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YAMAHA APPENDIX

1. TURKEY CYPRUS Yamaha Musique France Division Export BP 70 77312 Marne la Val e Cedex 2 France Tel 01 64 61 4000 OTHER COUNTRIES Yamaha Corporation International Marketing Division Nakazawa cho 10 1 Hamamatsu Japan 430 Tel 053 460 2311 ASIA HONG KONG Tom Lee Music Co Ltd VUF Silvercord Tower 1 30 Canton Road Tsimshatsui Kowloon Hong Kong Tel 730 1098 INDONESIA PT Yamaha Music Indonesia Distributor PT Nusantik Gedung Yamaha Music Center Jalan Jend Gatot Subroto Kav 4 Jakarta 12930 Indonesia Tel 21 520 2577 KOREA Cosmos Corporation 8131 31 Neung Dong Sungdong Ku Seoul Korea Tel 02 466 0021 5 MALAYSIA Yamaha Music Malaysia Sdn Bhd 16 28 Jalan SS 2 72 Petaling Jaya Selangor Malaysia Tel 3 717 8977 PHILIPPINES Yupangco Music Corporation 339 Gil J Puyat Avenue P O BOX 885 MCPO Makati Metro Manila Philippines Tel 819 7551 SINGAPORE Yamaha Music Asia Pte Ltd Blk 17A Toa Payoh 401 190 Lorong 7 Singapore 1231 Tel 354 0133 TAIWAN Kung Hsue She Trading Co Ltd No 322 Section 1 FuHsing S Road Taipei 106 Taiwan R O C Tel 02 709 1266 THAILAND Siam Music Yamaha Co Ltd 865 Phornprapha Building Rama I Road Patumwan Bangkok 10330 Thailand Tel 2 215 3443 THE PEOPLE S REPUBLIC OF CHINA AND OTHER ASIAN COUNTRIES Yamaha Corporation International Marketing Division Nakazawa cho 10 1 Hamamatsu Japan 430 Tel 053 460 2311 OCEANI
2. The files saved to disk by the SY99 are automati cally given the following filename extensions Although filename extensions are not usually dis played by the SY99 they will be visible when you load disk data using Disk utility 2 Load from disk and select data type 0 Other seq or if you read SY99 disks using a personal computer TO1 T99 19 K01 K99 WO01 W99 C01 C99 BO1 B99 M01 M99 L01 L99 X01 X99 SY99 all data SY99 synthesizer all data SY99 sequencer all SY99 sample SY99 card SY99 MDR SY99 1 song KSEQ SY99 ESEQ SY99 Standard MIDI File format 0 The following filename extensions are used by Yamaha digital music products as of March 1990 A01 A99 B01 B99 322 V50 SEQ file QXSFD song file SY77 NSEQ DX7 U MDR data V50 MDR file QX3 bulk file C01 C99 D01 D99 E01 E99 FO1 F99 101 199 J01 J99 K01 K99 LOI L99 M01 M99 201 99 RO1 R99 501 99 101 99 U01 U99 V01 V99 WO01 W99 SYS DX7 II cartridge data V50 CARD file QX3 play chain file QX3 bulk chain file TX16W filter file DX7 II internal data voice perfor mance system V50 SYN file SY77 synthesizer all data SY77 sequencer all SY77 ESEQ SY77 KSEQ QX3 song file play file V50 RSEQ file QX3 setup file TX16W setup file TX16W filter table SY77 all data TX16W performance file V50 ALL file TX16W voice file TX16W wave file TX16W system file APPENDIX About the Standard MIDI
3. APiRocks Bright rock piano good for powerful chordal and solo playing MW1 chorus mix level MW2 filter cutoff DE wet dry mix of reverb APiCrsRock Chorused rock piano good for ballads MW1 pan LFO and detune amount MW filter cutoff DE reverb mix level APiConcert Warm concert grand piano good for performances in classical and jazz styles MWI pan LFO and reverb time MW fil ter cutoff DE reverb mix level AP StgLayr Grand piano and String section layer useful in ballads etc MW2 filter cutoff EP 76Stage Electric piano reminiscent of the classic stage piano MWI vibrato and tremolo MW2 EG bias control of bright ness phasing freq and depth EP Classic Electric piano in the style of the original DX7 E piano MW chorus PM depth DE tremolo EP NiteHwk Contemporary digital EP MWI vibrato DE reverb mix level EP Belrose Traditional EP with bright digital bell overtones MW1 vibrato MW2 cho rus freq and depth EPiBellRng Contemporary digital EP with handbells instead of the usual tines MWI vibrato MW2 filter cutoff EP DXism Solid EP for strong comping that won t interfere with other instruments MW pan LFO and chorus PM depth MW2 fil ter cutoff DE reverb time EPiGrnDual Classic FM style EP layered with a grand piano MWI vibrato MW2 chorus mix level EPiVoxLayr Contemporary digital EP layered with breathy vocal pad MWI vibrato 2
4. vibrato MW2 filter cutoff DE wet dry output mix of EFF2 SEtAstral Synth pad evolving from interstellar space MW2 filter cutoff DE reverb wet dry output mix KY Harpsi Realistic harpsichord MW2 filter cutoff DE reverb mix level BR Fall Falling off horn section MW2 filter cutoff DE symphonic effect mix level and reverb wet dry output mix PL VelGtr Velocity sensitive eccentric guitar MW1 vibrato MW2 filter cutoff DE chorus mix level KS Anlg 2 Organ like bass and synth lead voices split at C3 Velocity sensitive eccentric guitar MW1 vibrato MW filter cutoff DE delay mix level KS Pad Sax Synth pad and sax voices split at F3 MW filter cutoff and pan bias AFT vibrato KS JazComb Bass with velocity sensitive cymbal and piano with velocity sensitive horn section split at C3 APPENDIX Preset multi chart Voice Number T Number Multi Name os os 05 06 07 11 18 14 15 1 04 P1 A06 P2 B06 P2 B04 51 4 P2 A13 off i off P1 D15 P1 A01 P2 B07 P1 Co2 P1 C10 off E off P1 D15 P1 A04 P2 B04 3 Ballade d P2 B12 off P1 D15 P1 A02 P1 D05 P1 C08 off of P1 D15 P1 D14 Popular Tune Funky Tune i House Standard Rock P1 A01 P2 B09 i off off off off P1 D16 P1 A01 P1 A15 P2 B09 off GRECE A ER i 2 802 f
5. DE symphonic mix level BR BigBand A full big band with trumpets saxes and trombones MW2 filter cutoff DE chorus mix level AFT vibrato BR iJazzTmp Solo trumpet useful in jazz 6 classical styles MW vibrato and tremolo MW2 filter cutoff DE flange mix level BR MuteTmp An expressive muted trumpet for solo playing MWI vibrato MW2 filter cutoff and Aural Exciter mix level BRiFrHorns A section of french horns DE output EFFI wet dry mix AFT vibrato and filter cutoff BRiDrkHorn An expressive solo french hom MW1 vibrato MW2 filter cutoff DE delay mix level C07 C08 C09 CIO CI C12 C13 C15 C16 DO D04 D05 APPENDIX BRiAzen 16 Analog style brass section oc tave down MW vibrato MW2 filter cut off DE EFF2 mix BR DaBurbs Wet resonant analog type brass section MW vibrato MW2 filter cutoff DE chorus mix level VEL EQ high gain BR Splatz Velocity sensitive synth brass section with increasing brightness and flare at higher velocities MWI vibrato MW filter cutoff DE EFFI wet dry out put mix BR Pumped Sawtooth brass with heavy effects MW1 vibrato MW2 filter cutoff BRiStrLayr Warm brass and string ensemble layer MW vibrato MW2 filter cutoff and pan LFO DE chorus mod freq and chorus PM depth ST Octaves Large string section in octaves MW1 vibrato MW2 filter cutoff ST ChorAna Analog st
6. Para detalles sobre productos contacte su tienda Yamaha mas cercana o el distribuidor autorizado que se lista debajo FRANCE Yamaha Musique France Division Instruments Electroniques et de Sc ne BP 70 77312 Marne la Val c Cedex 2 France Tel 01 64 61 4000 ITALY Yamaha Musica Italia S P A Combo Division Viale Italia 88 20020 Lainate Milano Italy Tel 02 935 771 SPAIN Yamaha Hazen Electronica Musical S A Jorge Juan 30 2800t Madrid Spain Tel 91 577 7270 PORTUGAL Valentim de Carvalho CI SA Estrada de Porto Salvo Paco de Arcos 2780 Oeiras Portugal Tel 01 443 3398 4030 1823 GREECE Philippe Nakas S A Navarinou Street 13 P Code 10680 Athens Greece Tel 01 364 7111 SWEDEN Yamaha Scandinavia AB J A Wettergrens gata 1 Box 30053 400 43 G teborg Sweden Tel 031 496090 DENMARK YS Copenhagen Liaison Office Finsensvej 86 DK 2000 Frederiksberg Denmark Tel 31 87 30 88 FINLAND Fazer Music Inc Aleksanterinkatu 1t SF 00100 Helsinki Finland Tel 0435 011 NORWAY Narud Yamaba AS sterndalen 29 1345 ster s Tel 02 24 47 90 ICELAND P li H P lsson P O Box 85 121 Reykjavik Iceland Tel 01 19440 EAST EUROPEAN COUNTRIES Except HUNGARY Yamaha Europa GmbH Siemensstra e 22 34 D 2084 Rellingen F R of Germany Tel 04101 3030 AFRICA Yamaha Corporation International Marketing Division Nakazawa cho 10 1 Hamamatsu Japan 430 Tel 053 460 2311 L MIDDLE EAST
7. and the transmit channel for zone 2 to the tone generator s receive channel Set the number of the MDR data set to be transmitted to each zone when the control setup is activated Set any initial messages you may want to transmit such as bank select program change for the tone generator when the control setup is selected When you are satisfied with your settings save the control setup to disk It may be convenient to save the setup together with the SY99 voice multi and sequencer data to be used as part of an All Data file Before performance load all data to the SY99 A Load all synthesizer sequencer and setup data to the SY99 Load the rhythm machine and tone generator data to the SY99 s MDR memory area us ing the memory numbers you specified in the control setup APPENDIX 4 During performance activate the control setup before the sixth song A The MDR data specified will be transmitted to the rhythm programmer and tone genera tor Bank select program change and other ini tial messages will be transmitted to the external devices as specified In this way you can change the setup of a large number of MIDI instruments in an instant by pressing only a few switches on the SY99 s panel And if you think this func tion saves time when only two external de vices are connected to the SY99 you can imagine how convenient it will be with an even larger system Nor is this the only
8. of recorded song data 220 set curve 253 Velocity sensitivity see Sensitivity Vibrato how to add 68 Voice AFM and AWM 12 copy 87 directory 86 drum 13 edit jobs 62 edit mode 91 explanation of internal 297 explanation of presets 292 how to edit 60 initialize 132 list of presets 5 mode select 95 name 131 play mode 85 recall 133 select 86 what is a 52 Voice drum see drum voice Voice in a multi select 188 tuning 190 volume 189 VOLUME sliders 18 Volume drum voice 172 element level 96 voice in multi 189 Volume limit controller set 130 APPENDIX Wave card see Card WAVEFORM card slot 18 Waveform assign samples to 160 AWM preset 158 edit 160 initialize 161 initialize sample memory 278 name 161 sixteen types produced by AFM operators 140 Wheel data entry see Data entry wheel Zoned aftertouch 71 127 331 For details of products please contact your nearest Yamaha or the authorized distributor listed below Die Einzelheiten zu Produkten sind bei Ihrer unten aufgef hrten Niederlassung und bei Yamaha Vertragsh ndlern in den jeweiligen Bestimmungslandern erh ltlich Pour plus de d tails sur les produits veuillez vous adresser Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante NORTH AMERICA CANADA Yamaha Canada Music Ltd 135 Milner Avenue Scarborough Ontario MIS RI Canada Tel 416 298 1311 U S A Yamaha Corporation
