F7 F8
This screen provides access to the four main parameters each for the current selected effect 1 and effect 2. The four effect 1 parameters are edited via [CS1] through [CS4], while the four effect 2 parameters are edited via [CS5] through [CS8]. The parameters are different for each effect (refer to page 274 for details). The EFFECT mode PARAMETERS screen described on page 109 provides full access to all 8 effect parameters.
[VOICE] [EFFECT EDIT] [MENU] 1:Mode, Type [ENTER/YES]
EF`Mode`````EF1`Type```````EF2`Type`` ```2:para```06:Rev.Stage1``00:Through

2: SEND, MIX, WET:DRY

[VOICE] [EFFECT EDIT] [MENU] 2:Send, Mix, Wet:Dry [ENTER/YES]
The balance between the direct sound of the voice and the effect sound is a delicate thing. Even slight changes can make a big different to the final sound. The parameters provided in this screen provide precise balance control.
EF`Level``Send```EF2`Mix```Out1`Wet:Dry` ```````````127```````---````````50`:`50`
Range: Controls: [CS3], [-1] [+1], Dial This parameter adjusts the amount of direct voice signal that is sent to the effect processors, determining the strength of the final effect sound. A setting of 0 results in no effect, leaving only the dry sound of the voice. The maximum setting of 127 produces the maximum amount of effect.

9: INSERT MEASURE

[SONG] [A]~[H] [SONG JOB] [MENU] 9:Insert Measure [ENTER/YES]
Inserts a specified measure or range of measures from all tracks before any other specified measure. This job is not available when the rhythm track (track 9) is selected.
SONG`JOB`Insert`Measure```From``````To`` `````````(`TR18`All`)````001`001``001`
From (Source measure range)

To (Destination measure)

Range: Controls: [CS8], [-1] [+1], Dial Use [CS6] and [CS7] to specify the first and last measures in the range to be copied, and [CS8] to select the destination measure number at which the source data will be inserted. Press [ENTER/YES] to begin the insert procedure. The following confirmation display will appear:
SONG`JOB`Insert`Measure```Are`you`sure`? `````````(`TR18`All`)````001`001``001`
Press [ENTER/YES] again to confirm that you want to go ahead with the insert operation, or press [EXIT/NO] to cancel. When the data has been inserted, Completed! will appear briefly on the display. Insert affects all tracks simultaneously. The source measure or range of measures in inserted before the specified destination measure.

10: ERASE MEASURE

[SONG] [A]~[H] [SONG JOB] [MENU] 10:Erase Measure [ENTER/YES]
Erases all note and event data from the specified measure or range of measures in the specified track. This job is not available when the rhythm track (track 9) is selected.
SONG`JOB`Erase`Measure`````````Meas````` ```````````````````````````````001`001`
Range: Controls: [CS7], [CS8], [-1] [+1], Dial Use the GROUP [A] through [H] keys to select the track containing the measures you want to erase (A = track1, B = track 2, and so on). The LED of the selected track will glow red while the LEDs of all other tracks containing data glow green. Use the [CS7] and [CS8] sliders to select the numbers of the first and last measures in the range of measures you want to erase. Press [ENTER/YES] to begin the erase procedure. The following confirmation display will appear:
SONG`JOB`Erase`Measure`````````Meas````` Are`you`sure`?`````````````````001`001`

DISK`Other`````<--NEW--*>```<InitSong>`` [LOAD]SAVE```````Disk=01```Internal:01`
Press the [F1] key to highlight LOAD on the display if you want to load data from the disk into the SY85 internal memory, or press the [F2] key to highlight SAVE on the display if you want to save data from the internal memory to the disk. Next, use [CS5] to select the number of the disk file (01 through 99) that you want to load from or save to. In the case of utilities number 4 and 5, you also need to select the number of the song (1 through 10) to be loaded or saved via [CS8]. Press [ENTER/YES] to begin the disk load or save procedure. If you select SAVE, you have the option of pressing the [F3] key to give the data file a name before it is saved (the name is displayed above the file number unnamed files are automatically named --NEW--*). If you choose the NAME option, enter the file name in the normal way (see page 95), then press [ENTER/YES] to begin the disk load or save procedure. The following confirmation display will appear:
DISK`All```````<--NEW--*>`Are`you`sure`? [LOAD]SAVE```````Disk=01```Internal````
Press [ENTER/YES] again to confirm that you want to go ahead with the disk load or save operation, or press [EXIT/NO] to cancel. When the data has been loaded or saved, Completed! will appear briefly on the display. See page 321 for information on disk error messages.
Please note the following points if you will writing or modifying disk file names using a personal computer. The file extension.Xnn must be present (nn is the extension number). If two files having the same extension number exist on the same disk, only one will appear on the display. Please make sure that all files on the same disk have different extension numbers. Unlike voice names, file name can consist only of upper-case characters.

