Yamaha PLG150-AN, PLG150ANE User Manual
Analog Physical Modeling Plug-in Board
Analog Physical Modeling Plug-in Board
Carte Plug-in de Synthèse à Modélisation Analogique
Owner’s Manual
Bedienungsanleitung
Mode d’emploi
Precautions
●
Do not expose the plug-in board to direct sunlight,
excessive humidity, high temperatures, excessive dust or
strong vibrations.
●
Before handling the plug-in board, be sure to touch a
metal surface to discharge any static electricity which
may be in your body.
●
When holding the plug-in board, do not touch the inside
area of the circuit board or apply excessive pressure to
the board, and be sure to protect the board from contact
with water or other liquids.
●
Before installing the plug-in board onto a tone generator/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
appear somewhat different from the ones of your instrument.
●
Before connecting the computer to other devices, turn
off the power switches of all devices.
●
Yamaha is not responsible for loss of data through computer malfunctions or operator actions.
●
The plug-in 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 plugin board.
YAMAHA CANNOT BE HELD RESPONSIBLE
FOR DAMAGE CAUSED BY IMPROPER
CARE AND USE OF THE PLUG-IN BOARD.
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:
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:
”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
* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.
When connecting this product to accessories and/or another product use only high quality shielded cables.
This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class
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.
2
Congratulations and thank you for purchasing the Yamaha PLG150-AN Control Synthesizer
Plug-in Board!
The PLG150-AN is a custom tone generator designed for use with a variety of Yamaha electronic musical instruments. Foremost, the PLG150-AN can be installed to and integrated with
instruments of the Modular Synthesis Plug-in System (such as the CS6x, CS6R, S80, etc.) It
can also be used seamlessly with the MU128 Tone Generator (as well as other MU-series
instruments and the SW1000XG PCI Audio/MIDI Board). The PLG150-AN employs Analog
Physical Modeling synthesis, for faithful reproduction of analog synthesizer sounds. It not only
features the same familiar oscillator, filter and other sound creation elements on traditional analog synthesizers — it gives you the full spectrum of warm, fat, and punchy sounds that made
those legendary instruments famous.
The settings and parameters of the PLG150-AN can also be conveniently edited with a Windows PC computer by using the AN Easy Editor and AN Expert Editor software modules
(included in the XGworks Music Sequencer software).
Table of Contents
Overview of the PLG150-AN
.....................................4
Analog Physical Modeling Synthesis and
the PLG150-AN Tone Generator
PLG150-AN Tone Generator Block Diagram.......7
VCO......................................................................7
Noise, Ring Modulator and Feedback................10
VCF....................................................................11
VCA....................................................................11
LFO 1, 2 and PEG, FEG ....................................12
Effects ................................................................12
Memory Buffer Structure
Specifications
...........................................................14
......................................13
About the Included Floppy Disks
Installing the PLG150-AN
Included Items
...........................................................16
........................................16
Required and Recommended Items
Synthesizer/Tone Generator/
Sound Card Compatible with the Modular
Synthesis or XG Plug-in Systems..................16
XGworks or XGworks lite
Music Sequencing Software..........................17
AN Easy Editor...................................................17
AN Expert Editor.................................................17
..........................6
............................14
......................16
Installing and Starting the Plug-in
Editor Software (Windows 95/98)
Installing the Software........................................18
Starting the AN Easy Editor................................18
Starting the AN Expert Editor.............................19
...................18
Selecting AN Voices
(Modular Synthesis Plug-in System)
Enabling and Selecting AN Voices.....................20
................20
Editing the AN Native Part Parameters
(Modular Synthesis Plug-in System)
................21
Selecting/Editing the AN System Parameters
(Modular Synthesis Plug-in System)
Selecting AN Voices (XG Plug-in System)
Enabling and Selecting AN Voices.....................23
................22
............23
Editing the AN Native Part Parameters
(XG Plug-in System)
..............................................25
Selecting/Editing the AN System Parameters
(XG Plug-in System)
Parameters
AN Native Part Parameters................................28
AN System Parameters......................................34
Appendix
Voice List
Tone Generator And Effect Signal Flow
Arpeggio Type List
Control Matrix &
Free EG Track Parameter List
Parameter List
(XG / Modular Synthesis Plug-in System)
MIDI Data Format
MIDI Implementation Chart
...............................................................28
.....................................................................38
................................................................38
..............................................27
...........47
...............................................48
.........................49
..................................................51
.................................70
....50
3
Overview of the PLG150-AN
The PLG150-AN gives you a full-featured, powerful synthesizer with stunning analog-like sound —
thanks to the Analog Physical Modeling system — in a compact plug-in board. In addition to being
packed with standard synthesizer “modules” (including VCO, VCF and VCA) that provide comprehensive, flexible control over the sound, the PLG150-AN also features a built-in Arpeggio and Step
Sequencer for generating and playing back complex patterns at the touch of a key.
