Yamaha PLG100-VL, PLG100VLE User Manual
Yamaha Virtual Acoustic Plug-in Board
Yamaha Virtual Acoustic Plug-in Board
Carte Plug-in de Synthèse Acoustique Virtuelle
Owner’s Manual
Bedienungsanleitung
Mode d’emploi
Precautions
● Do not expose the daughter board to direct sunlight,
excessive humidity, high temperatures, excessive dust
or strong vibrations.
● Before handling the daughter board, be sure to touch a
metal surface to discharge any static electricity which
may be in your body.
● When holding the daughter board, do not touch the in-
side area of the circuit board or apply excessive pressure to the board, and be sure to protect the board from
● Before connecting the computer to other devices, turn
off the power switches of all devices.
● Y amaha is not responsible for loss of data through com-
puter malfunctions or operator actions.
● The daughter board contains no user-serviceable parts,
so never touch the inside area of the circuit board or
tamper with the electronic circuitry in any way. Doing
so may result in electrical shock or damage to the daughter board.
contact with water or other liquids.
● Before installing the daughter board onto a sound card,
unplug the power connector of your computer.
* The company names and product names in this Owner’s Manual are the trademarks or registered
trademarks of their respective companies.
* The screens as illustrated in this owner’s manual are for instructional purposes only, and may ap-
pear somewhat different from the ones of your instrument.
FCC INFORMATION (U.S.A.)
1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!
This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications
not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product.
2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables.
Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void
your FCC authorization to use this product in the USA.
3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class
”B” digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product
in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/
uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause
interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that
interference will not occur in all installations. If this product is found to be the source of interference, which can be determined
by turning the unit ”OFF” and ”ON”, please try to eliminate the problem by using one of the following measures:
Relocate either this product or the device that is being affected by the interference.
Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s.
In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change
the lead-in to co-axial type cable.
If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this
type of product. If you can not locate the appropriate, please contact Yamaha Corporation of America, Electronic Service
Division, 6600 Orangethorpe Ave, Buena Park, CA 90620
Y AMAHA CANNO T BE HELD RESPONSIBLE
FOR DAMAGE CAUSED BY IMPROPER
CARE AND USE OF THE D AUGHTER BO ARD.
* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.
CANADA
This Class B digital apparatus complies with Canadian ICES-003.
Cet appareil numérique de la classe B est conforme à la norme NMB-003 du Canada.
• This applies only to products distributed by Yamaha Canada Music Ltd.
• Ceci ne s’applique qu’aux produits distribués par Yamaha Canada Musique Ltée.
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Introduction
Virtual Acoustic Plug-in Board PLG100-VL will expand your tone generator/ sound card such
as MU100 and SW1000XG by adding 256 VL voices created by the unique Virtual Acoustic
Synthesis (including 137 VL-XG, XG compatible, voices). Using the included software, VL
Visual Editor, you can edit VL voices and create your own voices from scratch.
Please read through this manual to take full advantage of the PLG100-VL before use and keep
the manual in a safe place for future reference.
ENGLISH
ENGLISH
Contents
About PLG100-VL ........................................................4
Virtual Acoustic Synthesis ............................................6
Creating Voices ............................................................ 10
Voice Organization ...................................................... 10
Selecting Voices............................................................12
Editing VL Voice Part Parameters ............................15
VL System Parameters................................................24
Appendix Q & A ....................................................... 28
Voice List ................................................. 30
MIDI Data Format..................................34
MIDI Implementation Chart ................. 46
About XG Plug-in System
With Yamaha XG Plug-in System you can expand your tone generation system by
simply mounting an optional board onto the “mother” tone generator/sound card. For
example, you will be able to use extra voices from a different sound synthesis such as
Virtual Acoustic Synthesis, apply completely new dimensional facet of effects to your
music and/or add the latest technology to your music.
About Sondius XG
Products bearing the SONDIUS-XG logo are licensed under patents of Stanford University and Yamaha as listed on the internet web site, <http://www.sondius-xg.com>.
