User manual YAMAHA SY35E1

[. . . ] Congratulations! Your SY35 Music Synthesizer offers extraordinary musical versatility and control with a "vector synthesis" system than combines Yamaha's advanced AWM sample playback technology with high-performance FM tone generation. Vector synthesis allows you to create and control synthesized sound with unprecedented ease -- in a very intimate, "human" way, putting you more closely in touch with your instrument and music. The vector control lets you blend sounds manually in real time, and dynamic vectors let you " r e c o r d " dynamic vector sweeps that will play automatically whenever you play a note. For even more expressive capability, the SY35 keyboard features both velocity sensitivity and after-touch response that can be assigned to a number of musical parameters. [. . . ] Selecting And Playing Voices The first thing you'll want to do with your SY35 is select and play some of its outstanding voices . . . this section will show you how to do just that. We'll also look at the overall SY35 voice memory configuration. Play the Presets Although the SY35 can access three different voice memories -- PRESET, INTERNAL, and CARD -- let's begin by selecting and playing some of the preset voices. 1 Select the Voice Play Mode If the MODE [VOICE] key indicator is lit, then the Voice Play mode is already selected and you can go directly to the next step. If it isn't, press the [VOICE] key to select it. The words "VOICE PLAY" also appear on the top line of the LCD panel when the Voice Play mode is selected. VOICE PLAY P11 AP:Rock 2 Select the PRESET Voice Memory If the MEMORY [PRESET] key indicator is already lit, then the PRESET voice memory is already selected and you can go straight to the next step. If it isn't, press the [PRESET] key to select it. 16 PRESET VOICE LIST No. 11 12 13 14 15 16 17 18 21 22 23 24 25 26 27 28 Voice Name AP:Rock AP:Clsic AP*Chors AP:HTonk AP:Soft AP*Pf&St AP:Blend AP*Bell EP*Tine EP:Light EP:Old EP*Malet KY*Clav1 KY:Clav2 KY:Celst KY:Hrpsi No. 31 32 33 34 35 36 37 38 41 42 43 44 45 46 47 48 Voice Name BR:Trmpt BR:Mute BR:Tromb BR:Flugl BR:FrHrn BR*Sect1 BR*Sect2 BR*Fanfr ST*Arco1 ST:Arco2 ST:Cello ST*SlwAt ST*Pizz ST*Treml ST*OrchB ST*OrchS No. 51 52 53 54 55 56 57 58 61 62 63 64 65 66 67 68 Voice Name BA:Wood BA:Frtls BA*Slap BA:Fingr BA:Pick BA:Synth BA:Tchno BA:Groov WN:Sax WN:Flute WN:Clari WN:Oboe WN *PanFl WN *SaxEm WN *Ensmb WN *Orch No. 71 72 73 74 75 76 77 78 81 82 83 84 85 86 87 88 Voice Name PL:Gypsy PL:Folk PL*Wide PL*Mute PL:Rock PL*Dist PL:Chrng PL:Sitar CH *Pure CH *Itopy CH *Uhh-CH *Angel CH *Bell CH *Snow CH *Vcodr CH *Marin INTERNAL VOICE LIST No. 11 12 13 14 15 16 17 18 21 22 23 24 25 26 27 28 Voice Name SP*Warm SP*Resnc SP*Full!SP*Bell SP*Filtr SP*Deep SP*Fog SP*Dyna SC*Dgcrd SC*Elgnt SC*sFz< SC*Coin SC*Brash SC:Water SC*Sand SC*Reso No. 31 32 33 34 35 36 37 38 41 42 43 44 45 46 47 48 Voice Name SL*Saw SL:Squar SL*Sync SL*Power SL*Whstl SL*2VCO SL*Fat SL*AnaSy OR:Tango OR:Paris OR*Rock1 OR*Rock2 OR*Rock3 OR*Cat OR*Big OR*Combo No. 51 52 53 54 55 56 57 58 61 62 63 64 65 66 67 68 Voice Name BR*Punch BR*Power BR*Fat BR:Lite ST*Modrn ST*Soft ST*Mild ST:Lite SE*Hit SE*Start SE*Who?71 72 73 74 75 76 77 78 81 82 83 84 85 86 87 88 Voice Name ME*Wide!ME*Drama ME*SlwSg ME*Grand ME*Typhn ME*Tzone ME*Space ME*Memry PC:Vibe PC*Marim PC:M. Box PC:Timp PC*Batl PC*Human DR *Auto DR:Kit Note that the voices are arranged in categories for easier access. The following voices also effectively demonstrate the power of the VECTOR CONTROL. Select them and apply LEVEL and DETUNE vector control as you play: l l l P68 WN* Orch I74 ME * Grand I78 ME * Memry How the VECTOR CONTROL Works SY35 voices can have either a "2-element" or "4-element" configuration. Each element is actually an independent sound or "waveform, " and vector control allows the 2 or 4 different waveforms in a voice to be blended and detuned in a variety of ways -- manually or automatically. The " A , " "B, " "C, " and " D " markings around the VECTOR CONTROL correspond to the voice elements. A 2-element voice uses only elements A and B, while a 4-element voice uses all four elements -- A, B, C and D. VECTOR CONTROL A A D C D C B B For the sake of clarity, we'll represent the SY35 vector control by asimple graph like the one shown to the right for the rest of the tutorial. 22 LEVEL OR PITCH CHANGE VECTOR CONTROL MOTION A LEVEL OR PITCH A B D C C B D TIME Advanced Control: Dynamic Vectors In addition to the manual vector control capability described so far, the SY35 features advanced automatic vector recording and playback capability. Automatic vectors are called "dynamic vectors" in the SY35, and these play automatically whenever you play a note on the keyboard. Dynamic vectors can be recorded in real time via the VECTOR CONTROL by using the procedure described in the "Recording an Original Dynamic Vector" section, below. [. . . ] The reason for the " F M " name is that this tone generator system employs a number of independent oscillator blocks known as "operators, " that are arranged in a variety of configurations known as "algorithms. " Depending on their positions in the algorithm, each operator functions either as a "modulator, " or a "carrier" that is modulated by a modulator. Since modulators modulate the frequency of carriers, the system is a form of frequency modulation -- therefore, "FM Synthesis. " AWM Synthesis Cent Element Envelope FM Synthesis 41 LFO LFO stands for "Low Frequency Oscillator. " This is the oscillator, usually with a frequency variable from about 0. 1 to 20 hertz, that is responsible for creating the periodic variation in tremolo, vibrato, chorus, phasing, and other modulation type effects. "MIDI" is an acronym standing for "Musical Instrument Digital Interface. " MIDI allows musical instruments, sequencers, signal processing devices, computers, and other devices to communicate and control each other via a simple cable connection. The introduction of MIDI has revolutionized the music field, making control of the music production process easier and more efficient than ever before. [. . . ]