■
Easy Installation
Once it is connected, the PLG150-AN automatically becomes another sound source in the tone generator/sound card, and can be used as one of the instrument Parts. You can create your own original AN
voices and combine AN voices with the other voices in the “mother” device.
■
256 Voices and Five-note Polyphony
The PLG150-AN is packed with a total of 256 dynamic and powerful voices, each of which can be
changed temporarily, using the Part Edit parameters, or edited (using the AN Expert Editor software)
to create your own original voices. With the five notes of polyphony, you can play the rich sounds
with full-handed chords, or use the Unison mode to create huge, fat monophonic sounds.
■
Comprehensive Editing Functions
Naturally, the AN voices can be processed and edited in the same way as the normal voices of the tone
generator/sound card. Moreover, once you’ve equipped your tone generator with the PLG150-AN
board, a special set of AN parameters become automatically available — letting you edit and change
the sounds as desired. And for further editing convenience and power, the included AN Easy Editor
and AN Expert Editor software let you change all parameters from a computer.
■
Super Fat Unison Sound
The PLG150-AN gives you all the sonic power and punch of vintage analog synthesizers with the
Unison feature. This slightly detunes each of the five available sound elements in a voice, and gangs
them together to create one huge, fat monophonic sound.
■
Powerful “Morphing” Control
This exceptionally powerful function allows you to use any MIDI controller (such as a modulation
wheel, foot controller, or after touch) to “morph” or crossfade between two distinct voices — in real
time as you play! Naturally, you can record controller data to a sequencer for automated morphing
within a song as well. This lets you create dramatic or subtle sonic changes in your performance or
song.
4
Overview of the PLG150-AN
■
Pattern Generator with Arpeggio and Step Sequencer
These features let you automatically produce a wide variety of note patterns in real time as you perform. Arpeggio lets you play perfect arpeggiated chords at the simple press of a key. The Step
Sequencer permits quick, easy creation of highly sophisticated looped patterns which can be triggered
from the keyboard in a variety of ways. Both of these can be edited in detail with the AN Expert Editor software in XGworks (page 17).
■
Four-track Free EG
The four-track Free EG lets you program changes to four independent parameters — such as filter,
resonance, LFO and many others — and have the changes play back automatically by simply playing
a voice, and even have the tempo of the changes sync to MIDI clock. The Free EG can be edited in
detail with the AN Expert Editor software in XGworks (page 17).
About the Modular Synthesis Plug-in System
The Yamaha Modular Synthesis Plug-in System offers powerful expansion and upgrade capabilities for Modular Synthesis-Plug-in-compatible synthesizers, tone generators and sound cards.
This enables you to easily and effectively take advantage of the latest and most sophisticated
synthesizer and effects technology, allowing you to keep pace with the rapid and multi-faceted
advances in modern music production.
About the XG Plug-in System
The Yamaha XG Plug-in System offers powerful expansion and upgrade capabilities for XGPlug-in-compatible tone generators and sound cards. This enables you to easily and effectively
take advantage of the latest and most sophisticated synthesizer and effects technology, allowing
you to keep pace with the rapid and multi-faceted advances in modern music production.
About AN-XG
The AN Extension for XG (abbrieviated as “AN-XG”) built-into the PLG150-AN significantly
enhances and expands the musical capabilities of the XG format with the rich analog-style
sounds and comprehensive control features of the Analog Physical Modeling synthesis system.
