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UNDERSTANDING THE TYROS

From Pipelinerr

(Based partly on information posted in the SVP World Forum and the
Yamaha PSR-Styles Group, and edited for clarity)*

"Saving" Your Settings And Data On The Tyros

IF YOU CAME from another PSR to either the 2000 or the Tyros, finding the SAVE button can be confusing. And that's because these instruments differ in how operations are organized.

The older instruments were "action" oriented. Buttons were all labeled with things to do such as Load, Save, etc. and, once pressed, it asked you the target for the action (e.g. song).

With these newer instruments, the controls are "object" oriented. That means you always pick the target first and then look around for the action controls.

Note also that the instruments have different procedures for recording (or modifying) elements and saving them.

"How can I store just one Registration"?

To record a single registration (temporarily), hold down Memory and then depress a Registration button. It is now "stored," and will remain stored until you switch to a different Registration Bank.

To Save it (more permanently), simply depress the Registration button (J) on the screen, then next select the media (user, floppy, HD), then Save (one of the options along the bottom), edit name, then OK.

If you try to save a reg of the same name it will ask you if you want to overwrite, so choose a different name unless you don't care about writing over that registration. You could store to User, or try saving to a clean floppy in which case you will know what it starts with. You should hear the registration being saved on the floppy. That should confirm that it got there. It cannot be deleted unless you delete it manually or overwrite it by saving that same name a second time.

"How Can I Save Several Banks Of Registrations At Once"?

Your Registrations will not vanish if you store them to floppy, but if you want them stored in the machine (User or HD), do this --

Depress:
Registration button,
Next to Floppy
Copy button
All button
OK button
Next to User
Paste button

"SAVING":

"In the case of Registrations, you need to first Record it (UNLESS you have just loaded it from a 3.5" floppy, in which case it is already recorded in RAM memory), so press the Memory button and then depress one of the Reg buttons where you want to store it.

To SAVE, go to the main page by continually pressing "Exit," and then depress the Registration Bank button (J). SAVE is one of the options along the bottom.

To SAVE, press the button just below the number 6... now you will see "OK" on the screen, and next you need to press the button above the "8" (which says that it's OK).

Then you will be allowed to either write a Name for the Registration, OR (if it's already got a name) the display will read "Name Already Exists."

Then if it asks "Do you want to Overwrite? (this current Bank), just press "Yes," and it will Save that file into that Bank.

In Tyros, there is the "storage media" which is the Floppy, Hard Drive and ROM, and the "working areas" which contain the active style, registration, midi setup etc.

You can copy and paste many banks of registrations at once from Floppy to HD or Floppy to ROM by simply selecting the files that you want or by depressing the the All button when it is presented.

All registrations must first be on a media. Lets assume that, on the PC, you copied 64 banks to a single floppy, and the floppy is in the Tyros floppy drive. You could load the registration bank you want to the working area by depressing the Registration screen button, depressing Next until you got to the floppy, and then double depressing the name of the bank you are interested in.

Alternatively, you could copy one or more banks to, for example, the User area by depressing the Registration button, depressing COPY, then Next to the Floppy, and then the name of the file or ALL as indicated above. You the use Next to select the User area, and then depress Paste. This copy operation does not load a registration to the working area. To do that you always have to select a bank name and depress Enter or depress the bank name twice.

For OTS, to record you depress and hold the Memory button while depressing a OTS button target. Once this is done, the instrument (unlike for registrations) will immediately ask you if you want to save the style, which is what you have to do since OTS is really just a part of the style.

"Why Is It That Pressing The Registration Button Doesn't Always
Bring Up The Registration After It's Been Copied?"

The copy operation does not load a registration to the working area. To do that, you always have to select a bank name and depress Enter -- OR depress the bank name twice.

Some other common procedures:

SONG: To record, depress Top and Rec together and then press Rec alone and then Song Start.

To SAVE the recorded Song: Depress the Song button on main screen, press Next button to select the location, and Save. (A "quick" way to save is to depress Top and Rec together and a prompt will appear.)

