If you put yourdrum soundson separate tracks,they'll come out on separate MIDI channels. You could "prototype" thepercussion on one track, then use the Extract Events Job to sort thedifferent sounds to different tracks.
You can't reassigndrumsounds within a kit, though you can tweak some ofthe sounds in each one. One kit is GM compatible, the other 19 or soarevariations on it (Electro, Jazz, etc).
You need to setthe trackto use DS1, DS2, or DS3 asits intrument. DS1 & DS2 are only for song tracks, and DS3 isonlyfor pattern tracks. You have to skip all the way past all the drum kitsto select DSx for your track. Then within the Drum Voice editor, youselect which kit you want to start with. There's a little picture of akeyboard; you can edit only those sounds with a dot on thecorresponding key.
Many of thewavetable soundsare stereo. For example,the piano sound where the lower keys are panned left and the high keysare panned right. I think that all the sounds that end in "K" arepanned this way (all bank 1 sounds are "Key Scale Panning"). A few ofthe other sounds are stereo, like "S.Strings", "S.SlwStr", "S.Choir",and one of my favorites "StBrsSec" (bank 3 sounds).
But as was alreadymentioned, the Chorus, Reverb, andVariation effects sound great in stereo. A cool combination for thosewho like the Hammond+Leslie organ sound is to take an organ sound (oneof the more vanilla ones) and send it through the Rotary SpeakerVariation effect. You can then use the AC1 (controller 16) to changethe speed of the rotary effect.
Other great stereoeffects are the Delaysand a really trippy one - the Auto Pan. Try the LTurn and RTurnsettings of the PAN Direction parameter - sounds 3d!
Try setting thepan for a track to zero (Random).Especially with staccatto high pitched notes (rapid fire is great),you'll get a sensation of being immersed in a rainfall of notes.
I can think ofno reasonto switch to a computer, just becauseyou've added external equipment to your QY. I use an external keyboardcontroller, a PC1600x slider box, and an external synth. Alsooccasionallya drumpad to MIDI box.
There are manyinterestingprograms out there, none specifically for the QY70, but several whichare very useful with it.
You already ownQYFiler, which comes with the QY70. Ifind it very handy for periodically backing up my QY70, splitting outindividual songs to MIDI files, etc.
XGEdit isshareware, can be found at yamaha.co.uk, I believe, or perhaps alink away. It's a general purpose XG parameter editor. I haven'tactuallytried it, but I hear it's good.
XGWorks isactually made by Yamaha, downloadable from yamaha.co.uk ($80,free demo). It's a combination XG editor and sequencer. The sequenceruserinterface is something like Cakewalk. The XG editor is menus, buttons,etc.I've tried it briefly, and it's pretty good.
As far as I know,neither program will let you embed continuous CHANGES toXG parameters in a song. By that I mean, you can't make your soundmorph asthe song plays. The best way to do that is with a real PC1600x, usingtheQY as sequencer.
You might alsolook at
It lets you do CC sweeps with your joystick.VMIDIJoy lets you plug ina joystick and create MIDI data byswirling it around and pushing the buttons.
lets you connect MIDI applications to each otherinsidethe computer, using virtual MIDI cables.
lets you take MIDI data on either virtual orphysicalcables, and merge it, split it, or filter it. Also check out theirarpeggiator for some real insanity!
There is a QY-Filerutilitysupplied with your QY70,in both Mac and PC versions. It lets you doMIDI->QY->MIDIconversions in a jiffy. Be aware that patterns don't translate to MIDI,so you have to expand 'em before sucking them out of your QY. I useQY-Filer very often, to make backup bulk dumps of my entire QY70. Takesless than a minute, and it's real peace of mind. I've needed to go backto these bulk dumps on more than one occasion. QYFiler also lets youhandle songs separately and convert to/from standard MIDI files.
No need to mess withthe 8-pinmini-DIN. I actually did buy a Mac-to-modemcable, and a gender changer, but realized this would be foolish to messwith(installing drivers, swapping genders, flipping the switch betweenPC1/PC2on the QY). Too many variables. Here's the easy way:
Get one of thosesoundcard-to-MIDI cables (about $20 at most music storesand computer stores). Plug it in and you're done, with no fuss. Worksbeautifully with QY-Filer and with Cakewalk. I'm assuming you have anordinary soundcard with MIDI/joystick port.
