Setting Up: Power & Connections

Power Supply... 16

Using Batteries.. 16 When to Replace the Batteries.. 17 Using a Power Adaptor... 18
Setting Up Your System.. 19
The Connectors.. 19 Audio Connections.. 21 MIDI Connections.. 22

Power Supply

Your QY22 will run either from batteries or an optional AC adaptor. Follow the instructions below according to the power source you intend to use.

Using Batteries

Six 1.5V AA size (SUM-3 or R6P) or equivalent alkaline batteries must first be installed in the battery compartment.

Z Open Battery

Compartment Cover
Open the battery compartment cover located on the instruments bottom panel by pressing down on the grooved section of the cover and sliding in the direction of the arrow, as shown in the illustration.

XInsert Batteries

Insert the six batteries, being careful to follow the polarity markings on the bottom panel.

CReplace Cover

Replace the compartment cover, making sure that it locks firmly in place.
When to Replace the Batteries
When the batteries run down and are no longer able to operate the QY22, the sound may become distorted and the display shown to the left will appear. When this display appears, replace the batteries with a complete set of six new batteries. NEVER mix old and new, or different types of batteries (e.g. alkaline and manganese)!
To prevent possible damage due to battery leakage, remove the batteries from the instrument if it is not to be used for an extended period of time.

Using a Power Adaptor

Plug the DC output cable from a Yamaha PA-3, PA-4, or PA-40 AC Adaptor (available from your Yamaha dealer) into the DC IN jack on the rear panel, then plug the adaptor into a convenient wall AC power socket.

PA-3 PA-4 PA-40

AC power socket.
Do not attempt to use an AC adaptor other than the specified unit or an appropriate replacement provided by your Yamaha dealer to power the QY22. The use of an incompatible adaptor may cause irreparable damage to the QY22, and might pose a serious shock hazard! Be sure to unplug the AC adaptor from the AC mains socket when the QY22 is not in use.

MIDI Channel 1. 2. 3. 4. 5. 6. 7. 10.. Voice Sequencer track TR1 Sequencer track TR2 Sequencer track TR3 Sequencer track TR4 Accompaniment track Accompaniment track Accompaniment track Accompaniment track
C1 (Chord 1) C2 (Chord 2) Ba (Bass) Dr (Drums)
This simply means that if your keyboard transmits on MIDI channel 1, it will control the QY22 voice that is currently assigned to sequencer track 1, and so on. See page 38 for instructions on how to assign different voices to the SONG mode tracks.

with MIDI Interface

Data received on MIDI channels other than those listed above also produce sound, according to the received MIDI program change messages (see the MIDI Data Format booklet). Also, if the QY22 is to be used as a General MIDI tone generator, the MIDI Ctl (MIDI Control) parameter should be set to Off (See page 160)
Getting to Know the QY22: How the Controls Work
The Controls... 24 Play the Demo.. 34
The QY22 has fairly simple, consistent control interface that, once understood, makes operation fast and easy, no matter what operation you are performing. If you read through this section carefully, and try out the procedures in the Try This: sections, you should have no problem accessing and operating the QY22s many advanced features.

The Controls

Rear Panel

Left Side Panel

Right Side Panel

MIN ON OFF POWER

Front Panel

OCT DOWN

OCT UP

7(#9) 7(b9)

7( 13) 7( 13 )

11) 5)

add9 m

7sus4 sus4

ENDING

add9 M

mM7 m6

m7(11) m7(b5)

INTRO NORMAL VARI.

1 POWER Switch

ON OFF POWER
Slide to the ON position to turn the QY22 on, and to the OFF position to turn it off.
Always turn the power switch off when not using your QY22.
2 LCD Display & CONTRAST Control
This large multi-function liquid crystal display panel shows all parameters and prompts you need to operate the QY22 with optimum ease and efficiency. Use the CONTRAST control on the rear panel to achieve the best display visibility (LCD visibility varies greatly with viewing angle and lighting).

3 [MODE] Key

Use this key to switch between the QY22s SONG, VOICE, and PATTERN modes.

Try This:

Turn your QY22 on (the power switch is on the left side), then press the [MODE] key a few times and watch how the display changes. The [MODE] key calls the SONG, VOICE, and PATTERN mode displays in sequence.

4 Cursor Keys

These 4 keys move the cursor around the display screen, highlighting the various parameters that are available for editing (the QY22 cursor appears as a dark block with inverse characters).

The mute buttons are a handy way to simply turn tracks that you dont want to hear off. When recording songs or patterns, they also make it possible to mute a busy track that might make it difficult to hear an important accompaniment track.

