SY22 - Operating Manual

AUTHORIZED
PRODUCT MANUAL
MUSIC SYNTHESIZER
MUSIC SYNTHESIZER
Congratulations! You're about to enter an exciting new world of vector synthesis combining
Yamaha's advanced AWM sample playback technology with high-performance
FM tone generation. Vector synthesis allows you to create and control synthe-
sized sound with unprecedented ease — in a very intimate, "human" way,
putting you more closely in touch with your instrument and music. The vector
control lets you blend sounds manually in real time, and dynamic vectors let you
"record" dynamic vector sweeps that will play automatically whenever you play
a note. For even more expressive capability, the SY22 keyboard features both
velocity sensitivity and after-touch response that can be assigned to a number of
musical parameters. The more you play the SY22, the more you'll find that
"vectors" will become an indispensable part of your musical repertoire.
Yamaha AWM and FM tone generators for superior sound and tonal
versatility.
2-element or 4-element voice architecture brings AWM and FM waveforms
together.
Vector control for 2-axis control of element level and detuning.
Dynamic level and detune vectors can be recorded easily in real time.
128 preset AWM waveforms and 256 preset FM waveforms provide an
extensive library of sonic "building blocks" from which to create new voices.
64 preset voices and 64 user voice memory locations.
External memory cards provide limitless backup and storage capability.
Easy-edit features make creating new voices quick and virtually program-
ming-free.
Detailed programming parameters for in-depth programming when necessary.
Fully programmable 8-part multi-play mode is perfect for sequencer-driven
applications and layered multi-voice performance.
16 internal digital effects including reverb, delay and distortion.
Overlapping voice selection capability for seamless voice transitions.
Velocity and after-touch sensitive keyboard.
Pitch bend and modulation wheels.
Stereo output.
CONTENTS
HOW TO USE THIS OPERATING PRECAUTIONS ..........................................................2

MANUAL................................................................ 1 THE CONTROLS & CONNECTORS......................3
TUTORIALS SECTION
1. SETTING UP YOUR SYSTEM.......................... 9 3. VECTORS............................................................ 14
Connections............................................................. 9 Voice Configurations............................................. 14
Power-on Procedure................................................ 9 Two Types of Vectors: Manual & Dynamic........ 14
Enjoy the Demos................................................... 10 Manual Vector Control......................................... 15
2. SELECTING AND PLAYING VOICES.......... 11 An Exercise........................................................... 16
The PRESET, INTERNAL and CARD Voice Recording an Original Dynamic Vector................ 20
Memories.......................................................... 11 The STORE Key.................................................... 23
Selecting the VOICE PLAY Mode, a Voice Conclusion.............................................................. 24
Memory, and Voice .......................................... 12 4. INSTANT VOICE PROGRAMMING............. 25
Overlapping Voice Selection................................. 13 Conclusion.............................................................. 26
REFERENCE SECTION
VOICE COMMON.................................................... 29 ELEMENT TONE.................................................... 41
NAME.................................................................... 31 WAVE TYPE........................................................ 43
CONFIGURATION .............................................. 31 ELEMENT COPY................................................. 45
EFFECT (Type & Depth).................................... 31 FREQUENCY SHIFT.......................................... 45
PITCH BEND........................................................ 32 VOLUME.............................................................. 46
WHEEL (Amplitude & Pitch Modulation).......... 32 PAN........................................................................ 46
AFTER TOUCH (Amplitude & Pitch Modulation, VELOCITY SENSITIVITY................................. 46
Pitch & Level Control)..................................... 33 AFTER TOUCH SENSITIVITY.......................... 47
ENVELOPE (Attack & Release Rates)............. 33 TONE (FM Elements B and D Only)................. 47
RANDOM (Element, Level & Detune).............. 34 LFO (Low Frequency Oscillator) AM Depth,
PM Depth, Type, Delay, Rate & Speed ......... 48
VOICE VECTOR...................................................... 35
LEVEL SPEED (Vector Rate)............................. 37 ELEMENT ENVELOPE......................................... 51
LEVEL RECORD.................................................. 37 TYPE...................................................................... 53
LEVEL EDIT (Step, X-axis, Y-axis & Time) .....37 ENVELOPE COPY.............................................. 54
DETUNE SPEED (Vector Rate)......................... 39 DELAY (Delay Rate & Element ON/OFF)....... 54
DETUNE RECORD.............................................. 39 INITIAL LEVEL................................................... 54
DETUNE EDIT ATTACK (Level & Rate)..................................... 55
(Step, X-axis, Y-axis & Time)........................ 39 DECAY 1 (Level & Rate).................................... 55
DECAY 2 (Level & Rate).................................... 55 UTILITY RECALL................................................. 75
RELEASE RATE.................................................. 56
LEVEL SCALING................................................. 56 UTILITY MIDI........................................................ 79
RATE SCALING................................................... 57 MIDI ON/OFF...................................................... 81
BASIC RECEIVE CHANNEL............................. 81
MULTI....................................................................... 59 TRANSMIT CHANNEL...................................... 81
NAME.................................................................... 62 LOCAL CONTROL ON/OFF.............................. 82
EFFECT (Type & Depth).................................... 62 MIDI PROGRAM CHANGE............................... 82
VOICE NUMBER................................................. 62 MIDI CONTROL CHANGE................................ 82
MIDI RECEIVE CHANNEL............................... 63 AFTER TOUCH ON/OFF.................................... 83
VOLUME............................................................... 63 PITCH BEND ON/OFF........................................ 83
DETUNE................................................................ 64 EXCLUSIVE ON/OFF......................................... 83
NOTE LIMIT (Low & High)................................ 64 ALL V/M TRANSMIT.......................................... 84
NOTE SHIFT........................................................ 64 1 VOICE TRANSMIT .......................................... 84
UTILITY SETUP..................................................... 67 APPENDIX............................................................... 85

MASTER TUNE.................................................... 69 SPECIFICATIONS............................................... 87
TRANSPOSE........................................................ 69 ERROR MESSAGES........................................... 88
MEMORY CARD INDEX................................................................... 89
(Save, Load, Format, & Bank)........................ 69 MIDI DATA FORMAT........................................ 91
VOICE INITIALIZE............................................. 71 MIDI IMPLEMENTATION CHART.................. 94
MULTI INITIALIZE.............................................. 72
MEMORY PROTECT (Internal & Card)............ 73
ii
HOW TO USE THIS OPERATING MANUAL
This operation manual is broadly divided into two main sections — TUTORIALS and REFERENCE.
What's In the The TUTORIALS section contains four separate tutorials that take you step-by -
TUTORIALS Section step through the main procedures you will need to know to become familiar with
your SY22:
1. SETTING UP YOUR SYSTEM [Page 9]

Basic system connections.
2. SELECTING AND PLAYING VOICES [Page 11]
Selecting and playing voices from the PRESET, INTERNAL and CARD
voice banks.
3. VECTORS [Page 14]
Understanding and using manual and dynamic vectors.
4. INSTANT VOICE PROGRAMMING [Page 25]
The fast way to create an unlimited range of new voices for the SY22.
We recommend that you go through the tutorials in sequence while actually

carrying out procedures on your SY22. Once you've gone through the entire
TUTORIALS section in this way, you should be familiar enough with the SY22
to need only the REFERENCE section in future.
What's In the The REFERENCE section is the "nuts and bolts" section of the manual,
REFERENCE Section individually describing each of the SY22's many functions in detail. The
REFERENCE section is divided into eight sub-sections, each describing the
various functions within a particular SY22 edit or utility mode.
1. VOICE COMMON [Page 29]

2. VOICE VECTOR [Page 35]
3. ELEMENT TONE [Page 41]
4. ELEMENT ENVELOPE [Page 51]
5. MULTI [Page 59]
6. UTILITY SETUP [Page 67]
7. UTILITY RECALL [Page 75]
8. UTILITY MIDI [Page 79]
Once you have become familiar with the way the SY22 works by going
through the TUTORIALS section, you should only need to refer to the
REFERENCE section from time to time to get details on functions you've never
used before, or refresh your memory about functions that you don't use very
often.
Each sub-section of the REFERENCE section has its own table of contents,
so you should be able to locate any particular function quickly and easily. Func-
tions and references can also be located by referring to the INDEX at the back of
the manual.
1
PRECAUTIONS
1. Avoid Excessive Heat, Keep the unit away from locations where it is likely to be exposed to high tem-
Humidity, Dust and peratures or humidity — such as near radiators, stoves, etc. Also avoid loc-
Vibration tions which are subject to excessive dust accumulation or vibration which could
cause mechanical damage.
2. Avoid Physical Shocks Strong physical shocks to the unit can cause damage. Handle it with care.
3. Do Not Open The Case This product contains no user-serviceable parts. Refer all maintenance to
Or Attempt Repairs Or qualified Yamaha service personnel. Opening the case and/or tampering with the
Modifications Yourself internal circuitry will void the warranty.
4. Make Sure Power Is Off Always turn the power OFF prior to connecting or disconnecting cables.
Before Making Or
Removing Connections
5. Handle Cables Carefully Always plug and unplug cables by gripping the connector, not the cord.
6. Clean With a Soft Dry Never use solvents such as benzine or thinner to clean the unit. Wipe clean with
Cloth a soft, dry cloth.
7. Always Use the Correct Always use the supplied AC Adaptor to power your SY22 or, if the original
Power Supply adaptor is lost or broken, a replacement or equivalent type obtained from your
Yamaha dealer. Also, make sure that the adaptor you have is appropriate for the
AC mains supply voltage in the area where you intend to use the SY22 (the
correct INPUT voltage is marked on the adaptor).
8. Electrical Interference Since the SY22 contains digital circuitry, it may cause interference and noise if
placed too close to TV sets, radios or similar equipment. If such a problem does
occur, move the SY22 further away from the affected equipment.
9. Memory Backup The SY22 contains a special backup power system that will retain the contents
of the internal RAM memory for up to approximately one month even when the
power is turned off! If the power is left off continuously for longer periods, the
contents of the internal memory may be lost. Be sure to turn the SY22 on for a
short period at least once a month if you wish to retain data in the internal
memory.
2
THE CONTROLS & CONNECTORS
FRONT PANEL
[VECTOR CONTROL] VOLUME Control

This is the key to SY22's remarkable vector Adjusts the volume of the sound delivered via
synthesis system. The [VECTOR CONTROL] the rear-panel OUTPUT and PHONES jack.
allows manual control of level or detune for 2 or 4
voice "elements" simultaneously. It also allows VECTOR PLAY [ON/OFF] and
realtime recording of dynamic level and detune [LEVEL/DETUNE] Keys & Indicators
vectors. The [ON/OFF] key turns manual vector control
on or off, while the [LEVEL/DETUNE] key
[PITCH BEND] Wheel selects level or detune control.
This self-centering pitch wheel allows smooth
upward and downward pitch bends. and Cursor Keys
Move the screen cursor from parameter to
[MODULATION] Wheel parameter in many of the SY22 editing functions.
Can be assigned to apply pitch and/or amplitude
modulation for a range of expressive effects.
Keyboard
The SY22 keyboard is both velocity and after-
touch sensitive for broad, intimate expressive
control.
3
[-1/NO] and [+1/YES] Keys [EDIT/UTILITY/COMPARE] Key
Can be used to select voices and multi-play Accesses the SY22's voice edit, multi-play edit
setups, and are used to edit parameter values in and utility modes. Also activates the compare
any of the SY22 edit modes. Either key can be function when in any edit mode, allowing quick
pressed briefly for single stepping in the comparison of the original and edited voice or
specified direction, or held for continuous multi-play setup.
scrolling. These keys are also used to answer
the "Are you sure?" confirmation prompt when [STORE] Key
saving or initializing data. Used to store the selected voice on multi-play
setup to an internal or card memory location.
[VOICE] Key & Indicator
Selects the normal voice play mode in which any LED Display
of the SY22's preset, internal or card voices can This 2-digit 7-segment LED numeric display
be played via me keyboard or other controller shows the bank and number of the currently
connected to the MIDI IN connector. selected voice or multi-play setup in the VOICE
PLAY or MULTI PLAY mode. It also indicates
[MULTI] Key & Indicator when an edit or utility mode is active, and shows
Selects the multi-play mode in which up to 8 the character — A, B, C or D — of the currently
voices can be played via simultaneously via the selected element in one of the element edit
keyboard or controlled on different MIDI chan- modes.
nels via an external MIDI sequencer.
4
Liquid Crystal Display Panel [NUMBER/MULTI PART SELECT] and
This 16-character x 2-line backlit liquid crystal Element Control Keys
display panel shows the selected voice or multi - In the VOICE PLAY or MULTI PLAY mode,
play setup name in the voice or multi-play these keys — [1] through [8] — are used to
modes, as well as function names and select the number of the voice or multi-play setup
parameters in the utility and edit modes. to be selected.
In the MULTI edit mode they select the multi-
[INTERNAL], [CARD], and [PRESET] Keys play part to be edited, and in the ELEMENT
& Indicators TONE or ELEMENT ENVELOPE edit mode
Select the data bank — preset, internal or card they are used to select individual elements and
— from which voices or multi-play setups will be turn individual elements on and off for editing
selected. (green labels below the keys).
[BANK] Select and Edit/Utility Mode Access [DEMO] Key

keys Activates the SY22 built-in demonstration — a
In the VOICE PLAY or MULTI PLAY mode, great way to hear what the SY22 can do after
these keys — [1] through [8] — are used to you set up your system.
select the bank of the voice or multi-play setup to
be selected.
In an edit or utility mode, or immediately after
the [EDIT/UTILITY] key has been pressed to
access these modes, these keys are used to
selected the desired edit or utility function group
(green labels below the keys).
5
REAR PANEL
DC 10V-12V IN Jack The DC output cable from the supplied AC Adaptor should be connected here.
When connecting the power supply, make sure that the SY22 POWER switch is
in the OFF position (extended), then plug the AC adaptor output cable into the
DC 10V-12V IN jack, and finally the adaptor's AC plug into a convenient AC
wall outlet. The cable clip located immediately below the DC 10V-12V IN jack
helps to prevent accidental unplugging of the power supply during use. Wrap the
DC cable firmly around the clip a few centimeters from the plug end.
CAUTION!
Do not attempt to use a different AC adaptor to power the SY22. The use of an
incompatible adaptor may cause irreparable damage to the SY22, and might
pose a serious shock hazard!
[POWER] Switch Slide to the "ON" position to turn power ON.
PHONES Jack Accepts a standard pair of stereo headphones (1/4" stereo phone plug) for head-
phone monitoring of the SY22 sound without the need for external amplification
equipment.
OUTPUT R and These are the main stereo outputs from the SY22. If a plug is inserted only into
L/MONO Jacks the L/MONO jack, the left and right-channel signals are combined and delivered
via this jack (for connection to a monaural sound system).
FOOT VOLUME Jack An optional Yamaha FC-7 foot controller connected here can be used for volume
control.
SUSTAIN Jack An optional Yamaha FC-4 or FC-5 footswitch can be connected here for press-
on/release-off sustain control.
CARD Slot The CARD slot accepts Yamaha MCD64 or MCD32 Memory Cards for storage
and retrieval of SY22 voices.
MIDI IN, OUT and The MIDI IN connector receives the data from a sequencer or other MIDI con-
THRU Connectors troller which is to control the SY22. The MIDI THRU connector simply re-
transmits the data received at the MIDI IN connector, allowing convenient
chaining of MIDI devices. The MIDI OUT connector transmits data correspond-
ing to all SY22 performance operations, or bulk data when one of the MIDI voice
data transmission functions are activated.
6
7
8
1 . SETTING UP YOUR SYSTEM
Connections The diagram below shows the basic connections in a setup using only the SY22
and a stereo sound system.
CAUTION!!: Make sure that both the SY22 and your sound system are turned
OFF when making connections.
PA-3 AC FOOT
ADAPTER VOLUME
To AC
wall
outlet.
Optional
FC-7 foot
controller
DC IN SUSTAIN for volume
control.
Optional
FC-4or
FC-5 foot
switch for
sustain.
L/MONO R
OUTPUT OUTPUT
STEREO SOUND
SYSTEM
Power-on Procedure 1. Make sure your sound system's volume control and the SY22 volume con-
trol are turned all the way down prior to turning power on.
2. Turn on the SY22.
3. Turn on the sound system.
4. Raise the sound system volume to a reasonable level.
5. Gradually raise the SY22 VOLUME control while playing the keyboard to
set the desired listening level.
Caution: The SY22 automatically transmits MIDI control change data corre-
sponding to its control status when its power switch is turned ON or OFF.
This can interfere with operation of other MIDI equipment connected to the
SY22 MIDI OUT connector. If the SY22 is connected to other MIDI equip-
ment, the SY22 power switch should be ON first, and turned OFF last.
9
Enjoy the Demo The SY22 is programmed with a demonstration sequence that you might enjoy
listening to after setting up your system. Take a short break and enjoy the demo:
1. Press the [DEMO] key. "Yes to Start" will appear on the LCD display.
2. Press the [+1/YES] key to start demo playback. "No to Stop" will appear
on the LCD display.
3. Press the [-1/NO] key when you want to stop demo playback.
10
2. SELECTING AND PLAYING VOICES
The PRESET, Here's a global view of the SY22 system:
INTERNAL and CARD
Voice Memories
SY22
VOICE & VECTOR CONTROL

