Yamaha Tyros 1 User Manual

							Style Creator (Digital Recording)
Reference
121TYROS Owner’s Manual119
 SOURCE ROOT/CHORD
These settings determine the original key of the source pattern (i.e., the key used when recording the pattern). The default 
setting of CM7 (with a Source Root of “C” and a Source Type of “M7”), is automatically selected whenever the preset 
data is deleted prior to recording a new style, regardless of the Source Root and Chord included in the preset data. When 
you change Source Root / Chord from the default CM7 to another chord, the chord notes and recommended notes will also 
change, depending on the newly selected chord type.
 NTR (Note Transposition Rule)
This determines the relative position of the root note in the chord, when converted from the Source Pattern in response to 
chord changes.
 NTT (Note Transposition Table)
This sets the note transposition table for the source pattern.
 NTT BASS ON/OFF
The part (channel) for which this parameter is set to on recognizes on-bass chords allowed in the FINGERED ON BASS 
fingering mode, regardless of the NTT setting.
ROOT TRANS 
(Root Transpose)When the root note is transposed, the pitch relationship between notes is 
maintained. For example, the notes C3, E3 and G3 in the key of C be-
come F3, A3 and C4 when they are transposed to F. Use this setting for 
channels that contain melody lines.
ROOT FIXED (Root Fixed)The note is kept as close as possible to the previous note range. For 
example, the notes C3, E3 and G3 in the key of C become C3, F3 and A3 
when they are transposed to F. Use this setting for channels that contain 
chord parts.
BYPASSNo transposition. The part (channel) of which the NTT is set to this is played back without note conversion even 
if you change the chord during style playback.
MELODYSuitable for melody line transposition. Use this for melody channels such as Phrase 1 and Phrase 2.
CHORDSuitable for chord transposition. Use this for the Chord 1 and Chord 2 channels, especially when they contain 
piano or guitar-like chordal parts.
MELODIC MINORWhen the played chord changes from a major to a minor chord, this table lowers the third interval in the scale 
by a semitone. When the chord changes from a minor to a major chord, the minor third interval is raised by a 
semitone. Other notes are not changed. Use this for melody channels of Sections which respond only to major/
minor chords, such as Intros and Endings.
MELODIC MINOR 5th Var. In addition to the Melodic Minor transposition above, augmented and diminished chords affect the 5th note of 
the Source Pattern.
HARMONIC MINORWhen the played chord changes from a major to a minor chord, this table lowers the third and sixth intervals 
in the scale by a semitone. When the chord changes from a minor to a major chord, the minor third and flatted 
sixth intervals are raised by a semitone. Other notes are not changed. Use this for chord channels of Sections 
which respond only to major/minor chords, such as Intros and Endings.
HARMONIC MINOR 5th Var. In addition to the Harmonic Minor transposition above, augmented and diminished chords affect the 5th note 
of the Source pattern.
NATURAL MINORWhen the played chord changes from a major to a minor chord, this table lowers the third, sixth and seventh 
intervals in the scale by a semitone. When the chord changes from a minor to a major chord, the minor third, 
flatted sixth and flatted seventh intervals are raised by a semitone. Other notes are not changed. Use this for 
chord channels of Sections which respond only to a Major/minor chord such as Intros and Endings.
NATURAL MINOR 5th Var. In addition to the Natural Minor transposition above, augmented and diminished chords affect the 5th note of 
the Source pattern. 
DORIANWhen the played chord changes from a major to a minor chord, this table lowers the third and seventh intervals 
in the scale by a semitone. When the chord changes from a minor to a major chord, the minor third and flatted 
seventh intervals are raised by a semitone. Other notes are not changed. Use this for chord channels of 
Sections which respond only to a Major/minor chord such as Intros and Endings. 
DORIAN 5th Var. In addition to the Dorian transposition above, augmented and diminished chords.