If you're feelingadventurous, you could go get theMac/modem cable and so forth, and you may actually get some benefit.This would leave your soundcard MIDI port free so you could have a morecomplex MIDI rig. Don't forget to install the special serial/MIDIdriver supplied with your QY70.
You should beable to useyour favorite sequencer software to display/printthe preset phrases. Use the "Put" Job from pattern mode to copy thephrasetracks to Song Mode tracks. Then use QY-Filer to convert to StandardMIDIfiles, and read directly into your sequencer. Tedious, but effective.
Or, just makea pattern track which selects a series of styles, then do anExpand Pattern Job.
To maximizeyour efficiency, you could build giant "songs" with many phrasesstrung end-to-end (kind of like the QY70 demo song).
I started out bygetting an ACadapter (9 Volt, 500 mA,center positive - about $12 at Radio Shack). I've used it for monthsthis way, so if this saves you a few bucks or the hassle of findingYamaha's, feel free. I'm told by others that you have to get a 12V,700mA adapter, or your adapter burns up. So that may be the betterchoice, though mine's been fine.
Next I got a tinypair of Sony earphones, the kind thatcoil up in a little "makeup compact" and fit in your pocket. Then I gotan insulated (padded) lunch box from Arctic Zone (bought it atWal-Mart), the perfect size for the QY70, its manuals, and a bunch ofacessories and cables.
I threw in a couplemore Radio Shack items: One ofthose fake cassettes meant to let you play CD's in your car. And acigarette-lighter DC power supply, meant for Game Boy afficionados. Itie-wrapped the two together into one little assembly. It's a blast topark somewhere and compose music while it blasts out of my car stereo.
I've also gotten aPC game port to MIDI cable so I canconnect the QY70 to my PC through the sound card. This works nicelywith the QY Data FIler software that came with the QY70. I also bought(but never used) a Mac serial to normal serial cable which can pluginto that little round connector next to the MIDI jacks on the QY. Inever used this because the book made it sound pretty complicated toselect the right switch setting on the QY, and I knew I'd be foolingwith null modems, baud rates, and installing special drivers 'til thecows came home. The MIDI/soundcard thing just worked first try.
I control my QY70with a Quickshot MIDI Composerkeyboard. For $99 at Micro Center (I've seen it mail order for a bitmore), it's a real deal. It has 49 velocity sensitive keys, PB&Mod wheels, and an assignable slider. It comes with sound card MIDI andnormal MIDI cables, and a sustain pedal, and can be powered by an ACadaptor (same as the QY, but NEGATIVE center), batteries, or thesoundcard. I have two minor complaints about the keyboard. The keys areever so slightly sticky, because they rest on rubber rather than felt.And the Pitch wheel has a little dead zone in the center, then kicks insort of suddenly outside the dead zone. But overall I'm happy with it.
I got an old drumpad to MIDI converter made by Cheetahin 1989. I whomped up some pads from Radio Shack piezo crystals, andended up with a nice drum control setup for under $200 (compare with$1200 for packaged drum setups). I give construction details (below) onthe pads if you're curious. They cost me less than $5 each.
I was given a cutelittle vintage Korg synth and awonderful A-frame keyboard rack by my mother-in-law's husband. This hasbeen a big help, as the setup was getting pretty ungainly, spread outall over my living room.
I compose standingup, due to my back problem, and thissetup has proven very ergonomic, though I still need to improve thelighting for the QY's display. I wish it was backlit. One thought is totake the mic boom in the keyboard rack and stick a light on the end.
For the ultimate incheesy mixers, I use a headphonesplitter. I plug it into the headphone jack of one synth, and wire itto the other. This is technically a no-no, but what the heck - it addsno noise at all, and it costs $1.29. The only drawback I've noticed isa reduction in volume.
