Yamaha VL1E2, VL1 User Manual
Feature Reference
Owner’s Manual 2
Feature Reference
Contents
About the Manuals . . . . . . . . . . . . . . . . . . . . . . 4
■ The Getting Started Manual . . . . . . . . . . . . . . 4
■ The Feature Reference Manual (this manual) . 5
■ Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
General Operation
■ The Three Main Modes . . . . . . . . . . . . . . . . . . . 8
■ Finding Functions & Parameters . . . . . . . . . . . 9
■ Other Navigation Aids . . . . . . . . . . . . . . . . . . 11
■ Selecting & Editing Parameters . . . . . . . . . . . 12
Play Mode
■ The Main Play Mode Display . . . . . . . . . . . . . 14
■ Voice Selection . . . . . . . . . . . . . . . . . . . . . . . . 15
■ Controller Views . . . . . . . . . . . . . . . . . . . . . . . 17
■ Quick Editing In the Play Mode . . . . . . . . . . . 19
Edit Mode
■ The Voice Number Buttons In the Edit Mode 22
■ The Edit Compare Function . . . . . . . . . . . . . . 24
■ The Copy Function . . . . . . . . . . . . . . . . . . . . . 25
■ Storing Edited Data . . . . . . . . . . . . . . . . . . . . . 28
Initial Edit Page . . . . . . . . . . . . . . . . . . . . . . . . 30
Common Miscellanous . . . . . . . . . . . . . . . . . 34
■ 1: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
■ 2: Controller . . . . . . . . . . . . . . . . . . . . . . . . . . 36
■ 3: Element Pitch . . . . . . . . . . . . . . . . . . . . . . . 37
■ 4: Element Level & Pan . . . . . . . . . . . . . . . . . 38
■ 5: Portamento . . . . . . . . . . . . . . . . . . . . . . . . . 40
■ 6: Micro Tuning . . . . . . . . . . . . . . . . . . . . . . . 42
■ 7: Continuous Slider . . . . . . . . . . . . . . . . . . . . 43
Common Effect . . . . . . . . . . . . . . . . . . . . . . . . 44
■ 1: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
■ 2: Modulation Effect . . . . . . . . . . . . . . . . . . . . 46
• Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
• Pitch Change . . . . . . . . . . . . . . . . . . . . . . 49
• Distortion . . . . . . . . . . . . . . . . . . . . . . . . . 51
■ 3: Feedback Delay . . . . . . . . . . . . . . . . . . . . . . 53
• Mono Delay . . . . . . . . . . . . . . . . . . . . . . . 53
• L,R Delay . . . . . . . . . . . . . . . . . . . . . . . . 55
• L,C,R Delay . . . . . . . . . . . . . . . . . . . . . . 57
■ 4:Reverberation . . . . . . . . . . . . . . . . . . . . . . . . 60
• Hall1, Hall2, Room1, Room2, Studio,
Plate, Space, Reverse . . . . . . . . . . . . . . . 61
Element Controller . . . . . . . . . . . . . . . . . . . . . 64
■ 1: Pressure . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
■ 2: Embouchure . . . . . . . . . . . . . . . . . . . . . . . . 66
■ 3: Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
■ 4: Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
■ 5: Tonguing . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
■ 6: Amplitude . . . . . . . . . . . . . . . . . . . . . . . . . . 71
■ 7: Scream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
■ 8: Breath Noise . . . . . . . . . . . . . . . . . . . . . . . . 73
■ 9: Growl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
■ 10: Throat Formant . . . . . . . . . . . . . . . . . . . . . 75
■ 11: Dynamic Filter . . . . . . . . . . . . . . . . . . . . . 77
■ 12; Harmonic Enhancer . . . . . . . . . . . . . . . . . 78
■ 13: Damping . . . . . . . . . . . . . . . . . . . . . . . . . . 80
■ 14: Absorption . . . . . . . . . . . . . . . . . . . . . . . . . 81
Element Miscellaneous . . . . . . . . . . . . . . . . . 84
■ 1: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
■ 2: Breath Noise . . . . . . . . . . . . . . . . . . . . . . . . 86
• 2-1: Breath Noise Level Key Scaling . . 88
• 2-2: Breath Noise HPF Key Scaling . . . 89
• 2-3: Breath Noise LPF Key Scaling . . . . 90
■ 3: Throat Formant . . . . . . . . . . . . . . . . . . . . . . 91
• 3-1: Throat Formant Pitch Key Scaling . 93
• 3-2: Throat Formant Amount Key
Scaling . . . . . . . . . . . . . . . . . . . . . . . 94
• 3-3: Throat Formant Intensity Key