9. American Rock Combo Jazz off KEE P2 C06 ant P2 DO4 51 3 oft off off P1 D15 P2 co3 P2 B02 21 P1 co4 51 1 off 2 005 P1 A04 P2 A03 52 809 P1 B01 1 1 does P1 C15 P1 C14 52 813 52 814 P1 C05 P2 A11 P1 D15 P1 D01 of of off of op P2 D03 P2 B04 P1 C16 off d off P1 D15 P1 A09 P1 D10 P2 D04 i off P1 A07 l P1 D08 P2 D07 2 008 P1 D15 P1 A03 i P2 DO06 off off l T 55 Big Band Jazz Sound Track Baroque Wind Unsanble Tropical Esnican Fork i P1 D14 P1 Preset 1 P2 Preset 2 299 APPENDIX Preset drum voice layouts Drum Set Preset1 D14 Dr Kits Preset1 D15 Dr Perc Preset1 D16 Dr Mixed Wave Form Name Note Number Wave Form Name Wave Form Name Timpani Timpani 148 NoisePre AnlgPerc NoisePrc AnlgPerc AnlgPerc 127 8 AnlgPerc 127 i 3 Cowbell2 nM 123 i Cowbel2 0000 123 Cowbell2 123 Scratch Scratch Berimbau Berimbau Tabla Hi 143 Tabla Hi 1 143 Tabla Ho 143 Tabla Hi 143 Claps 1 HH light 11 HH light 11 Tamb
10. CONTROLLER SUSTAIN FOOT SWITCH MIDI IN OUT THRU Power requirements US amp Canadian models 120V General model 220 240V Power consumption US amp Canadian model 35W General model 35W Dimensions 1254 W x 407 D x 120 H mm 4 1 3 8 x 1 4 x 4 3 8 Weight 19 6 kg 43 lbs 3 oz APPENDIX Index 1 keys 21 28 Absolute data how to enter 30 Accent level of F1 F4 in step record mode 206 Advanced Frequency Modulation see AFM Advanced Wave Memory see AWM AFM block diagram of element 58 copy element 135 edit jobs 134 filter 149 in RCM hybrid synthesis 10 initialize element 132 LFO main 146 LFO sub 147 oscillator 139 output 144 pitch EG 148 sixteen types of AFM waveforms 140 in voices 12 used as AWM waveform 157 Algorithm an arrangement of six operators 57 chart 300 free 138 form 136 external input 138 input level 139 select 135 Alternate on off in a drum voice 77 173 Append song 214 Appendix 291 Attack adjusting the 72 Auto store see Store AWM block diagram of element 54 copy element 156 edit jobs 156 EG 163 filter 169 LFO 167 in RCM hybrid synthesis 10 list of waveforms 158 output 165 sensitivity 166 pitch EG 168 initialize element 170 in voices 12 input to an AFM algorithm 138 Backup disk 272 Band Pass Filter BPF 151 BANK keys 21 Bank select messages 88 182 Beat Clock see Clock Beat Break point see Scaling BREATH jack 22 Bul
11. D 5 ANI Tom5 108 Cabasa CgaHiSlp Tom 5 108 Whistle Timbale 1 0 SD4 b 1 97 Whistle Timbale 1 F 5 Shaker 125 Belitree Timbale 2 ET 1 sp 4 97 Guiro 1 G 5 SD4 97 Guiro 2 SD4 NM Lum 97 Temple Cabasa Am Shaker 3 1 25 Shaker sae SD 3 1 96 Whistle g ul SD 3 0 96 Cowbelli Agogo CHG SD3 96 Cowbell1 Agogo SD3 96 Maracas D 6 Cowbell RE E 22 m Cowbeli 1 SD 1 94 Clave F6 94 Temple F 6 SD1 94 Belltree m SD 1 7 Temple 301 APPENDIX AFM algorithms One carrier Algorithm 01 Algorithm 02 Algorithm 03 5 0 7 6 4 1 2 3 4 OES 5 3 Ea 2 a Algorithm 06 Algorithm 04 1 eil Gene ML PEN eize Ta A a ee Algorithm 07 Algorithm 08 Algorithm 09 1 4 1 JL 4 6 4 5 6 ge Ee 8 5 L i LaL L S 3 5 8 pps wq sr E 4 i M E as 1 2 2 2 zu EEE 1 1 Li as Algorithm 10 Algorithm 11 Algorithm 12 1 1 EMI 4 E 6 zz ps jan DE 3 0 4 1 L i 1 1 2 5 2 5 x 2 3 1 E 1
12. and filter modulation MW filter cutoff and pan LFO VEL Low EQ gain D07 D08 D09 D10 DII D13 D14 D15 D16 ME Phantom Swirling evolving synth pad MW1 pan LFO and pan bias MW2 filter cutoff AFT vibrato DE wet dry mix for Output 2 MEiSthsMan Percussive bowed Sths attack followed by vector like swirl of harmonics and evolving sustained pad MWI vibrato and tremolo MW2 filter cutoff LFO flange modulation freq and chorus modulation freq ME Emperor Full orchestral blast with swirling looping bell like harmonics over sus tained pad MW vibrato and tremolo ME SloLoop Moody dark and evocative pad with reverse feedback like harmonic squeals that swoop and dive MWI vibrato DE wet dry mix of Ouput 1 ME Asia Expressive ethnic voice with wide range of velocity sensitivity MW vibrato and pan LFO MW2 filter cutoff ME Dreams Vocal attack which slides down into synth strings with fifths added MWI vibrato MW2 filter cutoff LFO flange modulation depth ME Galaxy A soaring vector like swirl of evolving harmonics Open filter with MW2 for a wider path through the galaxy MWI vi brato MW2 filter cutoff DE wet dry mix of Output 1 Milos Digital pad w blown type attack immediately followed by looping blown bells and complex upper harmonic spectral sweeps MW1 vibrato MW2 filter cutoff ME 202010 Interstellar metallic bursts circled by r
13. filter cutoff DE wet dry output mix of EFFI A13 Al4 A15 A16 BOI B02 B03 B04 BOS B06 B07 KY Smokey Tight full bodied digital keyboard voice useful in many musical styles MWI chorus mod freq and depth MW2 filter cutoff and pan LFO KY iCrsClav Wet full bodied digital keyboard voice with a percussive character similar to a clav MW vibrato MW filter cutoff and pan LFO KYiClavint Bright traditional clav sound MW vibrato MW2 filter cutoff DE chorus PM depth wet dry output mix of EFF2 KY iResoClv Very resonant clav useful for comping and soloing MW vibrato and pan LFO MW filter cutoff DE mod depth of stereo phase SP Alaska Evocative CS80 type of synth pad with portamento MW1 vibrato MW2 fil ter cutoff DE wet dry output mix of EFF2 SPiSawPad Analog sawtooth pad useful for sustained pads and lines MW1 vibrato MW2 filter cutoff SPiSquare Analog square wave pad useful for sustained and moving pads and lines MW1 vibrato MW2 filter cutoff SPiElegant Digital synth pad with bright airy overtones MW1 vibrato MW2 filter cutoff and EFF2 level SP DigiPad Warm pad with percussive reso nant attack MW vibrato and pan LFO MW2 filter cutoff DE mod freq and depth of symphonic effect SPiLashed Warm full bodied pad with slower attack and filter sweep MW1 vibrato MW2 filter cutoff SPiSweeper Evocative
14. mix for output 2 CH Vespers Male Ooh choir with a hint of digital breathiness MWI vibrato and tremolo MW2 filter cutoff DE wet dry mix for ouput 1 A15 Al6 BOI B02 B03 B04 BOS BOG B07 BO8 B09 B10 BI CH Nebula Large mixed choir with synth pro cessing MWI vibrato MW2 filter cutoff DE chorus mix level CHiWitches Dark and breathy choral voice MW vibrato MW2 filter cutoff PLiSteel6 Acoustic steel string guitar AFT vibrato MW2 filter cutoff DE wet dry mix for Output 1 VEL EQ high gain PLiJazzGtr Acoustic guitar ideal for expres sive solo jazz playing MW1 phasing modu lation depth AFT vibrato PLiNylon6 Acoustic nylon string guitar AFT vibrato PL I2Strng Acoustic 12 string guitar MW2 filter cutoff AFT vibrato DE wet dry mix for Output I PL Ekol2St Electric acoustic 12 string guitar with echo MW1 vibrato MW2 filter cut off DE chorus mix level PL Echoeso Electric 6 string guitar with echo Useful with arpeggiated and chordal playing MW vibrato MW2 filter cutoff DE wet dry mix for Output 1 PL Caster Electric 6 string guitar with echo Add distortion with MW2 Useful for comping and melodic solo playing MWI vibrato MW2 filter cutoff and pan LFO DE dis tortion level PL SloLead Distorted electric guitar with harmonics via velocity MW1 vibrato 2 filter cutoff pan LFO and delay mix
15. muting MWI vibrato MW filter cutoff DE chorus mix level PLiHarp Classic harp sound MW1 vibrato MW2 filter cutoff DE symphonic effect mix level VEL EQ high gain PL LAPizzi Pretty pizzicato MWI vibrato MW filter cutoff DE EFF2 mix level DOI D02 D03 D04 D05 D06 D07 DOS D09 DIO DI D12 D13 D14 D16 WNiHrdAlto Hard hitting alto sax MWI vibrato and tremolo MW filter cutoff DE wet dry output mix of reverb WNiHrdTenr Velocity sensitive tenor sax MWI vibrato and tremolo MW2 filter cutoff DE wet dry output mix of reverb WN BariSax Breathy baritone sax MWI vibrato and tremolo MW2 filter cutoff DE wet dry output mix of reverb VEL EQ high gain WN AmpHarp Slightly over amplified blues harp MWI vibrato and tremolo MW2 filter cutoff DE distortion level SP MoonPad Synth pad with evolving choir MW vibrato MW2 filter cutoff DE chorus mod freq MECosmos Soaring synth sounds with menacing low range undertones MW vibrato MW2 filter cutoff and pan LFO DE wet dry output mix of EFF2 ME Aurola Cosmic pad with VEL sensitive digital effects MWI vibrato MW2 filter cutoff DE wet dry output mix of EFFI ME Galaxy The sparkling galactic synthesizer MW wet dry output mix of EFF2 MW filter cutoff DE wet dry output mix of EFF2 AFT vibrato MEsCatrsis Eerie evolving synthesizer ambience MWI
16. the core of a MIDI system used for live performance such as that shown below MIDI MIDI MIDI MIDI e IN AARU N You have connected the SY99 to a tone generator and a rhythm programmer The SY99 transmits sequencer data to the tone generator on several channels while the rhythm programmer plays rhythm patterns in synch with the SY99 s rhythm voice You are to perform ten songs using this setup but since the songs all involve detailed drum parts the rhythm programmer can hold enough data for only five songs at one time It will therefore be necessary to load new data to the rhythm programmer before the sixth song At the same time you would jike to load some new voices to the tone generator for use in the next five songs To effect these changes using data cards you would have to insert cards to both the tone generator and the rhythm programmer and then perform the necessary load operations This could take a while but the SY99 s MDR and master control utilities allow you to perform these both of these tasks from the SY99 s con sole with the press of a couple buttons 1 Prepare the data to be loaded A B Input sequence data for the second set of five songs from the rhythm programmer to the SY99 and save it to disk Input voice data from the tone generator to the SY99 and save it to disk Prepare the master control setup A Set the transmit channel for zone 1 to the rhythm programmer s receive channel
17. to choose oper ator Select Freq Mode and use 1 1 to change ratio to fixed Select Coarse and use 1 1 to change 1 0 to 0 00 JUMP 230 Press Operator select button to choose OP2 and repeat the above operation Press EXIT to return to the AFM job directory 9 Introduce the AWM wave into operator 2 of the FM algorithm From Voice Edit Press F3 E1 to select the AFM element for editing Select 1 Algrthm AFM algorithm Press F2 Extn This page selects the external inputs to each operator JUMP 246 JUMP 232 Use the cursor keys to position the cursor over the off on the AWM line under OP2 Press YES to change the off to Inl Press EXIT to return to the AFM job directory 10 Raise the output level of operator 2 From AFM job directory Select 4 Output and press F2 All Move the cursor to OP2 and use the data slider to gradually raise the level until you hear the AWM wave JUMP 242 Important note Depending on the harmonic con tent of the selected wave the sound may be come distorted as you increase the output level of OP2 If it does exit to the AFM job directory select 1 Algrthm and press F3 Inpt JUMP 233 Note that under the AWM indicator be neath OP2 there 1s a number 7 Lower this value to 4 and then return to 4 Output JUMP 242 and adjust the OP2 output level again The level set for each operator in the Algorithm Input acts as a multiplier for the va