Mute off.

Mute on.

The Pan Pots

Like the pan pots on a mixing console, the VOICE mode pan pots can be used to position the sound of the corresponding track anywhere from left to right in the stereo sound field. Position the cursor at the pan pot, then use the [1/NO] and [+1/YES] keys to set the pan position. The graphic pan pot will rotate to the corresponding position. The pan positions also have numeric values (1 through 7) that appear in the upper right corner of the display: Left 7 is full left and Right 7 is full right. In the display to the left, TR3 is panned about half way to the left (Left 4).

Pan left.

Pan right.

The Faders

Each track has a graphic fader that can be set to produce the best mix (balance) between the various voices. Position the cursor at a fader, then use the [1/NO] and [+1/YES] keys to set the fader level. The graphic fader will move to the corresponding position (higher for higher volume, and lower for lower volume). The fader positions also have numeric values (000 through 127) that appear in the upper right corner of the display: 000 is minimum volume (no sound) and 127 is maximum volume. The default setting is 100 for all tracks. In the display to the left, the TR2 fader has been set to a quiet 50.

Lower volume.

Raise volume.
You can switch back and forth between the SONG and VOICE modes even while a song is playing, so you can adjust all VOICE mode parameters (change voices, mute tracks, pan, and change volume settings) while listening to the results in real time!
Easy Accompaniment for Other Instruments
Selecting & Playing the Preset Patterns.. 42
Changing Chords.. 47 Muting Tracks.. 51
Record a Complete Accompaniment. 52
Realtime Accompaniment Recording. 52 Step Accompaniment Recording. 59
Using the QY22 As a Drum Machine. 75
Selecting & Playing the Preset Patterns
Using the QY22 preset patterns you can easily create accompaniments that you can play or sing along with. The QY22 has 100 preset accompaniment patterns covering a wide variety of musical styles. Heres how you can select and play the patterns while in the SONG mode.

C Enter a chord.
Note that the lower octave of the micro-keyboard has chord root names E through D marked on the keys, and the upper octave keys are marked with a variety of chord types.

A B C D D E

Example: Enter a G7 chord.
To enter a chord, press the key corresponding to the desired chord root, then the key corresponding to the desired chord type (the chord type keys alternately select the lower and upper chord types marked watch the display), and finally the [ENTER] key. The chord is actually entered only when the [ENTER] key is pressed. Until the [ENTER] key is pressed, the newly specified chord root and type will flash on the display.
Actually, you can press the chord type key and then the root key, the order doesnt matter.
The Chord Types add9. M. M9. M7. aug. 6. 9. 7. add9. m. m9. m7. mM7. m6.
major added ninth. major. major ninth. major seventh. augmented. sixth. ninth. seventh. minor added ninth. minor minor ninth. minor seventh. minor major seventh. minor sixth.
m7(11). m7(b5). 7(#9).. 7(b9).. 7(b13). 7(13).. 7(#11). 7(#5).. 7sus4. sus4. - - -.
minor seven eleven. minor seven flat five. seventh sharp nine. seventh flat nine. seventh flat thirteen. seventh thirteen. seventh sharp eleven. seventh sharp five. seventh suspended four. suspended four. non-ABC (see DETAIL below). dim. diminished.
The - - - chord type marking is a special non-ABC type that can be used to create accompaniment patterns without the harmonic limitations of the ABC system. See page 95 for details. If you enter only the chord root without a chord type, the result will be a major chord.
V Try out the various chords

with different patterns.

During playback you can move the cursor up to the pattern number, select a different pattern, then move the cursor back to the chord symbol and try different chords with the new pattern.
If you move the cursor to the Trns (transpose) parameter, you can use then [1] and [+1] buttons to transpose the pitch of the entire pattern up or down in semitone increments over a range of two octaves. A transpose setting of +00 produces normal pitch.
B Stop playback when done.
] key. You can also stop playStop playback by pressing the [ back after an appropriate ending by selecting the ENDING section (the cursor must be on the pattern number or section name to do this).

Muting Tracks

The mute buttons below each track name can be used to mute (turn off) the corresponding track, either while playback is stopped or running. Move the cursor to the appropriate mute button, then press [+1/YES] to mute that track, or press [1/NO] to turn a muted track back on.

< Engage record ready

again and select Chd.
Press the [q] key to engage the record ready mode again (the REAL mode will still be selected), then move the cursor to the track section of the display and select Chd in order to record chord changes.
Asterisks have disappeared because the song now contains data. Use the Song Name job (page 135) to enter an original name.
Select Chd to record chord changes.