But the ultimateaccessory is definitely the PeaveyPC1600x MIDI Command Station. This box and a little programming willbring your QY70 to life. Directly manipulate sound parameters withsliders. Adjust the levels of the tracks with something that feels likea real mixer. Mute tracks with the push of a button. Go wild, programthis puppy to send any MIDI message in response to any fader or button.At
there's an "interactive forum" about the PC1600x.The PC1600x doesn't exactly add NEW capability,but it makes it so mucheasier to use some EXISTING capabilities, that it may as well be new.Withthe PC1600x, you can control many many parameters in real time, whichwouldotherwise require laborious hand editing.
There's no reason notto usethe synth's keyboard. Just turn off localcontrol in the synth, then plug its MIDI in/out to the QY out/in jacks.Theonly reason I have a separate controller keyboard is that my synth isso oldthat it's not velocity sensitive.
I've found I canreally have agreat time tapping out a rhythm on these.
First of all, youneed a pads-to-MIDI converter, whicharen't as common as they used to be. I know of one available from Paia,the same company that sold analog synth kits in the 70's. I think theirweb site is www.paia.com.
Normally, thesethings take 1/4" jack inputs.Electrically, each pad is trivially simple. Just connect a piezotransducer (several sizes are at Radio Shack; get the biggest) to a1/4" mono phone plug. I recommend shielded cable; RS should have thattoo. I connected the black lead on the transducer to the shield, and tothe "ring" (long section) of the plug. The red wire goes to the plug'stip.
Mechanically, it'sa little more involved. There aretwo main problems to solve. First, the transducer (I think RS calls ita speaker) is buried inside a plastic can, so you can't tap on it(unless you poke a pencil through the hole). Second, you need someacoustic isolation so that when you tap on one pad, you don't triggerall the others.
What I did is get arazor saw (very important - yourproduct will look like crap without this tool try MJ Designs, BenFranklin, or a hobby shop), and saw off the top of the can, exposingthe metal backside of the transducer. The correct way to saw this offis to lay the saw flat on the table with a little spacer under it,about 2 mm thick (sheet rubber is good). Lay the transducer upside downand go around it a few times, briskly sawing away. You'll get a niceclean cut. WATCH OUT THOUGH! You have never used a tool as sharp as arazor saw. It'll slice you to the bone, and you won't even realize itat first.
I sanded theremaining cut rim so it's smooth and attractive, but not too thin(leave at least 1 mm).
I cut some sheetrubber (gasket material from theplumbing section at Home Depot) to fit just inside the rim of thismetal piece, and stuck it down with double faced tape (cut at the sametime). I got the double-faced tape at HD also; it's outdoor carpettape. I love this tape by the way; I've had a piece holding carpet tothe underside of my front door for years. It gets dragged across thethreshold many times a day, and is still absolutely perfect. It's aswonderful an invention as gaffer's (duct) tape.
Anyway, if you tapheavily on this thing, you'll popthe transducer out. What you have to do is pry the back off the case,and run a bead of hot glue around the rim of the transducer, on theinside. This will give excellent strength. Hot glue the back back inplace. By the way, it'll come off more cleanly if you run an exactoblade around the rim of the back. Watch you don't cut the wires or yank'em off the crystal.
OK, the final thingis isolation. I cut two pieces ofrubber the size of the bottom, and stuck 'em on with double-faced foamtape. I used several little squares of foam tape around thecircumference of the bottom of the case, then a layer of rubber, thenmore foam tape pieces (OFFSET from the first ones), then the bottompiece of rubber, for anti-slip. Looks kinda like a tiny wedding cake.
------------------------- rubber ------------------------- carpet tape -------------------------- transducer |_________________| transducer case (glue inside) = = = = = = = foam tape --------------------------- rubber = = = = = = = foam tape --------------------------- rubber
It's not as tall asit lookshere!
By the way, Paiaalso sells something called "ThumDrum" which puts several tiny pads into a finger pattern on top of abox. You may like this, and it's easy, because it's a kit, or I thinkyou can buy it assembled. But I like my little separate pads, 'cause Ican arrange 'em to fit my apish hands.
