Yamaha Tyros 1 User Manual

							 
Style Playback (Auto Accompaniment) 
Reference
 
111 
TYROS Owner’s Manual 
109
 
Instant Style Selection 
If you’ve created your own styles and built up a collection of style data on the User drive or optional Hard Disk drive, you’ll soon 
have many style files to select from — making it difficult to call up your favorite styles.  This function lets you memorize the path 
of a specific style to a specific STYLE button.  Even if your data is scattered across the drive in a complex hierarchy of folders 
and paths, you can instantly call up a specific file — no matter how deeply hidden — with a single button-press. 
1 
Call up the Open/Save display for styles with the Number Input Type (page 71). 
2 
First, select the style to be memorized by calling up the appropriate path, then press 
the [MEMORY] LCD button. 
3 
Check that the path set in step #2 above has been properly memorized.  First, call up 
a different path (for example, the Open/Save display for voices), then select the path 
just memorized by turning on the [USER/DISK] button and pressing the appropriate 
STYLE button. 
4 
Call up the other path (for example, the Open/Save display for voices) and call up the 
path memorized in step #3 by following the instructions below.
A
B
C
D
E
POP & ROCK
BALLAD
DANCER&B
COUNTRY
MOVIE & SHOW
LATINSWING & JAZZWORLD
BALLROOM
PA R T Y
STYLE
PRESET
USER / DISK
POP & ROCK
BALLAD
DANCER&B
COUNTRY
MOVIE & SHOW
LATINSWING & JAZZWORLD
BALLROOM
PA R T Y
STYLE
PRESET
USER / DISK
Turn [USER/DISK] on and press appropriate 
STYLE button (set in step #3 above). 
						

							Style Playback (Auto Accompaniment)
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Style Playback Related Settings
The TYROS has a variety of style playback functions, including Split Point and many others — which can be accessed by pressing 
[FUNCTION] → STYLE SETTING/SPLIT POINT.
 Split Point....................................................................................................................................
These are the settings (there are two Split Points) that separate the different sections of the keyboard: the 
Chord section, the LEFT part section and the RIGHT 1-3 section.  The two Split Point settings (below) 
are specified as note names.
• Split Point (S) — separates the Chord section for style playback from the section(s) for playing 
voices (RIGHT 1-3, LEFT)
• Split Point (L) — separates the two sections for playing voices, LEFT and RIGHT 1-3.
These two settings can be set to the same note (as in the default) or two diffferent notes as desired.
Split Point (L) cannot be set lower than Split Point (S), and Split Point (S) cannot be set higher than Split 
Point (L). 
 Stop Accompaniment........................................................................................................................
When auto accompaniment is turned on and Syncro Start is off, you can play chords in the 
left-hand (accompaniment) section of the keyboard with the style stopped, and still hear 
the accompaniment chord.  In this condition — called “Stop Accompaniment” — any 
valid chord fingerings are recognized and the chord root/type are shown in the LCD.  
Since the TYROS properly recognizes the chord, you can also use the Chord Match func-
tion (page 38) with the Multi Pads or the Harmony effect (page 39) without having to play 
back a style.
From the display above, you can determine whether the chord played in the chord section 
will sound or not in the Stop Accompaniment status. 
• OFF .................................. The chord played in the chord section will not sound.
• STYLE............................. The chord played in the chord section will sound via the voices for the 
Pad part and the Bass channel of the selected style.  
• FIXED ............................. The chord played in the chord section will sound via the certain voice 
regardless of the selected style. 
LP FUNCTIONSOUNCREAMENU
ParametersSplit Point settings
Split Point (S+L)
Setting the Split Point (S) and the Split Point (L) 
to the same noteSetting the Split Point (S) and the Split Point (L) 
to different notes
Split Point (S)Split Point (L)
Chord section 
+ Voice LEFTVoice RIGHT1 - 3Chord sectionVoice LEFTVoice RIGHT1 - 3
Press the [S+L] LCD button and rotate the [DATA 
ENTRY] dial, or press the desired key on the keyboard 
while holding the [S+L] LCD button. To set Split Point (L), press the [L] LCD button and rotate the 
[DATA ENTRY] dial, or press the desired key on the keyboard 
while holding the [L] LCD button. 