CRC CRCRC C RCCRC C CRCRC C CR
C
CCC CR
CCC C CRCCC C RCCRC
RCR
CR CRC
CR CCR
C
CCRCC
CRRRCCC
CC RCC
CC RCCC
CR CCCC
CR C CRC
CC RC CC
CRCCR
CR R RC
CCR
CCCC
CCCC
CRCCC
CCC CC
CRC CRCC
CRC CCC
CCCCC
CCCRRCC
CCC
R CC
CRC CR RC
CRCRC C
C
CCCR CCCCR CR
CMCm
7CCM
7
7C(9)C(9)6Caug
Cm
6Cm777Cmb57Cm(9)Cm(11)CmM77CmM(9)Cdim
Cdim
7C(9)7C(13)7C(b9)7
Csus4C1+2+5C1+8C1+5
C b57
CM6
Cm(9) 7
CM(#11 )
C(#11)
7
C(#9)7C   aug7CM   aug7
C  sus47
CMadd9
C(b13)
7
When the Source Root C: 
C = Chord notes
C, R = Recommended notes
When playing 
a C major 
chord.When playing 
an F major 
chord.
When playing 
a C major 
chord.When playing 
an F major 
chord. 
						

							Style Creator (Digital Recording)
Reference
122TYROS Owner’s Manual120
 HIGH KEY
This sets the highest key (upper octave limit) of the note transposition for the chord root change. Any notes calculated to be higher than 
the highest key are transposed down to the next lowest octave. This setting is available only when the NTR parameter (page 121) is set 
to “Root Trans.”
 NOTE LIMIT
This sets the note range (highest and lowest notes) for voices recorded to the style channels. By judicious setting of this range, you can 
ensure that the voices sound as realistic as possible — in other words, that no notes outside the natural range are sounded (e.g., high 
bass sounds or low piccolo sounds). The actual notes that sound are automatically shifted to the set range.
 RTR
These settings determine whether notes stop sounding or not and how they change pitch in response to chord changes.
Custom Style Recording via an External Sequence Recorder
If you have a favorite sequencer or sequence software, you can use that to create custom styles, instead of using the Style Creator on the TYROS.
 Connections.........................................................................................................................................
• Connect the TYROS MIDI OUT to the sequencer MIDI IN, and the sequencer MIDI OUT to the TYROS MIDI IN.
• Make sure that the sequencer “ECHO” function is ON, and the TYROS LOCAL ON/OFF (page 146) is turned OFF. 
 Creating the Data.................................................................................................
• Record all sections and parts (channels) using a CM7 (C major seventh) chord.
• Record the parts on the MIDI channels listed at right, using the TYROS’ internal tone gener-
ator. If the TYROS is not used during recording, make sure to use XG voices on an XG- and 
SFF- (Style File Format) compatible tone generator for optimum results.
• Record the sections in the order listed below, with a Marker Meta-event at the top of each 
section. Enter the Marker Meta-events exactly as indicated in the chart on the next page 
(including upper/ lower case characters and spaces).
• Also include an “SFF1” Marker Meta-event, “SInt” Marker Meta-event and style name Meta-
event at 1|1|000 (the top of the sequence track), and the GM on Sys/Ex message (F0, 7E, 7F, 
09, 01, F7). (“Timing” in the chart is based on 480 clocks per quarter note. “1|1|000” is clock 
“0” of the first beat of the first measure).
• The data from 1|1|000 through 1|4|479 is the “Initial Setup,” and 2|1|000 through the end of 
Ending B is the “Source Pattern.”
• The timing of Fill In AA and subsequent Marker Meta-events will depend on the length of 
each section. 
STOPThe notes stop sounding.
PITCH SHIFTThe pitch of the note will bend without a new attack to match the type of the new 
chord.
PITCH SHIFT TO ROOTThe pitch of the note will bend without a new attack to match the root of the new 
chord.
RETRIGGERThe note is retriggered with a new attack at a new pitch corresponding to the next 
chord.
