Welcome to the QS300 ❖•❖•❖•❖•❖•❖•❖•❖•❖•❖•❖•❖•❖•❖•❖•❖•❖•❖•❖•❖•❖•❖ •❖ Congratulations and thank you for purchasing the Yamaha QS300 Music Production Synthesizer. As its name indicates, the QS300 Music Production Synthesizer provides all you need to create and perform fully orchestrated and professional-sounding music. The QS300 features an advanced tone generator, plus a comprehensive sequencer for recording and editing your performances.
Table of Contents Precautions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 How to Use This Manual . . . . . . . . . . . . . . . . . . . . . . . 6 The QS300 — What It Is and What It Can Do . . . . . 7 Panel Controls and Terminals . . . . . . . . . . . . . . . . . . 10 GUIDED TOUR Setting Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Playing the Demo Song . . . . . . . . . . . . . . . . . . . . . . . Auto Load . . . . . . . . . . . . . . . . . . . . . . . . .
Table of Contents Pattern Playback Effects Per Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Swing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Transpose/Clock Shift . . . . . . . . . . . . . . . . . . . . . . . Gate Time/Velocity . . . . . . . . . . . . . . . . . . . . . . . . . Other Pattern Functions Track Transmit Channel . . . . . . . . . . . . . . . . . . . . . .
Precautions (PLEASE READ THIS BEFORE PROCEEDING!!) ■ Location Keep the instrument away from locations where it is likely to be exposed to high temperatures (such as direct sunlight) or humidity. Also avoid locations which are subject to excessive dust accumulation or vibration which could cause mechanical damage. ■ Power Supply Avoid plugging the instrument into the same AC outlet as appliances with high power consumption, such as electric heaters or ovens.
Precautions power is turned on. When this happens, have the backup battery replaced by qualified Yamaha service personnel. DO NOT ATTEMPT TO REPLACE THE BACKUP BATTERY YOURSELF! Internal memory data can be corrupted due to incorrect operation. Be sure to save important data to floppy disk frequently so you have a backup to revert to if something happens to damage the data in memory.
How to Use This Manual You are probably eager to try out your new QS300 Music Production Synthesizer right away and hear what it can do, rather than have to read through a lot of instructions before you can even get a sound out of it.
How to Use This Manual / The QS300 — What It Is and What It Can Do The QS300 — What It Is and What It Can Do As its name indicates, the QS300 Music Production Synthesizer is more than just a synthesizer — it is a fully equipped music production machine that has everything you need to play and produce professional-sounding music.
■ Automatic Accompaniment What sets the QS300’s sequencer apart is its versatile automatic accompaniment functions, which give you complete backing band parts in a wide variety of musical styles (page 33). Plus, these backing parts change harmonically according to the chords you specify. You can even create your own original parts to be used with the automatic accompaniment. This means you can create complete rhythmic/chordal accompaniment for your song more quickly and easily than ever before.
The QS300 — What It Is and What It Can Do What It Can Do Here are a few ideas on how you can use the QS300. This section is not comprehensive, but gives you a good general guide to the overall possibilities and provides a starting point or springboard for your own creative ideas and explorations. ■ Live Performance — Including Solo Gigs The huge number of high-quality Voices and professional-level effects makes the QS300 a perfect keyboard for live performance.
Panel Controls and Terminals The QS300 is exceptionally easy to use and features a simple, consistent and highly intuitive control interface. Even so, we recommend that you take the time to look through this section and familiarize yourself with the controls and terminals of the instrument.
Panel Controls and Terminals e VOLUME Slider ................................................................................................. VOLUME ● VOLUME Slider For adjusting the volume of the sound output (in both the OUTPUT and PHONES jacks). r MODE Buttons .................................................................................................. These buttons call up the main operating modes of the QS300.
t Data Entry Controls: ....................................................................................... • • • • • These controls are used to move the cursor (highlight) in the display and change or set values (e.g., Voice numbers, parameter settings, etc.). Numeric Keypad E Button Rotary Dial D/I Buttons Cursor Buttons The numeric keypad is generally used for typing in specific values. The E button is used to actually enter values, and execute certain functions and operations.
Panel Controls and Terminals y ( Button / Function Buttons (! - *) / ) Button ............ The ( button is used with some buttons (in certain situations) to access some secondary or alternate functions. The function buttons — ! through * — are special “soft” keys that change in function depending on the current display. They select the corresponding menu items that appear directly above them in the display.
Rear Panel RISK OF ELECTRIC SHOCK DO NOT OPEN : RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR. TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE. THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1)THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2)THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION. MODEL SER.NO.
Q S 3 0 0 GUIDED TOUR GUIDED TOUR This short but important part of the manual will guide you through the basics of operating your QS300. In the sections that follow, you’ll learn how to: • Properly set up the QS300. • Play the Demo Song. • Select and play Voices. • Make changes to (or “edit”) a Voice, then save that Voice for future recall. • Record a Song using the Patterns and automatic accompaniment as well as your own keyboard performance. • Use some of the other convenient features of the sequencer.
Setting Up Here, you’ll learn how to set up the QS300 — either by itself or as part of your current system. We strongly recommend that you follow the instructions to the letter to avoid damaging any of your equipment. What You’ll Need • The QS300 and the included power cord. • An amplifier/speaker system, preferably stereo. Alternately, you can use a set of stereo headphones. • Audio connecting cables. Making the Connections ● Operation .....................................................................
Setting Up GUIDED TOUR If the amplifier has only one input, use the L/MONO jack on the QS300. If you are using stereo headphones, connect them to the rear panel PHONES jack. 2. Connect the power cord to the AC INLET terminal on the QS300 and plug the other end of the cord into an appropriate electrical outlet. 3. Make sure that all volume controls (on the QS300 and the connected amplifier) are turned down. Then, turn on the power of the QS300.
Playing the Demo Song Now that you’ve set everything up properly, try playing the built-in Demo Song. This showcases the high-quality Voices and the AWM2 tone generation system of the QS300. ● Operation ................................................................................................................ 1. Insert the included Demo Disk into the disk drive. 2. Press the d button. The following display is shown: 3. Select Load by pressing @. 4.
Playing the Demo Song 6. Press the s button to return to the Song mode. NOTE: If you wish to playback all Demo Songs continuously, use the Song Chain function by pressing ^ (Chain). (See page 95 for details.) 7. Select the desired Demo Song number (highlight the Song number and GUIDED TOUR NOTE: During Demo Song playback, no panel controls (with the exception of the ) button and the VOLUME control) can be used. change the value), then press the R button to start playback of the selected Song.
Selecting and Playing Voices The QS300 features a total of 954 high-quality Voices, created by the AWM2 (Advanced Wave Memory 2) tone generation system. 1. Press the v button. This calls up the normal Voice display. 2. Use the rotary dial, D/I buttons or numeric keypad to select the desired Voice. Indicates the category or general type of Voice. (Here, “Pf” means Pianoforte or Piano category.
Selecting and Playing Voices / Changing the Voice Bank Changing the Voice Bank GUIDED TOUR You can also change the Voice Bank of the QS300. Each Bank can contain up to 128 different Voices. There are a total of 47 Banks: XG 001-101, SFX (sound effects), Pre (Preset) and Usr (User). Though not all of the Banks have a completely different set of Voices, there are 954 Voices available in the 105 Banks. To select a Bank: ........................................................................................
Quick Selection of Voice Variations in Different Banks — Variation Voice Auto-Search The 47 Banks contain different Voice variations for many of the program numbers. However, for some program numbers, the Voice is the same for many of the Banks. You can quickly skip over duplicate programs in the Banks, to find and call up only those Voices that are different by using the Variation Voice Auto-Search function. To use Variation Voice Auto-Search: ..............................................................
Changing the Voice Bank / Editing a Voice Editing a Voice GUIDED TOUR This short section introduces you to some of the Voice editing functions of the QS300. These allow you to change the sound of a Voice, or “customize” it for your own purposes. The QS300 packs a huge variety of editable settings (also referred to as “parameters”). This section explores but a few of them. In this section you’ll learn how to: • Change the amount of Reverb and Chorus applied to the Voice. • Change the Variation effect type.
3. With the Reverb “dial” highlighted, use the rotary dial to turn the Reverb Send parameter down to about 0. Play the Voice and hear the difference in the Reverb sound; notice how “dry” it is. Note also that the dial setting in the display also changes to reflect the new value. 4. Now, use the rotary dial to turn Reverb Send up to about 110. Play the Voice again and hear the difference in the Reverb sound.
Editing a Voice Selecting a Variation Effect GUIDED TOUR The third set of effects on the QS300 are the Variation effects. Variation provides all of the effects found in Reverb and Chorus, plus many additional effects such as Distortion, Delay, Rotary Speaker, and others. In this short section, you’ll learn how to change the Variation effect. 1. From the display page in the last section, press # (Effect). The following display (or one similar) appears: Current Variation effect.
Setting the Pitch Bend The PITCH wheel at the left of the keyboard lets you bend the pitch of a Voice up or down as you play. With the Pitch Bend controls, you can change how the wheel affects the sound in a variety of ways. In this short section, we’ll explore two of them. For more details on the Pitch Bend controls, see page 46 in the Reference section. 1. From the display page in the last section (or from the Overall page), press @ (Control). The following display appears: 2.
Editing a Voice GUIDED TOUR HINT — Using the Numeric Keypad You can quickly enter parameter values by using the numeric keypad. For example, to enter a value of 12: 1. Type 1-2. (The value will flash in the display.) 2. Press E to actually enter the value. Some parameters, such as Pitch Bias above, also allow for negative values. To enter a negative value: 1. Press -, then type the number on the numeric keypad (or vice versa). 2. Press E. 4.
From a Voice display in which “V” is shown at the top, simply press the e button to use Compare. When in the Compare condition, the VOICE lamp flashes and the letter “C” (Compare) appears at the top of the display, replacing “V”. The original parameter values are also shown. MODE SONG VOICE Lamp flashes. “C” indicates Compare condition. NOTE In the Compare condition, all parameters are “locked” and cannot be changed. Pressing e again returns to the newly edited Voice (and “C” changes to “V”).