CARD
MEMORY Element
PANNING
A (AWM)
PRESET
MEMORY
EFFECTS
INTERNAL Element
MEMORY B(FM)
STEREO OUTPUT
Please note that the voices played by the SY22 can come from three different
sources: the PRESET voice memory, the INTERNAL voice memory, or a CARD
voice memory:
PRESET The PRESET voice memory contains 64 pre-programmed voices in ROM (Read
Only Memory) that cannot be overwritten or changed in any way. The PRESET
voice memory is represented on the display by the letter "P".
PRESET VOICE LIST
No. Voice Name EL* No. Voice Name EL* No: Voice Name EL* No. Voice Name EL*
1 1.1 Genesis 4 17 3.1 Piano 2 33 5.1 Oboe 2 49 7.1 Inca 4
2 1.2 DXIegend 4 18 3.2 PinPiano 4 34 5.2 Sax 2 50 7.2 Voyager 4
3 1.3 Full Str 4 19 3.3 Elekroad 2 35 5.3 12String 4 51 7.3 Crystals 4
4 1.4 Dist Gtr 4 20 3.4 MalletEP 4 36 5.4 Mute Gtr 4 52 7.4 VCO Sync 4
5 1.5 Itopia 4 21 3.5 Clavi 2 37 5.5 WoodBass 2 53 7.5 VCO Lead 4
6 1.6 PowerBrs 4 22 3.6 ThinClav 2 38 5.6 PlukBass 2 54 7.6 MiniLead 2
7 1.7 RainNite 4 23 3.7 RokOrgan 2 39 5.7 FunkBass 2 55 7.7 Groover 2
8 1.8 Nostromo 4 24 3.8 JazOrgan 4 40 5.8 SlapBass 4 56 7.8 Digicord 2
9 2.1 Matrix22 4 25 4.1 PipeOrgn 2 41 6.1 Fretless 2 57 8.1 SuperPad 4
10 2.2 Arpegi8 4 26 4.2 Trumpet 2 42 6.2 Syn Bass 2 58 8.2 Prophecy 4
11 2.3 SadAngel 4 27 4.3 Trombone 4 43 6.3 Strings 4 59 8.3 Industry 4
12 2.4 DynaPad 4 28 4.4 Fr Horn 2 44 6.4 Chamber 2 60 8.4 Evolver 4
13 2.5 IceField 4 29 4.5 BrasSect 4 45 6.5 Syn Str 4 61 8.5 VectaEko 4
14 2.6 Nautilus 4 30 4.6 Fanfare 4 46 6.6 BoyChoir 4 62 8.6 Zombie 4
15 2.7 VectaSeq 4 31 4.7 FatBrass 4 47 6.7 Marimba 2 63 8.7 Rap Perc 4
16 2.8 Thriller 4 32 4.8 Flute 2 48 6.8 Bell Wah 4 64 8.8 Dr.Kit 2
*EL = No. of elements.
11
INTERNAL The INTERNAL voice memory is a RAM (Random Access Memory) area into
which you can store up to 64 voices that you create or load from an external
memory card. The INTERNAL voice memory is represented on the display by
the letter "I".
CARD The CARD memory bank is a Yamaha MCD64 or MCD32 Memory Card (or
pre-programmed voice card) plugged into the SY22 CARD slot on the rear panel.
Memory cards are convenient for external storage and transportation of voices
that you or others create. You can also store sets of related voices on different
memory cards. An MCD32 Memory Card allows storage of up to 64 voices. An
MCD64 Memory Card holds two banks of 64 voices each — a total of 128 voices
per card (REFERENCE SECTION, page 70). The CARD voice memory is
represented on the display by the letter "C".
Note: No warning is given on the SY22 displays when a memory card backup
battery is about to fail. See your memory card owner's manual for details.
Any voice in any of these voice memories can be selected and played while
the SY22 is in the VOICE PLAY mode.
Selecting the VOICE 1. If the VOICE PLAY mode is not already selected — as indicated by a lit
PLAY Mode, a Voice [VOICE] key LED and "VOICE PLAY" across the top of the LCD —
Memory, and Voice press the [VOICE] key to select it.
2. The [INTERNAL], [CARD], and [PRESET] keys are used to select the
desired voice memory. If no memory card is inserted in the CARD slot, the
"Card not ready!" display will appear if you attempt to select the card voice
memory.
3. The 64 voices in each voice memory are organized into 8 banks of 8 voices
each ( 8 x 8 = 64). Any voice can be selected by specifying its bank using the
BANK keys, and its number using the NUMBER/MULTI PART SELECT
keys.
Voice numbers are displayed on the LCD in the same way. " ," for example,
is not preset voice number 25, but rather preset voice bank 2, number 5. On
the large LED display, this would be shown as "2.5". The 64th preset voice,
therefore, is displayed as "P88" on the LCD or "8.8" on the LED display.
To select voice bank 4 number 7, for example, press the BANK [4] key and
NUMBER/MULTI PART SELECT [7] key — in any order.
12
BANK
1 2 3 4 5 6 7 8
NUMBER/MULTI PART SELECT

1 2 3 4 5 6 7 8
The displays should look something like this:
To select a different number within the same bank it is only necessary to

press the appropriate NUMBER key. In the same way, to select the same
number in a different bank all you have to do is press the appropriate BANK
key.
The [-1/NO] and [+1/YES] keys can also be used to select a voice in the
VOICE PLAY mode. Holding the [-1/NO] or [+1/YES] key causes con-
tinuous scrolling in the specified direction.
4. Play the keyboard.

If you don't get any sound at this point:
Make sure your sound system is turned ON and the volume is turned up to a
reasonable level.
Make sure that the SY22 VOLUME control is turned up to a reasonable
level.
Check all connections carefully.
Overlapping Voice The SY22 has been designed to allow overlapping voice selection. That is, if you
Selection select a new voice while holding notes on the keyboard (or by using a sustain
footswitch), the held notes will continue playing the previous voice while
subsequently played notes will use the new voice. Although the primary reason
for this feature is to allow smooth switching between voices without unnatural
sound cutoff or gaps, it is actually possible to play several voices at once by
holding a note or two, selecting a new voice, holding a couple more notes,
selecting a second new voice, and so on. Please note, however, that if different
voices selected using this method have different effects, a corresponding change
in effect will be heard.
13
3. VECTORS
Voice Configurations SY22 voices can have either a 2-element or 4-element configuration
(REFERENCE SECTION, page 31). Each "element" is actually an indepen-
dent sound or "waveform," and vector control allows the 2 or 4 different wave-
forms in a voice to be blended and detuned in a variety of ways — manually or
automatically.
VECTOR CONTROL
A
A
D C D C
B B
For the sake of clarity, we'll represent the SY22 vector control by a simple
graph like the one shown to the right for the rest of the tutorial.
The "A," "B," "C," and "D" markings around the [VECTOR CONTROL]
correspond to the voice elements. A 2-element voice uses only elements A and
B, while a 4-element voice uses all four elements — A, B, C and D.
Elements A and C are always AWM elements, while B and D are always
FM elements. When you start programming your own voices you can assign any
of 128 preset AWM waveforms to elements A and C, and any of 256 preset FM
waveforms to elements B and D (REFERENCE SECTION, page 43).
AWM & FM: AWM stands for "Advanced Wave Memory," Yamaha's sophis-
ticated sampling technology that allows high-fidelity reproduction of digitally
recorded "live" sound. FM is Yamaha's proven Frequency Modulation
synthesis technology which is capable of creating extraordinarily warm,
vibrant simulations of actual instruments, as well as an infinite variety of
original sounds.
Two Types of Vectors: Vector control can be accomplished in two ways: manually by operating the
Manual & Dynamic [VECTOR CONTROL] while playing, or automatically. Automatic vectors are
called "dynamic vectors" in the SY22, and these play automatically whenever
you play a note on the keyboard. Dynamic vectors can be recorded in real time
via the [VECTOR CONTROL] by using the procedure described in the
"Recording an Original Dynamic Vector" section on page 20. Dynamic vectors
function whenever the VECTOR PLAY mode is OFF — i.e. when both the
VECTOR PLAY [LEVEL] and [DETUNE] indicators are out.
Manual vector control is possible whenever the VECTOR PLAY mode is
ON — i.e. when either the VECTOR PLAY [LEVEL] or [DETUNE] indicator
is lit.
14
Manual Vector Control Manual vector control while playing can be accomplished by turning the vector
play mode on — press the VECTOR PLAY [ON/OFF] key so that either the
[LEVEL] or [DETUNE] indicator lights, and then select either level or detune
control by pressing the VECTOR PLAY [LEVEL/DETUNE] key.
VECTOR PLAY
ON/OFF LEVEL
DETUNE
The [VECTOR CONTROL] can then be used to control the selected

parameter — level or detune — along the vertical axis only if a 2-element voice
is selected, or along both the vertical and horizontal axes if a 4-element voice is
selected.
2-ELEMENT VOICE 4-ELEMENT VOICE
A (AWM) A (AWM)
D C D C
(FM) (AWM)
B (FM) B (FM)
When level vector control is selected, moving the control towards one ele-
ment (A, B, C or D) increases the level of that element while decreasing the
level of the others proportionally. The [VECTOR CONTROL] works in a similar
way when detune vector control is selected — moving the control towards one
element increases the pitch of that element while decreasing the pitch of the
others.
If the selected voice has a dynamic detune vector, the detune vector will
play while manual level vector control is selected, and vice versa.
The following diagrams should give you a rough idea of how the level or
pitch of each element in a 4-element voice is affected by [VECTOR CONTROL]
motion.
15
VECTOR CONTROL LEVEL OR PITCH CHANGE
MOTION
A
A
D C
C
B D
TIME
An Exercise The best way to discover what vector control can do for you is to listen and
experiment. Here's a list of the preset voices including the configuration of each
(2 or 4-element) and the names of the waveforms assigned to each element.
PRESET VOICE Performance Note
1.1 Genesis 4 Yes/No 043 Choir Rev Hall Play long notes. Switch on VECTOR PLAY LEVEL,
103Sus.6 turn VECTOR CONTROL to C, hear SEQ 8 wave
126SEQ8 (Sequence wave)
111 Sus.14
1.2 DXIegend 4 No/Yes 001 E.Piano Rev Hall Electronic piano
072Vibes3
001 E.Piano
072Vibes3
1.3 Full Str 4 No/Yes 039 Vn.Ens. Rev Hall Light touch for small, heavy for large string section.
068 Str 6
038 Strings After-touch volume.
069 Str 7
1.4 Dist Gtr 4 Yes/No 022 E.Gtr 1 Dist&Rev Heavy guitar. Slow fade to feedback.
157 Square Switch on VECTOR PLAY LEVEL, turn VECTOR
098 Digital2 CONTROL from A to D, B, C for manual feedback.
193Wave8-1
1.5 Itopia 4 Yes/Yes 044 Itopia Rev Hall Breathy choir
103Sus.6 After-touch volume.
044 Itopia
233Wave21-2
1.6 PowerBrs 4 No/Yes 102 Saw 1 Rev Hall Powerful analog brass pad.
095 Lead 5 After-touch vibrato.
102 Saw 1
095 Lead 5
1.7 RainNite 4 Yes/Yes 085 Str. Body Rev Metal Best with long chords.
235Wave22-1
068 Coin
220Wave17-1
1.8 Nostromo 4 Yes/No 055 Hit Rev Hall Best with long chords.
061 Bass 8 After-touch vibrato.
049 Timpani
122 Move 5
*EL = No. of elements
*2 = Vector Yes/Yes
LEVEL VECTOR DETUNE VECTOR
16
2.1 Matrix22 4 Yes/Yes 039 Vn.Ens. Rev Hall Big orchestra with sweeping brass.
121 Move 4
038 Strings
122 Move 5
2.2 Arpegi8 4 Yes/Yes 044 Itopia Rev Metal Play broken chords (arpeggios) and hold down each
061 Bass 8 note of the arpeggio. The late envelope will echo what
038 Strings you play.
043 Clavi 2
2.3 SadAngel 4 No/Yes 044 Itopia Pan Ref Best with long notes. Pitch bending by LFO.
122 Move 5
044 Itopia
122 Move 5
2.4 DynaPad 4 Yes/Yes 044 Itopia PanRef Best with long notes.
111Sys.14
080 Slam
077 Bells 1
2.5 IceField 4 Yes/Yes 043 Choir Rev Metal Best with long chords.
121 Move 4
043 Choir
122 Move 5
2.6 Nautilus 4 Yes/Yes 067 Stream Pan Ref Best with long chords.
115 Attack 3
038 Strings
016 Brass 3
2.7 VectaSeq 4 Yes/No 042 SynStr. Rev Hall 4 note sequence voice by Vector.
023 Brass 10 Switch on VECTOR PLAY LEVEL, turn VECTOR
093 Gtr wv CONTROL for manual sequence.
067 Str 5
2.8 Thriller 4 Yes/Yes 055 Hit PanRef Best with long notes.
123Move6
068 Coin
166Digi6
3.1 Piano 2 No/No 000 Piano Rev Club Orthodox acoustic piano
005 E.Piano6
3.2 PinPiano 4 No/Yes 090 EP wv Rev Hall Electric piano with brilliant attack like "Prepared piano"
188Wave6-2
000 Piano
005 E.Piano6
3.3 Elekroad 2 No/No 004 Celesta Rev Room Dark Electronic piano.
002 E.Piano3
3.4 MalletEP 4 No/Yes 001 E.Piano Rev Hall Electric piano with sharp attack.
071Vibes2
001 E.Piano
071Vibes2
3.5 Clavi 2 Yes/Yes 002 Clavi Early Ref Fat, funky clavi.
042 Clavi 1
3.6 ThinClav 2 No/No 058 Sync Early Ref Funky clavi with wide touch range.
043 Clavi 2
3.7 RokOrgan 2 Yes/No 006 E.Organ1 Pan Ref Rock Organ.
007 E.Organ2 After-touch vibrato.
3.8 JazOrgan 4 No/Yes 007 E.Organ2 Delay 1 Full, rich organ with rotating speaker effect.
007 E.Organ2 Add more effect by using VECTOR PLAY.
007 E.Organ2
007 E.Organ2
4.1 PipeOrgn 2 No/Yes 005 P.Organ Rev Hall Big Church Organ
008 E.Organ3
008 E.Organ3
4.2 Trumpet 2 No/No 009 Trumpet Rev Hall Solo trumpet.
017 Brass 4 After-touch vibrato.
4.3 Trombone 4 Yes/Yes 011 Trombone Rev Room Solo trombone
011 Trombone
024 Brass 11
*EL = No. of elements.
*2 = Vector Yes/Yes
17
4.4 FrHom 2 No/No 013FrHorn Rev Hall French Horn ensemble
236 Wave22-2 After-touch vibrato.
4.5 BrasSect 4 No/No 009 Trumpet Early Ref Pop brass section.
016 Brass 3 Switch on VECTOR PLAY LEVEL, turn VECTOR
011 Trombone CONTROL for various brass color.
017 Brass 4
4.6 Fanfare 4 No/Yes 082 Tb.Body Rev Hall Classical brass section.
011 Trombone
017 Brass 4
4.7 FatBrass 4 No/Yes 015SynBrass Early Ref Fat synthClub brass pad.
026 Brass 13
015SynBrass
026 Brass 13
4.8 Flute 2 No/No 016 Flute Rev Room Solo flute
062 Bass 9*
5.1 Oboe 2 No/Yes 018 Oboe Rev Hall Solo oboe
036 Reed 1 After-touch vibrato.
5.2 Sax 2 Yes/No 019 Sax Early Ref Solo sax
041 Reed 6* After-touch vibrato.
5.3 12String 4 Yes/Yes 021 Steel Pan Ref Full 12 strings guitar
044 Clavi 3
021 Steel
196Wave9-1
5.4 Mute Gtr 4 No/Yes 023E.Gtr2 Rev Hall Light touch for muted, heavy for normal electric guitar.
052 Gtr 7
024 Mute Gtr After-touch vibrato.
050 Gtr 5
5.5 WoodBass 2 No/No 028 Wood B1 Rev Room Wood bass
5.6 PIukBass 2 Yes/Yes 032 E.Bass 3 Rev Club Picked bass
056 Bass 3
5.7 FunkBass 2 Yes/Yes 031 E.Bass 2 Delay 1 Punchy picked bass
057 Bass 4
5.8 SlapBass 4 Yes/Yes 031 E.Bass 2 Gate Rev Play hard for slap bass sound.
057 Bass 4
034 Slap
056 Bass 3
6.1 Fretless 2 No/No 035 Fretless Rev Room Fretless bass
6.2 Syn Bass 2 No/No 037 SynBass2 Delay 1 Funky synth bass.
138 Decay 14
6.3 Strings 4 No/Yes 038 Strings Rev Hall Large string section
064 Str 2
038 Strings
064Str2
6.4 Chamber 2 Yes/Yes 039 Vn.Ens. Rev Room Small violin section
063 Str 1
6.5 Syn Str 4 No/Yes 042 Syn Str Rev Hall Analog synth strings.
063Str1 Switch on VECTOR PLAY LEVEL, turn VECTOR
042 Syn Str CONTROL for various strings voice color.
063Str1
6.6 BoyChoir 4 No/Yes 043 Choir Rev Hall Choir
073 Vibes 4*
043 Choir
000E.Piano1*
6.7 Marimba 2 No/No 047 Marimba Early Ref Traditional marimba
059 Bass 6
*2 = Vector Yes/Yes
18
6.8 Bell Wah 4 Yes/No 044 Itopia Rev Hall Percussive bell with cornig up choir.
143 SFX 1 Best with long notes.
043 Choir After-touch choir volume
071 Vibes 2
7.1 Inca 4 Yes/Yes 070 Bottle PanRef
093 Lead 3
015SynBrass
239Wave23-2
7.2 Voyager 4 No/No 044 Itopia Rev Plate Choir with "sizzle." Play long chords.
106Sus.9
059 Bell Mix
056 Bass 3
7.3 Crystals 4 No/No 068 Coin Rev Plate
073 Vibes 4
056 Harmonic
102Sus.5
7.4 VCO Sync 4 Yes/Yes 036 SynBass1 Pan Ref Fat analog synth lead voice.
106 Square 1
093 Lead 3
7.5 VCO Lead 4 Yes/Yes 042 Syn Str Delay 2 Powerful synth lead voice.
092 Lead 2 After-touch vibrato.
100 Digital4
097 Lead 7
7.6 MiniLead 2 Yes/Yes 108 Square 3 Rev Club Analog square lead voice.
157 Square After-touch vibrato.
7.7 Groover 2 No/Yes 036 SynBass1 Gate Rev Funky synth pad.
062 Bass 9
7.8 Digicord 2 Yes/Yes 101 Digital5 Rev Plate Useful synth harpsichord voice for pad.
045 Clavi 4
8.1 SuperPad 4 Yes/Yes 102 Saw 1 Pan Ref Powerful fat synth pad.
061 Bass 8 Use VECTOR CONTROL for various color of voice.
015 SynBrass
061 Bass 8
8.2 Prophecy 4 Yes/Yes 083 HornBody Rev Hall Warm sweeping synth voice.
121 Move 4 Best with long chords.
096 Pad wv
121 Move 4
8.3 Industry 4 Yes/Yes 125SEQ7 Rev Hall Strings with sequence wave.
104Sus.7 Best with long chords.
038 Strings
122 Move 5
8.4 Evolver 4 Yes/No 056 Harmonic Rev Hall Dynamic moving voice.
054 Bass 1 Best with long notes.
038 Strings
118 Move 1
8.5 VectaEko 4 Yes/Yes 1 1 3 Pulse 4 Rev Hall
193 Wave8-1 Best with long notes.
1 1 1 Pulse 2
190 Wave7-1
8.6 Zombie 4 Yes/Yes 122SEQ4 Rev Hall Sound effects voice.
144 SFX 2 Best with long notes.
123SEQ5
145 SFX 3
8.7 Rap Perc 4 No/Yes 087 Reverse1 Early Ref Rap Percussion.
143 SFX 1
088 Reverse2
143 SFX 1
8.8 Dr.Kit 2 No/No 127 Drum set Rev Plate Drum set including sound effects.
000E.Piano1*
*2 = Vector Yes/Yes
19
Voice number P88 provides a complete drum kit plus a range of valuable
percussion sounds. The voice is set up so that each key on the keyboard pro-
duces a different drum sound, as shown in the list below. The Dr.Kit voice can be
used on its own, or as a source of drums and percussion in a multi-play setup
(REFERENCE section, page 59).
Voice Number P88 Dr.Kit: Drum-set Voice
Key Wave Name Key Wave Name Key Wave Name
C1 BD1 C3 Crash 2 C5 SD4
C#1 Triangle closed C#3 Splash C#5 Low Scratc h
D1 SD1 D3 Cup D5 SD5
D#1 Triangle open D#3 Ride D#5 High Scratc h
E1 E.Tom 1 E3 Low Conga E5 Reverse Cymbal
F1 E.Tom 2 F3 High Conga F5 Slam1
F#1 E.Tom 3 F#3 Mute Conga F#5 Coin
G1 E.Tom 4 G3 DigiAtack G5 Slam 2
G#1 BD2 G#3 Ooo! G#5 Water Drop
A1 BD3 A3 Low Timbales A5 Low Timpani
A#1 Cros s Stick s A#3 High Timbale s A#5 Cracke r
B1 Tom 1 B3 Tambourine B5 High Timpani
C2 Tom 2 C4 Finger snaps C6 Metal Hit
C#2 SD2 C#4 Claves
D2 Tom 3 D4 Low Agogo
D#2 Rim D#4 High Agog o
E2 SD3 E4 Low Cuica
F2 Tom 4 F4 High Cuica
F#2 Claps F#4 Low Whistl e
G2 Cowbell 1 G4 High Whistle
G#2 Shaker G#4 Bambo o
A2 HH closed A4 Bottle
A#2 Crash 1 A#4 Cowbel l 2
B2 HH open B4 Crash
Select the "Evolver" voice, turn the VECTOR PLAY mode ON, select level
control, and use the [VECTOR CONTROL] to listen carefully to the sound of
the various elements and how they interact when the [VECTOR CONTROL] is
moved. Repeat this process with a number of different voices and you'll quickly
begin to hear how powerful and versatile vector synthesis can be.
Recording an Original Before you begin recording your own dynamic vector, select the "Evolver" voice
Dynamic Vector (P84), make sure the manual VECTOR PLAY mode is turned OFF (neither the
[LEVEL] or [DETUNE] indicators should be lit), and play a nice long note or
chord. Notice how the various elements are gradually brought in and blended
automatically — this is the result of a dynamic vector. Now press the VECTOR
PLAY [ON/OFF] key to turn the VECTOR PLAY mode ON, and select
[LEVEL] control. Now set the [VECTOR CONTROL] to center position and
play another note or chord. You should hear all 4 elements at the same time, in
approximately equal proportions. Play with the [VECTOR CONTROL] a bit to
get a feel for this particular combination of elements.
Now we'll go ahead and record an original dynamic level vector for the
"Evolver" voice ...
20
1. The first step is to enter the VOICE VECTOR edit mode, which we do by
pressing the [EDIT/UTILITY] key and then the [VOICE VECTOR] key
(REFERENCE SECTION, page 36).
EDIT/UTILITY
COMMON VECTOR
COMPARE VOICE
Please note that although the display directs you to the "Edit or Utility"
switches after pressing the [EDIT/UTILITY] key, this refers to the VOICE,
ELEMENT, MULTI, and UTILITY key groups located at the upper right-
hand comer of the control panel. Pressing the [EDIT/UTILITY] key a second
time has no effect.
2. If the LEVEL SPEED function does not appear immediately when you enter
the VOICE VECTOR edit mode, press the [VOICE VECTOR] key a few
times until it does appear (REFERENCE SECTION, page 37).
Vectors are recorded by "sampling" the position of the [VECTOR CON-