>Record.

] key to begin recording chord changes. The metroPress the [ nome will sound and youll be given a two-measure count-in. Since you selected Chd recording, the cursor will automatically move to the chord when you start recording. All you have to do to record chord changes is to enter the required chords as described in the Changing Chords section (page 47).
Chord changes actually occur on quarter-note divisions, so try to press the [ENTER] key to enter each chord either exactly on the beat or a fraction of a section before the beat on which you want the chord change to occur.

?Stop recording.

] key to stop recording when all the required chord Press the [ changes have been entered. The normal SONG play mode is automatically re-selected when you stop recording.

[Listen to the results.

] key to play back and check out the accompaniment Press the [ youve just recorded.
Note that the chord currently playing is shown in the normal chord symbol location on the display, while the next chord is shown to its right. If the same chord continues for more than 2 measures, however, the next chord is not shown. Dont worry if youve made a few mistakes. Simple slip-ups made in the realtime record mode can usually be corrected in the step record mode described next.

Am7 currently playing.

The next chord is G7.
Step Accompaniment Recording
The STEP record mode provides four different accompanimenttrack data-entry displays: Pat (pattern changes), Chd (chord changes), Rpt (repeats), and Tmp (tempo changes). In each of these you can individually enter or delete pattern, chord, repeat, and tempo changes at precisely the required locations.
Z Select a song to record.
Select an empty song if you want to record a new song in the step record mode, or select a song that already contains data if you want to make changes or additions.

C Select the step record

Cursor here to select the step record mode.
Move the cursor to the REC REAL STEP area of the display, then press the right cursor key to select the STEP mode (if it isnt already selected). The selected record mode is indicated by a pair of arrows on either side of the mode name i.e. >STEP<. Once selected, move the cursor vertically to move to other areas of the screen. The arrows will remain positioned at the selected mode no matter where you move the cursor.

V Select Pat, Chd,

Rpt, or Tmp.
Move the cursor to the track area of the display, and then shift the cursor sideways to select Pat, Chd, Rpt, or Tmp. Once selected, move the cursor vertically if you want to move to other areas of the screen. An underline will remain below the selected track no matter where you move the cursor.
Select Pat to record pattern changes, Chd to record chord changes, Rpt to record repeats, or Tmp to record tempo changes.

B Start recording.

Press the [
] key to call the selected step record display.
N Enter the required pat-
tern, chord, repeat, and tempo data.
Refer to the following sections for details on how to use each of the step-record mode data-entry displays.
You can switch directly between the pattern, chord, repeat, and tempo data-entry displays while the record mode is engaged by simply pressing the [MENU] key to call the menu shown here, and then the function key corresponding to the display you want to go to.
] key to exit from the step record mode and return to Press the [ the normal SONG play mode.

m m m m

Go to Pat screen.
Go to Chd screen. Go to Rpt screen. Go to Tmp screen.
Pat Step Record Pattern Changes
Heres how the STEP record pattern display will look if youve selected an empty song (the appropriate pattern data will appear if the selected song contains data).

m Time signature. m

1st measure.

2nd measure.

Cursor here to set pattern number.
Cursor here to set section.
Subsequent measures follow.
Moving Around & Entering Data
Scroll up (see lower measure numbers).
As usual, the cursor keys are used to move the cursor to the location at which you want to enter data, and the [1] and [+1] keys are used to actually enter or change data. The cursor keys also move you forward or backward through the song: moving the cursor past the bottom of the screen accesses subsequent measures, while moving it above the top of the screen accesses the preceding measures (if there are any). In the pattern display moving sideways takes you to the time signature, pattern number, and section parameters. In all of the STEP record displays the sequencer keys can also be used to move forward or backward through the song. The [p] key takes you directly to the first measure.

Specifying the Bass Note For a Chord
Example: Enter a Bm7 chord with E in the bass.
You can specify the bass note to be used with any chord by using the [OCT DOWN] key (note the BASS marking below the key). Enter the chord in the normal way, press the [OCT DOWN/BASS] key (a slash will appear below the chord name), then press the key on the micro-keyboard corresponding to the desired bass note (the bass note will appear to the right of the slash).
You can add bass notes to existing chords without having to re-enter the entire chord by simply moving the cursor to the chord and using the [OCT DOWN/BASS] key to specify the bass note. A bass note can be removed from a chord by placing the cursor at the chord and either re-entering the chord or pressing the [OCT DOWN/BASS] key twice.