Editing a Voice GUIDED TOUR 2. Then, press @ (Amp). The following display appears: 3. From the above page (Element Amp), select the first Rate dial for Element 1 (EG Attack Rate), and change the value to around 15. Amplitude (level) EG Attack Rate parameter/value. Element 1, Rate dial 1 (EG Attack Rate). 4. Use the cursor buttons to select the fourth Rate dial of Element 1 (EG Release Rate), and also change this value to around 15. Amplitude (level) EG Release Rate parameter/value.
Naming and Storing the New Voice Now that you’ve created a new Voice, you’ll want to give it a different name and store it to internal memory, so that you can call it up again when you want it. ● Naming the Voice .................................................................................................. 1. From the last display page (Element), press * (Common). This returns you to the Common page. 2. From the above page, press & (Name).
Editing a Voice ● Storing the Voice .................................................................................................. EDIT GUIDED TOUR 1. Once you’ve named the Voice, press S. JOB COMPARE STORE You can select another number here (by using the rotary dial or the D/ I buttons); for this example, however, let’s store the Voice to User (Usr) number 001. 2. Press E to store your new Voice to the selected User memory number. 3.
Recording a Song This section guides you through the basic steps of recording a song using the sequencer and accompaniment functions of the QS300. These extremely versatile features let you quickly and easily record complete songs and compositions using the high-quality Voices of the QS300. In this section you’ll learn how to: • Enter the Song mode and select an empty song for recording. • Record some accompaniment Patterns and chords. • Record your own keyboard performance.
Recording a Song Record the Accompaniment Patterns GUIDED TOUR 1. Select the Pattern (Pat) track for recording. NOTE: Using patterns in a recording is optional — you can record your own performance to any of the 16 numbered tracks without using the accompaniment Patterns. Move the highlight to the Pattern (Pat) track with the cursor buttons. The track name is shown just below the Song number and name. Track name. Pattern track. 2.
5. Select the section of the style (Intro, Main, Fill or Ending). We’ll select Intro here, since this is to be the beginning of the song. Move the highlight to the bracketed section in the Pattern window and select [Intro]. Section name (Intro, Main A/B, Fill AA/BB/AB/BA, and Ending). HINT — Auditioning the Patterns You can audition the styles and sections before actually recording with them. To do this, highlight the desired parameter, change it, then press R.
Recording a Song 7. Change to other sections as the sequencer records. The selected section starts playing at the start of the next measure. GUIDED TOUR During recording, move the highlight to the section parameter, and then select the other sections. The Fill sections (AA, BB, AB and BA) are used as one-measure transitions between the Main A and B sections.
■ Erasing Song Data ........................................................................................... If you make a mistake in recording the patterns and want to start over, you’ll have to clear (erase) the song first. To do this: 1. Press j. 2. Use the cursor buttons to select Job number 22 (Clear Song). (If you want to clear only one recorded track, you can use Job number 17, Clear Track.) 3. Press E once to call up the Job, and press it again to actually execute the function. 4.
Recording a Song 4. CHORD ROOT M Select the root note for the first chord of the song. GUIDED TOUR HINT — Using Fingering You can play the full chords yourself (in the Fingered Zone at lower part of the keyboard) by turning Fingering to on. Or turn Fingering off and enter the chords by “typing” them in — as described in the steps below. (For more about the Fingering function and Fingered Zone, see page 193.) M7 Press the lowest D key (D1) to select D as the root note.
If you make a mistake or want to record a different chord progression, simply press t to go back to the beginning, and then start recording the Chord track again. If you want to make minor changes to the recorded track without having to record the entire track over again, use Step Recording (page 101) to edit the track manually, or use Punch-in Recording (page 99) to selectively record a certain section of the song.
Recording a Song 3. Start recording. GUIDED TOUR Play the keyboard along with the backing tracks. Recording begins at the first beat of the first measure (001:1) — after the two-measure lead-in. Keep recording until the end of the song, or press T to stop recording. IMPORTANT Recording with the method above — realtime recording — is “replace” recording, meaning that any previous data in the track will be erased and replaced when new data is recorded to that track.
Other Sequencer Features Once you’ve had some experience in recording your own songs, you may want to explore some of the convenient features of the QS300’s sequencer, briefly mentioned below. Also, be sure to look through the Reference section for details on all the sequencer functions. ■ Using the t and k / l Buttons In addition to the r, T and R buttons, the t and k/l buttons give you controls for moving around in a Song. RECORD TOP STOP Pressing this returns to the beginning of the Song.
Recording a Song ■ Muting/Unmuting Tracks GUIDED TOUR During playback, you can selectively mute or unmute specific tracks. This is useful since it allows you to “isolate” certain tracks for playback. Keep in mind that it can also be used in recording, letting you monitor the tracks that you most want to hear (and shutting off the ones you don’t) when recording a new track. For instructions on using the Mute function, refer to page 69.
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R E F E R E N C E Voice Edit Mode NOTE: The Voice Edit mode is not available when the System Mode parameter (in Utility mode) is set to TG-B. (See page 189.) Voice Edit Mode The Voice Edit mode provides a wide range of controls and parameters for changing the sound and performance response of the Voices. These controls allow you to either subtly enhance a Voice, or completely alter its character. Voice Edit Voice Common Overall Parameters ..................................... 44 Controller Parameters ..
Voice Common ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Voice Common Path: Overall Parameters v ➞ e ➞ ** (Comon) ➞ *! (Overall) * Press this only if the page shown below is not currently selected.
Voice Common ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Effect Send Parameters (Send) L Reverb Send Range: 0 — 127 NOTE: Keep in mind that the Reverb effect must be properly enabled and set for this parameter to work as intended. (See page 47.) HINT: For best results, set this parameter after setting Velocity Depth (below). NOTE: Depending on the Voice used, if Velocity Offset is set to too low of a value, the Voice may not sound, no matter how strong the velocity.
Voice Common Path: Controller Parameters v ➞ e ➞ ** (Comon) ➞ *@ (Contrl) * Press this only if the page shown below is not currently selected. Modulation Wheel Pitch Bend After Touch Foot Controller Bias parameters Modulation parameters The Controller parameters determine how the various performance controllers affect the sound. The four controllers are: MODULATION wheel, PITCH wheel (PitchBend), After Touch (AfterToch), and Foot Controller (FootCntrl).
Voice Common ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Voice Common Path: ○ Variation Effect Parameters v ➞ e ➞ ** (Comon) ➞ *# (Effect) * Press this only if the page shown below is not currently selected. Variation Effect Type Wet/Dry (Available depending on selected effect.) Other effect parameters Voice Edit Mode MODULATION Wheel Depth The Variation effects are separate from the Reverb and Chorus effects, and provide a wealth of additional and unusual ways to change the sound of a Voice.
Voice Element ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ About Elements Elements are the basic building blocks of the Voices. An Element is a basic waveform of a certain sound (such as an acoustic piano or violin), and there are a total of 205 different waveforms available. Up to four different Elements can be used to create a single Voice.
Voice Element ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ● Wave Group (Grp.) Settings: ○ ● Wave Number (No.) Range: 000 — 204 Acoustic pianos Ep Electric pianos Mk Misc. keyboards Cp Chromatic percussion Ao Acoustic organs Eo Electric organs Ag Acoustic guitars Eg Electric guitars Ab Acoustic basses Eb Electric basses Mb Misc.
Voice Element Path: Wave Parameters Element Copy v ➞ e ➞ ** (Elmnt) ➞ *! (Wave) ➞ *& (ElCopy) * Pressing this may not be necessary if the appropriate page has already been called up. Currently selected Element number (1 - 4) of the Voice. Voice Bank F1 F2 F3 F4 Voice Number/Category/Name F5 F6 F7 F8 Selects User Voice Bank. Selects Preset Voice Bank. Selects XG Voice Bank. Use ^ and & to step through Voice Banks. Calls up the controls for selecting Voice categories. (See step 3 below.
Voice Element ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Voice Element Path: ○ Amplitude Parameters v ➞ e ➞ ** (Elmnt) ➞ *@ (Amp) * Pressing this may not be necessary if the appropriate page has already been called up. Mute status for each Element (1 - 4). Element Level Voice Edit Mode Amplitude EG Rate Pan Velocity Limit Low/High Velocity Curve F1 F2 F3 F4 F5 F6 F7 F8 Pressing & from the Amp menu selects the graphic Amp EG Edit page. (See page 55.
● Velocity Curve (Vel.Crv) Settings: normal, hard 1, hard 2, soft 1, soft 2, cross 1, cross 2 This determines how the strength of your playing affects the volume of the selected Element. The various curves let you tailor the velocity response to your particular needs or technique. By assigning different curves to different Elements, you can set up velocity crossfades — letting you crossfade between different Elements depending on how softly or strongly you play.
Voice Element ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Voice Element Path: ○ Filter EG Parameters v ➞ e ➞ ** (Elmnt) ➞ *# (Filter) * Pressing this may not be necessary if the appropriate page has already been called up. Mute status for each Element (1 - 4). Cutoff Frequency Voice Edit Mode Filter EG Rate Resonance Rate Velocity Sensitivity Level Velocity Sensitivity F1 F2 F3 F4 F5 F6 F7 F8 Pressing & from the Filter menu selects the graphic Filter EG Edit page. (See page 55.
Voice Element Path: Pitch EG Parameters v ➞ e ➞ ** (Elmnt) ➞ *$ (Pitch) * Pressing this may not be necessary if the appropriate page has already been called up. Mute status for each Element (1 - 4). Pitch EG Depth Pitch EG Rate Rate Velocity Sensitivity Level Velocity Sensitivity F1 F2 F3 F4 F5 F6 F7 F8 Pressing & from the Pitch menu selects the graphic Pitch EG Edit page. (See page 55.
