Yamaha Tyros 1 User Manual

							Using a Microphone
Reference
131TYROS Owner’s Manual129
HARMONY GENDER TYPEDetermines whether the gender of the harmony sound is changed or not.
Off
The gender of the harmony sound is not changed. 
Auto
The gender of the harmony sound is changed automactically. 
LEAD GENDER TYPEDetermines whether and how the gender of the lead vocal sound (i.e., the direct 
microphone sound) will be changed. Please note that the number of harmony notes 
differs depending on the selected type. When set to Off, three harmony notes are 
produced.  Other settings produce two harmony notes. 
Off
No gender change occurs.
Unison
No gender change occurs. You can adjust the LEAD GENDER DEPTH below.
Male
The corresponding gender change is applied to the lead vocal.
Female
The corresponding gender change is applied to the lead vocal.
LEAD GENDER DEPTHAdjusts the degree of lead vocal gender change. This is available when the LEAD 
GENDER TYPE above is set to other than Off. 
The higher the value, the more “feminine” the harmony voice becomes.  The lower 
the value, the more “masculine” the voice.
LEAD PITCH CORRECTIONWhen “Correct” is selected the pitch of the lead vocal is shifted in precise semitone 
steps. This parameter is only effective when the LEAD GENDER TYPE above is 
set to other than Off. 
UPPER GENDER 
THRESHOLDGender change will occur when the harmony pitch reaches or exceeds the speci-
fied number of semitones above the lead vocal pitch.
LOWER GENDER 
THRESHOLDGender change will occur when the harmony pitch reaches or exceeds the speci-
fied number of semitones below the lead vocal pitch.
UPPER GENDER DEPTHAdjusts the degree of gender change applied to harmony notes higher than the 
UPPER GENDER THRESHOLD.
The higher the value, the more “feminine” the harmony voice becomes.  The lower 
the value, the more “masculine” the voice.
LOWER GENDER DEPTHAdjusts the degree of gender change applied to harmony notes lower than the 
LOWER GENDER THRESHOLD.
The higher the value, the more “feminine” the harmony voice becomes.  The lower 
the value, the more “masculine” the voice.
VIBRATO DEPTHSets the depth of vibrato applied to the harmony sound. Also affects the lead vocal 
sound when the LEAD GENDER TYPE above is set to other than Off. 
VIBRATO RATESets the speed of the vibrato effect. Also affects the lead vocal sound when the 
LEAD GENDER TYPE above is set to other than Off.
VIBRATO DELAYSpecifies the length of the delay before the vibrato effect begins when a note is 
produced. Higher values result in a longer delay.
HARMONY1/2/3 VOLUMESets the volume of the first/second/third harmony note.
HARMONY1/2/3 PANSpecifies the stereo (pan) position of the first/second/third harmony note.
Random
The stereo position of the sound will change randomly whenever the keyboard 
is played.
-63 – 0 – +63
A setting of -63 pans the sound hard left, while 0 is at center, and +63 is at hard 
right.
HARMONY1/2/3 DETUNEDetunes the first/second/third harmony note by the specified number of cents.
PITCH TO NOTEWhen this is set to “ON,” you can “play” the voices of the TYROS with your voice.  
(The TYROS tracks the pitch of your voice and converts it to note data for the tone 
generator.  Keep in mind, however, that dynamic changes in your voice do not 
affect the volume of the tone generator.)
PITCH TO NOTE PARTDetermines which of the TYROS parts will be controlled by the lead vocal when the 
Pitch to Note parameter is “ON.”  
						