The PLG150-AN incorporates all the versatile functions of the AN1x Control Synthesizer —
including multiple oscillators, filters, Morphing, Free EG, and a Pattern Generator with Arpeggio and Step Sequencer — into an XG tone generator/sound card.
5
Analog Physical Modeling Synthesis and
the PLG150-AN Tone Generator
As the PLG150-AN Tone Generator Block Diagram (page 7) illustrates, the VCO module generates
the basic signal, then passes it along the signal path to the MIXER and VCF modules, processing
the signal in a variety of ways before passing it on to the VCA module, which controls the volume of
the signal — before passing it along to be processed (by Distortion and 3-BandEQ) along with the
other Parts of the tone generator. Along the way, various real-time and other controllers can be
applied to each module in a variety of ways , providing enormous sound-shaping and sound-creating
possibilities.
Some of the parameters mentioned in the following explanations cannot be accessed from the “mother” device;
however, they can be controlled with the special AN Easy Editor and AN Expert Editor plug-in software modules
(used in XGworks or XGworks lite). Even without the use of the plug-in software, the original AN voices of the
PLG150-AN provide enormous sonic complexity and flexibility, especially with the use of the Part parameters and
the AN Assignable Controllers on the “mother” device.
Oscillators, Filters And Amplifiers
What does it take to make a sound? And how does the PLG150-AN generate sounds?
In the simplest of terms, there are three basic elements which make up a sound: pitch, or how low or high it
is; tone, or what its overall quality, or timbre is like; and amplitude, or how loud the volume level is.
Synthesizers rely on three key electronic components to generate sounds and electronically imitate the
soundwaves of familiar musical instruments, as well as create entirely unique sounds. In traditional analog
synthesis, the source sound pitch and waveform is generated by an oscillator; its tone is controlled by a filter; and its volume is determined by an amplifier. With the PLG150-AN, these three elements are termed
the VCO (voltage controlled oscillator), the VCF (voltage controlled filter), and the VCA (voltage controlled amplifier).
VCO VCF VCA OUT
The amplifier determines the volume
The filter controls the timbre
The oscillator creates the source pitch
(and also the basic timbre, depending on the waveform)
The “signal path” starts at the VCO, flows to the VCF, then flows to the VCA. The signal is “processed” at
each block, or “module” along the way to the final output.
6
Analog Physical Modeling Synthesis and the PLG150-AN Tone Generator
PLG150-AN Tone Generator Block Diagram
VCO
PEG
VCO1
Oscillator Sync
Master
FM
VCO2
Slave
Oscillator
Sync
LFO1 & LFO2
Ring
Modulator
MIXER
Noise
FEG AEG
Feedback
VCA
Effects
Distortion
3-Band EQVCF
The VCO module is where the original sound waveform is generated. In general, the VCOs of analog
synthesizers feature the simple waveforms shown below.
Saw (Sawtooth) Pulse (Square) Triangle
Basic sawtooth waveform Basic pulse waveform Basic triangle waveform
In theory, these waveforms are very simple; in the real world, they’re not so simple. Because of the
characteristics of electronic circuits, all analog synthesizers introduce subtle imperfections into the
waveform. These imperfections result in slightly rounding off the edges of the wave, or adding noise,
and other artifacts — and they give each synthesizer its own special, unique sound.
Although a single oscillator is enough to generate the basic sawtooth, pulse (square) or other waves
required for different types of musical instrument sounds, the PLG150-AN’s VCO module provides
far greater flexibility. The PLG150-AN’s digital VCO creates mathematically exact waveforms.
7
Analog Physical Modeling Synthesis and the PLG150-AN Tone Generator
However, the instrument also gives you a wide variety of tools (including Pulse Width Modulation
and Edge) for introducing analog-like “imperfections” to the waveforms and making them much more
complex and interesting.
The VCO of the PLG150-AN actually has two blocks: VCO 1 and VCO 2. With VCO 1, you can
select a variety of wav es, and it can be configured with one of three “sync modes” that syncs “master”
and “slave” oscillators within the VCO 1. Thus, when the sync is on, the VCO 1 is actually two oscillators in one, and additional waves are available.