TROL] at evenly-spaced steps. This function allows you to set the time
between each sample step — i.e. the "Vector rate". Quite logically, short
vector rates are best for quick control movements while longer vector rates
are better for slow control movements. If you set the vector rate to too long a
value for a rapid control movement, you may end up with a "jerky" sounding
vector. The diagrams below show the same control movement recorded at
10-millisecond and 160-millisecond vector rates.
Step-1 Step-1
Step 2
Step 3 A A
Step 2
D C D C
10ms 160 ms
B B
Move the cursor to the lower display line by pressing the cursor key,
then use the [-1/NO] and [+1/YES] keys to set the vector rate parameter to
"30ms." This is a fairly "average" vector rate, and is a good place to start
experimenting with dynamic vectors.
Please note that the LEVEL SPEED parameter can also be used to change
the playback speed of pre-recorded vectors.
21
3. Press the [VOICE VECTOR] key once to move ahead to the LEVEL REC
display (REFERENCE SECTION, page 37).
Use the and cursor keys to move the cursor to the STBY (standby)
parameter. At this point the [VECTOR CONTROL] will be active in the
level control mode, and you can rehearse the level vector you are about to
record.
4. Move the cursor to the REC parameter. Vector recording will begin the
instant you play a note on the keyboard. A rectangular block will flash at the
cursor position while recording. Recording will end automatically when the
maximum of 50 sampling steps has been reached — how long this takes
depends both on the vector rate setting and how fast you move the
[VECTOR CONTROL]. When recording finishes, the cursor will move
automatically to the PLAY parameter position. At the same time the VEC -
TOR PLAY mode will automatically be turned OFF so that the dynamic
vector just recorded is active.
Now you can play on the keyboard to hear how your dynamic level vector
turned out. If you don't like the results, simply move the cursor back to REC
and record again.
Detune Vectors: Although you've just recorded a dynamic level vector,

dynamic detune vectors can be recorded in exactly the same way using the
DETUNE SPEED and DETUNE REC functions which are also accessible in
the VOICE VECTOR edit mode (REFERENCE SECTION, page 39).
5. When you're satisfied with your first vector masterpiece, you can return to
the VOICE PLAY mode with the option of storing the voice you have just
edited into one of the SY22's INTERNAL memory locations.
There is, however, a slight catch. If you simply go ahead and attempt to
store the voice at this point the SY22 will inform you that the internal
memory is protected with a "Memory Protected" display, preventing the
store operation. If this happens, you'll have to press the [-1/NO] key to exit
from the "Memory Protected" display. Both INTERNAL and CARD
memory protect functions are automatically activated whenever the SY22 is
turned on, to prevent accidental erasure of important voices.
To turn the memory protect function off, press the [UTILITY SETUP] key a
few times until the MEM. PROTECT function appears (REFERENCE SEC-
TION, page 73).
Move the cursor to the INT parameter and press the [-1/NO] or [+1/YES]
key to turn the internal memory protection off.
22
6. Now press the [VOICE] key to return to the VOICE PLAY mode. Before
actually returning you to the VOICE PLAY mode, however, the SY22 will
ask you whether you want to store the voice you have just edited into one of
the INTERNAL memory locations.
You can skip this step and go straight to the VOICE PLAY mode by press-
ing the [-1/NO] key, or you can press [+1/YES] to initiate the voice storage
procedure.
If you press [+1/YES], a display similar to the following will appear:
The number of the voice you edited will be shown to the left of the lower
display line, and the cursor will be placed to the right of the arrow. Select the
memory location to which you want to store the new voice using the stan-
dard voice selection procedure.
When the target memory location has been selected, press the cursor
key. "Are you sure?" will appear on the display.
Confirm your intention to store the new voice by pressing the [+1/YES] key,
and the store operation will begin. ">>Completed!!<<" will appear on the
display briefly when the store operation is finished, and the SY22 will return
to the VOICE PLAY mode.
The STORE Key As we've just seen, the SY22 automatically gives you the option to store a
voice you've just edited when you switch back to the VOICE play mode. You
can also activate the store function to store the currently selected voice to a
different INTERNAL or CARD memory location by pressing the [STORE] key
while in the VOICE play mode. Likewise, the selected multi-play setup
(REFERENCE section, page 59-61) can be stored to a different INTERNAL or
CARD memory location by pressing the [STORE] key while in the MULTI play
mode. In either case, the memory protect function for the memory to which you
intend to store the voice or multi-play setup — INTERNAL or CARD — must
first be turned OFF via the UTILITY mode MEMORY PROTECT function
(REFERENCE section, page 73).
1. Turn the memory protect function for the INTERNAL or CARD memory off.
2. Select the VOICE or MULTI play mode, and select the voice or multi-play
setup you want to store to a different memory location (P11 for this
example).
23
3. Press the [STORE] key.
4. If necessary, select the destination memory by pressing the [INTERNAL]

or [CARD] key, then enter the bank and number of the destination memory
location (I36 for this example).
5. Press the PAGE key and the "Are you sure?" display will appear.
6. Press [+1/YES] to execute the store operation, or [-1/NO] to cancel. The

store procedure can be exited at any time by pressing the [-1/NO] key.
Conclusion You now have a edited version of "Evolver" featuring your own original dynamic
level vector. You could use the VOICE COMMON edit mode NAME function
(REFERENCE SECTION, page 31) to give the voice a new name —
"Evolver2" for example. Using the same procedure you could create an infinite
range of variations on the preset voices.
The method of dynamic vector recording just described is quick and easy —
all you have to do is operate the [VECTOR CONTROL] and use your ears. This
quick-and-easy method is recommended for most applications. If you want really
fine control, however, the SY22 offers a number of level and detune vector edit-
ing functions that allow the position and length of each vector step to be pre-
cisely programmed as required. See pages 37 through 40 of the REFERENCE
SECTION for details.
24
4. INSTANT VOICE PROGRAMMING
Although the SY22 allows you to program voices in considerable detail, in this
section we'll present a simple way to create an unlimited range of new and use-
ful voices.
Detailed parameters for programming individual elements are available in
the ELEMENT TONE and ELEMENT ENVELOPE edit modes described in the
REFERENCE SECTION, beginning on pages 41 and 51, respectively. Every-
thing we need to have loads of fun — and to create some very serious voices —
is available in the VOICE COMMON edit mode.
1. Select any preset voice while in the VOICE PLAY mode to serve as a
"platform" for your new voice. "Evolver" (P84) is a good choice to start
with.
2. Enter the VOICE COMMON edit mode by pressing the [EDIT/UTILITY]

key and then the [VOICE COMMON] key (REFERENCE SECTION, page
30).
EDIT/UTILITY
COMMON VECTOR
COMPARE VOICE
The VOICE COMMON edit mode provides access to the following func-
tions, of which we're going to use just one!
NAME
CONFIGURATION
EFFECT TYPE
EFFECT DEPTH
PITCH BEND
WHEEL AMPLITUDE MODULATION
WHEEL PITCH MODULATION
AFTER TOUCH AMPLITUDE MODULATION
AFTER TOUCH PITCH MODULATION
AFTER TOUCH PITCH CONTROL
AFTER TOUCH LEVEL CONTROL
ENVELOPE ATTACK
ENVELOPE RELEASE
RANDOM ELEMENT
RANDOM LEVEL
RANDOM DETUNE
3. Press the [VOICE COMMON] key a few times until "RANDOM" appears
on the top display line (REFERENCE SECTION, page 34). As long as the
cursor is on the top display line next to the function name, it is also possible
to scroll backward and forward through the function list by using the [-1/NO]
and [+1/YES] key.
25
4. Use the and/or keys to move the cursor to the left-hand parameter on
the lower display line (this will either be ELEMENT, LEVEL VEC, or
DETUNE VEC) and, if necessary, select "ELEMENT" using the [-1/NO]
and/or [+1/YES] keys.
5. Press the key once so that the cursor appears as a flashing block to the
right of the "Y/N?" parameter.
6. Now, each time you press the [+1/YES] key the SY22 will randomly assign
different waveforms to the four elements in what used to be the Fanfare
voice.
Try it a few times: press [+1/YES] then play on the keyboard to hear a
totally new voice. Since the element combinations are generated randomly,
some are not particularly useful ... but others will surprise you. Every few
tries you'll probably come up with a combination which, if not ready to use
without further modification, can be turned into a very fine voice with a little
"brushing up" in the various SY22 editing modes.
Please note that the RANDOM ELEMENT function only replaces the ele-
ment waveforms and LFO settings in the voice you started with, so, unless
you go into further programming, the voice you choose as your platform will
determine how controllers like the pitch and modulation wheels function
(REFERENCE SECTION, page 32), the shape of the amplitude envelopes
used for each element (REFERENCE SECTION, page 53), the type of effect
(reverb, delay, etc.) applied to the voice (REFERENCE SECTION, page
31), and more.
7. While trying out the new voices you create, you can turn the VECTOR
PLAY mode ON and experiment manually with different vectors. You can
also enter the VOICE VECTOR mode by pressing the [VOICE VECTOR]
key and record a dynamic vector as described in the previous section.
8. If you come up with something you want to keep, use the same voice store
procedure as described on page 22 when returning the the VOICE PLAY
mode.
Conclusion You're now equipped to create a world of vibrant and very useful new voices
with very little actual programming indeed. If you do want to get deep into the
details and fine tune your voices until they are perfect, please take the time to
read through the REFERENCE SECTION of this manual. In it, each editing
function is described individually, often with a few helpful hints that will help you
use it most effectively.
26
VOICE COMMON
27
VOICE COMMON
VOICE COMMON
VOICE COMMON
The VOICE COMMON mode provides access to a range of parameters that affect the
selected voice as a whole. Detailed programming of individual elements is provided by the
ELEMENT TONE and ELEMENT ENVELOPE edit modes.
NAME 31
CONFIGURATION 31
EFFECT (Type & Depth) 31
PITCH BEND 32
WHEEL (Amplitude & Pitch Modulation) 32
AFTER TOUCH (Amplitude & Pitch Modulation, Pitch & Level Control) 33
ENVELOPE (Attack & Release Rates) 33
RANDOM (Element, Level & Detune) 34
29
VOICE COMMON
Selecting the VOICE COMMON Edit Mode Selecting the VOICE COMMON Edit Mode
From the VOICE or MULTI mode: Functions
The various VOICE COMMON edit mode func-
EDIT/UTILITY
tions can be selected in sequence by pressing
the [VOICE COMMON] key, or by using the
COMPARE [-1/NO] and [+1/YES] keys when the cursor
is located immediately before the function
name on the upper display line.
COMMON VECTOR
VOICE
The COMPARE Function
You can compare the sound of the edited voice
with the sound of the voice before it was edited
From another edit or utility mode simply press
by pressing the [EDIT/COMPARE] key to acti-
[VOICE COMMON].
An "E" will appear on the LED display, indicat- vate the COMPARE function. A "C" will appear
ing that an edit mode has been selected. The dot on the LED display while the COMPARE func-
tion is active, and the sound of the voice prior to
to the right of the "E" will appear as soon as
editing will be heard when you play the key-
any parameter is edited.
board. Press the [EDIT/COMPARE] key again
to return to the edit mode.
EDIT/UTILITY
COMPARE
EDIT/UTILITY
COMPARE
30
VOICE COMMON
Procedure: Use the and cursor keys to

place the underline cursor under the character to
be changed. Use the [-1/NO] and [+1/YES]
Summary: Assigns a name of up to 8 characters to keys to select the desired character. Continue
the current voice. until the entire voice name has been pro-
grammed.
Settings: The following characters are available for
use in voice names: Details: It's a good idea to give your voices names
that make them easily identifiable. If you've
(Space) created a new voice that combines piano and
organ elements, for example, you could call it
something like "PianOrg".
When selecting characters, scrolling will pause
at the beginning of each character group
(capitals, lower case, numbers, and symbols).
Refer to: Tutorial, page 24.
Details: In the 2-element "A-B" configuration, ele-

ment A is AWM and element B is FM. In the 4-
element "A-B-C-D" configuration elements A
Summary: Selects the two-element (A-B) or four- and B are the same as in the "A-B" configura-
element (A-B-C-D) voice configuration. tion, while element C is AWM and element D is
FM.
Settings: A-B, A-B-C-D
A-B: A = AWM, B = FM.
Procedure: Use the key to move the cursor to A-B-C-D: A = AWM, B = FM, C = AWM, D
the lower display line. Use the [-1/NO] and FM.
[+1/YES] keys to select the desired
configuration. Refer to: Tutorial, page 14.
Summary: Selects one of sixteen digital effects, and

sets the depth of the selected effect for the cur-
rent voice.
31
VOICE COMMON
Settings: Effect type: Depth: 0...7