18. to restrict the effect of aftertouch to a specified zone or note in this way providing much the same expressive possibilities as poly phonic aftertouch Aftertouch can be used to control a wide variety of parameters For details see Common data 12 Controller set pages 127 to 130 Filter syne When editing a filter in voice edit mode you can turn Filter Syne on so that parameter adjustments made to one filter will affect the other filter as well each element has two fil ters This is a convenience for editing not a new parameter For details see AFM element data 8 AFM filter page 149 Sequencer capacity The SY77 sequencer has a capacity of approximately 16 000 notes The SY99 sequencer has a capacity of approximately 27 000 notes Switch lock The Switch Lock function allows you to lock the front panel switches so that they cannot be operated accidentally This may be convenient when you wish to place books or sheet music on the SY99 front panel For de tails see System utility 7 Switch lock page 257 MIDI bank select message The SY99 can trans mit and respond to MIDI bank select messages to select voice memories Voice edit element job directories The AWM element job directory of the SY99 starts with job 2 job has been left blank so that AFM and AWM element jobs from EG to Filter will have the same job number 3 EG 8 Filter Since these jobs are similar or identical for both AFM and AWM clements it is
19. 2 2 Select a voice and set the voice mode The next step is to prepare the voice which will use the sample data as a waveform Begin by choosing voice memory 1 01 and setting the voice mode to Mode 6 LAWM poly This step corresponds to step 1 of the procedure described in Using RCM hybrid synthesis above 3 Initialize the voice common and element data Initialize both the voice common data and the AWM element as outlined in steps 2 and 3 of the procedure described in Using RCM hybrid synthesis above INITIALIZE UOICE ARE YOU SURE Yes or Hoi You will notice that the waveform ussigned to this voice is now a simple triangle wave preset waveform 2 64 4 Select an internal waveform From Voice edit Select 02 WaveSet Press F4 Intr Select Inuni 1 INT WAVE JUMP 256 JUMP 257 AWM WAVEFORM SE 5 257 UOICE I R i CELA Waveform Ereauencu Mode Freduenca Fine ee Pee Care In this step you can assign an internal wave form for the AWM element of your voice Since you have not assigned any sample data to this waveform yet pressing a key will produce no sound 5 6 Select the samples you wish to assign to the waveform Press F8 Edit Select samples 1 through 3 You will use all three of the samples which you loaded in this waveform Select them by entering 01 in the From column and a 03 in the To column All of the samples used in a waveform must have consecuti
20. 302 APPENDIX Algorithm 13 Algorithm 14 303 APPENDIX Algorithm 22 zT qs oo oe gt un CT Es Algorithm 25 Algorithm 26 Peg qu LO rej L3 L5 Lu m GL Algorithm 28 uv c Ci f 2s 1 APPENDIX Algorithm 30 ju Algorithm 31 SS C Algorithm 36 App I4 1 1 305 APPENDIX Three carriers 306 Algor minm 37 Algorithm 38 Fal H E SS 0 3 J T 0 Algori rithm 39 APPENDIX Algorithm 43 ee ES EE Ee 02 GIG Li 307 APPENDIX How the SY99 differs from the SY77 Aside from the size of the keyboard and the addition of an expansion memory slot the SY99 is externally similar to the SY77 However the SY99 has been enhanced in several ways which you should be aware of if you have previous experience with the SY77 or when you wish to port SY77 voices to the SY99 Keyboard The SY77 has a 61 note ke
21. 4 velocity limit 98 voice consists of one two or four 12 Entering data 28 Erase event 223 measure 225 track 227 Error messages 318 Event erase 223 receive 228 EXIT key 19 Expansion memory boards 256 325 External input into an AFM algorithm 138 FM synthesis the basics of 56 FOOT CONTROLLER jack 22 FOOT SWITCH jack 23 FOOT VOLUME jack 22 Feedback algorithm 136 File disk delete 273 filename extensions 322 name when saving 271 rename 272 Standard MIDI File Format 323 328 Filter AFM 149 AWM 169 copy 150 cutoff EG 153 cutoff frequency 150 cutoff scaling 152 two provided for each element 14 ways to control 67 what is a 66 Fixed velocity transmitted by keyboard 253 Form algorithm 136 Format card 263 disk 48 271 Free Algorithm 138 Frequency filter cutoff 150 mode of AFM oscillator 139 Front panel 18 21 Function keys 19 to select jobs 25 to select marked pages 27 Gate time modify 219 Get pattern from a track 243 Graph song editing mode 44 208 Greeting message 255 Group output of each element 103 High Pass Filter HPF 151 effect parameter 108 Hybrid synthesis about RCM 10 how to create voices using RCM synthesis 310 Initialize AFM element 154 AWM element 170 drum voice 176 MDR memory 283 multi 194 sample memory 278 voice common 132 Input MDR data 281 Input level algorithm 139 Insert data in song edit mode 44 210 a part in the pattern track 213 Intern
22. A AUSTRALIA Yamaha Music Australia Pty Ltd 17 33 Market Street South Melbourne Vic 3205 Australia Tel 3 699 2388 NEW ZEALAND Music Houses of N Z Ltd 146 148 Captain Springs Road Te Papapa Auckland New Zealand Tel 9 634 0099 COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN Yamaha Corporation International Marketing Division Nakazawa cho 10 1 Hamamatsu Japan 430 Tel 053 460 2311 HEAD OFFICE Yamaha Corporation Electronic Musical Instrument Division Nakazawa cho 10 1 Hamamatsu Japan 430 Tel 053 460 2445 YAMAHA JAMAHA CORPORATION VM63030 DAF R10 ITP 5 27
23. APPENDIX APPENDIX 290 APPENDIX APPENDIX This section contains various supplementary information that may be useful to advanced users or programmers Contents of this section page Explanation of the preset and internal voices 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 12 ntn nnnnta 202 Preset multi CHAFEE 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 299 AFM algorithms How the SY99 differs from the SY77 308 Using RCM hybrid 14 4 12 1 1 4 4 2 2 2 2 310 Using loaded samples 0 01636 3 1000 Using the master control functions Using the MDR functions Error messages 2 2 2 21212 2120212 2 12 12 2 2 2 121212 1 1 1 1 1 1 1 318 Disk filename extensions 5 1 0 12 12 2 12 12 2 2 2 2 212 2 12 as 322 About the Standard MIDI File Format 1 1 1 1 1 1 1 1 1 1 1 1 12 1 2 2 2 2 2 2 2 2 2 2 12 1 4 1 etos 323 Expansion memory boards eee 325 SPeCifiCatiONS 1 1 1 1 1 1 1 1 1 1 1 1 1 1 121 1 1 1 12121212121212 2 2 20 326 291 APPENDIX A02 A03 A04 A05 A06 A07 A08 A09 A10 A11 A12 292 Explanation of the preset and internal voices A01
24. EXIT three or four times to return to voice edit mode Try changing the voice s other parameters and adding effects to the sound ier possibilities The preceding example illus trated the preparation of a simple one element voice showing how several samples can be assigned across the keyboard This helps to overcome the sample s note bias and account for the changes in an instrument s tone which accompany changes in pitch You are of course not limited to only three samples a greater number of samples will result in greater realism and may well be worth the effort You can use the same method to produced split keyboards which feature the sounds of two different instruments Moreover as with any of the SY99 s preset waveforms combination with additional AWM or AFM elements can produce interesting and exciting sounds By letting you select the basic waveform ingredients and then combine them with other digital elements and the SY99 you customized sound than ever before effects brings closer to 313 APPENDIX Using the master control functions The SY99 s master control utility is a flexible fea ture that allows you to control a number of digital instruments which are connected to the SY99 in a MIDI system The SY99 is capable of sending con trol signals on four channels simultaneously mean ing that a virtually unlimited variety of system arrangements can be accommodated Editing control setups The
25. Electric bass played with the fingertips Add chorus effect with MW2 MW1 vibrato MW2 filter cutoff DE chorus mix level BA Fretles Expressive AWM fretless bass with good definition on upper range AFT vibrato MWI effect level BA Classic Expressive AFM fretless bass in the tradition of the classic DX7 fretless bass MWI vibrato MW2 filter cutoff AFT growl DE chorus mix level BA Upright Acoustic upright bass with good clarity and definition MW1 vibrato MW2 filter cutoff VEL mid EQ frequency BA DXSlap Bright electric bass slaps with velocity MW vibrato MW2 filter cutoff and pan LFO DE chorus mix level BA Anabass Punchy analog synth bass MW vibrato MW2 filter cutoff DE flange modulation feedback gain BAiResoSyn Solid and highly resonant synth bass MWI vibrato and pan LFO MW2 filter cutoff BA FatSvn Analog style multi oscillator synth bass with mono key response Wide timbral range via MW2 MWI vibrato MW filter cutoff DE symphonic mix level VEL EQ high gain 295 APPENDIX Cll C12 C13 CIA CI5 C16 DO D02 D04 D05 D06 296 BA Mogue Recreation of the classic synth bass with a quick percussive attack MW1 vibrato MW2 filter cutoff DE reverb mix level ORiBJazzy Full drawbar organ with many live performance features Well suited to jazz and rock styles MW vibrato pan LFO and rot
26. File Format The Standard MIDI File Format is a standard which has recently been implemented by a number of software and hardware makers This standardized format allows song data to be transferred easily between different sequencers even between sequencers made by different manufacturers The SY99 supports two Standard MIDI File types known as format 0 and format 1 In the former type all sequencer data is recorded as a single track which may include data for more than one MIDI channel In the latter an unlimited number of tracks may be used each of which may contain data for more than one channel The SY99 is capable of loading data saved in either of these formats Data saved by the SY99 using the Standard MIDI File format will be saved as format 0 Loading data To load sequencer data saved in a Standard MIDI File format select load operation type 0 Other Seq from the Load from disk job directory The file to be loaded must meet the following conditions The file must be loaded from a disk formatted by the SY99 or from a 3 5 inch 2DD floppy disk in MS DOS or PC DOS format Refer to the paragraph titled Acceptable disk formats below It must have been saved as Standard MIDI File format 0 or format 1 Files saved using standard MIDI file format 2 cannot be loaded e The MIDI clock must be used as the basic clock The file must have a resolution of 1 96 192 288 384 480 of a quarter note When a fo