The VCO 1 is alw ays fixed as the FM carrier, but the carrier can either be the master or slave oscillator
depending on the selected algorithm, when Sync mode is set to on. The FM modulator can be
selected from VCO2, the PEG, FEG, LFO1, LFO2 or others. The Pitch Envelope Generator (PEG)
lets you determine how the pitch of the VCO changes o v er time, and the LFO can be used to modulate
the VCO to create vibrato.
The PLG150-AN also has a second oscillator section: VCO 2. VCO 2 has many of the same waves
and controls as does VCO 1, but differs slightly in the waves that are available . For certain waves, it
also features special cross-modulation that generates complex harmonics by modulating the frequency of the oscillator. The VCO 2 can also be set (with the Sync parameter) to modulate the VCO
1.
■
Pulse Width and Pulse Width Modulation
In conventional analog synthesizers, pulse width (PW) is used to change the shape of a pulse waveform. This changes the harmonics or overtones (which determine the timbre or tone) of the sound.
Pulse width modulation (PWM) uses an LFO to periodically change the width, and hence, the harmonics.
The PLG150-AN lets you control not only the Pulse wave in this way, but also Saw and Mix (a combination of Saw and Pulse). In addition to using an LFO to modulate the Pulse Width, the PLG150AN lets you create a “fat” chorus-like effect, depending on the parameter settings.
Saw (Sawtooth)Pulse
When the Pulse
When Pulse
Width is small...
...the sound has
many harmonics.
Width is set to
"64" (50%)...
...the sound is that
of typical pulse
wave, with only
odd-numbered
harmonics.
When Pulse
Width is large...
...the sound has
many harmonics.
Basic sawtooth
waveform.
When Pulse Width
is set to a value
under “64”.
8
Analog Physical Modeling Synthesis and the PLG150-AN Tone Generator
■
Edge
This useful parameter lets you make fine, subtle
changes to the waveform. Higher Edge v alues produce a sharper waveform, resulting in a harder,
harsher sound with many harmonics. Reducing the
value makes the waveform rounder, producing a
softer, warmer sound. (At the minimum v alue, this
actually results in a sine wave.)
■
Oscillator Sync
Oscillator Sync is another common function in analog synthesis that synchronizes one oscillator’s
waveform with that of another oscillator.
In the illustration below, the waveform of oscillator 1 is constantly reset so that it starts its wave cycle
at the same phase point (the first position of the wave cycle) as oscillator 2. As a result, the waveform
of oscillator 1 becomes more complex than normal, adding harmonics to the sound. (In the illustration below, the sound of oscillator 1 becomes brighter than what it would be originally.)
Sharp-edged
waveform
Slightly rounded
edges
Sine wave
Here, oscillator 1 is referred to as the “slave” oscillator, while oscillator 2 is called the “master.”
Changing the pitch of the master oscillator changes the pitch of the overall sound. On the other hand,
changing the pitch of the slave oscillator changes the timbre or tone of the overall sound by altering
the amount of harmonics.
Oscillator 2 (master)
Oscillator 1 (slave)
Just as with conventional analog synthesizers, the PLG150-AN allows you to synchronize the oscillators of VCO 1 and VCO 2. What’s more, it allows you to use Oscillator Sync with only VCO 1, since
VCO 1 actually has two oscillators by itself.
9
Analog Physical Modeling Synthesis and the PLG150-AN Tone Generator
VCO1
Slave oscillator.
Determines the timbre
or tone.
Oscillator Sync
VCO2
Master oscillator.
(This determines the pitch.)
Using Oscillator Sync to lock VCO 1 to VCO2
This method is the same as on conventional analog
synthesizers. The sound quality can be changed by
giving VCO 1 and VCO 2 different pitches.
■
FM
Adds harmonics
to the sound,
due to Oscillator
Sync.
Output of the
basic sound.
FM uses the wave of one oscillator (called the “modulator”) to periodically change the pitch or frequency of another oscillator (called the “carrier”).
VCO1
Oscillator Sync
Master
oscillator
Determines
the pitch.
VCO2
Using Oscillator Sync within VCO 1
This method is unique to the PLG150-AN. Since
VCO 1 and VCO 2 are independent, you can still use
Oscillator Sync to get more harmonics, yet layer VCO
1 and VCO 2 to produce sound of even greater
complexity and richness.
