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,,,,,,,,,,,,,, QQQQQQQQQQQQQQ ¢¢¢¢¢¢¢¢¢¢¢¢¢¢ 148 Refining User Styles with Style File Format ■ Style File (Auto Accompaniment) Format Source Pattern ZSource chord root setting XSource chord type setting NTR (Note Transposition Rule) CNote Transposition rule setting NTT (Note Transposition Table) VNote Transposition table setting Other Settings BHighest Key setting Chord change NNote range (Low Limit, High Limit) settings MRetrigger Rule (RTR) setting Accompaniment Source Pattern Settings Z Source Chord Root setting X Source Chord Type setting Set the key in which the source pattern will be played when the user style is created. The default setting is CM7. (The source chord root is “C” and the source chord type is “M7.” After finishing recording, with the recorded track selected, select the “S.ChordRoot” sub menu and use the [–] and [+] buttons or the Data Dial to select the chord root. S.ChordR oot:A nd P After setting the source chord root, select the “S.Chord Type” sub menu and use the [–] and [+] buttons or the Data Dial to select the chord type. S.ChordT ype:m nd P See page 150 for the available chord types, chord notes and scale notes. The Style File Format (SFF) is a compilation of all of <strong>Yamaha</strong>’s auto accompaniment know-how into a single unified format. Since the PSR-730/630 supports the SFF format, you can enjoy many styles in addition to the 100 preset SFF styles. Just insert a disk with SFF styles on it into the disk drive and you can load them into the PSR-730/630. By using the user style function, you can take advantage of the power of the SFF format and freely create your own user styles. With the Auto Accompaniment function, chord changes (transpositions) are applied to the source pattern that forms the basis for the accompaniment. The “Note Transposition Rule” and “Note Transposition Table” that are set for each track are used for this. After the transposition is made, the transposed notes are checked to see if they can be correctly played within the range of the instrument, then the accompaniment is played. The following SFF settings can be executed only after recording each track (still in the Record Ready Mode or Rehearsal Mode). • The SFF settings can be done only when the Record Ready Mode or Rehearsal Mode is engaged. • The SFF settings cannot be made for the RHYTHM 1/2 tracks. NTR (Note Transposition Rule) Setting C Note Transposition rule setting Set the transposition rule for using the transposition table (see item 4 below) when transposing. There are two types of rules. Root Transposition Rule This rule maintains the mutual relationship in pitch between each note when transposing. Set this for tracks that contain melody-like phrases. Root Fixed Rule To the extent possible, this rule maintains the pitch of each note in the source pattern. Set it for piano-type or guitar-type chord picking tracks. After finishing recording, with the recorded track selected, select “NTR” from the sub menu and use the [–] and [+] buttons or the Data Dial to select the transposition rule. NTR::::: ooooooF ixed
Refining User Styles with Style File Format ,,,,,,,,,,,,, QQQQQQQQQQQQQ ¢¢¢¢¢¢¢¢¢¢¢¢¢ NTT (Note Transposition Table) Setting V Note Transposition table setting Set the table for making the chord change (transposition) in the source pattern. There are 6 tables, as explained below. Bypass No transposition is done. Melody This table is suitable for melody line transposition. Use it for tracks with melodies like PHRASE 1/2. Bass This table is suitable for bass line transposition. The table contents are the same as for “Melody,” but it recognizes on-bass chords such as in the Fingered2 mode. Use it for tracks with low pitched instruments such as bass tracks. Chord This table is suitable for chord transposition. Use it for tracks like the CHORD 1/2 tracks, with piano-type or guitar-type chord picking tracks. M-m Only (M) This table lowers the third by a semitone when changing from a major chord to a minor chord or raises the minor third by a semitone when changing from a minor chord to a major chord. It doesn’t change any other notes. M-m Only (H) When changing from a major chord to a minor chord, this flattens both the third and the sixth by a semitone. When changing from a minor chord to a major, it raises the flatted third and sixth by a semitone. It doesn’t change any other notes. After finishing recording, with the recorded track selected, select “NTT” from the sub menu and use the [–] and [+] buttons or the Data Dial to select the transposition table. NTT::::: ooBypas s B Highest Key setting Other Settings Set the highest key (upper limit of the octaves) of the note transposing for the Source Chord Root setting [1]. The notes designated higher than the highest key will actually be played back in the octave just below the highest key. This setting is effective only when you select the Root Transposition Rule from the item [3]. Example) When highest key is “F”. Root change CM C#M DM .... FM F#M Notes played C3-E3-G3 C#3-F3-G#3 D3-F#3-A3 .... F3-A3-C4 F#2-A#2-C#3 After finishing recording, with the recorded track selected, select “HighestKey” from the submenu and use the [-] and [+] buttons or the Data Dial to select the highest key. HighestK ey: D# nd P N Note range (Low Limit, High Limit) settings Set the note range (low and high limits) for the voices recorded on user style tracks. By setting the note range, you can prevent unrealistic notes (such as high notes from a bass or low notes from a piccolo) from being produced and have them shifted to an octave within the note range. Example) When low limit is “C3” and high limit is “D4.” Root change CM C#M .... FM Notes played E3-G3-C4 F3-G#3-C#4 .... F3-A3-C4 After finishing recording, with the recorded track selected, select “LowLimit” and “HighLimit” from the submenu and use the [-] and [+] buttons or the Data Dial to set the note range. LowLimit : 28 nd P HighLimi t: 127 nd P M Retrigger Rule (RTR) setting Set the method for handling notes as they are being produced during chord change (transposition). There are 5 rule types, as explained below. Stop The note is stopped while being produced, and the next note is sounded. PitchShift The pitch of the note being produced is shifted to match the new chord type. PShftToRoot The pitch of the note being produced is shifted to the note of the new chord root. The octave of the note is not changed by the shift. Retrigger The note is stopped while being produced, and it is sounded again with its pitch matching that of the new chord type. Ret.ToRoot The note is stopped while being produced, and it is sounded again with the note of the new chord root. After finishing recording, with the recorded track selected, select “RTR” from the sub menu and use the [–] and [+] buttons or the Data Dial to select the retrigger rule. RTR::::: o oSto p 149
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This product utilizes batteries or
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2 Touch-sensitive 61-key keyboard f
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4 Panel Controls 6 The Music Stand
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Page 132 and 133: ,,,,,,,,,,,,,, QQQQQQQQQQQQQQ ¢¢
Page 134 and 135: PSR-730/630 Display MENU/SUB MENU S
Page 136 and 137: Voice List ,,,,,,,,,,,,,, QQQQQQQQQ
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Page 146 and 147: About Digital Effects (Reverb/Choru
Page 148 and 149: About Digital Effects (Reverb/Choru
Page 152 and 153: Refining User Styles with Style Fil
Page 156 and 157: MIDI Data Format ,,,,,,,,,,,,,, QQQ
Page 172 and 173: MIDI Implementation Chart ,,,,,,,,,
Page 176 and 177: Limited Warranty 90 DAYS LABOR 1 YE
Page 178: M.D.G., EMI Division © 1997 Yamaha
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