RETRIGGER TO ROOTThe note is retriggered with a new attack at the root note of the next chord. Howev-
er, the octave of the new note remains the same.
CM
C3-E3-G3FM
F3-A3-C4F#M
F#2-A#2-C#3 C#M
C#3-F3-G#3
Example — When the highest key is F.
Root changes
Notes played
CM
E3-G3-C4FM
High Limit
Low Limit F3-A3-C4 C#M
F3-G#3-C#4
Example — When the lowest note is C3 and the highest is D4.
Root changes
Notes played
Part MIDI Ch.
Rhythm1 9
Rhythm2 10
Bass 11
Chord1 12
Chord2 13
Pad 14
Phrase1 15
Phrase2 16
• Explanations here assume a 
sequencer resolution of 480 
clocks per quarter note.  The 
actual clock values here may differ 
depending on your sequencer. 
						

							Style Creator (Digital Recording)
Reference
123TYROS Owner’s Manual121
• The Initial Setup area from 1|2|000 through 1|4|479 is used 
for voice and effect settings. Do not include note event data. 
• The Main A data begins at 2|1|000. Any number of measures 
from 1 to 255 can be used.
• Fill In AA begins from the top of the measure following the last 
measure of the Main A pattern. In the chart this is 4|1|00, but this 
is only an example and the actual timing will depend on the 
length of Main A. Please note that all Fill Ins can be only 1 mea-
sure in length (refer to the Section/Length chart below).
The following charts indicate the valid MIDI events for both the 
Initial Setup data and the Pattern data. Make sure to NOT enter any 
events marked with a dash (—), nor any other events not listed here.
 Style Data Format
Timing Marker 
Meta-
EventContents Comments
1
|1|000
1|1|000
1
|1|000
1|1|000
1|2|000
:
1
|4|479SFF1
SlntStyle Name 
(Sequence/Track
Name Meta-Event)
GM on Sys/Ex
Initial Setup Events
2
|1|000
:
3
|4|479Main A
2 bars Main Pattern
(up to 255 bars)Corresponds to 
MAIN A
4
|1|000
:
4
|4|479Fill In AA
1 bar Fill In PatternCorresponds to 
FILL IN A
5
|1|000
:
6
|4|479Intro A
2 bars Intro Pattern
(up to 255 bars)Corresponds to 
INTRO I
7
|1|000
:
8
|4|479Ending A
2 bars Intro Pattern
(up to 255 bars)Corresponds to 
ENDING I
9
|1|000
:
10
|4|479Main B
2 bars Intro Pattern
(up to 255 bars)Corresponds to 
MAIN B
11
|1|000
:
11
|4|479Fill In BA
1 bar Fill In PatternCorresponds to 
BREAK
12
|1|000
:
12
|4|479Fill In BB
1 bar Fill In PatternCorresponds to 
FILL IN B
13
|1|000
:
14
|4|479Intro B
2 bars Intro Pattern
(up to 255 bars)Corresponds to 
INTRO II
15
|1|000
:
16
|4|479Ending B
2 bars Intro Pattern
(up to 255 bars)Corresponds to 
ENDING II
17
|1|000
:
18
|4|479Main C
2 bars Main Pattern
(up to 255 bars)Corresponds to 
MAIN C
19
|1|000
:
19
|4|479Fill In CC
1 bar Fill In PatternCorresponds to 
FILL IN C
20
|1|000
:
21
|4|479Intro C
2 bars Intro Pattern
(up to 255 bars)Corresponds to 
INTRO III
22
|1|000
:
23
|4|479Ending C
2 bars Intro Pattern
(up to 255 bars)Corresponds to 
ENDING III
24
|1|000
:
25
|4|479Main D
2 bars Main Pattern
(up to 255 bars)Corresponds to 
MAIN D
26
|1|000
:
26
|4|479Fill In DD
1 bar Fill In PatternCorresponds to 
FILL IN D
Initial Setup
Source Pattern
Section Length
Intro 255 measures max.
