Tyros3
Reference Manual

10
Connections
- Using Tyros3 with Other Devices -

Contents
Microphone Settings	102
Microphone Overall Settings	102
Talk Settings	105
Editing Vocal Harmony	106
Footswitch/Foot Controller Settings	109
Assigning Specific Functions to Each Foot Pedal	109
MIDI Settings	112
MIDI SYSTEM Settings	114
MIDI Transmit Settings	115
MIDI Receive Settings	116
Setting the Bass Note for Style Playback via MIDI Receive	117
Setting the Chord Type for Style Playback via MIDI Receive	117
MFC10 Settings	118

Microphone Settings

Microphone Overall Settings

1	Call up the operation display. 
[MIC SETTING] -> TAB [LEFT][RIGHT] OVERALL SETTING

2	Use the [A], [C] and [E] (or [F], [H] and [J]) buttons to select the parameter to be adjusted, then set the value by using the [1 UP DOWN] to [8 UP DOWN] buttons or sliders.
For information on each parameter, see pages 103 to 104.

CAUTION
Settings in the OVERALL SETTING Page are automatically saved to the instrument when you exit from the display. However, if you turn the power off without exiting from this display, the settings will be lost.

3BAND EQ (selected by [A] or [F] button)
EQ (Equalizer) is a processor that divides the frequency spectrum into multiple bands which can be boosted or cut as required to tailor the overall frequency response. The Tyros3 features a high-grade three-band (LOW, MID and HIGH) digital equalizer function for the microphone sound.

(Table)
[1 UP DOWN]/[3 UP DOWN]/[5 UP DOWN]	Hz	Adjusts the center frequency of the corresponding band.
[2 UP DOWN]/[4 UP DOWN]/[6 UP DOWN]	dB	Boosts or cuts the level of the corresponding band by up to 12 dB.
(Table End)

NOISE GATE (selected by [C] or [H] button)
This effect mutes the input signal when the input from the microphone falls below a specified level. This effectively cuts off extraneous noise, allowing the desired signal (vocal, etc.) to pass.

(Table)
[1 UP DOWN]	SW (Switch)	This turns Noise Gate on or off.
[2 UP DOWN]	TH. (Threshold)	This adjusts the input level at which the gate begins to open.
(Table End)

COMPRESSOR (selected by [C] or [H] button)
This effect holds down the output when the input signal from the microphone exceeds a specified level. This is especially useful for smoothing out vocals that have widely varying dynamics. It effectively "compresses" the signal, making soft parts louder and loud parts softer.

(Table)
[3 UP DOWN]	SW (Switch)	This turns Compressor on or off.
[4 UP DOWN]	TH. (Threshold)	This adjusts the input level at which compression begins to be applied.
[5 UP DOWN]	RATIO	This adjusts the compression ratio.
[6 UP DOWN]	OUT	Adjusts the final output level.
(Table End)

MIC MUTE (selected by [C] or [H] button)

(Table)
[8 UP DOWN]	MIC MUTE	When set to ON, the microphone sound is turned off.
(Table End)

MIC VOLUME (selected by [E] or [J] buttons)

(Table)
[8 UP DOWN]	MIC VOLUME	Adjusts the output volume of the microphone sound.
(Table End)

VOCAL HARMONY CONTROL (selected by [E] or [J] button)
The following parameters determine how the Vocal Harmony is controlled.