Voice Element ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Voice Element Path: ○ Graphic EG Edit Parameters — Amp, Filter and Pitch v ➞ e ➞ ** (Elmnt) ➞ **@ (Amp) or # (Filter) or $ (Pitch) ➞ *& ( ➞ *! (Parm) ) * Pressing this may not be necessary if the appropriate page has already been called up. **Press one of these — Amp, Filter, or Pitch — to select the desired corresponding set of EG controls. EG pages are provided for the three main aspects of the sound: volume (Amp), tone (Filter), and pitch.
● Release Rate (Rl Rate) Range: 0 — 63 For the Amplitude EG, this determines the Release rate of the EG, or how long the level of the sound sustains after a note is released. For the Filter and Pitch EGs, this determines how long it takes the tone/pitch to reach the EG Release Level setting. ● Initial Level (Int Lvl) (Filter EG and Pitch EG only) Range: -63 — +63 This determines the initial setting of the filter or pitch, before the note is played.
Voice Element ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Voice Element Path: Template Copy ○ — Amp, Filter and Pitch v ➞ e ➞ ** (Elmnt) ➞ **@ (Amp) or # (Filter) or $ (Pitch) ➞ *& ( ➞ *@ (Temp) ) * Pressing this may not be necessary if the appropriate page has already been called up. **Press one of these — Amp, Filter, or Pitch — to select the desired corresponding set of EG controls. F1 Selects EG parameter page. F2 F3 F4 F5 F6 Moves to previous EG segment.
Voice Element Path: Tuning Parameters v ➞ e ➞ ** (Elmnt) ➞ *% (Tuning) * Pressing this may not be necessary if the appropriate page has already been called up. Mute status for each Element (1 - 4). Detune Note Shift Pitch Scaling Center Note Pitch Scaling Depth ● Note Shift (Shift) Range: -32 — +32 (semitones) This determines the coarse pitch setting for the Element in semitones. (Fine pitch adjustments can be made in Detune below.
Voice Element ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Voice Element Path: ○ LFO Parameters v ➞ e ➞ ** (Elmnt) ➞ *^ (LFO) * Pressing this may not be necessary if the appropriate page has already been called up. Mute status for each Element (1 - 4). LFO Delay Time LFO Wave Voice Edit Mode LFO Speed Amplitude Modulation Depth Pitch Modulation Depth Filter Modulation Depth About LFO The LFO (low frequency oscillator) is a low frequency waveform that is used to modulate, or regularly waver, some aspect of the sound.
Other Voice Functions ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Voice Drum Set Amplitude EG (Attack, Decay, Release) Volume (Pan, Volume) Reverb Send Currently selected parameter/value. Note Number Mode (Alternate Switch, Assign Mode) Drum Map Selected instrument name. Note On/Off Receive Filters Tuning (Note Shift, Detune) Filter (Resonance, Cutoff) The Drum Set controls allow you to change a wide variety of settings of the drum/percussion sounds in the User Drum Kit.
Other Voice Functions ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ● Note Number/Instrument (Inst) Range: C0 — C5 Range: 0 — 127 NOTE: You should avoid playing the keyboard while editing an instrument sound, since doing so will automatically select a different Note Number/Instrument, depending on the key you press. This determines the Decay Rate of the level EG, or how rapidly the sound dies down as the note is held. Higher values result in a longer Decay rate.
● Note Shift (Tuning Shft) Range: -64 — +63 This determines the coarse pitch setting of the selected drum sound. ● Detune (Tuning Detn) Range: -64 — +63 This determines the fine pitch setting of the selected drum sound. ● Instrument Assign Mode (Mode Asign) Settings: single (sgl), multi (mlt) This determines how the Voices are sounded when two or more notes are played from the same key.
Other Voice Functions ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Voice Path: Name v ➞ e ➞ ** (Comon) ➞ *& (Name) * Pressing this may not be necessary if the appropriate page has already been called up. F2 F3 F4 F5 F6 F7 F8 Press * to delete the character at the highlight. Press & to insert a space at the highlight. ● Operation ........................................................................... 1. Move the highlight in the name to the desired position with the left/right cursor buttons (,/.).
Voice Compare The Compare function allows you to hear the changes you’ve made to a Voice and instantly compare them with the sound of the original Voice. To use Compare, you must be in the Edit mode and have made at least one change to a parameter. Normally, after editing, the letter “V” (Edit) appears at the top left of the display, indicating the Edit condition: MODE SONG VOICE Lamp flashes. “C” indicates Compare condition. “V” indicates Edit condition.
R E F E R E N C E Song Mode Song Song Mode Song Playback Loop Playback ............................................ 67 Transport/Location Controls ....................... 67 Measure/Beat Parameter ........................... 68 Mark/Jump Function ................................... 68 Tempo ......................................................... 69 Mute ............................................................ 69 Play Effect Bypass ..................................... 70 Multi Controls pages.......
Loading a Song Song loading is done from the Disk mode (page 198). However, Songs also be loaded directly from within the Song mode, without having to enter the Disk mode. ● Operation ........................................................................... 1. Make sure a proper floppy disk (with Song data) is in the disk drive. Then, from the main Song mode page, press & (Load). 2. From the Load page, select the desired Song, then press E.
Song Playback ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Song Playback involves much more than simply starting and stopping the Song. The Song mode contains a wide variety of parameters that give you extensive control over playback, allowing you to dramatically change the final sound. To enter the Song mode, make sure a Song is loaded (see page 198) or has been recorded, then press s. Loop Playback Song Mode Loop playback allows you to continuously “loop” or repeat playback of the Song.
Measure/Beat Parameter Measure number To use the Measure/Beat parameter for location: ............ Highlight the measure number (in the main Song Play display shown above), and use the following controls: • D/I buttons — to step through the measures. • Rotary dial — to quickly move through the measures. • Numeric keypad (then E) — to directly go to a specific measure number. Beat number The beat number always resets to 1 when locating a new measure.
Song Playback ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Tempo The QS300 allows precise tempo settings from 25 to 300 beats per minute in fine one-tenth of a quarter-note increments. Tenths of a beat/minute. Tempo (in beats/minute) The number to the left of the period in the tempo parameter is the number of quarter-note beats per minute, and the number to the right of the period represents tenths of a quarter note.
Play Effect Bypass Play Effect Bypass allows you to turn play effects on and off for indivdual recorded tracks during playback or recording. To use Play Effect Bypass on all tracks at once: .............. Move the highlight to any mute dot in the display. 1. 2. Simultaneously hold down the ( button and Minus sign (_) in mute dots indicates Play Effect Bypass is on for the track. press the D or I button — D to effectbypass all tracks or I to set the track for normal playback.
Multi Controls ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ The Multi controls give you extensive control over a wide variety of parameters for the Voices of all of the individual tracks. These parameters include Voice Bank and Voice, volume, panning, tuning, filter, velocity, EG (for Amplitude), and vibrato — plus all effect settings, including Send, Type and all effect parameters. The Multi pages also feature an easy-to-use “mixing console” layout that shows you all relevant parameters at a glance.
Storing the Multi Control Parameter Values The settings for all Multi control parameters (listed in the chart on the previous page) are automatically saved as you make changes to them. However, many of these settings may change during playback of a Song, such as when the Song contains different Program Change or Control Change settings.
Multi Controls ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Song Multi Path: Volume s ➞ $ (Multi) ➞ *! (Mixer) ➞ *^ (Volume) * Pressing this may not be necessary if the appropriate page has already been called up. Voice category (Voice number and name appear at top right when this is highlighted). Master (all channels/tracks). Channel/Track numbers. Pan (for each channel/track). Song Mode Master Volume Volume (for each channel/track).
Song Multi Path: Voice s ➞ $ (Multi) ➞ *! (Mixer) ➞ *& (Voice) * Pressing this may not be necessary if the appropriate page has already been called up. Voice category (Voice number/ name appear at top right). Channel/Track numbers. Voice bank ● Voice Range: 1 — 128, D1 — D12 (129 — 140), off (141) This determines the Voice for the individual channel/track.
Multi Controls ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Search Song Multi Path: s ➞ $ (Multi) ➞ *! (Mixer) ➞ ** (Srch) * Pressing this may not be necessary if the appropriate page has already been called up. Voice Bank F2 F3 F4 F5 The Search pages provide an easy and quick way to browse through and select different Voice banks and Voices. F6 • • From the page shown above, you can: • Use !, @ and # to directly select the XG, Preset and User banks, respectively. • Use ^ and & (Bank ) to select the bank.
Song Multi Path: Send s ➞ $ (Multi) ➞ *@ (Effect) ➞ *^ (Send) * Pressing this may not be necessary if the appropriate page has already been called up. ● When Variation Mode is set to Insertion: Dry Level ● When Variation Mode is set to System: Channel/Track Reverb Send Chorus Send Variation Send Variation Mode ● Dry Level Range: 0 — 127 This determines the level of the direct or unprocessed sound for the individual channel/track.
Multi Controls ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Type Song Multi Path: s ➞ $ (Multi) ➞ *@ (Effect) ➞ *& (Type) * Pressing this may not be necessary if the appropriate page has already been called up. Reverb Type Chorus Type Variation Type Song Mode Send Variation to Chorus* Reverb Pan Reverb Return Chorus Pan Variation Pan* Send Variation to Reverb* Chorus Return Send Chorus to Reverb Variation Return* * These parameters are availabe only when Variation Mode is set to System.
● Variation Type Settings: No Effect; Reverb (Rev) Hall 1 & 2; Reverb (Rev) Stage 1 & 2; Delay L-C-R; Echo; Early Reflection (Ref.) 1 & 2; Reverse Gate (ReversGate); Chorus 1 - 4; Flanger 1 - 3; Rotary Speaker (Sp.); Auto Pan; Distortion; Guitar Amp Simulator (G-Amp.Sim.