To Save Mixing Console settings (revoicings, effects, volumes, etc) for a song: Depress Digital Recording/Song Creator and Save.

To Save Mixing Console settings for a style: Depress Digital Recording/Style Creator and then tab to Assembly and then Save.

Midi Setup: From Function/Utility/Midi tab to User and Save.

HOW TYROS IS ORGANIZED

The organization of the PSR/Tyros can be confusing. See if you can follow this:

There are nine types of data in a Tyros (PSR-2000 is similar if not identical):

System Setup data (split point, master tuning etc).
Midi setup
User Effects (Vocal Harmony Types, User Master EQ, Voice FX, User Master Compressor)
Music Finder database

Voices
Songs
Styles (and also OTS)
Multipads
Registrations

Each of these data sets has a ‘working area’ (RAM) which is modified by panel and screen controls, and each working area can be saved to or recalled from an external file by the user. This ‘working area’ is somewhat temporary and different from the User (or Flash) ROM, which is a more permanent storage medium along with Hard Drive or Floppy.

The Save/Recall for the first four types is on the Function/Utility/System Reset Tab. "Recall" is here called "Open" and is performed by pressing a screen button for a selected item, or depressing Enter. For some reason, Midi Setup can also be saved from the Function/Midi/User page. This seems separate from the Midi Setup saved on the System Reset page and is a mystery at this point.

The Save for the last five types is done from the Main page by first depressing the screen button identifying the item, and then selecting Save at the bottom of the screen. The Recall is done as above, by double pressing a screen button or pressing the button once to select it and then depressing Enter.

Some data types (the first four shown above plus styles and voices) automatically recall a default set, called Preset, when the power is turned on. Others such as songs, registrations and multipads must be loaded to the working area by the user.

What can be confusing is that the same settings can be altered with other types of data. An example is "Split Point." It is part of the setup data, but, if not locked by the Parameter Lock facility in Function/ Utility/Config1, it can be changed by a registration. The data really is stored as part of the setup data type, but can be changed by data stored in the registration. You can see where each setting is stored by looking at the Parameter Chart in the manual. An “O” means the data is stored or changed by the data set, whereas an "X" means it is not affected.

The only way the working area settings can be changed is by changing them directly in the screen display intended for that purpose OR via recalling other data types which have commands that change them. You cannot change the working settings by moving to the main page.

REGISTRATIONS

"I recently changed multiple parameters on a song file, saved them to a set of registrations banks and saved the registrations banks under a new name. When I recalled the registration settings it seemed to me that all my changes were recalled. Am I fooling myself or is this a simple way to bring back multiple settings?"

"Registrations are THE WAY of saving and recalling settings.

Registrations are very comprehensive, saving almost a complete picture of the instrument.

And they are easy to do. Just hold memory and hit a Reg button. You don't have to decide anything more than "save it now".

Of course, there are some options. The settings available when you hit the Memory button can limit the data that is stored, and the Freeze button settings can determine what gets updated when the registrations are recalled.

The only warning: Save your registrations frequently.  Make it a habit to do it each time you make one.  Otherwise, they are not retained when the power is turned off, and there is no warning or prompt.

Registrations are grouped in banks of 8. When you save or recall, you get all 8. Some could be empty, of course.

You can have any number (up to the limit of the medium, 1.4 meg for floppy, 3.3 meg for the User ROM, etc) registration bank files in the storage areas, but you still have to load one bank at a time to the Registration working area. This is the same as for styles. You can have many on the machine, but can only use one at a time.

When you are copying and pasting files between mediums, it is possible to operate on several files at once by selecting them individually, or by using the All button.

NAMING REGISTRATIONS

"I've been through the manual, and tried everything, but I can't figure out this: I can't NAME the individual registration so that it shows the name of that registration. Sometimes I like to name it after a song that goes with that style. I've put in a REGISTRATION BANK, memorized three styles so far, but now I want to give each it's individual name. Please refer me to where I can find a step-by-step on this. I think I tried everything I can think of."