(Table)
[1 UP DOWN] to [3 UP DOWN]	VOCODER CONTROL	The Vocal Harmony effect in Vocoder mode (below) is controlled by note data-the notes you play on the keyboard and/or the notes of the song data. This parameter lets you determine which notes are used to control the harmony.
[1 UP DOWN]	MUTE/PLAY	When set to "MUTE," the channel selected below (to control Harmony) is muted (turned off) during keyboard performance or song playback.
[2 UP DOWN]	OFF/1 to 16	When set to "OFF," song data control over harmony is turned off. When set to one of the values 1 to 16, note data (played from a Song on the Tyros3 or external MIDI sequencer) contained on the corresponding channel is used to control the harmony.
[3 UP DOWN]	KBD (Keyboard)	OFF: Keyboard control over harmony is turned off.
		UPPER: Notes played to the right of the split point control the harmony.
		LOWER: Notes played to the left of the split point control the harmony.
[4 UP DOWN]	BAL. (Balance)	This lets you set the balance between the lead vocal (your own voice) and Vocal Harmony. Raising this value increases the volume of the Vocal Harmony and decreases that of the lead vocal. When this is set to L<H63 (L: Lead Vocal, H: Vocal Harmony), only the Vocal Harmony is output; when it is set to L63>H, only the lead vocal is output.
[5 UP DOWN]	MODE (Vocal Harmony mode)	All of the Vocal Harmony types fall into one of three modes, which produce harmony in different ways. The harmony effect is dependent on the selected Vocal Harmony mode, and this parameter determines how the harmony is applied to your voice. The three modes are described below.
		AUTO: When the [ACMP] or [LEFT] is set to ON and if chord data exists in the Song, the mode is automatically set to CHORDAL. In all other cases, the mode is set to VOCODER.
		VOCOD (Vocoder): The harmony notes are determined by the notes you play on the keyboard and/or Song data. You can specify whether the Vocoder effect is controlled by your keyboard performance or by the Song data (VOCODER CONTROL parameter above).
		CHORD (Chordal): The harmony notes are determined by the following three types of chord: chords played in the chord section of the keyboard (with the [ACMP] turned on), chords played in the LEFT Voice section of the keyboard (with the [ACMP] turned off and the [LEFT] turned on), and chords contained in Song data for controlling the harmony. (Not available if the Song does not contain any chord data.)
[6 UP DOWN]	CHORD	The following parameters determine which data in a recorded Song is used for chord detection.
		OFF: Chords are not detected from the Song data.
		XF: Chords of XF format are used for the Vocal Harmony.
		1-16: Chords are detected from note data in the specified Song channel.
[7 UP DOWN]	VOCAL RANGE	Set this to obtain the most natural vocal harmony, depending on your voice.
		NORM.: Normal setting.
		LOW: Setting for lower voice. This setting is also appropriate for growling and shouting.
		HIGH: Setting for higher voice. This setting is also appropriate for singing close to the microphone.
(Table End)

Talk Settings
This function gives you special settings for making announcements between songs, separate from the settings for your singing performance.

1	Call up the operation display. 
[MIC SETTING] -> TAB [LEFT][RIGHT] TALK SETTING

2	Use the [A]/[B] buttons to select the parameter to be adjusted, then set the value by using the [1 UP DOWN] to [8 UP DOWN] buttons or sliders.

CAUTION
Settings in the TALK SETTING Page are automatically saved to the instrument when you exit from the display. However, if you turn the power off without exiting from this display, the settings will be lost.

NOTE
The settings here can be saved to USER, HD or USB as a System Setup file: [FUNCTION] -> [I] UTILITY -> TAB [LEFT][RIGHT] SYSTEM RESET. See page 126.

1 Talk Setting Parameters

(Table)
[1 UP DOWN]	VOLUME	This determines the output volume of the microphone sound.
[2 UP DOWN]	PAN	This sets the stereo pan position of the microphone sound.
[4 UP DOWN]	REVERB DEPTH	These set the depth of the reverb effects applied to the microphone sound.
[5 UP DOWN]	CHORUS DEPTH	This sets the depth of the chorus effects applied to the microphone sound.
[6 UP DOWN]/[7 UP DOWN]	TOTAL VOLUME ATTENUATOR	This determines the amount of attenuation to be applied to the overall sound (excepting the microphone input)-allowing you to effectively adjust the balance between your voice and the overall instrument sound.
(Table End)

2 DSP Parameters

(Table)
[3 UP DOWN]	DSP MIC ON/OFF	This turns the DSP effect applied to the microphone sound ON or OFF.
[4 UP DOWN]/[5 UP DOWN]	DSP MIC TYPE	This selects the type of DSP effect to be applied to the microphone sound.
[6 UP DOWN]	DSP MIC DEPTH	This sets the depth of the DSP effect applied to the microphone sound.
(Table End)

Editing Vocal Harmony
This section explains briefly how to create your own Vocal Harmony types, and lists the detailed parameters for editing. Up to ten Vocal Harmony types can be created and saved.