6: MDR

[UTILITY] [DISK] [MENU] 6:MDR [ENTER/YES]
The MDR (MIDI Data Recorder) utilities allow MIDI bulk dump data to be transferred between different MIDI devices via the SY85, and saved to or loaded from floppy disk. Engaging the MDR utilities required an extra confirmation step since all sequencer data in the SY85 song memory is erased when the MDR functions are used. This is because the sequencer memory is used as temporary storage for MDR data handled by the SY85.
MDR````````````````````````````````````` `````````````````````````````Hit`[ENTER]
From this entry display press [ENTER/YES]. The following confirmation display will appear:
MDR```````````````````````Are`you`sure`? ****`Sequencer`data`will`be`erased`!`***
Press [ENTER/YES] again to access the MDR functions (erasing any song data in the process), or [EXIT/NO] to quit. Once in the MDR mode, you can use th PAGE [ ] and [ ] keys to access the two display screens it includes. Press [EXIT/NO] when youre ready to exit from the MDR mode.

q 1: MDR IN/OUT

This utility allows MIDI bulk data to be received from an external device and stored in the SY85 internal memory, after which it can be saved to disk by using the MDR SAVE utility, described next. In the same way, MIDI bulk data that has been loaded into the SY85 memory from disk using the MDR LOAD utility can be transmitted to an external device.

WAVEFORM`Assign``From`To``````<InitWave> [`ON][OFF]```````--```--````````````````

ON, OFF

Range: ON, OFF Controls: [F1], [F2]

From/To

Range: Controls: [CS4]/[CS5], [-1] [+1], Dial Press [F1] to turn wave assignment on. If wave assignment is turned off, -- appears in place of the From and To parameters. Use [CS4] and [CS5] to specify the range of samples to be assigned to the waveform. [CS4] specifies the first sample (From) and [CS5] specifies the last sample (To) in the range to be assigned. If both the From and To parameters are set to the same sample number, then only that sample is assigned to the waveform. If, for example, From is set to 2 and To is set to 5, then sample numbers 2, 3, 4, and 5 are assigned to the waveform.

q 2: WAVE NAME

If not already selected, press the PAGE [ ] key to select this screen. This function can be used to assign a name of up to 8 characters to the current sample.
WAVEFORM`Name`````````````````"InitWave" [CLR][UPR][LWR][SPC]````````````[]``[]
Range: See character list, below Controls: GROUP, PROGRAM, [F1] [F4], [F7], [F8], [CS1] [CS8], [-1] [+1], Dial Use the [F7] function key to move the character cursor to the left, and the [F8] function key to move the cursor to the right. Use the GROUP and PROGRAM keys to input a character at the cursor position. Each GROUP or PROGRAM key selects the three characters printed above it in sequence. It is also possible to use the [-1] and [+1] keys or dial to scroll through the available characters (see list below). The sliders, [CS1] through [CS8], independently select characters for the corresponding character position: [CS1] selects the first character, [CS2] selects the second character, and so on. The first four function keys also perform important functions: [F1] clears the entire name, [F2] selects upper-case characters for GROUP and PROGRAM key entry, [F3] selects lower-case characters for GROUP and PROGRAM key entry, and [F4] inserts a space at the cursor position.

GROUP key

1: SAMPLE KEY MAP 2: SAMPLE DATA

WAVE`Initialize`````Wave``Are`you`sure`? `Volatile`Mem.````````Nonvol.``Mem`=off
Press [ENTER/YES] again to confirm that you want to go ahead with the initialize operation, or press [EXIT/NO] to cancel. When the specified wave memory has been initialized, Completed! will appear briefly on the display.