Main 255 measures max.
Fill In 1 measure
Ending 255 measures max.
Channel Message
EventInitial
SetupSource
Pattern
Note Off — OK
Note On — OK
Program Change OK OK
Pitch Bend OK OK
Control #0 (Bank Select MSB) OK OK
Control #1 (Modulation) OK OK
Control #6 (Data Entry MSB) OK —
Control #7 (Master Volume) OK OK
Control #10 (Pan) OK OK
Control #11 (Expression) OK OK
Control #32 (Bank Select LSB) OK OK
Control #38 (Data Entry LSB) OK —
Control #71 (Harmonic Content) OK OK
Control #72 (Release Time) OK —
Control #73 (Attack Time) OK —
Control #74 (Brightness) OK OK
Control #84 (Portamento Control) — OK
Control #91 (Reverb Send Level) OK OK
Control #93 (Chorus Send Level) OK OK
Control #94 (Variation Send Level) OK OK
Control #98 (NRPN LSB) OK —
Control #99 (NRPN MSB) OK —
Control #100 (RPN LSB) OK —
Control #101 (RPN MSB) OK —
RPN & NRPN
EventInitial
SetupSource
Pattern
RPN (Pitch Bend Sensitivity) OK —
RPN (Fine Tuning) OK —
RPN (Coarse Tuning) OK —
RPN (Null) OK —
NRPN (Vibrato Rate) OK —
NRPN (Vibrato Delay) OK —
NRPN (EG Decay Time) OK —
NRPN (Drum Filter Cutoff Frequency) OK —
NRPN (Drum Filter Resonance) OK —
NRPN (Drum EG Attack Time) OK —
NRPN (Drum EG Decay Time) OK —
NRPN (Drum Instrument Pitch Coarse) OK —
NRPN (Drum Instrument Pitch Fine) OK —
NRPN (Drum Instrument Level) OK —
NRPN (Drum Instrument Pan) OK —
NRPN 
(Drum Instrument Reverb Send Level)OK —
NRPN (Drum Instrument Chorus Send Level)OK —
NRPN 
(Drum Instrument Variation Send Level)OK —
System Exclusive
EventInitial
SetupSource
Pattern
Sys/Ex GM on OK —
Sys/Ex XG on OK —
Sys Ex XG Parameter Change (Effect1) OK —
Sys Ex XG Parameter Change (Multi Part) — —
DRY  LEVEL OK OK
Sys Ex XG Parameter Change (Drum Setup) — —
PITCH  COARSE OK —
PITCH  FINE OK —
LEVEL OK —
PA N O K —
REVERB  SEND OK —
CHORUS  SEND OK —
VARIATION SEND OK —
FILTER  CUTOFF  FREQUENCY OK —
FILTER  RESONANCE OK —
EG  ATTACK OK —
EG  DECAY1 OK —
EG  DECAY2 OK — 
						

							Reference
124TYROS Owner’s Manual122
Quick Guide on page 38The Multi Pads
Basic information about how to play the Multi Pads is explained in the “Quick Guide.” This section covers how the Multi 
Pad data is managed on the Open/Save display and how to create (record) Multi Pad data.
Multi Pad Editing using the Open/Save display
Multi Pads are grouped in Banks or four each and handled as files from the Open/Save display.
Multi Pad Creating/Editing (Digital Recording)
The Multi Pad Creator lets you create your original Multi Pad phrases.
MULTI PAD CONTROL
MULTI PAD CONTROL
MULTI PAD CONTROL
MULTI PAD CONTROL
MULTI PAD CONTROLMULTI PAD CONTROL
MULTI PAD CONTROL
MULTI PAD CONTROL
MULTI PAD CONTROL
MULTI PAD CONTROL
You can call up the 
Open/Save display for 
Multi Pad Banks from the 
Main display by pressing 
the LCD [E] button. 
Instructions for these operations 
are the same as in the other 
Open/Save displays (such as 
voices, songs, and styles).These operations can be used on each individual pad, just 
as with the banks on the display at left.