I also made acouple of large pads (4" dia). I poppedthe transducer right out of the plastic case. I stuck 'em to a tin canlid (thin lid, minimal ridges stamped in - try French's French FriedOnions, 6 oz size). Same rubber material on top. Used some roundelectrical fittings from HD (Lamp fixture ring and a matching cover andmatching round gasket). Stuck the rubber/tin can/transducer assembly tothe lamp fixture ring with foam gasket between for 1 stage ofisolation. Stuck the ring to a flat cover with round 1/2" poly foamwindow seal material between, giving another isolation stage. Addedfoam and rubber feet to the botom, for more isolation and anti-slip.Passed the cable out through a hole drilled in the side of the fixturering.
----------------------------------------- rubber ----------------------------------------- carpet tape ===-------------------------------=== foam ring/tin can center ------- -------------------- -------- carpet tape **** ----------------- **** fixture ring/trans. center @ * * @ round foam *************************** fixture cover = = = = = = = = = = = = foam/rubber feet
I hope you can readthesesilly diagrams. This large pad is also quite thin - only about 5/8" tall.
I saw an article onthe net about a guy who made padsfrom Remo practice pads. These go for about $20-$25, in 6" and 8"sizes. He slipped a tin can lid and transducer right under the "skin"of the Remo pad. Costs about $30, vs about $100 for a commercial drumpad, but I'm way too cheap for that. I'm sure the result is lovelyloking though, and you can mount it rather than throwing it on a table.
First, getyourself decentbatteries. Good batteries(Duracell, Energizer) will last 4-5 hours. Cheapies (Store brands) willlast 1 hour. Verified repeatedly by my personal experience. Iunderstand there are also 1.5V lithiums available, which will last evenlonger.
A couple oftips, if you want to fly QY:
(1) Put your QYin a kid's lunch box. I guess I'm pretty old, but I justrecently discovered lunch boxes aren't metal any more. They'repadded/insulated bags, with straps and extra pockets. The one I got istheexact right size for my QY70, and has enough room to include manuals,headphones, audio adapter plugs, AC adapter, extra AA's, and acar-cable.The whole thing is so small, it hardly counts as carry-on luggage. Iput alittle scrap of terry cloth (towel) in the bottom of the bag, and laytheQY70 in, face down. After a fair amount of travel, there isn't so muchas ascratch on the display.
(2) On thenoisy plane, it's best to use big earcup headphones, like my SonyMDVR-600's. The isolation and extra loudness are a real help. Yes, Imanaged tocram these into my lunch box. I also brought a pair of those tinyin-earstrapless jobs that come in a pocket case, and a headphone splitter.Moreabout that later...
(3) I got allthe way to LA one one set of batteries. I've found thatDuracells last about five hours. Store-brand batteries last about onehour.Even at half the price, cheapie batteries are a ripoff, giving abouthalfthe usage per dollar. Make sure you tuck a spare set of batteries intoyourlunch box. You might consider those new lithium AA's - I hear goodthings about 'em
Whythe extra headphones? The QY70 is very intriguing andalluring to yourfellow passengers. They will naturally be very curious why your head isbobbing as you type on that little box. It's a real kick to hand yourheadphones over and blow 'em away! I had a cute girl doin' the JohnTravolta thing in the aisle, and a guy who exclaimed he was gonna runfromthe plane to a music shop to grab a QY70. I played a new-agey, relaxingsongfor the poor white-knuckled lady next to me, and it soothed and cheeredherconsiderably.
but it's reallyhit-and-miss. Some appeared to have no effect on my 4/4pattern; others dropped some notes entirely, some were really kick-ass.I'm sure the ones that didn't work would be great with differentpatterns. Anyone got info on the intended usage or other properties ofGroove Templates?
No good infoavailable. You just have to try 'em onyour song. And what works with one song may not on another, so you'llhave to repeat for each song.
Thisis convenient, because you can leave your keyboard on channel 1 all thetime, and just hop to different tracks in the QY70. This feature isundocumented. Do MENU/UTILITIES, MENU/MIDI. The MIDI THRU setting canbe OFF, THRU, or RECMONTR. In RECMONTR mode, the QY70 will translateyour keyboard's output to whatever track you're working on. It willalso apply any MIDI filter you've selected (on the same screen). Whenwould you NOT want RECMONTR? If your MIDI input contains severalchannels, meant to trigger multiple tracks in the QY70. Be aware thatthe RECMONTR setting also affects what comes out the MIDI Outconnector.
