Yamaha VL User Manual

Page 1

Page 2

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 retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620

The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.

Dette apparat overholder det gaeldende EF-direktiv vedrørende radiostøj.

IMPORTANT NOTICE FOR THE UNITED KINGDOM

Cet appareil est conforme aux prescriptions de la directive communautaire 87/308/CEE.

Diese Geräte entsprechen der EG-Richtlinie 82/ 499/EWG und/oder 87/308/EWG.

This product complies with the radio frequency interference requirements of the Council Directive 82/499/EEC and/or 87/308/EEC.

Questo apparecchio è conforme al D.M.13 aprile 1989 (Direttiva CEE/87/308) sulla soppressione dei radiodisturbi.

Este producto está de acuerdo con los requisitos sobre interferencias de radio frequencia fijados por el Consejo Directivo 87/308/CEE.

YAMAHA CORPORATION

Litiumbatteri! Bör endast bytas av servicepersonal. Explosionsfara vid felaktig hantering.

VAROITUS! Lithiumparisto, Räjähdysvaara. Pariston saa vaihtaa ainoastaan alan ammattimies.

Connecting the Plug and Cord

IMPORTANT: The wires in this mains lead are coloured in accordance with the following code:

GREEN-AND-YELLOW : EARTH BLUE : NEUTRAL BROWN : LIVE

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows:

The wire which is coloured GREEN and YELLOW must be connected to the terminal in the plug which is marked by the letter E or by the safety earth symbol or coloured GREEN and YELLOW.

The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.

The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.

* This applies only to products distributed by YAMAHA - KEMBLE MUSIC (U.K.) LTD.

ADVARSEL! Lithiumbatteri! Eksplosionsfare. Udskiftning må kun foretages af en sagkyndig, – og som beskrevet i servicemanualen.

Page 3

SPECIAL MESSAGE SECTION

AC INLET

PRODUCT SAFETY MARKINGS: Yamaha electronic products may have either labels similar to the graphics shown below or molded/stamped facsimiles of these graphics on the enclosure. The explanation of these graphics appears on this page. Please observe all cautions indicated on this page and those indicated in the safety instruction section.

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION: TO REDUCE THE RISK OF

ELECTRIC SHOCK, DO NOT REMOVE

COVER (OR BACK). NO USER-SERVICEABLE

PARTS INSIDE. REFER SERVICING TO

QUALIFIED SERVICE PERSONNEL

● Explanation of Graphical Symbols

The exclamation point within the equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.

The lightning flash with arrowhead symbol within the equilateral triangle is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electrical shock.

methods used to produce them, meet these goals. In keeping with both the letter and the spirit of the law, we want you to be aware of the following:

Battery Notice: This product MAY contain a small nonrechargeable battery which (if applicable) is soldered in place. The average life span of this type of battery is approximately five years. When replacement becomes neccessary, contact a qualified service representative to perform the replacement.

Warning: Do not attempt to recharge, disassemble, or incinerate this type of battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by applicable laws. Note: In some areas, the servicer is required by law to return the defective parts. However, you do have the option of having the servicer dispose of these parts for you.

Disposal Notice: Should this product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of products that contain lead, batteries, plastics, etc.

NOTICE: Service charges incurred due to lack of knowledge relating to how a function or effect works (when the unit is operating as designed) are not covered by the manufacturer’s warranty, and are therefore the owners responsibility. Please study this manual carefully and consult your dealer before requesting service.

NAME PLATE LOCATION: The graphic below indicates the location of the name plate. The model number, serial number, power requirements, etc., are located on this plate. You should record the model number, serial nunber, and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase.

IMPORTANT NOTICE: All Yamaha electronic products are tested and approvend by an independent safety testing laboratory in order that you may be sure that when it is properly installed and used in its normal and customary manner, all foreseeable risks have been eliminated. DO NOT modify this unit or commission others to do so unless specifically authorized by Yamaha. Product performance and/or safety standards may be diminished. Claims filed under the expressed warranty may be denied if the unit is/has been modified. Implied warranties may also be affected.

SPECFICATIONS SUBJECT TO CHANGE: The information contained in this manual is believed to be correct at the time of printing. However, Yamaha reserves the right to change or modify any of the specifications without notice or obligation to update existing units.

ENVIRONMENTAL ISSUES: Yamaha strives to produce products that are both user safe and environmentally friendly. We sincerely believe that our products and the production

92-469 q

YAMAHA

MODEL VL1 AC INLET

POWER ON / OFF

YAMAHA

MODEL VL7 AC INLET

POWER ON / OFF

Model Serial No. Purchase Date

VL1

VL1-m

VL7

Page 4

IMPORTANT SAFETY INSTRUCTIONS

Please refer to the IMPORTANT SAFETY INSTRUCTIONS listed below rather than those in the original Feature Reference manual. The safety instructions given here are complete and correct.

INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK,

AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST.

WARNING- When using any electrical or electronic product,

basic precautions should always be followed. These precautions include, but are not limited to, the following:

1. Read all Safety Instructions, Installation Instructions, Special

Message Section items, and any Assembly Instructions found in this manual BEFORE making any connections, including connection to the main supply.

2. Do not attempt to service this product beyond that

described in the user-maintenance instructions. All other servicing should be referred to qualified service personnel.

3. Main Power Supply Verification: Yamaha products are

manufactured specifically for the supply voltage in the area where they are to be sold. If you should move, or if any doubt exists about the supply voltage in your area, please contact your dealer for supply voltage verification and (if applicable) instructions.The required supply voltage is printed on the name plate. For name plate location, please refer to the graphic found in the Special Message Section of this manual.

4. DANGER-Grounding Instructions: This product must be

grounded and therefore has been equipped with a three pin attachment plug. If this product should malfunction, the ground pin provides a path of low resistance for electrical current, reducing the risk of electrical shock. If your wall socket will not accommodate this type plug, contact an electrician to have the outlet replaced in accordance with local electrical codes. Do NOT modify the plug or change the plug to a different type!

5. WARNING: Do not place this product or any other objects

on the power cord or place it in a position where anyone could walk on, trip over, or roll anything over power or connecting cords of any kind. The use of an extension cord is not recommended! If you must use an extension cord, the minimum wire size for a 25' cord (or less) is 18 AWG. NOTE: The smaller the AWG number, the larger the current handling capacity. For longer extension cords, consult a local electrician.

6. Ventilation: Electronic products, unless specifically designed

for enclosed installations, should be placed in locations that do not interfere with proper ventilation. If instructions for enclosed installation are not provided, it must be assumed that unobstructed ventilation is required.

7. Temperature considerations: Electronic products should be

installed in locations that do not seriously contribute to their operating temperature. Placement of this product close to heat sources such as; radiators, heat registers etc., should be avoided.

8. This product was NOT designed for use in wet/damp

locations and should not be used near water or exposed to rain. Examples of wet /damp locations are; near a swimming pool, spa, tub, sink, or wet basement.

9. This product should be used only with the components

supplied or; a cart ,rack, or stand that is recommended by the manufacturer . If a cart, rack, or stand is used, please observe all safety markings and instructions that accompany the accessory product.

10. The power supply cord (plug) should be disconnected

from the outlet when electronic products are to be left unused for extended periods of time. Cords should also be disconnected when there is a high probability of lightning and/or electrical storm activity.

11. Care should be taken that objects do not fall on and

liquids are not spilled into the enclosure through any openings that may exist.

12. Electrical/electronic products should be serviced by a

qualified service person when:

a. The power supply cord has been damaged; or b. Objects have fallen, been inserted, or liquids have been

spilled into the enclosure through openings; or c. The product has been exposed to rain; or d. The product does not operate, exhibits a marked change

in performance; or e. The product has been dropped, or the enclosure of the

product has been damaged.

13. This product, either alone or in combination with an

amplifier and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. Do NOT operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. IMPORTANT: The louder the sound, the shorter the time period before damage occurs.

14. Some Yamaha products may have benches and / or

accessory mounting fixtures that are either supplied as a part of the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional fixtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other uses are recommended.

92-469-3

PLEASE KEEP THIS MANUAL

Page 5

Welcome to Version 2

Whether you have purchased a VL1 Version 2, VL1-m Version 2, or VL7 Version 2 or upgraded from an original version, you are now in possession of what is currently the most advanced computer-based “physical modelling” musical synthesis system in the world.

VL Version 2 is a software upgrade which significantly enhances the sound and playability of the original VL system in the same sense that operating system upgrades for personal computers can provide major improvements in operating ease and functionality. To employ a more musical example, upgrading from the original VL version to Version 2 takes you from the sound and response of a baby grand piano to that of a full concert grand.

VL future

Copland

III

VL Version 2

System 6

MS-DOS

System 7

Windows 95

'93 '95

Specifically, Version 2 applies to two main areas: 1) the physical modelling algorithm has been improved for greater simulation precision and resolution; and 2) improved effects. Please note that the changes have not been made merely in the interest of greater programming “elegance” or to fix bugs in the original system. Version 2 is a very meaningful upgrade, offering advanced sound and playability that can make a major difference in the quality of the music you create.

* The company names and product names in this manual are trademarks or registered trademarks

of their respective companies.

Page 6

VL Version 2

Contents

About This Manual . . . . . . . . . . . . . . . . . . . . . . . . . 4

■

Model Name Abbreviations . . . . . . . . . . . . . . . . . . 4

1: Initial Setup

■

Power Supply . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

■

Audio Connections . . . . . . . . . . . . . . . . . . . . . . . . . 5

■

Power-on Procedure . . . . . . . . . . . . . . . . . . . . . . . . 6

■

VL1-m Ver.2 MIDI Connections. . . . . . . . . . . . . . 6

■

Load the Pre-programmed Voice Data . . . . . . . . . 7

2: Test Driving Version 2

■

Set the Breath Mode to “Touch EG”. . . . . . . . . 10

■

Try Some Version 2 Voices . . . . . . . . . . . . . . . . 11

■

Controller Connection & Calibration. . . . . . . . . 15

■

Experiment With the Controllers . . . . . . . . . . . . 18

3: Load-converting the Original VL Voices

■

To VL1 Version 2 . . . . . . . . . . . . . . . . . . . . . . . 19

■

To VL1-m Version 2 . . . . . . . . . . . . . . . . . . . . . 20

■

To VL7 Version 2 . . . . . . . . . . . . . . . . . . . . . . . 20

■

To Original VL . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Appendix

■

VL1 Version 2 Specifications . . . . . . . . . . . . . 72

■

VL1-m Version 2 Specifications . . . . . . . . . . . 74

■

VL7 Version 2 Specifications . . . . . . . . . . . . . 76

■

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Page 7

VL Version 2

4. New Features & Parameters

PLAY Mode

■

Play Mode Display . . . . . . . . . . . . . . . . . . . . . . . 24

■

Continuous Sliders . . . . . . . . . . . . . . . . . . . . . . . 24

EDIT Mode

Initial Edit Page

■

Edit Mode Display . . . . . . . . . . . . . . . . . . . . . . . 25

■

Voice Name & Element Name . . . . . . . . . . . . . 25

■

Key Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Common Miscellaneous

■

EDIT/COM/MISC/SETTING . . . . . . . . . . . . . . 26

■

EDIT/COM/MISC/CONTROLLER. . . . . . . . . . 27

■

EDIT/COM/MISC/MICROTUNING. . . . . . . . . 27

■

EDIT/COM/MISC/CONTINUOUS SLIDER . . 28

■

EDIT/COM/MISC/PART SETTING . . . . . . . . . 28

Common Effect

■

New Modulation Effect Types. . . . . . . . . . . . . . 30

■

Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

■

Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

■

Symphonic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

■

Celeste . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

■

Dist+Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

■

Dist+Wah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Element Controller

■

Controller Parameter Displays . . . . . . . . . . . . . . 42

Element Miscellaneous

■

EDIT/E1/MISC/BREATH NOISE. . . . . . . . . . . 43

■

EDIT/E1/MISC/THROAT FORMANT/KSC . . 44

■

EDIT/E1/MISC/MIXING . . . . . . . . . . . . . . . . . . 44

■

EDIT/E1/MISC/EXCITATION . . . . . . . . . . . . . 44

■

Excitation Level to Pipe/String Key Scaling. . . 46

■

Excitation Level to Driver Key Scaling . . . . . . 47

■

Excitation LPF Cutoff Key Scaling . . . . . . . . . . 48

■

Excitation Pulse Width Key Scaling . . . . . . . . . 49

Element Modifier

■

EDIT/E1/MODIFIER/HARMONIC ENHANCER

■

EDIT/E1/MODIFIER/EQUALIZER AUXILIARY

■

EDIT/E1/MODIFIER/RESONATOR . . . . . . . . 51

Element Envelope

■

EDIT/E1/ENV/EMBOUCHURE&PITCH. . . . . 52

■

EDIT/E1/ENV/VIBRATO . . . . . . . . . . . . . . . . . 52

■

EDIT/E1/ENV/GROWL . . . . . . . . . . . . . . . . . . . 52

UTILITY Mode

Utility System

■

UTIL/SYSTEM/KBD SETTING . . . . . . . . . . . . 53

■

UTIL/SYSTEM/TG SETTING . . . . . . . . . . . . . 53

■

UTIL/SYSTEM/ASSIGNABLE CONTROLLER

■

UTIL/SYSTEM/CURVE . . . . . . . . . . . . . . . . . . 54

■

UTIL/SYSTEM/BREATH MODE . . . . . . . . . . 54

■

UTIL/SYSTEM/MISCELLANEOUS . . . . . . . . 56

■

UTIL/DISK/LOAD FROM DISK . . . . . . . . . . . 56

CONTROL & SIGNAL FLOW . . . . . . . . . . . . . . . . 57

. . 50

. 50

. . . 54

5: Experiments

■

Preparation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

■

Changing Controller Functions . . . . . . . . . . . . . 59

■

Multiple Functions to One Controller . . . . . . . . 60

■

Try Out The Controller Functions . . . . . . . . . . . 62

• VL1 Ver.2/VL7 Ver.2 Preparations . . . . . 62

• VL1-m Ver.2 Preparation . . . . . . . . . . . . . 63

01 : Pressure . . . . . . . . . . . . . . . . . . . . . . . . . 63

02 : Embouchure. . . . . . . . . . . . . . . . . . . . . . 63

03 : Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

04 : Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . 64

05 : Tonguing . . . . . . . . . . . . . . . . . . . . . . . . 65

06 : Amplitude . . . . . . . . . . . . . . . . . . . . . . . 65

07 : Scream . . . . . . . . . . . . . . . . . . . . . . . . . . 65

08 : Breath Noise . . . . . . . . . . . . . . . . . . . . . 65

09 : Growl . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

10 : Throat Formant . . . . . . . . . . . . . . . . . . . 66

11 : Dynamic Filter . . . . . . . . . . . . . . . . . . . 67

12 : Harmonic Enhancer. . . . . . . . . . . . . . . . 67

13 : Damping . . . . . . . . . . . . . . . . . . . . . . . . 68

14 : Absorption . . . . . . . . . . . . . . . . . . . . . . . 68

■

Editing the Pressure Envelope . . . . . . . . . . . . . . 69

■

The Resonance-enhancing Modifiers . . . . . . . . . 70

■

Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Page 8

VL Version 2

About This Manual

This manual supplements the original VL manuals with information about the improvements and changes in Version 2. The information provided in the original VL manuals is essential for a full understanding of Version 2, and those manuals — particularly the Getting Started manual — should be read before attempting any serious work with Version 2.

This manual is made up of 5 chapters, as follows:

1. Initial Setup [˘ Page 5]

Setting up the instrument without external controllers and loading the Version 2 voices.

2. Test Driving Version 2 [˘ Page 10]

Simple procedures to help you become familiar with some of the capabilities and features of Version 2.

3. Load-converting Original VL Voices [˘ Page 19]

Loading and automatically converting original VL voices for use with Version 2.

4. New Features & Parameters [˘ Page 22]

This section lists the new features and parameters provided by Version 2.

5. Experiments [˘ Page 58]

Some experiments to help you become familiar with the way controllers and other features function in the VL instruments.

Model Name Abbreviations

Although the official names of the models described in this manual are VL1 Version 2, VL7 Version 2, and VL1-m Version 2, “Version 2” will be abbreviated to “Ver.2” in the text for easier, more efficient reading. The term “Version 2” or simply “the instrument” will be used when referring to all three models.

Page 9

1: Initial Setup

VL Version 2

The best way to appreciate the outstanding sound and playability of Version 2 is to set up and try out some of the voices. Although controllers such as a foot controller, breath controller, and footswitch are essential for maximum musical expression with Version 2, you can initially set up without them and still appreciate the extraordinary sound and playability it offers. This section will guide you through the basic setup and voice loading procedures.

NOTES ■ If you’ve upgraded from an original VL model and are already familiar with setup and voice selection procedures, you can skip ahead to “Test Driving Version 2”, on page 10.

Power Supply

Before making any other connections the “female” end of the AC power cord supplied with the instrument should be firmly plugged into the rear-panel AC cord socket. Ideally the power cord should then be plugged into a convenient AC outlet after you’ve made all other necessary connections and placed the instrument in the position in which it will be used. Always make sure that the POWER switch is in the OFF (extended) position before plugging the power cord in an AC outlet.

1: Initial Setup

CAUTION!

the rear panel). Connecting the instrument to the wrong AC supply can cause serious damage to the internal circuitry and may even pose a shock hazard!

Audio Connections

●

Headphones

Headphones are ideal for a fast, easy checkout. Any standard pair of stereo headphones with a 1/4" stereo phone plug and an impedance of between about 8 and 150 ohms can be used.

●

Stereo Sound System

The original VL and Version 2 voices are designed to sound their best in stereo. A stereo sound system is recommended to deliver the full impact of the voices and expressive features. The OUTPUT L and R jacks can be connected directly to musical instrument amplifiers designed for keyboard use, or to the line inputs of a mixing console.