Rev Hall (Reverb Hall)
Rev Room (Reverb Room) Procedure: Use the and cursor keys to
Rev Plate (Reverb Plate) place the underline cursor under the effect type
Rev Club (Reverb Club)
Rev Metal (Reverb Metal) or depth parameter. Use the [-1/NO] and
Delay 1 (Short Single Delay) [+1/YES] keys to select the desired effect or
Delay 2 (Long Delay)
Delay 3 (Long Delay) effect depth.
Doubler (Doubler)
Ping-Pong (Ping Pong Delay) Details: Setting the depth parameter to "0" is
Pan Ref (Panned Reflections)
Early Ref (Early Reflections) equivalent to turning the effect OFF. A depth
Gate Rev (Gated Reverb) setting of "7" produces the greatest effect.
Dly&Rev 1 (Delay & Reverb 1)
Dly&Rev 2 (Delay & Reverb 2) Refer to: Tutorial, page 13,16-19.
Dist&Rev (Distortion & Reverb)
Details: Each increment from "0" to "12" repre-

sents a semitone. A setting of "0" produces no
pitch bend. A setting of "12" allows a maximum
Summary: Sets the range of the pitch bend wheel. pitch bend of plus or minus one octave, while a
setting of "4" allows a maximum pitch bend of
Settings: 0 ... 12 max.* plus or minus a major third.
Procedure: Use the key to move the cursor to Refer to: Page 3.
the lower display line. Use the [-1/NO] and
[+1/YES] keys to select the desired pitch bend * This range may be more limited in some cases.
range. An exclamation mark (!) will appear after the
range value when the limit is reached.
to be assigned to produce either or both. This is

only an "off/on" switch, however, and the
maximum depth of modulation to be applied must
Summary: Assigns the modulation wheel to ampli- be set using the LFO AM Depth and PM Depth
tude and/or pitch modulation. parameters in the ELEMENT TONE edit mode.
When the modulation wheel is assigned to
Settings: AM (Amplitude Modulation): off, on amplitude or pitch modulation, LFO modulation
PM (Pitch Modulation): off, on can only be applied via the wheel.
If both WHEEL and AFTER TOUCH are
assigned to modulation control, the controller via
place the underline cursor under the AM or PM
which the highest modulation level is applied
parameter. Use the [-1/NO] and [+1/YES] keys
to turn the selected parameter on or off. will take priority when both are used simul-
taneously.
Details: Amplitude modulation produces a tremolo
effect while pitch modulation produced a vibrato Refer to: Page 3.
effect. This function allows the modulation wheel
32
VOICE COMMON
When after touch is assigned to amplitude or

pitch modulation, LFO modulation can only be
applied via after touch.
Summary: Assigns keyboard after-touch to ampli- The Pit parameter allows keyboard after touch to
tude modulation, pitch modulation, pitch control, be used for note bending. The greater the key
or level control — or any combination of the pressure the greater the amount of pitch bend.
above. Positive values produce an upward bend when
key pressure is applied, and minus values pro-
Settings: AM (Amplitude Modulation): off, on duce a downward bend. Each increment from
PM (Pitch Modulation): off, on represents a semitone. A setting of "0" pro-
Pit (Pitch Control): -12 ... 0 ... +12 max.* duces no pitch bend. A setting of "12" allows a
Lev (Level Control): off, on maximum upward pitch bend of one octave,
while a setting of "-4" allows a maximum
downward pitch bend of a major third.
place the underline cursor under the AM, PM,
When the Lev parameter is turned on it becomes
Pit, or Lev parameter. The arrows at either end
possible to control the level of the sound over a
of the display mean that more parameters can be
limited range by keyboard after touch. The
accessed by scrolling in the indicated direction.
amount and direction (i.e. an increase or de-
Use the [-1/NO] and [+1/YES] keys to turn the
crease) of level change depends on the setting of
AM, PM, and/or Lev parameter on or off, or to
select the desired Pit control range. the AFTER TOUCH SENSITIVITY parameter
in the ELEMENT TONE edit mode.
Details: As with the modulation wheel, amplitude If both WHEEL and AFTER TOUCH are
modulation produces a tremolo effect while pitch assigned to modulation control, the controller via
modulation produced a vibrato effect. The harder which the highest modulation level is applied
you press a key, the deeper the modulation. This will take priority when both are used simul-
is only an "off/on" switch, however, and the taneously.
maximum depth of modulation to be applied must
be set using the LFO AM Depth and PM Depth * This range may be more limited in some cases.
An exclamation mark (!) will appear after the
parameters in the ELEMENT TONE edit mode.
Details: Although much more detailed envelope

programming capability is available for individual
elements (see the ELEMENT ENVELOPE edit
Summary: Sets the overall attack and release rates mode), these functions provide an easy way to
for the current voice. adjust the most important envelope parameters
for the overall voice. Positive values produce a
Settings: AR (Attack Rate): -99 ... 0 ... +99 max.* faster attack or release time, while negative
RR (Release Rate): -99 ... 0 ... +99 max.* values produce a slower attack or release time.
You might want to lengthen the release time of a
voice, for example, to produce a lingering sustain
place the underline cursor under the AR or RR
effect after you release the keys.
to set the selected parameter as required.
33
VOICE COMMON
Please note that the AR parameter will have no Refer to: ELEMENT ENVELOPE section page
effect on elements in which the INITIAL LEVEL 53-57.
parameter (page 54) is set to 99.
* This range may be more limited in some cases.
An exclamation mark (!) will appear after the
Details: This function is actually a very useful

programming aid. It allows you try out a virtually
unlimited variety of element combinations or
Summary: Automatically produces random combi- level/detune vectors by simply pressing a single
nations of elements, level vectors, or detune key. The random element combinations, in par-
vectors. ticular, can produce some very surprising and
often pleasant results.
Settings: None. When the "A-B" voice configuration is selected
(see CONFIGURATION on page 31), random
Procedure: Use the and cursor keys to element combinations will always consist of only
place the underline cursor under the left two elements. When the "A-B-C-D" voice con-
parameter on the lower display line, then use the figuration is selected, random element genera-
[-1/NO] and [+1/YES] keys to select ELE- tion will produce combinations of four elements.
MENT, LEVEL or DETUNE. Press the to
move the cursor to "Y/N," then press the Refer to: Tutorial, page 25.
[+1/YES] key to generate random values of the
select type. A new set of random values is
generated each time the [+1/YES] key is
pressed while the cursor is in this position.
Pressing the [-1/NO] returns the cursor to the
left parameter.
34
VOICE VECTOR
VOICE VECTOR
The VOICE VECTOR edit mode allows recording and fine editing of dynamic level and
detune vectors.
LEVEL SPEED (Vector Rate) 37

LEVEL RECORD 37
LEVEL EDIT (Step, X-axis, Y-axis & Time) 37
DETUNE SPEED (Vector Rate) 39
DETUNE RECORD 39
DETUNE EDIT (Step, X-axis, Y-axis & Time) 39
35
VOICE VECTOR
Selecting the VOICE VECTOR Edit Mode Selecting the VOICE VECTOR Edit Mode
From the VOICE or MULTI mode: Functions
The various VOICE VECTOR edit mode func-
EDIT/UTILITY
tions can be selected in sequence by pressing
the [VOICE VECTOR] key, or by using the
COMPARE [-1/NO] and [+1/YES] keys when the cursor
COMMON VECTOR
VOICE
[VOICE VECTOR].
vate the COMPARE function. A "C" will appear
An "E" will appear on the LED display, indicat-
on the LED display while the COMPARE func-
ing that an edit mode has been selected. The dot
to the right of the "E" will appear as soon as
any parameter is edited.
board. Press the [EDIT/COMPARE] key again
to return to the edit mode.
EDIT/UTILITY
COMPARE
EDIT/UTILITY
COMPARE
36
VOICE VECTOR
path followed by the vector control. This function

sets the initial time between each step. The
Time parameter in the LEVEL EDIT function,
Summary: Sets the time between level vector described later, allows the length of individual
steps. steps to be edited. The vector rate parameter
can be changed even after recording a vector,
Settings: 10 ... 160 milliseconds (in 10-millisecond producing a corresponding change in the spacing
steps) between the steps.
The LEVEL SPEED parameter can also be used
Procedure: Use the key to move the cursor to to change the playback speed of a pre-recorded
the lower display line. Use the [-1/NO] and vector.
[+1/YES] keys to select the desired vector rate.
Details: Each dynamic vector is composed of up to
50 "steps" corresponding to points along the
begin as soon as you play a key on the key-

board. When you release the key or when 50
steps have been recorded (See "LEVEL
Summary: Allows recording of a dynamic level SPEED" above), recording will end and the
vector. cursor will move to the PLAY position. You can
now play the keyboard to hear how the vector
Settings: STBY, REC, PLAY sweep you just recorded sounds.
Procedure: Use the and cursor keys to Details: The amount of time available for recording
place the underline cursor under STBY. The vec- depends both on the vector rate setting and how
tor control LEVEL mode will be automatically much the vector control is moved.
selected and you can rehearse the vector sweep
you wish to record. Refer to: Tutorial, page 22.
Move the cursor to REC. Recording will actually
Step Settings: 1 ... 50

place the underline cursor under the leftmost
value on the lower display line (Step). Use the
Summary: Selects any of the 50 steps in a recorded [-1/NO] and [+1/YES] keys to select the step
level vector for editing. to be edited.
37
VOICE VECTOR
Details: Step 1 is the first step recorded and step Time

50 is the last. Experience will give you a feel for
relating specific points in a dynamic vector to the
corresponding steps.
Refer to: Tutorial, page 21-24. Summary: Multiplies the vector rate setting of the
current level vector step only. Also allows vec-
X-axis & Y-axis tors to be looped or ended at the current step.
Settings: 1 ... 254, Repeat, End

Summary: These parameters define the position of place the underline cursor under the rightmost
the currently selected step on the X and Y axes value on the lower display line (Time). Use the
of the level vector control range. [-1/NO] and [+1/YES] keys to select the re-
quired time value, repeat, or end.
Settings:-31 ...0...+31
Details: Time values multiply the vector rate set-
Procedure: After selecting the step to be recorded ting for the current step. If the vector rate
as described in the previous function, use the parameter is set to 30ms, for example, setting
and cursor keys to place the underline cursor the time parameter to 2 results in a step length
under the X or Y parameter. Use the [-1/NO] of 60ms, setting it to 3 results in a step length of
and [+1/YES] keys to set the value as required. 90ms, and so on. Since the maximum time value
is 254, extremely long steps can be created.
Details: On the X (D-C) axis, a setting of-31 If you select the "End" setting, the vector will
places the step as far as possible toward the D end at the current step.
element while a setting of +31 places it as far as The "Repeat" setting causes the vector to loop
possible toward the C element. The Y (A-B) back to the first step from the current step, re-
axis values work in the same way: a setting of peating continuously.
-31 places the step as far as possible toward
the B element while a setting of+31 places it as Refer to: Tutorial, page 21-24.
far as possible toward the A element. In both
axes a setting of 0 places the step at center
position.
A
Xaxis D C
Yaxis
Refer to: Tutorial, page 21-24.
38
VOICE VECTOR
Details: Each automatic vector sweep is composed

of up to 50 "steps," corresponding to equally-
spaced points along the path followed by the
Summary: Sets the time between detune vector vector control. This function sets the initial time
steps. between each step.
Settings: 10 ... 160 milliseconds Refer to: Tutorial, page 22.
Procedure: Use the key to move the cursor to
[+1/YES] keys to select the desired vector rate.
board. When you release the key or when all 50

steps have been recorded (See "DETUNE
SPEED" above), recording will end and the
Summary: Allows recording of a dynamic detune cursor will move to the PLAY position. You can
vector. now play the keyboard to hear how the vector
sweep you just recorded sounds.
Settings: STBY, REC, PLAY
Details: The amount of time available for recording
Procedure: Use the and cursor keys to depends both on the vector rate setting and how
place the underline cursor under STBY. The vec- much the vector control is moved.
tor control DETUNE mode will be automatically Moving the vector control towards an element
selected and you can rehearse the vector sweep raises the pitch of that element while lowering
you wish to record. the pitch of the others.
Move the cursor to REC. Recording will actually
begin as soon as you play a key on the key Refer to: Tutorial, page 22.
Step value on the lower display line (Step). Use the

[-1/NO] and [+1/YES] keys to select the step
to be edited.
Details: Step 1 is the first step recorded and step
Summary: Selects any of the 50 steps in a recorded 50 is the last. Experience will give you a feel for
detune vector for editing. relating specific points in a dynamic vector to the
corresponding steps.
Settings: 1 ... 50
place the underline cursor under the leftmost
39
VOICE VECTOR
X-axis & Y-axis Time
Summary: These parameters define the position of Summary: Multiplies the vector rate setting of the
the currently selected step on the X and Y axes current detune vector step only. Also allows
of the detune vector control range. vectors to be looped or ended at the current
step.
Settings:-31 ... 0 ...+31
Settings: 1 ... 254, Repeat, End
place the underline cursor under the X or Y Procedure: Use the and cursor keys to
parameter. Use the [-1/NO] and [+1/YES] keys place the underline cursor under the rightmost
to set the value as required. value on the lower display line (Time). Use the
[-1/NO] and [+1/YES] keys to select the re-
Details: On the X (D-C) axis, a setting of -31 quired time value.
places the step as far as possible toward the D
element while a setting of +31 places it as far as Details: Time values multiply the vector rate set-
possible toward the C element. The Y (A-B) ting for the current step. If the vector rate
axis values work in the same way: a setting of parameter is set to 30ms, for example, setting
-31 places the step as far as possible toward the time parameter to 2 results in a step length
the B element while a setting of +31 places it as of 60ms, setting it to 3 results in a step length of
far as possible toward the A element. In both 90ms, and so on. Since the maximum time value
axes a setting of 0 places the step at center is 254, extremely long steps can be created.
position. If you select the "End" setting, the vector will
end at the current step.
A
The "Repeat" setting causes the vector to loop
back to the first step from the current step,
repeating continuously.
Xaxis D C Refer to: Tutorial, page 21-24.
Yaxis
40
ELEMENT TONE
ELEMENT TONE
The ELEMENT TONE edit mode allows editing many of the most important sound-deter-
mining parameters of each individual element — A and B in a 2-element voice; A, B, C and
D in a 4-element voice.
WAVE TYPE 43
ELEMENT COPY 45
FREQUENCY SHIFT 45*
VOLUME 46
PAN 46*
VELOCITY SENSITIVITY 46
AFTER TOUCH SENSITIVITY 47
TONE (FM Elements B and D Only) 47*
LFO (Low Frequency Oscillator) AM Depth, PM Depth, Type,
Delay, Rate & Speed 48*
* These four parameters are not available for an AWM element in which wave number 127
(Drum Set) is selected — "Cannot edit" display appears.
41
ELEMENT TONE
Selecting the ELEMENT TONE Edit Mode character, that element is OFF. The ability to
From the VOICE or MULTI mode: turn elements on or off while editing makes it
easier to hear the effect of parameter changes on
EDIT/UTILITY a single element. The currently selected element
is also shown on the LCD as a reversed (white
COMPARE on black) character.
In this example elements A, B and D are ON, while
element C is OFF. Element A is currently selected
TONE ENVELOPE for editing.
ELEMENT

[ELEMENT TONE].
An "E" will appear to the left of the LED dis- Selecting the ELEMENT TONE Edit Mode
play to indicate that an edit mode is selected, Functions
and the element selected for editing will be dis-
played to the right of the display — "A", "b", The various ELEMENT TONE edit mode func-
"C", or "d". A dot will appear to the right of the tions can be selected in sequence by pressing
element character as soon as any parameter has the [ELEMENT TONE] key, or by using the
been edited. [-1/NO] and [+1/YES] keys when the cursor

Different elements can be selected for editing by board. Press the [EDIT/COMPARE] key again
pressing the appropriate [ELEMENT SELECT] to return to the edit mode.
key — [A], [B], [C] or [D]. If a 2-element voice
EDIT/UTILITY
is being edited, only elements A and B can be
selected.
Any of the available elements can also be turned COMPARE
on or off by pressing the appropriate EDIT/UTILITY
[ELEMENT ON/OFF] key. Each key alter-
nately turns the associated element on and off, COMPARE
and the on/off status of the elements is shown to
the right of the upper LCD line. If the element
character is showing, the associated element is
ON, if a cash appears in place of the element
42
ELEMENT TONE
parameter on the lower display line to directly

select the different wave categories, or under the
right parameter to select individual waves. Use
Summary: Assigns a preset wave to the selected the [-1/NO] and [+1/YES] keys to select the
element. desired wave (refer to the wave list, below).
Settings: Elements A and C (AWM): 0 ... 127 Details: The number of waves available depends on
Elements B and D (FM): 0 ... 255 whether the currently selected element is an
AWM element (A or C) or an FM element (C or
Procedure: Use the and cursor keys to D). The SY22 has 128 preset AWM waves (0
place the underline cursor under the left ... 127) and 256 preset FM waves (0 ... 255).
AWM WAVEFORM LIST

Category No. Name Category No. Name Category No. Name Category No. Name
Piano 0 Piano Bass 32 E.Bass 3 Synth 64 Oh Hit OSC 96 Padwv
1 E.piano 33 E.Bass 4 SFX 65 Water 1 97 Digital1
2 Clavi 34 Slap 66 Water 2 98 Digital2
3 Cembalo 35 Fretless 67 Stream 99 Digital3
4 Celesta 36 SynBass1 68 Coin 100 Digital4
Organ 5 P.organ 37 SynBass2 69 Crash 101 Digital5
6 E.organ1 Str. 38 Strings 70 Bottle 102 Saw1
7 E.organ2 39 Vn.Ens. 71 Tear 103 Saw 2
8 Reed 40 Cello 72 Cracker 104 Saw 3
41 Pizz. 73 Scratch 105 Saw 4
Brass 9 Trumpet 106 Square 1
10 Mute Trp 42 Syn Str Hits 74 Metal 1 107 Square 2
11 Trombone Vocal 43 Choir 75 Metal 2 108 Square 3
12 Flugel 44 Itopia 76 Metal 3 109 Square 4
13 Fr Horn 45 Ooo! 77 Metal 4 110 Pulse 1
14 BrasAtak Perc. 46 Vibes 78 Wood 111 Pulse 2
15 SynBrass 47 Marimba 79 Bamboo 112 Pulse 3
Wood 16 Flute 48 Bells 80 Slam 113 Pulse 4
17 Clarinet 49 Timpani Tran. 81 Tp.Body 114 Pulse 5
18 Oboe 50 Tom 82 Tb. Body 115 Pulse 6
19 Sax 51 E.Tom 83 HornBody 116 Tri
Gtr 20 Gut 52 Cuica 84 Fl.Body 117 Sin8'
21 Steel 53 Whistle 85 Str.Body 118 Sin8'+4'
22 E.Gtr 1 54 Claps 86 AirBlown SEQ 119 SEQ1
23 E.Gtr2 Synth 55 Hit 87 Reverse1 120 SEQ 2
24 Mute Gtr 56 Harmonic 88 Reverse2 121 SEQ 3
25 Sitar 57 Mix 89 Reverse3 122 SEQ 4
26 Pluck 1 58 Sync OSC 90 EPwv 123 SEQ 5
27 Pluck 2 59 Bell Mix 91 Organ wv 124 SEQ 6
Bass 28 Wood B 1 60 Styroll 92 M.Tpwv 125 SEQ 7
29 Wood B 2 61 DigiAtak 93 Gtrwv 126 SEQ 8
30 E.Bass 1 62 Noise 1 94 Strwv1 Drum 127 Drum set
31 E.Bass 2 63 Noise 2 95 Strwv2
AWM Waveform Category Descriptions