Settings here can be saved to user or disk drive as a bank 
(file) on the Open/Save display. 
You can use these operations to collect your favorite Multi 
Pads and save custom Multi Pad Banks to the User or Disk 
drive.
Basic Procedure (Multi Pad Creator)
2
14
3
Select a Multi Pad Bank to be edited or created 
from the Open/Save display. 
Press the [DIGITAL RECORDING] button. Create the Multi Pad data. 
Select “MULTI PAD CREATOR.”
The operations corresponding to step #4 are 
covered in the following page. 
After you’ve finished creating/editing a Multi Pad, make sure to 
execute the Save operation. The recorded Multi Pad will be lost 
if you change to another bank or you turn the power off with-
out executing the save operation (page 69).
Select a menu.  
						

							The Multi Pads
Reference
125TYROS Owner’s Manual123
 Multi Pad Realtime Recording............................................................................................
The explanations here apply when you call up the RECORD page in step #4 of the Basic Procedure on 
page 124.
 Repeat On/Off
If the Repeat parameter is on for the selected pad, playback of the corresponding pad will continue 
until the MULTI PAD [STOP] button is pressed. When you press the Multi Pads of which the Repeat 
is turned on during song or style playback, playback will start and repeat in sync with the beat. 
If the Repeat parameter is off for the selected pad, playback will end automatically as soon as the end 
of the phrase is reached. 
 Chord Match On/Off
If the Chord Match parameter is on for the selected pad, the corresponding pad is played back accord-
ing to the chord specified in the chord section of the keyboard generated by turning [ACMP] on, or 
specified in the LEFT voice section of the keyboard generated by turning [LEFT] on (when turning 
the [ACMP] off).
 Multi Pad Step Recording using the Event List..........................................................
The explanations here apply to when you call up the EDIT page in step #4 of the Basic Procedure on 
page 124. The EDIT page indicates the Event list that lets you record notes with absolutely precise 
timing. This Step Recording procedure is essentially the same as that for Song Recording (pages 100 - 
105), with the exception of the points listed below:
• There is no LCD button for switching channels, since Multi Pads contain data for only a single 
channel.
• In the Multi Pad 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.
1
5
34
2
6
CRC CRC
Select a particular Multi Pad for recording. If you 
want to create the Multi Pad data from scratch, 
press the [NEW BANK] LCD button to call up an 
empty bank. 
 Stop recording
Press the [STOP] LCD button or the panel 
MULTI PAD [STOP] button to stop record-
ing when you’ve finished playing the 
phrase.
Enter a name for each Multi 
Pad, as desired.Execute the Realtime 
Recording. 
After you’ve finished cre-
ating/editing a Multi Pad, 
make sure to execute the 
Save operation (page 69).
Turn Repeat of 
each pad On or 
Off.Turn Chord Match of 
each pad On or Off.
 Start recording
Press the [REC] LCD button to enable 
Synchro Start. Recording begins automat-
ically as soon as you play on the key-
board.
You can also start recording by pressing 
the STYLE CONTROL [START/STOP] 
button. This lets you record as much 
silence as you want before the start of the 
Multi Pad phrase.
If Chord Match is set to on for the Multi 
Pad to be recorded, you should record 
using the notes of the C major seventh 
scale (C, D, E, G, A and B).
C = Chord note
C, R = Recommended note 
						

							Reference
126TYROS Owner’s Manual124
Quick Guide on page 40Music Finder
This section briefly shows how to create and edit Music Finder records, and gives information about the structure and 
organization of Music Finder data.  For basic instructions on using Music Finder, see the “Quick Guide.”
Music Finder Record Editing
From the [MUSIC FINDER] → RECORD EDIT display, you can call up existing records and edit them to suit your preferences. 
You can even use this to create your own Music Finder records which are saved to internal Flash ROM automatically. 