							Using a Microphone
Reference
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Talk Setting
This function is ideal for making announcements between your singing performances. When singing a song, several effects such 
as reverb, delay and vocal harmony are usually assigned to the MIC Setup. When speaking to your audience, however, these 
effects may sound disturbing or unnatural. Whenever the [TALK] button is turned on, Delay and Vocal Harmony effects turn off 
and the amount of reverb lowers automatically. Talk settings can be customized as well, allowing you to add any desired effects 
to your voice as you speak to your audience. Turning the [TALK] button off automatically recalls the MIC Setup for singing again. 
Talk Setting Parameters
Microphone Overall Settings
 3BAND EQ
EQ (Equalizer) is a processor that divides the frequency spectrum into multiple bands which can be boosted or cut as 
required to tailor the overall frequency response. The TYROS features a high grade three-band digital equalizer function 
for the microphone sound.
 Hz............... Adjusts the center frequency of the corresponding band.
 dB............... Boosts or cuts the level of the corresponding band by up to 12 dB. 
VOLUMEThis determines the output volume of the microphone sound.
PANThis sets the stereo pan position of the microphone sound.
REVERB DEPTHThese set the depth of the reverb effects applied to the microphone sound.
CHORUS DEPTHThese set the depth of the chorus effects applied to the microphone sound.
TOTAL VOLUME ATTENUATORThis determines the amount of attenuation to be applied to the overall 
sound (excepting the microphone input) — allowing you to effectively ad-
just the balance between your voice and the overall instrument sound.
DSP MIC ON/OFFThis turns the DSP effect applied to the microphone sound ON or OFF.
DSP MIC TYPEThis selects the type of DSP effect to be applied to the microphone sound.
DSP MIC DEPTHThis sets the depth of the DSP effect applied to the microphone sound.
MIC
SETTING
TALK EFFECTVOCAL
HARMONYMICTALK EFFECTVOCAL
HARMONYMIC
• The settings on the Talk Setting 
display can be saved to the User 
or Disk drive on the [FUNCTION] 
→ UTILITY → SYSTEM SETUP 
display as a System Setup file 
(page 65) 
Select a menu. 
If necessary, use the [BACK]/
[NEXT] buttons to call up the Talk 
Setting display. 
Press the [MIC SETTING] 
button. 
For singing For talking
Settings in the Talk Settings display 
are automatically saved to Flash 
ROM when you exit from the dis-
play.  However, if you turn the 
power off without exiting from this 
display, the settings will be lost.
A
B
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MIC
SETTING
Select the row at which 
the desired parameters 
are located by pressing 
the corresponding LCD 
button.  Press the [MIC SET-
TING] button. 
Set each parameter. If necessary, press the 
[BACK]/[NEXT] button to 
call up the Microphone 
Overall Settings display. 
Settings in the Microphone 
Overall Settings display are 
automatically saved to Flash 
ROM when you exit from the 
display.  However, if you turn 
the power off without exiting 
from this display, the settings 
will be lost. 
						