NOTES ■ If you need to drive a mono amp or other device, the output can be switched to mono (the same signal appears at the L and R outputs) by using the Output parameter described in the Feature Reference manual:

VL1. . . . . . . page 154

VL1-m . . . . page 153

VL7. . . . . . . page 152

■ Make sure your VL model is rated for the AC voltage supplied in the area in which it is to be used (as listed on

■ Make sure that both the instrument and your sound system are turned OFF when making connections.

Page 10

VL Version 2

Power-on Procedure

Always follow proper procedure when powering-up a sound system to minimize the possibility of damage to the equipment (and your ears!).

1. Make sure your sound system’s main level/volume control(s) and the instrument’s

volume control are turned all the way down prior to turning power on.

2. Turn on the instrument. If you are using a VL1-m Ver.2, turn on your MIDI key-

board or other controller after turning on the VL1-m Ver.2.

3. Turn on the sound system.

4. Raise the sound system volume to a reasonable level.

5. Gradually raise the instrument’s VOLUME control while playing the keyboard to

set the desired listening level.

NOTES ■ VL1 Ver.2 and VL7 Ver.2: these models automatically transmit MIDI control change data corresponding to their control status when their power switches are turned ON. This can interfere with operation of other MIDI equipment connected to the MIDI OUT connector. If the instrument is connected to other MIDI equipment, its power switch should be turned ON or OFF

last.

■ VL1-m Ver.2: Most keyboards and other MIDI controllers automatically transmit MIDI control change data data corresponding to their control status when the power switch is turned ON or OFF. The VL1-m Ver.2 is programmed to receive this data and respond accordingly, so it is preferable to turn the VL1-m ON

before turning the controlling device ON.

VL1-m Ver.2 MIDI Connections

The VL1-m Ver.2 can be used with just about any type of MIDI controller: keyboard, wind controller, sequencer, computer-based MIDI software, etc. Use a MIDI cable to connect the MIDI OUT terminal of the controller to the MIDI IN terminal of the VL1m. To ensure reliable error-free transfer of MIDI data always use high-quality MIDI cables obtained from your Yamaha dealer or music equipment store. Also avoid MIDI cables that are longer than about 15 meters, since cables longer than this can pick up noise which can cause data errors.

The VL1-m Ver.2 MIDI transmit channel, receive channel, local on/off, and device number parameters are available in the utility mode “MIDI Setting” page described on page 154 of the VL1-m Feature Reference manual. Make sure these parameters are set to match the corresponding settings of the MIDI controller used with the VL1-m Ver.2.

● The VL1-m Ver.2 receives the following MIDI data:

Note

Control Change

Aftertouch Pitch Bend Program Change Bulk

The played note(s) and velocity value. Modulation wheel, breath controller, foot controller, main volume, and

other controller data. Keyboard aftertouch pressure. Pitch bend wheel position. Voice numbers from 1 to 128. Voice and system data transmitted in the form of “bulk dumps.”

Page 11

VL Version 2

NOTES ■ For detailed MIDI specifications refer to the “MIDI Data Format” section in the “Voice Lists & MIDI Data for Version 2” document.

■ When using the VL1-m Ver.2 with other MIDI equipment, it is a good idea to refer to the MIDI specifications (implementation chart, MIDI data format) of the equipment used to ensure compatibility.

Load the Pre-programmed Voice Data

Although the factory pre-programmed voices are stored in the instrument’s internal memory when it is initially shipped, there is always a possibility that all or part of the memory has been erased or modified by the time the instrument gets to you. It’s a good idea to re-load all the pre-programmed data from the supplied “FACTORY SET” voice disk, as follows.

NOTES ■ Loading the pre-programmed voices overwrites any other data that is in the internal memory, so if you have any important voices in memory make sure they are safely saved to disk before loading the data, as described in the Feature Reference manual:

VL1. . . . . . . page 166

VL1-m . . . . page 166

VL7. . . . . . . page 166

1: Initial Setup

1. Insert the Voice Disk

Insert the Version 2 voice disk into the disk drive. The sliding disk shutter should go in first, and the label side of the disk should face upward.

2. Select the Utility Mode System Page

Press the U button to select the utility mode. Then, if it is not already selected when the utility mode display appears, press the ¡ button to select the “Sys- tem” function page.

NOTES ■ If the Memory Protect function has been turned on (the default setting is “off”), it must be turned off before loading the data.

Use the cursor buttons to move the cursor to “Miscellaneous”, then press

[

to call the “Miscellaneous” function page. Use the cursor buttons to

select the “Memory Protect” parameter, then press protect “off”.

to turn memory

Page 12

VL Version 2

3. Select the Disk Function Directory

Press the £ function button (“Disk”) to select the utility mode disk function directory.

4. Select “Load From Disk”

Use the cursor buttons to move the cursor to “Load From Disk” and then press [.

5. Select “All” and Select the “VL1_VER2.ALL” or “VL7_VER2.ALL” File

Make sure the cursor is positioned at “All” and press [.

When the list of files appears use the cursor > and < buttons to select the

“VL1_VER2.ALL” file if you have a VL1 Ver.2 or VL1-m Ver.2, or the “VL7_VER2.ALL” file if you have a VL7 Ver.2, then press [ again.

6. Load the File

Loading will begin when you press the - button in response to the “Are You Sure?” prompt. A bar graph on the display will indicate the progress of the load opera- tion, and when all the data has been loaded “Completed!” will appear.

Page 13

VL Version 2

7. Return to the Play Mode, Eject the Disk, & Select a Voice

When the “Completed!” display appears, press the P button to return to the play mode, then press the eject button below the disk drive slot to eject the disk. Store the disk in a safe place. You must now select a voice in order for the loaded data to be properly activated — see the following section.

About the Version 2 Data Disk

The Version 2 floppy disk contains the following files:

NOTES ■ These voice files cannot be used with the original VL models.

● VL1_VER2.ALL

This file contains the voices initially loaded into the VL1 Version 2 when it is first shipped from the factory. The UTILITY/SYSTEM/BREATH MODE parameter is set to “Touch EG”, so until this is changed to “BC/ WX” the breath controller or a WX wind controller cannot be used.

Many of these voices can also be used on the VL7 Version 2.

1: Initial Setup

● VL1V2_WX.ALL

The 32 voices included in this file have been programmed specifically for optimum playability on the VL1 Ver.2 or VL1-m Ver.2 using a Yamaha WX-series wind controller (WX7/WX11).

This selection also includes many voices which can be effectively played via a keyboard with breath control. Many voices are suitable for the rock and pop genres, so don’t overlook them for keyboard control.

● VL7_VER2.ALL

This file contains the voices initially loaded into the VL7 Version 2 when it is first shipped from the factory. The UTILITY/SYSTEM/BREATH MODE parameter is set to “Touch EG”, so until this is changed to “BC/ WX” the breath controller or a WX wind controller cannot be used.

● VL7V2_WX.ALL

The 32 voices included in this file have been programmed specifically for optimum playability on the VL7 Ver.2 using a Yamaha WX-series wind controller (WX7/WX11).

● ADDITION.ALL

This file includes some excellent voices that are not in the VL1_VER2.ALL or VL7_VER2.ALL files. Most are single-element voices, so the VL1 voices can be used effectively on the VL7.

Page 14

2: Test Driving Version 2

VL Version 2

Set the Breath Mode to “Touch EG”

Once the Version 2 voices are loaded you’re almost ready to try them out —

“almost” because there’s one more step necessary to play the voices without a breath

controller:

NOTES ■ The procedure below sets the breath mode to “Touch EG” so

“breath” control can be applied via keyboard touch response. This setting is

automatically selected when the VL1-VER2.ALL or VL7_VER2.ALL file is loaded,

so you may not need to bother with these steps if you’ve just loaded one of

these files. It is a good idea to check, anyway.

1. Select the Utility Mode System Page

Press the U button to select the utility mode. Then, if it is not already selected when the utility mode display appears, press the ¡ button to select the “Sys- tem” function page.

2. Set the Breath Mode to “Touch EG”

Use the cursor keys to move the cursor to “Breath Mode”, and press [ to call the “Breath Mode” function page. Make sure the cursor is located at the “Mode” parameter and use the = and - buttons to select “Touch EG”.

It might be a good idea to increase the value of the “VelGain” parameter a bit for easier response. The default values can be instantly recalled by pressing the • (Init) function button.

3. Return to the Play Mode

Press the P button to return to the PLAY mode.

Page 15

VL Version 2

Try Some Version 2 Voices

Voice selection is described in detail in the Getting Started manual. In case you’re not already familiar with the procedures, here’s a summary to get you started.

1. Select the Play Mode

Press the P button so that its indicator lights and the word “PLAY”

appears in the upper left corner of the LCD panel.

2. Select a Voice

On the VL1 Ver.2 or VL7 Ver.2 any voice can be selected by specifying its bank using the bank keys (a, b, c, etc.), and its number using the voice number keys (1 through ^).

To select voice “D7”, for example, first press the bank d key and then the voice number 7 key. The bank d key indicator will flash until the voice number 7 key is pressed and the D7 voice is actually engaged.

To select a different voice within the same bank it is only necessary to press the appropriate voice number key. To select a different bank, however, you’ll always have to press both a bank key and a voice number key (or the [ key). This prevents unwanted voices from being selected until you’ve actually specified both the bank and number of the voice you want to use.

The = and - buttons can also be used to select voices: press the = or - button briefly to decrement or increment the voice number by one, or hold either button for continuous decrementing or incrementing in the corresponding direction. The bank will switch automatically if you cross a bank voice-number boundary.

The data dial provides a convenient way to rapidly cover a large range of voices: rotate the data dial clockwise for higher voice numbers or counter-clockwise for lower voice numbers while watching the display. The banks are automatically switched when necessary as the voice numbers are changed.

2: Test Driving Version 2

3. Set the Modulation Wheels To Their Home Positions

Roll MODULATION WHEEL 1 all the way towards you, and set MODULATION WHEEL 2 to its center position.

●

A02 Jazz Sax

Although this voice is exactly the same as the Alto Sax voice provided with the

original VL models — i.e. it has not been programmed to take advantage of the advanced simulation capabilities of Version 2 — the improved playability of Version 2 makes it play like a totally new voice. Use keyboard velocity, aftertouch, the pitch bend wheel, and modulation wheel 1 to play a sax phrase, and you’ll see what we mean. An important contributing factor to this improved playability is the ability to assign Touch EG to pressure control.

●

D02 BaritonSax

This voice provides a good example of the extraordinary simulation precision

provided by Version 2. As with the previous voice, play a sax phrase using keyboard velocity, aftertouch, the pitch bend wheel, and modulation wheel 1. You should be able to replicate the sound of a top-level sax player with refined embouchure and technique. Later, you might want to convert-load the original A02 Tenor Sax voice (convert-loading

Page 16

VL Version 2

is described in the next section of this manual), and compare it with the D02 BaritonSax voice. The difference should be obvious.

●

A04 Jazz Trumpt

Use this voice to play a trumpet phrase. Like the previous voice, you should fairly

easily be able to produce the sound of a trumpet played by a highly accomplished artist. Version 2 allows a much more accurate simulation of the trumpet tubing, resulting in a highly responsive, realistic trumpet voice. This voice is ideal for jazzy phrases.

Also try the following: press the £ (Cnt3) button to call the corresponding con-

troller assignment display, and note that the dynamic filter (“D.Filter”) is off. While most PCM synthesizers — and even the original VL — employ a dynamic filter to simulate timbral variations across the voice’s dynamic range, the Version 2 simulation is so realistic that the dynamic filter is not needed. Note how the trumpet tone varies from soft to hard in response to keyboard velocity.

●

B11 C Flute

Let’s use this voice to try a simple experiment which illustrates one of the new

features of the Version 2 physical modelling section:

1. Press the E button to select the edit mode. If the entry-level edit display

shown below does not appear when the E button is pressed, press the

] button a few times until it does.

2. Press the ™ (E1) button.

3. Press the ™ (Misc) button.

Page 17

VL Version 2

4. Move the cursor to “Breath Noise” and press the [ button.

5. Move the cursor to the “Noise” parameter (currently set to “Dark

Woody”), and use the = and - buttons to select different noise types

while playing the voice (there are 23 different noise types to choose from).

6. Press the P button to return to the play mode when done.

2: Test Driving Version 2

The noise parameter you just edited changes the noise components at the flute

mouthpiece. The ability to choose from a range of noise types provides considerable voice-shaping flexibility.

●

B05 FingrBass

Here’s a simple experiment which demonstrates the improved flexibility of the

Version 2 effects using the B05 FingrBass voice:

1. Press the E button to select the edit mode. If the entry-level edit display

shown below does not appear when the E button is pressed, press the

] button a few times until it does.

2. Press the ¡ (Com) button.

Page 18

VL Version 2

3. Press the ™ (Efct) button.

4. Move the cursor to “Modulation Effect” and press the [ button.

5. Move the cursor to the “Modulation Effect Type” parameter (cur-

rently set to “Flanger”). Play the voice to hear the sound of the bass voice

with a subtle touch of flanger, then press the - button a few times to select

the Dist+Flanger effect type. Play the voice again to hear the difference.

6. Press the P button to return to the play mode when done.

Unlike the original VL models, Version 2 allows modulation effects to be applied in

series for an impressive variety of new sounds.

Page 19

VL Version 2

Controller Connection & Calibration

If you followed the procedures in the previous section you are already at least partly

familiar with the extraordinary expressive capabilities of the VL1 Ver.2, VL7 Ver.2, or VL1-m Ver.2 — without using external controllers. The next step is to connect a foot controller and breath controller and experiment with the unprecedented expressive power at your disposal when Version 2 is used with external controllers. The BC2 Breath Controller is perhaps the most natural way to apply expressive control to the VL voices, but a foot controller can be used instead if you’re more comfortable with foot control. Of course, the breath and foot controllers can also be used to simultaneously control different parameters.

●

Breath Controller

The Breath Controller provides realistic expres-

sion with wind-instrument voices (volume and timbre as well as tonguing attack variations) and unprecedented control with string voices (bowed and plucked). Plug the BC2 Breath Controller supplied with the VL1 Ver.2 or VL7 Ver.2 (or an optional BC1 breath controller) into the front-panel breath controller jack.

If you will be using the VL1-m Ver.2 with a

wind controller a breath controller is not necessary. If you will be using the VL1-m with a keyboard, however, you should purchase an optional BC2 or BC1 Breath Controller and plug it into the front-panel breath controller jack.

Before you actually begin using the breath controller, it should be calibrated as

described in the following section.

2: Test Driving Version 2

NOTES ■ For more information on Breath Controller setup and operation, see the instructions packed with the supplied BC2 Breath Controller.

●

Breath Controller Calibration

Proper operation of the breath controller is vital to achieving the best possible sound

and response. Although the controller is factory-calibrated to match most requirements, we recommend that you carefully calibrate the breath controller for optimum performance with your own playing style.

1. Make Sure the Breath Controller Is Connected

Make sure the breath controller is properly connected: turn the power OFF, plug in the breath controller, then turn the power ON.

Page 20

VL Version 2

2. Select the Utility Mode System Page

Press the U button to select the utility mode. Then, if it is not already selected when the utility mode display appears, press the ¡ button to select the “System” function page.

NOTES ■ On the VL1 Ver.2 and VL7 Ver.2 you can move the cursor to “Assign- able Ctrl” and press various controllers. Press page.

■ On the VL1-m press the from the controllers. Press

[

to see the current control assignments for the

]

when you’re ready to go back to the previous

(Moni) button to monitor the MIDI data received

]

to return.

3. Set the Breath Mode to “BC/WX”

Use the cursor keys to move the cursor to “Breath Mode”, and press [ to call the “Breath Mode” function page. If the “Mode” parameter is not set to “BC/WX”, make sure the cursor is located at the “Mode” parameter and use the = and - buttons to select “BC/WX”. Press ] to return to the previous page.

4. Go To the Curve Page and Select “Brth”

Use the cursor keys to move the cursor to “Curve”, then press [ to call the “Curve” function page. On the VL1 Ver.2 and VL7 Ver.2 press the • function button (“Brth”) to call the breath controller curve page when the curve display appears. On the VL1-m Ver.2 it is only necessary to select “BC Curve”.

5. Adjust the Breath Controller Offset

The following adjustment must be performed while not blowing into the breath controller mouthpiece. Do not hold the breath controller in your mouth.

Page 21

VL Version 2

Rotate the breath controller OFFSET trimmer slowly clockwise, using the supplied screwdriver, until the vertical cursors above and below the curve graph move slightly to the right and the number below the graph is greater that “0”. Then slowly rotate the trimmer carefully counter-clockwise until the number below the graph just reaches “0” (the cursors will be lined up with the left end of the graph), then stop.

6. Adjust the Breath Controller Gain

Place the breath controller mouthpiece in your mouth and blow — notice that the cursors move to right and the number below the graph increases according to how hard you blow. Adjust the breath controller GAIN trimmer so that you can comfortably vary your breath pressure between 0 and 127 on the graph. This completes the gain adjustment.

7. Readjust the Offset If Necessary

If adjusting the gain causes the offset setting to shift, readjust the offset as described in step 5.

At this point you can use the “Curve Type” parameter to select the curve type that best suits your playing style.

2: Test Driving Version 2

8. Return to the Play Mode

Press the P button to return to the PLAY mode.

●

Foot Controllers

Although the VL1 Ver.2 and VL7 Ver.2 have

jacks for two foot controllers, it is not necessary to use both. To begin with plug the supplied FC7 Foot Controller into the rear-panel FOOT CONTROLLER 2 jack.

The VL1-m Ver.2 will responsd to MIDI foot

controller control change data received from the controlling device.

NOTES ■ For more information on Foot Controller setup and operation, see the instructions packed with the supplied FC7 Foot Controller.

Page 22

VL Version 2

Experiment With the Controllers

Once your breath controller has been connected and calibrated, you’re ready to get a

feel for the type of expressive control it provides. Try selecting different voices and playing them using the keyboard, breath controller, pitch wheel, and modulation wheel 1.

To try out the foot controller as an alternative to the breath controller for breath

control, unplug the breath controller and try playing different voices using the foot controller (the foot controller must be plugged into the FOOT CONTROLLER 2 jack).