About VL-XG
The VL Extension for XG (“VL Extension for XG” is abbreviated to VL-XG) included in the PLG100-VL significantly enhances and expands the musical capabilities of the XG format with the superior sound and expressive potential of Yamaha
Virtual Acoustic Synthesis. The PLG100-VL provides superior wind and string instrument voices while the XG tone generator/sound card supplies drums, percussion,
keyboard, and other voices.
3
About PLG100-VL
Main Features
● Allows you to play back the songs which are programmed with the VL-XG voice data
(p.10).
● Lets you edit the VL parameters on the tone generator (a model with LCD screen)
(p.15).
● Allows you to simulate an acoustic musical instrument and create a “virtual” musical
instrument by using the “VL Visual Editor,” a plug-in software for the “XGworks,”
even if you don’t have further musical knowledge (p.10).
● Allows you to play the PLG100-VL by WX5 (via BT7) connected to the tone genera-
tor via MIDI (p.27).
● Lets you easily install the PLG100-VL onto the tone generator/sound card.
VL Voice Edit
Editing VL-XG Voices
If you want to edit the existing MIDI files or create a MIDI song using various VL-XG
voices from the PLG100-VL, you need to use a sequencing software which is capable of
editing the system exclusive messages and transmit bank select/program change messages
and/or parameter changes to the PLG100-VL. See MIDI Data Format (p.34) for more
information on the system exclusive messages.
However, using the XG Editor Window of the included music sequencing software,
“XGworks” or “XGworks lite” (a Windows application, provided in the included CDROM) lets you visually and easily enter the VL program change data and edit its data
instead of inputting rather complicated system exclusive messages.
Creating Your Own VL Voices
Even if you have no experience in voice creation, the “VL Visual Editor” (also provided in
the included CD-ROM) lets you easily create VL voices. The “VL Visual Editor” is one of
the plug-in software for the “XGworks” (P.10).
• To use the “XGworks” and “VL Visual Editor” you need to connect the “mother” tone generator/sound card
to your PC, and properly set the “Driver” and “Input/Output devices.” For the details refer to the owner’s
manual of the “XGworks.”
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About PLG100-VL
■ Installation
For the installation of the PLG100-VL see the manual of respective “mother” tone generator/sound
card.
■ Included Items
• PLG100-VL Board
• CD-ROM
• Owner’s Manual
■ Specifications
Tone Generator S/VA
(Self-oscillating Virtual Acoustic Synthesis: VLR Algorithm)
Polyphony 1 note monophonic (latest note priority)
Sound Module Mode VL-XG
Interface XG Plug-in Connector (15-pin Digital Connector)
Number of Voices 256 Preset voices (including 137 VL-XG voices)
6 Custom voices
64 Internal voices
Dimensions 138.5mm(W) 89mm(D) 8.5mm(H)
Weight 56g
ENGLISH
About the Demonstration Data Provided in the CD-ROM
The demonstration data, songs and performances, provided in the included CD-ROM will
give you an idea of some of the PLG100-VL’s capability. Try them all using the “XGworks.”
* Performance data: send them as the bulk data to the XG tone generator using the “XGworks.”
● Songs
File Name Song Name Composer
COOLJIVA.MID Cool JiVA Katsunori Ujiie
OXYGEN.MID Oxygen Andy Mowat
NOBODY.MID Nobody Knows Akio Suzuki
SILHOUET.MID Silhouettes Tom Scott (GRP Recording Artist)
VAMBIENT.MID VAmbient Katsunori Ujiie
DOGROOVA.MID Do GrooVA Katsunori Ujiie
CLOUDS.MID Clouds Akio Suzuki
Daniel Powell (YAHAMA R&D London)
Nate Tschetter
Charles Feilding
(YAMAHA Sound Design Office)
● Performances
VLPFM1.MID
VLPFM2.MID
VLPFM3.MID
VLPFM4.MID
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Virtual Acoustic Synthesis
Unlike previous tone generation systems which use oscillators, function generators, preset waveforms or samples to produce sound, Yamaha Virtual Acoustic (“VA”) Synthesis applies sophisticated computer-based “physical modeling” technology to musical sound synthesis. In the same
way that computer “models” are used to simulate weather systems or the flight characteristics of
aircraft in the design stage, the PLG100-VL simulates the very complex vibrations, resonances,
reflections and other acoustic phenomena that occur in a real wind or string instrument.