Saving Music Finder Records as a single file
All Music Finder records created and stored on the internal Flash ROM can be handled together as a single file. Keep in mind that 
individual records (panel setups) cannot be handled as separate files. 
Enter each item in the same way as 
done in the Search display. 
Clears the selected record. The deleted 
record number becomes empty.
Press this to cancel the operation and 
return to the MUSIC FINDER display.
Adds the currently 
edited record to the 
Favorite page. Determines the tempo set 
when this record is 
selected. Determines the genre 
to which the current 
record belongs. 
Creates a new genre for inclu-
sion of the current record, and 
lets you enter a genre name.Press this LCD button to add the cur-
rently edited record to the Music Finder 
as a new record. 
Press this to store the settings here to the 
current record on Flash ROM and return 
back to the MUSIC FINDER display. 
• You can also change a preset 
record to create a new one.  If you 
want to keep the original preset, 
make sure to name and register 
the edited record as a new record.  
Preset records can also be 
cleared.
• Keep in mind that the Beat setting 
made here is only for the Music 
Finder search function; this does 
not affect the actual Beat setting 
of the style itself.
• The maximum number of records 
is 2500, including preset records.
The Open/Save display for the Music Finder called up 
via [FUNCTION] → UTILITY → SYSTEM RESET → 
MUSIC FINDER lets you save the Music Finder file to 
the User or Disk drive.
All records can be saved together as a single file.
Music Finder
Record Record
Preset Records 
(editable)Records added from the 
Music Finder display. 
Up to 2500 records can be created and saved.Flash ROM 
						

							Music Finder
Reference
127TYROS Owner’s Manual125
 Restoring the Factory-programmed Music Finder.....................................................
The operation below lets you restore the TYROS’ Music Finder to its original factory settings. 
 Calling up Music Finder files saved to User or Disk drive.....................................
You can call up Music Finder data saved to any of the installed drives by the following procedure.
LP FUNCTIONSOUNCREAMENU
23
4
1
Press the [FUNC-
TION] button. Select “UTILITY.”Checkmark the MUSIC FINDER box. 
Executes the Factory Reset opera-
tion for the Music Finder. 
This operation automatically deletes all 
your original records from internal mem-
ory and replaces them with the factory 
Music Finder data.
Select the desired Music Finder file from 
the User or Disk drive. 
All Music Finder records 
can be stored together as a 
single file. 
When selecting a stored file, 
a message appears prompt-
ing you to replace or append 
the records as desired.
REPLACE
All Music Finder records 
currently in the instrument 
are deleted and replaced 
with the records of the 
selected file.
APPEND
The records called up are 
added to the vacant 
record numbers.
Select one of the settings 
above to call up the Music 
Finder file. Select “CAN-
CEL” to abort this operation. 
Call up the Open/Save display for the Music 
Finder via [FUNCTION] → UTILITY → SYSTEM 
RESET → MUSIC FINDER. 
You can select a Music Finder file from the 
Preset drive. This file is the factory-pro-
grammed Music Finder. 
Selecting “REPLACE”  auto-
matically deletes all your 
original records from inter-
nal memory and replaces 
them with the factory Music 
Finder data. 
						

							Reference
128TYROS Owner’s Manual126
Quick Guide on page 51Registration Memory
Basic instructions on using the Registration Memory are explained in the “Quick Guide.” This section gives detailed 
information on the Freeze and Registration Sequence functions not covered in the “Quick Guide.”
 About User Voices and Registration Memory.......................................................................................
When you memorize a panel setup to Registration Memory that uses a User voice (on the User or Disk drive), keep in mind 
that the actual User voice is not memorized to Registration Memory — only its settings are.
Registration Memory saves and recognizes a User voice as:
• The preset voice on which the User voice is based
• The parameter settings made in Sound Creator
Selecting a Registration Memory number with User voice calls up the two above, and not the User voice on the drive.  This 
means that the actual User voice could be changed or even deleted from the drive, and yet still be available in Registration 
Memory.