1	Press the [VH TYPE SELECT] button to call up the VOCAL HARMONY TYPE Selection display.

2	Select a Vocal Harmony type to be edited by using the [A] to [J] buttons.

3	Press the [8 DOWN] (EDIT) button to call up the VOCAL HARMONY EDIT display.

4	Edit the Vocal Harmony.

(Table)
[1 UP DOWN]/[2 UP DOWN]	EFFECT TYPE	Re-selects the Vocal Harmony Type.
[3 UP DOWN] to [5 UP DOWN]	PARAMETER	Selects the parameter you want to be edit. See page 107.
[6 UP DOWN]/[7 UP DOWN]	VALUE	Sets the value of the selected parameter.
[8 UP DOWN]	RETURN	Returns to the VOCAL HARMONY TYPE Selection display.
(Table End)

5	Press the [I] (SAVE) button to save your edited Vocal Harmony type.

CAUTION
The settings here will be lost if you change to another Vocal Harmony type or you turn the power off without executing the save operation.

Vocal Harmony Edit parameters

(Table)
VOCODER TYPE	Determines how the harmony notes are applied to the microphone sound when the Harmony mode (page 104) is set to "VOCODER."
CHORDAL TYPE	Determines how the harmony notes are applied to the microphone sound when the Harmony mode (page 104) is set to "CHORDAL."
HARMONY GENDER TYPE	Determines whether the gender of the harmony sound is changed or not.
		Off: The gender of the harmony sound is not changed.
		Auto: The gender of the harmony sound is changed automatically.
LEAD GENDER TYPE	Determines whether and how the gender of the lead vocal sound (i.e., the direct microphone sound) will be changed. Please note that the number of harmony notes differs depending on the selected type. When set to Off, three harmony notes are produced. Other settings produce two harmony notes.
		Off: No gender change occurs.
		Unison: No gender change occurs. You can adjust the LEAD GENDER DEPTH below.
		Male: The corresponding gender change is applied to the lead vocal.
		Female: The corresponding gender change is applied to the lead vocal.
LEAD GENDER DEPTH	Adjusts the degree of lead vocal gender change. This is available when the LEAD GENDER TYPE above is set to other than Off. The higher the value, the more "feminine" the harmony voice becomes. The lower the value, the more "masculine" the voice.
LEAD PITCH CORRECT	This parameter is only effective when the LEAD GENDER TYPE above is set to other than Off. When Smooth or Hard is selected, the pitch of the lead vocal is shifted in precise semitone steps.
UPPER GENDER THRESHOLD	Gender change will occur when the harmony pitch reaches or exceeds the specified number of semitones above the lead vocal pitch.
LOWER GENDER THRESHOLD	Gender change will occur when the harmony pitch reaches or exceeds the specified number of semitones below the lead vocal pitch.
UPPER GENDER DEPTH	Adjusts the degree of gender change applied to harmony notes higher than the UPPER GENDER THRESHOLD. The higher the value, the more "feminine" the harmony voice becomes. The lower the value, the more "masculine" the voice.
LOWER GENDER DEPTH	Adjusts the degree of gender change applied to harmony notes lower than the LOWER GENDER THRESHOLD. The higher the value, the more "feminine" the harmony voice becomes. The lower the value, the more "masculine" the voice.
VIBRATO DEPTH	Sets the depth of vibrato applied to the harmony sound. Also affects the lead vocal sound when the LEAD GENDER TYPE above is set to other than Off.
VIBRATO RATE	Sets the speed of the vibrato effect. Also affects the lead vocal sound when the LEAD GENDER TYPE above is set to other than Off.
VIBRATO DELAY	Specifies the length of the delay before the vibrato effect begins when a note is produced. Higher values result in a longer delay.
HARMONY 1/2/3 VOLUME	Sets the volume of the first (lowest), second, and third (highest) harmony note.
HARMONY 1/2/3 PAN	Specifies the stereo (pan) position of the first (lowest), second, and third (highest) harmony note.
		Random: The stereo position of the sound will change randomly whenever the keyboard is played. This is effective when the Harmony mode (page 104) is set to "VOCODER" or "CHODAL."
		L63>R-C-L<R63: A setting of L63>R pans the sound hard left, while C is at center, and L<R63 is at hard right.
HARMONY 1/2/3 DETUNE	Detunes the first (lowest), second, and third (highest) harmony note by the specified number of cents.
PITCH TO NOTE	When this is set to "ON," you can "play" the Voices of the Tyros3 with your voice. (The Tyros3 tracks the pitch of your voice and converts it to note data for the tone generator. Keep in mind, however, that dynamic changes in your voice do not affect the volume of the tone generator.)
PITCH TO NOTE PART	Determines which of the Tyros3 parts will be controlled by the lead vocal when the PITCH TO NOTE parameter above is "ON."
(Table End)

Footswitch/Foot Controller Settings

Assigning Specific Functions to Each Foot Pedal
The functions assigned by default to the connected footswitch or foot controller can be changed-for example, letting you use the footswitch to start/stop Style playback, or use the foot controller to produce pitch bends.