27. IDI sample dumps from other devices such as Yamaha s TX16W sampler or sample data loaded from disk This sample data can be assigned to waveforms and used in the same manner as the samples contained in the SY99 s AWM sample ROM or waveform cards For details refer to AWM element data 2 Waveform set on page 157 The amount of RAM available for sample data can be increased using expansion RAM kits Refer to the following section Expansion RAM in the appendix Effect system The SY77 has two modulation units 4 effect types and two reverb units 40 cffect types The SY99 has two effect units 63 effect types each superior in quality Cascade and dual effect types are provided allowing cach unit to function as two effect units each with its own effect send and effect unit parameters can be controlled in realtime For details see Voice edit mode Common data 10 Effect set page 104 Zoned aftertouch A new voice parameter has been added to the SY99 which allows you to specify how aftertouch will affect currently sounding notes all all notes as on the SY77 top only the highest note bottom only the lowest note split hi all notes at or above the specified split point split lo all notes below the specified split point The SY99 has channel aftertouch which produces a single pressure value for the entire keyboard it does not have polyphonic after touch However its Zoned Aftertouch capability allows you
28. KY Squeeze Classic accordion MW1 vibra to MW2 filter cutoff DE chorus mix level SL PrtaSaw Resonant lead synth MW1 mod freq and vibrato MW2 filter cutoff and pan LFO DE wet dry output mix of EFFI SL OctSqu Square lead synth in octaves MWI vibrato MW2 filter cutoff DE flange mix level STiStrgPad Sedate string pad MWI vibrato MW filter cutoff and pan bias STiClasStr Elegant classical string section MW vibrato MW2 filter cutoff and pan bias DE wet dry output mix of EFF2 ST Tremolo Tremulous orchestral strings MW2 filter cutoff and pan LFO DE wet dry output mix of effects AFT tremolo ST Qk Syns String section playing in octaves MW filter cutoff DE chorus mod freq AFT vibrato ST Violin Solo violin with subtle aftertouch control MW2 filter cutoff DE symphonic effect mix level AFT vibrato ST Cello Expressive cello MW2 filter cutoff DE symphonic effect mix level AFT vibrato BRiHouseAT Brass with aftertouch modulation MW1 vibrato DE symphonic effect mix level AFT filter cutoff BRiSfzSwel Brass with sforzando attack MWI vibrato MW2 filter cutoff DE reverb time and wet dry output mix of effects 297 APPENDIX CO1 C02 C03 C04 C05 C06 C07 C08 C09 C10 C11 C13 C14 C15 C16 298 BA FrtlsBs Mellow fretless bass with a slight delay MW1 vibrato MW2 filter cutoff DE echo
29. MW filter cutoff PCiTahiti Steel drums from the South Pacific MWI vibrato MW2 filter cutoff PC Cloche Hand bells from the South of France MW1 vibrato MW2 filter cutoff and left channel initial delay time PCiBalan Balinese gamelan MW vibrato MW2 filter cutoff PC Berim Berimbau and tabla from Bombay MW1 vibrato and tremolo MW2 filter cutoff D13 D14 D15 D16 SE Silber Evolving vector like special effect with shifting harmonics and looping EGs MW vibrato DE EFF 2 wet dry mix DR Kits Several drum kits A basic kit fol lows the Yamaha RX type note assignments Below this kit are larger ambient and pro cessed kicks multi keyed snares and toms Above the basic kit are multi keyed cymbals and electronic drum sounds At the top of the keyboard are multi keyed snare drums All kicks and snares are arranged in fifths for ease of playing DR Perc A full complement of Latin African and Indian percussion Most are multi keyed for easy playing of intricate rhythms DR mixed A mixture of the above two drum voices The drum kits follow the note assign ments in D14 as closely as possible Percussion voices reside above the electron inc drums A01 A02 A03 A04 A06 A07 294 SCiHeretic Hauntingly beautiful sound with handbell attack MW1 vibrato MW2 pan LFO chorus mod freq and chorus PM depth SCiAeroPno Grand piano with airy synth layer MWI vibrato
30. MW2 filter cutoff DE mod FB gain VEL reverb time SC Juptier Lush detailed digital synth MW1 vibrato and tremolo MW2 filter cutoff VEL EQ high gain SC RezWhap Resonant bright analog type sound MW1 vibrato MW2 filter cutoff DE chorus mix level SC Plectar Bright wet digital plucked sound MW vibrato MW2 filter cutoff pan LFO and tremolo DE flange mod depth and mod FB gain SC Quatar Another plucked sound fuller but still very digital in character MW1 vibrato MW filter cutoff DE chorus mix level VEL EQ high gain SCiPlastiq Strong comping sound with per cussive plastic attack MW vibrato MW filter cutoff DE chorus mix level AUS A09 A10 All A12 A14 SCiTanjeln Resonant synth with strong eth nic flavor MWI vibrato MW2 filter cutoff SC Gizmo Resonant synth with vocal quali ties MW1 vibrato MW2 filter cutoff SC Healing Warm comping voice with per cussive attack MW1 vibrato and pan LFO MW2 flange modulation freq and depth SC Angelic Breathy vocal sound with a digital flavor to the attack MW1 vibrato MW2 filter cutoff DE chorus mix level VEL EQ high gain CHiGlasine Light pristine choir voice with bell like percussive attack via velocity MW1 vibrato MW2 filter cutoff DE chorus modulation freq CH Itopian Synthetic choir excellent for pads MW vibrato MW2 filter cutoff DE wet dry
31. Sharp comping synth MWI vibrato MW2 filter cutoff DE chorus PM depth VEL EFF2 level SCiSlapClv Slap and clav combined MW1 vibrato MW2 filter cutoff DE chorus mix level SC Analogy Oscillated comping synth MW1 vibrato MW2 filter cutoff DE wet dry output mix of EFFI SCiSteps Hold the key down for another sound MW1 vibrato MW2 filter cutoff EFF2 level and mid gain LFO SCiDigiStb Stabbing metallic sound MWI vibrato MW2 filter cutoff DE EFF2 reverb mix level CHiChorWn Fresh choral sound MW1 vibrato MW2 freq mod pan LFO and delay level DE wet dry output mix of EFF2 CH OooAh Female oohs male ahs MWI vibrato MW2 filter cutoff DE wet dry output mix of effects BOi B02 B03 B04 BOS B06 B07 BOS B09 BIO Bll B12 B13 B14 B15 B16 APiBright Bright digital piano MW2 filter cutoff DE reverb mix level EPiBellEP Electric piano with bell attack MW vibrato MW2 filter cutoff DE wet dry output mix of effects EP HrpPhon EP with harp and pianophone elements MW vibrato MW2 filter cutoff pan LFO and symphonic effect mix level DE reverb wet dry output mix EP DualDA Hard EP with stereo attack MWI vibrato and pan LFO MW2 filter cutoff and symphonic effect mix level DE reverb mix level OR Ghosty Organ with a touch of calliope MW1 vibrato MW2 filter cutoff DE EFF2 mix level
32. a different channel and pro gram memory to each zone of the setup as shown above You can use the master control function in this manner when you wish to pre pare each channel to play a different sound for example a string like sound on channel 5 a brass like sound on channel 6 and so on APPENDIX However the master control utility includes additional features which allow for more subtle applications For example you can use the velocity limit parameter to limit the response of external generators depending on the velocity with which you hit the keyboard To do so you might edit a control setup as follows Transmit channel Bank select Program change Velocity limit With a setup such as this the tone generator receiving on channel 5 would play the voice assigned to program 20 only when you play the keys gently If you hit the keys harder the tone generator receiving on channel 6 will play program 22 and so on If each of the voices used represent different shadings of the same sound slightly different piano sounds for instance then such a setup could be used to simulate the subtle tonal changes of an acoustic instrument On the other hand you can assign totally different voices to different velocities to create some very unusual effects The note limit feature can be used in a similar manner to assign external tone generators to the SY99 s keyboard in split keyboard f
33. adio blips and other cosmic repeating noises Sustained notes in upper two octaves of keyboard good for melody with radio iso tope accompaniment MW1 vibrato ME Thusian Warm synth pad w repeating bells and other percussives Upper octaves good for playing breathy cosmic melodies with bell attacks MW1 vibrato MW2 filter cutoff APPENDIX Internal A01 A04 A05 A06 A07 A08 A09 A10 All Al2 A13 A14 A15 A16 SPiEternal Beautiful string pad with lingering release MW1 vibrato and pan LFO MW2 filter cutoff SP Dreampd Slightly spooky choral synth pad MWI vibrato and pan LFO MW2 filter cutoff DE flange effect depth SP Freeze Shimmering synth pad MWI vibrato MW2 filter cutoff and pan LFO SP Polygar Pad sound with nylon attack MW1 vibrato MW2 filter cutoff and pan LFO DE flange effect depth SP DarkPad Moody synth pad MWI reverb high gain MW2 filter cutoff DE wet dry output mix of EFF2 AFT vibrato SPiDigi82 Soft digital synth pad MW1 vi brato MW2 filter cutoff DE EFF2 mix level SP Digima Pad with bell like attack MW1 vibrato MW2 filter cutoff DE wet dry output mix of EFF2 SP SynStr Dramatic synth string pad MW1 mod freq and vibrato MW2 filter cutoff and pan LFO SC Magic A cute resonanat sound MW1 mod freq and vibrato MW2 filter cutoff and pan LFO DE wet dry output mix of EFF2 SC DnzStb
34. al voices expalnation 297 Introducing the SY99 3 Job directories 24 AFM element edit 134 AWM element edit 156 card utility 262 common data edit 96 disk utility 265 drum set edit 172 mas ter control utility 284 MDR utility 279 MIDI utility 258 multi edit 187 pattern edit 242 pat tern setup 245 sample utility 275 song edit 214 218 song setup 228 system utility 252 JUMP MARK key 21 Jump function 26 Keyboard 18 transmit channel of 258 velocity transmitted by 253 LCD Liquid Crystal Display 18 Level element 96 LFO Low Frequency Oscillator AFM main 146 AFM sub 147 AWM 167 used to create vibrato 68 Limit element note and velocity 98 master control note limit and velocity 285 315 Load demo disk songs 6 from data card 262 file from disk 266 MDR data from disk 282 sample from disk 282 wave card 264 Local on off 258 LOCATE key 19 Locate marked position in song 202 Loop AFM EG 141 142 sample edit 162 Low Pass Filter LPF 151 effect parameter 108 Master control utility 284 chart 287 controller edit 285 controller select 284 factory presets 286 from Voice play mode 89 from Multi play mode 183 using 314 Master keyboard function see Master control utility MDR sample memory expansion memory boards 325 initialize MDR 2483 initialize sample 278 memory allocate 256 Memory allocate MDR sample memory 256 MEMORY keys 21 MIDI IN OUT THRU terminals 22 MIDI control of seque