To set Split Point (S), press the [S] LCD button and rotate the 
[DATA ENTRY] dial, or press the desired key on the keyboard 
while holding the [S] LCD button. 
• The chord detected by playing the 
Stop Accompaniment can be 
recorded to a song regardless of 
the setting here.  Please note that 
the voice sound will be recorded 
when set to “STYLE,” and will not 
be recorded when set to “OFF” or 
“FIXED.”  
						

							Style Playback (Auto Accompaniment)
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 OTS Link Timing.......................................................................................................................
This applies to the OTS Link function (page 110). This parameter determines the timing in which the 
One Touch Settings change with the MAIN VARIATION [A] - [D] change. (The [OTS LINK] button 
must be on.)
• Real Time......................... One Touch Setting is immediately called up when you press a [MAIN 
VARIATION] button. 
• Next Bar........................... One Touch Setting is called up at the next measure, after you press a 
[MAIN VARIATION] button.
 Synchro Stop Window...........................................................................................................
This determines how long you can hold a chord before the Synchro Stop function is automatically can-
celled.  When the [SYNC STOP] button is turned on and this is set to a value other than “OFF,” this 
automatically cancels the Synchro Stop function if you hold a chord for longer than the time set here.  
This conveniently resets style playback control to normal, letting you release the keys and still have the 
style play.
 Style Touch.................................................................................................................................
Turns touch response for the style playback on/off. When this is set to “ON,” the style volume changes 
in response to your playing strength in the chord section of the keyboard.
 Section Set.................................................................................................................................
Determines the default section that is automatically called up when selecting different styles (when style 
playback is stopped). When set to “OFF” and style playback is stopped, the active section is maintained 
even if the different style is selected. 
When any of the Main A-D sections is not included in the style data, the nearest section is automatically 
selected. For example, when Main D is not contained in the selected style, Main C will be called up.
Simultaneously Playing a Song and a Style
When playing back a song and a style at the same time, channels 9 - 16 of the song data are replaced 
with style channels — allowing you to use the styles and features in place of the accompaniment 
parts of the song. This provides added flexibility to your performance, letting you independently 
control style playback and song playback.
• The style stops when you stop the song. If the accompaniment style is playing and you 
start the song, the accompaniment automatically stops. 
• Some of the songs have been created using the built-in styles. For these songs, the styles 
are automatically started when starting song playback.  
						

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Style Creator (Digital Recording)
The powerful Style Creator feature lets you create your own original styles, which can then be used for style playback 
— just as with the preset styles.
Each style is made up of fifteen sections (Intro I - III, 
Main A - D, Fill In A - D, Break, Ending I - III) as 
rhythm pattern variations. Each of these fifteen sec-
tions in turn has eight different parts (channels), made 
up of MIDI sequence data — making a total of 120 
separate sets of MIDI data contained in a single style.  
With the Style Creator feature, you can create a style 
by separately recording the necessary MIDI data, or 
by importing pattern data from other existing styles.
 Using Preset Styles
As shown in the chart at right, when you select the 
internal preset style that is the closest to the type 
of style you wish to create and call up the Style 
Creator display, the preset style data will be cop-
ied to a special memory location for creating. You 
can create an original style by adding, deleting, or 
replacing data from this memory location. 
 Recording and Assembling
The Style Creator provides two basic ways to cre-
ate MIDI sequence data of each part: Recording, 
which allows you to record parts from the key-
board (using Realtime or Step Recording), and 
Assembly, which lets you bring various pattern 
data together by copying from other styles. Both 
methods, Recording and Assembly, replace the 
original data with the new data.
In the case of chart shown at right, for example, 
INTRO I and MAIN A are created by recording 
the new data to all the parts, and MAIN B is cre-
ated by assembling the pattern data for all parts 
from the other styles. INTRO III and ENDING A 
- C are created by keeping and using the original 
data. MAIN C and FILL IN A are created via three 
ways: Recording, Assembly, and using the origi-
nal data. 