1	Call up the operation display.
[FUNCTION] -> [D] CONTROLLER -> TAB [LEFT][RIGHT] FOOT PEDAL

2	Use the [A]/[B] buttons to select one of three foot pedals to which the function is to be assigned.

3	Use the [C]/[D] buttons to select the function to be assigned to the pedal specified in step 2.
For information on available parameters, see pages 110 to 111.

NOTE
You can also assign the other functions to the pedal-punch in/out of Song/Hard Disk Recorder (page 61, 84) and Registration Sequence (page 78). If you assign multiple functions to the pedal, the priority is: Punch in/out of Song or Hard Disk Recorder -> Registration Sequence -> Functions assigned here.

4	Use the [1 UP DOWN] to [8 UP DOWN] buttons to set the details of the selected functions (the part for which the function is applied, etc.).
The available parameters differ depending on the function selected in step 3.

5	If necessary, set the polarity of the pedal by using the [I] button.
Pedal on/off operation may differ depending on the particular pedal you've connected to the Tyros3. For example, pressing down on one pedal may turn the selected function on, while pressing a different make/brand of pedal may turn the function off. If necessary, use this setting to reverse the operation.

Assignable Pedal Functions
For functions indicated with "*", use only the foot controller; proper operation cannot be done with a footswitch.