You can name the individual registrations, but it is difficult to see them.

When at the registration screen, depress the Edit button. There you will see a Name button. This will allow you to change the name of the individual registration, but UNLESS you are at the edit screen, it will never appear.

MORE ON REGISTRATIONS

QUESTION:
"Is it possible to "create" a new Registration Bank when playing in one of the other registration banks (all memories lit)?  It seems I have to completely shut off the Tyros and start with the default New Registration button on, save a style, and then create a new Registration bank.  Is that how it's done, or is their a shortcut to this personal dilemma of mine?"

ANSWER:
"With all buttons lit......press J on screen>new (create a new folder, call it what you like, reg 2 or something)>exit (the buttons will still be lit from the original registrations and it will have the setups from the original as well).

Next, put in the new setups you want 1 at a time > memory>reg. button>J>(your new folder)>save>your new reg folder (reg 2)>ok>yes>exit and repeat and save to the different 8 buttons>as you save them, then:

Go back to J on the screen and it will show you the original folder and the one you just made.   Then save the new ones in the new folder....done deal.  Hope that makes sense."

User (Flash ROM) Memory

The user flash memory is shared between whatever you create and save on the tyros, that is styles, custom voices, registrations, music database entries, recordings (songs), multipads.  The operating system of the Tyros is similar to the 2000, that is the flash memory is treated just like another hard drive.  It is very easy and convenient to operate between these different media -- and adding new sounds and styles will appear as extra pages much like the presets.

The actual memory that is used to record the song is separate from the flash, since RAM is used.  Once you have recorded a song in RAM, you must save it to the user flash or other storage media if you wish to retain it on power down.  The song RAM is less than the flash though, so song length is limited not by the user flash memory but by this fixed song RAM... it holds around 35,000 notes, which can seem somewhat limiting for a board in this range. (The PSR-9000 and 9000 Pro song RAM are each 38,000 notes.)

The Session, Pro and Standard styles appear amongst the presets.  You need to look below the style names to see the categories.   One would assume Pro styles to be those containing megavoices and new sounds, although you will also find these sounds in the standard and Session styles!

Megavoices

MegaVoices differ in two respects from conventional voices: they use both note and velocity values to determine the samples that are triggered.  Higher note numbers are used for effects (e.g. strum and fret noise) and it is easy to avoid triggering these by playing on the lower three octaves.

The velocity ranges are a more difficult problem.  Normal voices use a range of 0 to 127.  MegaVoice ranges can be as low as 0-40 with higher values resulting in “mute” or no sound at all.

One solution is to use the Live or other voices for recording, and use MidiPlayer to change the voice and compress the velocity values into the range allowed.  Effects such as strum noise can be recorded separately and either combined with the ‘compressed’ data or left on a separate track.

While I can see the benefit of using MegaVoices for relatively short styles sequences, I am not sure it is worth the effort for midi right hand parts.  The reason is that there are so many more normal guitar/ bass voices of exceptional quality and many of these already seem to use the same voice samples as the MegaVoices.

In addition, while many of the Tyros styles in total may not work for your projects, you should audition the guitar parts individually.  Yamaha has worked very hard to create realistic guitar parts that do not sound at all like a style, and seem generally useful.  What’s more, there are many such instrument tracks, and I would be surprised if you could not find some interesting ones.

(A follow-up view):

I agree, Megavoices are ideally suited to creation of short looped sequences and styles since the amount of effort required to create an accurate guitar section using them is considerable.  Having said that, with a little practice you can get a good sound from them using the keyboard, especially with a split -- but don't expect them to sound as good as they do in the styles without recording them first.  For styles and short phrases its worth spending a few hours altering the velocities and overdubbing the effects to get authentic guitar and bass sounds, but in a song I feel this would be a very time consuming chore.  Even so, the results would be spectacular!