Up to this point we’ve described a few simple experiments that should help you to

become familiar with the VL Version 2 system. More detailed controller experiments are described in section 5 — “Experiments With the Controllers”. We recommend that you try those experiments for a more in-depth appreciation of the instrument’s unmatched musical and expressive potential.

Page 23

3: Load-converting the Original VL Voices

VL Version 2

Version 2 is compatible with all original VL voices, so if you are upgrading from an original VL model you will still be able to use the voices you are, no doubt, by now familiar with.

To be used on a Version 2 system the original voices must be converted, but this is done automatically when they are loaded: the “Now Converting and Loading!” message will appear on the display. The converted voices can then be saved to a separate disk for later re-loading and use. Don’t save the converted

3: Load-converting Original VL Voices

voices back to the original voice disk, since that would overwrite the original voices which can still be used on an original VL instrument.

The new and modified parameters described in section 4 of this manual are initially set automatically. Also, the following system parameter settings are added to the original voices files:

To VL1 Version 2

●

VL1 Voice to VL1 Ver.2

When an “

changed. The following new system parameters are added:

UTIL/SYSTEM/TG SETTING/WX Lip. . . . . . . . . . . . . . . . Normal

UTIL/SYSTEM/ASSIGNABLE CONTROLLER/BC . . . . . . 002 Breath Cont.

UTIL/SYSTEM/ASSIGNABLE CONTROLLER/FC1 . . . . . 004 Foot Cont.

UTIL/SYSTEM/BREATH MODE/Mode . . . . . . . . . . . . . . . BC/WX

●

VL1-m Voice to VL1 Ver.2

When an “

changed. The following new system parameters are added:

UTIL/SYSTEM/ASSIGNABLE CONTROLLER/BC . . . . . . 002 Breath Cont.

UTIL/SYSTEM/ASSIGNABLE CONTROLLER/FC1 . . . . . 004 Foot Cont.

UTIL/SYSTEM/BREATH MODE/Mode . . . . . . . . . . . . . . . BC/WX

Parameters not existing in Version 2 are ignored (e.g. UTIL/SYSTEM/PROGRAM CHANGE TABLE)

●

VL7 Voice to VL1 Ver.2

All VL7 voices are 1-element voices. When an “

original system data is left unchanged. The following new system parameters are added:

********

.ALL” file is loaded all original system data is left un-

********

.ALL” file is loaded all

UTIL/SYSTEM/TG SETTING/WX Lip. . . . . . . . . . . . . . . . Normal

UTIL/SYSTEM/ASSIGNABLE CONTROLLER/BC . . . . . . 002 Breath Cont.

UTIL/SYSTEM/ASSIGNABLE CONTROLLER/FC1 . . . . . 004 Foot Cont.

UTIL/SYSTEM/BREATH MODE/Mode . . . . . . . . . . . . . . . BC/WX

Page 24

VL Version 2

To VL1-m Version 2

●

VL1 Voice to VL1-m Ver.2

When an “

changed. The following new system parameters are added:

UTIL/SYSTEM/TG SETTING/WX Lip. . . . . . . . . . . . . . . . Normal

UTIL/SYSTEM/PGM CHANGE TABLE . . . . . . . . . . . . . . initialized

UTIL/SYSTEM/BREATH MODE/Mode . . . . . . . . . . . . . . . BC/WX

●

VL1-m Voice to VL1-m Ver.2

When an “

changed. The following new system parameters are added:

UTIL/SYSTEM/BREATH MODE/Mode . . . . . . . . . . . . . . . BC/WX

●

VL7 Voice to VL1-m Ver.2

All VL7 voices are 1-element voices. When an “

original system data is left unchanged. The following new system parameters are added:

********

.ALL” file is loaded all original system data is left un-

********

.ALL” file is loaded all

UTIL/SYSTEM/TG SETTING/WX Lip. . . . . . . . . . . . . . . . Normal

UTIL/SYSTEM/PGM CHANGE TABLE . . . . . . . . . . . . . . initialized

UTIL/SYSTEM/BREATH MODE/Mode . . . . . . . . . . . . . . . BC/WX

To VL7 Version 2

●

VL1 Voice to VL7 Ver.2

Element 2 data is ignored. Voices 65 through 128 are ignored. When an

“

********

ing new system parameters are added:

UTIL/SYSTEM/TG SETTING/WX Lip. . . . . . . . . . . . . . . . Normal

UTIL/SYSTEM/ASSIGNABLE CONTROLLER/BC . . . . . . 002 Breath Cont.

UTIL/SYSTEM/ASSIGNABLE CONTROLLER/FC1 . . . . . 004 Foot Cont.

UTIL/SYSTEM/BREATH MODE/Mode = BC/WX

●

VL1-m Voice to VL7 Ver.2

Element 2 data is ignored. Voices 65 through 128 are ignored. When an

“

********

ing new system parameters are added:

.ALL” file is loaded all original system data is left unchanged. The follow-

UTIL/SYSTEM/ASSIGNABLE CONTROLLER/BC . . . . . . 002 Breath Cont.

UTIL/SYSTEM/ASSIGNABLE CONTROLLER/FC1 . . . . . 004 Foot Cont.

UTIL/SYSTEM/BREATH MODE/Mode . . . . . . . . . . . . . . . BC/WX

Parameters not existing in Version 2 are ignored (e.g. UTIL/SYSTEM/PROGRAM CHANGE TABLE)

Page 25

●

VL7 Voice to VL7 Ver.2

When an “

changed. The following new system parameters are added:

UTIL/SYSTEM/TG SETTING/WX Lip. . . . . . . . . . . . . . . . Normal

UTIL/SYSTEM/ASSIGNABLE CONTROLLER/BC . . . . . . 002 Breath Cont.

UTIL/SYSTEM/ASSIGNABLE CONTROLLER/FC1 . . . . . 004 Foot Cont.

UTIL/SYSTEM/BREATH MODE/Mode . . . . . . . . . . . . . . . BC/WX

********

To Original VL

●

Version 2 Voice to Original VL

Version 2 voices cannot be used on the original VL instruments. An “Illegal file!”

error message will appear on the display and the files cannot be loaded or converted.

VL Version 2

.ALL” file is loaded all original system data is left un-

3: Load-converting Original VL Voices

●

Hardware System Exclusive Data Transfer

System Exclusive data can be hardware-transferred between two original VL models, or between two Version 2 VL models, but not between an original and Version 2 model.

Page 26

4. New Features & Parameters

VL Version 2

This section describes the actual improvements and new features provided in Version 2. In many cases the changes involve modifications of procedures or parameters found in the original VL models. In such cases the appropriate page numbes in the corresponding Feature Reference manuals will be listed — please refer to the original Feature Reference manuals for complete details. New features are described in full.

The block diagram below represents the overall Version 2 system. Shaded blocks are either totally new or feature significant improvements.

Controllers & Envelope

Instrument Section

Driver Pipe/String Mixer

= New or Improved

NOTES ■ Please note that although most of the information provided in this manual applies equally to the VL1 Ver.2, VL1-m Ver.2, and VL7 Ver.2, any references to multiple elements — e.g. separate parameters for the E1 and E2 elements — do not apply to the VL7 Ver.2 since it employs a single element.

Modifiers

Harmonic Enhancer

Dynamic Filter

Frequency Equalizer

Impulse Expander

Resonator

Effects

Modulation

Feedback Delay

Reverb

Page 27

VL Version 2

Changes and additions to the functions listed below are described on the corre-

sponding pages.

■

PLAY MODE

Play Mode Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Continuous Sliders . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 4

■

EDIT MODE

●

INITIAL EDIT PAGE

Voice Name & Element Name . . . . . . . . . . . . . . . . . . . . . 25

Key Mode Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

●

COMMON MISCELLANEOUS

EDIT/COM/MISC/SETTING . . . . . . . . . . . . . . . . . . . . 26

EDIT/COM/MISC/CONTROLLER . . . . . . . . . . . . . . . . 27

EDIT/COM/MISC/MICROTUNING . . . . . . . . . . . . . . . . 27

EDIT/COM/MISC/CONTINUOUS SLIDER . . . . . . . . . . 28

EDIT/COM/MISC/PART SETTING . . . . . . . . . . . . . . . 28

●

COMMON EFFECT

New Modulation Effect Types . . . . . . . . . . . . . . . . . . . . 30

Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Symphonic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 4

Celeste . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Dist+Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Dist+Wah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

●

ELEMENT CONTROLLER

Controller Parameter Displays . . . . . . . . . . . . . . . . . . . 42

●

ELEMENT MISCELLANEOUS

EDIT/E1/MISC/BREATH NOISE . . . . . . . . . . . . . . . . . 4 3

EDIT/E1/MISC/THROAT FORMANT/KSC (PITCH) . . 4 4

EDIT/E1/MISC/MIXING . . . . . . . . . . . . . . . . . . . . . . . . 4 4

EDIT/E1/MISC/EXCITATION . . . . . . . . . . . . . . . . . . . 4 4

●

ELEMENT MODIFIER

EDIT/E1/MODIFIER/HARMONIC ENHANCER . . . . . . . 50

EDIT/E1/MODIFIER/EQUALIZER AUXILIARY . . . . . . . 50

EDIT/E1/MODIFIER/RESONATOR . . . . . . . . . . . . . . . 51

●

ELEMENT ENVELOPE

EDIT/E1/ENV/EMBOUCHURE&PITCH . . . . . . . . . . . . 52

EDIT/E1/ENV/VIBRATO. . . . . . . . . . . . . . . . . . . . . . . 52

EDIT/E1/ENV/GROWL . . . . . . . . . . . . . . . . . . . . . . . . 52

■

UTILITY MODE

●

UTILITY SYSTEM

UTIL/SYSTEM/KBD SETTING . . . . . . . . . . . . . . . . . . 53

UTIL/SYSTEM/TG SETTING . . . . . . . . . . . . . . . . . . . 53

UTIL/SYSTEM/ASSIGNABLE CONTROLLER . . . . . . . 54

UTIL/SYSTEM/CURVE. . . . . . . . . . . . . . . . . . . . . . . . 54

UTIL/SYSTEM/BREATH MODE . . . . . . . . . . . . . . . . . 54

UTIL/SYSTEM/MISCELLANEOUS . . . . . . . . . . . . . . . 56

UTIL/DISK/LOAD FROM DISK . . . . . . . . . . . . . . . . . . 56

■

CONTROL & SIGNAL FLOW . . . . . . . . . . . . . . . . . . . . . 57

4. New Features & Parameters

PLAY

EDIT

UTILITY

Page 28

PLAY Mode

●

PLAY Mode Display

In Version 2 several status indicators have been added to the PLAY mode display.

• The current setting of the UTILITY/SYSTEM/BREATH MODE “Mode” parameter is shown on the top line of the PLAY mode display: “BC/WX”,

“Velocity”, or “Touch EG” (˘ page 53).

• The current MIDI transmit and receive channels appear on lines 1 and 2 of the

PLAY mode display, respectively.

• When the EDIT/Key Mode parameter is set to “Part” (˘ page 25), and the EDIT/COM/MISC/PART SETTING “Split” parameter is “off” (˘ page 28), the element 1 and 2 MIDI receive channels appear on line 4 of the PLAY mode display.

• When the EDIT/Key Mode parameter is set to “Part” (˘ page 25), and the EDIT/COM/MISC/PART SETTING “Split” parameter is set to “Static” or “Dynamic” (˘ page 28), the element 1 and 2 split point appears on line 4 of the PLAY mode display.

Feature Reference pages: VL1 ➯ 14; VL1-m ➯ 14; VL7 ➯ 14

●

Continuous Sliders

In the original VL models MIDI output corresponding to the – and ı continuous slider settings was transmitted as system exclusive data. In Version 2 the continuous sliders produce MIDI output in the form of control change data: control change number 16 for –, and control change number 17 for ı.

Feature Reference pages: VL1 ➯ 19; VL1-m ➯ 19; VL7 ➯ 19

Page 29

EDIT Mode

Initial Edit Page

EDIT MODE

●

Edit Mode Displays

COMMON

ELEMENT

In all Version 2 edit mode displays, parameters which are not available for editing do not appear. In the original models such parameters appeared on the display but could not be edited.

MISCELLANEOUS

EFFECT

CONTROLLER

MISCELLANEOUS

MODIFIER

ENVELOPE

4. New Features & Parameters

●

Voice Name & Element Name

The voice and element name entry method has been improved for easier operation. The § (,) and ¶ (.) function buttons are used to move the cursor to the desired position in the name rather than the cursor buttons. In Version 2 the cursor , and . buttons perform the same function as the = and - buttons: i.e. selecting the character for the current character position. The cursor > and < buttons can also be used for this purpose.

Feature Reference pages: VL1 ➯ 31; VL1-m ➯ 31; VL7 ➯ 31

●

Key Mode

¯ Mono, Poly, Unison, Part

In addition to the original “Mono”, “Poly”, and “Unison” settings, the “Key Mode” parameter now has a “Part” setting. When “Part” is selected a range of split

keyboard parameters are available via the EDIT/COM/MISC/PART SETTING page (˘ page 28).

When the “Key Mode” parameter is set to “Poly” and the “Voice Mode” parameter is set to “Single” or “Dual”, the EDIT/COM/MISC/SETTING page “Assign Mode” parameter can now be set to “Last Note” (˘ page 26).

Feature Reference pages: VL1 ➯ 31; VL1-m ➯ 31

PLAY

EDIT

Page 30

VL Version 2

Common Miscellaneous

EDIT MODE

COMMON

ELEMENT

MISCELLANEOUS

EFFECT

CONTROLLER

MISCELLANEOUS

MODIFIER

ENVELOPE

EDIT/COM/MISC/SETTING

●

Assign Mode

¯ Bottom Note, Top Note, Last Note

When the “Key Mode” parameter is set to “Poly” and the “Voice Mode” parameter is set to “Single” or “Dual”, the EDIT/MISC/SETTING page “Assign Mode” parameter can now be set to “Last Note” producing last-note key priority for these modes. The “Assign Mode” parameter will not appear when the “Unison” key mode is selected.

In order to use the “Poly Expand” parameter described below, the “Key

Mode” parameter must be set to “Poly” and the “Assign Mode” parameter to “Last Note”.

Feature Reference pages: VL1 ➯ 35; VL1-m ➯ 35

●

Poly Expand

¯ off, 2…32 > 1 … 32

This new parameter allows 2 or more VL units to be MIDI-chained for increased polyphony. The number to the left of the “>” symbol should be set to the total polyphony to be provided by the system (off, 2 … 32). The number to the right of the “>” symbol sets the number of the note to be sounded by the controlling VL (1 … 32). If this parameter is set to “3”, for example, the 3rd note played in a chord will be sounded by the controlling VL.

In the VL1 Ver.2 and VL1-m Ver.2 the “Poly Expand” parameter is only available when the “Key Mode” parameter is set to “Poly” and the “Assign Mode” parameter is set to “Last Note”. When the “Poly” key mode is not selected “Key mode is not POLY” will appear in place of the “Poly Expand” parameter setting, and when the “Last Note” assign mode is not selected “Asgn mode is not LAST” will appear.

The “Poly Expand” parameter is always available on the VL7 Ver.2.

Page 31

VL Version 2

EDIT/COM/MISC/CONTROLLER

●

Touch EG Gain

¯ 0 … 127

Increasing the value of this new parameter raises the lower limit of touch EG variation, producing relatively higher output and range.

Feature Reference pages: VL1 ➯ 36; VL1-m ➯ 36; VL7 ➯ 34

EDIT/COM/MISC/MICROTUNING

30 new microtuning types have been added: numbers P-55 through P-84. In all these microtunings extra notes are set to the next lowest note.

55 Zalzal Modern Arabic scale (white notes; in C). 56 Farabi X Tuning from Al Farabi (c. 700 A.D.; white notes; in C). 57 Ishfahan Medieval Arabic 8-tone scale (white keys & Bb; in C). 58 Al-Kindi A 10th-century Arabic scale. This version uses C as the tonic. Since

59 Zirafkend Medieval Arabic 8-tone scale (white notes; in C). 60 Hhidjazi Medieval Arabic scale using only white notes (in C). 61 Rahawi Medieval Arabic scale using only white notes (in C). 62 Hhosaini Medieval Arabic scale using only white notes (in C). 63 African West African xylophone tuning (white notes; in C). 64 Bagpipes Scottish highland bagpipe tuning (in Bb). 65 Yugo Bag Observed Yugoslavian bagpipe tuning (all notes). 66 Bulgar Bag Observed Bulgarian bagpipe tuning (all notes). 67 Byzantine Byzantine palace mode. Mixed tetrachords (white notes; in C). 68 Tibet 12-note Tibetan scale. 69 Ch Flute Chinese flute observed in 1885. ‘E’ and ‘B’ are additions to the basic

70 Ch Sheng Observed Chinese sheng or mouth organ tuning (white notes; in C). 71 Dowland John Dowland’s lute tuning (17th century). A well-tempered 12-tone

72 Golden Based on the golden section, the ratios are successive terms in the

73 PelogSlend Two observed Javanese gamelan scales: Pelog on white notes and

74 Singapore Observed Singapore marimba tuning (white notes, in C). 75 Didymus Di A just diatonic scale from Didymus (white notes; in C). 76 Aristoxene Aristoxene’s Chromatic Malakon, or soft tuning (white notes; in C). 77 Eratosthen Eratosthene’s Enharmonic Ancient Greek. Equal tetrachords (white

78 Phrygian Old Phrygian Ancient Greek. Equal tetrachords (white notes; in C). 79 Indian 1 An observed Indian mode (white notes; in C). 80 Indian 2 An observed Indian mode (white notes; in C). 81 Hirajoshi1 Observed pentatonic koto scale (black notes; in Db). 82 Hirajoshi2 A second observed pentatonic koto scale (black notes; in Db). 83 Korea The “Delightful” pentatonic scale from Korea (black notes; in Db). 84 Thai Observed scale from Thailand (white notes; in C).

there are 16 notes the tonic moves to different MIDI keys (G#0, C2, E3, G#4, C6, E7).

pentatonic scale (white notes; in C).

scale.