(Table)
S. ARTICULATION 1/2	When you use a Super Articulation Voice that has an effect assigned to the pedal/footswitch, you can enable the effect by pressing the pedal/footswitch. You can turn this function on or off for each keyboard part on this display.
VOLUME*	Allows you to use a foot controller to control the volume. You can turn this pedal function on or off for each part on this display.
SUSTAIN	Allows you to use a pedal to control the sustain. When you press and hold the pedal, all notes played on the keyboard have a longer sustain. Releasing the pedal immediately stops (damps) any sustained notes. You can turn this pedal function on or off for each keyboard part on this display.
SOSTENUTO	Allows you to use a pedal to control the Sostenuto effect. If you play a note or chord on the keyboard and press the pedal while holding the note(s), the notes will sustain as long as the pedal is held. However, all subsequent notes will not sustain. This makes it possible to sustain a chord, for example, while other notes are played staccato. You can turn this pedal function on or off for each keyboard part on this display.
		NOTE
		This function will not affect the Organ Flutes and Super Articulation Voices, even if they have been assigned to the Foot Pedals.
SOFT	Allows you to use a pedal to control the Soft effect. Pressing this pedal reduces the volume and changes the timbre of the notes you play. This is effective only for certain appropriate Voices. You can turn this pedal function on or off for each keyboard part on this display.
GLIDE	When the pedal is pressed, the pitch changes, and then returns to normal pitch when the pedal is released. The following parameters can be set for this function on this display.
		UP/DOWN: Determines whether the pitch change goes up (is raised) or down (is lowered).
		RANGE: Determines the range of the pitch change, in semitones.
		ON SPEED: Determines the speed of the pitch change when the pedal is pressed.
		OFF SPEED: Determines the speed of the pitch change when the pedal is released.
		LEFT, RIGHT 1, 2, 3: Turns this pedal function on or off for each keyboard part.
PORTAMENTO	The portamento effect (a smooth slide between notes) can be produced while the pedal is pressed. Portamento is produced when notes are played legato style (i.e., a note is played while the preceding note is still held). The portamento time can also be adjusted form the Mixing Console display (page 92). You can turn this pedal function on or off for each keyboard part on this display.
		NOTE
		This function will not affect the Organ Flutes and Super Articulation Voices, even if they have been assigned to the Foot Pedals.
PITCHBEND*	Allows you to bend the pitch of notes up or down by using the pedal. The following parameters can be set for this function on this display.
		UP/DOWN: Determines whether the pitch change goes up (is raised) or down (is lowered).
		RANGE: Determines the range of the pitch change, in semitones.
		LEFT, RIGHT 1, 2, 3: Turns this pedal function on or off for each keyboard part.
MODULATION*	Applies a vibrato effect to notes played on the keyboard. You can turn this pedal function on or off for each keyboard part on this display.
DSP VARIATION	Same as the [DSP VARIATION] button on the panel. 
HARMONY/ECHO	Same as the [HARMONY/ECHO] button.
VOCAL HARMONY	Same as the [VOCAL HARMONY] button.
TALK	Same as the [TALK] button.
SCORE PAGE plus/minus	While the Song is stopped, you can turn to the next/previous score page (one page at a time).
LYRICS PAGE plus/minus	While the Song is stopped, you can turn to the next/previous lyrics page (one page at a time).
TEXT PAGE plus/minus	You can turn to the next/previous text page (one page at a time).
HDR PLAY/PAUSE	Same as the HARD DISK RECORDER [PLAY/PAUSE] button.
SONG PLAY/PAUSE	Same as the SONG [PLAY/PAUSE] button.
STYLE START/STOP	Same as the STYLE CONTROL [START/STOP] button.
TAP TEMPO	Same as the [TAP TEMPO] button.
SYNCHRO START	Same as the [SYNC START] button.
SYNCHRO STOP	Same as the [SYNC STOP] button.
INTRO 1 to 3	Same as the INTRO [1] to [3] buttons.
MAIN A to D	Same as the MAIN VARIATION [A] to [D] buttons.
FILL DOWN	Plays a fill-in, which is automatically followed by the Main section of the button on the immediate left.
FILL SELF	Plays a fill-in.
FILL BREAK	Plays a break.
FILL UP	Plays a fill-in, which is automatically followed by the Main section of the button on the immediate right.
ENDING1 to 3	Same as the ENDING/rit. [1] to [3] buttons.
FADE IN/OUT	Same as the [FADE IN/OUT] button.
FINGERD/FING ON BASS	The pedal alternately switches between the Fingered and On Bass modes (page 31).
BASS HOLD	While the pedal is pressed, the Accompaniment Style bass note will be held even if the chord is changed during Style playback. If the fingering is set to "FULL KEYBOARD," the function does not work.
PERCUSSION	The pedal plays a percussion instrument selected by the [4 UP DOWN] to [8 UP DOWN] buttons. You can use the keyboard to select the desired percussion instrument.
		NOTE
		When you select the percussion instrument by pressing a key on the keyboard, the velocity with which you press the key determines the percussion volume.
RIGHT 1 ON/OFF	Same as the PART ON/OFF [RIGHT 1] button.
RIGHT 2 ON/OFF	Same as the PART ON/OFF [RIGHT 2] button.
RIGHT 3 ON/OFF	Same as the PART ON/OFF [RIGHT 3] button.
LEFT ON/OFF	Same as the PART ON/OFF [LEFT] button.
OTS plus/minus	Calls up the next/previous One Touch Setting.
(Table End)

MIDI Settings
In this section, you can make MIDI-related settings for the Tyros3. The Tyros3 gives you a set of ten pre-programmed templates that let you instantly and easily reconfigure the instrument to match your particular MIDI application or external device. Also, you can edit the pre-programmed templates and save up to ten of your original templates to the USER display.

1	Call up the operation display. 
[FUNCTION] -> [H] MIDI

2	Select a pre-programmed template from the PRESET Page (page 113). 
If you have already created your original template and saved it to the USER Page, you can also select the template from the USER Page.

3	Press the [8 DOWN] (EDIT) button to call up the MIDI display to edit the selected template.

4	Use the TAB [LEFT][RIGHT] buttons to call up the relevant setting display.
SYSTEM	MIDI System Settings (page 114)
TRANSMIT	MIDI Transmission Settings (page 115)
RECEIVE	MIDI Reception Settings (page 116)
BASS	Settings for the bass note of chord for Style playback via MIDI reception data (page 117)
CHORD DETECT	Settings for the chord type for Style playback via MIDI reception data (page 117)
MFC10	Settings for a connected MFC10 MIDI Foot Controller (page 118)