Syncopated Chords

Example: Enter a syncopated D chord.
Chords can be syncopated (i.e. the chord actually begins an eighthnote before the beat on which it is entered) by using the [OCT UP] key (note the e c marking below the key). Enter the chord in the normal way, then press the [OCT UP] key (a syncopation symbol will appear below the chord name).
You can add syncopation to existing chords without having to re-enter the entire chord by simply moving the cursor to the chord and pressing the [OCT UP] key. Syncopation can be removed from a chord by placing the cursor at the chord and pressing the [OCT UP] key.

Erasing Chords

The function key immediately to the right of ers on the display can be used to erase the chord at which the cursor is located.
Press to erase chord at cursor location.
The Chord Display During Playback
Chord bass notes and syncopation marks appear on the display as shown in the SONG playback mode.
Syncopation mark. Chord actually begins 1/8-note earlier.
Half-note indicates length of chord.
/E indicates that Bm7 is played with E bass.

Rpt Step Record Repeats

The STEP record Rpt display allows three different types of repeats to be entered at appropriate points during the song: start repeat, end/number of repeats, and end song.

Place cursor here to select the step record mode.
Move the cursor to the REC REAL STEP area of the display, then press the right cursor key to select the STEP mode (if it isnt already selected). The selected record mode is indicated by a pair of arrows on either side of the mode name i.e. >STEP<. Once selected, move the cursor vertically to move to other areas of the screen. The arrows will remain positioned at the selected mode.

V Set time signature and

pattern length (new patterns only).
If you are recording a new pattern, move the cursor to the time signature and pattern length parameters and set as required.
The time signature and pattern length parameters can not be changed if the selected pattern already contains data.
Time signature: 1/16 16/16, 1/8 16/8, 1/4 8/4. Length of pattern: 1ofof 8 (max. length 8 measures).
Move the cursor to the track area of the display, and then shift the cursor sideways to select the track you want to record: C1 = chord 1, C2 = chord 2, Ba = bass, Dr = drums. If you are recording a new pattern or track, use the [1] and [+1] keys to select the voice you want to use for that track once the track has been selected. If you dont intend to use a track, set the voice number to OFF. Move the cursor vertically to move to other areas of the screen. An underline will remain below the selected track.

to select C1 voice

(001 128, Dr1 Dr8, OFF). The same applies to the C2, Ba, and Dr tracks, except that only the Dr1 Dr8 voices and OFF can be assigned to the Dr track.
You can also change the voice assignments later in the same way.
] key to begin recording. The step record display Press the [ shown below will appear.
Time signature. Measure/beat/clock display. Note parameters.

m m Note display. m

MSet the note parameters

as required.

Move the cursor to the note, velocity, and gate time parameters and set as required using the [1] and [+1] keys for the first (or next) note to be entered.
The velocity and gate time settings in the step record display correspond to the following numeric values in the edit displays (to be described later): Velocity p = 56 mf = 88 f = 120 Staccato = 50% normal note length. Normal = 90% normal note length. Slur = 99% normal note length.
Note (32nd, 16th triplet, 16th, 8th triplet, 8th, 1/4 triplet, 1/4, 1/2 triplet, 1/2).
Velocity (p = soft, mf = medium, f = loud).
Gate time (Staccato, Normal, Slur).

Gate Time

<Enter a note.
Once the note parameter have been specified, the note can be entered simply by playing the appropriate key on the micro-keyboard (or on your external MIDI keyboard). A note symbol appears on the note display and the note pointer advances to the next note position. The note symbol always appears as a 1/4-note, regardless of the actual note entered (chords are also indicated by the 1/4-note symbol). Heres how the display will look after two 8th notes have been entered.

Press for pattern job list.
Pattern jobs (cursor at top of list).
Pattern jobs (cursor at bottom of list).
User Patterns Only! Since all of the pattern jobs modify the pattern data in some way, they can only be used on user patterns (numbers 101 through 200). If you attempt to use a pattern job while a preset pattern is selected, the error display shown to the left will appear. Press any key (except the micro-keyboard) to return to the job list.
Returning to the Pattern Play Mode The function button next to Exit on the display can be used to exit from any pattern job, and then from the job list thereby returning you to the normal pattern play mode.
Press to exit to job list.
Press to exit to pattern play mode.

1: Copy Pattern

Source pattern number (001 200).
Copies a specified track (C1, C2, Ba, Dr, or All) from one pattern to the specified track in a user pattern. The section to be copied can also be specified when a preset pattern is the source.
Source track (C1, C2, Ba, Dr, or All). Destination track (C1, C2, Ba, Dr, or All).
Section (only available in preset patterns). Destination pattern number (101 200).