							Using a Microphone
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 NOISE GATE
This effect mutes the input signal when the input from the microphone falls below a specified level. This effectively cuts 
off extraneous noise, allowing the desired signal (vocal, etc.) to pass.
 SW (Switch)............. This turns Noise Gate on or off.
 TH.  (Threshold)....... This adjusts the input level at which the gate begins to open. 
 COMPRESSOR
This effect holds down the output when the input signal from the microphone exceeds a specified level. This is especially 
useful for smoothing out vocals that have widely varying dynamics. It effectively “compresses” the signal, making soft 
parts louder and loud parts softer. 
 SW (Switch)............. This turns Compressor on or off.
 TH.  (Threshold)....... This adjusts the input level at which compression begins to be applied.
 RATIO........................ This adjusts the compression ratio.
 OUT............................ Adjusts the final output level.
 VOCAL HARMONY CONTROL
The following parameters determine how the harmony is controlled. 
 VOCODER  CONTROL
The Vocal Harmony effect is controlled by note data — the notes you play on the keyboard and/or the notes of the song 
data. This parameter lets you determine which notes are used to control the harmony.
 BAL (Balance)
This lets you set the balance between the lead vocal (your own voice) and Vocal Harmony. Raising this value increases the 
volume of the Vocal Harmony and decreases that of the lead vocal. When this is set to LH, only the lead vocal is output. 
 MODE (Vocal Harmony mode)
All of the Vocal Harmony types fall into one of three modes which produce harmony in different ways. The harmony effect 
is dependent on the selected Vocal Harmony mode, and this parameter determines how the harmony is applied to your 
voice. The three modes are described below.
 CHORD
The following parameters determine which data in a recorded song is used for chord detection. 
 MIC (Microphone)
The following parameters determine how the microphone sound is controlled.
SONG CHANNELMUTE/PLAY
When set to “MUTE,” the channel selected below is muted (turned off) during keyboard perfor-
mance or song playback.
OFF/1 - 16
When set to “OFF,” song data control over harmony is turned off. When set to one of the values 
1 - 16, note data (played from a song on disk or external MIDI sequencer) contained on the 
corresponding channel is used to control the harmony.
KEYBOARDOFF
Keyboard control over harmony is turned off.
UPPER
Notes played to the right of the split point (page 112) control the harmony.
LOWER
Notes played to the left of the split point (page 112) control the harmony.
VOCODERThe harmony notes are determined by the notes you play on the keyboard and/ or song data. 
CHORDALThe harmony notes are determined by the following three types of chord: chords played in the chord 
section of the keyboard (with the [ACMP] turned on), chords played in the LEFT voice section of the 
keyboard (with the [ACMP] turned off and the [LEFT] turned on), and chords contained in song data 
for controlling the harmony. (Not available if the song does not contain any chord data.)
AUTOWhen the [ACMP] or [LEFT] is set to ON and if chord data exists in the song, the mode is automat-
ically set to CHORDAL. In all other cases, the mode is set to VOCODER. 
OFFChords are not detected from the song data. 
XFChords of XF format are used for the Vocal Harmony. 
1 - 16Chords are detected from note data in the specified song channel. 
MUTEWhen set to OFF, the microphone sound is turned off.
VOLUMEAdjusts the output volume of the microphone sound. 
						

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Mixing Console
There are many components that make up the overall sound of the TYROS.  These include MIDI sequence data from 
the songs, styles, and Multi Pads, and audio input from a microphone, as well as the various parts of your keyboard 
performance.  The Mixing Console gives you control over the volume and pan settings of each of these components 
— and some other settings as well — letting you fine-tune the overall sound of the TYROS.
If necessary, store the settings from the Mixing Console display. 
Basic instructions on saving the settings are given below, and brief explanations of the parameters are on the next 
page.  For details on the parameters, refer to the separate Data List booklet.
• The settings of the keyboard parts, Style part, Maulti Pad part, and Microphone sound part can be memo-
rized to the Registration Memory (page 51). 
• The settings of the Song part can be saved as a song to the User or Disk drive. After setting, call up the 
CHANNEL display of the Song Creator, press the [EXECUTE] LCD button on this display to reflect the 
settings to the song data on RAM, then save the song to the User or Disk drive (page 55).
Parts making up the TYROS sound
LEFTLEFT HOLDRIGHT1 RIGHT2 RIGHT3
PART ON / OFFPART SELECT
UPPER LOWER
CHANNEL
ON / OFF
PA R T
MULTI PAD CONTROL
 Keyboard partsConsists of RIGHT1, RIGHT2, RIGHT3, LEFT.
Split Point (page 112) Multi Pad partsConsists of Multi Pads 1, 2, 3, and 4
 Microphone sound part
 Style parts
Consists of Rhythm 1, 2, Bass, Chord1, 2, Pad, 
Phrase 1, 2 Song partsConsists of 1 - 16 channels.
Basic Procedure (Mixing Console)
A
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32
MIXING 
CONSOLEBALANCE
CHANNEL
ON / OFF
PA R T PA R T
Press the [MIXING 
CONSOLE] button to 
call up the Mixing 
Console display.  Use the [BACK]/[NEXT] buttons
to call up the desired page. 
Set each parameter. 
Quick Guide 
on pages 36, 
37, and 45
Press the [MIXING CON-
SOLE] button several times 
until the desired parts are 
displayed.
Pressing the [MIXING CON-
SOLE] button alternates 
among the displays as listed 
below.
Select the 
row at which 
the desired 
parameters 
are located by 
pressing the 
correspond-
ing LCD but-
ton. 
Part Settings 
(page 135)
Line Out Settings (page 140) Master Compressor (page 140) Part Settings (page 135), Equalizer (page 139) Part Settings (page 135), Effects (page 136)
All parts
Style channels
Song channels 1-8
Song channels 9-16
The available displays above 
may differ depending on the 
page you selected in step #2.
6 
						