Fibonacci series. (black notes; in Db).

Slendro on black. Both are in C.

notes; in C).

4. New Features & Parameters

EDIT

Feature Reference pages: VL1 ➯ 42; VL1-m ➯ 42; VL7 ➯ 39

Page 32

VL Version 2

EDIT/COM/MISC/CONTINUOUS SLIDER

●

Slider Assign Parameters

A range of new parameters can be assigned to the continuous sliders.

Feature Reference pages: VL1 ➯ 43; VL1-m ➯ 43; VL7 ➯ 40

EDIT/COM/MISC/PART SETTING

The parameters in this page become active when the “Key Mode” parameter is set to “Part”. “Keymode is not Part” appears in this page when the key mode is not set to “Part”.

●

Split

¯ off, Static, Dynamic

When “Split” is “off”, separate MIDI receive channels can be set for elements 1 and 2 allowing them to be controlled on different channels from an external MIDI controller. In this case note data received on the receive channel set in the UTILITY/SYSTEM page is ignored. Program change, continuous slider data (i.e. control change numbers 16 and 17; quick edit in the VL1-m), effect control data, polyphony control data, and main volume data are received on the main receive channel set in the UTILITY/SYSTEM page.When active, the element 1 and element 2 MIDI receive channels appear on line 5 of the PLAY mode display.

Page 33

VL Version 2

When this parameter is set to “Static” the keyboard is split at the key specified by the “Split Point” parameter (C-2 … G8). the “Split Point” parameter only appears when the static split mode is selected. Element 1 plays on all keys to the left of (and including) the split point key, while element 2 plays on all keys to the right of the split point key.

When the “Split” parameter is set to “Dynamic” the split point is automatically set to a note somewhere between two notes played on the keyboard. The split point thus moves to accomodate any combination of notes. When the “Dynamic” split mode is selected the “Interval” parameter will appear. This parameter determines the number of notes, counting from the last note played toward the first note played, at which the split point will be set. The main differences between operation in this mode and the Unison mode are that you know which element will sound when the first note (or a single note) is played, only one element sounds when a single note is played, and the split point moves automaticaly to accompdate the notes played.

●

Element 1 MIDI Rcv CH

●

Element 2 MIDI Rcv CH

¯ 1 … 16

These parameters appear when the “Split” mode is set to “off”, allowing the MIDI receive channels for elements 1 and 2 to be set independently.

4. New Features & Parameters

●

Split Point

¯ C-2 … G8

Sets the keyboard split point when the “Split” mode is set to “Static” or “Dynamic”.

●

PB, AT&MOD Mode

¯ All, Lower, Upper

When the “Split” mode is set to “Static” or “Dynamic” this parameter determines whether the pitch bend wheel, modulation wheels, and aftertouch will affect the entire keyboard (“All”), only notes to the left of and including the split point (“Lower”), or only notes to the right of the split point (“Upper”).

●

Interval

¯ 0 … 24

When the “Dynamic” split mode is selected this parameter determines the number of notes, counting from the last note played toward the first note played, at which the split point will be set.

EDIT

Page 34

VL Version 2

Common Effect

●

provided in the original VL models, Version 2 provides Chorus, Phaser, Symphonic, Celeste, Distortion + Flanger, and Distortion + Wah modulation effects.

Chorus

EDIT MODE

COMMON

ELEMENT

MISCELLANEOUS

EFFECT

CONTROLLER

MISCELLANEOUS

MODIFIER

ENVELOPE

New Modulation Effect Types

In addition to the Flanger, Pitch Change, and Distortion modulation effect types

Feature Reference pages: VL1 ➯ 46; VL1-m ➯ 46; VL7 ➯ 44

• Use the ¡ (“>”) and ™ (“<”) buttons to switch between the two pages of effect parameters.

●

Element on/off — E1: & E2:

¯ off, on.

In this parameter the cursor can be positioned at “E1:” or “E2:” to individually turn the chorus effect on or off for elements 1 and 2, respectively. When “on” the output of the corresponding element is fed to the input of the modulation stage, and when “off” the modulation stage is bypassed. The “E2:” parameter will not appear when editing a single-element voice.

●

Mode

¯ Monaural, Stereo.

When set to “Stereo” the chorus effect is applied independently to the left and rightchannel signals. When “Monaural”, chorus is applied to a mix of the left and rightchannel signals.

Page 35

VL Version 2

■

Monaural Mode Block Diagram

L In

R In

■

Stereo Mode Block Diagram

L In

R In

●

Freq.

¯ 0.057 … 40.0 Hz.

Chorus

Wet/

dry

Wet/

dry

Wet/

dry

Wet/

dry

L Out

R Out

L Out

R Out

Sets the speed of modulation and therefore the rate of chorus effect variation.

●

Depth

¯ 0 … 100%.

4. New Features & Parameters

Sets the depth of modulation. Higher values produce deeper modulation and therefore a more pronounced chorus effect.

●

Delay

¯ 0.33 … 32.87 ms.

Sets the chorus delay time (the chorus effect is basically produced by modulating the delay time of one signal in relation to another). The higher the value the more pronounced the chorus effect.

●

FB Gain

¯ -100 … 100 %.

Determines the amount of effect-sound feedback returned to the input of the chorus stage. Higher negative or positve values produce a more pronounced effect.

●

High

¯ 0.1 … 1.0.

Determines the amount of high-frequency effect-sound feedback returned to the input of the chorus stage. Lower values produce more cut in the high-frequency range.

●

Wet/Dry Balance

¯ 0 … 100 %.

EDIT

Sets the balance between the direct (“dry”) and effect (“wet”) sound. Higher values produce a greater proportion of effect sound in relation to direct sound.

Page 36

Phaser

●

¯ off, on.

turn the phaser effect on or off for elements 1 and 2, respectively. When “on” the output of the corresponding element is fed to the input of the modulation stage, and when “off” the modulation stage is bypassed. The “E2:” parameter will not appear when editing a single-element voice.

VL Version 2

• Use the ¡ (“>”) and ™ (“<”) buttons to switch between the two pages of effect parameters.

Element on/off — E1: & E2:

In this parameter the cursor can be positioned at “E1:” or “E2:” to individually

●

Mode

¯ Monaural, Stereo.

When set to “Stereo” the phaser effect is applied independently to the left and rightchannel signals. When “Monaural”, the phaser effect is applied to a mix of the left and right-channel signals.

■

Monaural Mode Block Diagram

L In

Phaser

R In

■

Stereo Mode Block Diagram

L In

Phaser

R In

Wet/

dry

Wet/

dry

Wet/

dry

Wet/

dry

L Out

R Out

L Out

R Out

Page 37

VL Version 2

●

Stage

¯ 4 , 6 in Stereo Mode; 4, 6, 8, 10, 12 in Monaural Mode.

Sets the number of phase-shift “stages” used by the phaser effect. More stages produce a more pronounced effect.

●

Freq.

¯ 0.057 … 40.0 Hz.

Sets the speed of modulation and therefore the rate of phaser effect variation.

●

Depth

¯ 0 … 100%.

Sets the depth of modulation. Higher values produce deeper modulation and therefore a more pronounced phaser effect.

●

Offset

¯ 0 … 100%.

4. New Features & Parameters

Sets the frequency range to which the phase effect is applied. The higher the value the higher the frequency range affected by the phaser effect.

●

Phase (Stereo Mode)

¯ -180.0 … 180.0 deg.

●

Diffusion (Monaural Mode)

¯ off, on.

When the Stereo mode is selected, this parameter becomes “Phase” and sets the phase different between the left and right channel phaser signals. The larger the value, the greater the “spread” in the sound. A setting of “0” produces a centered effect.

When the Monaural mode is selected this parameter becomes “Diffusion” and determines whether the effect has a stereo spread (“on”) or is a centered monaural signal (“off”).

●

FB Gain

¯ -100 … 100 %.

Determines the amount of effect-sound feedback returned to the input of the phaser stage. Higher negative or positve values produce a more pronounced effect.

●

Wet/Dry Balance

¯ 0 … 100 %.

EDIT

Sets the balance between the direct (“dry”) and effect (“wet”) sound. Higher values produce a greater proportion of effect sound in relation to direct sound.

Page 38

Symphonic

• Use the ¡ (“>”) and ™ (“<”) buttons to switch between the two pages

●

Element on/off — E1: & E2:

¯ off, on.

In this parameter the cursor can be positioned at “E1:” or “E2:” to individually turn the symphonic effect on or off for elements 1 and 2, respectively. When “on” the output of the corresponding element is fed to the input of the modulation stage, and when “off” the modulation stage is bypassed. The “E2:” parameter will not appear when editing a single-element voice.

VL Version 2

of effect parameters.

●

Mode

¯ Monaural, Stereo.

When set to “Stereo” the symphonic effect is applied independently to the left and right-channel signals. When “Monaural”, the symphonic effect is applied to a mix of the left and right-channel signals.

■

Monaural Mode Block Diagram

L In

Symphonic

R In

■

Stereo Mode Block Diagram

L In

Symphonic

R In

Wet/

dry

Wet/

dry

Wet/

dry

Wet/

dry

L Out

R Out

L Out

R Out

Page 39

VL Version 2

●

Freq.

¯ 0.057 … 40.0 Hz.

Sets the speed of modulation and therefore the rate of symphonic effect variation.

●

Depth

¯ 0 … 100%.

Sets the depth of modulation. Higher values produce deeper modulation and therefore a more pronounced symphonic effect.

●

Diffusion

¯ 0 … 10.

Diffusion determines the amount of stereo “spread”. The higher the value the greater the spread. When set to “0” the symphonic effect is a centered monaural signal.

●

Lo-Fi

¯ off, 1 … 12.

4. New Features & Parameters

This parameter can be used to give the symphonic effect a more analog feel. Higher values produce a smoother effect in the high-frequency range.

●

Wet/Dry Balance

¯ 0 … 100 %.

Sets the balance between the direct (“dry”) and effect (“wet”) sound. Higher values produce a greater proportion of effect sound in relation to direct sound.

EDIT

Page 40

Celeste

●

¯ off, on.

turn the celeste effect on or off for elements 1 and 2, respectively. When “on” the output of the corresponding element is fed to the input of the modulation stage, and when “off” the modulation stage is bypassed. The “E2:” parameter will not appear when editing a single-element voice.

VL Version 2

• Use the ¡ (“>”) and ™ (“<”) buttons to switch between the two pages of effect parameters.

Element on/off — E1: & E2:

In this parameter the cursor can be positioned at “E1:” or “E2:” to individually

●

Mode

¯ Monaural, Stereo.

When set to “Stereo” the celeste effect is applied independently to the left and right-channel signals. When “Monaural”, the celeste effect is applied to a mix of the left and right-channel signals.

■

Monaural Mode Block Diagram

L In

Celeste

R In

■

Stereo Mode Block Diagram

L In

Celeste

R In

Wet/

dry

Wet/

dry

Wet/

dry

Wet/

dry

L Out

R Out

L Out

R Out

Page 41

VL Version 2

●

Freq.

¯ 0.057 … 40.0 Hz.

Sets the speed of modulation and therefore the rate of celeste effect variation.

●

Depth

¯ 0 … 100%.

Sets the depth of modulation. Higher values produce deeper modulation and therefore a more pronounced celeste effect.

●

Delay

¯ 0.33 … 32.87 ms.

Sets the celeste delay time (the celeste effect is basically produced by modulating the delay time of one signal in relation to another). The higher the value the more pronounced the celeste effect.

●

FB Gain

¯ -100 … 100 %.

4. New Features & Parameters

Determines the amount of effect-sound feedback returned to the input of the celeste stage. Higher negative or positve values produce a more pronounced effect.

●

Lo-Fi

¯ off, 1 … 12.

This parameter can be used to give the celeste effect a more analog feel. Higher values produce a smoother effect in the high-frequency range.

●

Wet/Dry Balance

¯ 0 … 100 %.

Sets the balance between the direct (“dry”) and effect (“wet”) sound. Higher values produce a greater proportion of effect sound in relation to direct sound.

EDIT

Page 42

Dist+Flanger

• Use the ¡ (“>”) and ™ (“<”) buttons to switch between the two pages of effect parameters.

■

Dist+Flanger Effect Block Diagram

VL Version 2

L In

Distortion

R In

●

Element on/off — E1: & E2:

¯ off, on.

Flanger

Wet/

dry

Wet/

dry

L Out

R Out

In this parameter the cursor can be positioned at “E1:” or “E2:” to individually turn the Dist+Flanger effect on or off for elements 1 and 2, respectively. When “on” the output of the corresponding element is fed to the input of the modulation stage, and when “off” the modulation stage is bypassed. The “E2:” parameter will not appear when editing a single-element voice.

●

Overdrive

¯ 0 … 100 %.

Sets the intensity of the overdrive or distortion effect. Higer values produce more distortion.

●

Speaker

¯ Flat, Stack, Combo, Twin, Radio, Megaphone.

Simulates a variety of speaker types and configurations via which the distortion sound might be reproduced.

Flat

Stack Combo Twin Radio Megaphone

No speaker — the sound of a “direct feed” to a recording or sound reinforcement console.

The powerful, expansive sound of stacked speaker cabinets. A single 12" speaker unit in an open-backed enclosure. Two 12" speaker units in a relatively small open-backed enclosure. The small, compressed, but pleasant tone of a radio receiver. Constricted tone with emphasis on the middle frequencies.

Page 43

VL Version 2

●

Output Level

¯ 0 … 100 %.

Sets the output level of the distortion sound. Higher values send higher-level signal to the flanger stage.

●

Freq.

¯ 0.057 … 40.0 Hz.

Sets the speed of modulation and therefore the rate of flanger effect variation.

●

Depth

¯ 0 … 100 %.

Sets the depth of modulation. Higher values produce deeper modulation and therefore a more pronounced flanger effect.

●

Delay

¯ 0.33 … 32.87 ms.

4. New Features & Parameters

Sets the flanger delay time (the flanger effect is basically produced by modulating the delay time of one signal in relation to another). Shorter delay times produce the greatest effect in the high-frequency range, while longer delay times extend the effect to the middle and lower frequencies. Delays longer than about 5 milliseconds produce a more chorus-like effect

●

Phase

¯ -180.0 … 180.0 deg.

Sets the phase different between the left and right channel flanger signals. The larger the value, the greater the “spread” in the sound. A setting of “0” produces a centered effect.

●

FB Gain

¯ -100 … 100 %.

Determines the amount of effect-sound feedback returned to the input of the flanger stage. Higher negative or positve values produce a more pronounced effect.

●

High

¯ 0.1 … 1.0.

Determines the amount of high-frequency effect-sound feedback returned to the input of the flanger stage. Lower values produce more cut in the high-frequency range.

EDIT

●

Flanger Balance

¯ 0 … 100 %.

Sets the balance between the distortion and flanger effect sound. Higher values produce a greater proportion of flanger sound in relation to distortion sound.

Page 44

Dist+Wah

• Use the ¡ (“>”) and ™ (“<”) buttons to switch between the two pages

VL Version 2

of effect parameters.

■

Dist+Flanger Effect Block Diagram

L In

Wah

R In

●

Element on/off — E1: & E2:

¯ off, on.

WahDistortion

Pre/Post

L Out

R Out

In this parameter the cursor can be positioned at “E1:” or “E2:” to individually turn the Dist+Wah effect on or off for elements 1 and 2, respectively. When “on” the output of the corresponding element is fed to the input of the modulation stage, and when “off” the modulation stage is bypassed. The “E2:” parameter will not appear when editing a single-element voice.

●

Overdrive

¯ 0 … 100 %.

Sets the intensity of the overdrive or distortion effect. Higher values produce more distortion.

●

Speaker

¯ Flat, Stack, Combo, Twin, Radio, Megaphone.

Simulates a variety of speaker types and configurations via which the distortion sound might be reproduced.

Flat

Stack Combo Twin Radio Megaphone

No speaker — the sound of a “direct feed” to a recording or sound reinforcement console.

Page 45

VL Version 2

●

Output Level

¯ 0 … 100 %.

Sets the output level of the distortion sound. Higher values produce higher level.

●

Mode

¯ LPF, BPF, HPF.

Determines the type of filter used by the wah effect: LPF = Low Pass Filter; BPF = Band Pass Filter; HPF = High Pass Filter.

●

Wah Pre/Post

¯ Pre, Post.

Determines whether the wah effect is placed before the distortion effect (“Pre”) or after the distortion effect (“Post”).

●

Cutoff Freq

¯ 26.9 Hz … 11.9 kHz.

4. New Features & Parameters

Sets the central cutoff frequency for the wah effect.

●

Resonance

¯ 1.0 … 15.6.

Sets the amount of emphasis at the wah effect cutoff frequency, and therefore the depth of the wah effect. Higher values produce greater emphasis at the cutoff frequency.

●

Sens

¯ 0 … 100 %.

Determines the amount of cutoff frequency variation or sweep. Higher values produce a broader frequency variation. A setting of “0” results in no cutoff frequency variation.

EDIT

Page 46

VL Version 2

Element Controller

EDIT MODE

●

Controller Parameter Displays

COMMON

ELEMENT

MISCELLANEOUS

EFFECT

CONTROLLER

MISCELLANEOUS

MODIFIER

ENVELOPE

When a controller is “off”, unnecessary parameters no longer appear on the display.