Scaling . . . . . . . . . . . . . . . . . . . . . . . 95
• 3-4: Throat Formant HPF Key Scaling . 96
• 3-5: Throat Formant LPF Key Scaling . 97
■ 4: Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
• 4-1: Mixing Driver Output Key Scaling 100
• 4-2: Mixing Pipe/String Output Key
Scaling . . . . . . . . . . . . . . . . . . . . . . 101
• 4-3: Mixing Tap Output Key Scaling . 102
2
• 4-4: Mixing Tap Location Key Scaling 103
Feature Reference
■ 5: Amplitude . . . . . . . . . . . . . . . . . . . . . . . . . 104
• 5-1: Total Amplitude Level Key Scaling 104
Element Modifier . . . . . . . . . . . . . . . . . . . . . 106
■ 1: Harmonic Enhancer . . . . . . . . . . . . . . . . . 107
•1-1: Harmonic Enhancer HPF Key
Scaling . . . . . . . . . . . . . . . . . . . . . . 110
•1-2: Harmonic Enhancer Overdrive Key
Scaling . . . . . . . . . . . . . . . . . . . . . . 111
• 1-3: Harmonic Enhancer Carrier Level
Key Scaling . . . . . . . . . . . . . . . . . . 112
• 1-4: Harmonic Enhancer Modulator
Index Key Scaling . . . . . . . . . . . . . 113
• 1-5: Harmonic Enhancer Balance Key
Scaling . . . . . . . . . . . . . . . . . . . . . . 114
■ 2: Dynamic Filter . . . . . . . . . . . . . . . . . . . . . 115
• 2-1: Dynamic Filter Cutoff Key Scaling 117
• 2-2: Dynamic Filter Resonance Key
Scaling . . . . . . . . . . . . . . . . . . . . . . 118
■ 3: Equalizer Auxiliary . . . . . . . . . . . . . . . . . . 119
• 3-1: Equalizer Auxiliary HPF Key
Scaling . . . . . . . . . . . . . . . . . . . . . . 120
• 3-2: Equalizer Auxiliary LPF Key
Scaling . . . . . . . . . . . . . . . . . . . . . . 121
■ 4: Equlizer Band . . . . . . . . . . . . . . . . . . . . . . 122
■ 5: Impulse Expander & Resonator Setting . . 123
■ 6: Impulse Expander . . . . . . . . . . . . . . . . . . . 125
■ 7: Resonator . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Element Envelope . . . . . . . . . . . . . . . . . . . . . 128
■ 1: Pressure . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
■ 2: Embouchure & Pitch . . . . . . . . . . . . . . . . . 130
• 2-1: Embouchure & Pitch Hold Time
Key Scaling . . . . . . . . . . . . . . . . . . 132
• 2-2: Embouchure & Pitch Initial Level
Key Scaling . . . . . . . . . . . . . . . . . . 133
• 2-3: Embouchure & Pitch Decay Rate
Key Scaling . . . . . . . . . . . . . . . . . . 134
■ 3: Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
• 3-1: Vibrato Delay Time Key Scaling . 137
• 3-2: Vibrato Attack Rate Key Scaling . 138
• 3-3: Vibrato Depth Key Scaling . . . . . . 139
• 3-4: Vibrato Speed Key Scaling . . . . . . 140
■ 4: Growl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
• 4-1: Growl Speed Key Scaling . . . . . . . 142
■ 5: Amplitude & Filter . . . . . . . . . . . . . . . . . . 143
• 5-1: Amplitude & Filter Attack Rate
Key Scaling . . . . . . . . . . . . . . . . . . 146
• 5-2: Amplitude & Filter Attack 1 Level
Key Scaling . . . . . . . . . . . . . . . . . . 147
• 5-3: Amplitude & Filter Decay Rate
Key Scaling . . . . . . . . . . . . . . . . . . 148
• 5-4: Amplitude & Filter Sustain Level
Key Scaling . . . . . . . . . . . . . . . . . . 149
• 5-5: Amplitude & Filter Release Rate
Key Scaling . . . . . . . . . . . . . . . . . . 150
Utility Mode
System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
MIDI Bulk Dump . . . . . . . . . . . . . . . . . . . . . . 160
Disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Edit Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Demo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Appendix
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . 178
Error Messages . . . . . . . . . . . . . . . . . . . . . . . 180
Specifications . . . . . . . . . . . . . . . . . . . . . . . . 184
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
3
Feature Reference
About the Manuals
The VL1 comes with two manuals — Getting Started and Feature
Reference. If you’re just starting out with the VL1 we urge you to begin
with the Getting Started manual since it describes basic concepts and
procedures that are essential to proper operation of the VL1.