5	When you've finished editing, press the [EXIT] button to return to the MIDI template Selection display.

6	Press the [6 DOWN] (SAVE) button to save the edited template to the USER Page.

Pre-programmed MIDI Templates

(Table)
ALL PARTS	Transmits all parts including the keyboard parts (RIGHT 1, 2, 3, LEFT), with the exception of Song parts.
KBD & STYLE	Basically the same as "ALL PARTS" with the exception of how keyboard parts are managed. The right-hand parts are handled as a "UPPER" instead of RIGHT 1 to 3 and the left-hand part is handled as a "LOWER."
Master KBD1	In this setting, the Tyros3 functions as a "master" keyboard, playing and controlling one or more connected tone generators or other devices (such as a computer/sequencer).
Master KBD2	Basically the same as "Master KBD1" above, with the exception that Aftertouch messages are not transmitted.
Clock Ext. A 	Playback or recording (Song, Style, Multi Pad, etc.) synchronizes with an external MIDI clock instead of the Tyros3's internal clock. This template should be used when you wish to set the tempo on the MIDI device connected to the Tyros3. Playback or recording of the Tyros3 synchronizes with an external clock received via MIDI A.
MIDI Accord 1	MIDI accordions allow you to transmit MIDI data and play connected tone generators from the keyboard and bass/chord buttons of the accordion. This template lets you play melodies from the keyboard and control Style playback on the Tyros3 with the left-hand buttons.
MIDI Accord 2	Basically the same as "MIDI Accord1" above, with the exception that the chord/bass notes you play with your left hand on the MIDI Accordion are recognized also as MIDI note events.
MIDI Pedal 1	MIDI pedal units allow you play connected tone generators with your feet (especially convenient for playing single note bass parts). This template lets you play/control the chord root in Style playback with a MIDI pedal unit (connected to MIDI B only).
MIDI Pedal 2	This template lets you play the bass part for Style playback by using a MIDI pedal unit (connected to MIDI B only).
MIDI OFF	No MIDI signals are sent or received.
(Table End)

MIDI SYSTEM Settings
The explanations here apply to the SYSTEM Page in step 4 on page 112. 
Use the [A]/[B] buttons to select the parameters (below), then set the ON/OFF status by using the [1 UP DOWN] to [8 UP DOWN] buttons.

1 Local Control
Turns the Local Control for each part on or off. When Local Control is set to "ON," the keyboard of the Tyros3 controls its own (local) internal tone generator, allowing the internal Voices to be played directly from the keyboard. If you set Local to "OFF," the keyboard and controllers are internally disconnected from the Tyros3's tone generator section so that no sound is output when you play the keyboard or use the controllers. For example, this allows you to use an external MIDI sequencer to play the Tyros3's internal Voices, and use the Tyros3 keyboard to record notes to the external sequencer and/or play an external tone generator.

2 Clock setting, etc.

CLOCK
Determines whether the Tyros3 is controlled by its own internal clock or a MIDI clock signal received from an external device. INTERNAL is the normal Clock setting when the Tyros3 is being used alone or as a master keyboard to control external devices. If you are using the Tyros3 with an external sequencer, MIDI computer, or other MIDI device, and you want to synchronize it to that device, set this parameter to the appropriate setting: MIDI A, MIDI B, USB 1, or USB 2. In this case, make sure that the external device is connected properly (e.g., to the Tyros3's MIDI IN terminal), and that it is properly transmitting a MIDI clock signal.

NOTE
If the Clock is set other than INTERNAL, the Style, Song or Multi Pad cannot be played from the panel buttons.

TRANSMIT CLOCK
Turns MIDI clock (F8) transmission on or off. When set to OFF, no MIDI clock or Start/Stop data is transmitted even if a Song or Style is played back.

RECEIVE TRANSPOSE
Determines whether or not the Tyros3's transpose setting is applied to the note events received by the Tyros3 via MIDI.

START/STOP
Determines whether incoming FA (start) and FC (stop) messages affect Song or Style playback.

3 MESSAGE SW (Message Switch)

SYS/EX.
The "Tx" setting turns MIDI transmission of MIDI System Exclusive messages on or off. The "Rx" setting turns MIDI reception and recognition of MIDI System Exclusive messages generated by external equipment on or off.

CHORD SYS/EX.
The "Tx" setting turns MIDI transmission of MIDI chord exclusive data (chord detect. root and type) on or off. The "Rx" setting turns MIDI reception and recognition of MIDI chord exclusive data generated by external equipment on or off.