Press [1/NO] to cancel.

After setting the parameters as required, press [ENTER]. Are you sure? will appear on the display. Press [+1/YES] to confirm that you want to go ahead with the copy operation (which will overwrite data in the destination track), or press [1/NO] to cancel.
The Copy Pattern job makes it possible to use tracks from other patterns as building blocks to create new patterns. You can, for example, combine different tracks from different preset patterns to create a completely new hybrid pattern. Of course, you can also copy just one or two existing tracks and record the remaining tracks yourself. Copied tracks can be edited using the edit mode (page 140) to fit them to the pattern you are creating. Depending on the selected pattern, some voices may not sound if a preset pattern is copied to a user pattern.

2: Quantize

Aligns notes in the specified track to the nearest specified beat.
Track to be quantized (C1, C2, Ba, or Dr). Quantize note length (32nd note, 16th note triplet, 16th note, 8th note triplet, 8th note, 1/4-note triplet, 1/4-note, 1/2-note triplet, 1/2-note).

Last measure in range to be modified (001 999). Type of event to be removed from the specified range of measures (Note, Program Change, Sustain, Pitch Bend, Modulation, Pan, Volume, Expression, Data Entry LSB, Data Entry MSB, RPN LSB, RPN MSB).
After setting the parameters as required, press [ENTER]. Are you sure? will appear on the display. Press [+1/YES] to confirm that you want to go ahead with the Remove Event operation (Remove Event is irreversible), or press [1/NO] to cancel.
Although you can remove events individually in the edit mode (page 145), the Remove Event job makes it simple to remove all occurrences of the specified event within the specified measure range in one operation. This is particularly convenient when removing slow pitch bends or volume changes that may employ many individual events to create a single effect.

10: Modify Velocity

Last measure in range to be modified (001 999). First measure in range to be modified (001 999). Track (TR1 TR4). Velocity ratio (000% 200%). Amount of velocity change (99 +00 +99).
Increases or decreases the velocity values of all notes in the specified track and range of measures. The rate parameter sets the ratio between the lower and higher velocity values. A setting of 100% maintains the original relationship between the notes, lower values produce a narrower dynamic range, and higher values produce a broader dynamic range. The offset parameters determines the amount of velocity change. settings reduce the velocity while + settings increase the velocity. After setting the parameters as required, press [ENTER]. Are you sure? will appear on the display. Press [+1/YES] to confirm that you want to go ahead with the modify velocity operation, or press [1/NO] to cancel.
The Modify Velocity job is a great way to soften the sound of material that has too great a variation between the softest and loudest notes, or, conversely, to add extra punch to dull-sounding material. Experiment with the parameters to get a feel for what they do.

11: Modify Gate Time

Last measure in range to be modified (001 999). First measure in range to be modified (001 999). Track (TR1 TR4). Gate time ratio (000% 200%). Amount of gate time change (99 +00 +99).
The Modify Gate Time job can be used to produce a more staccato or legato feel, as required. Experiment with the parameters to get a feel for what they do.

12: Song Name

Allows an original name of up to 8 characters to be assigned to the current song. To enter a character, use the cursor keys to move the cursor to the character to be entered, then press the [ENTER] key. The character will appear at the character cursor location and the character cursor will advance to the next character position. To delete the last character entered place the cursor over DEL at the bottom of the display and press [ENTER]. The character will be deleted and character cursor will move back to the last character position.

M Return to the change

edit mode.
Press the [MENU] key and then the function key next to Change on the display to return to the change edit display, and continue editing as required.
Press to return to change edit mode.
Pitch bend event inserted. Once inserted, you can edit the events location and value in the change mode.
< Exit from the edit mode.
Press the [MODE] key to exit from either the change or insert edit mode and return to the normal SONG or PATTERN play mode.

Utility Functions

Accessing the Utility Mode.. 158 System Parameters.. 160 Bulk Dump... 163 ABC Zone... 165 Memory Initialize.. 166
The QY22 utility mode includes a number of functions that are important for general operation e.g. MIDI data handling, interfacing with external equipment, saving song and pattern data to an external storage device, ABC system operation, etc.
Accessing the Utility Mode
The utility mode can be accessed from the SONG, VOICE, or PATTERN mode. Simply press the [MENU] key and then the function key next to Utility on the display.
Press to engage utility mode.
Once the utility mode has been selected, any of the three utility displays can be called by pressing the [MENU] key and then the appropriate function key, as shown below.
Press for utility mode system parameters. Press for MIDI bulk dump. Press to set ABC keyboard zone.
q Exiting From the Utility Mode
Press to exit from utility mode.
When the utility mode is first engaged from the SONG, PATTERN, or VOICE mode, the last utility display selected will initially appear.
The function key next to Exit on the display can be used to exit from any utility display and return to the SONG, VOICE, or PATTERN mode.