Multi Controls ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Song Multi Path: Effect Parameters s ➞ $ (Multi) ➞ *@ (Effect) ➞ ** (Parm) ➞ *! (Rev) / *@ (Chors) / *# (Vari) * Pressing this may not be necessary if the appropriate page has already been called up. ! — Reverb (Rev) Reverb Type Reverb Parameters Song Mode ● Reverb Type ● Reverb Parameters This parameter is the same as that in the Effect Type page above (page 77). These various parameters let you adjust and change the sound of the Reverb effect.
# — Variation (Vari) Variation Type Variation Parameters Wet/Dry MODULATION Wheel Depth F1 F2 F3 F4 F5 F6 F7 Foot Controller Depth ● Variation Type This parameter is the same as that in the Effect Type page above (page 77). ● Wet/Dry Range: WD (127) * Values in parentheses can be entered from the numeric keypad. This determines the balance between the original sound (dry, or D) and the processed sound (wet, or W).
Multi Controls ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ * — Copy (Variation Effect Data) From Voice (CpyVc) Song Mode This copies the Variation effect type and parameters from the Voice to the channels for which Variation Send is set to on. This function is only available when: • The Variation Mode is set to Insertion. (See page 76.) • The Variation Send for a channel is set to on. (See page 76.) Pressing * calls up the Copy From Voice function. Use the D/I buttons to execute or cancel the operation.
Tuning/Filter Song Multi Path: s ➞ $ (Multi) ➞ *@ (Inst) ➞ *% (Tun/Fl) * Pressing this may not be necessary if the appropriate page has already been called up. Note Shift Channel/Track Detune Filter Cutoff Frequency Resonance ● Note Shift (Shift) ● Filter Resonance (Resonance) Range: -24 — +24 semitones (+/- 2 octaves) This determines the coarse pitch setting for the selected channel’s Voice in semitones. (Fine pitch adjustments can be made in Detune below.
Multi Controls ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Song Multi Path: Mode/Velocity s ➞ $ (Multi) ➞ *@ (Inst) ➞ *^ (Md/Vel) * Pressing this may not be necessary if the appropriate page has already been called up. Mono Mode Assign Mode Song Mode Velocity Sensitivity Offset Velocity Sensitivity Depth ● Mono Mode Settings: off, on This determines whether the selected channel’s Voice is played monophonically (only one note at a time) or polyphonically (up to 32 notes at a time).
Song Multi Path: EG Time s ➞ $ (Multi) ➞ *@ (Inst) ➞ *& (EgTim) * Pressing this may not be necessary if the appropriate page has already been called up. EG Attack Time Channel/Track EG Decay Time EG Release Time ● Amplitude EG Attack Time (Attack) Range: -64 — +63 This determines the Attack Time of the level EG, or how long it takes for the Voice of the selected channel to reach full volume when a note is played. (For more information about EG parameters, see page 55.
Multi Controls ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Song Multi Path: Vibrato s ➞ $ (Multi) ➞ *@ (Inst) ➞ ** (Vibrat) * Pressing this may not be necessary if the appropriate page has already been called up. Vibrato Rate Vibrato Delay Song Mode Vibrato Depth ● Vibrato Rate Range: -64 — +63 This determines the speed of the Vibrato effect. Higher values result in a faster Vibrato sound. ● Vibrato Delay Range: -64 — +63 This determines the delay in the onset of the Vibrato effect.
Controller Edit ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ The Controller Edit pages allow you to independently set various controller parameters for each channel/track. Settings can be made for Portamento and the four real-time performance controllers: MODULATION wheel, PITCH wheel, after touch, and Foot Controller. Song Controller Path: Portamento s ➞ % (Contrl) ➞ *! (Porta) * Pressing this may not be necessary if the appropriate page has already been called up.
Controller Edit ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Song Controller Real-time Controllers: MODULATION Wheel / PITCH Wheel / After Touch / Foot Controller Path: s ➞ % (Contrl) ➞ *@ (ModWhl) / *# (PchBnd) / *$ (AftTch) / *% (FotCnt) ➞ *& (Bias) / ** (Mod) * Pressing this may not be necessary if the appropriate page has already been called up. Naturally, all these real-time changes can be recorded to a song and played back exactly as you performed them.
* — Modulation Parameters Pitch Modulation Depth Filter Cutoff Modulation Depth F1 F2 F3 F4 F5 Use these to select the desired controller. F6 F7 F8 Use this to call up the Bias parameter page. ● Pitch Modulation Depth (Pch Mod) Range: 0 — 127 This determines how widely the pitch is modulated by the LFO (low frequency oscillator), producing a vibrato effect. The higher the value, the deeper the pitch modulation, and hence, the more pronounced the vibrato effect.
Song Playback Effects ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ The QS300 provides a number of playback-only effects which allow the playback data to be modified in a number of ways. The actual data in memory is not changed — the only thing modified is the way the data is played back. Path: Per Track s ➞ ! (P.Efct) ➞ *! (perTR) * Pressing this may not be necessary if the appropriate page has already been called up.
Song Playback Effect Path: Quantize s ➞ ! (P.Efct) ➞ *@ (Quant) * Pressing this may not be necessary if the appropriate page has already been called up. Quantize Value Strength The Quantize function aligns notes in the specified track to the nearest specified beat — usually to tighten up sloppy timing. Use this judiciously, however, because timing that is too perfect can sound cold and mechanical — unless, of course, you’re specifically aiming for a cold, mechanical feel.
Song Playback Effects ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Song Playback Effect Path: Swing s ➞ ! (P.Efct) ➞ *# (Swing) * Pressing this may not be necessary if the appropriate page has already been called up. Swing Velocity Swing Gate Time The Swing effect can only be used when Quantize (above) is set to a value other than off. This effect produces a “swing” feel by shifting the timing of “back beats,” as specified by the Quantize setting.
Song Playback Effect Path: Transpose/Clock Shift s ➞ ! (P.Efct) ➞ *$ (Trn/Sft) * Pressing this may not be necessary if the appropriate page has already been called up. Transpose Clock Shift ● Transpose (Trans) Range: -99 — +99 semitones This determines the pitch transposition of the track’s Voice, up or down in semitone increments. To set all tracks to the same value, simultaneously hold down ( and change the value.
Song Playback Effects ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Song Playback Effect Path: Gate Time/Velocity s ➞ ! (P.Efct) ➞ *% (GT/Vel) * Pressing this may not be necessary if the appropriate page has already been called up. Gate Time Rate Velocity Rate Song Mode Velocity Offset ● Gate Time Rate (G. Rat) Range: 0 — 200% This determines the ratio between the shorter and longer gate time values.
Other Song Functions ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Song Track Transmit Channel Path: s ➞ @ (TxCh) Tone Generator Channel MIDI Channel The Track Transmit Channel page allows you to set the track-to-channel assignments for a recorded song. ● Tone Generator Channel Range: off, 1 — 16 This determines which internal tone generator channel (this is unrelated to the MIDI channel) will be controlled by the corresponding sequencer track.
Other Song Functions ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Song Song Chain Path: s ➞ ^ (Chain) By using the Song Chain function, you can specify a sequence of up to 10 songs to play back automatically. Each song within the chain can be repeated up to 99 times. Deleting Songs From the Chain To delete a song from the chain and move all subsequent songs up to fill the gap, place the cursor at the song to be deleted and press @ (Delete). Inserting New Songs In the Chain 2. Program the Chain.
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R E F E R E N C E Song Mode: Recording Operations The sequencer of the QS300 features two record modes: Realtime and Step Recording. Step Recording allows you to enter notes individually. As such, it is very similar to writing down the notes on a sheet of music paper; each note is entered one at a time, and although you can hear each individual note entered, you cannot hear the entire part as you create it. Each method has its own advantages and uses.
Realtime Recording In the Realtime record mode you select the track you want to record, then play the part on the keyboard in real time. 5. Press r to set record to standby. RECORD lamp lights. To use Realtime Recording: ................................................. 1. Select a Song for recording. A series of asterisks (“ ”) at the Song name indicates the selected Song is empty (has no recorded data). 2. Set the desired Tempo and Time Signature for the RECORD STOP TOP RUN 6.
9. Record other tracks as desired, repeating steps 3, 4, 5 and 7. NOTE: Selecting the Realtime Recording (in step 6) will not be necessary here, as long as you haven’t changed to a different method. HINT — Recording at other measures in a Song Once you’ve recorded an initial track, you don’t have to start recording from the beginning of the Song. You can actually start recording at any other point in the Song. The operation is exactly the same, except that you must change the Measure/ Beat parameter.
All-track Recording (Realtime and Punch-in) The All-track Recording mode allows simultaneous realtime (or punch-in) recording of all 16 sequencer tracks. This can be useful when you want to record complete sequences from another sequencer or music computer which is not data-compatible with the QS300. To use All-track Recording: ................................................. Select a Song for recording. 1. 2.
Step Recording The Step Recording mode lets you enter data note-by-note, with precise control over the timing, length, and loudness of each note. You can record complete tracks using Step Recording, or use it to brush-up and add data to existing tracks. To use Step Recording: ......................................................... 1. Select a Song. A series of asterisks (“ ”) at the Song name indicates the selected Song is empty (has no recorded data). 5. Press r to set record to standby.
8. Set the desired note parameters: Note Length, Velocity, and Gate Time. Highlight the desired parameter and change the value. For Note Length and Velocity, you can use the numeric keypad to quickly and easily enter the desired values. The note values and dynamic indications are printed directly above the buttons: Note Length 9. Enter a note by playing it from the keyboard. Once you’ve defined the note parameters above, you can enter the note simply by playing the appropriate key on the keyboard.
■ The Note & Keyboard Displays The note display shows up to four 1/4 notes worth of data at once (a single measure in 4/4 time). If the selected time signature results in more than four 1/4 notes per measure, then the display will scroll to show the extra notes. Note pointer. Moving Around In the Note Display To move the note pointer forward or backward on the note entry line: .......................................................... 1. Highlight the note pointer. 2. Use the cursor ,/. buttons.