Piano Piano, clavi, and other decay-type keyboard sounds. Synth A range of synth sounds (including noise).
Organ Pipe, electric and reed organs. SFX Special effects - water, bottles, etc.
Brass Acoustic and synthesized brass sounds. Hits Struck metal and woods.
Wood Flute, sax and other woodwind sounds. Tran. Transient attack waves and some reverse sounds.
Gtr Acoustic and electric guitars. OSC Standard synth waveforms and the basic waveforms from
Bass Acoustic, electric, and synth bass. some actual instruments.
Str. Violin ensemble and other strings. SEQ Sequences of sampled sounds.
Vocal Choir and other vocal-type sounds. Drum Drum set waves.
Perc. Vibes, tympani, etc.
43
ELEMENT TONE
FM VOICE LIST
Category No. Name Category No. Name Category No. Name Category No. Name
Piano 0 E.Piano1 Pluck 49 Guitar 4 Syn.S 98 Sus.1 SFX 147 SFX 5
1 E.Piano2 50 Guitar 5 99 Sus.2 148 SFX 6
2 E.Piano3 51 Guitar 6 100 Sus.3 149 SFX 7
3 E.Piano4 52 Guitar 7 101 Sus.4 OSC1 150 Sin 16'
4 E.Piano5 53 Guitar 8 102 Sus.5 151 Sin 8'
5 E.Piano6 Bass 54 Bass1 103 Sus.6 152 Sin 4'
Organ 6 E.organ1 55 Bass 2 104 Sus.7 153 Sin2 2/3
7 E.organ2 56 Bass 3 105 Sus.8 154 Sin2'
8 E.organ3 57 Bass 4 106 Sus.9 155 Saw1
9 E.organ4 58 Bass 5 107 Sus.10 156 Saw 2
10 E.organ5 59 Bass 6 108 Sus.11 157 Square
11 E.organ6 60 Bass 7 109 Sus.12 158 LFOnoise
12 E.organ7 61 Bass 8 1 10 Sus.13 159 Noise 1
13 E.organ8 62 Bass 9 1 11 Sus.14 160 Noise 2
112 Sus.15 161 Digi1
Brass 14 Brass 1 Str. 63 Str1
15 Brass 2 64 Str 2 113 Attack 1 162 Digi2
16 Brass 3 65 Str 3 1 14 Attack 2 163 Digi3
17 Brass 4 66 Str 4 1 15 Attack 3 164 Digi 4
18 Brass 5 67 Str 5 1 16 Attack 4 165 Digi5
19 Brass 6 68 Str 6 1 17 Attack 5 166 Digi 6
20 Brass 7 69 Str 7 Syn.M 1 18 Move1 167 Digi7
21 Brass 8 1 19 Move 2 168 Digi 8
Perc. 70 Vibes 1 169 Digi9
22 Brass 9 71 Vibes 2 120 Move 3
23 Brass 10 121 Move 4 170 Digi 10
72 Vibes 3 171 Digi 11
24 Brass 11 73 Vibes 4 122 Move 5
25 Brass 12 74 Marimba1 123 Move 6 OSC2 172 wave1-1
26 Brass 13 75 Marimba2 124 Move 7 173 wave1-2
27 Brass 14 76 Marimba3 Syn.D 125 Decay 1 174 wave1-3
Wood 28 Wood1 77 Bells 1 126 Decay 2 175 wave2-1
29 Wood 2 78 Bells 2 127 Decay 3 176 wave2-2
31 Wood 4 80 Bells 4 129 Decay 5 :
32 Wood5 81 Bells 5 130 Decay 6 :
Reed 36 Reed1 85 Metal 1 134 Decay 10 OSC3 223 wave18-1
37 Reed 2 86 Metal 2 135 Decay 11 224 wave18-2
88 Metal 4 137 Decay 13 :
39 Reed 4
Reed 5 89 Metal 5 138 Decay 14 :
40
Syn.S 91 Lead1 140 Decay 16 251 wave27-2
Pluck 42 Clavi 1 141 Decay 17 252 wave27-3
43 Clavi 2 92 Lead 2
93 Lead 3 142 Decay 18 253 wave28
44 Clavi 3 254 wave29
45 Clavi 4 94 Lead 4 SFX 143 SFX1
95 Lead 5 144 SFX 2 255 wave30
46 Guitar 1
47 Guitar 2 96 Lead 6 145 SFX 3
48 Guitar 3 97 Lead 7 146 SFX 4
FM Voice Category Descriptions

Piano Electric pianos. Perc. Vibes, marimba, bells and other percussion sounds.
Organ Electric organs. Syn.S Sustained lead synth sounds.
Brass A variety of brass sounds. Syn.M Synth sounds that vary with time.
Wood Woodwind instrument sounds. Syn.D Decay-type synth sounds.
Reed Sax, oboe and other reed instruments. SFX A range of sound-effect type synth sounds.
Pluck Guitar, clavi, and other plucked instrument sounds. OSC1 Sine, sawtooth, and other standard synth waveforms.
Bass Bass sounds. OSC2 Basic FM timbres, group 1.
Str. Strings. OSC3 Basic FM timbres, group 2.
If the TYPE parameter in the ELEMENT envelope type is selected, the preset envelope is
ENVELOPE edit mode (page 53) is set to not selected together with the wave.
PRESET, selecting a WAVE TYPE also selects
the corresponding preset envelope. If a different Refer to: Tutorial, page 14,16-19.
44
ELEMENT TONE
Press the cursor key one more time and the

"Are you sure?" display will appear. Press
[+1/YES] to execute the element copy operation
Summary: Copies all element parameters from an or [-1/NO] to cancel. "»Completed!!«" will
element of the same type (AWM or FM) in appear briefly when the copy operation has
another voice to the current element of the cur- finished.
rent voice.
Details: In this display the source, bank and num-
Settings: Source: I, C, P ber parameters are shown in the standard SY22
Bank: 1 ... 8 voice number format. "P12," for example, is
Number: 1 ... 8 preset bank 1, number 2; "I35" is internal bank
Element: A/C or B/D 3, number 5, etc.
Data can only be copied between elements of
Procedure: Use the and cursor keys to the same type. If the element currently being
move the cursor to the source, bank, or number edited is an AWM element (A or C), only ele-
of the source voice (the voice from which the ment A or C of the source voice can be copied
element parameters are to be copied) to the left from. the same applies to FM elements.
of the lower display line. Use the [-1/NO] and The data for all parameters contained in the
[+1/YES] keys to set the selected parameter as ELEMENT TONE mode will be copied.
necessary.
Next move the cursor to the element type
parameter to the right of the lower display line,
and select the element from which the data is to
be copied using the [-1/NO] and [+1/YES]
keys.
Details: A setting of "-12," for example, shifts the

pitch of the selected element down by one
octave; a setting of "+4" shifts the pitch up by a
Summary: Shifts the frequency (pitch) of the major third.
selected element up or down in semitone steps. The Frequency Shift function can be used to
transpose an element to its most useful range,
Settings:-12 ...0...+12. or to create harmony (intervals) between dif-
ferent elements.
[+1/YES] keys to select the desired amount of
frequency shift.
45
ELEMENT TONE
[+1/YES] keys to select the desired volume

level.
Details: A setting of "0" produces no sound while
Summary: Adjusts the volume of the selected a setting of "99" produces maximum volume.
element. The ability to independently adjust the volume of
Settings: 0... 99 each element makes it simple to set up the
optimum balance or "mix" between elements.
Details: The lower line of the display shows a

graphic representation of the stereo sound field
with "L" representing "left" and "R"
Summary: Determines the position in the stereo representing "right." As you edit the pan
sound field in which the sound from selected parameter the position indicator will appear at
element will be heard (left to right). the corresponding position on the graphic dis-
play. A total of five different positions are
Settings: Graphic Display: L--+--R, 5 positions from available, corresponding to left, left-center,
left to right. center, right-center, and right.
Procedure: Use the key to move the cursor to Interesting stereo effects can be produced by
the lower display line. Use the [-1/NO] and placing the output from different elements at
different locations in the stereo sound field.
[+1/YES] keys to select the desired pan
position.
Details: Plus "+" settings produce higher output

level in response to higher velocity values — i.e.
the harder a key is played, the louder the sound.
Summary: Determines how the output level of the Minus "-" settings produce the opposite effect:
selected element changes in response to veloc- lower level in response to higher velocity. A
ity changes (keyboard initial touch response). setting of "0" results in no level variation.
Settings: -5 ...0...+5 0 No response.
+1 Narrow change between medium-hard and
Procedure: Use the key to move the cursor to hard velocity.
[+1/YES] keys to select the desired velocity
sensitivity.
46
ELEMENT TONE
+2 Broader change between medium and hard "-" Settings have the same effect, but the
velocity. sound level decreases rather than increasing
+3 Smooth change all the way from soft to hard with increased key velocity. A graphic display to
velocity. the right of the sensitivity value provides a
+4 Large change over small velocity range. visual indication as to the type of change
+5 Sudden change from no sound to maximum produced by each setting.
level at about medium velocity.
lower level in response to higher pressure. A

setting of "0" results in no level variation.
Summary: Determines how the output level of the 0 No response.

selected element changes in response to key- +1 Narrow change between medium-high and
board after touch pressure changes when the high pressure.
Lev (Level) parameter of the AFTER TOUCH +2 Broader change between medium and high
function in the VOICE COMMON mode is set pressure.
to "on" (see page 33). +3 Smooth change all the way from low to high
pressure.
Settings:-3 ...0...+3
"-" Settings have the same effect, but the
Procedure: Use the key to move the cursor to sound level decreases rather than increasing
the lower display line. Use the [-1/NO] and with increased after touch pressure. A graphic
[+1/YES] keys to select the desired after touch display to the right of the sensitivity value
sensitivity. provides a visual clue as to the type of change
produced by each setting.
Details: Plus "+" settings produce higher output
level in response to higher after touch pressure. Refer to: AFTER TOUCH, page 33.
Minus "-" settings produce the opposite effect:
Details: The Lev parameter adjusts the modulation

level of the select FM element, so higher values
produce a brighter, sharper tone while lower
Summary: Adjusts the tone of the selected FM values produce a rounder, more mellow tone.
element — B or D. The effect of the feedback parameter varies from
element to element, but in general higher values
Settings: Lev (Level): 0 ... 99 make the sound more brassy or noisy, while
FB (Feedback): 0 ... 7 lower values make the sound smoother.
Procedure: Use the and cursor keys to Refer to: WAVE TYPE, page 43.
place the underline cursor under the Lev or FB
to set the level or feedback as required.
47
ELEMENT TONE
AM (Amplitude Modulation Depth) Details: A "0" setting produces no modulation

while a setting of "31" produces maximum
modulation. Pitch modulation produces a periodic
pitch variation, thereby creating a vibrato effect.
Please note that the PM parameter of the
Summary: Determines the maximum amount of WHEEL and/or AFTER TOUCH function in the
amplitude modulation that can be applied to the VOICE COMMON edit mode must be set to
selected element by the modulation wheel or "on" before pitch modulation can be applied
keyboard after touch. manually. Pitch modulation is applied auto-
matically when these parameters are off.
Settings: 0... 15
Procedure: Use the and cursor keys to Refer to: WHEEL, page 32. AFTER TOUCH, page
select the AM parameter. Use the [-1/NO] and 33.
[+1/YES] keys to set the desired degree of Type
amplitude modulation.
Details: A "0" setting produces no modulation
while a setting of "15" produces maximum
modulation. Amplitude modulation produces a
periodic variation in the volume of the sound, Summary: Determines the waveform of the LFO for
thus creating a tremolo effect. the selected element.
Please note that the AM parameter of the
WHEEL and/or AFTER TOUCH function in the Settings:
VOICE COMMON edit mode must be set to SAW UP SAW DOWN TRIANGLE
"on" before amplitude modulation can be applied
manually (see page 33). Amplitude modulation SQUARE SAMPLE&HOLD
is applied automatically when these parameters
are off.
Refer to: WHEEL, page 32. AFTER TOUCH, page Procedure: Use the and cursor keys to
33. select the waveform parameter. Use the
[-1/NO] and [+1/YES] keys to select the
PM (Pitch Modulation Depth) desired LFO waveform.
Details:
= Upward sawtooth.
Summary: Determines the maximum amount of = Downward sawtooth.
pitch modulation that can be applied to the = Triangle.
selected element by the modulation wheel or = Square.
keyboard after touch. = Sample and hold.
Settings: 0... 31
select the PM parameter. Use the [-1/NO] and
[+1/YES] keys to set the desired degree of pitch
modulation.
48
ELEMENT TONE
Dly (Delay) Procedure: Use the and cursor keys to

select the Rate parameter. Use the [-1/NO] and
[+1/YES] keys to set the desired LFO fade-in
rate.
Summary: Sets the delay time between the begin- Details: "0" is the fastest rate, causing the LFO to
ning of a note and the beginning of LFO opera- start operation at full depth immediately. A set-
tion for the selected element when the WHEEL ting of 99 produces the longest LFO fade in.
and AFTER TOUCH parameters in the VOICE
COMMON edit mode are both turned off. Refer to: WHEEL, page 32. AFTER TOUCH, page
33.
Settings: 0... 99
Spd (Speed)
select the Dly parameter. Use the [-1/NO] and
[+1/YES] keys to set the desired LFO delay.
Details: The minimum setting "0" results in no Summary: Sets the speed of the LFO for the
delay, while the maximum setting of "99" pro- selected element.
duces maximum delay before the LFO begins
operation. Settings: 0...31
Refer to: WHEEL, page 32. AFTER TOUCH, page Procedure: Use the and cursor keys to
33. select the Spd parameter. Use the [-1/NO] and
[+1/YES] keys to set the desired LFO speed.
Rate
Details: "0" is slowest LFO speed setting; "31"
is the fastest.
The speed parameter can not be edited when the
sample-and-hold LFO TYPE is selected.
Summary: Sets the rate of LFO "fade in" for the
selected element when the WHEEL and
AFTER TOUCH parameters in the VOICE
COMMON edit mode are both turned off.
Settings: 0 ... 99
49
ELEMENT ENVELOPE
ELEMENT ENVELOPE
The ELEMENT ENVELOPE edit mode allows detailed programming of the amplitude
envelopes for each element in the selected voice.
TYPE 53
ENVELOPE COPY 54
DELAY (Delay Rate & ON/OFF) 54
INITIAL LEVEL 54
ATTACK (Level & Rate) 55
DECAY 1 (Level & Rate) 55
DECAY 2 (Level & Rate) 55
RELEASE RATE 56
LEVEL SCALING 56
RATE SCALING 57
51
ELEMENT ENVELOPE
Selecting the ELEMENT ENVELOPE Edit Mode character, that element is OFF. The ability to
From the VOICE or MULTI mode: turn elements on or off while editing makes it
easier to hear the effect of parameter changes on
EDIT/UTILITY a single element. The currently selected element
is also shown on the LCD as a reversed (white
COMPARE on black) character.
In this example elements A, B and D are ON, while
element C is OFF.
TONE ENVELOPE
Element A is currently selected for editing.
ELEMENT

[ELEMENT ENVELOPE].
An "E" will appear to the left of the LED dis-
play to indicate that an edit mode is selected, Selecting the ELEMENT ENVELOPE Edit Mode
and the element selected for editing will be dis- Functions
played to the right of the display — "A", "b", The various ELEMENT ENVELOPE edit mode
"C", or "d". A dot will appear to the right of the functions can be selected in sequence by press-
element character as soon as any parameter has ing the [ELEMENT ENVELOPE] key, or by
been edited. using the [-1/NO] and [+1/YES] keys when the
cursor is located immediately before the
function name on the upper display line.

Different elements can be selected for editing by board. Press the [EDIT/COMPARE] key again
pressing the appropriate [ELEMENT SELECT] to return to the edit mode.
key — [A], [B], [C] or [D]. If a 2-element voice
is being edited, only elements A and B can be EDIT/UTILITY
selected.
Any of the available elements can also be turned COMPARE
on or off by pressing the appropriate
[ELEMENT ON/OFF] key. Each key alter- EDIT/UTILITY
nately turns the associated element on and off,
and the on/off status of the elements is shown to
COMPARE
the right of the upper LCD line. If the element
character is showing, the associated element is
ON, if a dash appears in place of the element
52
ELEMENT ENVELOPE
Summary: Selects a user or preset amplitude enve-

lope for the selected element.
Settings: PRESET, PIANO, GUITAR, PLUCK,

BRASS, STRINGS, ORGAN, USER
Procedure: Use the [ ] key to move the cursor to

[+1/YES] keys to select the desired envelope.
Details: When "PRESET" is selected, the original

envelope of the wave selected for the current
element is used. For example, if the current uses
a guitar wave corresponding guitar envelope will
be selected.
When "PIANO," "GUITAR," "PLUCK,"
"BRASS," "STRINGS," or "ORGAN" is
selected, a generic envelope of the appropriate
type is used. Then piano, organ and strings
envelopes are roughly as shown below:
Editing any of the envelope parameters for one

of the above types turns the envelope into a
"USER" type.
When "USER" is selected, an original envelope
can be programmed using the attack, decay, and
release parameters described on pages 55, 56.
Refer to: Tutorial, page 25. ENVELOPE, page 33.
53
ELEMENT ENVELOPE
Press the [ ] cursor key one more time and the