							Mixing Console
Reference
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Part Settings
The explanations here apply to step #5 of the Basic Procedure on page 134. The parameters explained below can be set on the 
display pages called up  in step #2 of the Basic Procedure on page 134. 
VOL/VOICE page parameters 
FILTER page parameters
TUNE page parameters 
EFFECT page parameters
EQ page parameters
SONG AUTO REVOICESee page 136.
VOICECalls up the VOICE display, from which you can select the desired 
voice for each part. When the Style channels are called up in step #3 
of the Basic Procedure on page 134, neither Organ Flutes voices nor 
User voices can be selected. When the Song channels are called up in 
step #3 of the Basic Procedure on page 134, User voices cannot be 
selected. Please note that the voice of the Multi Pad cannot be 
changed via the Mixing Console.
PANPOTDetermines the stereo position of the selected part (channel). A setting 
of 0 pans the sound hard left, while 64 is at center, and 127 is at hard 
right.
VOLUMEDetermines the level of each part or channel, giving you fine control 
over the balance of all the parts. 
HARMONIC CONTENTAllows you to adjust the resonance effect (page 87) for each part. 
BRIGHTNESSDetermines the brightness of the sound for each part by adjusting the 
cutoff frequency (page 87). 
PORTAMENTO TIMEPortamento is a function that creates a smooth transition in pitch from 
the first note played on the keyboard to the next. The Portamento Time 
determines the pitch transition time. Higher values result in a longer 
pitch change time. Setting this to “0” results in no effect. This parameter 
is available when the selected keyboard part is set to Mono (page 81). 
PITCH BEND RANGEDetermines the range of the PITCH BEND wheel for each keyboard 
part. The range is from  “0” to  “12” with each step corresponding to one 
semitone.
OCTAVEDetermines the range of the pitch change in octaves, over two octaves 
up or down for each keyboard part. The value set here is added to the 
setting via the [OCTAVE] button.
TUNINGDetermines the pitch of each keyboard part.
TRANSPOSEAllows the pitch to be transposed up or down in semitone increments. 
Setting this to “MASTER” transposes the overall sound of the instru-
ment, while “SONG” transposes song playback, and “KEYBOARD” 
transposes the keyboard pitch, as well as that of style playback and the 
Multi Pads (since these are also affected by keyboard play in the left-
hand section).
TYPEPage 138
REVERBAdjusts the Reverb Send Level (page 137) for each part or channel. 
CHORUSAdjusts the Chorus Send Level (page 137) for each part or channel. 
DSPAdjusts the DSP Effect Dry/Wet Level for each part or channel. 
TYPEPage 139
EDITPage 139
EQ HIGHDetermines the center frequency of the high EQ band that is attenuat-
ed/boosted for each part.
EQ LOWDetermines the center frequency of the low EQ band that is attenuated/
boosted for each part.
• The RHY1 channel in the STYLE 
PART display can be assigned to 
any voice except the Organ Flute 
voice.
• When playing GM song data, 
channel 10 (in the SONG CH 9 - 
16 page) can only be used for a 
Drum Kit voice.
• When changing the rhythm/per-
cussion voices (drum kits, etc.) of 
the style and song from the 
VOICE parameter, the detailed 
settings related to the drum voice 
are reset, and in some cases you 
may be unable to restore the origi-
nal sound. In the case of song 
playback, you can restore the orig-
inal sound by returning to the 
beginning of the song and playing 
back from that point. In the case of 
style play, you can restore the 
original sound by selecting the 
same style again.
• As described at left, in addition to 
the Master Transpose setting, 
there are two other transpose con-
trols: Keyboard Transpose and 
Song Transpose. These can be 
used to match both the song and 
your keyboard performance to a 
certain key. For example, let’s say 
you wish to both play and sing 
along with a certain recorded 
song. The song data is in F, but 
you feel most comfortable singing 
in D, and you are accustomed to 
playing the keyboard part in C. To 
match up the keys, set the Master 
Transpose to “0,” the Keyboard 
Transpose to “2,” and the Song 
Transpose to “-3.” This brings the 
keyboard part up and the song 
data down to your comfortable 
singing key. 
						