It depends. If youare inPattern mode, the standardMIDI "Song Select" message will instead, select a Style (see QY70 ListBook, page 53). But if you are on a Preset Style, you can only selectother Preset Styles. And if you're on a User Style, you can only selectother User Styles. And if you're in Song mode, the Song Select messageonly selects a song. Song Select is F3 ss, where ss is the song orstyle number.
Somepossibilities do come to mind.
(1) You couldprogram multiple tracks within apattern to contain different beats, which will each sound good ifplayed alone. You can then use SysExcMulti Volume messages to"mute/solo" the various tracks. On a QY70, this would give a choice of8 different beats.
(2) There is amessage to select different sectionsof one style (Intro, Main A, Main B, etc.) The only sections that willactually loop are A & B, though the lead-ins may be useful toyouas well. But just using A & B, you still double yourpossibilitiesto a max of 16 different beats. The Section Control message is F0 43 7E00 ss 7F F7, where ss is...
(3) If you needto have the song itself still there(e.g. melodic lead track along with the beats), you could make multiplecopies of the song, each set up to use a different pattern style. Youcould switch song to song, and within a song, switch between A& B.Within A & B, "mute/solo" individual pattern parts. It's messyandconsumes lots of space, but this might come close to your needs.
Q:Whenever I play ageneral midi file (not an XG file) through my QY70 Ihave to reset channel 10 to the drum kit
Actually, the filesyou areplaying use a layer beyond GM. I can't rememberthe name of the spec (MM or MPC something?), but it's a PC thing thatdrums are on CH 10 bydefault. But anyway, I don't think there's any special mode in the QY70tomake it default to CH 10 = drums.
You can type in thenumbercodes for sounds (see theList Book). But this won't go to the next group (melodic sounds, the FXbanks, drum sounds). However, you can skip through much faster by usingSHIFT + instead of just +.
Q: Are there anymidi strings to let me assign pattern tempo control andglobal pitch change/transpose to faders on my PC1600x?
I know there is amultipartmessage for transpose, but I don't believe thereis a global transpose.
Unfortunately,there doesn't seem to be a tempocommand. I welcome anyone else's input. Tempo control would be terrificto do with a fader. I believe the closest things would be either SongPosition Pointer (SPP), or MIDI Time Clock (MTC), neither of whichlends itself to our needs. What's needed is a firmware change for thePeavey PC1600x, so it could send MTC 24 times per quarter note, at afader-controlled rate.
Yes, you can set it toeithersend or receive MTC, forsyncing to other MIDI devices. See MENU/UTILITIES, MENU/MIDI, MIDIClock (Internal or External).
I suppose for aQY-to-hardware sequencer dump, you would make the QY "play"the song, and put the MC-50 in MIDI "record" mode. Make sure that theyaresynced with MTC (the QY can either send or receive MTC, as you prefer).What squirts out of the QY is this: Song Mode Tracks 1-16 come out onMIDIchannels 1-16.
If a Pattern isplaying, its tracks 1-8 come out on MIDI channels 1-8, or9-16, as you prefer. This implies that if you are using all 24 possibletracks (16 Song, 8 Pattern), you may want to separate the Song& Patterntracks before transferring, and do two transfers.
You can use the builtingraphical sound editors (Voiceand Drum Voice). These cover the basics. On the mixer screen, doMENU/VOICE EDIT. If you want to do more detailed editing,you need to learn about SysEx messages, especially SysExMulti... Seeyour List Book for details, starting around page 54; multipart voiceparameters are listed on page 57. You can easily insert any of theQY70's SysEx messages in "English" by doing MENU/EDIT, MENU/INSERT,then you scroll through all the types of events to insert (Notes, PB,... SysExMulti, ...) Also see the various SysEx topics here.
If you enter SysExmessagesin the QY70 with its built-in editor, you're OK, because yousee the messages in "English". But if you're, say, programming aPC1600x tosend QY70 SysEx's when you move sliders, you'll have a big problem.