Almost all the samples used in the megavoices are used in some way or another in the guitar voices and bass voices, the dynosteel and steel string guitars both use samples from the steel string megavoice, the electric power lead and so on...  the megavoices just give you more control over the individual samples that make up the guitars and allow you to faithfully recreate strumming effects, slides, fret noise and so on.  They are great fun to play with but don't expect to play them live on a stage as keyboard voices in the right hand!

(Another follow-up):

(The above writers) all have very good points.  I think the concept of mega-voice technology has been a little overblown not only by Yamaha and the way it was advertised but also the public's misinformed notion that they could EASILY be played.  Many musicians (keyboard players) have long desired more accurate replication of guitar sounds.  The Yamaha megavoice answered the "sound" fairly well... but not necessarily the ease of deployment.

I have to agree with the others that the best way to make use of "megavoicing" is in the construction and playing of styles.  I read where Andy mentioned that he doesn't play styles live.  Neither do I, however I do find them quite enjoyable for "messin' around."  Most of them are quite good - and there are a zillion of them available at "sister" sites.  It is in the styles that you hear some of the nuances of the mega styles.  Quiet frankly in a live environment I'm not sure just how much of a megavoice could really be heard -- especially if you're playing with other instruments and/or singing.

I play in a rock band.  We play everything from AC/DC to Deep Purple to Allman Brothers to Grand Funk Railroad to Lynard Skynnard.  We even through in some Jimmy Buffet just for fun in the summer.  The band has only one guitar player (along with a bass player).  There are several songs we do that really don't make use of what I call the TRINITY (Organ, Piano & Horns).  Since purchasing the Tyros the band has "allowed" me to play certain guitar parts on the Tryos.  It's really fun to watch the crowd as they try to figure out how the "real" guitar player is playing -all of that!.  The guitar playing that I do is not only below in volumn but also there to "add" to the guitar sound -- not be the star so to speak.  The ability to "play" guitar has now allowed me to continue playing without worrying about how I'm supposed to add keyboard parts of "the trinity" when in fact there aren't any (on that particular song).

Using the right EQ and effects and of course following some of the concepts discussed here on the use of pitch bend it is very possible and even practical to play guitar parts using a keyboard.  In fact, many of the guitar parts have aftertouch and make use of velocity switching (did I say that correctly Simon?) so it's not really necessary to get too hung up on not using megavoices for live work.  I am quite fond of the Stratocaster sample.

In my humble opinion (well, at least "opinion") playing a rocker like Deep Purple's "Highway Star" and then trying to play another rocker and very lightly striking the keys (velocity at 40) is darn near impossible.  As Terry said though, there are only 10 megavoices.  There as many many other TREMENDOUS sounding panel voices.  I had a PSR9000. I sold it because I wanted something a bit lighter, I didn't need the built in speakers.  The Tyros has a gorgeous display.  You will not find that on the Motif or Triton.  If you need to generate your own samples or burn a CD directly from the keyboard, the Tyros is not for you.  However, if you want the BEST SOUNDING instruments, a terrific vocal harmonizer, great styles (even just to have fun with) 126 (or 128 I forget) note polyphony, did I mention the display?, let's see, what else, light weight, looks cool -- watch for landing aircraft when you first turn it on, a fairly easy interface, fantastic support from several forums, BEST SOUNDING INSTRUMENTS.  (And think about it, you have 3 - 4 ready to play at any given moment (R1, R2, R3 and Left).  Yes I like my Tryos.

I'm going to assume that Cubase can make use of instrument definition files like Sonar.  If you already have a folder full of existing midi files -- wait until you "re-voice" them so that they use Tyros panel voices.   It's unbelievable.  The strings will send goosebumps down your spine.  You'll think Kenny G is in your living room playing the sax.  Even Jethro Tull makes an impromptu visit with the flute and Jimmy Smith stops by with his hammond (well almost).  No, Jimmy Page and Robert Plant might prefer a real guitar, but the Tyros guitars are the best that I have heard and been able to actually play.