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Reference
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Song Auto Revoice
This feature lets you use the stunning sound of the TYROS to full advantage with XG-compatible song data.  When you play back 
any commercially available XG song data or that created on other instruments, you can use Auto Revoice to automatically assign 
the specially created voices of the TYROS (Natural!, Live!, Cool!, etc.) instead of the conventional XG voices of the same type.  
To do this, simply turn on Song Auto Revoice (from the VOL/VOICE display page), and the TYROS uses its unique, superior 
sound set instead of the normal XG counterparts.  You can even specify your own favorite voices for this function and make other 
detailed settings via the [SETUP] LCD button.
Effects
The TYROS has a wide variety of high-quality effects — including Reverb, Chorus, and a diverse selection of DSP (Digital Signal 
Processor) effects — that can be used to independently enhance or change the sound of the various parts (keyboard, style, song, 
Multi Pads, and microphone sound).
 Effect Block
Parts to which the effects 
are appliedCharacteristicsEffect 
ConnectionNumber of 
User Effect
ReverbAll parts Reproduces the warm ambience of playing in 
a concert hall or jazz club.System 3
ChorusAll parts Produces a rich “fat” sound as if several parts 
are being played simultaneously.System 3
DSP1Style part (all channels) 
+ Song part (all channels)In addition to the Reverb and Chorus types, 
the TYROS has special DSP effects, that in-
clude additional effects usually used for a spe-
cific part, such as distortion and tremolo.System/
Insertion3
DSP2
DSP3
DSP4
DSP5RIGHT1, RIGHT2, RIGHT3, 
LEFT, Song part (all chan-
nels)Any unused DSP blocks are automatically as-
signed to the appropriate parts (channels) as 
needed.Insertion 10
DSP6Microphone sound Dedicated for use only with the microphone 
sound.Insertion 10
Vocal HarmonyMicrophone sound Page 130 Insertion 10
Master EQAll parts Page 139 System 2
Part EQStyle part (all channels), 
Multi Pad part, Song part (all 
channels), RIGHT1, 
RIGHT2, RIGHT3, LEFTPage 135 — 0
Master CompressorAll parts Page 140 System 5
Turns the Auto Revoice 
function on or off. 
Selects the XG voices 
to be replaced (voices 
usually used when 
playing back).Selects the voices used 
to replace the XG voices 
(when SONG AUTO 
REVOICE is set to ON).Press these LCD buttons to 
change the list of replaced 
voices. See below for details. 
Replaces all of the replaceable 
XG voices with the rich and 
authentic voices of the TYROS. 
Replaces only the recom-
mended voices that are suitable 
for playing back the song.
All the voices are returned to the 
original XG voices.
Press the [OK] LCD button to execute 
the settings and closes the Auto 
Revoice Setup display. 
Press the [CANCEL] LCD button to 
close the Auto Revoice Setup screen 
without executing the settings. XG voices contained in 
the song dataReplaced voices of the 
TYROS Auto Revoice 
						

							 
Mixing Console 
Reference
 
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TYROS Owner’s Manual 
135
 
  
 System Effects and Insertion Effects 
All the effect blocks are connected or routed in one of two ways: System or Insertion. System applies 
the selected effect to all parts, while Insertion applies the selected effect to one specific part. 
The DSP 1 effect can be configured for either System or Insertion routing via the Effect Parameter 
settings (page 138). 
  