Page 47

VL Version 2

Element Miscellaneous

EDIT MODE

COMMON

ELEMENT

MISCELLANEOUS

EFFECT

CONTROLLER

MISCELLANEOUS

MODIFIER

ENVELOPE

EDIT/E1/MISC/BREATH NOISE

●

Noise

In Version 2 it is possible to select from 23 different breath noise types:

Normal A coarse noise type (“Normal Harsh”). Harsh 1 Coarse noise with emphasis in the low-frequency region. Harsh 2 A variation of the Harsh 1 type. Lo Lips 1 Lip-reed type noise with emphasis in the low-frequency region. Lo Lips 2 A variation of Lo Lips 1. Mid Lips 1 Lip-reed type noise with emphasis in the mid-frequency region. Mid Lips 2 A variation of Mid Lips 1. Hi Lips 1 Lip-reed type noise with emphasis in the high-frequency region. Hi Lips 2 A variation of Hi Lips 1. Jet Jet-reed type noise. Lo Jet Jet-reed type noise with emphasis in the low-frequency region. Mid Jet Jet-reed type noise with emphasis in the mid-frequency region. Hi Jet Jet-reed type noise with emphasis in the high-frequency region. Steam 1 Steam noise type 1. Steam 2 Steam noise type 2. Steam 3 Steam noise type 3. Steam 4 Steam noise type 4. Plastic 1 Man-made “artificial” noise type 1. Plastic 2 Man-made “artificial” noise type 2. Dark Woody Noise with a woody resonance. Metal 1 Metallic noise type 1. Metal 2 Metallic noise type 2. Rain Sound-effect type rain-like noise.

4. New Features & Parameters

EDIT

Feature Reference pages: VL1 ➯ 86; VL1-m ➯ 86; VL7 ➯ 84

Page 48

VL Version 2

EDIT/E1/MISC/THROAT FORMANT/KSC (Pitch)

The number of breakpoints has been increased from four to eight, allowing much greater key-scaling precision.

Feature Reference pages: VL1 ➯ 93; VL1-m ➯ 93; VL7 ➯ 91

EDIT/E1/MISC/MIXING

●

Tap Setting

¯ Driving Point, Fixed, KeyTrack, Fixed(Straight), KeyTrack(Straight)

In the original VL models the “Tap Setting” parameter had only two settings: “Variable” and “Driving Point”. In Version 2 five settings are available: “Driving Point”, “Fixed”, “KeyTrack”, “Fixed(Straight)”, and “KeyTrack(Straight)”.

The “Driving Point” setting has the same effect as in the original version, while the “KeyTrack” setting is equivalent to the original “Variable” setting. When the “Fixed” setting is selected the driving point is fixed at the position specified by the “Tap Location” parameter — directly in microseconds through milliseconds: from

20.8 µsec to 946 µsec, and then from 1.01 msec to 42.7 msec. The “Fixed(Straight)” and “KeyTrack(Straight)” parameters are essentially the same as the “Fixed” and “KeyTrack” parameters, except that they cover a broader range of settings for greater sonic variation.

The number of Tap Location key-scaling breakpoints has been increased from 6 to 8 for exacting control.

Feature Reference pages: VL1 ➯ 98; VL1-m ➯ 98; VL7 ➯ 96

EDIT/E1/MISC/EXCITATION

The parameters in this page can be used to apply a pulse-wave excitation signal to the string or reed to create a plucked effect.

• An inverse “K” next to a value means that key scaling can be applied to that parameter. Position the cursor at the appropriate parameter and then press the ¶ (“KSC”) button or [ button to go directly to the key scaling page for that parameter. You can return to the excitation parameter page by pressing the ] button.

Page 49

VL Version 2

50% 50%

Pulse Width

70%

30%

●

Lvl to P/S

¯ -127 … 127

Sets the level of excitation signal applied to the pipe or string. Negative values

produce a reverse-phase excitation signal.

●

Lvl to Drv

¯ -127 … 127

Sets the level of excitation signal applied to the driver. Negative values produce a

reverse-phase excitation signal.

●

LPF Cutoff

¯ 31.1 Hz … 24.0 kHz

Sets the cutoff frequency of the low-pass filter applied to the excitation signal.

●

Pulse Width

¯ 0.0 … 99.2 %

Sets the pulse width of the excitation signal. Higher values produce a broader pulse

width.

4. New Features & Parameters

■

Pulse Width at 50%

■

Pulse Width at 70%

●

VlSns to Lvl

¯ 0 … 16

Sets the sensitivity of excitation signal level to keyboard velocity. Higher values

produce a greater variation in excitation signal level in response to keyboard velocity.

●

VlSns to LPF

¯ 0 … 16

Sets the sensitivity of the excitation signal low pass filter cutoff frequency to keyboard velocity. Higher values produce a greater variation in filter cutoff frequency in response to keyboard velocity.

●

VlSns to PW

¯ -16 … 16

EDIT

Sets the sensitivity of excitation signal pulse width to keyboard velocity. Higher values produce a greater variation in excitation signal pulse width in response to keyboard velocity. Negative values result in reduced pulse width.

Page 50

VL Version 2

Excitation Level to Pipe/String Key Scaling

Excitation level to pipe/string key scaling produces natural excitation level to pipe/ string variations across the range of the keyboard by allowing different level offset values to be applied to each of three breakpoints set at appropriate keys.

• The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next excitation key scaling page without having to return to the main parameter page.

●

LvlP/S

¯ -127 … 127.

The “LvlP/S” parameter is linked to the main throat formant “Lvl to P/S” parameter, and has the same effect. This value also determines the main level to pipe/ string level on which all key-scaled variations are based (indicated by a dotted line on the graph).

●

Breakpoint 1 … 3 Key

¯ C-2 … G8.

Allows three separate key scaling breakpoints to be set at any notes between C-2 and G8. You can position the cursor at the appropriate breakpoint key parameter and use any of the normal data entry procedures, or use the keyboard. To use the keyboard for breakpoint entry, position the cursor at the appropriate breakpoint key parameter, press the • button (“Kbd”), and then press the key at which you want to set the breakpoint while “Kbd” appears in inverse characters.

No breakpoint can be set to a key lower than the breakpoint to its left.

●

Breakpoint 1 … 3 Offset

¯ -127 … 127.

Set the amount offset for each of the breakpoints defined by the breakpoint key parameters, above. Negative values reduce the level, and positive values increase the level at the corresponding breakpoint. No matter what offset value is chosen, the actual level will never exceed its minimum or maximum absolute value. When different offset values are applied to adjacent breakpoints, the level varies smoothly between the breakpoints.

Page 51

VL Version 2

Excitation Level to Driver Key Scaling

Excitation level to driver key scaling produces natural excitation level to driver variations across the range of the keyboard by allowing different level offset values to be applied to each of three breakpoints set at appropriate keys.

• The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next excitation key scaling page without having to return to the main parameter page.

●

LvlDrv

¯ -127 … 127.

4. New Features & Parameters

The “LvlDrv” parameter is linked to the main excitation “Lvl to Drv” param- eter, and has the same effect. This value also determines the main level to driver value on which all key-scaled variations are based (indicated by a dotted line on the graph).

●

Breakpoint 1 … 3 Key

¯ C-2 … G8.

No breakpoint can be set to a key lower than the breakpoint to its left.

●

Breakpoint 1 … 3 Offset

¯ -127 … 127.

EDIT

Page 52

VL Version 2

Excitation LPF Cutoff Key Scaling

Excitation LPF cutoff key scaling produces natural LPF frequency variations across the range of the keyboard by allowing different cutoff frequency offset values to be applied to each of three breakpoints set at appropriate keys.

• The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next excitation key scaling page without having to return to the main parameter page.

●

LPF

¯ 31.1 Hz … 24.0 kHz.

The “LPF” parameter is linked to the main excitation “LPF Cutoff” parameter, and sets the cutoff frequency of the excitation low-pass filter. This value also determines the main cutoff frequency on which all key-scaled variations are based (indicated by a dotted line on the graph).

●

Breakpoint 1 … 3 Key

¯ C-2 … G8.

No breakpoint can be set to a key lower than the breakpoint to its left.

●

Breakpoint 1 … 3 Offset

¯ -64 … 63.

Set the amount of cutoff frequency offset for each of the breakpoints defined by the breakpoint key parameters, above. Negative values lower the cutoff frequency, and positive values raise the cutoff frequency at the corresponding breakpoint. No matter what offset value is chosen, the actual cutoff frequency will never exceed its minimum or maximum absolute value. When different offset values are applied to adjacent breakpoints, the cutoff frequency varies smoothly between the breakpoints.

Page 53

VL Version 2

Excitation Pulse Width Key Scaling

Excitation pulse width key scaling produces natural pulse width variations across the range of the keyboard by allowing different pulse width offset values to be applied to each of three breakpoints set at appropriate keys.

• The § button (“Bpag”) can be used to go directly back to the next excitation key scaling page without having to return to the main parameter page.

●

¯ 0.0 … 99.2 %.

The “PW” parameter is linked to the main excitation “pulse width” parameter, and has the same effect. This value also determines the main pulse width on which all key-scaled variations are based (indicated by a dotted line on the graph).

4. New Features & Parameters

●

Breakpoint 1 … 3 Key

¯ C-2 … G8.

No breakpoint can be set to a key lower than the breakpoint to its left.

●

Breakpoint 1 … 3 Offset

¯ -64 … 63.

Set the amount of pulse frequency offset for each of the breakpoints defined by the breakpoint key parameters, above. Negative values reduce the pulse width, and positive values increase the pulse width at the corresponding breakpoint. No matter what offset value is chosen, the actual pulse width will never exceed its minimum or maximum absolute value. When different offset values are applied to adjacent breakpoints, the pulse width varies smoothly between the breakpoints.

EDIT

Page 54

VL Version 2

Element Modifier

EDIT MODE

COMMON

ELEMENT

MISCELLANEOUS

EFFECT

CONTROLLER

MISCELLANEOUS

MODIFIER

ENVELOPE

EDIT/E1/MODIFIER/HARMOMNIC ENHANCER

In Version 2 the number of key scaling breakpoints for the following parameters has been increased as listed.

Carrier HPF Increased from 2 to 4 breakpoints Carrier Over Drive Increased from 2 to 4 breakpoints Carrier Level Increased from 4 to 6 breakpoints Balance Increased from 2 to 4 breakpoints

Feature Reference pages: VL1 ➯ 110~114; VL1-m ➯ 110~114; VL7 ➯ 108~112

EDIT/E1/MODIFIER/EQUALIZER AUXILIARY

●

Post EQ Boost

¯ -12.0 … 12.0 dB

In version 2 the Equalizer Auxiliary features a “Post EQ Boost” parameter which allows the post harmonic-enhancer signal to be boosted by -12 to 12 dB.

Also, the number of key scaling breakpoints for the following parameters has been increased as listed.

HPF Cutoff Freq Increased from 3 to 4 breakpoints LPF Cutoff Freq Increased from 3 to 4 breakpoints

Feature Reference pages: VL1 ➯ 120~121; VL1-m ➯ 120~121; VL7 ➯ 118~119

Page 55

VL Version 2

EDIT/E1/MODIFIER/RESONATOR

The resonator display layout has been improved with the addition of ¡ (>) and ™ (<) function buttons that can be used to switch between two pages of parameters.

●

Delay Time

¯ 0.042 … 42.67 msec

In Version 2 the Resonator “Delay Time” range has been increase while the size of the delay time increments has been decreased for greater precision. The new delay time range is from 0.042 msec to 42.67 msec.

Feature Reference pages: VL1 ➯ 126; VL1-m ➯ 126; VL7 ➯ 124

●

Conjunction

¯ -64 … 63

A “Conjunction” parameter has been added which can be used to adjust the frequency balance of the resonator. The conjunction range is from -64 to 63.

4. New Features & Parameters

EDIT

Page 56

VL Version 2

Element Envelope

EDIT MODE

COMMON

ELEMENT

MISCELLANEOUS

EFFECT

CONTROLLER

MISCELLANEOUS

MODIFIER

ENVELOPE

EDIT/E1/ENV/EMBOUCHURE&PITCH

Two parameters have been added to this page for greater programming flexibility.

●

Attack Rate

¯ 0 … 127

Sets the rate of variation from the initial level to the attack level. Key scaling with two breakpoints is provided.

●

Attack Lvl

¯ -64… 63

Sets the level following the initial level, after the Attack Rate vaiation. Key scaling with two breakpoints is provided.

Attack Level

Initial Level

Level

-64

Hold Time

Attack

Rate

Time

Decay

Rate

Feature Reference pages: VL1 ➯ 130; VL1-m ➯ 130; VL7 ➯ 128

EDIT/E1/ENV/VIBRATO

●

Speed Shift

¯ 0 … 16

The “Speed Shift” parameter range has been increased to allow faster variation. At the new maximum setting of “16”, the speed can be increased to a maximum of 40 times its normal setting via the controller.

Feature Reference pages: VL1 ➯ 135; VL1-m ➯ 135; VL7 ➯ 133

EDIT/E1/ENV/GROWL

●

Speed Shift

¯ 0 … 16

A “Speed Shift” parameter has been added which determines the amount of speed variation that can be applied via the controller assigned to growl. The higher the setting the greater the increase in speed. At the maximum setting of “16”, the speed can be increased to a maximum of 40 times its normal setting via the controller.

Feature Reference pages: VL1 ➯ 141; VL1-m ➯ 141; VL7 ➯ 139

Page 57

UTILITY Mode

Utility System

4. New Features & Parameters

UTILITY MODE

SYSTEM

MIDI BULK DUMP

DISK

EDIT RECALL

DEMO

UTIL/SYSTEM/KBD SETTING

●

Octave SW Hold

¯ off, on, Half PB, Full PB

New settings for the “Octave SW Hold” parameter allow the octave hold switches to be used as trill switches to produce semitone and whole-tone trills. When “Half PB” is selected pressing the UP or DOWN octave hold switch shifts the pitch up or down by a semitone. With the “Full PB” setting the octave hold switches shift the pitch a whole tone. In both cases pitch returns to normal when the switch is released.

NOTES ■ Do not use the octave hold switches while operating the PITCH wheel!

Feature Reference pages: VL1 ➯ 153; VL7 ➯ 151

UTIL/SYSTEM/TG SETTING

●

WX Lip

¯ Normal, Expand

The keyboard-based VL models — the VL1 Ver.2 and VL7 Ver.2 — now include the “WX Lip” parameter originally found only in the VL1-m.

This parameter can be set to “Expand” when using a WX11 or WX7 Wind Controller in the tight-lip mode to expand the normally limited lip pitch bend range of these controllers to the full range available on the VL instrument. Set to “Normal” when using a WX11 or WX7 in the loose-lip mode, or when using an external keyboard or other nonwind controller.

EDIT

UTILITY

Page 58

VL Version 2

UTIL/SYSTEM/ASSIGNABLE CONTROLLER

“BC” (Breath Controller) and “FC1” (Foot Controller 1) assignments have been added to this page for increased controller assignment versatility — and considerably enhanced master-keyboard functionality.

Feature Reference pages: VL1 ➯ 156; VL7 ➯ 154

UTIL/SYSTEM/CURVE

●

Velocity Curve

¯ Normal, Soft, Wide, Hard, Fix1, Fix5 … Fix127

In addition to the original “Normal”, “Soft”, “Wide”, and “Hard” settings, the “Velocity Curve” parameter now has a range of “Fix” settings (i.e. the velocity can be “Fixed” at a wide range of constant levels).

●

After Touch/Breath Curve

¯ -16 … 0(Normal) … 16, Wide

Instead of the original “Normal”, “Soft”, “Wide”, and “Hard” settings, the Version 2 “After Touch Curve” and “Breath Curve” parameters have been expanded to cover a range from -16 through 0 (Normal) to +16 and Wide. In the new system a setting of “-9” corresponds to the “Soft” setting in the original VL modes. Toward the other end of the range a setting of “9” corresponds to the original “Hard” setting.

Feature Reference pages: VL1 ➯ 157; VL1-m ➯ 156; VL7 ➯ 155

UTIL/SYSTEM/BREATH MODE

Version 2 makes it possible to assign pressure control to keyboard velocity or touch EG so that the all-important VL pressure characteristics can be taken full advantage of even without using a breath/wind controller.

●

Mode

¯ BC/WX, Velocity, Touch EG

Selects the physical controller which will be assigned to the VL pressure controller. Select “BC/WX” for normal control via a BC1/BC2 breath controller or WX7/WX11 Wind Controller; “Velocity” to control pressure via keyboard initial touch response; or “Touch EG” to control pressure via a touch EG.

Breath Controller data will be ignored when “Velocity” or “Touch EG” is selected.

●

Vel Ofst (Velocity & Touch EG Modes)

¯ 0 … 127

The value of the “Vel Ofst” (Velocity Offset) parameter is added to the actual keyboard velocity value, thus “offsetting” the velocity to produce the ideal pressure response. This parameter appears only when the “Velocity” or “Touch EG” mode is selected.

Page 59

VL Version 2

●

Vel Gain (Velocity & Touch EG Modes)

¯ -7 … 0 … 7

“Vel Gain” (Velocity Gain) can be used to reduce (negative values) or increase (positive vales) the velocity gain, thus adjusting the range of velocity data for ideal pressure response. “Vel Gain” corresponds to the angle of the velocity curve. This parameter appears only when the “Velocity” or “Touch EG” mode is selected.

●

TEG Time (Touch EG Mode)

¯ 18.0 msec … 4.43 sec

●

AT Hi Ofst (Touch EG Mode)

¯ 0 … 127

●

AT Hi Gain (Touch EG Mode)

¯ -7 … 0 … 7

●

AT Lo Ofst (Touch EG Mode)

¯ 0 … 127

4. New Features & Parameters

●

AT Lo Gain (Touch EG Mode)

¯ -7 … 0 … 7

These parameters become available when the “Touch EG” mode is selected, and determine how the touch EG keyboard velocity and aftertouch data interact to produce the touch EG data used for pressure control.

TEG Time (Touch EG Time) determines how long velocity data is valid before aftertouch data takes over. In other words, when a note is initially played, pressure is controlled by keyboard velocity (as determined by the “Vel Ofst” and “Vel Gain” parameters described above), then it is controlled by keyboard aftertouch. Higher values produce a slower change.

The “AT Hi Ofst” and “AT Hi Gain” parameters set the upper limit of the aftertouch range, while the “AT Lo Ofst” and “AT Lo Gain” parameters set the lower limit of the aftertouch range.