Style Data Structure — Creating Styles
Par t
SectionRHYTHM 1
INTRO I
INTRO II
INTRO III
MAIN B MAIN A
MAIN C
MAIN D
FILL IN A
FILL IN B
FILL IN C
FILL IN D
BREAK
ENDING I
ENDING II
ENDING III
RHYTHM 2BASSCHORD 1 CHORD 2PA DPHRASE 1 PHRASE 2
Each style contains 120 MIDI data sequences (15 Sections x 8 Parts)
For these parts containing preset data, new material can be over-
dubbed (recorded).
For these parts containing preset data, new material cannot be over-
dubbed (recorded).  These parts can be recorded only after deleting 
their preset data.
Preset Style data
Internal memory for 
creating a style (RAM)
Copy
• The DSP1 effect settings (page 136) cannot be stored in 
the User style data, and as such cannot be edited in the 
Style Creator function.  This means that any DSP1 effect 
settings in the Preset style (such as changing speeds of 
the rotary speaker effect) will be deleted from the copied 
Preset style data, and be unavailable for creating a style.
Par t
SectionRHYTHM 1
INTRO I
INTRO II
INTRO III
MAIN B MAIN A
MAIN C
MAIN D
FILL IN A
FILL IN B
FILL IN C
FILL IN D
BREAK
ENDING I
ENDING II
ENDING III
RHYTHM 2BASSCHORD 1 CHORD 2PA DPHRASE 1 PHRASE 2
Example style — created by Recording, Assembly and original data
Creating data by recording
Copying data from other styles (Assembly)
No change (maintaining the original data)
No data 
						

							Style Creator (Digital Recording)
Reference
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 Loop Recording and Overdub Recording
The Song Creator (Song Recording) feature records your keyboard performance as MIDI data. Recording a style data via the Style 
Creator, however, is done in a different way. Here are some of the aspects in which style recording differs from song recording:
• Loop Recording ................ Style playback repeats the rhythm patterns of 
several measures in a “loop,” and style record-
ing is also done using loops. For example, if you 
start recording with a two-measure main sec-
tion, the two measures are repeatedly recorded. 
Notes that you record will play back from the 
next repetition (loop), letting you record while 
hearing previously recorded material. 
• Overdub Recording .......... This method records new material to a part 
(channel) already containing recorded data, 
without deleting the original data. In style 
recording, the recorded data is not deleted, 
except when using functions such as Rhythm 
Clear (page 117) and Delete function (page 
116). For example, if you start recording with a 
two-measure MAIN section, the two measures 
are repeated many times. Notes that you record 
will play back from the next repetition, letting 
you overdub new material to the loop while 
hearing previously recorded material.
Using the recording methods above, the Style Creator feature lets you record complete rhythm patterns (like the one above) quickly 
and easily.
 Rhythm Parts and Pitched Parts
Creating or recording the Rhythm parts (containing non-pitched data) differs from recording other parts (containing pitched data) 
in the following ways. 
• Note data can be overdubbed to existing Rhythm parts of a preset style, whereas other pitched parts can be newly recorded 
to only after all existing preset data on the part is deleted.
• Style parts (channels) other than Rhythm parts are played back  according to the chord root/type specified in the chord section 
of the keyboard. The notes output from style parts (channels) other than Rhythm parts are transposed from the Source Pattern 
(described below) according to the chord root/type specified in the chord section of the keyboard. The Style Creator lets you 
set the parameters that determine how the note is transposed and set the parameters that determine how notes held through 
chord changes will be handled. 
The Style File Format (SFF) combines all of Yamaha’s auto accompaniment 
(style playback) know-how into a single unified format. By using the Style Cre-
ator, you can take advantage of the power of the SFF format and freely create 
your own styles.
The chart shown at left indicates the process by which the style is played back. 
(This does not apply to the rhythm track.) These parameters can be set via the 
Style Creator feature.
 Source Pattern................................................................... page 121
There are a variety of possibilities for style playback notes, depending on the par-
ticular root note and chord type that are selected.  The style data is appropriately 
converted depending on the chord changes you make during your performance.  