 Effect Signal Flow Chart
RIGHT 1
RIGHT 2
RIGHT 3
LEFT
Song part 
(each channel)
Style part 
(each channel)
Multi Pad
Microphone 
sound
Insertion Effect
Assigned automatically to 
respective parts as needed.
DSP2
DSP3
DSP4
DSP5
DSP1
DSP6Vocal 
Harmony Part EQ
Master 
CompressorMaster EQ
Send Level(set for each part or 
channel)Return Level (set for all parts or 
channels) DSP1 Chorus Reverb
System Effect
When DSP1 is set as 
an Insertion effect
Output
When DSP1 is set as an System effect
• About DSP 1
In most cases, the DSP 1 effect block is available for either the song or style part.  For songs and 
styles, the effect block is applied to only the last selected or played part.
For example, when selecting or starting a song during style playback, the DSP 1 effect applied to the 
style part is cancelled and is applied instead to the song part.  Particularly if the style data originally 
is processed with a distortion effect of DSP 1, this operation may result in disrupting the overall vol-
ume balance among the style parts (channels).
Note that the same problem may occur when starting or selecting a style during song playback.
• About DSP 2 - 5
The effect blocks DSP 2 through 5 are available independently for the keyboard parts and song 
parts.  Only that part which has been assigned to an effect block can use that effect.  For example, if 
you select or start a song, the DSP effect applied to the keyboard part is cancelled and is applied 
instead to the song.  Pressing the [DSP] button on the panel restores the corresponding effect block 
to the current keyboard part (from the song). 
						

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Reference
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 Selecting an Effect type and creating a User Effect
Various types of Effects are provided for each Effect Block listed on page 137. Each Effect type can be 
edited with the parameters (see the Effect Type Edit display below) and saved as a User Effect Type.
Select an Effect Block and a part to 
which the corresponding effect is 
applied. Please note that a part cannot 
be selected if the selected block is used 
as a System Effect. See the Effect 
Block list on page 136. 
 Effect Type Selection display for each block
Select an Effect type after 
selecting a category. 
 User Effect Type Save  Effect Type Edit
Set the value of the param-
eter selected at left. Changes the name of the 
Effect type selected at left. 
Pressing the [SAVE] LCD 
button calls up the pop-up 
window for entering the 
name of the edited Effect 
type.  Enter the desired 
name and press the [OK] 
LCD button to save the 
edited effect to the location 
specified at left. 
Select an Effect category/type to 
be edited. Select a parameter to be edited. Parameters 
displayed differ depending on the selected 
Effect type. Refer to the separate Data List 
booklet for details. When the edited effect block is 
a System Effect, the Effect 
Return Level parameter (page 
137) can be adjusted here.  Select a block to 
which the desired 
effect type 
belongs. Select the destination to which the 
effect is to be stored.
The number of memory spaces 
available for the destination differs 
for each block (page 136).
• Keep in mind that in some cases noise may result if you adjust 
the effect parameters while playing the instrument.
The value of the parameters when turning the [VARIATION] on 
can be set as for the DSP2 - 5 blocks. 
Use these LCD buttons to switch between the upper/lower 
parameters. For the lower parameter, the depth can be changed 
when the [VARIATION] button is on. 
						