35. annel 1 Track 2 to channel 2 and so on No exclusive data is saved when this format is used Files saved using the Standard MIDI File format are given a file extension X01 through X99 which allows the SY99 to recognize the file s format Other programs however may not be able to recognize the file as a Standard MIDI File unless the MID extension is used when transferring data saved by the SY99 to another device where it will be used by such a program you should first rename the file using a personal computer or other means 323 APPENDIX Acceptable disk formats Standard MIDI Files 324 may of course be saved to or loaded from disks formatted by the SY99 Disks formatted by a personal computer may also be used as long as they are 2DD disks in MS DOS or PC DOS format Disks formatted by an Apple Macintosh may used as long as they are formatted using a SuperDrive or other disk drive device capable of formatting a disk in MS DOS format To use Standard MIDI Files saved by the SY99 on an Apple Macintosh use ResEdit or a similar utility to change the file type attribute to that of a MIDI file MS DOS is a registered trademark of Microsoft Corporation PS DOS isa registered trademark of International Business Machines Corporation Macintosh is a registered trademark of Apple Computer Inc APPENDIX Expansion memory boards Users who enjoy capitalizing on the SY99 s ability to load in sampl
36. ary speaker speed control MW2 filter cutoff and reverb mix level OR Booker Another drawbar organ with strong upper harmonics presence and lots of air MW rotary speaker speed control MW2 filter cutoff AFT vibrato and tremolo DE ER reverb balance ORiDeep Overdriven drawbar organ with a strong midrange MWI pan LFO and rotary speaker speed control MW2 filter cutoff OR Purple The Classic Distorted Rock Organ with rea time control of distortion MWI pan LFO and rotary speaker speed control MW filter cutoff DE distortion level OR iBsilica Multi rank pipe organ MW2 fil ter cutoff and pan LFO WNiTenor Expressive solo tenor saxophone that blossoms with velocity MWI vibrato tremolo pan LFO MW filter cutoff DE reverb mix level VEL Aural Exciter en hance amount WNiSaxSect Ensemble sax section MW2 filter cutoff AFT vibrato and tremolo DE chorus mix level VEL EQ high gain WNiAlto Expressive solo alto saxophone that blossoms with velocity MW1 vibrato tremolo pan LFO MW2 filter cutoff DE reverb mix level VEL Aural Exciter en hance amount WNiSoprano Expressive solo soprano saxo phone that blossoms with velocity and after touch MW vibrato AFT tremolo and fil ter cutoff DE flange mix level WNiClarine Solo clarinet MW1 vibrato AFT tremolo DE flange mix level WNiPanPipe Breathy detailed pan flute MW1 vibrato tremolo
37. ashion Another interesting application of the master con troller function involving use of the MIDI Data Recorder utility is described in the following appendix As you can see the possibilities pre sented by the master control function are limitless With a little experimentation you will find many tricky ways to combine these features maximiz ing the flexibility of your MIDI system 315 APPENDIX Using the MDR functions You will probably use the SY99 s disk drive most often to save voice multi sequencer and setup data from the SY99 on a floppy disk In addition to these more obvious uses of the disk drive however the MIDI data recorder utility allows you to save bulk data from other MIDI devices such as tone genera tors or rhythm programmers By making the most of the SY99 s disk drive you can use the SY99 to perform all of the functions that would normally be performed by a stand alonc sequencer or personal computer What s more if you combine these functions with the SY99 s mas ter control utility the SY99 can be adapted to a wide variety of uses serving as the core of an ex tended MIDI system Basic application The fundamental MDR opera tions have been explained in the description of the MIDI Data Recorder utility page 279 To perform any of these operations you must first press UTILITY to enter Utility mode then press F6 MDR to display the MDR utility job direc tory if it is not already s
38. ce mode 32 Multi mode Maximum simultaneous timbres 1 Voice mode 16 Multi mode Note assignment Last note priority DVA dynamic voice allocation Keyboard 76 notes key velocity sensitivity chan nel aftertouch with zoned aftertouch DSP effects 2 units 63 effect types Sequencer Tracks 16 15 tracks 1 pattern track Songs 10 Resolution 1 96 of a quarter note for internal clock 1 24 of a quarter note for MIDI sync Maximum simultaneous notes 32 Capacity approximately 27 000 notes Patterns 99 Recording realtime step punch in Memory Preset memory 128 voices 16 multis Internal memory 64 voices 16 multis Waveform memory 4 Mwords 8 Mbytes 267 sounds MDR sample memory 512 kbytes expandable to 3 Mbytes Card slots synthesizer data x 1 waveform data x1 Disk 3 5 floppy disk drive 720 kbyte formatted 326 Controllers Wheels PITCH MODULATION 1 MODU LATION 2 Slider OUTPUT 1 OUTPUT 2 DATA ENTRY Knobs LCD contrast click volume Dial data entry dial Panel switches MODE x 5 EDIT COMPARE COPY SAVE EF BYPASS SEQUENCER x 7 SHIFT function x 8 EXIT PAGE lt p JUMP MARK cursor Av lt p 1 NO 1 YES numeric keypad 0 9 ENTER MEMORY x 4 BANK x 4 voice select x 16 Display LCD 240 x 64 pixels with backlight LED red x 11 red green x21 Terminals Audio output OUTPUT 1 L MONO R OUT PUT 2 L R PHONES Controller BREATH FOOT VOLUME FOOT
39. conceptually helpful for them to have the same job number Other details There are other differences in the screen displays and function key assignments Most of these differences are due to the addition of new features to the SY99 However we have tried to Keep the JUMP numbers for pages the same whenever possible Since some of the jobs in Utility mode have been reordered this means the JUMP numbers will not necessarily follow the sequence of the jobs APPENDIX Data compatibility As mentioned above in AWM sample memory the SY99 contains all the SY77 AWM waveform data but the order has been rearranged When SY77 or TG77 voice data is loaded into the SY99 the waveform numbers will be converted automatically and the SY99 waveform equivalent to the SY77 waveform will be used However since minor adjustments have been made to some of the waveform data itself the sound of some waveforms may not be pre cisely identical to the SY77 waveforms Since the effect systems of the SY77 and SY99 are significantly different SY77 voices which depend heavily on effect processing will not sound the same on the SY99 Disk compatibility If you wish to load an SY77 disk which contains All Data Synthesizer All or Sequencer All data or to save All Data Synthesizer AIL or Sequencer All data to a disk which will later be loaded by an SY77 you must make the appropriate setting for Disk utility S Disk
40. e data card is not of the 64 Kbyte variety ac cepted by the SY99 APPENDIX Wave card Wave card not ready ID Number mismatch The wave card is not correctly inserted into the A multi includes voices which use two or more slot wave cards Different wave card IDz The wave card which is inserted is not the one used by the voice or multi Disk Disk not ready Directory full The disk is not correctly inserted into the disk The directory area on the disk is full and new drive files cannot be created Illegal change Media type error During the backup operation the original and The disk is the wrong type back up disks were inserted in the wrong order Illegal file Illegal disk The file is not for the SY99 The data in the disk is faulty Song memory full Bad disk The sequencer memory is full The disk is faulty Sample memory full File not found The sample memory area is full The file was not found MDR memory full Write protected The MDR memory area is full The disk is write protected Disk full There is no more memory available on the disk Sequencer and display Please stop sequencer Range is exceeded The sequencer cannot play during disk or card The parameter you specified in an edit job is be loading or saving during bulk data transmission yond the valid range or during master control setting Data not found Illegal time When you executed the Search Part operati
41. e data will be happy to know that the SY99 features five expansion slots which allow the size of the MDR sample RAM area to be expanded to a maximum of 3 Mbytes 1 5 Mwords using optional expansion memory boards Model SYEMBO5 Each expansion memory board adds 512 kbytes to the amount of MDR sample memory available and is designed to be easily installed by the user Please note the fact that these boards can only be used as sample memory The amount of memory that can be allocated for use by the MIDI data recorder is limited to 512 Kbytes and cannot be expanded using expansion boards The following chart shows the minimum and maximum amounts of sample memory that each board makes available Board Minimum Maximum 98105 MDR 512 Kbytes MDR 0 Kbytes 0 0 Kbytes 512 Kbytes 512 Kbytes 1 Mbyte 1 Mbyte 1 5 Mbytes 1 5 Mbyte 2 Mbytes 2 Mbyte 2 5 Mbytes 2 5 Mbyte 3 Mbytes Complete instructions for installing and initializing expansion memory are included with the expansion boards 325 APPENDIX Specifications Tone generator Realtime Convolution and Modu lation RCM AWM2 16 bit linear waveform data maximum 48 kHz sampling frequency AFM 6 operators 45 algorithms 3 feedback loops 16 waveforms modulation from AWM output Filter Time variant IIR infinite impulse re sponse digital filters 2 filters for each element maximum of 8 filters per voice Maximum simultaneous notes 16 Voi
42. howing The basic MDR procedure consists of two steps 1 Use job 02 Input to input data to the SY99 from an external device via MIDI bulk dump 2 Use job 04 Save to disk to save the data to a floppy disk using the SY99 s floppy disk drive Data will be retained in the MDR memory area even if the SY99 s power is turned off however it is a good idea to save it to a disk in case you accidentally erase it by inputting other bulk data You can return the data to the external device for use by simply reversing the above procedure 3 Use job 03 Load from disk to load MDR data into the SY99 from a floppy disk 4 Use job 0 Output to output data from the SY99 to the external device These two step procedures naturally take more time than it would require to load or save the same data using data cards The advantage of this method lies in cost as disks tend to be less expensive than data cards However some people may find that a little speed is worth the 316 added cost in the end it is a matter of personal taste Advanced applications The MDR functions be come most convenient when used in combination with the SY99 s master control utility Taken together these two functions allow the SY99 to adapt flexibly to a variety of MIDI system con figurations Of course it is impossible to de scribe all of the possibilities these functions permit A single suggestion is presented here to get you started Imagine using the SY99 as