This basic style data that you create with the Style Creator is referred to as the 
“Source Pattern.”
 Note Transposition............................................................ page 121
This parameter group features two parameters that determine how the notes of the 
Source Pattern are to be converted in response to chord changes.
 Other Settings................................................................... page 122
Using the parameters of this group, you can fine-tune how style playback responds 
to the chords you play.  For example, the Note Limit parameter allows you to have 
the voices of the style sound as realistic as possible by shifting the pitch to an 
authentic range — ensuring that no notes sound outside the natural range of the 
actual instrument (e.g., very low notes of a piccolo sound). 
Bass Drum
Snare Drum
Bass Drum
Snare Drum Hi-Hat
Bass Drum
Special Parameter Settings based on Style File Format
Source PatternPLAY ROOT 
(Chord Root setting of a Source Pattern)
PLAY CHORD 
(Chord Type setting of a Source Pattern)
Note TranspositionNTR 
(Note Transposition Rule applied to the Chord Root 
change)
NTT 
(Note Transposition Table applied to the Chord Type 
change)
Other SettingsHIGH KEY
(Upper limit of the octaves of the note transposing caused 
by the Chord Root change)
NOTE LIMIT (Note range in which the note is sounded) 
RTR
(Retrigger Rule that determines how notes held through 
chord changes will be handled)Chord change via the 
chord section of the 
keybaord. 
Output
113 
						

							Style Creator (Digital Recording)
Reference
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Basic Settings and Realtime Recording for each part (channel)
The explanations here apply when you call up the BASIC page in step #4 of the Basic Procedure above. Refer to the illustrations 
above for information about the basic style creation parameters. For actual instruction steps for recording, see the sections below.
 Recording note events to a Rhythm part (channel)..................................................
1Select one of the Rhythm parts as a recording part on the BASIC display (above). 
Basic Procedure (Style Creator)
1
2
3
4
DIGITAL
RECORDING
SONG
STYLE
MULTI PAD
EXIT
•  Any voice can be selected for the RHY1 channel, with 
the exception of Organ Flutes.
• Only Drum Kit/SFX Kit can be selected for the RHY 2 
channel.
• For the non-rhythm channels (BASS - PHR 2), all voices 
with the exception of the Organ Flutes voice/Drum Kit/
SFX Kit can be selected.
• You can also select the desired section for recording by 
pressing the appropriate panel button. Pressing one of 
the Section buttons (including the [AUTO FILL IN] button) 
calls up the SECTION pop-up window, from which you 
can change Sections. 
• To actually enter the change, press the [OK] LCD button.
First, select the desired style and one of its 
sections.
Press the [DIGITAL RECORDING] button. 
Select a section and par t (channel) to be created or 
recorded, and set the basic parameters for style creation.
Press the [STYLE CREATOR] LCD button. 
After you’ve finished creating/editing a 
style, make sure to execute the Save 
operation. The recorded style will be lost 
if you change to another style or you 
turn the power off without executing the 
save operation (page 69).
Execute Realtime recording. 
Execute Assembly (page 118). 
Edit the already-recorded par ts (channels). 
Execute Step Recording 
using the Event List. 
Set the desired par t (channel) to “REC” by pressing the corresponding lower LCD 
button while holding the [REC CH] button. Only one part (channel) can be recorded 
at a time. 
Press the LCD up button to call up the Open/Save display for voices to change the 
voice of the selected par t. Press the [EXIT] button to return to this display. 
You can also turn each part’s playback on/off durring recording by pressing the 
lower LCD button.
Press this if you want to create a style from scratch 
by deleting all data of the selected style.  
When this button is 
pressed, DELETE 
will appear for parts 
which contain data. 
Set the desired par t 
to “DELETE” by 
pressing the corre-
sponding upper 
LCD button while 
holding this button 
to delete all data in 
the corresponding 
parts. The data is 
actually deleted 
when this button is 
released.
This operation corresponding to step #4 
is covered in the following page. 
Select the desired number of measures for the selected section 
(except for FILL IN sections, which are fixed at 1 measure). 