You need to go play the Tyros.  If the store that you go to doesn't have a good STEREO PA hooked up to the unit listen to the samples in a good set of headphones.  And by-the-way don't use a "keyboard" amp, run this keyboard in stereo.  You'll love it, and so will your audience.

HOW CAN YOU PLAY USING THE MEGAVOICES?

Essentially you need to record the instrument and the effects (e.g. fret noise, strum noise, etc) separately. First record the main sound, e.g. HiString Guitar or SteelString. You will notice that a bit of octave shifting is required to achieve this as some of the voices are either too high or low on the keyboard.

The sounds are velocity switched so some experimenting with the velocity (touch) sensitivity values will be needed. For certain voices, e.g. Hi String, 12 String, you will find that they can be played almost normally albeit with the velocity sensitivity level set harder than usual. The steel string guitar voice has around 8 different samples at different velocities and they are quite different, so this one is a lot more tricky to master. I suggest a combination of fixed velocity and/or playing with velocity but set to a channel of values. Unfortunately this isn't easy to achieve on the Tyros so I usually change my playing techniques and experiment with different settings until I get the sound I want. You can always overdub using stronger fixed settings to get other sounds and also perform a bit of step editing afterwards of the velocity values.

Finally, the strum sounds and fret noises -- to access these you first need to transpose the keyboard down several octaves. The octave switch won't take you far enough, so you need to use the mixer panel under the tune section. Keep transposing until you find the effect noises on the keys. Now that you have recorded your basic instrument sounds on one track, you need to listen a few times to your previous recording (loop it) and then accompany the chords with appropriate strum notes in the right places!

Yes, it doesn't sound easy, but try it and eventually you will get the hang of it! The strum guitar is a combination of ordinary guitar voice playing a chord and the strum effect. For best results slightly quantize both tracks so that the effect and notes are close together. As for fret noises, you really need to study a few guitar records and listen to the tyros demos to understand where to put them but use them very subtly for best effect!

The bass sounds can be done similarly, though without obviously the strum sounds -- and are a little bit easier in that you don't need to worry about chords.

Good luck!

Simon

REVOICING AND CUSTOM VOICES

I found that Yamaha styles for the PSR9000, both the internal styles and style disk, are able to be revoiced to Guitar Mega voices. (Really only the HiString and 12String mega voices).

I have revoiced 2 or 3 styles and I think it makes a huge difference ! Even more so if you convert the voices to the new Tyros panel voices.

Try it out, I am sure you will find "new" and exiting styles that are as good as the internal styles !

You can also use the auto revoice and it will pick out excellent compatible voices.

If you turn the MegaVoice option "On" (under the Options menu item), the program MidiPlayer will automatically replace standard voices with the MegaVoice version. You can also manually edit the assigned voice to select any MegaVoice that you want.

MidiPlayer does more than just change the voice selection. It also rescales the velocity values, shifts the octave where necessary (HiString changes octaves about 1/2 way up the keyboard), and adds OTS.

Re-writing the initial Voice is something you can do and you can audition it from the MIXING CONSOLE. When you have made your selection you can write that data into the track through several methods: (one key is that you enter SONG CREATOR prior to pressing the MIXING CONSOLE button. If you make changes to the MIXING CONSOLE while not in Song Creator your edits will be temporary and lost when you move away. Edits you make to the MIXING CONSOLE while in SONG CREATOR can become permanent when you EXECUTE the re-write.

On the SONG CREATOR Track "1-16" Event List: In the first measure of the Song you will see on the Event list an event --

Ctrl 0 value x MSB

Ctrl 32 value x LSB

Prog xxx

These values designate the Bank and the Voice. For example, Sweet Flute would be Ctrl 0 value 0; Ctrl 32 value 114; Prog value 73

Or as posted earlier you can use the method where you re-write the CHANNEL SETUP. Writing the Channel Setup will also allow you to customize Mixing data in addition to the Voice selection.