INITIALIZE

1: SAMPLE DUMP RECEIVE
[SHIFT]+[UTILITY] [MIDI] [MENU] 1:Receive [ENTER/YES]
This function initiates reception of MIDI Sample Dump data from an external MIDI device. Both the MIDI IN and OUT terminals must be connected to the external MIDI device, since the SY85 transmits a sample dump request message to initiate transmission by the external device.
MIDI`SAMPLE`DUMP`Receive````````To`````` `````Sample=00`````````````Volatile`Mem.
Range: Controls: [CS3], [-1] [+1], Dial
Range: Volatile, Non-vol. Controls: [CS7], [-1] [+1], Dial Use [CS3] to select the number of the sample to be received from the transmitting device, and [CS7] to select the type of memory in which the data is to be stored (see Wave Memory Expansion on page 285 for additional information about the memory types). When ready to receive the data, press the [ENTER/YES] key. This initiates transmission of a sample dump request message, then the SY85 waits for the sample dump data. The received data is appended to the sample data previously residing in the SY85 memory. The [EXIT/NO] key can be used to cancel reception at any time.

MIDI SAMPLE DUMP

2: SAMPLE DUMP TRANSMIT
[SHIFT]+[UTILITY] [MIDI] [MENU] 2:Transmit [ENTER/YES]
This function initiates transmission of MIDI Sample Dump data to an external MIDI device.
MIDI`SAMPLE`DUMP`Transmit``````````````` `````Sample=--``````````````````````````
Range: Controls: [CS3], [-1] [+1], Dial Use [CS3] to select the number of the sample to be transmitted (-- appears on the display if no samples are available). When ready to transmit the data, press the [ENTER/YES] key. The following confirmation display will appear:
MIDI`SAMPLE`DUMP`Transmit`Are`you`sure`? `````Sample=--``````````````````````````
Press [ENTER/YES] again to confirm that you want to go ahead with the transmission, or press [EXIT/NO] to cancel. MIDI Transmitting! appears while the data is being transmitted, as does a countdown of the sample packets being sent. The [EXIT/NO] key can be used to cancel reception at any time.

WAVE CARD LOAD

[SHIFT]+[UTILITY] [CARD]
Loads all samples from a pre-programmed card plugged into the WAVEFORM card slot.
WAVE`Card`Load`````````````````````````` `````````````````Card`````Volatile`Mem.
Range: Volatile, Non-vol. Controls: [CS7], [-1] [+1], Dial Use [CS7] to select the type of memory to which the data is to be stored (see Wave Memory Expansion on page 285 for additional information about the memory types). Press [ENTER/YES] to begin the card load procedure. The following confirmation display will appear:

WAVE`Card`Load````````````Are`you`sure`? `````````````````Card`````Volatile`Mem.
Press [ENTER/YES] again to confirm that you want to go ahead with the card load operation, or press [EXIT/NO] to cancel. When the data has been loaded , Completed! will appear briefly on the display.
WAVE DISK LOAD/SAVE 1 SAMPLE

[SHIFT]+[UTILITY] [DISK]