FreezeQuick Guide on page 53
This section briefly covers details on the Freeze function.  For basic instructions on Freeze, refer to the “Quick Guide.”
1Call up the Registration Freeze display via [FUNCTION] → FREEZE and 
select the parameter group to be “frozen” or unchanged. 
2Turn the [FREEZE] button on. 
3You can check whether your Freeze settings are correct or not by chang-
ing the Registration Memory number.
Registration Sequence
As convenient as the Registration Memory buttons are, there may be times during a performance when you want to quickly switch 
between settings — without having to take your hands from the keyboard. The convenient Registration Sequence function lets 
you call up the presets in any order you specify, by simply using the [BACK]/[NEXT] buttons or the pedal as you play. 
1Select a Registration Memory bank of which the sequence is programmed.
2Call up the Registration Sequence display via [FUNCTION] → REGISTRATION 
SEQUENCE. 
FUNCTIONSOUNCREAMENU
Select a parameter group 
to be set. 
• The settings on the Registration 
Freeze display can be saved to 
the User or Disk drive on the 
[FUNCTION] 
→ UTILITY → SYS-
TEM SETUP display as a System 
Setup file (page 65).These enter and remove checkmarks from the parame-
ter groups.  If you want a parameter group to remain 
unchanged even when changing Registration Memory 
numbers, enter a checkmark to the appropriate box.
Settings in the Registration 
Freeze display are automati-
cally saved to Flash ROM when 
you exit from the display.  How-
ever, if you turn the power off 
without exiting from this dis-
play, the settings will be lost.
FREEZE
REGISTRATION MEMORY
FREEZEBACK NEXT
Two functions – changing a Bank according to the order listed on the Open/
Save display and changing the Memory number according to the order deter-
mined from the Registration Sequence display – can be assigned to the 
[BACK]/[NEXT] button and the foot pedal connected to the TYROS.  
						

							Registration Memory
Reference
129TYROS Owner’s Manual127
3Program the Registration Sequence. 
4After setting the REGISTRATION SEQUENCE ENABLE to on, press the [EXIT] button 
to return to the Main display and confirm whether the Registration Memory numbers 
are called up according to the sequence programmed above.
• Use the [NEXT] button to call up the Registration Memory numbers in the order of the sequence, 
or use the [BACK] button to call them up in reverse order.  The [BACK]/[NEXT] buttons can only 
be used for Registration Sequence when the Main display is called up.
• Use a connected foot pedal to select the Registration Memory numbers in order.  The foot pedal can 
be used for Registration Sequence no matter which display is called up (except for the display in 
step #3 above).
5Call up the Open/Save display for the Registration Memory Bank and save the Regis-
tration Sequence setting as a Registration Memory Bank file. 
• When both “Regist (+) Pedal” and 
“Regist (-) Pedal” are set to “OFF,” 
the pedals cannot be used to step 
through the Registration 
Sequence; only the [BACK]/
[NEXT] buttons can be used in the 
MAIN display.
Turns the Registration Sequence 
function on/off. When this is set to 
“ON,” the programmed Registra-
tion Sequence is shown at the top 
right of the Main display, and you 
can step through the sequence in 
this display by using the [BACK]/
[NEXT] buttons or the pedal. 
Registration Sequence data is 
included as part of the Registration 
Memory bank file. To store your 
newly programmed Registration 
Sequence, save the current Regis-
tration Memory bank file (in step #5 
below). Any Registration Sequence 
data is lost when changing Registra-
tion Memory banks or when turning 
the power off, unless you’ve saved it 
with the Registration Memory bank 
file. Indicates the file name of the selected 
Registration Memory bank. Determines which pedal is used to advance (increment) 
through the sequence. Determines which pedal is used to reverse (decrement) 
through the sequence.
Indicates the Registration Mem-
ory preset numbers, in the order 
of the current Registration 
Sequence.
Deletes all Registration Memory 
numbers in the sequence.