The Getting Started Manual
The Getting Started manual contains seven chapters that take you through
essential information and procedures you will need to know to become familiar
with your VL1:
1. VL1 Basics [≥ Page 8]
Basic concepts you’ll need to understand in order to get the
most out of the VL1.
2. The Controls & Connectors [≥ Page 16]
Brief descriptions of the VL1 controls and connectors, and their
functions.
3. Setting Up [≥ Page 22]
System connections, powering up, playing the demo, calibrating
the Breath Controller, and loading the pre-programmed voices.
4. Voice Selection [≥ Page 34]
Several ways to select and play the VL1’s 128 voices.
5. The Controllers [≥ Page 38]
The VL1 controllers and how they can be assigned and edited
for optimum control.
6. Mixing & The Modifiers [≥ Page 48]
Customizing the sound to suit your own personal needs.
7. Effects [≥ Page 58]
An overview of the built-in digital effects that you can use to
add depth and ambience to the VL1 sound.
We recommend that you go through the chapters in sequence and actually
try out the various operations described. Once you’ve gone through the entire
Getting Started manual in this way, you should be familiar enough with the VL1
to need only the VL1 Feature Reference manual in future.
4
Feature Reference
The Feature Reference Manual (this manual)
The Feature Reference manual is the “nuts and bolts” reference for
the VL1, individually describing its many functions in detail. The Feature
Reference manual is divided into five main sections, each describing the
various functions within a particular VL1 edit or utility mode.
1. General Operation [≥ Page 7]
2. Play Mode [≥ Page 13]
3. Edit Mode [≥ Page 21]
4. Utility Mode [≥ Page 151]
5. Appendix [≥ Page 177]
Once you have become familiar with the way the VL1 works by
going through the Getting Started manual, you should only need to refer
to the Feature Reference manual from time to time to get details on functions you’ve never used before, or refresh your memory about functions
that you don’t use very often.
Each section of the Feature Reference manual has its own table of
contents, so you should be able to locate any particular function quickly
and easily. Functions and references can also be located by referring to the
index at the back of the manual.
Conventions
The following conventions are used through the VL1 manuals to
avoid confusion and make the text easier to read.
Buttons & Controls
Button and control names used on the VL1 panel appear in the text
in capital letters within a border: “the [ button”, for example.
Parameter Names
Parameter names and other labels which appear on the VL1 display
are printed in the courier typeface for easier identification: for
example, “adjust the “Balance” parameter as required”.
Parameter Ranges
An ellipsis is used to indicate a range of parameter values: e.g. “0
… 127”. This minimizes the confusion sometimes caused by the use
of a hyphen or dash for this purpose.
5
General Operation
The VL1 makes operation as easy as possible
by providing a consistent, logical control interface via
which its many functions and parameters can be
accessed and edited. Once you become familiar with
the system, operation should be smooth, efficient, and
easy.
● The Three Main Modes . . . . . . . . . . . . . 8
● Finding Functions & Parameters . . . . . 9
● Other Navigation Aids . . . . . . . . . . . . . 11
● Selecting & Editing Parameters . . . . . 12
Feature Reference●General Operation
The Three Main Modes
The VL1 has three main modes: PLAY, EDIT, and UTILITY. Each of these modes
can be directly accessed by pressing the P, E, or U button, respectively.
The PLAY mode is the one you use to select and play the VL1 voices.
The PLAY mode also includes several “Controller Views” that allow you
PLAY
EDIT
UTILITY
to check controller assignments, the status of several important
performance parameters, and the continuous slider assignments.
≥
Pages 13 through 19.
All voice editing functions are accessed via the EDIT mode: controller
assignments, mixing, modifiers, effects, and more.
≥
Pages 21 through 150.
The UTILITY mode includes a range of functions that affect overall
operation of the VL1 rather than individual voices. For example: master
tuning, MIDI settings, disk operations, etc.
≥
Pages 151 through 175.
8
Feature Reference●General Operation
Finding Functions & Parameters
To facilitate access to the many functions provided, the EDIT and UTILITY mode
functions are organized into logical groups arranged in a hierarchical structure (the PLAY
mode is simple enough that it doesn’t require this type of structure). The basic structure
of the EDIT mode, for example, looks like this:
EDIT MODE
Here you can see that the EDIT mode functions are divided into two main groups:
COMMON and ELEMENT, and that these are further sub-divided into related groups of
functions. The COMMON EFFECT group, for example, includes all the effect parameters
(flange, reverb, etc.) that apply to the entire voice. Here’s how you would access the
reverb parameters, starting from the PLAY mode:
●
Example: Locate the Effect Reverb Parameters
COMMON
ELEMENT
MISCELLANEOUS
EFFECT
CONTROLLER
MISCELLANEOUS
MODIFIER
ENVELOPE
1. Press E
Pressing the E button from the PLAY or UTILITY mode will normally take
you to the initial EDIT display page (if the current voice has already been edited but not
stored, you will automatically return to the last EDIT mode page that was selected).
2. Press ¡ (“Com”)
Since you want the effect functions, which are in the common group, press the ¡
function button (immediately below “Com” on the display).
9
Feature Reference●General Operation
3. If Necessary, Press ™ (“Efct”)
If the miscellaneous directory is showing (in this case “Misc” above the ¡ button
will be highlighted), press the ™ button below “Efct” on the display to select the
effect directory.
4. Move the Cursor To “4:Reverberation” and Press [
Use the cursor buttons (or the - and = buttons, or the data dial)
to move the cursor to “4:Reverberation” and press the [ button. This will
take you to the first page of reverb parameters.
NOTES ■ Notice that the top line of the display shows the “path” to the current
level or function: “
This example illustrates the two methods used to move downward through the EDIT
mode levels: 1) press the appropriate function button and 2) move the cursor to the
desired selection and press [.
From any point within the structure you can move upward toward the topmost level
(in this case the initial EDIT mode display) by pressing the ] button. You move up
one level each time the ] button is pressed, until the topmost level is reached.
To exit from the EDIT mode itself you must press either the P or U
button, depending on the mode you want to switch to. You can exit from the EDIT mode
at any level by doing this, and you will be returned automatically to the same display
page the next time you press the E button as long as the voice being edited is not
stored or a new voices is not selected.
EDIT/COM/EFFECT/REVERBERATION
”.
10
Feature Reference●General Operation
Other Navigation Aids
In addition to the standard procedures described in the previous section, the VL1
sometimes provides additional help in moving between related functions via the function
buttons.
In this example display page from the ELEMENT CONTROLLER group, “Bpag”
(back page) and “Fpag” (forward page) appear above the § and ¶ function buttons.
In this case these buttons can be used to move forward and backward through the entire
list of controller functions so you don’t have to move up to the function directory and
then down to the next function every time you want to select a different element controller page.
Also note the “Para” (Parameter) abbreviation above the • button. This enables
you to go directly to the parameters related to the current page: in this case the vibrato
parameters.
From here you can go back to the vibrato controller page by pressing the •
function button again (note that it is now labelled “Ctrl”), or to the vibrato key scaling
parameters by pressing ¶, below “KSC” on the display.
Another variation appears in the COMMON EFFECT parameter displays. In most
cases the number of parameters available for each effect exceeds the capacity of the
display, so the ¡ and ™ function buttons are used to scroll up and down the parameter
list — note the “>” and “<” arrows above the buttons in the display.
11
Feature Reference●General Operation
Selecting & Editing Parameters
Once you’ve locate the display page that contains the parameter(s) you want to edit,
simply use the cursor buttons to move the cursor to the parameter, and then use the data
dial or the = and - buttons to set the parameter as required. The data dial is ideal
for quickly covering a large range of settings, while the = and - buttons are best
for small stepwise changes.
12
Play Mode
The primary function of the PLAY mode is to
allow you to select and play voices. The VL1 play
mode additionally offers a range of controller views
that let you check controller assignments, and simple
“quick edit” capability. Select the PLAY mode from
either the EDIT or UTILITY mode by pressing the
P button.
● The Main Play Mode Display . . . . . . . 14
● Voice Selection . . . . . . . . . . . . . . . . . . 15
● Controller Views . . . . . . . . . . . . . . . . . 17
● Quick Editing In the Play Mode . . . . . 19
Feature Reference●Play Mode
The Main Play Mode Display
When you select the PLAY mode by pressing the P button, the main PLAY
mode display will appear. This display includes a considerable amount of information in
addition to the name of the currently selected voice.
■ The Normal Voice Display
Voice name.
Voice number.
Play mode.
Element E1 and E2 names.
Voice mode.
Reverb on or off.
Stereo output mode.
Effects in use.
The abbreviations in the section separated by a line at the bottom of the display
(“Cnt1”, “Cnt2”, etc) indicate the functions of the corresponding function buttons
below the display (described below).
14
Feature Reference●Play Mode
Voice Selection
The VL1’s 128 voices are organized into 8 banks of 16 voices each (8 x 16 = 128).
Any voice can be selected by specifying its bank using the bank keys (a through h),
and its number using the voice number keys (1 through ^).
To select voice “A7”, for example, first press the bank a key and then the voice
number 7 key. The bank a key indicator will flash until the voice number 7 key is
pressed and the D7 voice is actually engaged.
A
1
E1
9
ALL
B
2
E2
10
HE
C
3
E1
ELEMENT ON / OFFELEMENT SELECT
11
DF
MODIFIER ON / OFF
D
4
E2
12
EQ
ALL
13
IE
E
5
F
6
MOD
EFFECT ON / OFF
14
RSN
FBD
G
7
15
H
8
REV
16
Note that when you select a different bank (or press the same bank button)
the voice directory for the selected bank will appear on the display, showing the names
of all voices in that bank with the cursor located at the currently selected voice number.
The VL1 returns to the normal voice display as soon as you specify the voice number.
You can also press the [ button if you want to stay with the same voice number.
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.
15
Feature Reference●Play Mode
Alternate Voice Selection Methods
● = and - Buttons
These are best for small, step-wise changes —
e.g. selecting adjacent voice numbers, or
DEC INC
● Data Dial
numbers that are only a few steps away. Press
the = or - key briefly to decrement or
increment the voice number by one, or hold
either key 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 fast, efficient way to
cover a broad range of voice numbers when,
for example, you’re looking for a voice but
don’t know the voice number. Simply 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.
●
Using the Voice Directory
Although the voice directory appears automatically any time you select a bank, you
can have the directory displayed continuously if you find it more convenient than the
normal voice display. To switch to the voice directory display, press the • button —
located directly below “Dir” on the display. Voices are selected using the same methods
described above, and the cursor will move to the selected voice.
To return to the normal voice display press the ] or P button.
16
Feature Reference●Play Mode
Controller Views
In the PLAY mode, function buttons ¡ (“Cnt1”) through § (“CS”) are used to
select “controller view” displays that list all controller assignments for the currently
selected voice. You can press the ] or P button from any controller view to
return to the normal play-mode display.
●
¡
(“Cnt1”) through
¡ through ¢ display the assignments for the controller parameters.
¡
(“Cnt1”)
¢
(“Cnt4”): Main Controllers
™
(“Cnt2”)
£
(“Cnt3”)
Pressure
Embouchure
Pitch
Vibrato
Tounguing
Amplitude
Scream
Breath Noise
≥
≥
≥
≥
≥
≥
≥
≥
Page 65.
Page 66.
Page 67.
Page 69.
Page 70.
Page 71.
Page 72.
Page 73.
Growl
Throat Formant
Dynamic Filter
Harmonic Enhancer
17
≥
≥
≥
≥
Page 74.
Page 75.
Page 77.
Page 78.
¢
(“Cnt4”)
Feature Reference●Play Mode
Damping
Absorption
≥
≥
Page 80.
Page 81.
The controller parameters are listed in the left column of the controller view display, and the controllers assigned to them are listed in the center and right columns,
corresponding to elements 1 and 2, respectively.
● ∞
(“Cnt5”): Other Controller Settings
If you press the ∞ function button from the play mode you’ll see the following
controller view:
Polyphony
Sustain
Pitch Bend
Portamento
Effect
≥
≥
≥
≥
≥
Page 36.
Page 35.
Page 35.
Page 40.
Page 45.
The controller parameters listed in this screen are not in the same category as those
discussed in the preceding section, and therefore need to be introduced separately. All of
the related parameters will be discussed in detail in the Feature Reference manual (pages
listed below).
18
Feature Reference●Play Mode
●
§
(“CS”): Continuous Sliders
The § function button calls the Continuous Slider (“CS”) controller view, which
will look something like this:
The continuous sliders — – and ≠ — can be independently assigned to
several parameters that you can control in real time while playing (also see “Quick
Editing In the Play Mode”, below). The parameters available for editing via the continuous sliders are individually preset for each voice. You can select from the available range
by using the “Continuous Slider” assignment function (≥ Page 43).
The continuous slider view shows you which parameters are assigned to which
controller as well as the current positions of the controllers and their corresponding
values.
Quick Editing In the Play Mode
Although detailed voice editing is carried out in the EDIT mode, the – and ≠
sliders on the VL1 panel can be used to change the assigned parameters in real time
while playing in the PLAY mode. This can be used simply an expressive tool, or as a
way to actually change the sound of the voice to suit your individual musical requirements. Since the – and ≠ sliders actually edit the parameters to which they are
assigned, the “new” voice created by using the sliders can be stored to one of the VL1’s
voice memory locations and used just as if it had been edited in the EDIT mode (≥ the
STORE operation is described on page 28). The parameters available for editing via the
– and ≠ sliders are individually preset for each voice. You can select from the
available range by using the “Continuous Slider” assignment function (≥ Page 43).
19
Edit Mode
All voice editing functions are accessed via the
EDIT mode: controller assignments, mixing, modifiers, effects, and more.
● The Voice Number Buttons
In the Edit Mode . . . . . . . . . . . . . . 22
● The Edit Compare Function . . . . . 24
● The Copy Function . . . . . . . . . . . . 25
● Storing Edited Data . . . . . . . . . . . 28
Initial Edit Page . . . . . . . . . . . . . . . . . . . 30
Common Miscellanous . . . . . . . . . . . . . . 34
Common Effect . . . . . . . . . . . . . . . . . . . . 44
Element Controller . . . . . . . . . . . . . . . . . 64
Element Miscellaneous . . . . . . . . . . . . . 84
Element Modifier . . . . . . . . . . . . . . . . . 106
Element Envelope . . . . . . . . . . . . . . . . . 128
Feature Reference●Edit Mode
The Voice Number Buttons In the Edit Mode
In the EDIT mode, voice number buttons 1 through 14 assume the functions listed
in purple below the buttons.
●
Element Select
1
E1
ELEMENT SELECT
2
E2
These buttons select the element to be edited in a 2-element voice when an ELEMENT parameter is selected. The currently selected element is indicated by the indicators
above the ELEMENT SELECT buttons, and in the function name at the top of the
display page: “E1” for element 1 and “E2” for element 2.
In the example display below, element 2 is selected for editing (“EDIT/E2/
CTRL/PRESSURE”):
The ELEMENT SELECT buttons will not function when a COMMON parameter is
selected. Of course, “E2” can only be selected in a voice that uses two elements. Singleelement voices use only “E1”.
●
Element On/Off
3
E1
ELEMENT ON / OFF
4
E2
While editing a 2-element voice it is handy to be able to turn one or the other
element off so you can clearly hear the result of edits to the element you are working on.
The ELEMENT ON/OFF buttons perform this function. The on/off status of the elements
is indicated by the indicators above the ELEMET ON/OFF buttons, and by the element
numbers (“12”) at the right end of the second display line: a highlighted number indicates that the element is on, a plain number that the element is off. In the following
display, for example, element 2 is on while element 1 is off:
22
Feature Reference●Edit Mode
●
Effect On/Off
5
ALL
6
MOD
EFFECT ON / OFF
FBD
7
8
REV
The VL1’s internal digital signal processor provides three effect stages: Modulation,
Feedback Delay, and Reverb. Each stage includes a number of effects. The Modulation,
Feedback Delay, and Reverb stages can be used simultaneously, but only one of the
effects available in each stage can be used at a time.The EXTERNAL EFFECT ON/OFF
buttons can be used to individually or simultaneously turn these effects on of off. The
current status of the effect stages is shown by the indicators above the MOD, FBD, and
REV buttons.
ALL
MOD
FBD
REV
●
Modifier On/Off
Alternately turns all three effect stages on or off.
Alternately turns the Modulation effect stage on or off.
≥
Page 46.
Alternately turns the Feedback Delay effect stage on or off.
≥
Page 53.
Alternately turns the Reverb effect stage on or off.
≥
Page 60.
9
ALL
10
HE
11
DF
MODIFIER ON / OFF
12
EQ
13
IE
14
RSN
These buttons independently or simultaneously turn the VL1’s modifier stages on or
off. This allows fast on/off comparisons that make it easy to hear even subtle changes
produced by editing the modifier parameters.
ALL
HE
DF
EQ
IE
RSN
Alternately turns all five modifier stages on or off.
Alternately turns the Harmonic Enhancer stage on or off.
≥
Page 107.
Alternately turns the Dynamic Filter stage on or off.
≥
Page 115.
Alternately turns the Frequency Equalizer stage on or off.
≥
Page 119.
Alternately turns the Impulse Expander stage on or off.
≥
Page 123.
Alternately turns the Resonator stage on or off.
≥
Page 126.
23
Feature Reference●Edit Mode
The Edit Compare Function
When editing a voice in the EDIT mode, a copy of the original voice is retained in
the VL1 “edit buffer”, allowing the edited voice to be compared with the edited version
by using the “Edit Compare” function.
The Edit Compare function is engaged by pressing the E button while in the
EDIT mode (after making at least one change to the voice data). When the Edit Compare
mode is engaged the E indicator will flash, the inverse “E”(´) before the voice
number will disappear, and the sound of the original (pre-edit) voice can be monitored.
Press the E button again to return to the EDIT mode and the edited version of the
voice. You can toggle back and forth between the edited and original voices while editing
to monitor the effect of changes you make to the voices parameters.
NOTES ■ Editing can not be carried out while the Edit Compare function is
engaged.
24
Feature Reference●Edit Mode
The Copy Function
The copy function makes it possible to copy common or element data from any
specified voice to the current voice. You can copy all common or element data, or only
the data from a specified group of functions or a single function. It is also possible to
copy the original (pre-edit) data from the voice being edited to restore the specified data
to its original values.
●
Procedure
1. Specify the Data You Want To Copy
In the EDIT mode select the display page and function corresponding to the data
you want to copy:
• To copy all common data, go to the initial EDIT mode display and move the
cursor to the “Voice Name”, “Key Mode”, or “Voice Mode” parameter.
■ Example: Copy all common data.
• To copy all common miscellaneous data select the miscellaneous directory, or
to copy all common effect data select the Effect directory.
■ Example: Copy all common miscellaneous data.
• To copy the data from a single common miscellaneous or common effect
function select the display page for that function.
■ Example: Copy the common miscellaneous element pitch data.
25
Feature Reference●Edit Mode
• To copy all element data, go to the initial EDIT mode display and move the
cursor to the “E1 Name” or “E2 Name” parameter.
■ Example: Copy all element data.
• To copy the E1 or E2 controller, miscellaneous, modifier, or envelope data,
select the corresponding directory display page.
■ Example: Copy all E1 element modifier data.
• To copy the data from a single element function select the display page for
that function.
■ Example: Copy the E2 harmonic enhancer data.
2. Press C
Press the C button to call the COPY display.
3. Select the Voice You Want To Copy From
Use the cursor buttons, data dial, or = and - buttons to select the voice you
want to copy the data from (and the element when copying element data).
• At this point you can play the keyboard to hear how the voice will sound after
the specified data is copied before actually copying the data.
• The voice/element preceded by an asterisk (*) in the copy window is the
current voice/element. If you select this voice/element as the copy source the
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