Slave
oscillator
Determines
the timbre or tone.
Adds harmonics to
the sound, due to
Oscillator Sync.
A different sound can
be layered, completely
independent of the
oscillator sync output
of VCO 1.
The FM generated sound is output by the carrier, and the type and amount of harmonics that are added
to the sound differs depending on the ratio of the modulator and carrier frequencies.
On the PLG150-AN, the following can be used as the modulator: VCO 2, LFO, and each EG. The
carrier is fixed to VCO 1.
Noise, Ring Modulator and Feedback
In addition to the VCO 1 and VCO 2 oscillators, the PLG150-AN includes a Noise oscillator, plus
Ring Modulator and Feedback controls. The levels of these five sound sources can be freely mixed,
giving you a wide range of sonic possibilities and comprehensive sound shaping control.
Avoid making drastic changes to Feedback, or setting the Feedback level to values at or near
the maximum. Doing so could damage your speakers (and your ears!). If you hear any strange
or unusual vibrations in your speakers as you are adjusting the Feedback level, immediately
turn Feedback down.
10
VCF
Analog Physical Modeling Synthesis and the PLG150-AN Tone Generator
Once the VCO 1, VCO 2, Ring Modulator, Noise and Feedback signals are mixed in the MIXER
module, they can then be filtered by the VCF module. The VCF includes a comprehensive set of filters, including Low Pass Filter (LPF), High Pass Filter (HPF), Band P ass Filter (BPF) and Band Eliminate Filter (BEF). You can determine the Cutoff frequency of the VCF, as well as amount of
Resonance, or emphasis around the frequency cutoff point. Resonance and Cutoff actually work
interdependently with each other, and their overall effect depends also on the voice selected. On the
PLG150-AN, you can adjust the Cutoff frequency over an exceptionally wide range. Also, high values for Resonance create a relatively warm analog-like quality.
The Filter Envelope Generator (FEG) lets you determine how the timbre of the signal changes over
time, and the LFO1 or LFO2 can be used to modulate the VCF to create wah.
VCA
The FEG features four parameters:
Attack Time
Decay Time
Sustain Level
Release Time
Level
Sustain
Time
Attack ReleaseDecay
Key on Key off
The VCA module is where the overall output level of the signal is determined. The Amplitude Envelope Generator (AEG) lets you determine how the volume of the signal changes over time, and the
LFO1 or LFO2 can be used to modulate the VCA to create tremolo.
The AEG features four parameters:
Attack Time
Decay Time
Sustain Level
Release Time
Level
Sustain
Attack ReleaseDecay
Key on Key off
Time
11
Analog Physical Modeling Synthesis and the PLG150-AN Tone Generator
LFO 1, 2 and PEG, FEG
The LFO 1 and LFO 2 sections provide a sophisticated set of modulation possibilities, allowing you
to modulate the VCO 1, VCO 2, VCA, and VCF sections in various ways and degrees.
The LFO can be used to control:
Pmod (pitch of the oscillator) PWM (Pulse Width Modulation)
Fmod (Cutoff frequency of the filter) Sync Pitch (pitch of the slave oscillator)
Amod (depth of the amplifier, or volume) FM Depth
This gives you enormous flexibility in controlling and shaping the sound.
The PEG (Pitch EG) section lets you control the pitch of the VCO 1 and/or VCO 2 over time, with a
conventional envelope generator. The FEG (Filter EG) gives you similar control over how the filter
affects the sound over time. On the PLG150-AN, the PEG and FEG give you additional modulation
control sources, providing the comprehensive and flexible control as found on vintage analog synthesizers — yet without the expense of additional modules and the complexity of dozens of patch cords.
Effects
Example
Oscillator
Pitch of the master
oscillator (determines the
pitch of the overall sound).
Sync
Pitch of the slave
oscillator (determines
the timbre or tone
of the overall sound).
Changing the
harmonics
over time.
FEG
Filter cutoff frequency
Opening and
closing the filter
over time.
12
The PLG150-AN also features an Effects section that includes Distortion and 3-Band EQ. These
effects give you further sonic control over the AN voice, letting you apply and adjust distortion, and
make detailed equalization settings.
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