Either way when you are using or importing someones else's MIDI data you will have to expect to do some work on the file if you wish to customize it. The Bank Select and Program Change events work together so that you are not limited to the principal 128 General Midi sound set (MSB 0/ LSB 0). The difference between the FLUTE sound at Program Change 73 (in the principal GM bank) and the one at MSB 0/ LSB 114/ Program 73 is everything!!!

XG and GM Voices

"I still can't seem to bring up the XG voices, the General Midi voices, and all the rest. They seem to have just vanished!"

Depress the Up button at the bottom of the screen until you are at the highest level and then go to the last page. XG voices are accessible via a button on the right of the screen.

* * * * * * * * * * * * * * * * * * * * * * * * * * *

HOW TO LOAD THE "REAL" NAMES INTO THE MUSIC FINDER DATABASE

TYROS MUSIC FINDER
(Getting the "Real" Names Installed)

With this software, nearly 1900 "Yamaha" Phony Song Titles will be converted to the Real, RECOGNIZABLE Songs! Hot dog!

Music Finder Loading Instructions:

1. Copy this file onto a Formatted floppy disk:

Music Finder Song Names DOWNLOAD

2. Insert Floppy Disk into Tyros.
3. Press (Function) button.
4. Choose (Utility) from the display.
5. Use the (Back) and (Next) buttons to scroll to the "System Reset" page in the display.
6. Select (Music Finder) from the screen.
7. Use the (Next) button to scroll to the "FD" page.
8. Select the "Tyros MF" file from the display.
9. From the 'Options' in the screen, choose "Replace".
10. You can now 'Exit' back to the main screen and remove the floppy.

Your Music Finder function will now have 1893 song titles with real song names.
(Thanks to Vince for this information.)

CHANGING VOICES, PAN, EFFECTS, etc.
WHILE SONG IS PLAYING:

You can make any changes on the mixing console while the midifile is running.

When you go to digital recording, song creator, set up, before you press the execute button you need to put the midi file to the begining (press the TOP button ) then execute and save the midi file.

It works for sure.

best regards Nuno

(Another confirmation):
I have discovered that I CAN do my midi song editing and then save without going through that slooooooowwww ridiculous process, if I first do the editing/changes to faders, eq, instrument assign, etc.... and then press the TOP button, --- don't touch anything else --- and then go directly to the digital recorder and follow the standard process! It's working almost all the time. Why Yamaha couln't explain that before is hard to understand. They're trying, at least they have someone there on the phone, that can learn along with me.

Craig

USING TOUCH AND AFTERTOUCH:

Now... as to the use of Aftertouch... whew! Do you want it all in one paragraph eight feet long, or shall I break it up into a week's worth of complex phrases?

Actually, explaining the use of Aftertouch and its settings is a bit like explaining brain surgery, so I'll just give a brief outline. If you need more, you can find it on pages 86-87 of the Tyros manual.

Your best bet for learning about Aftertouch is to dive in and just experiment. But to give you a quick summary, let's first discuss the differences between Velocity (Touch Sensitivity) and Aftertouch (Pressure Sensitivity).

With Velocity, how hard you strike each key will determine the effect. Depending on your settings, you can have any number of effects which are intensified by HOW HARD you strike a key. Most of us know about Volume... hit a key harder, the voice sounds Louder.

But there are other effects possible... hit it harder, get more Reverb! Hit it harder, get an Echo! Hit it harder, bring in a Harmony voice! Hit it harder, get a Repeating Note! And there are still others.

With Aftertouch, however, hitting the keys hard has no effect. Instead, the effect comes from Key Pressure... how hard you press down on the key after the note has sounded.

Depending on how you set it, Aftertouch can affect these parameters: Filter (brightness & harmonics), Volume, Pitch (Vibrato effect), Filter Modulation (the "Wah" effect), and LFO Amplitude (Tremelo effect).

With the Filter affected, you can cause the Voice to get brighter or duller by pressing harder on the keys... or, you can add Harmonics to the voice (extra "sizzle" and synth-like effects).