BC Value

127

AT Hi Ofst, AT Hi Gain

Vel Ofst, Vel Gain

Velocity

AT Lo Ofst, AT Lo Gain

After Touch 0~127

UTILITY

Touch EG Time

NOTES ■ When the “Velocity” or “Touch EG” mode is selected, the (“Init”) function button can be used to recall the preset values for all related

parameters (except “Mode”). Press prompt to initialize, or

to cancel.

in response to the “Are You Sure?”

Time

•

Page 60

VL Version 2

UTIL/SYSTEM/MISCELLANEOUS

The Greeting Message input method has been modified in the same way as the voice and element name input method.

The § (,) and ¶ (.) function buttons are used to move the cursor to the desired position in the name rather than the cursor buttons. In Version 2 the cursor , and . buttons perform the same function as the = and - buttons: i.e. selecting the character for the current character position. The cursor > and < buttons can also be used for this purpose.

Feature Reference pages: VL1 ➯ 158; VL1-m ➯ 158; VL7 ➯ 157

UTIL/DISK/LOAD FROM DISK

The disk load process has been updated to allow full compatibility with voice and system data from the original VL models. When an original VL voice disk is loaded “Now Converting and Loading!” appears on the display and the loaded data is automatically converted for use with Version 2. Please note that this does not affect the actual sound of the voices in any way since the voice data is not modified to take advantage of the new capabilities of Version 2.

NOTES ■ Since the voice names are not changed by this “convert-load” process, saving the voices back to the original disk will overwrite the original voice data — USE CAUTION!

■ The converted voices can be saved to a different disk, as required.

■ The converted data cannot be loaded and used with the original VL models.

Feature Reference pages: VL1 ➯ 164; VL1-m ➯ 164; VL7 ➯ 164

Page 61

■

CONTROL & SIGNAL FLOW

Instrument section

Velocity

Aftertouch

Breath controller

Modulation wheels

Foot controllers

Foot switches

Continuous sliders

Pitch wheel

Excitation

Throat formant Pressure Growl Breath noise Scream Tonguing Embouchure Vibrato Pitch Damping Absorption

Harmonic enhancer

Dynamic filter Amplitude

LFO

Driver

Pipe / String

4. New Features & Parameters

Mixer

Modifiers

Harmonic

Enhancer

Dynamic

Filter

Frequency

Equalizer

Breath attack

Touch EG

Effect control

Impulse

Expander

Resonator

Modulation

Feedback Delay

Reverb

Effects

UTILITY

Output

Page 62

5: Experiments

This section presents some experiments that will help you to become

familiar with how the VL controllers and other features work.

Preparation

The floppy disks supplied with the original VL

models include a file named “EXAMPLE :ALL” which contains a number of voices programmed specifically for use in the experiments described in this section. Before going on to the experiments themselves, load the voices and, if necessary, turn memory protection off as described below.

1. Press U.

2. Press ¡ (Sys) to go to the utility system menu.

3. Use the cursor buttons to select “Miscellaneous”.

4. Press [. The system miscellaneous parameter page

will appear.

5. Use the cursor buttons to select the “Memory Protect”

parameter.

6. Press = to turn the “Memory Protect” parameter

“off”.

7. Insert the supplied floppy disk into the disk drive.

8. Press £ (Disk) to go to the utility disk menu.

9. Use the cursor buttons to select “2: Load From Disk”.

10.Press [. The LOAD FROM DISK menu will

appear.

11.Use the cursor buttons to select “1: All”.

12.Press [ and a list of the files on the disk will

appear.

13.Use the cursor buttons to select “EXAMPLE :ALL”.

14.Press [. The “Are You Sure?” confirmation prompt

will appear (unless the confirmation message parameter is off).

15.Press - to load the EXAMPLE file. “Completed!”

will appear on the display when the data has been loaded.

16.Press ].

17.Press P.

The example voice file we’ll use for the following experiments should now be properly loaded. Voices A01 through A05 are the ones we’ll use on the VL1 Ver.2 and VL7 Ver.2. On the VL1-m Ver.2 we’ll use A01 through A06. These voices have been specifically created to facilitate understanding of the way the VL system works. All other voices are unchanged.

Page 63

VL Version 2

Changing Controller Functions

Here’s how you can change the function of the modulation wheel (MW1 on the VL1 Ver.2 and

VL7 Ver.2) as it applies to the AltoSax voice.

1. Since we won’t be using the breath controller, foot

controller, or footswitch for this experiment, begin by disconnecting them from the instrument. Just disonnect the breath controller from the VL1-m.

2. Roll the modulation wheel (MW1 on the VL1 Ver.2 and

VL7 Ver.2) all the way towards you.

3. Make sure the P button indicator is lit. If it is not,

press the P button to engage the PLAY mode.

4. Select voice number A01 — the “AltoSax” voice.

5. On the VL1 Ver.2 and VL7 Ver.2, the MODULATION 2

wheel is initially set to produce the same effect as the breath controller. With the wheel rolled all the way up, the sound is the same as applying maximum pressure to the breath controller. Roll the MODULATION 2 wheel up to its maximum position.

This step is not necessary on the VL1-m Ver.2.

6. Press the ¡ (Cnt) function button to call the CON-

TROLLER VIEW 1 display.

Note that the “Modulation” wheel is assigned to

“Vibrato”.

7. While playing the keyboard with the right hand, try

operating the modulation wheel (MW1 on the VL1 Ver.2 and VL7 Ver.2) and note how it controls the vibrato effect.

8. Press the £ (Cnt3) function button to call the CON-

TROLLER VIEW 3 display.

Note that no controller is assigned to “Growl”.

9. Press ] to return to the main PLAY mode display.

10.Press E to go to the EDIT mode. The E button

indicator should light. If the top-level EDIT display —

shown below — does not appear, press ] as many

times as necessary until it does.

11.Press the ™ (E1 or EL) function button to go to the

element edit menu. If the “Ctrl” display shown below

does not appear, press the ¡ (Ctrl) button.

12.Use the cursor buttons to highlight the “04. Vibrato” item

in the menu.

13.Press [ to go to the VIBRATO parameter page.

14.Make sure that “Modulation Wheel” is highlighted — if

not, use the cursor buttons to highlight it.

15.Press = to turn the parameter “off”.

16.Press ] to return to the element edit menu.

5: Experiments

Page 64

VL Version 2

17.Use the cursor buttons to highlight “09: Growl”.

18.Press [ to go to the GROWL parameter page.

19.Make sure that “off” is highlighted — if not, use the

cursor buttons to highlight it.

20.Press - to set the growl controller assignment to

“Modulation Wheel”.

21.Now try operating the modulation wheel (MW1) while

playing the keyboard. The wheel should control the growl effect.

Although this is a simple example of how controller functions can be changed as required, it does demonstrate the versatile playability provided by the VL system.

Before going on to the next experiment, cancel the edits you just made as follows:

22.Press P to return to the PLAY mode. Note that an

inverse “E” appears to the left of the voice number in the

upper left corner of the display, indicating that the voice

has been edited but not yet stored.

23.Press the number 1 voice button on the VL1 Ver.2 or

VL7 Ver.2. On the VL1-m Ver.2 press - and then

=. The “E” will disappear and the original pre-edit

voice will be restored.

This technique can be used as a safety feature when editing: to restore the original voice after making one or more edits, simply return to the PLAY mode and re-select the same voice number without storing the voice. As long as the edited voice has not been stored, the same result can be achieved by selecting a different voice. The EDIT RECALL function described in the Feature Reference manuals can also be used to restore a voice that has not yet been stored.

Multiple Functions to One Controller

Lets try adding aftertouch “scream” control to a Shakuhachi voice.

1. Since we won’t be using the breath controller, foot

controller, or footswitch for this experiment, begin by disconnecting them from the instrument. Just disconnect the breath controller from the VL1-m Ver.2.

2. Roll the modulation wheel (MW1) all the way towards

you.

3. Make sure the P button indicator is lit. If it is not,

press the P button to engage the PLAY mode.

4. Select voice number A03 — the “Shakuhachi” voice.

5. Roll the VL1 Ver.2 or VL7 Ver.2 MODULATION 2

wheel up to its maximum position. This step is not

necessary on the VL1-m Ver.2.

6. Press the £ (Cnt) function button to call the CON-

TROLLER VIEW 3 display.

Note that “Aftertouch” is assigned to “Growl”.

7. Play the keyboard and try varying the pressure applied to

the keys after the notes are played to hear how aftertouch

affects growl.

Page 65

VL Version 2

8. Press the ™ (Cnt2) function button to call the CON-

TROLLER VIEW 2 display.

Note that no controller is assigned to “Scream”.

9. Press ] to return to the main PLAY mode display.

10.Press E to go to the EDIT mode. The E button

indicator should light. If the top-level EDIT display — shown below — does not appear, press ] as many times as necessary until it does.

11.Press the ™ (E1 or EL) function button to go to the

element edit menu. If the “Ctrl” display shown below does not appear, press the ¡ (Ctrl) button.

12.Use the cursor buttons to highlight the “07. Scream” item

in the menu.

13.Press [ to go to the SCREAM parameter page.

14.Make sure that “off” is highlighted — if not, use the

cursor buttons to highlight it.

15.Rotate the data dial clockwise until “After Touch” is

selected for the “Controller” parameter.

16.Use the cursor buttons to highlight the “Depth” param-

eter.

17.Use the data dial to set the “Depth” parameter to “50”.

Note how the graph in the display changes in response to

this edit.

18.Try playing the keyboard with aftertouch pressure again.

Now you should be able to control the scream effect in

addition to the growl effect.

The ability to assign a single controller to multiple functions in this way makes it possible to create complex effects as well as subtle musical nuances while playing.

Before going on to the next experiment, cancel the edits you just made as follows:

19.Press P to return to the PLAY mode. Note that an

inverse “E” appears to the left of the voice number in the

upper left corner of the display, indicating that the voice

has been edited but not yet stored.

20.Press the number 3 voice button on the VL1 Ver.2 or

VL7 Ver.2. On the VL1-m Ver.2 press - and then

=. The “E” will disappear and the original pre-edit

voice will be restored.

5: Experiments

Page 66

VL Version 2

Try Out The Controller Functions

The experiments described in this section provide an opportunity to discover just how controller

functions like pressure and embouchure affect the sound.

NOTES ■ For the following experiments it is assumed that MODULATION WHEEL 2 is set to the same control number as the breath controller (the initial “EXAMPLE:ALL” file setting). If the MODULATION WHEEL 2 control change number has been changed for any reason, it should be reset to the initial value for these experiments.

■

VL1 Ver.2/VL7 Ver.2 Pr eparations

Carry out the steps listed below to prepare the VL1 Ver.2 or VL7 Ver.2 for the following experiments. A separate preparation procedure is provided for the VL1-m Ver.2.

1. Disconnect the breath controller, foot controller, and

footswitch.

2. Set MODULATION WHEEL 2 to its central position.

3. Make sure the PLAY mode is engaged. If it isn’t, press

the P button.

4. Select voice A3 (Shakuhachi).

5. Press E.

6. Press the ™ (E1 or EL) function button to go to the

element edit menu.

7. Use the cursor buttons to select the “01: Pressr” item.

8. Press [ to go to the PRESSURE parameter page.

9. If necessary, use the cursor buttons to highlight the

current setting of the “Controller” parameter.

10.Rotate the data dial counter-clockwise to turn the pressure

controller “off”.

11.Press ¶ (Fpag) to go to the next controller page.

12.If necessary, use the cursor buttons to highlight the

current setting of the “Controller” parameter.

13.Rotate the data dial counter-clockwise to turn the embou-

chure controller “off”.

14.Repeat steps 11 through 13 to turn “off” the controllers

for pitch, vibrato, tonguing, amplitude, scream, breath noise, growl, throat formant, dynamic filter, harmonic enhancer, damping, and absorption in the same way.

NOTES ■ You can use the § (Bpag) function key to step back one controller page if necessary.

15.When all the controller parameters listed above have been

turned “off”, press ] to return to the element edit menu.

Once you have completed the above steps all controllers will disengaged and should have absolutely no effect on the sound. Play the keyboard and try out the modulation wheels, just to be sure.

Page 67

VL Version 2

■

VL1-m Ver.2 Preparation

Carry out the steps listed below to prepare the VL1-m

Ver.2 for the following experiments.

1. Disconnect the breath controller.

2. Make sure the PLAY mode is engaged. If it isn’t, press

the P button.

3. Select voice A06 (Shakuhachi).

NOTES ■ In the A06 Shakuhachi voice all controllers are turned “off”, making it a rather dull voice from a musical standpoint. This voice has been provided specifically for use in the following experiments, and is not intended for music applications.

4. Press E.

5. Press the ™ (E1) function button to go to the element

edit menu. If the display shown below doesn’t appear, press the ¡ (Ctrl) button.

1. Use the cursor buttons to highlight the “01: Pressr” item

2. Press [ to go to the PRESSURE parameter display.

3. If necessary, use the cursor buttons to highlight the

4. Press - once to set the “Controller” parameter to

5. Try operating the modulation wheel (MW1) while playing

6. Press = once to turn the “Controller” parameter “off”.

7. Press ].

1. Use the cursor buttons to highlight the “02: Embchr” item

2. Press [ to go to the EMBOUCHURE parameter

3. If necessary, use the cursor buttons to highlight the

4. Press - once to set the “Controller” parameter to

5. Try operating the modulation wheel (MW1) while playing

: Pressure

in the element edit display.

current setting of the “Controller” parameter.

“Modulation Wheel”.

the keyboard, and note how the sound changes.

In addition to volume, pressure affects the timbre of

the sound.

: Embouchure

in the element edit display.

display.

current setting of the “Controller” parameter.

“Modulation Wheel”.

the keyboard, and note how the sound changes.

Embouchure generally refers to the pressure of the player’s lips on the reed or mouthpiece. In the case of the Shakuhachi voice, embouchure controls the size of the airstream entering the mouthpiece, resulting in variations in both pitch and timbre.

5: Experiments

Page 68

VL Version 2

6. Press = once to turn the “Controller” parameter “off”.

7. Press ].

: Pitch

1. Use the cursor buttons to highlight the “03: Pitch” item in

the element edit display.

2. Press [ to go to the PITCH parameter display.

3. If necessary, use the cursor buttons to highlight the

current setting of the “Controller” parameter.

4. Press - once to set the “Controller” parameter to

“Modulation Wheel”.

5. Try operating the modulation wheel (MW1) while playing

the keyboard, and note how the sound changes.

This controller produces smooth changes in pitch corresponding to changes in the length of the instrument’s pipe or string.

6. Press = once to turn the “Controller” parameter “off”.

7. Press ].

: Vibrato

1. Use the cursor buttons to highlight the “04: Vibrato” item

in the element edit display.

2. Press [ to go to the VIBRATO parameter display.

3. If necessary, use the cursor buttons to highlight the

current setting of the “Controller” parameter.

4. Press - once to set the “Controller” parameter to

“Modulation Wheel”.

5. Try operating the modulation wheel (MW1) while playing

the keyboard, and note how the sound changes.

The wheel controls the depth of the vibrato effect —

a periodic variation in pitch and embouchure.

6. Press the • (Para) function button to go to the vibrato

parameter page. The • (Para) function button becomes available whenever detailed parameters are available for the selected controller. You can return to the main controller page by pressing the • (Ctrl) function button in the parameter page.

7. Use the cursor buttons to highlight the “Speed” param-

eter.

8. Use the data dial to set the “Speed” parameter to about

“45”.

9. Try operating the modulation wheel (MW1) while playing

the keyboard again. The vibrato speed should be noticeably slower.

10.Use the cursor buttons to highlight the “Dpth To Emb”

parameter.

11.Use the data dial to set the “Dpth To Emb” parameter to

“0”.

12.Use the cursor buttons to highlight the “Dpth To Ptch”

parameter.

13.Use the data dial to set the “Dpth To Ptch” parameter to

“127”.

14.Try operating the modulation wheel (MW1) while playing

the keyboard, and note how the sound changes.

Compared to the sound in step 6, which was mostly an embouchure variation, the effect now consists entirely of pitch variation. Exceptionally realistic vibrato effects can be created by carefully balancing the pitch and embouchure components of the effect.

15.Press • (Ctrl) to go back to the controller page.

16.Press = once to turn the “Controller” parameter “off”.

17.Press ].

Page 69

VL Version 2

: Tonguing

1. Use the cursor buttons to highlight the “05: Tnguing”

item in the element edit display.

2. Press [ to go to the TONGUING parameter display.

3. If necessary, use the cursor buttons to highlight the

current setting of the “Controller” parameter.

4. Press - once to set the “Controller” parameter to

“Modulation Wheel”.

5. Try operating the modulation wheel (MW1) while playing

the keyboard, and note how the sound changes.

Tonguing generally refers to the technique of controlling the reed with the tongue. The shakuhachi does not have a reed, but, with a VL instrument it becomes possible to apply tonguing effects to a shakuhachi voice. Tonguing produces variations in both volume and timbre.

6. Press = once to turn the “Controller” parameter “off”.

7. Press ].

: Amplitude

1. Use the cursor buttons to highlight the “06: Ampltd” item

in the element edit display.

2. Press [ to go to the AMPLITUDE parameter

display.

3. If necessary, use the cursor buttons to highlight the

current setting of the “Controller” parameter.

4. Press - once to set the “Controller” parameter to

“Modulation Wheel”.

5. Try operating the modulation wheel (MW1) while playing

the keyboard, and note how the sound changes.

Amplitude is purely a volume variation, with no

effect on pitch or timbre.

6. Press = once to turn the “Controller” parameter “off”.

7. Press ].

: Scream

1. Use the cursor buttons to highlight the “07: Scream” item

in the element edit display.

2. Press [ to go to the SCREAM parameter display.

3. If necessary, use the cursor buttons to highlight the

current setting of the “Controller” parameter.

4. Press - once to set the “Controller” parameter to

“Modulation Wheel”.

5. Try operating the modulation wheel (MW1) while playing

the keyboard, and note how the sound changes.

As its name implies, “scream” can produce some

really wild variations.