43. imit lla imit Press F4 Init to initialize the controller settings 3 Edit the control setup Input the values given for zones 1 and 2 in the table above as shown here When you are done entering the values for zones and 2 press F2 3 4 to enter the values for zones 3 and 4 Normal 1Uc 4 Name and save the control setup Press F5 Name Change the name of the setup Press EXIT to return to the Controller Select display JUMP 832 Exit to Utility mode to save the setup You can save the control setup to disk as part of an All Data or Synthesizer All file Using control setups The master control feature is useful because it allows you to make several changes in a MIDI system simultaneously You will find this capability particularly convenient if you perform live as it will allow you to effect system changes smoothly without interrupting the flow of performance To activate a control setup from Voice or Multi play mode press F6 Mstr Then move the cursor to the setup you wish to activate and press ENTER To de activate the setup press ENTER once again Of course the SY99 s keyboard responds normally to notes you play while the Controller Select display is showing so you can use the master control functions to change your system setup even while you are performing Advanced applications The most basic application of the master control function illustrated above involves assigning
44. k data receiving 261 transmitting 260 Bulk dump MDR input 281 MDR output 280 sample dump 276 Card format 263 load from data card 262 load from wave card 264 save to data card 263 utility job directory 262 Chain pattern 39 212 Change data in song edit mode 44 209 Channel settings 258 of a multi how to select 36 Character data how to enter 30 Clear pattern 247 song 217 Click in pattern mode 236 in song mode 201 CLICK VOLUME knob 22 Clock move 224 Clock Beat displayed when editing 229 Common data job directory 96 Compare multi 187 voice 60 93 Complex waveforms produced by FM 56 Confirm edit 255 Connections audio 4 CONTRAST knob 22 Controller how to use 70 set voice common data 127 131 set drum voice 176 specify the con trol number transmitted by the assignable 254 view 87 Controller select see Master control utility Controller edit see Master control utility COPY key 18 Copy AFM element 135 AWM element 156 filter 150 measure 224 multi 182 operator 136 pat tern 242 part in the pattern track 213 sample 276 song 215 track 216 voice 87 Correct the timing of recorded data see Quantize Create measure 226 Crescendo 221 Cursor keys 21 28 Curve velocity see Velocity set Cut song 215 Data how to enter 28 Data card see Card DATA card slot 18 Data change and insert modes song edit 44 209 211 DATA ENTRY slider 21 29 DATA ENTRY wheel 21 29 De
45. lete file 273 measure 225 part from the pattern 213 sample 275 track 227 Demo disk songs how to load and play 6 Detune element 97 Device number 259 Directory job 24 multi 181 sample 275 song 232 voice 86 Disk drive 18 327 APPENDIX Disk backup 272 format 271 how to load and play the demo 6 load data 266 load MDR data 282 load sample 277 save data 268 save MDR data 282 save sample 277 save type 274 status 265 utility job directory 265 Drum voice 53 controller set 175 consists of 76 percussive sounds 13 edit job directories 64 149 effect 151 how to edit 78 initialize 176 mode 95 name 176 preset layouts 300 recall 177 volume 172 wave data set initialize 176 wave data set 173 DSP see Effects Dynamic pan see Pan EDIT COMPARE key 18 Edit confirm on off 255 modes 24 multi 185 multi jobs 187 pattern 241 pattern jobs 242 sample 161 sequence editing jobs 17 song 44 208 song jobs 48 214 218 song graph 208 song data change 209 song data insert 210 voice 60 91 EFFECT BYPASS key 18 Effect copy from another voice 105 two DSP units 14 mode select 106 realtime control 123 selec tion 108 set 104 settings for a multi 37 192 EG AFM operator 142 143 AFM pitch 148 AWM 163 AWM pitch 168 filter cutoff 153 EG bias controller set 130 Element copy AFM 135 copy AWM 156 detune 97 level 96 note limit 97 note shift 97 pan 99 select 94 turn off unwanted 66 9
46. level PLiRockAT Distorted electric guitar with feedback harmonics via aftertouch Good for solo lead playing and rhythm comping MW vibrato MW2 filter cutoff DE flange mix level SL SawLead Classic analog type sawtooth lead synth voice with distortion for extra bite MWI vibrato MW2 pan LFO DE distortion level SL EchoSaw Analog sawtooth lead synth voice with mono key response MWI vi brato MW2 filter cutoff DE wet dry mix for Output 1 SL Duke Percussive and expressive lead synth voice with rich stereo delays MWI vibrato BI3 BI4 B16 CO1 CO C03 C04 C06 C07 C08 C09 C10 APPENDIX SLiSyne Lead synth voice with oscillator syne sound MW1 vibrato pan LFO 2 filter cutoff DE flange modulation Feedback gain SL Square Classic analog type square wave lead synth voice with mono key response MW1 vibrato MW2 filter cutoff DE flange mix level SL PulseWM Pulse width modulation in an AFM lead synth voice MW1 vibrato 2 filter cutoff DE effect 2 mix SL Lyle High breathy melodic synth voice MWI vibrato DE ER reverb balance BA Picked Solid picked electric bass with well defined edge Add chorus effect with MW2 MWI1 vibrato MW filter cutoff DE chorus mix level BAiSlapped Bright robust slapped electric bass Add chorus effect with MW2 MWI vibrato MW filter cutoff DE chorus mix level BA Fingers
47. limit element 98 master control 285 315 Numeric key pad 21 30 Operator copy 136 EG 142 on off 135 output 144 waveform and frequency 139 141 Oscillator AFM 139 OUTPUT jacks 23 Output AFM operator 144 AWM 165 Output group select voice common 103 voice in multi 191 Output MDR data 280 Page mark for JUMP function 27 PAGE keys 21 to move between jobs 25 PHONES jack 23 POWER switch 23 Pan controller set 130 copy 101 edit 100 EG 102 independent for each element 14 name 103 select for each element 99 source 101 static pan of voice in multi 191 Pattern recording two methods of 17 Pattern chain 212 clear 247 copy 242 edit mode 241 edit jobs 242 get 243 mode 233 how play and edit modes are organized 235 how to place in pattern track 39 play mode 236 put 243 put chain 244 record 237 setup jobs 245 used in a song 17 used to record rhythm sounds 38 Pitch EG AFM 148 AWM 168 Pitch bend controller set 127 Pitch wheel 18 Pitch random 103 Play modes and edit modes 24 Play pattern 236 song 201 Playback select and mute tracks for 202 Polyphonic voice modes 95 329 APPENDIX Polyphony of AFM and AWM tone generators 13 Portamento 104 Power cable 23 Preset drum layouts 300 multis 299 master control setups 286 voice list 5 voice explanation 292 waveform list 158 Program change reception and transmission 259 send while in voice play or multi play modes 88 182 Pr
48. lue specified in Output To avoid distorting the sound appearing at Op2 you must set the correct gain values Of course distortion can be an interesting effect in its own right By adjusting the operator output and oper ator input a wide range of AWM input levels can be used APPENDIX The steps outlined so far may not result in a very interesting sound but the following points will illustrate some of the possibilities of RCM hybrid synthesis The AFM operator into which the AWM wave form was introduced can be modulated by other operators or can modulate other operators The same AWM waveform can be introduced into two or more AFM operators perhaps with each operator set to a different pitch Since the AWM waveform is routed through the filter of the AWM element before being intro duced into the AFM operator its filter settings can be continuously varied resulting in a realtime filtered waveform which can be modulated by and can modulate other operators waveforms i e Realtime Convolution and Modulation RCM hybrid synthesis Convolution refers to pro prietary Yamaha digital filtering technology 311 APPENDIX Using loaded samples to create a voice The ability to load sampled sound data for use in voices is an innovative feature which sets the SY99 apart from other digital synthesizers This feature allows advanced programmers to make use of sound da
49. mix level BA Picky Fat bass with hard attack MW vibrato MW2 filter cutoff and pan LFO DE wet dry output mix of effects BA Roque Electric and synth basses get together MWI vibrato MW filter cutoff DE flange mix level and wet dry output mix of EFF2 BA VelSlap Bass with velocity controlled slap attack MW1 vibrato MW filter cutoff and pan LFO DE chorus mix level BAiStile Wood bass sound gets harder with velocity MW1 vibrato MW filter cutofl and pan LFO DE flange mix level and wet dry output mix of effects BA Upright Realistic wood bass sound MW1 vibrato MW2 filter cutoff DE reverb mix level BAiSerious Fat analog bass sound MWi vibrato MW2 filter cutoff DE wet dry output mix of EFF2 BA DgiWild Hard sounding bass MWI vibrato MW2 filter cutoff DE chorus mix level PLiElktrik Distorted guitar with ping pong delay MWI vibrato MW2 filter cutoff DE EFFI mid and treble gain PLiMetlHed Lead guitar perfect for solos MWI vibrato MW2 filter cutoff DE EFF mid and treble gain PLiOvDrive Guitar with aftertouch modulated overdrive MW vibrato MW2 filter cutoff DE flange mod freq and wet dry output mix of EFF2 PL Stratus Clean single coil guitar sound MWI vibrato MW filter cutoff DE wet dry output mix of EFFI PLiE Mute Fat muted guitar MWI vibrato MW filter cutoff PLiVelMute Guitar with aftertouch controlled
50. most basic use of this feature would be to change the program memory selections of MIDI devices connected to the SY99 Let s say for example that you have a multi timbral tone generator which is receiving song data on channels 5 through 8 To select different program memories for each of these channels you could use the master control func tion to transmit information such as the following from the 7 Zone Transmit channel Bank select Program change To use the master control function in this way you must first program a master control setup with this information The procedure for doing this is as follows 1 Select a master control setup to edit Press UTILITY Press F7 Mstr Select 01 Controller Select Move the cursor to control setup 01 Press ENTER to activate the setup You must select a control setup before you can edit it The Edit label for F8 does not appear on the display otherwise JUMP 831 JUMP 832 CONTROLLER SELECT Mair Mine LC Ch fTeuzA4 chrd Solo Edit 5 8 314 Notice when you select the control setup that the LED above corresponding memory select switch lights and the name of the setup is displayed in reverse 2 Initialize the control setup Press F8 Edit Press F4 Init The controller edit display will appear when you press F8 Edit JUMP 833 1 46 31 1Uc ch Uel AF Bank Sel PC Uol MUR XPS Note L