Here it is: Onpages 54 and 55 of the List Book, they give the formats forthe various classes of SysEx messages used by the QY70. Unfortunately,theModel ID shown in each format is incorrect. They list it as 5F, when itshould be 4C. I'm guessing that 5F is the Model ID for the QY700, andsomeone forgot to edit it.
Here's anexample. The format for a Parameter Change is shown as:
In this message,you look up values for"aa aa aa dd" in the various MIDI Parameter Change tables on thefollowingpages, for example (EFFECT 1) or (MULTI PART).
Here's aspecific example: To change the vibrato rate to maximum for the C1pattern track, send the message:
Q: How do I use myQY70 as a drum machine andpreview the various preset beats, without hearing those pesky chordsand bass lines?
Embed a SysExcMultimessagein any track, which either
For method (a) or(b), make sure you play the songlong enough to hit the SysExcMulti message, before you start yourexternal sequencer, or before you jump into Pattern mode for beatpreviews. Method (b) is more powerful, because (a) will be undone assoon as you jump to a new style. Also note that it doesn't matter whattrack you throw a SysExcMulti into, because the message itselfspecifies a target track. Consult your list book for System ExclusiveMultiPart messages. Song tracks 1-16 = Parts 1-16; Pattern tracks 1-8 =Parts 17-23.
JasonAnniballi's original writeup:
This solutionworks by telling the tone generatorvoice (Yamaha calls them "Parts") to ignore all midi messages,effectively muting them. Of course you need to turn them back on againto un-mute them. By default, each Part "listens" to midi data on thesame channel channel as it's Part number (Part 4 plays MIDI channel 4),but you can change it to any channel you want or tell it not to listento ANY channel. This feature can be useful in live situations if youwant to setup keyboard splits or layers and have different Parts playon the same channel.
As far as I cantell (on the QY70) Parts 1-16 correspond to the 16 tracks in Song mode.The Pattern parts are as follows:
So in order toturn off the D2 track at measure 2 then on again in measure 3, you needto do the following:
In ANY song track,go to the "Edit" screen and the tothe "Insert" screen. Change the "Note" parameter to "XG Exc Multi",then change "ElRsrv" to "RcvCh.". The first number is the Part and thesecond is the receive channel. Set the first number to "18" for D2 andincrement the second number up until it says "OFF" (i think the valueis 127). Of course you want to set the Measure:Beat:Clock to where youwant the mute to occur. It should look like this:
M002 XG Exc Multi
To turn D2 back on in measure 3, just set Part 18 to listen to channel 18 again:
M003 XG Exc Multi
Be careful about setting the receive channel to matchup with the Part number when you want to unmute it. I think you couldreally screw things up otherwise! Also it may be possible to get"stuck" notes depending on where you actually place the Mute. It mightbe safer to use the MultiPart volume messages:
M002 XG Exc Multi <--Mute - Volume 0
I think there areother tricks you could play with thePattern tracks on the fly with MultiPart messages (panning, Effectssends, etc.). So try 'em out!
You DO need sysexto mutepattern tracks from a songtrack, which is a very useful thing to do. The reason is that MIDIchannels (as supported by the generic Peavey setup) support 16 tracks.Pattern data is on tracks(multi-parts) 17-24.
SysEx techniqueswill also work perfectly fine forSong tracks, but may be overkill. If your desire is to mute a track soit'll be played only on external equipment, use the System ExclusiveMulti message which sets the MIDI receive channel. Set it to 127 todisable it. But if you just want to automate fades and simple soundparameter morphs, you can use ordinary CC messages for Song tracks. Forexample, CC7 is track volume. I think CC74 is "Brightness" (filtercutoff), etc. See your list book. By the way, the QY70 (as a trick)lets you embed CC messages in your Pattern tracks, but they will ofcourse repeat with the pattern, and you probably want to use yourchanges to make your pattern LESS repetitive.
So to summarize:SysExMulti messages can be placed ina Song track to control a pattern track. They can completely mute atrack which will be played externally, and save on QY polyphony. AndSysExcMulti messages can control very obscure XG sound parameters. ButSysExcMulti messages eat more memory than CC messages, so should beused only when you need the above mentioned features.