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R E F E R E N C E Pattern Mode The QS300 features 100 Preset Patterns in a wide variety of musical styles. You can also create your own Patterns by combining individual Phrases — each of which is a single part of a Pattern (such as the drum or bass part). For this you can use the 3,093 Preset Phrases of the QS300, or record your own Phrases.
About Phrases, Sections, Patterns and Styles Before delving deeper into the Pattern mode, let’s take a look at how Patterns and other aspects of the accompaniment fit into the general scheme of the QS300. At the top of the accompaniment hierarchy are musical “Styles.” When you select one of the Preset Styles, you are actually selecting a Style (for example: Ska, Slow Blues or Country Ballad). Style Preset: 1 - 100 User: 1 - 100 Preset 1 User 1 Each of these instrument parts is called a “Phrase.
Selecting and Playing Patterns Although you’ll normally use the Pattern mode when creating new patterns, the Pattern mode is also useful when you want to listen to individual phrases and experiment with chord changes using the QS300’s advanced ABC capability. To select and play Patterns in the Pattern mode:............. Select the Pattern mode by pressing p. 1. 2. Select the User or Preset Bank (with the D/I buttons), then select a Pattern number. 4. Change the Tempo and Time Signature, if desired.
Changing Chords The QS300 features a sophisticated ABC (Auto Bass Chord) system that automatically re-harmonizes the patterns to match chords you specify. This makes creating complete accompaniment tracks exceptionally fast and easy — just select a pattern, then specify the required chord changes. The ABC system is also extremely flexible; it allows you to specify a different bass note for the chord, or completely reharmonize the bass Phrase by specifying a different root/ chord type.
■ Specifying the Bass Note For a Chord This function allows you to specify the bass note (other than the normal root) to be used with the current chord. For example, you could have a Bb bass play under a Cm7 chord. 4. Press E to actually enter the new setting. To specify the bass note: ................................................ Highlight the Chord window in the display. 1. 2. Enter a chord type. For this example, enter Cm7.
Multi Controls ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ As with the Multi controls of the Song mode, the Multi controls in the Pattern mode give you extensive and easyto-use control over a wide variety of parameters for the Voices of all Pattern tracks. These parameters include Voice Bank and Voice, volume, panning, and effect sends. To call up the Multi controls: .............................................. Press p to enter the Pattern mode.
Multi Controls ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Pattern Multi Path: ○ Voice p ➞ $ (Multi) ➞ *! (Mixer) ➞ *& (Voice) * Pressing this may not be necessary if the appropriate page has already been called up. Voice category (Voice number and name appear at top right). Channel/Track numbers. Voice bank ● Voice ● Bank * Values in parentheses can be entered from the numeric keypad. Same as the corresponding parameter in the Song mode. (See page 74.
Pattern Multi Path: Send p ➞ $ (Multi) ➞ *@ (Effect) * Pressing this may not be necessary if the appropriate page has already been called up. Channel/Track *Dry Level Reverb Send Chorus Send * This parameter is only available when Variation Mode is set to System. The Effect Send page in the Pattern mode provides effect level controls for the Patterns. These are the same as the corresponding pages in the Song mode. (See page 76.
Pattern Playback Effects ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ As with the Song Playback Effects (page 89), the Pattern Playback Effects allow you to modify the playback data in a number of ways, without changing the actual data in memory. • • The Playback Effects include: • Quantization — for cleaning up the timing of recorded tracks. • Swing — for introducing a “swing” feel to the tracks.
Pattern Playback Effect Path: Quantize p ➞ ! (P.Efct) ➞ *@ (Quant) * Pressing this may not be necessary if the appropriate page has already been called up. Quantize Value Strength The Quantize function aligns notes in the specified track to the nearest specified beat. For more details on the Quantize page, see the corresponding section in the Song mode (page 90). ● Quantize Value (Val) Settings: off, , , , , , , , , Same as the corresponding parameter in the Song mode. (See page 90.
Pattern Playback Effects ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ Pattern Playback Effect Path: Swing p ➞ ! (P.Efct) ➞ *# (Swing) * Pressing this may not be necessary if the appropriate page has already been called up. Swing Velocity Swing Gate Time Swing Rate Pattern Mode The Swing effect can only be used when Quantize (above) is set to a value other than off. This effect produces a “swing” feel by shifting the timing of “back beats,” as specified by the Quantize setting.
Pattern Playback Effect Path: Transpose/Clock Shift p ➞ ! (P.Efct) ➞ *$ (Trn/Sft) * Pressing this may not be necessary if the appropriate page has already been called up. Transpose Clock Shift ● Transpose (Trans) ● Clock Shift (Shift) Range: -99 — +99 semitones Same as the corresponding parameter in the Song mode. (See page 92.) Pattern Playback Effect Path: Range: -999 — 0 — +999 Same as the corresponding parameter in the Song mode. (See page 92.) Gate Time/Velocity p ➞ ! (P.
Other Pattern Functions ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Pattern Path: Track Transmit Channel p ➞ @ (TxCh) Pattern Mode MIDI Channel The Track Transmit Channel page allows you to set the MIDI channel output assignments for the selected Pattern’s tracks. This makes it possible to play the accompaniment sounds on external MIDI tone generators. Simply match the channel settings here to the appropriate receive channels on the tone generators.
Pattern Path: Track Mute p ➞ % (TrMut) F1 F2 F3 F4 F5 F6 F7 F8 Pressing one of these mutes (or un-mutes) the corresponding track. The Track Mute page allows you to quickly and easily mute/un-mute the Pattern tracks by using the function buttons (! - *). Press the appropriate button to alternately mute or un-mute the corresponding Pattern track.
R E F E R E N C E Accompaniment Recording The sequencer of the QS300 not only gives you sixteen tracks for recording Songs, but also allows you to record accompaniment, using the Patterns and automatic accompaniment features. This is done with the special Pattern and Chord tracks. Accompaniment Recording lets you quickly and easily record full instrumental backing with appropriate chord changes, and take up only two sequencer tracks in doing so.
Realtime Accompaniment Recording In Realtime Accompaniment Recording, you select the appropriate track for recording (first Pattern, then Chord), then enter the Pattern/Chord changes in real time. Once you know how to select styles, sections, and enter chords in the Pattern mode (page 108), recording a basic accompaniment in real time is easy. Tempo changes can be added later using the Edit mode (page 186). To use Realtime Accompaniment Recording: ................... 1.
Since you selected Pattern recording (with the “Pat” track), the cursor will automatically move to the Pattern number when you start recording. All you have to do to record Pattern and Section changes is to select the desired Pattern or Section. Remember that all changes occur from the top of the next measure after the change is entered. Also keep in mind that when changing Sections, Intro automatically switches to Main A, Fill AB switches to Main B, and Fill BA switches to Main A. 13.
Step Accompaniment Recording In Step Accompaniment Recording, there are two separate displays for recording, depending on the track you select: Pattern or Chord. In each of these you can individually enter or delete Pattern and chord changes at precisely the desired locations. To use Step Accompaniment Recording: ........................... 1. Call up the Song mode and select a Song.
■ Pattern Entry Select a measure. Use the k/l buttons or the cursor ,/. buttons to move through the measures. Enter an End-of-Song marker, if desired. Highlight the End-of-Song block, and press the I button to enter a marker. Press the D button to delete a marker. Select a Pattern. Highlight the Bank or Number parameter, and change the value. F1 F2 F3 F4 F7 ● Select the Pattern number: 001 - 100. F8 Press * to clear the highlighted data. To move the highlight to different blocks and measures: ...
■ Chord Entry Select a chord block and enter a chord. Use the designated keys on the keyboard to enter the root note and chord type. (See page 108.) You can also specify a bass note and a bass phrase chord (see below). In Step Recording, there is no need to press E after specifying a chord. Select a measure. 2. Simultaneously hold down ( and press the desired note on the lowest octave of the keyboard (C1 - B1).
R E F E R E N C E Phrase Mode In the Phrase mode, you can create accompaniment by combining “Phrases.” A Phrase is simply an individual “part” of a pattern — for example, a drum Phrase, a bass Phrase, a keyboard Phrase, etc. — using a single Voice. The QS300 has 3,093 Preset Phrases, and 100 User memory locations for your original Phrases. In the Phrase mode, you can listen to the Preset Phrases as well as record User Phrases of your own.
Selecting and Playing Phrases Although you’ll normally use the Phrase mode when creating new Phrases (see below), you can also simply listen to or audition the Preset Phrases (as well as any User Phrases you’ve created) in the Phrase mode. The Category, Beat, and Type are abbreviated in the parameter itself, but are also listed in full in the display just below the parameter. Category To select and play Phrases in the Phrase mode: ............... 1. Select the Phrase mode by pressing P.
Combining Phrases (in the Pattern Mode) In the Pattern mode, you can combine Phrases to create Patterns, which can then be used in Song recording with the automatic accompaniment features. 1. Call up the Pattern mode by pressing p. 5. Change the Tempo and Time Signature, if desired. 6. Press # (Patch) to call up the Patch page. In the Patch page, you can “patch” together Phrases to create custom Patterns. 7. Enter the desired Phrase numbers. When empty, the Patch page appears as shown below: 4.
In the example display shown above, six different Phrases are used in four tracks: • Track 1 — A drum Phrase (DR08M007) plays for four measures. • Track 2 — A bass Phrase (BA08M006) plays for three measures. • Track 3 — Three different percussion Phrases (PC08M005, PC08M015, and PC16M005) fill out the four measures. • Track 4 — A guitar chord Phrase (GC08M008) plays for three measures. 8. Press R to hear the Phrase(s). Pressing R plays back the newly edited Pattern.
Recording Original Phrases From the Phrase mode, you can quickly and easily record your own original accompaniment Phrases. In addition to the preset Phrases, the QS300 has 100 User Phrase memory locations (US---001 through US---100) which can be used to store your original Phrases. The Phrases you record can then be combined to make Patterns, which can then be used with the automatic accompaniment features. The Phrase mode provides two ways to create original Phrases: Realtime and Step Recording.