VA Advantages
The PLG100-VL offers many advantages in terms of musical performance. Not just in
terms of sound, but also in terms of the “behavior” that makes acoustic instruments so
… well, musical! Yamaha Virtual Acoustic Synthesis is simply the most musical tone
generation system ever created.
• The PLG100-VL sounds better, has more depth, and is more realistic in the musical
sense than any other tone generation system.
• Simply playing a note in the same way does not always produce precisely the same
sound. The instrument is responsive and “alive”.
• Note-to-note transitions have the same continuity exhibited by acoustic instruments.
What goes on in between the notes is just as important musically as the notes themselves.
• It has extraordinary expressive capability. Rather than simply controlling parameters
like volume or pitch, you can control characteristics such as breath and reed pressure
with appropriate complex effects on the timbre of the sound.
VL Tone Generator Model
The overall VL tone generation model or “algorithm” consists of three main blocks: the
instrument, controllers, and modifiers. In schematic form these blocks are arranged as
follows:
Controllers (also envelopes)
Instrument Modifiers
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Sound out
Virtual Acoustic Synthesis
The Instrument
The key block in this algorithm is the instrument, since it is here that the fundamental tone
or “timbre” of the sound is defined. The instrument model consists primarily of a driver —
the reed/mouthpiece, lip/mouthpiece, or bow/string system — and a resonant system corresponding to the tube and air column or string.
In all these instruments pressure applied here (the
driving point) causes vibration which results in sound.
Reed vibration
Lip vibration
Air vibration
ENGLISH
String vibration
• The sound thus produced is amplified and sustained by the body of the instrument.
• The pitch of the sound is determined by the length of the air column or string, and the timbre is a complex
product of the driving source (reed, lip, air, string), the shape of the resonant cavity, the materials from
which the instrument is made, etc.
One of the remarkable features of the Virtual Acoustic Synthesis system is that just about
any driver can be used with any type of pipe or string.
Drivers
Pipes/String
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Virtual Acoustic Synthesis
The Controllers
The input to an acoustic wind instrument comes from the player’s lungs, trachea, oral cavity, and lips. In a string instrument it comes from the player’s arm movement, transmitted to
the string via a bow. These elements actually form an important part of the sound generating
system and, in the PLG100-VL, are included in the controllers block. The player also influences the sound of the instrument by playing the keys, tone holes, or frets, and this aspect of
control constitutes another part of the controllers block. These and other control parameters
provided by the PLG100-VL are listed in the illustration below.
In essence, the controller parameters determine how the instrument “plays”. All of these
parameters can be assigned to any external controller that can be used with the PLG100VL: breath controller, foot controller, modulation wheel, etc. The pressure parameter, for
example, will normally be assigned to a breath controller so the player can control the
dynamics of the instrument by varying the breath pressure applied to the controller — a
natural, instinctive way to play wind-instrument voices. At the same time the growl and
throat parameters might also be assigned to the breath controller in order to achieve life-like
response and effects.
Embouchure
The tightness of the lips against the reed
or against each other, or the force of the
bow against the string.
Tonguing
Simulates the half-tonguing technique
used by saxophone players by changing the “slit” of the reed.
Pitch
Changes the length of the air column or
string, and thereby the pitch of the sound.
Damping & Absorption
Simulate the effects of air friction in the
pipe or on the string, and of high-frequency losses at the end of the pipe or
string.
Throat
Controls the characteristics of the
“player’s” throat or bowing arm.
Pressure
The amount of breath pressure applied
to the reed or mouthpiece, or bow velocity applied to the string.
Growl
A periodic pressure (bow velocity) modulation which produces the “growl” effect
often heard in wind instruments.
Scream
Drives the entire system into chaotic
oscillation, creating effects that can only
be achieved with physical modelling
technology.
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