These utilities allow sample data to be saved to or loaded from a 3.5" floppy disk inserted in the SY85 disk drive. Use only 2DD type disks that have been formatted for use with the SY85 via the DISK FORMAT function described on page 235.
WAVE`Disk`1Smpl`<--NEW--*>`````````````` [LOAD]SAVE```````Disk=01``Volatile`Mem`
Press the [F1] key to highlight LOAD on the display if you want to load data from the disk into the SY85 wave memory, or press the [F2] key to highlight SAVE on the display if you want to save data from the wave memory to the disk. Next, use [CS5] to select the number of the disk file (01 through 99) that you want to load from or save to. If you select LOAD, [CS7] is used to select the type of wave memory to which to data is to be loaded (Volatile or Non-vol.). If you select SAVE, [CS7] is used to select the number of the sample to be saved (00 63). Press [ENTER/YES] to begin the disk load or save procedure. If you select SAVE, you have the option of pressing the [F3] key to give the data file a name before it is saved (the name is displayed above the file number unnamed files are automatically named --NEW--*). If you choose the NAME option, enter the file name with the group and program keys as in Voice Name (see page 95), then press [ENTER/YES] to begin the disk load or save procedure. The following confirmation display will appear:
WAVE`Disk`1Smpl`<--NEW--*>Are`you`sure`? [LOAD]SAVE```````Disk=01``Volatile`````
Press [ENTER/YES] again to confirm that you want to go ahead with the disk load or save operation, or press [EXIT/NO] to cancel. When the data has been loaded or saved, Completed! will appear briefly on the display. See page 321 for information on disk error messages
WAVE MEMORY STATUS DISPLAY
[SHIFT]+[UTILITY] [SHIFT]
Press and hold the [SHIFT] key at any time while in the WAVE mode to call the wave memory status display. This display shows the amount of free volatile and nonvolatile memory in approximate kilobytes. See Wave Memory Expansion on page 285 for information about volatile and non-volatile wave memory.
WAVE`Memory`Status``Volatile:``512kbytes ```````(Free`Area)``Nonvol.:`1024kbytes
s Effects.. 254 s Wave memory expansion. 285 s Initial data & Blank chart. 289 s Specifications.. 319 s Error messages.. 320 s Trouble shooting.. 324 s Index... 326

Mod. Freq [Hz] Mod Depth [%] High Gain [dB] Lch Dly [ms] Rch Dly [ms] FB Gain [%] Dly Level [%]
Mod. Freq [Hz] Mod. Depth [%] Mod. Dly [ms] High Gain [dB] Lch Dly [ms] Rch Dly [ms] FB Gain [%] Dly Level [%] 0.~ 0.1 0.~ 0 ~ -~
~ 40.0Hz 100% ~ 5.0ms ~ +12dB 600ms 600ms ~ +99% 100%

45 : Pit Dly No.

46 : Exc Dly (Aural Exciter*) RANGE
-24 ~ +24 -100 ~ +100 -24 ~ +24 -100 ~ +~ 600ms 0 ~ 600ms -99 ~ +99% 0 ~ 100%
L Pitch L Fine R Pitch R Fine Lch Dly [ms] Rch Dly [ms] FB Gain [%] Dly Level [%]
HPF [kHz] Enhance [%] Exc Level [%] Init Dly [ms] Lch Dly [ms] Rch Dly [ms] FB Gain [%] Dly Level [%]
500Hz ~ 16kHz 0 ~ 100% 0 ~ 100% 0.0 ~ 80.0ms 0 ~ 600ms 0 ~ 600ms -99 ~ +99% 0 ~ 100%

47 : Dist Dly No.

48 : Pan Dly RANGE
0 ~ 100% 315Hz ~ 6.3kHz -12 ~ +12dB -12 ~ +12dB 0 ~ 680ms 0 ~ 680ms -99 ~ +99% 0 ~ 100%
Dist. Level [%] Mid. Freq [kHz] Mid. Gain [dB] Trbl Gain [dB] Lch Dly [ms] Rch Dly [ms] FB Gain [%] Dly Level [%]
Type Speed Fade In [%] L/R Depth [%] Lch Dly [ms] Rch Dly [ms] FB Gain [%] Dly Level [%]
LR, RL, L<>R 1 ~ 52 -100 ~ +100% 0 ~ 100% 0~ 680ms 0~ 680ms -99 ~ +99% 0 ~ 100%

49 : Dist Echo No.

50 : EQ Rev1 RANGE
0 ~ 100% 315Hz ~ 6.3kHz -12 ~ +12dB -12 ~ +12dB 0 ~ 340ms 0 ~ 340ms -99 ~ +99% 0 ~ 100%
Dist. Level [%] Mid. Freq [kHz] Mid. Gain [dB] Trbl Gain [dB] Lch Dly [ms] Rch Dly [ms] FB Gain [%] Echo Level [%]
Low Freq [kHz] Low Gain [dB] High Frq. [kHz] High Gain [dB] Rev. Time [s] High ER/Rev Bal [%] Rev Level [%]
32Hz ~ 2.0kHz -12 ~ +12dB 500Hz ~ 16.0kHz -12 ~ +12dB 0.3 ~ 30.0s 0.1 ~ 1.~ 100% 0 ~ 100%

51 : EQ Rev2 No.