4. Set the desired Phrase Length, Tempo and Time Signature. The Time Signature and Phrase Length cannot be changed if the Phrase already contains data. 5. Select a Voice. Select both the desired Voice Bank and Voice number. 6. Select the Source Chord (Src Chord). Use the designated keys on the keyboard to specify the chord root and type. (See page 108.) You can also use the Bass Note and Bass Phrase Chord Type functions (on page 124).
■ Retrigger and Type Parameters These two parameter settings are recorded as part of the Phrase data, and they determine how the Phrase responds to chord changes when used with the automatic accompaniment. Retrigger Type ● Retrigger (Rtg) Settings: On, Off When this is set to Off, any notes playing when a chord change occurs will be immediately muted. When set to On, notes playing when a chord change occurs will continue playing for their specified length, re-harmonized to match the new chord.
Step Phrase Recording Step Phrase Recording lets you enter data note-by-note, with precise control over the timing, length, and loudness of each note. You can record complete Phrases using Step Recording, or use it to brush-up and add data to existing Phrases. 3. Select Step Recording by pressing & (Step). To use Step Phrase Recording: ........................................... 1. Select a User Phrase.
8. Set the desired note parameters: Note Length, Velocity, and Gate Time. Highlight the desired parameter and change the value. For Note Length and Velocity, you can use the numeric keypad to quickly and easily enter the desired values. The note values and dynamic indications are printed directly above the buttons: Note Length 3 Once you’ve defined the note parameters above, you can enter the note simply by playing the appropriate key on the keyboard.
■ The Note & Keyboard Displays The note display shows up to four 1/4 notes worth of data at once (a single measure in 4/4 time). If the selected time signature results in more than four 1/4 notes per measure, then the display will scroll to show the extra notes. Note pointer. Moving Around In the Note Display To move the note pointer forward or backward on the note entry line: .......................................................... 1. Highlight the note pointer. 2. Use the cursor ,/. buttons.
R E F E R E N C E Disk Operations The QS300’s built-in floppy disk drive makes highvolume data storage and retrieval easy. It also facilitates data management, allowing you to create a wellorganized personal floppy disk data library. IMPORTANT! • The QS300 uses 2DD (double density) or 2HD (high density) 3.5-inch floppy disks. When formatted, a single disk provides a total data capacity of about 713 kilobytes. • Any new disk you intend to use with the QS300 must be formatted first.
Direct Load and Save Operations ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Loading and saving of songs can also be done directly from within the Song, Pattern, or Phrase mode, without having to enter the Disk mode. The Load and Save operations are contained in the main display of each mode, and are called up by pressing & and *, respectively. The type of data loaded or saved corresponds to the current mode. Mode Data Saved or Loaded SONG Single songs (01 — 10).
— From Song, Pattern, and Phrase Modes ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Disk Save Operation Path: s / p / P ➞ * (Save) Number of files (on disk). Source data To save the desired data: ...................................................... 1. Enter the appropriate mode — Song, Pattern or Phrase — by pressing the corresponding MODE button. 3. Select the specific data you wish to save.
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R E F E R E N C E Song Jobs The Song mode includes 24 different “jobs” (or operations) that perform a variety of important and useful functions. CAUTION: Keep in mind that the Song Jobs permanently alter the data of the Song, unlike the playback effects (covered on page 89). For example, the Quantize playback effect simpy changes the quantization during playback and does not affect the actual data, whereas the Quantize Song Job changes the actual data permanently. Song Jobs 12: Thin Out .................
To use the Song Jobs: ........................................................... Enter the Song mode by pressing s. 1. ( button and pressing the appropriate cursor button (< or >). 2. Press j to call up the Song Jobs page. 4. Press E to call up the desired Job. 3. Select the desired Job number/title. 5. For help in using a specific Job, refer to the appro- Enter the Job number directly from the numeric keypad, or select the Job by moving the highlight in the normal manner.
01: Quantize Track Quantize Range: First measure/ beat — last measure/beat. Quantize Value Swing Rate Strength Gate Time Sensitivity Velocity Aligns notes in the specified track to or close to the nearest specified beat. Setting Effect Aligns to the nearest 32nd note. ● Track Aligns to the nearest 16th note triplet. Range: 01 — 16, All Aligns to the nearest 16th note. This determines the track to be affected by the Quantize Job. A setting of All quantizes all 16 tracks simultaneously.
● Sensitivity ● Gate Time Range: -100 — 0 — +100% This determines the range over which notes will be quantized. At 0% no quantization will occur. A setting of either -100% or +100% will cause all notes to be quantized. Refer to the graph below for an idea of how the quantize range is determined by other settings. The heavy solid lines in the sensitivity graph represent the range over which notes will be quantized.
02: Modify Velocity Track Measure Range Rate (Ratio) Velocity Offset This operation increases or decreases the velocity values of all notes in the specified track and range of measures. ● Velocity Offset Range: -99 — 0 — +99 This determines the amount of velocity change. Negative settings reduce the velocity while positive settings increase the velocity. ● Track Range: 01 — 16 This determines the track to be affected by the Modify Velocity Job.
03: Modify Gate Time Track Measure Range Rate Offset This operation increases or decreases the gate times (duration) of all notes in the specified track and range of measures. ● Track ● Offset Range: -99 — 0 — +99 This determines the amount of gate time modification. Negative settings shorten the gate time while positive settings increase the gate time. Range: 01 — 16 This determines the track to be affected by the Modify Gate Time Job.
04: Crescendo Track Measure Range Crescendo Range This operation produces a gradual crescendo (increase in note velocity) or decrescendo (decrease in note velocity) in the specified track over the specified range of measures. ● Track Range: 01 — 16 This determines the track to be affected by the Crescendo Job. ● Crescendo Range Range: -99 — +99 This determines the range of velocity values over which the crescendo will occur.
05: Transpose Track Measure Range Transpose This operation transposes all notes in the specified part up or down by the specified number of semitones. ● Track Range: 01 — 16, Chd (Chord track) This determines the track to be affected by the Transpose Job: sequencer tracks 1 - 16, or the accompaniment Chord track (Chd). ● Measure Range Measure Range is actually four separate settings (as shown below). These determine the range of the play data that is to be affected. First measure. Last measure.
06: Shift Note Track Source note Measure Range Destination note This operation changes the pitch of all specified notes within the specified range of measures in the specified track. ● Track Range: 01 — 16 This determines the track to be affected by the Shift Note Job. ● Measure Range Measure Range is actually four separate settings (as shown below). These determine the range of the play data that is to be affected. First beat. Song Jobs First measure. Last measure. Last beat.
07: Shift Clock Track Measure Range Clock This operation moves all notes and events in the specified track and range of measures forward or backward by the specified number of clocks (96 clocks = 1/4 note). ● Track Range: 01 — 16, Tmp (Tempo track) This determines the track to be affected by the Shift Clock Job: sequencer tracks 1 - 16, or the Tempo track (Tmp). Range: -999 — +999 This determines the direction and number of clocks by which the notes in the specified measure range will be shifted.
08: Chord Sort Track Measure Range Type This operation sorts all notes in the specified measure range which fall on the same beat (i.e., chords) so that the notes are arranged in order from lowest to highest or from highest to lowest. ● Track Range: 01 — 16 This determines the track to be affected by the Chord Sort Job. ● Measure Range First measure. First beat. Song Jobs Measure Range is actually four separate settings (as shown below).
09: Copy Event Source Range Source Song and Track Destination Song and Track Destination Location This operation copies all data from a specified range of measures from one track of a specified song to the specified measure in the specified track of the specified song. Be careful when using this operation, since it overwrites the data from the beginning of the specified destination measure with the data from the source measures, erasing all previous data in the overwritten measures.
10: Erase Event Track Measure Range This operation erases all note and event data from the specified measure or range of measures in the specified track. Erase Event creates a space of blank measures in the track, leaving all subsequent measures intact; in other words, the subsequent measures are not moved back to fill the blank space. ● Track Range: 01 — 16 This determines the track to be affected by the Erase Event Job. ● Measure Range First measure. First beat.
11: Extract Event Measure Range Source Track Event Type and Value Destination Track This operation removes (or extracts) a specified type of event — note, program change, pitch bend, control change, channel aftertouch, polyphonic aftertouch, or exclusive message — from a specified range of measures in a specified track. The extracted data can be moved to the same range of measures in any other specified track.
12: Thin Out Track Measure Range Event Type and Value This operation “thins out” data on a track by removing every other recorded event of the specified type. This is particularly useful for reducing the volume of data required for pitch bends, aftertouch and other control change operations, thus making more efficient use of the available memory. ● Event Type and Value This determines the event type to be extracted, and (where applicable) the value. P.BEND Pitch bend events.
13: Create Measure Location (for inserting measure/measures) Time Signature Number of Measures This operation creates a specified number of blank measures having the specified time signature for all tracks. The created measures are inserted at a specified measure number, and all subsequent measures are moved forward to make room. ● Location This determines the measure at which the newly created measures will be inserted.
14: Delete Measure Measure Range This operation deletes the specified range of measures from all tracks of a song simultaneously. ● Measure Range Measure Range is actually two separate settings (as shown below). These determine the range of the play data that is to be affected. First measure. Last measure. Song Jobs Press E to execute the Delete Measure Job. A “Completed” message appears briefly when the Job is done. HINT: Delete Measure is a great way to completely cut out unwanted data from the song.
15: Copy Track Source Song and Track Destination Song and Track This operation copies all data from the specified track of a specified song to any other specified track of a specified song. Use this operation (instead of Copy Event above) when you want to copy an entire track or tracks. ● Source Song/Track Settings: Song: 01 — 10 Track: 01 — 16, Pattern (Pat), Chord (Chd), Tempo (Tmp), All This determines the song and track (or tracks) from which the data is to be copied.