With the Volume (Amplitude) affected, pressing harder on the keys will increase the volume.

With the Pitch affected, pressing harder will give a Vibrato effect.

With Filter Modulation affected, pressing harder will create a "Wah" effect on the notes.

And with the LFO Amplitude affected, pressing down will give you a Tremelo effect (the volume warbles in and out.)

Here's some good news you may find interesting: as with Touch Sensitivity, Pressure Sensitivity can operate many of the above parameters AT THE SAME TIME!

Thus, pressing on a key can not only increase Volume, you may have it set to also ADD BRIGHTNESS, and HARMONICS, and VIBRATO, and a "WAH" effect.

The bad news is that each time you add something new, you need to carefully check its effect on the overall mix by playing a few notes. Because you can easily get some VERY WEIRD (and unmusical) EFFECTS if you are not careful.

Also Please Note: these effects only work with Sustained or Slow-Decaying notes. They will not work with Marimba or Xylophone voices, for example, which sound only briefly.

SAVING DSP SETTINGS

"Is it possible to save a particular DSP setting on the Tyros? I refer to the Mic setting on the effects page -- it is set at 34 T.DLY on DSP 2-6, I've reset it to a lower factor to reduce the effect but it always reverts back to its original setting when the machine is switch on.

On the 9000 there was no problem saving it, but there does not seem to be an obvious way on the Tyros. In desperation I've tried the Store facility on the EQ page and the Save on CMP (compress), but neither work."

By default, the Tyros allows styles etc to change the mic (and other) settings.

To prevent this from happening, depress Function/Utility/ Config 1 and scroll down to Parameter Lock. There are settings for:

Fingering type
Split Point
Master Eq (the only one that is on by default, I am not sure why)
Reverb Type
Rev+Chorus + DSP return level
Mic settings
Reverb Type

It looks as if the Mic settings might be what you want.

Checking these boxes means that the only way that they are changed is manually via the menus. No longer will changing styles switch the split point, fingering, etc!

CONVERTING FROM 9000 TO TYROS

To convert 9000 Registrations for the Tyros, the registrations have first to be saved using the "Save to Disk Button" on the 9000 not the "Backup/Restore Button". Insert a floppy disk and press "Save to Disk Button", Tick the Banks you want to save, name the file eg: Brian’s Regs and save to the floppy disk this will make a folder with the extension ".usr" this folder is now named "Brian’s Regs.usr" I saved all my Regs into a folder in "My Documents", (for safe keeping until I got my Tyros) then insert a blank floppy disk into Computer. Using the Conversion program from CD, click on File Converter.exe, click on "PSR9000 Conversion", click next, click Upper "Ref" and then highlight folder you saved to open it. (Note: no files will show.) Click lower "Ref" and highlight Floppy Disk (A:). This will now convert to floppy disk. Insert into Tyros and save. Custom Styles have to be added to the Registrations manually.

The PSR 8000 Commercial disks can also be converted this way but firstly they must be converted on the PSR9000, using the converter 8000 to 9000 on the Keyboard, then converted for the Tyros as a 9000 Disk.

Hope you all can understand this, as it is much easier to do than give instructions.

ADDING "EFFECTS"

For the Tyros /PSR-2000, you can add effects using the Mixing Console (Effects tab). Make sure that you go into Song Creator following any changes and Save the midi (with a new name) from there. Here are some instructions on selecting system/insertion effects:

There are two types of DSPs on these instruments: 1) System, a common effect that can get input from any of the 16 midi channels based upon the amount selected by the effect slider, and 2) Insertion, an effect which is applied to a single channel only, and in a fixed amount set by the instrument (the slider is inactive)

By default, the song DSP is set to insertion DSP 1, Delay LR, Part=Off. If you want to apply an effect to just one part, then depress Mixing Consol button until you get to Song 1-8 or Song 9-16, tab to Effect, depress the Type screen button, and use the screen buttons at the bottom to select a channel and the effect desired. Since the effect amount is fixed, the sliders remain grayed out. If you want to assign an effect to more that one channel, use the screen buttons to select another DSP and change the part to the new channel.

