Yamaha Tyros 2 Manual

							Style Creator (Digital Recording)
Reference
161Tyros2 Owner’s Manual
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
•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 Drum Kit/SFX Kit can be 
selected.
NOTE
•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.
NOTE
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 75).
Execute Realtime recording. 
Execute Assembly (page 163). 
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 upper 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 select Intro/Ending 4 and three Fill sections from the panel buttons.
•You cannot overdub-record (page 160) 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. 
NOTE
CAUTION 
						

							Style Creator (Digital Recording)
Reference
162Tyros2 Owner’s Manual
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 161. 
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 
161).
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 165. 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 166.
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 161. 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 127–132), 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 [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 165) 
before performing step #2. 
NOTE
CRC CRC
C = Chord notes
C, R = Recommended notes 
						

							Style Creator (Digital Recording)
Reference
163Tyros2 Owner’s Manual
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 161. 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 161. 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 75).
CAUTION
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 75).
CAUTION 
						

							Style Creator (Digital Recording)
Reference
164Tyros2 Owner’s Manual
■ 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. 
						

							Style Creator (Digital Recording)
Reference
165Tyros2 Owner’s Manual
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 161. 
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 161. 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 160.  
QUANTIZESame as in the Song Creator. See page 123. 
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 75).
CAUTION
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 75).
CAUTION
•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,” respec-
tively. In this case, you can change 
chords and hear the resulting 
sound for all channels.
NOTE
•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.
NOTE 
						

							Style Creator (Digital Recording)
Reference
166Tyros2 Owner’s Manual
● 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
167Tyros2 Owner’s Manual
● 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 166) 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 Tyros2.
■ Connections.........................................................................................................................................
•Connect the Tyros2 MIDI OUT to the sequencer MIDI IN, and the sequencer MIDI OUT to the Tyros2 MIDI IN.
•Make sure that the sequencer “ECHO” function is ON, and the Tyros2 LOCAL ON/OFF (page 215) 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 Tyros2’s internal tone gener-
ator. If the Tyros2 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
Par t 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.
NOTE 
						

							Style Creator (Digital Recording)
Reference
168Tyros2 Owner’s Manual
•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
169Tyros2 Owner’s Manual
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.
Press the MULTI PAD 
CONTROL [SELECT] 
button to call up the Open/
Save display for the Multi 
Pad Banks.
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 drive or external devices 
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 drive or 
external devices.
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 75).
Select a menu. 
CAUTION 
						

							The Multi Pads
Reference
170Tyros2 Owner’s Manual
■ Multi Pad Realtime Recording............................................................................................
The explanations here apply when you call up the RECORD page in step #4 of the Basic Procedure on 
page 169.
● 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 according 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 key-
board 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 169. 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 127–132), 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 [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 CONTROL [STOP] button to 
stop recording when you’ve finished play-
ing 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 75).
Turn Repeat of 
each pad On or 
Off.Turn Chord Match of 
each pad On or Off.
● Start recording
Press the [RECORD] LCD button to 
enable Synchro Start. Recording begins 
automatically as soon as you play on the 
keyboard.
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
•Multi Pads indicated with the fol-
lowing icon (hand on fretboard) 
are created with special note 
transpositions to produce the nat-
ural chord voicing of the guitar. 
Because of this, if the Chord 
Match setting is set to off, the Multi 
Pads may not sound appropri-
ately.
NOTE