"Are you sure?" display will appear. Press
[+1/YES] to execute the copy operation or
Summary: Copies envelope parameters from a [-1/NO] to cancel. "»Completed!!«" will
selected element to the current element. appear briefly when the copy operation has
finished.
Settings: Element: A, B, C, D
Details: This function can save a lot of programming
Procedure: Use the [ ] and [ ] cursor keys to
time by allowing easy copying of complex USER
move the cursor to the from"element
type envelope data between elements.
to select the element from which the envelope
data is to be copied.
the [-1/NO] and [+1/YES] keys to select the

desired delay rate.
Press the[ ] cursor key one more time to move
Summary: Sets a delay before the envelopes of all to the on/off mode parameter, and use the
elements begin. [-1/NO] and [+1/YES] keys to set as required.
Settings: Delay: 0 ... 99 Details: The envelope delay rate parameter affects
Mode: on/off all envelopes simultaneously. A setting of "0"
produces almost no delay while a setting of
"99" produces maximum delay.
move the cursor to the "Rate" parameter. Use
immediately from maximum level. The highest

setting produces the sharpest attack.
Summary: Sets the starting level of the amplitude

envelope for the current element.
Settings: 0... 99
Procedure: Use the [ ] cursor key to move the cur-
sor to the lower display line. Use the [-1/NO]
and [+1/YES] keys to set the initial level.
Details: A setting of "0" means that the envelope
will begin from zero (minimum) level, while a
setting of "99" causes the envelope to begin Refer to: ENVELOPE, page 33.
54
ELEMENT ENVELOPE
Details: Refer to the INITIAL LEVEL function for a

complete envelope diagram.
A rate setting of "0" produces the slowest
Summary: Sets the rate and peak level of the attack attack, and a setting of "99" produces the
of the amplitude envelope for the current ele- fastest attack.
ment. A level setting of "0" produces the lowest
attack level, while a setting of "99" produces
Settings: AL (Attack Level): 0 ... 99 the highest level.
AR (Attack Rate): 0 ... 99 Please note that the attack may be "biased" by
the ENVELOPE Attack Rate parameter in the
Procedure: Use the [ ] and [ ] cursor keys to VOICE COMMON edit mode.
move the cursor to the "AL" or "AR"
parameter. Use the [-1/NO] and [+1/YES] keys Refer to: ENVELOPE, page 33.
to set the selected level or rate parameter.
Use the [-1/NO] and [+1/YES] keys to set the

selected level or rate parameter.
Summary: Sets the rate and final level of the first Details: Refer to the INITIAL LEVEL function for a
decay of the amplitude envelope for the current complete envelope diagram.
element. A rate setting of "0" produces the slowest
decay, and a setting of "99" produces the
Settings: D1L (Decay 1 Level): 0 ... 99 fastest decay.
D1R (Decay 1 Rate): 0 ... 99 A level setting of "0" produces the lowest de-
cay level, while a setting of "99" produces the
Procedure: Use the [ ] and [ ] cursor keys to highest level.
move the cursor to the "D1L" or "D1R"
parameter.

move the cursor to the "D2L" or "D2R"
Summary: Sets the rate and final level of the second to set the selected level or rate parameter.
decay of the amplitude envelope for the current
element. Details: Refer to the INITIAL LEVEL function for a
Settings: D2L (Decay 2 Level): 0 ... 99 A rate setting of "0" produces the slowest de-
D2R (Decay 2 Rate): 0 ... 99 cay, and a setting of "99" produces the fastest
decay.
55
ELEMENT ENVELOPE
A level setting of "0" produces the lowest The decay 2 level parameter also sets the hold
decay level, while a setting of "99" produces the level at which the note is sustained until
highest level. released.
Details: Refer to the INITIAL LEVEL function for a

A release rate setting of "0" produces the
Summary: Sets the release rate of the amplitude slowest release, and a setting of "99" produces
envelope for the current element. the fastest release.
Please note that the release note may be
Settings: 0 ... 99 "biased" by the ENVELOPE Release Rate
parameter in the VOICE COMMON edit mode.
sor to the lower display line. Use the [-1/NO] Refer to: ENVELOPE, page 33.
and [+1/YES] keys to set the release rate.
Summary: Determines how the level of the current

element changes across the range of the key-
board.
Settings: 1 ... 16

and [+1/YES] keys to set the desired level
scaling curve.
Details: Most acoustic instruments do not produce

a uniform sound level throughout their pitch
range. This results in a level curve that can be
simulated by appropriate settings of the level
scaling parameter. Often, for example, the level
decreases slightly as the pitch increases.
Each of the 16 available level scaling curves is
shown in graphic form on the LCD when
selected, making it easy to locate and select the
optimum curve for each application.
56
ELEMENT ENVELOPE
Summary: Determines how the overall rate of the

amplitude envelope for the current element
changes across the range of the keyboard.
Settings: 1 ... 8

and [+1/YES] keys to set the desired rate scal-
ing curve.
Details: Many acoustic instruments do not produce

uniform note length throughout their pitch range.
This results in a rate curve that can be simulated
by appropriate settings of the rate scaling
parameter. Often, for example, the overall note
length decreases slightly as the pitch increases.
Each of the 8 available rate scaling curves is
shown in graphic form on the LCD when
selected, making it easy to locate and select the
optimum curve for each application.
57
ELEMENT ENVELOPE
58
MULTI
MULTI
The MULTI edit mode allows 8 different voices to be assigned to different MIDI channels.
The assigned voices can then be individually controlled over the appropriate channels from
an external MIDI sequence recorder or other controller. If a number of these channel/voice
"parts" are assigned to the MIDI transmit channel of the SY22, they can all be played
simultaneously from the SY22 keyboard. Individual characteristics of each voice, such as
volume and detune, can also be programmed.
59
MULTI
A Basic MULTI PLAY System band or orchestra. You can then record multi-
voice compositions on a MIDI sequence recorder
The SY22 MULTI PLAY (multi-timbre) mode and play them back using only the sequencer and
allows up to 8 different voices to be individual SY22.
assigned to any of 16 different MIDI channels. Here's an example of a sequencer recording and
Each voice/channel assignment is known as a playback setup:
multi-play "part," just like the various parts in a
In addition to 16 PRESET multi-play setups, 16 Other Possibilities

INTERNAL memory locations are provided for The MULTI mode is useful even when a
complete multi-play setups including voice-to- sequencer is not used. If you set the MIDI
channel assignments, voice volume, note shift, RECEIVE CHANNEL parameter (page 63) of
detune, note limits, and effects for each part. several multi-play parts to the same channel
This allows you to create up to 16 original that the SY22 is set to transmit on (TRANSMIT
"orchestras" with different combinations of CHANNEL parameter, page 81), those parts
voices that can be recalled whenever needed. can all be played simultaneously via the SY22
60
MULTI
keyboard. By setting the low and high NOTE

LIMIT parameters (page 64) of parts set to the
keyboard channel to limit them to specific
regions of the keyboard, it is also possible to
create a range of split keyboard effects — e.g.
play bass with the left hand and piano with the Different parts can be selected for editing by
right. pressing the appropriate [NUMBER/MULTI
PART SELECT] key — [1] through [8].
MULTI PLAY Mode, Bank and Setup Selection
The MULTI mode, memory banks and individual Selecting the MULTI Edit Mode Functions
multi-play setups are selected in the same way The various MULTI edit mode functions can be
as the SY22 voices: selected in sequence by pressing the [MULTI]
key, or by using the [-1/NO] and [+1/YES]
• [MULTI] to select the multi-play mode. keys when the cursor ( )is located immediately
• [PRESET] or [INTERNAL] to select the de- before the function name on the upper display
sired memory. line.
• [BANK] and [NUMBER/MULTI PLAY PART]
keys or [-1/NO] and [+1/YES] keys to select The COMPARE Function
the desired multi-play setup. You can compare the sound of the edited multi-
play setup with the sound of the setup before it
Selecting the MULTI Edit Mode was edited by pressing the [EDIT/COMPARE]
From the VOICE or MULTI mode: key to activate the COMPARE function. A "C"
will appear on the LED display while the COM-
PARE function is active, and the sound of the
setup prior to editing will be heard when you
play the keyboard. Press the [EDIT/
COMPARE] key again to return to the edit
mode.

[MULTI].
An "E" will appear to the left of the LED dis-
play to indicate that an edit mode is selected,
and the multi-setup part selected for editing will
be displayed to the right of the display — "1"
through "8." A dot will appear to the right of the
part number as soon as any parameter has been
edited.
SY22 PRESET MULTI Performance Note

No. Multi Name Type Comments No. Multi Name Type Comments
1 1.1 Orchstra 2 layer Big Orchestra. Brass and strings. 9 2.1 FItCncrt Split Split flute and strings
2 1.2 SuperBrs 2 layer Powerful brass. 10 2.2 Wb/Piano Split Split wood bass and piano.
3 1.3 StrPiano 2 layer Piano with strings. 11 2.3 Fb/E.Pno Split Split fretless bass and E.Piano.
4 1.4 MonoLead 8 layer Fat monoral synth lead. 12 2.4 RytmSect Split Split drum set and funky bass.
5 1.5 PinPad 3 layer Synth decay pad. 13 2.5 <Pop> MIDI multi For Pop music.
6 1.6 SyncPad 4 layer Fat synth pad. 14 2.6 <Rock> MIDI multi For Rock music.
7 1.7 PanPad 2 layer Breathy synth Pan flute. 15 2.7 <Jazz> MIDI multi For Jazz music.
8 1.8 Haunted Split Image of haunted mansion. 16 2.8 <Demo> MIDI multi Used for SY22 Demo song.
61
MULTI

place the underline cursor under the character to
be changed. Use the [-1/NO] and [+1/YES]
Summary: Assigns a name of up to 8 characters to keys to select the desired character. Continue
the current multi-play setup. until the entire multi-play name has been
programmed.
Settings: The following characters are available for
use in multi-play names: Details: It's a good idea to give your multi-play se-
tups names that make them easily identifiable.
(Space) If you've created a new setup using three voices
intended for rock music, you could call it some-
thing like "RockTrio".
Depth: 0... 7

Summary: Selects one of sixteen digital effects, and place the underline cursor under the effect type
sets the depth of the selected effect for the cur- or depth parameter. Use the [-1/NO] and
rent multi-play setup. [+1/YES] keys to select the desired effect or
effect depth.
Settings: Effect type:
Rev Hall (Reverb Hall) Details: Setting the depth parameter to "0" is
Rev Room (Reverb Room) equivalent to turning the effect OFF. A depth
Rev Plate (Reverb Plate) setting of "7" produces the greatest effect.
Rev Club (Reverb Club)
Rev Metal (Reverb Metal)
Delay 1 (Short Single Delay) Refer to: MULTI INITIALIZE, page 72.
Doubler (Doubler)
Ping-Pong (Ping Pong Delay)
Pan Ref (Panned Reflections)
Early Ref (Early Reflections)
Gate Rev (Gated Reverb)
Dist&Rev (Distortion & Reverb)
Summary: Assigns a preset, card or internal voice

to the selected multi-play part.
62
MULTI
Settings: Source: I, C, P Details: In this display the source, bank, and num-
Bank: 1 ... 8 ber parameters are shown in the standard SY22
Number: 1 ... 8 voice number format. "P12," for example, is
preset bank 1, number 2; "I35" is internal bank
Procedure: Press the [NUMBER/MULTI PART 3, number 5, etc.
SELECT] key corresponding to the desired
multi-play part. Refer to: MULTI INITIALIZE, page 72.
Use the [ ] a n d [ ] cursor keys to move the cur-
sor to the source, bank, or number parameter.
Use the [-1/NO] and [+1/YES] keys to set the
selected parameter as necessary.
Use the [ ] cursor key to move the cursor to the

lower display line. The [-1/NO] and [+1/YES]
keys are used to select the desired MIDI chan-
Summary: Sets the MIDI receive channel for the nel or turn MIDI reception for that part off.
selected multi-play part to any channel between
land 16, or off. Details: The most logical and easy-to-follow set-
tings for multi-play parts 1 through 8 are,
Settings: 0 ... 16, off naturally, MIDI channels 1 through 8. Turn MIDI
reception "off" for parts you do not intend to
Procedure: Press the [NUMBER/MULTI PART use.
SELECT] key corresponding to the desired
multi-play part. Refer to: MULTI INITIALIZE, page 72.
Use the ] cursor key to move the cursor to the

lower display line. Use the [-1/NO] and
[+1/YES] keys to select the desired volume
Summary: Adjusts the volume of the selected multi- level.
play part.
Details: A setting of "0" produces no sound while
Settings: 0... 99 a setting of "99" produces maximum volume.
The ability to independently adjust the volume of
Procedure: Press the [NUMBER/MULTI PART each multi-play part makes it simple to set up
SELECT] key corresponding to the desired the optimum balance or "mix" between parts.
multi-play part.
Refer to: MULTI INITIALIZE, page 72.
63
MULTI
Details: The Detune function allows different parts

in a multi-play setup to be slightly detuned in
relation to each other, thereby "thickening" the
Summary: Allows slight upward or downward pitch overall sound.
adjustment of the selected multi-play part. Detuning occurs in 3 or 4-cent steps. Since 100
cents equals one semitone, the overall detune
Settings: -50 ...0...+50 range is approximately one semitone. Plus set-
tings tune upward from normal pitch, and minus
Procedure: Press the [NUMBER/MULTI PART settings tune downward. A setting of "0" pro-
SELECT] key corresponding to the desired duces normal pitch.
multi-play part.
Use the [ ] cursor key to move the cursor to the Refer to: MULTI INITIALIZE, page 72.
[+1/YES] keys to select the desired amount of
detuning.
This function allows the sound from a multi-play

part to be limited to a specific region of the key-
board. If the Low Note Limit is set to C3 and the
Summary: Sets the low and high note limits for the High Note Limit is set to C4, for example, the
selected multi-play part. sound from that part will only be produced be-
tween C3 and C4 — the octave immediately
Settings: C-2... G8 above middle C. This makes it simple to produce
split voices.
Procedure: Press the [NUMBER/MULTI PART If the High Note Limit is set to a note that is
SELECT] key corresponding to the desired lower than the Low Note Limit, the keys be-
multi-play part. tween the limits will produce no sound while all
Use the [ ] and [ ] cursor keys to select the others will operate normally.
Low or High parameter. The [-1/NO] and
[+1/YES] keys are used to set the low or high Refer to: MULTI INITIALIZE, page 72.
note limit.
Details: The C-2 to G8 range of this function covers

a full 10-1/2 octaves. "C3" corresponds to
"middle C" on a keyboard.
Summary: Shifts the pitch of the selected multi-play

part up or down in semitone steps.
64
MULTI
Settings: -24 ...0...+24. The Note Shift function can be used to transpose
a voice to its most useful range, or to create
Procedure: Press the [NUMBER/MULTI PART harmony (intervals) between different parts in a
SELECT] key corresponding to the desired multi-play setup.
multi-play part.
Use the [ ] cursor key to move the cursor to the Refer to: MULTI INITIALIZE, page 72.
[+1/YES] keys to select the desired degree of
note shift.
Details: A setting of "-12," for example, shifts the

pitch of the selected voice down by one octave; a
setting of "+4" shifts the pitch up by a major
third. The maximum range is plus or minus two
octaves.
65
UTILITY SETUP
UTILITY SETUP
The UTILITY SETUP mode provides access to a range of basic utility functions that are
essential for general operation of the SY22.
67
UTILITY SETUP
Selecting the UTILITY SETUP Mode Selecting the UTILITY SETUP Mode Functions
From the VOICE or MULTI mode: The various UTILITY SETUP mode functions
can be selected in sequence by pressing the
[UTILITY SETUP] key, or by using the [-1/NO]
and [+1/YES] keys when the cursor ( )is
located immediately before the function name on
the upper display line.

[UTILITY SETUP].
A "U" will appear on the LED display to indi-
cate that a utility mode has been selected
68
UTILITY SETUP
Details: Tuning occurs in 3 or 4-cent steps. Since

100 cents equals one semitone, the overall tun-
ing range is approximately one semitone — i.e.
Summary: Tunes the overall pitch of the SY22 over plus or minus a quarter tone. Plus settings tune
approximately a 100-cent range. upward from normal pitch, and minus settings
tune downward. A setting of "0" produces nor-
Settings:-50 ...0...+50 mal pitch.

[+1/YES] keys to set the desired degree of
tuning.

[+1/YES] keys to set the desired degree of
Summary; Transposes the overall pitch of the SY22 transposition.
up or down in semitone steps.
Details: A setting of "-12," for example, trans-
Settings:-12 ...0...+12 poses down by one octave; a setting of "+4"
transposes up by a major third.
• Save cancel. "****SAVE NOW****" will appear on

the display while the operation is in progress,
and "»Completed!!«" will appear briefly
when the save operation has finished.
Summary: Saves all internal voice and multi-play Details: The SAVE operation can only be executed
data to a memory card. if the CARD parameter of the MEMORY
PROTECT function described on page 73 is
Settings: SAVE turned "off," and the WRITE PROTECT switch
Procedure: Use the [ ] key to move the cursor to of the MCD32 or MCD64 Memory Card loaded
the lower display line, then use the [-1/NO] and in into the CARD slot is turned "off."
[+1/YES] keys to select "SAVE." Now press When an MCD64 Memory Card is used, the
the [ ] key again and the "SAVE TO CARD?" bank to which the data is to be save can be
display will appear. Press the [+/YES] key to selected using the BANK function described on
start the save operation, or the [-1/NO] key to page 70.
69
UTILITY SETUP
Exercise caution when saving data to a memory Summary: Formats MCD64 or MCD32 Memory
card — the previous card data will be erased and Cards so that they can be used by the SY22 to
completely replaced by the saved data. save and load voice and multi-play data.
Refer to: Tutorial, page 12. Settings: FORMAT
•Load Procedure: Use the [ ] key to move the cursor to

the lower display line, then use the [-1/NO] and
[+1/YES] keys to select "FORMAT." Now
press the [ ] key again and the "FORMAT ?"
display will appear. Press the [+1/YES] key to
Summary: Loads voice and multi-play data from a start the format operation, or the [-1/NO] key to
memory card into the SY22 internal memory. cancel. "»Completed!!«" will appear briefly
when the format operation has finished.
Settings: LOAD
Details: Formatting can only be carried out if the
Procedure: Use the [ ] key to move the cursor to memory card WRITE PROTECT switch is
the lower display line, then use the [-1/NO] and turned OFF (refer to your MCD64 or MCD32
[+l/YES] keys to select "LOAD." Now press Memory Card instructions for details).
the [ ] key again and the "LOAD from CARD?"
display will appear. Press the [+1/YES] key to Refer to: Tutorial, page 12.
start the load operation, or the [-1/NO] key to
cancel. "****LOAD NOW****" will appear on •Bank
the display while the operation is in progress,
and "»Completed!!«" will appear briefly
when the load operation has finished.
Details: The LOAD operation can only be executed Summary: Selects bank 1 or bank 2 of a Yamaha
if the INTERNAL parameter of the MEMORY MCD64 type memory card prior to formatting or
PROTECT function described on page 73 is load/save operations.
turned "off."
When an MCD64 Memory Card is used, the Settings: 1,2
bank from which the data is to be loaded can be
selected using the BANK function described on Procedure: Use the [ ] key to move the cursor to
page 70. the lower display line, then use the [-1/NO] and
Exercise caution when loading data from a [+1/YES] keys to select "BANK." Now press
memory card — the corresponding internal SY22 t h e ] key again to move the cursor to the bank
data will be erased and completely replaced by number. Use the [-1/NO] and [+1/YES] keys to
the loaded data. select the desired bank.
Refer to: Tutorial, page 12. Details: MCD32 memory cards only have a single
bank, so bank 2 cannot be selected if this type of
•Format card is used. MCD64 memory cards allow
selection of bank 1 or 2. Each bank holds 64
voices and 16 multi-play setups.
70
UTILITY SETUP
appear on the lower line of the display. Press the