Press the [EXECUTE] LCD button to actually enter the new set-
tings, and check it by pressing the [START/STOP] button in the 
STYLE CONTROL section to hear style playback.
Select a section to 
be created. 
• You cannot overdub-record (page 115) new material to any parts (channels) 
that contain preset data, with the exception of the Rhythm parts (channels). 
Make sure to delete preset data of non-Rhythm parts before recording, by 
using the [DELETE] LCD button above.  
						

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2Press the STYLE CONTROL [START/STOP] button to start recording of the Rhythm part. 
You can hear the selected style in a playback loop as you record. Turn the playback parts on/off as desired.
3Overdub drum/percussion instruments to the part by playing the appropriate keys.
You can also delete certain percussion sounds while recording. While holding the [RHY CLEAR] LCD but-
ton, press the key on the keyboard corresponding to the instrument you want to cancel. This Rhythm Clear 
function deletes all instances of the instrument in the part.
4Press the STYLE CONTROL [START/STOP] button again to stop recording (looped play-
back).
 Recording note events to a Bass/Chord/Pad/Phrase part (channel)............................
1Select one of the parts (other than a Rhythm part) by following the instructions in step #4 of 
“Basic Procedure” on page 116. 
You cannot record new material to the Bass/Chord/Pad/Phrase part (channel) that has preset data. If the 
selected part to be recorded has preset data, make sure to delete it (in step #4 of “Basic Procedure” on page 
116).
2Start recording. 
You can start recording in one of two ways:
• Press the STYLE CONTROL [START/STOP] button.
• Press the STYLE CONTROL [SYNC START] button to enable Synchro Start standby, then play a key 
on the keyboard.
Turn the playback parts on/off as desired.
The recording repeats indefinitely (until stopped) in a loop. Notes that you record will play back from the next 
repetition, letting you record while hearing previously recorded material. 
Rules when recording non-rhythm parts
Use only the CM7 scale tones when recording the BASS and PHRASE parts (i.e., C, 
D, E, G, A, and B). 
Use only the chord tones when recording the CHORD and PAD parts (i.e., C, E, G, 
and B).
Using the data recorded here, the auto accompaniment (style playback) is appropriately 
converted depending on the chord changes you make during your performance.  The 
chord which forms the basis for thios note conversion is called the Source Chord, and 
is set by default to CM7 (as in the example illustration above).  
You can change the Source Chord (its root and type) fromthe PARAMETER display on page 120.  Keep in 
mind that when you change the Source Chord  from the default CM7 to another chord, the chord notes and 
recommended notes will also change.  For details on chord notes and recommended notes, see page 121.
3Press the STYLE CONTROL [START/STOP] button again to stop recording (and looped 
playback).
Step Recording for Notes using the Event List
The explanations here apply when you call up the EDIT page in step #4 of the Basic Procedure on page 116. The EDIT page 
contains the Event List, in which you can record notes with absolutely precise timing. This Step Recording procedure is essen-
tially the same as that for Song Recording (pages 100 - 105), with the exception of the points listed below:
• In the Song Creator, the End Mark position can be changed freely; in the Style Creator, it cannot be changed. This is because 
the length of the style is automatically fixed, depending on the selected section. For example, if you create a style based on 
a section of four measures length, the End Mark position is automatically set to the end of the fourth measure, and cannot 
be changed in the Step Recording display.
• Recording channels (parts) can be changed in the Song Creator; however, they cannot be changed in the Style Creator. 
• In the Style Creator, only the channel events and System Exclusive messages can be entered. Chord and Lyrics events are 
not available. You can switch between the two types of Event Lists by pressing the LCD [F] button. 
• For the INTRO and ENDING sec-
tions, any appropriate chord or 
chord progression can be used. 
(You need not follow the rules 
described at left.) 
• If you want to record the pattern 
with a Source Chord other than 
CM7, set the PLAY ROOT and 
PLAY CHORD parameters on the 
PARAMETER page (page 120) 
before performing step #2. 