MIDI Transmit Settings
The explanations here apply to the TRANSMIT Page in step 4 on page 112. This determines which parts will be sent as MIDI data and over which MIDI channel the data will be sent.

(Figure)
The dots corresponding to each channel (1 to 16) flash briefly whenever any data is transmitted on the channel(s).

1	Use the [A]/[B] buttons or [1 UP DOWN]/[2 UP DOWN] buttons to select the part for changing transmit settings. 
With the exception of the two parts below, the configuration of the parts is the same as those already explained elsewhere in the Owner's Manual.

UPPER
A keyboard part played on the right side of the keyboard from the Split Point for the Voices (RIGHT 1, 2, and 3).

LOWER
A keyboard part played on the left side of the keyboard from the Split Point for the Voices. This is not affected by the on/off status of the [ACMP] button.

2	Use the [3 UP DOWN] buttons to select a channel via which the selected part will be transmitted.

NOTE
If the same transmit channel is assigned to several different parts, the transmitted MIDI messages are merged to a single channel-resulting in unexpected sounds and possible glitches in the connected MIDI device.

NOTE
Protected Songs cannot be transmitted even if the proper Song channels 1 to 16 are set to be transmitted.

3	Use the [4 UP DOWN] to [8 UP DOWN] button to determine the types of data to be sent.
The following MIDI messages can be set on the TRANSMIT/RECEIVE display. 

NOTE (Note events)
CC (Control Change)
PC (Program Change)
PB (Pitch Bend)
AT (Aftertouch)

MIDI Receive Settings
The explanations here apply to the RECEIVE Page in step 4 on page 112. This determines which parts will receive MIDI data and over which MIDI channels the data will be received.

(Figure)
The dots corresponding to each channel (1 to 16) flash briefly whenever any data is received on the channel(s).

1	Use the [A]/[B] buttons or [1 UP DOWN]/[2 UP DOWN] buttons to select the channel to be received
The Tyros3 can receive MIDI messages over 32 channels (16 channels x 2 ports).

2	Use the [3 UP DOWN] buttons to select the part via which the selected channel will be received.
With the exception of the two parts below, the configuration of the parts is the same as those already explained elsewhere in the Owner's Manual.

KEYBOARD
The received note messages control the Tyros3's keyboard performance.

EXTRA PART 1 to 4
There are four parts specially reserved for receiving and playing MIDI data. Normally, these parts are not used by the instrument itself. The Tyros3 can be used as a 32-channel multi-timbral tone generator by using these four parts in addition to the parts (except for the microphone sound).

3	Use the [4 UP DOWN] to [8 UP DOWN] button to determine the types of data to be received.

MIDI transmission/reception via the USB terminal and MIDI terminals
The relationship between the [MIDI] terminals and the [USB] terminal which can be used for transmitting/receiving 32 channels (16 channels x 2 ports) of the MIDI messages is as follows:

(Figure)
MIDI reception
MIDI A IN terminal
Merge
MIDI A 01 to 16
USB connector
Port handling
USB1
Merge
MIDI A 01 to 16
USB2
Merge
MIDI B 01 to 16
MIDI B IN terminal
MIDI B 01 to 16

MIDI transmission
MIDI A 01 to 16
MIDI A OUT terminal
MIDI A 01 to 16
USB connector
MIDI B 01 to 16
MIDI B OUT terminal

Setting the Bass Note for Style Playback via MIDI Receive
The explanations here apply to the BASS Page in step 4 on page 112. These settings let you determine the bass note for Style playback, based on the note messages received via MIDI. The note on/off messages received at the channel(s) set to "ON" are recognized as the bass note of the chord of Style playback. The bass note will be detected regardless of the [ACMP] or split point settings. When several channels are simultaneously set to "ON," the bass note is detected from merged MIDI data received over the channels.

1	Use the [A]/[B] buttons to select the channel.

2	Use the [1 UP DOWN] to [8 UP DOWN] button to set the desired channel to ON or OFF.
You can also set all channels to OFF by pressing the [I] (ALL OFF) button.