[+1/YES] to initialize or [-1/NO] to cancel the
initialize operation.
Summary: Initializes all parameters of the current "»Completed!!«" will appear briefly when
voice. the initialization is finished.
Settings: None. Details: When Voice Initialize is executed, the

voice parameters are initialized to the following
Procedure: After selecting the "INIT. VOICE" values:
display, press the [ ] key. "Are you sure?" will
Initial
A-B-C-D
Rev. Hall
1
2
off
on
off
off
0
off
0
0
30ms
1 0 0 End
2
50 STEP
50
30ms
1 0 0 End
2
50 STEP
50
000:PIANO:PIANO 151:OSC1 :sin8' 039:Str:Vn.Ens 152:OSC1 :sin4'

0 0 0 0
99 99 99 99
L--I--R L--I--R L--I--R L--I--R
2 2 2 2
0 0 0 0
92 92
0 0
0 0 0 0
16 16 16 16
0 0 0 0
99 99 99 99
20 20 20 20
71
UTILITY SETUP
PRESET PRESET PRESET PRESET

0 0 0 0
off off off off
67 0 90 0
99 92 97 92
99 99 64 99
99 92 95 92
0 0 32 0
0 92 95 92
26 0 0 0
60 76 52 76
2 1 4 1
3 1 2 1
The voice initialize function is useful if you want

to begin programming a voice "from scratch."
appear on the lower line of the display. Press the

[+1/YES] to initialize or [-1/NO] to cancel the
initialize operation.
Summary: Initializes all parameters of the current "»Completed!!«" will appear briefly when
multi-play setup. the initialization is finished.
Settings: None. Details: When multi-play Initialize is executed, the

multi-play setup parameters are initialized to the
Procedure: After selecting the "INIT. MULTI" following values:
display, press the [ ] key. Are you sure? will
SY22 MULTI INITIAL
Initial
Rev Hall
1
P12 DXIegend P37 RokOrgan P45 BrasSect P63 Strings P15 ltopia P67 Marimba P62 Syn Bass P88 Dr. Kit
1 2 3 4 5 6 7 16
99 99 99 99 99 99 99 99
0 0 0 0 0 0 0 0
C-2 C-2 C-2 C-2 C-2 C-2 C-2 C-2
G8 G8 G8 G8 G8 G8 G8 G8
0 0 0 0 0 0 0 0
The multi initialize function is useful if you want

to begin programming a voice "from scratch."
72
UTILITY SETUP
SY22 System Parameter

SETUP
MASTER TUNE 0
TRANSPOSE 0
CARD BANK 1
MIDI
MIDI on
BASIC Rcv.CH 1
TRANSMIT CH 1
LOCAL on
PROG.CHANGE off
CTRL.CHANGE off
AFTER TOUCH off
PITCH BEND off
EXCLUSIVE off
Details: When INT memory protection is "on," the

internal memory is protected and voice store
operations to the internal memory cannot be
Summary: Turns internal or card memory protection carried out. The same applies to card memory:
on or off. when protection is "on" memory card save
operations will be blocked even if the memory
Settings: INT: on, off card WRITE PROTECT switch is turned OFF.
CARD: on, off
select the INT or CARD parameter. Use
[-1/NO] and [+1/YES] keys to turn memory
protection on or off.
73
UTILITY SETUP
74
UTILITY RECALL
UTILITY RECALL
The UTILITY RECALL mode accesses the VOICE or MULTI recall function, depending on
whether the VOICE or MULTI play mode is selected when the RECALL function is called.
RECALL makes it possible to recover a voice or multi-play setup that has been "lost"
through failure to store the voice or multi-play setup prior to selecting a different voice or
multi-play setup.
75
UTILITY RECALL
Selecting the UTILITY RECALL Mode From another edit or utility mode simply press
From the VOICE or MULTI mode: [UTILITY RECALL].
A "U" will appear on the LED display to indi-
cate that a utility mode has been selected
76
UTILITY RECALL
Details: Even if you've exited the edit mode and

called a different voice or multi-play setup, this
function will recall the last voice or multi-play
Summary: Recalls the last voice or multi-play setup setup edited with all parameters as they were at
edited from the SY22 edit buffer memory. the time the edit mode was exited.
Settings: None
Procedure: The "RECALL VOICE" function is

selected if called from the VOICE play mode,
while "RECALL MULTI" function is selected if
called from the MULTI play mode. "Are you
sure?" appears on the lower display line. Press
the [+1/YES] key to recall or [-1/NO] to cancel
the recall operation.
77
UTILITY RECALL
78
UTILITY MIDI
UTILITY MIDI
The UTILITY MIDI mode provides access to all of the SY22's MIDI control functions.
79
UTILITY MIDI
Selecting the UTILITY MIDI Mode

From the VOICE or MULTI mode:
Selecting the UTILITY MIDI Mode Functions

The various UTILITY MIDI mode functions can
be selected in sequence by pressing the
[UTILITY MIDI] key, or by using the [-1/NO]
and [+1/YES] keys when the cursor ( )is
located immediately before the function name on
From another edit or utility mode simply press the upper display line.
[UTILITY MIDI].
A "U" will appear on the LED display to
indicate that a utility mode has been selected.
80
UTILITY MIDI
Details: MIDI control can be turned "off to

prevent unwanted interference from external
MIDI devices connected to the SY22, and/or to
Summary: Turns all MIDI control functions on or off. prevent the SY22 from affecting operation of the
external equipment.
Settings: on, off

and [+1/YES] keys to turn MIDI control on or
off.
and [+1/YES] keys are used to select the

desired MIDI channel or the omni mode.
Summary: Sets the SY22 MIDI receive channel to Details: When the SY22 is to receive data from an
any channel between 1 and 16, or the "omni" external MIDI device such as a sequencer, make
mode for reception on all channels. sure that the SY22 MIDI receive channel is
either set to the channel that the external device
Settings: 1 ... 16, omni is transmitting on, or the omni mode.
Procedure: Use the [ ] cursor key to move the

cursor to the lower display line. The [-1/NO]
Details: The MIDI transmit channel job is used

primarily to match the transmit channel of the
SY22 with the receive channel of an external
Summary: Sets the MIDI transmit channel for the MIDI device being driven by the SY22. When a
SY22. multi-play setup is selected, however, the MIDI
transmit channel setting also determines which
Settings: 1 ... 16. of the setup's voices is played via the SY22
keyboard.
and [+1/YES] keys to select the desired MIDI
transmit channel number.
81
UTILITY MIDI
Details: Normally, local control will be turned "on"

so that the SY22 keyboard plays its own inter-
nal tone generator system. If you want to control
Summary: Determines whether the SY22 keyboard an external MIDI tone generator or other device
controls the internal tone generator system or from the SY22 keyboard without playing the
not. internal tone generator, turn local control "off."
One possibility is to drive the SY22 tone
Settings: on, off. generator system from an external sequencer
while independently playing a separate external
tone generator from the SY22 keyboard.
and [+1/YES] keys to turn local control on or off.
change messages will be transmitted by the

SY22 when one of its voices are selected.
In the "common" mode, program change num-
Summary: Determines how the SY22 will respond bers 0 through 63 received from external equip-
to MIDI program change messages for remote ment will select SY22 voices 1.1 through 8.8,
voice/multi selection. and program change numbers 64 through 79
select multi-play setups 1.1 through 2.8. The
Settings: off, common, individual card, internal or preset voice banks cannot be
selected via MIDI control. The corresponding
Procedure: Use the [ ] cursor key to move the program change number will also be transmitted
cursor to the lower display line. The [-1/NO] by the SY22 when one of its voices are selected.
and [+1/YES] keys are used to select the The "individual" mode allows individual voice
desired MIDI program change mode. selection for each multi-play part when the
Details: The "off setting turns MIDI program MULTI play mode is active. Program change
change reception and transmission off, so MIDI between 0 and 63 received in a specific MIDI
program change messages received from exter- channel will change only the voice for the multi-
nal equipment will not cause the corresponding play part assigned to that channel.
SY22 voice to be selected, and no program
Summary: Determines whether or not the SY22 will

receive and transmit MIDI control change
messages.
Settings: off, on
82
UTILITY MIDI
Procedure: Use the [ ] cursor key to move the control change messages corresponding to
cursor to the lower display line. The [-1/NO] modulation, pitch, volume and other functions
and [+1/YES] keys are used to turn control will be ignored by the SY22 when received, and
change reception/transmission on or off. the SY22 will not transmit any control change
messages.
Details: The "off setting turns MIDI control
change reception and transmission off so that
Details: When after touch is turned "off," internal

SY22 after touch will function normally but no
MIDI after touch data will be transmitted or
Summary: Turns keyboard after touch on or off. received.
Keyboard after touch generates a tremendous
Settings: on, off. amount of MIDI data, so you might want to turn
after touch "off when recording to a MIDI
Procedure: Use the [ ] cursor key to move the cur- sequencer in order to preserve memory capacity.
and [+1/YES] keys to turn after touch on or off.
and [+1/YES] keys to turn pitch bend control on

or off.
Summary: Turns pitch bend control on or off. Details: When pitch bend control is turned "off,"
the SY22 pitch bend wheel will function normally
Settings: on, off. but no MIDI pitch bend wheel data will be trans-
mitted or received.

and [+1/YES] keys to exclusive transmis-
Summary: Turns transmission/reception of MIDI sion/reception on or off.
system exclusive data on or off.
Settings: on, off.
83
UTILITY MIDI
Details: MIDI system exclusive data is transmitted previous data. This function can be turned "off
by the SY22 when one of the voice transmit to prevent accidental erasure of the internal
functions described below is used. The same memory, or the memory of external equipment,
type of data will also be automatically loaded do to mistaken data reception or transmission.
into the SY22 memory when received from a
second SY22 or other MIDI device, thus erasing
Details: This function is useful for transferring all

the voice and multi-play data from one SY22 to
another. If the MIDI OUT of the transmitting
Summary: Initiates MIDI bulk transmission of all SY22 is connected to the MIDI IN of the receiv-
voice and multi-play data. ing SY22 via a MIDI cable, the receiving unit
will automatically receive and load the data as
Settings: None long as its internal memory protect function is
turned "off and EXCLUSIVE ON/OFF is
Procedure: Use the [ ] key to move the cursor to turned "on." Another possibility is to transfer
the lower display line. "Are you sure?" will the data to a MIDI bulk data storage device for
appear on the display. Press the [+1/YES] key long-term storage.
to begin transmission, or the [-1/NO] key to
cancel. "Transmitting!!" will appear on the dis-
play during transmission, and
">>Completed!!<< will appear briefly when
transmission has finished.
"Transmitting!!" will appear on the display dur-

ing transmission, and ">>Completed!!<< will
appear briefly when transmission has finished.
Summary: Initiates bulk transmission of the data for
a specified SY22 voice. Details: Like the ALL V/M TRANSMIT function
described above, the 1 VOICE TRANSMIT
Settings: Source: I, C, P function is ideal for transferring voice from one
Bank: 1 ... 8 SY22 to another, or to a MIDI bulk storage
Number: 1 ... 8 device for long-term storage.
In this display the source, bank and number
Procedure: Use the [ ] and [ ] cursor keys are parameters are shown in the standard SY22
used to move the cursor to the source, bank, or voice number format. "P12," for example, is
number parameter. Use the [-1/NO] and preset bank 1, number 2; "I35" is internal bank
[+1/YES] keys to set the selected parameter as 3, number 5, etc.
necessary. When the desired voice number has
been selected, move the cursor to the Yes/No?
parameter and press the [+1/YES] key to begin
transmission.
84
APPENDIX
85
APPENDIX
K e y b o a r d : 61 keys, initial and after-touch Connectors: DC 10V-12V IN; PHONES; OUTPUT

response. R & L/MONO, FOOT VOLUME, SUSTAIN.
Tone Generator Systems: AWM (Advanced MIDI Connectors:

Wave Memory) & FM (Frequency Modulation). IN, OUT, THRU.
Internal Memory: Power requirements:

Wave ROM; 128 preset AWM & 256 preset DC10-12V, 500mA
FM waveforms.
Preset ROM; 64 preset voices. Dimensions (W x H x D):
Internal RAM; 64 user voices. 976 x 285 x 93 mm (37-7/8" x 11-1/4" x 3-5/8")
External Memory: Voice & Multi data; MCD64 or Weight: 6.8 kg (14 Ibs 16 oz)
MCD32 memory cards + write & read.
Displays:
16-character x 2-line backlit LCD.
7-segment 2-digit LED display.
Controls: VOLUME, VECTOR CONTROL, PITCH

BEND, MODULATION.
Key & Switches: POWER; VECTOR PLAY ON/
OFF, LEVEL/DETUNE; CURSOR and ;
MODE VOICE and MULTI; -1/NO and
+1/YES; EDIT/ UTILITY/COMPARE; STORE;
INTERNAL, CARD, PRESET; BANK 1-8
(VOICE COMMON and VECTOR; ELEMENT
TONE and ENVELOPE; MULTI; UTILITY
RECALL, SETUP and MIDI); NUMBER/
MULTI PART SELECT 1-8 (ELEMENT
SELECT A-D, ELEMENT ON/OFF A-D);
DEMO.
87
ERROR MESSAGES
Things do go wrong from time to time, and people do make mistakes. When an error occurs, the SY22 will usually
display a message that describes the type of error so you can easily take steps to rectify the problem. The follow-
ing are quick summaries of the SY22 error displays.
The currently loaded memory card is not properly

formatted for use with the SY22.
You have attempted to execute an operation that

will after the card or internal memory, but the v=card
and/or internal memory protect function is turned
The currently loaded memory contains no data or ON.
data that is not recognizable by the SY22.
An MCD32 type memory card is loaded but card

You have attempted to execute a memory card- bank 2 is selected (MCD32 cards only have a single
related operation but no card is inserted in the bank — BANK 1 — so it is necessary to select
CARD slot. bank 1 if this display appears).
Unrecognizable MIDI bulk data has been received

by the SY22.
88
-1/NO and +1/YES Keys After Touch Sensitivity 33,47
3,13,30,36,42,52,61,68, 80 Copy 45
Frequency Shift 45
Pan 46
A Tone 47
After Touch Velocity Sensitivity 46
Amplitude Modulation 33 Volume 46
Level Control 33
Pitch Modulation 33
Pitch Control 33 F
Amplitude Modulation 32 FM Synthesis 14
AWM (Advanced Wave Memory) 14 Foot Volume Jack 6
B K
Bank Select & Edit/Utility Mode Keys 4,12-13 Keyboard 3
C L
Card Slot 6,12,69 LED Display 4
Compare Function 30,36,42,52,61 LFO (Low Frequency Oscillator)
Cursor Keys 3 AM Depth 32,33,48
PM Depth 32, 33,48
Type 48
D Delay 32,33,49
DC 10V-12V in Jack 5,9 Rate 32,33,49
Demo Key 4,10 Speed 49
Drum Kit Voice 19 Liquid Crystal Display 4
E M
Edit/Utility/Compare Key Master Tune 69
3,20,24,30,36,42,52,61,68, 80 Memory Card 6,12,69
Envelope Memory Keys (Internal, Card, Preset) 4,11-12
Attack (Level & Rate) 33,55 Memory Protect 22,73
Copy 54 MIDI
Delay (Delay Rate & Element On/Off) 54 1 Voice Transmit 84
Decay 1 (Level & Rate) 55 After Touch On/Off 83
Decay 2 (Level & Rate) 55 All Voice & Multi Transmit 84
Global Attack 33 Basic Receive Channel 81
Global Release 33 Control Change 82
Initial Level 33,54 Exclusive On/Off 83
Level Scaling 56 In, Out and Thru Connectors 6
Release Rate 33,56 Local Control On/Off 82
Rate Scaling 57 On/Off 81
Type 25, 33, 53 Program Change 82
Element Pitch Bend On/Off 83
89
Transmit Channel 81 S
Modulation Wheel 3, 32,48,49, 83 Store Key 4,23
Multi Key & Indicator 3,60-61 Sustain Jack 6
Multi Play Mode 59-61
Detune 64
Effect Type & Depth 62 T
Initialize 72 Transpose 69
MIDI Receive Channel 63 Tutorial Section, What's In the 1
Name 62
Note Limit 64
Note Shift
Recall
64
75-77
V
Vector
Sequencer System 60 Control 3,11,14-21
Split Keyboard Setups 60 Detune Speed 21,39
Voice Number Assignments 62 Detune Record 21,39
Volume 63 Detune Edit (Step, X-Axis, Y-axis & Time)
21-23,39
Level Speed 20,37
N Level Record 21,37
Number/Multi Part Select Keys 4,12-13,61 Level Edit (Step, X-Axis, Y-axis & Time)
21-23,37
Play Keys & Indicators 3,15
O Voice
Output R & L/Mono Jacks 6 Configuration 14,31
Effect Depth 31
Effect Type 13,16-19,31
P Initialize 71
Phones Jack 5 Key & Indicator 3,12,22
Pitch Bend Wheel 3,32, 83 Name 23,31
Pitch Modulation 32 Preset List 11,16-19
Power Switch 5 Volume Control 3,9
Precautions 2
W
R Wave
Random AWM List 43
Detune 24,34 FM List 44
Element 24,34 Type 14,16-19,43
Level 24,34
Reference Section, What's In the 1
90
APPENDIX
O DATA FORMAT
(1) MIDI reception conditions
(2) MIDI transmission conditions
91
APPENDIX
(3) Channel Messages