51. ncer timing 197 MIDI data recorder MDR how to use 316 initialize memory 283 input data 281 load data from disk 282 output data 280 save data to disk 282 utility jobs 279 MIDI bulk dumps 260 settings 258 utility jobs 258 Main modes five 24 Marked pages jumping to 27 Master tuning 252 Measure copy 224 create 226 delete 225 erase 225 Message bank select 88 182 greeting 255 pro gram change 88 182 Metronome see Click Micro tuning 124 copy 126 edit 125 name 127 Mix track 226 Mode select keys 18 Mode effect 64 106 five main 24 sample loop 163 voice 52 Modify gate time 219 velocity 220 Modulation effect 123 controller set 128 wheels 18 Mono voice modes 95 Move clock 224 Multi compare 187 copy 182 directory 181 edit job directory 187 edit mode 185 effect 37 192 explanation of 16 how to set up 36 initialize APPENDIX 194 name 193 note shift 190 pan 191 play mode 179 presets 299 recall 195 select 181 store 187 voice select 188 voice output group 191 voice tuning 190 voice volume 189 Mute master control channel 285 playback tracks 202 Name drum voice 176 file disk 271 micro tuning 127 multi 193 pan 103 song 231 voice 131 waveform 161 Noise input to an algorithm 138 Normal voice see Voice Note capacity of sequencer simultaneous 173 Note on off all odd or even 258 Note shift song edit job 223 voice element 97 voice in multi 190 Note
52. of America 6600 Orangethorpe Ave Buena Park Calif 90620 USA Tel 714 522 9011 MIDDLE amp SOUTH AMERICA MEXICO Yamaha De Mexico S A De C V Departamento de ventas Javier Rojo Gomez No 1149 Col Gpe Del Moral Deleg Iztapalapa 09300 Mexico D F Tel 686 00 33 BRASIL Yamaha Musical Do Brasil L TDA Ave Reboucas 2636 S o Paulo Brasil Tel 55 11 853 1377 PANAMA Yamaha De Panama S A Edificio Interseco Calle Elvira Mendez no 10 Piso 3 Oficina 105 Ciudad de Panama Panama Tel 507 69 5311 OTHER LATIN AMERICAN COUNTRIES AND CARIBBEAN COUNTRIES Yamaha Music Latin America Corp 6101 Blue Lagoon Drive Miami Florida 33126 U S A Tel 305 261 4111 EUROPE THE UNITED KINGDOM Yamaha Kemble Musics U K Ltd Sherbourne Drive Tilbrook Milton Keynes MK7 8BL England Tel 0908 366700 IRELAND Danfay Limited 61D Sallynoggin Road Dun Laoghaire Co Dublin Tel 01 2859177 GERMANY SWITZERLAND Yamaha Europa GmbH SiemensstraBe 22 34 D 2084 Rellingen F R of Germany Tel 04101 3030 AUSTRIA HUNGARY SLOVENIA ROMANIA BULGARIA Yamaha Music Austria GesmbH Schleiergasse 20 A 1100 Wien Austria Tel 0222 60203900 THE NETHERLANDS Yamaha Music Benelux B V Verkoop Administratie Kanaalweg 18G 3526KL Utrecht The Netherlands Tel 030 828411 BELGIUM LUXEMBOURG Yamaha Music Benelux B V Brussels office Keiberg Imperiastraat 8 1930 Zaventem Belgium Tel 02 7258220 SY03
53. ogram select keys 21 Punch in recording 16 42 song 205 Put chain pattern 244 pattern 243 Quantize 219 Random pitch 103 Rate scaling AFM EG 142 AWM EG 163 RCM hybrid synthesis 10 how to create voices using 310 Realtime digital filter see Filter Realtime recording 16 40 pattern 17 238 song 204 Rear panel 22 Recall drum voice 171 multi 195 voice 131 Receive channel for voice mode 258 event 228 RECORD key 19 Record pattern 237 pattern realtime 238 pattern step 239 song 8 203 song punch in 205 song realtime 204 song step 206 three ways to 16 Relative tempo data 211 Rename disk file 272 Repeat marks in a pattern 39 212 Resonance 67 151 Reverb simple editing of 66 Rhythm pattern see Pattern RUN key 19 Sample 160 assign as waveforms 162 directory 275 dump 276 edit 162 how to create voices using 312 initialize memory 278 load from disk 277 save to disk 277 utility jobs 275 Save card 263 disk 268 MDR data to disk 282 sample to disk 282 Save type SY99 or SY77 274 Scaling AFM rate 142 AFM output 144 filter cut off 152 AWM rate 163 AWM output 165 Select and play voices how to 4 Send program change 88 182 Sensitivity AFM 145 AWM 166 Sequence editing jobs 17 loading other types of data 266 saving other types of data 269 330 Sequencer control keys 18 controls the tone generator 34 explanation of 16 how to use the 33 transmit channel 230 246 simultaneou
54. on in You attempted to execute the Get Pattern oper Chain Pattern the specified data was not found ation but the time signature was Incorrect 319 APPENDIX Illegal input You attempted to enter an invalid data value in Edit Insert mode Internal buffer full More sequence data was played back than could be sounded Battery Change internal battery The internal backup battery needs to be re placed Change wave BAT The backup battery for the internal MDR sample RAM area or an expansion memory board as specified in the message needs to be replaced Change card battery The card backup battery needs to be replaced Other Use bank D The voice must be stored in bank D Only C1 C6 data valid You are attempting to save a drum voice to bank A B or C Only the data for notes C1 through C6 will be saved as a result of this operation Save the voice to bank D if you wish to save the data for all notes EO through G6 Illegal mark You attempted to mark a display page while using the compare function Use bank A C The voice must be stored in bank A B or C Sample Please allocate sample memory You attempted to enter Sample utility mode but no memory has been allocated for sample use Please use the System utility memory allocate function to allocate memory for sample use Not enough memory for sample You attempted to reduce the memory area allo cated for sample use beyond the minimum req
55. pad with very slow attack featuring a resonant filter sweep MW filter cutoff DE reverb time AFT vibrato B08 B09 B10 Bil B12 B13 BIS C01 C04 C05 C06 SPiFlash Contemporary pad and musical ef fect with dramatic harmonic and filter motion MW vibrato MW2 filter cutoff SPiHrpsiPd Digital pad with a harpsichord like attack Also useful for comping parts MW vibrato MW2 filter cutoff SP Skylane Atmospheric pad with looping EGs and resonant filtering MW1 vibrato MW filter cutoff DE mod depth of sym phonic effect SP Arpeggi Bright digital pad with vector like harmonic development for use in sustained parts MW1 vibrato MW2 filter cutoff SPiVecktar Another digital pad featuring vec tor like harmonic development useful for sus tained parts and comping MW chorus PM depth MW2 filter cutoff DE EFF2 mix SP Crystal Very bright and detailed pad MW1 vibrato MW2 filter cutoff SPiTwinks Evolving breathy pad with bell like percussive attack MWI vibrato MW2 filter cutoff DE chorus mix level VEL EQ high gain SP Polydor Full bodied slowly evolving pad with metallic attack MW1 vibrato MW2 filter cutoff DE delay mix level SPiWarmJet Luscious warm analog type string pad with breathy overtones MW 1 vi brato MW2 filter cutoff BRiTrmpSec Bright trumpet section MWI vibrato and tremolo MW filter cutoff
56. possible use of these functions With a little ingenuity and experi mentation you are sure to find even more innovative uses for these flexible and handy functions 317 APPENDIX Error messages MIDI MIDI buffer full When the SY99 attempted to receive or transmit a large amount of MIDI data its handling capac ity was exceeded MIDI data error An error occurred when receiving MIDI data MIDI checksum error An error occurred when receiving bulk data Data empty Sequence data bulk was received but the message contained no data Bulk rejected sample exists An unoccupied sample number could not be found so the bulk sample data was not received Song memory full When receiving sequence data bulk the inter nal memory capacity was exceeded and not all the data was received Device number is off Since the device number is off bulk data cannot be transmitted or received Device number mismatch Since the device numbers did not match the bulk data was not received Bulk canceled While receiving or transmitting bulk data EXIT was pressed to abort the operation Data card Data card not ready The data card is not correctly inserted into the slot Card protected Since the memory protect switch of the card is on data cannot be saved to the card Illegal format The card is the wrong format 318 Verify error The data was not correctly saved Illegal size Th
57. rmat 0 file is loaded the data for each MIDI channel is loaded to the corresponding track channel 1 to Track 1 channel 2 to Track 2 and so on Only data for channels 1 through 15 is loaded however any data for channel 16 will be ignored Tempo change messages and similar information are all loaded to Track 1 When a format 1 file is loaded data for the track containing tempo change messages and other conductor information is loaded to the SY99 as Track 1 Data for other tracks are loaded in sequence It will therefore be neces sary to reset the channel assignments for each track when loading is complete All data loaded to a single track in this way will be transmitted by the SY99 on a single channel For this reason even if one track of a format 1 file contains data for two or more MIDI channels all this data will be played back by the SY99 using a single channel Since this may mean that sequencer parts may not play back as desired we recommend that format 0 be used for the transfer of data whenever possible No exclusive data is loaded from Standard MIDI Files of either format type Saving data Data may be saved in standard MIDI file format to any of the disk types described in Acceptable disk formats below To save se quencer data in Standard MIDI File format select save operation type 06 MIDI File from the Save to disk job directory The data for each track is saved to the corresponding MIDI chan nel Track 1 to ch
58. rn i 124 Tambrn m 12 HHmid 112 mid HH HEAVY 113 HiCgaSip 1 135 HH heavy 113 HHopen 114 Timbaet 146 HHopen 114 HH foot 41 Timbale 146 HH foot 110 Crash 77 mz Timbalet 146 Crash 117 Crash 117 Timbalet 146 Crash B 47 Ride 118 Tmbae2 1 1 Timbale2 147 Ride 118 Timbale1 146 Ride 118 Ride 300 APPENDIX Drum Set Preset1 D14 Dr Kits Preset1 D15 Dr Perc Preset1 D16 Dr Mixed l Note Number SAI Wave Form Name No Wave Form Name Wave Form Name 1 E Ride mE 118 Timbale1 Ride F 3 Ride 118 Timbalei Ride Choke 419 Timbalei Choke G 3 spe 142 Timbale2 BD 7 Ton l 90 Bongo BD5 A 3 1 SD 4 EEN EN 97 SD side NoisePrc m Tom 6 mM 109 Tom 6 Tom 6 ze 409 1 Tom 6 CHa AnlgPerc 127 Maracas AnlgPerc Tom 6 mE 409 1 Agogo E Tom 6 Dit4 AnlgPerc i EM 427 Maracas AnigPerc E SD 9 102 Clave SD9 Tom 6 109 KW Tambrn Tom 6 F 4 ERE Claps 2 LL 121 Tambrn Claps 2 On 866 0 91 Shaker BD 6 ae IN FngrSnap 126 Tambrn FngrSnap NEM HHoAnig 0 115 Shaker HHdAnlg as Scratch 129 Fngrnap Scratch 800 HHopang 116 Fngrsnap HHopAnlg mE BD 7 92 Guiro 1 Cga Lo C5 NosePrc 128 Guio2 CgaLoSlp Tom5 108 Cabasa Cga Hi