Use thesestrings to makeyour Peavey sliderscontrol Pattern track volume and morph a single track. You can set thebuttons to Mute or Solo, as desired. I set the buttons for sliders9-16, just to ID the slider. I set the buttons for sliders 1-8 to Mute.In performance, I have the display showing the Utility screen whichlets me set the "dv" (device number) value to the track that I want tomorph. 0-15 = Song tracks, 16-23 =Pattern tracks (In hex, that's 00-0F,and 10-17).
F0 43 10 4C 08 10 0B pr F7 Slider 1/D1 Track
For the last two to work, you must insert a maximum pitch bend (+8191) message at the beginning of your control (Song) track.
Here is aQY70 bulk file
containing the PC1600x preset described above.NOTE: After you download this file, you must rename it to "PC1600x.blk"before using it. It is not aZIP file; I had to fake the name in order to get it pastthe geocities censors. The PC1600x sysx message is in Song 5 within thebulk file. Use the QYfiler software that came with yourQY70 to load it into your QY70, then play it into your PC1600x. Youhave to set the MIDI input channel of the PC1600x to 16, soit will see the sysx message.
The QY70 has twomessagesyou will find useful. One is "Song Select" (page53 in the QY70 manual):
Where ss is anumber from 00 to 7F. In Song Mode, this will select a song(ss is limited to 00-14 for actual song selection). For your purpose,thecool thing is that in Pattern mode, this message selects a Style. Thetricky bit is that ss is limited to 00-7F (0-127). Since there are 128Preset Styles, and 63 User Styles, you have to select either any PresetStyle or any User Style manually with the QY70's buttons, before youstart.If you manually selected a User Style, then the F3 ss message willselectother User Styles from then on (ss = 00-3F). And if you manuallyselected aPreset Style, F3 ss can select other Preset Styles after that (ss =00-7F).
If the QY70 is inPattern Play Mode when it receives an F3 ss message, itwill finish playing the current measure, then switch to the new Style.Whenit switches, it will play the same Section (Intro, Main A, etc.) in thenewStyle, as it was playing in the old Style.
The other QY70message of interest is "Section Control":
F0 43 7E 00 ss 7F F7
where ss is thesection number, 08-0D for Intro, Main A, Main B, etc. Thismessage works in both Song and Pattern modes.
I programmed twosliders on the Peavey PC1600x to send these strings. I setup the first one with this string:
and the secondslider with this string:
F0 43 7E 00 pr 7FF7
Now (in PatternMode), the first slider selects a Style, and the secondslider selects a Section. Remember to manually choose between eitherUseror Preset styles on your QY70 before you start.
Now, how totrigger this stuff externally?
What you need todo is program the PC1600x buttons to send these messages.For example, you might make 10 buttons select 10 different Styles, andtheother 6 buttons select the 6 sections within each style. Set up thebuttonstrings similar to the slider strings, but substitute specific numbersforthe "pr" variables.
Next, you want toprogram each PC1600x button to respond to an externallysupplied MIDI Note On message ("Remote Mode"). See page 15 in thePC1600xmanual.
I did all this,and now I can hit buttons on my MIDI keyboard and selectpatterns on the QY70 in real time.
The only otherthing you will have to do is program your drum pads to sendMIDI Note On messages with note numbers that match the range youprogrammedinto the PC1600x, and send on the channel you programmed in thePC1600x.
The following is 100%personalopinion. I have usedseveral different techniques, and I'm always evolving my methods. Onething I haven't tried is using the built-in patterns and phrases.They're remarkably good, but I really prefer to "roll my own." Here'swhat I've done.