System Parameters

The System display includes 6 parameters that affect the basic operation of the QY22. Move the cursor to the parameter to be adjusted and set as required by using the [1] and [+1] keys.

MIDI Sync

Time QY20's Signature No.
BA RioDJ BA Witby BA RWalz BA CWalz BA EWalz RP Mouth RP Party RP GetUp RP Stone RP Rozza RP Faces RP Urple RP Rhino RP N.Y.! RP Start RP Troll RP Earth RP Candy RP RkBgy RP SeeYa RP River RP Judge RB Good! RB Shore RB Motor RB Going

Style Name

Latin Ballad 6/8 Pop Ballad 6/4 Soul Ballad Country Ballad Waltz Slow Ballad Waltz
4/4 4/4 6/4 3/4 3/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/047 048

005 006

Rock & Pop
Country Rock 70s 8-Beat Pop Glam Rock 70s Mid-Tempo Rock 80s Mid-Tempo Pop 80s Synth Pop 80s Dance Pop 16-Beat Pop New York Pop Country Rock Shuffle Detroit Pop Shuffle 80s Mid-Tempo Pop Shuffle Jazzy Pop Shuffle Rock Boogie Rock Shuffle Southern Rock Shuffle 80s Dance Pop Shuffle

Ballad

8-Beat Ballad 8-Beat Pop Ballad Blue-eyed Soul Ballad Folk Ballad Country Ballad Ambient House Ballad 16-beat Ballad Dark Electronic Pop Ballad 025 026

Rhythm&Bules

60s Rhythm & Blues Mid-Tempo R&B Detroit R&B Light Soul 053
RB Funky RB Brass RB NFunk RB JFunk RB CFS01 RB Blues RB SBlus RB Lucky RB South RB Free! HR Speed HR Drive HR HurtN HR Piles HR BoogE HR Help! RR Twist RR Crock RR BgWgy RR Billy RR Gravy RR Jngle JA Dook! JA Swing
60s Funk Shuffle West Coast R&B Funk Modern Funk Jazz Funk Blues Shuffle 6/8 Blues Slow Blues Bluesy R&B Southern Gospel R&B Gospel
4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 6/8 4/4 4/4 4/4 4/4 4/4 4/4 6/8 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/057
JA Bebop JA Dixie JA Zzz. JA Foxy! JA Vince JA WFuse JA EFuse LA Salsa LA Samba LA Bossa LA TinRk LA Rumba LA Tango LA Espag RE Cycle RE Tired RE Gular RE SkyBt WO Grass WO Polka WO Mrch1 WO Mrch2 WO Waltz WO RCade
Bebop Dixie Jazz Ballad Slow Fox Jazz Waltz West Coast Fusion 80s Fusion
4/4 4/4 4/4 4/4 3/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 3/4 4/090

058 060

Salsa Jazz Samba Pop Bossa Nova Latin Rock Rumba Tango Rumba Espagnole

Hard Rock

Hi-Tempo Hard Rock Mid-Tempo American Hard Rock Hard Rock Ballad Slash Metal Hard Rock Shuffle 6/8 Progressive Rock 066 067

Reggae

Traditional Reggae Pop Reggae Shuffle 16-Beat Pop Reggae Ska 093

Rock & Roll

Twist 50s Rock &Roll Boogie Woogie Rockabilly 60s British Rock & Roll 16-Beat Rock & Roll

072 069

Bluegrass Polka March 6/8 March Vienna Waltz Game Music 100
40s Jazz Big Band Swing 074 075

ABC Fingering Chart

This chart shows the chord fingerings recognized by the QY22 ABC system. 3-, 4-, and 5-note fingerings can be used, depending on the inversion and tensions required. In the fingerings 1 is the root, 3 is the 3rd, 7 is the seventh, and so on. The Comments column indicates inversions that should be avoided because they produce a different chord.

3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class B
digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit OFF and ON, please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA90620 The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.