16: Mix Track Source (First) Song and Track Destination (Second) Song and Track This operation combines the data contained in two specified tracks and places the result in the second track. Be careful when using this Job, since it permanently alters the data of the second (destination) track. ● Source (First) Song/Track Settings: Song: 01 — 10 Track: 01 — 16 This determines the first song and track data which is to be mixed.
17: Clear Track Track This operation completely clears the specifed track from the currently selected song (including all Play Effect parameters). pattern track, Chd is for the accompaniment chord track, Tmp is for the tempo track, and All is for all tracks in the selected song. ● Track Press E to execute the Clear Track Job. A “Completed” message appears briefly when the Job is done.
19: Init (Initialize) Play Effect Track This operation resets all playback effect settings for the specified track to their default (or initial) values. Press E to execute the Init Play Effect Job. A “Completed” message appears briefly when the Job is done. ● Track Range: 01 — 16, All This determines the track (or tracks) for which the settings are to be initialized. The setting of All selects all tracks in the selected song for initializing.
21: Copy Song Source Song Destination Song This operation copies all data from all tracks of the specified song to any other specified song (including song name, play effect, voice assignment, and output assignment settings). ● Destination Song ● Source Song Press E to execute the Copy Song Job. A “Completed” message appears briefly when the Job is done. Range: 01 — 10 Range: 01 — 10 This determines the song to which the source data (selected above) is to be copied.
23: Song Name Song Number F1 F2 F3 F4 Song Name F5 F6 F7 Press & to insert a space at the highlight. This operation allows an original name of up to eight characters to be assigned to the current song. You should always use this operation after recording a song, then use the Save operation (page 137) to save the song to memory. ● Song Number Range: 01 — 10 This determines the song number for which a name is to be assigned. This determines the song name (up to eight characters).
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R E F E R E N C E Pattern Jobs The Pattern mode includes seven different “jobs” (or operations) that perform a variety of important and useful functions. CAUTION: Keep in mind that the Pattern Jobs permanently alter the data of the selected Patterns. Pattern Jobs 00: Undo/Redo........................... 164 01: Copy Pattern ....................... 165 02: Append Pattern .................... 166 03: Split Pattern ......................... 167 04: Init (Initialize) Play Effect .... 168 05: Clear Pattern ..
To use the Pattern Jobs: ....................................................... Enter the Pattern mode by pressing p. 1. 2. Press j to call up the Pattern Jobs page. 3. Select the desired Job number/title. Enter the Job number directly from the numeric keypad, or select the Job by moving the highlight in the normal manner. 4. Press E to call up the desired Job. 5. For help in using a specific Job, refer to the appropriate explanation in this section.
01: Copy Pattern Source Pattern parameters: • Style • Section • Track Destination Pattern parameters: • Style • Section • Track This operation copies all data from a specified track from one section of a specified style to the specified track of the specified section of any other specified style. This operation overwrites the data in the specified destination track with the data from the source track. Previous data in the overwritten track is therefore lost.
02: Append Pattern Source Pattern parameters: • Style • Section Destination Pattern parameters: • Style • Section This operation appends the specified section of one style to the end of the specified section of a second style. ● Source Style Range: 001 — 100 This determines the style from which the data is to be copied. ● Source Section Settings: Intro, Main A, Main B, Fill AA, Fill BB, Fill AB, Fill BA, Ending This determines the section of the style from which the data is to be copied.
03: Split Pattern Starting Measure (for split). Source Pattern parameters: • Style • Section Destination Pattern parameters: • Style • Section This operation splits a specified section of a specified style into two parts at the specified measure, and moves the latter half to the specified section of a specified style. ● Source Style Range: 001 — 100 This determines the style which is to be split.
04: Init (Initialize) Play Effect Same as the corresponding Job in the Song Jobs. (See page 159.) 05: Clear Pattern This operation clears all data from the specified section of the specified style. ● Section ● Style This determines the section to be cleared. A setting of All selects all sections for clearing. Range: 001 — 100 This determines the style in which the specified section is to be cleared.
R E F E R E N C E Phrase Jobs The Phrase mode includes fifteen different “jobs” (or operations) that perform a variety of important and useful functions. CAUTION: Keep in mind that the Phrase Jobs permanently alter the data of the Phrase. Phrase Jobs 00: Undo/Redo ........................ 170 01: Quantize .......................... 171 02: Modify Velocity ................ 171 03: Modify Gate Time ............ 171 04: Crescendo ....................... 172 05: Transpose ........................
To use the Phrase Jobs: ........................................................ Enter the Phrase mode by pressing P. 1. 2. Press j to call up the Phrase Jobs page. 3. Select the desired Job number/title. Enter the Job number directly from the numeric keypad, or select the Job by moving the highlight in the normal manner. You can also scroll up and down through the list in “pages” by simultaneously holding down the ( button and pressing the appropriate cursor button (< or >). 4.
01: Quantize This operation aligns notes in the specified user phrase to or close to the nearest specified beat. The basic parameters, functions and operations are the same as for the corresponding Job in the Song mode; see page 141 for details. 02: Modify Velocity This operation increases or decreases the velocity values of all notes in the specified user phrase. The basic parameters, functions and operations are the same as for the corresponding Job in the Song mode; see page 143 for details.
04: Crescendo This operation produces a gradual crescendo (increase in note velocity) or decrescendo (decrease in note velocity) in the specified user phrase over the specified range of measures. The basic parameters, functions and operations are the same as for the corresponding Job in the Song mode; see page 145 for details. 05: Transpose This operation transposes all notes in the specified user phrase up or down by the specified number of semitones.
07: Shift Clock This operation moves all notes and events in the specified track and range of measures forward or backward by the specified number of clocks (96 clocks = 1/4 note). The basic parameters, functions and operations are the same as for the corresponding Job in the Song mode; see page 148 for details.
09: Append Phrase This operation appends the specified user phrase to the end of a second specified user phrase. ● Destination Phrase Range: 001 — 100 This determines the user phrase to which the data is to be appended. ● Source Phrase Range: 001 — 100 This determines the user phrase from which the data is to be copied. Press E to execute the Append Phrase Job. A “Completed” message appears briefly when the Job is done. 10: Split Phrase Starting Measure (for split).
11: Get Phrase Measure Range Source Song Source Track Destination Phrase This operation copies the data from a specified range of measures in a certain track of a certain song to the specified user phrase. Get Phrase is the reverse operation of Put Phrase (Job 12): It allows you to take recorded data from a song and make a phrase from it, which you can then use with the automatic accompaniment features. ● Source Song Range: 01 — 10 This determines the song from which the data is to be copied.
12: Put Phrase Source Phrase Measure Range Destination Song Destination Track This operation copies the data from a specified user phrase to the specified range of measures in the specified track of a specified song. Put Phrase is the reverse operation of Get Phrase (Job 11): It allows you to take a user phrase and put it into a song as normal recorded data. ● Source Phrase This determines the user phrase from which the data is to be copied.
13: Clear Phrase This operation completely clears all data from the specified user phrase. The basic parameters, functions and operations are the same as for the corresponding Job in the Song mode; see page 160 for details. 14: Phrase Name Phrase Jobs This operation allows an original name of up to eight characters to be assigned to the specified user phrase. The method of entering the name is the same as the corresponding Job in the Song mode; see page 161 for details.
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R E F E R E N C E Editing Songs and Phrases The QS300 features comprehensive and flexible editing controls that make it easy to correct mistakes or unwanted Song or Phrase data, and generally help you to refine your sound. The Edit functions for both Song and Phrase are actually divided into two different modes: Edit Change and Edit Insert. The Edit Change mode lets you individually modify the timing, pitch (note), gate time (length) and velocity (loudness) of each recorded note.
Edit Change Mode In the Edit Change mode, you can modify various parameters for each individual note or event. 1. From the Song or Phrase mode, press e to enter the corresponding Edit mode. ● Song Edit Mode Display (Edit Change): Measure number Top (beginning) of song. Event line Track Number/Name ● Phrase Edit Mode Display (Edit Change): The timing, note, gate time, and velocity values for each note are shown on a single line of the display.
• To enter a new pitch for the note: .................................... Highlight the Note parameter and play the desired note on the keyboard, or use the D/I buttons or rotary dial. ● For controllers such as pitch bend and after touch: Highlight the Data parameter and change as desired. Pitch Bend. Data Value. The note range is from C-2 to G8. Graphic indication of value. • To enter a new note duration: ..........................................
Controller List Number (Ctl) Display Indication Controller Name 000, 002, 003, 008, 009, 012-037, etc. CC Control change. (This is shown for all controller numbers that do not have commonly recognized names.) 001 Mod Modulation. 004 FC1 Foot Controller 1. 005 PrtT Portamento time. 006 DatM Data entry MSB. 007 Vol Volume. 010 Pan Panpot. 011 Exp Expression. 038 DatL Data entry LSB. 064 Sus Sustain (damper pedal). 065 Prt Portamento. 066 Sos Sostenuto.
■ Other Functions ● ! — Delete This deletes the event (note or controller data) at the highlight position. ● @ — Insert (Insrt) This calls up the Edit Insert mode for inserting an event (note or controller data) at the highlight position. (See Edit Insert Mode below.) ● # — Change Track (ChngTr) Pressing this lets you select a different track for editing. To use Change Track: ............................................... 1. Press #. The Track Number parameter is automatically highlighted. 2.
Edit Insert Mode The Edit Insert mode allows you to insert new notes and other events at any specified point in the Song or Phrase. 1. Within the Edit Change mode (above), highlight the Event line at which the desired data is to be inserted. NOTE: You can specify the location later in step 3, if you want. However, it is usually easier to find the location in the Edit Change mode, then insert an event at that point. 2. Press @ to enter the Edit Insert mode. 3.
Control Change (CC) Control change events can be used to apply modulation, sustain, volume, and other types of control according to the standard MIDI control change controller assignments. (Refer to the list on page 182.) The left parameter is the control change number (the type of control), and the right parameter is the control change value (the amount of control). The control change value is also represented graphically by a bar in the display. The range of both parameters is 000 to 127.