I did a songentirely from handmade patterns with no"foreground" (song mode). I step-sequenced all six sections (intro,main a, etc.) Then I recorded the "Pt" track in real time (selectingwhich section I wanted as I felt the urge). Then I recorded the "Cd"track in realtime, hitting a new fingered chord whenever the moodstruck. Note that I set up the pattern so that chord changes would workwell with automatic re-harmonization. I selected a simple set of a fewnotes to play the melody in my patterns, and told the box to includethose tracks in the re-harmonizing. I know little to nothing about thetheory of chord progression, but I diddled around until my fingeredchords sounded good in succession. The result is pretty convincing tomy novice ear; it sounds like a real song with key changes. Way cool,Yamaha! I doubled the lead line to an external Korg synth, which addeda nice thickness. I put the Korg on a separate track, and laid out-ofsync mod wheel and velocity changes to the Korg and internal leadtracks, so the filters sweep at different times for the two sounds,even though they play the same melody. The Korg isn't velocitysensitive (it's from 1985), so I "muted" the Korg's track by settingthe velocity of all notes to 1. I have learned on this list how to dothat in a better way, now. This song has a very techno feel to it.
My next song is theopposite extreme from the first,which was all step-sequenced. For the next song, I started with a leadline that I had tried to play "live" over the patterns of the firstsong. The combination sucked, because the patterns were already busyenough, and I couldn't play to the beat very well anyway (hey, I'm anovice). But I still felt the lead line had potential. I plopped itinto a new song, and made two time-shifted copies of it on separatetracks, for a kind of "round" or call/response. I selected differentsounds for the three tracks. Next I live-played some slow string chordsbehind it. My sleazy method of chord progression was just to keepmoving one finger at a time, so the chords just gradually evolved fromone to another. At the end, I lifted one finger at a time til thestrings died away. The result is haunting and spooky.
On the next song, Ididn't use patterns either; Istep-sequenced the lead line and bass track. I used only a lead line(again, doubled on the Korg), an occasional bass riff, and a constantlyvarying wind sound (with some flanging and "chords" to make it soundfar more real). I "played" the wind sound in real-time. I used the CopyEvents Job to lay 3 copies of my "AB" section end-to-end.
On my current song,I'm mixing patterns and song modetracks. I've discovered the Groove PlayFX thing, and boy is it fun! Imade a little bass line pattern, and looped it for hours while I wentthrough all the Groove Templates. Found several that made my dopy 4/4pattern really kick ass. It's important to try 'em all, there's such avariety. And I'm quite sure some that sounded like nothing would bevery different with the right pattern to groove against. I wish therewas some info on what each Groove Template really does, and whatpatterns it might work well on. Advice, anybody?
The other thing I'mdoing is using a lead sound whichI've crafted to sound like a MiniMoog (I think). I started with "SqLead" and softened the attack and decay. I also boosted the filter'sresonance. I used SysExMulti commands to make my pitch bend wheelcontrol the filter instead of pitch. So I can play a lead and sweep thefilter all over the place. I set the PB->Filter sensitivity to+6450. I found that just using "Brightness" (CC 74 I think) controller,or programming my mod wheel, gave only a slight sweep to the filter,but the PB wheel is far more dramatic. Any ideas why this is?
I changed my QY70working style a little for my next composition.
I wrote it almostentirely in pattern mode. I made astyle that uses all 8 tracks in each phrase. The tracks are all playedin the same "key" (my own oddball scale). I wrote them to sound prettygood when played all at once, but I don't use them all at once verymuch. I have 3 percussion tracks, two bass lines, and some assortedothers.
In song mode, I havededicated track 1 as a "mixerautomation" track. It is a long list of Sys Exc Multi messages, whichturn the pattern tracks on and off (or up and down), sweep filters, andso forth.
In this way, I cantake the one phrase (e.g. Main A) andloop it for quite a while, with no sense by the listener that the songis repetitive. As the mix shifts, the song morphs into very differentthings over time. But because it's always coming from the same basicloop, there's always a feeling that the groove is continuous.
Since I have enjoyedthe Play FX Groove Templates somuch, I've decided to also experiment with Chord Templates on thissong. I like the result. Because I made all the tracks fit into a fixedkey, the chord changes work decently on every track (a major benefit ofPattern Mode). This also contributes to the sense of continuous groove.
I'll confess myskills with keys and chords are limited,so I'm really appreciative of the automation offered by pattern mode. Imay not have a clue of the name of a chord or scale I'm using, but theQY figures it out and forces everything to play along correctly.