Setting the Chord Type for Style Playback via MIDI Receive
The explanations here apply to the CHORD DETECT Page in step 4 on page 112. These settings let you determine the chord type for Style playback, based on the note messages received via MIDI. The note on/off messages received at the channel(s) set to "ON" are recognized as the notes for detecting chords in Style playback. The chords to be detected depend on the fingering type. The chord types will be detected regardless of the [ACMP] or split point settings. When several channels are simultaneously set to "ON," the chord type is detected from merged MIDI data received over the channels.

The operation procedure is basically the same as that of the BASS display above.

MFC10 Settings
The explanations here apply to the MFC10 Page in step 4 on page 112.
By connecting an optional MFC10 MIDI Foot Controller to the Tyros3, you can conveniently control a wide range of operations and functions by using your feet-perfect for changing settings and controlling the sound while you perform live. Different functions can be assigned to each of the footswitches and up to five foot controllers (optional) can be connected to the MFC10, for additional sound-shaping possibilities.

1	Connect the MIDI IN terminal of the MFC10 to one of the MIDI OUT terminals of the Tyros3 by using a MIDI cable.

(Figure)
MFC10
MIDI IN
MIDI OUT
If desired, connect additional foot controllers to the MFC10. 

2	Set the MFC10 to the normal mode and turn the [FUNCTION] lamp of the MFC10 on.

3	Perform steps 1 to 4 on page 112 to call up the MFC10 Page.

4	Set the parameters on this display as desired.

On this display, two settings (below) can be made:
Each footswitch (F00 to F29) on the MFC10 sends a note number to the Tyros3, and the Tyros3 determines how it responds to (which function is executed by) that note number.
Each foot controller on the MFC10 sends control change messages over a specific control change number to the Tyros3, and the Tyros3 determines how it responds to (which parameter is changed by) that control change number.

4-1	Use the [A]/[E] buttons to select "FOOTSWITCH" or "FOOT CONTROLLER."

4-2	Use the [2 UP DOWN]/[3 UP DOWN] buttons to select a footswitch number (F00 to F29) or a foot controller number (1 to 5) to which the function is assigned.
Please note that a note number is assigned to each footswitch and a control change number is assigned to each foot controller beforehand and you cannot change the settings.

4-3	Use the [4 UP DOWN] to [6 UP DOWN] buttons to specify the function assigned to the footswitch (actually the note number), or the function assigned to the foot controller (actually the control change number). About the functions which can be assigned to the footswitch or foot controller, refer to page 110.

4-4	(Only for the FOOT CONTROLLER Setting) Determine the part to which the function assigned to the foot controller is applied by using the [7 UP DOWN]/[8 UP DOWN] buttons.

4-5	Use the [F]/[G] buttons to determine the MIDI port which is to be used when communicating with the MFC10. 
Here, the USB port (USB1, USB2) can be selected even though the MFC10 does not have the USB connector. This is because the computer can be used instead of the MFC10. (The computer can transmit the data equivalent to the data the MFC10 transmits to the Tyros3. For details, see the bottom of the page.)

4-6	Use the [H] (CH SELECT) button to determine the MIDI channel which is to be used when communicating with the MFC10.

5	Press the [I] (SEND MFC10 SETUP) button to send the settings here to the MFC10.

NOTE
Actually the pair of the footswitch number and the note number, the pair of the foot controller number and the control change number, and the MIDI channel for communication set above are transmitted to the MFC10.

6	Disconnect the MIDI cable from the Tyros3 and the MFC10, and connect the MIDI OUT terminal of the MFC10 to the MIDI IN terminal of the Tyros3 according to the setting above by using a MIDI cable.

(Figure)
MFC10
MIDI OUT
Transmitting note messages
Transmitting control change messages
MIDI IN
Tyros3

7	Operate the MFC10 to confirm whether you can properly control the Tyros3 from the MFC10 as set in step 4.

8	Press the [EXIT] button to return to the MIDI template Selection display and save the settings above to the USER tab.

Using a computer or another MIDI instrument instead of the MFC10
The following two settings on the MFC10 Page can be saved not to the MFC10 but to the Tyros3 as a MIDI template.
Note number/Tyros3 function assignment pairs 
Control change number/Tyros3 parameter change assignment pairs

If you are not using an MFC10, you can have note numbers and control change messages from any other appropriate MIDI device (such as a computer, sequencer or master keyboard) control the Tyros3. Make sure to set the appropriate channel in this display for control by the external device.


This is the end of the file.