CRC CRC
C = Chord notes
C, R = Recommended notes 
						

							Style Creator (Digital Recording)
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Assembling a Style from Existing Pattern Data
The explanations here apply when you call up the ASSEMBLY page in step #4 of the Basic Procedure on page 116. This conve-
nient function lets you combine style elements — such as rhythm, bass, and chord patterns — from existing styles, and use them 
to create your own original sections and styles.
Assembling pattern data as shown below at left using “Cool 8Beat” as a basis, for example, results in the display below at right.
Groove and Dynamics
The explanations here apply to when you call up the GROOVE page in step #4 of the Basic Procedure on page 116. These versatile 
features give you a wide variety of tools for changing the rhythmic feel of your created style.
Rhythm 1
Rhythm 2
Bass
Chord 1
Chord 2
Pad
Phrase 1
Phrase 2
8Beat Modern
Rhythm 1
Rhythm 2
Bass
Chord 1
Chord 2
Pad
Phrase 1
Phrase 2
Live 8Beat
Rhythm 1
Rhythm 2
Bass
Chord 1
Chord 2
Pad
Phrase 1
Phrase 2
Hard Rock
Select the desired part 
(channel) by pressing one 
of the LCD [A] - [D], [F] - [I] 
buttons and press the 
same button to call up the 
Open/Save display for 
styles, from which you can 
select the desired style. 
After selecting the style, 
press the [EXIT] button to 
return to this display, then 
select the desired sections 
and channels to be copied.Determines the playback setting for each 
channel. You can assemble the accompa-
niment style while the style section and 
channel that will be copied are playing.
• SOLO
Mutes all but the selected channel. 
Any parts (channels) set to ON in the 
RECORD pop-up window on the BASIC 
page are played back simultaneously.
• ON
Plays back the selected part (channel). 
Any parts (channels) set to ON in the 
RECORD pop-up window on the BASIC 
page are played back simultaneously.
• OFF
Mutes the selected part (channel). After you’ve finished creating/editing a 
style, make sure to execute the Save 
operation. The recorded style will be lost 
if you change to another style or you 
turn the power off without executing the 
save operation (page 69).
Use these to select the 
desired edit operation.
Executes the operation. After 
the operation is completed, you 
can hear the result and this but-
ton changes to [UNDO], letting 
you restore the original data if 
you’re not satisfied with the 
Groove or Dynamics results. 
The Undo function only has one 
level; only the previous opera-
tion can be undone. 
This menu is available on both 
of the GROOVE page and 
DYNAMICS page. 
Determines the settings for each of 
the Groove or Dynamics parameters 
(see next page).
After you’ve finished creating/editing a 
style, make sure to execute the Save 
operation. The recorded style will be lost 
if  you change to another style or you 
turn the power off without executing the 
save operation (page 69). 
						

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 Groove
This lets you add swing to the music or change the “feel” of the beat by making subtle shifts in the timing 
(clock) of the style. The Groove settings are applied to all parts of the selected style.
 Dynamics
This changes the velocity/volume (or accent) of certain notes in the style playback. The Dynamics set-
tings are applied to each part (channel) or all parts (channels) of the selected style. 
ORIGINAL BEATSpecifies the beats to which Groove timing is to be applied. In other words, if “8 
Beat” is selected, Groove timing is applied to the 8th notes; if “12 Beat” is selected, 
Groove timing is applied to 8th-note triplets. 
BEAT CONVERTERActually changes the timing of the beats (specified in the ORIGINAL BEAT param-
eter above) to the selected value. For example, when ORIGINAL BEAT is set to “8 
Beat” and BEAT CONVERTER is set to “12,” all 8th notes in the section are shifted 
to 8th-note triplet timing. The “16A” and “16B” Beat Converter which appear when 
ORIGINAL BEAT is set to “12 Beat” are variations on a basic 16th-note setting.
SWINGProduces a “swing” feel by shifting the timing of the back beats, depending on the 
ORIGINAL BEAT parameter above. For example, if the specified ORIGINAL BEAT 
value is “8 Beat”, the Swing parameter will selectively delay the 2nd, 4th, 6th, and 
8th beats of each measure to create a swing feel. The settings “A” through “E” 
produce different degrees of swing, with “A” being the most subtle and “E” being 
the most pronounced. 