■ Editing the Tempo Track The Edit Insert mode can also be used for the Tempo track. 3. Highlight and change the Insert Location parameter, 1. From the Edit Change mode display, press # 4. Highlight either part of the Tempo parameter and (ChngTr) and select the Tempo track. if desired. change the value. Tempo (Tmp) is the only parameter here, and the range is 25.0 to 300.0. To actually insert the new Tempo event, go on to step 6 in the main instructions below. 2.
R E F E R E N C E Utility Mode The Utility mode includes a number of functions that are important for general operation. These functions include MIDI data handling, interfacing with external equipment, global sequencer settings and controls, ABC system operation, and more. Utility Synthesizer Setup .................. 188 MIDI Setup .............................. 190 MIDI Input Filter ...................... 191 Sequencer Setup .................... 192 Fingered Chord Zone ............. 193 Others Setup ....
To use the Utility mode: ....................................................... Enter the Utility mode by pressing u. 1. 2. Press the appropriate function button (! - ^) to call up the desired page of functions. Refer to the explanations below for help in using specific pages and their functions. To exit from the Utility mode, press the ) button or any of the other MODE buttons.
● Foot Volume Control Settings: volume (MIDI Volume, controller #7), expres (MIDI Expression, controller #11) This determines the MIDI controller assignment for the foot controller connected to the FOOT VOLUME jack. When this is set to volume, foot controller movements are transmitted as controller number 7 (Volume); when set to expres, they are transmitted as controller number (Expression). ● System Mode Settings: norm (normal), TG-B (TG300B) This determines the basic tone generation mode of the QS300.
Utility Path: MIDI Setup u ➞ @ (MIDI) Local Control In the • • • Device Number MIDI Setup page, you can set: Local control Device Number MIDI Transmit/Receive channels for the Voice mode ● Local Control Settings: off, on This determines whether the keyboard is “connected” to the internal tone generator of the QS300. When this is set to on (normal condition), the Voices respond to notes played from the keyboard of the QS300.
Utility Path: MIDI Input Filter u ➞ # (MIDIFlt) The MIDI Filter page has one function: MIDI Filter. The MIDI Filter allows you to set whether or not the tone generator and sequencer of the QS300 respond to certain types of MIDI data. This can be useful especially in recording, since you can filter out data types that you don’t need, and thus save memory for additional recording.
Utility Path: Sequencer Setup u ➞ $ (Seq) Click (metronome) parameters: • Beat • Mode • Volume Transpose In the Sequencer Setup page, you can set global controls affecting the built-in sequencer. These controls include: • Click (metronome) settings • Transposition of sequencer data • MIDI Sync • MIDI Control • Interval Time (for data transmission) , MIDI Control Interval Time ● Transpose (Trans) Range: -12 — +12 semitones This determines the key transposition of the sequencer tracks.
Utility Path: Fingered Chord Zone u ➞ % (FngZon) Fingered Chord Switch Range parameters: • Low Key Range parameters: • High Key In the Fingered Zone page, you can turn the ABC (Auto Bass Chord) automatic accompaniment system on or off, and set the range (or “zone”) over which ABC chords will be recognized. ● Range Parameters ● Fingered Chord Switch These two parameters determine the range over which ABC chords are recognized.
Utility Others Setup u ➞ ^ (Others) Path: LCD Contrast F1 F2 F3 F4 F5 F6 F7 F8 Press * to call up the Greeting Message page. After entering the new message, press ) to leave the Greeting Message page. In the Others Setup page, you can: • Enter a custom “greeting” message. • Set the LCD (display) contrast. & — Insert This inserts a blank space at the highlight position. ● Greeting Message * — Delete This deletes the character at the highlight position.
R E F E R E N C E Disk Mode In addition to save and load operations, the Disk mode allows you to format new disks as well as delete and rename existing files. Disk Save Operation ..............197 Load Operation ..............198 Delete Operation ...........200 Rename Operation ........201 Format Operation ..........
To use the Disk mode: .......................................................... 1. Enter the Disk mode by pressing d. Song SMF Range: 01 — 10 File Extension: .MID This comprises a single specified song in the Standard MIDI File format. The Standard MIDI File format is widely used by computer music software, sequencers, and synthesizers with built-in sequencers. This option provides data compatibility with such devices. Voice, output select, and play effect data is not saved with an SMF file.
Disk Save Operation Path: d ➞ ! (Save) The Save operation allows you to store files to floppy disk for future recall. Select the desired data type from the above display (by any data entry method), and press E. 4. Press E. If the destination location already contains data under the same file name, a “Overwrite?” prompt appears in the display. IMPORTANT: The disk write-protect slide must be in the writeenable position to perform a Save operation.
Disk Load Operation Path: d ➞ @ (Load) The Load operation allows you to retrieve files on floppy disk and load them to the QS300 so that you can play/use them. Select the desired data type from the above display (by any data entry method), and press E. The Voice data type (number 7) has a different loading procedure than the other data types (covered in the instructions that follow). See Loading a Voice below for details.
To load a Voice from disk: ................................................... 1. Select Voice as the data type from the initial Load display, and press E. Number of files (on disk). Size of selected file (in kilobytes). 4. Select the User Voice destination for loading. 5. Press E to start loading the selected Voice to the specified User Voice location. Answer the “Are you sure?” prompt by pressing I to execute the load operation, or pressing D to cancel. Source data. 2.
Disk Delete Operation Path: d ➞ # (Delete) The Delete operation completely erases the specified file from the current disk. Select the desired data type from the above display (by any data entry method), and press E. IMPORTANT: The disk write-protect slide must be in the writeenable position to perform a Delete operation. If it is not, the “Write Protected!” error message will appear when you attempt to execute the Delete operation. Number of files (on disk).
Disk Rename Operation Path: d ➞ $ (Rename) The Rename operation makes it easy to directly change the name of a file on disk. Select the desired data type from the above display (by any data entry method), and press E. IMPORTANT: The disk write-protect slide must be in the writeenable position to perform a Rename operation. If it is not, the “Write Protected!” error message will appear when you attempt to execute the Rename operation. Number of files (on disk).
Disk Format Operation Path: d ➞ % (Format) This operation formats new (blank) 2DD or 2HD 3.5-inch floppy disks for use with the QS300. (2DD disks are formatted to MS-DOS, 720 kBytes; 2HD disks to MS-DOS 1.44 MBytes.) It can also be used to format disks previously used with other equipment for use with the QS300. The format operation is also a convenient way to clear all data from a disk that contains unwanted material. To format a disk: ..................................................................
Q S 3 0 0 APPENDIX Troubleshooting ............................. 204 Warning and Error Messages ...... 206 Specifications................................. 208 Index ................................................
Troubleshooting The following table provides troubleshooting hints and page references for some common problems. Since the QS300 is a complicated device with many function, most problems are simply the result of incorrect settings. Before calling for professional service, refer to the troubleshooting advice below to see if you can find and correct the cause of the problem. Problem Possible Cause No power. Is the power cable fully inserted? No sound. • • • • • • Pressing R does not start playback.
Trouble Shooting Problem Possible Cause Cannot set the time signature. Does the Song or Phrase already contain data? The pitch of the Voice or Voices is off. Are the tuning-related parameters set to 0? Check the Voice Element Tuning Parameters (page 58), Instrument Tuning/Filter (Multi controls, page 82), and Master Tuning (Utility, page 188). Cannot change the Phrase length. Does the Phrase already contain data? (See page 132.) Song playback stops midway.
Warning and Error Messages The following messages may appear during operation, indicating problems or incorrect operation. Follow the instructions in the explanations below to remedy the problem. Warning/Information Messages Battery Low The memory-backup battery is low; memory cannot be backed up. Have the battery changed by your local Yamaha dealer or any other autorized Yamaha service personnel.
Warning and Error Messages ● Disk No Disk There is no disk in the disk drive. Insert a proper disk and attempt the operation again. Illegal Format Disk The inserted floppy disk is not of the proper format. Insert a disk of the appropriate format, or format the disk (page 202). Bad Disk The floppy disk is damaged or dirty and cannot be read. Clean the disk surface if possible, and try cleaning the disk drive itself, then attempt the operation again. File Not Found Unable to find the specified file.
Specifications Tone Generator Type Maximum Polyphony System Module Multi-timbral Capacity Voices AWM2 (Advanced Wave Memory 2) 32 notes Normal (XG), TG-B (TG300B) Song mode: 24 (16 for Sequencer tracks + 8 for Pattern tracks) Pattern mode: 8 XG: 480, and 11 drum kits TG300B: 579 and 10 drum kits Preset: 128 User: 128, and 1 drum kit Sequencer Tracks Data Capacity Preset Phrases Record Modes Preset Chords Note Resolution Edit modes Jobs Song Chain Sequence File Format Song mode: 19 (Tracks 1 — 16, Patt
Specifications / Index Index k/l buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 D A Delete (Disk) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 Delete Measure (Song Job) . . . . . . . . . . . . . . . . . . . . . . . 155 Demo Song, playing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Disk mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195-202 Disk operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
L LCD Contrast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 LFO (Voice Edit) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Load (direct from Song/Pattern/Phrase modes) . . . . . . . 136 (Disk) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 Loop playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 M Mark/Jump . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40, 68 Measure/Beat . . . . . . .
Index V Shift Clock (Phrase Job) . . . . . . . . . . . . . . . . . . . . . . . . . 173 (Song Job) . . . . . . . . . . . . . . . . . . . . . . . . . . 148 Shift Note (Phrase Job) . . . . . . . . . . . . . . . . . . . . . . . . . . 172 (Song Job) . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 Song Chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Song edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179-186 Song Jobs . . . . . . . . . . . .
For details of products, please contact your nearest Yamaha or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à 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, M1S 3R1, Canada Tel: 416-298-1311 U.S.A. Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A.