6. Press = once to turn the “Controller” parameter “off”.

7. Press ].

: Breath Noise

1. Use the cursor buttons to highlight the “08: B.Noise”

item in the element edit display.

2. Press [ to go to the BREATH NOISE parameter

display.

5: Experiments

Page 70

VL Version 2

3. If necessary, use the cursor buttons to highlight the

current setting of the “Controller” parameter.

4. Press - once to set the “Controller” parameter to

“Modulation Wheel”.

5. Press the • (Para) function button to go to the breath

noise parameter page.

6. Use the cursor buttons to highlight the “Ctrl Balance”

parameter.

7. Use the data dial to set the “Ctrl Balance” parameter to

“-64”.

8. Try operating the modulation wheel (MW1) while playing

the keyboard, and note how the sound changes.

You should hear a corresponding variation in the amount of breath noise in the sound.

9. When done, reset the “Ctrl Balance” parameter to “63”.

10.Press • (Ctrl) to go back to the controller page.

11.Press = once to turn the “Controller” parameter “off”.

12.Press ].

: Growl

1. Use the cursor buttons to highlight the “09: Growl” item

in the element edit display.

2. Press [ to go to the GROWL parameter display.

3. If necessary, use the cursor buttons to highlight the

current setting of the “Controller” parameter.

4. Press - once to set the “Controller” parameter to

“Modulation Wheel”.

5. Try operating the modulation wheel (MW1) while playing

the keyboard, and note how the sound changes.

Growl is basically a periodic pressure variation similar to the “growl” effect sax players often use. Growl produces variations in both volume and timbre.

6. Press = once to turn the “Controller” parameter “off”.

7. Press ].

: Throat Formant

1. Use the cursor buttons to highlight the “10: Throat” item

in the element edit display.

2. Press [ to go to the THROAT FORMANT param-

eter display.

3. If necessary, use the cursor buttons to highlight the

current setting of the “Controller” parameter.

4. Press - once to set the “Controller” parameter to

“Modulation Wheel”.

5. Try operating the modulation wheel (MW1) while playing

the keyboard, and note how the sound changes.

The throat formant function corresponds to the resonance of the player’s throat and lungs, and can produce large variations in the overall sound.

6. Press = once to turn the “Controller” parameter “off”.

7. Press ].

Page 71

VL Version 2

: Dynamic Filter

1. Use the cursor buttons to highlight the “11: D.Filtr” item

in the element edit display.

2. Press [ to go to the DYNAMIC FILTER parameter

display.

3. If necessary, use the cursor buttons to highlight the

current setting of the “Controller” parameter.

4. Press - once to set the “Controller” parameter to

“Modulation Wheel”.

5. Press the • (Para) function button to go to the dynamic

filter parameter page.

6. Use the cursor buttons to highlight the “Cutoff Freq.”

parameter.

7. Use the data dial to set the “Cutoff Freq.” parameter to

“-1.00 oct”.

8. Try operating the modulation wheel (MW1) while playing

the keyboard, and note how the sound changes.

The effect you hear should be that of varying the

cutoff frequency of a low-pass filter.

9. Use the cursor buttons to highlight the “Filter Mode”

parameter.

10.Press - to set the “Filter Mode” parameter to “BPF”.

11.Try operating the modulation wheel (MW1) while playing

the keyboard again. Now you have a variable-frequency bandpass filter.

12.Press - again to set the “Filter Mode” parameter to

“HPF”.

13.Try operating the modulation wheel (MW1) while playing

the keyboard again. This time you have a variablefrequency high-pass filter.

Use the = and - buttons to select the various

filter types and compare their sound.

14.When done set the “Filter Mode” to “LPF”.

15.Select the “Cutoff Freq.” parameter and set it to “2.94

oct”.

16.Press • (Ctrl) to go back to the controller page.

17.Press = once to turn the “Controller” parameter “off”.

18.Press ].

: Harmonic Enhancer

1. Use the cursor buttons to highlight the “12: H.Enhnc”

item in the element edit display.

2. Press [ to go to the HARMONIC ENHANCER

parameter display.

3. If necessary, use the cursor buttons to highlight the

current setting of the “Controller” parameter.

4. Press - once to set the “Controller” parameter to

“Modulation Wheel”.

5. Press the • (Para) function button to go to the har-

monic enhancer parameter page.

6. Use the cursor buttons to highlight the “Balance” param-

eter.

7. Use the data dial to set the “Balance” parameter to “63”.

8. Try operating the modulation wheel (MW1) while playing

the keyboard, and note how the sound changes.

The harmonic enhancer works by varying the harmonic content of the sound.

9. When done, reset the “Balance” parameter to “-64”.

10.Press • (Ctrl) to go back to the controller page.

11.Press = once to turn the “Controller” parameter “off”.

12.Press ].

5: Experiments

Page 72

VL Version 2

“Damping” and “Absorption” functions which follow, however, are more easily understood by using a string instrument — we’ll use an electric guitar voice.

: Damping

Up to this point we’ve used the Shakuhachi voice. The

VL1 Ver.2 & VL7 Ver.2 USERS! ■ Before beginning this experiment VL1 Ver.2 and VL7 Ver.2 users should turn modulation-wheel vibrato control “off” for this voice. Refer to the procedure outlined in “Changing Controller Functions” on page 59.

1. Press P.

2. Select the A05 voice (ElecGtr).

3. Press E.

4. Press the ™ (E1 or EL) function button to go to the

element edit menu. If necessary also press the ¡ (Ctrl) button to call the controller menu.

NOTES ■ Steps 5 through 9, below, are not necessary on the VL1-m Ver.2. Simply use the cursor buttons to highlight the “13: Damping” item in the element edit display and press

[

5. Use the cursor buttons to highlight the “14: Absrptn” item

in the element edit display.

6. Press [ to go to the ABSORPTION parameter

display.

7. If necessary, use the cursor buttons to highlight the

current setting of the “Controller” parameter.

8. Rotate the data dial counter-clockwise to turn the “Con-

troller” parameter “off”.

9. Press the § (Bpag) function button to go back to the

DAMPING parameter display.

10.Make sure that the “Controller” parameter is set to

“Modulation Wheel”. Since breath control is not assigned

to any other function at this point, you can go right ahead and try out the damping function.

11.Try operating the modulation wheel (MW1) while playing

the keyboard, and note how the sound changes.

Note how damping changes the decay of the sound. With the wheel rolled all the way up there is no damping, while rolling the wheel all the way toward you produces maximum damping.

12.Press = once to turn the “Controller” parameter “off”.

13.Press ].

: Absorption

1. Use the cursor buttons to highlight the “14: Absrptn” item

in the element edit display.

2. Press [ to go to the ABSORPTION parameter

display.

3. If necessary, use the cursor buttons to highlight the

current setting of the “Controller” parameter.

4. Press - once to set the “Controller” parameter to

“Modulation Wheel”.

5. Try operating the modulation wheel (MW1) while playing

the keyboard, and note how the sound changes.

Absorption simulates the high-frequency absorption which occurs at certain parts of the instrument and the player’s body, producing a somewhat muted effect. With the wheel rolled all the way up there is no absorption, while rolling the wheel all the way toward you produces maximum absorption.

6. Press = once to turn the “Controller” parameter “off”.

7. Press ].

Page 73

VL Version 2

Editing the Pressure Envelope

Each VL voice has preset pressure, embouchure,

and other envelope settings that determine how the voice will respond to control on a time basis. For example, even though you might use a controller to apply maximum pressure right at the beginning of a note, the voice will actually respond more slowly, building up from minimum pressure to maximum over a time specified by its pressure envelope. This simulates the natural response of a brass instrument or string. The envelopes actually have several other time-based parameters that control the voice’s response. In the following experiment we’ll try adjusting the pressure envelope and see how it affects the sound.

1. Disconnect the breath controller, foot controller, and

footswitch. Just disconnect the breath controller from the VL1-m Ver.2.

2. Press the P button to engage the PLAY mode.

3. Select the A04 voice — “Violin”.

4. Press E to go to the EDIT mode.

5. Press the ™ (E1 or EL) function button to go to the

element edit menu.

6. Press ¢ (Env) to go to the envelope menu.

7. Use the cursor buttons to highlight the “1: Pressure” item

in the menu.

8. Press [ to go to the PRESSURE envelope param-

eter page.

9. Use the cursor buttons to highlight the “Attack Rate

Offset” parameter.

10.Alternately use the data dial to change the setting of the

“Attack Rate Offset” parameter and play the keyboard to hear how it affects the sound.

Note that as you increase the value the attack speed increases, while lower values produce a slower attack. with some voices keyboard velocity also affects the attack time. With this particular voice this effect becomes more obvious when the “Attack Rate Offset” parameter is set to a negative value. Sensitivity of the envelope to keyboard velocity is determined by the “Velocity Sens To Rate” parameter.

5: Experiments

Page 74

VL Version 2

The Resonance-enhancing Modifiers

Here we’ll experiment with two modifiers that

can be used to simulate the resonance of a wind or string instrument’s body — the Impulse Expander and Resonator — using a violin voice

1. Disconnect the breath controller, foot controller, and

footswitch. Just disconnect the breath controller from the VL1-m Ver.2.

2. Press the P button to engage the PLAY mode.

3. Select the A04 voice — “Violin”.

4. Press E to go to the EDIT mode.

5. Press the ™ (E1 or EL) function button to go to the

element edit menu.

6. Press £ (Modi) to go to the modifier menu.

7. Use the cursor buttons to highlight the “5: IE & RSN

Setting” item in the menu.

8. Press [ to go to the IE & RSN SETTING page.

The “block” to the left of this display represents the Impulse Expander, and the block to the right is the Resonator. In this case the Impulse Expander is “off” and the Resonator is “on”.

9. Use the cursor buttons to highlight the “on” parameter in

the Resonator block.

10.Press = to turn the Resonator “off”.

11.Use the cursor buttons to highlight the “off” parameter in

the Impulse Expander block.

12.While playing the keyboard, use the - and =

buttons to turn the Impulse Expander “on” and “off” to hear how it affects the sound.

You should notice that when the Impulse Expander is

“on” the sound has a “metallic” resonance. The effect is most obvious on the attack and decay. The effect can be further emphasized by adjusting the modulation wheel (MW1) to add some vibrato.

Turn the Impulse Expander “off” and proceed.

13.Use the cursor buttons to highlight the “off” parameter in

the Resonator block.

14.While playing the keyboard, use the - and =

buttons to turn the Resonator “on” and “off” to hear how it affects the sound.

When the Resonator is “on” you should hear a resonance that is more “woody” than that produced by the Impulse Expander. The effect can be further emphasized by adjusting the modulation wheel (MW1) to add some vibrato.

Page 75

VL Version 2

Effects

Finally, lets use the Alto Sax voice to experiment with some of the VL effects.

1. Disconnect the breath controller, foot controller, and

footswitch. Just disconnect the breath controller from the VL1-m Ver.2.

2. Press the P button to engage the PLAY mode.

3. Select the “A1” voice.

4. Press E to go to the EDIT mode.

5. Press the ¡ (COM) function button to go to the com-

mon edit mode.

6. Press ™ (Efct) to go to the effect menu.

7. Use the cursor buttons to highlight the “2: Modulation

Effect” item in the menu.

8. Press [ to go to the MODULATION EFFECT

parameter page.

9. Use the cursor buttons to highlight the “Modulation

Effect Type” parameter.

10.Press = to change “Pitch Change” to “Flanger”.

11.Play the keyboard to hear the Flanger effect.

12.Press ] to return to the effect menu.

13.Use the cursor buttons to highlight the “3: Feedback

Delay” item in the menu.

14.Press [ to go to the FEEDBACK DELAY param-

eter page.

15.Use the cursor buttons to highlight the “Return” param-

eter.

16.Use the data dial to set the “Return” parameter to “90”.

17.Play the keyboard to hear the Feedback Delay effect.

18.Press ] to return to the effect menu.

19.Use the cursor buttons to highlight the “4: Reverberation”

item in the menu.

20.Press [ to go to the REVERBERATION parameter

page.

21.Use the cursor buttons to highlight the “Reverb Time”

parameter.

22.Use the data dial to set the “Reverb Time” parameter to

“6.0 sec”.

23.Play the keyboard to hear the Reverberation effect.

Unlike external effect units, the VL effects can be

individually specified for each voice so the appropriate effect is automatically recalled whenever a voice is selected.

5: Experiments

Page 76

Specifications

●

Tone Generator

Appendix

Version 2

Type Modifiers

Effects

Play Mode

Polyphony Assign Modes

●

Memory

S/VA (Self-oscillating Virtual Acoustic Synthesis. Harmonic Enhancer.

Dynamic Filter (LPF, HPF, BPF, BEF, with resonance). Equalizer (5 bands with frequency, resonace, and boost/cut control). Impulse Expander. Resonator.

32-bit digital signal processor, stereo in/stereo out. Modulation effects (flanger, pitch change, distorion, chorus, phaser, symphonic, celeste, dist.+flanger, dist.+wah). Feed back delay (mono, L,R, L,C,R). Reverberation (hall1, hall2, room1, room2, studio, plate, space, reverse).

Voice mode only. Smallest tone generator units: elements. Voices use 1 or 2 elements. Voices are composed on “common data” and “element data”.

2 notes max. Mono, Poly, Unison, Part

Internal Disk

●

Keyboard

Keys Sensitivity

●

Controllers

128 voices.

3.5" 2DD or 2HD floppy disk.

49 (C scale, FS type) Velocity.

Channel aftertouch.

Master volume slider. Continuous sliders x 2. Pitch bend wheel. Modulation wheel x 2. Data entry dial. LCD contrast control.

Page 77

●

Panel Switches

●

Display

●

Connectors

Appendix

Play (with LED). Edit (with LED). Utility (with LED). Octave x 2 (with LEDs). Copy. Store. Bank select x 8 (with LEDs). Program change x 16 (with LEDs). Data entry x 2. Cursor x 4. Function x 8. Exit. Enter.

240 x 64 dot backlit liquid crystal display.

Appendix

Front Panel Rear Panel

●

Output Level

Line Headphones

●

Power Requirements

●

General

Dimensions

Stereo headphones. Breath controller. Output x 2 (L and R). Foot controller x 2.

Foot switch x 2. MIDI IN. MIDI OUT. MIDI THRU.

2.5 ±2 dBm into 10 kΩ.

7.5 ±2 dBm into 150 Ω.

UL/CSA: 120V, 16W Europe: 220-240V, 16W

914 (W) x 380 (D) x 105 (H) mm.

Weight

●

Accessories

* Specifications subject to change without notice.

12.5 kg

Power cable. BC2 Breath Controller. FC7 Foot Controller. Floppy disk x 2. Owners manuals x 5. Version 2 sticker.

Page 78

Specifications

●

Tone Generator

Appendix

Version 2

Type Modifiers

Effects

Play Mode

Polyphony Assign Modes

●

Memory

S/VA (Self-oscillating Virtual Acoustic Synthesis). Harmonic Enhancer.

Dynamic Filter (LPF, HPF, BPF, BEF, with resonance). Equalizer (5 bands with frequency, resonace, and boost/cut control). Impulse Expander. Resonator.

Voice mode only. Smallest tone generator units: elements. Voices use 1 or 2 elements. Voices are composed on “common data” and “element data”.

2 notes max. Mono, Poly, Unison, Part

Internal Disk

●

Controls

128 voices.

3.5" 2DD or 2HD floppy disk.

Master volume. LCD contrast control. Data entry dial.

Page 79

●

Panel Switches

●

Display

●

Connectors

Appendix

Play (with LED). Edit (with LED). Utility (with LED). Copy. Store. Data entry x 2. Cursor x 4. Function x 8. Exit. Enter/Sound.

240 x 64 dot backlit liquid crystal display.

Appendix

Front Panel Rear Panel

●

Output Level

Line Headphones

●

Power Requirements

●

General

Dimensions Weight

Stereo headphones. Breath controller. Output x 2 (L and R). MIDI IN.

MIDI OUT. MIDI THRU.

2.5 ±2 dBm into 10 kΩ.

2.0 ±2 dBm into 33 Ω.

UL/CSA: 120V, 16W Europe: 220-240V, 16W

480 (W) x 361 (D) x 132 (H) mm.

7.5 kg

●

Accessories

Power cable. Floppy disk x 2. Owners manuals x 5. MIDI cable. Version 2 sticker.

* Specifications subject to change without notice.

Page 80

Specifications

●

Tone Generator

Appendix

Version 2

Type Modifiers

Effects

Play Mode

Polyphony

●

Memory

Internal

S/VA (Self-oscillating Virtual Acoustic Synthesis), monophonic. Harmonic Enhancer.

Dynamic Filter (LPF, HPF, BPF, BEF, with resonance). Equalizer (5 bands with frequency, resonace, and boost/cut control). Impulse Expander. Resonator.

Voice mode only. Smallest tone generator unit: element. Voices use element. Voices are composed on “common data” and “element data”.

1 note.

64 voices.

Disk

●

Keyboard

Keys Sensitivity

●

Controllers

3.5" 2DD or 2HD floppy disk.

49 (C scale, FS type) Velocity.

Channel aftertouch.

Master volume slider. Continuous sliders x 2. Pitch bend wheel. Modulation wheel x 2. Data entry dial. LCD contrast control.

Page 81

●

Panel Switches

●

Display

●

Connectors

Appendix

Play (with LED). Edit (with LED). Utility (with LED). Octave x 2 (with LEDs). Copy. Store. Bank select x 4 (with LEDs). Program change x 16 (with LEDs). Data entry x 2. Cursor x 4. Function x 8. Exit. Enter.

240 x 64 dot backlit liquid crystal display.

Appendix

Front Panel Rear Panel

●

Output Level

Line Headphones

●

Power Requirements

●

General

Dimensions

Stereo headphones. Breath controller. Output x 2 (L and R). Foot controller x 2.

Foot switch x 2. MIDI IN. MIDI OUT. MIDI THRU.

2.5 ±2 dBm into 10 kΩ.

2.0 ±2 dBm into 33 Ω.