52 : EQ ER RANGE
32Hz ~ 2.0kHz -12 ~ +12dB 500Hz ~ 16.0kHz -12 ~ +12dB 0.3 ~ 30.0s 0.1 ~ 1.~ 250ms 0 ~ 100%
Low Freq [kHz] Low Gain [dB] High Frq [kHz] High Gain [dB] Rev. Time [s] High Init Dly [ms] Rev Level [%]
Low Freq [kHz] Low Gain [dB] High Frq [kHz] High Gain [dB] Type Diffusion Init Dly [ms] ER Level [%]
32Hz ~ 2.0kHz -12 ~ +12dB 500Hz ~ 16.0kHz -12 ~ +12dB Smll, Lrge, Rnd, Rvrs, Plte, Sprg 0 ~ ~ 200ms 0 ~ 100% APPENDIX /

53 : EQ Dly No.

54 : EQ Echo RANGE
32Hz ~ 2.0kHz -12 ~ +12dB 500Hz ~ 16.0kHz -12 ~ +12dB 0 ~ 680ms 0 ~ 680ms -99 ~ +99% 0 ~ 100%
Low Freq [kHz] Low Gain [dB] High Frq [kHz] High Gain [dB] Lch Dly [ms] Rch Dly [ms] FB Gain [%] Dly Level [%]

Voice Name DR Efect Total Level Key Parameters Note C1 C#1 D1 D#1 E1 F1 F#1 G1 G#1 A1 A#1 B1 C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 Waveform P145 Marimba P152 BD2 P150 Xylophon P159 SD1 P160 SD2 P161 SD3 P162 SD4 P163 SD5 P169 Tom1 P169 Tom1 P169 Tom1 P018 PrcOrgl P170 Tom2 P170 Tom2 P170 Tom2 P164 SD6 Vol. Nsft -20 -9 -1 -9 -10 -6 +2 -2 -6 +0 -9 -20 -17 -5 +7 -8 -10 +26 +25 +5 +24 +31 +11 -14 +8 +21 +0 -25 -15 Tune +0 +0 +0 +0 +14 -57 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 -1 +0 -9 +0 Pan +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 AltG Gate Rvs EF1 a a a a a a a a a a a a a a a a a a a a a a a a a a a a a b b b b b b b b b b b b b b b b b b b b b b b b b b b b b 127 Vol Lo Limit Effect Send EF2 a a a a a a a a a a a a a a a a a a a a a a a a a a a a a b b b b b b b b b b b b b b b b b b b b b b b b b b b b b Lvel 127 VelS DryOut +5 +5 +5 +7 +5 +5 +5 +5 +5 +5 +5 +5 +7 +7 +7 +5 +5 +2 +5 +5 +5 +5 +5 +7 +7 +7 +3 +7 +2 0
off verylong off off norm off off norm off off long off off norm off off norm off off norm off off norm off off long off off long off off norm off off verylong off off verylong off off verylong off off norm off off norm off 1 1
P172 HH Pedal 127 P171 HH Open 127

long off

P178 RideBell 127 P177 Ride P176 Crash P176 Crash P176 Crash P168 SDside 127
off verylong off off short off off verylong off off verylong off off verylong off off norm off 2 2
P203 Triangle 127 P203 Triangle 127 P199 Timpani P196 Cowbell P196 Cowbell 127
off verylong off off norm off off norm off
Key Parameters Note F3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 C5 Effect Effect 1 Waveform P197 Maracas P189 CongaLo Vol. Nsft -11 -16 -13 +7 -34 -32 +6 +12 -15 -48 -47 -19 +0 +36 -14 -6 -8 -17 -31 -3 / Tune +0 +0 +0 +0 -20 -20 +0 +0 +0 +15 -41 -26 +0 +0 +0 +0 +0 +19 +20 +0 / Pan +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 +0 AltG Gate Rvs EF1 a a a a a a a a a a a a a a a a a a a a b b b b b b b b b b b b b b b b b b b b
Effect Send EF2 a a a a a a a a a a a a a a a a a a a a b b b b b b b b b b b b b b b b b b b b Lvel VelS DryOut +7 +5 +5 +6 +3 +3 +3 +5 +5 +3 +5 +5 +5 +5 +5 +5 +5 +5 +5 +2
off short off off verylong off off long off norm off norm off off off
P191 CongaSlp 127 P190 CongaMt P213 Mellow P216 Seq2 P201 Timbale P206 E.P. Np 127
off verylong off off norm off norm off off
P136 DistWvLp 127 P200 Temp1BIK 127 P194 Clave P186 AgogoHi P184 VcDrmBD 127
off verylong off off verylong off off verylong off off verylong off off verylong off off long off norm off long off off off