59. s note capacity of 173 MIDI timing contro 229 Setup and play how to 4 Setup jobs pattern 245 song 228 SHIFT key 19 Slider data entry see Data entry slider Solo master control channel 285 Song append 214 clear 217 copy 215 cut 215 directory 232 edit mode 208 how song play and song edit modes are organized 199 how to edit 44 how to record 8 mode 197 name 231 play mode 201 record 203 setup jobs 228 utility jobs 214 218 Standard MIDI File Format 323 Status disk 265 Step record 16 pattern 17 239 song 206 specify F1 F4 accent levels for 6 STOP key 19 Store multi 187 voice 74 93 SUSTAIN jack 23 Switch lock 257 System utility jobs 217 Temperament see Micro tuning Tempo relative sequence data 211 Thin out 222 Timing correct for recorded data see Quantize Tone simple ways to modify the 66 Tone generator and sequencer 34 Track copy 216 erase 227 mix 226 sequencer 16 35 select for playback 202 Transmit channel keyboard 258 sequencer 230 246 voice 86 Transpose 222 Tuning master 252 micro 124 of voice in multi 190 Tutorial how to use the sequencer 35 how to edit a voice 51 using RCM hybrid synthesis 310 using samples to create a voice 312 using master control utility 314 using the MDR utility 316 Utility card 215 disk 265 master control 284 MDR 279 MIDI 258 mode 249 sample 275 system 252 Velocity element limit 98 master control limit 285 315 modify
60. save type see page 274 Once the data has been loaded into the SY99 ii can be saved in either format All other types of disk data are directly com patible 309 APPENDIX Using RCM hybrid synthesis The ability to use an AWM voice as an input to an operator is one of the radical innovations of the 5199 Since the architecture is so flexible it will be a long time before this capability can be fully ex plored This section will suggest one possible starting point for experimentation 1 Select the voice mode From Voice edit mode Select Voice mode F1 JUMP 200 Select Voice Mode 9 IAFM amp IAWM Press F2 Com 2 Initialize the voice common data From Voice edit Select 15 Initialz Initialize voice Press ENTER Press YES at the Are You sure prompt Press EXIT at the Completed prompt JUMP 201 3 Initialize the AFM element From Voice edit JUMP 201 Press F3 El AFM Element JUMP 230 Select 15 Initialz Initialize AFM element Press ENTER Press YES at the Are You sure prompt Press EXIT at the Completed prompt 4 Initialize the AWM element From Voice edit JUMP 230 Press F4 E2 AWM element JUMP 256 Select 15 Initialz Initialize AWM element Press ENTER Press YES at the Are You sure prompt Press EXIT at the Completed prompt 5 Select an AWM wave Press F4 E2 to edit the AWM element Select 2 WaveSet AWM waveform set Pre
61. ss the 1 1 buttons or use the data wheel or slider to select the wave you wish to use JUMP 256 JUMP 257 310 When you play the keyboard you will notice that all waves will sound with the initialized organ type EG and no velocity or filtering You will probably want to add final touches later EG filtering and dynamic information are carried over into the FM operator However for now we will use only a raw wave in order to explain the mechanics of RCM hybrid voicing Before trying to use an AWM wave in an AFM algorithm it is useful to turn off the AWM direct output This is not necessary for final voicing since many voices use both the direct AWM sound and the hybrid AWM AFM combination However it is easier to understand the effect of the hybrid system if the direct output of the AWM element is tem porarily turned off 6 To turn off the AWM From Voice Edit Select 7 OutSel Press F2 E2 to select element 2 Press three times to turn element output off Press EXIT to retum to the voice edit job direc tory JUMP 8201 JUMP 208 7 Select Algorithm 30 default in INIT AFM voice Note Any algorithm will work with hybrid voicing However we will use the default algorithm 30 in this demonstration so this step is not necessary 8 Set operators and 2 to fixed frequency zero frequency Press F3 to select the AFM job directory Select 2 Osclltr JUMP 235 Press Operator Select button
62. ta sampled using digital samplers such as the Yamaha TXI6W in addition to the SY99 s own preset waveforms and the waveforms offered as waveform cards To make use of this ability you must first under stand the difference between a sample and a wave form The SY99 cannot make usc of raw sample data per se this data must first be assigned to a waveform before the SY99 can use it as a voice element The assignment of samples to a waveform is thus the crucial step which allows you to make use of sample data in an SY99 voice A sample voice The process of creating a voice us ing sampled sound data may thus be divided into three fundamental steps 1 loading samples into memory 2 editing the samples and assigning them to a waveform and finally 3 editing the voice In this appendix we would like to focus on the second step the assignment of samples as waveforms The simplified example that follows outlines the basic features of this process l Load the samples to be used into to sample RAM area You can load samples into the saniple RAM arca using Sample utility job 03 Load from disk or via MIDI sample dump Say for example you wish to create a voice using three piano samples which were sampled at different locations of the keyboard SHMPLE DIRECTORY te 1 1 3 011 PianoHi cu BE Cord When you have completed the load procedure the sample directory might appear as shown above 31
63. uired by currently existing samples Please initialize the sample memory or delete samples before attempting to reduce the amount of MDR sample RAM allocated for sample use 320 Sample data not exists You attempted copy or save sample data from a sample number which does not contain any data Sample data protected Copy protected sample data may not be saved to disk or transmitted via MIDI dump Over internal waveform number You attempted to load a number of waveforms exceeding the internal memory maximum of 64 MDR Please allocate MDR memory You attempted to enter Sample utility mode but no memory has been allocated for MDR use Please use the System utility memory allocate function to allocate memory for MDR use Not enough memory for MDR You attempted to reduce the memory area allo cated for MDR use beyond the minimum required by currently existing MDR data Please initialize the MDR memory or delete MDR data before attempting to reduce the amount of MDR sample RAM allocated for MDR use APPENDIX Over sample number You attempted to load a number of samples exceeding the internal memory maximum of 99 MDR data already exists You attempted to input data to an MDR number already occupied by data Please choose a dif ferent MDR number as the destination for incoming data MDR data not found You attempted to output data from an empty MDR number 321 APPENDIX Disk filename extensions
64. ve numbers WAVEFORM EDIT Waveform name 0 NT WAVE zi INT HBM INT HRUE Mame mb You can also change the name of the waveform at this point by pressing F7 Name Assign each sample to a range of keys Press FS Smpl Assign the keyboard range for each sample You will want to assign a different keyboard range for each of the samples The range you choose will depend largely on the note bias of the sample itself For the purpose of this example we have assigned the sample PianoLow to keys C 2 through BI PianoMid to C through B4 and PianoHi to C5 through G8 4 f Y When overlapping ranges are assigned the sample with the lower number is given priority Edit the parameters for each sample Move the cursor to a sample you wish to edit Press FS Data Edit the volume pitch loop type and loop mode for the sample E APPENDIX You may wish to change the sample s volume fine tune its pitch or alter its loop type and mode Depending on the sample altering the loop mode can produce some interesting effects MPLE DATA ext amPle B1 PianoLow Cl6bit 33 Volume Hen Pitch Loop Forward Loop Mode Normal Otk To edit a different sample press move the cursor to a different sample and press F8 Data once again F7 Asgn Edit the voice This completes the assignment of tones to the waveform When you are satisfied with your settings press
65. yboard The SY99 has a 76 note keyboard See also Zoned aftertouch below Master keyboard functions The SY99 is able to function as a powerful MIDI master keyboard Eight editable master control setups are pro vided each containing four zones that transmit on their own MIDI channel An output filter is provided to filter each type of outgoing message for each channel 1 16 For details refer to Master control utility page 284 AWM ROM preset sample memory The SY77 has 112 waveforms occupying 2 Mwords 4 Mbytes The SY99 has 267 waveforms occupy ing 4 Mwords 8 Mbytes which include all of the waveforms of the SY77 and many new waveforms See Data compability below A complete listing of the SY99 waveforms is given in AWM element job 2 AWM waveform set page 157 MDR sample RAM The SY99 possesses 512 Kbytes of RAM which can be allocated for use as MIDI data recorder MDR memory or as sample memory in any desired proportion The allocation procedure is described in Utility Mode System utility 5 Memory allocate page 256 RAM allocated as MDR memory is available for receiving bulk data dumps from other MIDI devices Once received by the SY99 this data can be saved to a floppy disk using the SY99 s disk drive The MDR function allows you to use the SY99 s floppy disk capability to store data for other devices which do not have disk storage capability 308 RAM allocated as sample memory is avail able to receive M
66. yle string section with chorusing MW I vibrato MW2 filter cutoff and pan bias STiRosin Large transparent acoustic string section very responsive to velocity MW1 vibrato MW2 pan bias DE chorus PM depth STiQuartz Intimate small section such as a quartet MW1 vibrato and pan LFO MW2 filter cutoff ST Pizza Pizzicato string section MW vi brato MW2 filter cutoff tremolo and pan LFO ST Concert Full symphonic string section very responsive to velocity MW1 vibrato MW filter cutoff ST Chestra Full orchestra with brass and string sections MW vibrato MW2 filter cutoff BR Spitz Large synth brass section MW1 reverb time MW2 filter cutoff DE EFF2 mix AFT vibrato ME BigNeck Orchestral unison hit works best when played in octaves MW1 vibrato MW filter cutoff PCiSnapper Very percussive comping synth voice MWI vibrato MW filter cutoff DE chorus PM depth 293 APPENDIX D06 D07 D08 D09 D10 D11 D12 PCiMarimba Vary the positions of MW1 and MW2 to play this marimba with different types of mallets MW1 pan LFO and Aural Exciter enhance level MW2 filter cutoff DE EFF2 mix PC Vibes Vary the position of MW2 to play the vibes with different types of mallets MW tremolo pan LFO and chorus AM depth MW2 filter cutoff DE EFF2 mix PCiMusicBx Light delicate sound reminis cent of a child s music box MWI vibrato

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