UL/CSA: 120V, 16W Europe: 220-240V, 16W

914 (W) x 380 (D) x 105 (H) mm.

Weight

●

Accessories

* Specifications subject to change without notice.

12.3 kg

Power cable. BC2 Breath Controller. FC7 Foot Controller. Floppy disk x 2. Owners manuals x 5. Version 2 sticker.

Page 82

Appendix

Index

A02 Jazz Sax voice, trying out the . . . . . . . . . . . . . . 11

A04 Jazz Trumpt voice, trying out the . . . . . . . . . . . 12

Abbreviations, model name . . . . . . . . . . . . . . . . . . . . . 4

Absorption experiment . . . . . . . . . . . . . . . . . . . . . . . . 68

ADDITION.ALL file . . . . . . . . . . . . . . . . . . . . . . . . . . 9

After touch/breath curve. . . . . . . . . . . . . . . . . . . . . . . 54

Aftertouch offset & gain, breath mode . . . . . . . . . . . 55

Amplitude experiment . . . . . . . . . . . . . . . . . . . . . . . . 65

Assign mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Attack level, embouchure & pitch . . . . . . . . . . . . . . . 52

Attack rate, embouchure & pitch . . . . . . . . . . . . . . . . 52

Audio connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

B05 FingrBass voice, trying out the . . . . . . . . . . . . . 13

B11 C Flute voice, trying out the . . . . . . . . . . . . . . . 12

Breakpoint, key scaling . . . . . . . . . . . . . . 46, 47, 48, 49

Breath controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Breath noise experiment . . . . . . . . . . . . . . . . . . . . . . . 65

Celeste . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Common Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Common miscellaneuous . . . . . . . . . . . . . . . . . . . . . . 25

Conjunction, resonator . . . . . . . . . . . . . . . . . . . . . . . . 51

Continuous sliders. . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Control & signal flow chart . . . . . . . . . . . . . . . . . . . . 57

Controller connection and calibration . . . . . . . . . . . . 15

Controller functions, changing . . . . . . . . . . . . . . . . . . 59

Controller functions, multiple to one controller . . . . 60

Controller functions, trying out the . . . . . . . . . . . . . . 62

Controller Parameter Displays . . . . . . . . . . . . . . . . . . 42

Cutoff freq., dist+wah. . . . . . . . . . . . . . . . . . . . . . . . . 41

D02 BaritonSax voice, trying out the . . . . . . . . . . . . 11

Damping experiment. . . . . . . . . . . . . . . . . . . . . . . . . . 68

Data disk, about the Version 2 . . . . . . . . . . . . . . . . . . . 9

Delay time, resonator . . . . . . . . . . . . . . . . . . . . . . . . . 51

Delay, chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Delay, dist+flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Delsay, celeste. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Depth, celeste . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Depth, chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Depth, dist+flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Depth, phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Depth, symphonic . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Diffusion, phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Diffusion, symphonic . . . . . . . . . . . . . . . . . . . . . . . . . 35

Dist+ Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Dist+Wah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Dynamic filter experiment . . . . . . . . . . . . . . . . . . . . . 67

Edit mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Edit mode displays . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

EDIT/COM/MISC/CONTINUOUS SLIDER . . . . . . 28

EDIT/COM/MISC/CONTROLLER. . . . . . . . . . . . . . 27

EDIT/COM/MISC/MICROTUNING. . . . . . . . . . . . . 27

EDIT/COM/MISC/PART SETTING . . . . . . . . . . . . . 28

EDIT/COM/MISC/SETTING. . . . . . . . . . . . . . . . . . . 26

EDIT/E1/ENV/EMBOUCHURE&PITCH. . . . . . . . . 52

EDIT/E1/ENV/GROWL . . . . . . . . . . . . . . . . . . . . . . . 52

EDIT/E1/ENV/VIBRATO . . . . . . . . . . . . . . . . . . . . . 52

EDIT/E1/MISC/BREATH NOISE . . . . . . . . . . . . . . . 43

EDIT/E1/MISC/EXCITATION . . . . . . . . . . . . . . . . . 44

EDIT/E1/MISC/MIXING . . . . . . . . . . . . . . . . . . . . . . 44

EDIT/E1/MISC/THROAT FORMANT . . . . . . . . . . . 44

EDIT/E1/MODIFIER/EQUALIZER AUXILIARY . 50 EDIT/E1/MODIFIER/HARMONIC ENHANCER . . 50

EDIT/E1/MODIFIER/RESONATOR . . . . . . . . . . . . 51

Effects, experiments . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Element 1/2 MIDI Receive channel. . . . . . . . . . . . . . 29

Page 83

Appendix

Element Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Element Envelope . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Element Miscellaneous . . . . . . . . . . . . . . . . . . . . . . . . 43

Element Modifier . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Element on/off, celeste . . . . . . . . . . . . . . . . . . . . . . . . 36

Element on/off, chorus . . . . . . . . . . . . . . . . . . . . . . . . 30

Element on/off, dist+flanger. . . . . . . . . . . . . . . . . . . . 38

Element on/off, dist+wah . . . . . . . . . . . . . . . . . . . . . . 40

Element on/off, phaser . . . . . . . . . . . . . . . . . . . . . . . . 32

Element on/off, symphonic . . . . . . . . . . . . . . . . . . . . 34

Embouchure experiment . . . . . . . . . . . . . . . . . . . . . . . 63

Excitation Level to Driver Key Scaling . . . . . . . . . . 47

Excitation Level to Pipe/String Key Scaling . . . . . . . 46

Excitation LPF Cutoff Key Scaling . . . . . . . . . . . . . . 48

Excitation Pulse Width Key Scaling . . . . . . . . . . . . . 49

Experiments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

FB gain, celeste. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

FB gain, chorus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

FB gain, dist+flanger . . . . . . . . . . . . . . . . . . . . . . . . . 39

FB gain, phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

FB gain, symphonic . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Flanger balance, dist+flanger . . . . . . . . . . . . . . . . . . . 39

Foot controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Freq., celeste . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Freq., chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Freq., dist+flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Freq., phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Freq., symphonic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Gain, breath controller . . . . . . . . . . . . . . . . . . . . . . . . 17

Growl experiment . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Harmonic enhancer experiment . . . . . . . . . . . . . . . . . 67

Headphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

High, chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

High, dist+flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Initial edit page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Interval . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Key mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Level to driver, excitation . . . . . . . . . . . . . . . . . . . . . 45

Level to pipe/string, excitation. . . . . . . . . . . . . . . . . . 45

Lo-fi, celeste . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Lo-fi, symphonic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

LPF cutoff, excitation . . . . . . . . . . . . . . . . . . . . . . . . . 45

Manual, about the . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

MIDI connections, VL1-m Ver.2 . . . . . . . . . . . . . . . . . 6

Mode, breath mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Mode, celeste . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Mode, chorus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Mode, dist+wah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Mode, phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Mode, symphonic . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Modifiers, resonance enhancing. . . . . . . . . . . . . . . . . 70

New features & parameters . . . . . . . . . . . . . . . . . . . . 22

New Modulation Effect Types . . . . . . . . . . . . . . . . . . 30

Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Octave switch hold . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Offset, breath controller . . . . . . . . . . . . . . . . . . . . . . . 16

Offset, phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Output level, dist+flanger. . . . . . . . . . . . . . . . . . . . . . 39

Output level, dist+wah . . . . . . . . . . . . . . . . . . . . . . . . 41

Overdrive, dist+flanger . . . . . . . . . . . . . . . . . . . . . . . . 38

Overdrive, dist+wah . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Phase, dist+flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Phase, phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Pitch bend, aftertouch and modulation mode . . . . . . 29

Pitch experiment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Play mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Play mode display. . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Poly expand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Post EQ boost . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Appendix

Page 84

Appendix

Power supply . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Power-on procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Pre-programmed voice data, loading . . . . . . . . . . . . . . 7

Preparation, experiments . . . . . . . . . . . . . . . . . . . . . . 58

Pressure envelope, editing the . . . . . . . . . . . . . . . . . . 69

Pressure experiment . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Pulse width, excitation . . . . . . . . . . . . . . . . . . . . . . . . 45

Resonance, dist+wah . . . . . . . . . . . . . . . . . . . . . . . . . 41

Scream experiment . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Sens, dist+wah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Slider assign parameters . . . . . . . . . . . . . . . . . . . . . . . 28

Speaker, dist+flanger . . . . . . . . . . . . . . . . . . . . . . . . . 38

Speaker, dist+wah . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Specifications, VL1 Version 2 . . . . . . . . . . . . . . . . . . 72

Specifications, VL1-m Version 2. . . . . . . . . . . . . . . . 74

Specifications, VL7 Version 2 . . . . . . . . . . . . . . . . . . 76

Speed shift, growl . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Speed shift, vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Split . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Split point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Stage, phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Stereo sound system . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Symphonic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Velocity curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Velocity gain, breath mode . . . . . . . . . . . . . . . . . . . . 55

Velocity offset, breath mode . . . . . . . . . . . . . . . . . . . 54

Velocity sensitivity to level, excitation . . . . . . . . . . . 45

Velocity sensitivity to LPF, excitation . . . . . . . . . . . 45

Velocity sensitivity to pulse width, excitation . . . . . 45

Version 2, test driving . . . . . . . . . . . . . . . . . . . . . . . . 10

Vibrato experiment . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

VL1V2_WX.ALL file . . . . . . . . . . . . . . . . . . . . . . . . . 9

VL1_VER2.ALL file . . . . . . . . . . . . . . . . . . . . . . . . . . 9

VL7V2_WX.ALL file . . . . . . . . . . . . . . . . . . . . . . . . . 9

VL7_VER2.ALL file . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Voice name & element name . . . . . . . . . . . . . . . . . . . 25

Voices, load converting . . . . . . . . . . . . . . . . . . . . . . . 19

Voices, trying the Version 2 . . . . . . . . . . . . . . . . . . . 11

Wah pre/post, dist+wah . . . . . . . . . . . . . . . . . . . . . . . 41

Wet/dry balance, celeste . . . . . . . . . . . . . . . . . . . . . . . 37

Wet/dry balance, chorus . . . . . . . . . . . . . . . . . . . . . . . 31

Wet/dry balance, phaser . . . . . . . . . . . . . . . . . . . . . . . 33

Wet/dry balance, symphonic . . . . . . . . . . . . . . . . . . . 35

WX lip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Tap setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Throat formant experiment. . . . . . . . . . . . . . . . . . . . . 66

Tonguing experiment . . . . . . . . . . . . . . . . . . . . . . . . . 65

Touch EG gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Touch EG time, breath mode . . . . . . . . . . . . . . . . . . . 55

UTIL/DISK/LOAD FROM DISK . . . . . . . . . . . . . . . 56

UTIL/SYSTEM/ASSIGNABLE CONTROLLER . . . 54

UTIL/SYSTEM/BREATH MODE . . . . . . . . . . . . . . 54

UTIL/SYSTEM/CURVE . . . . . . . . . . . . . . . . . . . . . . 54

UTIL/SYSTEM/KBD SETTING . . . . . . . . . . . . . . . . 53

UTIL/SYSTEM/MISCELLANEOUS . . . . . . . . . . . . 56

UTIL/SYSTEM/TG SETTING . . . . . . . . . . . . . . . . . 53

UTILITY Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Utility System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Page 85

Appendix

Page 86

For details of products, please contact your nearest Yamaha or the authorized distributor listed below.

Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante.

Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen Bestimmungsländern erhältlich.

Para detalles sobre productos, contacte su tienda Yamaha más cercana o el distribuidor autorizado que se lista debajo.

NORTH AMERICA

CANADA

Yamaha Canada Music Ltd.

135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311

U.S.A.

Yamaha Corporation of America

6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A. Tel: 714-522-9011

MIDDLE & SOUTH AMERICA

MEXICO

Yamaha De Mexico S.A. De C.V., Departamento de ventas

Javier Rojo Gomez No.1149, Col. Gpe Del Moral, Deleg. Iztapalapa, 09300 Mexico, D.F. Tel: 686-00-33

BRASIL

Yamaha Musical Do Brasil LTDA.

Ave. Reboucas 2636, São Paulo, Brasil Tel: 011-853-1377

PANAMA

Yamaha De Panama S.A.

Edificio Interseco, Calle Elvira Mendez no.10, Piso 3, Oficina #105, Ciudad de Panama, Panama Tel: 507-69-5311

OTHER LATIN AMERICAN COUNTRIES AND CARIBBEAN COUNTRIES

Yamaha Music Latin America Corp.

6101 Blue Lagoon Drive, Miami, Florida 33126, U.S.A. Tel: 305-261-4111

EUROPE

THE UNITED KINGDOM

Yamaha-Kemble Music (U.K.) Ltd.

Sherbourne Drive, Tilbrook, Milton Keynes, MK7 8BL, England Tel: 01908-366700

IRELAND

Danfay Ltd.

61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin Tel: 01-2859177

GERMANY/SWITZERLAND

Yamaha Europa GmbH.

Siemensstraße 22-34, D-2084 Rellingen, F.R. of Germany Tel: 04101-3030

AUSTRIA/HUNGARY/SLOVENIA/ ROMANIA/BULGARIA

Yamaha Music Austria GesmbH.

Schleiergasse 20, A-1100 Wien Austria Tel: 0222-60203900

THE NETHERLANDS

Yamaha Music Benelux B.V., Verkoop Administratie

Kanaalweg 18G, 3526KL, Utrecht, The Netherlands Tel: 030-828411

BELGIUM/LUXEMBOURG

Yamaha Music Benelux B.V., Brussels-office

Keiberg Imperiastraat 8, 1930 Zaventem, Belgium Tel: 02-7258220

FRANCE

Yamaha Musique France, Division Professionnelle

BP 70-77312 Marne-la-Valée Cedex 2, France Tel: 01-64-61-4000

ITALY

Yamaha Musica Italia S.P.A., Combo Division

Viale Italia 88, 20020 Lainate (Milano), Italy Tel: 02-935-771

SPAIN

Yamaha-Hazen Electronica Musical, S.A.

Jorge Juan 30, 28001, Madrid, Spain Tel: 91-577-7270

PORTUGAL

Valentim de Carvalho CI SA

Estrada de Porto Salvo, Paço de Arcos 2780 Oeiras, Portugal Tel: 01-443-3398/4030/1823

GREECE

Philippe Nakas S.A.

Navarinou Street 13, P.Code 10680, Athens, Greece Tel: 01-364-7111

SWEDEN

Yamaha Scandinavia AB

J. A. Wettergrens Gata 1 Box 30053 S-400 43 Göteborg, Sweden Tel: 031 89 34 00

DENMARK

YS Copenhagen Liaison Office

Generatorvej 8B DK-2730 Herlev, Denmark Tel: 44 92 49 00

FINLAND

Warner Music Finland OY/Fazer Music

Aleksanterinkatu 11, P.O. Box 260 SF-00101 Helsinki, Finland Tel: 0435 011

NORWAY

Narud Yamaha AS

Grini Næringspark 17 N-1345 Østerås, Norway Tel: 67 14 47 90

ICELAND

Skifan HF

Skeifan 17 P.O. Box 8120 IS-128 Reykjavik, Iceland Tel: 525 5000

EAST EUROPEAN COUNTRIES (Except HUNGARY)

Yamaha Europa GmbH.

Siemensstraße 22-34, D-2084 Rellingen, F.R. of Germany Tel: 04101-3030

AFRICA

Yamaha Corporation, International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430 Tel: 053-460-2312

MIDDLE EAST

TURKEY/CYPRUS

Yamaha Musique France, Division Export

BP 70-77312 Marne-la-Valée Cedex 2, France Tel: 01-64-61-4000

OTHER COUNTRIES

Yamaha Corporation, International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430 Tel: 053-460-2312

ASIA

HONG KONG

Tom Lee Music Co., Ltd.

11/F., Silvercord Tower 1, 30 Canton Road, Tsimshatsui, Kowloon, Hong Kong Tel: 730-1098

INDONESIA

PT. Yamaha Music Indonesia (Distributor) PT. Nusantik

Gedung Yamaha Music Center, Jalan Jend. Gatot Subroto Kav. 4, Jakarta 12930, Indonesia Tel: 21-520-2577

KOREA

Cosmos Corporation

#131-31, Neung-Dong, Sungdong-Ku, Seoul Korea Tel: 02-466-0021~5

MALAYSIA

Yamaha Music Malaysia, Sdn., Bhd.

16-28, Jalan SS 2/72, Petaling Jaya, Selangor, Malaysia Tel: 3-717-8977

PHILIPPINES

Yupangco Music Corporation

339 Gil J. Puyat Avenue, P.O. Box 885 MCPO, Makati, Metro Manila, Philippines Tel: 819-7551

SINGAPORE

Yamaha Music Asia Pte., Ltd.

Blk 17A Toa Payoh #01-190 Lorong 7 Singapore 1231 Tel: 354-0133

TAIWAN

Kung Hsue She Trading Co., Ltd.

No. 322, Section 1, FuHsing S. Road, Taipei 106, Taiwan. R.O.C. Tel: 02-709-1266

THAILAND

Siam Music Yamaha Co., Ltd.

865 Phornprapha Building, Rama I Road, Patumwan, Bangkok 10330, Thailand Tel: 2-215-3443

THE PEOPLE’S REPUBLIC OF CHINA AND OTHER ASIAN COUNTRIES

Yamaha Corporation, International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430 Tel: 053-460-2317

OCEANIA

AUSTRALIA

Yamaha Music Australia Pty. Ltd.

17-33 Market Street, South Melbourne, Vic. 3205, Australia Tel: 3-699-2388

NEW ZEALAND

Music Houses of N.Z. Ltd.

146/148 Captain Springs Road, Te Papapa, Auckland, New Zealand Tel: 9-634-0099

COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN

Yamaha Corporation, International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430 Tel: 053-460-2317

SY08

HEAD OFFICE Yamaha Corporation, Electronic Musical Instrument Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430 Tel: 053-460-2445

Page 87

Yamaha VL User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual