Specifications

Style Creator (Digital Recording)
Reference
122
TYROS Owner’s Manual
120
● HIGH KEY
This sets the highest key (upper octave limit) of the note transposition for the chord root change. Any notes calculated to be higher than
the highest key are transposed down to the next lowest octave. This setting is available only when the NTR parameter (page 121) is set
to “Root Trans.”
● NOTE LIMIT
This sets the note range (highest and lowest notes) for voices recorded to the style channels. By judicious setting of this range, you can
ensure that the voices sound as realistic as possible — in other words, that no notes outside the natural range are sounded (e.g., high
bass sounds or low piccolo sounds). The actual notes that sound are automatically shifted to the set range.
● RTR
These settings determine whether notes stop sounding or not and how they change pitch in response to chord changes.
Custom Style Recording via an External Sequence Recorder
If you have a favorite sequencer or sequence software, you can use that to create custom styles, instead of using the Style Creator on the TYROS.
■ Connections.........................................................................................................................................
• Connect the TYROS MIDI OUT to the sequencer MIDI IN, and the sequencer MIDI OUT to the TYROS MIDI IN.
• Make sure that the sequencer “ECHO” function is ON, and the TYROS LOCAL ON/OFF (page 146) is turned OFF.
■ Creating the Data.................................................................................................
• Record all sections and parts (channels) using a CM7 (C major seventh) chord.
• Record the parts on the MIDI channels listed at right, using the TYROS’ internal tone gener-
ator. If the TYROS is not used during recording, make sure to use XG voices on an XG- and
SFF- (Style File Format) compatible tone generator for optimum results.
• Record the sections in the order listed below, with a Marker Meta-event at the top of each
section. Enter the Marker Meta-events exactly as indicated in the chart on the next page
(including upper/ lower case characters and spaces).
• Also include an “SFF1” Marker Meta-event, “SInt” Marker Meta-event and style name Meta-
event at 1|1|000 (the top of the sequence track), and the GM on Sys/Ex message (F0, 7E, 7F,
09, 01, F7). (“Timing” in the chart is based on 480 clocks per quarter note. “1|1|000” is clock
“0” of the first beat of the first measure).
• The data from 1|1|000 through 1|4|479 is the “Initial Setup,” and 2|1|000 through the end of
Ending B is the “Source Pattern.”
• The timing of Fill In AA and subsequent Marker Meta-events will depend on the length of
each section.
STOP The notes stop sounding.
PITCH SHIFT
The pitch of the note will bend without a new attack to match the type of the new
chord.
PITCH SHIFT TO ROOT
The pitch of the note will bend without a new attack to match the root of the new
chord.
RETRIGGER
The note is retriggered with a new attack at a new pitch corresponding to the next
chord.
RETRIGGER TO ROOT
The note is retriggered with a new attack at the root note of the next chord. Howev-
er, the octave of the new note remains the same.
CM
C3-E3-G3
FM
F3-A3-C4
F#M
F#2-A#2-C#3
C#M
C#3-F3-G#3
Example — When the highest key is F.
Root changes
Notes played
CM
E3-G3-C4
FM
High Limit
Low Limit
F3-A3-C4
C#M
F3-G#3-C#4
Example — When the lowest note is C3 and the highest is D4.
Root changes
Notes played
Part MIDI Ch.
Rhythm1 9
Rhythm2 10
Bass 11
Chord1 12
Chord2 13
Pad 14
Phrase1 15
Phrase2 16
• Explanations here assume a
sequencer resolution of 480
clocks per quarter note. The
actual clock values here may differ
depending on your sequencer.