FINESelects a variety of Groove “templates” to be applied to the selected section. The 
“PUSH” settings cause certain beats to be played early, while “HEAVY” settings 
delay the timing of certain beats. The numbered settings (2, 3, 4, 5) determine 
which beats are to be affected. All beats up to the specified beat — but not including 
the first beat — will be played early or delayed (for example, the 2nd and 3rd beats, 
if “3” is selected). In all cases, “A” types produce minimum effect, “B” types produce 
medium effect, and “C” types produce maximum effect.
CHANNELSelects the desired channel (part) to which Dynamics is to be applied. 
ACCENT TYPEDetermines the type of accent applied — in other words, which notes in the part(s) 
are emphasized with the Dynamics settings.
STRENGTHDetermines how strongly the selected Accent Type (above) will be applied. The 
higher the value, the stronger the effect. 
EXPAND/COMP.Expands or compresses the range of velocity values. Values higher than 100% 
expand the dynamic range, while values lower than 100% compress it.
BOOST/CUTBoosts or cuts all velocity values in the selected section/channel. Values above 
100% boost the overall velocity, while values below 100% reduce it. 
						

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Editing Data for each Channel
The explanations here apply when you call up the CHANNEL page in step #4 of the Basic Procedure on page 116. 
Making Style File Format Settings
The explanations here apply when you call up the PARAMETER page in step #4 of the Basic 
Procedure on page 116. This display provides a variety of style controls — such as determining 
how the pitch and sound of the recorded style change when playing the chords in the left-hand 
range of the keyboard. Parameter settings on this display are available only when any of the non-
rhythm parts are set to “REC” on the RECORD pop-up window on the BASIC page.  For details 
about the relationship between the parameters, refer to “Style File Format” on page 115.  
QUANTIZESame as in the Song Creator. See page 96. 
VELOCITY CHANGEBoosts or cuts the velocity of all notes in the specified channel, according to the 
percentage specified here. 
BAR COPYThis function allows data to be copied from one measure or group of measures to 
another location within the specified channel. SOURCE specifies the first (TOP) 
and last (LAST) measures in the region to be copied. DEST specifies the first mea-
sure of the destination location, to which the data is to be copied.
BAR CLEARThis function clears all data from the specified range of measures within the select-
ed channel.
REMOVE EVENTThis function lets you remove specific events from the selected channel.
1
4
23
5
Use these to select 
the desired edit 
operation.
Set the parameters 
for executing the 
data edit.  Executes the selected operation on 
the respective page. After the opera-
tion is completed, you can hear the 
result and this button changes to 
[UNDO], letting you restore the origi-
nal data if you’re not satisfied with 
the result of each operation. The 
Undo function only has one level; 
only the previous operation can be 
undone. 
Select a channel 
(part) of which data 
edit is to be executed. 
After you’ve finished creat-
ing/editing a style, make 
sure to execute the Save 
operation. The  recorded 
style will be lost if you 
change to another style or 
you turn the power off with-
out executing the save 
operation (page 69).
1
23
4Use these to 
select the 
desired edit 
operation.
Set the parameters 
of the channel 
specified at left.  Select the desired 
channel (part) to be 
edited.
After you’ve finished creat-
ing/editing a style, make 
sure to execute the Save 
operation. The  recorded 
style will be lost if you 
change to another style or 
you turn the power off with-
out executing the save 
operation (page 69).
• When NTR is set to “Root Fixed ” 
and NTT is set to “Bypass, ” the  
“Source Root ” and  “Source 
Chord ” parameters are changed 
to “Play Root ” and  “Play Chord, ” 
respectively. In this case, you can 
change chords and hear the 
resulting sound for all channels.
• Normally in the Style Creator, you 
can hear your original style-in-pro-
cess with the Source Pattern.  
However, there is a way to hear it 
played by a specific chord and 
root.  To do this, set NTR to “Root 
Fixed” and NTT to “Bypass,” then 
change the newly displayed “Play 
Root” and “Play Chord” parame-
ters to the desired settings.