To use a system effect with a midi, in Mixing Console, tab to Effect, depress the Type screen button, and the Parameter screen button. And then you must do something that is not so obvious! Depress the Parameter button (4 or 5 at bottom of screen) until the next to last entry. You will notice that there are several "hidden" parameters, one of which selects whether the effect is System or Insertion. Change the entry to System, depress exit to go back to the Type and select an effect. When you have done this, depress Exit again and you will see that the effect sliders are now active.

You can also change effects in Cakewalk using StudioWare panels. I have attached a panel I made for use with StyleMaker. To load it, open it in Cakewalk after you have loaded your midi. To modify effects in Cakewalk:

Choose the effects for Reverb, Chorus and System by clicking the button over the desired selection. Essential Effects buttons are colored green. Effect selections must be made once for the entire file and must be located in the setup sections. To do this, click Rewind in the Track Window and then click the Snapshot button at the top left of the mixer panel.

Adjust the rotary Send controls for each channel, and each effect, to set the amount of signal going to the effect. The Mute/Solo buttons at the bottom of the panel are convenient for auditioning the effect selection and send levels. (Note that the effect selections are stored on channel 1, so be careful in muting this channel). The Volume sliders may be used to balance the level of the combined wet + dry mix relative to other channels.

Effect Send/Volume Controller events can be located anywhere in a file and can be Snapshot along with the effect selections at the beginning of the file. Alternatively, they may be located at the beginning of sections or altered in real time as the file is auditioned. To prevent including effect selections that are illegal beyond the beginning of the file, select the effect ‘Bypass’ for each event type before the snapshot or recording. Bypass suppresses the recording of any effect selection, whereas ‘NoEffect’ turns off the effects processor.

I generally use the Mixing Console. It seems easier.

(Click To Read):
BOB GELMAN ON "SAVING STYLES"




A SYSTEM CHECK FOR THE TYROS

(unverified)

"I have seen somewhere on this forum how to do a system check by turning on the tyros whilst holding down certain buttons. Can anyone tell me which ones to hold down!!??"

"When your Tyros is switched off, press C#2,F2,G#2 and then turn power ON. You will now see a test screen.

You can scroll through the tests using the Tempo +/- buttons. Press start/stop (style control) to start a test.

To get out of this mode, switch the keyboard off and then back on again."

SOME "COOL TRICKS"

Just in the event you do not know this trick on YammY boards......while the accmp. is playing, if you hit 3 keys at the same time chromatically....(say C C# D or A Bb B or whatever 3 as long as they are chromatic) the accmp. will stop playing and you will get a drum/persussion solo.


* With special thanks to Michael P. Bedesem, Simon Williams, Vince Cochran, Terry Telson, Ms. Shirley H., and G. Reed Smyth.

Welcome to the Craziest Clock In The World

So hey people...

What ya think of Dave's fantastic new clock?

LOL

(all right, so WHAT if it can't keep time?)

Listen, I get all kinds of compliments on this clock. Why, just yesterday I got this message from a friend in Northern California (this is from an actual email he sent):

"OK Dave,

"So I took your clock and set my appointments up and went to sleep.  By 3AM I had awakened 43 times and was so pissed that I threw your damn clock out the window and all the contents of my room followed the numbers into my neighbor's yard.   After explaining to the officer that I was not a prowler my neighbor dropped charges and his dog let go of my leg.

"The doctor said it would heal up in three months but couldn't explain the strange numerical cloud around my head.   I finally got home but had been chased by all the street numbers I passed and had to push them out of the way to get back into my house.   I was late to open my shop and by the end of the day I had missed 3042 appointments with only five people.   It was about 5095 minutes past 387 O'Clock when I closed.

Now I have no idea when I am or ever was, thanks to you."

Vince

And thank YOU, Vince. Your letter will be much appreciated by clock-lovers everywhere.