3.1 Note On/Off
VOICE $00 $01 $02 $03 $04 $05 $06 $07
Transmission: $08 $09 $0A $0B $0C $0D $0E $0F
Note range = C1($24)~C6($60) $11 $12 $13 $14 $16 $17
$10 $15
Velocity range = 0~$7F (0: note off)
$18 $19 $1A $1B $1C $1D $1E $1F
$9n, note, $00 for note off and $8n is not transmitted.
$20 $21 $22 $23 $24 $25 $26 $27
Reception: $28 $29 $2A $2B $2C $2D $2E $2F
Note range = C-2($00)~G8($7F) $30 $31 $32 $33 $34 $35 $36 $37
Velocity range = 0~$7F $38 $39 $3A $3B $3C $3D $3E $3F
MULTI $40 $41 $42 $43 $44 $45 $46 $47
$48 $49 $4A $48 $4C $4D $4E $4F
3.2 Control Change
MODULATION WHEEL and VECTOR CONTROL is possible
to set transmission/reception on/off by the utility control change Reception:
on/off. The above program change Nos. are accepted. Other Nos. are
Transmission: ignored.
Output to MIDI through the transmit channel when the follow-
ing controller is operated irrespective of the play, edit, etc.
mode. 3.4 Pitch Bend
It is possible to set transmission/reception on/off by the
utility pitch bend on/off.
$Bn,$01,$w w = 0~$7F Transmission:
$Bn,$40, $w off:w=0, on:w=$7F
Transmitted at 7-BIT resolution.
Reception:
$Bn,$10,$w w=0~$7F Operates by 7 BIT on the MSB side only. The LSB side is
$Bn,$11,$w w=0~$7F ignored.
VECTOR CONTROL is transmitted only if the VECTOR

PLAY ON/OFF switch on the panel is on. 3.5 After Touch
Reception: It is possible to set transmission/reception on/off by the
The following parameters are accepted by MIDI. utility after touch on/off.
Channel mode message
Reception:
$Bn,$01,$w w=0(WHEEL:MIN)~ With the following codes, receive is possible in each of the
$7F(WHEEL:MAX)
voice and multi modes and the corresponding channel process
$Bn,$40,$w w=0~$3F:SUS OFF, is performed.
w=$40~$7F:SUS ON
Not accepted if OMNI ON, however.
$Bn,$07,$w The NOTE OFF process is restricted to the MIDI input NOTE
$Bn,$10,$w Depends on the panel only.
$Bn,$11,$w [VECTOR PLAY ON/ ALL NOTE OFF $Bn, $7B, $00
OFF] and [LEVEL/
DETUNE] status. RESET ALL CONTROLLER $Bn, $79, $00
(4) System Common Message
At statuses $F1~$F6, nothing is done.
3.3 Program Change At status $F7, "END OF SYSTEM EXCLUSIVE".
It is possible to set transmit/receive on/off by the utility pro- (5) System Realtime Message
gram change on/off.
Transmission:
Transmission: $FE is transmitted about every 270 msec,
The voice and multi Nos. and the program change Nos. corre-
spond to each other as shown below. Reception:
If no signal comes from MIDI for about 300 msec or more after
once receiving $FE, the MIDI receive buffer is cleared and the
MIDI KEY ON is turned OFF.
92
APPENDIX
(6) System Exclusive Messages 4.3.1 VOICE BULK REQUEST

4.1 1 VOICE BULK DUMP Reception:
The request signal of the above Item 4.1. However, the data
Transmission: transmitted by this request is the timbre No. sounded at VOICE
The voice data set by input is transmitted. instead of being the one set as specified in Item 4.1.
Reception: Format:
The received data is saved in the voice edit buffer. $F0 %11110000 Status
$43 %01000011 Yamaha
Format: $2n %0010nnnn n-Receive channel
$F0 %11110000 Status $7E %01111110
$43 %01000011 Yamaha $50 %01010000 ASCII P
$0n %0000nnnn n-Receive or Transmit channel $4B %01001011 ASCII K
$7E %01111110 $20 %00100000 ASCII _
$06 %0nnnnnnn BYTE Count (MSB) $20 %00100000 ASCII _
$21 %0nnnnnnn BYTE Count (LSB) $32 %00110010 ASCII 2
$50 %01010000 ASCII P $32 %00110010 ASCII 2
$4B %01001011 ASCII K $30 %00110000 ASCII 0
$20 %00100000 ASCII _ $33 %00110011 ASCII 3
$20 %00100000 ASCII _ Byte count shows this area. $41 %01000001 ASCII A
$32 %00110010 ASCII 2 $45 %01000101 ASCII E
$32 %00110010 ASCII 2 $F7 %11110111 EOX
$30 %00110000 ASCII 0
$33 %00110011 ASCII 3
$41 %01000001 ASCII A
$45 %01000101 ASCII E 4.4 ALL V/M BULK REQUEST
$dd %0ddddddd
1 VOICE DATA Reception:
$dd %0ddddddd
$ee %0eeeeeee CHECK SUM The request signal of the above Item 4.2.
$F7 %11110111 EOX
Format:
$F0 %11110000 Status
$43 %01000011 Yamaha
4.2 ALL V/M BULK DUMP $2n %0010nnnn n-Receive channel
$7E %01111110
Transmission: $50 %01010000 ASCII P
All the internal voice and multi data is transmitted. $4B %01001011 ASCII K
$20 %00100000 ASCII _
Reception: $20 %00100000 ASCII _
$32 %00110010 ASCII 2
The received data is internally saved. $32 %00110010 ASCII 2
$30 %00110000 ASCII 0
Format: $33 %00110011 ASCII 3
$56 %01010110 ASCII V
$F0 %11110000 Status
$40 %01001101 ASCII M
$43 %01000011 Yamaha $F7 %11110111 EOX
$0n %0000nnnn n-Receive or Transmit channel
$7E %01111110
$18 %0nnnnnnn BYTE Count (MSB)
$66 %0nnnnnnn BYTE Count (LSB)
$50 %01010000 ASCII P
$4B %01001011 ASCII K
$20 %00100000 ASCII _
$20 %00100000 ASCII _ Byte count shows this area.
$32 %00110010 ASCII 2
$32 %00110010 ASCII 2
$30 %00110000 ASCII 0
$33 %00110011 ASCII 3
$56 %01010110 ASCII V
$4D %01001101 ASCII M
$dd %0ddddddd
VOICE DATA
$dd %0ddddddd (00-03)
$ee %0eeeeeee CHECK SUM
-----100 msec WAIT------------------------------------------------
$5C %0nnnnnnn BYTE Count (LSB)
$dd %0ddddddd
VOICE DATA
$dd %0ddddddd (04-07)
-----100 msec WAIT------------------------------------------------
Voice data is transmitted as divided per 4 timbres as shown above.
A time interval of a minimum of 100 msec is always allocated
between them.
-----100 msec WAIT-----------------------------------------------
$00 %0nnnnnnn BYTE Count (LSB)
$dd %0ddddddd
MULTI DATA
$dd %0ddddddd (00~15)
$F7 %11110111 EOX
93
YAMAHA [ Digital synthesizer ] Date : 1/07 1 9 9 0
Model SY22 MIDI Implementation Chart Version : 1 . 0
Transmitted Recognized Remarks
Function
Basic Default 1-16 1-16 memorized

Channel Changed 1-16 1-16
Default 3 1, 3 memorized
Mode Messages X X
Altered X
Note 36-96 0 -127
Number : True voice 19-114
Velocity Note on 0 9nH,v=1-127 0 v=1-127
Note off X 9nH,v=0 X
After Key's X X
Touch Ch's 0 0
Pitch Bender 0 0 0-12 semi 7bit resolution
1 0 0 Modulation wheel
7 X 0 Volume
Control
16 0 0 Vector control X
Change
17 0 0 Vector control Y
64 0 0 Sustain
Program 0 0-79 0 0-79

Change : True # 0-79
System Exclusive 0 0
System Song Pos X X

Song Sel X X
Common Tune X X
System :Clock X X
Real Time:Commands X X
Aux :Local ON/OFF X X

: A l l Notes OFF X 0 (123)
Mes- :Active Sense 0 0
sages:Reset X X
Notes : = transmit/receive if control change sw is on.

= transmit/receive if pitch bend sw is o n .
= transmit/receive if after touch sw is on.
= transmit/receive if exclusive sw is on.
Mode 1 : OMNI O N , POLY Mode 2 : OMNI O N , MONO 0 : Yes

Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO X : No
IMPORTANT
SAFETY AND INSTALLATION INSTRUCTIONS
INFORMATION RELATING TO POSSIBLE PERSONAL INJURY, ELECTRIC SHOCK, AND
FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST.
WARNING — When using electronic products, basic pre- this purpose and observe all safety precautions sup-
cautions should always be followed, including the plied with the products. Pay special attention to cau-
following: tions that relate to proper assembly, heavier units
1. Read all Safety and Installation Instructions, Supple- being mounted at the lower levels, load limits, mov-
mental Marking and Special Message Section data, and ing instructions, maximum usable height and
any applicable assembly instructions BEFORE using ventilation.
this product. 10. Yamaha Digital Musical Instrument products, either
2. Check unit weight specifications BEFORE you alone or in combination with amplification, head-
attempt to move this product. phones, or speakers, may be capable of producing sound
3. Main power supply verification. Yamaha Digital levels that could cause permanent hearing loss. Do
Musical Instrument products are manufactured NOT operate at high volume levels or at a level that is
specifically for use with the main supply voltage used uncomfortable. If you experience any discomfort, ring-
in the area where they are to be sold. The main supply ing in the ears, or suspect any hearing loss, you should
voltage required by these products is printed on the consult an audiologist.
name plate. For name plate location please refer to the 11. Do NOT use this product near water or in wet
graphic in the Special Message section. If any doubt environments. For example, near a swimming pool,
exists please contact the nearest Yamaha Digital spa, in the rain, or in a wet basement.
Musical Instrument retailer. 12. Care should be taken so that objects do not fall, and
4. Some Yamaha Digital Musical Instrument products liquids are not spilled into the enclosure.
utilize external power supplies or adapters. Do NOT 13. Yamaha Digital Musical Instrument products should
connect products of this type to any power supply or be serviced by a qualified service person when:
adapter other than the type described in the owners a. The power supply/power adapter cord or plug has been
manual or as marked on the unit. damaged; or
5. This product may be equipped with a plug having three b. Objects have fallen, or liquid has been spilled into the
prongs or a polarized line plug (one blade wider than product; or
the other). If you are unable to insert the plug into the c. The unit has been exposed to rain; or
outlet, contact an electrician to have the absolete out- d. The product does not operate, exhibits a marked change
let replaced. Do NOT defeat the safety purpose of the in performance; or
plug. Yamaha products not having three prong or e. The product has been dropped, or the enclosure of the
polarized line plugs incorporate construction methods product has been damaged.
and designs that do not require line plug polarization. 14. When not in use, always turn your Yamaha Digital
6. WARNING — Do NOT place objects on the power Musical Instrument equipment "OFF". The power
cord or place the unit in a position where any one could supply cord should be unplugged from the outlet
walk on, trip over, or roll anything over cords of any when the equipment is to be left unused for a long
kind. An improper installation of this type can create period of time. NOTE: In this case, some units may
the possibility of a fire hazard and/or personal injury. lose some user programmed data. Factory programmed
7. Environment: Your Yamaha Digital Musical Instru- memories will not be affected.
ment should be installed away from heat sources such 15. Electromagnetic Interference (RFI). Yamaha Digital
as heat registers and/or other products that produce Musical Instruments utilize digital (high frequency
heat. pulse) technology that may adversely affect Radio/TV
8. Ventilation: This product should be installed or posi- reception. Please read FCC Information (rear cover)
tioned in a way that its placement or location does not for additional information.
interfere with proper ventilation. 16. Do NOT attempt to service this product beyond that
9. Yamaha Digital Musical Instrument products are described in the user maintenance section of the owners
frequently incorporated into "Systems" which are manual. All other servicing should be referred to
assembled on carts, stands, or in racks. Utilize only qualified service personnel.
those carts, stands, or racks that have been designed for
PLEASE KEEP THIS MANUAL

FOR FUTURE REFERENCE!
SPECIAL MESSAGE SECTION
ELECTROMAGNETIC INTERFERENCE (RFI): Your You should note the model, serial number and the date of
Yamaha Digital Musical Instrument Proapplicable regu- purchase in the spaces provided below and retain this
lations. However, if it is Installed in the immediate manual as a permanent record of your purchase.
proximity of other electronic devices, some form of inter-
ference may occur. For additional RFI information see
FCC Information section located in this manual.
IMPORTANT NOTICE: This product has been tested and

approved by independent safety testing laboratories in
order that you may be sure that when it is properly
installed and used in its normal and customary manner, all
foreseeable risks have been eliminated. DO NOT modify
this unit or commission others to do so unless specifically
authorized by Yamaha. Product performance and/or safety
standards may be diminished. Claims filed under the STATIC ELECTRICITY CAUTION: Some Yamaha
expressed warranty may be denied if the unit is/has been Digital Musical Instrument products have modules that
modified. Implied warranties may also be affected. plug into the unit to perform various function. The con-
tents of a plug-in module can be altered/damaged by static
SPECIFICATIONS SUBJECT TO CHANGE: The infor- electricity discharges. Static electricity build-ups are more
mation contained in this manual is believed to be correct at likely to occur during cold winter months (or in areas
the time of printing. Yamaha reserves the right to change with very dry climates) when the natural humidity is low.
or modify specifications at any time without notice or To avoid possible damage to the plug-in module, touch any
obligation to update existing units. metal object (a metal desk lamp, a door knob, etc.) before
handling the module. If static electricity is a problem in
NOTICE: Service charges incurred due to a lack of knowl- your area, you may want to have your carpet treated with a
edge relating to how a function or effect works (when the substance that reduces static electricity build-up. See your
unit is operating as designed), are not covered by the manu- local carpet retailer for professional advice that relates to
facturer's warranty. Please study this manual carefully your specific situation.
before requesting service.
Model ___________________________
NAMEPLATE LOCATION: The graphic below indicates
the location of the Name Plate on your Yamaha Digital Serial No. _________________________
Musical Instrument. The Model, Serial Number, Power
requirements, etc., are Indicated on this plate. Purchase Date _______________________
FCC INFORMATION
While the following statements are provided to comply with FCC Regulations in the United States, the corrective measures listed below are
applicable worldwide.
This series of Yamaha professional music equipment uses frequencies that appear in the radio frequency range and if installed in the imme-
diate proximity of some types of audio or video devices (within three meters), interference may occur. This series of Yamaha professional
music equipment has been type tested and found to comply with the specifications set for a class B computing device in accordance with
those specifications listed in subpart J of part 15 of the FCC rules. These rules are designed to provide a reasonable measure of protection
against such interference. However, this does not guarantee that interference will not occur. If your professional music equipment should be
suspected of causing interference with other electronic devices, verification can be made by turning your professional music equipment off
and on. If the interference continues when your equipment is off, the equipment is not the source of interference. If your equipment does
appear to be the source of the interference, you should try to correct the situation by using one or more of the following measures:
Relocate either the equipment or the electronic device that is being affected by the interference. Utilize power outlets for the professional
music equipment and the device being affected that are on different branch (circuit breaker of fuse) circuits, or install AC line filters.
In the case of radio or TV interference, relocate the antenna or, if the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial
type cable.
If these corrective measures do not produce satisfactory results, please contact your authorized Yamaha professional products dealer for
suggestions and/or corrective measures.
If you cannot locate a franchised Yamaha professional products dealer in your general area contact the Electronic Service Division, Yamaha
Corporation of America, 6600 Orangethorpe Ave., Buena Park, CA 90620, U.S.A.
If for any reason, you should need additional information relating to radio or TV interference, you may find a booklet prepared by the
Federal Communications Commission helpful: "How to Identify and Resolve Radio-TV Interference Problems". This booklet is available
from the U.S. Government Printing Office, Washington D.C. 20402 - Stock No. 004-000-00345-4.
SERVICE
This product is supported by YAMAHA's worldwide network
of factory trained and qualified dealer service personnel. In
the event of a problem, contact your nearest YAMAHA
dealer.
YAMAHA
YAMAHA
Yamaha Corporation of America
6600 Orangethorpe Avenue, P.O. Box 6600, Buena Park, CA 90622-6600

SY22 - Operating Manual

Uploaded by

Copyright:

Available Formats

SY22 - Operating Manual

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

SY22 - Operating Manual

Uploaded by

Copyright:

Available Formats

AUTHORIZED

HOW TO USE THIS OPERATING PRECAUTIONS ..........................................................2

UTILITY SETUP..................................................... 67 APPENDIX............................................................... 85

1. SETTING UP YOUR SYSTEM [Page 9]

We recommend that you go through the tutorials in sequence while actually

1. VOICE COMMON [Page 29]

[VECTOR CONTROL] VOLUME Control

[BANK] Select and Edit/Utility Mode Access [DEMO] Key

[POWER] Switch Slide to the "ON" position to turn power ON.

2. Turn on the SY22.

3. Turn on the sound system.

4. Raise the sound system volume to a reasonable level.

VOICE & VECTOR CONTROL

NUMBER/MULTI PART SELECT

The displays should look something like this:

To select a different number within the same bank it is only necessary to

4. Play the keyboard.

The [VECTOR CONTROL] can then be used to control the selected

PRESET VOICE Performance Note

LEVEL VECTOR DETUNE VECTOR

LEVEL VECTOR DETUNE VECTOR

LEVEL VECTOR DETUNE VECTOR

Vectors are recorded by "sampling" the position of the [VECTOR CON-

Detune Vectors: Although you've just recorded a dynamic level vector,

4. If necessary, select the destination memory by pressing the [INTERNAL]

6. Press [+1/YES] to execute the store operation, or [-1/NO] to cancel. The

2. Enter the VOICE COMMON edit mode by pressing the [EDIT/UTILITY]

Procedure: Use the and cursor keys to

Details: In the 2-element "A-B" configuration, ele-

Summary: Selects one of sixteen digital effects, and

Settings: Effect type: Depth: 0...7

Details: Each increment from "0" to "12" repre-

to be assigned to produce either or both. This is

When after touch is assigned to amplitude or

Details: Although much more detailed envelope

Details: This function is actually a very useful

LEVEL SPEED (Vector Rate) 37

path followed by the vector control. This function

begin as soon as you play a key on the key-

Step Settings: 1 ... 50

Procedure: Use the and cursor keys to

Details: Step 1 is the first step recorded and step Time

Settings: 1 ... 254, Repeat, End

Procedure: Use the and cursor keys to

Refer to: Tutorial, page 21-24.

Details: Each automatic vector sweep is composed

board. When you release the key or when all 50

Step value on the lower display line (Step). Use the

X-axis & Y-axis Time

Xaxis D C Refer to: Tutorial, page 21-24.

Refer to: Tutorial, page 21-24.

From another edit or utility mode simply press

The COMPARE Function

parameter on the lower display line to directly

AWM WAVEFORM LIST

AWM Waveform Category Descriptions

FM Voice Category Descriptions

Press the cursor key one more time and the

Details: A setting of "-12," for example, shifts the

[+1/YES] keys to select the desired volume

• Save cancel. "SAVE NOW" will appear on