These move the cursor posi-
tion in the sequence.
Deletes the number at the cursor position.
Inserts the number of the currently selected Registration 
Memory preset immediately before the cursor position.
Replaces the number at the cursor position with the currently 
selected Registration Memory number.
The controls in this section 
are used for specifying the 
order for calling up Regis-
tration Memory number as 
a Registration Sequence. 
Determines how Registration Sequence behaves when reaching the end of the 
sequence.
STOPPressing the [NEXT] button or the “advance” pedal has no effect. 
The sequence is “stopped.”
TOPThe sequence starts again at the beginning.
NEXTBANKThe sequence automatically moves to the beginning of the next 
Registration Memory bank in the same folder.
BACK NEXTBACK NEXT
The Registration Sequence is indicated at the top 
of the Main display, letting you confirm the currently 
selected number.When the SEQUENCE END is set to “NEXT 
BANK,” the sequence automatically moves to the 
beginning of the next Registration Memory bank in 
the same folder.
• You can easily resets the Registration Sequence 
and go back to the first entry by holding down the 
pedal for a few seconds (the red box indicator at the 
top right goes out).  Press and release the foot 
pedal to re-select the first entry in the sequence. 
						

							Reference
130TYROS Owner’s Manual128
Quick Guide on page 46Using a Microphone
Connect a microphone to the TYROS and take advantage of the following features:
 Song Score and Lyrics display (pages 88, 90) — for ease in following along with a song.
 Guide (page 48) — for practicing your singing and learning the proper pitches.
 Vocal Harmony (page 47) — for automatically adding harmony vocals to your voice.
 Talk (page 132) — for instantly changing the microphone settings, for making announcements between songs.
You can also apply DSP effects to your voice or make other microphone-related settings from the Mixing Console 
display (page 134).
Vocal Harmony Edit
This section explains briefly how to create your own Vocal Harmony types, and lists the detailed parameters for editing.  Up to 
ten Vocal Harmony types can be created and saved.  For basic instructions on using Vocal Harmony, refer to the “Quick Guide.”
Vocal Harmony Edit parameters
VOCODER TYPEDetermines how the harmony notes are applied to the microphone sound when the 
Harmony mode (page 133) is set to “VOCODER.”
CHORDAL TYPEDetermines how the harmony notes are applied to the microphone sound when the 
Harmony mode (page 133) is set to “CHORDAL.”
FA D E
IN / OUTMAX
INPUT VOLUME
TALK EFFECTVOCAL
HARMONYMIC
SETTING VH TYPE
SELECTMIC
MINOVER SIGNAL
MIC / LINE IN
Make sure to adjust the INPUT VOLUME so that the SIGNAL 
lamp lights but the OVER lamp does not.
This turns the Vocal Harmony effect on or off. If you connect a microphone to 
the TYROS, you can sing along with the song or style and have vocal har-
mony parts added automatically.This calls up the Microphone setting display 
and lets you adjust the level of the microphone 
and vocal harmony effect.
This calls up the Vocal Harmony Type selection display 
and lets you not only select the desired harmony type 
but also edit/create your original Vocal Harmony type. 
Determines the on/off setting of the effect applied to the 
microphone, set in the Mixing Console display. 
This convenient function lets you temporarily cancel the vocal har-
mony or other microphone effects when using a connected micro-
phone. This is especially useful when you talk between songs during 
a performance.
VH TYPE
SELECT
2
3
5
4
1
Press the [VH TYPE 
SELECT] button. 
Press the [EDIT] 
LCD button. Select the desired 
parameter to be edited 
and adjust the value. 
(Refer to the list below.)
Select the desired Vocal 
Harmony type in the same 
way as done in the Open/
Save display. 
Select a Vocal Harmony 
type to be edited. Save the edited Vocal Har-
mony type to the User 
drive. 
The settings here will be 
lost if you change to 
another Vocal  Harmony 
type or you turn the power 
off without executing the 
save operation.