CANADA

THIS DIGITAL APPARATUS DOES NOT EXCEED THE CLASS B LIMITS FOR RADIO NOISE EMISSIONS FROM DIGITAL APPARATUS SET OUT IN THE RADIO INTERFERENCE REGULATION OF THE CANADIAN DEPARTMENT OF COMMUNICATIONS. LE PRESENT APPAREIL NUMERIQUE NEMET PAS DE BRUITS RADIOELECTRIQUES DEPASSANT LES LIMITES APPLICABLES AUX APPAREILS NUMERIQUES DE LA CLASSE B PRESCRITES DANS LE REGLEMENT SUR LE BROUILLAGE RADIOELECTRIQUE EDICTE PAR LE MINISTERE DES COMMUNICATIONS DU CANADA.
This applies only to products distributed by Yamaha Canada Music Ltd. Ceci ne sapplique quaux produits distribus par Yamaha Canada Music Ltd.

ADVARSEL!

LithiumbatteriEksplosionsfare ved fejlagtig hndtering. Udskiftning m kun ske med batteri af samme fabrikat og type. Levr det brugte batteri tilbage til leverandoren.

VARNING

Explosionsfara vid felaktigt batteribyte. Anvnd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera anvnt batteri enligt fabrikantens instruktion.

VAROITUS

Paristo voi rjht, jos se on virheellisesti asennttu. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hvit kytetty paristo valmistajan ohjeiden mukaisesti.

Stand 18.04.2008 Keyboards
Casio CZ101 Casio CZ230s Casio SK1 Korg K25 Korg MicroKorg Roland Alpha Juno 2 Yamaha DJX Beyerdynamic DT770 Pro Headphones Canton Fonum 250 Monitore Dual CV121 Amp E-SA9 MiniAmp Eltax HT-2 Bipolar Monitore Eltax Millenium Mini Monitore IQ Lady 120 Monitore NAD Receiver NAD CD-Player Neutric 48 Port Patch Bay 2x Solid State MiniAmp RS-1515 Tangent EVO Monitore Diverse Kopfhrer von AKG, Beyer, Sennheiser und sonstiges Kleinzeug.

Sound-Module

Akai SG01v Alesis NanoBass Alesis NanoPiano Alesis NanoSynth Casio GZ-50m EMU Proteus 1/XR Ensoniq SQ-R Hohner MSE-1 Kawai K1m Kawai PHm Kawai XS1 Korg 03r/w Korg EX800 Roland D110 Wersi MAX1 Yamaha FB01

Outboard

Alesis NanoCompressor Alesis NanoGate Alesis NanoVerb Behringer Composer Pro MDX 2200 Gate/Compressor/Limiter Behringer Shark DSP110 Preamp/Compressor/Gate/Feedbackdes troyer Behringer Ultragain MIC-100 Tube PreAmp & Limiter Behringer Ultragain MIC-2000 Microphone/Instrument PreAmp Behringer Virtualizer DSP1000 Multieffekt (Hall,Delay,Modulation) Rane Mojo Series MC22 Compressor/Limiter Samson C-Valve Tube Microphone/Instrument PreAmp & Limiter 2x
Other Electronic Instruments
Casio DH-100 Digital Horn
Behringer UB1204Pro Fx (fr Monitoring und Submixes) Studiomaster Session 8:2 (Main Mixer wegen der super englischen EQs)

Analog Recording

Aiwa AF-450 Tape Deck Akai DS4000MKII Reel Tape NAD 602 Tapedeck Philips N4506 Reel Tape Sony WM-D3 Prof Walkman Sony WM-GX680 Prof Walkman Telefunken MC1 Tape Deck Uher Report 4400 IC Reel Tape Uher Report 4400 Reel Tape Yamaha KX-490 Tape Deck

Hardware Sequencer

Roland MC-303 Yamaha QY22
Drum-Module / Drum-Machines
EMU Procussion Kawai XD-5 Korg MiniPops Junior Simmons Trixer Yamaha DTXpress Yamaha RM-50
Digital Recording & Audio Interfaces
AudioTrak Inca 88 (8in/8out Interface PCI & Breakout-Box) 2x EGO-SYS Waveterminal U2A Audio Interface (24/96)

Tools & Monitoring

Akai MB76 Programmable MixBay Behringer UltraPatch Pro PXPort Audio Patch-Bay
M-Audio Audiophile 24/96 USB Audio Interface Marantz PMD650 Professional MiniDisc 2 Track Recorder (for location-recording) Sharp MT-190 MiniDisc Recorder (for location-recording) Sharp MT-270 MiniDisc Recorder (for location-recording) Terratec Producer Phase 26 USB Audio Interface (24/96)