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Equalizer (EQ)
Equalizer (also called “EQ”) is a sound processor that divides the frequency spectrum into multiple bands which can be boosted 
or cut as required to tailor the overall frequency response.
Usually an equalizer is used to correct the sound from speakers to match the special character of the room. The sound is divided 
into several frequency bands, allowing you to correct the sound by raising or lowering the level for each band. EQ allows you to 
adjust the tone or timbre of the sound to match the performance space, or to compensate for certain acoustic characteristics in 
your room. For example, you can cut some of the low range frequencies when playing in large spaces where the sound is too 
“boomy,” or boost the high frequencies in rooms and close spaces where the sound is relatively “dead” and free of echoes.
The TYROS possesses a high grade five-band digital EQ. With this function, a final effect—tone control—can be added to the 
output of your instrument. You can even create your own custom EQ settings by adjusting the frequency bands, and save the 
settings to one of two User Master EQ types.  Along with the five Preset EQ settings, these can be called up as needed from the 
[MIXING CONSOLE] → EQ display.
0
 Master EQ type selection and Part EQ adjusting
Select a Master EQ type. 
 Master EQ type editing
Selecting a Master EQ 
type automatically set the 
parameters displayed at 
the bottom of this display. 
Whenever an EQ band is edited, the corresponding EQ value is high-
lighted and the number of the edited band appears above the Q and 
FREQ controls. The Q and FREQ controls can then be used to adjust 
the Q (bandwidth) and the FREQ (center frequency) of the selected 
band. The higher the “Q”, the narrower the bandwidth. The available 
FREQ range is different for each band.The PRESET and USER curves 
can be edited as required via the 
corresponding buttons. Each of 
the five bands can be boosted or 
cut by up to 12 dB.Adjusts the overall gain of 
all EQ bands simulta-
neously.Use the [STORE] LCD 
buttons to call up the 
pop-up window for 
entering the name of the 
edited Master EQ type.  
Enter the desired name 
and press [OK] to save. 
Up to two types of EQ 
can be created and 
saved.  Bandwidth (also called “Shape” or “Q”)
Gain
Freq
(Frequency)
5 bands →
LOW
EQ1LOWMID
EQ2MID
EQ3HIGHMIDEQ4HIGH
EQ5 
						

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Master Compressor
Compressor is an effect commonly used to limit and compress the dynamics (softness/loudness) of an audio signal.  For signals 
that vary widely in dynamics, such as vocals and guitar parts, it “squeezes” the dynamic range, effectively making soft sounds 
louder and loud sounds softer.  When used with gain to boost the overall level, this creates a more powerful, more consistently 
high-level sound.  Compression can be used to increase sustain for electric guitar, smooth out the volume of a vocal, or bring a 
drum kit or rhythm pattern further up-front in the mix.
The TYROS has a sophisticated multi-band compressor that allows you to adjust the compression effect for individual frequency 
bands — giving you detailed sonic control.  You edit and save your own custom Compressor types, or conveniently select from 
one of the presets by calling up the [MIXING CONSOLE] → CMP display. 
Line Out Settings
The [MIXING CONSOLE] → LINE OUT display allows you to send the output of a selected Part or Parts to the LINE OUT 
jacks. For Drum Parts, you can even select specific drum sounds to be output through these jacks. 
In general, the extensive built-in effects and other Part controls of the TYROS provide all you need for processing and mixing 
complex multi-Part songs. However, there may be times when you want to “sweeten” or process a certain Voice or sound with a 
favorite outboard effect unit, or record a Part to a separate track of a tape recorder. The Line Out settings are designed just for 
these kinds of applications.
 Master Compressor type selection and editing
Selecting a Master Compressor 
type automatically sets the parame-
ters (at the bottom of the display) to 
the optimum values for the type.
 Master Compressor saving
Determines the fre-
quency curve for the 
Compressor, or which 
frequencies compres-
sion is applied to.Determines the Threshold (minimum 
level at which compression starts) and 
Gain (level of the compressed signal at 
three separate frequency bands).  The 
actual effect of the Gain settings depends 
on the Basic Type at left.Select the destination to which the 
User Master compressor is to be 
stored.Pressing the [SAVE] 
LCD button calls up the 
pop-up window for 
entering the name of the 
edited Compressor 
type.  Enter the desired 
name and press the 
[OK] LCD button to save 
the edited compressor 
to the location specified 
at left.  Changes the name of 
the Master Compressor 
type selected at left.  The following display lets you save the Mas-
ter Compressor settings from the display 
shown at left as a User Compressor type. Turns the Master 
Compressor 
effect on or off. 
1 2 L / L+RRMAINSUBLINE OUT