E.Guitar

Tuned Percussion

Strings

A.Guitar
q BLANK CHART PERFORMANCE
Performance Name Voice Number A : C : Layer Volume Pan Note Shift Fine Tune Note Limit Vel. Limit CS3 Enable CS4 Enable Effect Send Switch A 1a 1b 2a 2b B 1a 1b 2a 2b C 1a 1b 2a 2b D 1a 1b 2a 2b Control Filter LFO A B B : D : C D Total Level Quick Edit AEG R1 R2, R3 R4 RR Vel. Sense Speed Depth Cutoff Resonance Vel. Sense AT MW FC AT > MW MW > AT Sustain D1 D2 Mode Type off : Output Level b P3 P4 P5 P6 Wet : Dry P7 P8 : D1 D2 / serial D1 D2 / parallel D1 D2 Pitch EG Fixed Note
Output Level a Param. P1 Effect 2 Type P2 :
Output Level a Param. P1 Mix Level Control 1 Control 2 EF2 Parameter Parameter P2 P3 Insert 1b
Output Level b P4 P5 Insert 2a Min Min Speed Max Max Additional Additional P6
Wet : Dry P7 Insert 2b P8

q BLANK CHART VOICE

Voice Name Oscillator Waveform Fine Tune Fixed Note Random Reverse Amplitude EG Mode atk / hold L2 R2 BP2 BP3 L3 R3 BP4 R4 Sensitivity RR Velocity Atk Rate Vel Rate Scaling Cutoff freq EG L0 RS Scaling Note Offset Pitch EG Range L0 RS Controller MW FC AT PB Range Amod Amod Amod Pmod Pmod Pmod L1 R1 Velocity L2 R2 L3 R3 Rate Velocity RL1 RR Loop on / off BP1 L1 R1 BP2 L1 R2 BP3 Type L3 R3 BP4 Band L4 R4 Sensitivity Reso RL1 RR1 Type Velocity Attack Rate Vel CTRL RL2 RR2 Mode normal / fixed Total Level LFO Waveform Speed Depth Pmod Amod Vel. Fmod Phase Delay
SpeedSens Random Key Scale
R1 / HT Scaling Note Offset Filter BP1
Volume Low Limit Fmod Fmod Fmod EG Bias EG Bias EG Bias Min Min Max Max Cutoff Cutoff Cutoff

Sustain SW

Mode Type:
Output Level a Param. P1 Effect 2 Type: P2 : P3

Output Level b P4 P5 P6

Wet :Dry P7 P8
Output Level a Param. P1 Control 1 Control 2 Parameter Parameter P2 P3
Output Level b P4 Min Min Speed P5 Max Max P6 Additional Additional Delay P7 P8

q BLANK CHART DRUM VOICE

Voice Name Total Level Key Parameters Note C1 C#1 D1 D#1 E1 F1 F#1 G1 G#1 A1 A#1 B1 C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 Waveform Vol. Nsft Tune Pan AltG Gate Rvs EF1 a a a a a a a a a a a a a a a a a a a a a a a a a a a a a b b b b b b b b b b b b b b b b b b b b b b b b b b b b b Vol Lo Limit Effect Send EF2 a a a a a a a a a a a a a a a a a a a a a a a a a a a a a b b b b b b b b b b b b b b b b b b b b b b b b b b b b b Lvel VelS DryOut 1 2