MIDI-Interfaces

MidiMan USB MIDISport 2x2 MidiMan USB MIDISport 4x4 Steinberg USB 2x2

Computer

Apple iBook G3 350MHz / 576MB Ram (Clamshell) Apple iBook G3 800MHz / 768MB Ram Apple iBook G4 1,2 GHz / 1,25GB Ram Apple iMac G3 450MHz / 1GB Ram (Knubbel) Apple MacMini G4 1,25 GHz / 1GB Ram Apple Power Mac Dual G4 1GHz / 2GB Ram Fujitsu-Siemens Sub-Notebook 10, P3700MHz / 512MB Ram

Software

Apple Logic Express 8.01 Cubase SE 3.03 + Studio Case 3

Mikrofone

Aiwa DM-14 (dynamic, Niere, Vintage) AKG C2000B (condenser, Niere) AKG C391B (condenser, Niere) AKG D1000s (dynamic, Niere, Vintage) AKG D119ES (dynamic, Niere, Vintage) 2x AKG D190cs (dynamic, Niere, Vintage) AKG D2000E (dynamic, Niere, Vintage) AKG D200c (dynamic, Niere, Dualmembran, Vintage) AKG D202s (dynamic, Niere, Dualmembran, Vintage) AKG D2300s (dynamic, Hyperniere) AKG D3500s (dynamic, Niere, Bass, Bassdrum & Horns) AKG D50s (dynamic, Niere) Audio Technica ATH-10 (condenser, Niere) Audio Technica ATM23HE (dynamic, Hyperniere, Percussion, Snare & Toms, Guitar Amp)

Tama Swingstar Vintage

Rock / Blues Small-Set Tama Swingstar Vintage Bassdrum 22" Tama Swingstar Vintage Racktom 13" Tama Swingstar Vintage Standtom 16"

Snaredrums

Roxy Vintage Wood Snaredrum 13 x 5 Selfmade Wood Snaredrum (Pearl Shell) 13" x 4,5"

Ride-Cymbals

Paiste Stambul Medium Ride (Vintage) 20" Stagg DH Jazz Ride 20" Stagg Vintage Bronze Medium Ride 18" Tosco Ping Ride (Italien - not Sabian! Vintage) 18 Ufip Medium Sizzle Ride (Vintage) 18 Zildjian A Medium Ride 20" Zildjian K Session Medium Ride Steve Gadd 18 Zildjian Scimitar Medium Crash/Ride (Vintage) 18

HiHat-Cymbals

Meinl Laser Medium HiHat 14" Pearl CX-500 Medium HiHat 14" Sabian B8 Pro Heavy HiHat 14" Stagg DH Fat HiHat 13 Stagg Vintage Bronze Medium HiHat 13" Zildjian Constantinopel Medium HiHat (Very Vintage) 13" Zildjian Scimitar Medium HiHat 13"

Guitarre & Bass

StarFire Mini-Strat Hohner Headless Bass Samick 15 SR Guitar-Amp Zoom 606 Guitar Multieffekt Pedal Electro-Harmonix Hot Tubes Tube-Drive

Crash-Cymbals

Meinl Laser Medium Crash 16" Stagg DH Classic Medium Crash 16 Stagg DH Exo Medium Thin Crash 14" Stagg DH Exo Medium Thin Crash 16" Stagg Vintage Bronze Medium Crash 15" Ufip Medium Crash (Vintage) 16 Zildjian Avedis Medium Crash 16"

Splash-Cymbals

Meinl Dragon ChinaSplash 11" Meinl Raker Splash 8" Meinl Raker Splash 10" Stagg Black Metal Splash 10" Stagg DH Splash 8" Stagg DH Splash 10" Stagg DH Splash 12" Stagg SH Splash 12" Stagg Vintage Bronze Splash 8" Stagg Vintage Bronze Splash 10" Stagg Vintage Bronze Splash 12" Ufip Class Paperthin Splash 10" Zildjian A Custom Splash 12 Zildjian A Custom Splash 8

Percussion

LP Cosmic Percussion Congita LP Mini Bongos Meinl Classic Bongos Meinl Classic Conga Meinl Mini Conga Meinl Mini Djembe Meinl Mini Bongos Meinl Nino Bongos Schalloch Cajon De Peru Stagg Mini Conga Diverse Shaker, Belltrees, Tambourines, Claves, Cowbells.

Diverse Hardware von Gibraltar, DW, Tama, Sonor, Yamaha.